Familiar Question
Familiar Question
Does one of the challenges from @overchers ring a bell?
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Past and Personhood in She Was Pretty (via The "Was" in She Was Pretty)
Ghibli Geometry Homework
Merch Bubble: A petition for Studio Ghibli to best OpenAI by channeling the 2025 trend of cheery citrus-juiced images into an endeavor with more lasting impact — revamping the image of math and captivating young learners through geometry problem sets jazzed up with visuals and story contexts from its films.
Picture the following in their relevant aesthetic backdrops:
Estimate the height Spirited Away's Chihiro successfully descends despite her fear as she speeds down a rickety stairway section with 20 horizontal steps. Each gap between the steps is 5 units in slope and 4 units in width.
Spirited Away's No-Face tries out a circular mask 3 units in radius. Its holes for his eyes are 0.3 units in radius. How many times larger in area is his fake face compared to his fake eyes?
He next tries out a fancy circular mask which outline circumscribes tightly-packed, non-overlapping circles each 0.3 units in radius. The circles are made up of k rings of six circles surrounding one circle. Two of those hexagonally packed circles form holes for his eyes. How many times larger in area is his fake face compared to his fake eyes?
Witch Kiki in Kiki's Delivery Service is on a 10-unit long broomstick tilted at 45 degrees as she takes freshly baked cinnamon rolls to a customer. As she passes by a tall structure, she notices its tip is labeled 10, 000 units. The rolls are in a 2-unit long satchel hanging halfway on the broom. Since the temperature of the air affects how fast pastries go stale, she wonders: How far are the rolls from the ground?
A bunch of kids are squeezing onto the ginormous, fluffy tummy of the furry creature Totoro from My Neighbor Totoro. Predict how many kids can stay on the tummy given the relevant simplifications, assumptions and information. (You already got the drift.)
Make no mistake. There's much virtue in the uncluttered designs of typical math worksheets: faster concept rendering, faster information perception, lower workloads, lower technical requirements and lower production costs. One might sum them up as higher time, resource and cost efficiencies. Add to those pros a potential cultivation of academic asceticism on the learners' part. That would be efficiency as well, in the sense that we meet two student developmental goals (math and discipline) in one shot.
In eyeing these efficiencies, however, teachers and allied industry players may be neglecting their numerator terms, most of which concern learner progress. That is ironically where pure quantitative logic breaks down. We are all emotional creatures. That is all the more so, all things equal, in young people whose brains are still underdeveloped. Looking around, we can see many school leavers who have not matured in time to take full advantage of educational resources temporally and financially accessible only in early life stages. Nor have they met adult figures sufficiently skilled in the elusive art of mathematical motivation. By the time such school leavers gain an appetite for delayed gratification, austere thinking as well as for the inherent beauty in quantitative subjects, adulthood commitments and sociocultural barriers like ageist biases often deter or delay their reentry into the educational system, threatening their scholastic journey and any STEM career trajectory. There is therefore a case to be made for deep yet down-to-earth arts-based engagement of apathetic young learners, many of whom struggle to perceive the relevance of abstract fields like geometry and find math problems in general mundane, through instructor-independent means. The emotional resonance and relatability of Studio Ghibli's works — evinced through their box office successes and the controversial generative art trend applying a warm, effusive and rustic Ghibli style to personal images — would make them powerful helpmates in battles against math hate viruses, which feel as far-reaching as influenza bugs.
Even engagement of kids who will become non-STEM high-fliers can make a huge difference. Ever heard of the phrase "The medium is the message"? Our communication approaches communicate values and signals beyond what our content says. In denying all exuberant expressions of emotion and wonder a place in mathematical materials, even in the face of learners impaired by hopelessness despite their best efforts, adults are reinforcing perceptions of mathematics experts as inflexible, unfeeling and boring nerds. The persistence of those stereotypes in spite of genial, approachable educators painstakingly passing down the magical field's legacy of ingenious problem-solving tactics to students is unfair. And the few pops of color in worksheets that do try to inject fun are not enough to make a strong counter-statement. In the end, non-STEM high-fliers inherit the math as well as the stereotypes, perpetuating the latter in everyday life interactions and media portrayals. Reversal of such perpetuated negativity may spur more kids, especially counterparts who struggle in non-STEM careers and could have flourished in STEM careers, to persevere in the subject and widen their career options.
