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from Spirit Bear Dreaming

We most certainly can. Since the “space” where dreaming occurs is not the same as our physical reality, and we are not limited to the kind of time and space conforming experience we have in our waking lives, we have different sorts of experience than waking life. When people talk about time they tend to make authoritative remarks as if we humans really understand time, as if the devices we build to measure time were more profound and meaningful that they actually are. Clocks are mechanical devices we've devised to measure some physical events. They do not capture any of the psyche's marvelous experience of life. And measuring the complexity of our inner lives by clocks is never satisfying or nurturing, is it?

We've all had the experience of time moving fast or slow. Consider that this might be the reality of time and that clocks totally miss it. A few times in my life I have been in situations where time seemed to nearly stop, to reach a slow motion state where I could examine things in detail as they roll on by, a second seeming like many minutes.

My point here is simply that time is not so easy to talk about, or easy to understand. We live in a post-Einstein world where classical notions of time have been destroyed, yet many of us talk about time in a blithe and mechanical manner that ignores this. Your phone uses a global GPS system, and that system's clocks are constantly being corrected to compensate for relativistic effects, or they'd get out of sync in short order, and your mapping app would be very, very wrong.

Reading deeper into the physics of time we find a lot of mind-bending oddities concerning time, not the least of which is that nobody has a great definition of time or understanding of what it is. So, I tend to be a bit critical of any descriptions of human experience being tied to such fuzzy ideas about waking physical reality. If you find them convincing and satisfying, then good, but I think the whole topic of time is much larger than we imagine, and also not well understood at all, so caution is in order.

My experience in dreaming includes many dreams where I have traveled in time, and even a few dreams where I was able to manipulate time. In one grand dream I was part of a Time Shifter team. My Time Robot sidekick and I had to beam down into a crashed spaceship that was under attack, and attempted to rescue a crew member who had been killed. We could only do this by sifting back in time.

We got there and used our time shifting powers to shift the area around the man to try to rewind it to before the lethal shot. We tried over and over, modifying our strategy each time, but each attempt had been anticipated by the enemy during the initial attack! They also had ability to modify time and also to anticipate probable outcomes to changing time. This evolved an interesting story with a lot of cool scifi ideas, but the experience of the dream was of being in a live situation where I had to manipulate time directly, and then move an area into the past and let it run forward. I had tools and a smart robot who could also manipulate time and calculate different probable outcomes of modifying the past.

It was a fun dream, and I've had a number of other time travel dreams, like traveling back to the beginning of time. But I read this dreaming as all being a part of some aspect of my self trying to make me see that time, as it is in dreams, is fluid. That my notions of time were not very useful or accurate and that I'd have to dig a bit deeper for more understanding.

So far I've concluded that time is much more flexible than we let ourselves see, that we make things conform to cultural notions of time without much notice.

My experience since these dreams has been to explore time and probabilities from a personal perspective in more depth. From here it seems that dreams allow us to construct dream time and dream space as we need them for the dreaming we are doing. So, time travel in dreams? No problem.

I wanted to note that I answered a related question, and you can read it here if you want a little more detail: Do we experience dreams in real-time?

Happy time travels!


from 異軌與地下城 Dungeons & Détournement

(這裡免費遊玩 play for free here)

這遊戲的靈感來源是我在象站上看到的 Dungeons 機器人帳號,它利用投票的方式來進行隨機創造的冒險。我看到其中一個在冒險開始的投票可以投「退休」,覺得如果大家一起在每個冒險開始的時候都投「退休」會很好笑,而且因為阻止了冒險同時也能讓每個冒險家完全避免死亡。因此我被《躺平與地下城》這點子引誘,雖然那不是我想為遊戲取的名字。

The inspiration for this game came from a bot account I saw on Mastodon called Dungeons, which used polls to advance randomly generated adventures. When I saw that you could vote to “retire” at the start of an adventure, I thought that it would be funny if everyone banded together to vote “retire” at the start of every adventure, and also let every adventurer completely avoid death by preventing adventure in the first place. So I was hooked by the idea of doing a game of Dungeons & Dropouts, although that wasn't what I wanted to name the game.

《歸真之旅》這遊戲名是《歸家之旅》的異軌,該烏托邦似的遊戲描述在擺脫暴力的戰後世界中的共同旅行。相反,《歸真之旅》是個反烏托邦似的遊戲,描述在資本主義和殖民主義製造的世界之中無法逃離的暴力和異化。《歸家之旅》是創造共同體的遊戲。《歸真之旅》是創造階級意識的遊戲。共產,依 的辯論,其實需要克服共同體的鬥爭—需要克服分開或否認無產階級的資產階級共同體。《歸真之旅》是個除了在廢除被剝奪財產階級之中創造的共同體之外,什麼共同體都不承認的遊戲。此外,《歸真之旅》疑問在時空被工作和國界殖民化的世界裡為什麼要把共同旅行作為烏托邦。在遷移本質上就是被殖民力生產的情況之下,為何把暴力的擺脫處於移動的自由?

