see you on a dark night (i will wait forever)

[carmilla x laura drabble. the beginnings of how to navigate some kind of forever. angst but mostly fluff.]


see you on a dark night (i will wait forever)


& now another clue, i would ask/ if you could help me out/ it’s hard to understand/ because when you’re running by yourself/ it’s hard to find someone to hold your hand


It isn’t easy all of the time: Carmilla has some damage to her that not even your massive amounts of exuberance and cocoa can manage to temper; you aren’t always patient or kind.

But you do very much love her, almost despite yourself. You love when you make her laugh, when she climbs in your bed in the dark, early hours of the morning with freezing hands and warm breath and snuggles into your chest. 

Eventually she tells you, very quietly and usually when you pretend to be asleep—she can hear exactly how fast your heart is beating, so it’s a lying protective measure you grant her—about the things that scare her: thunderstorms, the shower sometimes, elevators, Vivaldi’s “Winter”, action films when the rest of the lights are turned off.

Eventually she kisses you like you’re not going to run away.

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i’m both v drunk & abt to fall asleep but lol ep25

—#married so married both couples in that ep just double date already
—perry making laura’s bed gave me life
—carmilla is so fucked up it’s not even the least bit amusing i want to hug her for a v long time (laura prolly does too)

thin film interference

thin film interference—a phenomenon that separates colors like a rainbow or prism when light reflects off a very thin, transparent film like one of oil on water.  


Since water and oil don’t mix and oil is lighter than water, when the two meet, the water surface can be covered by a very thin layer of oil floating on top of it.

Both the top and bottom surfaces of this oil film can reflect light. Some of the light rays pass on through but then bounce off the bottom of the oil film (A); others bounce straight back off the top of the oil (B).  When two sets emerge, the rays that bounce off the bottom have traveled a tiny bit further than the rays that bounced off the top.


Light rays can behave like waves and different colors are defined by the length of their characteristic wave.  The “wavelengths” of colors range from violet at 400 nanometers to red at 700 nanometers.  A nanometer is 1/1,000,000,000 of a meter; a meter is about a yard.

 So when there is a layer of oil 400 to 700 nm thick, two sets of light waves reflect off it and the two are just slightly out of step. Some of the peaks of the waves are “in phase” and add together and some are “out of phase” and cancel each other out so some of the colors in the original white light disappear altogether, leaving other colors behind. The overall effect is that (depending on the thickness of the oil at any one point) some of the colors disappear and others are intensified.



The result is a rainbow-like color pattern on the oil surface.  This phenomenon is called thin-film interference.

For other color-related words see:  saffronsaffron againindigoTyrian purplepuce, mauve and carotene.

Electromagnetism & Optics

Stokes’ theorem applied to electrostatics
See “Stokes’ theorem

This post is best viewed on my blog, click here to be taken to its permalink.

I have previously covered the topic of Stokes’ theorem in a mathematical sense. However, I will now apply the theorem in terms of electrostatics and expand upon the theory behind its use in the physical world.

We know from previously that Stoke’s theorem is stated such that

s ( × v) · da = ∮ v · d

where ∇ represents the del operatorv is a general surface, da is the area vector of the surface v, and d is the circulation around the surface.


This tells us that the circulation of an electric field E around a surface a can be expressed as

s ( × E) · da = ∮ E · d

Now, due to the principle of charge superposition we know that a static charge distribution will have a circulation

 ∫s ( × E) · da = 0

since the curl ( × E) = 0.


Tom Pfannerstill Paintings:  From the Street

Louisville, Kentucky-based artist Tom Pfannerstill creates amazing works of art that look like trash, and not just any trash, but actual pieces of litter that he actually found and picked up. For an ongoing series entitled From the Street, Pfannerstill uses the trompe l’oeil technique to paint flat pieces of wood so that they become uncanny likenesses of discarded objects and disposable containers, everything from a smashed boxes of Animal Crackers and Cracker Jack to a beat-up old baseball cap.

Would you wear these?!

Learn about the history of glass and the connections between the development of mirrors, reading, talking on the phone, and more in this week’s episode of HOW WE GOT TO NOW with Steven Johnson, airing Wednesday (10/22) at 10/9c.

And join us on Tumblr during the broadcast while we LIVE-GIF the episode!


Spanish street artist Pejac (previously featured here) recently created an awesome trio of trompe l’oeil pieces, entitled Lock, Poster and Shutters, in the city’s Uskudar district.

Painted with brushes, acrylic paint, pencils and sandpaper the works are located very close together and are intended to represent the “perception and illusion of freedom.” He mentions the literal translation of Trompe l’oeil from French as “eye trap,” and says “in the case of these three windows, the trap works in both directions: from outside to inside and from inside to outside.”

Visit Pejac’s website or follow him on Instagram to check out more of his artistic urban interventions.

Photos by Julian Santiago

[via Colossal and Arrested Motion]


British artist Alex Chinneck recently unveiled an awesome new art installation in the piazza of London’s Covent Garden. Entitled Take my Lightning but Don’t Steal my Thunder, the piece presents the fantastic optical illusion that a 40-foot-long building has broken free of its base and floated up 10 feet in the air where it hovers in flagrant disobedience of the law of gravity.

The magical building is modeled on the original architecture of Covent Garden’s 184-year-old Market Building. The structure is mostly made of CNC-cut polystyrene.

"A 14 tonne (15.68 US tons) steel framework and a 4 tonne (4.48 US tons) counterweight were used to support the structure, and Chinneck employed a team of specialists including architectural consultants, structural engineers, steel fabricators, carpenters, and set builders, to help build it. The installation was transported to Covent Garden in pieces by truck and assembled within four days."

The mind-bending installation was transported to Covent Garden in pieces and assembled on site over a 4 day period. It’ll be on display through Friday October 24, 2014.

Click here for a short video about the creation of this amazing feat of art, design, architecture and engineering.

Visit the Covent Garden website for lots of additional info and click here for more photos.

[via Inspirationist, The Telegraph and Gizmag]