#structure of distribution transformer

[zhejiangleihaoelectric]

[neptuneiris]

Cruel Summer (01/10)

Sunset's Bay

pairing: modern!aemond × fem!reader

summary: There are two sides to the city of Sunset's Bay, the rich who live in 'Crown's' and the poor who live in 'Black Waves'. What happens when a rich guy and a poor girl meet and inevitably fall in love? In the city where they live and with their status, that can't be possible.

words: 5.8k

series masterlist • next part

I wasn't sure about posting this but if you like the story I will continue with it, it all depends on how you receive it😬

in case you like it, I want to advance that the story will be a kind of forbidden love by the fact of rich and poor hehe and I have a lot prepared, basically everything is already written, I just need to structure it in a better way

this has only been an introduction to the world of Sunset's Bay, so I hope you enjoy it and the warnings will be added as I post the chapters if you like it🤗

so enjoy!

Sunset's Bay.

The hidden but mostly inhabited beach on the California Coast, with golden and white sands that slide into crystal clear waters of such a deep blue that it seems infinite.

According to Google, it is one of the most beautiful beaches in Northern California and where teenagers living in surrounding cities yearn to come every time a new summer begins.

Sunset and sunrise on these waters are beautiful, as they transform the horizon into a palette of vibrant colors, from warm shades of gold and pink to soft purple and the deep blue of night.

Every summer, the beach comes alive with exciting surfing tournaments, as well as Sunset's Pier, the midpoint of the beach where everyone mingles, transforms into charity events with live music, fireworks and lamp shows that illuminate the night with a mesmerizing light show.

Boat and yacht rides add a touch of sophistication to the coastal scene. This allows tourists to explore the waters beyond the beach, visit small islands up close and enjoy the serenity of the open sea.

But on top of all that, everything is meticulously maintained, most of it, like the clean, spacious beaches, adorned by palm trees swaying gently in the sea breeze.

And your favorite section, the volcanic stone cliffs that are distributed in specific locations on the beach, offering rocky walls as you sit on the seashore behind you and all around, emerging as natural guardians of the beach.

And from their heights, you can take in panoramic views of all the beauty of the landscape, encompassing the vast endless ocean and coastline to the endless horizon.

You always looked forward to coming here as a child when a new term at school ended and your mother was always willing to come and spend the vacations with your relatives, the Blackwoods.

They always welcomed you and your mother and together with your cousin Alysanne, you had an amazing summer.

Ever since you were little, you have always been tattooed with the memory of the sand on your feet, the salt air in your nostrils, the water enveloping you completely and the sun in full sunset caressing your whole face as you watched it on the horizon starting to descend on the shore of the beach with the cliffs behind you.

And now, that's all you know, a life in Sunset's and your frequent days at the beach.

Living with your aunt and uncle and Alysanne in a house big enough to also make room for you on the beach shore, this has been your home for exactly a year now.

And now summer has begun.

"Sam has sent a message."

You raise your gaze to Alysanne as you finish cleaning one of the tables.

"He says to meet him at the beach with the others in the evening. Do you want to go?"

You place a small smile on your lips.

"Sure."

"Table nine!"

You both turn your heads toward your boss, who looks at both of you as if he wants to kill you at any moment, and you quickly rush to serve the food, briefly wiping the sweat from your brow to keep working.

"Hurry up, Blackwood," Mr. Frey tells you reluctantly as you begin to pick up the orders on the tray.

You let out a long breath and glance at the clock briefly before going to serve, realizing that you will have to put up with this for four more hours and for the rest of the summer as well.

Unfortunately you and Alysanne have to work, as it has been for some months now at a seafood restaurant where the 'rich' people from this side of the city come to enjoy the delicious food.

And because of the summer, the work has increased. But that doesn't stop them both from having fun now that summer has begun.

So as soon as you and Alysanne finish your shift, you head home as soon as possible and start getting ready to meet your friends at the beach.

Previously going out and having fun was a problem for Alysanne's parents, your aunt and uncle were not the liberal type, but as soon as you both started working and helping them with the household expenses with what you could, they started to be more permissive and understanding.

And this is your home, the less ostentatious side of the city, but still genuine.

Once you join Sam and all the boys on the beach, you head for the small boat floating near the shore.

It is not a luxurious boat, much less can it be compared to a boat or yacht of the latest model, but it is a modest boat that has seen many summer seasons.

And it has taken them all to many spots on the beach and you have shared many anecdotes on it.

And as the boat glides through the calm waters, you and Alysanne enjoy the laughter and stories shared by the boys from the neighborhood, Sam, Daniel and Chase.

The three of them have been childhood friends of Alysanne's and when you came to live with her officially, she introduced you to them and now you all have formed a group of friends where you enjoy afternoons like these with Sam's boat and where you also go swimming and surfing all together.

The sea breeze caresses your faces and the sun slowly begins to descend as it paints the sky in warm golden tones, until the afternoon turns into night.

And on the beach, with a campfire in the center, the starry sky above and all together in a circle, you start burning marshmallows and drinking beer.

"And tell us..." speaks Daniel, watching you both curiously, "How about the slave life for the rich people?"

You and your cousin let out a small laugh.

"Slaves?" you repeat amused.

"Well yeah, come on, you said your boss... what's his name? Grey? Payne?"

"Frey," Alysanne corrects him.

"Yeah, that," he points to her, "He's a jerk or not?"

"And no concept of patience and prudence," you add.

"I imagine the ones who eat there are worse, no?" asks Chase.

Daniel snaps his fingers at him.

"Lannister?"

"Oh yeah, definitely. Jason Lannister has that vibe."

"I put him in the top one of the most hated, along with the Baratheons. And I have a feeling the Arryns do too, I don't know why," Daniel again looks at you both, "Right?"

"You work for them," Alysanne tells him amused, "Don't you know that?"

"Well, it's not like they can tell me much for cleaning their boats and yachts but... no–they're extremely nice, though..." he holds up his finger with a thoughtful expression, "Though I think there must be something wrong with them."

Alysanne lets out a snort.

"They're rich and live at Crown's, practically owning all the establishments on the beach just like the Lannisters, Baratheons, Tyrells and others leaving nothing for us, the poor ones, because they despise us," she says with an ironic but true tone "Of course there must be something wrong with them."

"One time one of them didn't leave me a tip," you say, remembering, "The Tyrell's."

Sam looks at you amused.

"Tips are not obligatory."

"Oh come on," you retort, with a touch of irony, "They're rich, they can have yachts and mansions, but can't they at least give me a five percent tip?"

"Yet it's not obligatory."

Everyone lets out a laugh.

"Yeah, it's not the nicest place to work and the customers aren't necessarily nice but the pay is good, after all," Alysanne says as she shrugs.

And that's true.

Even though it's not a good work environment, the necessity is what makes you not quit and endure as much as you can. Even though your aunt and uncle are taking care of you and taking responsibility for you, you know you can't continue that way forever.

You want to be independent, pay for your own things, especially you want to pay for college, but to do that, you have to work and now this is the job.

Besides it's useless to find work elsewhere when the owners are still the same; rich and arrogant. And you can't find work on your side of the city because the pay won't be much or maybe they won't even hire because they can't afford it.

But right now, being here enjoying the summer with your friends and your cousin, you allow yourself not to think about it and just continue to criticize the rich people.

And after many cans of beer, Chase picks up his guitar and you all together start singing in the most off-key and horrible way possible, laughing amongst everyone with the jokes filling the air, just like the heat of the flames and the aroma of roasting marshmallows.

"You had a party and didn't invite me!?"

Almost everyone together turns their heads unexpectedly toward the approaching outside voice laden with amusement and mild reproach.

And then they all see Cregan Stark with a huge grin and a bottle of beer in hand.

The guys soon start showing off at the mere sight of him, making jokes and greeting him with great enthusiasm, as Cregan greets them.

And you just watch Alysanne with a sly smile, amused by Cregan's sudden appearance, but of course, she quickly hides all traces of whatever her reaction is to seeing him, adjusting her expression to one of neutrality as she tries to appear disinterested.

But you know.

And you're amused at how she acts as if you don't know her.

Cregan Stark is the spoiled son of one of the wealthiest families in Sunset's, living in one of the most exclusive areas on the Crown's side.

His appearance reflects his status; brand name clothes, really expensive accessories, late model car and an attitude that denotes familiarity with luxury. However, despite his wealth, Cregan has proven to be different from other boys in his social environment.

Although he has access to all the luxuries, he does not carry with him the air of superiority and arrogance that many would expect from someone like him and that those of his class usually display.

In fact, Cregan became friends with Chase, who works for his family in the ports.

And it was Chase who introduced him to the group and although at first no one felt confident with him, Cregan instead of imposing his status, imposed a genuine and friendly demeanor that won the friendship of everyone in the circle.

Later everyone understood that he doesn't really enjoy being with people from the same environment as himself. The wealthy teenagers he usually hung out with, for the most part, were overly judgmental and arrogant.

So thanks to Chase, he found company with all of you, the guys from across the city who don't have a mansion and all the money in the world, but who are genuine and free of pretense.

Despite the looks people give Cregan for not understanding his choice of company, he deliberately ignores them. His parents don't say anything to him either, although he says they clearly prefer that he stop interact with you.

"I am deeply, intensely and extremely offended," he says expressing mock indignation, holding a hand to his chest, watching you incredulously but amused.

"Come on, man, don't get dramatic," Chase tells him giving him a friendly tap on the shoulder.

"Yeah, we're just getting warmed up," Sam encourages him.

"Besides..." says Daniel, in an exaggerated tone, "We can't send messages across the beach, us poor people have to use carrier pigeons like the olden days to get anything to you, but guess what... we're so poor we can't even afford pigeons."

Everyone lets out a laugh, enjoying Daniel's humor in implying the differences between the poor and the rich on the beach.

