"Dreams play an important role in McCarthy's narratives; most of his stories are marked by the weirdness of reminiscence and the deceitful power of dream and dreamlike narratives."

https://www.jstor.org/stable/42909396

More on "Style" here: https://ontheroadtotheroad7.wordpress.com/?p=205

"McCarthy's use of the define article "the" mythologizes the road and gives it its uniqueness, out of the countable and the ordinary, and symbolizes the journey undertaken by the father and the son."

"The road […] helps the duo out of the Cave to the Sun through a "process of enlightenment [which] is portrayed as a journey from darkness into light" (Annas 253,) from a light they desperately seek from the Sun that will be necessary to guide them out of the Cave, and therefore out of the land of despair."

https://www.jstor.org/stable/42909396

More on "Road" here: https://ontheroadtotheroad7.wordpress.com/?p=226

"Sight and blindness in the Bible are often associated with the power of God and therefore the power of faith upon mankind: men are cured from blindness thanks to the power of God and the power of faith. I would not say that McCarthy is setting the father's upcoming blindness as an example of moral disorder or sin per se, but I do think it connects with the loss of faith and the loss of will to see the truth since in The Road most of those who have lost sight and hope end up dead".

https://www.jstor.org/stable/42909396

More on "God" here: https://ontheroadtotheroad7.wordpress.com/?p=154

"The motive of blindness has often been dear to McCarthy who used the device several times in the past [...]".

More on "Style" here: https://ontheroadtotheroad7.wordpress.com/?p=205

"The father's oblivion has not reached the medical stage of blindness, but many around him have: his wife, for example, is blind by the time she nears her death; the man struck by lightning is also half blind [...]; and both are described as being bound to die. Blindness in The Road ,whether it is physical or spiritual, acts as a harbinger of death [...]."

More on "Worldview" here: https://ontheroadtotheroad7.wordpress.com/?p=160

https://www.jstor.org/stable/42909396

"[...] dreams may affect perception but they are also a clear indicator of life since it indicates persistent perception. Once death is upon men dreams indeed cease, which is the case of the wife [...]."

https://www.jstor.org/stable/42909396

More on "Worldview" here: https://ontheroadtotheroad7.wordpress.com/?p=160

"Every social institution and convention that could serve as a hallmark of civilization has passed so far into oblivion that, as Ashley Kunsa argues, the names of places, road, and people have passed into meaninglessness, leaving only the deeds of individuals to providing meaning and morality to the world (61–63). The most important dividing line for the boy is the assurance from his father that they will not eat people."

https://www.jstor.org/stable/10.5325/cormmccaj.13.1.0143

More on "Worldview" here: https://ontheroadtotheroad7.wordpress.com/?p=160

"[…] the road in the novel is very linear and stands out of the landscape as if stronger than the declining landscape, an echo of the declining society [...]."

https://www.jstor.org/stable/42909396

More on "Road" here:

"[...] one of Plato's most famous theories - the often debated allegory of the Cave - [...] is interwoven in [...] The Road."

"In The Road's narrative, father and son indeed wander in the vastest cave ever crafted in modern literature, a post apocalyptic, "barren, silent, godless" world."

https://www.jstor.org/stable/42909396

More on "Worldbuilding" here: https://ontheroadtotheroad7.wordpress.com/?p=194

"Parataxis, according to the Oxford English Dictionary , is "the placing of propositions or clauses one after another, without indicating by connecting words the relation (of coordination or subordination) between them." Such a narrow literal definition is often broadened to encompass amore inclusive paratactic style, in which polysyndeton, the use of many coordinating conjunctions to connect clauses, also operates in a paratacticway. Examples of this rhetorical figure can be found throughoutMcCarthy's corpus."

"The parataxis both reflects the texture of the disjunctive and depleted post-apocalyptic world and diminishes conceptual categories with which the human mind customarily shapes its encounter with reality."

https://www.jstor.org/stable/42909448

More on "Style" here: https://ontheroadtotheroad7.wordpress.com/?p=205

"In the absence of photosynthetic flora, the atmosphere of the planet would gradually slide into chemical equilibrium, all of its oxygen being locked away through oxidation (the rusting of iron, for example). In such an environment, fires would be increasingly difficult to ignite, relying as they do upon the presence of sufficient quantities of oxygen. Human existence would have become impossible long before such an occurrence, however, given our dependence upon oxygen. The ability to light a controlled fire, one of the activities repeated by the man and boy throughout the novel, is thus a feature of an environment which has a very specific chemical make-up, one which is conducive to life. Considered from this angle, to "carry the fire" is thus to carry the relatively modest hope that life could possibly return to the planet again, in the understanding that at least one necessary condition is still being met by the environment. While fire is closely associated with death and destruction in the novel, it also stands for life itself."

https://www.jstor.org/stable/42909448

More on "Fire" here: https://ontheroadtotheroad7.wordpress.com/?p=218

"The novel repeatedly transposes descriptive terms and metaphors from physiology to the environment."

More on "Style" here: https://ontheroadtotheroad7.wordpress.com/?p=194

"The novel seems to suggest a correspondence between the functioning of a biological organismand the global ecosystems whose collapse is so apparent."

More on "Worldbuilding" here: https://ontheroadtotheroad7.wordpress.com/?p=194

https://www.jstor.org/stable/42909448

"[...] fleeting image of the past, before the religion of capitalism takes hold. [...] the past tense of the paragraph indicates that a human hand does eventually take the trout for its own possession, giving it over to the realm of property, closing off the common use and the cognizance of that mystery and wonder of the “world in its becoming.”

https://www.jstor.org/stable/10.5325/cormmccaj.13.1.0143

More on "Ending" here: https://ontheroadtotheroad7.wordpress.com/?p=201

"This achingly mournful passage alone would justify the novel's exaggerated representation of environmental collapse, as it closes the narrative with a poetic vision of vitality which is made all the more affecting through its analeptic framing within a desolated world. […] The destitution of the novel's present-day world heightens the affective power of this simple image of an organism swimming in fresh water […]."

