#symmetry groups

[more-mathematics-mor-lam]

Finally understanding group actions and all it took was looking at this picture (from Michael Artin’s Algebra)

[johndunwin]

In this image, I aimed to explore the stark beauty of the post office, focusing on the shapes and contrasts present in the space. The geometric patterns of the mailboxes give a sense of order, while the dark surroundings evoke a feeling of introspection.

[rosaacicularis]

which was more culturally significant, the renaissance or hermitgang

[gorey]

have blissfully been thrown back into the grasp of group theory after somehow forgetting about it for a bit. the monster group is an actual angel and if there is an afterlife the first thing we'd want to do is smoke a joint with john conway

[caninecowboy]

i regret to inform yall i need to fucking drop out because chuck taylor has taken over too much space in my mind to focus on anything else

[subconsciousmysteries]

Reading my descriptions of 8, they sound a lot like how people describe 7… the stuff about being impulsive and seeking experience > deep thoughts and needing to get in touch with your inner curiosity. which makes me wonder if I’m a mistyped 7. But then I go back to the fundamentals of what 7 is — loss of Holy Plan, and all the 7s in my life who embody this as their core fixation by constantly living out 10000 half-baked plans — and I’m like… nah. I relate heaps to 7 as any 8 will (plus my fix is 6w7), but there are strong differences between me and 7 cores. Mainly… they are hyperactive and struggle to stop moving. I’m hypoactive and depressive, even though I have an active mind and I will be determined af when I make my mind up. The 7 cores go wide, and I go deep. They have 483838 games in their steam library and are constantly seeking to try new media. I obsess over the same six games and struggle to detach from my attachments to these same six games to try new games. The 7s are just faster and shallower than me. They resist 5, I disintegrate to 5 and I have a bunch of 5 stuff constantly occurring in my life, such as aforementioned minimalism and over attachment to the little I let myself have. With being so hypoactive I would sooner be a 9 core than a 7 core. But all 8s I’ve met even crazy jail going 8w7 murderer gang lord 8s have this slowness and heaviness to them which distinguishes them from 7s.

7 and 8 are supposed to be similar and difficult to distinguish. Even 7w6s and 8w9s. The same way that it’s impossible for someone who isn’t well versed in ennea and isnt one of these types themselves, to tell 4s / 5s and 1s / 2s apart, it should not be straightforward to tell 7s and 8s apart. 8 is not always obvious. 8 is not the obnoxious boss screaming in your face archetype. That’s Superego and Competency types (with the exception of 5). I stand by my conviction that 8 was ruined by all these obnoxious Te 1s and 3s and 5-fixed 8s who injected all their Te competency shit into 8. 8s can behave domineering and control our space (we often do without even realizing) but all this stuff about us knowing who we are and where we’re going in life is crock. 8s are almost equally as chaotic and lacking in foresight and true introspective ability as 7s are. including 8w9s. 8w9s have an illusion of stability and groundedness and normalness (7-8 liners truly have none), we often tap into the 9-ish ritualism behavior instead of constantly pushing forward with new endeavors and imposing ourselves onto the world like our double assertive siblings. We fall prey to addictions a lot. Anyways dig beneath the surface and you’ll quickly see the retarded impulsive behavior and lack of direction in life and all over the placeness in any 8w9. It’s almost always written off by dumbogram people and Te people who think they’re 8s as something else. Becuz they made 8 into a type that’s all about *marina voice* I know exactly what I want and who I wanna be… but this isn’t 8. It never was.

