PC

Reddit Account: u/TheSacredGroves
Discord Tag: justinkayce
Name and House: Roland, of House Arryn
Age: 28
Cultural Group: Andal
Appearance: Tall, lean, well-muscled, handsome, fair - Roland is the portrait of a Knight of legend, of the Winged Knight come again. Harsh sky-blue eyes, severe cheekbones, and the familial aquitaine nose give him a cold and distant look - but one frequently broken by his warm and gentle smile. He keeps his pale-blonde hair long and his jaw clean shaven, accentuating the lines of his face. Roland is always neat and clean, his armour burnished and his threads well-tailored and fashionable.
Trait: Blademaster
Skill(s): Swords (e), Andal Knight (e), Essosi Blademaster
Talent(s): Dancing, Hawking, Singing
Negative Trait(s): -
Starting Title(s): Knight of the Gate
Starting Location: King's Landing
Alternate Characters: n/a

Bio-Timeline

• 3 BC: Roland Arryn is born to King Joffrey I Arryn and his wife, Queen Sharra. The third son, Roland's birth firmly secures the succession - fortunately timed considering his father's death later that year.
• 1 BC: The Conquest passes the two year old Roland by, the only impact on him being the squall he raised when Vhagar landed atop the Eyrie.
• 1-4 AC: The post-conquest world is the only one Roland knows, and he grows up in a household dedicated much to it. House Arryn in this period is an odd family, to say the least. Sharra Arryn's attentions are much divided and she has less time than a mother normally would for her third son; Roland is mostly raised by the medley of the Arryn Household and Court and is well-moulded by that as the expectations of maester, septon, courtiers, knights, servants, begin to be shape him into what an Arryn 'should' be in the eyes of their people.
• 5 AC: Roland struggles to find his place as a third son with little direct supervision. It is decided early that he does not have the smarts to become Septon nor Maester... but even as a youth Roland has a keen interest in the training yard, often an annoying shadow to his eldest brother and his squire friends. However, even at eight years old it is clear there is a natural talent to the boy - and when he defeats a squire four years older than him in a training bout in the presence of Lord Corbray, the famed Raven Knight, takes the precocious boy on as a page.
• 6 AC: Roland is by Lord Corbray's side when he tracks down the Root Father. Now a newly minted squire, Roland ignores his knight's orders to remain with the horses and sneaks after them. He kills his first man there, taking a clansman from behind as he in turn tried to attack the Raven Knight from the back. It is not an honourable kill or a clean death, and Roland is badly injured in the scuffle - but he survives. Lord Corbray is furious, and fiercely instils in Roland the importance of fighting with chivalry and honour. He almost abandons Roland, but his tearful begging convinces the Raven Knight that Roland is genuine in his regret.
• 7 AC: Visenya Targaryen's visits to the Eyrie become more frequent, and Roland's wariness of the stern, dragon-riding pagan is overcome by his fascination with said dragon, her skill with the blade... and his mother's growing closeness to the Queen. Visenya becomes something of a second mother to Roland, and her influences war with Lord Corbray's own. From Lord Corbray, Roland learns chivalry, honour, piety, and how a true Andal Knight should act. From Queen Visenya, Roland learns the importance of victory, and an understanding that wars must be won - he learns practicalities and realities. It is a schism within Roland that troubles him, but from both he learns the blade and even at ten it is more and more obvious there is something special about Roland. He quarrels sometimes with his brothers. Jonos, as even at ten, Roland could find little but disdain for his scheming, sneering, brother, and Ronnel as again even at ten, Roland already began to see himself as the better sword (and grows envious that Ronnel gets to adventure and party while Lord Corbray keeps Roland on a much tighter leash).
• 10 AC: Roland learns of his mother's death while at Heart's Home. He returns home swiftly, and his grief is overwhelming. There are few Roland can turn to; Ronnel is concerned with his marriage and rulership, Arwen retreats into the forests, and Jonos is Jonos. Roland relies further on Visenya, who has experienced such grief herself recently and guides Roland through it. Her place as a mother to Roland is confirmed in utterance. To distract himself, Roland throws himself fully into his training and an ensuing victory at a squire's melee at the age of ten and three sparks his reputation as a squire to watch across the Vale.
• 12 AC: Roland, at ten and five, wins the squire's tourney at Maiden’s Bay. He is stopped from sneaking into the higher tourneys by Lord Corbray, much to Roland's chargrin and his demand to be knighted is refused. His calamitously sized ego is rapidly deflated by the Eyrie's Septon and Queen Visenya, who pick him apart and teach him between them the values of humility, and the value of letting ones abilities speak for themselves. Roland does his best to control his pride in the future; ego is rarely ever an issue from him.
• 13 AC: While the honour of the day goes to the Cavaliers, Roland Arryn wins his spurs when the Painted Dogs are crushed under the Moon Gate, killing near as much as the Cavalier Superior herself. That his knighthood was overshadowed by an order of women warriors initially irritated Roland, but recalling his lessons from the last year, he happily shared the honour alongside them and was one of the voices that petitioned his brother to replace the Keeper with the Cavaliers. Knighted, Roland joins the Brotherhood of the Winged Knights and although young, is a key figure in helping rejuvenate the Brotherhood.
• 14 AC: Roland is betrothed to Alayne Waynwood; their romance is one from the storybooks, an instant and deep connection from the moment of meeting.
• 15 AC: Roland and Alayne wed as soon as they turn ten and eight. Part in celebration and part as dignitaries, the pair go to King's Landing together as guests of Lord Orys' great hunt for his son's coming of age. At the Kingswood Catastrophe, Roland saves Orys' life, but Alayne is slain defending other noblewomen. Roland hunts down, duels, and kills the King of the Wood afterwards. He is offered the Whitecloak for his service; on advice from Visenya, he declines, claiming his family needs him and he can defend Laenor and Visenya just as well in the Vale.
• 16 AC: Roland withdraws into mourning for a year, taking up a brutal campaign of bandit hunting in the Vale to cope with his grief.
• 17-18 AC: Roland returns to his brother's side, continuing to help rebuild the Brotherhood of the Winged Knights and slowly coming to terms with Alayne's death. He begins to more keenly ride the tourney track between his duties, earning a reputation as a fine lance alongside his growing reputation as one of the greatest knights in the realm.
• 19 AC: With Roland settling into his knightly role, Ronnel names him Knight of the Gate, with the downside of forcing Roland to have to keep a firm hand on Jonos from time to time when their brother is exiled to the Gate for yet another slight. The relationship between Jonos and Roland sours; where Ronnel threatens Jonos with exile or the Wall, Roland threatens him with death.
• 20 AC: Requested personally by Visenya, Roland tries to take on Prince Laenor as a squire. They are utterly ill-suited to the role, and after many frustrating failed training sessions in the yard, Roland gives up, labelling the Prince untrainable. The relationship between the two almost-siblings sours, but Roland works to repair the rift he created between them with much kinder words.
• 21 AC: Roland develops a relationship with a fellow Knight of the Vale, Colmar Corbray - the son and heir of the aging Raven Knight. Colmar has a fire in him that Roland can't help but seek, and he excuses Colmar's many flaws far too readily. It is a secretive bond, and toxic, but Roland does not believe he deserves better after letting Alayne die.
• 22 AC: The Winged Knights are whipped into fervour as yet another piece of the ancient armour is found. Roland himself dreams of perhaps finding more. Inspired my tales of the armour, the Brotherhood grows even further and in order to keep a firm hand on them, Ronnel makes Roland their Commander.
• 23 AC: Roland and Colmar's relationship deteriorates, ending in a duel that sees Colmar humiliated but, thankfully, alive. The two men hate each other from then on.
• 25 AC: Roland rides by his brother's side to King's Landing.

Family Tree

AC

Name and House: Marla of Gulltown
Age: 34
Cultural Group: Andal
Appearance: Broad and strong with well-calloused hands, Marla is as obvious a blacksmith as Roland is a knight. She keeps her brown hair tied severely back, framing her dour face with its squinting brown and wide mouth that wears an almost perpetual frown.
Trait: Artisan (Weapons)
Skill(s): Craftsman (e weapons; e armor)
Talent(s): Whittling, singing, maintenance of arms and armour
Negative Trait(s): -
Starting Title(s): King's Landing
Starting Location: Master of the Armoury of the Bloody Gate

Timeline

• 9 BC: Marla of Gulltown is born to a master-armourer in Gulltown
• 1 BC: Marla begs her father to help as his assistant as he tries to deal with the massive increase in orders thanks to the Conquest; he reluctantly agrees. Her older brother dies when Vhagar burns the Vale's fleet.
• 2 AC: Marla secretly goes out to work her father's forge at night, practicing at smithing - and finding herself something of a prodigy.
• 6 AC: Her father dies of a weak heart. Marla and her mother discover his great gambling debts, and no money saved for them. They keep her father's death a secret as Marla works the forge to complete his current orders - what comes after that, no one knows.
• 7 AC: Somehow, the charade is kept up. Marla's father is portrayed as a recluse who has devoted himself to his work and the Smith and will see no one in person. This mystery increases the shop's popularity, and many marvel at how greatly his work has improved since taking up this holy vow of solitude.
• 10 AC: A young merchant attempts to woo Marla and is rebuffed. Spying on her, he discovers her secret, and spreads it through Gulltown. The reputation of the shop collapses, and Marla and her mother flee ahead of those furious at the deception, the Faith angry that they had been used, and the law's punishment for fraud. They flee to Pentos.
• 11 AC: Marla finds work with a Qohorik blacksmith, an old master, now drunk and washed up. He teaches her all he knows. Helping each other back to their feet, the pair set up a proper shop, once more, together.
• 15 AC: The old blacksmith dies; Pentos proves to be unfriendly in its business to a woman by herself without the old master by her side. Despairing, Marla hears about the Cavaliers of the Vale, and reckons that if her home will now accept female knights, surely they'll accept a female blacksmith.
• 16 AC: Marla returns to the Vale with her mother. She avoids Gulltown and instead heads to the Gates of the Moon, seeking to offer her services to the Cavaliers. She is accosted by vengeful Painted Dogs on the way, and saved by the miraculous intervention of Roland. He offers to accompany her to the Gates of the Moon, where Marla is gladly accepted.
• 17 AC: Having forged arms and armour for Roland as well, which Roland raves over, Roland has his brother take her on as the Arryn's personal smith and armourer.
• 19 AC: When Roland is given the Bloody Gate, he begs Marla to come with him, who agrees in part. The smith spends her time between the two Gates and the Eyrie, overseeing the arms and armours of all the Arryn forces. Mostly remaining at the Bloody Gate, Marla becomes an integral part of the Winged Knights.
• 20-24 AC: Marla is regularly persuaded to accompany Roland to yet another tourney to help maintain his arms and armour. She grumbles, but secretly enjoys the competitions. Tales of the Winged Knights armour fascinate the Blacksmith, and with her small amount of Qohorik experience she helps verify the pieces as true Valyrian Steel. Her and Roland worsen each others obsession with tracking down the rest.
• 25 AC: Marla rides to King's Landing with her Lord and Knight, ready to work her magic if Roland breaks his armour yet again.

