#bounded continuous linear operators
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Do you accept asks? It's okay you can just delete this if you don't. So I've been detaching from ego and at times I feel at peace, then the ego is triggered and I'm back to being anxious. I think I'm expecting this "special" experience to happen like this euphoric feeling, cause I know that I'm not the ego, or whatever it thinks or feels, but I guess I'm expecting the thoughts and feelings to stop completely. And they're still here. Which makes me feel like I'm not detaching correctly lol. Do you mind sharing how you were able to let go of your ego for good? Thanks!
See, I think that many of us will continue to make use of a body, concepts and live in a world of perception, so really, ego will still be there in some shape or form. What you really need to realize is that you are not it.
To understand ego is to understand time. Through life when we operate as a body, we learn concepts, we learn rules, we learn structures, and that's how ego gets shaped. It is used to navigate life. You know that if a car is driving at high speed, you should not cross the street, that's ego. You have learned social qeues so that you can interact with others, that's ego. "If ___ happens I should do ___". It's a literal program. Now, all ego knows is illusory, because it's the past, it no longer exists. You see life through the past, you aren't really in the now, so really what does ego know? How can ego be helpful in the now if it only operates based on something that does not exist?
Say you were betrayed by a friend. What does the ego do? It feels like its sense of identity has been menaced, so it has to defend itself. It internalizes this experience, it keeps the memory and uses it as its favorite accesory. Friends are fake, you're unlucky and everyone betrays you, you need to keep your defenses up. Not only are you giving yourself this identity, but also your friend, perpetuating the whole story thinking that keeping such memory alive in the now, will bring you a different future and keep you safe in the present.
You wouldn't dare forgive your friend. They deserve your cold stare and hatred. What if you thought about forgiving them? Forgiveness not in the conventional way, but in a new meaning. Forgiveness being an act of correction. What forgiveness really is, is the realization that the betrayal was illusory, it was never real, your friend is innocent. Your ego would feel so frightened by the sole idea, it will feel so vulnerable and unprotected. But you can't really stop identification with your own identity, while also keeping alive the menacing stories you have of seeming others. They're not separate from you and how you see them, directly affects you.
As long as you keep alive your labels of this world, its people, the body, you will still continue to need that ego that created this world. It will keep you bound.
The reason why I think mentioning other people is important, is because seeming others is one of the reasons ego exists. Ego sees others as an enemy. You can let them close, but not too much. As long as you keep stories of others, it will have an effect on you. You can't get rid of your own stories and keep others' alive. Because imagine again your betrayer friend, say you think you successfully "let go of your ego" and the friend comes into frame again, you still hold their story, what will happen? What you mentioned in your ask, ego gets triggered, and what does it bring back?? Correct, your identity of being an unlucky person who has fake friends.
This applies for everything you have learned about this world, society, science, objects, history, all of it. None of it is the now. Continuing to see life through those lenses, is to keep the past alive.
So, to conclude ego=past learnings. If you realize all is now, ego becomes useless. If you trust and surrender to your true nature, you can learn to live as God/imagination/consciousness, and cease the contract with the ego.
It's not linear. Personally I'm not a huge fan of trying to rush things, I enjoy patience. Which brings me to my favorite ACIM quote "infinite patience, brings immediate results".
Also, something fun that not everyone on here might be a fan of, challenge yourself to do things you don't usually do because it's soo "out of character". Say you ask for dark coffee every day, now choose the craziest drink in the menu you can think of. Say your bed sheets are always dark colored, buy a bright colored one. Do/say something that makes you cringe. Dress in a way you would never 😈. It's very funny, I do it every day lmao. Challenge your perception of self. If you feel like you can't, start by imagining it. Imagine yourself doing out of character stuff. You'll see you'll naturally stop being the character.
Disclaimer: as I mentioned at the beginning, most likely you will continue to make use of a body, therefore don't put it in situations of danger. It still has to eat (because I've seen some people asking about eating in imagination 🥴), it can't fly, don't cross the street without looking both ways. This work is mental, so don't feel the need to prove something in the "physical", that's very foolish to do, considering that you probably are still attached to the body and your concepts of it and of this world. Meaning it can be endangered if you try to defy those concepts.
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Explanation Posts
Maths:
I explain my url (continuity in ℝ) 05/06/2022
Definition of a Ring 07/10/2022
Definition of a Metric Space 16/10/2022
Open and Closes sets in a Metric Space 16/10/2022
Convergence and Continuity in Metric Spaces 22/10/2022
Bounded and Compact sets in a Metric Space 23/10/2022
I show 0.9999...=1 30/11/2022
Linear Maps and Isomorphisms 18/01/2023
Ring homomorphisms, Ideals, Quotients, and the First Isomorphism Theorem 12/03/2023
Mutamorphic Functions (technically not an explanation post but still belongs here) 29/06/2023
Second Countability of ℝⁿ 04/07/2023
The Weierstrass Function 23/08/2023
Unbroken Workbrooks (A post about continuity written in Anglish) 19/09/2023
Introduction to Homotopy 05/02/2024
The Fundamental Group 16/02/2024
Continuity in Terms of Open Sets 16/02/2024
The Set of Finitely Generated Free Groups as a Monoid 01/03/2024
Intro to Topology: Metric Spaces 12/03/2024
Intro to Topology: Topological Spaces and Continuity 19/03/2024
Intro to Topology: Closed Sets and Limit Points 26/03/2024
Intro to Topology: Hausdorffness 26/03/2024
Intro to Topology: Connectedness 27/03/2024
Intro to Topology: Path Connectedness 28/03/2024
Intro to Topology: Compactness 11/04/2024
Intro to Topology: Bases and Second Countability 12/04/2024
Intro to Topology: Product Spaces 23/04/2024
Intro to Topology: The Heine-Borel Theorem 24/04/2024
Intro to Topology: Quotient Spaces 25/04/2024
Intro to Topology: Important Examples 26/04/2024
Intro to Topology: Conclusions and Remaining Questions 26/04/2024
The Dirac Delta Distribution is not an Extended Real Function 03/05/2024
Physics:
Lagrangian Mechanics 09/10/2022
Operators as Observables and Ehrenfest's Theorem 09/10/2022
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OUR LIMITED LOGIC
Siddhartha was right to think that teaching would be no easy task. In a world that is driven by greed, pride, and materialism, even teaching basic principles such as love, compassion, and philanthropy is very difficult, let alone the ultimate truth of emptiness.
We are stuck with our short-term thinking and bound by practicality. For us, something must be tangible and immediately useful in order to be worth our investment of time and energy.
By those criteria, emptiness as defined by Buddha seems completely useless. We might think, What is the benefit of contemplating the impermanence and emptiness of the phenomenal world? How can emptiness be profitable?
With our limited rationale, we have a set definition of what makes sense and what is meaningful — and emptiness goes beyond that limit. It is as if the idea of “emptiness” cannot fit inside our heads.
This is because the human mind operates on one inadequate system of logic even though there are countless other systems of logic available to us.
We operate as if thousands of years of history have preceded this moment, and if someone were to tell us that the entirety of human evolution took place in the duration of a sip of coffee going down the throat, we would not be able to comprehend.
Similarly, when we read in Buddhist teachings that one day in hell is equal to five hundred years, we think that these religious figures are just trying to frighten us into submission. But imagine a week’s holiday with your best beloved — it goes like the snap of the fingers. On the other hand, one night in prison with a rowdy rapist seems to last forever. Perceived in this way, our concept of time might start to seem not so stable.
Some of us may permit a little bit of the unknown into our system of thinking, allowing some space for the possibilities of clairvoyance, intuition, ghosts, soul mates, and so on, but for the most part we rely on black-and-white, scientifically based logic.
A small handful of so-called gifted people might have the courage or the skill to go beyond convention, and as long as their view isn’t too outrageous, they might be able to pass themselves off as artists such as Salvador Dalí.
There are also a few celebrated yogis who deliberately go just a little bit beyond what’s conventionally accepted and are venerated as “divine madmen.” But if you really go too far beyond the accepted boundary, if you completely buy into emptiness, people may well think that you are abnormal, crazy, and irrational.
But Siddhartha was not irrational. He was merely asserting that conventional, rational thinking is limited. We cannot, or will not, comprehend that which is beyond our own comfort zone. It is much more functional to work with the linear concept of “yesterday, today, and tomorrow” than to say “time is relative.”
We are not programmed to think, I can fit into that yak horn without changing my size or shape. We cannot break our concepts of “small” and “big.” Instead we continuously confine ourselves with our safe and narrow perspectives that have been handed down for generations.
When these perspectives are examined, however, they don’t hold up. For example, the concept of linear time upon which this world relies so heavily does not account for the fact that time has no real beginning and no end.
Using this rationale, which is imprecise at best, we measure or label things as “truly existing.” Function, continuity, and consensus play a major part in our process of validation. We think that if something has a function — for example, your hand seems to function by holding this book — then it must exist in a permanent, ultimate, valid sense. A picture of a hand doesn’t function in the same way, so we know it isn’t really a hand. Similarly, if something seems to have a continuous quality — for example if we saw a mountain yesterday and it is there today — we feel confident that it is “real” and will be there tomorrow and the next day. And when other people confirm that they see the same things we see, we are even more certain that these things are truly existing.
Of course, we don’t walk around consciously rationalizing, confirming, and labeling the true existence of things — this is a truly existing book in my truly existing hands — but subconsciously we operate in the confidence that the world solidly exists, and this affects how we think and feel every moment of the day.
Only on rare occasions, when we look in the mirror or at a mirage, do we appreciate that some things are mere appearances. There is no flesh and blood in the mirror, there is no water in the mirage. We “know” that these mirror images are not real, that they are empty of inherently existing nature. This kind of understanding can take us much further, but we only go as far as our rational mind allows.
When presented with the concept of a man fitting inside of a yak’s horn without a change in size, we have a few choices: We can be “rational” and refute the story by saying that it is simply not possible. Or we can apply some kind of mystic belief in sorcery or blind devotion and say, Oh yes, Milarepa was such a great yogi, of course he could do this and even more.
Either way our view is distorted, because denying is a form of underestimating, and blind faith is a form of overestimating.
Dzongsar Jamyang Khyentse - What Makes You Not a Buddhist -
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Topics to study for Quantum Physics
Calculus
Taylor Series
Sequences of Functions
Transcendental Equations
Differential Equations
Linear Algebra
Separation of Variables
Scalars
Vectors
Matrixes
Operators
Basis
Vector Operators
Inner Products
Identity Matrix
Unitary Matrix
Unitary Operators
Evolution Operator
Transformation
Rotational Matrix
Eigen Values
Coefficients
Linear Combinations
Matrix Elements
Delta Sequences
Vectors
Basics
Derivatives
Cartesian
Polar Coordinates
Cylindrical
Spherical
LaPlacian
Generalized Coordinate Systems
Waves
Components of Equations
Versions of the equation
Amplitudes
Time Dependent
Time Independent
Position Dependent
Complex Waves
Standing Waves
Nodes
AntiNodes
Traveling Waves
Plane Waves
Incident
Transmission
Reflection
Boundary Conditions
Probability
Probability
Probability Densities
Statistical Interpretation
Discrete Variables
Continuous Variables
Normalization
Probability Distribution
Conservation of Probability
Continuum Limit
Classical Mechanics
Position
Momentum
Center of Mass
Reduce Mass
Action Principle
Elastic and Inelastic Collisions
Physical State
Waves vs Particles
Probability Waves
Quantum Physics
Schroedinger Equation
Uncertainty Principle
Complex Conjugates
Continuity Equation
Quantization Rules
Heisenburg's Uncertianty Principle
Schroedinger Equation
TISE
Seperation from Time
Stationary States
Infinite Square Well
Harmonic Oscillator
Free Particle
Kronecker Delta Functions
Delta Function Potentials
Bound States
Finite Square Well
Scattering States
Incident Particles
Reflected Particles
Transmitted Particles
Motion
Quantum States
Group Velocity
Phase Velocity
Probabilities from Inner Products
Born Interpretation
Hilbert Space
Observables
Operators
Hermitian Operators
Determinate States
Degenerate States
Non-Degenerate States
n-Fold Degenerate States
Symetric States
State Function
State of the System
Eigen States
Eigen States of Position
Eigen States of Momentum
Eigen States of Zero Uncertainty
Eigen Energies
Eigen Energy Values
Eigen Energy States
Eigen Functions
Required properties
Eigen Energy States
Quantification
Negative Energy
Eigen Value Equations
Energy Gaps
Band Gaps
Atomic Spectra
Discrete Spectra
Continuous Spectra
Generalized Statistical Interpretation
Atomic Energy States
Sommerfels Model
The correspondence Principle
Wave Packet
Minimum Uncertainty
Energy Time Uncertainty
Bases of Hilbert Space
Fermi Dirac Notation
Changing Bases
Coordinate Systems
Cartesian
Cylindrical
Spherical - radii, azmithal, angle
Angular Equation
Radial Equation
Hydrogen Atom
Radial Wave Equation
Spectrum of Hydrogen
Angular Momentum
Total Angular Momentum
Orbital Angular Momentum
Angular Momentum Cones
Spin
Spin 1/2
Spin Orbital Interaction Energy
Electron in a Magnetic Field
ElectroMagnetic Interactions
Minimal Coupling
Orbital magnetic dipole moments
Two particle systems
Bosons
Fermions
Exchange Forces
Symmetry
Atoms
Helium
Periodic Table
Solids
Free Electron Gas
Band Structure
Transformations
Transformation in Space
Translation Operator
Translational Symmetry
Conservation Laws
Conservation of Probability
Parity
Parity In 1D
Parity In 2D
Parity In 3D
Even Parity
Odd Parity
Parity selection rules
Rotational Symmetry
Rotations about the z-axis
Rotations in 3D
Degeneracy
Selection rules for Scalars
Translations in time
Time Dependent Equations
Time Translation Invariance
Reflection Symmetry
Periodicity
Stern Gerlach experiment
Dynamic Variables
Kets, Bras and Operators
Multiplication
Measurements
Simultaneous measurements
Compatible Observable
Incompatible Observable
Transformation Matrix
Unitary Equivalent Observable
Position and Momentum Measurements
Wave Functions in Position and Momentum Space
Position space wave functions
momentum operator in position basis
Momentum Space wave functions
Wave Packets
Localized Wave Packets
Gaussian Wave Packets
Motion of Wave Packets
Potentials
Zero Potential
Potential Wells
Potentials in 1D
Potentials in 2D
Potentials in 3D
Linear Potential
Rectangular Potentials
Step Potentials
Central Potential
Bound States
UnBound States
Scattering States
Tunneling
Double Well
Square Barrier
Infinite Square Well Potential
Simple Harmonic Oscillator Potential
Binding Potentials
Non Binding Potentials
Forbidden domains
Forbidden regions
Quantum corral
Classically Allowed Regions
Classically Forbidden Regions
Regions
Landau Levels
Quantum Hall Effect
Molecular Binding
Quantum Numbers
Magnetic
Withal
Principle
Transformations
Gauge Transformations
Commutators
Commuting Operators
Non-Commuting Operators
Commutator Relations of Angular Momentum
Pauli Exclusion Principle
Orbitals
Multiplets
Excited States
Ground State
Spherical Bessel equations
Spherical Bessel Functions
Orthonormal
Orthogonal
Orthogonality
Polarized and UnPolarized Beams
Ladder Operators
Raising and Lowering Operators
Spherical harmonics
Isotropic Harmonic Oscillator
Coulomb Potential
Identical particles
Distinguishable particles
Expectation Values
Ehrenfests Theorem
Simple Harmonic Oscillator
Euler Lagrange Equations
Principle of Least Time
Principle of Least Action
Hamilton's Equation
Hamiltonian Equation
Classical Mechanics
Transition States
Selection Rules
Coherent State
Hydrogen Atom
Electron orbital velocity
principal quantum number
Spectroscopic Notation
=====
Common Equations
Energy (E) .. KE + V
Kinetic Energy (KE) .. KE = 1/2 m v^2
Potential Energy (V)
Momentum (p) is mass times velocity
Force equals mass times acceleration (f = m a)
Newtons' Law of Motion
Wave Length (λ) .. λ = h / p
Wave number (k) ..
k = 2 PI / λ
= p / h-bar
Frequency (f) .. f = 1 / period
Period (T) .. T = 1 / frequency
Density (λ) .. mass / volume
Reduced Mass (m) .. m = (m1 m2) / (m1 + m2)
Angular momentum (L)
Waves (w) ..
w = A sin (kx - wt + o)
w = A exp (i (kx - wt) ) + B exp (-i (kx - wt) )
Angular Frequency (w) ..
w = 2 PI f
= E / h-bar
Schroedinger's Equation
-p^2 [d/dx]^2 w (x, t) + V (x) w (x, t) = i h-bar [d/dt] w(x, t)
-p^2 [d/dx]^2 w (x) T (t) + V (x) w (x) T (t) = i h-bar [d/dt] w(x) T (t)
Time Dependent Schroedinger Equation
[ -p^2 [d/dx]^2 w (x) + V (x) w (x) ] / w (x) = i h-bar [d/dt] T (t) / T (t)
E w (x) = -p^2 [d/dx]^2 w (x) + V (x) w (x)
E i h-bar T (t) = [d/dt] T (t)
TISE - Time Independent
H w = E w
H w = -p^2 [d/dx]^2 w (x) + V (x) w (x)
H = -p^2 [d/dx]^2 + V (x)
-p^2 [d/dx]^2 w (x) + V (x) w (x) = E w (x)
Conversions
Energy / wave length ..
