Rawls, John. A Theory of Justice. Cambridge, MA: Harvard University Press, 1971 (rev. ed. 1999).
Jk. I'm not gonna promote my small press / publishing imprint.
Paulo Coelho inspired me in his book, “The Archer”.
The truth is that people who tend to think in absolute terms tend to be wrong more often than those who see the danger of dogma.
Is space more important than what fills it? One part cares what’s important. The other is controlled by fate. And fate is out of reach.
People rely on reality, but the consequences only happen to life. The house that drowns in a flood doesn’t hurt inside. Its indifference defines everything but life, always struggling to survive.
And the quality of persistence evolves over time—generations and millenniums or millions of years. That’s how long life has survived and evolved and died.
I want to relax in a warm bath with a pretty lady, or I can continue down this dark path of debauchery. Cheers!
I dropped off a car rental near a supermarket in a nice part of the city, and a friend promised me a ride was on its way to take me back home. I didn’t trust him, so I bought a box of cookies to distract me from my worries.
I strolled out of the store, already eating a cookie. The sky was rumbling and dark. Rain was starting. A woman in a blue dress walked towards me, and, as she passed, I offered her one. I knew she would decline, but I was curious what her way of going about it would be. She declined politely, smiling and saying, “No, thank you.” I laughed softly afterward.
I saw a homeless man sitting, so I gave the box to him, minus what I ate. I could solve his hunger, but the rain would pour regardless. I sat down at a different table and waited for my ride. I was so worried, and she was a nice distraction.
As I continued to stress and hope to be in a car before the weather got worse, she blessed my eyes again. She walked past the man eating the cookies—and then me—on her way out of the store. She stopped in front of me on the sidewalk, almost as if she posed for a moment. I admired her—and her dress.
I can’t remember her face exactly, but I knew she was beautiful. The vivid blue hue of her elegant garment took the spotlight. The thought of her now is like a thought of myself I repress. It’s either that, or my imagination plays tricks on me.
I can’t see her again in real life. I don’t know her name. But there is nothing as fine to me as her, and she symbolized impossibility. I elevate her in my imagination. Maybe it was the dark, painful feelings I felt, contrasted with her warmth.
Maybe there’s a reason why I fill in the blanks of my memory of her—with soft brunette hair, cut at a medium length. My heart sped up as she came into view.
I feel sad that I have seen such beauty and will not re-experience it. Our lack of history is the blank line I fill with possibilities. I feel tantalized. But… she felt my existence. She knows I was real, and that interaction was felt by the two of us.
When I offered her a cookie, I reminded myself of how children play pretend, and I realized a relationship of any kind with her would be impossible. I couldn’t beg for a hug—let alone a date.
A relic is something that survives its original meaning. It is a piece of what it belonged to. When thinking of fragmentation, the idea of brokenness comes to mind. However, something that doesn’t work still has meaning. It carries on the knowledge that something existed, but it lacks its original context.
It’s good to know that fragmentation is not an imperfection. It’s not a curse. But it does imply miscommunication. A symbol needs at least two people to recognize an object as attached to a meaning—or perhaps, just one person at two different points in time. You could see a symbol at one time and see it differently later on. If you often find meaning in numbers, you may believe certain ones are divine. But as you mature, you realize that searching for meaning manufactures it as well. The symbols fragment. They mean different things to someone at different times in their life.
One interesting thing about fragmentation in art is the fact that it invites questioning. Great works of art needed interpretation to unveil their genius. If an artwork had no fragments, there would be less to interpret, and the art would be less aesthetically appealing. Too much context can ruin a work’s aesthetic appeal by leaving no questions left to ask. We lean towards things we don’t fully understand.
There are two thought provoking ideas I want to point out. This first: that maturity means learning that searching for meaning manufactures it as well. Second, a lack of mystery and too much context in art damages its appeal.
This is the illustration for the article, She Felt My Existence, by Magnus Greer.
She dropped a mirror and found her whole eye in every shard. Nothing broken, it turns out, gives you less of the truth.
Bia Badar wrote this week’s article for Relic Ego Press, and she did great. I am happy. It feels good to have a guest author contribute to the conversation.
A dropped mirror should show less of you in every piece. It doesn’t—and that one fact rewrites what it means to feel like you’re being handed out in fragments. Full essay linked below.
The truth, provided from an anonymous yet hypothetically credible source—exists as a hypertorus calabi–yau manifold structure adjusting torque to account for orthogonal counter-force and non-holomonic constraints at a perpendicular angle to its approximation—to affect how integrated experience manifests.
Knowing this, you need to learn how to act “perpendicularly” to what you normally do. It’s not doing the “opposite” that is the answer.
How would you write a python script to teach an LLM to answer a question with the second variant of its reaction—always?
The experience may have been a false memory. But when I was about five years old, I had the memory of choosing some things about my next life.