https://www.jstor.org/stable/42909448

More on "Worldbuilding" here: https://ontheroadtotheroad7.wordpress.com/?p=194

"The centrality of natural forces in McCarthy's vision of the world is expressed in the novel's assertion that the maps and mazes on the trout's backs, cartographic puzzles through which life's mystery is both delineated and obscured, are visual schemata of natural processes which are beyond the power of humanity to restore to the world once they are lost."

https://www.jstor.org/stable/42909448

More on "Ending" here: https://ontheroadtotheroad7.wordpress.com/?p=201

"The pervasiveness of consumption in The Road is evident even in the word choices of its characters and narrator. If the novel portends an end of capitalism, its setting presents an environment that is merely what is left after absolutely every resource has been harvested or appropriated, leaving only refuse, junk, and litter. The destiny of the consumed thing is to become waste, a word that appears several times in The Road, always as descriptions of the ashen dead landscape. [...] the world is both vast and empty and also the waste of itself, spent, used up, the leftovers from the passing away of the consumer society and the society of vagabonds and bloodcults wrenching nearly every last resource from the land and finally killing and eating each other."

https://www.jstor.org/stable/10.5325/cormmccaj.13.1.0143

More on "Worlbuilding" here: https://ontheroadtotheroad7.wordpress.com/?p=194

"The remnant society of The Road has reached the totalizing end of capitalism, one in which everything and everyone is subject to ownership, exchange, and acquisition for consumption."

https://www.jstor.org/stable/10.5325/cormmccaj.13.1.0143

More on "Worldbuilding" here: https://ontheroadtotheroad7.wordpress.com/?p=194

"[...] cannibalism as a critique of unchecked consumption of environmental resources and the products made with them. Images of marketing, branding, and shopping have survived the catastrophe and serve as markers of past consumption that have outlived its own heyday."

https://www.jstor.org/stable/10.5325/cormmccaj.13.1.0143

More on "Worlbuilding" here: https://ontheroadtotheroad7.wordpress.com/?p=194

"[...] misery necessitates faith. In the case of the man, his love for his son motivates him to keep going. His problem is that his desire to keep going appears to lack a rational foundation. [...] Nevertheless, the man keeps on going despite recognizing, at some level, that the struggle may very well be futile. Because it is in the nature of human beings to desire that the things they do make sense, he grasps for beliefs that will make his struggle make sense. Among these is the belief that he is on a divine mission. It is not that he wants to keep going because he believes that he is on a divine mission. Rather, the desire comes first: because he wants to keep going, he believes - or tries to believe - that he is on a divine mission."

https://www.jstor.org/stable/42909407

More on "God" here: https://ontheroadtotheroad7.wordpress.com/?p=154

"Great suffering appears to constitute evidence against the existence of a loving God, but it also has the capacity to produce or strengthen belief in such a God. It is when we suffer that we most need belief in a loving God to keep ourselves going. The more reason we have to doubt God's reality, the more we need to believe."

https://www.jstor.org/stable/42909407

More on "God" here: https://ontheroadtotheroad7.wordpress.com/?p=154

"The book of Genesis depicts God as creating through speech (Genesis 1:1-31); a God that does not speak is a God that does not create. Thus, the man's declaration is that either his son is the word of God, or, for all practical purposes, the universe is a godless one."

http://www.jstor.org/stable/42909407

More on "God" here: https://ontheroadtotheroad7.wordpress.com/?p=154

2023 wurde mit 55,5 Milliarden Fass Öläquivalent so viel Öl und Gas gefördert wie nie zuvor. 578 Unternehmen arbeiten daran, durch zusätzliche Förderstätten weitere 240 Milliarden Fass zu produzieren, obwohl zur Einhaltung des 1,5 Grad-Ziels keine Förderkapazitäten mehr aufgebaut werden dürfen. Zu den Unternehmen mit den größten Expansionsplänen gehört die an der OMV beteiligte Adnoc. Die Zahlen sind - neben vielen weiteren z.B. zur LNG-Expansion - in der aktualisierten Global Oil & Gas Exit List (Gogel) der NGO Urgewald enthalten https://www.derstandard.at/story/3000000244513/weltweite-oel-und-gasfoerderung-erreichte-2023-ein-allzeithoch

Great video about listening to music "professionally"

It's about emotion & intent (context) over the theory, usually.

Levels of understanding genres: - 0) No understanding Like the song, never heard anything like it before, but no idea about anything. - 1) Basic Understanding Knowing a bit about the name of the genre and subgenres, but you can be wrong. - 2) Immersion Really dive into subgenres and flavors of the main genre... Also a bit of history about the genre. Research. - 3) Structure Breaking down the structure of the tracks in the genre. For example through DAW. Basically first-principles thinking.

To level 1: Song Analyzer tools (for example musicstax or AI). The author recommends everynoise.com too to gain a basic understanding of genres.

To level 2: Find similar songs and artists for your playlists with that genre. Perhaps playlists. Important to understand the origin of the genre.

2023 haben Böden und Landpflanzen fast kein CO2 absorbiert. Dieser Kollaps der Landsenken vor allem durch Dürren und Waldbrände wurde in diesem Ausmaß kaum vorausgesehen, und es ist nicht klar, ob auf ihn eine Regeneration folgt. Er stellt Klimamodelle ebenso in Frage wie die meisten nationalen Pläne zum Erreichen von CO2-Neutralität, weil sie auf natürlichen Senken an Land beruhen. Es gibt Anzeichen dafür, dass die steigenden Temperaturen inzwischen auch die CO2-Aufnahmefähigkeit der Meere schwächen. Überblicksartikel mit Links zu Studien https://www.theguardian.com/environment/2024/oct/14/nature-carbon-sink-collapse-global-heating-models-emissions-targets-evidence-aoe

Noch nie ist die CO2-Konzentration in der Atmosphäre so stark gestiegen wie im vergangenen Jahr, nämlich um 3,37 parts per million (PPM). Die Konzentration liegt jetzt bei 422 PPM. Vor allem die sehr geringe CO2-Aufnahme durch Ozean- und Landsenken hat diese Steigerung verursacht https://taz.de/Hiobsbotschaft-fuers-Klima/!6040258/

When agent A can transmit the full state in one symbol the agents have coordinated on a completely separating equilibrium and Q has perfect information. Also RL algs will not have a reward signal to find a more refined equilibrium unless some reward shaping is done to incentivize agents to coordinate on agent's Q's state as well.

for - question - Study on 2024 Trump win on polycrisis - Cascade Institute - why is there such a small analysis on the environment and especially planetary tipping points whilst climate clock is ticking?

