Chiara C. Rizzarda's Blog, page 25

#Spooktober 17: The Poor Ghost

“Oh whence do you come, my dear friend, to me,
With your golden hair all fallen below your knee,
And your face as white as snowdrops on the lea,
And your voice as hollow as the hollow sea?

“From the other world I come back to you,
My locks are uncurled with dripping drenching dew.
You know the old, whilst I know the new:
But to-morrow you shall know this too.”

“Oh not to-morrow into the dark, I pray;
Oh not to-morrow, too soon to go away
Here I feel warm and well-content and gay:
Give me another year, another day.”

“Am I so changed in a day and a night
That mine own only love shrinks from me with fright,
Is fain to turn away to left or right
And cover up his eyes from the sight?”

“Indeed I loved you, my chosen friend,
I loved you for life, but life has an end;
Through sickness I was ready to tend:
But death mars all, which we cannot mend.

“Indeed I loved you; I love you yet.
If you will stay where your bed is set,
Where I have planted a violet
Which the wind waves, which the dew makes wet.”

“Life is gone, then love too is gone,
It was a reed that I leant upon:
Never doubt I will leave you alone
And not wake you rattling bone with bone.

“I go home alone to my bed,
Dug deep at the foot and deep at the head,
Roofed in with a load of lead,
Warm enough for the forgotten dead.

“But why did your tears soak through the clay,
And why did your sobs wake me where I lay?
I was away, far enough away:
Let me sleep now till the Judgment Day.”

Christina Rossetti wrote “The Poor Ghost” in 1859.

The Autodesk University Journal – Day 1

Well, my class came and went and it was awesome. Not the delivery, I mean — I’ll leave that judgement to the participants — but I had a blast delivering it and my audience was wonderful. I think I was really able to articulate the key points between the complexity of designing for climate change, the possibilities and shortcomings of participatory planning, and how LEGO Serious Play might fit into that.

Beside that, I’m really happy. Attending a conference is always fulfilling and inspiring, and Autodesk University still undoubtedly is the top tier of its kind.

But you don’t want to hear about that: you want to know what I saw and learned, so let’s get to that.

1. Autodesk is using your data

I encourage you to go on-line and watch the opening session, when it will be available, and jump to the point where Raji Arasu, Autodesk’s CTO, talks about how Autodesk is developing their AI assistant. It can be summarized as follows:

Yes, we’re using your data;Let’s address your concerns (except she doesn’t do that);Your data is aggregated with other user’s data, so you don’t lose your intellectual property (no shit, Sherlock, that’s not the point);Your data alone wouldn’t be enough for you to develop your in-house AI (again, no shit for generalist, generative AI, but potentially not so true for other applications), so you need to give it to us for your own good;When the system will be ready (using your data), you’ll be able to opt-out from its functionalities (which we developed using your data) and we’ll stop using your data (which we won’t need anymore).

A bright future awaits us all. And i just want to remind you that Adobe tried a similar approach, except their customer base ate their faces off and they had to roll back. I don’t see it happening here.

The “good” news is that Autodesk’s AI still looks non-existent. Project Bernini still looks like a toy and its chairs are groctesque.

According to Autodesk’s CEO Andrew Anagnost, this is because we’re still in the hype stage. Except… are we? The winter of AI came and went, buddy, and genAI, for good or worst, is already productive. Maybe, just maybe, it’s not AI. Maybe it’s you who’s falling behind.

2. Everybody wants to talk about AI

But all everybody does seems to be talking. I have a couple of classes I’ll attend tomorrow on the topic, including Yael Netser and Michal Burshtein’s class on ethics, and we’ll see if that changes.

For now, all I saw was people standing in line to have their picture taken and their faces transformed into a superhero by AI, which is how these systems are trained. And they paid 2000 dollars to do it.

3. Empathy, Equity and Inclusion

These are big, this year. The highlights in my agenda for day one have been Nadia Simanjuntak and Michelle Weskler, who talked about a people-centric approach to change management during a planned transition from BIM360 to ACC, and Laura Kalinowski with Amy Porter’s contribution to strengthening the connection between our industry and STEM programs for girls. I would have liked this to be a little more in-depth on how they do what they do, but I’ll try to reach out and see if they’re interested in having an Italian volunteer as a mentor or lecturer. Their programs are Maker Girl Mania and Tech Girls.

4. Dynamo is still rolling

It might be because people are still going around with Dynamo tattooes from Day 0’s hackaton, but the community’s enthusiasm for our favourite (and only) visual programming tool doesn’t seem to have faded.

Huge kudos to the awesome Enrique Galicia, who will tell you about everyone else’s scripts, mention his own only when you ask, and when you tell him the concept sounds awesome will tell you “Yeah, we won.” Never change.

What’s for today?

AI, diversity, students building a rocket and a couple of keynotes. I’ll update you!