The title of Wanderhell is a détournement of Wanderhome, which is a utopian game about communal journeys in a post-war world free from violence. In contrast, Wanderhell is a dystopian game about the inescapability from violence and alienation in a world created by capitalism and colonialism. Wanderhome is a game of creating community. Wanderhell is a game of creating class consciousness. Communism, argues, actually requires a struggle of overcoming community—the bourgeois community that divides or denies the proletarian class. Wanderhell is a game that refuses to recognize any community except the community created by abolishing the dispossessed class. In addition, Wanderhell questions the utopianism of communal journeys in a world of time and space colonized by work and borders. When migration is inherently produced by colonial forces, why locate freedom from violence in freedom of mobility?

因此,移動的自由在《歸真之旅》之中具有暴力的功能。你扮演的是聲名狼藉的遊盪怪獸,就是在傳統 TRPG 中冒險家隨機能碰到的怪獸。在遊戲設計方面,遊蕩怪獸的目的通常就是要讓玩家感覺到冒險自然的危險,或是讓隨機的骰數創造新奇的遊戲狀況。總之,怪獸遊蕩的原因就是為了遊戲團扮演的冒險家的獨佔利益。

Hence, freedom of mobility in Wanderhell serves a violent function. You play as an infamous wandering monster, a monster that adventurers randomly encounter in traditional TRPGs. In terms of game design, the purpose of wandering monsters is often to let players feel the danger of adventuring in a natural way, or to let the randomness of dice create new and interesting game conditions. In short, the monster only wanders for the exclusive benefit of the adventurers played by the group.


This exclusive benefit is embodied in the economic function of dungeons in Wanderhell. You play as a wandering monster who is the employee of the Blackbright Company; Blackbright is the spawn point for human colonizers I created in Future Only Enemies. The dungeon created by Blackbright Company is not only your worksite, but a site of human colonization—and this time the colonized may not necessarily be nonhuman monsters, but humans regarded as monsters through dehumanization. A dungeon is an area designated for exploitation—dungeonization is meant to parallel industrialization and proletarianization. A monster in a dungeon one who is multiply dispossessed for the exclusive benefit of players, adventurers, supremacist races, and empire.

《歸真之旅》之中的遊蕩不是在體現移動的自由,而是在體現這些征服與剝削造成的移動強迫。遊蕩這行業處於的零工經濟以自由移動的幻想為前提。就跟 Uber 一樣,黑耀吹捧控制自己為工作在時空移動的自由,把自由定義為自我管理的殖民化。在你遊蕩的每一階段,你意識到這宣傳的真面目、意識到靠工作生存的意義—就是必須再生產殖民化才能繼續活下去。在這個系統當中,任何關於工作自由的選擇—無論是工作時間、地點或職業—都只是剝削方式的選擇,都是暴力的自由。

Wandering in Wanderhell does not embody freedom of mobility, but the mobility forced by these dominations and exploitations. The industry of wandering is situated in a gig economy premised on the illusion of free mobility. Just like Uber, Blackbright touts your freedom to control your movement through time and space for work, defining freedom as self-managed colonization. At every stage of wandering, you realize the true nature of this propaganda, realize the meaning of relying on work to survive—it is being required to reproduce colonization in order to continue to survive. In this system, any choice regarding the freedom of work—whether it's in time, place, or profession—is only a choice in method of exploitation, is only a violent freedom.


The purpose of Wanderhell isn't to single out Wanderhome for criticism, but to criticize a certain type of utopianism embodied by Wanderhome. I know the designer of Wanderhome isn't somebody who has never experienced the oppression of capitalism, know that that designer has been unhoused, know that that designer is a queer disabled person who has been oppressed by cisheterosexism and ableism. I also know that many others exploited like that designer truly do find a sense of relief from suffering through escape from reality. But I can't. To me, the only relief comes from destroying and making society anew. Wanderhome does not destroy enough of society for me. It wasn't meant to. But Wanderhell was. And I am.


from Wortpressers Notizblock


l'animal, els animals | das Tier | el animal [ES]

l'abadejo, els abadejos | der Seelachs, Schellfisch | el abadejo [ES] l'al·ligàtor, els al·ligàtors | der Alligator | el aligátor [ES] l'ànec, els ànecs | die Ente | el pato [ES] l'aranya, les aranyas (f) | die Spinne | la araña [ES] el bacalao, els bacalaos | der Kabeljau, Stockfisch | el bacalao [ES]

la balena, les balenes | der Wal | la ballena [ES] el cavall, els cavalls | das Pferd | el caballo [ES] el conill, els conills | der Hase, das Kaninchen | el conejo [ES] el cranc, els crancs | die Krabbe | el cangrejo [ES] el dofí, els dofins | der Delfin | el delfín [ES]

l'elefant, els elefants | der Elefant | el elefante [ES] el gat, els gats | die Katze | el gato [ES] el gos, els gossos | der Hund | el perro [ES] el llagardaix, els llagardaixos | die Eidechse | la lagartija [ES] el lleó, els lleons | der Löwe | el león [ES]