Eine neue Studie stellt fest, dass nach einem Überschreiten der 1,5°-Grenze eine Rückkehr zu niedrigeren Temperaturen nicht so realistisch ist, wie es vielfach, auch in den Sachstandsberichten des IPCC, angenommen wird. Außerdem würden die erhöhten Temperaturen viele Ökosysteme irreversibel verändern. Es müssten deshalb - im Gegensatz zur aktuellen Politik - alle Anstrengungen unternommen werden, um.einen Overshoot zu vermeiden. https://www.liberation.fr/environnement/climat-un-depassement-meme-temporaire-des-15c-serait-plus-risque-quimagine-20241010_UHQSL4EKERFVPNP5V6KNV3IGWI/?redirected=1

Tests performed: Haemostatic tests ristocetin-induced platelet aggregation plasma VWF antigen VWF risocetin cofactor VWF FVIII-binding capacity VWF multimers and FVIII activity DDAVP test Concentration timecourses

sequencing from genomic DNA performed and reported in 2011

cDNA analysis

Real-time-PCR analysis

long PCR

Ellman assay (quantifying sulfhydryls)

Dynamic light scattering measurements

circular dichroism

ADAMTS13 proteolysis assay

ADAMTS13-VWF binding assay

“Oil and gas is a connected network of processes, people, and infrastructure,” ... “We are working with a client now modeling saltwater disposal wells. If you turn a valve that decreases the flow in a pipeline, it has a downstream effect on the disposal well. Knowledge graphs built on Neo4j are the perfect abstraction layer to model relationships across this kind of complex network and were a much better fit for reView than triple stores.” [Jeff Dalgliesh], Chief Technology Officer at Data².

“Analysts need to be able to dissect exactly how the AI reached a particular conclusion or recommendation,” “Neo4j enables us to enforce robust information security by applying access controls at the subgraph level.” Chief Business Officer Eric Costantini.

for - planetary emergency - risk analysis

planetary emergency - risk analysis - risk = probability x impact - If impact is high, then even low probability x high impact means high risk - If AMOC or Greenland icesheet melts, the impact is so high that it is not even economically measurable

for - question - can cities save the planet? - a critical analysis

The temperature on the same object "Führungslager" seems to be different depending on the circular segment. This is probably due from the calibration which should not be that precise.

Dem Global Energy Monitor zufolge sollen in den kommenden Jahren 1,5 Billionen Dollar in LNG Terminals und Pipelines investiert werden. 20% dieser Summe sind für Europa geplant und hier wiederum ein großer Teil für Anlagen in Griechenland. Die USA lobbyieren in Mittel- und Südosteuropa intensiv, um ihr LNG dort zu verkaufen. Der subventionierte Aufbau von Gasinfrastruktur übersteigt den europäischen Bedarf bei weitem. Reportage in der New York Times zum Gasboom in Griechenland. https://www.nytimes.com/2024/05/31/climate/greece-europe-natural-gas-lng.html

from - Jake Broe - Russia Ukraine war analysis - https://hyp.is/6kSnPh5PEe-eKw9uZp-QOQ/docdrop.org/video/AYvyNr4ZMSs/

from - Times Radio analysis of Russian's unsustainable attrition rate - https://hyp.is/avvydB5QEe-aheM72r6J4Q/docdrop.org/video/A-9kLZ19OAE/

for - polycrisis - Russia Ukraine war - game analysis

summary - A simplified but interesting economic game analysis of the trajectory of the Russia-Ukraine war. - Drones have become a critical technology in this war and especially their mobile and cost advantage over much heavier, more expensive and slow-moving Russian equipment. - Drones conserve Ukrainian soldiers and minimize risk substantially. The 3 million drones being manufactured this year will likely accelerate the destruction of the Russian economy, bringing the war closer to ending. - Russia is critically dependent on its oil and gas industry and with the major destruction of its refineries, it will no longer be able to finance the war.

for - geopolitics - Russia Ukraine War - Russia's unsustainable attrition rate

to - economic game analysis of Russia Ukraine War - https://hyp.is/avvydB5QEe-aheM72r6J4Q/docdrop.org/video/A-9kLZ19OAE/

for - Russia Ukraine war - Russia's unsustainable attrition rate - economic game analysis

reference - economic game analysis video of unsustainable Russian war attrition rate - https://hyp.is/go?url=http%3A%2F%2Fdocdrop.org%2Fvideo%2FA-9kLZ19OAE%2F&group=world

for - geopolitics - Russia Ukraine war - polycrisis - russia war - metacrisis - russia war - Jake Broe - Russia Ukraine war analysis

summary - An intelligent analysis of the complexity of the Russia- Ukraine war. - Key points: - Russia's successful misinformation campaign has - created the MAGA disinformed political party and has - delayed the US Aid package - enabled the rapid rise of extreme right wing politics

https://www.theguardian.com/us-news/2023/jul/16/big-oil-climate-pledges-extreme-heat-fossil-fuel

Eine neue Studie beschäftigt sich mit der zunehmenden Frequenz der Aufeinanderfolge extremer Trockenheit und extremer Niederschläge in Pakistan und in vielen afrikanischen Ländern. Ähnliche Phänomene lassen sich in Norditalien feststellen. https://www.theguardian.com/environment/2023/nov/14/extreme-drought-in-northern-italy-mirrors-climate-in-ethiopia

Studie: https://washmatters.wateraid.org/sites/g/files/jkxoof256/files/2022-10/WaterAid%20Africa%20Drought%20work%20Methods%20and%20Full%20Results_CONFIDENTIAL_26_10_22_final%20%281%29.pdf

