Awaybyrail - It Is What It Is Until It Is Something Else

hey don’t cry. the Beauty of the House is immeasurable; its Kindness infinite ok?

once again going mad with envy that the G-Star E Para line is out of production. That shit all goes so immensely hard and my grubby little hands will never be allowed to touch it.

whuuuuuuoahahahahahaha

no this rules. RIP

my god the transgenders are attacking

VRML

I believe the English phrase is “odd duck.” Yes. Jan Kargad was an Odd Duck. He was born in 1922, right after Georgia joined the Soviet Union, in a commune outside of Batumi. But this was not a normal commune no. His parents were strange people. A small group of Dutch fuckers, very protestant people, started a winery in the countryside where they could read their bibles. You would think they did not get along with the Marxists, but you would be wrong. They loved work. The bible loved work. There was no problem.

Well, that is not entirely true. Jan was a bit of a problem. He was born with a “weak constitution.” We do not know what that meant exactly, but farmwork would give him seizures and very high fevers. He was not a good child for farm work. So, they taught him arithmetic. Young Jan was in charge of counting grapes and bottles of wine and so on. Maybe the Apparatchik did not mind a child doing all the counting, maybe he was bribed, maybe he did not give a shit. I do not know. But Jan was in charge of all the counting and, what is the fucking word- logistics. Yes. Logistics. And he was very good at logistics. 

There are theories as to his upbringing yes. Studying the bible alongside Marx and Lenin and so on. But I do not believe this. In Chechnya in those days many studied the bible and Marx like Jan Kargad, but we did not become like Jan Kargad. I think perhaps it was the fevers. One sees things with a fever when it is bad enough, yes. 

Kargad also studied the capitalists. He was very good at this. He read Adam Smith, but also Issac Newton, the South Seas bubble, and most famously the Tulip Panic. They say his journals were filled with pressed tulips. He was a bit of a, what is the fucking English word- pervert. A pervert for organizing things and numbers and so on. Jan Kargad loves logistics like a man loves his wife, and tulips are a symbol of this for him. They became a microcosm for him. You see how the bud unfolds into many petals, its is very similar to how capitalism unfurls into its many aspects in the world. But, I am getting ahead of myself. 

One day, after all of his schooling, Kargad has a terrible fever, more terrible than any fever he has ever had. This is in the early 1940s some time. After this fever he becomes strange. Well, stranger than he already was. He speaks of men with golden dog masks, their necks chained to the sun, tulips growing from their eyes, all of that shit. He never goes outside again. He becomes fearful of the sun. He does not let it touch his skin. 

He writes intensely for the next three years. I have seen his original notebooks and they are stained with sweat. This man is not well, but he writes. He does not get help, because he is very good at analyzing agricultural output. I believe it grounded him some how, to spend days without sleep, reading spreadsheets about grapes and wheat and so on. 

He is no longer christian. He throws out all of the crosses in his home, and replaces them with grape-cutters. They are similar to a sickle, but with a long handle, for reaching up and cutting off high bunches of grapes. He becomes obsessed with this idea of the grape cutter, and he begins to paint. And this is where many first learn of him. He influences a group of artists who become famous in the southern soviet union, though they are occasionally derided as being “mystical.” I personally? I love the drawings. Many figures reaching up to pluck grapes from the sun. It becomes the central theme of his work.

Here people discover his strange writings. But first he is considered a strange mystic. His early writings are still very christian yes, and this influences how he is read in the west. Many think he is speaking of hyper-economics or whatever fetishistic bull shit the americans are calling it. But I do not think so. His work is very soviet. There are stories yes, of good soviet men drinking coffee and loving spreadsheets like a man loves his wife, and in this they become a little bit like Jan Kargad. They are –you do not have an English term for this– cutting grapes from the sun. But this is not a serious phrase you understand. These men are perverts.

captain's steward on an 18th century merchant ship fit

Elder scrolls worldgen presets for Dwarf Fortress

People seemed to like the BotW Hyrule worldgen preset I shared for for Dwarf Fortress a few months ago so I thought I'd share these ones too.

