precise abstraction

Peace Among the Chaos :: Ravus Nox Fleuret x Reader

*scratches back of head* Well, I didn’t write it exactly in a second person point of view for a reader perspective, but I really thought this idea would be better excused in this way, so I write it in third person! I hope that’s okay!

A fun writing to do though. So here you go! Have some love at first sight things with Ravus and a love interest. Perhaps if I touch in on this particular ‘reader’ character again, I’ll write it in the second perspective a bit more properly for you, dear anon. :D


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The Realms of Being

One of the core teachings of the western magical tradition is this: “The realms of being are discrete and not continuous.”

In a lot of modern magical writing, you will find lengthy discussions of the physical plane, the ethereal or etheric plane, the astral plane, the mental plane, and the spiritual plane.  While there are considerably more planes of existence than these five, these provide a convenient shorthand for driving home an essential point, one that magicians, witches, wizards, and all sorts of practitioners would do well to understand:

The realms of being are discrete and not continuous.

The realms overlap one another, and to some degree interact with one another. But they are separate ‘places’ (insofar as they are understood to be places), and you can’t get there from here no matter how far you travel nor how fast.  

It is as though one takes two triangular pieces of cardboard of the same shape, and overlay them on top of one another in opposite directions. In some places they barely touch, and the connection is tenuous.  In other places, they are in close contact with multiple points of co-relationship. But they are still two things, and no amount of duct tape or glue or dog slobber or any other solvent or adhesive will make them otherwise.

the ‘lowest’ realm is the Physical which is the world of matter and energy explored by science in great detail.  This is the world of rocks and trees, of planets and atoms, and of molecular chemistry and mountain ranges.  To call it the ‘lowest’ is a convenient shorthand, but if the name for this convenient collection of molecules is “angry bear”, it can still kill you.

The Etheric Realm is next up, and although we call it a ‘higher’ world it is difficult to say that it is higher or lower, or to the left or right — for the realms of being are discrete and not continuous. “Left and right”, and “higher and lower” are descriptives of the physical realm, not of the etheric. This is the realm of thoughts and images, of emotions and reactions, of fleeting notions and continuing moods.  It is often described as fluid, or impermanent.  To compare the physical and the etheric realms, is to compare a DVD of a film with the impressions of the film in your mind.  The one is a solid object; the other is a combination of memory of previews of the film, anticipations to see the film, and the observations of the film (and the excitement it generates, the anxiety, and the delight).  

This isn’t to say that the physical and the etheric don’t have anything to do with one another. Physically moving muscles can produce a bit of etheric ephemera called a “runner’s high”, an etheric “good mood” can become a bit of physical movement called a “dance”. Still, the realms of being are discrete and not continuous.  Don’t confuse one with the other.

The next ‘highest’ realm is the Astral.  So much blather has been written about the Astral that it is difficult to say what is true of it, and what is not.  It appears to be a realm of even more abstract and precise thought than the realms of thoughts and emotions that is the etheric.  It appears to be half-ourselves, and half- the thought forms of our species and our planet. It is akin to the Force of “Star Wars”: throughout all things, penetrating all things, permeating all things, directing our actions, obedient to our deeds.  To be able to see the astral realm (not with eyes, precisely, for those are physical organs), and to affect it, is to be capable of implementing long-range changes… somewhere. somehow.  Exactly how, is difficult to determine: for the realms of being are discrete and not continuous.  Build a pyramid in the astral realms if you must, but do not expect another pyramid to be built (immediately) in the physical realms.

The mental realm is most rarefied, most refined.  If we required lungs to visit it, we would not be able to breathe, for things are thin “up” here: mere wireframes rather than fully fleshed identities.  Things are more perfect around here — closer by far to the perfect realm of Spirit, here all justice and all law is perfectly executed and perfectly implemented.  Pi is a rational number here, for a circle here is not drawn in physical matter but in the stuff of ideals.  But a circle cannot be drawn in the realms of physical matter or even in etheric realms without encountering imperfection and irrationality.  The realms of being are discrete and not continuous.

