middlering

Latest Posts by middlering

Why do we use the symbol for partial derivatives as the symbol for boundaries of manifolds?

And God said, "Behold! I have created the fourth primordial force: the weak interaction!"

And the angels all clapped and nodded politely, and there was a long silence; and finally Verchiel, the Angel of Grace, spoke up and asked, "Er, what exactly does it do, O Fashioner?"

And God said, "What do you mean, 'what does it do?' It's the fourth fundamental force of the universe."

And Verchiel said, "You mentioned that. Um. But it's just that the other three sort of have a brand, you know? Gravity helps build large-scale structures, acts over vast cosmic distances, shapes time and space. The strong force is secret, hidden, binding together quarks and all that. Electromagnetism, very cool stuff, somewhere in between. We're all big fans of the whole magnetic monopole double bluff, very clever. But, er. What does this 'weak interaction' do?"

And God said, "It mediates radioactive decay. Sort of."

And Verchiel said, "Radioactive decay? All radioactive decay?"

And God said, "No. Just some kinds."

And Zephaniel, the Chief of the Ishim spoke, and he said, "A whole independent force just to mediate some kinds of radioactive decay?"

And God said, "Well. Not totally independent. Technically it's related to electromagnetism."

And Zephaniel said, "Wait, it's not even a real force?"

And God said, "It's totally a real force. It's just that it's one aspect of a combined electromagnetic and weak force. An electro-weak force, if you will."

And Metatron, the Celestial Scribe, scratched his head at this, but said nothing.

And Cambiel, the Angel of Transformation, said, "Maybe you can walk us through it from the top."

And God Sighed an immense Sigh, and said, "All right, fine.

"So the way it works is that all of space and time is permeated by a field that has imaginary mass."

And Cambiel said, "Imaginary mass, O Generous Provider?"

And God said, "Yes, imaginary mass. It's tachyonic, d'you see?"

And Sarathiel, the Angel of Discipline, said, "Wait a minute, I thought we agreed nothing was going to travel faster than light? All that 'c' business and the whole Lorentz transformation thing. What's happening with that?"

And God said, "Let me finish. The field is tachyonic. The particles in the field all move slower than light."

And Sarathiel had to think about this for a second.

And God said, "The point is, a field with imaginary mass has a non-zero vacuum expectation value."

And this really gave Sarathiel trouble, since he had never been very good at math.

And God, seeing this, went back to explain. "Most fields, like the electromagnetic field, have no effect when they are at their lowest energy state. It's like they're not there at all. If you give a field imaginary mass, then it vanishes only when it's at a very high energy state, and at a low energy state, it has a nonzero value everywhere."

And Sarathiel nodded, but he was confused, because he didn't understand why God would create such a thing.

But Verchiel thought he saw where God was going with this, and he was amazed.

"Truly, you are cunning beyond measure, O Only One Certainly Sound and Genuine in Truth! Only now do I understand your design! For in order to make the universe homogenous and isotropic, it is necessary that all large-scale fluctuations in temperature and mass must be evened out early in the history of the cosmos; and therefore, you have designed a field which will rapidly expand space after the Big Bang, many orders of magnitude in brief moments, and then swiftly and spontaneously decay as it gives up the energy it began with, giving rise to radiation and particles of all kinds as it does, which will condense into the material universe! It is a wonder to behold."

And God said, "What? No. I mean I did, but this isn't the inflaton field I'm talking about. This is something else."

And Verchiel said, "Wait, it's not?"

And God said, "No, I'm going to use a different field to drive cosmic inflation. The properties of this field are totally different."

And now Verchiel was also confused, and lapsed into silence.

And God said, "Like I was saying, this field is a scalar field with imaginary mass, and it does spontaneously decay to a ground state with a non-zero value. But it's not the inflaton field. Instead it combines with the W1, W2, W3, and B bosons."

And Metatron began to flip back through the pages of the Heavenly Record trying to figure out where he'd lost the thread.

And Zephaniel said, "The what bosons?"

And God said, "The W1, W2, W3, and B bosons. I'm sure I mentioned them. You know, the massless bosons?"

And Zephaniel said, "I'm pretty sure we only talked about the W+, W-, and Z0 bosons. All of which you said were going to have mass, O Owner of All Sovereignty."

And God said, "Yes, but this is how they get them, you see. Once this field acquires a nonzero value everywhere, the massless bosons interact with it and get mass. Well, some of them do. They turn into the W+, W-, and Z0 boson. And the photon."

And Zephaniel said, "…and the photon, O Accepter of Invocation?"

And God said, "Well, I did say I was going to unify the electromagnetic force and the weak interaction, didn't I? This is how. Above the critical temperature--right now I'm thinking 10^15 K, but I'm open to feedback on that one--electromagnetism and the weak force act as a single unifying force. Below that temperature, the field gets a nonzero value, you get three massive bosons to mediate the weak interaction, and the photon pops out seperately."

And Zephaniel said, "That seems… a bit overly complicated, doesn't it, O Reinstater Who Brings Back All?"

And God said, "No, it's exactly what we need. Look, that way the W and Z bosons have something to do, but the weak interaction still only travels short distances. Gravity is still the star of the show on cosmic scales, as it were. But now quarks and leptons can swap their flavor!"

And Zephaniel said, rather weakly, "Their… flavor, O Source of Good?"

And God said, "It's this new quantum number I'm trying out, to give the three generations of matter more unique identities."

And Cambiel said, "Three generations of matter? Now I'm really confused."

And God said, "I'm sure I mentioned this. You've got the lightest quarks and leptons, and then two heavier versions of each that can decay into the lighter versions."

And Cambiel said, "What do they do? New kinds of chemistry, is it?"

And God said, "Well, no. Mostly they just decay in a couple microseconds. Or even faster."

And Zephaniel began to rub his temples, and Cambiel sniffed.

And Cambiel said, "This all seems a bit ad hoc to me. Not really the stuff of an elegant and obviously ordered Creation. Why not have four generations of matter? Why not a trillion?"

And God began to grow irritable, and said, "Well, that's not really up to you, now is it? We're going to have three generations of matter, and the electroweak force, and that's that!"

And Zephaniel said, "As long as we are unifying fundamental forces, perhaps we could somehow also unify the electroweak interaction with the strong interaction, or even gravity."

And God hesitated saying, "Well, I haven't decided about that yet. I'm not sure I want gravity to be quantized, you know? Seems to take some of the geometric elegance out of general relativity."

And now it was Zephaniel's turn to sigh, and he bowed his head. "As you wish, O Possessor of Authority of Decisions and Judgement."

After the math pope, we have a math president

From the Wiki page of Nicușor Dan, the new president of Romania:

He won first prizes in the International Mathematical Olympiads in 1987 and 1988 with perfect scores.[3] Dan moved to Bucharest at the age of 18 and began studying mathematics at the University of Bucharest.[4] In 1992, he moved to France to continue studying mathematics: he followed the courses of the École Normale Supérieure, one of the most prestigious French grandes écoles, where he gained a master's degree. In 1998 Dan completed a PhD in mathematics at Paris 13 University, with thesis "Courants de Green et prolongement méromorphe" written under the direction of Christophe Soulé and Daniel Barsky [de].[5][6]

Dan's 1988 gold medal also means he was one of eleven contestants to get full marks on the infamous Problem 6, a question so difficult that nobody on the IMO problem committee could solve it.

His personal website lists his primary area of research as Arakelov geometry, a method of studying Diophantine equations from a geometric point of view.

His thesis, in the same field.

His arXiv.

#holding out hope the new documentary confirms my theory that 'died in september' refers to the suicide attempts occurring in september 1970

Having it on the record one way or the other would be everything.

The other thing that gets me about the lyrics (and I also put this into my giant Billy Joel essay) is "Unsung songs show my direction" because Walter Everett once compared the song's composition to Henry Mancini and André Propp and in 1971 both of them had just written instrumental songs ("A Time for Us" and "Love is Blue") that went to the top of the charts. So that line is already meta for the likely inspirations behind "Silver Seas" but then he removed the lyrics and added another self-referential layer because now that lyric refers to "Nocturne" itself too.

Once I lived You might remember Born in May Died in September

physics is scary what the hell is the Riemann zeta function doing in the equation for the critical temperature of a Bose-Einstein condensate

So I recently stumbled on the Wikipedia article for the Grothendieck-Riemann-Roch theorem, which is an algebraic geometry thing that I'll hopefully learn some day once I actually have the prerequisite knowledge =w= But at the top of the article was this letter, which I thought was a wild thing to have at the top of a Wikipedia article about a niche abstract math thing - here's a translation:

Witches' Kitchen 1971 Riemann-Rochian Theorem: the latest craze*: the diagram

is commutatif**! To give this statement about f: X->Y some approximative meaning, I had to abuse the listeners' patience for nearly two hours. In black and white (in Springer's Lecture Notes) it seems like it will take up to about 400, 500 pages. A gripping example of how our thirst for knowledge and discovery indulges itself more and more in a(n il?)logical delirium far removed from life, while life itself is going to hell in thousandfold ways - and is threatened with absolute annihilation. High time to change our course! (6.12.1971) Alexander Grothendiek

* "der letzte Schrei" is a reasonably common German idiom meaning "the latest craze", but here it could alternatively be translated non-idiomatically as something like "the last cry". I think its more fun to imagine he means the idiom. ** I'm assuming this is a weird old-timey spelling probably taken from french but googling it I can find no examples of anybody using this spelling in German besides this letter

Note that this is 20 years before all of this happens:

Blatantly Partisan Party Review XV (federal 2025): Katter’s Australian Party

Running where: QLD. The party is contesting three House divisions: Bob Katter himself for Kennedy, plus candidates in Herbert and Leichhardt, while in the Senate, a candidate is second on a joint ticket with Rennick First for Group G

Prior reviews: federal 2013, federal 2016, federal 2019, federal 2022

What I said before: “For those of us on the left, KAP has a few things to like and a lot to detest.” (federal 2022)

What I think this year: I’ve already covered a bunch of “dontcha know who I am?” cult-of-personality parties, and here is perhaps the most larger-than-life personality of the Australian political scene: the North Queenslander in the big hat, the man who would let a thousand blossoms bloom, part of the parliamentary furniture itself, the one and only Bob Katter.

Now, Bob is a character but he's consistent one, so instead of reprising the greatest hits that I've featured before, I thought I would present you with some history to contextualise him and his electorate. Katter’s seat of Kennedy is a vast one. It stretches from the Coral Sea coast between Cairns and Townsville, across the Great Dividing Range, and through Outback towns such as Charters Towers, Hughenden, and Cloncurry out to Mount Isa, across to the NT border, and up to the shores of the Gulf of Carpentaria. Bob Katter has seemingly stomped the length and breadth of it to become an enduringly popular local member. Although Kennedy is one of the original 65 electorates from Federation in 1901, Katter is remarkably just the seventh person to hold it.

Kennedy was in Labor hands from 1929 to 1966 while Darby Riordan and then his nephew Bill held the seat, but for the last 59 years it has been a family business for the other side of politics:, a Katter has represented Kennedy for all but 3 years. Bob’s father, Bob Katter Sr, won it for the Country Party (later renamed the Nationals) and held it from 1966 until his death in 1990, while the young fella learned the family business as a state MP from 1974. Bob Jr served as a cabinet minister from 1983 under another larger-than-life Queensland pollie, Joh Bjelke-Petersen, and in August 1989, Sir Joh unsuccessfully endorsed Katter as his successor as premier. Instead, Bob Jr had an annus horribilis: he went into opposition at the December 1989 Queensland state election, his dad died days before the March 1990 federal election, and Kennedy fell to Labor. The new MP, Rob Hulls, however, only got one term representing this sprawling constituency (and yes, Victorian readers with long memories, that is the Rob Hulls, deputy premier to John Brumby in 2007–10; quite the change of scenery!).

Katter shifted to federal parliament at the 1993 election, winning back the seat of dear old dad, and he has held Kennedy ever since. In 2001 he left the Nationals to sit as an independent: he disagreed with the rise of neoliberal economics (good!) and with some of the Coalition’s more socially liberal policies (bad! especially as the Coalition is uhh not very socially liberal!). In 2011, he founded Katter’s Australian Party, which met with very little success outside Queensland at the 2013 and 2016 federal elections and has since focused on winning seats in North Queensland. It really ought to be called Katter's North Queensland Party.

Bob’s son Robbie has been the party leader since 2020, and at state level KAP holds three seats that overlap with the Division of Kennedy. But Bob is the only KAP representative at federal level; ex-One Nation lunatic Fraser Anning briefly joined KAP as a Senator in 2018 but proved to be too barmy even for the Katters. I see little reason to anticipate any change to the party’s representation this year. If you live in Kennedy, you probably know Katter is a strong favourite to retain his seat; if you don’t, I hope the history above helped make this explicable.

What is Bob emphasising in his campaign this year? Well, per the homepage, “KAP = Castle Law”. Yes, their core focus is a fear campaign that “crime in Queensland is out of control” and people have a “right to defend their home against intruders without facing legal consequences”. Look, I spent my teenage years in a conservative Queensland setting where A Current Affair was as serious a source of news as the 7:30 Report, but shooting dead a trespasser in your garden is disproportionate. KAP states that “Under the current law, people must demonstrate they have only used ‘necessary’ force under the ‘reasonable belief’ that the intruder was entering their home to commit a serious crime”. Seems fine to me! But they think that people “cannot always make split-second, measured decisions in moments of crisis”. The existing law as per their own description already accommodates this: a person fiddling with your gate is obviously a different degree of threat to somebody confronting you in your bedroom with a knife, and going out all guns blazing at the former is not "reasonable". KAP's policy is a solution in search of a problem.