E = h f
E [n] = n h f
= (h-bar k[n])^2 / 2m
= (h-bar n PI)^2 / 2m
= sqr (p^2 c^2 + m^2 c^4)
Kinetic Energy (KE)
KE = 1/2 m v^2
= p^2 / 2m
Momentum (p)
p = h / λ
= sqr (2 m K)
= E / c
= h f / c
Angular momentum ..
p = n h / r, n = [1 .. oo] integers
Wave Length ..
λ = h / p
= h r / n (h / 2 PI)
= 2 PI r / n
= h / sqr (2 m K)
Constants
Planks constant (h)
Rydberg's constant (R)
Avogadro's number (Na)
Planks reduced constant (h-bar) .. h-bar = h / 2 PI
Speed of light (c)
electron mass (me)
proton mass (mp)
Boltzmann's constant (K)
Coulomb's constant
Bohr radius
Electron Volts to Jules
Meter Scale
Gravitational Constant is 6.7e-11 m^3 / kg s^2
History of Experiments
Light
Interference
Diffraction
Diffraction Gratings
Black body radiation
Planks formula
Compton Effect
Photo Electric Effect
Heisenberg's Microscope
Rutherford Planetary Model
Bohr Atom
de Broglie Waves
Double slit experiment
Light
Electrons
Casmir Effect
Pair Production
Superposition
Schroedinger's Cat
EPR Paradox
Examples
Tossing a ball into the air
Stability of the Atom
2 Beads on a wire
Plane Pendulum
Wave Like Behavior of Electrons
Constrained movement between two concentric impermeable spheres
Rigid Rod
Rigid Rotator
Spring Oscillator
Balls rolling down Hill
Balls Tossed in Air
Multiple Pullys and Weights
Particle in a Box
Particle in a Circle
Experiments
Particle in a Tube
Particle in a 2D Box
Particle in a 3D Box
Simple Harmonic Oscillator
Scattering Experiments
Diffraction Experiments
Stern Gerlach Experiment
Rayleigh Scattering
Ramsauer Effect
Davisson–Germer experiment
Theorems
Cauchy Schwarz inequality
Fourier Transformation
Inverse Fourier Transformation
Integration by Parts
Terminology
Levi Civita symbol
Laplace Runge Lenz vector
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Are data science and machine learning related?
In the ever-evolving panorama of technology and innovation, two terms that often find themselves intertwined in discussions are "information technological know-how" and "machine getting to know." Both are hailed as transformative forces using industries ahead, however, are they certainly reduced from the same material? Let's embark on a journey to get to the bottom of the intricacies and explore the connection between records science and gadget mastering.
The Foundation: Data Science
At its core, statistics science is the interdisciplinary field that makes use of clinical strategies, algorithms, techniques, and systems to extract insights and information from structured and unstructured information. It contains a huge spectrum of strategies, which includes facts mining, data, predictive analytics, and more. Data scientists act as current-day alchemists, reworking uncooked facts into precious insights that inform selection-making tactics throughout diverse domain names.
Data technological know-how operates inside a framework encompassing information collection, cleansing, analysis, visualization, and interpretation. It leverages statistical fashions, gadget-gaining knowledge of algorithms, and area know-how to find patterns, tendencies, and correlations hidden within huge datasets. Through exploratory statistics analysis and hypothesis testing, facts scientists uncover actionable insights that power enterprise techniques, enhance operational performance, and foster innovation.
The Pillar: Machine Learning
Machine mastering, a subset of artificial intelligence, empowers computers to analyze from information without being explicitly programmed. It revolves around the improvement of algorithms and models that enable structures to enhance their performance over the years through enjoy. Unlike traditional programming paradigms, in which regulations are explicitly described, gadget studying algorithms research from records styles, adapt to new statistics, and make predictions or decisions autonomously.
At the coronary heart of gadget getting to know lies the concept of training fashions on labeled datasets to parent underlying patterns and relationships. These fashions, starting from easy linear regression to complex deep neural networks, are trained to understand styles, classify information, make predictions, or optimize decision-making strategies. As they ingest extra information and acquire feedback, system-studying models refine their predictions and beautify their accuracy, permitting them to tackle increasingly more complex responsibilities.
The Intersection: Bridging Data Science and Machine Learning
While facts science and machine studying are awesome disciplines, they share a symbiotic court that fuels innovation and drives progress. Data science serves because the overarching framework within which machines get to know operates, presenting the gear, methodologies, and area information essential to extract cost from information. Machine studying, in turn, serves as a powerful toolkit within the statistics scientist's arsenal, allowing the automation of responsibilities, the era of predictive models, and the extraction of deeper insights from statistics.
Machine studying algorithms function as the engine driving many data technology packages, allowing predictive modeling, anomaly detection, herbal language processing, and photo reputation, among other tasks. Conversely, facts technology offers the context and area know-how important to border devices studying problems correctly, picking out appropriate algorithms, preprocessing facts, and interpreting version outputs in a significant way.
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The Evolution: Advancing Together
As technology advances and records proliferate at an unprecedented rate, the bounds among facts technological know-how, and machine studying continue to blur. New methodologies, algorithms, and equipment emerge, enabling practitioners to tackle more and more complicated issues and unlock new frontiers in information-pushed innovation. From reinforcement mastering and generative antagonistic networks to federated gaining knowledge of and explainable AI, the landscape of records technology and gadget gaining knowledge is marked by consistent evolution and innovation.
In the adventure to harness the power of facts, groups must recognize the intertwined nature of information science and device-gaining knowledge. By fostering interdisciplinary collaboration, cultivating a data-pushed way of life, and investing in talent and generation, groups can leverage the synergies between these disciplines to gain an aggressive edge, power innovation, and free up new possibilities for increase and discovery.
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What is Time Complexity And Why Is It Essential?
In the world of computer science and algorithms, there is a crucial concept that reigns supreme when it comes to evaluating the efficiency of algorithms: time complexity. Time complexity is the measure of how an algorithm's execution time grows with respect to the size of its input data. It is essential because it allows us to compare and analyze different algorithms' performance objectively. In this article, we will delve into the concept of time complexity, its significance, and why it is essential in the field of computer science. So, let’s get started with some Technical Training Program ahead.
Understanding Time Complexity
Time complexity is a fundamental concept in computer science that helps us quantify the amount of time an algorithm takes to run as a function of the input size. It provides us with a clear and systematic way to analyze and compare the efficiency of algorithms. Time complexity is typically expressed using big O notation, which describes the upper bound of an algorithm's running time concerning its input size. For instance, O(n) represents linear time complexity, indicating that an algorithm's execution time grows linearly with the size of the input.
Importance of Time Complexity
Algorithm Selection:
Time complexity is essential for choosing the most suitable algorithm for a specific task. When faced with multiple algorithms to solve a problem, analyzing their time complexities helps us select the one that will perform the best in practice, thanks to Technical Transformation and evolution. An algorithm with a lower time complexity is more efficient and preferable.
Resource Allocation:
In many real-world applications, computational resources like CPU time and memory are limited. Time complexity guides us in making informed decisions about resource allocation. Algorithms with low time complexity are preferred in resource-constrained environments, ensuring that the system operates efficiently.
Scalability:
As the volume of data processed by computers continues to grow, scalability becomes a critical concern. Time complexity helps us assess how well an algorithm can oversee larger datasets. Algorithms with lower time complexity are more scalable, making them suitable for big data applications.
Optimization:
Time complexity analysis is a vital tool in optimizing algorithms. By identifying bottlenecks and inefficiencies in an algorithm's code, developers can work to improve its performance. This process often involves reducing time complexity, resulting in faster and more efficient algorithms.
Predictability:
Time complexity allows us to predict an algorithm's behavior under different conditions. It helps us estimate how long an algorithm will take to execute, making it valuable for designing real-time systems and meeting performance requirements followed by in-depth Technical Learning.
Real-World Applications
Time complexity is not just an abstract concept; it plays a crucial role in various real-world applications:
Search Engines:
Search engines like Google process enormous amounts of data in real-time which is a perk of the evolving Technical Transformation. The algorithms used for ranking and retrieving search results rely on efficient data structures and algorithms with low time complexity to deliver fast and relevant results.
E-commerce:
Online shopping platforms use algorithms to recommend products to users based on their browsing and purchase history. These recommendation algorithms must process vast datasets efficiently, making time complexity analysis indispensable.
Financial Trading:
High-frequency trading systems execute thousands of trades per second. Time complexity is vital for optimizing trading algorithms to gain a competitive edge in the financial markets. Relevant Technical Training Courses can give us more knowledge of this.
Healthcare:
Medical imaging and diagnostic algorithms must process and analyze large datasets, often in time-critical situations. Low time complexity is essential for providing timely and accurate results.
Final Words
Time complexity is a fundamental concept in computer science that enables us to evaluate and compare the efficiency of algorithms. It plays a crucial role in algorithm selection, resource allocation, scalability, optimization, and predictability. In a world where computational power is at the heart of technological advancements, understanding and leveraging time complexity is essential for designing and implementing efficient algorithms that drive innovation and solve complex problems.
Moreover, relevant Technical Training Courses should also be made available for employees to enhance their skills and efficiency. As technology continues to evolve, the significance of highly skilled employees in the workplace along with time complexity in the field of computer science remains unwavering, making it a cornerstone of algorithmic efficiency.
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Unraveling the Order of the Ancients: Guardians of History and Power
In the annals of history, there exist enigmatic organizations that have shaped the course of civilizations, leaving behind a legacy that intrigues and mystifies modern scholars and enthusiasts alike. Among these secretive orders, few have captured the imagination as vividly as the "Order of the Ancients." This clandestine group, often shrouded in shadow, wielded immense influence throughout various epochs, orchestrating events from the shadows and influencing the rise and fall of empires. In this exploration, we delve into the history and significance of the Order of the Ancients, seeking to shed light on their mysterious role in the tapestry of time.
Origins and Purpose: Guardians of Control
The origins of the Order of the Ancients are shrouded in ambiguity, with their presence traceable to ancient civilizations scattered across the globe. Historians believe that the order emerged as a response to the human desire for control and power. At its core, the Order of the Ancients sought to manipulate events to fulfill their own agendas, often transcending political and cultural boundaries. Their influence was not bound by the limitations of time or geography; they operated with a long-term perspective, guiding the course of events through successive generations.
Hierarchical Structure: Threads of Power
Central to the mystique of the Order of the Ancients was its hierarchical structure. The organization comprised members of varying societal roles, from politicians and military leaders to scholars and artists. Each member was given a title, often associated with an aspect of power, which revealed their role within the order's intricate web.
At the pinnacle of the organization stood the "Grand Ancients" or "Elders," a group of elite individuals who were believed to possess unparalleled knowledge and longevity. These enigmatic figures held sway over the entire order, pulling the strings of power from behind the curtain of history.
Symbols and Influence: Threads of Intrigue
To communicate their presence and influence, the Order of the Ancients often employed intricate symbols and cryptic messages. These symbols, etched into artifacts, architecture, and artworks, acted as a silent declaration of the order's reach. From ancient scrolls to majestic monuments, the order's insignia can be found imprinted on the timeline of numerous civilizations.
Their influence extended far beyond mere symbols. Members of the order were known to manipulate political dynamics, foment wars, and shape cultural ideologies. By weaving their influence into the fabric of society, they ensured that the course of events followed their predetermined paths.
Legacy and Modern Speculation: Echoes of the Past
Despite the passage of centuries, the legacy of the Order of the Ancients continues to reverberate in contemporary discussions. Their methods of control, intrigue, and secrecy remain a source of fascination for historians, conspiracy theorists, and storytellers. The order's presence has been speculated upon in literature, film, and video games, with each iteration adding layers of mythos to their existence.
From the shadows of history, the Order of the Ancients emerges as a testament to the lengths to which power-hungry individuals have gone to shape the course of civilizations. Their influence, though shrouded in secrecy, is a stark reminder that history's pages are not always turned by the hands of those in the spotlight. As modern society grapples with questions of power, control, and hidden agendas, the enigmatic order stands as a cautionary tale and a reminder that the threads of influence can stretch across time itself.
In a world where the echoes of the past are ever-present, the Order of the Ancients beckons us to unravel the hidden narratives and motivations that have guided humanity's journey. Their story serves as a reminder that history is not merely a linear progression of events but a complex tapestry woven from the actions of those who lurk in the shadows.
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Most of von Neumann’s mathematics—rings of operators, continuous geometries, matrices of high finite order—was undertaken to find a satisfying philosophy upon which to found quantum theory.
(Boolean algebra over sets is incompatible with Heisenberg uncertainty.)
von Neumann confessed to Ulam that he had failed to find a philosophically satisfying basis for QM.
Gian-Carlo Rota, Husserl and the reform of logic
(reworded by me)
#Edmund Husserl#rings of operators#John von Neumann#Werner Heisenberg#Boolean algebra#quantum mechanics#ring theory#rings#Platonic ideal#operators#topos theory#operator theory#linear operators#bounded continuous linear operators#QM#philosophy#Mark Kac#Gian-Carlo Rota#continuous#geometry#logic#matrix#matrices#linear algebra#linear#George Boole#algebra#Boolean#uncertainty principle#Heisenberg uncertainty
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What Intel’s image-enhancing AI means for the gaming industry?
Intel recently unveiled a deep learning system that turns 3D rendered graphics into photorealistic images. Tested on Grand Theft Auto 5, the neural network showed impressive results. The game’s developers have already done a great job of recreating Los Angeles and southern California in detail. But with Intel’s new machine learning system, the graphics turn from high-quality synthetic 3D to real-life depictions (with very minor glitches).
And what’s even more impressive is that the Intel’s AI is doing it at a relatively high framerate as opposed to photorealistic render engines that can take minutes or hours for a single frame. And this is just the preliminary results. The researchers say they can optimize the deep learning models to work much faster.
Does it mean that real-time photorealistic game engines are on the horizon, as some analysts have suggested? I would not bet on it yet, because several fundamental problems remain unsolved.
Deep learning for image enhancement
Before we can evaluate the feasibility of running real-time image enhancement, let’s have a high-level look at the deep learning system Intel has used.
The researchers at Intel have not provided full implementation details about the deep learning system they have developed. But they have published a paper on arXiv and posted a video on YouTube that provide useful hints on the kind of computation power you would need to run this model.
The full system, displayed below, is composed of several interconnected neural networks.
The G-buffer encoder transforms different render maps (G-buffers) into a set of numerical features. G-buffers are maps for surface normal information, depth, albedo, glossiness, atmosphere, and object segmentation. The neural network uses convolution layers to process this information and output a vector of 128 features that improve the performance of the image enhancement network and avoid artifacts that other similar techniques produce. The G-buffers are obtained directly from the game engine.
The image enhancement network takes as input the game’s rendered frame and the features from the G-buffer encoder and generates the photorealistic version of the image.
The remaining components, the discriminator and the LPIPS loss function, are used during training. They grade the output of the enhancement network by evaluating its consistency with the original game-rendered frame and by comparing its photorealistic quality with real images.
Inference costs for image enhancement
First, let’s see that, if the technology becomes available, whether gamers will be able to run it on their computers. For this, we need to calculate inference costs, or how much memory and computing power you need to run the trained model. For inference, you’ll only need the G-buffer encoder and image enhancement network, and we can cut the discriminator network.
The enhancement network accounts for the bulk of the work. According to Intel’s paper, this neural network is based on HRNetV2, a deep learning architecture meant for processing high-resolution images. High-resolution neural networks produce fewer visual artifacts than models that down-sample images.
According to Intel’s paper, “The HRNet processes an image via multiple branches that operate at different resolutions. Importantly, one feature stream is kept at relatively high resolution (1/4 of the input resolution) to preserve fine image structure.”
This means that, if you’re running the game at full HD (1920×1080), then the top row layers will be processing inputs at 480×270 pixels. The resolution halves on each of the lower rows. The researchers have changed the structure of each block in the neural network to also compute inputs from the G-buffer encoder (the RAD layers).