[savrenim]

no because how can maki catch a bullet point blank and then be slower than... a punch

I mean she. she's a sorcerer. clearly some of what she's got going on is Sorcerer Rules Don't Abide By Normal Physics.

this is. about as much a gotcha. as going "well what the FUCK is QUANTUM TUNNELING then a BOWLING BALL can't just DECIDE THAT IT CAN TELEPORT THROUGH A WALL, BOWLING BALLS DON'T TELEPORT THROUGH WALLS TAKE THAT" well in the case that the bowling ball is the size of a proton it. uh. can bc quantum rules apply instead of classical rules, and it's where they interact at the boundaries that you get weird cool shit and fun technology and realize just how bullshit our world actually is

she's got some Sorcerer Stuff going on, the Sorcerer Physics applies there, whatever's happening can't be perfectly modeled by a classical understanding of the world, it's not that much weirder to catch a bullet and not a punch than for bowling balls to randomly teleport through walls

[featureenvyproductions]

speaking of that last thing I reblogged

did you know I have a Spotify playlist for Eyan Eternal? There was a lot of stuff keeping me pumped while making it and I picked the things that most fit the Vibe of the comic imo. Most of it is metal but there are other things that are VERY NOT METAL so I like to pretend there's something for everyone

[jobkash]

PT/FT Sales Rep - Work From Home

We are actively hiring for Licensed Life Insurance Agents or those looking to become licensed in life insurance to expand our team. We are a Life Insurance Agency partnered with Symmetry Financial Group serving middle class families in the life insurance industry. Our agents help families in their regional area or whatever territory they choose working remotely with full control of their schedule…

[puffdenlilledragen]

ANYWAY if you want to feel you brain do a stretch i recommend looking into Molecular Symmetry and Group Theory (2nd edition), just the first chapters when it teaches you the flow chart to determine the symmetry group of a molecule. you don't need to know chemistry or maths but it is EXCELLENT training in spatial visualisation of simple 3D objects and it feels so GOOD in the brain!!!!

[feene17]

Which symmetry group to use (II)?

One of my students, Casey, had an excellent question: “Is there a way to know which pattern I’d want to use before actually starting the drawing?” In other words, which symmetry group to choose when you have something specific in mind. Continue reading Which symmetry group to use (II)?

[mightaswelljxmp]

hm ok so interestingly, bdubs’s courthouse is built on an odd number of blocks. note the roof of the facade coming to a point, but more importantly, the nine pillars….

you don’t use an odd number of pillars. like ever.

let me get this out of the way first: i get why you’d build with odd numbers in minecraft. i usually do it myself, to not run into problems like double doors or two-wide pointed roofs or frustrating spacing/symmetry between decorative elements. however. to not even out the design of something so unequivocally done in every other example of columns and pillars…. fascinating implications…

every other example guys. every other building with columns like this has an even number of them.

doing so sets the line of symmetry at an invisible point between two pillars, an even number on each side. but an odd total number of pillars makes the central pillar itself the line of symmetry. this does a couple things.

one, it upends the sense of community and equality. which i know sounds crazy, but really, a group of columns are all put there to hold up a structure. there’s no focus on one because they are all are working as supports.

symbolically, at least when first used in ancient greece, pillars represented people. and it makes sense for courthouses, especially, to want to show an even, fair, equal number of people on each side. no focus on any one, no inherent bias right off the bat just looking at it.

with an odd number of pillars, though, one will always be placed front and center.

and THEN. and then you walk in the courtroom itself (also odd-numbered blocks) and you are immediately opposite the judge, bdubs, located exactly centrally. and true, courtrooms are often set up like this anyway. but bdubs ups the ante and reaffirms that no, focus is on him by staging it all as a daytime court show, boom mic just over his head, cameras pointed in, spotlights on him.

literally by design, it was not built for justice. it’s built for show, for entertainment. and just look at the credits to know exactly what sort of message you’re supposed to be getting from this show.

the biblical story he used, with king solomon. it’s about king solomon. isn’t really about the trial itself, or the babies, or the women. it’s about showing (off) how wise and just he is. that’s the point. hm. interesting.

now, getting to the second point that etho also picked up on: it feels like a prison.