Supporting Characters

• Septon Gernot, 41 (Medic) - Septon of the Gate
• Maester Guy, 42 (Scholar) - Maester of the Gate
• Ser Martin Donnerly, 36 (General) - Castellan of the Gate

While recently I've been focusing on my Greece region(btw I have thought of a name and am deciding to name it the Zanda region because it sounds cool). Now I will make a duo of box art legendaries because they might be neat and I'm bored. Tell me how you feel about them, power wise, lore wise, or how coo their gimmicks are. Suggest names if you can.
Name: Spiritalos(placeholder)
LORE:
This first one is a skeletal figure with animal characteristics similar to spirit animals. It is heavily based on day of the dead and is a humanoid legendary which isn't common. It guides the spirits of the departed to the spirit world as well as serving as a ruler of it. It deeply empathizes with humanity and pokemon kind due to its long experience seeing the regret and loss of humans and pokemons especially regarding when it takes the lives of those who are beloved. It is a benevolent and devoted ruler able to speak telepathically with the dead, those close to dead, close with the dead, those with a power, or those who use it in battle. Those who want to own it have to become champion to be aware of the ritual to challenge it as well as beat it. It is often worshipped by people and partaking pokemon as death is seen as a way of nature that defines humanity and allows people to hold memories of others closer to them. It enjoys battles for one of several reasons either due to its love of mortals or as a hobby after its job is finished. It is sometimes mischievous sometimes haunting people occasionally with other ghost types. It allows some spirits to roam as ghost types or is unable to have them pass for an unknown reason as of now. To those it can't communicate with telepathically, it can make facial expressions and gestures to express itself.
BATTLE AND INGAME MECHANICS
TYPE: ghost/fairy
ABILITY: Spiritual awakening: When this pokemon is knocked out, it transforms into its spirit form and recovers to 25% of its max hp. It also changes its ability, stats, and signature move which all will be explained later.
STATS:
Hp: 130 Attack: 90 Defense: 80 Special attack: 150 Special defense: 130 Speed: 100
SIGNAURE MOVE:
spirit blast
Description: This move blasts the enemy with a spiritual energy restoring the user with the vitality lost from the blast.
Mechanics: 100 base power, 100 accuracy, special ghost type move that restores 50% of damage dealt.
SPIRIT FORM
Ability: spirit bind:
The user can't recover past 25% max hp. All pokemon on the field are bound by spirit which is a trapping effect that is more potent than regular trapping ignoring pivoting moves, red card, and abilities like emergency exit. Do be careful since this effects your own mons as well.
STATS
Hp: 130 Attack: 90 Defense: 50 -30 Special attack: 200 +50 Special defense: 100 -30 Speed: 150 +50
SIGNATURE MOVE:
Call of spirits
Description: the user calls upon the spirit realm blasting the enemy. For every currently knocked out pokemon, the move gets slightly stronger. This move replaces spirit blast.
Mechanics: 100 base power, 100 accuracy special ghost type move gaining 10 base power for every pokemon currently fainted. Cap of 200 base power.
Important moves: Thunderbolt, flamethrower, ice beam, sludge bomb, aura sphere, nasty plot, calm mind, dazzling gleam, and moonblast. It learns many more but the reason for its vast coverage is its powerful spiritual magic that also allows it to tap into nature as death and spirits are also natural concepts. Aura sphere for aura sensing, nasty plot, calm mind both are accurate to personality quirks and are set up moves, and moonblast and dazzling gleam are your main source of fairy type damage.
Viability: I focused on the mechanics being interesting and the lore over balance. I wouldn't be surprised that a mon like this would be banned to anything goes.
The counterpart will be more of a tanky pokemon inspired by a certain video game character.

Lesson 23: Swords - Thoughts and Challenges
The Swords suit represents thoughts, challenges, and the element of air. It delves into the realm of intellect, communication, and the various trials we face in our mental landscape.
Discussion Questions: 1. How do you currently approach challenges and conflicts in your thought processes? 2. Reflect on a time when your thoughts played a significant role in overcoming a challenge. What mental strategies did you employ? 3. In what ways can you cultivate mental clarity and navigate challenges with a focused mind?
Guided Meditation: Visualize a sword cutting through mental fog, symbolizing clarity and focus. Feel the lightness and precision of this air element. Explore the sensations and insights associated with this visualization.
Exercise 23: Pull a Swords card from the Minor Arcana. Reflect on its symbolism and consider how its energy can be applied to sharpen your mental clarity and approach challenges with a focused mind. Journal about your insights and set intentions for cultivating a sharp intellect.

Lesson 22: Cups - Emotions and Relationships
The Cups suit represents emotions, relationships, and the element of water. It delves into the realm of feelings, connections, and the ebb and flow of our emotional experiences.
Discussion Questions: 1. How do you currently navigate your emotional landscape and connections with others? 2. Reflect on a significant emotional experience that influenced a relationship. What did you learn from that experience? 3. In what ways can you foster emotional well-being and deepen your connections with others?
Guided Meditation: Visualize a cup filling with water, symbolizing your emotions. Feel the gentle flow and depth of this water element. Explore the sensations and insights associated with this visualization.
Exercise 22: Pull a Cups card from the Minor Arcana. Reflect on its symbolism and consider how its energy can be applied to nurture emotional well-being and enhance relationships. Journal about your insights and set intentions for fostering deeper emotional connections.

"Princess, please remain close to me now, these woods are dangerous. Infested with goblins."
Anastasia, second captain of the royal guard, was an impressive woman any day of the week, large, with broad shoulders, muscular arms and legs. But now, in full plate armor, her helmet hiding half her face, which warm, friendly expression normally helped to ease her martial experience, and im combination with her wide hips and chest had led to her soldiers giving her the respectfull nickname "Momma bear", she looked outright terrifing.
"But surely, you three are more than a match for any goblin we might encounter?", the princesses best friend, the Lady Kyra asked with an amused puff and waved at the three guards accompaning the two highborn girls.
She was wearing a beautiful blue dress, tight on her curvy upper body, but flowy past her hips. She sat elegantly and with thr confidence of any young highborn woman who spent more time in the sidesaddle ontop her horse, than in her studies. Her long flowy dark hair in perfect curls as always, her slighty tanned skin just above what would be considered appropriate for a nobelwoman who didn't have to work the fields.
"Aye, a single goblin is not a threat, Mylady, but they tend not to come alone", the second guard Athena chimed in.
Younger and less massive than Anastasia, she was still a force to be reckoned with, with an athletic body, tight and lean, though not without a decent amount of muscle. Her bronzed skin almost matched the color of the bronze-armour her knightly order was famous for still using, even after Steel having become wildly known and wildly used, her short black hair matching the Lady Kyra.
She gestured towards the woods. "There are probably a dozen of goblins in those woods, just waiting to swarm unsuspecting, ill prepared victims. They attsck always in huge groups. Since a single goblin would barely reach to my chest and weigh less than half of me, a single one would be easily overpowered. Also, since they are sneaky by nature, the don't attack in the open, prefering to ambush they victims."
"Are... are you sure we are save to enter this forrest at all? Shouldn't we circle around it?" The princess asked, guiding her horse - maybe instinctively - closer to Anastasias. The princess` looks stood in stark contrast to her best friend. Where Kyras was curvy, the princess was petite, her hair - though as long as Kyra - was red and straight with only a very light natural curl. Also, while she wore a wide green dress matching her eye color, the dress was so flowy, she could ride a normal saddle - something her mother - the Queen - had insisted on she learned, due to the possibility of needing "to ride for real" like her mother had called it. But with her pale porcelain skin, the high cheekbones, the full red lips and those big, round eyes she was without a doubt one of the greatest beauties in the realm.
"We will be safe, my princess" the big woman calmed her down, reaching for her and putting her heavy plate-gauntlet on the young womans shoulder. "We are on our guard and heavily armed. I doubt they will pick a fight 12 on three. It would be suicide for them.“ As if to stress her words, she reached for her sword and loosened it it its scabbered, with Athena following her example.

Medea, the third member of the small group of guard, who had fallen back slightly previously to check up on a trail, caught up to the other four women. Her gorgeous face was radiating, her joy lighting up an already great day. Clearly, the woman who had been a huntress not long ago, reveled in being out in nature, and not locked in a castle of stone. In contrast to the other guards, she didn´t wear plate armour, but instead leather armour with metal scales fixed onto it. Also, she was significantly smaller than the other two women. Shooting her heavy bow had given her muscular shoulders and back, as well as toned arms, but also her legs and butt were very well trained, looking even bigger, considering the woman was barely 5 feet. Her short brown hair was only be kept together by a single leather-headband. On her saddle hang a bow and on her back a big knife.
„I have never been to these woods myself“, she explained. „But I have heared gruesome tales of more than one unfortunate woman who went into them unprepared and was ravaged and massacred by goblins. And not necessarily in that order“, she remarked, as she let her eyes wander over the trees right in front of the small group.
„Enough!“ Anastasia cut her of, as she saw the princesses face getting even paler.
Medea raised a hand in aknowledgement. While she was a very capable warrior, she was still new to the demands of appropriate behaviour around noblewomen.

The shadow of the big leaf trees fell over the five women, as they followed the path into the wood. The path itself was well maintaned, with the plentiful undergrowth of the forrest having been cut away. It was a nice, peacefull atmosphere. The big trees to both sides of the road gently swayed in a gentle breeze, their branches forming a dome-like ceiling over the path, birds chirping, and several small animals to the side of the road to be seen.

Suddenly, Kyras horse, a beautiful white stallion, started to prance, and whicker. „Keep him calm, Mylady!“ Anastasia ordered and looked around on high alert. Kyra pulled on her horses rains and struggled to stay on top of him, as he clearly tried to break out, making a jump sidewards and buckling, almost throwing her of. „I can´t! Damn, he is going crazy!“, she squealed, fear creaping in her voice just as much as pure surprise, since her well trained Hose normally never acted that way. Than, the stallion reared, and jumped, loudhly neighing forward and ran along the path, before he took a small gap between trees and dissapeared into the undergrowth, his rider screaming curses, though clearly not less scared than angry.
„Gods be damned. Medea! After her!“, Anastasia commanded and drew her sword. She reached for the princesses horse and grabbed the rains. „Stay close, your highness!“ The princess, scared, clang to her horse and didn´t even dare thinking about going anywhere.

Medea spured her horse on and galloped after the girl, whose screams they could still hear in the distance. „I am coming Mylady!“ The small woman yelled out, as the horse jumped of the road into the woods, where Kyra had dissapeared.

Athena drew her sword as well and gestured towards a small forrest clearing a bit further ahead and to the left – the opposite side to where Kyra and Medea had dissapeared to.
„We should get of the path, we are sitting ducks here!“ she shouted.

Anastasia nodded in agreement and the three galloped onto the forrest clearing.

😵😵😵😵So yesterday after ✍️ down My dreams, washed up, prayed with mantras b4 stepping outside. Initially didn't know where my feet was taking me but walked so far from home and into a parade/festival of some sort. The energy felt intense as 👁 felt everyone down to the police stopping their ⚾️ convo to glance(longer than expected) at me. Fine women were staring who had dudes, and people were just staring more than usual so put on this mantra that 👁 play every Saturday https://youtu.be/LunWD81L6OM?si=rfNOlY-yecn6PhqW
Found a spot by a big river sat and and reflected on everything Leading up to this point in my life. Started playing music, sm🍃ked, and felt the intense vibes from b4 settle down. There was some concert too, as everyone, dates, families and kids were eating, dancing, 🍃🍀🥂🥪⚽️etc as 👁 was walking back towards home down a big hill/bridgeway, saw it in the sky....That Symbol Got from a game 🎮 play on my phone, but the all seeing 👁ON everything 👁 love saw it and even tho was in the z🍃ne I'm very much observant! Looked around at the people behind and beside me if they saw what 👁was seeing, but everybody was just in they own 🌎The sky was baby blue but the part where saw the eye was gold! Honestly gasped, turned my music down and felt overwhelmed af seeing the gold surrounding the eye open up a bit more. This Honestly freaked me tf out but made me feel "seen" IF u would because my guides cry when 👁😢😥my guides dance when 👁dance and my angels know how empathetic my 💚is and hate when auras try getting over on me, and when my l💚ve isn't reciprocated.. Just wanted to share. Anybody have any encounters like this or in the dream realm?...Because the dream realm is a whoooole other ball game

As we delve deeper into the era of artificial intelligence, the explosion of AI-generated creative content raises complex questions about ethics and copyright law compliance. The intersection of creativity, technology, and legality is becoming ever more intricate and is something that warrants a closer look.
To start, AI-generated content often blurs the lines of authorship. When a machine creates artwork or composes music, who holds the rights to that work? Is it the creator of the AI, the user who prompted the output, or the AI itself? Currently, copyright laws don't recognize AI as an autonomous author, but as this technology becomes more sophisticated, the legal framework may need to evolve to keep up with these advancements.
Additionally, ethical considerations about the use of AI to duplicate or imitate existing artistic styles are being hotly debated. Artists whose styles are mimicked by AI without consent or compensation might find these practices objectionable or even exploitative. Does the use of AI to emulate a signature style diminish the value of the original artist's work, and if so, how is that impact addressed?
Another crucial aspect is the impact of AI on creativity and the arts sector. There's potential for AI to democratize art creation, allowing people without traditional artistic training to generate content. Yet, this also poses the risk of saturating markets and potentially devaluing the work of trained human artists. How can a balance be struck between embracing innovative technology and preserving the livelihoods of creators?
In the midst of these complexities, transparency becomes key. Clear indicators that distinguish human-generated from AI-generated content can provide consumers with the necessary context to make informed choices. It can also guide regulators and policymakers in considering the implications of AI on copyright laws.
This conversation is just the beginning. As AI technology advances, we'll need to continually re-examine our legal systems and ethical frameworks. It's a revolutionary time for creators and consumers alike, and how we navigate these waters will significantly shape the cultural landscape of the future. Let's discuss how we can appreciate and leverage AI creativity while ensuring fairness, originality, and the protection of human creators. What are your thoughts on managing and integrating AI into the realm of creative content?