According to Intel’s paper, the G-buffer’s inputs include “one-hot encodings for material information, dense continuous values for normals, depth, and color, and sparse continuous information for bloom and sky buffers.”
The researchers note elsewhere in their paper that the deep learning model can still perform well with a subset of the G-buffers.
So, how much memory does the model need? Intel’s paper doesn’t state the memory size, but according to the HRNetV2 paper, the full network requires 1.79 gigabytes of memory for a 1024×2048 input. The image enhancement network used by Intel has a smaller input size, but we also need to account for the extra parameters introduced by the RAD layers and the G-buffer encoder. Therefore, it would be fair to assume that you’ll need at least one gigabyte of video memory to run deep learning–based image enhancement for full HD games and probably more than two gigabytes if you want 4K resolution.
One gigabyte of memory is not much given that gaming computers commonly have graphics cards with 4-8 GB of VRAM. And high-end graphics cards such as the GeForce RTX series can have up to 24 GB of VRAM.
But it is also worth noting that 3D games consume much of the graphics card’s resources. Games store as much data as possible on video memory to speed up render times and avoid swapping between RAM and VRAM, an operation that incurs a huge speed penalty. According to one estimate, GTA 5 consumes up to 3.5 GB of VRAM at full HD resolution. And GTA was released in 2013. Newer games such as Cyberpunk 2077, which have much larger 3D worlds and more detailed objects, can easily gobble up to 7-8 GB of VRAM. And if you want to play at high resolutions, then you’ll need even more memory.
So basically, with the current mid- and high-end graphics cards, you’ll have to choose between low-resolution photorealistic quality and high-resolution synthetic graphics.
But memory usage is not the only problem deep learning–based image enhancement faces.
Delays caused by non-linear processing
A much bigger problem, in my opinion, is the sequential and non-linear nature of deep learning operations. To understand this problem, we must first compare 3D graphics processing with deep learning inference.
Three-dimensional graphics rely on very large numbers of matrix multiplications. A rendered frame of 3D graphics starts from a collection of vertices, which are basically a set of numbers that represent the properties (e.g., coordinates, color, material, normal direction, etc.) of points on a 3D object. Before every frame is rendered, the vertices must go through a series of matrix multiplications that map their local coordinates to world coordinates to camera space coordinates to image frame coordinates. An index buffer bundles vertices into groups of threes to form triangles. These triangles are rasterized—or transformed into pixels— and every pixel then goes through its own set of matrix operations to determine its color based on material color, textures, reflection and refraction maps, transparency levels, etc.
This sounds like a lot of operations, especially when you consider that today’s 3D games are composed of millions of polygons. But there are two reasons you get very high framerates when playing games on your computer. First, graphics cards have been designed specifically for parallel matrix multiplications. As opposed to the CPU, which has at most a few dozen computing cores, graphics processors have thousands of cores, each of which can independently perform matrix multiplications.
Second, graphics transformations are mostly linear. And linear transformations can be bundled together. For instance, if you have separate matrices for world, view, and projection transformations, you can multiply them together to create one matrix that performs all three operations. This cuts down your operations by two-thirds. Graphics engines also use plenty of tricks to further cut down operations. For instance, if an object’s bounding box falls out of the view frustum (the pyramid that represents the camera’s perspective), it will be excluded from the render pipeline altogether. And triangles that are occluded by others are automatically removed from the pixel rendering process.
Deep learning also relies on matrix multiplications. Every neural network is composed of layers upon layers of matrix computations. This is why graphics cards have become very popular among the deep learning community in the past decade.
But unlike 3D graphics, the operations of deep learning can’t be combined. Layers in neural networks rely on non-linear activation functions to perform complicated tasks. Basically, this means that you can’t compress the transformations of several layers into a single operation.
For instance, say you have a deep neural network that takes a 100×100 pixel input image (10,000 features) and runs it through seven layers. A graphics card with several thousand cores might be able to process all pixels in parallel. But it will still have to perform the seven layers of neural network operations sequentially, which can make it difficult to provide real-time image processing, especially on lower-end graphics cards.
Therefore, another bottleneck we must consider is the number of sequential operations that must take place. If we consider the top layer of the image enhancement network there are 16 residual blocks that are sequentially linked. In each residual block, there are two convolution layers, RAD blocks, and ReLU operations that are sequentially linked. That amounts to 96 layers of sequential operations. And the image enhancement network can’t start its operations before the G-buffer encoder outputs its feature encodings. Therefore, we must add at least the two residual blocks that process the first set of high-resolution features. That’s eight more layers added to the sequence, which brings us to at least 108 layers of operations for image enhancement.
This means that, in addition to memory, you need high clock speeds to run all these operations in time. Here’s an interesting quote from Intel’s paper: “Inference with our approach in its current unoptimized implementation takes half a second on a GeForce RTX 3090 GPU.”
The RTX 3090 has 24 GB of VRAM, which means the slow, 2 FPS render rate is not due to memory limitations but rather due to the time it takes to sequentially process all the layers of the image enhancer network. And this isn’t a problem that will be solved by adding more memory or CUDA cores, but by having faster processors.
Again, from the paper: “Since G-buffers that are used as input are produced natively on the GPU, our method could be integrated more deeply into game engines, increasing efficiency and possibly further advancing the level of realism.”
Integrating the image enhancer network into the game engine would probably give a good boost to the speed, but it won’t result in playable framerates.
For reference, we can go back to the HRNet paper. The researchers used a dedicated Nvidia V100, a massive and extremely expensive GPU specially designed for deep learning inference. With no memory limitation and no hindrance by other in-game computations, the inference time for the V100 was 150 milliseconds per input, which is ~7 fps, not nearly enough to play a smooth game.
Development and training neural networks
Another vexing problem is the development and training costs of the image-enhancing neural network. Any company that would want to replicate Intel’s deep learning models will need three things: data, computing resources, and machine learning talent.
Gathering training data can be very problematic. Luckily for Intel, someone had solved it for them. They used the Cityscapes dataset, a rich collection of annotated images captured from 50 cities in Germany. The dataset contains 5,000 finely annotated images. According to the dataset’s paper, each of the annotated images required an average of 1.5 hours of manual effort to precisely specify the boundaries and types of objects contained in the image. These fine-grained annotations enable the image enhancer to map the right photorealistic textures onto the game graphics. Cityscapes was the result of a huge effort supported by government grants, commercial companies, and academic institutions. It might prove to be useful for other games that, like Grand Theft Auto, take place in urban settings.
But what if you want to use the same technique in a game that doesn’t have a corresponding dataset? In that case, it will be up to the game developers to gather the data and add the required annotations (a photorealistic version of Rise of the Tomb Raider, maybe?).
Compute resources will also pose a challenge. Training a network of the size of the image enhancer for tasks such as image segmentation would be feasible with a few thousand dollars—not a problem for large gaming companies. But when you want to do a generative task such as photorealistic enhancement, then training becomes much more challenging. It requires a lot of testing and tweaking of hyperparameters, and many more epochs of training, which can blow up the costs. Intel tuned and trained their model exclusively for GTA 5. Games that are similar to GTA 5 might be able to slash training costs by finetuning Intel’s trained model on the new game. Others might need to test with totally new architectures. Intel’s deep learning model works well for urban settings, where objects and people are easily separable. But it’s not clear how it would perform in natural settings, such as jungles and caves.
Gaming companies don’t have machine learning engineers, so they’ll also have to outsource the task or hire engineers, which adds more costs. The company will have to decide whether the huge costs of adding photorealistic render are worth the added gaming experience.
Intel’s photorealistic image enhancer shows how far you can push machine learning algorithms to perform interesting feats. But it will take a few more years before the hardware, the companies, and the market will be ready for real-time AI-based photorealistic rendering.
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COMMXNDMXNTS AND UNDEBATABLES OF THE AFROFUTURE:
An Afrofuturistic Manifesto for Black Art
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Afrofuturist CommXndmXnts
Thy work shall take up the entirety of space while respecting the space of others.
Thy shall not input traumatizing imagery in media for Black folX
Thy shall show thyself
Thy shall collaborate with other Black WomXn
Thy shall be a safe space for Black WomXn and Black folX
Thy shall make each scene in coordination with archival footage
Thy work shall not be linear
Thy work shall not fall into White Validation Syndrome[1]
Thy shall use AAVE without explanation; you know, you know
Thy shall honor the Ancestors
[1] (Mazama, 2018)
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Undebatables in Afrofuturism
Post-colonialism is false. We are still living in colonialism and are suffering its' effects. It has reshaped and adapted to take on many forms.
White fragility is an escape from the accountability of the privilege that was set up by racist, oppressive, criminal, social, and institutional systems.
Black folX can be both human and alien. Magical and normal. Extraterrestrial and terrestrial. We can co-exist in varying realities and identities.
We are operating on CPT.
AAVE language is only reserved for Black folX. No appropriating it and masking it as your own if you are not Black.
Black folX can be merry, have joy, and frolic...
without the threat of police being called on them...
or be assaulted...
or be confronted and questioned by white womXn with our being in a space.
I speak for my experience. I do not speak for all Black folX, nor is all our stories are the same. We encompass any narratives and have different experiences. We are all not the same.
Not all Black folX are poor, have rhythm/dance, can rap, nor will rap on cue when you demand it.
If the hair is on my head, don’t touch it nor say, “Where did you buy it?” or “It looks so real.” Mind your business.
Don’t counter my grievance with your grievance to minimize and suppress me.
Stop gaslighting Black WomXn when we speak up about our grievances.
The term Hotep should not be used to describe so-called “woke” Black folX.
And so-called “woke” Black folX need to stop gatekeeping information with patronizing, paternal condescension.
Code-switching is exhausting. Stop pushing “proper English.”
If you feel uncomfortable with my presence, do not expect me to make myself smaller to accommodate you. Your discomfort is between you and your god.
Black folX need to stop saying, “We are not our Ancestors.” Our Ancestors fought peacefully and burned shit down too. We are them.
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Expansions
In molding a world for Black folX in the future, we must be intentional with our actions. No new world can form without Black folX. No new world can develop, especially without Black WomXn. We are "mother civilization." Societies and pop "culture" is Black culture appropriated and watered down from Black WomXn.
The CommXndmXnts and Undebatables are in direct correlation with physical space. As we construct a physical space that is a safe space for Black WomXn, these CommXndmXnts and Undebatables are rules that will enable this space to come to fruition while catering to the needs of Black WomXn. In modeling and intentionally creating an Afrofuturistic future where Black bodies are free to be merry about, the success of an Afrofuturistic future lies in the protection of Black WomXn.
Black WomXn have been on the frontlines of every liberation movement. Despite our work that contributed to the success of other groups, white supremacy and patriarchy still profoundly affect the lives of Black folX, but more specifically, Black WomXn, ranging from racism, reproduction rights, not receiving recognition and credit, and more than there is space to list. This experience alone brings an inseparable connection of racism, sexism, and classism. These three elements are tied so bound together that for exclusion of one will only prompt the other two to be highlighted and take center stage. Without racism, sexism and classism take hold. Without classism, racism and sexism are intertwined. Upon encountering a Black WomXn, the societal definition of gender and the color of our skin leaves no escape from the inseparable chains of racism, sexism, and classism, all of which to be present simultaneously.
Black Queer WomXn's recognition was often shoved to the back end "for the good" of the Black community. In part due to their identity considered not crucial to the movement; thus, their identity would "muddle" the message that correlated with conservative views, despite fighting for the liberation of all Black folX. Along with internalized homophobia, those who identified as Queer or a WomXn, our voices were often diminished and "shushed" away for a male leader to carry the voice of the Black community. We are currently experiencing Black WomXn continuing to lead the fight for Black and Brown bodies' liberation. In the male-dominated Civil Rights movements, the sexism and marginalization again Black Queer WomXn has led to Black WomXnism. Despite the Suffrage Movement, white feminism used the work and labor of Black WomXn while simultaneously silencing Black voices and benefiting off of white privilege.
How do we get to this point?
The Afrofuturistic CommXndmXnts and Undebatables serve the purpose of creating a space where the inseparable chains of oppression associated with Black WomXnhood do not hold the velvety to cause harm for Black WomXn.
An Afrofuturistic landscape acknowledges that Afropessimism and Afrofuturism coexist simultaneously[1]. Like Black folX, there are intersections of both that influence the other. Varying identities can coexist, so will in the Afrofuturistic landscape. Afrofuturism revolutionizes patriarchal systems that were created to confine and control Black bodies. Rather than rewrite, revise, gloss over, or suppress history, we must acknowledge these patriarchal systems and revolutionize through dismantling and destroying so that Black folX can, in fact, frolic freely. Afrofuturism is the result of these systems, and we craft our own. Rather than integrating into "dominant culture," we should be allowed to live separately without the threat of the "other," which is non-BIPOC folX, invading and colonizing us. Afrofuturism allows for Blackness and Black folX to be expansive, not confined. To be free, we cannot submit to white culture or seek their validation and approval.
With Afrofuturism, there must be a balance for Afropessimism as well. In an Afropessimistic world, the reality and weight of colonialism and imperialism's lasting effects have no escape. This constant reality is reinforced by institutional, social, and systemic institutions, reflecting racism, classism, sexism. The Afropessimism is that of the present moment, reminding us eradication of exploitative systems is not synonymous. When reform occurs in abolishing these systems, it is in correlation with an Afrofuturistic world being molded.
The very act of thinking and molding a space for Black WomXn is a radical act. While we can take steps to this radicalization, the systems of racism, classism, and sexism are the productions of a patriarchal and capitalistic world that have profited and have been sustained by the exploitation and labor of Black WomXn. Reclaiming time and space is such a radical act that the systems that exploit and benefit from the bodies of Black WomXn will be dismantled and destroyed to pave a true revolution that is not centered around white liberalism.
For an Afrofuturistic world to exist, it must first be a world that is a physical and mental safe space for Black WomXn. Black WomXn birthed us, and yet we have exploited off of their pain and labor. Black WomXn must be able to be free and not policed by our bodies. The CommXndmXnts and Undebatables are a beginning step in molding and crafting this space intentionally inclusive of Black WomXn.
[1] (Edwards, 2020)
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Context of CommXndmXnts
CommXndmXnt: Thy work shall take up the entirety of space without thy work impeding and overwhelming the space of others
In first molding a space for Black WomXn, I must first incorporate this into my own life and work. My work shall take up as most space as possible that is allocated to me while also respecting other artists and their work. In coexisting with varying experiences and stories being told, as I demand to carve out a space for Black WomXn, I shall also respect other artists' work.
CommXndmXnt: Thy shall not input traumatizing imagery
In acknowledging that pain and joy are intertwined with one another in the Black experience, pain is often exploited for a profit, with joy masked for its former. More specifically, the trauma and pain inflicted on Black WomXn on-screen are horrendous to us. It becomes a spectator view for those who are outside of Black WomXnhood. The trauma and pain when being depicted for other subjects, there is a proud conservatism and privacy. To allude to the pain but respect it for the subject. Shield the audience from being pained and respecting the privacy again for the subject, which is usually a non-Black WomXn. For Black WomXn's pain to be communicated and gain empathy, every lash in an enslaved movie must have the blood splashed across the camera lens. In 12 Years a Slave, the night engulfs and hugs the master as he rapes his captive. The moonlight shines down on the horrendous and decrypting and dehumanizing act. The silence and echoes of the crickets add to the heart-wrenching show and violation. This pain and rape scene is set up as a show so audience members can be captured by the moment, hypnotized by it, and not tear a single eye away from the screen.
For our pain to be communicated, we must be demeaned and dehumanized, stripped of identity and emotion. This leads to the desensitization of Black WomXn's pain, adding to the mistreatment suffered by doctors that underestimate our pain and leads to our death. Black WomXn's bodies are not respected. We are treated as disposable waste that reaccumulates. Showing Black WomXn's pain and trauma with more gore will not cause any action. Only temporary empathy that is dismissed from the mind once the movie or tv show ends.
CommXndmXnt: Thy shall show thyself
Identifying as a Black WomXn, this work is representing a part of me. As I show myself more in my work, this can be a restorative and therapeutic tool in unlearning biases and conditioning and being able to frolic mentally and physically freely in an Afrofuturistic world.
CommXndmXnt: Thy shall collaborate with other Black WomXn
Collaborating with other Black WomXn ensures to the multifaceted experiences of Black WomXn are included. No narrative is the same, yet all narratives encompass the being of a Black WomXn. Collaborating with other Black WomXn ensures that money and opportunity circulate within the Black community. As I rise, others must as well.
CommXndmXnt: Thy shall be a safe space for Black WomXn and Black folX
Self-explanatory. Period.
