#potentially including a different ending (this is PURE CONJECTURE)

[pinksilvace]

I really do wish that the Owl House had managed to stick with its original goal of being subversive for so many reasons, but right now I'm thinking about the finale again and how Belos was framed as a downright evil dude. A lot has already been said about this decision, from how it hurts the development and arcs of multiple characters to how it neglects a lot of the subtext that made Belos such an interesting villain to begin with, but it also just generally falls into common tropes from a character design standpoint.

Belos is designed, inside and out, in such a way that ensures the viewer KNOWS he's the villain based on pre-existing stereotypes prevalent in media. He's not young or conventionally attractive; I've seen fans go so far as to call him ugly because of what is essentially a skin condition. Season 3 confirmed that he has OCD and psychosis. The curse is shown to give him some sort of chronic pain (+limited access to relief medication, which loses effectiveness [note that Eda will likely always have access to elixirs while the same can't be said for Belos and palismen]). He has a foreign accent. He was given a rough childhood (that the audience is expected to disapprove of) to "explain" how he got to where he is.

Something about it feels really rotten. He's a villain, no doubt about it, but a lot of his traits - many of which are heavily stigmatized - are not present in any other cast member (the closest I can think of is Hunter, who has facial scarring and undefined trauma symptoms potentially (?) including psychosis [the big difference here is that Belos is shown to have had episodes repeatedly while Hunter was shown to have one moment of non-possessed hallucinations for what looked like the first time]). It would have been nice to see a show shooting for subversion not use such commonly villainized attributes for the villain, or at least, for the villain and only the villain. It especially stinks considering how the showrunners pressed the message that he's evil through and through.

[tokiro07]

That reply I got on my last Zelda post made me realize that I was only thinking about the story elements for potential Zelda-led games and not the mechanics of those games. I touched on it a bit in my reply, but I wanted to dive a little bit deeper into it here

As in Echoes of Wisdom, the goal here is to find gameplay styles that de-emphasize direct combat or physical dexterity, though we don't need to completely eschew them either (even EoW Zelda throws boulders around, after all)

Skyward Sword: a common complaint with Skyward Sword was the lack of content in the sky, so I think revisiting that through Zelda herself would be a great idea. Getting to spend more time with the Loftwings would be fun too, so I'd like them to play an active role within the dungeons. To that end, I'm thinking something inspired by Team Ico's The Last Guardian would work well, with the goal being to guide and instruct the Loftwing to perform tasks, requiring the player to pay attention to its mannerisms in order to gain some semblance of control

Minish Cap: the shrinking mechanic in the original was already a game-spanning puzzle in and of itself, so revisiting that could work well for Wisdom gameplay. To differentiate it, though, I might recommend expanding it to include shrinking and growing other objects, maybe a little bit like Superliminal but on a smaller scale. Or Zelda could just be shrunk down the entire time and needs to figure out how to navigate the world around her

Four Swords/Adventures: FSA ended with Zelda talking about learning a lesson about teamwork and some such, so this could either be another co-op game where the players need to coordinate with each other, or one player would be given multiple characters to work with at once and need to keep track of them all, like the single player in Tri Force Heroes. Honestly, my problem with TFH was that it was clearly not designed for single player, so if they revisited that concept with that explicit intention, I think they could have something solid

Ocarina of Time: obviously this would be Sheik stealth game. Oracle of Seasons already had minor stealth segments, so if you expand that concept into something more akin to the classic Metal Gear games, being more focused on observation, reaction and improvization than pure memorization, I think you'd really have something

Link Between Worlds: again, the 2D/3D puzzles of the original were already exactly the kind of thing we're looking for, so if the developers felt in any way that they hadn't fully explored the concept, like giving Zelda the ability to actually perform actions in 2D rather than simply moving, I think it would be worth revisiting

Zelda 1/Adventure of Link: similar to my idea for Four Swords, I think this one would best focus on the dichotomy between the two co-existing Zeldas, so perhaps an It Takes Two approach with each character having unique abilities would be best. Again, this is a good opportunity for co-op, but I'd like it if they could be controlled simultaneously, like in FSA. Maybe something more like Mario & Luigi's overworld segments, where they're both moving at the same time and different buttons are assigned to each character to activate their unique abilities. We don't really know enough about either of these Zeldas to conjecture what powers they'd have, but if we go off of Zelda I being under a sleep curse, maybe something to do with stillness vs. motion? Like one can make things stop and the other can make things speed up? It would take some workshopping, but I see potential here

Twilight Princess: knowing so little about the Twilight Realm, I'm envisioning labyrinthian architecture, where pathfinding is the name of the game. Given the predilection for darkness, perhaps light-based puzzles would be in order

Wind Waker: this one has the best reason to expand into combat for sure since Tetra is a fighter, but coordinating with her crew to perform tasks either for puzzle-solving or combat would be a perfect way to incorporate her Wisdom into the gameplay. Maybe there would be naval battles where steering the ship in the right way or firing the cannons at the right time would help fend off enemies. Maybe on land, resource management of ammunition and other supplies would be something the player has to be mindful of, or Tetra can bring two or three of her crew along at a time like the Sages in TotK to use their abilities

Spirit Tracks: the Phantoms were already pretty much exactly what we're looking for, so I think just coming up with new Phantoms and level designs would be sufficient. Rearranging the Spirit Tracks themselves for more efficient navigation could also be fun, but I don't know if most fans want land development in their Zelda games

Breath of the Wild/Tears of the Kingdom: I already said in my last post that the Ancient Power system in TotK would have worked as a Wisdom mechanic, so again, any enhancement or refinement therein should probably go to Zelda

If I were a professional, I'm sure I could come up with something a lot more workable than these high concepts, but my main goal with this thought exercise was just to see how the extant stories could be used to make new ones, and I definitely see a lot of areas of opportunity

Of these, I personally like the Skyward Sword idea best, I like what Last Guardian was going for and would really like to see the concept explored by other developers

[ihaveforgortoomany]

Discussing lore and story predictions for 2.2 CN story "Tristes Tropiques"

(Major spoilers for 1.9 and beyond)

There will be images below, if you are here before the 1.9 livestream DO NOT READ this, major spoilers here.

(Disclaimer: I am neither Brazilian or have read Tristes Tropiques. This is only a discussion from purely a lore basis and as the first mainline chapter of the 2.0 story)

Alright.

(I already talked about Bessmert/Martha in a previous post so Im not mentioning here, also image limit)

What the hell is happening here? Either this is early on in the story or near the very end/ climax of the version story. From 2.0 story the previous owner of the robot toy was Eternity, then the Preacher released Kimberely/ Anjo Nala against Joe, and by the end of that patch supposedly the robot was in the hands of a Manus Footsoldier.

(From this point Im refering to Kimberely as Anjo Nala, the first maybe an Alias? Im not sure which is which)

In 2.1 Anjo Nala was working with Ms Grace (appeared at the end of 2.0) and reported to her at the end of the event story, Im assuming that the robot was in her possession at that point.

But here? This guy works like a Zeno officer, Igor mentions the Zeno branch here or at least a part of it muntinied and killed their commanding officer, the final bit of the PV shows dead Zeno officers and seems to be a continuation of the first bit of the PV. How he got the robot is beyond me, Igor theorised the mutiny included Manus so maybe thats how he got it?

As for Vertin, really how did she end up alone completely? Wheres Lilya and Sotheby? Also noticing the willingness to show onscreen violence and blood, before this was implied in text and now we are seeing it. Mind you first chapter of the patch and immediately Vertin gets strangled nearly to death. Im guessing where we se her fall unconscious is the moment Anjo Nala snaps and attacks the Officer.

(Side note: since she is playable and ofc that means joins the suitcase, we know Vertin does have the tendency for physical affection like holding hands or patting the heads of some of the suitcase residents. But here? Potential trauma and Anjo Nala having a different line for the head and hands touching? Vertin being outright uncomfortable with it? Just conjecture.)

Time for Manus.

Oh wow we finally see Arcana being literally vaporised. I think the PV confirms that everyone truly believes she is dead EXCEPT Druvis in the inter-chapter of 1.9, so I don't think she is dead but instead as created a matryrdom out of herself to manipluate characters like Sophia and the Apostles Brotherhood.

Speaking of them, Igor refers to them as a notorious gang in Sao Paulo, likely not actually affiliated with Manus but choosing to align with their goals and eventually joining them (the name Order of Enlightenment maybe just refers to the Manus worshippers in the US maybe?). This is probably gonna be a big point for Lilya's character, potentially placing her at a tension point over Zeno's ethics or even a crosswords between Zeno and Vertin.

The name Moldir is the only one we haven't met yet, either this is the guy who looks to be leading the Apostles Brotherhood or

This person hugging Lopera (or the same person, lighting is different here)

What is noticeable is that everyone (idk Mr Duncan and White Rum) are members of Zeno) Lopera literally leading a firing squad here. Also it says here arcanists and humans showing the both of them, either Lopera or this person is human? I have a feeling they are the doomed people this time around.

This came before the last image, forgot the order but its Lopera and Anjo Nala interacting here. Maybe they have met? Where this happens I don't know, also if this place was hit by a Storm (some people were saying 1950s?) then maybe since we know Anjo Nala was stored in the robot for some time in the Foundation then Eternity, maybe its like Marcus and Heinrich and this is Anjo Nala's era, or this is Rayashki again and shes returned to the same place at a different point in time?

Ok Mr Duncan, one of his lines was "old friend" addressing Vertin Im assuming, either this is just a friendly greeting or as in literal we have met before is again speculation.

More importantly he is probably gonna tie to Sotheby's character in this patch and arc, he already reminds me of Mr Karson, what if they are related? Also they look to be doing a handshake of sorts (If he is related to Mr Karson oh no the pain)

Again what is going on with Vertin she seems to be catching Ls everywhere. Why are you in the sea again (river maybe). Maybe this is the first interaction she has with Anjo Nala here, there is a shot of Anjo Nala on a boat, maybe she's rescuing Vertin falling off Red-38 or something.

In terms of plot the focus will be on the Zeno Mutiny in Sao Paulo, the Apostles Brotherhood being associated with the Manus. Maybe that Zeno Officer is similar to Stephen in 2.1 and thinks Vertin is a murderer over Arcana, proceeding to attempt to kill her through Anjo Nala. Maybe Lilya might be forced to choose between Vertin and Zeno? Again conjecture.

[earthstellar]

Transformers Medical Analysis Essay: What are Cybertronians Made Of? [Part One: Nanites and Human Equivalents]

This is gonna be long, for which I apologise. 

PLEASE NOTE: We will be discussing some actual real world blood stuff here; Nothing gross, just some basics to provide a human comparison for the Cybertronian stuff, and I have used my own blood test results below to help explain these comparisons to you. If you might find any real world medical content gross or potentially upsetting, please skip this post, as I don’t want to upset anyone! <3 

Here we go!

What Cybertronians Are Made Of, Part One: Nanites 

Nanites are mentioned throughout various TF media and franchises, although they seem to differ mildly between each application/description somewhat. 

This makes nanites a good starting point, as we know that at least all Cybertronians/Camiens/etc. have some kind of self-repair function, and this is stated to be either nanites or a multi-system function that includes nanites as a key part of maintaining health and wellbeing. 