Other policies? Still on crime, KAP has a four-step “send ‘em out bush” policy for young offenders that in practice would just make them more resentful. You won’t be surprised to learn that KAP wants harsher sentences in general for youth offending and backs the LNP’s “adult crime = adult time” approach. Turning to energy, KAP want more coal, more gas, and new nuclear. Other infrastructure policies focus mainly on roads and on dams to support agriculture. Unsurprisingly for a party whose largest donors are from the gun lobby, KAP’s approach to firearms is permissive. And maybe one of their odder policies is that “KAP wants flying foxes gone from populated areas” and supports culling them. Did a flying fox steal your dog Bob? Come on man. Three of seven species of flying fox in Australia are listed as vulnerable or endangered.

And, of course, for a party led by a man whose most famous remark is about crocodiles tearing people to pieces in North Queensland, there is a policy that “values human life above crocodiles”. Enjoy. Should this move you, perhaps you might also want to buy an official “let there be a thousand blossoms bloom” shirt. If so, Bob’s got a shop for that. I am not kidding.

Recommendation: Give Katter’s Australian Party a very low preference in the House and a weak or no preference in the Senate.

Website: https://kattersaustralianparty.org.au/

(For the pol nerds: Bob is currently Father of the House, i.e. the longest-serving current MP, but at just over 32 years in office he is not yet in the top ten ever. If the new parliament goes to term and Bob does not retire before the election, he will be either 10th or 11th  on the all-time list depending on the exact day of election. He needs to serve five years from today to get into the top five, 10.5 years to get into the top two, and just shy of twenty years to pass Billy Hughes’ record of 51 years and 213 days. Keep in mind that Bob turns 80 next month. Now, yes, he served 18 years in Queensland’s state parliament, so as of this year he has been in a parliament for half a century, but Billy Hughes served in the NSW parliament for 7 years; to exceed Hughes’ cumulative time, Katter needs to be in office for another 8.7 years)

If your 5 favorite Billy Joel songs were birds what would they be and why

Hmmmmm, that's a really good question that I hadn't thought of before.....let's see:

The Stranger (1977)

I think it'd have to be either a mimicking bird or a brood parasite. So I'm thinking either a Common Cuckoo, a brood parasite:

Or a European Starling, an expert mimic and also an invasive species here in North America:

It's Still Rock and Roll to Me (1980)

This song screams Rock Pigeon, with its stubborness and memory of a better time:

Pressure (1982)

This one has to be a bird that has a really long migration route, so why not the one with the longest, the Arctic Tern:

Lullabye (1994)

This song makes me think of endangered and extinct birds. I think of the last song of the Kauaʻi ʻōʻō, a bird that was formally declared extinct in 2023, but was last heard in 1987:

I also think of the Zebra Finch, often the subject of experiments about communication development, that can involve isolating a baby bird from their parents so they cannot learn their proper song:

Goodnight Saigon (1982)

This makes me think of the Wake Island Rail, which went extinct as a consequence of WW2 (this song is about Vietnam, but I think it can apply to a lot of war):

I also think of Edward's Pheasant, which is believed to be extinct in the wild, in a large part due to the effects of the Vietnam War:

Thank you so much for the question!!!

My favorite genre of self-portrait is cartoonists being bothered by their characters while trying to draw

Bill Watterson – Calvin and Hobbes (1986)

Hergé – Tintin (1947, Tintin Magazine)

Albert Uderzo – Asterix (the cover of Uderzo l'Irreductible (2018), but originally much older)

Jeff Smith – Bone (1993, Bone Holiday Special)

Walt Kelly – Pogo (1950, Maclean's Magazine)

And a bonus:

Berkeley Breathed – Bloom County

how has nobody posted anything about the openly gay republican running for lieutenant governor of virginia who is getting attacked by his party-mates for allegedly reblogging naked men on tumblr

In 2011 a woman named Maureen Seaburg wrote a book about synesthesia called Tasting the Universe and there's a whole chapter about Billy Joel that he did a fairly extensive interview for and I have literally found no other evidence of him discussing synesthesia before or since.

Full chapter under the cut:

she's going places (textless alt beneath the thingy)

i think about this post a lot

Wisdom of the creative arts and its significance in life

People sometimes look at me thinking that I’m simply ‘obsessed’ over the creative arts such as stories, characters, art, music, poetry, movies, games (yes I consider them an art form but that’s a story for another time) etc.. I understand why it’s easy to believe that I have characters on my wallpaper ‘just because’ I like them. There is nothing wrong with admiring characters simply because they’re cool or enjoy stories because they bring you joy. However, what frustrates me is how often people overlook WHY people like me care about the creative arts, and how easy it is that others undermine the deeper value and insights we gain from these stories, these characters, and the more abstract arts.

Creative art forms are often a microcosm of the world filled with the creator(s)’s own soul(s), coloured with the reflections of humanity - a beautiful, yet sometimes horrifying mosaic of our dreams, our nightmares, and our nature. It expresses what cannot be easily conveyed or rationalised. It is a form of wisdom meant to be felt viscerally and experienced, a unique form of communication that transcends time, diversity and logic. Just like other forms of knowledge and wisdom, this too, requires practice and learning to fully appreciate and grasp. However, unlike other disciplines, the creative arts is perhaps the most versatile due to its nature, with some of the greatest pieces bearing the capability of creating waves amongst people by touching their hearts and by caressing what makes us human.

For those of us who lack guidance and support in life, the creative art forms such as books, art, music and even games can help enlighten and educate us when others can’t. Yes, fiction is fiction, and non-fiction may be filled with biases or flawed views, but it can still be a lighthouse for those who seek light, and an anchor to those who are lost wandering about. There is much to gain, be it empathy, open mindedness, soft knowledge, resilience, discipline etc. from these creative art forms. It can encourage others to learn how to develop critical thinking skills, and to develop their own opinions and perspectives after digesting various truths and angles of the world. Of course, it is important to separate fiction from reality, and understand what can be applied in the real world, and what cannot. But the protection and guidance it brings cannot be undermined. As someone who sought solace in literature, music, art, dance, poetry etc. they have each formed a big part of who I am, and in shaping the values, principles, priorities, choices and ideals I hold in life. I have also gained numerous advice, mindsets and encouragement from them as I tackle the challenges of life. I found comfort in the creator’s message - in their embrace, in their message to me, in their experiences. I also found companionship in their arms, in knowing that I wasn’t alone in thinking certain ways, in feeling certain emotions, in hoping for certain ideals, in fearing various demons. It also inspired me to see how much effort creators put in their works to accurately convey their insightful thoughts, feelings and messages. How could I go through books, listen to music, look at art, without allowing myself the privilege and honour to thoroughly go through these works that are soaked in the blood, sweat and tears of the creators? Call people like us obsessed for spending time to dismantle these works, but it is through effort in understanding these arts, in creating these arts, that we can slowly gain wisdom from them.

There is nothing wrong in enjoying the creative arts as they are, without breaking them down into pieces to digest its value and wisdom, and applying it to your life. I often find myself using the creative arts as an outlet to escape reality and to express myself, but the wisdom of the arts is too often overlooked for the other disciplines. It saddens and frustrates me to see people think of art as a simple thing, that there is nothing to be gained out of art. But tell me, if there really is nothing to be gained in the creative arts - why has it lasted this long? Why can people still shed tears, or laugh in joy, when faced with these beautiful art forms? Why should there be this rigid hierarchy in disciplines where certain knowledge rank higher than others? Isn’t life too complex to be held onto such a strict standard where certain ‘skills’ and ‘knowledge’ are said to be ‘closer to truth’, and ‘closer to wisdom’ than others?

Is it not a form of wisdom itself to express one’s complex emotions with such clarity? To convey a message so powerful that these pieces would get banned? To spark a flame that would move a society? To become a mirror that reflects humanity better than any logic or science can convey? How can we easily overlook the effort, the time, and the skills it took, to create such complex and beautiful pieces that can move us in ways others can’t?

Of course, perhaps like the others, I sound ‘obsessed’, but I believe that as long as these creative art forms don’t interfere with the quality of one’s life, as long as your own unique balance is formed in enjoying the arts and in gaining the right wisdom for your real life, I think that’s the best gift the creative arts can offer someone.

Perhaps there are others that rely too much on the creative arts, those who become addicted, who make it their whole life - but in those cases, what are the chances that it is the creative arts that are their last thread to life? Their last anchor, their last hope, their last salvation amongst the chaos of this world? (Cough *Kim Dokja*) Is it so wrong to hold on to something that will help you take another breath, to be brave enough to live through another day, to give you hope when you see none? (Okay, that’s another tangent and gray area of discussion for another time) Of course, art is not salvation, but perhaps it may be enough to prolong someone’s sanity or life, before they can seek the help they need. Then, there are those few geniuses, those ‘lunatics’ as called by others - perhaps to them, they are willing to pay the price of becoming one with their art, compared to sacrificing their overwhelming love for the arts for a life in reality. But I can’t say much about that, as I’m not them. Then there’s also this notion of ‘balance’ that everyone preaches, to balance time in your dreams, in your clouds, in your stories vs. Reality. But that’s a tough discussion to navigate, as everyone has a different balance that suits their life, temperament, values, priorities and circumstances. 

I’d like to end with this quote from Honkai Star Rail

‘When it comes to gaming, things like race, lineage, allegiance, destiny, beliefs… they’re all insignificant. It’s good to remember that.’

Of course, the reality is more nuanced than that. Our race, lineage, allegiance, beliefs and environment influences us and hence, shapes the things we create. However, the result of these works, be it games, literature, music etc. can affect anyone, regardless of these things that separate us. It is often used to unite us, and enable us to communicate with one another in spite of these differences. It can even transcend time! Why do you think certain books have either been promoted or banned in the past? Why have certain artworks been criticised so heavily or enjoyed? Why have certain music been roughly casted away in shadows or promoted?

Anyways, I’m running out of steam. But coming back to the beginning, when I say that I have characters on my wallpapers, or carry stickers or keychains of them, I carry them with me because they remind me of values and principles I wish to uphold in life, they remind me of my ideals and encourage me by giving me strength. They remind me of our hopes, our despair, and most importantly - our resilience and strength. Yes I like them, but in much deeper ways than most people assume. I carry reminders of how I’d like to live my life, and of wisdom I’ve gained through these stories and arts. I take what I can apply to real life, and I take reality to see what influenced creators to create what they’ve created. 

Perhaps one day I’ll make a post about why I have certain characters on my wallpaper (my phone is on photo shuffle - it makes me happy to see different characters on my wallpaper). I also have certain music I hold dear to me, lyrics I have analysed, plays I love, poetry I enjoy, all for various reasons, and all of which I’ve put in energy to understand and apply in my life.

Anyways, thanks for reading my ramblings. I did not expect to write this much. I was explaining to someone recently about why I have wallpapers on my phone and it led me to yap to them about this topic, and I thought, why not write about it? This, alongside the issues with AI art influenced me to talk about this. I might post another one like this later that’s better written and thoroughly read through, since this was written in one sitting within the span of ~1 hour right before I go to sleep. I’m currently sleep deprived and exhausted from running certain errands and work today. Not sure if this will make sense to everyone, but I hope my sentiments come across, and I truly do wish others feel the same way I do. I cradle the arts with such intensity and warmth every day, and it is an important fuel that sparks the flame within me and gives me light in the form of wisdom and hope.

Edit: Just wanted to add, some people might say characters and art is all about perception and subjective. While that is a good point as there are definitely people who don’t see the value in other art forms or have the same perspective on them as I do + the fact that there are many valid and rational reasons why it is overlooked, but it still is true that the creative art forms we take in and learn influence the way we express ourselves and ideas. It is also all around us in photographs, news articles, blogs, YouTube, posts, TikTok, social media, or opinion articles (language can be loaded and biased), or in the music we listen to the daily, religious music, cultural music, Ads, memes, shows etc. There is perception, and how we ‘view’ the creative arts, and there is also a certain amount of truth that art can impact reality and people no matter how much we ‘value’ or ‘perceive’ it. I just feel like there’s a big gap between how we view art vs. how much it actually impacts us and our reality.

Of course, art is often more of a luxury, and with the state of the world and various circumstances, it is understandable it is overlooked. I’m just a little frustrated at this ‘gap’ in how we perceive art as a society vs. How much it ACTUALLY impacts us and influences us without us knowing. Our own perspective of how important something is and how much we ‘think’ it impacts us doesn’t always correlate to the truth of how significant something is, and how much the creative arts are actually involved in our lives. They influence a lot of things that we don’t perceive. They’re just not in a typical ‘creative’ or ‘abstract’ ‘art form’ that we think they exist in.

Wisdom and truth remains, even if we don’t ‘perceive’ it or ‘value’ it, no matter what form it comes in.