"Stop, seriously, why didn't you guys tell me you were doing this?" Cregan asks, taking a seat on the logs.

"I heard there's a party on your side of the beach and I figured you'd be heading over there," Chase tells him, "Which you did, didn't you?" he points to the beer in his hand.

He lets out a long breath.

"Yeah but it was pretty fucking boring."

"Boring?" you repeat incredulously, "A party with a DJ, champagne and yachts I highly doubt is boring."

"Well, not that it wasn't fun," he says looking around and observing everyone, "But I wanted this, to be with you guys, the atmosphere."

"And how did you know we were here?" asks Alysanne curious.

"I didn't exactly know," he smiles at her, "So I just decided to come and try my luck."

"Oh man, stop it or you'll make me cry," Daniel jokes, holding a hand to his heart.

"He loves us, doesn't he?" asks Sam, with a smirk.

"Yeah, he definitely loves us."

Everyone laughs and you watch discreetly as he and Alysanne start throwing their little looks at each other.

"Party with DJ and yachts? Man, if I were you, I'd be enjoying that," Sam confesses, shaking his head in a gesture of incomprehension.

"It's not big deal and people are hateful, believe me."

No one argues with him about that but you too sometimes wish you could have fun like that, have the experience of going to a beach party like the rich kids in the movies, just once.

But the time will come, someday, there are still many summers left to enjoy.

The conversation flows as the boys settle around the campfire, the warmth of the fire contrasting with the cool night breeze blowing in from the sea.

The atmosphere is filled with laughter and banter, and the relaxed beach setting becomes the perfect backdrop for a night of genuine camaraderie.

Cregan, with his carefree and genuine attitude, seems to fit right in with all fo you and that he values sincere company over superficial luxury.

And you don't know exactly how much more time passes or how many beers that Daniel brings back the theme of the rich party on the other side of the beach.

"Hey, Cregan," he says, leaning forward with a mischievous expression, "Since you're here, why don't you take us to that party? I'm sure it's not as bad as you say."

Cregan raises an eyebrow, amused but surprised.

"What?"

Something about Daniel's words clicks in everyone's head, even yours, so you quickly exchange glances with Alysanne. And Cregan notices how everyone starts to truly consider it.

"Do you guys really want to go to that party?"

"And why not?" asks Alysanne, with an grin, "I'm sure we can have fun, even if we're not part of the rich circle."

"Yeah, and besides..." adds Sam, with a persuasive tone, "It would be interesting to see what the other side of the city is like from the inside. We've never been to a party like this."

Cregan seems to think about it for a moment, looking at the boys with a mixture of doubt and amusement.

"Seriously you guys are telling me this? The rich haters?"

You shrug.

"The rich hate us too."

"And that's precisely why we want to go," Sam says, gesturing animatedly, "We want to try something different. And who knows, maybe we'll give you a good reason to have a little more fun at that party. Right, Chase?"

Everyone looks at Chase, who shrugs.

"I guess that wouldn't be bad."

"But you haven't thought this through," Cregan insists, "As soon as they see you all, they'll know you're not like them."

Everyone looks at themselves and well... he's right.

The rich, especially those who are the same age as you, have a radar to recognize someone who is just like them... or not.

But you don't blame them, since you have them too, the difference is that you don't make disgusted faces or criticize in whispers as soon as you notice.

You notice your two-piece bikini top is wrinkled and is clearly second hand, besides your worn-out sandals. Alysanne is also in the same condition as you and the boys... well, they're worse.

Sam's shirt is torn, Chase's is torn, and the clothes are visibly secondhand.

"We have better clothes at home," you tell Alysanne and she nods.

"And we take our shirts off and stay in shorts," Daniel says, in solution, "Are we at the beach or not?"

"And if something goes wrong, we can always run out and come back here," Alysanne suggests.

Everyone nods and basically watches Cregan with puppy dog eyes, hopeful that he will take you to his kind of people.

"What do you think, Cregan?"

Cregan is silent for a few seconds, his gaze sweeping over the group around him, analyzing and thinking about all the things that could go wrong. And he doesn't pass up the abandoned cat look that Daniel and Sam throw at him.

And finally, he lets out a laugh and a resigned sigh.

"All right, all right. I'll take you. But if we have a bad time, don't say I didn't warn you."

"That's what I like to hear!" exclaims Sam, raising his arms in victory.

"We won't regret it."

"We may not but the rich will."

"Thanks, Cregan," says Alysanne, patting him on the back.

You frown as you watch her gesture and also notice Cregan's confused look for a moment, but go back to watching the boys.

"Well, then let's go before I change my mind."

You put out the campfire, pick up the trash and with laughter they all very animatedly walk away from your spot on the beach, heading first towards the trash cans and then towards Cregan's car.

"You do know Cregan likes you, don't you?" you say to Alysanne, walking a little further away from the guys.

She gives you an incredulous look.

"What?"

"Oh come on and you like him too, don't deny it."

"Of course I don't."

"Of course you do."

"You're crazy."

"And you won't stand a chance if you keep treating him like just a dude."

"Oh yeah, yeah, whatever you say."

You let out a laugh, understanding that it will be difficult for her to accept and share it with you, so you give her time. The guys behind you laugh too, with the echo fading into the salty air, leaving the sea breeze and the sound of the waves behind.

The difference in locations is completely noticeable.

You leave behind the small wooden houses, the unkempt streets, the establishments where you and your friends can shop, the bicycles and old cars, to move to large neighborhoods with green grass, trees and bushes on every corner with huge luxurious houses, almost mansions with modern cars and expensive decorations.

The guys are excited and so are you, as you have never explored these sections of the beach before, which are completely exclusive and with access for the rich people.

Obviously there are entrances with booths and security guards, so Cregan's appearance alone proves he's a Stark and he's allowed in without objection.

And soon enough, you arrive at the party.

"Oh my goodness, look at this," exclaims Alysanne, wide-eyed as she takes in the scene.

"That's a Prestige F4?" asks Sam in surprise, eyeing the luxurious yacht in the distance.

"Seriously, how much money do these people have?" mutters Daniel, in shock.

"More than you'll ever have," Alysanne tells him with a smirk as you all walk onto the beach illuminated by the party lights.

"You don't know that," Chase replies to her, pretending to be offended, "Maybe someday I'll get rich and buy one of those," he points to the yachts.

"I'm very offended that you didn't invite us to your parties sooner," Daniel says to Cregan, putting a hand to his chest as if he were badly wounded, "How could you hide all this from us?"

"Don't draw too much attention to yourselves, guys," Cregan asks with a mixture of concern and amusement in his voice.

"We won't," says Sam, "We'll just enjoy ourselves apart from the others but inside, you get it?"

The music starts to get louder and soon enough, we are inside the party.

Blue and purple neon lights illuminate the white sand, creating a dazzling contrast against the night sky. Waves break gently on the shore, almost muted by the music vibrating through the air.

There is indeed a DJ from a raised platform and most of the people here dance in the center to the music, some with cocktails in hand, bottles of champagne or recording the moment on their phones.

Near the dock, several luxurious yachts are docked, all decorated with lights flashing to the rhythm of the music. There are people inside them, enjoying the party from right there.

Some people get off the yachts to join the party on the beach, while others stay on board, enjoying the view and the exclusivity it offers.

If not beer, there is a bar offering a variety of exotic drinks and gourmet appetizers, such as sushi, caviar and canapés.

And throughout the party, groups of people are spread out, chatting animatedly, laughing, toasting and dancing. There are also party games, such as beer pong and spin the bottle.

While others gather around improvised campfires farther away near the sea, where the atmosphere is more relaxed, watching the spectacle around them.

The air is permeated with the smell of sea salt mixed with expensive perfumes and the sound of laughter and music all along the beach.

It is a party that clearly reflects the wealth and status of their hosts, as well as the people present; pure spoiled kids with rich parents.

"Are we going to have fun or what!?" exclaims Sam excitedly, fully entering the party and everyone follows.

Chase convinces Cregan to be worrying since most of the people here are in their own world and he doubts drunkenly checking to see if they have the latest model Iphone or what.

And honestly you relax too as everyone here is having fun and you along with Alysanne look more presentable in nice bikinis.

They are second hand still but they are more cared for than the others you have.

Sam quickly orders drinks, surprised and excited to have gotten a bottle of champagne, then Cregan and the others take him and you and Alysanne to a more secluded spot.

You make a space for yourselves on the sand, a bit secluded from everyone, having the view of the huge luxurious houses, the cliffs in the distance and also the illuminated yachts on the dock behind you.

Pretty soon you have your beer and start enjoying yourselves just like everyone else, not worrying too much and just pretending you are one of them all.

Mingling with the rich at Sunset's pier is one thing, since the pier is the center of the entire beach and there are no prejudices there, but now pretending to be one is completely different.

You find yourself watching everyone around you when Alysanne nudges you slightly and points her gaze to a specific spot.

"Look at that."

You follow her gaze and see a group of girls.

"That bracelet is from Pandora, I saw it on Instagram."

From here you can see how their gold and silver necklaces and bracelets sparkle. Also the bikinis they have on are beautiful, certainly brand name. There is also a girl with a Guess bag and they all have the latest Iphone model in their hand.

And you turn to Alysanne with a shrug.

"Why are we judging when it should be the other way around?"

"We're not judging, we're just noticing the differences between girls like them and girls like us."

You both let out a laugh.

"You definitely want that Pandora bracelet, don't you?" you look at her amused.

"And you don't?"

The two of you continue to observe or rather admire all those rich girls who have fancy accessories when suddenly you hear a specific boast behind you.

You turn your head and see the dock, noticing how some impeccably dressed people are boarding one of the larger yachts docked near the shore.

And there they are.

You think as you make out those distinctive black, red and silver hair.