CommXndmXnt: Thy shall make each scene in coordination with archival footage
The archival footage serves to document at the earliest possible time that Black WomXn were molding and currently creating with the Afrofuture in mind, consciously and subconsciously. In drawing parallels of Black history, the Afrofuture and the present archival footage serve the purpose of grounding and acknowledging our Ancestors fought and worked with the Afrofuture in mind, regardless of if the term was coined then or not.
CommXndmXnt: Thy work shall not be linear
Time is a social and artificial construct. We are operating on CPT. Subjectivity in time is in correlation with production and commerce. Production and commerce that has led to the exploitation of Black bodies. Time is limiting.
Going against time is a radical act and a decisive act in choosing the power of rest. Rest is revolutionary. To rest should not center around the business hours of our exploiter. Rest needs to be center around the needs of the body. We suppress our body's needs to keep up with forced capitalism that highlights production and commerce over mental, emotional, and physical health. Rest is revolutionary of the Afrofuture.
CommXndmXnt: Thy work shall not fall into White Validation Syndrome
Our pain, art, value, and trauma should not be recognized and validated by white people to be considered accurate. The need to be identified and acknowledge by those outside our community will ultimately be our downfall. Insisting to be accepted by white culture will only compromise our own sanity and quality of work.
The mental and cultural relocation has caused a need for belonging for some within our network. Seeking white validation will only result in more protracted suffering and suppression, for we have to suppress ourselves to be deemed as of value. Leave the shackles of this thinking behind.
We add to our oppression seeking that we are acknowledged and integrated by the dominant culture. Black WomXn's bodies will continually be satirized and mocked with or without white validation. We sacrifice ourselves to be approved by others who have no relation or idea of Blackness.
CommXndmXnt: Thy shall use AAVE without explanation
My language. I will use it as I will. I will not be shamed for code-switching.
CommXndmXnt: Thy shall honor the Ancestors
We are here because our Ancestors fought and survive to get to this point. Saying “I am not my Ancestors” is disrespectful and disregards the work and fight our Ancestors lived and died for. They lived and died for us. We will not disrespect them.
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LANGUAGE
X
Language plays a crucial role in acknowledging identities while also following rules that adhere to imposed gender roles. The significance of X is intentional in acknowledging identities that have been erased due to misogynistic language and suppression. The X alludes to the identities beyond the English language incomprehension. The English language is limited and Anglo-Saxon based, which is rooted in patriarchy. In acknowledging the vastness of gender and escaping the binary, X is a gender-neutral language. It is a language that is not rooted in the oppression of groups that have been oppressed and silenced. It is the intentionality of correcting a wronged history.
An example of this intentionality of recognizing those silenced is using X in the word folX. "Folks" have traditionally been seen and accepted as a gender-neutral term. The inclusion of X in reference to titles and nouns that refer to humXns is a means to highlight those who have been impacted and affected by misogyny. No group is exempt from colonial influence, either be directly or indirectly.
Another example includes using the X with words with "man" or "men." Examples of this include changing "woman/women" to womXn and "humans" to humXns. In this manifesto, particularly, "amendments" and "commandments" are changed to amXndmXnts and commXndmXnts.
Each time "men" appear in sequence, "e" will be replaced with X regarding gender and authority, such as “men” and “amendments.” Correcting gender-identifying words means correcting the default language of masculinity that has impacted and formed the English language (Kerr, 2019). In pointing out misogyny and intentionally adding X, it acknowledges an oppressive system.
The deliberate and intentional inclusion of the X when referring to womXn and folX is a radical act in acknowledging identities that has been silenced by language and limited by it. It is the deliberate inclusion of identities that have been overshadowed or not acknowledge. X acknowledges that gender and sexuality are fluid, with varying identities existing and coexisting at once. The X is a push against the standard, gender confining language. It allows for Black folX to be as they please.
Thy Shall
Having been raised in a Southern Baptist Church, words such as "rules," "forbidden," and "laws of God" are centralized in the Christian belief and verbiage. These rules are centered around the "10 Commandments." These commXndmXnts establish morality and governance that humXns must abide by for soul security in the afterlife. This fear and laws drive those to "do good" and into submission. This same fear and irrefutable laws are used as grounds for repression and suppression. The "10 Commandments" were used as grounds of obedience with the penalty of being deprived of entering the pearly gates of Heaven.
The beginning of the manifesto opens with the "Afrofuturistic CommXndmXnts." In replicating the original "10 Commandments," the "Commandment" language takes an authoritative tone. There is no room for debates or questions. These commXndmXnts are absolute. The commXndmXnts are rules that humXnkind must follow. In mimicking the authoritative and absolute tonnage of the "10 Commandments," the Afrofuturist CommXndmXnts sets a tone in the art process that allows for Black folX to exists. The commXndmXnts serve the purpose of elevating Black WomXn while also protecting them. In addressing a world and safe space for Black WomXn to prosper, we must first create a model that is free of misogyny and the effects of colonialism. The commXndmXnts sets a stage that protects Black WomXn rather than suppressing them into a patriarchal, submissive, demeaning will. Rather than establishing actions and forbiddance, the Afrofuturist CommXndmXnts serve the role of establishing a physical, emotional, and mental space that is free of symbols of oppression. They serve as a protection rather than establishing morality that is Eurocentric based.
Black WomXn
When referring to Black folX, the “B” will be capitalized.
“…We capitalize Black, and not white, when referring to groups in racial, ethnic, or cultural terms…Black reflects a shared sense of identity and community. White carries a different set of meanings, capitalizing the word in this context risks following the lead of white supremacists”[1]
In capitalizing womXn, it will happen in the sequence where Black is first. Black WomXn is a title that is synonymous with being a noun.
[1] (Laws, 2020)
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Addendum
Water will be used as a portal through time.
With the water used as a portal, a tool of the Afro future, water symbolizes the sacredness it has within the Black community. As water is essential to life, it is also used as a tool against Black communities in either denial of it, a weapon during the Civil Rights Movement on protestors, or environmental racism resulting in disasters impacting Black communities detrimentally. The water serves as a grounding tool in acknowledging the Afropessimism of the reality of imperialism's lasting effects on the African Diaspora. Water is where my Ancestors lay and rest, the ocean floor of unmarked graves.
Cisgender mXn's face will not be shown no more than 3 times.
We live in a world that privileges mXn subconsciously and consciously. In breaking and dismantling our patriarchal system's brainwashing and misogynoir, we must break from the automatic default of comparing our experiences with others. We can give insight, but the comparison of experiences leads to demeaning and minimizing of others. In challenging the world and societal standards and highlighting the varying intersections of Black life, spaces must coexist. In this space that is relating to Black WomXn, cisgender mXn are limited in appearance. In allowing for Black WomXn to frolic freely, a space must be created that is inclusive of solely them and their needs, free from misogynoir and those who resemble it.
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Glossary
AAVE – African American Vernacular English, aka. Black English. A dialect and socio-linguistic language developed by Black folX due to theft from the motherland and forced into enslavement in the Americas. Oppression of language through suppression in education and dislocation led to the creolization of English[1]
Afrofuturism – Experienced through folX of African descent existing and being in spaces and identities that we have either been erased from, suppressed from, oppressed from, and/or not imagined in[2].
Afropessimism – acknowledges the reality of the last effects of colonialism, imperialism, brutalization, and theft of people in relation to folX of African descent.
Black WomXnism – Not feminism. As defined by Alice Walker, “… a wom[x]n who loves other women sexually and/or nonsexually … committed to survival and wholeness of entire people, male and female” through challenging patriarchal systems that have oppressed Black folX[3].
Black Space – A space purposefully created for Black folX, free of paternalism, colonialism, and misogynoir.
CPT – Colored People’s Time
Hotep – Egyptian word that means “at peace.” Has evolved to describe Afrocentric Black folX. Also used to describe a person who is “either clueless parody of Afrocentricity…or someone who’s loudly, conspicuously and obnoxiously pro-Black but anti-progress”[4].
Misogynoir – Coined by Moya Bailey; it is the “anti-Black racist misogyny that Black Wom[x]n experience” is internalized. This leads to the over-sexualization of Black Wom[x] and adding to existing stereotypes about Black WomXn[5]
[1] (Sidnell, n.d.)
[2] (Young, 2016)
[3] (Rahatt, 2020)
[4] (Young, 2016)
[5] (What is Misogynoir?, 2020)
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Work Inspirations:
Edwards, L. (2020). Afrofuturism Collab. (L. Edwards, Performer) Durham, NC.
Laws, M. (2020, June 16). Why we capitalize 'Black" (and not 'white'). Retrieved from Columbia Journalism Review: https://www.cjr.org/analysis/capital-b-black-styleguide.php
Mazama, A. (2018). Retrieved from Cognitive Hiatus and the White Validation Syndrome: An Afrocentric Analysis: https://doi.org/10.1007/978-3-319-75447-5_3
Rahatt, C. (2020, February 04). How Alice Walker Created Womanism - The Movement That Meets Black Women Where Feminism Misses the Mark. Retrieved from Blavity: News: https://blavity.com/blavity-original/how-alice-walker-created-womanism-the-movement-that-meets-black-women-where-feminism-misses-the-mark?category1=Books
Sidnell, J. (n.d.). African American Vernacular English (Ebonics). Retrieved from Language Varieties: https://www.hawaii.edu/satocenter/langnet/definitions/aave.html
Syms, M. (2013, December ). The Mundane Afrofuturist Manifesto. Retrieved from The Third Rail: http://thirdrailquarterly.org/martine-syms-the-mundane-afrofuturist-manifesto/
What is Misogynoir? (2020, February 12). Retrieved from Blackburn Center: https://www.blackburncenter.org/post/2020/02/12/what-is-misogynoir
Young, D. (2016, March 05). Hotep, Explained. Retrieved from The Root: https://www.theroot.com/hotep-explained-1790854506
[More to be added and edited...]
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Edens Zero Week: Favorite Moment
Ladies and gentlemen... he did it.
He actually did it.
I expected Mashima to find a way out of the dark situation he wrote himself into with chapter 84. I could see Weisz going on without an arm for the rest of the series. I could see the team getting back Happy and Pino. I could imagine Shiki, Homura, and Rebecca finding a way to break free and help all their friends. But once Drakken Joe shot Shiki, I knew that something had to change.
But I could never imagine Cat Leaper’s awakening in chapter 84 being what it was. Of all the possibilites Mashima could have gone with to bring things back to normal, this wasn’t one I could have expected. And yet, the more I think about it, there wasn’t any decision he could have made that would have sense. In honor of Edens Zero Week, I’d like to talk about what makes the activation of Cat Leaper such an amazing moment, along with its future implications for the series.
Strap in, because this is gonna be a long one.
What happened when Cat Leaper awakened?
To start, let’s talk about the moment itself. To be clear, I am speaking of the proper awakening of Cat Leaper in chapter 84. Even as the ability is revealed in chapter 64, I’ll be refering to that moment as the unlocking of Leaper for the purposes of this post.
A big reason for this is that Drakken Joe makes a distinction between Rebecca’s ability to use Cat Leaper to move very fast and the actual power that he’s trying to steal. That power
If I have anything to criticise this moment for, it’s that it’s taking place in a shower. On the one hand, it’s the only place that Drakken Joe wouldn’t reasonably put cameras in, which is important to this moment happening at all. Still, I don’t like that this important moment is happening while Rebecca’s naked. It’s worse considering you have moments where we go from Rebecca think about Drakken Joe to her being in the shower, as opposed to a consistent view from that flashback perspective.
That being said, the awakening of Cat Leaper is dependent on not taking advice. Upon seeing Rebecca still brooding about what happened to her friends, he flat out says, “forget the past”. In his mind, there’s no point in dwelling on the past. After all, it’s not as if there’s anything she can do to change it. It’s irony like that which is why I love Mashima’s writing.
With the actual moment, it happens because she wishes that she could change the past. Specifically, she wishes that Shiki wasn’t dead. And that was the trigger for Cat Leaper’s awakening. She wanted to return herself to a place where Shiki could have been saved and was brought to one of the easiest places for that to happen: right before going to Belial Goer.
The crazy thing about this is that there was a subtle hint towards what’s about to happen within the chapter title. You’ll notice that the title of this chapter is “A World Without Shiki”. If you were to read this without knowing about this moment, it would mean that the world has to move on without Shiki. Knowing what happens, the title is describing what is at stake for the rest of the arc: a world without Shiki.
Speaking of which...
What did the awakening of Cat Leaper do for the Belial Goer arc?
In the most literal sense, all it did was reset the events of the arc by about 15 chapters, from the middle of chapter 69 to the last few pages of chapter 84. This resulted in much of the darker events of the arc to be negated near entirely.
Near, being the operative word. Yes, Weisz doesn’t lose his arm to Fie. Yes, Shiki doesn’t die. And yes, the crew is prevented from being held as prisoners by Drakken Joe. However, that doesn’t mean that events are the same as before.
Notice that the amount of time Rebecca has been out has changed. In chapter 69, Sister Irvy says that Rebecca was out for about a full hour. In chapter 85, she says it’s only been half an hour. With the thirty minutes saved, she’s able to prevent the EZ Crew from going to Belial Goer and setting off the events that set up the future Rebecca came from.
Not to mention, the EZ Crew doesn’t find Labilla in the same state she was. In fact, they didn’t find Labilla to begin with. In this universe, Amira infiltrated Belial Goer, pretended to be Labilla, and hid the real one in a dance hall. Rather than finding Labilla as the victim of Daichi’s sadistic tendencies, she was accidentally spotted by Homura.
In one sense, this power can be seen as Mashima finding yet another way to keep his characters from dying. As someone who has made that complaint multiple times about his writing, I understand where that comes from. This is something that has shown up in both of Mashima’s other major works.
However, we were well prepared for this aspect of Cat Leaper’s abilities by Rebecca’s fight with Nino in the previous arc. I questioned why this wasn’t a bigger aspect of Rebecca’s reaction to activating it originally. This doesn’t strike me as Mashima breaking the rules of reason to keep a character in the narrative. This feels like a deliberate choice on Mashima’s part.
When Rebecca unlocked Leaper in chapter 64, Xiaomei hints at her understanding of the Ether Gear being limited. She outright says, “This power may save the universe one day... Yes... it is the power of possibility.” That doesn’t sound like something you’d expect to be said about a simple speed boosting power. And we already knew that Leaper was more than just a speed boosting power.
Even before then, we were introduced to Xiaomei in chapter 5, who made an important declaration. “In this story, time doesn’t really mean much.” By the end of that arc, this could have been assumed to mean that, with the existence of chronophages, time can be more relative from planet to planet. When we learned that time could be reversed with Leaper, characters were less bound to time than they would have been otherwise.
Not to mention, Rebecca doesn’t make it through the jump unscathed. While she didn’t experience and physical torture, she had to live through the events of the future. She has the mental scars of the event and has been shown to be apprehensive about doing things that could cause harm to Shiki or Weisz.
In erasing the previous events of the arc, there was another important thing that happened. The nature of the arc changed. That’s not me being hyperbolic.
Up to chapter 82, the main goal for the arc was to fight Drakken Joe. The expectation of the arc would be to fight the various members of the EZ Crew to fight Drakken Joe’s goons, including the Element 4. Ultimately, this would culminate in a final battle between Shiki and Drakken Joe. That’s not a bad set up for an arc.
But, after the awakening of Cat Leaper, the arc still has the EZ Crew fight with Drakken Joe’s people, and Shiki still fights the Element 4. However, the change in events results in a shift of the arc’s focus. The motivation for these actions became trying to reach out to people who may become friends by the end of the arc in Kris and Labilla. Not to mention, there are reconciliations with Sibir and Amira, opposing forces from previous arcs, that were made possible by the change in events.
What does Cat Leaper’s awakening mean for the rest of the series?
I can’t say that Xiaomei’s assertion that time doesn’t reallly mean much should be taken as literal as it may seem. After all, the reason that the revised plan works at all is becasue she woke up at a different time than before. The extra thirty minutes was the difference between life and death.
However, knowing how Cat Leaper works really does change how we see the rest of the series. Our understanding of the series has shifted from a normal set of events happening on a linear timeline to a set of various timelines beginning and ending at various points where Rebecca come to and from.
Knowing that Rebecca has been using Cat Leaper to avoid other events has put a lot of moments into perspective. Of course, it explains the flash forward at the end of chapter 4 and the nightmare that Rebecca had in chapter 69.
However, it does leave fans with an interesting question: is it possible that Cat Leaper is responsible for the change in other events throughout the series? Does Rebecca die because of the kidnapping to Guilst by Illega in another timeline? Does her initial meeting with Shiki have a different result in a different timeline and is that meeting the result of Cat Leaper in the first place? Is the fact that Rebecca and Labilla aren’t friends anymore the result of Cat Leaper? These are questioned opened up to fans with the awakening of Cat Leaper.
