When I defend Rachmaninoff from the people who say he has no subtlety, I feel the same way I do when defending Megumi from potential man slander.
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@kyu-rambles
When I defend Rachmaninoff from the people who say he has no subtlety, I feel the same way I do when defending Megumi from potential man slander.

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I am anti-sonder. I believe I am the only person in the world experiencing complex thought.
Someone just beat me in an argument, so now I think there are two people in the world experiencing complex thought.
Ryuunosuke Akutagawa: Self Concept, Grief, Purpose (As seen primarily through the Guild Arc)
Akutagawa's self concept is so interesting to me.
He uses the pronoun "yatsugare" (ĺ) to refer to himself and uses humble language (kenjougo) (čŹč˛čŞ) when speaking.
(people have pointed out that this might be a nod to the real life Akutagawa's writing style, which I find equally as charming as the other implications for his characterization) (I'm not at the level where I can read literature and actually understand it in japanese, so no comment there)
This pronoun, beside being arcaic, can sometimes be humilliative. He literally introduces himself as "a lowly guard dog of the port mafia". But he carries himself with dignity and clearly believes he is strong, as we see him talking about "worthy oponents" and how rare they are (like when he fights Kyouka, or the separated version of his ability, or when Atsushi shows improvement in his abilities and catches him off guard).
But this in itself is not a contradiction: He's costantly obsessing over proving himself to Dazai, wondering what he's lacking or what he hasn't done (properly, or at all) to earn his pride and recognition.
If he doesn't give himself some grace about the fact that he's stronger than most, he'll break, because he believes that weak people don't deserve to live. Additionally, if everything he's done doesn't get him to the level he wants, which is Dazai's unknown, impossible standard, at least let it get him somewhere above other people. His main reason for living is unreachable until god knows when, so his second reason can at least be the fact that he deserves to be there more than someone else, because he's more capable, more powerful, more valuable to whatever fight he's involved in at the moment.
Jujutsu Kaisen is the male power fantasy turned on its head (lmk if you want me to do a full analysis on this đ)
my impression of set theory as a field so far is that it primarily consists of doing roughly the same thing as those videos where someone finds out how much you can change the value of pi in the source code of doom before the game crashes
Set theorists: ok but what if we removed the axiom of choice
Zornâs lemma: goodbye

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Iâve noticed that something similar about Rachmaninoff and Mendelssohn (two of my personal favorite composers) is that they were not ahead of their time, but rather behind it. Mendelssohn was a Classical composer living in the Romantic era (well, heâs kind of a Romantic, but not in the way that Tchaikovsky, Schumann, or Chopin were Romantics), with some Romantic sensibilities. Rachmaninoff was a Romantic composer living in the modern era. But thatâs exactly what makes them great: they bring a perspective to the table that simply didnât exist before. Rachmaninoff witnessed the modern era, and as such, was actually able to write incredible Romantic music. Mendelssohn understood Romanticism, and he wove that understanding into his Classical writing.
Maybe Iâm just defending my favorites, but I honestly think that music is too myopic in the labels and boxes that we try to push composers and performers into. I think weâre moving away from this, and thatâs a great thing! From my understanding, much of this cultural shift towards structure in composition and labeling art and composers occurred after Beethoven. Everyone had to be like Beethoven. Write like Beethoven. Think like Beethoven. But I donât think Beethoven himself would have approved of this. I know heâs admired greatly for his mastery of structure and theory, and I donât mean to discount that. But ultimately, the greatest thing he did was kickstarting the Romantic movement (in music, at least; there was already a shift towards Romanticism in literature). And what is Romanticism about, after all? Itâs a pure, unadulterated effusion of the human soul. And the human soul isnât bound by labels and time periods.
This post honestly ended up more jumbled than I wanted đ but I donât know; I just wanted to get my thoughts out. Let me know what you think!
There is just something about being under warm lighting, struggling with math, and listening to nice piano pieces.
Like wow this is my life. Simple. Beautiful. Peaceful. Just me and the work. Doing the same things Einstein Newton Lagrange etc mustâve done.