Modeling chocolate, also known as chocolate clay or candy clay, is a versatile and edible medium used by pastry chefs and cake decorators to create intricate decorations, sculptures, and cake toppers. Made from just two ingredients – chocolate and corn syrup – modeling chocolate is easy to make and can be shaped into virtually any design imaginable. In this comprehensive guide, we’ll take you through the process of making modeling chocolate from scratch, offering tips and tricks to help you master this essential skill in the world of pastry arts.
Ingredients:
12 ounces (340g) high-quality chocolate (dark, milk, or white) 1/3 cup (80ml) light corn syrup Instructions:
Chop the Chocolate: Start by chopping the chocolate into small, uniform pieces using a sharp knife or a chocolate chipper. The smaller the pieces, the easier it will be to melt the chocolate evenly. Melt the Chocolate: Place the chopped chocolate in a heatproof bowl set over a pot of simmering water, creating a double boiler. Make sure the bottom of the bowl doesn’t touch the water. Stir the chocolate frequently with a heatproof spatula until it is completely melted and smooth. Cool the Melted Chocolate: Once the chocolate has melted, remove the bowl from the heat and allow it to cool slightly. It’s important not to add the corn syrup to hot chocolate, as it can cause the mixture to seize. Add the Corn Syrup: Gradually add the corn syrup to the melted chocolate, stirring constantly with a spatula or wooden spoon until fully incorporated. The mixture will become thick and slightly sticky. Knead the Mixture: Transfer the chocolate mixture onto a clean work surface that has been lightly dusted with powdered sugar or cornstarch to prevent sticking. Begin kneading the chocolate with your hands, using a folding and pressing motion, until it becomes smooth and pliable. This process may take several minutes, so be patient. Test the Consistency: To test the consistency of the modeling chocolate, pinch off a small piece and roll it between your fingers. It should be soft, flexible, and hold its shape without cracking. If the mixture is too dry, add a small amount of corn syrup and continue kneading until the desired consistency is reached. Wrap and Rest: Once the modeling chocolate is smooth and pliable, shape it into a ball and wrap it tightly in plastic wrap. Allow the chocolate to rest at room temperature for at least 1-2 hours, or until it firms up slightly. This resting period allows the chocolate to fully set and develop its elasticity, making it easier to work with. Store Properly: Store any unused modeling chocolate in an airtight container at room temperature for up to several weeks. If the chocolate becomes too firm after storage, simply knead it gently with your hands until it softens to the desired consistency. Tips and Tricks:
Use high-quality chocolate for the best results. Avoid using chocolate chips or candy melts, as they may not have the same smooth texture and flavor as couverture chocolate. Dark chocolate produces a firmer modeling chocolate, while milk or white chocolate creates a softer, more pliable consistency. If the modeling chocolate becomes too sticky or greasy while kneading, allow it to rest for a few minutes or refrigerate it briefly until it firms up slightly. Experiment with different flavors by adding extracts, spices, or food coloring to the chocolate mixture before kneading. Modeling chocolate can be rolled, cut, shaped, and molded into various decorations, figures, flowers, and more. Let your creativity run wild! Conclusion: Mastering the art of making modeling chocolate opens up a world of creative possibilities in the realm of pastry arts and cake decorating. With just two simple ingredients and a few basic techniques, you can create edible masterpieces that will impress and delight your friends, family, and clients. Whether you’re a beginner or an experienced pastry chef, learning how to make modeling chocolate is a skill worth mastering for any aspiring confectionery artist.

Hi everyone,
I wanted to share with you my response to the introduction found in the only edition of Use of the Self currently in print. I believe it's a rather misleading intro to FM Alexander's work, so I'm sharing this in the hope that I can help clear up misconceptions people may have about the Alexander Technique, not derived only from Anthony Kingsley, but many bland blog posts one tends to encounter when researching the Alexander Technique. That said, this is not intended to be an introduction of its own, but rather something experienced students, teachers, and anyone enthusiastically learning the Technique may find useful. In the tradition of Alexander himself, I've included extensive footnotes, some painfully long. I'm happy to answer any questions or otherwise discuss what I've written. Understand these are my own interpretations and opinions about what some call "the work," so take them as you will. I've taken lessons for a number of years and currently am training as a teacher, so my view of the Technique is based on these experiences, as well as my interpretations of Alexander's writings. Some of these interpretations you may object to, but I hope you find my arguments reasonable.
Response to Anthony Kingsley's Introduction to The Use of the Self
The Use of the Self may be FM Alexander's most important work, since it contains his own account of how he developed what is now called the Alexander Technique. While Alexander's other volumes are available from Mouritz, the only edition of The Use of the Self currently in print is published by Orion Spring. This edition replaces the philosopher John Dewey's introduction—which praises the technique's "genuinely scientific character"—with one by the contemporary teacher Anthony Kingsley, who is heralded on the book's front cover as a "leading Alexander Technique teacher." Therefore it is probable that many readers' first impressions of the Alexander Technique will be framed by Mr. Kingsley's opinions. I submit this is problematic, since his introduction is in my view contradictory to fundamental principles of the Alexander Technique. I write this response to address the introduction's two most dire faults: Kingsley's misrepresentation of the concepts inhibition and direction, and his dismissal of the concept of the primary control. I'll begin with the second, since it is a more straightforward error.
Primary Control
Kingsley opens his paragraphs on the primary control with the opinion that the concept should be "recast," then describes Alexander's definition of the primary control as a "particular relationship of his head, neck and back [that] acted as a master reflex that conditioned his whole organism." Then he discards this definition, claiming the head-neck-back relativity should instead be "regarded as an indicator[sic] of overall health rather than an area considered in isolation." He concedes the "region of the neck and back is a [...] barometer of our state of being," but concludes that "no single element is actually primary," since our eyes, breath, digestive system, and all other psychophysical elements are "simultaneous and interdependent" and also like barometers. Finally, he reveals his "recast" of the primary control, defining it as "the unknown and unseen self-righting and self-healing mechanism that can be restored and vitalized."
In sum, Mr. Kingsley has presented the primary control—which Alexander wrote extensively about and considered central to his technique—with an ill-defined mystical force which, accordingly, Alexander must have unwittingly stumbled upon and mistaken for a certain relativity of the head, neck and back.
Ironically, it is in The Use of the Self where Alexander wrote of discovering the necessity to first free his neck in seeking a better condition for his vocal apparatus, since that was the sine qua non of taking his head forward and up, of widening the back, and so forth, which are in turn the necessary conditions of freedom and stability in the limbs. This is the genesis of Alexander's use of the word "primary" in describing the head-neck-back relationship, and in my experience, as in Alexander's, it holds true: the sequence of directions given to oneself matters greatly, since tense feet, for example, can hardly flatten on the floor if the head is taken back and down, whereas the head can be taken "forward and up"1 to a fine degree even if there is tension in the lower extremities, particularly while sitting. Further, and maybe most significantly, the relativity of the head-neck-back rarely need change during any manner of activity, whereas the arms and legs are constantly bending, rising, stretching, and so on. Small wonder Alexander considered this relativity primary.
Of course, Kingsley is not wrong to point out the interdependence of all processes in the body. It is certainly true that undue tension in the feet creates a downward pull on the head, neck and back. Yet what is crucial to understand here is that in the context of learning and teaching the Alexander Technique, the primary control is an indispensable concept. It instructs the pupil to guide his or her attention through the body in the sequence most fit to facilitate proper relativity of all the parts, and it names succinctly that natural, visible, dynamic yet enduring relativity of the head, neck and back observable in little children and animals as well as many great musicians and athletes. Thus Kingsley discards a practical concept in favor of a truism about "interdependence;" and so we come to his second, graver error.
Direction
Here it begins to seem that what Kingsley writes of in his introduction is not the Alexander Technique at all, but in fact the Kingsley Technique, since he has redefined not only the primary control, but two other conceptual pillars of the technique: inhibition and direction.
First, he takes aim at direction, neglecting to elucidate Alexander's own definition of the concept before setting out the axiom that "aiming for postural improvements using postural directions leads to a bodymind[sic] attitude of effort and trying, which simply reinforces the problem." Dismissing as superfluous all "ideas and images about heads, necks and backs," he declares that "the trying[sic] self is the obstacle, and the shift towards a non-trying[sic] self is the solution." Finally, he offers his own definition of the directions as "the natural flow of energy and vibrancy that exists within the organism," directions which are interfered with "when we are in a condition of stress and reactivity."
Here, again, Kingsley takes a practical concept which Alexander developed based on careful observation of his own muscular action, and replaces it with a kind of mystical or spiritual phenomenon which, implicitly, only the initiated can perceive.2 Thus the famous directions are not, as Alexander described repeatedly, a series of mental orders or intentions projected to oneself before and during muscular activity along lines one has reasoned out in advance, but a "natural flow of energy and vibrancy"—just as the primary control is not, as Alexander saw it, a concrete, observable relativity of the head, neck and back, but an "unknown and unseen self-righting and self-healing mechanism." These pseudo-spiritual definitions do a massive disservice to neophyte readers, and reveal Kingsley's muddled seeing in relation to the central problem addressed by the Alexander Technique: how to shed habit and coordinate the bodymind through reasoned conception and conscious awareness.
But for a moment let us leave aside direction, since a subtler and more misleading error still lurks in Kingsley's presentation: his dismissal of conception itself. He explicitly warns that "ideas, concepts and cognitive efforts reinforce the very mental instrument that is the problem in the first place," he advises us to simply trust that "the prevention or inhibition[sic] of reaction, maintains or liberates this stream of energy [or direction] in the body."
To understand Kingsley's error, we must return to Alexander. In Man's Supreme Inheritance, Alexander sets out four stages to the "performance of any muscular action by conscious guidance and control:"

1. The conception of the movement required;
2. The inhibition of erroneous preconceived ideas which subconsciously suggest the manner in which the movement or series of movements should be performed;
3. The new and conscious mental orders which will set in motion the muscular mechanism essential to the correct performance of the action;
4. The movements (contractions and expansions) of the muscles which carry out the mental orders.