Die Abhängigkeit Europas von russischem Pipelinegas ist in zwei Jahren von 40% auf 10% gesunken. Die Importe von LNG haben um 40% zugenommen, wobei auch da ein erheblicher Anteil aus Russland stammt. Die USA sind der weltgrößte LNG-Exporteur. Mit großer Wahrscheinlichkeit werden bei LNG Überkapazitäten aufgebaut. In Österreich ist die Abhängigkeit von russischem Gas noch immer hoch, weil rein betriebswirtschaftlich entscheiden wird. Die OMV war 2023 verpflichtet, Gas für gut 60 TWh aus Russland zu beziehen und jedenfalls zu bezahlen. https://www.derstandard.at/story/3000000206989/warum-der-abschied-von-russischem-gas-noch-immer-so-schwer-faellt

How to use demensional analysis and what it tis

how to use demensional analysis

Die fünf größten westlichen Ölgesellschaften haben seit der Invasion der gesamten Ukraine vor zwei Jahren insgesamt 281 Milliarden Dollar Gewinn gemacht. Sie zahlen damit Rekord-Dividenden an ihre Investoren und investieren gleichzeitig enorme Summen in die weitere fossile Expansion. Shell fährt sein Programm zur Entwicklung erneuerbarer Energien zurück und hat die Selbstverpflichtung aufgegeben, die Ölproduktion jährlich zu reduzieren.https://www.theguardian.com/business/2024/feb/19/worlds-largest-oil-companies-have-made-281bn-profit-since-invasion-of-ukraine

Langes Interview mit Hans Joachim Schellnhuber im Standard, under anderem zu Kipppunkten und der Möglichkeit, dass wir uns schon auf dem Weg in ein „neues Klimaregime“ befinden. Schellnhuber geht davon aus, dass auch das 2°-Ziel überschritten werden wird. Der „Königsweg“, um der Atmosphäre danach wieder CO₂ zu entziehen, sei der weltweite Ersatz von Zement durch Holz beim Bauen, den er als Direktor des IIASA vor allem erforschen wolle. Die Wahrscheinlichkeit dafür, dass „noch alles gutgehen" werde, sei gering. https://www.derstandard.at/story/3000000204635/klimaforscher-schellnhuber-werden-auch-ueber-das-zwei-grad-ziel-hinausschiessen

https://docdrop.org/pdf/The-art-of-post-tonal-analysis-spa6w.pdf/

The art of ost-tonal analysis Straus 2022

remove overlapping records and keep only the initial records

Der Standard informiert über zwei Studien, die unter anderem den Zusammenhang von Stadtentwicklung und globaler Erhitzung betreffen. Vor allem in den USA wird für die Mehrzahl der großen Städte eine Schrumpfung vorausgesagt, verstärkt durch die Folgen der Erhitzung. Die Studie verwendet ist Szenarien des IPCC. Unter anderem ergibt sich daraus die Forderung, die Stadtplanung nicht mehr vor allem an der Vorstellung von wachsenden Städten auszurichten. https://www.derstandard.de/story/3000000203501/tausende-us-staedte-koennten-bis-2100-zu-geisterorten-werden

Die großen Firmen der Fossilindustrie haben 2023 Selbstverpflichtungen zur Dekarbonisierung zurückgenommen. Im wärmsten Jahr der aufgezeichneten Geschichte haben sie an der Perfektionierung ihrer fossilen Geschäftsmodelle und an an einer weiteren Steigerung der Förderung von Öl und Gas gearbeitet. Überblicksartikel im Guardian. https://www.theguardian.com/us-news/2024/jan/03/2023-hottest-year-on-record-fossil-fuel-climate-crisis

benesch auf seinem "es ist kompliziert" trip...<br /> wir haben also eine "controlled opposition" (AFD) (no surprise)<br /> und ein "controlled regime" (SPD/FDP/Grüne/CDU/Linke/...) (no surprise)<br /> also deutschland ist nur eine kolonie (ein vasall) von irgendwem (no surprise)

whatabout die aggressive NATO ost-erweiterung?<br /> sind da auch "die russen" schuld?<br /> oder ist das auch "nur ein talking point" von irgendwem?

eine illusion ist ja dass "der steuerzahler" irgendwas entscheiden darf.<br /> das sieht so aus, als wäre die regierung "von unten" finanziert<br /> (aktuell: bauernproteste gegen dieselsteuer und KFZ-steuer auf landmaschinen)<br /> aber es gibt trotzdem immer einfluss "von oben"<br /> also von banken (verniedlicht als "die windmühlen von zion")<br /> die der regierung kredite geben (solange die regierung brav ist)<br /> von geld das die bank aus dem nichts schöpft, ohne gegenwert, also "falschgeld"

der film "leave the world behind (2023)" will uns erzählen: "no one is in control."<br /> ich teile eher die ansicht von catherine austin fitts:<br /> es gibt einen "mister global" (also eine "weltregierung") (praktisch die UN)<br /> die schon längst alle nationalstaaten unter kontrolle hat<br /> und nur für die öffentlichkeit spielt man das theaterstück "nation gegen nation"<br /> so wie man innerhalb der nationalstaaten das theaterstück "gewaltenteilung" spielt<br /> aber unterm strich ist es alles die gleiche mafia<br /> aber das versteht man auch erst dann.<br /> wenn man sich mal anlegt mit bullen, staatsanwälten, richtern, gutachtern, jugendamt, ...<br /> solange man diese "autoritäten" nicht provoziert, sieht es aus wie "heile welt"

benesch hat auch diesen "wissen ist macht" vibe, aber das stimmt einfach nicht,<br /> und ist höchstens eine ablenkung, wenn man selber keine lösung hat...<br /> yuri bezmenov würde sagen: "only when the military boot crushes his balls,<br /> then he will understand... but not before, that is the tragedy of demoralization."

ich darf meine fresse aufreissen, weil ich hab auch nen lösungsvorschlag:<br /> pallas. wer sind meine freunde. gruppenaufbau nach persönlichkeitstyp.<br /> github com milahu alchi<br /> der staatsanwalt sagt, mein buch ist "volksverhetzung"... die drohungen werden lauter

das studieren von "geopolitik" scheitert einfach daran,<br /> dass diese probleme so groß sind, und so weit weg sind, dass man gefangen ist in passivität.<br /> deswegen mein "bottom up" ansatz: gruppenaufbau nach persönlichkeitstyp.<br /> und wenn der funktioniert, dann kommt die revolution von selber...

