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MrEasterrabbit

@mreasterrabbit

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Starcitizen Backer, Gamer, Filmfan, Musik, Technik

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follow before DunDun, bought at Release and his performance is outstanding #freeMae ✊🏻 by @mreasterrabbit

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9 days ago

If someone asks how i got that hot thing on my side

#howwemet #howimetmywife #couplehumor #relationshipmemes #angelvsdemon #summoning #funnyreels #relatable #couplegoals #reels by @mreasterrabbit

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11 days ago

241.200 Jahre. So lange sollen acht Könige vor der Sintflut regiert haben, 46-mal so lang, wie die Menschheit schreibt. So steht es auf dem Weld-Blundell-Prisma, der bekanntesten Fassung der Sumerischen Königsliste (um 1800 v. Chr.).

Verschlüsselte echte Jahre? Verdichtete Erinnerung? Gelehrte Konstruktion? Ich habe es geprüft: sechs Modelle, zehn Tests, Regeln und Code vor der Auswertung festgelegt.

→ Je weiter zurück, desto runder die Zahlen. Alle 33 Regierungszahlen vor der Flut sind Vielfache von 600. In den gut belegten späten Dynastien ist keine einzige durch 60 teilbar.
→ Derselbe König, Enmenduranna von Sippar, regiert je nach Tontafel 6.000, 7.200, 18.000, 21.000 oder 72.000 Jahre. Die Lesart als umgerechnete echte Zeit ist in ihrer vorab registrierten Form widerlegt.
→ Selbst die Reihenfolge der Städte ist nicht auf allen Tafeln gleich.

Fazit: Zahlen ohne Zeit. Die großen Zahlen sind Stilmittel, keine Messwerte. Namen und Orte sind die stabile Überlieferung.

Das ist ein Preprint und noch nicht begutachtet. Studie, Daten, Code und Präregistrierung sind frei verfügbar: doi.org/10.5281/zenodo.23125414 (Link in der Bio)

Transparenz: Die Analyse und die Texte sind mit Unterstützung von KI-Werkzeugen (Claude, ChatGPT) entstanden. Prüfung und Verantwortung liegen bei mir.

#Mesopotamien #Sumer #Sumerer #SumerischeKönigsliste #Keilschrift #Assyriologie #AlterOrient #Antike #Sintflut #Geschichte #Archäologie #Wissenschaft #Forschung #OpenScience #Präregistrierung #Assyriology #Cuneiform #AncientHistory by @mreasterrabbit

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12 days ago

241,200 years. That is how long eight kings are said to have ruled before the Flood: 46 times as long as humans have been writing. So says the Weld-Blundell Prism, the best-known copy of the Sumerian King List (c. 1800 BC).

Encoded real years? Compressed memory? Scholarly construct? I put it to the test: six models, ten tests, with rules and code fixed before the analysis.

→ The older, the rounder. All 33 reign lengths before the Flood are multiples of 600. In the well-attested later dynasties, not a single one is even divisible by 60.
→ One king, Enmenduranna of Sippar, reigns 6,000, 7,200, 18,000, 21,000 or 72,000 years depending on the tablet. Reading the numbers as converted real time is refuted in its preregistered form.
→ Even the order of cities differs between tablets.

Conclusion: numbers without time. The huge figures are a stylistic device, not measurements. Names and places are the stable core of the tradition.

Preprint, not yet peer-reviewed. Study, data, code and preregistration are openly available: doi.org/10.5281/zenodo.23125414 (link in bio)

Images: illustrations. Transparency: analysis and texts were produced with the help of AI tools (Claude, ChatGPT); verification and responsibility are mine.

#SumerianKingList #Sumer #Mesopotamia #Cuneiform #Assyriology #AncientNearEast #AncientHistory #Archaeology #History #Flood #OpenScience #Preregistration #Science #Research by @mreasterrabbit

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12 days ago

241,200 years. That is how long eight kings are said to have ruled before the Flood: 46 times as long as humans have been writing. So says the Weld-Blundell Prism, the best-known copy of the Sumerian King List (c. 1800 BC).

Encoded real years? Compressed memory? Scholarly construct? I put it to the test: six models, ten tests, with rules and code fixed before the analysis.

→ The older, the rounder. All 33 reign lengths before the Flood are multiples of 600. In the well-attested later dynasties, not a single one is even divisible by 60.
→ One king, Enmenduranna of Sippar, reigns 6,000, 7,200, 18,000, 21,000 or 72,000 years depending on the tablet. Reading the numbers as converted real time is refuted in its preregistered form.
→ Even the order of cities differs between tablets.

Conclusion: numbers without time. The huge figures are a stylistic device, not measurements. Names and places are the stable core of the tradition.

Preprint, not yet peer-reviewed. Study, data, code and preregistration are openly available: doi.org/10.5281/zenodo.23125414 (link in bio)

Images: illustrations. Transparency: analysis and texts were produced with the help of AI tools (Claude, ChatGPT); verification and responsibility are mine.