Alexander considered "conception of the movement required" the very first stage in his technique, to precede even inhibition. Thus he made clear, if indirectly, that in the context of his technique, clear conception is essential to achieving a desired end. Incidentally, this is a fact any competent artist can attest to; if a composition is not unambiguously understood and organized within one's memory, it cannot be brought to fruition. Even the most simple act, such as extending one's arm to grasp a nearby object, requires a detailed conception of distance, weight, strength, and so forth; if the object turns out to be heavier than expected, the conception of these variables and their relation to one another, and hence the muscular action, must change. This is direction in action, albeit subconscious.
Yet Kingsley belittles conception, instead leaning on concepts like "ease," "letting go" "acceptance," and the like. He is not alone in this among teachers, but in my opinion, they overlook the influence of what Alexander termed "erroneous beliefs," a concept closely related to that of "unreliable sensory appreciation." Both could be read in the spiritual lexicon alongside "letting go," etc.; but that would place their referent outside the realm of what words and concepts can describe. On the contrary, Alexander was pointing to something concrete and empirically observable: to errors of spatio-motor perception able to be observed phenomenologically and in other people's behavior; not to transcendent truths about observation itself. Thus the classic example of an Alexandrian "erroneous belief" is a person who raises their arm and believes their shoulder has remained still when it has not. The key for the pupil in this instance is to gain an accurate conception5 of their own muscular action, in reference to bodily sensations; not to simply "let go" or "do nothing."3 And this conception must come about through active tutelage—e.g. Alexander Technique lessons—or, dare I say, the way Alexander himself did it: by reasoned experimentation, conceiving hypotheses based on careful register and analysis of his own sensations, and also by watching the behavior of others. John Dewey called the technique scientific for a reason.
All of this is not to understate the importance of concepts like "release" and "effortlessness," including in the context of the Alexander Technique. Seeing more or less what is meant by them is doubtless the key to mastery of all activities, all practices, all techniques. Yet those spiritual concepts should not blot out the very concrete technique Alexander developed for improving what he called "the use of the self:" that coordination of the muscular system, achieved through conscious reason, which influences for better or worse the functioning of the whole organism.4
Inhibition
So much for direction. What about inhibition? Under the heading "Inhibition and Non-Doing," Kingsley describes Alexander's understanding of inhibition as "an artificial pause between stimulus and reaction," after which he could "give directions to himself." Then he lays down the gauntlet, stating that in the "real world […] life does not offer us the choice to inhibit:" since according to neuroscience research, "neural reactions take milliseconds and are faster than conscious thought processes." In other words, "we either react to the stimulus, or not." So, with inhibition proven impossible, Kingsley is left with no choice but to "reformulate" another of Alexander's concepts, offering us a supposedly scientifically enlightened6 view that inhibition is really "a quality of non-doing[sic] that needs to be already available in the organism before the receipt of a stimulus." This is "a way of being[sic] rather than a way of doing[sic]."
This Kingsleyan inhibition turns out to be the essence of the technique, since it is this very "condition of non-doing[sic]" the teacher is supposed to transmit, through a touch Kingsley describes as "a dance of poetry and a symphony of silence." With it, the teacher imparts a "deep sense of acceptance" by which "change emerges in the pupil."7 He goes on to compare the Alexander Technique to "Zen Buddhism, mindfulness and the philosophy of non-duality," identifying the uniqueness of the Alexander Technique in "the transmission of immediate experience." In fact, there is no Alexander Technique as such, but only inhibition:
The Chinese Tao has a concept of Wu Wei[sic], which translates as surrendering to the effortless flow of life[sic], or non-doing[sic] action. Ultimately, the Alexander Technique needs to reinvent itself and relinquish the Technique. The Alexander Teacher really teaches nothing[sic!]. But this nothing or emptiness is in fact the deepest essence of being and the fullness of life. Like grace, it drops onto us and into us when the conditions are ripe.
The problem is that Alexander's own writings indicate that inhibition is not a "quality," a "condition," or a "surrendering to the effortless flow of life." On the contrary, according to Universal Constant in Living, it is "the act of refusing to respond to the primary desire to gain an end, [which] becomes the act of responding (volitionary act) to the conscious reasoned desire to employ the means whereby that end may be gained." As clear as day: inhibition is an action in response to the stimulus of conscious desire: a conscious, continuing refusal to do a thing the way one normally does it. Alexander saw that this inhibitory act had to precede in every instance any attempt to change his habits. Everyone is well familiar with the inhibitory act. The act of not indulging an immediate desire, however small, is it. So, inhibition is not an "artificial pause," but a phenomenologically observable process within the organism, a process that can be made habitual through practice. It is no more abstract and transcendent than blinking or moving one's finger.7
Here Kingsley again takes something ordinary and concrete and makes it mystical, going so far as to "relinquish the Technique." The trouble is that there is a good reason the Alexander Technique came to be known as such. A technique is a skillful way of doing something; a mental tool; a procedure. Ways of doing can be found everywhere: techniques for dance, for romance, for healing, even for attaining nirvana or enlightenment. Each has a goal in mind and is based on what worked in the past; each resorts to concepts to explain itself; each prescribes action, or doing something a certain way. Yet Kingsley dismisses the idea of doing anything at all. Equating the Alexander Technique with "nothing," he tosses out the concepts Alexander spent decades refining, when Alexander's genius was precisely to conceive a useful, coherent way of doing things through patient observation of the phenomena he termed inhibition, direction, primary control, and the rest.
So, the technique may encompass all the acts of living, but it is still a technique. Alexander often used the term "procedure" to describe it, and I think procedure is as apt a word as any to describe the application of his technique to the acts of living. He constantly stressed the technique's sequential, stepwise nature and recorded countless practical examples of it in action, both in hypotheticals and accounts of lessons. The technique is not a metaphysics or a philosophy like non-duality; it is a practical procedure with a clear purpose: restoring
advantageous, natural relativity of the head, neck and back.
Conclusion
The technique is blindingly simple but surprisingly subtle and difficult to master; and, as far as I am aware, it is unique. Unfortunately, Kingsley is not alone in overlooking the uniqueness and subtleties of the technique in favor of spiritual truisms and platitudes. I suspect there are two main reasons for this.
The first is the tendency of serious pupils of the technique to become more open to "spirituality," both philosophically (e.g. non-duality) and in terms of sadhana (e.g. meditation, yoga, self-inquiry). Many are enthusiastic about the similarities between the Alexander Technique and, for example, mindfulness practice. It is certainly true that the technique requires the pupil to have some degree of "mindfulness," or the ability to realize when the mind has wandered; and it is also true that a few people who devote themselves to the technique come upon some of the same insights one might find in spiritual practice. Yet spiritual insight is not the purpose of the technique. In my opinion, the Alexander Technique is a relative of energy practices such as Hatha yoga, qigong, and TRE (trauma release exercises). Such techniques are often used in tandem with spiritual practices meant for the cultivation of insight, but their purpose has traditionally been preparatory and salutary, not "spiritual." One need not stray too esoteric to encounter the idea that the real goal of spirituality has nothing to do with "ways of doing." On the other hand, Qigong explicitly aims to regulate qi in the body; kundalini yoga is concerned with the flow of prana; the Alexander Technique seeks to restore the good use of the primary control. More practically, the technique teaches mental discipline, and ultimately the ability of the nervous system to regulate itself. Such a practice may lay the groundwork for spiritual realization, but it is by no means indistinguishable from it.
While there is no point speculating about Alexander's private insights, one thing can be certain: he left us a definite procedure with a practical, concrete purpose—not a transcendental one. Yet Kingsley's introduction continually implies the Alexander Technique is an essentially spiritual practice with heavenly fruit. Disparaging the core concepts that constitute the Alexander Technique, he invites us instead to simply "surrender," "let go in faith," and blindly trust that its real essence—nothing less than Wu Wei—will be transmitted through the "rare, "unconditional" touch of the teacher.
The second, more obvious reason Alexander has been so misunderstood is that he rarely wrote concisely, and in any case, recognition and conception of the primary control can never be refined through words, but only through unfamiliar sensory experiences—either reasoned out, as Alexander did, or in the hands of a good teacher. Hence there is more than a kernel of truth to Kingsley's view of the "supreme value of guidance with the hands;" yet I differ from him in that I insist the Alexander Technique cannot be divorced from intellectual understanding and, indeed, conception.
The Use of the Self and Alexander's other works certainly were not without their flaws, but at their best they illuminate concepts which are nuanced, rich, and useful when applied. Primary control, direction and inhibition are three such concepts. Whatever their flaws, Alexander's books point the way to a wonderful technique, and they deserve thoughtful, probing introductions like Dewey's—not dismissals.
1 Like many other Alexandrian terms, the concrete meaning of "forward and up" seems incredibly controversial among Alexander Technique teachers. While I conceive it roughly as freedom of the atlanto-occipital joint, the term cannot be understood in isolation from the rest of the parts—namely, from one's conception of the primary control. It seems to experience it, one must discover it, as Alexander did, or be shown it by a teacher.
2 This is not to say there are not phenomena only some people perceive.
3An overemphasis on "letting go" and the like obscures the fact that Alexander always described the technique as consisting of stages or sequential steps, which in my opinion constitute the "means whereby" he wrote of.
4 "Use of the self" is another problematic term. Related to the concept of "good form" and "good technique" among athletes and musicians, it refers essentially to coordination of the musculature along reasoned lines, which is not separate from conception of the primary control. Equal and opposite is the term "misuse," since one's idea of misuse depends on one's idea of good use. Different teachers understand the term differently. Kingsley states that "bodily tensions and distortions become fixed and reinforced as we react to the general stimuli of living." True enough. Yet he goes on to imply it is associated only with fear, anxiety and distress. Again he couples this concept to the language of contemporary spirituality, trumpeting that it "alienates us from our own true nature." This is to completely ignore the point Alexander returned to again and again in his own writing: that the use of the self is inextricably linked with conception. No doubt, tension and imbalance are very often inextricable from fear. But there may be another class of misuse: one based on misconceptions about the body, unexamined movement patterns from childhood which have little or nothing to do with manifestations of stress or emotions in the body. I suspect one may experience profound psychophysical quietude yet still tend to throw their head back and down in relation to their neck and back, especially in movement.
5Kingsley writes that the teacher's touch indicates the "negation of trying and doing within the pupil." Even a token mention of guidance viz. the relativity of the body parts is nowhere to be found. Yet in my opinion this discussion of touch is misleading, since nothing like it can be found at all in Alexander's writings. On the contrary, Alexander stressed that the teacher's role was to demonstrate manually the proper relativity of the pupil's parts, with the means whereby of the technique; not to transmit "a way of being," nor indeed enlightenment or gnosis.
6 Neuroscientific findings relating to will and volition have proliferated in recent years. They may raise fundamental questions about the nature of self and will, but in my opinion they have little to do with the Alexander Technique, no more than they do with dancing or playing an instrument. If there are really recognizable activities Alexander termed "inhibition" and "direction," then his writings are timeless, since they speak from direct observation and experiment, not philosophy about "free will" and the like.
7 In spiritual literature one encounters, almost universally, the idea that there is no "doer" of action, or no "doer" but God. Hence Kingsley is implying that Alexandrian inhibition is somehow related to this concept, which Buddha famously summarized: "Events happen, deeds are done, but there is no doer thereof." In my opinion, the Alexander Technique has nothing more to do with this than does reading, writing, or playing a game. There may be "procedures followed, but no follower thereof."

In the dawn of our civilization, when humanity was still finding its footing amidst the vast expanse of the world, there existed beings whose influence shaped our journey. They were the silent orchestrators of our progress, guiding us toward a future where we would stand as stewards of our world. These enigmatic entities hailed from realms beyond our own, their origins shrouded in mystery and wonder.
Throughout the annals of history, tales of these beings have been woven into the fabric of myth and legend, their presence echoing across cultures and civilizations. Among the most renowned are the ancient deities of Egypt, revered as gods by those who walked the sands of the Nile. Yet, theirs are not the only stories told; from every corner of the globe, myths abound of creatures who have intervened in the affairs of mortals, whether with benevolent guidance or cunning deception.
As we delve deeper into the realms of our past, we uncover a tapestry of narratives wherein these otherworldly beings have played pivotal roles in shaping the course of human destiny. Their influence, though often subtle, has left an indelible mark upon our collective consciousness, reminding us that our world is but a small piece in a grander mosaic of existence. And now, as ancient forces stir once more, the time has come for us to uncover the truth behind the myths and legends, and to forge our own path in this ever-evolving tale of cosmic intrigue.
Our story follows one such creature. Kitsune the female Fox.

Getting Started with Host Monitoring in Elasticsearch

In the vast and evolving landscape of cybersecurity and network management, keeping a vigilant eye on network activities is more critical than ever. The ability to monitor and quickly respond to untracked or unknown hosts attempting to interact with your network can be a game-changer in maintaining security and operational integrity. Elasticsearch, a powerful search and analytics engine, coupled with Kibana, its visualization counterpart, offers an advanced toolkit for real-time data analysis and alerting. This duo becomes particularly powerful when leveraged to create sophisticated monitoring systems that can alert administrators to anomalies within their networks.
The process of setting up email alerts for tracking untracked hosts in Kibana involves several nuanced steps. These steps encompass configuring Elasticsearch to log and analyze network data, utilizing Kibana to visualize this data, and ultimately setting up alerting mechanisms that notify administrators of potential security threats. This introductory guide aims to demystify the process, providing a clear pathway for administrators and IT professionals to harness the power of Elasticsearch and Kibana for enhanced network monitoring and security.

Command	Description
Watcher API	Used to create and manage alerts in Elasticsearch.
Email Action	Sends notifications via email when an alert condition is met.
Kibana Console	Interactive UI for submitting Elasticsearch API requests.
Index Pattern	Defines how Elasticsearch indexes are identified and used in Kibana.

Advanced Monitoring with Elasticsearch and Kibana

In the domain of network security and data analytics, Elasticsearch paired with Kibana emerges as a formidable duo, offering unprecedented capabilities in monitoring, alerting, and data visualization. This synergy allows for the meticulous tracking of network activities, including the detection of untracked hosts, which could signify unauthorized access or other security threats. The power of Elasticsearch lies in its ability to process large volumes of data in real time, enabling the identification of patterns or anomalies that deviate from the norm. Through the integration of Elasticsearch's Watcher API, users can automate the process of monitoring such events, triggering alerts based on specific conditions.
Implementing email alerts for untracked hosts involves configuring Elasticsearch to scan through network logs, searching for entries that lack information on known hosts. This is crucial for IT administrators who aim to maintain a secure and resilient network infrastructure. By leveraging Kibana’s visualization tools, administrators can not only receive notifications but also visualize the frequency and nature of these security events over time. This holistic approach to network monitoring facilitates a proactive stance on security, enabling organizations to address potential threats before they escalate. Furthermore, the flexibility and scalability of Elasticsearch and Kibana ensure that this solution can be adapted to networks of varying sizes and complexities, making it an essential tool in the arsenal of modern cybersecurity defenses.