Of course they couldn't miss a party like this, the sons of the most influential families in the city, the Lannister's, Baratheon's and Targaryen's, practically the elite of Sunset's.

You've seen Cerelle, Tyshara and Loreon Lannister before on the Sunset's Pair, their red hair gives away who they are instantly. They always brag about their luxurious yachts, cars, jewelry stores and everything else they own.

Their father, Jason Lannister, has built an empire based on shipbuilding and port development.

From what you understand, his company designs and manufactures some of the most advanced and exclusive ships for the world's elite.

In addition to this, Lannister also owns a network of ports and shipyards on several coasts, allowing him to maintain a steady flow of wealth through port fees and contracts with global corporations.

This influence has given him a prominent place among the city's powerful and his family has inherited not only his fortune, but also his imposing and domineering character.

So it is no surprise that the Lannister's are typical spoiled children with clearly very wealthy parents, as are the others, especially the Baratheon's, Cassandra, Maris and Floris.

Known as much for their tanned skin and peculiar dark hair as for their arrogant attitude, they always seek to be the center of attention at any such social event.

Cassandra, the eldest, has a dominant bearing and never misses an opportunity to show off her status. She is also the best known of the daughters to go out every now and then with a boy from an important family either from the city or abroad.

Next, there is Maris, the quietest of the three and the most reserved, but still, as you have heard, just as spoiled and boastful as her older sister.

And finally, Floris, Cerelle's best friend and supposedly the most arrogant, capricious, shallow and boastful of the three.

She is the one who seems the sweetest at first glance, but her spoiled nature soon becomes evident when something doesn't go her way.

You also know that there are two other children, a daughter and a son, Ellyn and Royce, but apparently Ellyn prefers to stay at home and Royce does not live here.

Her father, Borros Baratheon, is a most important and influential shipping magnate and merchant in the region, known for his connections with outside businessmen.

He owns one of the largest commercial fleets operating along the entire Pacific coast. You don't know exactly what it's about but the guys have talked about how his company specializes in logistics and shipping goods across the ocean or something like that.

And finally, the sons of the most powerful family in the entire city and the entire country, the Targaryen's.

Viserys Targaryen is known as the most powerful man in the entire country and by extension his entire family as well. He owns one of the largest and most influential corporations in the region.

Your uncle Ben always had a kind of admiration for him, though your aunt always expressed her dislike of him, as well as the other families, for simply being other greedy money-rotters who drive up the costs of the city for all that they invest to elevate their status and leave you poor people increasingly difficult to make a living.

You honestly couldn't agree with her more, but the Targaryen's have been forging their main empire here in Sunset's for a very long time now and there is nothing that can really be done about it.

The Targaryen business empire focuses on multiple sectors, but they are best known for owning a very prestigious bank, where they serve wealthy elites and large corporations, as well as financing large scale projects, such as real estate developments, technology or even public infrastructure.

You understand that he has built and manages shopping malls, corporate skyscrapers and exclusive developments in major cities across the country, as well as high profile tourist destinations like Sunset's.

So basically all of them and him especially have total control over the financial resources of the region, as well as infrastructure and development in the most luxurious sectors.

Although Viserys and his wife Alicent are no longer seen as much at events this side of Crown's and on the pier, their influence still shapes everything that happens here.

"Hey."

Sam snaps you out of your thoughts when you feel him tap you on the shoulder and you turn your head towards him, confused and attentive.

"Hm?"

"What are you looking at?" he asks you amused, sitting down next to you and offering you a new bottle of beer.

"Oh, no, nothing, just..." you shake your head, taking the beer and not paying attention to the son's and daughter's of rich parents.

But Sam had followed your gaze before.

"I know, they're beautiful, aren't they?"

You immediately watch him intently.

"Who?"

"The yachts," he tells you as if it's obvious, "Imagine spending a whole weekend on one, just doing this..." he points to the beer and all the partying, "In the middle of the ocean."

You let out a small laugh.

"That's your biggest dream, isn't it?"

"And for the yacht to be mine, obviously," he says excitedly, turning his gaze back to the dock where they all are, "If I used to see them from afar and feel envious, now it's torture to have them so close."

You look to where he sees and he has a very good point. They could live perfectly well on one of those yachts and there would be no problem, which is also one of your dreams.

"Oh, come on Sam," you give him a friendly smack, looking at him again and you notice the gleam of longing in his eyes, "Surely your charm can make a girl from Crown's fall in love with you and let you enjoy the amazing yachts."

He looks at you incredulously.

"A Crown's girl with someone like me? Are you kidding?"

"It's not impossible," you shrug.

"Oh yeah, here at Sunset's everything is impossible if you don't live on this side of town."

And that's another good point and very true.

Daniel joins you and Sam's little group and you stop paying attention the moment you turn your gaze back towards the yachts and them specifically.

This time you focus on the Targaryen's, Helaena, Aegon and Aemond.

Surprisingly, despite being in the top tier of the wealthiest and most powerful family in the entire city and country, compared to the Lannister's, Baratheon's, Tyrell's, Arryn's, Stark's and Greyjoy's, they are not so smug, superficial and arrogant.

Although, come to think of it, the only exception is Aegon.

The eldest of the brothers, he is characteristic of his carefree and arrogant attitude. His life is summed up in parties, girls and excesses. Everyone knows him, he is the soul of the party and drives all the girls crazy.

For him, life is a game where he always wins. Sometimes he seems like the typical privileged son who has never had to strive for anything, but his power lies precisely in that.

Then there is Helaena, the only sister among the Targaryens who has a pleasant and gentle presence.

Although she is rich, the richest of them all and extremely beautiful, she doesn't abuse it, she doesn't show it off, she's not shallow or arrogant, besides she's always looking out for her siblings.

She is the kind of person who doesn't need to shout to be noticed and with just a quiet smile, she earns the respect and admiration of those around her.

You know a little about her as Chase has a little now not so secret crush on her and honestly you don't blame him, she is absolutely beautiful and even kind, which is rare due to her provenance.

And finally there's Aemond, who of all them, he's always been... different.

Where Aegon is shameless and carefree, Aemond is calculating and serious. Always impeccably dressed, with an expression that doesn't say much and keeps him at a safe distance from most.

From what you've heard, he's extremely intelligent, he's also reserved and quiet, the complete opposite of Aegon.

There is also a rumor about him about his left eye, something about an accident as a child and where he apparently wears a prosthetic.

You don't really know much about it or him but he's always been intriguing and mysterious, in a way.

You focus on him specifically, watching him from a distance, curious, as he takes a seat on the deck with an expression you can't read as it doesn't tell you much.

You watch as his short silver hair moves slightly in the wind and breeze, as well as he watches everything around him intently, to again focus on his siblings and Floris.

Floris is his girlfriend, apparently they have been dating for a few months now and have given a lot to talk about since no one expected Aemond to even date anyone.

But there they are.

You watch as Floris approaches him and takes a seat on his lap, looking radiant in a tight dress and a huge smile on her face, but he, on the other hand, remains expressionless.

Floris murmurs something in his ear, to which he responds with a slight smile, but averts his gaze to the horizon. However, she gently takes him by the jaw and leaves a soft kiss on his lips.

They begin to kiss and you look away, trying to refocus on the party and enjoying yourself here with your friends.

However, being here with all these wealthy people, especially the Targaryen's, you can't help but feel that divide about the rich and the poor at Sunset's.

You feel like you live in two different worlds, where they, the rich, live a life completely oblivious to the concerns of the people on the other side of town, in Crown's.

While you and the others work in the restaurants, clean their yachts, boats, houses and make sure their lives are comfortable.

They float above it all, the Targaryen's, Lannister's, Stark's, Baratheon's and so on, attending parties and making decisions that only benefit their own.

But you, the poor, the ones who live in Black Waters have nothing, you don't have the money, the influence or the power. Even the name of your side of town is a mockery to them, the rich, in despising even more the poor who don't have what they have.

But that's the life in Sunset's Bay.

[tigressaofkanjis]

My biggest pet peeve in Transformers media and fanfiction sometimes is that Transformers aren't treated as aliens. They are referred to as aliens, they obviously are aliens, but they never feel like they are aliens because they are always written or seen as having all human mannerisms or features usually. Human posture, human noses, human mannerisms, humanoids...

What about TFA's cat noses or TFP's helm noses? One of the reasons I think those two shows have peak designs is because they have this lack of uncanniness to humans design wise. I'm not looking at a human being as a robot, I'm looking at an alien robot, ones that have claws, ones that have different body types that blend with their vehicle modes, ones with horrific mutilations and designs impossible by human standards. I love seeing that type of stuff in Transformers because to me, it makes them feel alien without completely changing the premises of similarities to where we can't compare their culture or likeness to humans. The films (mostly 1 and 2) showed off this as well.

Another thing I really would like to see in Transformers media is non-human interactive qualities. What do I mean by that? One thing I've noticed is aside from techno-organic species, regular Cybertronians do have a few qualities found in animals. Engine humming I believe was once used as a form of purring in the films and in some of the cartoons. Humans can't purr; cats can, and that small detail is always interesting to come across because it's like "wow, they have this feature that shows off a trait found in Cybertronians. That is so cool." You have them with multiple voice boxes for mechanical, natural, and human-like tones which is also an animal trait. Bumblebee is self-explanatory in most universes being able to still make sounds yet not talk. They have sensors across their body that don't act like the basic human receptors. Most animals can do more than just feel through certain points of their bodies. They can taste, smell, or even hear a hundred times better than a human being throughout various body parts, and Transformers have been hinted to have this ability too, especially through their servos. It's stuff like this that expands upon their existence as aliens.