#SumerianKingList #Sumer #Mesopotamia #Cuneiform #Assyriology #AncientNearEast #AncientHistory #Archaeology #History #Flood #OpenScience #Preregistration #Science #Research by @mreasterrabbit

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12 days ago

by @mreasterrabbit

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19 days ago

Ich habe mich in letzter Zeit viel mit den Skulpturen von Antonio Canova beschäftigt – mit dieser unglaublichen Leichtigkeit und Eleganz im Stein. Und ich frage mich: Wie würde diese Ästhetik eigentlich vierhändig auf der Orgel klingen? Welchen Raum würde das öffnen?
Was haltet ihr von der Idee? @Constanze_Hochwartner und @annahlavka 💡
Kann man die Formensprache bildender Kunst in Registrierungen und Bewegung übersetzen? Ich bin gespannt auf eure Gedanken dazu! taken in Nimburg, Baden-Wurttemberg, Germany by @mreasterrabbit

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20 days ago

by @mreasterrabbit

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a month ago

A song, turned into an object.

No shape is drawn here. The music is split into nine frequency bands, and each one injects a vortex into an incompressible 3D flow — bass gets wide slow swirls, treble gets tight fast ones, every onset fires a pulse. The fluid remembers: a note gets carried, stretched and folded long after it stopped playing.

While it runs, the solver builds a small geometric tensor at every point from the dye gradient, the velocity and the vorticity, and measures how far it sits from being isotropic. That number steers how the flow dissipates — noise gets smoothed away, coherent filaments survive.

What accumulates isn't density, it's where actual vortex cores lived. Threshold it and you get a surface: one connected piece, genus 7, exported to STL.

Two honest notes. The lattice and the five-fold symmetry in the last clips are mine, not the song's — they're applied afterwards. And nothing here is a claim about physics; it borrows the mathematical shape of an entropy-based construction, not its physical content.

Built in Python and WebGL. Sound is my own.

#generativeart #creativecoding #fluidsimulation #navierstokes #computationalart #proceduralart #mathart #simulation #generativedesign #3dprinting #scientificvisualization #audioreactive by @mreasterrabbit

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a month ago

A song, turned into an object.

No shape is drawn here. The music is split into nine frequency bands, and each one injects a vortex into an incompressible 3D flow — bass gets wide slow swirls, treble gets tight fast ones, every onset fires a pulse. The fluid remembers: a note gets carried, stretched and folded long after it stopped playing.

While it runs, the solver builds a small geometric tensor at every point from the dye gradient, the velocity and the vorticity, and measures how far it sits from being isotropic. That number steers how the flow dissipates — noise gets smoothed away, coherent filaments survive.

What accumulates isn't density, it's where actual vortex cores lived. Threshold it and you get a surface: one connected piece, genus 7, exported to STL.

Two honest notes. The lattice and the five-fold symmetry in the last clips are mine, not the song's — they're applied afterwards. And nothing here is a claim about physics; it borrows the mathematical shape of an entropy-based construction, not its physical content.

Built in Python and WebGL. Sound is my own.

#generativeart #creativecoding #fluidsimulation #navierstokes #computationalart #proceduralart #mathart #simulation #generativedesign #3dprinting #scientificvisualization #audioreactive by @mreasterrabbit

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a month ago

A song, turned into an object.

No shape is drawn here. The music is split into nine frequency bands, and each one injects a vortex into an incompressible 3D flow — bass gets wide slow swirls, treble gets tight fast ones, every onset fires a pulse. The fluid remembers: a note gets carried, stretched and folded long after it stopped playing.

While it runs, the solver builds a small geometric tensor at every point from the dye gradient, the velocity and the vorticity, and measures how far it sits from being isotropic. That number steers how the flow dissipates — noise gets smoothed away, coherent filaments survive.

What accumulates isn't density, it's where actual vortex cores lived. Threshold it and you get a surface: one connected piece, genus 7, exported to STL.

Two honest notes. The lattice and the five-fold symmetry in the last clips are mine, not the song's — they're applied afterwards. And nothing here is a claim about physics; it borrows the mathematical shape of an entropy-based construction, not its physical content.

Built in Python and WebGL. Sound is my own.

#generativeart #creativecoding #fluidsimulation #navierstokes #computationalart #proceduralart #mathart #simulation #generativedesign #3dprinting #scientificvisualization #audioreactive by @mreasterrabbit

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a month ago

Nine frequency bands. Nine vortices. One object.

The music doesn't draw this shape — it stirs a fluid. Every onset injects a vortex ring. The phase difference between the left and right channel decides where it lands. Bass gets wide, slow swirls; treble gets small fast ones.

Over 36 seconds the flow leaves a trace, and that trace hardens into a surface. The last panel is a real isosurface from a 3D Navier-Stokes run — not a render of an idea. It exports as an STL and prints.

Track is my own, made with Suno.

#generativeart #creativecoding #fluidsimulation #audioreactive #proceduralart #computationalart #mathart #simulation #newmediaart #pythonart by @mreasterrabbit

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a month ago