So this post… it’s a memory of a memory. It’s the act of writing what is being remembered about the act of remembering.
It was a little similar to a white room. I knew it [the room] ended, or I was assured I was fine by the belief that the space around us ended. It would keep us in.
Existing there was like being the smallest system of a classification that can become independent. I was like a vapor.
As I floated there, I played my cards right. There was a being whose voice was the light that shined through the vapors to a cloud of light I wasn’t floating in, but I wasn’t sinking either. There wasn’t anything on my mind until someone put it in there.
I guess I was programmed to be slick with it, because I asked to be a small person to be able to fit into small spaces. I was joking, but the good ol’ teacher had to teach me a lesson.
Now I’m 5’ 7”.
I don’t know for sure if this is a legit fact. The experience may have been a false memory. But when I was probably five years old, I had the memory of choosing some things about my next life.
So this post… it’s a memory of a memory. It’s the act of writing what is being remembered about the act of remembering.
That’s it. Lots of white is all I remember.
There are many predetermined symbols that exist. Some may not help. Authenticity may require nuance rather than specificity. And maybe it’s not being true to yourself that’s important; maybe it’s being true to your best self, and I presume we are misled from those paths.
To say, “Be yourself,” and do as you may, is easy. It requires little self-control. But so much good comes from self-control. The absence of socialization may lead to a polarization of behavior. It will be harder to show restraint, and carelessness will give you problems. “Maybe it’s better you learn the hard way,” a parent might say to their kid.
If symbols make up how we reason, then your ability to get what you want out of life depends entirely on how you define the meanings you influence.
This is where existence precedes essence.
As we grow, the beliefs we have about our everyday world fragment. Priorities shift. What was once joy can become a risk. We can get trapped by the specificity of what the world hands us, losing sight of nuance—who we actually are.
You are not your past. You are your future. The child you once were persists as a fragment inside you.
Reclaiming that core identity is the key to living in reality on your own terms.
I go deep into the architecture of meaning, memory, and what’s between the lines in the latest pieces for Relic Ego Press, including, “Behind the Relic,” “The Architecture of Meaning,” and, “What the Relic Keeps.” The next article, “The Evolving Self: A Mosaic,” will be released on Tuesday the 14th of July 2026 at 9am EST.
Read the full articles here: Relic Ego Press Blog
What is a symbol that changed meaning to you when you couldn’t live with your own thoughts?
There are many predetermined symbols that exist. Some may not help. Authenticity may require nuance rather than specificity. And maybe it’s not being true to yourself that’s important; maybe it’s being true to your best self, and I presume we are misled from those paths.
To say, “Be yourself,” and do as you may, is easy. It requires little self-control. But so much good comes from self-control. The absence of socialization may lead to a polarization of behavior. It will be harder to show restraint, and carelessness will give you problems. “Maybe it’s better you learn the hard way,” a parent might say to their kid.
If symbols make up how we reason, then your ability to get what you want out of life depends entirely on how you define the meanings you influence.
This is where existence precedes essence.
As we grow, the beliefs we have about our everyday world fragment. Priorities shift. What was once joy can become a risk. We can get trapped by the specificity of what the world hands us, losing sight of nuance—who we actually are.
You are not your past. You are your future. The child you once were persists as a fragment inside you.
Reclaiming that core identity is the key to living in reality on your own terms.
I go deep into the architecture of meaning, memory, and what’s between the lines in the latest pieces for Relic Ego Press, including, “Behind the Relic,” “The Architecture of Meaning,” and, “What the Relic Keeps.” The next article, “The Evolving Self: A Mosaic,” will be released on Tuesday the 14th of July 2026 at 9am EST.
Read the full articles here: Relic Ego Press Blog
What is a symbol that changed meaning to you when you couldn’t live with your own thoughts?
The world is very complex. To me, it feels like the true scale and meaning of existence is too vast for a human mind to fathom. In my book, I wrote a line that captures how I live with this feeling:
“Peace comes from learning to live with unanswered questions.”
To me, this is where absurdism begins. Lately, I’ve been thinking about how we try to answer those questions anyway—not through direct answers, but through the emergence of symbols. Think about it: everything we know, perceive, and communicate is symbolized.
Semiotics (the study of signs and symbols) is the ultimate bridge between the humanities and the sciences. From the four nucleobases of our DNA to the binary code of our technology, we use symbols to map out reality.
By understanding the symbols that define us, we can build systems of meaning and belief that ultimately outlast their creators. Leaving behind that kind of enduring legacy is the whole idea behind my project, Relic Ego Press.
I just dropped an article twelve hours ago, diving deeper into this idea of how symbols shape our mindset, and why they might point to a greater purpose. If you're interested in the deep dive, you can read it here: The Architecture of Meaning
So, how do you handle the gap between absolute truth and the symbols we use to represent it? Are our symbols genuine, or are they fundamentally fraudulent? Do they exist because of a good-faith human intention to understand the cosmos, or were they born from a need to control, organize, and capitalize? Who knows? Let's discuss.