el lluç, els lluços | der Seehecht | la merluza [ES] el mico, els micos | der Affe | el mono [ES] l'oca, les oques (f) | die Gans | el ganso, la oca [ES] l'ocell, els ocells | der Vogel | el pájaro [ES] l'orada, les orades (f) | die Goldbrasse | la dorada [ES]

l'orca, les orques | der Orka, Schwertwal | la orca [ES] l'oriol ¹, els oriols | der Pirol | la oropéndola [ES] l'ós, els ossos | der Bär | el oso [ES] l'ostra, les ostres (f) | die Auster | la ostra [ES] el peix, els peixos | der Fisch | el pez, el pescado [ES]

el pingüí, els pingüins | der Pinguin | el pingüino [ES] el pollastre, els pollastres | das Huhn | el pollo [ES] el porc, els porcs | das Schwein | el cerdo [ES] la rata, les rates | die Ratte | la rata [ES] el ratolí, els ratolins | die Maus | el ratón [ES]

el ruc, els rucs | der Esel | el burro [ES] la serp, les serps | die Schlange | la serpiente [ES] el talp, els talps | der Maulwurf | el topo [ES] el tauró, els taurons | der Hai | el tiburón [ES] el tigre, els tigres | der Tiger | el tigre [ES]

la tonyina, les tonyines | der Thunfisch | el atún [ES] la tortuga, les tortugues | die Schildkröte | la trotuga [ES] la truita, les truites | die Forelle | la trucha [ES] la vaca, les vaques | die Kuh | la vaca [ES]

¹ — Oriol | männlicher katalanischer Vorname

#CaDe #Katalanisch #Sprachen


from Spirit Bear Dreaming

Part of the problem of this sort of question is that when you try to define time itself you run into problems. We tend to describe time by using that which we created to measure time. That is, we invented clocks to measure the passage of time, so using clocks to define time seems to be a bit of circular reasoning, from my view. We all have a sense of what time is, but I've yet to hear a definition of it that does not refer to itself in some way. So, there is a lot of weirdness when you try to pin down what time actually is.

The approach I use to work with the concept of time is to picture it as something our body does to structure experience for our mind, something that comes from the way our senses work. Given that, then it seems to me that what we call time in dreams is of the same sort of thing, something that we impose on dream experience to give it order and structure.

I've often noticed that during dreaming that I am having experiences, but upon waking my mind will assemble a narrative of sorts, deciding if the sequence makes sense as it goes along. Some part of me is imposing order on the dream and making a report of the dream that my waking self can handle. These two, the experience and the report, are not necessarily the same.

I've had some unusual dreams that seem to have no-time, or run in parallel threads of time, and when I sit with the memory of them I cannot decide if the order I impose on the dream when waking was the right order. But I live in the world that we share, where we communicate in linear, time-based experience. So I seem to need to make experience into a linear sequence of time. Out of habit? Is time a requirement? I don't know, but it is useful to talk as if it is.

So, to try to flesh this out a bit more, and hopefully not to make this more confusing, let me restate things. A dream is experience, which may or may not be in time. It can feel like it is outside of time, or like it is in waking time or in strange states that match neither of those. Perhaps it can be in real-time on some occasions.

We have a memory of dreaming, and that memory may be structured by our need to impose time on the experience, in order to make it conform with the way our brain or waking mind works. Then there is a report of a dream, a narrative that fits the way we tell stories, laying them out in sequence in the convention way.

So, to answer the question, we might dream in real-time, but it is not required that we do so in order to have dream experience. My sense of it is that we have many ongoing threads of dreaming in our consciousness at all times, but that the waking, dealing-with-survival part of our awareness may or may not pay attention to those. When sleeping we may sometimes shift attention to those dreaming parts and sometimes our waking selves participate or notice those dreaming threads of consciousness.

I suppose that one aspect of dreaming is to make us aware of how our sense of time is essentially arbitrary, in that we seem to make time as a frame around experience. Perhaps other modes are possible?


from Wortpressers Notizblock


l'esmorzar | das Frühstück | el desayuno (ES) el berenar | die Brotzeit | la merienda (ES) el dinar | das Mittagessen | el almuerzo, la comida (ES) el aperitiu | der Aperitif | el aperitivo, el abreboca (ES) el sopar | das Abendessen | la cena (ES) el menjar | die Mahlzeit | la comida (ES)

que aprofiti | wohl bekomm's | que aproveche (ES) bon profit | guten Appetit | buen provecho (ES) que vagi de gust | lass es dir schmecken | buen apetito (ES)

#CaDe #Katalanisch #Sprachen


from Spirit Bear Dreaming

A number of years ago Robert Moss introduced me to the fifth-century bishop and student of the amazing genius Hypatia, one Synesius of Cyrene. Around the year 405 Synesius wrote a book titled “On Dreams” where he goes into great detail on the nature of dreams. Serious students of dreaming in all of its many aspects would profit greatly by studying this gem, I think. I won't go into too many of the details provided by Synesius, but only give a rough idea of the compelling description that Synesius gives us on the nature of dreams.