In Beast Wars, we get the most detail on certain medical and physiological aspects of nanites, with the nanites inherent to the composition of a Cybertronian body providing part of the basic structure of the protoform, as well as displaying the ability to undergo mutation (similar somewhat to human cell mutations) which allow for the process of Transmetalisation. 

Nanites seem to have many significant functions in the Cybertronian body across multiple TF franchise canons, from being a fundamental construction element, to functioning like human stem cells, to behaving as an immune system in the capacity of self-repair nanites. 

We will focus specifically on self-repair nanites here, as it is sometimes implied in different TF canons that there may be multiple types of nanites present in the Cybertronian body. 

Comparing Self-Repair Nanites to a Human Equivalent: Full Blood Count

We can reasonably compare Cybertronian nanites to human cells, as we can think of these nanites as serving the same purpose as several different cell types in human bodies. 

In regards to Cybertronian self-repair nanites, the most obvious human comparisons would be immune system cells/proteins like macrophages, lymphocytes, mast cells, and Cytokines. 

Five types of white blood cells/leukocytes will appear in the blood generally speaking, and you can see these listed on any Full Blood Count (FBC) blood test. 

To illustrate this, I actually just recently did a few blood test panels on myself, so I have included my own FBC results for you to check out here: 

The five blood test results I want you to focus on are the following, which are the white blood cells I marked in orange/red above: 

Neutrophils

Lymphocytes (B and T Cells)

Monocytes 

Eosinophils

Basophils 

(You might notice that I have a few mildly OOR (out of range) results above; This is because I have Haemoglobin Barts and I am also undergoing HRT, so please don’t be too concerned!)

If any of these results are elevated (high/out of range on the upper end), it can help indicate all kinds of things, from whether or not you’ve had an infection or cold/flu recently, to being used as part of identifying possible autoimmune disorders in conjunction with other more specific tests like an Antinuclear Antibody (ANA) blood test as part of diagnostics for Lupus or Sjogren’s Syndrome, among other conditions. 

We can safely assume that self-repair nanites may be similarly used as part of certain Cybertronian medical diagnostic processes; We will probably only be able to verify this in canon once Hasbro finally listens to me and gives us a Med Bay focused series.

Note for any of you who might be non-clinical medical staff dealing with blood results: Basophils have a tendency to essentially self-destruct in a blood sample that has taken a little longer than usual to get processed in the lab, so don’t freak out immediately if this result appears out of range at first. Remember to check the time the sample was drawn and compare it to the time the sample was actually processed! Obviously, raise it as a potential concern anyway, if you are unsure. 

Why This is Relevant to Cybertronian Medicine and Physiology: Mechanical Lifeforms Are Complex, But in Some Ways, Not Really (Compared to Humans)

Just like human beings have our various immune system cells and proteins, Cybertronians clearly have self-repair nanites as a way to carry out some degree of constant natural defence against both casual and serious damage. 

HOWEVER. 

Whereas humans generally have the five primary white blood cell types which are the��“usual” ones we check for in fairly routine blood tests like Full Blood Counts, it seems that Cybertronians have one universal primary white blood cell equivalent (self-repair nanites) that serve the functions of various immune system cells and proteins in human bodies.

To use computer engineering phrasing in reference to human functions, this is (to some degree) essentially biological built-in triple modular redundancy. Multiple types of cells within the immune system in humans all help individually and collectively to identify, locate, track, capture, learn about, and eliminate contaminants or foreign entities like bacteria, among other functions. 

Cybertronians, however, are extremely physically complex in other ways, but their basic structure and core components seem to be fairly minimal based on what we see in canon across the board; They only have self-repair nanites, a single type of nanite, to fulfil all of these varied and complex immune system analogous functions. They only have this singular line of natural defence. 

(This assumption is based on purely what we see in canon; If there are other self-repair dedicated functions, these are not as universally mentioned or mentioned at all in TF media canon, or where they are implied, they are not well defined.) 

While this may still be the most ideal possible natural or innate design for Cybertronian physiology, it is still, of course, essentially a single point of failure (as engineering terminology seems appropriate here), and a pretty serious one at that. 

Now, human immune systems can get all kinds of messed up anyway, and having more types of cells/nanites doesn’t necessarily eliminate a lot of those problems or risks and likely wouldn’t for Cybertronians either if they may have similar potential health concerns, but my point is that the Cybertronian immune system equivalent is extremely simplistic in comparison, which is in contrast with most other aspects of Cybertronian physiology. 

While they do use the plural form, “self-repair nanites”, which could imply the presence of multiple specific self-repair nanite types within the Cybertronian body, this is not specified, and this is never elaborated upon in any TF media to my knowledge. It seems that the use of the plural form refers only to there being many self-repair nanites in the body, rather than multiple types of self-repair nanite. 

Having a single line of immune defence has potentially serious implications in-universe; Just like human beings, Cybertronians may be able to experience problems with their immune systems ranging from potentially serious and chronic autoimmune issues, to being more prone to catching illnesses due to mild immunosuppression caused by chronic processor overload (chronic stress) or inability to recharge/infrequent recharge (insomnia), or possibly even autoimmune responses (see the section on rusting, below, for one theory I have about what may be a canonical example of this). 

This may vary significantly from series to series as well anyway, but we don’t have a lot of canonical medical information to work with about any of this, so this is all conjecture. 

Especially given the conditions of war, it may be difficult for Cybertronians to maintain fully functional self-repair nanites, as it is often the case across nearly all TF media that the bots are usually working with minimal supplies and/or sustaining severe and repeated damage, which provides ample opportunity for natural bodily processes to go wrong in addition or as a result of any external causes of damage. 

Do their self-repair nanites suffer from chronic low fuel levels, which particularly in TFP is a constant concern? 

Ratchet even mentions in the episode Stronger, Faster: 

Ratchet: “If one of you comes back wounded this time, well, our energon levels are nearly depleted.” 

While this may be in reference to concerns around lack of spare energon for transfusion purposes (as energon is treated like both blood and fuel in TFP), we know that it is generally used as supplementary to other medicines/treatments/medical procedures as well, although these are not defined clearly. 

It’s certainly possible that the risk of low fuel levels includes impeded nanite function, and considering that symptoms of low fuel in Cybertronians seem similar to exhaustion/fatigue/starvation in humans, it’s reasonable to assume that yes, running on strictly rationed levels of fuel for prolonged periods of time likely impacts their self-repair functions. 

This has further implications for dealing with everything from exposure to potential pathogens on other planets that may affect them, to recovering from any necessary surgical procedures or battle wounds. 

And, a very good point to make: Under the assumption that there is only one type of self-repair nanite, it may be possible to take a sample of these nanites from a living Cybertronian and reverse-engineer it; Biological weapons are known to exist in canon, and have been used to spectacularly horrific effect, particularly in IDW 2005/Sins of the Wreckers, if I recall correctly. 

What if someone finds a way to simply “shut down” these self-repair nanites? 

What if someone finds a way to, for example, create a biological weapon that induces an immediate autoimmune response, similar to a cytokine storm in humans? 

Which brings us to... 

Self-Repair Nanites, Autoimmune Responses, and Rusting: My Theory 

Cytokines are a part of the human body’s immune response, and are proteins that essentially help to moderate an immune response. If these proteins get out of control, a cytokine storm can result. 

We see a cytokine storm like effect when Cybertronians suffer from Cosmic Rust, which may trigger what appears to be a type of self-repair nanite storm; This might be the real reason for the rapid corrosion caused by the Cosmic Rust.

Rather than being a feature of the rust itself, it may be the case that the rust upon infecting a Cybertronian may elicit such a strong response from the nanites present in the body that it induces a sudden overwhelming and indiscriminate response from the self-repair nanites, thus causing the Cybertronian body to devour itself: 

The self-repair nanites in such a “storm” would not discriminate between healthy metals and rusted metals, and instead surge towards eliminating ALL metals.

This would mean that Cosmic Rust kills primarily by inducing a severe acute autoimmune response, but since we have no actual information on the mechanics of Cosmic Rust (or how it compares to normal rust which seems to occur naturally and seems to present as a somewhat common and relatively low risk issue for Cybertronians), I can’t say this for certain. 

I hope this has been interesting for someone, and if you actually stuck with me and read all of this, thank you very much for putting up with me!!!! <3 

[sugargliderowl]

Thoughts About Remus' Playlist

So as usual, this is my first reaction/rant/analysis about the playlist! This time, it’s Remus’ Playlist. I think it’s going to be cursed. But a... good cursed, if that’s a thing. As usual, feel free to add on to this! It’s good to share thoughts and talk about meanings, even making predictions about the future! 

General Overview Before Listening: I love Yugen_sama ‘s artwork; her style makes me happy! Also, Remus doing that? TOTALLY HIM. Just looking at the choice of songs does mirror Roman’s playlist in a way with their own anthems, Tenacious D, maybe an etc. We’ll have to see on that. His explanation with all the emojis is definitely him, and I think that’s all I can say. Just look at it.

Reminder: Before we go on, a little reminder for your safety. The songs can be quite... a handful. If you know about Remus’ personality and interests but still wanna read the overall analysis, go to the TL:DR at the way bottom without reading the specific song analysis. If you remember the TW from the video, that really applies here. Stay safe. 

Song Analysis:

This Devil’s Workday: Genius told me that this is about a criminal going mad. Yeah. The blazing trumpets and the really radio-like voice in the song is kinda creepy, but that goes with Remus as intrusive thoughts! He’s very obtrusive, and he’s everywhere without any filter. It’s a good intro to his character. The poor sack of puppies in this song goes back to his theme’s lyric, “your pet dog stuffed into a sausage” Also, the repetition of “All the people that you know / Floating on the river are logs” is like what he does to Thomas (repetitively reminding him about the bad things). The  “Oh I am my own da[ng] God” goes along with all the biblical references he makes in his theme (and just the dark sides in general). All in all, this song/introduction just is him screeching, “HI, I’M YOUR INTRUSIVE THOUGHT WITHOUT THE UGH.” 

Forbidden Fruit (the Duke’s Theme): If you are a Fander, you definitely are singing/screaming this on top of your lungs as you listen to this. I did that, and I love that. This song itself has a lot of good analysis online, so check them out! It was the intro song of the Duke with all his motives, thoughts, and everything beyond that, so it’s definitely on here. Also, it mirrors A Gay Disney Prince from Roman’s playlist by both being their own “I want” songs as well as their character role songs. The Creativitwins strike here once.

Double Team: Tenacious D! The Creativitwins strike here again! Wonderboy was on Roman’s playlist, which is also a Tenacious D song, so you can definitely say there are some mirroring going on here (also! YES the artist choice seems like a definite factor in choosing these songs). So this song is about having sex. Okay. And having a threesome. Okay, Remus. This song, even though it’s from the same artist as Roman, has a really different theme. If the Tenacious D selection is about the twins, would this mean that Roman wants them to be a really good team who, even though are opposites, can get along, while Remus wants them both to lose the filter and have fun? Overall, it could mean that the twins both want to get along, just in different ways which contradict one another. I’m not going into the lyric details because oof.

