Looking for literary/filmic examples of singularities, infinite pits, wormholes, whirlpools, bore holes, large spacetimes in tiny crevices.

But also... Peaks too high to navigate, infinite ascents, Sisyphean feats of endurance, energy spikes set to break reality, very tall towers.

This sims mod lets you wear a bathtub as a hat which will still function as a bathtub, and the people in that bathtub can also wear it as a hat which will still function as a bathtub, and the people in that bathtub can also wear it as a hat which will still function as a bathtub, and the people in that bathtub can also wear it as a hat which will still function as a bathtub, and the people in that bathtub can also wear it as a hat which will still function as a bathtub, and the people in that bathtub can also wear it as a hat which will still function as a bathtub……. >>>>>>>>> ‪#‎BATHCEPTION‬

Self-Contained Universe A GIFbite en abyme, featuring infinite Buster Keaton and the voice of Daniel Rourke.

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"What does culture want? To make infinity comprehensible"

The list is the origin of culture. It's part of the history of art and literature. What does culture want? To make infinity comprehensible. It also wants to create order -- not always, but often. And how, as a human being, does one face infinity? How does one attempt to grasp the incomprehensible? Through lists, through catalogs, through collections in museums and through encyclopedias and dictionaries. There is an allure to enumerating how many women Don Giovanni slept with: It was 2,063, at least according to Mozart's librettist, Lorenzo da Ponte. We also have completely practical lists -- the shopping list, the will, the menu -- that are also cultural achievements in their own right.

"Infinity can violate our human intuition, which is based on finite systems..."

Visitors enter the dark, gargantuan room and take up postures of reverence in front of a massive screen, which towers 40 feet above them. They take off their shoes at the edge of the white floor—the sort used in dance studios—laid across the room’s stripped wooden floorboards. They sit down in front of the screen with legs crossed, rapt in attention. Some lay flat on their backs. Others press their bodies up against the vertical screen and let the sound and light play over them. Strips of black and white flash across the screen in varying configurations, loosely attuned to the jumbled low and high frequency tones emanating from the loudspeakers placed, like a stone circle, around the exhibit. The other side of the screen is covered with a data feed of 0s and 1s—binary code, writing out hefty data sets culled from sources like NASA and the Human Genome Project across the blank surface. Digits burst onto, and flow across, the massive screen, flooding it to the very edge.

A starry firmament, or sand cascading through one’s open fingers, or weeds springing up time after time: the first conception of infinity, of the uncountable and the unending, is not recorded, but it must have been stimulated by experiences such as these. It may have merged in the mind of an ancient progenitor with thoughts of a God, a possessor of unlimited might, an infinite being itself. But whether or not the idea of God was born with the first thoughts of what cannot be counted, this wonderful book by an American historian of science and a French mathematician teaches us that eons later, the divine and the infinite remain closely entangled. A mathematical understanding of infinity was a conundrum for rationalists, who believed it could be mastered by using only the methods of scientific logic, unsullied by eschatology or religion. But as Jean-Michel Kantor and Loren Graham show, they were wrong. Centuries after Bacon and Descartes, and the birth of the scientific method of the mod

Imagine a cube-shaped building, with ten cube-shaped rooms along each side (10 rooms long, 10 high & 10 deep). Each cubular room has 4 walls, 1 ceiling and 1 floor. Each of the 6 interior surfaces in all 1000 cubular rooms is decorated with a different pi