In his model everything is interconnected, and thus we, being part of all, we too can be read for signs because of those connections. To Synesius we are composed of both Mind and Soul, or Matter and Spirit. The Mind contains images of what is, the Soul of what will be.

We also have a third part, the Imagination, where dreams occur or exist, a part that connects the Mind to Soul and thus provides a path to the Divine.

“The imagination has the senses available, but not the organs of perception. Thus, the imagination may be perceiving something more pure. When sleep makes a connection to the soul this brings us close to our source”


“Imagination is the sense of the senses, necessary to all others; it inheres at the same time in both the soul and the body. It is through imagination that all perceptions occur and from which all faculties proceed.”


“imagination is the sense which has power of acting instantaneously without intermediaries.”

As the bridge between matter and spirit, the Imagination uses both yet retains its essence. It can bypass the material aspects of reality as it reaches beyond matter. He also says...

“When the soul enters this realm it rides the imagination like a chariot. The soul either draws the imagination or is drawn by it. Do not allow the miseries of the imagination draw one into dark places as it is waste of life.”

In this view the Imagination, being the sense of the senses, it operates something like the senses of a higher part and connects us to our Souls and to the Divine. So Dreams and things like Soul Journeys take us into a different parts of our complex selves.

Dreams can be messages from other parts of the Self or Soul, or from other parts of the Universe, since we are part of the interconnected whole of it all. I take it that this means that dreams are not material in the typical sense, but operate in the Imagination, which spans the Mind, the Senses, the Soul and the Divine.

Imagination is a part that the modern world does not know or make room for, but which can be easily investigated by the small effort required to keep a dream journal and work with dreams over time. We modern people use the term Imagination in a small and sometimes belittling way, but Synesius is telling us that we have it upside-down. Imagination is the larger part of us and the part that connects us to things outside the material world.

I've worked with this idea for years and have come to see it as a much better picture of my essence. When a child I was taught that my mind is a part of my brain living in my body. My Soul was some vague aspect of me that was never clearly delineated, but I had to conform to certain rules to keep it safe as it was fragile and easily stolen.

I, like many others, find this to be an impoverished picture of the self. I much prefer the picture Synesius presents, where Body and Mind are situated in the material world, but Imagination surrounds it all and has access to the sensory information of the material side, in addition to connections to other aspects of the whole of the Universe.

The Soul and the Divine connect to the Imagination and provide routes for connections to much more diverse and complex realities and the free flow of information. With this model one can see that exercising and developing the Imagination, like by actively dreaming, is an important goal in order to reach the Divine and richer aspects of reality. It gives a much different picture of reality and gives the words from the ancient world a new resonance.


from Spirit Bear Dreaming

A dreamer asked about the meaning of dreaming of a shooting star. I've dreamt of the same or similar and wanted to dig into this a little.

The modern dreamwork movement puts the ownership of the meaning of a dream squarely in the lap of the dreamer. I think this is the essential truth of dreamwork, that we each need to determine the meanings of our own dreams or risk losing their power. So, I couldn't really say what someone else's dream means to them, but I can offer some help by telling what it might mean to me if it were my dream. The dreamer can then pick or choose or ignore what I say and make up their mind about the meaning for themselves.

I suggest we all should reserve the right to ignore other people's meaning if it does not feel right to us. And I really mean feeling. Experience tells me that if I get that shivery feeling when a certain meaning comes up, I know I am on the right track to something worthwhile.

If we were sitting down and talking about this dream I'd ask the dreamer what they want to know. If they were an artist looking for an image to work with, I might point at these images as visual inspiration. But the dreamer asks for meaning, so let me offer a few things about what I might say if this were my dream.

The first thing I would do is consider the feeling I had upon waking, which is usually an excellent clue as to the what and wherefores of the dream. When I wake feeling great after a dream of a scary or strange situation, then I take that as a sign to read it in a positive way, which might seem contrary to the dream, but experience shows that the waking feeling carries a lot of weight.

If they had just had a loved one pass, I might talk about movement in the heavens and how people have always seen that movement as a sign from beyond, and my feeling would tell me about that meaning. Since they didn't share a waking feeling we only have the images to look at for meaning.

If I dreamt of crystal water I would take that a marker for deep emotion and feeling and perhaps even calmness or purity. To me, lights arising out of water give me a sense of living things arising. The sense of water giving life, and fire being the spark of life within a living being. And since they fly off into the heavens I get the idea of migration.

In my dreaming, stars are usually living beings and somewhat different from us, often strange, but compelling, so, to me, it feels like spirits. To shoot off like fireworks and shooting stars makes me feel like there is some kind of celebration or dispersal taking place. So I might ask what vital thing am I giving birth to? What is coming from me? Where is it going? In dreams of shooting stars that I've had they felt alive and aware, and as if they were observing life on earth. Which was an odd feeling, not unsettled but with a hint of being watched from a different eye.

