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Nick East (Indie Writer)
Nick East (Indie Writer)
@NickEast_IndieWriter@mastodon.art  ·  activity timestamp 2 days ago
Years ago, my Mother-in-law began reading, "The Exorcist". She said it was the most evil book she ever read. So evil in fact, she couldn't finish it, took it over to the beach and threw it into the ocean off a fishing pier. | went and bought another copy, ran the faucet over it and left it in the night table drawer by her bed. My Father-in-law said that night was the first time she ever screamed and fainted. I'm going to Hell, but I'll go laughing.
Years ago, my Mother-in-law began reading, "The Exorcist". She said it was the most evil book she ever read. So evil in fact, she couldn't finish it, took it over to the beach and threw it into the ocean off a fishing pier. | went and bought another copy, ran the faucet over it and left it in the night table drawer by her bed. My Father-in-law said that night was the first time she ever screamed and fainted. I'm going to Hell, but I'll go laughing.
Years ago, my Mother-in-law began reading, "The Exorcist". She said it was the most evil book she ever read. So evil in fact, she couldn't finish it, took it over to the beach and threw it into the ocean off a fishing pier. | went and bought another copy, ran the faucet over it and left it in the night table drawer by her bed. My Father-in-law said that night was the first time she ever screamed and fainted. I'm going to Hell, but I'll go laughing.
Nick East (Indie Writer)
Nick East (Indie Writer)
@NickEast_IndieWriter@mastodon.art  ·  activity timestamp 2 days ago
Years ago, my Mother-in-law began reading, "The Exorcist". She said it was the most evil book she ever read. So evil in fact, she couldn't finish it, took it over to the beach and threw it into the ocean off a fishing pier. | went and bought another copy, ran the faucet over it and left it in the night table drawer by her bed. My Father-in-law said that night was the first time she ever screamed and fainted. I'm going to Hell, but I'll go laughing.
Years ago, my Mother-in-law began reading, "The Exorcist". She said it was the most evil book she ever read. So evil in fact, she couldn't finish it, took it over to the beach and threw it into the ocean off a fishing pier. | went and bought another copy, ran the faucet over it and left it in the night table drawer by her bed. My Father-in-law said that night was the first time she ever screamed and fainted. I'm going to Hell, but I'll go laughing.
Years ago, my Mother-in-law began reading, "The Exorcist". She said it was the most evil book she ever read. So evil in fact, she couldn't finish it, took it over to the beach and threw it into the ocean off a fishing pier. | went and bought another copy, ran the faucet over it and left it in the night table drawer by her bed. My Father-in-law said that night was the first time she ever screamed and fainted. I'm going to Hell, but I'll go laughing.
Alexandre Dulaunoy
Alexandre Dulaunoy
@adulau@infosec.exchange  ·  activity timestamp 2 weeks ago
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
phildini boosted
Dilman Dila
Dilman Dila
@dilmandila@mograph.social  ·  activity timestamp 2 weeks ago
Roughly a month after returning from Alabama, two FBI agents knocked on my door, wearing beige raincoats, badges in hand. The FBI—I was thrilled. Just like on television, I thought. After a few preliminaries, they asked what I thought of Marx. I said I had never met him. Not surprisingly, this Ugandan Muyindi had never heard of Karl Marx. “He’s dead.” I said, “I'm sorry, what happened?” “No, he died long ago.” I wondered why, then, the question. “Why, then, are you asking me?” They said that Marx believed that the money of rich people should be taken away and distributed to poor people. I said it sounded like a fine idea! At that point, they seemed to decide there was little point in continuing the conversation, and they left. That, however, was not the end of the story. I went to the library to look up Marx. Later, I would remind myself: the FBI intro- duced me to Karl Marx! This was 1965. It would mark my entry point into the civil rights movement. There was a student organization at the university called