“Finally,” comes “Spirit” at the “highest” level.  Just as a photon has zero mass, so does Spirit have 0 interaction with physical matter.  They are not the same; the spiritual realms are realms of light and perfection and unity; while the physical realms are realms of shadow and imperfection and diversity.  The polarity of the spirit and the physical, and the vibration between them, is the means by which all manifestation takes place.   But we are never wholly in one or wholly in the other. We can touch spirit only tenuously, through careful approach along pathways that thread through the intermediate realms of symbol and idea and emotion, rather than directly.  The realms of being are discrete and not continuous.

One of the purposes of ceremonial magic is to learn to thread this conch of Daedalus; to learn to walk the labyrinth and slay (or befriend) the minotaur or the God at the center.  We do so knowing that there is no physical passport which will admit us to the astral realms, no etheric visa which will buy our way into the mental realms, and that there is no souvenir from the realms of spirit that can physically sit on a shelf for all our friends and relations to see.

The realms of being are not continuous. Nothing can be brought back from one, nor taken to another, without changing their representation and their presentation into the stuff from which that realm is formed. This is the magician’s work. Discretion is advised.

—ABWatt
The Principles of Design | CS AU

Prompt: I’m a traditional painter who has to take a basic Photoshop class, you’re a graphic design major sitting next to me and getting sucked into helping me out because Im so shitty at this

Fair warning: I’m not normally a writer, and I haven’t written fic in …years. But, I stumbled upon this prompt and I just had to write it, y’know? I’ve also been musing a Design Agency AU, and decided this was a perfect prompt to flex my writing muscles with first before committing to something larger. I intended this to be a one-shot but it grew and now will be in four parts.
Thank you to @spartanguard for the quick beta & the words of encouragement. <3

Rating: T; Word Count: ~3000; Reviews are welcome!
Also posted: ff.net | ao3 (coming soon)


Chapter 1: Contrast

Contrast: Making elements different increases understanding.

It was a truth universally acknowledged that Emma Swan did not like computers, and computers did not like her. Okay, that may be a bit dramatic, but tell that to the damn spinning beachball of death that mocks her pain. Emma tapped her fingers against the top of her desk impatiently as she slumped back in her swivel chair. Her blonde, wavy hair was piled high on her head in a messy bun, and her glasses perched on the edge of her nose. She chewed the inside of her cheek as she waited for Photoshop to finish loading.

This is why I prefer paint and canvas, Emma fumed, glaring at the screen as if she could simply will it to operate faster with her mind.

“Stare any harder at that screen, love, and you might burn a hole through it,” came a familiar voice, interrupting her silent cursing. Emma sat up straight and turned to meet a pair of perfect blue eyes and knowing smirk.

It was mid-day on a Wednesday in the computer lab at Storybrooke University. The lab was practically empty, save for the petite brunette lab assistant, Belle, which is why Emma tended to visit only at this time. It was also the only time she’s able to visit the lab, between all of her other classes and working at Granny’s.

Emma all but rolled her eyes, as Killian Jones plunked down in the seat across from her. He was a graphic design major, two years ahead of her, with a British accent and permanent scruff, that one would describe being attractive…or devilishly handsome, as he liked to point out. Emma pointedly ignored him as he unwrapped the earbuds hanging from around his neck, and took out a USB drive and sketchbook out of his bag.

Instead, she had begun to aggressively click her mouse, in the hopes that somehow that would make her Mac load faster.

“Y’know, most men would take your silence as off-putting.” Killian amused by her impatience, as he started up his computer, and plugged in his USB. “But I do love a challenge,” he smirked looking up from his monitor.

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anonymous asked:

Do you think Leia and Luke ever have like, a weird sort of disassociation with there parents, like Luke can totally deal with being the freeborn son of a former slave who became a Jedi, but not so much an elected queen and senator and essentially noble woman. I headcanon Leia knowning she was a war orphan, so she daydreamed of everything from Jedi to roughnecks for her parents, but maybe she had trouble with the idea of a slave, to say nothing of a sith lord.