#Spooktober 16: The Spirit’s Summons

Today’s reading on my Patreon is “The Spirit’s Summons” by Johann August Apel, from Leigh Hunt’s London Journal, Volume 2, 26 September 1835

#Spooktober 15: At Home

Christina Rossetti wrote the poem “At Home” on June 29, 1858, shortly after attending a picnic. Here it is.

 

When I was dead, my spirit turned
To seek the much-frequented house:
I passed the door, and saw my friends
Feasting beneath green orange boughs;
From hand to hand they pushed the wine,
They sucked the pulp of plum and peach;
They sang, they jested, and they laughed,
For each was loved of each.

I listened to their honest chat:
Said one: “To-morrow we shall be
Plod plod along the featureless sands,
And coasting miles and miles of sea.”
Said one: “Before the turn of tide
We will achieve the eyrie-seat.”
Said one: “To-morrow shall be like
To-day, but much more sweet.”

“To-morrow,” said they, strong with hope,
And dwelt upon the pleasant way:
“To-morrow,” cried they one and all,
While no one spoke of yesterday.
Their life stood full at blessed noon;
I, only I, had passed away:
“To-morrow and to-day,” they cried;
I was of yesterday.

I shivered comfortless, but cast
No chill across the tablecloth;
I all-forgotten shivered, sad
To stay and yet to part how loth:
I passed from the familiar room,
I who from love had passed away,
Like the remembrance of a guest
That tarrieth but a day.

#Spooktober 14: The Defier of Ghosts

“The Defier of Ghosts” (1824) is a story by Friedrich August Schulze, translated by Thomas De Quincey. You can read it today on my Patreon.

#Spooktober 13: Witte Wieven

The Witte Wieven (also spelled Wittewijven) are ghostly spirits rooted in Dutch and Germanic folklore, often associated with the spirits of wise women, healers, or witches who lived during ancient times. The name “Witte Wieven” translates to either “White Women” or “Wise Women,” and these beings are typically depicted as pale, ghostly figures clothed in long white robes, shrouded in mist or fog.

They are known for their elusive, mysterious appearance, usually seen in the liminal spaces of early morning or late evening in remote, misty landscapes such as moors, forests, or hills. Their form is fluid, often described as part human and part mist, as they move through the air like wraiths. In some tales, the Witte Wieven appear as glowing or luminescent.

The Witte Wieven are believed to reside in ancient burial mounds, caves, or sacred groves, places that are considered to be closely connected to the spiritual world, and they are seen as guardians of sacred knowledge and ancient traditions. Although they are sometimes mistaken for ghosts, the Witte Wieven are more accurately described as spirits tied to the earth, possessing wisdom and abilities that surpass those of “ordinary” spirits of mortals.

The Witte Wieven have a complex and ambivalent nature in Dutch folklore. They can be seen as benevolent figures who use their powers to help those in need, but they can also be vengeful and dangerous when angered. Their dual nature reflects their role as wise women who hold knowledge of both life and death, healing and harm.

In many legends, the Witte Wieven act as protectors of the land and the people who honour them. They are said to be able to heal the sick, offer guidance, and bestow blessings upon those who treat them with respect. In these tales, the Witte Wieven are often depicted as midwives, healers, or oracles who use their supernatural knowledge to aid humans. They might appear to warn travelers of impending danger or guide them safely through treacherous terrain.

One of their most famous legends comes from the Gelderland region in the Netherlands. According to the tale, a local farmer who was travelling home late at night encountered the Witte Wieven near an ancient burial mound. The spirits, appearing as ghostly white women, surrounded him and asked him to follow them. Fearing for his life, the farmer tried to resist, but the Witte Wieven used their powers to confuse him, leading him in circles through the misty landscape. He wandered lost for hours until dawn, when the spirits finally disappeared, and he was able to find his way home. The farmer later recounted his experience, warning others to stay away from the burial mounds after dark, lest they incur the wrath of the Witte Wieven.

And rightly so.

The ladies can be vengeful toward those who disrespect them or desecrate the sacred sites they inhabit. In some stories, they are portrayed as tricksters who lead travellers astray, luring them into swamps, forests, or dangerous places where they become lost or fall into harm.

Another popular tale comes from the Drenthe region, where the Witte Wieven were believed to inhabit the dolmens scattered across the landscape. In this story, a group of treasure hunters, believing that gold was buried beneath the stones, attempted to dig up one of the dolmens. As they dug, the Witte Wieven appeared, shrouded in mist, and cursed the men for desecrating the sacred site. The treasure hunters fled in terror, but the curse followed them, and they suffered misfortune and illness for the rest of their lives.

One common theme in Witte Wieven stories is their association with mist and fog, which they use to conceal themselves and disorient those who come too close. In many tales, people who encounter the Witte Wieven describe feeling a sense of otherworldly disorientation, as though they have stepped into a realm that is not entirely of this world.