it’s not just the color palette. when your eyes naturally draw to the center point, you aren’t seeing an open space. instead of feeling like an arch or gateway or otherwise some kind of opening, the pillar there makes it feel closed off. the overall effect is that of prison bars. not pillars lining the entrance to a place of order or a temple. bars of a cage, a cell.

imagine the lincoln memorial were set up with 11 or 13 pillars. he’d look so much more trapped in there.

having a central pillar blocks the entrance. it’s not welcoming. you have to go around it; it’s immediately inconveniencing you. and when you go to leave, it’s there blocking you again.

this courthouse was not designed and built to be fair, nor accomodating, nor equitable, on any terms. even if unintentional, i wouldn’t call it so much coincidental as i would… subconscious.

after all, y’know. form follows function.

[jadagul]

This is an apt summary of the field of Universal Algebra. And neatly summarizes why people got really excited about it for, like, ten years, and then kinda gave up.

@etirabys

#the fucking face I made when I dipped a toe into groups and rings

Groups and rings, on the other hand, are doing something "real". (Even if a lot of pedagogy doesn't explain what.) Rings are things that work kind of like the integers, or like the set of polynomials. Those come up a lot.

Groups are collections of symmetries. And that sounds abstract but I am talking as much as anything about the sort of geometric symmetries we have third-graders play around with. Hermann Weyl's book Symmetry (free online at that link) is a really nice walkthrough of that perspective, starting with art and seeing how we can develop group theory from studying the symmetries of various architectural features.

algebra: what if there was a bunch of things and you could do stuff to them

me, interested: what kind of stuff?

algebra: who gives a shit

[lynxgriffin]

Eldritchrune - A Messy Fight

Story Setup Eldritchrune Masterpost

On their way to face Queen, Kris and the Fun Gang run into Tasque Manager, who demands impossible standards of order. Her criticisms might feel a little too familiar to Kris...but at least the rest of the Fun Gang have their back!

YAY, it's nice to finally get another comic all finished! This one obviously had to go on hold for awhile from my wrist injury. While I'm working on recovering, things are still going to be slow for awhile (probably the rest of the year), so it may be another wait before the next scene.

Alt text for these pages under the read more:

Page 1

Panel 1 - Kris, Ralsei, Susie and Noelle walk down a long, uniform stone hallway. Eyeless porcelain gargoyles shaped like big cats stand watch from atop pillars in the hallway. As they walk, Ralsei says, “We’re getting closer to Queen’s chambers. Stay on the alert, Kris!”

Panel 2 - Kris responds with a quick “I am.” As the Fun Gang continues down the hallway, one of the porcelain gargoyles turns its head to follow them.

Panel 3 - Im a medium shot, Lancer pops up from within Susie’s hair, and waves at Kris. He says, “Hey human person, is it hard to stay alert with all that hair in your eyes?” Susie grins, and sticks out her tongue in joking agreement. “Yeah, it’s gettin’ even messier.” Unbeknownst to the Fun Gang, in the background, one of the gargoyles starts to climb down the pillar.

Panel 4 - Closeup on Kris as they brush their long and messy hair out of their face. “I can see just fine,” they respond.

Panel 5 - Two of the gargoyles land on the ground, the panel’s focus on their clawed paws tapping against the stones.

Page 2 Panel 1 - Noelle turns her head, one ear perked up to listen to what’s behind them. She says, “Wait. I hear something…”

Panel 2 - Closeup on the clawed paws of the gargoyles as they charge forward.

Panel 3 - Closeup on Kris as they turn at the sound, reaching for their sword.

Panel 4 - Wide shot of the Fun Gang. They suddenly find themselves surrounded on all sides by four porcelain big cats, all snarling as they circle them. Susie glares back.

Panel 5 - Susie turns back to Lancer, still poking out of her hair. She says, “Uugh, more jerks! Better hide again.” Lancer responds with a disappointed “Aw man…” but does as he’s asked.

Panel 6 - “What are these things?” Kris asks, eyeing a gargoyle circling them, and keeping one hand on their sword hilt. “They’re tasques!” replies Ralsei.