Roughly a month after returning from Alabama, two FBI agents knocked on my door, wearing beige raincoats, badges in hand. The FBI—I was thrilled. Just like on television, I thought. After a few preliminaries, they asked what I thought of Marx. I said I had never met him. Not surprisingly, this Ugandan Muyindi had never heard of Karl Marx. “He’s dead.” I said, “I'm sorry, what happened?” “No, he died long ago.” I wondered why, then, the question. “Why, then, are you asking me?” They said that Marx believed that the money of rich people should be taken away and distributed to poor people. I said it sounded like a fine idea! At that point, they seemed to decide there was little point in continuing the conversation, and they left. That, however, was not the end of the story. I went to the library to look up Marx. Later, I would remind myself: the FBI intro- duced me to Karl Marx! This was 1965. It would mark my entry point into the civil rights movement. There was a student organization at the university called
Roughly a month after returning from Alabama, two FBI agents knocked on my door, wearing beige raincoats, badges in hand. The FBI—I was thrilled. Just like on television, I thought. After a few preliminaries, they asked what I thought of Marx. I said I had never met him. Not surprisingly, this Ugandan Muyindi had never heard of Karl Marx. “He’s dead.” I said, “I'm sorry, what happened?” “No, he died long ago.” I wondered why, then, the question. “Why, then, are you asking me?” They said that Marx believed that the money of rich people should be taken away and distributed to poor people. I said it sounded like a fine idea! At that point, they seemed to decide there was little point in continuing the conversation, and they left. That, however, was not the end of the story. I went to the library to look up Marx. Later, I would remind myself: the FBI intro- duced me to Karl Marx! This was 1965. It would mark my entry point into the civil rights movement. There was a student organization at the university called
Alexandre Dulaunoy
Alexandre Dulaunoy
@adulau@infosec.exchange  ·  activity timestamp 2 weeks ago
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
Dilman Dila
Dilman Dila
@dilmandila@mograph.social  ·  activity timestamp 2 weeks ago
Roughly a month after returning from Alabama, two FBI agents knocked on my door, wearing beige raincoats, badges in hand. The FBI—I was thrilled. Just like on television, I thought. After a few preliminaries, they asked what I thought of Marx. I said I had never met him. Not surprisingly, this Ugandan Muyindi had never heard of Karl Marx. “He’s dead.” I said, “I'm sorry, what happened?” “No, he died long ago.” I wondered why, then, the question. “Why, then, are you asking me?” They said that Marx believed that the money of rich people should be taken away and distributed to poor people. I said it sounded like a fine idea! At that point, they seemed to decide there was little point in continuing the conversation, and they left. That, however, was not the end of the story. I went to the library to look up Marx. Later, I would remind myself: the FBI intro- duced me to Karl Marx! This was 1965. It would mark my entry point into the civil rights movement. There was a student organization at the university called
Roughly a month after returning from Alabama, two FBI agents knocked on my door, wearing beige raincoats, badges in hand. The FBI—I was thrilled. Just like on television, I thought. After a few preliminaries, they asked what I thought of Marx. I said I had never met him. Not surprisingly, this Ugandan Muyindi had never heard of Karl Marx. “He’s dead.” I said, “I'm sorry, what happened?” “No, he died long ago.” I wondered why, then, the question. “Why, then, are you asking me?” They said that Marx believed that the money of rich people should be taken away and distributed to poor people. I said it sounded like a fine idea! At that point, they seemed to decide there was little point in continuing the conversation, and they left. That, however, was not the end of the story. I went to the library to look up Marx. Later, I would remind myself: the FBI intro- duced me to Karl Marx! This was 1965. It would mark my entry point into the civil rights movement. There was a student organization at the university called
Roughly a month after returning from Alabama, two FBI agents knocked on my door, wearing beige raincoats, badges in hand. The FBI—I was thrilled. Just like on television, I thought. After a few preliminaries, they asked what I thought of Marx. I said I had never met him. Not surprisingly, this Ugandan Muyindi had never heard of Karl Marx. “He’s dead.” I said, “I'm sorry, what happened?” “No, he died long ago.” I wondered why, then, the question. “Why, then, are you asking me?” They said that Marx believed that the money of rich people should be taken away and distributed to poor people. I said it sounded like a fine idea! At that point, they seemed to decide there was little point in continuing the conversation, and they left. That, however, was not the end of the story. I went to the library to look up Marx. Later, I would remind myself: the FBI intro- duced me to Karl Marx! This was 1965. It would mark my entry point into the civil rights movement. There was a student organization at the university called