• for: critique - without analysis, kariotic flow - emptiness, kariotic flow - entanglement

• critique: without analysis

  • really? Or has the analysis just gone to a deeper, subconscious level?
  • everything a person has learned in life creates a complex network of ideas that is like a giant, invisible toolbox ready to be drawn upon when the environmental context cues trigger a response from the toolbox
  • this would be impossible if years of past analysis and abstraction was not already done
  • any intelligent response to an event that emerge in our environment is not arbitrary, but draws upon this complex, learned past

This piques my interest, especially (b).

口譯訊息的遺漏：刻意（運用口譯策略），還是無心（因爲無力）？

源語訊息的權重：每個meaning unit肯定有不同權重，而且權重的認定很主觀。

整個語篇論述的語意連貫、邏輯銜接、承轉(cohesion)，也是一大挑戰，如何判定？銜接詞是否僅是一個語義單位，給予某一權重，還是自成一格，必須另外設計評量方式？

• for: social tipping point - tools, cascade institute, Boolean Causal Loop Analysis, BCLA, Cross-impact balance, CIB, socio-cognitive mapping, cognitive-affective mapping, ideological state-space

原文：Thai and Burmese are alphasyllabaries, or abugidas.

這翻譯犯了一種技術錯誤，即「或」字的使用。乍看之下，「or」翻成「或」顯得無懈可擊，但細究起來，中文單一的「或」字，加上句子裡提到兩個語言，有可能誤導讀者如此對號入座：以爲泰語是第一類，緬甸語是第二類。就算沒被誤導，也無法立即讀懂這個「或」。

其實，這「or」的意思是「或稱」，表示alphasyllabary 和 abugida 是一種東西的兩種稱法，中文可以翻成「，或稱」、「，又稱」、「，也叫做」，無論怎麼翻，都勝過一個單獨的、令人混淆的「或」字。注意，這種意思的 or，前面必定有一個逗號。

看到書名，很吸睛。從網路上找到對應的原文，讀了一下，覺得挺拗口，英文句子顯得冗長，不是很好讀，但不刁鑽。

幾小段試讀的翻譯看下來，這個譯本很忠於原文，亦步亦趨採取相對直譯的策略來行文。但以此句而言，遺漏了一些重要的表達程度和強調的字眼：nothing short of、once and for all，這些詞並非空虛無意義，作者的用心處，如果能譯出來，讀者更能體會何以這道難題必須儘快破解。

原文（強調部分是我加的）：This puzzle would have to be solved quickly, though, for it constituted nothing short of a civilizational trial by which to judge once and for all whether Chinese script was compatible with Modernity with a capital M.

which所表的「運動」，意思在張的譯文中並未如所稱丟失，她明白寫出「那些運動」如何如何，只是如前述，「有助於」是多餘意思。

張後段並沒有搞錯，宋也沒有漏譯，只是各自的表達不同於毫末版。不過，我還是最欣賞毫末版，最符合原文的意思。

宋的「流變」在譯movements，「與聞其一」在譯take part in any one of，只是文字太高調、賣弄，裝高雅。張的「有助於」雖然不好，但沒有到搞錯的程度。

Der Critical Raw Materials Actt wird von Industrie-Lobbies benutzt, um Einschränkungen beim Zugang zu Rohmaterialien abzubauen, und zwar auch dann, wenn es nicht um die Energieversorgung geht. IT-, Rüstungs- und Raumfahrtindustrie versuchen von der Krisensituation bei den neuen Energien zu profitieren. Die Libéation berichtet über einen neuen Report von Lobbying-Warchdogs. Die Liste der kritischen Rohmaterialien wurde bereits von 15 auf 34 Stoffe erweitert. https://www.liberation.fr/international/europe/ue-le-critical-raw-materials-act-un-open-bar-pour-lindustrie-miniere-20231112_HZUR6376QJCZVBM5IGIUR6V2QE/

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overlap (ha!) with signals theory?

It's possible that the process of note taking and excerpting may impose levels of analysis and synthesis on their users such that when writing and synthesizing their works that they more subtly expect their readers to do the same thing when their audiences may require more handholding and explanation.

Here, both the authors' experiences and that of the cultures in which they're writing will determine the relationship.

There's lots of analogies between thinking and digesting (rumination, consumption, etc), in reading and understanding contexts.

Source: https://hypothes.is/a/hhCGsljeEe2QlccJUQ55fA

Market analysis of library card catalogs in 2023.

As card catalogs lost their functionality in libraries and were de-acquisitioned there was a wave of nostalgia which caused people to purchase them, often in auctions, at higher than expected prices. Once they had them, most of these purchasers realized that they didn't have functional uses in their homes for them (beyond wine or liquor bottle storage, small crafts, or use as a zettelkasten, which seem to be the only reasonable upcycling use cases I've seen and the last seems to be very rare and niche). They sit and take up space for very little value in return beyond some esthetic beauty and nostalgia. As a result many soured on their ownership. Most owners naturally want to recoup their original purchase price thinking that relative rarity will save them.

Combined with this there was a resurgence in mid-century design esthetic which had some furniture restorers and designers buying and doing full (and very pretty) expensive restorations of older 20s - 40s versions which sold at auctions for $4,500 and up. Given the rarity of some of these older, fine furniture versions along with the work in restoration and the limited market only those who had a tinge of nostalgia and money to burn made purchases which resulted in a limited number of actual sales.

These two factors mean that almost all of the listings for library card catalogs are heavily overvalued on eBay, Facebook Marketplace, Craig's List, Etsy, etc. The fine furniture restorations have set an artificially high price point which some feel theirs must match as well. The difference in quality however is stark. Because of their size and lack of functionality, there is a relative glut of them on the market which all bear inflated prices. Those who originally spent inordinate amounts for them, feel they will still have that same value to others, so they list them online for inflated prices.

I've been closely watching the online "market" for them for over a year and see the same several dozen or more listed across the country usually in the range of about $30-$60 per drawer. Many are listed as local pick up only, which further hampers the overall market. This also brings up the issue of shipping a 60 drawer card catalog which can easily run in the $800-$1,500+ range which usually requires additional shipping logistics involved with freight. Most catalogs are already overpriced, but adding an additional $1000 tax on top is a bridge too far for all but the highest end of the market. Some platforms like Etsy and eBay which take cuts of the final sale also add to the cost of the sale.