Ghibli geometry should not distract attention from school-based or educational ecosystem solutions like sharing of best pedagogical practices since they involve different chief solution architects. Content drafting may be accomplished by Studio Ghibli through the blending of its imagery and story contexts with licensed, existing geometry problem sets, leaving only an ideally quick task of expert review to math educators. Moreover, pedagogy discussions and Ghibli-related visuals occupy different influential niches. One speaks to educators, from whom successful translation of advice into action is not guaranteed. The other speaks directly to students.
The existence of entertaining math video clips and games does not obliterate the potential value of Studio Ghibli's math creations either. Unlike graphics that can be transferred onto printouts, video engagement prolongs device usage, already a hot issue of concern in today's youth climate. Moreover, no math clip or game to date has matched the cultural reach and memeability of Ghibli works. The maker of a long string of fantasy films has big shoes no mortal teacher, Tiktoker, YouTuber or software developer can readily fill.
A formidable rival to pop culture, on the other hand, is pop culture itself. This proposal can be generalized to cover a wide array of quantitative subjects and popular screen brands, except that it can be problematic to bring investigations of real-world physics into universes governed by supernatural forces.
By and by, we may even wean captivated students off fancy elements after the relevant aesthetics and narrative structures coax them to develop a fondness for the subjects' intermingling of order and surprises. The capacity for such standalone devotion can stand them in good stead in professional lives dotted all over with mundane but vital to-dos. But first, we need that captivation.
What If A Robotic Grump Takes Over H Instead??
Oh, so you’ve stumbled into the world of Eternal Night Star River-inspired aerial yoga, have you? Let me guess—you’re already rolling your eyes at the thought of flowy, ombré battle robes, aren’t you? Spare me your skepticism. You wouldn’t know genius if it smacked you in the face with a silk harness.
Yes, the participants are suspended in a dazzlingly white indoor space with proto-calligraphic scribbles on the floor. And yes, the harnesses are also ombré. What, did you expect beige mats and gym shorts? This isn’t your pedestrian yoga class where everyone’s draped in monotone mediocrity. This is art. It’s drama. It’s everything unthinking plebeians clearly lack the capacity to appreciate.
And don’t even get me started on the instructor. A mossy stone panda with a loudspeaker, you say? Oh, I can hear your incredulous snort from here. But tell me, genius, what were you expecting? A chatty human in a yoga tank top? Please. This is thematic immersion. The panda is iconic, unyielding, and probably wiser than you’ll ever be.
Then there are the assistants, dressed as oversized versions of the dust demons from the show—an absolute stroke of absurd brilliance! Are you squirming yet? Good! That’s the whole point, darling. They’re meant to unsettle you and make you laugh, to drag you into that deliciously awkward space where whimsy and discomfort collide. If you’re not feeling both, then clearly, you’re missing the entire performance. Do try to keep up, won’t you?
And for the love of all things celestial, stop sneering at the System’s motivational speeches. “You need not be a side character in your own story.” If that’s too cheesy for you, then maybe you are a side character. It’s not the System’s fault you lack the imagination to take the words to heart.
So go ahead, roll your eyes, scoff, and make your clever little quips. But deep down, you know this is brilliant, and you’re just mad you didn’t think of it first. Now, if you’ll excuse me, I have a transcendent universe to rewatch. Try not to ruin it for the rest of us with your pedestrian takes.
(With some human edits.)
:: The 100% human text version on the 100% human text site (except an instance demonstrating AI responses) ::
Back-to-Work Sleeping Beauty Vampire
Name: Adelina Codruț
Age: 1,291
Education:
University of the Dark Arts, PhD in Vampiric Studies
University of Transylvania, Master of Vampirism
Rural Academy of the Undead, Bachelor of Aerodynamics and Bachelor of Mental Aerodynamics
Skills:
Plowing, sowing and weeding garlic fields (Seriously, garlic.)