Bevan Thomas
Bevan Thomas
@bevanthomas@mstdn.ca  ·  activity timestamp 3 weeks ago
willowbl00 boosted
merlin / alex glow
merlin / alex glow
@alexglow@chaos.social  ·  activity timestamp 4 weeks ago
Nick East (Indie Writer)
Nick East (Indie Writer)
@NickEast_IndieWriter@mastodon.art  ·  activity timestamp 3 weeks ago
Post by prokopetz Death of the author: Treating the author's stated interpretation of their own work as merely one opinion among many, rather than the authoritative Word of God. Disappearance of the author: Treating the context and circumstances of the work's authorship as entirely irrelevant with respect to its interpretation, as though the work had popped into existence fully formed just moments ago. Taxidermy of the author: Working backwards from a particular interpretation of the work to draw conclusions about what the context and circumstances of its authorship must have been. Undeath of the author: Holding the author personally responsible for every possible reading of their work, even ones they could not reasonably have anticipated at the time of its authorship. Frankenstein's Monster of the author: Drawing conclusions about authorial intent based on elements that are present only in subsequent adaptations by other authors. Weekend at Bernie's of the author: Insisting that the author would personally endorse your interpretation of the work if they happened to be present. Reply by bugbastard | thought this was going to be a joke, but these are all very real things you see people do. Reply by prokopetz I'm never more serious than when I'm joking.
Post by prokopetz Death of the author: Treating the author's stated interpretation of their own work as merely one opinion among many, rather than the authoritative Word of God. Disappearance of the author: Treating the context and circumstances of the work's authorship as entirely irrelevant with respect to its interpretation, as though the work had popped into existence fully formed just moments ago. Taxidermy of the author: Working backwards from a particular interpretation of the work to draw conclusions about what the context and circumstances of its authorship must have been. Undeath of the author: Holding the author personally responsible for every possible reading of their work, even ones they could not reasonably have anticipated at the time of its authorship. Frankenstein's Monster of the author: Drawing conclusions about authorial intent based on elements that are present only in subsequent adaptations by other authors. Weekend at Bernie's of the author: Insisting that the author would personally endorse your interpretation of the work if they happened to be present. Reply by bugbastard | thought this was going to be a joke, but these are all very real things you see people do. Reply by prokopetz I'm never more serious than when I'm joking.
Post by prokopetz Death of the author: Treating the author's stated interpretation of their own work as merely one opinion among many, rather than the authoritative Word of God. Disappearance of the author: Treating the context and circumstances of the work's authorship as entirely irrelevant with respect to its interpretation, as though the work had popped into existence fully formed just moments ago. Taxidermy of the author: Working backwards from a particular interpretation of the work to draw conclusions about what the context and circumstances of its authorship must have been. Undeath of the author: Holding the author personally responsible for every possible reading of their work, even ones they could not reasonably have anticipated at the time of its authorship. Frankenstein's Monster of the author: Drawing conclusions about authorial intent based on elements that are present only in subsequent adaptations by other authors. Weekend at Bernie's of the author: Insisting that the author would personally endorse your interpretation of the work if they happened to be present. Reply by bugbastard | thought this was going to be a joke, but these are all very real things you see people do. Reply by prokopetz I'm never more serious than when I'm joking.
alxd of Story Seed Library
alxd of Story Seed Library
@alxd@writing.exchange  ·  activity timestamp 3 weeks ago