Canât relate Iâm a âShostakovich and topologyâ type rather than a âMozart and Euclidean geometryâ type (Iâm mentally disturbed while theyâre sane)
Stop searching for meaning. Start creating it. (Osamu Dazai and the beauty of self-creation)
Weâre all searching for meaning in life; thereâs no doubt about that. Whether weâre trying to run from a âdespair inherent to life itselfâ or yearning for a âbright worldâ, weâre all desperate for a shred of meaning. What if I told you that thereâs no point in your search? That â[you] canât find anything in the end.â Well, thatâs exactly what the masterfully crafted character of Osamu Dazai is imploring you to understand.
Itâs clear from the beginning that Dazai experiences a profound, existential boredom. He joins the Port Mafia at age 14, thinking that heâll find his reason to live. And yet, all he does is âforce himself into an even darker place.â
Thus, he loses sight of his goal. He starts killing for killingâs sake, pretending he never believed in meaning in the first place, and openly abusing Akutagawa. His nihilism is displayed in a striking manner when heâs confronted with an enemy. He walks up to the enemy and encourages him to shoot him, suggesting with a peaceful smile that heâd like to wake from this âoxidizing world of a dream.â But beneath his extravagantly nihilistic facade, itâs clear that some part of him, deep inside, still yearns for meaning. Itâs why he holds so tightly to Odaâs friendship, why he laments that âeverything worth having is lost the moment [he] obtains it.â
âNothing in this world can fill the hole that is your loneliness. You will wander the darkness for eternity.â It seems that Dazai is doomed forever, and that he will never experience happiness or meaning. Except, maybe not. Despite all odds, he chooses to âbe on the side that saves people.â And for the first time, he finds a little bit of fulfillment. His cheerful front isnât just a mask (this isnât to say that heâs suddenly overcome his depression and loneliness, only that he now chooses a brighter life despite it). And itâs not because he suddenly, fortuitously finds meaning; in fact, he doesnât â ânothing beyond [his] own expectationsâ happens. He simply chooses what his meaning is, and that he wants to go after it. For the first time, Dazai doesnât wait for life to come knocking on his front door. He stands up, gets out that door, and chases after it himself.
In the end, meaning is simply what we define it to be. And Dazai begins to realize that as long as he relies on external circumstance for meaning, he will never find it. Because meaning isnât found. Itâs created. And once Dazai realizes that, heâs taking the first step down a long, arduous, and fiercely rewarding path. So, to you, the reader: what will you do? Will you take that step?
Thanks for reading!
Cave divers are our bravest, most useless soldiers
Workers of the world, unite!
Co-workers of the world, intersect!
De Morganâs laws go brrrr

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iâm sorry but the mischaracterization of satoru gojo sometimes makes me wanna scream into the void. people really love to take one scene, one line, and twist it into a whole narrative that doesnât even align with his core. like⌠are we even watching the same man??
HE DID NOT NEED A MORAL COMPASS. satoruâs been repressing his own desires since he was a child. a literal kid born with a power that couldâve destroyed everything around himâand yet, he didnât. he never misused it. not once. not even out of spite. not even when he had every right to feel angry and lash out.
and people still act like he was this walking weapon on the verge of snapping if someone didnât hold his leash. no. this is someone whoâs been raised with expectations no one else could ever comprehend, whoâs constantly chosen restraint, duty, and control even when itâs agonizing. and he makes those choices alone. over and over again.
i think people overlook how deeply internalized satoruâs moral compass already is. his âshould we kill them?â moment wasnât a breakdown of ethics. it was frustration, grief, anger. it was a TEENAGER who just saw someone he was protecting die in front of him, asking a friend for perspective. he wasnât lost. he wasnât about to burn the world. he was trying to process in real time. but people latch onto that line like itâs some confirmation that he needed someone to âsaveâ him from becoming a monster.
no, actually. he saves himself. again. and again. and again.
he chooses to teach. he chooses to protect. he chooses to carry the weight of reforming a broken systemâand yeah, he does fail sometimes. but that doesnât make him any less righteous. if anything, it shows how much he shoulders on his own.
like idk. maybe itâs just me but iâm over people reducing him to âa time bomb that only didnât go off because someone held his hand.â no. heâs the one who defuses himself. every single time. because he wants to do better. because he knows how powerful he is. because he cares.
satoru gojo isnât dangerous. heâs the strongestânot just in power, but in how fiercely he holds himself together. heâs been alone at the top his whole life, forced to carry the weight of a world that only ever demanded from him, never asked how he was. he didnât need saving because he was the safety net for everyone else. and even when it broke him, even when it hurt, he never turned cruel. never lost himself.