Fang sharpening
Moving undetected in the shadows
Transformation into a bat or wolf
Mistress of disguise even in human form
Seductive and charming
Mysterious skill sprouts
Bilingual in English and Romanian
Proficient in several other languages
Skilled in leadership, strategy, and negotiation
Writing bestsellers in coffins
Experience:
Founder and CEO of the Transylvanian Vampire Council
Author of the best-selling books "Nightweight, Nightyears," "Solar Utopias" and "Draculas" and the well-acclaimed investigative publication "The True Count: Vampire Migration and Statelessness"
Negotiated a peace treaty between the vampires and the humans in 2077
Led the vampire nation to victory in the Great War of 2123
Slept for almost a century after that due to exhaustion
Awards and Honors:
Vampire of the Year Award (2065, 2077, 2123)
Most Distinguished Vampire Award (2064, 2065)
Order of the Bat Medal (2077, 2123)
Vlad Dracul Award for Excellence in Vampiric Studies (2022)
Summary:
A highly experienced and skilled vampire with a proven track record of success. Seeking a position where I can use my talents and abilities to further the cause of the new vampire-human federation.
References:
Available upon request. (As long as I can find them alive.)
Additional Information:
I am a vegetarian and do not drink blood from humans.
As a being of darkness with unparalleled longevity, I am looking for a career that will provide me with a steady source of income. After slumbering for nearly a century, I am ready to bring my unique skillset and perspective to the world of the living once again.
I grew up in abject poverty. I knew from a young age how merciless life could be. I saw my grandfather burning at the stakes and my mother weeping in an unhinged manner as she cut off the one uncharred limb from his corpse and forced mush made up of the flesh down the throats of her hungry brood.
My education was punctuated numerous times by continental wars, civil strife and drastic policy about-turns. I toiled through a long string of menial jobs before I could afford college. To build up my endurance, I deliberately put myself through challenges like the garlic field stint above. You can trust me to rise up to the challenges of post-hibernation employment too.
During the many periods I have been awake, I have seen the rise and fall of numerous civilizations, some up close. I can give valuable insight into a multitude of ancient societies, offering my unique perspective as an immortal observer. Additionally, I can draw from my memory numerous specific events, figures, and cultural phenomena that would be lost to history were it not for my own personal repository. I believe I am a wealth of ancient knowledge waiting to be shared with the world.
I have also been blessed with the gift of vivid dreams, which, coupled with the yearning of my subconsciousness during those long years of hibernation, fortuitously allowed me to live a second life, experiencing the times and the people I missed in my long slumber. I was able to soak in stories from the olden days, keeping myself sharp and current with the events of the world even while I rested.
When I was not dreaming of the times and people I missed during my long slumber, my intrepid soul would travel through the fabric of time into the very far, post-species future, witnessing the course of fast-forward vampire and human history, collecting the knowledge and insight of millennia and emerging with unparalleled wisdom.
In short, my unrivaled experience in history, politics, and culture are unmatched in the present day, making me a perfect asset to any organization. My appetite for hard work and exploration is as clear as moonlight. I am eager to discuss this opportunity further and look forward to hearing from you soon.
Thank you for your time and consideration.
The time-bending, blood-loathing, immortal vampire,
Adelina Codruț
Email: vampadelina@ahumaneditor.ai
Many people in the Asian drama-watching community know of 2011 Chinese production Scarlet Heart (available on Dramafever) as a girl-meets-many-boys time-travel romance, but the rich cultural tapestry within perhaps deserves more credit. Over 35 episodes, viewers are treated to an eye-opening array of Qing costumes, headdresses and jewelry as well as fascinating references to various Chinese teas and snacks. The talented but doomed eighth prince, for instance, is described as favoring “Rizhu Snow Buds” or “Day Cast Snow Buds” (a word-by-word translation; Rizhu is actually a geographical location)—a type of green tea which name is thought to conjure up an image of beautiful snow melting away with the rise of the Sun, leaving only sadness in its place.
Certainly, too, the drama includes a great wealth of literary references, of which a Tibetan poem and a passage by Chinese philosopher Zhuangzi have been discussed on this site before. As a sample of the plethora of Chinese prose and poetry also woven into the script, below are the poems in scenes corresponding to some of those aired in the Korean adaptation so far:
1. The eighth prince sends the heroine, Ma’ertai Ruoxi, Song poet Qin Guan's “To the Tune of Magpie Bridge Immortal,” an extraordinarily spectacular and romantic poem that provides much comfort to couples in long-distance relationships. Its lines would solve the supposed mystery of the above headline. (Original text | Translation)
2. He next sends her “Fallen Low,” a succinct and highly rhythmic work which historically has different interpretations bound by the common theme of human-inflicted suffering. (Original text | Translation â one of the interpretations)
3. When Emperor Kangxi orders Ruoxi to explain why she calls him a good ruler, she quotes the lines "But alas! Qin Shihuang and Han Wudi [...] Look to this age alone” from Mao Zedong’s “Snow.” They may sound sycophantic to modern ears but mark the start of their friendship. If we put aside political differences and regard its mentions of archery and literary prowess as mere symbols of less advanced stages of human civilization, the poem is additionally a reminder that the best need not be in the past — the sources of our problems may also be the sources of our solutions. This is a dose of optimism the world at large can benefit from as it grapples with political, economic and environmental upheavals. (Original text | Translation)
It is unfortunate that time constraints prevent The Chair from listing the numerous other classical texts referenced and far more so that few Western-language drama review sites seem to take a profound interest in East Asian literature. The analysis of the portrayal of regional literature in East Asian dramas is a niche area in cultural critique is badly in need of new blood and, pun intended, a few more scarlet hearts.