Man: I just noticed that Yeah Yeah Yeahs was on Patton’s and Virgil’s playlists. On Remus? I didn’t really expect that, but that’s a pleasant surprise. This song is really interesting because it’s not like the other two. This song, for me, is about someone who is obsessed with a man who would make her do anything, and she’s just hooking up with him or something. Also, the whole, “You're all gonna burn in hell / I said we're all gonna burn in hell” goes back to the biblical references that the Dark Sides make as well as the lyric of “Cause your head's not in the gutter, pal / It's in Hell.” Who is the man? Thomas, probably. This probably directs back to Remus convincing Thomas to drop the filter.

Freeee: “When man becomes possessor of the knowledge of himself, he becomes the master of his environment“ in the beginning of the song is Remus telling Thomas to learn about himself by possibly accepting Remus. The lyrics “One day they hate you / Next day they love you / I'm still yellin' "F[*]ck 'em" / I could never trust—” show how Remus doesn’t trust the society like Janus, and that’s just one of the main core of the dark sides. They don’t trust people that much. This does include Virgil since he is anxiety, so he can’t trust everything immediately. They all have different ways of showing the distrust. For Remus, it’s the layback, “frick it” attitude. “I don’t feel pain anymore” and “nothin’ hurts me anymore” seems to be a potential for Remus angst of being rejected from all the sides and being the “Evil Twin”. Does he care or not care? No one knows yet.

In The Room Where You Sleep: Sleep from the shorts and Virgil will both react really strongly to this song. Why? “There's something in the shadows / In the corner of your room / A dark heart is beating / And waiting for you” (Telltale Heart reference-). Yeah. Remus listening to this would go back to that end card of Remus being creepy (and eating deodorant). Also, it possibly demonstrates Virgil and Remus’ relationship; Remus scared Virgil because of his thoughts and conjectures. The repetition of “You better run / You better hide” would also contribute to this thought, definitely. But then again, that melancholy keyboard... Why that montage at the end?

No Reason Boner: The song is very catchy and funny. But ASDKLFAJSD. This is definitely Remus’ type of song. That means that the sexual information is given control to Remus, and he probably uses the information for his jokes and intrusive thoughts. This song is what Remus' personality is: goofy yet NSFW. This intrusive thought without the ugh is probably lovable in this fandom because of that. Also, I don’t know why, but he can have that naivete even though he’s the one in charge of stuff like that. A nice juxtaposition right there.

I Told You I Was Freaky: This playlist is a RIDE. VERY MUCH A RIDE. Just all the sexual references in this song are just 1000% Remus. The song itself is quite whispery, and I guess that goes with Remus because he whispers the dirty stuff into Thomas’ ears. Well, whisper is very much an understatement. But I have to admit, if you listen to the lyrics, there are some very creative ways that people don’t think of. It’s usually a bed, a car, or in a club or party, but the lyrics are more than that. Then, we can assume how capable and skilled Remus is as the Dark Creativity; he’s as good as Roman, just in a different category. 

Queef: If you don’t know what a queef is, I didn’t too. I just looked it up while I was typing this. Wait, isn’t Awkwafina in like a movie? This, like that last song, is basically him going off on his creativity and wordplay. In future episodes, I would love to see how Remus can go off with his wordplay because if Roman’s good at all the nicknames, and if Remus is basically him but darker, that means he’s good. Like really good. This song is also very, very catchy, and I kinda jammed through it because of the beat.

Manners: According to genius, this song is a "sexually-charged bad b[*]tch anthem on which Ashnikko displays her “IDGAF”-attitude.” Basically, the vine, “I’M A BAD B*TCH YOU CAN’T KILL ME” would equate to Remus as well as the meme, “Aren’t you tired of being nice? Don’t you want to go APESH*T-.” This might connect with his facade in a way because he seems to be naive and goofy at times (although NSFW), but when he drops it, he drops it fast, and he drops it hard. For example, his facade drops when he threatened Logan in DWIT, and his facade can be picked back up quickly, too. This song also has the element of “Frick this world” attitude, which Remus showed in the previous songs, and I stan him. As the fandom did an edit once, he would definitely wear acrylic nails if he wants to. A thing that I did notice though is the lyric “Fight or flight, I’m fighting for my life.” HI VIRGIL!

Ben Bernanke: I don’t know who Spencer is, but a big OOF for him. This song’s structure is really unique because I have no clue where it’s going, and it’s going with Remus’ personality of just randomness and intrusivity (is that a word?). ALSO, the continuing snakes in these songs. So is Spencer Janus in our context? If so, Remus is quite mad at Janus. I do see why though, after that last video implying that he’s the Evil Twin. “Do you think you can mock me, Spencer? / Do you think you can capture my essence / And throw it back at me with / Humor and rhetorical devices?” Gosh, Janus and Remus could have beef with one another. Also, that “Avada Kedavra” and “I’m... a furious magician” could definitely foreshadow something in the future. Additionally, “You're the architect of my dreams, Spencer / You plan them, and build them on blue paper / And hand them to me / And then I dream them, Spencer.” 

Worldwide Torture: “I never come second place / Always been a big disgrace Smell the fear, I know you see / High achiever (Yeah, that's me!)” Welcome to Remus’ angst that we do not know much about yet. It’s great. It’s just like Roman, but in a more “I’m a disappointment” way! However, what’s quite different is that Remus is pissed. Beyond pissed about it, so he acts up unlike Roman who tries to mask it. Because he knows that he’s not regarded nicely with any of the sides, he wants to molest them and destroy the world, shown by the lyrics “A pure violation of God's great creation / It’s an infestation, it’s world domination.” I think this issue might pop up more frequently as more episodes come out, but for now, this is my assumption. Out of context, “The highest score” goes with that last episode, since Remus was present as the 80085. 

Na Na Na (Na Na Na Na Na Na Na Na Na): I DIDN’T EXPECT THIS TO BE HERE, BUT I LOVE IT. THANK YOU. WOOOOOO YASSSS. This is actually one of the “pump me up” songs. First, “Eight legs to the wall, hit the gas, kill them all” is, obviously, a spider in the song, but in our context, we can also call it an octopus because Remus’ animal is an octopus, which has 8 tentacles (6 legs and 2 arms). Second, Remus is PISSED. He definitely has a punk aesthetic, shown by all the songs about flipping the world. The lyrics “I’d rather to to Hell / Than be in purgatory” definitely shows his determination of doing so since he’s saying that he won’t sit back. Somehow, for me it’s a growth from the beginning of “I don’t care” to “I actually care, and I’m fighting for that sh*t”. Pissed off Remus is scary Remus.

Trash People: Trash rat boiiiii. But this song is more than that. It’s showing that trash people aren’t really... trash people. “ Art is love and love is sloppy / Nothing is all pure / Nothing is all dirty” really shows the whole duality aspect in the entire series. Everything is gray. And that’s what Roman and Remus need to work on since they were divided by the black and white mentality. If Remus is okay with the gray morality, then who would be the one that he’s directing this song to? Roman. “Wearing a smile and a heart on my sleeve” though. I don’t get this lyric, but then again, tell me what you guys think! Does this mean that Remus is actually trying to be like this, or is he mocking Roman... The “no time to start over” also sounds really ominous.

Tranz: Gorillaz! Same album as Roma-OKAY THIS IS GETTING REAL. The last one with this artist had the lyrics, “I’m the lonely twin, the left hand... I don’t want this isolation.” People were screaming about this because, of course, this refers to Remus, but who knew that this was going to pop up again! That’s why I loved the artist connections during these analysis. Anyways, this goes back to the twin duality, but more of an angry tune. Take a look at this: “Do you look like me? Do you feel like me? / Do you turn into your effigy? / Do you dance like this forever?” Remember Roman’s whole monologue about Remus as someone he sees in the mirror with all the things he doesn’t want to be? This song is Remus asking Roman about that statement. Keep in mind that effigy is a sculpture that is usually used to mock or burn and is used as a negative connotation (thank you my English teacher). Remus doesn’t like that comparison at all, and I’m more concerned for him now than I was ever before after Janus saying that too. 

Death as a Fetish: Wow, this is sad. “And I will never be good enough, quietly / And you will never be good enough, just like me.” If the twins have the time to reconcile, this is probably the first thing they need to help out on each other. Remus knows more about his twin than we all thought, and he knows that both of them have problems about that. On the other hand, this song, when I looked at some of the annotations on genius, has a sad connotation. Life is so short, and it ends, and you know for sure that death is there at all times with that repetition of “death as a fetish” after everything we find positive. For Remus, I guess he knows about this. He’s a deeper character than we credit him as.

Don’t Stop Me Now: TONIIIIGHT IM GONNA HAVE MYSEEEELF A GOOD TIIME- okay. This song is something I scream my lyrics to. I also didn’t expect this, but in a calmer manner (because I wasn’t calm when this was on), yes please. Basically, DON’T STOP ME NOWWW! I don’t know how to explain this in a deeper way. Yeah. I LOVE THIS SONG THOUGH!

Things I Don’t Remember: “Things I don't remember / How the hell'd we get here? / How the hell did we get here?” This can be interpreted in a lot of ways. It could either be how all the sides came to be, how Roman and Remus came to be by both having the role of creativity, or just where Thomas is mentally since they are all Thomas. I think that’s depending on how you want to go about it. The last point is the strongest for me because of this one phrase of  “There were endless conversations / No one's mouths were really moving” maybe referring to the sides’ conversations around Thomas’ dilemmas. They sometimes only make it worse until someone has to kick in to change the viewpoint around, and that’s the reason why it feels like nobody’s mouths were really moving. Also, dressed up alligators? Okay, Remus.

F*ck It!: (Censored by yours truly with her notecard of “note your language”) The album name of taxidermy... fitting. Back to the song. “Why abstain? Why jump in line?” and “They say don't take the risk you're sure to fail... But what's the worst that could happen, end up in a coffin? / Isn't that where we're all headed anyway?” really highlights Remus’ spontaneity, which is a big factor in intrusive thoughts. This is back to the “frick this”, but more a “frick it I’m doing that sh*t, and I don’t care about the consequences” (going back to Na Na Na on that). Also, “'Cause it's easier to lie to yourself than to face reality” reminded me of Janus, but does this also apply to Remus in a way? Or does this apply to all the sides who are lying to themselves, especially Roman? Anyways, Remus’ spontaneity is something to kinda look up to at times. Not... not all the time. 

fReAkY 4 Life: Dorian Electra... the one behind Flamboyant from ROMAN’S PLAYLIST! The Creativitwins music solidarity number I-forgot-to-count. To the lyrics! “They just don't understand me / I'm not like them, I'm freaky” does go to all the other sides and Thomas because Remus really stands out from all the other sides. Silly yet NSFW, weird, and very new. Also, he seems to want some attention from all the sides with “ I like to be in the spotlight / Step on the scene ’cause it feels right / I freakin' scream, baby, all night / I do it, I do it, do it all the time,” but is it a distraction or legitimate attention? I love how this song is the finale because this song is the fireworks that says Remus. All the lyrics really match him, and especially with the “I hear what they call me / I hear what they say / I'm not very cool, yeah / But I'll never change,” it cements how Remus thinks. 