Explaining math jokes

So yeah I said I was gonna do it and now is the time I think (if I wait any longer I'm gonna have too much jokes to explain) IMPORTANT: I had a lot of trouble writing this because I don't really know what background to assume the reader has. So at each new explanation, assumed background changes. Difficulty of the concepts explained is in no particular order. So if there is something you don't understand, that's fine, just go read something else. Dually, if there is something you already know well, don't throw away the whole post. Though it is very possible you already know everything I'm gonna rant about lol Anyways let's get to it

geometric group theory talk but on the speaker’s slide instead of the Cayley graph of the free group on two generators there’s just loss

(link) Geometric group theory is a subfield of math that studies groups using geometry. A particular geometric thing that is often interesting to study for a given group is its Cayley graph, which roughly speaking is a graph that reflects in a way the structure of the group. My neurodivergent brain thought the Calyey graph of the free group on two generators lowkey looks like the abstracted loss meme in the original post:

sooo, turns out the #latex tag is not for typography enthusiasts

(link) LaTeX is a typesetting engine and the industry standard for math. It's the thing almost everyone uses to typeset beautiful math equations and stuff on computers. If you're seriously interested in math I'd recommend you learn it. A good place to start would be Overleaf which is a free online LaTeX editor and has some tutorials on how to get started, though eventually you may want to switch to doing LaTeX on your computer directly

so a homological algebraist goes to see their therapist and says “doc, i’ve got complexes”

(link) Homological algebra is a branch of algebra that was born from algebraic topology. It has become widely used in many parts of math because of the computational power it brings. The gist of it is that people define a thing called a chain complex, that is a sequence of abelian groups (or modules, or maybe something even more general, look up abelian categories), with homomorphisms from one abelian group to the next called differentials, such that doing one differential then the next always gives you zero:

If you're more comfortable with linear algebra, you can replace "abelian group" with "vector space" and "homomorphism" by "linear map". The fact that doing one differential then the next gives you zero means that the image of one differential is contained in the kernel of the next. Homological algebra is about finding ways to calculate exactly how far away we are from the image of a differential being exactly the kernel of the next. This is made precise when one defines homology groups, which are the quotient Ker(d_n)/Im(d_{n+1}). What happens in practice when we apply homological algebra is that we try to define an interesting chain complex related to what we are doing, so that the homology groups tell us something interesting about what's going on with whatever math thing interests us, and then we apply methods from homological algebra to calculate them. Any serious example of homological algebra being used is going to require a bit of math background, but two examples I can give are singular homology, from algebraic topology, and de Rham cohomology, from differential geometry (don't worry about the co-, it just means the indices go up instead of down). So yeah a homological algebraist would have complexes

If you’re not careful and you noclip out of reality in the wrong areas, you’ll end up in Hilbert’s Hotel

(link) Hilbert's Hotel is an imaginary hotel with infinitely many rooms, that is one room labeled zero, one room labeled one, one room labeled two, and so on. One room for every natural number. It reminds me of the backrooms, hence the joke. Hilbert's hotel is commonly used as a metaphor to think about how infinity behaves and how bijections work. For instance, if the hotel was full, but one new guest showed up, you could still get them a room: simply tell the person occupying room number n to move to room number n+1. Then room 0 will be empty and the new guest can stay in it. However, quite interestingly, it is possible for too many guests to show up and the hotel to be unable to give a room to all of them.

If you speak French, excellent math youtuber El jj (I heavily recommend you subscribe to his channel!) has a very good video on Hilbert's Hotel.

If you don't speak French but still speak English, here's a Veritasium video on Hilbert's hotel, and a Ted-Ed video on it.

“cats are liquid” factoid actually formalized by mathematicians as saying a cat is only truly defined up to homeomorphism

(link) Topological spaces are mathematical objects that abstract away the concept of nearness. What do I mean? Well, a topological space is a set X, together with a collection of subsets called "a topology", that in way specifies which points are "near" each other. This allows us to generalize a lot of concepts from real analysis, for instance limits: if you have a sequence of points (x_n), and they get "nearer" and "nearer" to some point x, well that point can be called the limit of the sequence. But topology also turns out to be massively useful to geometry: if I only gave you the set of points of a sphere, you wouldn't know they make up a sphere because you wouldn't know how to assemble them. But if I give you the set of points of a sphere and the correct topology on it, then you can actually know it is a sphere and do stuff with it. But as always, in math, we only consider things up to some notion of being "the same". This notion of "the same" for topological spaces is called "homeomorphism", and two things being homeomorphic corresponds to the more intuitive geometric intuition of "I can continuously deform one thing into the other without cutting or gluing stuff". For instance, a cube is homeomorphic to a sphere:

Or more famously, a mug is homeomorphic to a donut:

So cats only truly being defined up to homeomorphism kinda works to say they're liquid. Not math, but physicist Marc-Antoine Fardin did actual physics on cats being liquid and was award the 2017 IgNobel prize in physics for it.

i would describe my body type as only defined up to homotopy equivalence

(link) Homotopy equivalence is a weaker notion of two topological spaces "being the same". I won't go into details but I have seen it being describe as kind of like a homeomorphism, but you are also allowed to inflate/deflate objects. For instance, a filled cube is a "3d object" in a way (when you are inside the cube, you can move in 3 directions). This means it will never be homeomorphic to a 2d square because a property of homeomorphisms is that they preserve dimensions. But, the cube is homotopy equivalent to the square, because you can "deflate" the cube and squish it to make it a square. In fact, it is even homotopy equivalent to a point (you can just deflate it completely). Homotopy equivalence is weaker (more permissive) than homeomorphism, that is if two things are homeomorphic, then they must be homotopy equivalent, but not the other way around. You may ask yourself why we would care about a notion weaker than homeomorphisms that can't even tell apart points and cubes, and that's a fair question. I will provide one answer but there are definitely many more I haven't even learned yet. In algebraic topology, we are concerned with studying spaces by attaching algebraic thingies to them. Why do we do that? Because telling apart spaces is hard. Think about it: how do you prove a donut is not homeomorphic to a sphere? You'd have to consider all possible deformations of a donut and show none of them is a sphere. This is mathematically hopeless. Algebraic topology solves this by attaching algebraic invariants to spaces. What do I mean? Well we have a way of saying that a donut has "one hole" and a sphere has "zero holes", and we have a theorem saying that if two things are homeorphic they must have the same number of holes (the number of holes is an invariant). Therefore we know that a donut cannot be homeomorphic to a sphere. Usually we have more sophisticated invariants (homotopy groups, homology groups, the cohomology ring, and other stuff) that are not just numbers but algebraic structures, but the same principle remains. It turns out a lot of these invariants are actually invariants for homotopy equivalence, that is, they will not be able to tell apart homotopy equivalent spaces. This is useful to know: for instance, a band and a Möbius band are both homotopic to a circle, so you know that if you want to tell them apart, you're going to need more than the classical algebraic invariants (if you know a bit of algebraic topology and you're curious about that, this can be done by thinking of them as vector bundles, but also through more elementary methods, see this stackexchange post). Also, if you want to calculate some invariants for a complicated space, a good place to start can be to try to find a less complicated space that is homotopy equivalent to the original space (and this is often doable since homotopy equivalence is a kind of weak notion).

in ‘Murica land of the free every module is born with a basis

(link) In 1st-year linear algebra, we study vector spaces over fields. But in more advanced linear algebra, we study modules over rings, which are basically vector spaces, but over rings instead of fields. It turns out dropping the condition that every non-zero scalar must be invertible makes the algebra much more complicated (and interesting!). When a module has a basis, we say it is free, hence the joke. If this basis is finite, we say that the module has finite rank, and the length of the basis is the rank of the module (exactly like dimension for vector spaces!), hence the tag "not every module ranks the same though".

testicular torsion? this wouldn’t happen over a field

(link) Continuing on modules, modules can sometimes have what is called torsion. Let's take Z-modules, or as you may know them, abelian groups! Indeed, a "vector space over Z" is actually the same as an abelian group: any module has an underlying abelian group (just forget you know how to scale elements) and conversely, if you take an abelian group, you know that any element a is supposed to be 1a, so 2a must be (1+1)a = 1a + 1a = a + a. More generally, for any positive integer n, n.a = a + ... + a, n times, and if n is negative, n.a = (-a) + ... + (-a), n times. So knowing how addition works actually tells us how Z must scale elements. With that out of the way, take the Z-module formed by the integers mod n, Z/nZ. It is an abelian group, so a Z-module, but something weird happens here that doesn't happen in a vector space: n.1 = 0. You can scale something, by a non-zero scalar (in fact a non-zero-divisor scalar), and still end up with 0. This is known as torsion, and vector spaces (modules over fields) don't have that. So yeah, testicular torsion? that wouldn't happen over a field. Also, watch out: the notion of torsion for a module over a ring is not necessarily the same as the notion of torsion for the underlying abelian group. Z/4Z doesn't have torsion, when seen as a Z/4Z-module.

Mathematical band names

(link) For these posts, I'll be quickly explaining each band name, and i'll be including good additions from other peeps! (with proper credit of course, you can't expect a wannabe-academic to not cite their sources) (also plagiarism is bad) (if no one is credit that means I thought of the band name)

Algebrasmith, The Smathing Pumpkins, System of an Equations, My Mathematical Romance, I Don't Know How But They Found X, Will Wood and the Tape Measures (by @dorothytheexplorothy), DECO*3^3 (by @associativeglassdesert), The Teach Boys, Dire Straight Lines, n Directions, XYZ Top, Mathallica: I have nothing to explain here

Rage against the Module: if you've read the parts of this post about modules, you get it (partly inspired by the commutative algebra class I'm taking right now, I love it, but I've been stuck on a problem for some time)

The pRofinite Stones: a profinite space is a topological space obtained by some process involving finite, discrete spaces. They are usually called Stone spaces, hence the joke

Mariah Cayley: Arthur Cayley was a mathematician. It's the same Cayley from the Cayley graphs! (also Cayley-Hamilton, if you've heard of the theorem)

Billie Eigen: eigenvalues and eigenvectors are linear algebra concepts. For a given operator on a space, its eigenvalues are scalars that tell us a lot about the operator. This is not my field but I have heard in quantum physics physical quantities like mass, speed, etc are replaced by operators, and eigenvalues correspond to states the physical system can be in

Smash Product: in algebraic topology/homotopy theory, the smash product is an operation on pointed topological spaces that is interesting for categorical purposes (it gives a symmetric monoidal category structure to the category of compactly generated pointed topological spaces, if you know what that means) somebody once told me, the world is categories

FOIL out boy (by @mathsbian): FOIL is a way of remembering how to expand products that some people learn. It means First, Outer, Inner, Last. So if you expand (a+b)(c+d) using FOIL, you get ac + ad + bc + bd.

Sheaf in a Birdcage (by @dorothytheexplorothy): a (pre)sheaf is a way of assigning algebraic data to a topological space (or a generalized notion of space). A presheaf is a sheaf if the data respects some locality condition. (pre)sheaves were introduced by Jean Leray but really used by Grothendieck to completely transform algebraic geometry, and are now widely used in modern geometry (they show up to abstract the notion of "a geometric thing"). I can't explain much more as I am still learning about sheaf theory!

The Curry-Howard correspondents (by @dorothytheexplorothy): the Curry-Howard correspondence, in logic/theoretical computer science, essentially says that algorithms (computer programs) correspond to mathematical (constructive) proofs. I'm no computer scientist or logician so I'll avoid saying dumb stuff by not trying to explain more, but I know it can be made more precise using lambda calculus.

Le(ast com)mon Demoninator (by @dorothytheexplorothy): I don't think I have to explain anything here (let's be honest, if you're reading this, you probably already know what a least common denominator is), but I will say that the band name being spoofed here is Lemon Demon (Neil Cicierega's musical project) and I love his music go listen to it. Also I love the word demoninator thank you for that dottie

Taylor Serieswift (by @associativeglassdesert): a Taylor series is an infinite sum that approximates a nice-enough (analytic) function around a point. This is useful because the Taylor series only depends on the derivatives of the function at one point but can approximate its behavior on more that one point, and also because the Taylor series is a power series, so a more tractable kind of function. In particular if we truncate it, that is stop at some term, we get a polynomial that approximates our function well around a point, and polynomials are very nice to work with (this is where kinda cursed stuff you may have seen in physics like sin(x) = x or tan(x) = x comes from!)

mxmmatrix (by @associativeglassdesert): you may have heard a matrix is a table of numbers. Actually, it's much more than that. Matrices are secretly functions! In fact, very special kind of functions (linear maps) between very special kind of objects (finite-dimensional vector spaces). And if you've seen how to multiply matrices before but have not been told why we do it that way, be not afraid, there is actually an answer. The answer is that when we take some x, do one linear map f to get f(x), then another linear map g to get g(f(x)), we actually end up with a new linear map, gf. And if you take a matrix representing f and multiply it (left) by a matrix representing g, you get a matrix representing gf. This is why the matrix product is done like that: it's actually composition of functions! If this interests you, consider reading more about abstract linear algebra.