They have extreme durability, their body morphs to extremes and can also double as a moving weapon (most obvious of course), some of them can make ungodly roars and creature-like noises to warn or show their threatening demeanor (Megatron's dinosaur-like growling), some can have two rows of teeth (a flat base in front and fangs hidden behind), and some of them have mimicking animal-like features (Starscream's bird-shaped feet with visible expansion the same as organic foot padding with similar distributive weight physics in a few universes) despite having no beast mode. There's probably more I can't think of on the top of my head in canon, but all those things are not heavily used as they should be to make them feel alien. They can still hold some relation to the humans they interact with, but I think a lot of Transformers are more than just metal "humans", you know?

Depending on the universe in fanfiction and who you encounter who writes it or not, you have several things that are always cool to see. They have to sparkbond (merging of hearts) above everything else to create a sparkling's life force with interface as just the extra for physical coding features. I've seen people use the non-canon heat cycles which are, of course, our fandom way of making a type of breeding euphemism akin to an animal's cycle. You have the common phrasing of nuzzling, heightened senses, armor and certain parts of the helm acting like fur or ears where it raises and flattens per their mood, and some Transformers have limb dissonance where if necessary, they can convert between bipedal and quadrupedal stances (best example is Bulkhead and Lugnut from TFA who have long arms but short legs and they have the bulky structure where they could possibly run like an animal briefly and the physics of it would work).

So, you have all these different things a common Cybertron most likely would be able to do or have but a human couldn't, and it's never utilized to their full potential. I would like to see people address the nature of Cybertronians as alien and not be afraid to make them alien. I think that's the biggest flaw in our franchise is that everyone is scared of making the Transformers not the humanoid "norm" and getting ridiculed for it. Like, they're aliens, you can make them act however animal-like or completely batshit insane as you want them. You can give them powers, animal-based senses, and behaviors hidden among a human thought process. And technically, you wouldn't be wrong to what they could be as a living creature in the universe by doing so. They aren't humans; they look humanoid, but they aren't us. Why should they have to be in every regard?

Thank you for reading my TED Talk.

[delta-orionis]

Currently losing my mind a little bit trying to find an alternate name for the Recursive Transform Array/Abstract Convergence Manifold regions in Five Pebbles/Looks to the Moon respectively. I think both names mean roughly the same thing.

(Left: Coils in the Recursive Transform Array, Right: Coils in the Abstract Convergence Manifold)

(Theorizing under the cut)

Both regions contain sets of large transformers (or inductors, they both look like coils) arranged into different groups. I assume the function of this region is to receive power from an iterator's power source (how iterators get their power isn't exactly clear- but at least in Pebbles' case it probably comes from the Linear Systems Rail) and step up or down the voltage so it can be distributed to the different electronic components of an iterator's superstructure as needed.

Stepping up/down voltage is the function of a transformer, which is where I assume the "transform" part of "Recursive Transform Array" comes from. In Moon's case, "abstract" in "Abstract Convergence Manifold" is a synonym for "transform" or "change", one thing is being abstracted, or changed into something else.

"Recursive" means "repeating" (and "repeat" is a synonym of "iterate", funnily enough), so this part probably refers to the multiple similar transformers found in the Recursive Transform Array.

In terms of the Abstract Convergence Manifold, either "convergence" or "manifold" could correspond to the "multiple similar things" meaning. The objects in question are "converging", coming together, or being similar.

"Manifold" is a bit trickier, the general definition means "variety" or "many", but the word has other uses. In typography, it can refer to the process of making copies of a document (via a carbon copy), and in engineering it can refer to a component that distributes gas or liquid to different parts of a system. So in this case, I'm going to assume that "manifold" means "copies" and/or "distribution". This makes sense if the Abstract Convergence Manifold distributes power (or maybe even Void Fluid) to different parts of Moon's structure.

And finally, "array" in "Recursive Transform Array" means a group of things arranged in a pattern. This is also probably what "manifold" in "Abstract Convergence Manifold" means; a group of copies of things.

Based on this, both names basically mean "group of similar/repeating things that change". This might not just refer to the groups of transformer coils, but also to the big square structures that both Pebbles and Moon have in these regions:

(These rooms are very dark, I'm only showing Pebbles' here because it's better lit than Moon's.)

This thing looks like a big computer chip, maybe a Central Processing Unit (CPU). I theorize that this room is where the majority of an iterator's processing takes place; where the actual iteration (in terms of computing: repeating a process) happens. So the things that are repeating and changed could be the actual iterative processes (simulations, thoughts, calculations) are carried out, altered slightly, and repeated again.

(Side tangent: I've always wondered what Pebbles was referring to when he mentioned his "processing strata". It might be layers of processors located in his Recursive Transform Array, possibly in the same big room as the square thing. Personally I think the processing strata are the little blinking lights you can see in the background of this room, but I could be wrong. If anyone actually knows the answer please let me know.)

TL,DR: If you have an iterator OC and you want to give their internal regions names but you don't want to simply copy existing ones, I'm pretty sure the naming convention for the transformer arrays uses synonyms for (similar/repeating) (change) (group). For example, "Sequential Flux Assemblage", "Parallel Modification Cluster". These sound silly, but basically everything iterator-related is silly technobabble, so I think the moral is to have fun with it.

Thank you for reading, and let me know if you have any ideas. I enjoy talking to people about random Rain World theories.

[nostalgebraist]

information flow in transformers

In machine learning, the transformer architecture is a very commonly used type of neural network model. Many of the well-known neural nets introduced in the last few years use this architecture, including GPT-2, GPT-3, and GPT-4.

This post is about the way that computation is structured inside of a transformer.

Internally, these models pass information around in a constrained way that feels strange and limited at first glance.

Specifically, inside the "program" implemented by a transformer, each segment of "code" can only access a subset of the program's "state." If the program computes a value, and writes it into the state, that doesn't make value available to any block of code that might run after the write; instead, only some operations can access the value, while others are prohibited from seeing it.

This sounds vaguely like the kind of constraint that human programmers often put on themselves: "separation of concerns," "no global variables," "your function should only take the inputs it needs," that sort of thing.

However, the apparent analogy is misleading. The transformer constraints don't look much like anything that a human programmer would write, at least under normal circumstances. And the rationale behind them is very different from "modularity" or "separation of concerns."

(Domain experts know all about this already -- this is a pedagogical post for everyone else.)

1. setting the stage

For concreteness, let's think about a transformer that is a causal language model.

So, something like GPT-3, or the model that wrote text for @nostalgebraist-autoresponder.

Roughly speaking, this model's input is a sequence of words, like ["Fido", "is", "a", "dog"].

Since the model needs to know the order the words come in, we'll include an integer offset alongside each word, specifying the position of this element in the sequence. So, in full, our example input is

[ ("Fido", 0), ("is", 1), ("a", 2), ("dog", 3), ]

The model itself -- the neural network -- can be viewed as a single long function, which operates on a single element of the sequence. Its task is to output the next element.

Let's call the function f. If f does its job perfectly, then when applied to our example sequence, we will have

f("Fido", 0) = "is" f("is", 1) = "a" f("a", 2) = "dog"

(Note: I've omitted the index from the output type, since it's always obvious what the next index is. Also, in reality the output type is a probability distribution over words, not just a word; the goal is to put high probability on the next word. I'm ignoring this to simplify exposition.)

You may have noticed something: as written, this seems impossible!

Like, how is the function supposed to know that after ("a", 2), the next word is "dog"!? The word "a" could be followed by all sorts of things.

What makes "dog" likely, in this case, is the fact that we're talking about someone named "Fido."

That information isn't contained in ("a", 2). To do the right thing here, you need info from the whole sequence thus far -- from "Fido is a", as opposed to just "a".

How can f get this information, if its input is just a single word and an index?

This is possible because f isn't a pure function. The program has an internal state, which f can access and modify.

But f doesn't just have arbitrary read/write access to the state. Its access is constrained, in a very specific sort of way.

2. transformer-style programming

Let's get more specific about the program state.

The state consists of a series of distinct "memory regions" or "blocks," which have an order assigned to them.

Let's use the notation memory_i for these. The first block is memory_0, the second is memory_1, and so on.

In practice, a small transformer might have around 10 of these blocks, while a very large one might have 100 or more.

Each block contains a separate data-storage "cell" for each offset in the sequence.

For example, memory_0 contains a cell for position 0 ("Fido" in our example text), and a cell for position 1 ("is"), and so on. Meanwhile, memory_1 contains its own, distinct cells for each of these positions. And so does memory_2, etc.

So the overall layout looks like:

memory_0: [cell 0, cell 1, ...] memory_1: [cell 0, cell 1, ...] [...]

Our function f can interact with this program state. But it must do so in a way that conforms to a set of rules.

Here are the rules:

The function can only interact with the blocks by using a specific instruction.

This instruction is an "atomic write+read". It writes data to a block, then reads data from that block for f to use.

When the instruction writes data, it goes in the cell specified in the function offset argument. That is, the "i" in f(..., i).

When the instruction reads data, the data comes from all cells up to and including the offset argument.

The function must call the instruction exactly once for each block.

These calls must happen in order. For example, you can't do the call for memory_1 until you've done the one for memory_0.

Here's some pseudo-code, showing a generic computation of this kind:

f(x, i) { calculate some things using x and i; // next 2 lines are a single instruction write to memory_0 at position i; z0 = read from memory_0 at positions 0...i; calculate some things using x, i, and z0; // next 2 lines are a single instruction write to memory_1 at position i; z1 = read from memory_1 at positions 0...i; calculate some things using x, i, z0, and z1; [etc.] }

The rules impose a tradeoff between the amount of processing required to produce a value, and how early the value can be accessed within the function body.

Consider the moment when data is written to memory_0. This happens before anything is read (even from memory_0 itself).

So the data in memory_0 has been computed only on the basis of individual inputs like ("a," 2). It can't leverage any information about multiple words and how they relate to one another.