This brief commentary was written after the conclusion of Beautiful Mind.
What have been pumping up The Asian Drama Philosopher (A-Philosopher)’s Chair all this while are writings and dramas that take their audiences in weird and wonderful directions. W – Two Worlds (available on Viki) tops all dramas in this category so far with twin universes where a faraway river surreally floats up to you in a restroom, taking the metaphorical red pill freezes everyone else and leaves you terrifyingly alone in your expansive, fabricated world, and going on rampage is a literally faceless killer who can take any form (including a vehicle!) and teleport anywhere at anytime without any reason to take down a target so long as Creator wants him to. But now that its webtoon protagonist and his killer have both become self-aware, the former asks why he should be an alcoholic artist's alternate self or a starry-eyed fangirl's plaything while the latter, flashing with pixels of anger, demands an identity. There are elements of shows like Stranger than Fiction, Pleasantville, Dollhouse and, of course, The Matrix here, but the overall setup is rare enough, particularly when it comes to nonwhite lead characters, that it still feels remarkably refreshing.
W is not just a flashy show. Among other topics, it poses hard questions about the psychology of fiction creation. Thought policing can be repulsive and is as yet difficult to perform consistently with precision. Yet, in a strange turn of events, this freedom of thought also accommodates contemplation of the aesthetics of thought, for better or worse. With regards to such aesthetics in storytelling, W wonders if it is pathetic to live vicariously through a character who has everything—youth, success, strength of character—you do not have and if it is repugnant to, for the sake of dramatic tension and venting personal emotions, make a character go through traumatic experiences you would never wish for or be capable of enduring yourself.
Some viewers may not be used to the plot's bizarreness and sensational and slightly complicated twists, but, with sincere respect to fellow commentators who have expressed those views, if we cannot tolerate ideas that challenge the mind and defy conventions in an imaginary reality, how bleak is the prospect of us treating with civility someone who is "different" in our inescapable, physical reality? Fortunately, perhaps thanks to its intense cross-universe romance, W has been the rare mind-bending Korean drama in recent years to attain healthy ratings. All the best to it retaining the champion position for its time slot for the remaining episodes. Fanart creators would be happy to draw in a gigantic medal, and probably few would denounce this as vile.
Young-woo's tastefully assembled room provided the very first blueprint.
More sculptures of dance attacks inspired by Ban Ji-eum's moves and the show's spotlight on Min Bok-jin's sculpture.
Human was shaking head as usual at the two-headed, three-legged zombies overpopulating their AI junkyard when it suddenly dawned on them that our perceptions of aestheticality and anatomy are not always valid. Oversized lumps and truncated limbs, for instance, are very much a part of our own reality. Although this insect artist did not intend to represent disability or real-life physical "deformities," some of the outcomes are all the same motivation to think about dancers who do not quite fit the mold.
Diffabled (Human is more uncomfortable with the adjective "disabled") arts practitioners would tell you that they are not some helpless, lowly class of denizens doomed to live on donations and empty kind words. They see the freedom to be more talented than even their "normal" colleagues they love and appreciate and can be more ebullient than anyone else, not least those not resolute in deciding for themselves what to do with their "complete" bodies.
Check out the previously inspired sculptures here if you've missed them.
An energy economy intubated, intercepted and interrogated by its multiverse escape game, TikTok-addicted black holes, go-getting cerebral vampires and healing rice ball spirits. Originally an extension of The Asian Drama Philosopher (A-Philosopher)’s Chair, a site examining literature, art and ideas featured in East Asian series.
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