Oh yes, absolutely!

I think Luke’s idea of his mother growing up was very abstract, precisely because his aunt and uncle told him she was an off-worlder, and likely a rich off-worlder at that. He could never quite conceptualize that. And then he met Leia, herself a rich off-worlder, and suddenly, his hazy image of his mother looked a lot like her. (Later, when he found out, he would have a good long laugh about this.)

I suspect the revelation for Leia was much further reaching, though.

For one thing, I think Leia probably believed that slavery was another of the evils instituted by the Empire, and that in the days of the Republic slavery was illegal (it was, technically) and that those laws were enforced and there were no slaves.

Now, I grant you there are two possible ways to understand Tatooine’s political situation in relation to the old Republic. They are:

1. Tatooine (and the rest of the Outer Rim territories?) is literally outside of the Republic, and either a part of some Hutt empire, or else an unaffiliated world dominated by particular Hutts.

2. The Outer Rim Territories (of which Tatooine is a part) are just that - territories of the Republic. They technically belong to the Republic, but their people are second class citizens, and the laws are sparsely enforced, if at all. There is probably a long history of imperialism, violence, and exploitation. (For a real world comparison, consider the relationship between the USA and its territories in Puerto Rico, the US Virigin Islands, Guam, American Samoa, etc.)

My personal headcanon is option 2. It makes more sense of Shmi’s bitterness when she says “The Republic doesn’t exist out here,” and of Padme’s shock at discovering the Republic’s anti-slavery laws aren’t enforced on Tatooine. It also makes Anakin’s introduction into the Republic much more believable (if Tatooine was entirely outside the Republic, how exactly is Qui-Gon getting away with bringing an undocumented illegal immigrant into the Republic and expecting him to be trained as a Jedi?).

But one of the things that means is that, yes, slavery did exist under the old Republic, and was in fact tacitly condoned, both by the Senate and by the Jedi (because they knew what was happening in the Outer Rim Territories and did nothing about it).

And I think that would be the greatest difficulty for Leia in learning that her birth father and grandmother were slaves. Not just that she can’t really conceptualize that (she can’t, though after Jabba she has a much clearer idea), but that admitting it causes her idealized image of the old Republic to crumble.

In a way, that’s almost like Leia’s Bespin. Luke never had an idealized image of the Republic - his investment in the Rebellion was always more personal than strictly political, and I suspect that, growing up on Tatooine, he didn’t have a whole lot of illusions about the Republic to dispel. For Luke, the idealized image that had to be shattered was his image of his father. For Leia, though, I think it was her image of the Republic. And it’s fitting, maybe, that Anakin was the trigger for both of them to go on this journey, to kill their idols in order to more fully engage with the reality of the world.

The danger of abstract thought is seen precisely in respect of the problem of existence, the difficulty of which it solves by going around it, afterwards boasting that it has completely explained it. It explains immortality in general, and it does so in a remarkable way by identifying it with eternity – with the eternity which is essentially the medium of thought. But with the immortality of each individually existing man, wherein precisely the difficulty lies, abstraction does not concern itself, is not interested in it. And yet the difficulty of existence lies just in the interest of the existing being – the man who exists is infinitely interested in existing. Abstract thought besteads immortality only in order that it may kill me as an individual being with an individual existence, and so make me immortal, pretty much in the same way as that famous physician in one of Holberg’s plays, whose medicine, while it took away the patient’s fever, took away his life at the same time.
—  Kierkegaard, Concluding Unscientific Postscript to Philosophical Fragments, chap. iii

In English the word [for work] originated in a particular form of activity of the peasant. What characterizes the word for work or labor is precisely its abstract quality. It no longer designates this or that special activity but activity and effort as such. One no longer plants cabbages, or weaves, or herds cattle; one works. All work is basically the same. What counts is the time spent working and the wage earned. As Marx said: “Time is everything, and man is nothing; at most he is the carcass of time.”