But just after the write to memory_0, there's a read from memory_0. This read pulls in data computed by f when it ran on all the earlier words in the sequence.

If we're processing ("a", 2) in our example, then this is the point where our code is first able to access facts like "the word 'Fido' appeared earlier in the text."

However, we still know less than we might prefer.

Recall that memory_0 gets written before anything gets read. The data living there only reflects what f knows before it can see all the other words, while it still only has access to the one word that appeared in its input.

The data we've just read does not contain a holistic, "fully processed" representation of the whole sequence so far ("Fido is a"). Instead, it contains:

a representation of ("Fido", 0) alone, computed in ignorance of the rest of the text

a representation of ("is", 1) alone, computed in ignorance of the rest of the text

a representation of ("a", 2) alone, computed in ignorance of the rest of the text

Now, once we get to memory_1, we will no longer face this problem. Stuff in memory_1 gets computed with the benefit of whatever was in memory_0. The step that computes it can "see all the words at once."

Nonetheless, the whole function is affected by a generalized version of the same quirk.

All else being equal, data stored in later blocks ought to be more useful. Suppose for instance that

memory_4 gets read/written 20% of the way through the function body, and

memory_16 gets read/written 80% of the way through the function body

Here, strictly more computation can be leveraged to produce the data in memory_16. Calculations which are simple enough to fit in the program, but too complex to fit in just 20% of the program, can be stored in memory_16 but not in memory_4.

All else being equal, then, we'd prefer to read from memory_16 rather than memory_4 if possible.

But in fact, we can only read from memory_16 once -- at a point 80% of the way through the code, when the read/write happens for that block.

The general picture looks like:

The early parts of the function can see and leverage what got computed earlier in the sequence -- by the same early parts of the function. This data is relatively "weak," since not much computation went into it. But, by the same token, we have plenty of time to further process it.

The late parts of the function can see and leverage what got computed earlier in the sequence -- by the same late parts of the function. This data is relatively "strong," since lots of computation went into it. But, by the same token, we don't have much time left to further process it.

3. why?

There are multiple ways you can "run" the program specified by f.

Here's one way, which is used when generating text, and which matches popular intuitions about how language models work:

First, we run f("Fido", 0) from start to end. The function returns "is." As a side effect, it populates cell 0 of every memory block.

Next, we run f("is", 1) from start to end. The function returns "a." As a side effect, it populates cell 1 of every memory block.

Etc.

If we're running the code like this, the constraints described earlier feel weird and pointlessly restrictive.

By the time we're running f("is", 1), we've already populated some data into every memory block, all the way up to memory_16 or whatever.

This data is already there, and contains lots of useful insights.

And yet, during the function call f("is", 1), we "forget about" this data -- only to progressively remember it again, block by block. The early parts of this call have only memory_0 to play with, and then memory_1, etc. Only at the end do we allow access to the juicy, extensively processed results that occupy the final blocks.

Why? Why not just let this call read memory_16 immediately, on the first line of code? The data is sitting there, ready to be used!

Why? Because the constraint enables a second way of running this program.

The second way is equivalent to the first, in the sense of producing the same outputs. But instead of processing one word at a time, it processes a whole sequence of words, in parallel.

Here's how it works:

In parallel, run f("Fido", 0) and f("is", 1) and f("a", 2), up until the first write+read instruction. You can do this because the functions are causally independent of one another, up to this point. We now have 3 copies of f, each at the same "line of code": the first write+read instruction.

Perform the write part of the instruction for all the copies, in parallel. This populates cells 0, 1 and 2 of memory_0.

Perform the read part of the instruction for all the copies, in parallel. Each copy of f receives some of the data just written to memory_0, covering offsets up to its own. For instance, f("is", 1) gets data from cells 0 and 1.

In parallel, continue running the 3 copies of f, covering the code between the first write+read instruction and the second.

Perform the second write. This populates cells 0, 1 and 2 of memory_1.

Perform the second read.

Repeat like this until done.

Observe that mode of operation only works if you have a complete input sequence ready before you run anything.

(You can't parallelize over later positions in the sequence if you don't know, yet, what words they contain.)

So, this won't work when the model is generating text, word by word.

But it will work if you have a bunch of texts, and you want to process those texts with the model, for the sake of updating the model so it does a better job of predicting them.

This is called "training," and it's how neural nets get made in the first place. In our programming analogy, it's how the code inside the function body gets written.

The fact that we can train in parallel over the sequence is a huge deal, and probably accounts for most (or even all) of the benefit that transformers have over earlier architectures like RNNs.

Accelerators like GPUs are really good at doing the kinds of calculations that happen inside neural nets, in parallel.

So if you can make your training process more parallel, you can effectively multiply the computing power available to it, for free. (I'm omitting many caveats here -- see this great post for details.)

Transformer training isn't maximally parallel. It's still sequential in one "dimension," namely the layers, which correspond to our write+read steps here. You can't parallelize those.

But it is, at least, parallel along some dimension, namely the sequence dimension.

The older RNN architecture, by contrast, was inherently sequential along both these dimensions. Training an RNN is, effectively, a nested for loop. But training a transformer is just a regular, single for loop.

4. tying it together

The "magical" thing about this setup is that both ways of running the model do the same thing. You are, literally, doing the same exact computation. The function can't tell whether it is being run one way or the other.

This is crucial, because we want the training process -- which uses the parallel mode -- to teach the model how to perform generation, which uses the sequential mode. Since both modes look the same from the model's perspective, this works.

This constraint -- that the code can run in parallel over the sequence, and that this must do the same thing as running it sequentially -- is the reason for everything else we noted above.

Earlier, we asked: why can't we allow later (in the sequence) invocations of f to read earlier data out of blocks like memory_16 immediately, on "the first line of code"?

And the answer is: because that would break parallelism. You'd have to run f("Fido", 0) all the way through before even starting to run f("is", 1).

By structuring the computation in this specific way, we provide the model with the benefits of recurrence -- writing things down at earlier positions, accessing them at later positions, and writing further things down which can be accessed even later -- while breaking the sequential dependencies that would ordinarily prevent a recurrent calculation from being executed in parallel.

In other words, we've found a way to create an iterative function that takes its own outputs as input -- and does so repeatedly, producing longer and longer outputs to be read off by its next invocation -- with the property that this iteration can be run in parallel.

We can run the first 10% of every iteration -- of f() and f(f()) and f(f(f())) and so on -- at the same time, before we know what will happen in the later stages of any iteration.

The call f(f()) uses all the information handed to it by f() -- eventually. But it cannot make any requests for information that would leave itself idling, waiting for f() to fully complete.

Whenever f(f()) needs a value computed by f(), it is always the value that f() -- running alongside f(f()), simultaneously -- has just written down, a mere moment ago.

No dead time, no idling, no waiting-for-the-other-guy-to-finish.

p.s.

The "memory blocks" here correspond to what are called "keys and values" in usual transformer lingo.

If you've heard the term "KV cache," it refers to the contents of the memory blocks during generation, when we're running in "sequential mode."

Usually, during generation, one keeps this state in memory and appends a new cell to each block whenever a new token is generated (and, as a result, the sequence gets longer by 1).

This is called "caching" to contrast it with the worse approach of throwing away the block contents after each generated token, and then re-generating them by running f on the whole sequence so far (not just the latest token). And then having to do that over and over, once per generated token.

[grits-galraisedinthesouth]

John Kettler: Chief of The unSUCCESSFULS Invisible Staff

John Kettler is out after only three (3) months on the job. No sympathy for anyone who partners with these two (2) bullies. You're either too lazy to read a book or maybe you like to help bullies.

"Joshua lives with his wife in Santa Barbara, CA and holds an MBA from Clemson University with an emphasis on Entrepreneurship and Innovation."¹

Richard Eden for Daily Mail: When the Duke of Sussex appointed Josh Kettler as his grandly titled chief of staff earlier this year, it was said that he was the perfect man to 'guide' Harry 'through his next phase'. However, the Daily Mail understands that Mr Kettler has suddenly quit his job after scarcely three months, amid much intrigue. Josh Kettler is no longer working for them,' a source in California told this newspaper today. The timing is a particular blow to Harry and his wife Meghan as Mr Kettler would have been expected to accompany them on their 'quasi-royal tour' of Colombia, which kicks off this week."

The total number the Sussexes have lost since they married in 2018 is said to be at least 18, with nine or more having left since they moved to California in 2020.

Mr Kettler was seen entering St Paul's Cathedral with the duke for the anniversary service, which was attended by figures including Harry's uncle, Earl Spencer, but no other members of the Royal Family.

Later that month, Mr Kettler was a key figure on the Duke and Duchess of Sussex's three-day 'tour' of Nigeria and was by Harry's side as he met government officials in the West African country. His role on the visit was said to be a foretaste of what he would achieve in the future.

Prince Harry and Meghan with Mr Kettler (circled) by their side. His role on the visit was said to be a foretaste of what he would achieve in the future.

¹Bio: "Joshua Kettler is an experienced executive accelerator, organizer, and confidant. Seasoned in guiding C-suite functions, critical cross-functional program management, high-level strategy development, and board of directors / investor relationship management. Focused on bringing unparalleled products and experiences to customers while working in lockstep with leaders, executing on their vision.

Joshua spent the better part of a decade with Patagonia, a leader in outdoor apparel, serving as a trusted resource and right hand to the Vice President of Global Sales and Customer Experience. He helped direct all revenue driving strategies and operations worldwide, spanning seven major markets and $1B+ in yearly revenue. His efforts included managing the organization's workflow, prioritization, and oversight of regional GMs, while providing input on critical decisions including distribution strategy, customer touch points, internal and external communication, organizational structure, and personnel matters.

In 2021, Joshua shifted is focus to start up ventures, becoming Chief of Staff to the CEO of Better Place Forests and most recently joining Cognixion as Chief of Staff and Head of Strategic Partnerships, helping to accelerate and support the transformative AR / BCI company.