Ring Starr (by @associativeglassdesert): a ring is an algebraic structure. Take the integers. What can we do with them? We can add them together, addition is associative (when adding a bunch of stuff we don't need parentheses), commutative (a+b = b+a), we have zero that doesn't do anything when adding (a+0 = a), and we have opposites: for any integer a, we have another integer -a such that (a + (-a) = 0). But we also have multiplication: multiplication is associative (no need for parentheses again), commutative, we have 1 and multiplying by 1 doesn't do anything, and multiplication distributes over addition. Now, re-read what I just said but replace "integer" by "real number". Or "complex number". When seeing such similar behavior by different things (there are in fact many more examples that those I just gave), mathematicians are compelled to abstract away and imagine rings. A ring is a set of stuff, with some way to add the stuff and some way to multiply the stuff that satisfies the properties I talked about above. Sometimes we also drop some properties, for instance we allow multiplication to not be commutative (ab =/= ba). By allowing this, square matrices of a given dimension form a ring! Quaternions, if you know what they are, also form a ring. A lot of things are rings. Rings are cool. Learn about rings.

WLOGic (by @associativeglassdesert): WLOG is mathematician speak for "without loss of generality".

Alice and Bob Cooper: in many math problems, people are called Alice and Bob. Because A and B. Yes there is a Wikipedia page for this

The four Toposes: a topos is a kind of category meant to resemble a topological space. Grothendieck toposes are used in algebraic geometry and elementary topoi are used in logic. I can't explain more since I don't really know anything about topoises besides that they are kinda scary and that people really like to argue about what the plural of "topos" should be

Green-Tao Day: the Green-Tao theorem says that if you have a positive integer n, then you can find prime numbers p1, p2, ..., pn, such that they are evenly spaced (or equivalently, in an arithmetic progression). It's pretty neat. I have no idea how the proof goes, though. It must be pretty complicated, since it was proven in 2004.

Aut(Kast)/Inn(Kast): I'm really proud of that one. So if you have a group G, you can look at bijective group homomorphisms from G to G, or as they are more well-known, automorphisms of G. Together with composition, they form a group, called Aut(G). Now we already know of some automorphisms of G: if g is any element of G, then x ↦ gxg^{-1} is an automorphism of G (proof is left as an exercise to the tumblr). These automorphisms are called inner automorphisms of G, and they form a normal subgroup of Aut(G). The quotient group Aut(G)/Inn(G) is called the outer automorphisms of G and denoted Out(G), which is reason behind the band name.

Depeche modulo: modulo is a math word that means "up to [some notion of being the same]". For instance the integers modulo 7 are the integers but we declare that two integers a and b are the same if 7 divides a-b. From there we get modular arithmetic which you may have heard of. This kind of operation is called a quotient and is insanely useful in all branches of mathematics.

Phew! We're done with the band names. For now.

"oh you like math? what's 1975 times 7869?" well that's a great question Jimmy but to answer it first I need to construct the natural numbers. [...]

(link) So this is a post about a type of response math people get when they say they do math which is that people automatically assume this give us insane mental math power. It does not. The rest of the post is about constructing the natural numbers in the ZFC axiomatic system. I'm kinda lazy and don't want to get into all that but here's a good video by certified good math channel Another Roof about it: what IS a number? The same channel has several other videos on that same topic, go watch em if you're interested

1957 times 7869 (IF IT EVEN EXISTS) is the universal object with morphisms into 1957 and 7869

This is a joke by @dorothytheexplorothy in the notes of the previous post. The joke here comes from interpreting "times" are referring to the categorical notion of product. I'm actually not gonna explain anything here because 1) this post is taking forever to write and 2) I will probably rant about category theory in the future. Here are two videos by Oliver Lugg you can watch:

27 Unhelpful Facts About Category Theory (funni video)

A Sensible Introduction to Category Theory (serius video)

and here are two books you can use to learn more if you're interested:

Seven Sketches in Compositionality (very applied, very nice, I think easy to read)

Basic Category Theory (less applied, is a typical math book)

she overfull on my \hbox till i (5.40884pt too wide)

(link) This she on my till i joke is based on a LaTeX warning you get when it can't figure out how to typeset your document well and that leads to a margin being exceeded.

Time for the math battle reblog chain

(half of the posts are by @dorothytheexplorothy)

fuck you *forgets your group is a group and only remembers it's a set now*

So any group has an underlying set, and any group homomorphism is actually a map between these underlying sets. This means that the operation of "forgetting a group is a group and only remembering it's a set" is a functor. This is less useless than you might think, because of adjunctions.

two can play at that game *constructs a free group over this set, even bigger and better than the one I had*

So basically in lots of cases the functor that forgets some structure is (right) adjoint to some other functor. You do not need to know exactly what this means to read the rest, don't worry. What it means is basically that from the operation of forgetting some structure, we can get another operation, which adds structure, in a "natural" way. In the case of forgetting a group is a group and only remembering it's a set, the adjoint functor is the "free group" functor, that takes a set and constructs the free group on it. This idea of free objects works not just for groups but for a whole lotta stuff. See this part of the Wikipedia page on forgetful functors for some information.

oh don't get me started *abelianizes your free group, now it's just a big direct sum of Z's*

A non-abelian group can be turned into one through abelianization, which is quotienting out by the commutator subgroup. This makes sense: commutativity is asking ab = ba for all a, b, which is asking aba^{-1} b^{-1} = 1 for all a, b, which is precisely what we get when quotienting by the subgroup generated by words of the form aba^{-1} b^{-1}. Abelianization is also a functor, so it fits the theme. The abelianization of a free group is a free abelian group, and a free abelian group is a direct sum of a bunch of copies of Z.

big mistake, friend *moves over to the endomorphism group over that group and treating composition as multiplication, thus replacing it with a unital ring*

The endomorphism group of an abelian group is actually a ring (like in linear algebra, endomorphisms form a unital ring with composition as multiplication). I don't think this construction is functorial, though? (correct me if I'm wrong on that. correct me if I'm wrong on anything, really. if i'm wrong about stuff send me an ask and i'll fix it)

you fool, you fell right into my trap! *takes the field of fractions of your ring* have fun working in the category of fields! now you only have monomorphisms and your eyes to shed tears

So I thought I had the advantage here because fields are, categorically speaking, very bad. This is (I think) mainly because a homormorphism of fields is always injective (so is a monomorphism, that is left-cancellable). In fact, products of fields don't exist, direct sum of fields don't exist, a lot of categorical constructions we usually like don't exist in this category. We basically only have inclusions. I will elaborate on why I was wrong in my post here in a bit

fuckkk idk enough about schemes or whatever to get out of this! you've bested me X(

Schemes are the main objects of study of algebraic geometry. I won't being to try and explain what they are because it is very abstract and I don't even really understand the definition (yet). I just know they're algebraic geometer's analogue of a "geometric object", like how smooth manifolds are to a differential geometer.

wait actually I just realized the ring of endomorphisms of a free abelian group has no business being an integral domain, or even commutative. so I think taking the field of fractions makes no sense, and I actually lost the battle.

So the field of fractions construction only makes sense for integral domains. The name of this construction is really explicit: passing from an integral domain to its field of fractions is the same thing as passing from Z to Q, or from k[X] to k(X) if you know what that is. However I made a mistake, since the ring we were talking about is almost never commutative (much like matrices).

WON ON A TECHNICALITY LET'S GOOOOO

well played, dottie

yeah, uh, we oidified your boyfriend. yeah we took his core concept and horizontally categorified it. yeah he's (or they're?) a many-object version of himself now. sorry about your one-object boyfriendoid

(link) Oidification (also known as horizontal categorification but "oidification" sounds funnier) is a way of categorifying a concept, by turning it in a "many-object" version of itself. For instance, a one-object category is precisely a monoid, so the concept of category is the oidification of the concept of a monoid. A category where every morphism is invertible is called a groupoid, and a one-object groupoid is precisely a group. The name "oidification" probably comes from the fact that after being oidified, the name of the concept gets added the suffix -oid. So a category is a monoidoid. In fact, you can even have monoidal monoidoids. Category theory really is well-suited to shitposting huh

My advisor [...] stared into my soul and noticed I liked categories. It's over for me, i am going to end up a homotopy theorist, or worse, a youtuber

(link) Category theory has the reputation of being abstract nonsense. I don't disagree. I guess I have a slightly-above-average tolerance to category theory and algebra. This has led to a not-insignificant amount of people in my life telling me I'm gonna end up in one of the abstract-nonsense-related fields like homotopy theory, infinity-category theory, etc. The "or worse, a youtuber" part was stolen from the following quote

Research shows that when someone becomes personally invested in an idea, they can become very close-minded. Or worse, a youtuber.

-hbomberguy, Vaccines and Autism: A Measured Response (4:12)

(this video is incredible, if you haven't seen it yet, go watch it)

PHEW.

I'm done. For now. This took multiple hours to write. I hope you enjoyed this post! If you enjoyed it, please let me know! If you have any questions or want to tell me "youre doing good lad" or want to yell at me, my asks are open! Thank you for reading this far! If there is a post I talked about here you found funny, you can click on the (link) to look at the original post. Give me those sweet sweet statistics. I crave them. I NEED that dopamine hit of knowing someone interacted with my blog. ok bye

On Criticism vs. Insult

It is important to understand the difference between appropriate criticism and constructive feedback vs. insults.

One can help you grow, while the other is not something you have to carry, as they are unnecessary burdens given to you for torment.

While it is easier said than done to let go of the heavy baggage, the first step is awareness. It is vital to carry the ability to distinguish between criticism and insult, and to be able to discern if what has been given to you is out of good or bad intentions.

people trying to insist a fandom is tiny when it /only/ has a few thousand works on ao3 meanwhile my current fandom is a sixteen book series and has several hundred fewer works than goncharov, a movie that, and i cannot stress this enough, doesn’t even exist

"Tintin, quel âge as-tu ?"

Today marks 96 years of The Adventures of Tintin, and readers have spent at least the last 78 of those years asking the same question: "How old is Tintin?"

The series is infamously coy about giving a definite answer, as was its creator, but I argue in the first part of this post that 1) there was indeed a specific intended age range for Tintin and 2) it is very much possible, using evidence from many different sources including the albums themselves, Tintin magazine, other BDs of the time, and interviews with Hergé, to say exactly what that age range was. Let me be very clear: I'm specifically making an argument about how old Hergé saw him as and how old Hergé wanted him to be seen as.

The second part is less concrete; it presents how a few scholars have interpreted the ambiguity of Tintin's age, plus some of my own thoughts about it that build on their claims. That part is less trying to find an answer to the age question and more trying to explain why his age is so much in question.

This is a long post.

I. Intent

Official sources

When asked about Tintin's age in a 1960 interview for Cinq colonnes à la une, Hergé judged that "il doit rester aux environs de quinze ans" ("he must still be around 15 years old," 0:33-0:44).

In 1962, he gave a very similar response on the Canadian program Premier Plan: "Une quinzaine d'années ? Quinze ans, seize ans, je ne sais pas, moi" ("About 15? 15, 16, I don't know"). "Donc c'est l'adolescent" ("So he's a teenager"), pursues the interviewer, and Hergé answers with a firm yes.

Nearly ten years later, in 1970, he added some nuance: "What age do I give him? I don't know... 17? In my mind, he was about 14 or 15 when I created him, a Boy Scout, and he practically hasn't budged. Let's say that he's picked up three or four years in forty years... All right, let's take the average: 15 plus 4, 19." (translation mine)

In 1979, his interviewer on Apostrophes preempted him on the age question, saying that "c'est un reporter de quinze ans" ("he's a 15-year-old reporter"). Hergé agreed: "C'est ça, à peu près" ("That's right, more or less").

Today, the official Tintin website run by Moulinsart declares him to be "Seize, dix-sept ans (dix-huit tout au plus !)," that is, "16, 17 years old (18 at most!)."

Responses to reader questions in the Journal Tintin

Early in the Journal Tintin's run, between 1946 and 1954, readers who wrote in with questions had a chance to see the responses to their letters published in the magazine each week. Supposedly it would be Tintin himself who was answering - questions addressed to him would be answered in first person, which probably only increased the urge to ask about personal details. So there were naturally many questions about his age, which provoked a range of responses.

Who was actually answering the letters? It's hard to say. But seeing as the responses were being published in the official Tintin Magazine as the voice of Tintin himself, Hergé would surely have been at least consulted on questions concerning his character, especially as the team running the magazine was still very small when it was regularly publishing responses.

The most common response was to dodge the question entirely. The stock phrases were "Qu'importe mon âge ?" and "Tintin n'a pas d'âge !" ("What does my age matter?" "Tintin has no age!").

In a small number of cases they related Tintin's age to that of his readers; an 11 1/2 year old was told that Tintin can be "l'âge que tu souhaites : entre dix et vingt ans !" ("whatever age you want: between 10 and 20!", 1953), and for a couple others, where the age of the writer wasn't listed, Tintin's age is "un peu plus que le tien" ("a little older than you," 1951) or "un peu moins que le double du tien" ("a little less than twice your age," 1950). The target audience of the Journal Tintin - as it was for the Petit Vingtième, and for comics magazines of the time generally - was 8-15 year olds.

The only definite answer that appeared with regularity put Tintin's age between 15 and 20:

(TIntin nos. 19, May 8, 1947; 26, June 26, 1947; 6, February 5, 1948; 2, January 12, 1950; 9, February 27, 1947. The second and third examples also have Tintin declare that "I've travelled so much that I no longer remember where I was born," a fine example of the de-Belgicanization he underwent after the early years.)