Configuring Email Alerts for Untracked Hosts

Elasticsearch API via Kibana Console

PUT _watchewatch/host_alert { "trigger": { "schedule": { "interval": "10m" } }, "input": { "search": { "request": { "indices": ["network-*"], "body": { "query": { "bool": { "must_not": { "exists": { "field": "host.name" } } } } } } } }, "condition": { "compare": { "ctx.payload.hits.total": { "gt": 0 } } }, "actions": { "send_email": { "email": { "to": ["admin@example.com"], "subject": "Untracked Host Detected", "body": "An untracked host has been detected in the network logs." } } } } 

Enhancing Network Security with Elasticsearch and Kibana

The integration of Elasticsearch and Kibana for network monitoring and alerting represents a pivotal advancement in cybersecurity efforts. By facilitating the real-time analysis of network traffic and logs, this combination allows organizations to detect and respond to untracked hosts swiftly. This capability is crucial for identifying potentially malicious activities, as unauthorized hosts can be indicative of security breaches, including intrusions, malware infections, or other cyber threats. The deployment of Elasticsearch for data aggregation and analysis, alongside Kibana for visualization, provides a comprehensive overview of network health, enabling security teams to take informed actions based on the insights generated.
Moreover, the customization of alerting mechanisms within Elasticsearch allows for the tailoring of notifications to meet specific security requirements. This ensures that administrators receive timely alerts on critical issues, such as the detection of untracked hosts, facilitating immediate investigation and remediation. The ability to automate these alerts reduces the manual workload on security teams, allowing them to focus on strategic defense measures rather than constant monitoring. As cyber threats continue to evolve in complexity and volume, leveraging Elasticsearch and Kibana for enhanced network monitoring and alerting becomes an indispensable strategy for maintaining robust cybersecurity defenses.

FAQs on Elasticsearch and Kibana for Network Monitoring

1. Question: What is Elasticsearch and how does it aid in network monitoring?
2. Answer: Elasticsearch is a search and analytics engine that helps in processing and analyzing large volumes of data in real time, making it an essential tool for network monitoring and security analysis.
3. Question: Can Kibana be used for real-time monitoring?
4. Answer: Yes, Kibana provides real-time data visualization capabilities, allowing users to create dashboards that monitor network activities and alert on anomalies, including untracked hosts.
5. Question: How do Elasticsearch alerts work?
6. Answer: Elasticsearch uses the Watcher feature to trigger alerts based on specific conditions within the data, such as the detection of untracked hosts, sending notifications through various channels including email.
7. Question: Is it possible to customize alerts for specific security threats?
8. Answer: Yes, alerts can be highly customized in Elasticsearch to focus on specific patterns or threats, allowing organizations to tailor their monitoring and response strategies.
9. Question: How does monitoring untracked hosts improve security?
10. Answer: Monitoring for untracked hosts helps in early detection of unauthorized access or compromised devices, enabling quicker response to potential security threats.
11. Question: What types of data can Elasticsearch analyze for security purposes?
12. Answer: Elasticsearch can analyze a wide range of data types, including logs, network traffic data, and security event information, to identify potential security incidents.
13. Question: Can Elasticsearch integrate with other security tools?
14. Answer: Yes, Elasticsearch can integrate with various security tools and platforms, enhancing its capabilities in threat detection and response.
15. Question: How does Kibana help in the analysis of network data?
16. Answer: Kibana provides powerful visualization tools that help in the analysis and interpretation of network data, enabling users to identify trends and anomalies effectively.
17. Question: Are there any scalability concerns with using Elasticsearch for network monitoring?
18. Answer: Elasticsearch is highly scalable, capable of handling large volumes of data, making it suitable for organizations of all sizes.

Securing Networks with Advanced Tools

The deployment of Elasticsearch and Kibana for the purpose of monitoring untracked hosts represents a significant step forward in the realm of network security. By harnessing the power of real-time data analysis and visualization, organizations can detect anomalies and respond to potential threats with unprecedented speed and efficiency. This approach not only enhances the overall security posture but also empowers IT administrators with the tools they need to preemptively identify and mitigate risks. The scalability and flexibility of these technologies ensure that they can be adapted to suit the needs of any organization, regardless of size or complexity. As cyber threats continue to evolve, the importance of leveraging advanced monitoring tools like Elasticsearch and Kibana cannot be overstated. They offer a vital layer of defense in the increasingly sophisticated landscape of cybersecurity, making them indispensable assets for any organization serious about protecting its network infrastructure.
https://www.tempmail.us.com/en/elasticsearch/setting-up-elasticsearch-alerts-for-monitoring-unknown-hosts-via-kibana

My name is Lisa, and I’m a 25-year-old artist. I’ve always had a fascination with the macabre, which is why I jumped at the chance to explore an abandoned psychiatric hospital for my latest project. I planned to capture the eerie beauty of the decaying building, but I ended up uncovering something far more sinister.
The hospital had been shut down for decades, rumored to be haunted by the spirits of the patients who suffered there. It stood on the outskirts of a small town, its presence looming like a dark shadow over the landscape. I arrived at dusk, my camera and sketchpad ready, not knowing that the true horror was about to begin.
As soon as I stepped inside, the air felt thick and oppressive. The corridors were lined with peeling wallpaper and broken furniture, remnants of a place once filled with life now reduced to silence. I began my work, sketching and photographing the desolate rooms. But as night fell, I started to hear whispers.
At first, I thought it was the wind playing tricks on me. But then I saw her—a ghostly child standing at the end of the hallway. Her eyes were hollow, and she wore a tattered hospital gown. She didn’t speak, but her presence was enough to send chills down my spine.
I tried to rationalize it as a figment of my imagination, a product of the eerie atmosphere. But when I looked through the viewfinder of my camera, she was still there, staring at me. I decided to leave, but as I turned to go, the hallway seemed to stretch infinitely. No matter how far I walked, I couldn’t find the exit.
Panic set in. I wandered through the maze-like corridors, each turn leading me deeper into the hospital. The whispers grew louder, and shadows danced just beyond my vision. I stumbled upon an old treatment room, and that’s when I felt it—an icy grip on my shoulder. I spun around, but there was no one there.
The next thing I knew, I was lying on the floor, unable to move. My body felt like it was being pinned down by an unseen force. The whispers turned into guttural growls, and I saw the ghostly child again, but this time she wasn’t alone. Dark figures surrounded her, their eyes glowing with malevolence.
I don’t know how long I was unconscious, but when I woke up, it was morning. I was outside the hospital, my camera and sketchpad scattered around me. I tried to convince myself it was a nightmare, but the bruises on my arms told a different story.
I left the town, determined to forget what had happened. But the events of that night haunted me. Every time I closed my eyes, I saw the child and her demonic entourage. I began to notice changes in myself—unexplained rage, blackouts, and strange symbols appearing in my sketches. I knew I had brought something back with me.
Desperate for answers, I returned to the hospital. This time, I was prepared. Armed with research on exorcisms and protective charms, I ventured back into the darkness. The building seemed to welcome me, the shadows reaching out like old friends. The whispers began immediately, guiding me to the same treatment room.
I confronted the ghostly child, demanding to know what she wanted. To my horror, she spoke in a voice not her own, a deep, demonic growl that echoed through the room. She told me that the hospital was a place of great suffering, a beacon for malevolent spirits. She and the others were trapped, seeking release through me.
I tried to perform the exorcism, but the entities were too powerful. They overpowered me, forcing me to relive the horrors of the hospital’s past—patients tortured, doctors driven mad, and rituals that opened doorways to unspeakable realms. Each time I thought I escaped, I found myself back in the same room, the same moment.
It was a time loop, a never-ending cycle of terror. I was their plaything, my mind fracturing under the constant assault. Days, months, years passed—I lost track of time. Every escape attempt brought me back to the beginning, each failure chipping away at my sanity.
One night, I discovered a hidden room behind a crumbling wall. Inside, I found journals written by Dr. Whitaker, the hospital’s chief psychiatrist. His writings detailed experiments to contact the other side, using patients as conduits. The journals described a ritual to bind spirits, a possible way to end the torment.
Armed with this new knowledge, I gathered the items needed for the ritual—candles, chalk, and an ancient tome I found in the hospital’s basement. The ritual required a blood sacrifice, and I hesitated, but the thought of eternal torment pushed me forward. I cut my palm and let the blood drip onto the chalk-drawn symbols.
As I began to chant, the air grew colder. The ghostly child appeared, flanked by the dark figures. They howled in rage, trying to break the circle of protection I had drawn. The ground shook, and the walls seemed to close in. My voice trembled, but I continued, pouring all my will into the words.
Suddenly, the figures froze. A blinding light filled the room, and I heard a deafening scream. When the light faded, the figures were gone, and the child stood before me, her eyes no longer hollow. She whispered a thank you before vanishing into the ether.
Exhausted, I collapsed, waking up hours later to a silent hospital. I stumbled outside, the dawn breaking over the horizon. I felt a sense of peace, but it was short-lived. As I made my way home, I noticed people staring at me, whispering. My reflection in shop windows showed dark, hollow eyes staring back. The entities had not been banished; they had latched onto me, using me as their new vessel.
I fled the town, hoping to escape their grasp, but they followed. My mind continued to fracture, the symbols appearing on my skin now. I’m writing this from a motel room, knowing my time is short. If you’re reading this, beware. The hospital’s evil isn’t contained within its walls—it’s a stain on the soul. Don’t come looking for me. Don’t try to find the truth. Some places are meant to be forgotten, their secrets buried in darkness.