Joshua is an avid trail runner and skier, and a steadfast supporter of conservation and the environment. Joshua lives with his wife in Santa Barbara, CA and holds an MBA from Clemson University with an emphasis on Entrepreneurship and Innovation."

[fanhackers]

Anne Kustritz’s Identity, Community, and Sexuality in Slash Fan Fiction

Anne Kustritz’s new book, Identity, Community, and Sexuality in Slash Fan Fiction: Pocket Publics has just been released by Routledge (2024).  You might know Kustritz, a scholar of fan cultures and transmedia storytelling, from her early essay “Slashing the Romance Narrative,” in the Journal of American Culture (2003) or maybe from some of her more recent work on transmedia and serial storytelling. But this new book is an exciting addition to the fan studies canon, and Fanhackers readers might be particularly interested, because the book “explores slash fan fiction communities during the pivotal years of the late 1990s and the early 2000s as the practice transitioned from print to digital circulation,”--which is the era that a lot of the fans involved in the creation of the OTW came from. As I noted in my book blurb, “​​While there has been an explosion of fan studies scholarship in the last two decades, we haven't had an ethnography of fan fiction communities since the early 1990s. Kustritz's Pocket Publics rectifies that, documenting the generation of slash fans who built much of fandom's infrastructure and many of its community spaces, both on and off the internet. This generation has had an outsized impact on contemporary fan cultures, and Kustritz shows how these fans created an alternative and subcultural public sphere: a world of their own.”

Kustritz doesn’t just analyze and contextualize fandom, she also describes her own experiences as a participant-observer, and these might resonate with a lot of fans (especially Fanhackers-reading fans!)  Early on in the book, Kustritz describes her how her own early interest in fandom blurred between the personal and the academic:

Because I began studying slash only a year after discovering fandom on-line, my interest has always been an intricate tangle of pleasure in the texts themselves, connection to brilliantly creative women, and fascination with intersections between fan activities and academic theory.  I may now disclaim my academic identity as an interdisciplinary scholar with concentrations in media anthropology and cultural studies and begin to pinpoint my fan identity as a bifictional multifandom media fan; however, I only gradually became aware of and personally invested in these categories as I grew into them.  This section defines the scope of the online observation period that preceded the active interview phase of this research.  In so doing it also examines the messy interconnections between my academic and fannish interests and identities. Trying to pick apart what portion of my choices derived from fannish pleasure and which from academic interest helps to identify the basic internal tensions and categories that slash fan fiction communities relied upon to define themselves, the pressures exerted upon these systems by the digital migration, and complications in academic translation of fannish social structures.

Later in the book, Kustritz discusses how fans have organized and advocated for themselves as a public; in particular, there’s a fascinating chapter about the ways in which fandom has adopted and transformed the figure of the pirate to forge new ways of thinking about copyright and authorship.  If the OTW was formed to argue that making fanworks is a legitimate activity, the figure of the pirate signifies a protest against the law and a refusal to be shamed by it: 

[F]ans also use the figure of the pirate to make arguments that validate some fan activities and consign others to illegitimacy.   At the urging of several friends involved with slash, I attended my first non-slash focused science fiction and fantasy convention in the summer of 2004.  The program schedule announced a Sunday morning panel discussion provocatively titled “Avast, Matey: The Ethics of Pirating Movies, Music, and Software” with the subheading “Computers today can distribute [more] intellectual property than ever before--not always legally. Is it ever okay to copy, download, and/or distribute media? Sorry, ladies, none of us will be dressed as Captain Jack Sparrow.”  The panel’s subheading, which obliquely warned away both lusty women and pirates, led a small contingent of slash fans to shake off Saturday night’s convention revelries unreasonably early and implement a plan of their own for Sunday’s panel.  As many fan conventions encourage costumes, known as “cosplay,” one of my friends and research participants happened to have been dressed as Captain Jack Sparrow of Pirates of the Caribbean that weekend, so I entered the piracy panel with Captain Jack and a motley crew of slashers, some of them intent upon commandeering the discussion.

The clash that followed exemplifies a structural fault line between various types of fan communities regarding their shared norms and beliefs about copyright law, the relationship between fans and producers, and appropriate fan behavior.

If you want to find out how this clash played out–well, you’ll just have to read the book. 😀

–Francesca Coppa, Fanhackers volunteer

[racefortheironthrone]

On the subject of UBI, I always ask about the MCU UBI: Tony is a billionaire who lives a life of luxury, Bruce has a serious chronic illness that requires expensive medical care, and Trevor just wants to sit round all day drinking and doing drugs. I take the UBI guys more seriously if they can say what each man gets from a UBI.

That's a somewhat odd choice of characters to think about how a UBI would function in the MCU.

So yes, Tony Stark would get a UBI. Relative to his private income, his UBI check would be totally inconsequential - and given the level of taxation needed to support a UBI, it's pretty much guaranteed that Tony would be paying far more in taxes than he would be getting back in UBI payments.

This is not an accident or a mistake or a flaw in the system; this is how a healthy social policy should function. When Social Security was established in 1936, FDR made a big deal of the fact that even John D. Rockefeller would get a Social Security check - because it hammered home the point that everyone contributes, and everyone benefits. Reciprocal solidarity would short-circuit the divisive politics of distribution and redistribution and cement a permanent majority coalition in support of a universal welfare state.

Bruce Banner would also get a UBI check. Now, his financial situation is a little unclear - originally, Banner was a top research scientist at Culver University with U.S military contracts, so he would probably have been in the top 10% of incomes (affluent but not wealthy). After his transformation into the Hulk, however, Bruce was a wanted fugitive with no way of earning income.

After that, Bruce was an Avenger - and this is where things get odd. As established in Falcon and the Winter Soldier, Avengers in the MCU don't get a salary: Tony gave them free housing and paid their Avengers-related expenses, but Sam Wilson notably relied on his veteran's pension and government contracts for his living (thus why his banker could justify turning him down for a small business loan rather than admitting to structural racial discrimination) and Steve Rogers even with his veteran's benefits, Social Security, and SHIELD salary couldn't afford a place in Brooklyn. This means that, while Bruce doesn't need to worry about money for his research and can save on rent, he does actually need the UBI for everything else.

This is very different from in the comics, where Avengers get quite decent salaries:

$4k a month in 1983 dollars works out to around $150k a year (on top of free housing at the Avengers Mansion), putting them solidly in the top 13% of U.S personal incomes.

As for Trevor Slattery, I feel like your description is unfairly characterizing a working actor. Slattery was not a major success in Hollywood - hence why he took Aldrich Killian up on his job offer and became part of a criminal conspiracy - and he does have some serious substance abuse issues, but what he does in his private life is his own business. Hell, even when he was abducted by the Ten Rings, he kept working as an actor. That being said, Trevor is going to have a hard time getting UBI, both because he's a wanted fugitive and convicted felon (which would end his eligibility in the U.S) and because he's now living in a rural village in another dimension.

[mostlysignssomeportents]

The Collective Intelligence Institute

History is written by the winners, which is why Luddite is a slur meaning “technophobe” and not a badge of honor meaning, “Person who goes beyond asking what technology does, to asking who it does it for and who it does it to.”

https://locusmag.com/2022/01/cory-doctorow-science-fiction-is-a-luddite-literature/

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/02/07/full-stack-luddites/#subsidiarity

Luddites weren’t anti-machine activists, they were pro-worker advocates, who believed that the spoils of automation shouldn’t automatically be allocated to the bosses who skimmed the profits from their labor and spent them on machines that put them out of a job. There is no empirical right answer about who should benefit from automation, only social contestation, which includes all the things that desperate people whose access to food, shelter and comfort are threatened might do, such as smashing looms and torching factories.

The question of who should benefit from automation is always urgent, and it’s also always up for grabs. Automation can deepen and reinforce unfair arrangements, or it can upend them. No one came off a mountain with two stone tablets reading “Thy machines shall condemn labor to the scrapheap of the history while capital amasses more wealth and power.” We get to choose.

Capital’s greatest weapon in this battle is inevitabilism, sometimes called “capitalist realism,” summed up with Frederic Jameson’s famous quote “It’s easier to imagine the end of the world than the end of capitalism” (often misattributed to Žižek). A simpler formulation can be found in the doctrine of Margaret Thatcher: “There Is No Alternative,” or even Dante’s “Abandon hope all ye who enter here.”

Hope — alternatives — lies in reviving our structural imagination, thinking through other ways of managing our collective future. Last May, Wired published a brilliant article that did just that, by Divya Siddarth, Danielle Allen and E. Glen Weyl:

https://www.wired.com/story/web3-blockchain-decentralization-governance/

That article, “The Web3 Decentralization Debate Is Focused on the Wrong Question,” set forth a taxonomy of decentralization, exploring ways that power could be distributed, checked, and shared. It went beyond blockchains and hyperspeculative, Ponzi-prone “mechanism design,” prompting me to subtitle my analysis “Not all who decentralize are bros”:

https://pluralistic.net/2022/05/12/crypto-means-cryptography/#p2p-rides-again

That article was just one installment in a long, ongoing project by the authors. Now, Siddarth has teamed up with Saffron Huang to launch the Collective Intelligence project, “an incubator for new governance models for transformative technology.”

https://cip.org/whitepaper

The Collective Intelligence Project’s research focus is “collective intelligence capabilities: decision-making technologies, processes, and institutions that expand a group’s capacity to construct and cooperate towards shared goals.” That is, asking more than how automation works, but who it should work for.

Collective Intelligence institutions include “markets…nation-state democracy…global governance institutions and transnational corporations, standards-setting organizations and judicial courts, the decision structures of universities, startups, and nonprofits.” All of these institutions let two or more people collaborate, which is to say, it lets us do superhuman things — things that transcend the limitations of the lone individual.