TL:DR: 

Remus is a character deeper than we already know him as. There are a lot of him that hasn’t been introduced to us since he’s pretty new. He has been on for about 2-3 episodes (only 1 with his full participation), and he never really interacted with Roman nor Janus, both who has a history with our little gremlin. Yes, Remus is the Duke of Dark Creativity and intrusive thoughts; there are so many references that are R-rated in this playlist, but in the end, he is another side. He more than the trash boi who gleefully talks about sensitive topics. 

He still has a connection with Roman with all the overlaps in their insecurities and artists, and he’s probably the one who’s more knowledgeable about their relationship as a twin. He could even want to reconcile with his twin, but in a way that Roman would not approve. That doesn’t mean that Remus is kinda mad at Roman. A fun house mirror.

Next, He doesn’t want to change himself in the sake of others although he knows that the others hate him for being him, and he’s actively going against it, not caring about the consequences. That’s what drives him to be really good at his job. He’s as good as Roman on doing his job. Along with that, he wants Thomas to embrace him as one of the sides and come over to the dark side of creativity. It’s one of Remus’ biggest dreams: acceptance. I want to see how this plays out with him and especially him.

Finally, he’s pissed. Very pissed. After all the berating at his back from all the other sides, including Janus, he’s PISSED. He’s ready to throw hands and wreck the world. I’m starting to be worried for how his character would develop. If he goes apesh*t, I’m getting popcorn and coke. Maybe drink every time we see him go feral. Eat a popcorn every time someone is disgusted by Remus. 

Overall, I love him more than I ever did because of this playlist since music is the window to the soul. It’s like knowing a person and learning about them. Also, by doing this, it really develops the character and lets the people look inside the character’s deepest thoughts and desires. I don’t know if there will be any additions to these, but if not, I really want to thank the entire group who made this happen! I found some songs that I really love now, and it’s such a good way for the fanders to have fun! (also, the content inspired from this is going to be very interesting)(the ANGST) 

Thanks for reading if you came til here, and feel free to add on to this! I would love to see how you guys think about this playlist!

[things-with-teeth]

“And Hope That I Don’t Crash You”: The Web, The Archivist, and Control

In her statement to Jon, Annabelle Cane states, “I have always believed that the key to manipulating people is to ensure that they always under- or overestimate you. Never reveal your true abilities or plans” (MAG 147). In a lot of ways, the narrative supports reading this as an admonishment against doing the later. In MAG 149, Melanie shoots down the idea that the Web has some strategy beyond “to paralyze [Jon] with indecision, sitting here terrified that everything [he does] is somehow part of its grand plan;” Jon doesn’t necessarily concede to this point, but he does admit it’s a possibility. Every time we’ve met another avatar of one of the Entities or an organization that worships them, it’s turned out that they’re not all they were cracked up to be when they first appeared on the scene: Peter can’t protect the Archives as he told Martin he would, Elias isn’t as all-knowing as he would lead others to believe, the Cult of the Lightless Flame and the People's Church of the Divine Host are both 95% petty in-fighting and about 5% knowing what the heck they’re doing. (Simon “in it for the lulz” Fairchild is sort of a breath of fresh air; he also doesn’t know what he’s doing, but he doesn’t pretend otherwise.) So maybe the Web is the same; even Annabelle suggests it, telling Jon that it’s entirely possible the Mother of Puppets is “simply sitting and reveling in the inevitable cascade of paranoia as those who hold her in special terror cocoon themselves in red string and theory” (147).

On that note, please allow me to cocoon myself in red sting and theory: I think Annabelle has basically been engineering events since season one, and here’s why.

I want to be clear from the start: I think Annabelle is being completely above board when she tells Jon that she hasn’t influenced his decision to take statements and feed the Eye. It’s clear from the moment that he proposes the possibility that this is a bit of a reach, a desperate last-ditch attempt to convince both himself and the others that he hasn’t been acting with any kind of autonomy while doing something he knows will hurt people. He is. He does. Jon Sims is becoming a monster, and that wouldn’t be nearly as horrifying or as sad if there wasn’t some element of choice to it (and some element of inevitability to that choice, as with a lot of great tragedies, but the kind of inevitability that’s as much personally driven as externally motivated). In no way am I writing this in an attempt to say “the spiders made him do it, he had no choice.” That being said, Annabelle herself makes an argument for choice being dictated by circumstance, and I’m going to argue that Annabelle herself has dictated a great deal of the circumstance from the very beginning.

Some of this is very well-supported by the things that we already know for a fact; Annabelle, herself, admits to Jon that she’s been “been nudging something here and there to keep [Jon] safe, to keep everything on track” (ibid). I don’t think there’s much room to argue that Annabelle wasn’t the one who prevented Jane Prentiss’ plan to destroy the Archives from coming to fruition. As of MAG 123, we know that Annabelle was responsible for what happened to Carlos Vittery way back in MAG 16, the very same case that Martin is investigating when he discovers Jane in the basement of Carlos’ apartment leading up to MAG 22, and from MAG 16 we know that Jane’s presence there predates that of the spiders – Carlos says his building has an “infestation of some sort of insect [he] didn’t recognize – small, silvery worms [...] they provided a good meal for the eight-legged little monsters.” As a result, the Archives are aware that Jane is a present and immediate danger. In MAG 38, the infestation of worms in the tunnels and Jane’s attack on the archives is revealed when Jon damages the false wall while attempting to commit arachnicide, and she’s forced to attack early. This is almost definitely why she fails; Tim states that “[being inside the Magus Institute] made them weaker, and they’ve been down there for months, breeding, building up their numbers until there were enough to properly bury us. Except you found that hidden passage, and they had to act” (MAG 40). I think it’s also possible – although this is more conjecture at this point – that Annabelle was the one who sent the note that incited Jared Hopworth to attack the archives between seasons three and four, although that’s mostly because I’m not sure there’s a better candidate; Peter potentially has motive, but that kind of manipulation reads more as the Web than the Lonely. “I’m starting to think the letters were a trap,” says Jared (MAG 131), and I would argue that it was a trap, not for Jared but for Martin, meant to nudge him into looking outside the Institute for protection. It’s more-or-less explicitly stated that Annabelle sent Oliver Banks to coax Jon out of his coma: “I'm still not exactly sure why I'm here. But you know better than anyone how the spiders can get into your head. Easier to just do what she asks” (MAG 121). Annabelle has nudged, here and there, and she has kept Jon safe, and she has kept everything on track.

I think Annabelle has been influencing events in more subtle ways, too, however. Very early in the series, Jon receives a delivery which includes “an old Zippo” with a “spider web design on the front” (MAG 36). He’s suggests that Tim have the others take a look at it, but that’s quickly lost in the realization that the other item delivered is the web table, which Jon recognizes from its description. As far as I can recall, we don’t hear another mention of the lighter until MAG 111, when Gerard asks Jon if he’s “a spider freak” after Jon offers him a cigarette and, presumably, a light. This means that, three seasons later, Jon is still carrying the lighter. A lighter with a spider web pattern on it, delivered by Breekon and Hope, who may belong to the Stranger but who are certainly willing to deliver parcels for other powers (the yellow stole Father Burroughs receives in MAG 20, for instance). Jon has been carrying around an artifact of the Web for the better part of the series, and I don’t think it’s impossible that it’s been influencing him, or that Annabelle’s been using it to influence him, in ways that are much less obvious than those I’ve listed above. Mostly I don’t want to speculate as to how it’s influenced him – I straight up do not know, and like I said, my intention is not to absolve Jon of all agency in his own actions for the last hundred plus episodes – with one exception. There’s one other time that Jon’s smoking habit has heavily impacted the plot: when he steps out to have a cigarette in MAG 80, leaving the way clear for Elias to brutally pipe murder Jurgen Lietner and keep Jon “on track” in his development as the Archivist.

This is speculation, but I think it’s speculation supported by past events within the podcast, most specifically those surrounding Gertrude and Agnes.

Annabelle wasn’t an avatar of the Web back then, of course, but I still think that there’s a lot to be learned when it comes to how the Web and/or its representatives influence the course of events nominally controlled by and benefitting other Entities. In MAG 139, Eugene Vanderstock says:

The compromise we came to was Hill Top Road. We knew it was a stronghold of the Web, full of other children Agnes’ age. We would supervise from a distance but were confident she would be in no danger. The Mother of Puppets has always suffered at our hand – all the manipulation and subtle venom in the world means nothing against a pure and unrestrained force of destruction and ruin.

And that’s—that’s weird, isn’t it? We know that the Cult is at least somewhat protective of Agnes; it’s how Diego convinces Arthur Nolan and the others not only to refrain from acting against Gertrude but to protect her for so many years after she binds Agnes to her, because it might be “catastrophic for Agnes” if Gertrude were to die “a violent death” (MAG 145). In spite of that, here they are, sending their baby chosen one into the lair of an enemy power so that she can get some normal socialization and learn not to bite (or burn) the other kids. As a result, Agnes ends up tied to Hill Top Road and Raymond Fielding, even after Fielding is dead, perhaps because of an early attempt at the same kind of binding that Gertrude eventually succeeds at creating. I don’t think it’s outside of the realm of possibility that the chain of events leading up to the Cult making this disastrous decision were not entirely without influence from the Web.

Then there’s Jack Barnabas. I’m ridiculously charmed by Jack’s whole mindset of “this girl is so goddamn weird and I’m really ridiculously into it,” and I’m not going to suggest that what he felt for Agnes wasn’t real; even Jon is “ninety percent” sure that Gertrude “didn’t pay poor Jack Barnabas to fall in love with Agnes” (MAG 139), and I’m about equally certain that the Web didn’t compel poor Jack Barnabas into being head over heels for her, either. That said, I think it’s clear that the Web did have some involvement. When preparing for his first date with Agnes, Jack smells burning and notices that “within the corner of the room, where there had been a spider's web this morning, there was just a faint wisp of smoke” (MAG 67). The language in his statement, years later, is filled with confusion about his own motives and hints of compulsion: “I was drawn to her in a way I can't even explain,” “I don't know how it happened, it [asking Agnes for a date] just tumbled out of my mouth before I could stop it,” “drowning in emotions that I still can't explain,” and “looking back, I'm still not sure what I would have done differently [...] I don't know if I would have had it in me to resist. I just couldn't avoid being drawn in” (ibid). Jack’s feelings for Agnes may not have been entirely manufactured, but they did receive a nudge, and the result was doubt and eventual death for the avatar and a necessary component in the ritual of one of the Web’s opposing powers.