ORANGE
You will never be warm once you die, but you will never be cold or hot either. However, is this really a give-and-take? Or do you lose it all, the privilege to feel pain?
…Heaven was not how Blodelshein thought it would be. It was not a place of clouds and warmth, but a winter forest, a running creek melody nearby.
By the serene lullaby of the mountain, she began to fall asleep once more. It was cold, but that did not bother her much, for she was used to it.
Zzz…—
— It was only when she noticed a massive ball of snow, tumbling toward her from a mountain at an incredible speed that she decided to hurriedly stand up. Thankfully, a boulder destroyed the ball with a CRASH, and it split into nonlethal chunks. However, she was unfortunately still smashed into the freezing water.
It seemed that she was still bound to this plane of suffering…
“Ouch…”
From the pile of snow rose a man — a foreign man. Probably a dark forest elf from the shade of his skin. He was equipped in light gear, topless except for hoisters and elementary armour, in a distinctly Avangardian style. What was he doing inside the colossal snowball? Blodelshein’s eyes began to glow a feint purple as she activated her talent to learn more about his mind, and there she learned that he too, was a hero, and so inquired.
However, only a strange response returned. Inferring from their current situation, the position of mountains and the season… They must’ve all been reincarnated far into the future or past from different points in time. While she spoke in an evolved variation of Alsdionn, the man spoke Amstanvan, the same language as Kyriekaos. Thankfully, her talent ⌈First Person Theatre⌋ allowed her to peer into the realm of the Psyche, which stored all infromation regarding one’s thoughts, perception, motor control and dreams. This meant that she could read the minds of others, and make small changes onto the libraries of mind when needed.
During the usage of this skill the time in the physical realm was slowed to a snail’s pace, and all she had to do was to was to find the passage that kept all knowledge on his language, and copy it for her own use.
After only seconds, they were able to have comprehensible conversations.
“...You’re a hero too?” asked the man.
“Y-yeah…”
“That’s great! Here, let me help you a bit.”
The elf lit a fire above his fingertip, and while Blodelshein expected him to simply use the flame to try to warm them, he instead lit himself on fire.
“Wait! Wait! What are you doing?!” said Blodelshein as she began splashing the freezing water in his direction.
“Woah! It’s fine! See?” replied the hero, blocking the attack.
Blodelshein soon realized that the self-immolation must’ve been some kind of strange spell, but she saw that ths light wounds from his fall began to heal themselves.
“No need to worry about my talent.”
“...Anyways, what were you doing in that snowball?”
“Hm… Well, I think I was just resurrected atop a mountain, but I was feeling a bit drowsy so I fell asleep, and now I’m here!”
“Huh…”
It was truly impressive how he slept through the… entire forest.
“I’m Sacrosanct by the way, what’s your name?”
“...Blodelshein.”
“Great! But what now…”
The two returned away from the water, and began to dry themselves with Sacrosanct’s talent. Strangely, the flames did not hurt to touch, and instead felt like the embrace of the summer sun, and it even healed injuries — though only Sacrosanct’s. It was no ordinary fire, perhaps a new state of matter of a new element.
“Incredible…”
“Pretty cool, huh? I call this talent simply ⌈PASSION⌋!”
“Hm.”
“Huh? Don’t you want to learn more about my talent?”
“...I’m fine.”
Blodelshein did not need to hear any more. She had already read his mind, and learned all about his talent. However, she was unable to access any deeper memories, such as his origin and life before resurrection.
Shkkkkk
Shkkkkk
Soon, a loud noise of blades being sharpened began ringing throughout the forest. It was truly a strange sound, as if inviting any opponents to challenge.
“...Well, shall we check it out?”
In the hidden retreats of the forest, lay a massive tree named Golgono, protected by its neighbouring disguises and hostile creatures. It was an area specifically barriered by a chainlink fence, something neither heroes had seen before.
After climbing over the fence, assisted by Sacrosanct, the two continued to approach the grinding sound.
Shkkkkk
Shkkkkk
During their travel, they noticed various changes in the environment — new species of mushrooms and flowers, as well as unseen critters. It was a strange new world, but it was still clear that they were within the nation of the Goddess. However, this new world reminded Blodelshein that Wundergartenn, the nation she had established, must’ve been long gone.
Blodelshein glimpsed a familiar vision — a vision of her past.
During her era, there were no forests or lakes. No grass, no clouds. This was not due to industrialization, but due to a terrible war against Ssalgram, which became Sonosis afterwards. It was a war that shook both nations to their core, and the war was long and excruciating, lasting five generation of heroes — over a hundred years. Blodelshein was the one to finally bring an end to the conflict, yet the scars left were unreversable. It came to be known as the “End of Eden War” as the Goddess was sealed away to preserve humanity.
Blodelshein continued to face forward as it seemed that her journey was not yet over. As long as she lived, the suffering would continue and so be it. To live to live, to die to die. That was one of the natural laws.
Shkkkkk
Shkkkkk
The root of the tree was now visible from their location, and at its base sat a lone figure, sharpening their blade.
Shkkkkk
Shkkkkk
The noise was still resonating loudly in the air, almost acting as soft wind.
Shkkkkk
Shkkkkk
The girl noticed the two, and now Blodelshein could take a good look. She had snow-white hair and golden eyes — beautiful as the stars. It was a sharp beauty, the charm of a tiger and it reflected her fierce past alongside the two scars, one crossing her nose down to her jaw diagonally, and another perpendicular to the first, lower on the face, told of an epic tale. Even the scars seemed to add to the beauty, as alongside the muscular figure and a warrior’s funeral garment of Blodelshein’s time — to be worn at death — combined to illustrate a tantalizing imagery of a fatal beauty.
However, she did not stop sharpening her blade.
Shkkkkk
Shkkkkk
Upon further inspection, the blades seemed to be a work of Murasama, a renowned bladesmith of the Shiryu nation of the far east. The girl must’ve been from a similar time as Blodelshein, perhaps later as she did not recognize the blade, but it seemed better than anything else he had previously crafter — a masterpiece. It was not his conventional, oriental blade, but combine the western elements with the eastern, a double-bladed long sword, but with the light weight and swiftness of a normal katana.
Shkkkkk
Shkkkkk
“He-lloooo? Anybody in there?” asked Sacrosanct while Blodelshein was budy inspecting the blade.
As she expected that the girl would not understand Sacrosanct’s language, the hero attempted to read her mind. However, everything in her mind seemed to be a mess, a jumbled collection of various memories and information. Blodelshein knew many like her, though they mostly kept to themselves in asylums. This had the possibility of becoming a dangerous situation. At least from the memories, it seemed that the stranger spoke Blodelshein’s language — Wundionn.
“...”
Shkkkkk
Shkkkkk
It was beginning to become frustrating to stand here, listening to this unpleasant noise. However, it was clear that she had something in mind — a plan for something greater. This was a bait, and it seemed that it had caught two more than expected.
The girl swiftly dropped from the base of the tree onto the soft grass, and in that instant, the massive tree suddenly vanished into a bottomless tunnel generated beneath it.
All around them, the ground began to fall and the sky trembled, as a giant figure seemingly emerged from the backdrop of nature. And with a roar, the colossal beast eventually manifested itself, a mountain-sized demonic creature which resembled a woman, but with fangs, wings and tentacles. four eyes on the left and three on the right decorated the World Beast’s face as well as wings on each side covering her face. Large horns resembling dark blades protruded from her forehead, a warning for all warriors daring to challenge her. She had four wings on her back to dominate the skies, and twelve tentacles extending from just below to dominate the seas. She was the deification of Sol-Aegis, a creation of the demon God and the 15th demon lord of Sonosis. She was:
“Tiamat,” said the white-haired warrior in the language Blodelshein spoke, “so we meet again.”
However, no response returned, but the delirious grief-anger manifested as a tantrum. The World Beast almost looked sick — as if it was possessed by disease. Even Sacrosanct could tell that she was not of the right mind. The girl prepared her katana, as well as another blade — this time fully western. Though it was visually unremarkable, it had the oppressive aura of a divine artifact.
Sacrosanct prepared himself against, lighting himself once more with the flames of passion. However, in his confused state, it was difficult to burn brightly.
Blodelshein only hoped that this would be their final demon lord encounter, but probably not. This was the fate of a hero after all.
And so, the battle between nature incarnate, and humanity enraged once more.

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For those dreaming of exploring the world and sharing their experiences as a social media travel influencer, astrology can offer unique insights. Astrocartography and relocation astrology can help you identify locations that not only enrich your travel experiences but also enhance your ability to connect with and inspire your audience. Let's dive into how these astrological tools can assist you in achieving your goals as a travel influencer.
Leveraging Your Relocated Chart for Travel Influencing
Understanding your relocated chart can highlight the best places to enhance your travel influencer journey:
Key House Positions for Travel Influencing:

• 9th House (Travel and Adventure): A strong 9th house in your relocated chart can open up opportunities for extensive travel, higher learning, and exploration of different cultures, all essential for a travel influencer.
• 3rd House (Communication and Networking): Beneficial aspects in the 3rd house can enhance your communication skills, making it easier to connect with your followers and share your travel stories effectively.
• 11th House (Social Networks and Communities): A well-aspected 11th house can aid in building a strong online community and expanding your social media presence.

Supportive Planetary Aspects for Social Media Presence:

• Mercury for Communication: Positive Mercury aspects are crucial for clear and engaging storytelling, a key element in travel influencing.
• Jupiter for Expansion and Travel: Jupiter aspects can broaden your travel horizons and bring luck and expansion to your social media endeavors.
• Sun for Charisma and Identity: Favorable Sun aspects can enhance your personal brand and charisma, attracting followers to your social media platforms.

Planetary Combinations Favoring Travel Influencing:

• Mercury-Jupiter: Ideal for expansive and optimistic communication, perfect for sharing travel experiences.
• Sun-Moon: Balances personal expression with the ability to connect emotionally with your audience.
• Venus-Uranus: Encourages unique and creative content creation, vital for standing out in the travel influencing realm.

Astrocartography for Travel Influencers
Astrocartography can guide you to locations that maximize your potential as a travel influencer:

• Jupiter Lines for Travel Opportunities: Jupiter lines are excellent for expanding your travel experiences and can bring opportunities for adventurous journeys.
• Mercury Lines for Communication and Connection: Mercury lines can enhance your ability to connect with your audience and effectively share your travels.
• Sun Lines for Personal Branding and Success: Sun lines can boost your confidence and personal brand, helping you shine as a travel influencer.

Combining Relocated Chart and Astrocartography for Influencing Success
Integrating insights from your relocated chart with astrocartography can help identify the best places for both your travels and your social media presence. For example, a strong 9th house in your relocated chart, combined with a Jupiter line in astrocartography, could indicate an ideal location for both travel experiences and social media growth.
Natal Chart Considerations for Aspiring Travel Influencers
Your natal chart provides the foundation for your potential as a travel influencer:

• Natal 3rd, 9th, and 11th Houses: Insights into your natural abilities for travel, communication, and social networking.
• Natal Mercury, Jupiter, and Sun: Their placements can reveal your innate skills in storytelling, travel enthusiasm, and personal branding.
• Aspects to the Midheaven: Influence your public career path and success in the realm of social media influencing.

Astrology offers valuable pathways for those aspiring to become successful travel influencers. By understanding the astrological influences of different locations and their interaction with your natal chart, you can find environments that not only enhance your travel experiences but also support your growth as a social media personality. Remember, while astrology can provide guidance, the essence of being a successful travel influencer also lies in your authenticity, creativity, and the unique perspectives you bring to your audience. Balancing astrological insights with practical content creation and social media strategies can lead to a fulfilling and successful career in travel influencing.

Hey folks -- I'm paring back my collection and looking for a buyer for the whole thing. I won't sell individual pieces. I've got an offer from one of the online stores for $1250 for store credit, so that's my minimum, and you pay shipping (it's ~7 file boxes full). Let me know if you're interested. It contains...
Publisher Title Condition* Comments *About Conditions for Trade-In Items
Fantasy Flight Edge of the Empire Near Mint (Books Only)

No Disintegrations Near Mint (Books Only) Far Horizons Near Mint (Books Only) Special Modifications Near Mint (Books Only) Beyond the Rim Near Mint (Books Only) Masks of the Pirate Queen Near Mint (Books Only) Suns of Fortune Near Mint (Books Only) Dangerous Covenants Near Mint (Books Only) Enter the Unknown Near Mint (Books Only) Fly Casual Near Mint (Books Only) Lords of Nal Hutta Near Mint (Books Only) Jewel of Yavin Near Mint (Books Only) Force and Destiny Near Mint (Books Only) Keeping the Peace Near Mint (Books Only) Savage Spirits Near Mint (Books Only) Endless Vigil Near Mint (Books Only) Unlimited Power Near Mint (Books Only) Disciples of Harmony Near Mint (Books Only) Age of Rebellion Near Mint (Books Only) Lead by Example Near Mint (Books Only) Fully Operational Near Mint (Books Only) Desperate Allies Near Mint (Books Only) Onslaught at Arda I Near Mint (Books Only) Forged in Battle Near Mint (Books Only) Stay on Target Near Mint (Books Only) Cyphers and Masks Near Mint (Books Only) Onslaught at Arda I Near Mint (Books Only) 2 copies total. Edge of the Empire GM Screen Near Mint (Books Only) Starships and Speeders Near Mint (Books Only) Rise of the Separatists Near Mint (Books Only) Dawn of Rebellion Near Mint (Books Only) Gadgets and Gear Near Mint (Books Only) Allies and Adversaries Near Mint (Books Only) Edge of the Empire Beginners Set Used "No Box, No Dice" Age of Rebellion Beginners Set Used "No Box, No Dice" The Force Awakens Beginners Set Used "No Box, No Dice" Genesys Core Rulebook Near Mint (Books Only) Genesys Expanded Players Guide Near Mint (Books Only) Realms of Terrinoth Near Mint (Books Only) Shadow of the Beanstalk Near Mint (Books Only) 

WOTC 5e Dungeon Masters Screen Near Mint (Books Only)

5e Monster Manual Near Mint (Books Only) Ghosts of Saltmarsh Near Mint (Books Only) Waterdeep Dragon Heist Near Mint (Books Only) Waterdeep Dungeon Mad Mage Near Mint (Books Only) Sword Coast Adventure Guide Near Mint (Books Only) Tasha's Cauldron of Everything Near Mint (Books Only) Xanathar's Guide to Everything Near Mint (Books Only) Curse of Strahd Near Mint (Books Only) Volo's Guide to Monsters Near Mint (Books Only) Mordenkainen's Tome of Foes Near Mint (Books Only) Star Wars Role Playing Game Used 

Free League The Third Horizon Near Mint (Books Only)

Coriolis Emissary Lost Near Mint (Books Only) Coriolis The Last Cyclade Near Mint (Books Only) Coriolis Atlas Compendium Near Mint (Books Only) Coriolis Scenario Compendium 1 Used Coriolis Last Voyage of the Ghazali Near Mint (Books Only) Alien Destroyer of Worlds Near Mint (Books Only) Tales from the Loop Near Mint (Books Only) Tales from the Loop - Out of Time Near Mint (Books Only) Things from the Flood Near Mint (Books Only) Blade Runner RPG Near Mint (Books Only) Blade Runner Starter Set New Vaesen RPG Near Mint (Books Only) Symbaroum Core Rulebook Near Mint (Books Only) Symbaroum Game Masters Guide Near Mint (Books Only) Symbaroum Monster Codex Near Mint (Books Only) Symbaroum 5e Ruin of Symbaroum Slipcase New "Kickstarter Shrink. Player's Guide, GM Guide, Bestiary" Symbaroum 5e Map & Art Pack New Kickstarter Shrink. Symbaroum 5e Where Darkness Dwells Screen New Symbaroum 5e Where Darkness Dwells Adventure New Symbaroum 5e Cloth Map New 

Ginko Press Vaesen - Spirits and Monsters of Scandinavian Folklore Near Mint (Books Only)

The Undead Near Mint (Books Only) 

Modiphius Dune The Role Playing Game Near Mint (Books Only)

Kult Divinity Lost 4th Edition Core Near Mint (Books Only) Kult Divinity Lost The Black Madonna Near Mint (Books Only) Kult Divinity Lost Taroticum and Other Tales Near Mint (Books Only) 