Our institutions are failing us. Confidence in democracy is in decline, and democratic states have failed to coordinate to solve urgent crises, like the climate emergency. Markets are also failing us, “flatten[ing] complex values in favor of over-optimizing for cost, profit, or share price.”

Neither traditional voting systems nor speculative markets are up to the task of steering our emerging, transformative technologies — neither machine learning, nor bioengineering, nor labor automation. Hence the mission of CIP: “Humans created our current CI systems to help achieve collective goals. We can remake them.”

The plan to do this is in two phases:

Value elicitation: “ways to develop scalable processes for surfacing and combining group beliefs, goals, values, and preferences.” Think of tools like Pol.is, which Taiwan uses to identify ideas that have the broadest consensus, not just the most active engagement.

Remake technology institutions: “technology development beyond the existing options of non-profit, VC-funded startup, or academic project.” Practically, that’s developing tools and models for “decentralized governance and metagovernance, internet standards-setting,” and consortia.

The founders pose this as a solution to “The Transformative Technology Trilemma” — that is, the supposed need to trade off between participation, progress and safety.

This trilemma usually yields one of three unsatisfactory outcomes:

Capitalist Acceleration: “Sacrificing safety for progress while maintaining basic participation.” Think of private-sector geoengineering, CRISPR experimentation, or deployment of machine learning tools. AKA “bro shit.”

Authoritarian Technocracy: “Sacrificing participation for progress while maintaining basic safety.” Think of the vulnerable world hypothesis weirdos who advocate for universal, total surveillance to prevent “runaway AI,” or, of course, the Chinese technocratic system.

Shared Stagnation: “Sacrificing progress for participation while maintaining basic safety.” A drive for local control above transnational coordination, unwarranted skepticism of useful technologies (AKA “What the Luddites are unfairly accused of”).

The Institute’s goal is to chart a fourth path, which seeks out the best parts of all three outcomes, while leaving behind their flaws. This includes deliberative democracy tools like sortition and assemblies, backed by transparent machine learning tools that help surface broadly held views from within a community, not just the views held by the loudest participants.

This dovetails into creating new tech development institutions to replace the default, venture-backed startup for “societally-consequential, infrastructural projects,” including public benefit companies, focused research organizations, perpetual purpose trusts, co-ops, etc.

It’s a view I find compelling, personally, enough so that I have joined the organization as a volunteer advisor.

This vision resembles the watershed groups in Ruthanna Emrys’s spectacular “Half-Built Garden,” which was one of the most inspiring novels I read last year (a far better source of stfnal inspo than the technocratic fantasies of the “Golden Age”):

https://pluralistic.net/2022/07/26/aislands/#dead-ringers

And it revives the long-dormant, utterly necessary spirit of the Luddites, which you can learn a lot more about in Brian Merchant’s forthcoming, magesterial “Blood In the Machine: The Origins of the Rebellion Against Big Tech”:

https://www.littlebrown.com/titles/brian-merchant/blood-in-the-machine/9780316487740/

This week (Feb 8–17), I’ll be in Australia, touring my book Chokepoint Capitalism with my co-author, Rebecca Giblin. We’ll be in Brisbane tomorrow (Feb 8), and then we’re doing a remote event for NZ on Feb 9. Next are Melbourne, Sydney and Canberra. I hope to see you!

[Image ID: An old Ace Double paperback. The cover illustration has been replaced with an 18th century illustration depicting a giant Ned Ludd leading an army of Luddites who have just torched a factory. The cover text reads: 'The Luddites. Smashing looms was their tactic, not their goal.']

[feybeasts]

ALL RIGHT some Thoughts I’ve had on the lore behind Revenants, like yon new taur lady:

As mentioned in the little blurb I included with the pic, Revenants are all formerly “regular” folk- in my universe that’s your bog standard two-legs-two-arms humanoid anthro. Because of the pretty dramatic transformation that comes with becoming one, as well as the… requirement… for one’s soul to be loosely tethered to one’s body, they’re drawn from volunteers who have been gravely wounded or are suffering from terminal diseases. Usually, this is something you’d sign up for when in better health and in good mind to pour the decision over- it’s not something you get to choose on a whim.

It’s best to think of a Revenant’s “body” like an artificial exoskeleton- they have bones, a titanium inner frame that their “flesh” latches to and grows around when they’re made, but they also have external plating that is structural- you could break a Revenant’s spine and they’d still be able to come at you just on the load-bearing capability of their exoskeleton alone. Lots of redundant features and stability is baked in- there’s a reason for this.

Other than the “bones”, exoskeleton, and “skin”, however, these are artificial but very much living creatures- they have muscle, fat, blood vessels, a nervous system- albeit ones utterly unrecognizable to a typical flesh-and-blood critter. They also have a “brain” that is distributed across their densest bodily structures for, again, structural redundancy. You really can’t kill a Revenant easily even out of armor, and when they’re in full battle rattle, well… yikes.

Speaking of battle rattle! The reason for these walking tanks having a redundant exoskeleton that is load bearing is they typically are expected to carry a lot- a lot, a lot. The exoskeleton itself is designed to attach to modular appliqué armor that provides even more protection, as well as load bearing equipment, whatever tools and supplies they and their handlers need on a job, and, of course, very BIG weaponry. It’s also why most are taurs, though this can vary depending on the individual. Quadrupeds tend to be sturdier generally, but having arms that can manipulate objects is important too, so, taur.

(I’m gonna add to this thread as I go about my day!)

[echoing-gravity]

Can Marinette Bench press a building?!

(Ladybugs, also known as lady beetles or ladybird beetles, are able to carry objects that are up to 1,000 times their own weight due to the unique structure of their exoskeletons. An exoskeleton is an external protective covering that provides support and protection to the insect's body. This covering is made up of a material called chitin, which is a strong and lightweight polymer. The exoskeleton also gives ladybugs their characteristic shiny, hard shells. Ladybugs use their powerful leg muscles to lift and carry heavy objects, such as large leaves or other insects. The unique structure of their exoskeleton allows them to distribute the load evenly across their body, making it possible for them to carry heavy objects without being weighed down. Additionally, their strong legs and other muscles are equipped to sustain this weight too)

But like with her legs???

I wanna see a MLB x DC fic where Marinette is working with young justice and like a building fucking falls on them but marinette just fucking kicks it away. Or picks it up. Itd be even more absurdly funny if she wasn't transformed and the super strength is like a kwami side effect.

WHAT IS MARINETTES WEIGHT? IS THERE A CANNON ANSWER??? DO I HAVE TO PULL A MATPAT AND DO PIXEL MEASUREMENT MATHAMATICAL BULLSHIT???? I WANNA KNOW IF SHE CAN LOFT A BUILDING OR NOT!!!

[kustas]

For the silver eve arc in wha , what did you envision or think it would be like in comparison to other anime arcs , episodes or anime movies & manga? Or in other words could u share more on what energy/pacing/direction/visuals you wanted to see? Hope this makes sense !

Hi anon! Thank you for asking! Earlier arcs in WHA were super short, only a few chapters long, around an arc or two per volume when the transition was mid volume. Honestly, I have mixed feelings about arc structures in the first place because of stories like early WHA - "arcs" only feel like distinct, strong parts for specific long and often shonen type series. It seems like with the evolution of the story and stakes in WHA it's transforming into this. Because arcs are convenient I'll keep using them to answer though!

Purely in matters of what I like, raising the stakes is a problem. It's entirely subjective but I personally care less and less about stories the higher the stakes are. I like narratives centered around a small group of individuals and if it involves worldbuilding I like the worldbuilding to be expressed through everyday interactions. This is something early WHA excelled at and who continues to be a strong point in the series. The author has crafted a believable, engaging fantasy world who's intricacies are shown through personal problems first, before reattaching them to societal problems second. Instead of showing you it's witch society through grand info dumps of historical moments, you learn about it alongsides a little girl who's fascinated by the world the same way the reader can be.

What I thought the Silver Eve would be was a step back from the currently established factions (the atelier, the knights, iguin's brimmed caps) to consider the greater picture of how witches interact with outsiders. The arc was introduced by Tartah's proposal for a stand and the arrival of the Three Wise at the King's castle. I was expecting those two POVs to cover the duration of the festival: on one side, the atelier girls selling their wares and on the other the politicians organizing it all. Both were to answer the question raised with the phantasmal flame chapter: how do you regulate how to use magic? Outsiders want magic which and it is up to the witches, who's faction chose to control it exclusively, to decide how to distribute it. And from this stems the questions of corruption (Engendil), control (king vs Wise), poverty (Custas), yadda yadda.

This hyped me up a lot because it's an amazing opportunity for more worldbuilding including a major city we hadn't seen yet, politicians we hadn't seen yet and their POVs and outsiders! Asides of the first chapter with Coco, Custas&Dagda were pretty much the only outsider characters and their life conditions were pretty extreme. This arc promised to me to show way more "normal" magicless people and their associated takes on the witches. Think the chapter where Oru and Hiehart go to work and help both the nobleman and the poor kid. It also immediately started with teasing the king had other bigger plans, as well as introducing a potential new faction or brimhats with Ininia and her master. This was around chapter 40-45.

A few chapters later none of this was resolved at all. We still don't know what the king wants, or Restys. The subplot with Custas is without a resolution. To this kept being added more backstory material fleshing out more characters (don't like that either but it's a whole other can of worms) which usually prepares you for their big time of relevance but uh. That did not happen. Instead we have: the leech.