Page 3

Panel 1 - Ralsei turns expectantly, looking ahead. “That means that their *manager* must be near…”

Panel 2 - Closeup on an armored boot as it steps into the middle of the hall. 

Panel 3 - The boot belongs to Tasque Manager. She appears as an armored knight with impeccably polished plate armor, decorated with sharp V-shaped emblems. She appears human in stature, except for her head, which is the bleached skull of a big cat, and with pointed ears. She wields a flail with seven spiked spheres on the end of a collection of cords. She holds up her hand, and says, “Halt, interlopers! I will not permit you to approach the Queen!”

Panel 4 - The Fun Gang remain surrounded by the gargoyles, but Kris still looks ready to fight. Susie sneers at Tasque Manager, and says, “Since when do we need *your* permission?” She responds, “I maintain *order* and *cleanliness* in this dwelling.”

Panel 5 - Straight on shot of Tasque Manager’s face, emphasizing her symmetry and sense of order. “Do you truly think you are worthy…of Queen’s presence in your disorderly state?”

Page 4

Panel 1 - Full shot of the Fun Gang just staring back. They all look pretty haggard, unkempt and gross in their own ways.

Panel 2 - Same shot as previous, although now Noelle tilts her head to the side. “Um…yes?” she offers quietly.

Ralsei helpfully gestures to Kris beside him. “Certainly! Kris even bathed just two weeks ago.”

Panel 3 - Tasque Manager is not having it, and yells back at the group: “LIES!! I can see the *filth* all over you, human! I can smell your STENCH!”

Panel 4 - She continues, “You’re unfit for these halls…you belong in the wastes that you reek of!” The insults are especially focused on Kris.

Panel 5 - Kris shuts their eyes, remembering something from their past…

Panel 6 - A series of flashback images, to when Kris was just a little kid, living as an orphan on the streets. They try to sneak around the back of a food stand in the market, looking for something to eat, when they’re spotted by an empire soldier in armor.

The soldier yanks them up roughly by the shirt and yells in their face: “What’re you doing around here, you filthy urchin?! This is a *nice* place!”

The soldier then throws Kris down into the gutter, splashing street water all over them. “Go stink up a gutter where you belong!” the soldier screams. 

Page 5

Panel 1 - Kris opens their eyes again, grimacing. This is clearly an unpleasant memory for them.

Panel 2 - They pull out their sword, and point it towards Tasque Manager. “Maybe my stench will give your dull and tasteless halls some character,” they say.

Panel 3 - Extreme close up on Tasque Manager’s unnaturally sharp teeth. “Human…”

Panel 4 - “I’ll flay your filthy skin from your bones!” she shrieks, and pulls the flail tight in front of her, ready to fight.

Panel 5 - Ralsei immediately teleports out of the range of battle with a burst of flame and smoke. Kris and the beasts eye the gargoyles as they begin to close in on them.

Panel 6 - “Susie! Noelle!” Kris begins the fight by giving them the ACT command. 

Panel 7 - Closeup on Noelle as she opens her mouth and uses her icy breath attack, aiming at one of the gargoyles.

Pavel 8 - However, the gargoyle runs just out of range of the incoming frost, and sprints towards Susie’s unprotected right side.

Page 6

Panel 1 - Closeup as the gargoyle leaps onto Susie and sinks its large teeth into her side, latching on like a lamprey eel. 

Panel 2 - Susie roars in pain and anger at the gargoyle, even as another one coming in from her left bites down into an empty space on her chest.

Panel 3 - Wide shot as the beasts struggle to shake off the gargoyles, but they’re too hard to reach. One more bites into Noelle’s flank, while the last circles, looking for another opening. In the foreground, Kris faces Tasque Manager in one on one combat.