The world is very complex. To me, it feels like the true scale and meaning of existence is too vast for a human mind to fathom. In my book, I wrote a line that captures how I live with this feeling:
“Peace comes from learning to live with unanswered questions.”
Lately, I’ve been thinking about how we try to answer those questions anyway—not through direct answers, but through the emergence of symbols. Think about it: everything we know, perceive, and communicate is symbolized.
Semiotics (the study of signs and symbols) is the ultimate bridge between the humanities and the sciences. From the four nucleobases of our DNA to the binary code of our technology, we use symbols to map out reality. By understanding the symbols that define us, we can build systems of meaning and belief that ultimately outlast their creators. Leaving behind that kind of enduring legacy is the whole idea behind my project, Relic Ego Press.
I just dropped an article twelve hours ago, diving deeper into this idea of how symbols shape our mindset, and why they might point to a greater purpose. If you're interested in the deep dive, you can read it here: The Architecture of Meaning
How do you handle the gap between absolute truth and the symbols we use to represent it? Are our symbols genuine, or are they fundamentally fraudulent? Do they exist because of a good-faith human intention to understand the cosmos, or were they born from a need to control, organize, and capitalize? Who knows? Let's discuss.
Attention! The world is unfair, and I bet you want JUSTICE ⚖️.
Well, I have a high profile civil case. I believe this hearing could affect the state of affairs and policies that govern AI compliance forever on Earth.
It will set the precedent in the monumental case of,
ANTI-AI ART ACTIVISTS, 🎨
Plaintiff,
v.
CORPORATIONS OF AI, 🤖
Defendant.
This is to say: I am Magnus Greer, and AI refused my request to generate a picture of a “lewd skeleton”. So, I wrote a 64-page literary work.
I was astounded by the denial. Still, I followed with my revised request for a “romantic skeleton”. Once I saw it, everything changed.
I definitely didn’t see this court case all the ways down the roads.
MAGNUS GREER, 🌹
Plaintiff,
v.
THE COURT OF EARTH, 🌍
Defendant.
It seems artists generally oppose artificial intelligence use, and I’m not sure where I stand either. Meanwhile, tech enthusiasts widen their eyes to it, in excitement.
I am Magnus Greer, and I wrote a 64-page literary work—not by coincidence. It was only after ChatGPT’s model refused to generate an image I wanted.
I had to settle for a “romantic skeleton” because the model refused to generate a “lewd skeleton”.
I felt like I was metaphorically, “bowing to the new age”.
The belief that “change is harmful” is true for some. I fear, some of the affected individuals in that class action lawsuit may condemn me for adapting my book’s cover from AI artwork. That debilitating fear causes my life to suffer.
I am suing for damages caused in the world’s malicious persecution against me as a “fraudulently” creative person.
There’s even more evidence on my press website.
Now, is it wrong of me to use the cover I adapted / redesigned—especially if I directed the project—for the book I wrote afterwards, in its \[pre-adaption\] effect? You can get more information about it on my press author page, relicegopress.com/aboutthepress/magnus-greer
What’s your take on this?
Objection, agreement, or contempt of court—I’ll take any of the three.
I’m a bookbinder in Tampa. I hand-sew limited edition books and sell handmade sketchbooks out of my small press.
The next thing I want to sell—or at least buy for myself—is the jig I use to make them—a bookbinding punching cradle. It holds folded pages steady while you pierce them with an awl before sewing. Simple tool, but it has to be precise.
I don’t have the equipment to machine it myself, so I’m looking to source the parts raw from a local shop, then finish and sell them under my press’s name.
Before I walk into any fabricator conversations, I want to know what I don’t know. A few questions:
For anyone who wants the full specs:
Cradle body: 12” L × 4” W × 3” deep, machined to a 90° V-trough
Sliding guide block: Wedge-shaped, sits flat inside the V, slides end-to-end
Hole grid: Drilled down the center apex at 0.5” intervals, 0.25”–0.3” diameter (sized for standard straight awls)
Wood: Poplar or Soft Maple preferred — stable, lightweight, takes paint well
Supplied raw/unfinished; I handle all finishing
Black and white only, high contrast, linocut or woodblock aesthetic. No grey, no gradients. Upper torso and skull, one hand holding a rose, figure emerging from black at the bottom.
Work for hire agreement required. Full rights transfer upon payment.
Budget: $150.
Please do not contact me without a verifiable portfolio outside of Reddit. Instagram alone is not enough. Account age matters. Positive commission history preferred.
Payment in full on or around July 3rd. Work begins upon receipt. Payment via Relic Ego Press.
No AI-generated work.
Please comment with portfolio links. No DMs.
I won’t rush my decision, so please be patient.