Son of Oak City of Mist Player's Guide Near Mint (Books Only)

City of Mist MC Toolkit Near Mint (Books Only) 

PEG Inc Deadlands Boxed Set Internal Components In Shrink

Rifts Screen Near Mint (Books Only) Rifts Game Master's Handbook Near Mint (Books Only) Rifts Savage Foes North America Near Mint (Books Only) Rifts Tomorrow Legion Players Guide Near Mint (Books Only) East Texas University Screen Near Mint (Books Only) East Texas University Sourcebook Near Mint (Books Only) East Texas University Degrees of Horror Near Mint (Books Only) Fear Agent RPG Near Mint (Books Only) Savage Worlds World Builder & GM Guide Near Mint (Books Only) Weird Wars Rome Near Mint (Books Only) Exp Ed Fantasy Companion Near Mint (Books Only) Exp Ed Horror Companion Near Mint (Books Only) 

Gunmetal Games Codex Infernus Used
Intellistories Seven Worlds Setting Guide Near Mint (Books Only)

Seven Worlds Campaign Book 

Chaosium Call of Cthulhu Investigators Handbook 23136 Near Mint (Books Only)

Call of Cthulhu Keepers Rulebook 23135 Near Mint (Books Only) Masks of Nyarlathotep Near Mint (Books Only) 

Games Workshop Collecting and Painting Wargames Armies Used

Warmaster Used Warmaster Annual 2002 Used Warmaster Magazine Used "Issues 1,3,4,5,6,7,8,9,10,11, 13" 

Warpstone Warpstone Magazine Near Mint (Books Only) "Issue 7, 10, 11, 12, 14, 15, 16, 17, 18, 19 (x2), 20, "
Green Ronin Pub Fate Freeport Companion Near Mint (Books Only)
Evil Hat Production Fate Accelerated Near Mint (Books Only)

Fate Core System Near Mint (Books Only) Fate System Toolkit Near Mint (Books Only) Fate Space Toolkit Near Mint (Books Only) Fate Condensed (x2) Near Mint (Books Only) Diaspora Used 

Flying Buffalo Deluxe Tunnels and Trolls Near Mint (Books Only) Shrink Character Sheets

Buffalo Castle Near Mint (Books Only) Tunnels & Trolls 30th Anniversary Edition Used 

Samjoko Publishing The Veil Near Mint (Books Only)

The Veil: Cascade Near Mint (Books Only) 

Peach Pants Press The Watch PBTA Near Mint (Books Only)
Reality Blurs Tremulus Near Mint (Books Only)
Red Box Vancouver Adventures on Dungeon Planet Near Mint (Books Only)
Bully Pulpit Games The Warren Near Mint (Books Only)

Fiasco Near Mint (Books Only) 

Black Armada Last Fleet Near Mint (Books Only)
Magpie Games Epyllion Near Mint (Books Only)

Masks a New Generation Near Mint (Books Only) Our Last Best Hope Near Mint (Books Only) Our Last Best Hope Expansion Used Water Damage Avatar Legends RPG New Shrink Avatar Legends Adventure Guide New Shrink Avatar Legends Dice Pack New Shrink Avatar Legends Dice Bag New Shrink Avatar Legends Journal Pack New Shrink Avatar Legends Cloth Map New Shrink Avatar Legends Combat Action Deck New Shrink 

Buried Without Ceremony Monsterhearts Near Mint (Books Only)
Baz Stevens King of Dungeons Near Mint (Books Only)
Fiddleback Productions Transit Spaceship RPG Near Mint (Books Only)
Ulisses Spiele Passion Play Fading Suns LARP Near Mint (Books Only)
Runehammer Bastard Sword Rulebook Near Mint (Books Only)

Bastard Sword Companion Near Mint (Books Only) Bastard Sword Havvengarde Near Mint (Books Only) 

Sage Kobald Dungeon World (softcover) Near Mint (Books Only)

Planarch Codex Near Mint (Books Only) KS01 - Compendium Near Mint (Books Only) KS02 - Compendium Near Mint (Books Only) 

Paizo Starfinder Flip Mat New Shrink
Paul Bantock Beneath the Sunken Catacombs Near Mint (Books Only)
Silver Branch Games Jaws of the Six Serpents Near Mint (Books Only)
Sarah Newton Mindjammer Near Mint (Books Only)
Mork Borg Mork Borg Near Mint (Books Only)
Cubicle 7 3:16 Carnage Amongst The Stars Near Mint (Books Only)
Red Moose Sagas of the Icelanders Near Mint (Books Only)
Troll Lord Player's Handbook TLG 80104 Near Mint (Books Only)

Classic Monsters TLG 8125 Near Mint (Books Only) 

Pelgrane Night's Black Agents Core Near Mint (Books Only)
Wargames Research Group Hordes of the Things V2.1 Near Mint (Books Only)

Introduction:
Good marrow and greetings people of the Realm! My name is Curtis Ashford and I am a game developer, father of 3 (soon to be 4), and Neuroscientist that publishes in Alzheimer's disease research. My background is in making cognitive tests that are used in medical research with a focus on reliability, precision, and accuracy of assessing brain function over time. I have been gaming my whole life, almost 40 years and my early favorites include Sierra's Kings Quest, The Prince of Persia, and Duke Nukem.
A Player Built Throne Room by: Patty Brown (great work!)
Player Built Tavern!! by: Sir Vibes the Positive, created last night!
Snap-able Castle Walls - Lots of Building Pieces by: Player Unknown
I am a huge fan of the early Diablo franchise 1 and 2, World of Warcraft, and survival games like Rust. I try to play almost every title I can get my hands on! Base building in survival games has a special place in my heart and I love the gathering of resources and making something that is functional and I can be proud of. That is what I am trying to capture with my game Crestfallen.
The Graveyard NOOB Starting Area is a Bloodbath, created by Bloodbath Studios :)
Blending my Alzheimer's research with game dev, cool Quest Item! - The Skull of Eternal Dementia... Terrifying
But what is Crestfallen?
Crestfallen: Medieval Survival is a place to be whatever you want; Role-play out medieval fantasies, explore the creations of our imagination, and have fun while playing alongside others in an ever evolving universe. I think multiplayer interactivity is such an amazing part of gaming, building and fighting others makes the game feel very special.
Want to try it out for free? Download the demo on steam here - https://store.steampowered.com/app/2293680/Crestfallen_Medieval_Survival/
If you like it and want to join our multiplayer servers before launch and help us find bugs and add ideas to the discord you are more than welcome. If you like it I would really appreciate a Wishlist to help with my visibility as we approach Steams Next Fest where I will be streaming for 6 hours.
There are quests to explore, portals to venture into, factions of enemies to fight against, and people to make lasting memories with. You can form parties, guilds, and interact with each other with in game voice chat and be whatever you want to be.
The Map of IronGuard Summit
Choose a progression into magic, farming, or master the blade with a skill and stat point progression system to level up. As we grow out our team we look forward to expanding the maps, adding more magic, and more everything as we move along in our development. Some of my favorite parts of the game are fighting the harder knights and bowmen up at the Castle and attempting to overthrow the Evil King within and his (SPOILER).
Full Plate Armor - Tons of Crafting Stations and Craftables
I was inspired to make this game by a friend who I met in the Medieval Survival game Reign of Kings. We used to host The Kingdom of Camelot server together and as Keeper of Justice I would publicly execute cheaters with our community, great memories! Seeing the game not progress, but loving the core concepts of it, I took it upon myself to try to make a similar type of game with more interactive elements and PvE areas to explore with updated graphics in Unreal Engine 5.
Crystals of Cinder and Glacial Knowledge
Ever Unfolding Destiny:
Review our Living Roadmap - The Path of Ever-Unfolding Destiny
Growing up I loved to build with Legos, as a lot of kids do, and I was very fond of creating huge Castles and destroying them with my besieging armies. Castles and base building are so fun for me and it's very exciting how I have been able to get it to work online in a multiplayer setting where people can build huge Kingdoms together. By utilizing a snapping building system the options are endless for the Castle pieces we can add and the different tiered structures / workstations to build around the Castle.
HUGE Castle Walls
In addition we have been adding farming, cooking, and incredibly intricate crafting recipes to progress your character as you explore more difficult areas and fight more dangerous monsters. I plan to devote at least the next 10 years of my life to building this alongside my fledgling community that shares the passion for building, crafting, intertwined with the medieval genre.
How To Decorate A Castle
Time for a Bloodbath:
A Starting Boss to Avoid Spoilers Demon Lord Morgrate and his UBER rare glowing sword
In addition to building another major focus for me is on a new fighting system that feels realistic, bloody, and gruesome. I love the feeling we have created by researching medieval combat and using animations that are inspired from the medieval era. It still needs a bit more blood in my opinion but the squelches and screams really make a rewarding experience when in a fight against a bunch of enemies.
Another massive base build!
The fire magic feels great to wield but had to nerf our meteor storm as it was discouraging for players to have their bases wiped out so easily with fiery death. Siege weapons like ballista, catapult, and trebuchet are starting to work well, with the trebuchet being one of my personal favorites with how it turned out. My roadmap includes the addition of siege towers and battering rams in the near future.
To The Dungeons:
Any idea and all feedback is welcome, I really appreciate the criticism as it helps me learn and grow. Making this game involving the community is so important for me as it helps it grow in a positive non toxic direction. This was almost published by Snail Games USA, but I declined the offer based on their reviews and reputation of their CEO cheating in ARK.
The Keepers of Justice WILL Prevail!! - My Quest System Says So At Least
My strategy to help combat cheaters and toxicity is by hosting official whitelisted servers that are managed by something similar to DND Dungeon Masters! Having active admins that can manipulate world variables and help unfold the story of a server with different admin tools could make for some very interesting and innovative online multiplayer gameplay.
This has been a very hard 2 years for me, I have done 3 point studio lighting on thousands of our assets to make the icons beautiful, integrated some of the most amazing systems ever built, and have had the honor and blessing of receiving help from hundreds... maybe thousands of talented geniuses from all around the world. Ensuring everything works well, looks great, and sounds amazing has been a true scientific task and to see player build, craft, and create amazing things and enjoy their time humbles me and bring great joy to my heart.
This Tavern may look like a bar to you but to me its something indescribable, a collection of my favorite assets adjusted and fine tuned to be craftable, placeable, and functional... have a seat... all chairs and thrones are fully functional. It is my dream to create a massive fully intractable world and we are well on the way!
Past Work:
I made my first game Best in the West in Unity, a 10 man micro royale where you ride an old steam train into a wild west town and as the train whistle blows and the doors swing open it's a run and gun em down shoot em up cowboy style - free to play. Unity was not very fun for me and after switching to Unreal Engine I felt that I really got to focus on the game development and not the optimization of textures and culling properties.
So lets press on together and keep doing our best to bring people together through building, adventure, and making a GG (GOOD GAME NOOB!) with love. <3
Now that we made it possible to build in lakes - NEW DRAW BRIDGE COMING SOON SO EPIC!!
All the criticism on my steam page I have personally addressed and appreciate as it gives me a chance to listen and learn. The critical feedback has been very helpful to identify problems and brainstorm with players and strategize to fix things.
Official Crestfallen Logo
"Omnes Una Manet Nox."
The Dark Night Awaits Us All.
-King Burkheart The Keeper of Justice
"JUSTICE WILL BE SERVED!!"
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I would like to extend a heartfelt thank you to the moderator: RMouldoun for helping guide my path here including the people who rightfully flamed my first post.
Thank you to newagedne for helping me keep things professional and improve, I always appreciate the opportunity to learn.

Overcoming Jenkins Notification Challenges

When leveraging Jenkins for continuous integration and delivery, one crucial aspect that enhances team collaboration and workflow efficiency is the ability to receive timely notifications. Specifically, the Jenkins Email Extension Plugin (Email Ext-plugin) plays a pivotal role in customizing and automating the dispatch of email notifications to keep teams informed about build statuses, failures, or recovery. However, users often encounter challenges where Jenkins fails to send these crucial notifications, leading to gaps in communication and potential delays in identifying or addressing build issues. This situation underscores the importance of not only configuring Jenkins and the plugin correctly but also understanding the common pitfalls that can disrupt email notifications.
This introduction delves into the technical intricacies and troubleshooting steps necessary to ensure Jenkins can reliably send email notifications through the Email Ext-plugin. Addressing this issue involves a blend of verifying SMTP configuration, ensuring correct plugin settings, and adjusting security protocols to accommodate email dispatch. By tackling these aspects, teams can restore the vital flow of information, thereby maintaining a seamless and efficient development cycle. The following sections will explore the common reasons behind email notification failures in Jenkins and offer practical solutions to overcome these challenges.