Again, the feeling on waking is so important. If joyful or glad, then I'd take it as a wonderful things coming from me and going off to make positive events. If I woke with a different feeling I would color my reading with that feeling.

Sometimes it is fun to look at cultural imagery to see what shows up, and I might look at the symbols of alchemy or other hermetic image systems like tarot symbols. In tarot the Star card has this mixture of water and stars, and is often the card of hope and inspiration, it can have to do with delving into higher things, and can be a marker of success and wisdom and healing and the calm after crisis.

Another tarot card that perhaps fits here is the Temperance card. It often shows an angelic being mixing some kinds of mysterious fluids while hovering over a pool, with one foot in the water, the other perhaps touching land. It is a card of blending and mixing opposites, or many different things, and maintaining balance and composure. I like these images a lot and, to me, they harmonize with the dream images.

If this were my dream I would see it as suggesting some inner peace and not being disturbed by the seeming chaos around me. It suggests victory and finding the real treasure in the end.

If we were sitting together and talking, and if the dreamer found something that spoke to them in my reading or if another thing formed a meaning, I'd ask if the dreamer thought there was something they needed to do about the dream, for dreams often demand we act on them. It can be a small thing, or something large, but acting on a dream brings some of the energy of the dream into the waking world.

Again, I emphasize that this is what I might consider if it were my dream, and a dreamer can pick or reject any of it. It is the dreamer's dream, and my take on it might be totally wrong for them. I want the dreamer to claim the benefit of the dream for themselves, and that won't happen if we try to hammer a round peg into a square hole. So it is best go with feelings and personal associations. Over time that evolves for us and brings more richness to one's dreaming.

Thanks to the dreamer for sharing this dream, it is quite compelling. I particularly love stars as they appear in dreams for their strange and un-human quality. I always find stars very engaging in my dreams and the dreams of others.

The great thing about working with dream images is the more you do it the more you learn about it. I'm not sure that there is an end to it all. Our individual Dream Source seems to have an endless library of imagery and sensations to send you and keep you going. And that is one of the joys of being a dreamer, an aspect that stays hidden until you work with dreams for a while.


from typhotic iceberg 煙霧冰山

a transmasc manifesto

gender is an identity. gender is an expression. gender is how you look, how you act, how you're expected to act by others. gender is a role. gender is a position. gender is an imposition. gender is what the cisheteropatriarchy wants you to do, wants you to be—how it wants you to submit. it assigns it to you at birth, based on how you look, and from then on you're expected to keep up your act for the rest of your life. gender, like Judith Butler famously says, is a performance—but some of us don't follow the script. some of us won't follow the script.

and some of us aren't even satisfied with not following the script either. no, we want to burn the whole stage down. trans, not as in transition, but in transgression. transmasculinity—transgressing masculinity. i am not here to act like a man—i am here to ruin your gender. i am here to look like you without acting like how you want me to. i am here to destroy all unities among expression, emotion, interaction, domination, and submission which you hold sacred and essential to your role as creator and enforcer of the cisheteropatriarchy. and in my destruction, i will not only create myself, but create space for others to do the same to you and your enabling ilk.

agender isn't enough—i need to be antigender. i am not simply satisfied with removing myself from your system and finding community with others who have done the same. i will not be satisfied until your entire system of domination and exploitation of all who are not your gender is gone. gender is a conspiracy. gender exists to serve hierarchy. and i refuse to serve.







from Spirit Bear Dreaming

I take this as a question about the theory that dreams are just random “brain noise” or a meaningless jumble of thinking that is a side effect of normal waking thought. This unfortunate idea is sometimes proposed as an easy explanation for dreaming, but I believe it is pure speculation by people who don't bother working with their own dreaming. Just keep a dream journal for a few months, and you easily disprove this idea to your own satisfaction, especially if you work with a group of other dreamers.

After years of studying my own dreams and dreams of others, I've come to believe that only on rare occasions are dreams the residue of waking thoughts, but that, actually, dreams are real experiences that take place in what Henry Corbin termed the “imaginal realms”, a different mode of reality to the mind. In other cultures and in the ancient world, the imagination was seen as an alternative to the thinking and feeling aspects of mind. The imagination was considered by some to be the path to the sacred and to other levels of existence and some considered it the superior part.

Over time, I've come to see that this part of the mind can be developed, and although it is most commonly encountered by most people primarily in dreaming, we can learn to utilize it from our waking state of consciousness and develop it into another useful and powerful aspect of the mind. Lately I've thought of the imagination as a “mental muscle” that needs to be strengthened to be useful, just like any other part. Perhaps those whose dreams always seem random and chaotic are using an imagination that has not been developed. Working with dreams helps us strengthen that part of the mind and will show benefits when we apply some effort.

From this perspective, dreaming is not just “thinking” as we normally define it, but a different aspect of mind. If we accept this then we have to face the fact that most of us are only aware of parts of what comprises our mind, and that there is plenty of open territory to explore. Dreaming, and developing imagination, gives us new capabilities and new modes of operating in the world and in our inner lives.

There is so much more!


from Semicoherent.