Panel 4 - Kris, being less skilled at swordfighting, only manages to block incoming hits from the flail. All the while, Tasque Manager yells at them: “You humans are so *irrational! Unorderly!*” 

Panel 5 - Tasque Manager flings the flail at Kris’s face as she continues: “Wretched, chaotic creatures…it’s horrid how the gods and demons here desire your souls!”

Panel 6 - Kris remains face to face with Tasque Manager, the flail partially wrapped around their sword…way too close to their face. Still, they are curious about her statement. “Horrid? Never come across a human soul pure enough for you?” they ask.

Page 7

Panel 1 - Tasque Manager leans in to grab the flail, as Kris struggles to keep appropriate space between them. “Never. There is no such thing as a pure human soul,” she replies. 

Panel 2 - Noelle runs in a circle with the gargoyle still attached to her flank. Behind her, Susie lashes her tail angrily, trying to shake off the two biting into her own hide.

Panel 3 - In a fit of desperation, Susie finally rolls onto her side, trying to crush the gargoyle against the stone floor. A sound like breaking glass is heard.

Panel 4 - When she raises up again, the gargoyle is now in shattered porcelain pieces on the floor, although it did leave a nasty wound behind.

Panel 5 - Noelle turns her head, noticing the shattered remains. “Oh, Susie! They break like stone!”

Panel 6 - Susie also takes note of the shattered gargoyle, and gets an idea.

Panel 7 - Thinking fast, she goes and snaps her jaws around the gargoyle on Noelle’s flank, and tears it free.

Panel 8 - Still with one more gargoyle hanging from her neck, she swings her head around in a wide arc and tosses the gargoyle in her jaws at the far wall.

Page 8

Panel 1 - The gargoyle hits a pillar by the far wall, and shatters like porcelain.

Panel 2 - Tasque Manager is momentarily drawn away from Kris as she notices her shattered minions’ remains cluttering up the pristine floor. She shakes with rage. “You’re all making…”

Panel 3 - “SUCH A HORRIBLE MESS!” she screams, and rears back to attack Kris with her flail again.

Panels 4-5 - Kris is momentarily struck by another memory, and they wince in anticipation.

Panel 6 - In a flashback scene. Kris has somehow knocked over a cart full of fruits, and they lay scattered across the cobblestones, broken and smashed. An angry vendor stands nearby. 

Meanwhile, another empire soldier is already there, and grabs Kris by the hair. “LOOK AT THIS MESS YOU’VE MADE!” he screams, shaking Kris. 

Panel 7 - Tasque Manager charges forward, the flail coming in fast at Kris…

Panel 8 - And hits home, striking the, in the head, above their eye. Blood bursts from the head wound.

Page 9

Panel 1 - “KRIS!!” Closeup on Ralsei as he yells in alarm, his eyes wide.

Panel 2 - Kris staggers backward, shaking, and pressing their left hand to their temple.

Panel 3 - Closeup as Kris pulls their hand away, and finds it covered in blood.

Panel 4 -  Meanwhile, Susie rolls onto her chest again, crushing the gargoyle on her neck against the floor. It crunches into pieces like the others.

Panel 5 - In the background, Susie gets up and brushes the remaining shards off her neck. In the foreground, Noelle stomps the remaining gargoyle into pieces with her hooves.

Panel 6 - Kris turns and looks up at Tasque Manager. She raises her flail to strike once again. 

Panel 7 - Despite the fact that Kris is bleeding considerably from the head wound, they smile with realization, and charge in towards Tasque Manager. “The best part about human messes…”

Panel 8 - Tasque Manager takes a wide swing with her flail, but Kris swiftly ducks under it, and slides in close to her. 

Page 10

Panel 1 - Kris finishes, “Is that you can *always* make them worse!” Kris leaps up in front of Tasque Manager, and smears the blood on their hand across her polished breastplate. 

Panel 2 - Tasque Manager pulls back and shrieks in horror at the bloody stain on her armor, both arms raised.

