before the vows
[pre-embrace harriet . vtm]

if i look back, i am lost

blake kathryn
art blog(derogatory)
Misplaced Lens Cap

oozey mess
Jules of Nature
I'd rather be in outer space đ¸
đŞź

pixel skylines
he wasn't even looking at me and he found me
"I'm Dorothy Gale from Kansas"

romaâ
One Nice Bug Per Day
Sade Olutola

shark vs the universe
occasionally subtle

PR's Tumblrdome
h
Lint Roller? I Barely Know Her

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@isitinkorisitblood
before the vows
[pre-embrace harriet . vtm]

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Things don't have purposes, as if the universe were a machine, where every part has a useful function. What's the function of a galaxy? I don't know if our life has a purpose and I don't see that it matters. What does matter is that we're a part. Like a thread in a cloth or a grass-blade in a field. It is and we are. What we do is like wind blowing on the grass.
âUrsula K. Le Guin, The Lathe of Heaven
RenĂŠ Lalique Serpent Pectoral Pendant designed around 1899.
Now, Crookshanks with his rightful owner

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Now, Crookshanks with his rightful owner
Look at that little face!!! đ
She got the idea for the study while walking with her advisor at Stanford to discuss her thesis topic, and the paper she eventually published in the Journal of Experimental Psychology in 2014 is sharp enough that it should have ended the seated meeting on the day it came out.
She ran 4 experiments on 176 people. Same person tested twice. Once sitting, once walking. The creativity tasks were the standard ones psychologists have used for decades to measure how good a brain is at generating novel useful ideas.
81% of participants in the first experiment produced more creative ideas while walking than while sitting. In the second experiment, 88%. In the third, 100%. Every single person walked into a more creative version of themselves. On average, people generated 60% more novel useful ideas the moment their legs started moving.
The skeptical question is the obvious one. Maybe it was the fresh air. Maybe it was the scenery passing by. Maybe it was the change of environment doing the work, not the walking itself.
Oppezzo killed every one of those explanations with one experimental decision. She put people on a treadmill facing a blank wall. No scenery. No fresh air. No environmental change. Just legs moving in place while staring at white drywall. The 60% boost held.
Then she ran the experiment that closed the case completely. She took participants outside in two conditions. Half of them walked through a Stanford courtyard. The other half were pushed through the exact same courtyard in a wheelchair. Same outdoor stimulation. Same scenery passing at the same speed. The only difference was whether the legs were moving.
The walkers produced dramatically more novel high-quality ideas than the wheelchair group. The outdoors did almost nothing on its own. The walking did everything.
She also tested the opposite kind of thinking. Convergent thinking. The kind where there is one right answer and you have to narrow down to it. Word puzzles where 3 words share a hidden fourth word that connects them. The seated participants did slightly better on these. Walkers got slightly worse.
Walking is not a general intelligence enhancer. It does one specific thing. It opens up the divergent search inside your brain. The part that generates options. The part that produces unexpected connections. The part that takes a problem and finds five ways into it instead of one.
When you need to converge on the single right answer, sit down. When you need to find the answer in the first place, get up.
The mechanism is now well understood. Walking selectively activates what neuroscientists call the default mode network, the system inside your brain that runs when you are not consciously focused on anything. The DMN is where mind-wandering happens. Where memories cross-reference each other. Where ideas that have been sitting in separate folders inside your head finally bump into each other.
When you sit at a desk and force yourself to concentrate, you suppress the DMN. When you walk at a natural pace, the executive part of your brain gets just busy enough handling the walking that the DMN comes online and starts doing the work that focus was blocking.
The most useful finding in the entire paper is the one almost nobody quotes. The boost did not turn off the moment people stopped walking. Participants who walked first and then sat back down stayed elevated. Their next round of seated creativity work was still significantly better than people who had been sitting the whole time. The rest lingered for at least several minutes after the legs stopped moving.
You do not need to do creative work while walking. You need to walk before the creative work. The brain holds the state.
Edited down a long tweet. (x)
She got the idea for the study while walking with her advisor at Stanford to discuss her thesis topic, and the paper she eventually published in the Journal of Experimental Psychology in 2014 is sharp enough that it should have ended the seated meeting on the day it came out.
She ran 4 experiments on 176 people. Same person tested twice. Once sitting, once walking. The creativity tasks were the standard ones psychologists have used for decades to measure how good a brain is at generating novel useful ideas.
81% of participants in the first experiment produced more creative ideas while walking than while sitting. In the second experiment, 88%. In the third, 100%. Every single person walked into a more creative version of themselves. On average, people generated 60% more novel useful ideas the moment their legs started moving.
The skeptical question is the obvious one. Maybe it was the fresh air. Maybe it was the scenery passing by. Maybe it was the change of environment doing the work, not the walking itself.
Oppezzo killed every one of those explanations with one experimental decision. She put people on a treadmill facing a blank wall. No scenery. No fresh air. No environmental change. Just legs moving in place while staring at white drywall. The 60% boost held.