Solving Jenkins Notification Challenges

When it comes to continuous integration and delivery (CI/CD) pipelines, Jenkins stands out for its flexibility and versatility, enabling developers to automate a wide array of tasks. Among its many features, email notifications serve as a critical component, keeping team members updated on the status of builds and deployments. However, users sometimes face challenges with Jenkins' Email Extension Plugin, a powerful tool designed to enhance Jenkins' emailing capabilities. This can hinder the seamless flow of information crucial for maintaining development velocity and ensuring timely interventions when builds fail or require attention.
The complexity of configuring Jenkins, especially with plugins like Email Ext, often leads to issues with sending email notifications. This might be due to misconfigurations, network issues, SMTP server problems, or script errors within the Jenkinsfile. Understanding the intricacies of Jenkins email notifications and the Email Ext-plugin is essential for troubleshooting these issues effectively. This introduction will guide you through the common pitfalls and provide actionable solutions to ensure your Jenkins setup can communicate seamlessly with your team, enhancing collaboration and efficiency in your CI/CD pipeline.

Troubleshooting Jenkins Email Notification Issues

Delving deeper into the realm of Jenkins email notifications, particularly when utilizing the Email Extension Plugin, unveils a series of common challenges that developers and DevOps professionals often encounter. One primary issue stems from incorrect configuration settings within the Jenkins system itself or the plugin. This might include inaccuracies in the SMTP server details, authentication credentials, or the recipient email addresses configured for notifications. Additionally, the Email Ext-plugin offers extensive customization for email content, including the ability to send emails based on specific triggers or conditions. Misunderstanding or misconfiguring these options can lead to emails not being sent when expected, or being sent too frequently, overwhelming recipients with unnecessary notifications.
Another layer of complexity is added by the network and security configurations that can affect email delivery. Firewalls, spam filters, and email server policies can block or reroute emails sent by Jenkins, making it seem as though the system is failing to send emails when, in fact, the emails are being sent but not received. Solving these issues often requires collaboration between the development team and the IT or network security team to ensure that emails are whitelisted and appropriately routed. Moreover, troubleshooting may involve examining log files within Jenkins and the email server to identify and rectify the problem. Understanding the underlying mechanisms of email notifications in Jenkins and how they interact with network and security settings is crucial for diagnosing and fixing issues that prevent successful email delivery.

Troubleshooting Email Notification Issues in Jenkins

Configuring Jenkins to send email notifications using the Email Extension Plugin can be a daunting task, especially for new users. The plugin offers a vast array of customizable options, from simple job status notifications to complex emails with logs, test results, and artifacts attached. The primary issue often lies in SMTP configuration, where incorrect settings can prevent Jenkins from sending emails. This includes the SMTP server address, port, user credentials, and the use of SSL or TLS encryption. Additionally, ensuring that the Jenkins system administration email address is correctly set is crucial, as this is the address used in the "from" field of outgoing emails.
Another common challenge is script configuration within pipeline jobs. The Email Ext plugin allows for scripting email notifications directly within a Jenkinsfile, offering great flexibility but also introducing complexity. Misconfigured scripts can lead to failed email deliveries. For example, using incorrect or unsupported Groovy code, failing to specify recipients correctly, or errors in defining the email content can all stop Jenkins from sending notifications. Furthermore, network issues, such as firewalls blocking the outgoing mail port or issues with the mail server itself, can exacerbate the problem, making it essential for administrators to verify network accessibility and server health as part of the troubleshooting process.

Frequently Asked Questions About Jenkins Email Notifications

1. Question: Why are my Jenkins email notifications not being sent?
2. Answer: Common reasons include SMTP configuration errors, incorrect Jenkins system admin email settings, script misconfigurations in the Jenkinsfile, network issues, or problems with the email server.
3. Question: How do I configure SMTP settings in Jenkins for email notifications?
4. Answer: Navigate to Jenkins' system configuration page, find the Email Notification section, and enter your SMTP server details, including address, port, user credentials, and encryption preferences.
5. Question: Can I send emails to multiple recipients using the Email Ext plugin?
6. Answer: Yes, you can specify multiple recipients directly in your Jenkinsfile or through the Jenkins UI configuration for the job. Use comma-separated values to list multiple email addresses.
7. Question: How do I attach build logs to email notifications?
8. Answer: Use the Email Ext plugin's scripting capabilities in your Jenkinsfile to attach build logs. You can use the `attachLog` parameter in your email step configuration.
9. Question: What can I do if my Jenkins server is behind a firewall and cannot send emails?
10. Answer: Check your firewall rules to ensure that outbound connections on the SMTP port (commonly 25, 465, or 587) are allowed. You may need to work with your network administrator to adjust these settings.

Wrapping Up Jenkins Email Notification Insights

Ensuring that Jenkins successfully sends out email notifications using the Email Ext-plugin is crucial for the smooth operation of CI/CD pipelines. This article has covered the foundational steps to troubleshoot and configure Jenkins for reliable email delivery, emphasizing the importance of correct SMTP settings, security permissions, and script configurations. Addressing these aspects not only mitigates the issue of undelivered notifications but also enhances the overall efficiency and collaboration within development teams. By paying close attention to the detailed solutions provided, developers can overcome common hurdles, making the most out of Jenkins' capabilities for automated communication. The key takeaway is the importance of meticulous configuration and regular monitoring of Jenkins' email functionality to maintain a seamless flow of updates and alerts, thereby ensuring that teams remain well-informed about the build and deployment processes. This fosters a proactive work environment where issues can be swiftly identified and addressed, ultimately contributing to the success of software development projects.
https://www.tempmail.us.com/en/jenkins/resolving-jenkins-email-notification-issues-with-the-email-extension-plugin

Ladies and gentlemen, buckle up and prepare for the rollercoaster of your academic lives! Today, we're diving headfirst into the geometric rabbit hole of perspective in art history, from the Renaissance to the digital delirium of modern design. This ride will be like trying to solve a Rubik's Cube while bungee jumping—exhilarating, slightly terrifying, and probably mind-bending.
Let's kick things off with a nod to our Renaissance homie, Leonardo da Vinci. Picture him: a guy so ahead of his time, he made Michelangelo look like he was doodling with crayons. Da Vinci was the OG of perspective, using geometry to turn flat surfaces into mind-blowing 3D spaces. Imagine the Mona Lisa stepping out of her frame and doing the moonwalk—thanks to Leo's genius, it's almost believable.
Now, perspective in art is all about fooling your eyeballs. You know that feeling when you stare at an optical illusion, and your brain starts doing somersaults? That’s the magic of geometry at work. The Renaissance artists were like the original tricksters, using vanishing points and linear perspective to create depth. It's like the difference between watching a Kardashian reality show in 2D and diving into a VR Fortnite match where buildings, landscapes, and llamas pop out at you from every angle.
So, what's the big deal with these vanishing points? Picture this: you're standing in the middle of a road that stretches out into the horizon. As you look ahead, the road seems to narrow and finally disappear at a single point. That's the vanishing point. Leonardo and his pals used this concept to make their paintings look realistic. They turned canvases into windows, showing scenes that seemed to stretch out infinitely.
Now, imagine you’re in a room designed by M.C. Escher, the grandmaster of mind-melting perspective. His works are like the architectural equivalent of a fever dream after binge-watching too much Rick and Morty. Escher took the rules of perspective and twisted them like a pretzel, creating impossible staircases that go nowhere and everywhere all at once. His art is like a visual version of trying to understand quantum mechanics while riding a merry-go-round.
But let's not get too lost in the trippy world of Escher. We need to understand the basics before we can start bending reality. So, grab your pencils and energy drinks, because it's time to create our own perspective drawings. Start with a simple one-point perspective. Draw a horizon line, place a single vanishing point, and sketch some basic shapes receding into the distance. It's like playing Minecraft, but on paper—minus the Creepers and Endermen.
Once you’ve mastered the one-point perspective, crank up the difficulty like you’re switching from Tetris to Dark Souls. Try your hand at two-point perspective. This time, you’ve got two vanishing points on the horizon line. It’s like juggling two flaming swords while riding a unicycle—challenging but ridiculously cool once you get the hang of it. Use it to draw buildings and streets that look like they could be straight out of a Batman comic book.
Ready for the final boss level? Three-point perspective is where things get seriously intense. Add a third vanishing point above or below the horizon line, and boom—you’ve got skyscrapers that soar into the sky or plunge into the depths. Think Gotham City meets Blade Runner, with a dash of Doctor Strange’s Inception-style cityscapes. Your drawings will have that dramatic flair that makes people go, “Whoa, did you just bend the fabric of reality?”
Speaking of bending reality, let’s talk about modern design. Today’s artists and designers are like the tech-savvy offspring of Da Vinci and Escher, using digital tools to create stunning 3D visuals. From video games to virtual reality, perspective geometry is everywhere. Take Fortnite, for instance—a game where players build structures with an uncanny sense of depth and realism. The designers use the same principles of perspective that Leonardo used, but with the added benefit of 21st-century tech.
Let’s not forget the architects who create real-world buildings that make you feel like you’ve stepped into a sci-fi movie. They use advanced geometry to design structures that defy gravity and common sense. Imagine walking through a building that twists and turns like a Rubik’s Cube, with each step revealing new perspectives. These architects are like modern-day wizards, conjuring spaces that boggle the mind and delight the senses.
In the realm of learning science with art, perspective geometry is the ultimate crossover episode. It’s where math and creativity meet, shake hands, and throw a rager. Understanding perspective not only makes you a better artist but also sharpens your spatial awareness and problem-solving skills. It’s like unlocking a secret level in your brain, where you can visualize complex concepts and bring them to life.
Now, here’s a challenge for all you budding artists out there: create your own perspective drawing, starting with the basics and moving on to more complex designs. Start with a simple street scene, then add buildings, trees, and maybe even a superhero or two soaring through the sky. Push your limits and try incorporating three-point perspective to create a cityscape that would make even Escher jealous.
Remember, the key to mastering perspective is practice and a healthy dose of imagination. Don’t be afraid to experiment and make mistakes—after all, even Da Vinci probably had his share of doodles that didn’t quite make the cut. Embrace the chaos, channel your inner mad scientist, and let the geometry of perspective guide you to new artistic heights.
So, there you have it, folks! The wild, wacky world of perspective geometry, from the Renaissance to Fortnite. Keep those pencils sharp, those energy drinks flowing, and always remember: art is the ultimate playground for your imagination. Now go forth and conquer the canvas like the brilliant, slightly caffeinated geniuses you are!

Hey everyone!
I’m in need of help finding the tools for a mission I’m not schooled enough in any specialty to describe. I eally want to train an AI to specialize in certain areas so that it can help me solve problems and quickly start-and-finish big projects. I am open to using a suite of tools, but they would need to be practical.
I would like to be able develop the AI’s fundamental/foundation knowledge base (vocab word?) by uploading documents, books, images, etc for it to reference and evolve and process toward my ends (growing and breeding grapes–genetics, viticulture, horticulture, soil management, etc). I understand that databases and foundational open source code of chat-like AI exist, and I am fine with using those, but I don’t know what they are!
Would a tool like HeyGPT would be more akin to what I am seeking (I think? …can I upload my own docs there? Would my data and convo remain within a boundary of that tech if it is accessed on a webpage?
I want to be able to develop a casual and coded (acronyms, projects, general commands) conversational framework with the ai, but I don’t mind taking the time to do a lot of this work solo and from the ground up, I think I learn best that way (thanks to mistakes). It would be great if there was a way to streamline my efforts. I hope this community can recommend some apps and tools and tech that could assist me (and others!) in finding the best:
Easily trainable high-powered AI (is it even AI I am even looking for? Generative AI? Machine learning?)
Ways to crawl the web for journal articles, free pdfs of books and other publications (to inform the AI)
Whatever else you think might help me save time (or any other resource)
In an AI, I value convenience, quality, and depth of ability, not necessarily speed of response. I really wish this thing could become a sort of assistant for me–a young and rudimentary Jarvis? I think I want what many others want and what most fear–an extension of my brain. While I’m doing chores and reading my kids their nightly books, I wish this AI could be a place for my thoughts to saturate and root, less they be forgotten and die.
I am unfortunately bound to only iOS on phone and MacBook Pro, but I am capable of learning to install and use different operating systems and tech (with patience and a solid how-to it fundamentals guide). I don’t mind minor redundancies if anyone can solve this off the cuff in a straightforward way.
I hope this sparks some conversation! I’m still green to AI, but have in the past few years begun to explore the tech realm once more and am finding real benefits that are really fun!
Please be collaborative, not judgmental in your responses here. I don’t know enough to even try to sound smart, but I am genuine and peaceful in approach. Please feel free to ask any questions, I’ll try to be short and sweet with responses
Thank you kindly!