Last year, over 1,200 D&D players descended upon Provo, Utah, to set the Guinness World Record for the largest single D&D game ever played – and they did! I had planned to attend but, unfortunately, due to a combination of ADHD and... okay, probably just that... I put the wrong date in my calendar, didn't pay attention to the announcements on social media, and missed it entirely. THIS YEAR they are holding the event again, dubbed (unsurprisingly) Dead Wars 2 and, damn it, I'm gonna be there! We already reserved our table so it's friggin' happening! I will be the Dungeon Master for my regular D&D group, playing at table #7 on Saturday, May 4th, 2024, the second day of what will be a 2-day event this year. While Guinness will not be on-hand this time to certify the record (they are crazy expensive, and I agree with the organizers: that money is better spent making a higher-quality event) it will likely surpass the 1,227 players of the first game on at least one of the two days.

Despite it not having the pomp and circumstance of an actual Guinness World Record attempt, I am giddy with excitement (and anxiety) to be DMing a table this year. And, I dunno, maybe this will encourage me to DM at other events.

Tags: #DnD #Events #Utah


from sparr

Mid-conversation updates and what came before

Pat: I saw a group of ducks * 1: This comment is about ducks even if it doesn't mention them * * 2: This comment is about ducks if made early but could be about ducks or geese if made later * 3: This comment is about ducks even if it doesn't mention them * Pat: They were actually geese * * 4: This comment is about geese even if it doesn't mention them * * 5: This comment is about geese even if it doesn't mention them * 6: This comment could be about ducks or geese * 7: This comment mentions ducks * 8: This comment could be about ducks or geese * 9: This comment mentions geese

I have repeatedly had trouble trying to describe this situation in words, without diagrams or examples, and trying to give hypothetical examples of a concept like this in the middle of another conversation rarely goes well. The key detail here is that a correction or additional context or new information is later added to the original scenario. The result of this is that the original post and at least some of the comments become a functionally distinct conversation from the real/updated scenario and comments on that scenario. I regularly encounter people who don't understand this concept and so experience reading comprehension failures when presented with a scenario like this. This becomes a problem when I try to have a discussion about ducks and what was said about them, but people insist that the original post and the first comments were about geese and get upset at me for wanting to continue discussing ducks or to discuss the prior discussion of ducks. I say “Pat, 1, 2, 3, and maybe 6 and 8, said these things about ducks” and multiple other people respond with “No, they were all talking about geese, which you would know if you'd read Pat's update”. Once that happens, the conversation seems irreparably damaged, so I am hoping to find a way to fix this sooner.

That alone is too complex to discuss with many (most?) people without better tools to aid the discussion. It gets even worse when you get to the later comments, the ones after the update but not nested under it. Some of those comments will make it clear whether they are talking about ducks or geese, but others will be entirely ambiguous. Assuming one direction or the other doesn't lead to supported conclusions about the conversation or either of the two scenarios. “[Conclusion about geese] which is supported by 6 and 8” does not follow; you don’t know whether 6 and 8 were talking about geese. Although I've managed to discuss the previous paragraph successfully a few times, I don't recall ever getting through to someone on this further aspect of the situation.

There's another layer here about the different meanings of positive and negative statements about uncertain groups, but that would double the length here and this is already too long.

If you have ideas about how to more effectively approach this scenario when I encounter it, I'm open to suggestions.


from Trapisondas

Una de las grandes ventajas de dibujar es que además de escuchar música de fondo también puedes escuchar podcast sin que te distraiga. Lo cual me parece estupendo porque soy la clase de persona que necesita tener un sonido de fondo para concentrarse (o tal vez sea mi neurodivergencia). Estos son los podcasts que más escucho, aunque en realidad el que tiene el formato como tal solo hay uno, los otros dos son canales de youtube, hiperfamosos, yo creo.

Comienzo por el canal de Antonio G. Villarán. Cuando empecé a ver sus vídeos (porque el algoritmo me los sugería) no tenía ni idea de que este señor fuese un influencer del arte. Aunque viendo sus cifras alguna pista me podrían dar. En realidad su arte no tiene nada que ver con lo que yo hago, tampoco a donde me gustaría llegar (excepto por la academia de arte, esa idea me gusta más. Por otro lado, si me hubiese pillado en un punto donde estuviera más verde igual hasta habría hecho algún curso de iniciación porque hay que reconocer que sabe). Pero vamos, lo que más me gusta de su canal es la divulgación que hace sobre el arte, para alguien que no tiene una base consistente sobre historia del arte le viene bien. Así que por este lado es estupendo. No obstante, en las entrevistas que hace a otros artistas galeristas, algunos los encuentro interesantes, pero otros te preguntas de donde han salido. Hay que tener en cuenta que esta gente suele pedir un dineral por su obra porque son exclusivas y eso, además de acompañarlo de un discurso más o menos convincente, según el artista. Por ahora solo las ha hecho a señores. Me gustaría ver un poco más de variedad, pero en fin. Me quedo con lo positivo que me puede aportar.