Then she ran the experiment that closed the case completely. She took participants outside in two conditions. Half of them walked through a Stanford courtyard. The other half were pushed through the exact same courtyard in a wheelchair. Same outdoor stimulation. Same scenery passing at the same speed. The only difference was whether the legs were moving.
The walkers produced dramatically more novel high-quality ideas than the wheelchair group. The outdoors did almost nothing on its own. The walking did everything.
She also tested the opposite kind of thinking. Convergent thinking. The kind where there is one right answer and you have to narrow down to it. Word puzzles where 3 words share a hidden fourth word that connects them. The seated participants did slightly better on these. Walkers got slightly worse.
Walking is not a general intelligence enhancer. It does one specific thing. It opens up the divergent search inside your brain. The part that generates options. The part that produces unexpected connections. The part that takes a problem and finds five ways into it instead of one.
When you need to converge on the single right answer, sit down. When you need to find the answer in the first place, get up.
The mechanism is now well understood. Walking selectively activates what neuroscientists call the default mode network, the system inside your brain that runs when you are not consciously focused on anything. The DMN is where mind-wandering happens. Where memories cross-reference each other. Where ideas that have been sitting in separate folders inside your head finally bump into each other.
When you sit at a desk and force yourself to concentrate, you suppress the DMN. When you walk at a natural pace, the executive part of your brain gets just busy enough handling the walking that the DMN comes online and starts doing the work that focus was blocking.
The most useful finding in the entire paper is the one almost nobody quotes. The boost did not turn off the moment people stopped walking. Participants who walked first and then sat back down stayed elevated. Their next round of seated creativity work was still significantly better than people who had been sitting the whole time. The rest lingered for at least several minutes after the legs stopped moving.
You do not need to do creative work while walking. You need to walk before the creative work. The brain holds the state.
Edited down a long tweet. (x)
Hi - a new reader of smoke signals here - and what a gift it has been to us all! Thank you so much for creating such an incredible piece of work, truly. I don't know if anyone's ever asked you before, but you mention you're a grad student - has this informed your writing process in anyway? :)
What a lovely question. Doing a PhD has shaped the writing in many ways I was conscious of and some ways I've only noticed in retrospect. The conscious ways first: the author's notes are basically a direct product of my academic training. When I'm writing a scene about Hermione in the Wizengamot, I'm also thinking about Foucault's argument that the public punishment is a carefully maintained political ritual. I can't unknow that I'm thinking it, so I put it in the notes (because in fanfiction, I can do anything! I can break any rule! It's so difference from academia in that way). My research chops have also been genuinely useful in looking into post-WWII German reconstruction, which directly informed how I wrote the wizarding world's post-war ideological landscape (specifically, the way fascist sympathizers survive a regime's defeat by becoming suddenly moderate and cooperative and conveniently interested in moving on). Selwyn is a character I could only write because I'd spent a full semester reading about denazification and how thoroughly it failed. The banality of evil is all over Part III.
The less pretty part of this answer is that academia has also given me some bad habits I've had to actively fight. Graduate school rewards a very specific kind of writing, which is genuinely terrible for writing action sequences or letting a joke be a joke. There's also something that academia does to your relationship with completion that I find very recognizable in how I write. A dissertation is never finished (we joke that instead, it's abandoned at the deadline). You can always read one more source, qualify one more claim, address one more gap. I think Smoke Signals has that quality. It keeps finding new things to be about. Five chapters from the end and I'm still discovering what it's trying to say, which is either a sign of a living, breathing piece of work or a sign that I need a stricter Smoke Signals dissertation committee, though it's probably both.
The thing academia gave me that I'm most grateful for, though, is permission to take the project seriously. Literary fiction takes itself seriously. Genre fiction is often embarrassed about itself, required to be either apologetic or defensively anti-intellectual about what it's doing. Having spent years in an environment where ideas are the primary currency gave me the confidence to write this story both without apology and with full confidence that this form is capable of the same ambitions as any other form, and that Hermione Granger and Draco Malfoy are a sufficient subject for a serious literary and political argument. I believe that and I wanted to prove it. Whether I have or not is for you to decide, but the wanting came directly from the academic world's insistence that rigorous engagement with a text, any text, is always worthwhile.
Thank you for asking, and thank you, always, for reading. xoxo Blue
this is from "research as a leisure activity" by celine nguyen, publs. on stubstack in 2024. it's a very good read
[Image description: The idea of research as leisure activity has stayed with me because it seems to describe a kind of intellectual inquiry that comes from idiosyncratic passion and interest. It's not about the formal credentials. It's fundamentally about play. It seems to describe a life where it's just fun to be reading, learning, writing and collaborating on ideas. ("research as leisure activity" is in bold. "Play" and "fun" are in italics.) /end ID]