Panel 3 - Kris pulls back, their head still bleeding, and points decisively at Tasque Manager. Noelle and Susie are standing ready behind them, and they give the [FIGHT] command.

Panel 4 - Tasque Manager tries in vain to wipe the blood off her armor, temporarily distracted…

Panel 5 - Which is enough time for Susie to come in from above and snap her jaws around Tasque Manager. She screams, and drops her flail.

Panel 6 - In a wider shot, Kris and Noelle look on as Noelle violently shakes her head with Tasque Manager in her jaws, like a dog shaking a chew toy. Pieces of her armor fly out as she’s tossed back and forth.

Page 11

Panel 1 - Finished with her attack, Susie spits out Tasque Manager, now a complete disassembled mess of armor and bone. Her pieces scatter across the stone floor.

Panel 2 - Noelle opens her mouth wide, and uses her frost breath again…

Panel 3 - …And her icy breath freezes the scattered pieces to the floor, leaving no chance of an easy reforming. Kris watches as the cat skull head skids free of the rest of the mess…

Panel 4 - And slides to a stop by their feet. Although broken up and frozen, Tasque Manager’s severed head can still speak, albeit weakly. “So disordered…scattered…filthy…”

Panel 5 - Low angle shot at the skull glares up at Kris with contempt. Kris has won, but she still has last insults to get in: “No wonder…you were discarded…”

Panel 6 - Kris closes their eyes again, another flashback coming back…

Panel 7 - Another series of flashback images to a younger, orphan Kris. They’re hiding in a pile of trash behind some boxes, shivering, terrified of encountering another soldier. Someone else can be seen approaching.

“Hey…” Kris looks up from their hiding position at the sound of a calmer voice. They see a hand being extended to them.

The hand belongs to a younger Asriel, reaching down to help them up. “Are you okay?” he asks.

Page 12 Panel 1 - Back in the present, Ralsei approaches Kris again, putting a reassuring hand on their shoulder. He smiles down at them. “Well done, Kris! We’re that much closer to Queen now.”

Panel 2 - Higher shot as the Fun Gang begins to regroup ans start back down the hall again. Susie leans back towards the frozen and broken Tasque Manager with a taunt: “Good luck cleaning *that* up, you stupid snob!”

Panel 3 - Lancer pops back out of Susie’s hair, one hand raised to his head to look around. “Did we win?” he asks.

“Obviously!” Susie replies with a grin.

Panel 4 - Lancer turns to Kris, who is walking at the head of the party. “Wow! I guess you really *can* see through that string bean hair!” Kris is still injured and messy, but doesn’t seem to mind. “Well enough.”

Panel 5 - A shot from behind the Fun Gang as they continue down the dark hall, heading towards the Queen. Behind them lies a giant mess of shattered porcelain, frozen armor pieces and broken bones. “You know…” Kris says, “I think I will let it grow wild and ugly for the foreseeable future.”

[abtrusion]

wait where are all the trans guys

Historical-anthropological research, especially the work taking place before the 21st century or outside the West, tends to focus entirely on transfeminized groups. So when reading these works it’s pretty natural to ask — wait, where are all the trans guys? This is a reasonable question with a few clear answers; this post is something quick I can point people to.

The central condition of transfeminized groups' absorption into feminist activism has been to accept a kind of symmetry with select TME groups through the understanding of trans femininity as "gender variance." Under this framework, transfeminized groups' social position can be understood as a consequence of gender variance and some abstract violation of cis norms; this was proposed by people like Susan Stryker and Emi Koyama [1], among others, and continues to structure trans inclusion today. It also fails when considering several basic aspects of these groups:

Transfeminized groups are associated with hyperspecific labor practices, most frequently sex work, but also hair styling, drag, makeup artistry, acting, and other forms of 'gender work.'

Metropolitan transfeminized groups appear in the archive as highly clustered and active groups connected with, but usually intensely split from, the masculine men they fucked.