In the year and a half or more that I've been watching, I've only seen a handful of actual sales, all of which were local, and many of which were in the Los Angeles area. All of these sales have been for listings which eventually were reduced down to the $15 per drawer range. One local sale was in Wisconsin was for $10 per drawer (a 30 drawer file) and another in Los Angeles was for $12.50 per drawer (on a 20 drawer file).

A note on condition

Outside of a small handful of fine furniture listings in the $4,000+ range, most ex-Library card catalogs are generally very well worn and not in great condition which makes them less valuable as decoration pieces. In fact, many are often missing their original card catalog rods, have dents, dings, or other cosmetic issues. Some are missing drawers or have replacement drawers which don't match. Some may be slightly mismatched having been purchased in different eras as modular pieces and put together. Frequently they have been modified from their original states to include inserts or other material to fill in the holes which where almost standard in the bottoms of the drawers.

Advice

If you're in the market, know that it is tremendously inflated, a fact which most sellers are aware of as they've got them listed, some for many years, not resulting in actual sales. If you really want one and find it in a reasonable condition, I highly recommend making an offer for it at about $10 per drawer and potentially go up to $15. Anything higher than that is overpaying based on actual recent market conditions. If you have the money to burn, feel free, but keep in mind that like many others in the past, once the initial nostalgia has passed, you've probably got a large piece of relatively non-functional furniture in your home.

It's not common, but some government auction sites will list card catalogs for auction from time to time. Because they actively want to sell them these can be purchased in the $2-10 per drawer range or less. Often they tend toward the larger 60+ drawer range, aren't in good condition, or need to be picked up and shipped to your final destination, usually within a few days of purchase as the original owners don't or explicitly won't handle shipping. These are likely to need some restoration work to be decorative pieces in many homes.

If you want something brand new, you can check out Brodart, which is the only remaining card catalog manufacturer/sales firm I'm aware of in the United States. Their systems are modular, so you can pick and choose what you'd like to have. The only caveat is that they start at $1,700 for their smallest 9 drawer model and can go up to $11,648 (plus shipping) for a full 60 drawer model. The other potential drawback, for some, is that they are made of a mixture of wood, metal and plastic versus the all wood and metal fittings of older vintage models.

If you're in the market primarily for nostalgic reasons, then you might also consider looking at some of the older desktop wooden card catalogs which are often much less expensive, take up far less space, and can be wonderfully decorative. Some of the smaller two to six drawer desktop models have the benefit of potentially serving as recipe boxes or paper rolodexes, zettelkasten, or simply small office storage. Here again, the online markets are likely to be heavily overpriced with 2 drawer models being continually listed at $150 and 4 drawer models in the $250-400 range. These sellers know that these prices don't result in actual sales as they've been sitting on them for long periods of time (presumably hoping to get lucky). Here I'd recommend you make offers in the $20-30 per drawer range to see what you can find. Another benefit is that these smaller models are far cheaper to ship across the country. For additional advice on these, see: The Ultimate Guide to Zettelkasten Index Card Storage.

Der Guardian hat Fachleute zu Carbon Capture and Storage (CCS) befragt. Die britische Regierung legitimiert neue Öl- und Gasbohrlizenzen mit gleichzeitigen CCS-Projekten. Einige Experten sind nach ersten Erfahrungen sehr skeptisch, was die grundsätzliche Realisierbarkeit von CCS an vielen Stellen der Erde angeht. CCS werde vor allem zur Dekarbonisierung von Industrien gebraucht werden, die bisher nicht CO₂-frei betrieben werden können, es sei aber keine Rechtfertigung für neue fossile Entwicklungsprojekte. https://www.theguardian.com/environment/2023/aug/01/is-carbon-capture-and-storage-really-a-silver-bullet-for-the-climate-crisis

• for: extreme weather, realtime extreme weather analysis, World weather attribution
• description
  • the World Weather Attribution organization is a group of research institutes that provides robust scientific answers to the question:
    • is climate change to blame?
  • when an extreme weather event has occurred
  • This is usually available days to weeks after the event and informs discussions about climate change while the impacts of the events are still fresh in the minds of the public and policymakers.

• example
  • survivorship bias
    • Abraham Wald was a statistican who was tasked by the Allied war effort with understanding how to make the Allied war planes function better.
    • And he was presented with a series of airplanes that had bullet holes throughout them as they had gone from bombing runs over Nazi Germany.
    • And he looked at them, and he saw that there were
      • holes in the wings,
      • holes in the tail,
      • holes in the nose of the plane.
    • And the general said to him, you know, "Based on your statistical expertise, where should we put extra armor?
    • Where should we reinforce the plane?"
    • And most of the people thought they should put them where the bullet holes were.
    • Abraham Wald took one look at this, and he said, "If you put armor over the places where the holes are,
      • you're going to make the planes get shot down more."
    • Because the reality was the places that didn't have bullet holes were the most crucial.
    • The places that had been shot in
      • the fuselage,
      • the middle of the plane where the engine was,
    • those were in Germany, they didn't survive,
      • they were wrecks.
    • So they never made it back to be analyzed.
    • So survivorship bias is a bias where we look at the wrong kinds of data because we only look at what survived.

The word "We" is central to the structure and content of this poem. Kostenko's repeated emphasis on the word "We" prevents the reader from separating herself from the poem's engagement with nuclear disaster and the legacy of Chernobyl. It is helpful to read the usage of this word in conversation with Andrei Voznesensky's work.

By writing about "atomic hostages to progress," Kostenko defines scientific progress not as a gateway to understanding, but as a barrier to comprehension and representation of the world around us.

The narrative of this poem is repeatedly interrupted by these "telegraphic" sections, which mimic the process of sharing information about Chernobyl with the public, as you can see in the "Gorbachev speaks" contextual note. This technique effectively simulates the disjointed and often contradictory dissemination of information about the Chernobyl disaster, both at the time of the accident and in our contemporary context, in the form of the inconclusive studies of Chernobyl's long-term effects and ongoing contests over its memory.