Finally, there’s Gertrude. When speaking of the path that led her to the ritual which eventually bound her to Agnes, she describes it thus:

It was the Web. I didn’t know it at the time, of course, and I would call it an accident, but it never is, with them. It’s only after the fact that you can see all the subtle manipulations [...] I began researching what I thought was a counter-ritual of sorts. Like I said, I was young, naive. I somehow found just the right books, made just the right connections, and even got what I thought was a piece of blind good luck when I found a tin box in the ashes of Hill Top Road, containing some perfectly preserved cuttings of her hair. Of course, what I thought was a banishment ritual turned out not to be. The circle I constructed was more of a—an invitation. It let the Mother of Puppets bind me to Agnes, interweave our existences at some metaphysical level, as it had with Fielding and the house. (MAG 145)

Somehow she found the right books. Blind good luck that led her to Agnes’ hair at Hill Top Road. I would call it an accident. It’s only after the fact that you can see all the subtle manipulations – and this is Gertrude, who isn’t infallible, but who Arthur Nolan pinpoints as being “too practical” (ibid) to buy into the mystique of the Entities or to ascribe to them some greater motive, which would seem to belie the possibility that she’s falling prey to (as Annabelle suggests in MAG 147, as Melanie suggests in MAG 149) the tendency to succumb to paranoia while crediting the Mother of Puppets with some grand act of manipulation that the Web isn’t actually responsible for. I would argue that Jon has most likely been experiencing the same kind of quote-unquote happenstance that Gertrude once did, the same kind of subtle manipulation cloaked in coincidence, for the entirety of the series, all of it leading him toward whatever end Annabelle finds most desirable.

Some final notes that I couldn’t really incorporate elsewhere: I really, very much hope that Melanie’s therapy sessions really are just her getting good professional help for everything the Archives and the Entities have thrown at her, but I’m less and less certain that’s the case. Annabelle’s inception, her origin story, takes place in a psychology department. When doing follow-up in MAG 69, the archival staff find that all of the post-grads involved in the experiment have disappeared; in addition, Elizabeth “Liz” Bates, the advisor on the project, refuses to give a follow-up statement. The Web is about control and manipulation; it’s entirely possible that Annabelle has a large pool of qualified candidates to draw on when it comes to providing Melanie with a counselor who doesn’t have “cobwebs down her face” (MAG 149). I also keep getting stuck on the fact that very soon after Melanie asks Daisy not to call her “Mel” in MAG 147 because her therapist has advised her to be more open about these things, Annabelle opens her statement with “Free will is a funny old thing, isn’t it Jon? Can I call you Jon? I’m going to call you Jon.” Sure, it’s coincidence – but Gertrude was convinced, at first, that what she was dealing with was coincidence, too.

As for why Annabelle is doing this, I don’t know. Maybe the Lonely is as much in opposition to the Web as the Desolation is – after all, it’s difficult to manipulate someone in isolation – and she’s trying to impede Peter, not from stopping the Extinction but from benefiting from it, as Simon Fairchild says he will, thereby eliminating an enemy just as the Web did with Agnes and the Desolation. Maybe she’s trying to beat him to the same goal, establishing some level of control over someone beholden to the Ceaseless Watcher just as Peter is trying to gain control of Martin; Jon’s first experience with the supernatural involved the Web, and then there’s that Zippo. Maybe she has some goal all her own, some third option not yet even hinted at. Or maybe, like Jon, she’s acting on instinct, unable to do anything but “dance the steps [she is] assigned” (ibid), manipulating and spinning out her web because she’s incapable of doing anything else.

---

So I accidentally wrote 2.5k of wild conjecture about creepy spider people because I got stuck on the idea that there was a connection between the Zippo and Lietner’s death, that was fun. Shout out to @wildehacked for letting me yell about this and additional shout out to anyone involved in the wiki or the transcripts because oh goooooood would this have been more difficult to compile without being able to utilize those resources to check citations and grab most of the quotes. 

Quick edit to add a link to @caught-in-the-infinite‘s excellent alternative explanation for why Annabelle might have wanted Jared Hopworth to attack the Archives, which I think makes a lot more good sense than mine while also having even more ominous implications. 

[jam2289]

Philosophy Forum - Part 4

Epistemology is the theory of knowledge. What is truth? How do we know? Important and difficult questions that will be debated as long as there are humans with the ability to debate them. The two questions that I have to answer today are a subset of this larger topic.

Here are the two questions that I have to tackle. - - - - - - - 'If knowledge is not justified true belief, is it justified true belief that meets also some further condition?' 'Is saying "I believe that p" just an alternative way of saying "p"?' - - - - - - - I'm going to give myself one chance to move through these questions. It's a unique way of trying to tackle an answer. In a way it's a bit conversational. My conversations often end up on similar types of issues, at least at similar foundational levels. And, when the conversation has gotten there I do usually switch from a rapidly exchanging dialogue to a short monologue. The difference with doing it in writing is that I can give myself a moment to come up with a basic plan. For the first question my plan of attack could be to give a simple explanation of what justified true belief means, why it doesn't fully work, what a solution could be, why that also doesn't really work, and a new perspective to take. Without being able to look at references while doing it adds to the challenge greatly, especially when I get to those middle three steps and want to include examples that will be hard for me to remember, but would be easy to look up. Nevertheless, I will work with what I'm carrying in my own mind. For the second question I think there's a simple demarcation between the statements. One is a claim about the world, the other is a claim about knowledge. It's the difference between that which is known and that which knows. I don't really want to do the first question, so I'm going to have a go at that one first. - - - - - - - 'If knowledge is not justified true belief, is it justified true belief that meets also some further condition?' Justified true belief is a claim about what knowledge is. The idea is that knowledge is an intersection of three things: a person with a belief, a belief that is true, and a justifiable reason for the belief. For instance, I can say that my cat Jack is in the living room. I believe that Jack is in the living room, he is actually in the living room, and I believe that because I just saw him there a moment ago. There are various problems with this definition. A person could have a belief, that belief could be true, and they could have a reason for believing it, and yet the reason may be false, even if it may appear to justify it. Do they then not have knowledge? Many people would say that they do not. Others claim that they do. There are two common approaches to trying to solve this problem. One is to add a fourth thing to the three parts that knowledge has been reduced down to. Something like justified true belief plus true-justification. Another option is to simply increase how much justification is necessary. This can work to a certain extent, but I think they continue along an erroneous path. There are different levels of resolution from which we can view problems. From this level I think it's useful to compare this train of thought with the process of science. In science a hypothesis is proposed. It's a conjecture, a guess. A test is made. The test can potentially show that the hypothesis is wrong. If the test doesn't show the hypothesis to be wrong, it's verified; it's true. And yet, this idea of verificationism will lead to greater errors in the future. The hypothesis must be accepted not as verified, but as verified for now, and still open to question and doubt in the future when another test with potentially more sensitivity is devised. Thus, rather than being verified as true, the hypothesis has been not-falsified, and may be treated as true for now. What we know has a context, and part of that context is what is trying to be achieved. More or less accuracy, more or less justification is necessary in different circumstances. The level of knowledge that we need about a thing is different when we are trying to act it out, or if we are representing it in images, or if we are representing it in words. Propositional knowledge in itself is stagnant, but it exists because it is used for something. And if it works, then it was true enough for the given situation. If it does not, then it was inadequate for the situation. Knowledge could then be considered belief that works, or belief that is useable in a given context, or belief that is justified enough to be acted upon as true. For more information along the lines that I've discussed here see Endel Tulving and Jerome Bruner on levels of knowledge, Karl Popper on falsificationism, James Gibson on affordances, and Charles Sanders Peirce on pragmatism and pragmaticism. - - - - - - - Well, I doubt that will be received well in academia. And, it is kind of scattered. My brain attempts to bring a wide variety of information to bear upon a given problem and generate a creative solution. Academia isn't looking for solutions, they are looking for regurgitation. Alas, let's have a go at question number two. - - - - - - - 'Is saying "I believe that p" just an alternative way of saying "p"?' Let's say that two people are having a conversation. Jack points at a painting on the wall and says, "That painting is twelve inches tall." Jill looks at the painting and squints, looks at Jack with a smile, and says, "It's eleven inches." with a small twang of superiority in her voice. In both of these propositions a belief is implied. Jack believes that the painting is twelve inches tall. Jill believes that the painting is eleven inches tall. Neither needed to say that they were expressing their belief, they made declarative statements about the external world. And both of their statements were purely that, declarative statements about the external world. Here's another way that conversation could go. Jack points at a painting on the wall and says, "I believe that painting is twelve inches tall." Jill looks at the painting and squints, looks at Jack with a smile, and says, "I believe it's eleven inches." with a small twang of superiority in her voice. This set of propositions appears to be the same, but expressly stating that there is a belief does change things. Let's take the two statements from Jill and compare them. In the first she says, "It's eleven inches." In the second she says, "I believe it's eleven inches." The first statement is a declarative statement about the external world. The second statement could be taken in that same way, or it could be taken as there being some doubt, and thus there could be the sense of it being an inquisitive statement; as in, "I believe it's eleven inches?" with her voice rising at the end of the statement for the inquisitive tone. We now have a range going from declarative to inquisitive statement about the external world. Expressly stating that something is a belief adds something beyond an air of doubt about the declarative or inquisitive nature of a statement. Let's use Jack's statement as an example. In the first instance he says, "That painting is twelve inches tall." Any simple question will focus on the object, the painting. For instance, "That painting is twelve inches tall." "Why?" "Because whoever made it, made it that tall." But when we use Jack's statement from the second instance things are different, "I believe that painting is twelve inches tall." "Why?" "Because that guy over there told me it was." The focus is not on the external world, the focus isn't on the measurement, it's on the statement that Jack has made about himself, about his belief, about his internal world. In a statement where the belief of the subject is explicitly stated, that belief then becomes a focus. Both the external world and the internal world are having statements made about them. In the second instance Jack is making two statements. One, that the painting is twelve inches tall. Two, that Jack has that as a belief. In the first instance that idea has been left out of the conversation, it has not been brought up for discussion. The object is the focus of discussion in the first instance, both the object and the subject are potential focuses of discussion in the second instance, with a slight emphasis toward a discussion of the subject. This is a significant difference. That which we choose to bring forth in our conversations has the potential to change the trajectory of our discussions, and the trajectory of our thoughts. To articulate that which is implied in a statement changes the statement itself. We wield the power of words with each change we make. - - - - - - - I like the last paragraph in that one. Philosophy, an important subject often ignored. ________________________________________________ Find more at JeffThinks.com or JeffreyAlexanderMartin.com

[scifigeneration]

Scientific theories aren’t mere conjecture – to survive they must work

by Tom Solomon

“The evidence is incontrovertible. Global warming is occurring.” “Climate change is real, is serious and has been influenced by anthropogenic activity.” “The scientific evidence is clear: Global climate change caused by human activities is occurring now, and is a growing threat to society.”

As these scientific societies’ position statements reflect, there is a clear scientific consensus on the reality of climate change. But although public acceptance of climate theory is improving, many of our elected leaders still express skepticism about the science. The theory of evolution also shows a mismatch: Whereas there is virtually universal agreement among scientists about the validity of the theory, only 33 percent of the public accepts it in full. For both climate change and evolution, skeptics sometimes sow doubt by saying that it is just a “theory.”

How does a scientific theory gain widespread acceptance in the scientific community? Why should the public and elected officials be expected to accept something that is “only a theory”? And how can we know if the science behind a particular theory is “settled,” anyway?

Does the theory deliver?

In science, there are successful theories and unsuccessful theories. The word “theory” has nothing to do with the validity of a scientific principle or lack thereof. In contrast to general parlance where a theory “is a proposed explanation whose status is still conjectural,” a scientific theory is only conjectural until it is tested experimentally.