("As I've already told several of my friends, I'm older than 15 but younger than 20." (1947) "My age? Let's say 15… or a little older." (1947) "My age? Between 15 and 20 years old." (1948) "Tintin? He has no age! Seeing him move about, he seems to be about 15." (1950) "I'm not yet 20 but I'm older than 15." (1947))

Real-life incarnations of Tintin

When the end of Soviets was celebrated with "Tintin" arriving at the Gare du Nord in Brussels, the role was played by 15-year-old Lucien Pepermans. When the event was repeated for the end of Congo, two years later, Pepermans was replaced by Henri Dendoncker, age 14. About thirty years after that, Jean-Pierre Talbot was declared Tintin's spitting image at 16 ("Same age, same silhouette, same face, same hair," reads the announcement of his casting in the Journal Tintin). He was 20 at most when Blue Oranges (released 1964) was filmed. Hergé told Numa Sadoul that he unconsciously based Tintin in Soviets on his younger brother Paul, who was 16 when it started. Additionally, Palle Huld, often cited as an inspiration for Tintin, completed a tour of the world in 44 days in 1928 at age 15 (and in plus-fours).

(Lucien Pepermans, Henri Dendoncker, Jean-Pierre Talbot, Palle Huld)

In the play Tintin et le mystère du diamant bleu (1941), which Hergé was very involved in the writing and production of, the role of Tintin was played by Mlle. Jeanne Rubens, a woman - a common theater trick for portraying young boys. He was played by a woman again in Radio Luxembourg's 1950s audio adaptations: Claude Vincent, "qui interprétait à merveille les rôles d’enfants et d’adolescents" ("who played children's and adolescents' roles wonderfully"), was the voice of Tintin. Sadly those broadcasts appear to be lost, but she can still be heard in the likely similar role of Alix.

(Shared on forum-tintinophile.com, "Tintin aux Indes, ou le mystère du diamant bleu." Certainly the only adaptation that got his height difference with the Thompsons right.)

In 1959, the Journal Tintin invited readers who thought they looked like Tintin to send in their pictures; five candidates for "Tintin's lookalike" were chosen by the magazine and presented to the readers for them to vote on. The winner was a 15-year-old, and while the ages of the other contestants aren't listed, they appear to be the same age or younger.

(Tintin nos. 25, June 24, 1959 & 31, August 5, 1959)

Comparisons with contemporary characters

Mainstream BD in the first half of the 20th century was not particularly inventive, especially as it was contending with its relative youth as a medium, a focus on the children's market, and, especially after WWII, heavy scrutiny from both religious and secular moral watchdogs. In the specific case of the Journal Tintin, Hergé's iron-fisted artistic direction in the early years led to a high level of artistic homogeneity across the magazine, while restrictions on the types of stories that could be told (from both the threat of censors and expectations about reader interests) limited variety in plots, characters, and settings.

All that is to say that a lot of what was being published alongside Tintin in the 40s and 50s looked more or less like Tintin, and even was likely directly modeled on it, which makes it useful for comparison. The protagonists of the time can be generally divided by age into children, the "15-20" range, young men, and middle-aged men. Each category is visually distinct (comics are a visual medium!) and each results in a slightly different kind of story with different character dynamics.

Here's Tintin with a couple of the teenage protagonists that appeared alongside him in his magazine:

(L'Affaire Tournesol (1956), p. 51; La Griffe Noire, Tintin no. 6, February 5, 1958; Les Deux Visages de Kid Ordinn, Tintin no. 1, January 2, 1957)

Hergé's no. 2 collaborator Jacques Martin created Alix (center, 1948), a Roman Gaul confirmed to be 16 in the original albums. Chick Bill (right, 1955), who in looks and narrative role is effectively just Tintin as a cowboy, is identified (by none other than Franquin) with the 15-20 age range. Some shared visual markers of their youth are a short and slight build, rounded shoulders, a round head, and a soft jawline. While all very independent, they are all three semi-accompanied by a much older man and a child sidekick.

Now, here are some examples of characters from the next age range up:

(L'énigmatique Monsieur Barelli, Tintin no. 44, November 2, 1950; L'ouragan de feu, Tintin (Kuifje) no. 37, September 15, 1960; Défi à Ric Hochet, Tintin (Kuifje) no. 8, February 25, 1964)

Hergé's no. 1 collaborator Bob de Moor had a humor-adventure series using the same style as Hergé, but his character, stage actor Georges Barelli (left, 1950), is a grown man. Martin's second series was required by publishers to somehow be a modern AU of Alix, but Alix's counterpart, reporter in the same way that Tintin is a reporter Guy Lefranc (center, 1952), is clearly older than him. So-called reporter, really amateur detective Ric Hochet (yes, that's his name, right, 1955) is kind of an odd case; he started out a child, then looked basically exactly like Chick Bill (they were both drawn by the same artist, Tibet), then finally settled into his final form as a young man in his mid-twenties - a 1969 album places him at age 26. All three own their own cars (admittedly a moot point for Alix and Chick), and, compared to their teenage counterparts, they're much more likely to have friends and colleagues their own age instead of being supervised by someone older.

It should be clear from these six pictures that Tintin was not drawn in a way meant to make readers think he was an adult. And besides, there's really no reason to believe that Hergé, who once declared that "my primary objective is to be legible. The rest follows," would have chosen to give his main and titular character an appearance that was somehow deceptive. I'm prepared to say with confidence that Tintin looks young because he's supposed to be seen as young.

Textual evidence

For this section, I first look at a few ways that the albums actively present Tintin as a non-adult character. However, most of what follows is about showing that what happens in the albums does not contradict the argument that Tintin is intended to be a teenager. The Adventures of Tintin may be deceptively timeless, but not only is the series nearly a century old, it also was written during a time of extremely rapid and intense social, cultural, and technological change. Consequently, I want to make sure that I'm not judging the past with the attitudes of the present; in order to put the series in its proper context, I try to identify viewpoints and conventions expressed in texts created at the same time (and, when possible, by the same author) to see if a teenaged Tintin fits in with them.

In looking over how other characters refer to him across the albums, one sees that Tintin's most distinctive feature to those around him is his youth. This is, I think, more visible in the original French, where other characters address or describe him with a whole array of words commonly used for children: jeune homme, (jeune) garçon, gamin, galopin, blanc-bec, enfant de choeur, fiston, freluquet, moussaillon, (mon) petit (used as a noun), and morveux, not to mention many, many instances of characters appending "jeune" or "petit" to another word ("reporter," for instance). In English, he's variously (a) young man, (young) boy, kid, boyo, whippersnapper, wonderboy, lad, brat, puppy, young fellow-me-lad, and cabin-boy, along with liberal use of the corresponding adjectives "young" and "little." (I've collected specific panel examples for reference in another post.)

As @professorcalculusstanaccount has pointed out, there's no question of Tintin being called up for the draft as Haddock is in Black Gold; that album also contains the only example of Tintin's competency being questioned because of his age, on page 7: "So you're the new radio officer... You look a bit young to me..." (There's one similar remark, in America, after Tintin is injured in a car accident on page 6: "The poor kid..." "He looks so young...") Him not being called to war is particularly striking because Belgium historically required young men to do compulsory military service at age 18 or 19, after which they would be enrolled in the reserve army (p. 274). Thanks to a hard-to-translate joke in the original French for Emerald (below), we know that military service exists in Tintin's world and that the Thompsons have done theirs; Hergé did his at age 19, and then was called up from the reserves in 1939, interrupting the magazine publication of, precisely, Black Gold. Given his longtime anti-war stance and the peace sign sticker he wears in Picaros, though, one can easily imagine Tintin becoming a conscientious objector after it was legalized in 1964 - but by 1964, most of the series was already over.

(Les Bijoux de la Castafiore, p. 37)

He also doesn't dress like an adult: the plus-fours look very childish after the 1930s, as @illegally-blind-and-deaf pointed out. He also never wears a proper hat, only a flat cap in a few early adventures, and from Temple on (that is, after 1948) he runs around in his shirt and sweater with no tie or jacket. Some of that can be put down to the importance Hergé placed on his characters being maximally recognizable, but it certainly doesn't make Tintin look any older - look at a few of Hergé's crowd scenes and compare how the background characters are dressed.

Next, he doesn't seem to ever need to shave. In fact, in the original French for Black Island, Tintin remarks that the bad guys have gotten away "à mon nez et à ma barbe," an expression equivalent in English to "right under my nose" but literally "at my nose and at my beard," to which Snowy incredulously responds "Your beard? What beard?"

(L'Île Noire, p. 29)

It's true that nearly everyone who meets Tintin, including his adult friends, addresses him respectfully with the formal pronoun "vous" instead of with the informal "tu," as you typically would for someone much younger than you. However, Pierre Assouline attributes this to a dislike of over-familiarity on Hergé's part, citing him as saying that "Le tutoiement est la fausse monnaie de l'amitié" ("Using 'tu' is the counterfeit money of friendship").

(There are a few moments where Haddock slips and uses tu with Tintin, but I won't go into them here. Suffice to say that the majority of them are indeed moments where he's treating Tintin more as a child.)

Much has been made of Tintin's nonchalance about drinking alcohol as proof of adulthood, but evidence from other BDs indicates that this perception is a result of a shift away from historically looser attitudes towards drinking. Early comics for children frequently carried moralizing messages, but there's no marked moralizing present around youths drinking like there is around them smoking.

Compare, for example, the difference in tone between these two Quick & Flupke pages, where the kids are sternly warned off from tobacco...

(Originally published in Le Petit Vingtième nos. 4, January 28, 1932 & 43, October 24, 1935)

...Versus this gag, where Flupke's own relatives getting him drunk on New Year's over his protests is played entirely for humor.

(Le Petit Vingtième no. 1, January 3, 1935. "Tu es un homme et tu dois boire!")

There was even a follow-up comic at the same time the year after, in which Flupke imagines the alcohol he'll be plied with on January 1st and attempts to move to the North Pole to avoid it.

If a kid as young as Flupke is being given alcohol, then Tintin really doesn't have to be much older to be drinking as well. In fact, one might even note an echo between Flupke's reluctance to drink here and Tintin's in Picaros, when he's pressured to take a swig of whisky by Arumbaya custom (p. 34). On the other hand, since Quick and Flupke are so young, the ban on smoking is stronger for them. Tintin is old enough to occasionally be offered a cigarette, but still young enough that he always must refuse: Hergé was adamant that Tintin remain a good model because of the children who identified with him, while Haddock smoking his pipe, for example, never raised the same issue.

Beyond that, for a non-Hergé example and a later one (from 1960), here's child tennis prodigy Jari, hero of an eponymous strip in the Journal Tintin. He's just bicycled from Belgium to the Netherlands and wants a refreshment, so he goes to a drink stand and orders a beer - and no one bats an eye. Similarly, the only alcohol that Tintin orders casually, in a cafe or pub, is beer (Golden Claws p. 2, Black Island p. 41).

(Jari et le Plan Z, Tintin (Kuifje) no. 40, October 6, 1960)

At the same time, this relaxed attitude has limits. Tintin won't share a friendly drink with Haddock, for example when returning to Marlinspike after an excursion (though Haddock pours two glasses anyway in Affair (p. 3)). Calculus scolds Haddock severely when he thinks that Haddock has given Tintin champagne at breakfast in Tibet (p. 4: "Vous avez bien tort de lui faire boire du champagne de grand matin, à ce garçon !…"). Later in that same album, Haddock drunkenly warns Tintin against alcohol, telling him it's "very bad for young people like you!" (p. 38).

Next, while Tintin is undeniably capable of driving a car, there's actually no indication outside of the earliest stories that he can legally drive. (A quick Google search also tells me that Belgium has historically been notoriously lax on road safety.) At no point after the first four albums - that is, after Hergé became interested in telling a story that makes logical sense, a development typically placed at Blue Lotus - does Tintin drive a car that was acquired legally, not commandeered or outright stolen. (In Soviets and Congo he buys a car; in Cigars he drives the two Rajaijah victims to the asylum, though I doubt anyone was worried about him getting pulled over in the jungle.) On the few occasions where there isn't an emergency, it's always Haddock who drives; see for example Crystal Balls or the few pages of Thérmozéro. When Tintin finally gets a vehicle of his own, in Picaros, it's... a motorbike, which one can get a license for at a younger age than for a car. And in Alph-Art, where the motorbike plays a much larger role, Haddock still drives Tintin into town (p. 25) - and then gets left in the car while Tintin investigates!

Hergé also apparently didn't think flying a plane was particularly difficult. In Jo et Zette, one of his other series, Hergé has little Jo be able to fly his father's "Stratonef" and even land it from a glide, despite only ever hearing his father talk about how to fly it. Over the course of the two-part story (Le Testament de M. Pump and Destination New-York), Jo manages multiple successful flights - more than Tintin ever does! - despite unambiguously being a child.

(Destination New-York, p. 41)

And as with the cars, every plane Tintin ever flies is stolen, so whether he has a legal license or not really doesn't matter.