In this verse, Chernobyl's radioactive cloud symbolizes a disaster that "escaped" the Soviet Union and reached Europe, thereby portraying Europe as the victim of Chernobyl accident and the Soviet Union as the perpetrator. Consider this discussion of the potential problems of enforcing this strict conceptual divide between European innocence and Soviet responsibility.

While this quantitative comparison between Hiroshima and Chernobyl helps to communicate the gravity of the Chernobyl disaster, many scholars have questioned the extent to which it is possible and productive to compare catastrophes. For example, Peter Gray and Kendrick Oliver write that "The resistance of the Holocaust to narration and other practices of historical sense-making provoked a broader intellectual deconstruction of the established modes by which meaning could be imposed on human affairs." [1] That is to say, catastrophes cannot be described in relation to established temporal, linguistic, or historical frameworks. Thus, Chernobyl requires us to question whether it is possible to fully represent, interpret, and respond to disaster through narrative and analysis.

[1] Gray, Peter and Kendrick Oliver. Introduction. The Memory of Catastrophe. Manchester University Press, 2004.

Again, Hernán Urbina Joiro's poem chronicles the Chernobyl catastrophe as a battle for control that highlighted and worsened Cold War tensions between the "East" and "West." Consider the following annotations about this reading of Chernobyl and its role in the ongoing discourse about blame and responsibility:

They did not share it

The radioactive cloud

See this link for information about the usage of the words "humanity" and "human" in this poem.

Who and what can be held accountable for Chernobyl? From the beginning of this poem, Andrei Voznesensky engages with the question of blame and forgiveness in the aftermath of catastrophe. The speaker self-identifies as a "human," who is asking for forgiveness from "humanity" as a whole. In this way, Voznesensky structurally separates the "human" who accepts blame for Chernobyl from the "humanity" that was affected by the disaster.

However, reading this introduction in conversation with the rest of the poem complicates the relationship between personal responsibility, forgiveness, and collective guilt that develops throughout this poem. Consider the following annotations in conversation with this one:

Humanity versus science

Who is to blame?

Throughout this poem, the refrain "because he is a human" emphasizes that the "heroes" who responded to Chernobyl acted in accordance with their basic humanity. However, at the beginning of the poem, the speaker identifies himself as a 'human' and asks for forgiveness for the Chernobyl catastrophe. As such, the language that the speaker uses to assign blame to himself (as a "human") is paradoxically the same as the language he uses to draw attention to the sacrifices of others.

See this annotationfor a definition of the scientific term "parsec."

This verse expresses the speaker's skepticism regarding the capacity of a purely scientific framework to represent "life" and provide a viable framework for understanding reality. That is to say, science cannot adequately explain the Chernobyl catastrophe and its long-term implications for humanity. It is productive to read this line alongside Lina Kostenko's poem, which represents scientific progress as a trap that alienates humanity from language, environment, and faith alike.

Read about Theophanes the Greek and the tradition of icon painting in Russia for context.

Here, Voznesensky links the "heroic human" of Chernobyl to the memory of a famous icon painter and the practice of viewing and venerating Russian Orthodox iconography. Engaging with the gaze of the icon is recognized as an essential aspect of the ability of the faithful to communicate with the divine. In this way, Voznesensky relates the act of bearing witness to Chernobyl with the holy ritual of icon veneration and meditation.

The "poisoned fruit / of knowledge" can be interpreted as a reference to Adam and Eve's decision to eat from the Tree of the Knowledge of Good and Evil in the Garden of Eden, which is a key foundation of Judeo-Christian theology. This reference to original sin builds upon the religious symbolism in the poem, by implying that the people and systems responsible for Chernobyl repeated this irresolvable transgression.

Other examples of religious symbolism in the poem:

"Forgive me, a human"

"God is in . . ."

"Theophanes the Greek"

To learn about a potential link between Chernobyl and an apocalyptic moment referenced in the Book of Revelation, visit this annotation.

In this section, the speaker represents Chernobyl not as responsible for a profound spiritual rupture, but instead as the catalyst for a renewed relationship between humanity and God. He emphasizes the presence of the divine in the actions of the first responders to Chernobyl while simultaneously reiterating that the "heroes" of Chernobyl "simply acted like a human."

This spiritual/religious symbolism of this poem is also reflected in its structure, which from the beginning takes the form of an extended plea for forgiveness, and in the references to iconography.

Unlike Voznesensky and Kostenko's poems, which utilize the word "we" to encourage the reader to reflect on their own complicity in the conditions that allowed for Chernobyl and its subsequent memorialization, Hernán Urbina Joiro represents the Soviet Union's "Iron Curtain" as the clear antagonist of the "West." On the one hand, Joiro's poem clearly demonstrates how the environmental and political effects of Chernobyl transgressed international boundaries. On the other hand, the dichotomy between "East" and "West" that structures the poem does not facilitate reflection on the question of whether it is possible and/or necessary for people within and outside of the former Soviet Union to reflect on their responsibility for their own responses to Chernobyl and nuclear power.

This verse marks one of the first instances in the poem when the speaker distances himself from Chernobyl and interrogates who else can be held responsible for what happened. The distinction between "science" and "humanity" here is especially significant, because it presents two ways of interpreting and responding to Chernobyl. Chernobyl can be understood as an isolated scientific tragedy unique to the Soviet political and scientific contexts, or, as Kate Brown puts it, as an "acceleration on a timeline of exposures that sped up in the second half of the twentieth century . . . connected to many other events," such as war, environmental degradation, and political corruption. [1]

Read this annotation in conversation with these other important moments throughout the poem that deal with guilt and accountability:

"Forgive me, / a human, / Humanity"

Who is to blame?

Sources:

[1] Brown, Kate. Manual for Survival: A Chernobyl Guide to the Future. W. W. Norton and Company, 2019.