As for how the awakening of Cat Leaper specifically affects Rebecca’s character from this moment on, that will stand to be determined. Her ability to become an Ether Master was mentioned in that previous timeline. However, I’m more interested in the after effects of the mental trauma she’s experienced through the jump in timelines. How that plays out will be interesting to see take place.
For example, if (not necessarily when) Mashima decides to push Shiki and Rebecca’s relationship towards a romance, we’re going to look back at what happened in this arc. This may be the start of Rebecca realizing that she wants Shiki to be more than just her friend. Presumably, Shiki would have something awaken similar feelings in him.
I’m not currently hyped over any EZ ship, but I love what we’ve been getting regarding Shiki and Rebecca’s relationship. The first chapters gave us a great look into their complimentary views on robots as people and friends. And as the chapters have continued, it’s been interesting to see their relationship change and grow. Recent chapters have even been showing links to their Ether Gear abilities. This moment serves as a great reminder of that.
Of course, this also could cut in a darker way. If Shiki ends up in a situation where his life is on the line, how will Rebecca respond? Even facing Drakken Joe before he fought Shiki was enough to trigger traumatic memories for her. Of course, Cat Leaper may come in to prevent his death from sticking. But at what point does Rebecca break from the stress of seeing her friends die again and again?
It’s worth noting that Mashima has been known to use both to his advantage in writing characters and character relationships. While an overall lighthearted series, Edens Zero has had its fair share of dark moments, starting from the very first chapter. It will be interesting to see what direction Mashima takes this in.
Where should Mashima go from here?
One thing I worry that current and future fans, along with Mashima’s detractors, may complain about is that a power such as Cat Leaper may result in the series tension becoming nonexistent. Of course, that’s contingent on Rebecca being able to control that part of Cat Leaper and that’s not entirely a given, considering we already know it causes a number of problems. But if that happens, that would theoretically mean that Mashima could kill characters and bring them back as he pleases. There’s no way Mashima could prevent this.
Right?
Let’s ignore the obvious issues with this accusation that we’ve already touched on somewhat. I doubt that people who’d make these accusations actually care if events differ from time lines, Rebecca carries mental scars from the events through the timelines, or that this was set up long before we got to chapter 84. They’d likely only care that a character who was dead is brought back.
Before chapter 99, I would have said that there was one important thing that Mashima can do in the future to prevent this accusation. If and when Rebecca activates Cat Leaper to undo previous events again, this ought to come the cost of something else. Yes, the group is able to prevent a character from dying in a new timeline, but it comes at the cost of something or someone else precious to the group. In some cases, a tragic incident can happen across both times despite trying to change events.
Of course, this isn’t without precedent. In chapter 2, we learned that Happy died after a car accident and Professor Weisz is responsible for his current cyborg form. It was revealed that the first time Cat Leaper was ever used, it was used passively to correct her dying in that same accident. In other words, while Cat Leaper prevented her from dying, it wasn’t used to correct the incident altogether. In my eyes, that was proof enough that Cat Leaper isn’t a magic “get out of death free” card.
However, I still would have said Mashima would do well to not make that the only instance where escaping death comes at the price of something else. While I’ve thought losing Weisz’s arm might be the next step, as long as something important is lost that isn’t undone, the effect is the same.
What a difference a couple of weeks makes...
With the most recent chapters, it seems as though the current timeline has come at the cost of Captain Connor as part of the EZ Crew. While his impact on the series was relatively minor up to this point, it’s hard to say that his current position won’t have an effect on the series. When he first showed up, the existence of other Edens ships was debated. Chances are that the EZ Crew will have to meet with the Edens One sometime soon. It stands to be seen if that will be a happy meeting or not.
Now, if Mashima really wants to really mess with us, we’ll see Rebecca use Cat Leaper a few more times throughout the series. We’ll see some of the similar effects here and there. However, at the end of the series, we’ll see a lot of the major antagonists serve as the final bosses for the EZ Crew. As crazy as that might seem at this point in the series, if certain spoilers are anything to go by, I wouldn’t be shocked to see something like that happen.
In Conclusion:
Cat Leaper is an amazing moment in its own right. But, while its main focus was overwriting events of the series, it also managed to change the nature of both the arc and our understanding of the series. It will be fun to see what this means for the rest of the series and how Mashima plays with it.
If you didn’t know, I talk about new chapters on this blog every Wednesday. If you’re reading this after June 30th, I might have the reaction for chapter 100 up now. I’ve also talked about the decision to go find Mother in chapter 3 for last year’s EZ Week.
See you!
#edens zero#edens zero week#edens zero 84#cat leaper#rebecca bluegarden#this was a fun post#it took forever to make#i have another mashima event this week#why do i do this to myself#edens zero spoilers
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On the topic of forgiving
I'd like to talk about something.
Often in spiritual practice or guidance, the focus regarding difficult events, people or relationships - is to forgive.
It’s easy to say: “Forgive that person and move on” -
There are just so many quirks that I feel there are about that, and I’d like to bring some more clarity.
1. There's the fact that forgiveness is misunderstood.
Forgiveness is not to let what happened drop, sympathise with the person and say it's ok and let it continue as it has been.
Forgiveness, in my experience, is to let bygones be bygones, yes, but make a decision for your best interests regarding it. There are other options you can take, sure.
You can stay, or work on it, or leave. What’s best for you?
Choosing to sympathise or be compassionate is a very nice thing, if you feel that’s what you would like to do. It could help you further release the past, depending.
When a person is asking for forgiveness, yet doesn’t seem to be giving you the option for different behaviour, or a way of doing things/living, they are not actually asking for forgiveness. They’re asking for permission to continue. That isn’t forgiveness operating - it’s a perpetuating cycle at work.
2. Forgiveness is freeing. But also, not so much.
Meaning, in short - due responsibility. It frees you of the past, so you can move forward and heal, while also holding those accountable.
This isn’t a bad thing! It’s an amazing thing, actually.
Forgiveness can be born from a person changing. Whether it’s the person who did wrong, or the person who grew and learned from the difficulties. Honesty is crucial for forgiveness. Sometimes it’s best for you to be simply honest about what has occurred, and see it with open, clear eyes.
Whether someone recognises what they’ve done or not - you certainly have.
3. Forgiveness is for you, not them.
This is not something that would free them. This is not something they would be aware of, in a lot of cases. The repercussions for them are part of their own journey, and it’s not for you to know in general.
This is for you to feel free, empowered and live in and experience more joy. The purpose of forgiveness is to release ties that bind you, and help you move forward towards more clarity, more happiness, and more authenticity.
This is for you. If you want, it’s up to you if you enjoy the spite part of it. Your journey is yours. Why would you want to hash over the same thing over and over again, when you can move on to something so much better? Living is for joy, not to stay in sorrow. You have a choice what to concentrate on when things conclude, or after an event.
4. It is not linear
You will have bad days. You will have good days.
Buttons might be pushed, you might get triggered, it’s all a process. A messy but unique process that is your very own. It’s extremely important that you let your emotions come up, address them, honestly talk to yourself about them,seek professional help, or support from those you trust.
Be open to what comes up for yourself. It may not be what you expect, you might find it has deeper connections with even more things in your life.
5. Here’s where I’m going to be controversial
Some people will absolutely be in the wrong. They will have hurt you. Plain and simple. Top and bottom of it. Some will have apologised and meant it - others not so much. Some will absolutely not realise they’ve done anything against you.
Regardless, while it seems so cliche - it really can be them being the “bad guy” and you being the “good guy”.
Sometimes, none of it was your fault. At all. Ever. And you need to accept that.
That, you couldn’t have changed how they treated you. It’s who they were. You were not the one in the driving seat, you didn’t realise who they were, possibly.
There’s no shame in simply being hurt by someone who didn’t mean well. I think it takes a lot of bravery to say: “yes, I was hurt, I tried my best, i loved/i cared/i tried but I was hurt. I didn’t deserve any of it, and I was hurt.”
6. In the end, a lot of it can be forgiveness of yourself.
Sometimes, darling, you couldn’t have known, and you did your best in the situation. You were hurt, and you deserve better.
Whether you were the victim (such as abuse), or really did have a part in it (It’s up to your own evaluation and honesty with yourself, and perhaps chatting for an outside opinion with someone professional, or you can trust) - you need to drop the self judgement born from what happened.
We all think of having compassion for the other, seeing why they were the way they were - but what about you? Be compassionate to yourself. Share your heart with you.
The point is, in every moment, we are trying our best. We are learning, we’re using what we know at our disposal. We each have a special journey, and I’m wishing that every downward movement leads to a magnificent, uplifting result.
Know after every low, magic is bound to happen.
#forgiveness#forgiving#cathartic#healing#heart healing#abuse#if you are experiencing abuse please reach out for help#youre welcome to speak with me too#divination#tarotblr#spiritual#spiritual community#chakras#self love#self esteem#inner power#pls forgive#toxic person#toxic#manipulation#narcissism#love#positivity#growth#spiritualgrowth#spiritualteacher#spirit#angel therapy#angel message#angel oracle
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So let’s talk about them fairies.
In Homestuck, magic is broadly a cipher for queerness. This connection is first introduced when John gets his magic tricks from a book about a homoerotic relationship between two men:
"It's really amazing how hard it is to find a sausage-sized piece of a guy on the floor of a room that dark and smoky."
"I wanted to ask if he was sure about this, performing in broad daylight. He was used to working in dark rooms. It was usually the first thing out of his mouth when he would queer a trick."
The motif continues -- Roxy, who “loves wizards”, is attracted to John, the closeted amateur magician who retcons events, making them unhappen in the manner of a wizard, and she falls in love with Dirk, a gay man, as well as Calliope, the transgender wizard of Oz. And so on and so forth.
Naturally, more complex relationships with magic signify more complex relationships with queerness. Rose hates her mother’s apparently-performative obsession with wizards, but she also keeps and writes personal slash fiction tales about them, and she performs her own sorceries as a lesbian. Eridan, who orbits around magic without accepting it openly, is basically a misogynistic incel, but he also canonically dresses in feminine clothing in death. The continual deconstruction of magic as something unreal or conceptually incoherent, even as it clings to a tangible presence within the text, replicates and signifies the marginalization, recuperation, and erasure of queerness by homophobia and transphobia.
One magical figure in Homestuck that I want to talk about is the fairy; as a particular magical identity, and thus as a symbol for a particular queer identity, I believe it casts an important light on several character and story arcs.
Andrew Hussie is at least plausibly aware of historical marginalizations and oppressions, as evinced by the deliberate use of e.g. ‘octoroon’ terminology in Sassacre’s texts. With that in mind, how might the specific historical use of ‘fairy’ terminology inform the various fairies we see in Homestuck?
In Gay New York, George Chauncey characterizes the historical fairy as follows, placing them in the context of male homosexuality:
The determinative criterion in the identification of men as fairies was not the extent of their same-sex desire or activity (their "sexuality"). but rather the gender persona and status they assumed. It was only the men who assumed the sexual and other cultural roles ascribed to women who identified themselves -- and were identified by others -- as fairies. The fairies' sexual desire for men was not regarded as the singular characteristic that distinguished them from other men, as is generally the case for gay men today. That desire was seen as simply one aspect of a much more comprehensive gender role inversion (or reversal), which they were also expected to manifest through the adoption of effeminate dress and mannerisms; they were thus often called inverts (who had "inverted" their gender) rather than homosexuals in technical language.
With reference to Chauncey and others, Emma Heaney likewise characterizes the fairy as such in The New Woman, placing them in the context of trans femininity:
Trans feminine genders were legible and understood in the period. Fairies and girl-boys were not only viewed as “crossing” from man and woman, but as trans feminine people, whose conditions of life were set by their association with cis women... Fairies were viewed as interchangeable with cis women in sexual and domestic pairings, and their femininity established the contrasting “normalness” of their masculine partners...
This non-determining relation between genitals and sex did not lead to the breakdown of the categories “man” and “woman” or the evacuation of meaning from these terms. Rather, fairies simply occupied the social role of women during this time. This operation extended to a popular recognition of the way trans femininity conditioned the interpretation and thus the experience of cis women.
The historical fairy, then, and the conventional fairy by extension, serves as a signifier for homosexuality, gender non-conformity, crossdressing, transgender ‘gender inversion’, and/or queerness in general -- particularly in those assigned male at birth, but again, also in general.
Who are the fairies we see in Homestuck, and where do we see them?
Well, the primary fairies we see in Homestuck are the trolls, of course. In folklore, troll mythology emerged from a different culture, but trolls inhabit a similar order of mythology to the fair folk, as nature spirits and as friends or foes to humanity. In Homestuck, the trolls who achieve god tier status also obtain fairy wings; for trolls, godhood is inextricably entangled with butterfly and fairy symbolism.
Metamorphosis is clearly a significant part of troll biology, and therefore ingrained in their mythology. They've got cocoons everywhere, and are often likened to insects through biological terms. The wings have nothing (we know of) to do with troll adulthood. But have a lot to do with their perception of what ascension should be, which is the culmination of a pupation process. Which is why some may look to fairies as an ideal, or rule them out as fiction on account of the ideal they represent. Ascended trolls in this game are essentially magical fairies.
The confluence between troll feyhood and divinity, as a kind of godlike expression of metamorphosis, takes us back to the queer concept of the fairy as sexually fluid and transformed, as well as the sexual fluidity of the trolls. Through SBURB, the trolls are enabled to ascend to a distinctly queer godhood, coming to embody the same divine androgyny as the cherubs do; in particular, through an epic coming-of-age, the trolls are given the opportunity to “grow sideways” instead of growing up, quite literally developing laterally and stepping outside of the normal process of physical maturation for their species.
As Kathryn Stockton says in The Queer Child, with reference to Edelman’s No Future:
...the figure of the child as the emblem of parents’ (impossible) continuity spawns delusional visions. These are visions of the seamless reproduction of oneself, whose future is always represented by (one’s) children. Thus “the future” and “our children” are always bound together in a kind of frightening (and hermetically sealed) “reproductive futurism”: a “social consensus” that... has been made “impossible to refuse”... If in any context there is “no baby” and thus “no future,” “then the blame must fall on the fatal lure of sterile, narcissistic enjoyments understood as inherently destructive of meaning”—enjoyments dramatically laid at the door of homosexuals.
I coin the term “sideways growth” to refer to... something that locates energy, pleasure, vitality, and (e)motion in the back-and-forth of connections and extensions that are not reproductive.
Reading fairy tiering as a kind of queer apotheosis -- and thus, as a kind of deviation from the reproduction of the future -- is difficult precisely because it serves as a mechanic in a game about the reproduction of the cosmos, but I would argue that the reading is less counter-intuitive than it seems. The trolls are intrinsically queer by the human standards that center the comic: even as the trolls reproduce, their form of reproduction itself negates the reproduction of a conventional and heterosexual human future, and and it destroys the nuclear family unit.
To be clear, on Beforus and Alternia, the trolls are still entwined and bound within a kind of reproductive social matrix, and SBURB reifies this matrix, abusing childhood itself as the site of the production of the future. But god tiering -- and fairy tiering in particular -- is an entirely superfluous mechanic. It is not necessary for the completion of the game, nor does it exist as a linear extension of the echeladder that is much closer to the core of SBURB’s gameplay. It allows all ascended children to personally perpetuate their own existences beyond their inevitable deaths, rather than perpetuating the existence of the cosmos at large.
God tiering is thus a form of sideways or nonlinear character advancement that exists apart from the demands placed upon children by the game: it is a form of sideways or nonlinear growth and self-actualization that exists apart from the reproductive demands placed upon the young by society. Fairy tiering simply literalizes this metaphor, allowing the queer troll children both to grow sideways and to come to embody hyperreal symbols of queerness.
All of this is particularly evident in practice. Fairy symbolism surrounds many of the trolls, particularly insofar as they serve as “fairy godmothers” to the beta kids, but our primary and most explicit fairies are Vriska and Aradia, simply because they’re the only beta trolls to god tier in the alpha timeline:
Aradia herself is surrounded by death at all times, but her morbid obsession is shaped by her embodiment and her state of being. As a ghost, deceased herself, she is imprisoned wholly by the teleology of reproductive futurism, and thus she is hollowed out into a manifestation of SBURB’s inevitability:
Aradia’s ultimate resurrection as a fairy -- after she has already fulfilled her cosmogenic role and helped her team to complete their session -- thus constitutes her transcendence of her role in the perpetuation of existence. Her metamorphosis allows her to transcend her old role as a temporal lynchpin in SBURB’s reproductive futurism, and having so ascended, she leaves for a sempiternity in the dream bubbles; she rejects the future in favor of the alternatives of the dreaming and the dead, growing sideways on multiple levels.