A World Without Money

anonymous asked:

Sorry, could you explain why you think Arima is an INTP? (Personally I see him as more of an ISTJ)

No need to apologize! This is my thinking:

I - Introversion 

  • reserved, spends a lot of time in his head and observing others.

We both agree on this one. When he’s not fighting, Arima is usually seen sitting quietly or reading. At Haise’s house, he eventually splits from the big loud party for a break. It doesn’t necessarily mean he’s rude or brooding, or that he doesn’t like being in the company of others, he just gets worn out by people and needs a little quiet time to recharge his batteries.

Haise’s just as introverted. Both friendly and polite, both easily overwhelmed by social situations.


N - Intuition 

  • sees the “big picture”– how little things make the whole

It’s easy to view him as a very practical person with concrete ideas on how the world works (he might be on the cusp here, tbh), but he’s actually a very abstract thinker. In Jack, it’s underlined that he enjoys connecting the dots and solving problems his own way, rather than being handed the solid evidence to work with.

He likes the chase, not the prize. He knew Minami was a Lantern for weeks, but pretended he didn’t so he could spend more time with her and Fura.

It’s also clear in the way that he speaks, and in his appreciation for prose/poetry, that he’s more interested in concepts and ideas over cold hard facts.


T - Thinking

  •  impersonal and logical. reasonable and level-headed

As opposed to “Feelers”, who make decisions based on empathy and personal values, he removes himself from the situation and acts on what he thinks is “just”. It’s pretty clear that he doesn’t give two hoots what another person is feeling as long as the outcome of a situation is correct.

Not nice, but it worked. 


P- Perceiving

  • likes to improvise, sees rules as flexible and enjoys spontaneity

Again, a lot of people would probably view him as being extremely strict when it comes to his general way of living (understandable, since he’s literally the CCG’s golden boy). However, he disobeys Marude in Jack for the sake of his friendship with Fura, fights based on the unpredictability of his opponent and the spontaneity of sound, and openly appreciates having new and exciting challenges that veer from his everyday life. He drives his students— Kaneki especially— hard as flying fuck because he doesn’t believe in restrictions or limits.

Arima was acting on what he thought was correct: tearing the shit out of Kaneki. Not exactly kind, and he might not’ve expected him to stand back up, but he’s definitely excited and proud that Kaneki broke free of his own cage.


Basically, INTPs are aloof, intellectual people with a keen sense of reason and precision. They’re big on abstract concepts, and are obsessed with mastery/logical correctness (they like finding the reasoning behind the truth, not actually knowing the truth itself). In their fear of failure, they have no tolerance for errors…

but are enthusiastic about their interests, love playing games, and have a naive, childlike quality to them despite their seriousness. They one of the more rare types, and are often misunderstood because of their self-contradicting quirks.

“Untitled (Blue Painting Light to Dark X)”

2006

Oil on canvas

75.1875 x 50.125 x 1.75 in (191 x 127.3 x 4.4 cm)

Guggenheim, NY

Mark Grotjahn

“In 1997, Mark Grotjahn began his well-known butterfly paintings, precisely rendered abstractions defined by thickly applied paint emanating in a fan-like pattern to the edges of human-scaled canvases. The works explore shifts in perspective and spatial illusion: vertical bands radiate out from two points at the center of the canvas while the density of the paint belies the illusory flatness of the surface. As the title details, Untitled (Blue Painting Light to Dark X) (2006) is from a cycle of ten canvases painted in shades of blue. The dark blue of this tenth monochrome shimmers in the grooves of hundreds of fine brush marks. However, a subtle yet vibrant orange underpainting at the center and edge of the canvas disrupts the plane of color and creates the shifting ground and foreground illusion as well as a dynamic play between symmetry and asymmetry originating from the points of convergence.“

One of the fundamental reasons why so many doctors become cynical and disillusioned is precisely because, when the abstract idealism has worn thin, they are uncertain about the value of the actual lives of the patients they are treating. This is not because they are callous or personally inhuman: it is because they live in and accept a society which is incapable of knowing what a human life is worth.
—  Berger, John