That leech was, imo, entirely unnecessary. It dropped at a moment where the stakes were already at an all time high with all old and new factions involved in a single event, at the same time, something the story had thus far entirely avoided with smaller more separate arcs. And it ballooned all stakes to city ending mass massacre stuff without resolving any of the established issues. I...don't thing WHA needs giant monsters. It's a story about a little girl learning things in a society she's uniquely placed to see the unfairness of. I like how human it is and I don't think kaiju battling will contribute to that. The human scale is literally and figuratively gone with something like that.

Pacing wise, I'd have liked for all those little individual groups of characters to continue being individual and indirectly influence each other via their role in society. I'd have wanted for subplots to be closed off one by one or allowed to bait for next story beats like was done before. I'd have kept the blood eating monster a small one off incident way further that'd have to be solved by a crew of characters. While not all subplots need final closure the earlier arcs did a great job of addressing a situation and moving on from it in 3-10 chapters. The silver eve isn't over and it's length is approaching to be longer than the rest of the arcs combined.

Visually, while the outfit and world designs continue to go hard, I dislike how the character art has simplified away from a semi realistic take to smoother, more ... "moe" characters. It's more conventional and I don't like it. I like my characters to look distinct and this includes the little everyday traits that are dismissed by many authors for not being conventionally attractive. While WHA makes a visible effort to be inclusive it's the unfortunate reality that while the author can draw old people, fat people, people with all skin tones and all sorts of scars and stubble she...does not. I want to see it more. I would have liked to see it from day 1 actually, instead of having extras like the adult woman helping the leech victims sporting those one off designs, I'd have wanted Qifrey or Olruggio to have her look. It's too late for this and I hope it gets slowly changed with how the series continues and grows.

I don't really read a lot of long manga and nearly don't watch anime so I can't compare much to other media, I hope otherwise I've answered your question and don't hesitate to ask me again if I haven't or if you want further details!

[ultimate-worldbuilding]

[🔗Building a Diverse Culture] [🔗Elements of culture] [🔗Cultural Iceberg]

🗺️Geographic Distribution

Why knowing where your culture is important:

Enviroment ➡️ Materials from the enviroment ➡️ affect their clothes, food, weapons etc.

Enviroment ➡️ Certain resources are limited ➡️ plays into their values

Areas, planets where the culture is primarily found

Migration patterns throughout the world

Influence of the environment on their everyday lives

🍵 Values, Beliefs and Traditions

Values and Beliefs:

Core values and principles that guide the culture's behavior and decision-making

Moral and ethical codes that shape their interactions with other cultures and their environment.

Beliefs about the universe, spirituality, the afterlife, and the nature of existence.

Customs and Traditions:

Rituals, ceremonies, and traditions that are significant to the culture's culture

Celebrations, Festivals, holidays, or coming-of-age rituals.

Customs related to birth, marriage, death

Belief Systems and Religion:

Religious or spiritual beliefs practiced by the culture

Deities mythologies and legends

Rituals, ceremonies connected to their faith

sacred sites

👯Relationship and Communication

Social Structures:

Hierarchies and social classes within the culture

Systems of governance, including monarchies, democracies, councils, or communal decision-making. [see government template]

Gender roles, family structures

Interactions between different generations or age groups

Language and Communication:

Unique language(s) spoken by the culture

Dialects and variations within the language

Non-verbal communication, gestures

Written scripts, alphabets, or symbolic systems used for recording and transmitting knowledge.

Relationships and Interactions:

Protocols and etiquette for social interactions, greetings, and forms of address.

Values placed on community, cooperation, or individualism.

Attitudes towards outsiders, including hospitality, suspicion, or xenophobia.

Education, training, and knowledge transmission practices

🪐History and Origins

Mythology or creation stories related to the culture

Historical events that shaped their culture and identity

Moments of triumph, struggle, or transformation in their history.

Conflicts, wars, or alliances that influenced their development and interactions with other Cultures.

How do they prerve the past? (Art, oral traditions, written texts, artifacts, monuments ?)

Are there any guardians of historical knowledge? (historians, scholars?)

Historical Figures and Heroes:

Notable individuals who played pivotal roles in their history

Legendary figures of inspiration within their culture.

Stories and folklore surrounding these historical figures and their impact on the culture

Cultural Revivals (If there was any)

Periods of cultural revivalthat brought about significant artistic or intellectual growth

Factors that sparked these revivals, like social movements, political changes, natural disasters or technological advancements.

How much of these revivals are still affecting them today?

Where do they keep their cultural items?

Interactions with Other Ethnicities/Cultures:

Relations with other culture in the past (conflict, alliances, trade, etc.)

Cultural exchange, assimilation, or integration with other groups

Prejudices, stereotypes, or tensions between different culture bleeding from past events

Are they welcoming?

🎨Art and Architecture

Arts and Entertainment:

Describe their forms of artistic expressions: visual arts, music, dance, storytelling, theater, etc.

Cultural appreciation for literature, poetry, oral histories.

Clothing and Fashion:

Traditional clothing styles and attires specific to the culture, fashion trends

Materials, colors, or patterns commonly used in their garments

Dresscode, Clothing related to social status, ceremonies, events (symbolic accesories, wedding gown, mourning attires, etc.)

Symbolism or cultural significance of specific garments and accessories

Architecture and Built Environment:

Unique architectural styles, construction materials, design principles.

Landmarks, sacred sites, structures of cultural importance.

Adaptations to their homeworld's environment ,technological advancements in their architecture

🎙️ Economics and Technology

Economic Systems:

Modes of production, distribution, and trade

Economic practices (bartering, currency, communal sharing)

Attitudes (or even predujices) towards wealth, resources, material possessions.

Economic activities and industries prominent

Currency, barter systems

Technology and Advancements:

Technological prowess specific advancements

How their technology shapes their way of life and cultural practices

Interaction between traditional and advanced technologies

🍱 Food

Traditional dishes, cooking techniques, culinary customs

Staple foods, spices, ingredients

Rituals and etiquette associated with food preparation, sharing, and dining

Sacred abd holiday dishes.

Impact of environmental conditions on their culinary practices

🏦 Law and Leadership

Political systems or governing structures within the culture

Leadership roles, decision-making processes, and power dynamics

Forms of governance (monarchy, democracy, tribal council, etc.)

Conflict Resolution and Justice:

Methods of conflict resolution

legal systems

Cultural attitudes towards justice, punishment, and rehabilitation.

Traditional systems of governance, decision-making in matters of conflict

[kaywavy]

transforming soffits reorganizing keys formalizing immersion joints justifying kick extractors advising aggregates managing elbows recasting connectors achieving aluminum trowels officiating disks exhibiting absolute spigots progressing coil hydrants jerry-building reflectors informing casters inventing rubber hoists performing wrenches judging chalk adapters upgrading ignition paths

regrowing flashing recommending ratchets approving barriers sweeping impact fillers sewing mirrors detailing collectors enforcing measures distributing systems presenting plugs interwinding registers piloting ash diffusers gathering cranks supplying eave pockets undertaking scroll stops accelerating straps designing fittings protecting diamond boilers logging downspouts correlating shingles uniting mallets qualifying electrostatic lifts sharing clamps obtaining circular fluids ranking foundation gauges sensing miter brackets originating space networks translating drills regulating guards selecting gable padding utilizing pellet dowels reconciling artifacts altering pulleys shedding space filters determining vents representing mortar remaking flash rakers supporting funnels typecasting rotary chocks expressing junctures resetting auxiliary vises professing strip treads inlaying matter trowels questioning drivers forming edge fittings sketching blanks overshooting spark breakers rewriting controls playing tunnels inventorying buttons enduring joint handles effecting ratchet bibbs unwinding couplings forsaking vapor conduits defining sockets calculating heaters raising grids administering tiles measuring resources installing ignition remotes extracting corners manufacturing ventilators delegating consoles treating mounting stones enacting jig deflectors intensifying alleys improvising cargo pinpointing bobs prescribing arc masonry structuring metal chucks symbolizing lathes activating plumb kits adapting coatings fixing channels expediting cordage planning compressors enlisting hangers restructuring keyhole augers shearing ridge hardware collecting reciprocating bolts maintaining corrugated dimmers whetting hole collars conducting mandrels comparing assets compiling sealants completing paths composing equivocation wheels computing dampers conceiving electrostatic treatment ordering cotter grates organizing ties orienting ladders exceeding materials targeting thermocouples demonstrating emery stock expanding latch bases training wardrobe adhesives overcomming[sic] fasteners streamlining storm anchors navigating springs perfecting turnbuckles verifying gate pegs arbitrating arithmetic lifts negotiating outlets normalizing strips building surface foggers checking key torches knitting grinders mowing planers offsetting stencils acquiring bulbs adopting rivets observing avenues ascertaining coaxial grommets slinging wing winches instituting circuit generators instructing wicks integrating pry shutters interpreting immersion lumber clarifying coils classifying wood bits closing cogs cataloging matter strips charting holders conceptualizing push terminals stimulating supports overthrowing shaft spacers quick-freezing connectors unbinding ground hooks analyzing eyes anticipating gateways controlling proposition rollers converting power angles coordinating staples correcting benders counseling joist gaskets recording gutter pipes recruiting drains rehabilitating rafter tubes reinforcing washers reporting guard valves naming freize sprues nominating rings noting straps doubling nailers drafting circuit hoses dramatizing flanges splitting framing compounds refitting stems interweaving patch unions placing sillcocks sorting slot threads securing mode cutters diverting catharsis plates procuring load thresholds transferring syllogism twine directing switch nuts referring time spools diagnosing knobs discovering locks dispensing hinges displaying hasps resending arc binders retreading grooves retrofitting aesthetics portals seeking stocks shrinking wormholes assembling blocks assessing divers attaining lug boxes auditing nescience passages conserving strikes constructing braces contracting saw catches serving installation irons recognizing fluxes consolidating fuse calipers mapping shims reviewing chop groovers scheduling lag drives simplifying hoists engineering levels enhancing tack hollows establishing finishing blocks