The issue is not whether a scientific theory is settled, but rather whether it works. Any successful scientific theory must be predictive and falsifiable; that is, it must successfully predict outcomes of controlled experiments or observations, and it must survive tests that could disprove the theory.

A scientist advocating a particular theory must propose an experiment and use her theory to predict the results of that experiment. If the experimental results are inconsistent with her predictions, then she must admit that her theory is wrong. To gain acceptance for a theory, a scientist must be willing to subject it to a falsifiable test.

If an experiment produces results that are consistent with a scientist’s predictions, then that’s good news for her theory. Just one successful test, though, is not usually enough. And the more controversial a theory is, the more experimental verification is required. As Carl Sagan said, “Extraordinary claims require extraordinary evidence.”

Wide acceptance comes from repeated, different experiments by different research groups. There is no threshold or tipping point at which a theory becomes “settled.” And there is never 100 percent certainty. However, near-unanimous acceptance by the scientific community simply doesn’t occur unless the evidence is overwhelming.

Scientific theories are repeatedly put to the test

As an example, in 1905, Albert Einstein published two papers on what we now call the Special Theory of Relativity. In these papers, he made a series of arguments that dramatically altered our notions of how the universe works. He argued that different observers measure the passage of time differently; they also measure different lengths for moving objects. He also showed that matter and energy are different forms of the same thing and theoretically can be converted into each other.

A computer simulation shows the collision of two black holes. It was created by solving equations from Albert Einstein’s general theory of relativity using data collected more than 100 years later.

But Einstein didn’t just make these statements. His theory made detailed, quantitative and falsifiable predictions that could be tested experimentally. Einstein was prepared to drop the entire theory if even one experiment convincingly contradicted his predictions. It took a long time for many of these predictions to be tested. In fact, the first direct measurements of gravity waves – one of Einstein’s predictions – came just last year.

Every single confirmed experimental test of relativity has agreed (eventually) with Einstein’s predictions. And relativistic theory has also been used as the basis for several technological advances, including GPS satellites, nuclear power and (unfortunately) nuclear bombs. There is absolutely no doubt among anyone in the physics community about the validity of the Theory of Relativity.

For an example of an unsuccessful theory, consider the announcement in March 1989 of a mechanism for nuclear fusion in a table-top configuration. This discovery of “cold fusion” was met with tremendous excitement since cost-effective nuclear fusion could hold the key to society’s future power needs. But follow-up experiments by other scientific groups had results that disagreed with the cold fusion theory. Despite the initial excitement, there was near-unanimous consensus in the scientific community by the end of 1989 that the cold fusion theory was incorrect. When the evidence isn’t there, the theory won’t hold up.

Like relativity, the Theory of Evolution by Natural Selection has been tested extensively. The body of experimental data that supports evolution is overwhelming. Of course, the fossil record supporting evolution is impressive and complete. But evolution has also been tested in real time with populations of organisms that can mutate and evolve over measurable time scales.

Evolution has been subjected to many falsifiable tests and has emerged unscathed in every one. Yes, evolution is a “theory” – it is a theory that works and works very well, an overwhelmingly successful and correct theory.

Change in global surface temperature relative to 1951-1980 average temperatures. Although they fluctuate from year to year, average global temperatures have been rising for decades. NASA/GISS, CC BY

Scientific agreement, political controversy

Theories of climate change are also supported by an extensive body of evidence. Of course there’s the continuing upward drift of global average temperatures over the past few decades. But climate change models are also supported by numerous laboratory experiments that have provided compelling verification of the mechanisms by which carbon dioxide gas traps heat in our planet’s atmosphere.

And, crucially, theories of global warming have passed falsifiability tests. Quantitative predictions of global warming were first made in the 1970s. Had there not been a clear increase in average global temperatures since then, climate scientists would have been forced to admit that climate change theory was wrong. In fact, several scientists in the 1960s who had predicted global cooling later had to admit that their theory was incorrect. Even a supposed pause in the increases in the 2000s (which were exaggerated by a spike in the average global temperature in 1998) has been followed by a strong upward trend during the past three years.

Tellingly, skeptics of both evolution and climate change theory have been unwilling or unable to subject their arguments to the same rigorous testing undergone by the very theories they’re criticizing. To make a scientific argument, critics must propose an experiment or measurement that can distinguish their alternative theory from evolutionary and climate change theories, and they must make a specific prediction for its outcome. And, like the scientists they’re criticizing, they must be willing to admit they are wrong if the results disagree with their prediction. Absent any falsifiable tests, why should the public or our elected officials believe their counterarguments?

Scientists continue to test hypotheses to see if a theory can withstand anything they throw at it. Matt Heintze/Caltech/MIT/LIGO Lab, CC BY

These issues are important from more than just a purely scientific perspective. An understanding of evolution is critical for developing any valid strategy for combating the spread of diseases, especially since microbes responsible for diseases can mutate so rapidly. And an understanding and acceptance of climate change theory is critical if we are to take the necessary steps to avoid potential catastrophe from a continuation of the global warming trend.

Scientific theories aren’t mere conjecture. They are subject to exhaustive, falsifiable tests. Some theories fail these tests and are jettisoned. But many theories are successful in the face of these tests. It is these theories – the ones that work – that achieve consensus in the scientific community.

Tom Solomon is Professor of Physics and Astronomy at Bucknell University.

This article was originally published on The Conversation.

[chanoyu-to-wa]

Rikyū Chanoyu Sho, Book 3 (Part 5):  The Way to Display the Naga-ita in the Small Room; and, the Dauko.

◦ In Settings Such as a Ko-zashiki [小座敷]¹, this is How the Naga-ita² is Displayed [when the Furo is Used].

[The writing reads:  mizusashi (水さし), koboshi (こぼし), futaoki (ふた置).³]

◦ The dimensions of the naga-ita are discussed further on [in this publication]⁴.

◦ Because there are no special deviations [from the standard temae] employed when the naga-ita is used [with the furo], it is not necessary to describe the temae in detail here.

    The chaire and chawan are placed down [on the mat in front of the mizusashi, as shown]; and, it is natural that the chasen is also placed down [on the mat in its turn]⁵.

◦ This naga-ita was used by wabi people in this way [as a replacement for the daisu] prior to the time when the daisu was finally eliminated [by Jōō]⁶.  [The naga-ita] is essentially a daisu without a tenjō [天井]⁷ and legs.

———————————————————————————————————

◦ The Dauko.

[The writing reads:  dauko (だうこ)⁸, mizusashi (水さし).]

    The dauko shown [above] has come down [to us] from ancient times; and so, as such, it does not [always] adhere to the ordinary [contemporary] usages.

    When the naga-ita was [itself] eliminated⁹, the far end of the mat was cut away [and replaced by a board insert], in which the irori was clipped into a round shape¹⁰.

    With respect to the size of this round [ro], the dimensions will be recorded elsewhere [in this publication]¹¹.

◎ The way to prepare [tea] is the same as was discussed previously with respect to the naga-ita.  However, while the chawan [and] chaire ・chasen may be placed on the mat [in front of the ita-datami, as is done when using the naga-ita], because of the width [of the ita], they may [also] be placed on top of the board, in front of the mizusashi [as shown in the sketch]¹².

_________________________

¹Ko-zashiki nado ni te [小座敷などニて].

    A ko-zashiki [小座敷] is a small room*.  This probably refers to rooms of intermediate size between the 4.5-mat room and the truly small rooms of 2-mats or less, such as a 3- or 4-mat room -- and rooms where the utensil mat is a maru-jō [丸疊] (a full-sized tatami) rather than a daime†. __________ *That is, a small room used to receive a guest (for example, for intimate or private discussions), rather than something like a sleeping chamber.

    Nado [など] means "and the like" -- that is, in the small room and similar situations, such as when mats or mōsen [毛氈] (felt mats) are arranged out of doors, or in a larger room that is not fully covered in mats, in a similar configuration.

†This, however, is purely conjecture on my part.

    Nevertheless, placing a naga-ita on a daime would probably seem overdone -- even oppressive.

    In the Rikyū Chanoyu Sho, rooms where the utensil mat is a daime are generally referred to as a sukiya [すきや = 数寄屋].

²Naga-ita [長板].

    Originally derived from the ten-ita of a large daisu by (or for) Ashikaga Yoshimasa, the naga-ita was made by joining the inner corners of the four leg-holes on the underside of the ita with four cuts made parallel to the sides, and then finishing and relaquering the board to obscure these cuts.

    Because daisu were always custom-made* in the early days, and in the interests of stability over portability†, the holes into which the legs were inserted were not necessarily four equally spaced squares (as they usually are now)‡.  Thus, when joining the holes with straight cuts, the resulting board was not always of the same exact dimensions, even when the original ten-ita were of a more standard size.  Consequently, the best that can be said about the early naga-ita is that they are roughly 2-shaku 6-sun 5-bu by 1-shaku 1-sun**. __________ *The height of the ten-ita was variable, depending on the physical stature of the person who was going to be using the tana.

†In the early days, the daisu was always used when serving tea, thus once it was assembled, it was rarely (if ever) taken apart again and put into storage.

‡Some makers made more complicated L-shaped holes, while others used round holes; and sometimes differently shaped holes were made for each of the four legs, so that, if disassembled, they would always go back into the same place when the daisu was put together again.

**The dimensions of the naga-ita at the time when the Rikyū Chanoyu Sho was published are not discussed elsewhere in this publication, though the text of this entry implies otherwise.

³The sketch, however, seems to show a sort of daisu.

    As was the case with the previous section (on the use of the daisu with the ro), this entry does not appear in the Nambō-ate no Densho; and lacking direction from an authoritative source, the editors have made a mess of their attempted explanation.  (The same is true with the next entry, on the dauko.  In both cases the editorial staff seems to be very unsure about their material.)

⁴Naga-ita no sun-pō ha oku ni ari [長板ノ寸法ハ奥ニ有].

    In the Fourth Book of the Rikyū Chanoyu Sho, the concluding series of entries (which discuss the peculiar usages associated with various classical utensils) from the Nambō-ate no Densho* was expanded to include a list of the dimensions† of the other commonly used sukiya-dōgu [すきや道具]‡.  However, the naga-ita is not included in this list.

    Oku ni [奥に], which literally means in the back (in other words, towards the concluding sections of the series), or deep within (the subsequent books of the set), could also be taken to mean that the dimensions of the naga-ita are included among the secret teachings (which are not supposed to be disseminated lightly)**. __________ *The two minor densho that Suzuki Keiichi conflated with the Nambō-ate no densho in the Sen no Rikyū Zen-shu (the Shin no Dai-temmoku, Onaji Daisu no Koto no Densho [眞の臺天目、同臺子の事の傳書] and the Tsuri-dana no Densho [釣棚の傳書]) are not found in the Rikyū Chanoyu Sho -- perhaps because they were not present in the version of the text to which the editors had recourse.

†The dimensions quoted are those preferred by the Sen family schools and their adherents; and while they served as the prototypes upon which the modern utensils of these types are based, they do not necessarily represent the sizes of the utensils used by Jōō and Rikyū.