Vriska likewise has a complicated relationship with SBURB, one inextricably influenced and foreshadowed by her history as an experienced FLARPer and augmented reality gamer. For Vriska, who was recruited by her caretaker and mother figure to prey upon other children, FLARP was nothing less than a way for her to fulfill those demands:
The narratives of FLARP thus constitute a fantastic representation and allegory for the more fundamental social realities of Vriska’s hellish life -- and the lives of others -- given form through augmented reality, as video games are wont to be in Homestuck. But at the same time, through FLARP, Vriska is able to attempt to recuperate some noble identity for herself:
Vriska is able to shuck off the reality of her situation as a victim and a cog in an overwhelming cycle of abuse, becoming the person she wants to be: strong, powerful, and in control of herself and her life as an adult and a glorious scoundrel. The equally-overwhelming fakeness attribute of this persona is irrelevant, because Vriska has made this persona real enough for herself, seizing strength, power, and control on every front.
It’s only natural that she also sees SBURB as another meaningless game to exploit...
...because to her, it is. It’s just another reality for her to navigate, and thus another site for her to attempt to extract something for herself. Where every other god tier we see is murdered through the will of another, and then god tiers almost incidentally or accidentally, Vriska deliberately fairy tiers with full knowledge and awareness, in an ultimate act of excess as a power gamer, abusing and mastering the system around her for her own benefit. Her fairy tiering is inextricable from her disrespect, exploitation, and subversion of the cosmogenic order for her own pleasure.
And naturally, like Aradia, Vriska dies and is laterally exiled to the dream bubbles. In the dream bubbles, we see the alpha trolls who god tiered in the alpha timeline -- Meenah, the Thief of Life who only has vitality in taking it from others, manipulating Life without really creating it anew, and Aranea in particular. Aranea is not only Vriska’s ancestor, who informs her aspirations and character; she’s also her ectodoppelganger from across the Scratch, and a true fairy archetype:
As a god tier Sylph, Aranea is an explicit fairy on multiple levels, and she aspires to ‘heal’ the timeline she occupies. Her power as a fairy is that which empowers her to divert the timeline; her fairy status is that which subverts the reproductive futurism of SBURB and the teleology of the alpha timeline, allowing the sideways growth of an offshoot to supercede the inevitable forward growth of the alpha. Aranea’s sideways development is so absolute that when she and her plans falter, a literal plot hole -- with all of the story-breaking power it allows -- is required to bring the alpha timeline back into a forward order.
Fairy tiering is implicated in sideways growth on every level, but I think I’ve said enough about that in particular -- there’s a lot more to be said, and much more interesting things to say, about fairies and queer subtext in Homestuck.
Let’s go back to the revenge cycle among the beta trolls, with an eye upon the fairy as a queer figure.
The beta revenge cycle begins with various sessions of FLARP between Aradia, Vriska, Tavros, and Terezi; at some point in these games, Vriska uses mind control to force Tavros to jump off of a cliff.
On the literal level, this is just Vriska being pissy and needlessly cruel to Tavros -- both as the descendant of the man who loved and killed Vriska’s own ancestor, and as the boy who is too pathetic sensitive for Vriska’s playstyle. But Vriska’s cruelty is preceded by a particularly interesting monologue:
Rather than simply punishing Tavros or otherwise getting on with his torment, Vriska verbally solicits fairy behavior from him. Tavros dresses like Pupa Pan -- the child in arrested development, the proto-gay child, the fairy-child, the fairy-touched child -- and Vriska compliments him on the cuteness and appeal of his fairy presentation. She asserts, or assumes, or realizes that Tavros wants to be Pupa Pan, just like she wants to be Spinneret Mindfang, and she asks him to try flying with her; she asks him to try acting like the fairy child that (she thinks) he wants to be.
On the symbolic level, Vriska is pushing Tavros to join her in flight among the fairies, and thus, to come out of the closet as some kind of queer figure, or at least, to try queer behavior with her. She hurts him in the process -- perhaps because he isn’t queer, despite the fairy symbolism he surrounds himself with and aspires to, but the question of Tavros’ implied queerness is almost incidental to the reality of his pain at Vriska’s hands. If Tavros was ever going to grow wings and fly like Rufioh and Pupa Pan, it wasn’t going to be because he jumped off of a cliff, nor was he ever going to come out of the closet just because Vriska kicked the door down and pushed herself upon him.
Not that Tavros was ever going to get overwhelming sympathy for his victimization. The fairy subtext of Vriska’s violence against him was only reiterated when he first reached out for help, and he was turned away not simply because he was unsympathetic as a male victim of (sexualized) violence at the hands of a woman, but because he was a boy who had deliberately chosen to participate in femininity:
Tavros played a stupid game with an aggressive girls, and he won a stupid prize when she victimized him, but the equally fundamental victim-blaming at play is that in ‘playing a game for girls’ -- in attempting to take flight as a fairy child, and in attempting to enter the realm of the feminine and/or queer -- he got exactly what he was asking for.
After Tavros, we come to Vriska, and she doesn’t find her place in the beta revenge cycle any more fulfilling. Aradia takes vengeance upon Vriska for her brutality towards Tavros, and Aradia does so by confronting her with the ghosts of her victims:
On the literal level, this is also a straightforward act of revenge against Vriska: Vriska is tormented by the various trolls she has killed, subjecting her to a truly ironic and karmic comeuppance (and subjecting her in equal measure to a vicious retraumatization as a fellow victim of spidermom).
But Aradia’s revenge also has a unique meaning with relation to the fairy symbolism that surrounds these characters; Aradia is forcefully reminding Vriska that she’s not the Tinkerbell to Tavros’ Pupa Pan; in fact, she’s his Captain Hook.
Aradia confronts Vriska with the apparent bleak reality of her situation: that she’s a murderer and a pirate, a not a lost boy or fairy-child. It’s only natural that she destroyed Tavros instead of straightforwardly acting as his fairy guide, because she was never actually his fairy.
It’s hard to understate how emotionally devastating this is in a queer reading -- Aradia has contextualized Vriska solely as a child predator instead of the queer child that she is, and she has symbolically misgendered Vriska by stripping her of her fairy narratives. Vriska can cling to her pirate narratives, as she does quite a lot of going forward, but she still circles her fairy fantasies with Tavros, as she does when she meets Tavros in the game:
Vriska senselessly acts her fairy fantasies out no matter how impossible it seems for her to fulfill them, and no matter how unfulfilling they’ll be as a consequence.
She tries to unite Tavros with his shadow, (her perception of) his repressed true self, but she’s basically using him as a doll, and she knows it. It’s aggressive and masturbatory, and that’s exactly what she hates about her affection, at least on some level. She’s a trans girl who has been confronted with the reality that she’s being a creepy fucking chaser and acting like a stereotypical straight guy.
This desolation, the psychic amputation of Vriska’s fairy fantasies, is what Aradia has really done to Vriska. Aradia has denied Vriska’s right to be a queer figure in Tavros’ life, let alone anyone’s life, and she has reminded Vriska of just how shitty a queer role model she would be -- Aradia has told Vriska that she’s actually just a predator, just like her spider lusus, and she has psychologically and symbolically amputated Vriska of her claims to queerness.
This is something that Vriska really can’t forgive.
Vriska’s act of revenge against Aradia is -- yet again -- straighforward enough on the literal level. Encouraged by Doc Scratch -- as a man who gives voice to Vriska’s worst desires, or as a predator who manipulates her -- she takes a sliver of control of Sollux and pushes him to inebriate himself, before having him kill Aradia.
However, this is contextualized not only as violence within a relationship...
...but also as violence through Gemini.
Aradia has been assaulted by her partner, as contrived by Vriska, and she has also been assaulted by the duality of Gemini, which stands for the duality of like mirror images before it stands for the duality of opposites; it is the male twins in conjunction with one another, not the reconciliation of opposed principles in unity, as within the divine androgyne.
More explicitly stated, Aradia has been murdered or otherwise brutalized by Sollux, who serves as the lingering specter of intimate partner violence against fairies (i.e. trans femmes) and misogynistic masc4masc bullshit in general.
And having been so brutalized, Aradia is reduced to a shell of herself; in her vulnerability, she is first co-opted by the reproductive futurism of SBURB and then preyed upon by Equius.
The deeply autoerotic quality of Equius’ fixations -- as a man who dominates but wants to be dominated; as a man attracted to a robotic body who only finds fulfillment as an AI; as a man who tries to make the target of his affections akin to his corporeal blueblooded self, before finding fulfillment as a red sprite like her -- reveals the fundamental likeness between him and Aradia, as the target of his fixations, or at least, it suggests that he sees some kind of likeness between him and her, on some level.
The transmisogynistic images that inform Equius’ mythology -- the cybernetic male-mother, the hulking brute, the autoerotic autocastrator, etc -- also thus reinforce the notion that Aradia is subject to transmisogyny as a fairy, and Equius’ literal construction of her body for his pleasure positions him as one who abuses and exploits the transgender body, holding it to the constructed mold that pleases him.
Having destroyed Aradia even more thoroughly than Tavros, the revenge cycle turns yet again against Vriska, and Terezi punishes Vriska by proxy... by telling Doc Scratch, abuser of women and children, that Vriska is in the possession of his cue ball.
Doc Scratch detonates his cue ball, but in doing so he quite deliberately ends Vriska’s prospects as a fairy, rather than simply killing her. He continues Vriska’s amputation by literally taking her eye and arm, scarring her body and reifying her life story as the Captain Hook to Tavros’ Pupa Pan. He deliberately posits her as the symbolic antithesis to the fairy, he does so through the permanent destruction of her body so as to tell her that she will always be that antithesis, and he constructs her body so as to keep her from fulfilling the fairy ideal.
That Vriska is still able to recuperate her identity and make something truly fantastic of herself as a punk pirate is incidental to the reality of her pain at Doc Scratch’s hands. That Vriska crafts her pirate persona in the splitting image of Mindfang in particular, who is herself Aranea the fairy, reveals the bleak reality that Vriska is, in fact, still approaching the fairy archetype on some level, as closely as she realistically can, in spite of being shunted into another role. Vriska is far from femme, and she’s hardly heterosexual, but she’s still a fairy girl (i.e. a trans woman) on the symbolic level.
Most of all, Vriska serves as one of many middlemen in the equation, but both Aradia and Vriska are subject to bodily destruction at Doc Scratch’s abusive will, and both of them have their bodies reconstructed through cybernetics by Equius, leaving them open to his abuse, before ultimately finding bodily integrity and greater wholeness as god tier fairies.
(Speaking of which, remember when Tavros wasn’t able to bring himself to kill Vriska in order to god tier her?
This isn’t just Tavros’ failure to give Vriska a divine power-up, and it’s not just his refusal to reciprocate some kind of black romance fling with Vriska, sexual or otherwise -- it constitutes his ultimate failure or refusal to validate Vriska as a fairy! No wonder she’s so butthurt.)
To sum it all up, the beta cycle of revenge is almost entirely about maladjusted fairies -- maladjusted trans femmes and AMAB queers -- acting out and abusing each other in a conflict that spills over to hurt others, all under the direction and oversight of Doc Scratch’s predatory inclinations. Terezi might really be in it for something like justice, to avenge her friend, but Vriska, Aradia, and Tavros are also entangled in something even more intimate, violent, and personal.
TL;DR: trolls are gay, trans Vriska needs therapy
#homestuck#homestuck meta#homestuck analysis#effortpost#vriska#aradia#trans vriska#trans aradia#vriskourse#cw slurs#I guess
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TEENAGE MUTANT NINJA TURTLES #52-56
OCTOBER 1992 - FEBRUARY 1993
BY KEVIN EASTMAN, PETER LAIRD, JIM LAWSON, KEITH AIKEN AND MATT BANNING
SYNOPSIS (MIXED WITH TURTLEPEDIA, TMNT ENTITY AND COMIC VINE)
Casey wakes up in Gabby's trailer, too injured to eat. Gabrielle tells Jones that he can stay there and rest up if he wants to, and Casey says that he might. Jones then dials the local police to report the incident, but when the operator answers he just hangs up. He grabs a drink and heads outside to take a walk.
April is reading about the Foot violence in the New York Times. The story sparks her memories of the Foot burning down her antique store. Robyn interrupts her sister's thoughts and the two head out to do some shopping.
Gabby gets an hour off so she heads home and is surprised to find Casey still there. Jones has cleaned up the trailer and made lunch that they share.
Master Splinter is in the woods of Northampton, Massachusetts, attempting to meditate, but something is on his mind and he cannot concentrate.
Casey and Gabby are talking about the family that Jones left behind in New York.
"You miss your family, huh Casey?" Gabby asks.
"Yeah, I guess..." Casey mumbles, "Yeah..."
Gabrielle takes Casey's hand and tells him, "I just want you to know... when you're ready... if you're ready... to tell me... I'll be here. Until then... I'd like you to stay."
With that out in the open, Gabby kisses Casey.
In New York City, an Asian businessman is riding on a bus. He opens his briefcase and connects a cordless phone to his laptop computer, using it to hack into the power company's computers. He flags an account as seven months overdue. The power company discovers this odd glitch and wonders how it got past them for so long without anyone noticing, but rather than investigate further, they simply shut off the electricity in a building - one that the Foot Soldiers are using as a headquarters.
In Tokyo, Japan we see a conference with numerous business people gathered around a table. A man notes that their software has almost completed beta test phase and that it is a pity that they allowed the New York factions to go to war for so long. A woman notes that it was to their advantage to wait.
"In chaos there is weakness." she states.
Back in New York City, the Turtles prevent a woman from being mugged by three men. Raphael is tired of being a street vigilante and wants to find the Foot.
We see the old man in the hospital, sitting up for the first time with assistance from his nurse.
Leonardo tells Raphael that they just need to wait, and that in time their path will be revealed.
"Could ya keep the Zen crap to yourself for now, Leo?" Raph sneers, "We don't all have your freakin' Buddha nature, ya know... some of us actually enjoy linear thought! Like me... if I can't figure out whose butt I'm supposed to kick soon, I'm just gonna - -"
With that, Raph sees a strange robot emerging from out of a van driven by Foot Soldiers.
"--bust--" Raphael concludes, "Oboy. ALL RIGHT!"
The robot starts destroying a nearby bus, the one that contains the businessman who had earlier hacked into the power company's computers. The Turtles attack the robot and an army of Foot Soldiers appear from nowhere. Chaos ensues. Raph manages to destroy the robot, and the guys regroup, only to find themselves surrounded by Foot Soldiers and two more robots.
"What a revoltin' development this is." Raph notes as the Foot close in.
Well, look at it this way, Raph," Mike states, "It can't get much worse!"
In the final panel we see one of Shredder's Elite poised on top of a building.
Master Splinter is still attempting to meditate in the woods of Northampton, Massachusetts but his efforts once again prove futile.
Casey has taken a job as a grocery bagger, but he messes up by putting the bread on the bottom of the bag, which enrages his boss. The angry older man gets in Jones' face and reads him the riot act and insults Jones. Casey gets angry and puts a bag over the man's head and punches him in the face, sending him flying. Jones then storms out, but as soon as he's outside he realizes that he needs the job and goes back inside. Casey apologizes for the incident and asks for his job back. The man makes Jones get on his knees and beg for the work, but then screams "NO!" in Casey's face. So Space Case lets another punch fly and heads out.
Karai's plane has arrived in the United States, and she boards a helicopter that takes her to Foot headquarters, an imposing skyscraper in New York City.
Casey and Gabby are watching a romantic sunset. Gabrielle announces that she's getting hungry and wants to head for home, but before Casey starts their Jeep, he produces a ring and proposes. Gabby accepts Casey's proposal and the two are engaged.
April is having dinner with a slick weasel with a ponytail. The man brags about his programming prowess and then grabs April by the knee. O'Neil throws her coffee on the fellow and storms out. As she walks home, April reflects on how much she dislikes California.
Master Splinter is awoken by a voice, insisting that the old rat must eat if he's to survive. The Sensei tells the voice that he has nothing to subsist on.
"Help me..." Splinter implores.
"The help you seek," the Voice replies, "Is your own."
"There is little nourishment in riddles, shadow." states Splinter.
"The riddle is yours... that which can sustain you is within your reach... but not yet within your grasp." the Voice notes.
"I'm hungry... cold... in pain... and yet you torment me. You are death." concludes the Sensei.
"I am not," the Voice states, "But I know death."
Leonardo encourages his brothers to go on a training run. Raphael is not interested, but after some cajoling, he agrees to go along.
The old man is sitting up at the hospital, gazing longingly at the shuttered window.
