I wanted the compass to feel like a professional instrument, not a fetish object — something with a documented use, a technique passed between practitioners. The lighthouse ship gives us isolation without emptiness: this is a place built for watching, for waiting, for the precise recording of position. The Acehnese maritime tradition meets Wallachian folklore's obsession with the power held in human remains, but filtered through Enlightenment-era systematization. She's not a mystic. She's a technician whose technology happens to require the dead. That's more unsettling than any ritual would be.