‡Sukiya [すきや =　数奇屋 or 数寄屋].  The word sukiya is used here to mean an independent structure that was usually situated across the garden from the residence.  (More will be said about the sukiya in the next post.)

     It follows that sukiya-dōgu, then, means utensils used when serving tea in the sukiya -- what we commonly call "tea utensils" in English (and the idea includes the disposable objects such as the chakin, chasen, and hishaku, as well as those pieces treasured as antiques).

⁵Chaire ・chawan shita ni oku mōshi-sōrō, motto mo chasen mo shita ni oku mōshi-sōrō [茶入 ・茶◯ん下ニ置申候、尤茶筅も下ニ置申候].

    The intended meaning of this very truncated language is not at all clear.  The text appears to imply that the chaire and chawan are to be brought out from the katte* together, and then placed down on the mat in front of the mizusashi (as shown in the sketch).  However, possibly it is the word shita [下], which suggests the mat (rather than their being placed on the ita), that is most important here.

    The second sentence, which refers to the chasen, seems intended to clarify that the chasen is to be placed on the mat (rather than on the ita).  Here it is possibly the editor's intention to distinguish the use of the naga-ita from the (built in) dauko (which is discussed in the following entry). __________ *Since the host was not supposed to walk or stand on the utensil mat, this is potentially more difficult to accomplish in a small room than in a 4.5-mat room.

⁶Kono naga-ita ha wabi-hito no tame, kanete daisu wo kuzushi-sōrote gotoshi ni sōrō [此長板ハわび人のため、豫臺子をくずし候て如此ニ候].

    Wabi-hito no tame [わび人のため] means "for (or by) wabi-people*."

    Kanete [豫て = 予て] means previously, prior to the time when (something happened).

    Daisu wo kuzushi-sōrote [臺子をく崩し候て] means "the daisu was destroyed, demolished, pulled down," and so on†.  In other words, prior to the time when the daisu was eliminated.

    Gotoshi ni sōrō [如此に候], means "to do/it was done like this." __________ *Wabi-hito [わび人] refers to people who followed their own way; people who did not conform to the standards of formality that existed vis-à-vis the daisu in the early days.

†The verb kuzusu [崩す] also idiomatically includes the idea of relaxing (the formality of one's pose), and to make (oneself) at ease.  So, prior to the time when the formalities associated with the daisu were relaxed.  In other words, prior to the arrival of the full-fledged wabi-no-chanoyu.

⁷Tenjō [天井].

    In other words, (without a) ten-ita [天板].  The word tenjō [天井] means ceiling (the ten-ita forms a sort of ceiling over the furo and kaigu).

⁸Dauko [だうこ].

    This word is problematic.  According to the system of phonetics in use at the time when the Rikyū Chanoyu Sho was published (this entry is among those that are not found in the Nambō-ate no Densho), this spelling should probably be interpreted as dōko*.

    As written on the illustration, however, the word dauko seems to refer to the vessel in which the charcoal fire and kama are arranged†, rather than to the entire setting.  This vessel was originally fabricated from an old rice cooking-pot, with the side above the flange broken off, as shown below on the right.  (Note that the gotoku was originally used with the ring uppermost, and with the kama resting on top -- perhaps elevated on two little blocks of wood called  suki-gi [透き木], if necessary.)

    Yet the allusion to this arrangement found in the previous entry (that dealt with the naga-ita as used in the small room) implies that the dauko refers to the setting -- perhaps a sort of dōko-like arrangement in which the fire and kama were placed in a sunken gan-ro [丸爐]‡, such as is seen in the Shōka-dō [枩芲堂 = 松花堂] hermitage (in Yawata City, south of Kyōto) seen below.

    The Shōka-dō was built by the Shingon [真言宗] monk Shōka-dō Jōjō [松花堂昭乗, 1582~1639]**; his name indicates an association between his style of tea and that of Jōō and Rikyū (probably through Oribe).  He was a close friend of Honami Koetsu [本阿弥光悦, 1558~1637].

    The Shōka-dō has a step-through kuguri (on the far side of the white fusuma on the left side of the left photo; the guests moved up onto a raised wooden floor (on which was also located an oki-mizuya for the tea utensils) and entered through the fusuma.  When used for chanoyu, the other fusuma closed the Buddhist altar off from view.  On the right side of the same photo are seen a dashi fu-zuke [出し文机] (built-in writing desk) in the foreground, with a dōko-like space beneath the closed shelves:  this "dōko" contains a cast-iron gan-ro (on the left) and a single tsuri-dana (on the right); these can be seen more clearly in the right photo.  Returning to the left photo, the guests sat on a bench outside of a pair of shōji (which were removed from the foreground of the photo so as to allow a view of the interior); and the meal was prepared in a cooking area (which includes a kamado [竈], or mud-plaster stove) located outside the fusuma on the extreme left (the fusuma are covered with pieces of "waste paper" on which poems are written).  The ceiling was appropriated by Jōjō from an ancient Shingon oratory.

    Nevertheless, it would not be possible to use this arrangement in precisely the same manner as described in the Rikyū Chanoyu Sho:  the front edge of the gan-ro is too close to the front of the enclosed space to permit the host to handle the chaire and chawan on top of the board.  The temae has to be done with these things handled on the mat in front of the board, much as if it were a naga-ita rather than an o-chanoyu-dana.  Furthermore, the low hanging shelf requires the host to lift the mizusashi forward (to a point near the front edge of the board) before its lid can be removed and water dipped out freely.  Thus, this arrangement is a hybrid between the o-chanoyu-dana, the naga-ita, and something like the Jōō-dana [紹鷗棚].

    In fact, if taken as the name for the setting, the dauko seems to refer to the earliest space that was enclosed by a sode-kabe††.  The enclosure was wood-floored, 1-shaku 5-sun deep and 3-shaku 1-sun 5-bu wide (including the sode-kabe and naka-bashira, which were 2-sun thick) and was derived directly from the lower shelf of the o-chanoyu-dana (which Rikyū seems to have observed being used for chanoyu in this way in the 2-mat tsugi-no-ma attached to the shoin during his stay in Korea).  This recess may or may not have had a shelf above, to hold the chaire and dai-temmoku when not in use, in imitation of the daisu.  It was the removal of this recess that produced the daime-tatami. __________ *This is the only instance of the word dauko [だうこ] that I have ever encountered anywhere in the old tea literature.  Consequently, it is difficult to understand precisely what the editors intended here, or what their source for this entry was.

†While unknown from any surviving examples, other early sources speak of a 1-shaku-wide rice-cooking pot (the pot itself being approximately 8-sun in diameter, with a 1-sun-wide projecting flange by means of which the pot was suspended over the fire in a kamado [竈] or other such system.

‡A gan-ro [丸炉] is a round, iron vessel with a flange located at the top, that is sunken into a round hole cut in the floor, and in which a charcoal fire may be built and maintained.  In the present, the gan-ro is usually found in the mizuya, and it is in this vessel that the charcoal fire is preserved (by banking) to maintain it overnight while the tearoom is closed up.  This fire is also used to dry the kama after use (so it will not rust while empty); and it is also used to keep things like the miso-shiru and sake hot, before they are taken into the tearoom.

    The gan-ro itself is usually 8-sun in diameter, with a projecting flange that is somewhere between 5-bu and 1-sun wider than the outside of the vessel.  It is inserted into a round hole cut in the floor that is just wide enough to contain it (the flange rests on top of the floor-board and so theoretically keeps the gan-ro from falling into the hole).  While the gan-ro is usually made of iron, it is deep enough so that the bottom will actually rest on top of the mortar foundation beneath the tearoom (as does the plastered ro in the tearoom itself).

**His personal name Jōjō [昭乗] has also been transliterated Shōshō and Shōjō.

††A recreation of the Shukō-an as it existed in the time of Shukō (the present Shukō-an was reconstructed as a 2-mat daime room with an fumi-komi ita-doko [踏み込み板床] in the Edo period), is shown below.  Apparently the word dauko originally referred to the wood-floored enclosure, in which the furo and other kaigu were assembled.  It is possible that the chaire and chawan were also handled on top of the wooden floor, as when tea is prepared at the o-chanoyu-dana.  This will be discussed later in the narrative. 

    Note that (contrary to the way many modern chajin interpret this kind of room), the scroll was hung on the wall at the far end of the mat on which the guests sat, while the board-floored recess was used to house the tea utensils (and was, therefore, never intended to be an ita-doko [板床] -- a tokonoma with a wooden floor).  In fact, however, it seems that the ita-doko was ultimately, albeit mistakenly, derived from just this kind of arrangement (and this may have been why people who understood the actual history of this kind of room ultimately preferred to eliminate the enclosure entirely, arranging the utensils and performing the temae wholly on the remaining daime, rather than risk the enclosure being used inappropriately).  Such misuses and deviations unfortunately came to characterize the practice of chanoyu after the original group of practitioners had been replaced by Sōtan and the machi-shū.

⁹Naga-ita wo kuzushitaru-mono ni te sōrō [長板をくづしたるものニて候].

    As above, kuzusu [崩す] (here, in the construction kuzushitaru-mono [崩したるもの], which refers to a thing that has been subjected to the act of kuzusu) means destroyed, demolished, pulled down, and so on (though, again, with the nuance of the formalities being relaxed or simplified, rather than literally demolished).

    So this statement (incorrectly) assumes that the dauko (here the word dauko clearly refers to the setting, rather than to the gan-ro-like object sunk into the board to hold the fire and kama) was derived from the naga-ita by the process of simplification.  The lack of understanding of the o-chanoyu-dana, and its role as the precursor to the dauko is puzzling -- unless we accept that these were things that were done not in Japan, but on the continent (i.e., in Korea).  There is no other reason that this (and so much else of the) early history should have been so thoroughly forgotten by the Japanese tea practitioners little more than a century later.

¹⁰Irori wo maruku kiri-nuki mōshi-sōrō [いろりを丸ク切ぬき申候].

    Kiri-nuki [切り抜き] means to clip something away.  In other words, the editors interpret the round vessel in which the fire and kama were arranged as being a ro with the corners cut off (and so formed into a rounded shape).

    While typical of the Edo period way of explaining things that were in fact not known to the speaker, the fact is that the editors were unaware of the origins of the dauko, or the round “irori” that was inserted into the ita-datami.

¹¹Maru no okisa oku ni kaki-tsuke mōshi-sōrō [丸の大サおくに書付申候].

    As above (see footnote 4), no mention of the dimensions of the “circle” (i.e., the gan-ro*) are to be found elsewhere in this publication.

    It is possible that the expression oku ni kaki-tsuke mōshi-sōrō [奥に書付申し候う] is being used to suggest that the reader should endeavor to learn these details personally from a knowledgeable source, which should then be added by the reader to the collection of his personal marginalia*. __________ *Kaki-tsuke [書き付け] may also be understood to mean notes or additions to the text that were (to be) made by the reader, rather than the editors.

¹²Chawan chaire ・chasen ha tatami no ue ni okimono nare-domo, ita no haba hiroi yue ita no ue mizusashi no mae ni oku nari [茶碗茶入　・茶筅ハ疊の上ニ置物なれ共、板のはゞひろき故板の上水さしの前ニ置也].