The file contains world prests in different sizes for Cyrodiil (generated from the Oblivion heightmap), Skyrim (generated from the Skyrim heightmap), Vvardenfell (generated from the Morrowind heightmap) the Iliac Bay (generated from the Daggerfall heightmap) and Tamriel (generated from this fanmade heightmap)

Elevation should be relatively accurate bc I generated them from the games' actual heighmaps using PerfectworldDF, althought I had to make some minor alterations (such as connecting the Imperial City Isle to the rest of the world with a little land bridge). I did my best with the biome placement but I'm only human and the DF biome editor is not exactly easy to use, look at this shit:

This was made for classic DF but I've confirmed it works with the Steam version too.

How to use:

Download this world_gen.txt file

Go to your Dwarf Fortress install.

Go to data>init

Replace that folder's world_gen.txt file with this one.

(Make a backup of the old file if you want to keep your old world presets. Or merge the two files into one by copying the entire text of one of them and pasting it at the end of the other)

In game, choose "Design new world with Advanced Parameters"

Choose one of the presets from this file.

Before generating, you can tweak details like history length, number of civs, etc, etc etc.

Tortures

by Wisława Szymborska tr. Stanislaw Baranczak and Clare Cavanagh

Nothing has changed. The body is a reservoir of pain; it has to eat and breathe the air, and sleep; it has thin skin and the blood is just beneath it; it has a good supply of teeth and fingernails; its bones can be broken; its joints can be stretched. In tortures, all of this is considered.

Nothing has changed. The body still trembles as it trembled before Rome was founded and after, in the twentieth century before and after Christ. Tortures are just what they were, only the earth has shrunk and whatever goes on sounds as if it’s just a room away.

Nothing has changed. Except there are more people, and new offenses have sprung up beside the old ones — real, make-believe, short-lived, and nonexistent. But the cry with which the body answers for them was, is, and will be a cry of innocence in keeping with the age-old scale and pitch.

Nothing has changed. Except perhaps the manners, ceremonies, dances. The gesture of the hands shielding the head has nonetheless remained the same. The body writhes, jerks, and tugs, falls to the ground when shoved, pulls up its knees, bruises, swells, drools, and bleeds.

Nothing has changed. Except the run of rivers, the shapes of forests, shores, deserts, and glaciers. The little soul roams among these landscapes, disappears, returns, draws near, moves away, evasive and a stranger to itself, now sure, now uncertain of its own existence, whereas the body is and is and is and has nowhere to go.

abandoned space elevator

[“In his extended study, Viet Cong, published in 1966, Pike went to some length to show that the success of the Viet Cong came not so much from their use of violence and terror (as many Americans assumed) but from their organizational methods. By 1970 he had given the subject a new emphasis. “Terror,” he said, “is an essential ingredient of nearly all [the Viet Cong's] programs.” And he went ahead to show his own colors:

A frank word is required here about “terror” on the other side, by the Government and Allied forces fighting in Viet-Nam. No one with any experience in Vietnam denies that troops, police and others commanding physical power, have committed excesses that are, by our working definition, acts of terror.… But there is an essential difference in such acts between the two sides, one of outcome or result. To the communist, terror has a utility and is beneficial to his cause, while to the other side the identical act is self-defeating. This is not because one side is made up of heroes and the other of villains. It is because, as noted above, terror is integral in all the communist tactics and programs and communists could not rid themselves of it even if they wanted to. Meanwhile, the other side firmly believes, even though its members do not always behave accordingly, that there is a vested interest in abstaining from such acts.

Interestingly, Pike's “working definition” of terror was the “systematic use of death, pain, fear and anxiety among the population (either civilian or military) for the deliberate purpose of coercing, manipulating, intimidating, punishing or simply frightening the helpless into submission.” And by that definition the entire American bombing policy in Vietnam, North and South, was a strategy of terror. Even within the narrower definition of “terror” as an unconventional, clandestine act of violence — an assassination or a satchel-charge bombing — the Allies had been using terror deliberately for a number of years through professionally trained paramilitary units such as the Special Forces and the Provincial Reconnaissance Units.

As head of the Psychological Warfare section, Pike knew this as well as anyone in Vietnam. Only he, like many Americans who backed the Vietnam War, ascribed the best of motives to the Americans and their allies, while laying all the evil at the door of the enemy. It was the same kind of bad faith and bad conscience that in 1967 inspired all the American rhetoric about “revolutionary development” and “building democracy” in Vietnam. It was the same kind of rhetoric that inspired the unrestricted use of violence upon the Vietnamese.”]

frances fitzgerald, from fire in the lake: the vietnamese and the americans in vietnam, 1972