The same goes for his guns. In all but the first albums and Ear where, surprised in his flat, he really does pull a revolver out of nowhere, Tintin's guns are explicitly either given to him or taken from a disarmed enemy. The series doesn't make a point of him owning and carrying his own gun - just the opposite. And while it seems to us now that Tintin has a lot of firearm use for a children's comic, proficiency with guns was honestly a genre expectation for all adventure heroes of the time (just don't put a gun on your cover). For example, Chang, who from his introduction on acts like a second Tintin, wields a pistol at the end of Lotus and is even implied to be the one who makes the shot that breaks Didi's sword despite appearing even younger than Tintin. (See also the previous section of this post; Chick Bill is carrying a gun in the picture I included.) What's more, the gunplay in Tintin is actually a step down from its predecessor Totor, where Hergé's titular Boy Scout kills a man with a rifle shot to the face.

In short, Tintin is able to do a lot of things he shouldn't legally be able to do by simply not doing them legally.

The fact that Tintin lives alone isn't necessarily a mark of maturity either. It's hardly uncommon for a young adventure protagonist to be unusually unsupervised; it's effectively a demand of the genre. Hergé learned why that is from experience when he created Jo et Zette for the editor of the French, ultra-Catholic children's magazine Coeurs Vaillants, who had raised concerns about how unrealistic Tintin was. In Hergé's own (translated) words:

(From Entretiens avec Hergé, reproduced & translated in The Comics Journal no. 250, p. 191)

Parents are a nuisance, one that Hergé was only too happy to dispense with in Tintin's case. And besides, Tintin isn't completely alone forever; with the introduction of the Marlinspike "family," not to mention Marlinspike Hall itself, during the war, he at least ends up with a home and some adult supervision, however dubious it may be at times.

As for his schooling, according to a report on the Belgian education system from 1932, education was only compulsory there (not to mention free) from ages 6 to 14. That same report records that in 1928, the number of students in the higher level of secondary education - corresponding to high school in American terms - was only 1% of the number of students enrolled in compulsory primary school. Even adjusting for the fact that primary education enrolls children for twice as long, the percentage is still a paltry 2.6%. And then the number of students in university that same year was only about three-quarters of the number of students in secondary education.

What that means is that at the time when Tintin was getting started, only very, very few people stayed in school beyond age 14. Hergé himself was one of those few, but to many of his readers in the early years, the idea that Tintin was already working at age 14 or 15 would have been not just reasonable but recognizable - especially as he has no apparent family to support him. (Not that Tintin isn't knowledgeable: judging from the number of books in his apartment, we can presume that he's quite the autodidact.) Of course public education was broadened after WWII, but by then the character was already firmly established.

As for how Tintin is already a reporter, well, Hergé freely admitted that he gave him the job just because that's what he thought was cool at the time. "Of course it was a pretext," he said on British radio in 1977. (The announcer for that interview describes Tintin as "a 16-year-old Belgian boy with a strange lick of hair, a pair of plus-fours, and a terrier." In it Hergé, questioned about the outsize success of his series, responds that for him "he [Tintin] keeps to be a little boy. Only that.") The tone of the series would be very different if Tintin were just an office clerk or a paperboy, after all - and besides, all but the youngest readers of Le Petit Vingtième would have understood that it's not a real newspaper, just a little children's magazine, so the idea of it having its own official reporter was not to be taken fully seriously.

It's important to remember that our current cultural idea of the teenager as a separate, unique stage between childhood and adulthood was largely a post-WWII American innovation - in fact, the word "teenager" only entered popular use in the 1940s. By contrast, fully half of the Adventures of Tintin (up to the first 2/3 of Crystal Balls) were written either before or during WWII. Hergé himself, born in 1907, began submitting illustrations to a magazine (Le Boy-Scout) at 14, was hired at the Vingtième Siècle at 18, created Totor and did his military service, reaching the rank of sergeant, at 19, and before turning 22 had been given full responsibility for creating and running the Petit Vingtième, gotten engaged to his first wife, Germaine Kieckens, and created Tintin. Being young looked different then.

To close this section I'll also note that, as far as I can tell, positioning Tintin as a teenager never seemed to pose much of a problem to anyone reading the series while it was actively running. Anecdotally, nearly every published source I've read takes for granted that he's an adolescent, and an exception like writer of multiple books on Tintin Renaud Nattiez saying on the air in 2016 that he thinks Tintin is at least 22 (~03:30-03:50) seems to be a uniquely 21st-century development.

TL;DR: Everything I can find indicates that Tintin was always intended to be around 15, and never older than 20, years old.

II. Interpretation

Finally, it's important to not overstate Hergé's commitment to realism. At the end of the day, Tintin can do whatever the story needs him to be able to do, because he's the protagonist of a very straightforward adventure serial. He's always been aspirational, even for Hergé himself: "Tintin is me the way I'd like to be: heroic, flawless." And yet Tintin, victim of its own success, has always been held to a higher standard of realism than its fellow comics, not to mention a higher level of scrutiny in general. Even if, as I've tried to demonstrate, Tintin's feats aren't entirely out of the range of possibility (or at least the norm for comics characters) for his time period, I'm not arguing that he's supposed to be a perfectly accurate representation of the average boy of any point in the mid-20th century. I also don't deny that he typically does act like an adult. So the guiding question here is: How can this dual nature of Tintin's - his adolescent status and adult aspects - be interpreted?

Jean-Marie Apostolidès writes that as "il unifie dans sa personne deux aspects opposés de l’existence, l’enfance et l’âge adulte" ("he brings together in his person two opposing aspects of existence, childhood and adulthood"), Tintin represents "un mythe réconciliatoire" ("a reconciliatory myth") of which the "fonction implicite est de ressouder entre deux générations une confiance brisée" ("implicit function is to mend a broken trust between two generations"). He names this type of child-adult character the "surenfant" ("superchild"), and argues that it is specific to the 20th century and the cultural shock of WWI.

For Pol Vandromme, who wrote the first book of analysis on Tintin (or on any BD), Tintin is simply a perfected version of the teenage boy, one that other teenage boys can aspire to. First, he cites as conventional wisdom that Tintin is around 15, and concludes that "c'est dans tous les cas un adolescent" ("in any case he's a teenager"). While Vandromme accepts that Tintin is presented as a teenager, he also points out that Tintin doesn't represent the experience of being a teenager; Tintin "ne présente [...] que les apparences de l'adolescence" ("only displays the appearance of adolescence") because he's so self-assured and stable, traits antithetical to "l'époque de la métamorphose" ("the time of metamorphosis") that is adolescence.

And yet "il [Tintin] demure malgré tout suffisamment proche pour que les garçons se disent qu'ils auront un jour la chance de lui ressembler, d'imiter son style de vie. [...] Ce que Tintin propose à ces garçons de quinze ans, c'est la figure achevée de leur âge. Il les venge de leurs insuffisances" ("he [Tintin] remains all the same close [i.e. similar] enough that these boys tell themselves that one day they'll have the chance to be like him, to imitate his way of life. [...] What Tintin offers to these 15-year-old boys is the perfected version of their age [group]. He makes up for their shortcomings"). Consequently, having put themselves in Tintin's place, these boys "ont l'illusion d'être déjà de la tribu des jeunes gens qui ont découvert dans leur sac de voyage les clefs qui ouvrent les portes de la fable du monde" ("have the illusion of already being part of the clan of young people who have discovered in their travel bag the keys that open the doors of the world's fable"). In plainer language, being able to identify with Tintin as an apparent peer lets teens imagine themselves as being more capable and powerful than their age allows in reality, an attractive illusion.

I'll add that the static quality of Tintin as a character that Vandromme identifies is dictated by the form of the series. When presented with a teenage protagonist in a work, the novelistic expectation is that what follows will be some kind of bildungsroman, where the events of the story will push the protagonist to change and mature into adulthood. However, I believe that it's a mistake to approach The Adventures of Tintin as a novel when it is fundamentally a serial - even late in his career, when he didn't need to do prepublication anymore, Hergé's approach to plot was still oriented around the page-a-week format. Serial characters, as a rule, change very little. Tintin gets compared to Sherlock Holmes more than once in the series, and it's also true on a meta level: Holmes has a few minor moments of character development, but he largely remains exactly the same over the course of Conan Doyle's stories, which were likewise published in a magazine. In a true serial, the status quo is god, because the main aim of the serial is to perpetuate itself - theoretically forever. And so Watson always finds a reason to return to Baker Street, and Tintin never gets old enough to think of settling down and getting a real job.

Like Holmes, Tintin does change and grow somewhat as a character over the course of the series, but also like Holmes, that growth is not a planned arc with an endpoint, as you would expect in a novel. Instead, it's just a result of Hergé himself maturing and changing. In his contribution to L'archipel Tintin, Benoît Peeters notes that "Grande est la tentation, pour beaucoup, de lire la série comme une totalité, un monument où tout signifierait" ("The temptation is great, for many, to read the series as a totality, a monument where everything has meaning"). And yet he declares that "si accomplies soient-elles... Les Aventures de Tintin se sont élaborées en l'absence de tout grand dessein" ("however polished they may be... The Adventures of Tintin were created in the absence of any grand design"), citing the testimonies of both Hergé and those who knew him at the beginning of the series. Hergé never really had a plan for Tintin as a character; he really did just put him in situations over and over again for a little more than fifty years. However, now that the series is only read in album format and serial publishing is less common, the "temptation" Peeters describes is even stronger. This mismatch in narrative expectations may be part of why modern readers might struggle to view Tintin as a teenaged character.

There's one more element to Tintin's strangeness: the world of the series was built around Tintin himself to facilitate his adventures. Vandromme recalls the fact, so obvious that it's easily forgetten, that "Tintin étant ce qu'il est et ne pouvant être un autre, infléchit l'intrigue d'une certaine manière. [...] Remplacez Tintin par le père Fenouillard et il vous faudra modifier l'album de fond en comble. Dans un roman les personnages déterminent les événements avant d'être déterminés par eux" (Tintin, being who he is and unable to be anyone else, influences the story in a certain way. [...] Replace Tintin with the father of the Fenouillards [character from a 19th-century comic about the misadventures of a French family abroad, n.b.] and you'll have to change the album from top to bottom. In a novel, the characters define the events before the events define them"). This point is especially relevant to Tintin given that the series' beginning was, to put it mildly, haphazard. Starting from Soviets, where Tintin is alone with his dog in a bizarre world where he can sneeze down a sewer grate, cut down a tree with a pocketknife, or fistfight a bear - whatever it takes to keep the plot moving - set a precedent for the character: that Tintin, and nobody else, will always triumph over whatever enemy or obstacle he is faced with.

Because it's founded on Tintin himself, there are no real adults in the Adventures, and in fact there can't be any. Preserving Tintin's Soviets-era boy hero status as the world of the series became steadily larger and more realistic created a kind of 'competency warp' where Tintin, along with his young "doubles," Chang and Zorrino, is effectively always the most capable, the master of the situation, while those closest to him who are much older (the Thompsons, Haddock, Calculus...) tend to act rather childishly. I think it's telling that the 1946 introduction of Blake & Mortimer is often hailed in terms like these: that "pour la première fois, les héros n'étaient pas des enfants, mais des adultes responsables dont la psychologie était en parfaite harmonie avec leurs fonctions" ("for the first time, the heroes were not children, but responsible adults whose psychology was in perfect harmony with their roles," emphasis mine). All the major adult characters in Tintin had been introduced at that point, but apparently none of them qualified as "responsible" or properly suited for their positions.

Apostolidès similarly notes a deforming effect: "Tintin est un adolescent qui, sans jamais entrer dans l’âge adulte, rajeunit le monde en se confrontant à lui. Au lieu que le personnage se soumette passivement au monde adulte, s’intègre dans une histoire, vieillisse et meure, c’est l’univers extérieur qui se fige dans le temps au contact du héros" ("Tintin is an adolescent who, without ever entering adulthood, makes the world younger by confronting it. Instead of the character submitting himself passively to the adult world, fitting in to a history, getting older and dying, it's the outside world that freezes in time at the hero's touch"). Not only does Tintin resist adulthood himself, he also protects others from its effects.

There are characters who escape the warp, but they must stay on the very edges of Tintin's orbit. One example is the efficient and no-nonsense Mr. Baxter from the Moon books. He has a real job: he's director of the atomic center, and every time we see him he's actually doing it. He also remains disengaged from the antics of the Marlinspike crew, often exasperated and confused by them. They don't belong in his serious space program, and he doesn't belong in their funny adventure series - hence the clash. Another (and very different) example is Jolyon Wagg. I wish I could remember where I read it, but I once saw it pointed out that Tintin and Wagg almost completely ignore each other; their only direct interaction in the whole series is saying hello to each other exactly once (Emerald p. 17). The unidentified author's point was that Wagg inhabits a world so intensely banal, so different from Tintin's - one with community organizations, salesman jobs, an old mother, an Uncle Anatole, a wife and (a lot of) children - that the two can't even come into contact. Wagg may be almost preternaturally obnoxious, but he's also a genuinely ordinary man in a way that the major characters really aren't.

Tintin must remain the sole and main driver of action, because if he isn't, the series would have to change fundamentally. That means no other character can threaten his role by being more competent and responsible than him - and so the adults become ridiculous and/or irrelevant, and Chang and Zorrino are only allowed to act for one album each. And yet Hergé created Tintin as a teenager, and suggested that a Tintin who progressed past teenagerhood would also grow out of adventure: "Il est difficile, pour un personnage comme ça, à le faire vieillir. Parce que s'il vieillit, il va avoir vingt ans, il va avoir vingt-deux ans, il va rencontrer une jolie fille, il va se marier, il va avoir des enfants..." ("It's hard to make a character like that get older. Because if he gets older, he'll be 20, he'll be 22, he'll meet a pretty girl, he'll get married, he'll have children..."). Tintin passing into adulthood, 'real' adulthood, symbolized here by settling down and starting a family, would make the series just as unsustainable as demoting him to a more technically age-appropriate role would; both sides of the tension between Tintin's youth and his maturity are required to make him a proper adventure hero for children.