As the Turtles jump from rooftop to rooftop, Raphael steps in some dog dung. This enrages Raph and he angrily stalks off towards home. As Raph makes hi sway back, he's ambushed by one of Shredder's Elite Guard. Raph is badly cut on the face, but he manages to severely wound the Elite by stabbing him in the side with a sai, thus taking the Elite out of action. Leo, Mike and Don arrive just as the fighting ends. The Elite gazes up at Leonardo.
"Y-you... you are the kappa... that killed my Master... Oroku Saki!" he stammers.
"Yes." replies Leonardo.
"I am... duty bound... to slay you... to... avenge my Master..." the man croaks.
"I think your avengin' days are over, pal." notes Raph.
"Perhaps... in the next life..." notes the Elite.
"Perhaps." answers Leo.
With this, the Elite Guard commits seppuku.
Master Splinter continues arguing with the Voice.
"Who are you!!?" Splinter demands.
"I have had several names," comes the answer, "But considering the circumstances, perhaps none is more appropriate than this... you may call me... the Rat King."
At her programming job in LA, April is feeling restless. She goes to her boss and states that the project he currently has her assigned to is a waste of time. Her boss sends her back to her desk and tells her to finish it. April sits back down, frustrated and angry.
At a Justice of the Peace's office in Colorado, Casey and Gabe tie the knot. Returning to their trailer, Casey has decorated the whole place in a tropical island theme to serve as their honeymoon. Gabe is thrilled with the gesture.
Inside the abandoned smokestack in Northampton, Splinter has been surviving off melted snow for water, though he needs food soon or he’ll perish. The Rat King urges him to eat the rats that scurry about his reach, claiming that once Splinter dies, the rats will have no second thoughts about eating his remains. Splinter refuses, believing himself to be above something as reprehensible as cannibalism. The Rat King tells Splinter that he is making a mistake by trying to shed his animal nature in search of spiritual perfection.
Back in LA, April returns home to Robyn’s place in a foul mood. She chides Robyn again for being messy and irresponsible and the two get into an argument. Robyn reminds April that their mother is dead and that April is not their father.
In the smokestack, Splinter grabs a rat, but lets it go; still unable to do the deed. The Rat King calls Splinter a weak master for his students, but Splinter believes it better to die than give in. Splinter asks if the Rat King is human and the Rat King reveals that he rejected his humanity long ago.
In New York, Karai and the Foot Clan have tracked the Turtles (who have grown sloppy) back to their water tower. Karai has assembled a unit of Foot Soldiers from the remains of the New York branch that are lost and looking for leadership. They plant a bomb beneath the tower, setting it on fire and sending the Turtles fleeing onto the rooftop. The Turtles, caught totally unawares, struggle to battle the Foot Soldiers (while in the hospital, the old man lays quietly in his bed).
Karai orders her Foot Soldiers to take the Turtles alive and they break out their tasers. The Foot Soldiers get Leo, zapping him unconscious. Though they’re loathe to do it, the other Turtles retreat before they’re caught, too. As they escape, Karai sends an arrow their way with a note attached. The note contains a phone number.
At Robyn’s place, April receives a phone call from the Empire Estates Nursing Home. As it turns out, their father passed away that morning.
REVIEW
When this story started, all these characters were in pain with their present. But as the story progresses, they start to figure out that they found their destiny, and that they cannot really avoid it. By being separated, they became weaker. If you like metaphors, all these divisions are reflected in the TV reports about conflicts in Europe and Asia. These fractures are food for vultures.
To make things more interesting, Karai made her debut in these issues. We are still not sure what she wants but... well... I already know the character :p
As for Casey’s story. I never heard of this Gabe before, so I don’t think that story is going to end well. And I think this mostly because of all the characters that are rediscovering themselves, Casey is the only one that seems to have been benefited by this arc. We’ll see.
The art got better with Matt Banning. It’s no secret that certain artists look better paired with certain inkers... maybe Keith Aiken wasn’t the right choice for Lawson.
I give these issues a score of 9.
#a c farley#tmnt#mirage studios#comics#review#1992#1993#modern age#indie#teenage mutant ninja turtles#city at war#karai#splinter#rat king#casey jones#april o'neil
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The Missing Linklater.
“Any time I’m on a set with Rick I feel very fortunate.” We talk to the writers behind Richard Linklater’s new missing-person feature film, Where’d You Go, Bernadette?
An adaptation of Maria Semple’s 2012 comedic novel about a reclusive architect who goes missing just before a family trip to Antarctica, Where’d You Go, Bernadette? stars Cate Blanchett in the title role. Bernadette’s daughter Bee (Emma Nelson) sets out on a quest to find her, with Bernadette’s husband Elgie (Billy Crudup). Laurence Fishburne, Judy Greer and Kristen Wiig also star.
Directed by American filmmaking icon (and co-founder of the Austin Film Society) Richard Linklater, the screenplay was co-written with his frequent collaborators (and married couple) Holly Gent Palmo and Vincent Palmo Jr. If their names are not familiar as scriptwriters, that’s because they usually work further behind the scenes for Linklater, and have been since 1993’s Dazed and Confused, when Holly was a production coordinator, and Vince a second second assistant director.
Vince became Linklater’s first AD for the films Bad News Bears, Fast Food Nation, A Scanner Darkly, Before Midnight, Boyhood, Last Flag Flying and Where’d You Go, Bernadette?. Holly co-produced Linklater’s Me and Orson Welles (2008), which she also wrote with Vince.
Reviewing Where’d You Go, Bernadette? on Letterboxd, Tom suggests that after a “generic” opening, the film “slowly starts to show its true colors as the character of Bernadette is unwrapped… it’s a story that is touching and even a bit inspiring for those who aspire to be their own artist in life.” J Oled agrees: “This could’ve been a Hallmark special, but because Linklater generally loves humanity, and is always experimenting, this film is quite watchable, it’s warm, relatable, and modest, and I wasn’t asking for much else.” Melissa, who has read the novel, offers: “If you’re a fan of the book… the movie is starkly different. But if you’re a fan of Linklater… you’re going to love it. Cate Blanchett may be the best actor of the decade.”
We spoke to Holly Gent Palmo and Vincent Palmo Jr. about their collaborative writing process with Linklater, mining their own relationship for inspiration, and making films for the social-media age.
Cate Blanchett as Bernadette and Emma Nelson as Bee.
How you were brought onto the project?
Holly Gent Palmo: We have worked with Rick [Linklater] for many years. We first met on Dazed and Confused, where we were on the crew, and we’ve worked on many projects with him. He’s one of our close friends. He was brought onto the project and then we read the book and loved it so he brought us on. We started from scratch, it was all based on the novel.
What did you relate to in the book that made you feel you had the right perspective to take it on?
HGP: This is a movie that for me personally is very relatable because it’s about a woman who has really lost herself in motherhood and as much as she loves that journey, she’s also really looking to rediscover her passion of her past creative impulses. I think that’s something that Rick, Vince, and I all can relate to, not only as parents, but also as people trying to do something creative in this world.
Was the book’s author Maria Semple involved at all?
HGP: First of all, the novel is fantastic.
Vincent Palmo Jr: Love the book, love the book.
HGP: Maria knows so much about the filmmaking process and has that history herself that she knew that she wanted to hand it off to Rick. She talked to Cate and she talked to Rick but she did not take part in the writing.
Richard Linklater seems like a great writer to collaborate with. What is it about him that makes that operate so well?
HGP: With Rick, the way we work is that we talk a lot in the beginning and clearly discuss every aspect of the book. This one was particularly challenging in that it was a modern epistolary novel told in emails and transcripts. It’s not a straight narrative and it’s not told in a linear fashion, necessarily. So we had to sort out the chronology of our story and what would be included.
Screenwriters Holly Gent Palmo and Vincent Palmo Jr. / Photo: Wilson Webb/Annapurna Pictures
It’s the way he works with actors and everyone. It’s a really respectful, really collaborative process where everybody gets to bring to the table their own personal point of view in their own lives. With Rick, we dove into the parts of the novel we liked best and what threads we were going to pick up and carry through.
VP: It was a pretty deep exploration of the novel, of all the different characters and situations. We talked through all that and came to an agreement between the three of us for what we felt said the themes best.
Vincent, you’re also Linklater’s first assistant director, which is an interesting combination of multi-tasking. On set, would you pitch in on the script-side?
VP: No, on set as a first AD I’m more concerned about the day’s work and really having everything in place and ready to go so Rick just has to say “action” and “cut”. I don’t talk at all about the script. At that point we’re all dialed in anyway.
When Holly’s around they have their conferences and I’ll be arranging the next set up. I’ve done a lot of things with Rick. I did all twelve years of Boyhood. There’s a shorthand there that I’m intent and focused on each day’s shoot and what’s coming up the next day.
HGP: By the time Rick gets to set, he’s totally prepared and ready. He has his rehearsal process with his actors. Our process is over, he’s very sure of what he wants.
VP: You can’t over-prepare, but we’re very prepared.
HGP: Except maybe in a rare instance in having to negotiate some small change.
VP: Yeah, like in what the weather’s brought or something new at a location, things like that.
Boyhood and Before Midnight are both classics of their decade now. What were those sets like?
VP: I’m so happy for Rick [that they’re highly regarded]. Boyhood just stretched on. I remember there were times where we were like, “is somebody in Eastern Europe doing the same thing and it’s going to come out before us?!” We really didn’t know.
To pick it up each year and shoot it on film when all that kind of change [to digital] was in the midst of us shooting… Any time I’m on a set with Rick I feel very fortunate. To see them received in the way they were, it’s really thrilling.
Emma Nelson and Billy Crudup in ‘Where’d You Go, Bernadette?’.
In what ways, if any, did you adapt your style to the talents of Cate Blanchett and the other cast members?
HGP: We knew that Cate was interested from the moment that we began. We were always hoping to do justice to her great talent and thinking towards that. To me, there could be no-one better in that role. Cate brings so much to it.
It’s an inspiration to think that no matter what kind of nuanced emotion we write in a scene, she can carry it and do an incredible job. It gives a freedom of inspiration thinking that there’s a possibility that Cate Blanchett can be playing the part.
The book is largely renowned for the way it captures the nuances of Seattle. What types of research did you do for the characters’ occupations and their environments?
HGP: Rick did a lot of interesting, in-depth research for Elgie’s technology role and the kind of things he was developing. He talked to a lot of people involved in Microsoft developing those sorts of things, to bring that in the most detailed and up-to-date way.
For architecture, Rick arranged some meetings with some really great architects to go and talk to them about the language they use. As far as Seattle goes, there’s no greater resource for that than the novel itself. Maria really knows that world and has so many funny and interesting outsider opinions about it that I felt it was the perfect way to learn about that.
What did you feel you could bring to the element of marriage when writing as a married couple?
HGP: That’s interesting.
VP: That is interesting. Well, we’ve been married for 26 years.
HGP: I do think that all three of us brought in our past relationships and our current relationships to the process. I believe it’s a realistic portrayal of the quest to keep improving your life through self-discovery. It’s a unique story that you don’t really see a lot of.
That whole idea that you can’t ever really know anyone, but that doesn’t mean you can’t try—Rick really loved those words, they’re the opening words of the novel. It’s this idea that the other person is always somewhat unknowable, but you keep trying to get to know each other while you change through the years.
VP: The search continues! You find new things.
HGP: Nothing is more rewarding in life than those close relationships that last decades.
Richard Linklater, Emma Nelson, Cate Blanchett and Billy Crudup at a New York screening earlier this month. / Photo: Evan Agostini/Invision/AP
Do you think it’s difficult to write contemporary films for the social-media age?
HGP: It’s fascinating when you see movies and there’s this before-and-after cell phones dividing line, because so many of the great films and their plots would have been so different if everyone was carrying a phone around.
I don’t know if it’s easier, but it is a change in your way of thinking as you realize everyone has a phone in their pocket. I think both [period and contemporary] are fun. Any kind of story or plot that you’re trying to figure out is a really fun and challenging puzzle. I notice in a lot of films they try and get rid of the phone in some way.
What was the film that got you into filmmaking and made you want to be a part of this industry?
VP: Oh my gosh, wow. Jeez, that’s a really tough one.
HGP: There’s so many stages to it. There’s the ones you see when you’re a little kid that just blow you over. Those are so bound with light and emotion that you don’t even understand. I remember Apocalypse Now—that was something that blew my mind.
VP: It just kind of builds. I got a degree in journalism and then I ended up working in film so it’s hard to point to just one that really flipped the switch. I don’t know why, but I saw The Sound of Music a bunch of times when I was younger. Maybe it was just easier for my mom to take me and my four siblings out to see it.
‘Where’d You Go, Bernadette?’ is in select US cinemas now.