One of the oldest recorded references to the Witte Wieven comes from the 13th century, in a document written by the monk Jacob van Maerlant. In his text, he describes the Witte Wieven as spirits of wise women who had died and returned to the earth to watch over it. This depiction highlights their ancient connection to wisdom and the earth, as well as their role as guardians of sacred places.

The Witte Wieven have also appeared in local festivals and traditions in the Netherlands, where performers dress in white robes and reenact the legends of these spirits, bringing the folklore to life for new generations. These performances often take place in the regions most associated with the Witte Wieven, such as Gelderland and Drenthe, where the ancient burial mounds and dolmens still stand as reminders of the spirits’ presence.

Anton Pieck allegedly drew an illustration of these ghostly figures in a mist-shrouded forest. Pieck is a renowned Dutch artist known for his enchanting depictions of fairy tales and folklore. I couldn’t find the original piece, but you can see how awesome he is.

You can read more about them in this awesome post by the great Signe Maene.

#Spooktober 12: The Bridal Ornaments

Today’s reading on my Patreon is “The Bridal Ornaments” by Johann August Apel, translated by David Lyndsay for Forget Me Not For 1827 (1826).

#Spooktober 11: the Afanc

The Afanc is one of the most notorious creatures in Welsh mythology, a water-dwelling monster that resides in lakes and rivers. Its physical appearance varies across different tales, with descriptions ranging from a giant beaver or crocodile-like beast to a monstrous, demonic entity with no definite shape. Some versions of the legend depict the Afanc as a large hybrid, with the body of a crocodile, the tail of a beaver, and the strength of a bear.

In all its forms, the Afanc is portrayed as a powerful and dangerous being, capable of wreaking havoc on those who dare to enter its watery domain. The Afanc’s lair is typically located in deep, dark waters, far removed from human civilization.

In many Welsh tales, the Afanc is depicted as an invincible force that cannot be killed by ordinary means. Instead, it had to be trapped, tamed, or relocated to prevent it from causing further destruction. However, even capturing the Afanc was an incredibly difficult task, often requiring the intervention of powerful druids, wise women, or supernatural forces.

One of the most famous legends involving the Afanc tells the story of how the creature was tamed and moved from Llyn y Geirionydd, where it would cause devastating floods by thrashing about in the water. The local villagers, desperate to rid themselves of the monster, sought the help of a powerful maiden (a fairy or enchantress) who managed to lull the Afanc to sleep with a song. Once the creature was asleep, the villagers bound it in chains and used a team of oxen to drag it out of the lake. They then transported the Afanc to a remote lake—Llyn Ffynnon Las—where it could no longer pose a threat.

Another famous version of the legend comes from the area around Betws-y-Coed in North Wales. In this tale, the Afanc lived in the River Conwy and would attack anyone who tried to cross the water, until a group of local heroes, including King Arthur in some versions, decided to trap it. The Afanc was subdued and carried up the steep slopes of Snowdon, where they threw it into Llyn Glaslyn, a deep mountain lake where the Afanc was said to be imprisoned for eternity.

In some other versions of the story, the Afanc is a sentient, human-like being, capable of speech and cunning. It is sometimes described as a lonely creature, driven to violence by its isolation and the neglect of those who live near its domain. This more nuanced portrayal of the Afanc presents it as both a monster and a tragic figure, misunderstood and feared by the people who sought to destroy it. Some stories also suggest that the Afanc’s violent nature was the result of a curse. In one legend, for instance, the Afanc was once a man who was transformed into a monster as punishment for a terrible crime. Condemned to live in the water, the creature’s anger grew over the centuries, leading it to attack anyone who ventured near its lair.

One notable depiction of the Afanc can be found in the town of Betws-y-Coed, where a sculpture of the creature is displayed near the River Conwy.

Further Readings:

Davies, Sioned. The Mabinogion. Oxford: Oxford University Press, 2007.Briggs, Katharine. The Folklore of the British Isles. London: Routledge, 1970.Rhys, John. Celtic Folklore: Welsh and Manx. Oxford: Clarendon Press, 1901.Simpson, Jacqueline, and Steve Roud. A Dictionary of English Folklore. Oxford: Oxford University Press, 2000.Gantz, Jeffrey. The Mabinogion: Translated with an Introduction. New York: Penguin Classics, 1976.

#Spooktober 10: Death Tokens

“Death Tokens” by Friedrich August Schulze, translated in The European Magazine, Volume 87, March 1825. You can read it today on my Patreon.

#Spooktober 9: The Black Chamber

“The Black Chamber” by Johann August Apel, translated by Thomas De Quincey in Knight’s Quarterly Magazine, Series 1, Volume 1 (1823). You can read it today on my Patreon.