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ALFRED JOSEPH CASSON (1898-1992)
Unknown Artist, "Porte Veine", 1913.
I finally finished my watercolor portrait series
So here they all are
Death didn't fit in this post TT but you can see him in my post below
The thing about fanfiction after writing original fiction for so long is that it feels like taking weighted clothes off. If I wanted a cool plot twist or a reveal or a mystery I had to set up all the expectations myself. I had to set up the red herrings, the clues, the boundaries of what was reasonable.
In fanfiction I drop a name from canon I never referenced before and it will carry the weight that a hundred pages of set up would carry in original fiction.
Do you have any fucking idea how intoxicating that is.
The shared language of a fandom in fanfiction is so amazingly conducive to a type of story telling that we lost when public domain was gutted as a legal concept. And itâs such a thrilling way to make stories and I weep for how rare it is to encounter.
Like you sort of get a ghoulish attempt with star wars style âlook itâs revanâ but itâs still only a handful of people who get to play. With fandom everyone gets to play with the full toolbox, with infinite chances to try.
Itâs striking me really hard after reading this postâso much of what is considered the ~canon~ of western literature really arises out of this situation where everyone who wrote (i.e. a tiny minority of educated men and the very very rare educated woman) was operating with a common set of referents. There were just so few books, back then, and if you were educated enough to write, those were the books you had read, and that your teachers had read and told you about. Everyone got the same references.
We talk about the Divine Comedy being Bible fanfic and so forth, but it really was in a way we donât always articulateâit wasnât just that it was repurposing other stories the author had read. It was the product of an author who felt himself a part of a community that had this shared set of referents. He only had to allude to things, and his intended readers knew all of the context. Being in modern fandom allows us to be part of a community that likewise shares a canon and shares references and influences, something that is increasingly lost in modern copyrighted fiction where everyone is constantly desperate to be original.
If you're writing 18th century dialogue, this website lets you search words and phrases to double-check whether they were in use & meant what you intend. It doesn't include every period-accurate use of a word/phrase, but it certainly helped me separate genuine 18th century grammar from the vague tangle of đŹold-fashioned fancy-speakđŹ I've internalized from TV and video games.
Other websites that let you do this:
Johnson's Dictionary Online (thanks @yellowbelliedtoad!) â 1755 and 1773
Green's Dictionary of Slang â 1300s to today
A Classical Dictionary of the Vulgar Tongue â 1788
Feraud's Dictionaire critique de la langue française â 1778
A dictionary of the English and Italian languages by Giuseppe Baretti is a bilingual dictionary from 1790!
@esta-elavaris
Oh I LOVE this - thank you for the tag. I swear 90% of my Google history is word etymologies so I can find out if my choices are viable đđ
Thank you!!

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Leatherwork patterns/designs from Le Cuir: Compositions Decoratives by Jehan Raymond, 1908.
Luna at the Mirror
fanfic: Lunar Sanctum, ch. âAwakeningâ