And so he remained, as he remains today, the world's most competent teenager.

new rules for chess:

1. Friendly Fire ON

2. Landmines

3. If a player loses both of their bishops, the king can now legally divorce the queen without the papal go ahead. This puts the queen into FRENZY mode.

4. Once per game, a player may change one letter in a piece's name to change its role. The rook is now a book. The pawn is now a PAWG. The queen is now...well...I shan't say

5. Knights are now Horses

6. Horses are immune to landmines

7. Pawns can move back a space if they forgot something

8. A bishop can be combined with an adjacent rook to create the Wizard Tower piece

9. Each player now has 2 rows of pawns

I'm boggled. This isn't the same thing as in the letter, is it?

Thank you so much for the ask!! Good job on spotting the difference!

Posting the letter again for reference:

So you're right, on the rock it reads 張仲仁 (Cheung Chong Yan in standard cantonese romanisation), while on the envelope the name is 張仲文 (Cheung Chong Man). Hergé’s real life Chinese friend is 張充仁 (Cheung Chong Yan), so the romanisation would be the same as the name in your ask. 

HOWEVER, those are just romanisations (which are less accurate but easier for foreigners to pronounce). Their actual pronunciations in cantonese (spoken in Hong Kong) / mandarin (spoken in mainland China including Shanghai) are different:

張充仁 = Tcheung Chong Yun* / Zhang Chongren

張仲文 = Tcheung Tchong Mun / Zhang Zhongwen

張仲仁 = Tcheung Tchong Yun / Zhang Zhongren 

* 'Tch-' is similar to J sound; '-ong' is OW-ng; '-un' as in under

As you can see, there’s a bit of a mix and match. But I think it makes sense to change the first word in his given name into 仲 given that the story says Chang is from HK, because we seldom use 充 in our names (perhaps more common in mainland China, not 100% sure). 

Another fun fact for you on the meanings of those given names~ 

充 = full of

仲 = still be (only in cantonese)

仁 = love for all beings/ benevolence

文 = cultured/ gentle

Both 仁 and 文 are commonly used here across different generations and genders. So I think both translations are pretty nice!!

Also, I just spotted that the stamps in the top right corner are of Queen Elizabeth II and King George VI:

Not so good at maintaining consistency but good attention to detail, I must say :)

Sorrow

It is another kind of sorrow,

To watch the words that have once played with you -

Run away,

Afraid,

For they cannot bear the burden

Of your heavy heart.

My favorite genre of self-portrait is cartoonists being bothered by their characters while trying to draw

Bill Watterson – Calvin and Hobbes (1986)

Hergé – Tintin (1947, Tintin Magazine)

Albert Uderzo – Asterix (the cover of Uderzo l'Irreductible (2018), but originally much older)

Jeff Smith – Bone (1993, Bone Holiday Special)

Walt Kelly – Pogo (1950, Maclean's Magazine)

And a bonus:

Berkeley Breathed – Bloom County

RAHHH THE ONLY CORRECT WAY TO START 2025!!

Around The Galaxy In Eighty Hours

Rey left the Falcon behind, walking up the steps on the Ahch-To island, and she fought the urge to run.

It had taken all this struggle to get here. All this time. The map BB-8 had carried… so many who’d been lost on the way… and now she was here.

She was going to ask Luke Skywalker for help. The legendary Jedi Master, the one who had defeated the Emperor.

As she climbed, though, a niggling little feeling began to gnaw at her.

Where was he, anyway?

She’d been assuming he was somewhere high up, and the Force wasn’t pointing her anywhere else. But she couldn’t see him, and as she reached the very top of the stairs… there was no sign of him.

“Master Skywalker?” she asked, looking around. “Master Luke?”

“Jee-dhai?” one of the locals asked, in a curious voice.

“Huh?” Rey replied, turning. “I… well, I don’t think… I want to be, but I’m not one yet… do you know where Master Skywalker is?”

The hooded alien shrugged, and pointed to one of the rock huts.

Curious, Rey entered.

It was immediately obvious Master Skywalker wasn’t in the hut. There wasn’t room. There was barely room for Rey… but, after a moment, she spotted something odd.

A folded piece of flimsiplast, with a metal-rimmed piece of crystal on it.

Taking the crystal, Rey was surprised to find that it felt… warm, and tingly. It fizzed with an unidentifiable but oddly familiar energy, and she turned it over before opening the flimsiplast.

It held only one sentence.

Use the Force on the crystal.

“...is this going to be a riddle?” Rey asked. “Or a trial of some sort?”

Silence answered her, and she took a deep breath before closing her eyes and focusing.

It was still… difficult, to call on the Force at will, but she could do it.

As she did, the crystal glowed, then filaments of light streamed out of it to form a face.

Master Skywalker’s face. She was sure of it.

“To whoever has found this,” he began. “Firstly, if this is Ben… well done for coming back to the light. And if not… I’m glad there are others besides myself who can use the Force without being tainted by the Dark Side. This crystal has been constructed using the techniques of the ancient Holocrons, which would shatter if they were forced open by the Dark Side.

He paused. “The Caretakers have a few of them, in case they need to replace one. Anyway… if you came here, then either the Force guided you here to Ahch-To or you came following the map. And if you came following the map, you came looking for me.”

Master Skywalker’s expression turned rueful. “So I’m sorry to disappoint you. I’m not here. I left. I grew up on a desert planet, and this place just… unsettles me. It gives me the creeps to see all that water. Hurricanes should be illegal, and this planet has some really nasty ones… anyway, I’ve moved somewhere where I don’t need to worry about that. You’ll find me in the Bespin system, on Cloud City…

Rey’s eye twitched, as the blue illusion of Master Skywalker’s face listed off an address.

The crystal fizzed slightly, and she dropped it before she could break it somehow, then crouched down and picked it up again – not accessing it with the Force, this time.

“Right,” she said, her voice tight, and turned to go right back down the slope again.

“You’re back early,” Chewbacca said, concern in his voice.

“Luke’s not here,” Rey replied, hitting the switch to raise the Falcon’s ramp. “Do you know where Bespin is?”

Chewie blinked.

“What?” he asked. “Yes, I know where Bespin is… you’re saying he’s on Bespin?”

“Apparently,” Rey replied. “Though I suppose the map is a map to where he went, not where he is. It’s not like he was updating it…”

Cloud City was an amazing sight, though it had begun to pall slightly for Rey when it took them half an hour to get a landing permit.

Eventually Chewbacca called in a favour from someone called Lobot, and ten minutes after that Rey rang the door chime on the address Luke had given her.

Then she stood outside, waiting.

It was strange to be in a completely built environment. Even the ground under her feet ultimately had nothing beneath it but air… and yet all this was kept in the air by technology.

If Rey hadn’t known quite so much about how solidly built repulsorlift units were, she might have been unsettled.

The door hissed open, and a woman looked out. “Yes?”

“I’m looking for Luke Skywalker?” Rey asked, awkwardly.

“Oh!” the woman said. “You know, he didn’t leave a forwarding address, but he did ask that something be given to anyone who came looking for him… hold on a moment, please.”

The door hissed closed again, and Rey leaned on her staff and groaned.

“I’m guessing we’re leaving?” Chewbacca asked.

“We’re leaving,” Rey confirmed. “For somewhere called the Dagobah system.”

She held up the crystal she’d been given. “If you’ve never heard of it, this should help, at least. It’s got a planetary map, as well… and a long, long complaint about vertigo.”

“He did once fall out the bottom of Cloud City,” Chewbacca volunteered. “That would give anyone vertigo… here, anyway.”

“So after spending a month here, I realized what training with Master Yoda had let me forget until then,” the pseudo-visible Jedi Master explained, as Rey focused – not without some annoyance – on the crystal she’d found in a hut. “Which is that Dagobah is damp. I can’t walk very far without sinking into the swamp, the only food available is moss soup… Master Yoda stayed here for decades, and I can see the argument that a Jedi should be inured to physical discomfort, but I just can’t take it any more. I’m going to Ajan Kloss.”

“Really?” Rey asked. “Really?”

She focused, drawing out her anger, and expelled it with a sigh.

Where on Ajan Kloss was she supposed to be looking, anyway?

The holocron-alike crystal shimmered, showing an Ajan Kloss planetary map, and Rey committed it to memory before closing her hand around the delicate-seeming crystal.

“All right,” she said. “Ajan Kloss, then! And there had better be a Jedi Master there.”

There was not.

“So it’s been the rainy season…” the next crystal declared. “And it’s not as swampy as Dagobah or as rainy as Ahch-To, but it’s a lot warmer and the combination is absolute hell. I thought it was the rainy season when I was here before, but it turns out that it was actually the dry season. This is the rainy season, and it never gets dry. Nothing gets dry. The humidity is absolutely one hundred percent constantly. The floor’s covered with millipedes and our robes are growing fungus on them.”

Rey shuddered involuntarily.

It did sound bad.

They were fortunately in the dry season again, or at least she assumed so since the rain coming down outside was only moderately heavy and the geography hadn’t been entirely covered by cloud.

“What’s worse, the plants here even grow at night,” Luke complained. “So that’s it. I’m done with this place. We’re moving somewhere where there’s no need to worry about plant life at all…”

“Are you sure this is necessary?” Rey asked, two hours later.

“Yes,” Chewbacca replied, giving her another parka, and Rey put it on somewhat awkwardly. “You’re from a desert world. You know how Dagobah was cold and wet?”

“I’m having trouble forgetting,” Rey replied.

“Well, that’s about fifteen degrees,” Chewbacca explained. “Hoth is minus forty. I was cold there.”

Rey stared.

“...do you have any more warm clothes?” she asked.

Eventually, with some difficulty, Rey struggled into the ruins of the Rebellion’s Echo Base.

It was below freezing cold, and intensely annoying, and what was worse was that there wasn’t even a Jedi Master there. Instead, there was another crystal.

It mostly contained Luke complaining about how kriffing freezing it was, and that he’d spent three days here before electing to move to the Forest Moon of Endor.

“What is this?” Rey asked, after extracting herself from the parkas and as the Falcon sped towards the Endor system. “Is it some kind of sick joke?”

“I’ll give this for Endor, it’s warmer than Hoth,” Chewbacca contributed.

The Endor map led to an Ewok village, where they treated Chewbacca like an old friend and sniffed at Rey with great suspicion before Chewbacca managed to make himself understood enough to explain that she was a friend.

Then an Ewok shaman said… something… and Rey found herself involved in some kind of blessing ceremony. It was surprisingly useful, in that it actually involved the Force, but Rey was struggling to concentrate by the second hour… and it wasn’t until the fifth that she actually managed to convey the question she had.

The Ewoks discussed amongst themselves, then finally realized what she meant, and led her to a large treetop hut.

An empty hut, with nothing but some folded flimsiplast on the table, and a crystal on top of it.

Rey wanted to scream, but she didn’t want her hosts to take it the wrong way.

“If you’ve ever met Ewoks, you’ll know they’re brave warriors and good people,” Luke said, as Rey slumped over the Dejarik table on the Falcon.

Both she and Chewbacca were watching Luke’s latest message, and part of Rey hoped that wherever it was going to be was far away enough that she could get some rest.

The rest of her was wondering if they could just give up looking.

“But they’re also… a bit much,” Luke went on. “It took a month or two, but ultimately it got to be too much for us, so we decided to move on. This time we’re going to somewhere where we should be able to be alone, and as a bonus we can be out of the rain as well… it’s a lot like a homecoming, in some ways. We’re going to the Great Temple on Yavin Four.”

Chewbacca muttered something, and went to set the autopilot.

“I never thought I’d say this, but I have actually got bored of green,” Rey said, as they flew low over the jungles of Yavin Four. “I didn’t think it was possible to get bored of something that quickly.”

Chewbacca shrugged.

“Are we picking anything up?” he asked.

“Not on the long range,” Rey replied, sitting down and checking the scanners. “Nothing on passive… that’s just because Luke wants to hide, right?”

She detected a note of desperation in her voice. “It’s not because he’s moved on again, right?”

Chewbacca didn’t say anything, but he did raise an eyebrow at her.

Searching the Great Temple took about an hour, and they didn’t find a Jedi Master.

They did, however, find one of the now all-too-familiar crystals, and Rey stared balefully at it before clasping her hands and letting out her anger.

Again.

Then she snatched it up, wanting to know where they were going to have to go this time.

“You know…” Rey said, as they broke orbit. “I actually almost sympathize with that one.”

“You do?” Chewbacca asked.

“Yeah,” Rey agreed. “Knowing that the temples here were literally built by slaves who were members of the original Sith species… it’s a Sith Temple. I imagine any Jedi would be uncomfortable with that.”

She looked down at the crystal. “I really wish he’d put one of these on Ahch-To, though.”