Transfeminized groups become a kind of 'third gender' on an epistemic level; they are Known to wider society before and after “coming out” in a way that USAmerican transmasculinity has only recently vaguely approached.

Transfeminized groups are heavily clustered in labor practice, social organization, and epistemic position, although this is not universal -- certain strains of USAmerican transfemininity have become a bit more labor-agnostic in the last two decades, not-so-coincidentally alongside more general currents of gender-labor liberation. The messy strains of trans male identity recovered from the archive and from current practice tend to lack labor, social, and epistemic coherence. As Aaron Devor notes in FTM, his 1997 history of FTM men, trans men in the 20th century tended to transition out of cities and into the countryside, finding low-profile places they could exist in. These practices, and the earlier "female husband" practices described by Jen Manion, relied on the labor-agnostic nature of transitioned manhood in order to disappear from public life. Transfeminized groups, on the other hand, are categorically restricted from the main form of economic life historically available to women -- marriage. Their labor practices are heavily constrained and have almost always revolved around some form of 'gender work:' as Susan Stryker put it, you need to get people to pay you for being a trans woman. Transmasculinity pushes away feminized restrictions on labor; trans femininity is labor.

Because transfeminized identities are so often labor-identities, and because their specific brand of 'gender work' and hormonal/silicone/surgical embodiment usually requires both specialized training and community support, nearly every metropolitan center in the world developed highly centralized transfeminized groups over the course of the 20th century [2]. As Ochoa notes, this visibility is partially due to epistemic visibility (everyone knows what a trans is), partially due to group structure (people work and train each other), and partially due to the selectively visible demands of finding clients. Fledglings come in with a way of being that is always already visible to society, but changing the body to match and learning how to fully enact and slowly contest the third-gender labor-identity they've been given takes a lot of community support.

So as labor-identities, transfeminized groups tend to a level of labor/community/epistemic coherence that has no clear counterpart. The news archives we have of trans men (as seen in Manion) position them as singular and easily absorbed back into the female gestalt; the cisgender feminist/gayguy/AIDS researchers that form the bulk of historical-anthropological work saw them as unnecessary to their grand theories of gender; the communities themselves have been materially fractured and, for the groups that rise out of lesbian-feminist activism, only partially committed to their own existence. The result of all this is that there is no clear equivalent to the "transfeminized groups" of Jules-Gill Peterson; there is no symmetry to trannydom, and while additional work to unearth trans manhood in the archive remains extremely valuable, sometimes the necessary level of label-coherence and social existence just isn't there.

[1] Stryker, "My Words to Victor Frankenstein Above the Village of Chamounix: Performing Transgender Rage," Emi Koyama, "The Transfeminist Manifesto" [2] As seen in Namaste, Invisible Lives, Prieur, "Mema's House, Mexico City," Kulick, "Travesti," Newton, "Mother Camp," Ochoa, "Queen for a Day," Hegarty, "The Made-Up State," and plenty more. Most of these works came out in the late 80s and 90s due to a combination of the feminist "third gender" craze, the burgeoning field of masculinity studies, and AIDS.

[shorthaltsjester]

sorry not to always make everything about vex’ahlia de rolo (everything is always about her actually) but something that i have been gnawing on for the past 20 hours is nick’s beautiful narration of the dawnfather with a tear streaming off his face into the ocean and taking with it the part of ayden that hoped. and then centuries from that moment, another mortal spun up in his hubris threatens the balance and the protection of mortals that the dawnfather once cried over and a group of loving idiots walk into his realm looking for and to help and he looks upon a woman who once prayed to him under a tree to help protect the city of her beloved — to protect her city — and who jumped into a purifying flame uncertain if she was worthy of survival and when the people who love her argue for her worth, when she comes out the other side unharmed, he smiles and he says “there is hope.” what if i lost my mind. what if the symmetry of stories told by different people in different times with hundreds of interconnecting threads ruined my life actually.