THATâS WHAT MAKES HIM SO SPECIAL.
not just that he couldâve gone darkâbut that he chose not to. again and again. that he stayed soft, and kind, and hopeful, even when he had every reason not to.
he deserves the world. and it kills me that he never got it đ
to find a counterexample you have to think like a counterexample
I'll be waiting for you
I love using and reading "we" in proofs and textbooks and what-have-you.
It feels a lot more personal and like I'm doing it with the other person, instead of either receiving diktats from on high, or issuing those diktats myself.
No because am I the only one who sees Jay Gatsby as a skinny blond dude and not some manly rizzler
Edit: I just saw Luhrmannâs The Great Gatsby and surprisingly, DiCaprio did a decent enough job with Gatsby. My real issue with the film is wHY IS IT SO OVERDONE AND UNSERIOUS WTH đđ also, I dislike that they made the ending far, far bleaker than it originally was.

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Thoughts on satosugu, strength, morality, and idealization. Or something like that.
Gojo and Geto idealized each other to the point that their bond was⌠kind of structurally poisoned even before their split. Geto sees Gojo as a pillar of inner strength, purity, and unwavering conviction â things that Geto lacks. Geto is sensitive, can be swayed by his emotions, and cracks under extreme pressure (not to mention the dark/almost evil streak we see in him even before he cracks). Gojo sees Geto as this lovely, beautiful, sentimental idealist, and is swept off his feet by this perception of him. Heâs consistently impressed by the way Geto sticks to his kind ideals (and the fact that Geto ends up not sticking to his kind ideals absolutely ruins Gojo â it ruins him even more than their split). Gojo (sort of) lacks these qualities, as heâs isolated and forced to live coldly, not afforded the luxury to care about love, feelings, or ideals. Thatâs a huge reason why their split is so monumental for the both of them, especially Gojo â they realize that neither was the idealized figure they imagined, and that makes them lose a part of themselves. But itâs also a huge driver of change for Gojo, and itâs why he decides to live with love and sentimental ideals, trying to create a better world for the youth and for everyone around him.
Geto is like a glass vase full of fragrant roses. Pleasant, pretty, and lovely (I keep coming back to the word âlovelyâ when describing him⌠is that telling of my interpretation? lol), but the roses will inevitably wilt, and the glass will shatter if dropped. The roses donât wilt despite being roses, and the glass doesnât shatter despite being glass. The roses wilt because they are roses, and the glass shatters because it is glass. Not to be excessively deterministic, but Geto carried the seeds of his own downfall â his kind, disciplined morality comes from the way he so ardently fought his own dark streak. But that fight against his predisposition, coupled with his trauma, breaks him in the end.
In contrast, Gojo actually has a strong predisposition for moral and philosophical thought; he just never got a chance to let it flourish. Thatâs why heâs so attracted to Geto, at least in part. Gojo has a strong intuitive grasp of Getoâs principles, but Geto is the one who can put it into words. And I think, when Gojo gives his rebuttals about how the strong should be able to live disregarding the weak, itâs more like heâs being a teenage dick, playing the devilâs advocate, and, in some strange way, trying to challenge the ideas about strength and power that he grew up with by trying to argue them ad absurdum.
And ultimately, Gojo does not crumble when Geto leaves. He easily could have â I mean, after Geto leaves, heâs left to deal with the fallout of that all by himself. And many others would have collapsed at that point, but Gojo doesnât; he chooses the right path. In the end, Gojo's strength comes from within. Not from his power, and not from Geto.
Thanks for reading! <3