#richard linklater#austin film society#holly gent#vincent palmo jr#seattle#where'd you go bernadette#maria semple#billy crudup#emma nelson#austin#letterboxd
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CURRENT COSMIC ENERGY UPDATE: Mass Exodus & Changing Dimensions 3/11/2019 Tuning into the Cosmic Energies and Varying Collectives occurring, as a part of the Grand/Great Awakening Processes, in varying stages, phases and vibrational frequencies (bandwidths), with each bandwidth "playing out" their relative roles..... As each collective awakens, through the activation of Photonic Light, which occurs on a cellular level within each's body (LightBody), each dimensional body (carbon based, crystalline, plasma), experiences "REAL"ity very differently..... I started a sharing/writing last year that I never completed (it had to take a back seat to our other service roles here), which broke down each dimensions LightBody, starting with the 3rd. Until each becomes fully aware of how all works (from inside), then everything is speculation/supposition and so not understood.... because of how each "measures" and "sees" is still through fractals/old parameters of "what reality is".... For this sharing/article, I will break it down a different way and at some point, complete that article/writing and release it/provide it for those it may assist.... Right now, we have a MASS EXITING occurring... from the "Group Think Mind" of "mind control". Now, I do not use these words to support "I'm a victim", yet the opposite... of the POWER THAT EACH TRULY HOLDS when their own deep inner sacred connection is the POWERFUL FORCE within their own reality and each functions from this place/space inside. Re-establishing our own deep inner-connection with PURE SOURCE CONSCIOUSNESS, will take on many "forms" along the way. As each moves through each Lightbody DNA upgrade/phase, more awareness, more information, more understanding of HOW ALL COMES TO BE CREATED becomes visible... yet at first, without this VISIBILITY (ability to see multi-dimensionally), the version of the "truth" is still a bit "slanted", based upon "individual stories" vs. the much bigger picture that doesn't involve "I was a victim" anymore.... As each AWAKENS to their own SUPREME POWER inside... to the awareness, realization and understanding that they were deep asleep and living deeply embedded in realities that were blanketed in "untruths", held together by "fears", an illusion we all "bought", because it's a part of the "being deep asleep process", which is also a part of "breaking out of that prison/programs/conditioned beliefs (hell)" and deciding to shift perceptions, shift beliefs, shift "alliances" and eventually "shift versions of Earth's we live on".... (from Old Earth to NEW). Many are unaware there's totally different Versions of Earths all running simultaneously, at the same time and for each to "shift" over to a different/alternate/higher consciousness version, each must open their hearts to allow PURITY LOVE CONSCIOUSNESS to EMERGE from within.... and "how each gets here" is not what anyone "thinks" or is "typical". This is the most "untypical, un-orthadox, un-conforming, illogical process" (to the human aspect), because HOW isn't a linear process and the "ways" are not typical or "normal" or available in "one video or book"..... At first, "leaving" or "going against" everything one has been told, conditioned to believe and "thought", it's scary as hell... (which is the point), as the conditioning was meant to "keep" everyone in a reality SO SCARED to GO AGAINST... that the programming becomes the belief which then dictates the physical reality.... of how all "lived". Because each's WHOLE LIFE was built upon a facade.... built upon fears and beliefs so drilled in, so deeply embedded, so "marketed" as true, with books, education and entire societies/communities/cities constructed to uphold this "illusion", to make "unconsciousness" easy... when it's time to emerge from the illusion, from the deep state/sleep/slumber/amnesia of what IS REALLY REAL... CONFUSION, fear, anger and blame are the "first parts of this awakening" process... because each "feels duped", yet this is a part of the illusion too. RIGHT NOW, we are in Mass Exiting (once again), as the "next collective" (a much larger one) emerges from the illusions, emerges from the deeeeeeeeep deeeeeeeeep sleep, where illusions and distortions ruled.... and due to "acceptance", were allowed to have control, because FEAR is the ENERGY THAT HELD ALL THERE.... yet.... These COSMIC RAYS AND CONTINUALLY ACCELERATING SOLAR (SOULar) Activity, the increase in ULTRA HIGH FREQUENCIES do many things, all important in this mass awakening/ascension process for all on "this planet" (and beyond). These ultra-high photonic, sonic, gamma, (and so much more) frequencies GO STRAIGHT to the cellular body/DNA, straight to the program, go straight to the constructs, straight to the SOURCE of where all was "housed" (within the body), to activate, stimulate and create a disruption in the old frequencies that kept each "bound" to that dimension/density/reality.... These Cosmic/SOULar Frequencies are LIGHT ENCODEMENTS that disrupt the old "signals" that held the old illusions in place. They go straight to where EACH'S DNA is "waiting" to be activated to AWAKEN FULLY, yet the human aspect is unaware of all still, because there are so many programs, mentalities, beliefs, illusions, distortions to clear in order for one's PHYSICAL BODY/LIGHTBODY to awaken enough through CONSCIOUSNESS to clear the heavy-duty density held within.... This is as much a physical process as it is an energetic one. This is an immense emotional process for awhile, clearing all the hurt, betrayal, inner-pain, anger, hate and distrust, blame, shame, guilt and so much more.... and the process "takes as long as it needs to take", which is often years, because not only must the emotions clear/cleanse the body, the thoughts, the physical density, the beliefs, the resistance and the HOLD THAT EACH'S EGO HAS... every bit has to be "reworked" vibrationally, literally.... in every way. All while the physical reality is being aligned too. Every compromise, every acceptance of anything not PURE, every suppression, every avoidance, every linear thing created/held, every attachment, every lack (power, love, inner-connection), must not only BE REVERSED... all new everything must be created to replace the old.... NEW UNDERSTANDINGS, new access, new ways... of doing things, of thinking, of acting, of living.... our entire lives have to be re-built, re-aligned and re-configured to align on a Universal/Soul/Cosmic Level... which is not an easy task, because "outside" isn't where we go to get our answers (except at first, when we seek/utilize guides to point us inwards to find our own truths/answers, which is the opposite of giving our power away to anyone else)..... Part of the process, for awhile, when collectives are EXITING the old ways, when one has not fully come into their own deep-sacred connection/power within, they will seek outside for "others" to tell them what to do.... because the old way was "rely on others, rely on someone else to think for me", because each doesn't yet "know how" to "think" for themselves... this will create another distortion/parallel experience, if you will, if there are any impurities within the seeker, any compromise of soul/self, any "hand my power over to others", then the cycle of "repeating" an experience to learn WHAT NOT TO DO/BE will occur, as it's a part of each's "learning process" here. There's often alot of drama when this happens, because of the depth of the emotions each still holds and the depth of DEPENDENCY ON OUTSIDE vs. SOVEREIGNTY, which is a part of the transition out of 3D/4D into 5D/NEW Earth Realities.... Let's talk about NEW EARTH for a moment... because I see so many that still don't understand. NEW EARTH IS A VIBRATIONAL REALITY that operates at the FREQUENCY OF SOUL LOVE, where each awakens to beauty, magic, magnificence and a profound sense of PEACE, HOME, bliss, magic and all of this JOY and AMAZINGNESS that we all disconnected from/forgot/were disconnected from, while living beneath the veils (within). As we sleep, as we rest, as we reconnect with nature, as we all go through our own "Dark Nights" (Ego Dissolution/Death), what AWAKENS/EMERGES within US is OUR OWN LIGHT.... is our CONNECTION WITH/AS PURE SOURCE CONSCIOUSNESS, where OUR WHOLE LIFE CHANGES, because we've REMEMBERED the ABUNDANCE, we've REMEMBERED the FREEDOM, we've REMEMBERED THE PURITY and the brilliance and our own INNOCENCE, without the distortions/separation/programs... and then it's a process of re-structuring, re-building, creating, re-aligning EVERYTHING WITHIN US and OUT THERE with these "new understandings" (realizations/awarenesses) that DON'T CONFORM TO THE OLD..... This is a process, years and years and years of linear "time", yet because we don't "live" from the linearity anymore, because we function from ZERO POINT, PURE PRESENCE, every dimension/reality/possibility opens up.... through our LIGHTBODIES and our SOURCE CONSCIOUSNESS DNA activating 24/7, as linear goes out the window, our bodies have to continually go through an immense re-writing process through the INTEGRATION OF LIGHT(CODES) that re-do everything FOR US.... and because we function from an "EGO SURRENDERED STATE" our ACTions are PURE... which can be "read" energetically by all tuning into this... OUR LOVE, on a SOUL LEVEL, on a Cosmic Level, on a Galactic Level, every level... can be felt.... this is our ENERGY SIGNATURE that CONNECTS US ALL as PURE SOURCE LOVE CONSCIOUSNESS here.... For each one of us to come to LIVE FROM THIS PLACE/SPACE fully, we all had to be "faced" with everything "not pure". It's a part of the process of CHOOSING and re-aligning all of our realities, which is what collapses/dissolves the old unconscious dimensions, as they were all held in place by each one of us, because we believed "that", because we conformed, because we allowed, because we became submissive... without any awareness that we were... AWAKENING CHANGES ALL --- First, there's each's AWAKENING, THEN ASCENSION BEGINS... this is a totally different PART/PHASE of the whole process... where each RETURNS to a Christed/Pure State of Consciousness, through DIVINE SOUL UNION WITHIN.... this is where everything starts to become VISIBLE ON A WHOLE NEW LEVEL, one that's not personal in any way, one where there are no victims or perpetrators, because "access" starts to return.... NEW EARTH IS ASCENDED EARTH...which means each LIVES AS THEIR ASCENDED ASPECTS, as pure love, as Conscious Light BEings, yet there are varying levels of this too, as this accelerates all new phases relative to various LightBody phases, as each EMBODY'S FULLY and re-aligns their whole life too..... This is not an "easy" process of re-constructing our entire reality according to all new "codes", because the more unconscious and deeply embedded/asleep we were, the more we go through to awaken and 're-do". NEW EARTH IS EXPERIENCED FROM DEEP INSIDE. IT'S OUR PURE LOVE and OUR DEEP SACRED CONNECTION, IT'S A FULLY REMEMBERED STATE where our bodies and physical realities are constantly shifting into much higher states of consciousness than before, yet the oscillation rate of these cycles INCREASE to be so "fast", that all linearity goes and we live from a fully Quantum State of Consciousness that doesn't' function like linear/dense realities did. We all gain the abilities to TUNE OUR CONSCIOUSNESS to varying levels and frequency bandwidths, which open up portals, gateways, passageways to varying dimensional realities that already exist (because all has already occurred) and we function from 'THOSE', while we "do" our every day, which is very different than the old ways, in every way. How we move through all, how we see, how we do all... becomes very simple, because the density (slowness which is relative to processing speeds/light) is very different too.... NEW EARTH IS WHERE WE LIVE INSIDE, as Photonic Light BEings, as Soul-Star-Light BEings, with photonic/plasma access and realities that are fluid, synchronized with a Cosmic Rhythm and Harmony that's always "in-tune". When it's not, we know it and we honor this, yet our capabilities are different, because of the PEACE, LOVE, HARMONY WE HOLD WITHIN.... We treat everyone with immense kindness, we truly care, we are able to maintain our own Deep Sacred Connection with all, so we never shift out of pure gratitude, appreciation and living from an abundant state, which means that we don't hold the conditioning, programming and limits of the old. We share, we support, we inspire, we uplift, we live from PURE JOY and recognize all... We see everything, without the blinders/cords/illusions of before. We see PURITY and we SEE lack.... which gives us the ability to assist/guide others who are open to accessing/achieving this within themselves fully too, yet we have no desire to take on the responsibility of others energetically saying they are not ready to do what it takes to live PURITY CONSCIOUSNESS from within themselves yet. We understand what compromise creates, we understand how we each have to choose, because in the choosing, we take responsibility and are saying WE ARE READY TOO. The responsibility we speak of is not like the old ways.... it's a very different responsibility (many argue this, yet that's ego matrixes too). Our RESPONSIBILITY is to HOLD THE HIGHEST STATES OF CONSCIOUSNESS AS LOVE HERE and to SHOW THE WAY, LIGHT THE PATH and BE THE ONES/THE CHANGE and to create the space and hold it for all others to choose this fully too. NEW EARTH IS AN ENTIRELY NEW MATRIX SYSTEM, YET IT'S NOTHING LIKE THE OLD It's a Crystalline/Christed "matrix" that is connected and woven through LIGHT. It's a NEW SYSTEM that we all CREATE AND LIVE as Ascended (Returned/Remembered) Light BEings here. It's us inner-connected, us as ONE, it's WE CONSCIOUSNESS through UNITY and PURITY and UNITING to BE NEW EARTHERS here. WE Shine Light, WE Share as Light, WE affect all as LOVE and we hold the "new" in place... as the "new" is not "new"... it's what we all "lost"/disconnected from/forgot, while living beneath the veils.... THE VEILS ARE INSIDE, IT'S THE SEPARATION ALL HOLDS, IT'S PHYSICAL MATTER/DENSITY as well as immense unconscious programming represented by suppressed/repressed emotions/thoughts, beliefs/mentalities of less, lack, fear, judgement and the ABSENCE of PURE DIVINE LOVE. NEW EARTH .... you/we BECOME and ARE NEW EARTH... WE, as multi-dimensionals can see/experience all from a multi-dimensional level and choose from a multi-dimensional level too. One cannot just "say the words" that sound intelligent or pretty or cool... HERE ALL HAVE TO LIVE IT, BE IT and our ENERGY SPEAKS FOR US.... as all is VISIBLE HERE.... because we live as ENERGETIC BEINGS, WE READ ENERGY, WE COMMUNICATE ENERGETICALLY and words are only use to describe, teach, explain and bring into a higher state of consciousness, what "isn't yet". In the beginning, NEW Earth isn't even real. Then it becomes a place we see in our sleep or waking state DREAMS.... then we start to experience it through subtle inner-actions that are silent, connected and peaceful, pure and innocent... yet then the process begins of "HOW TO LIVE THIS ALL OF THE TIME", which is where all of our parts come in.... We sleep/dream ourselves awake and anchor dreams from our "dream state" into/through our physical here. THESE COSMIC FREQUENCIES and PHOTONIC LIGHT assist with transitioning from parallel to parallel to alternate realities and clearing distorted ones.... these photonic frequencies do everything only understood as/after we go through it all... as the KNOWLEDGE FOR HOW comes through our own actual experiences here, otherwise it's just regurgitation, just like old earth realities were.... A fully SOUL ALIGNED REALITY is SIMPLE and not creating fractals/parallels to experience (learn from) anymore. As each come to TRULY UNDERSTAND that there's not just ONE VERSION OF EARTH RUNNING ANYMORE..... it makes it easier for each to "choose" a much higher dimensional version than before. As each truly come to understand (get it deep within), that NEW EARTH IS OUR PHYSICAL REALITY EXPERIENCES that are a VIBRATIONAL MATCH TO US... (as is old earth, yet focusing on NEW EARTH right now)..... EACH STARTS TO PAY ATTENTION to what they are holding, transmitting, allowing, believing, calling forth and surrendering to, understanding that it's OUR OWN ENERGY and HOW WE SHOW UP/ACT that determines the experiences we all have here. We've reached another nexus point, a turning point if you will, another one, because these are always occurring as we all continually up-shift, while anchoring/integrating/holding higher states of consciousness from within us and radiating this out to affect, shift, recode all..... When I awoke to the words "Mass Exodus", I had to go look up Exodus to see what it meant. If everyone drops the "linear" and looks at the energy/metaphor... it relates to masses exiting the "slavery of humanity" phase, which correlates to the "survival mode" where enough hearts have opened fully for more to transition through higher awareness, instead of living by the old conditioning held in place by "fear". Yes, clearing fear, judgement, lack is an immense process, because it means going deep within. We are going to see the most intense DARK NIGHT for many collectives going through their own "exit"/transition processes of resolving separation/duality within, so that their own LIGHT CAN BURST THROUGH and be their own Guiding Light too... The process of RE-CONNECTION and REMEMBERING and ONENESS occurs within each one of us as we are ready and our hearts open enough, as our walls of Armour/protection come down, as our own distortions come up for us to see/clear and as WE DO THIS OURSELVES... We can be guided, we can be assisted... along the way, yet no one can do these parts for us, we have to do them ourselves... and the human ego aspect has been convinced/convinced itself it's not able/capable/can't and "needs" something/someone else to "help". Yes, we have to open up to this, if we were so strong we wouldn't allow ourselves to be vulnerable, open and "seen", yet there's a huge difference in opening to that softness and relying on others, which is just "displacing our own POWER" again.... NEW EARTH.... all are Sovereign and not playing out lack games, not blaming others, not taking on others stuff and clearing the immense DISTORTIONS OF LOVE. OUR LOVE IS PURE.... and through this purity we will hold all to a place of Sovereignty, because we don't see the lack. We see the stories, the BS, the games that the ego plays, yet we see the beauty, the purity and the magnificence of EACH when all are LIVING AS PURE SOURCE CONSCIOUSNESS LIGHT too... A NEW EARTH EXISTENCE means that you live free from the old distortions, free from the lack, free from the programming/CONDITIONING and you live from your Quantum State too.... It means that you show up, you hold your own, you are kind and you "get it all" with your whole being and you don't bring your lack to the table, because that's all the old BS programming and illusion that we all see beyond. NEW EARTH is YOU LIVING AS A NEW EARTHER... you living as LOVE... you fulfilling your highest roles/purposes/missing, without "needing" anything... because you've cleared your own akash, because you've REMEMBERED and you are excited to share, excited to uplift, excited for all to UNITE, to create, to strengthen the NETWORK of all of us who are RECONNECTED on an ENERGETIC LEVEL with Gaia, Universally, Cosmically.... NEW EARTH IS YOUR "CREATION", it's you LIVING YOUR MAGIC AND JOY... and it's you being visible, open, honest, REAL and not making an apology for not conforming to the old lack systems of old earth anymore.... because you've TRANSCENDED THE BELIEFS, the programming, the mentalities and the ENERGY of SEPARATION from deep within you too... you are not projecting your "stuff" and you are not taking on "others" "stuff".... that was the old ways too... IT'S ALSO you/all of us fulling higher service roles. NEW EARTH is you respecting all... from the DEEPEST MOST SACRED AND CONNECTED PLACE WITHIN YOU... living from this DEEP SACRED RESPECT with your every act, with your every breath and not accepting any less ever again.... because you don't have to, because you woke up and YOU'VE REMEMBERED YOURSELF AS PURE SOURCE CONSCIOUSNESS too. Drop the ego games, drop the "fronting", drop the "pretending", drop the "stories", drop it all.... as THAT is your DIS-EMPOWERED and DIS-CONNECTED STATE of Consciousness.... IF YOU TRULY OPEN YOUR HEART AND MIND AND WHOLE BEING and UNIFY TO/FROM/AT your absolute highest FREQUENCY OF PURE LOVE and you walk as this throughout your day, you live as this with your every ACTion, you breathe this as your ONLY REALITY then it's guaranteed that your "REAL"ity will "change". This is because YOU ARE BEING LOVE and you are treating others with kindness, consideration, respect, compassion and taking all into CONSIDERATION - BEFORE you allow your old programming to enter back in. WHEN YOU HOLD THIS EXPANDED STATE ABOVE ALL AND YOU LIVE IT FULLY.... NEW EARTH WILL BECOME YOUR ONLY REALITY TOO. Location will not matter, the people won't matter... because the LIGHT YOU HOLD DICTATES....and once you are able to hold this fully "no matter what", then your physical will start to take new shape, open up new opportunities, open up new possibilities and "take you in new directions", because you changed your whole vibration to a whole new dimension, so the next steps are to move your body to the new physical dimension or to experience the new physical dimension as it arrives for you! ♥ As you LIVE FROM NEW EARTH INSIDE OF YOU.... NEW EARTH WILL "APPEAR" (MATERIALIZE) OUTSIDE as a vibrational/energetic response to you.... This is how we all do/did it. This is how we "know". ♫ Happy magical everything. "How long is up to you". "When" is too... as time is not linear, it's vibrational and relative to the amount of LIGHT HELD... as we go "up" in vibration and "expand" out.... to experience the vastness of multiple dimensions all simultaneously, which is how MULTI-DIMENSIONAL EARTH IS EXPERIENCED for all of us here. ♦ NEW EARTH IS WHERE WE ARE RE-BIRTHED THROUGH/TO EXPERIENCE/LIVE... HEAVEN ON EARTH BECOMES OUR NEW HOME (INSIDE AND OUT), BECAUSE WE LIVE FROM HEAVEN WITHIN... WE DON'T CHOOSE/ALLOW HELL ANYMORE. THAT WAS A PART OF THE OLD ILLUSORY PROGRAMS HELD WITHIN US ALL TOO. Lisa Transcendence Brown ☼ www.AwakeningToRemembering.com
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