El siguiente es J.S Linares. Sí, bueno, es otro señor, pero a mi parecer también tiene un contenido interesante y hace entrevistas a otros artistas relacionados con su área: en su caso se trata del concept art y el cómic. Como fan de la animación que soy lo disfruto mucho (aunque también es verdad que tira más por los vídeo juegos). A pesar de que también entrevista a señores del sector en ocasiones me siento identificada con los procesos de algunos creadores. Por poner un ejemplo me encantó la entrevista a Dibujante Nocturno, un artista que sigo desde los inicios de los tiempos.

El tercero y último es Lengua de sapas, este sí que es formato podcast. Lengua de sapas son los ilustradores Jotaká y Mar Villar. A Mar la sigo desde hace mucho en las redes sociales también y creo que ambos son los artistas más afines a mi estilo y hasta en el camino que me gustaría llevar para dedicarme a esto de la ilustración. En sus podcasts no solo se aprende mucho sobre el mundillo, también hay mucho mamarracheo, lo cual lo hace más ameno si cabe y vamos, me declaro una Cuenca de géminis total. Otro punto a favor es que también a veces también hacen entrevistas a otros artistas como puede ser Esther Gili, un referente en la ilustración editorial actual yo creo y otras señoras bien. Lo curioso es que tras escuchar esta entrevista me hizo plantearme que tal vez necesitaba aprender alguna técnica tradicional de una vez y en ello estoy.

Me gustaría conocer más podcast/canales del estilo del último si es posible, así que se aceptan sugerencias.

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from Reznik schwafelt.

Atomic und Immutable

Am Wochenende hat Fedora angekündigt, dass sie ihre Immutable Desktop Spins umbenennen bzw. ein einheitlicheres Namensschema verpassen. Künftig werden die entsprechenden Spins den Namen “Desktop Atomic” tragen (z.B.: Sway Atomic). Begründet wurde das damit, dass die entsprechenden Spins keine echten Immutables seien.

Das führte bei einigen, mich eingeschlossen, zu leichter Verwirrung. Hä? Sind Atomic und Immutable nicht Synonyme? Zumindest werden sie in der Fachpresse so verwendet. Warum also jetzt einen Unterschied machen? Es war also an der Zeit, dass ich mich etwas näher mit den Begriffen beschäftigte. Das Ergebnis lest ihr hier.

Zunächst einmal gibt es den klassischen Linux-Desktop. Der verhält sich wie gewohnt. Wenn man root wird, hat man Lese- und Schreibzugriff auf fast alles. Die Software, egal ob Kernel oder Desktop-Programme, kommt im Idealfall aus der Paketverwaltung. Soweit so gut! Das sollte jeder Linuxer kennen.

Dann gibt es auch sogenannte Immutable Desktops, die deutlich anders funktionieren. Hier wird die Software über Images verwaltet, sodass das System als Ganzes und nicht in einzelnen Paketen auf die Festplatte kommt. Man kann sich persistente LiveISOs als Vergleich vorstellen. Man kann mit ihnen einen bootfähigen USB-Stick erstellen und Änderungen vornehmen, die gespeichert werden können. Immutable Desktops funktionieren ähnlich.

Fedora geht hier einen Mittelweg, indem es keinen Image erstellt, sondern einen Container, in den alles installiert und dann per Versionsverwaltung bereitgestellt wird. Versionsverwaltung ist hier wörtlich zu nehmen. Die Entwickler von libostree bezeichnen es als “git-ähnlich”. Es handelt sich also nicht um ein Image, das man erhält. Aus diesem Grund fanden die Fedora-Entwickler den Begriff “unveränderlich” unpassend. Es handelt sich jedoch auch nicht um eine Paketverwaltung, da alles um den Container dreht, in dem das gesamte System erstellt wird, und nicht um Pakete.

Warum dann der Name 'Atomic'? Eine offizielle Begründung dafür gibt es nicht. Ich denke, dass die ostree-Commits als kleinste machbare Änderung hier der Punkt sind. Und ich bin wahrscheinlich der Einzige, der das wirklich erklärt haben muss.


from Semicoherent.

Over the weekend, my wife, brother, and I started a new family game running Phandelver and Below: The Shattered Obelisk, the re-written and expanded Lost Mines of Phandelver adventure from the early days of 5th Edition. Since the kids weren't interested in playing this time around, we decided to try the sidekick rules from Tasha's Cauldron of Everything so we could still run a 4-person party. What we ended up with is my wife playing an elven fighter with a satyr spellcaster sidekick and my brother playing a dragonborn warlock with a kobold inventor expert sidekick. They are having a really good time with the sidekick rules, as am I, except for the fact that for some reason I am really struggling to balance these battles. They've gotten their butts kicked pretty hard in both the first encounter, which they still won, and the second encounter, which they ended up fleeing from – sadly failing to save Sildar Hallwinter – even with me leveling them up beforehand. Granted, there were some bad rolls that contributed to this but it was still much harder for them than I expected.