“No argument there,” Chewie mumbled. “At least Naboo is an easy one…”

“I don’t know much about the place,” Rey said. “Only that it was involved with the Clone Wars, somehow. Or maybe something before the Clone Wars.”

The crystal pointed them to a very fine town house in Theed, which did not have Master Luke in it.

Instead, it had a droid, who beeped and whistled at them.

“We’re looking for Master Skywalker,” Rey said. “Please tell me you know where he went.”

The droid beeped again.

“...Master Amidala?” Rey repeated. “But Master Skywalker said to come here…”

“Same person, it’s just his mother’s surname instead of his father’s,” Chewbacca provided. “Show the droid one of the crystals?”

“It can’t hurt,” Rey conceded. “Is this some kind of ancestral home, then?”

She activated one of the crystals, and the droid whistled gleefully before opening an internal compartment and depositing another crystal in her palm.

“Right,” Rey said, rubbing her forehead with her free hand. “It’s a good thing the Falcon is so fast. We must have done a lap of the galaxy by now.”

“We’ve mostly been going through the middle, but yes,” Chewie agreed. “Where now?”

“That’s always the question,” Rey conceded, focusing.

If there was one thing this was good for, it was learning to master her anger.

“I know, I know, I said we’d be here for good,” Luke apologized. “But I ran into a Palpatine on the street yesterday, and it freaked me out.”

He shook his head. “I know, they’re from a different branch of the family, not everyone called Palpatine is evil… but it really unsettled me and I can’t feel comfortable here any more. Not after I heard from Binks about how Palpatine exploited both my parents… and him.”

The Jedi Master let out a long sigh. “But being somewhere I inherited… it helped, really. It reminded me of the other place that I inherited. We’re going back home. Beggar’s Canyon and the Lars homestead. Ben, if you’re the one hearing this… I’m sorry that we couldn’t give you the childhood that my aunt and uncle gave me.”

The force hologram disappeared, and Rey closed her eyes.

“That didn’t even give us a planet,” she said.

“No problem,” Chewbacca replied. “I know where we’re going. I know where Luke grew up.”

He nodded to the droid. “Thanks for your help.”

The droid whistled, waving a probe cheerfully.

Naboo to Tatooine. Mos Eisley to the Jundland Wastes to the Lars homestead, and from there on to Beggar’s Canyon.

Rey could feel the tension building in the air. Like the signs of a sandstorm, but more positive.

Signs of… something. Maybe signs of hope.

“Found something,” Chewbacca said. “Zeroing in on it now.”

The Falcon banked, slowing, and Rey went to the ramp as it opened. Around her, the light transport hovered on repulsorlifts, and she held on to a stanchion as she leaned out into the hot, dry air.

“I can see something!” she reported, through her comlink. “Bring us down another four metres… all right… I’m getting out here, land as near as you can.”

“Got it,” Chewbacca replied, and Rey slipped out of the door.

She landed with a roll, and shaded her eyes to look closely at what she’d spotted.

There was no mistaking it. It was a hangar bay. Built into the side of Beggar’s Canyon, concealed from above except at exactly the right angle, and big enough to service plenty of ships at once.

There were ships there, in fact. Two transport shuttles, a light and utilitarian variety, and a heavier and heavily modified yacht. But there was space for several more, and Rey frowned as she approached.

This didn’t feel empty in the way the other places had been, a difference that only made sense now she’d felt both sides of it.

It felt… lived in.

Then three young adults – a strange four-legged two-armed half-equine, a more familiar Bothan, and a human – came out of a doorway, all looking at her warily.

“Who are you?” the bothan asked. “Why are you here?”

“I’m looking for Master Luke Skywalker,” Rey explained.

“...oh, well, you just missed him,” the half-equine replied. “He’ll be back-”

“Lusa!” the Bothan protested. “Operational security!”

“Right, right,” the now-identified Lusa said. “Why do you want to speak to him?”

“Because we need him,” Rey said, simply. “To fight the First Order. I… brought his old lightsaber?”

She held it out.

“Whoa,” all three youngsters said, at once.

Then the Falcon came flying back over, still looking for a landing spot, and the human gasped.

“Is that the Millennium Falcon?” he asked. “Did you come here with Han Solo and Chewbacca? Does that mean Ben-”

“No,” Rey replied. “Han’s dead. He… Ben killed him.”

That put a damper on the mood.

“...so, where is Master Luke?” Rey asked, after a few seconds. “Who are you? What are you doing here? I’ve been following his messages for more than a day!”

“Well…” Lusa began. “We’re… trainees?”

“The old word was padawans,” the Bothan supplied. “Master Luke decided that… uh… he said that he remembered what Master Yoda said, and that the only thing that mattered was the spirit. That you had to learn to avoid the Darkness, and that everything else you could learn at your own pace, however fast or slow that was.”

“And all the teachers left about two hours ago in their X-Wings,” the human contributed. “So we’re the ones defending the Academy!”

“I am going to need some time to process this,” Rey said. “...wait, in X-Wings?”

“We had a fleet,” Poe said. “Now we’re down to one ship, and you’ve told us nothing!”

He waved his hands, for emphasis. “Tell us that we have a plan! That there is hope!”

Admiral Holdo stared back.

“There is a plan,” she said. “But I don’t have to tell you what-”

“Admiral!” someone interrupted. “Hyperspace signatures! It looks like… they’re snub fighters, twelve of them!”

Holdo’s shoulders slumped.

“And there it is,” she declared, as the tension left, and she sat back into her seat. “Turn the ship! Prepare for close engagement!”

The radio crackled.

“All wings report in,” came a voice, Luke Skywalker’s voice, and it was so unexpected that Poe staggered back a pace.

“Katarn standing by,” one of the fighters reported.

“Horn, standing by,” another voice added.

The reports came, one by one. Jade, Dracos, Solusar, Durron, Ikrit, Binks, Desann, Korr, Penin. Then they broke for an attack run, and Poe could only stare.

He knew he was a good pilot. One of the best.

But even he had to admit that he couldn’t outdo that squadron.

The Billy Joel GIF set on Instagram is funny because you've got all your Uptown Girls, your We Didn't Start the Fires, your Allentowns, and your The Longest Times and a couple of the old man's live performances and then for some reason there's a GIF of "Say Goodbye to Hollywood" Live at Sparks 1981. I have no idea who is responsible but they have criminally good music taste and I hope their soup is always warm and their milk always fresh.

Just adding the former Twitter thread of analysis here for posterity.

threadreaderapp.com

Thread by @normative on Thread Reader App

@normative: I just got a graphic novel adaptation of Nineteen Eighty-Four and was pleasantly surprised to see they included the Appendix “Pr

Actually the implied timeline for the fall of Ingsoc is even shorter than that, on a second look. The Appendix says the Newspeak spoken in 1984 is captured in the 9th & 10th editions of the Newspeak dictionary, and that the 11th edition was the “final” one.  We don’t know exactly when the Party rose to power or started Newspeak, but if they’re already on the 10th edition by 1984 or shortly thereafter, and the Party doesn’t take power until after 1949, that implies new editions being released at absolute most every 3-4 years.  If the 10th edition is released roughly contemporaneously with the events of the book & Ingsoc lasts long enough to produce an 11th edition, but not a 12th, that suggests the collapse of the regime within about a decade of those events.  Another clue: Translation of English Lit classics to Newspeak were planned, and it “was not expected that they would be completed before the first or second decade of the 21st century,” after which the originals would be destroyed.  The use of the subjunctive—and the fact that the future authors of the Appendix assume readers remain familiar with works of Shakespeare, Milton, Jefferson etc.—also implies the fall of Ingsoc before “the first or second decade of the twenty-first century”.  So that’s at least two very strong clues Orwell plants that Ingsoc did not outlast the 20th Century, despite its seeming efficiency at ferreting out and breaking dissenters.

Absolutely amazing money quote too:

The large number of people responding that they did indeed miss this when they read Nineteen Eighty-Four suggests Orwell pulled off a rather brilliant literary prank: He wrote an optimistic epilogue, but hid it in the guise of an Appendix which many (perhaps most) readers either skipped or took at face value as just an essay about Newspeak, rather than a continuation of the story. And this is perfect. It would have been a literary crime to spoil the gut punch of “He loved Big Brother” by tacking on an overt happy ending epilogue. The happy ending is there, but Orwell makes you work for it.

Besties I am reading about the appendix of 1984 by George Orwell and I just re-read the actual appendix last night and I stg I'm gonna scream and cry and throw up because it's fucking past perfect tense and it's the "woulds" and it's the fact that the appendix is written in modern English. 1984 secret ending where Big Brother is long gone it makes me cry.

Thoughts on the phrase ‘Knowledge is power’, and on learning ‘enough’ about a skill/topic before doing a project about it

I’ve thought for a long time about the phrase ‘Knowledge is power’, and have lived most of my life aware of the negative impact of ignorance and lack of knowledge on our lives. But the more I think about it, I feel like a better phrase would be ‘It is the application of knowledge that brings true wisdom and power’. Knowledge can only help us to a certain extent - what is the point of knowledge, if we’re unable to utilise it well, and if we’re not strong or able to apply knowledge into our lives? It requires both strength and wisdom to be able to apply what we’ve learnt into real life.

This is kind of linked to a conversation I had with someone recently.

During that conversation, they told me that they prefer learning everything - or learning enough - before starting a project, because they were afraid of failure or messing things up along the way. I feel like that’s something many people do, but by doing that, they’re overlooking the importance of learning from experience and failure. Learning the theoretical knowledge, and trying to retain all the knowledge you gain, is helpful - but what is not helpful is NOT doing the project, NOT learning to apply your knowledge into life or into ongoing problems because you believe you aren’t ‘ready’ or that you don’t know ‘enough’ to do the project.

It is important to enhance your ability to apply your knowledge in creative ways in real life to deal with complex situations - and that means being able to put aside some time to apply your limited skills - be it your art skills, music skills, math skills, critical thinking skills, reflection skills, socialising skills etc. To use and learn more about your flaws and areas of improvement. Knowing is helpful, knowing theories and a methodical step by step way of solving things is useful - but being able to do things as you learn, being able to spot your mistakes and learn from them WHILE doing the project you’re doing, is so, so important.

It’s important to allow yourself the grace to make mistakes, to learn from failure, to pick yourself up, to cope with pain, guilt, anger, sadness, and grief - even if you think you aren’t ‘fully’ ready or prepared for certain things sometimes. DO that project, TRY that new activity, APPLY whatever limited knowledge you have into your life or personal goals after you’ve learnt enough to do some basic things. Of course, keep learning, do spend more time learning, but as you slowly become advanced and no longer a ‘newbie’, I hope you don’t restrict yourself in the ‘newbie’ section just because you aren’t a master, and create that new song, create that new artwork, try writing a critical review on a historical source or critical response to a philosophical argument. You might make mistakes, you might mess up a bit, but you will also learn along the way!

There are some things you can only learn through experience.

Ok, I think I yapped enough ahaha.

TLDR; While knowledge may bring power, it is the application of knowledge that brings true wisdom and strength.

A Vision of the Labour Party, 2017

Liz Kendall has returned to a quiet life as a backbencher and constituency politician, but due to border change legislation passed by a gloating Tory Government, her constituency is now Hades.

Yvette Cooper is serving a ten year sentence for the murder of her husband Ed Balls after his 167th utterance of “At least I lost to the Millibands…”

Jeremy Corbyn, in what is considered one of his more unusual leadership moves, proposes legislation to ban the word “Crown” from any and all pub names. The Labour conference that year is held in the “People and Anchor” pub in Islington.

Andy Burnham turned back into a wooden doll at the stroke of midnight after the leadership election, where he came third place, as a result of the particular brand of contractual wish magic that gave him life.

Just stumbled upon a great philosophical debate while listening to a playlist on shuffle.

The esteemed philosopher Bill Joel puts forward that "It's still rock and roll to me" confidently declaring that rock and roll remains to some extent constant in how much it rocks.

However, his point is immediately challenged by philosopher Bob Seger who posits that "Todays music ain't got the same soul" and that he "Likes that old time rock and roll". Confidently declaring that rock and roll has declined in its rockness.

This is truly one of the most important debates facing philosophy today.

Morten Morland (@mortenmorland) gives Nick Clegg and Chris Huhne the cartoon-test

“It’s simple, really. If a person is easy to draw, he’ll do well [in politics]. Because the likelihood is he’ll have other interesting characteristics too, which will make him appealing to journalists, thus raising the party’s profile in the media. And people watching are more likely to remember him, which is a bonus!

A quick cartoon-test shows that Nick Clegg, probably the favourite in the party at the moment, will lead the party into eternal oblivion, if elected. He is Mr. Some Bloke embodified – despite the fact that he can speak several languages.

I did a couple of quick sketches, and worringly for him, the best caricature came after I in frustration drew a lifeless mask.

People will see Nick Clegg on TV and wonder whether he’s that guy from marketing whose name they can’t recall – or someone they’ve met at All Bar One.

Chris Huhne on the other hand, is better. Not great, but better. He’s got a prominent crazy eye – a feature that he famously shares with both Maggie and Tony. His mouth is similar to that of a hamster…or a mouse, and remember, those ears will keep growing.

Between Clegg and Huhne, there really is no contest.”

In full here: http://poldraw.wordpress.com/2007/10/15/lib-dems-insist-on-having-an-election/