    When one of the servants used the o-chanoyu-dana (above) to prepare tea, that person sat on the far end of the mat (with his knees 2-sun away from the front edge of the ita-datami that formed the floor of the o-chanoyu-dana) and handled all of the utensils on top of the board.  In the case of the dauko (below), the host could do the same*.

    Alternately, he could approach the dauko as if it were a sort of built-in naga-ita, performing his temae with the temae-za located immediately in front of the ita-datami.

    There are no known surviving accounts as to which of these approaches was preferred by Shukō and his contemporaries (fifteenth century sketches -- such as the one drawn by Nōami, above -- show the general arrangement of the various utensils on the o-chanoyu-dana, rather than the disposition of the utensils while tea was actually being prepared), or which of them Rikyū observed during his stay on the continent.

    However, given the fact that the full set of kaigu was used on the o-chanoyu-dana (and that the people of that time were used to using the entire set of things when they performed chanoyu), it seems likely that the complete set of kaigu was arranged on the dauko as well.  Therefore, the reduction of the number of objects displayed as shown in the Rikyū Chanoyu Sho most likely represents an Edo period guess†, rather than something grounded in fact. __________ *Note, by the way, that the positions of the chaire and chasen are reversed from those shown in the sketch in the Rikyū Chanoyu Sho.  Placing the chasen in front of the mizusashi and the chaire between the chasen and the heri comes from the way an ichi-jo-han [一疊半] (1.5-mat room, shown below) was used, and became the "correct" way to do things only after Sōtan's machi-shū temae became the standard against which all others were judged.

    In fact, in the 1.5-mat setting, these things are reversed because of the lack of space that results from the ro being enclosed within the sode-kabe.  When a sode-kabe is not present, however, the utensils were supposed to revert to their original positions -- though Sōtan, because he used this kind of room for most of his early life, was apparently not aware of this teaching.

     While the ichi-jō-han was created jointly by Jōō and Rikyū, Rikyū quickly became disenchanted with this kind of room (because of the reversed position of the chasen and chaire, among other things) and stopped using it (preferring instead the 2-mat daime for his small room -- until near the end of his life, when he returned to the 2-mat room with mukō-ro that most closely resembles the ancient dauko arrangement).  Meanwhile (and perhaps for that reason -- as a way to reject Rikyū’s arguments) the machi-shū fell in love with the 1.5-mat room, and it remained popular among them well into Sōtan’s lifetime.  This accounts for its profound influence on their mukō-ro temae -- which persists even into the present day.

†Displaying only the mizusashi and the vessel holding the fire (whether the furo, or ro, or -- as in this case -- a sort of improvised gan-ro) was first attempted by Jōō a hundred years and more after the daisu, and (presumably) the dauko were first introduced from the continent.  Prior to him, “wabi minimalism” as a concept did not exist, and the way people made tea would have lead them to expect to find the full set of kaigu in whatever setting (and it would probably have distressed both host and guests to find some of the things missing).  Evolution in chanoyu is almost always slow, and incremental.

[markettraderesearch-blog]

Global Fruit And Vegetable Ingredients Market 2019 - Concentrates, Pastes & Purees, Pieces & Powders

The Global Fruit And Vegetable Ingredients  market research reports contain a detailed scene of the Global Fruit And Vegetable Ingredients market, in which major players      Agrana ,  Archer Daniels Midland ,  Taura ,  Kanegrade ,  Sensient ,  Olam ,  SunOpta ,  Symrise ,  Doehler ,  SensoryEffects ,  SVZ ,  Compleat Food Network ,  Yaax ,  Concord Foods ,  Cargill ,  DMH Ingredients , ,  are profiled. Various companies engaged with the Global Fruit And Vegetable Ingredients  market are studied. The Global Fruit And Vegetable Ingredients  market research report gives a worldwide viewpoint of the market, which can bolster the end consumer in making right decision, eventually leading to the growth of the Global Fruit And Vegetable Ingredients  market. The report provides vital information such as the CAGR $ value for the forecast period.

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[longevitytechnologies-blog]

Chrome Site Isolation: A look at Same Origins, Spectre and Memory Overhead

Site Isolation is a new feature in Google Chrome for reducing Spectre attacks

Site Isolation is a major change to the architecture of Google’s Chrome browser. It limits each render process to documents from a single site, essentially isolating each tab from one another to prevent attacks like Spectre and Meltdown. Previously, as far back as Chrome 83 the feature had been optional, available only by changing a flag to enable the feature. Now, in Chrome 67, the feature is on by default. That means security against a couple of nasty vulnerabilities, but it also means that Chrome – which already gobbles up a computer’s resources while it runs – will now use 10-13% more RAM. So what does this all mean? What are the benefits and the costs? Let’s Hash it out.

Site Isolation Protects against Spectre and Meltdown attacks

Let’s start right from the top with Spectre (and Meltdown) attacks, what they are, and why they’re important to protect against. We wrote a full guide last year, but here’s the abridged version:

Spectre and Meltdown are two names for different variants of the same exploit. They take advantage of a vulnerability that affects pretty much every computer chip made for the past two decades. At the end of last year when the two attacks were disclosed, chipmakers around the world rushed to create patches. There are technically, three variants. Two are lumped together as Spectre, the other is Meltdown. These attacks take advantage of something called Speculative Execution in order to access parts of memory that would otherwise be protected, and then use timing attacks to discover the values that were stored there. Speculative Execution is a mechanism that helps a chip work faster. It’s easiest to illustrate this with an example. Say a program is about to offer a binary choice, yes/no, with each answer leading to a different process. Rather than wait on the user to decide, the chip will start computing both functions simultaneously so that it already has a head start, regardless of what the user selects. The data used during speculative execution is often saved in a CPU cache, which is like a little memory alcove that helps speed up fetching data from RAM. Now, to tie this all together, Spectre and Meltdown are attacks that take advantage of chips’ speculative execution feature, and use timing attacks to expose data that was loaded during that process and then dumped in the CPU cache.

Ok, so how do Spectre and Meltdown affect the browsers?

The problem that Google, and any other browser-maker faces is that Spectre and Meltdown can enable “untrustworthy code” to potentially read any memory in its process’s address space. As Google’s Charlie Reis puts it in a blog post: This is particularly relevant for web browsers, since browsers run potentially malicious JavaScript code from multiple websites, often in the same process. In theory, a website could use such an attack to steal information from other websites, violating the Same Origin Policy. All major browsers have already deployed some mitigations for Spectre, including reducing timer granularity and changing their JavaScript compilers to make the attacks less likely to succeed. However, we believe the most effective mitigation is offered by approaches like Site Isolation, which try to avoid having data worth stealing in the same process, even if a Spectre attack occurs. Got that? To simplify, Spectre attacks can be used, in theory, to steal information from other websites. The Same Origin Policy is a relatively sacrosanct concept in web application security, the idea being that “a web browser permits scripts contained in a first web page to access data in a second web page, but only if both web pages have the same origin.” Mozilla defines an Origin as: Two pages have the same origin if the protocol, port (if one is specified), and host are the same for both pages. The Same Origin Policy is a cornerstone of browser security. All browsers implement some form of it. Here’s what would happen without it, in the words of Microsoft’s Eric Lawrence: If content from one origin was able to read content loaded from another origin, one site could easily attack another site. For instance, an IFRAME from attacker.com could read the contents of another IFRAME from yourbank.com. And so forth. The number and scope of attacks against sensitive resources would only be limited by the attacker’s imagination. So, that’s why the browsers, Google Chrome included, are concerned with Spectre and Meltdown attacks.

What is Site Isolation?

Site Isolation is a little bit more than a new feature given the fact it required the Chromium engineers to alter the browser’s architecture. But it essentially isolates each tab and limits each renderer process to documents from a single site– a single origin. As Reis writes: When Site Isolation is enabled, each renderer process contains documents from at most one site. This means all navigations to cross-site documents cause a tab to switch processes. It also means all cross-site iframes are put into a different process than their parent frame, using “out-of-process iframes.” Splitting a single page across multiple processes is a major change to how Chrome works, and the Chrome Security team has been pursuing this for several years, independently of Spectre. The first uses of out-of-process iframes shipped last year to improve the Chrome extension security model.

Unfortunately, even with the Site Isolation feature working, there is still the potential for malfeasance. An attacker’s page could still access and leak information from cross-site URLs if it requests them as sub-resources. For example browsers typically allow pages to embed images and scripts from any site. So, a page could request an HTML or JSON URL with sensitive data as if it were an image or script. This causes an error on the page and it doesn’t render, but that data still ends up inside the renderer process where a Spectre attack could access it. So, Site Isolation also includes a feature called Cross-Origin Read Blocking (CORB) as part of its Fetch spec. This feature will block cross-site HTML, XML and JSON responses from from the renderer. Google suggests that web developers check that they are serving resources with the right MIME type and a nosniff response header.

Android users will have to wait for Site Isolation

Although, with the release of Chrome 67, Google has now rolled this change out to 99% of its desktop users, it’s Android users will have to wait until they upgrade to Chrome 68 later this month before they can activate an experimental version of it. Site Isolation can be enabled manually on Android using: chrome://flags/#enable-site-per-process. Google did not give a reason for the delay beyond, “there are additional known issues.” We have a guess though…

The downside of site isolation is the increased memory cost

There’s an additional cost associated with Site Isolation on Google Chrome. Because, by the very nature of Site Isolation, more processes are being run simultaneously, more memory is used up, too. 10-13% more memory overhead is used on real workloads.

Google kind of glosses over this in its blog post, and for many users running new machines with 4GB or more worth of RAM, it likely won’t be a major problem. But for anyone on an older desktop, this could cause a litany of issues. Google Chrome is already an expensive browser from a memory standpoint. And there’s nothing wrong with that, because it’s a trade-off for greater security. By all accounts Google Chrome is one of, if not the safest browser available to the maintsream public. And Site Isolation is more of the same, it makes users safer but gobbles up even more memory. This is purely conjecture, but I would guess that may be the hang up with the mobile version of the feature. Until Google can better optimize it to reduce the stress it puts on memory, many phones will be unable to support it and Chrome for Android will have too many problems.

Is Site Isolation worth it?

At the point Google makes a security setting the default, it’s typically done for good reason. The company may do some shady stuff with regard to its ad networks, but it’s security team has noble intentions and spends plenty of time researching and testing these kinds of upgrades before rolling them out. What I’m saying is it’s still OK to trust Google on security, and this feature protects against a couple of very serious attacks. So yes, I would say for the vast majority of users it’s going to be worth it to leave the feature alone. The one exception would be users on older machines that lack resources and computing power to allocate Chrome another 10-13%. In your case, I might want to test the feature out and if it’s not working out, you can save some memory by configuring it to only isolate certain sites: Use command line flags to start Chrome with –isolate-origins followed by a comma-separated list of origins to isolate.  For example: --isolate-origins=https://google.com,https://youtube.com You can also choose to toggle the setting off. via Site Isolation: A look at Same Origins, Spectre and Memory Overhead Read the full article

[trigafy]

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