Regardless, we had a good time and there was a lot of emotion when they returned to the goblin hideout to find Sildar impaled in front of the goblins' cave. I just need to get a better feel for these encounters with the sidekicks.

All-in-all, we played around 10 hours of D&D over two roughly 5-hour sessions on Saturday night then Sunday afternoon and had a ton of fun. I'm even considering modifying the sidekick rules so I can write-up some sidekick versions of the characters in our main campaign, hopefully making it less necessary to cancel when one or two players can't make it. That's a post for another time, though. I'll give it a shot and report back.

#DungeonsAndDragons #TTRPG #DnD


from Wortpressers Notizblock

Die aktuelle DIN 5009 ist im Mai 2022 mit neuer Buchstabiertafel veröffentlicht worden. Dabei entschied sich der DIN-Arbeitsausschuss für eine Städtenamentafel:

A wie Aachen, Ä wie Umlaut Aachen, B wie Berlin, C wie Chemnitz, D wie Düsseldorf, E wie Essen, F wie Frankfurt, G wie Goslar, H wie Hamburg, I wie Ingelheim, J wie Jena, K wie Köln, L wie Leipzig, M wie München, N wie Nürnberg, O wie Offenbach, Ö wie Umlaut Offenbach, P wie Potsdam, Q wie Quickborn, R wie Rostock, S wie Salzwedel, ẞ wie Eszett, T wie Tübingen, U wie Unna, Ü wie Umlaut Unna, V wie Völklingen, W wie Wuppertal, X wie Xanten, Y wie Ypsilon, Z wie Zwickau

Grundsätzlich hat diese Norm Empfehlungscharakter. Die Anwendenden können also frei entscheiden, ob sie die neue »Buchstabiertafel für Wirtschaft und Verwaltung« (so die offizielle Bezeichnung) verwenden oder vielleicht eher das ergänzte internationale Buchstabieralphabet der International Civil Aviation Organization (ICAO) – oder aber auch ihr eigenes, vielleicht spontan geschöpftes.

#Deutsch #Sprachen


from 红线频道 RedLinrChannel















































































































































  他们的核讹诈一旦被对方识破,并且遭到对方的反讹诈,他们马上节节败退,从冒险主义滚到投降主义,在核赌博中输得精光。      我们愿意指出,伟大的苏联人民和苏联红军过去是,现在是,将来也会是维护世界和平的伟大力量。但是,建立在核迷信和核讹诈基础上的赫鲁晓夫的军事思想却是完全错误的。

  赫鲁晓夫的眼睛里只有核武器。在他看来,“在现代军事技术发展的条件下,空军和海军已经失去了它过去的意义。这类武器不是要削减而是要被代替。”      担负地面战斗任务的部队和士兵,当然更是无足轻重了。他说,“当前决定国防力量的不是我们有多少士兵肩荷枪支,有多少人身穿军大衣。”“国家的防御力量在决定性的程度上取决于火力如何,取决于这个国家掌握着什么样的发射工具。”






































































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[4] 考茨基:《民族问题》。

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[8] 考茨基:《战争与民主》导言。

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[10] 考茨基:《战争时期的社会民主党》。

[11] 考茨基:《战争与民主》导言。

[12] 考茨基:《社会民主党的教义问答》。

[13] 伯恩施坦在德国社会民主党1912年克姆尼兹代表大会上关于裁军问题的发言,载于《社会民主党代表大会手册(1910-1913)》第2卷。

[14] 考茨基:《再论裁军》。

[15] 考茨基:《国防问题和社会民主党》。

[16] 考茨基:《国防问题和社会民主党》。

[17] 考茨基:《社会主义者和战争》。

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[19] 《关于联共(布)中央七月全会的总结》。《斯大林全集》第11卷,人民出版社版,第174页。

[20] 《和美国记者安娜·路易斯·斯特朗的谈话》。《毛泽东选集》第4卷,人民出版社1960年版,第1192页。

[21] 《为争取国家财政经济状况的基本好转而斗争》,1950年6月13日《人民日报》,

[22] 《帝国主义和一切反动派都是纸老虎》,人民出版社1958年版,第25页。

[23] 《苏联社会主义经济问题》,人民出版社1958年第3版,第27页。

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[25] 《无产阶级革命的军事纲领》。《列宁全集》第23卷,人民出版社版,第75页。

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[30] 《抗日战争胜利后的时局和我们的方针》。《毛泽东选集》第4卷,第1126页。

[31] 《关于重庆谈判》。《毛泽东选集》第4卷,第1158页。

[32] 《抗日战争胜利后的时局和我们的方针》。《毛泽东选集》第4卷,第1128页。

[33] 《在最高国务会议上的讲话》,1958年9月9日《人民日报》。

[34] 《在最高国务会议上的讲话》,1958年9月9日《人民日报》。

[35] 《在中国共产党第七届中央委员会第二次全体会议上的报告》。《毛泽东选集》第4卷,第1437页。

[36] 《中国人民政治协商会议第一届全国委员会第三次会议的开会词》,1951年10月24日《人民日报》。

[37] 见1960年5月15日《人民日报》。