By representing Doctor Gale as the man "who flew into Russia," Voznesensky depicts the international medical response to Chernobyl as equally as heroic as the sacrificial contributions of the Ukrainian and Soviet first responders. However, as the contextual note about Dr. Gale mentions, Soviet radiation specialists like Dr. Angelina Guskova questioned the legitimacy and ethicality of the bone marrow transplant procedures he conducted. That being said, both Soviet and American newspapers presented Dr. Gale as being motivated purely by humanitarian concern and goodwill, which drew attention away from the important work and needs of doctors in the Soviet Union.

As the biographical note about Andrei Voznesensky states, he spent a lot of time in the United States. Due to his travels, befriended a great number of politicians, artists, and writers abroad, which may help to explain the prominence of Dr. Gale as a representative of the American response to Chernobyl in this poem.

Compare the beginning of this part of the poem with the beginning of the first part of the poem, in which the speaker asks humanity to forgive him personally for the consequences of the Chernobyl disaster. In contrast to the plea for individual forgiveness that we saw previously, here the question of responsibility for Chernobyl is left unresolved. The use of the word "We" implicates the reader in a continuous and collective process of reevaluation and renegotiation of blame. The centrality of the word "we" in Lina Kostenko's poem achieves a similar effect.

Kostenko represents Chernobyl not only as an environmental catastrophe, but also as the cause of total alienation from spirituality and heaven. It is possible to read this poem as engaging with one well-known reading of Chernobyl, which interprets the disaster as an inevitable apocalyptic moment predicted in the Book of Revelation:

Then the third angel sounded: And a great star fell from heaven, burning like a torch, and it fell on a third of the rivers and on the springs of water. The name of the star is Wormwood. A third of the waters became wormwood, and many men died from the water, because it was made bitter. [1]

In Ukrainian, the world "Chernobyl" is derived from two separate roots that combine to mean "black plant." The word "Chernobyl" refers to a specific species of Artemisia, which is a type of weed. [2] In English, Artemisia is translated as "wormwood," which has led many people to link the Chernobyl catastrophe to the "wormwood" mentioned in the Book of Revelation. However, as Michael Palij and William Fletcher note, "The coincidence is not quite so striking in the Ukrainian translation of the Bible, for there the name of the star is Polyn, the genus wormwood, rather than chornobyl', a species of wormwood." [2] Although the etymological relationship between Chernobyl and the Bible does not align perfectly, the religious reading of Chernobyl continues to resonate.

Sources:

[1] The Bible. King James Version. Christian Art Publishers, 2012.

[2] Palij, Michael & William C. Fletcher. "Chornobyl: An Etymology." Ukrainian Quarterly, vol. 42 Spring-Summer 1986, p. 22-24.

Image Credit:

"Redstem Wormwood" by Moxxie is licensed by CC BY-SA 3.0. The image has not been modified in any way and falls under fair use.

By ending her poem with the "alphabet of death," Kostenko establishes that society's fixation on scientific progress at the expense of human lives has divested language of its ability to articulate the conditions of the present and imagine a future. Any attempts at linguistic representation must culminate in the "death" symbolized by the nuclear power station. As such, language itself collapses in the face of Chernobyl.

As Jean-Luc Nancy writes in After Fukushima: The Equivalence of Catastrophes, "We live no longer either in tragic meaning nor in what, with Christianity, was supposed to transport and elevate tragedy to divine salvation . . . We are being exposed to a catastrophe of meaning." [1] In other words, Chernobyl is disastrous not because of what it represents, but because it defies representation of any kind.

[1] Nancy, Jean-Luc. After Fukushima: The Equivalence of Catastrophes, translated by Charlotte Mandell. Fordham University Press, 2015.

To achieve goals, raise the floor, FOCUS on removing bottlenecks. Also create constraints by Schwerpunkt (primary objective), contrary to common wisdom, constraint actually gives freedom, it prevents analysis paralysis.

The story goes, "Proust, in his work "A la recherche," explores the theme of coming out through the story of Esther, as depicted in the Book of Esther and Racine's adaptation of it. Esther, a Jewish queen, conceals her Jewish identity from her husband, King Assuerus, due to the belief that her people are considered unclean and abominations against nature. The king's advisor, Aman, fuels his hatred towards Jews and envisions a world without them.

Esther's cousin Mardochee advises her to reveal her true identity at a critical moment, similar to how gay individuals may approach coming out to their homophobic parents. Esther decides to take the risk, saying, "And if I perish, I perish." The revelation of her secret identity carries immense power and challenges the king's political animosity towards her people with his personal love for her. The question arises whether the king will reject her or accept her as she is.

The biblical story and Racine's play depict a dream or fantasy of coming out, where Esther's eloquence and self-disclosure have a transformative effect. In just a few lines, both the king and Aman realize the futility of their anti-Semitic views. The revelation of identity within the intimate space of love disrupts the public notions of natural and unnatural, purity and impurity. Esther's willingness to risk losing the love and support of her husband has the potential to save not only her own life but also her people."

Penggunaan Jejaring Semantik sebagai metode evaluasi Mata Kuliah.

Lagunya Khayelitsha

Transcription and analysis

Tempo 112 pbm

Great intro problem to Kirchhoff's current law

Current divider notes as well!

Automatic differentiation is a technique in numerical analysis. That's why Real Analysis is an important Mathematics area that should be studied if one wants to go into AI research.

From LAWLER 233: Stoddart cancelled the following lines in the typescript: "There was love in every line, and in every touch there was passion."

From "Oscar Wilde's Dorian Gray, Annotated & Uncensored": This sentiment belongs to an established literary convention: the artistic process is being equated with sexual intimacy. Normally, however, the artist is male and his subject (or model) female. Wilde is adding an unmistakably homoerotic twist to this tradition.

From LAWLER 209: Added in the typescript. Wilde inserted almost two additional pages at this point in 1891.

ZABROUSKI: WRITE AN SUMMARY ON THE TWO ADDITIONAL PAGES

ZABROUSKI: Carson cited this line during Wilde's trial and had asked, "May I take it that you, as an artist, have never known the feeling described here?" to which Wilde had responded, "I have never allowed any personality to dominate my art." Carson then asked, "Then you have never known the feeling you described?" and Wilde responded, "No. It is a work of fiction." This separation between the art of fiction and personal experience is common among many fiction writers. One example is L.T. Meade, author of The Sorceress of the Strand (1902), who has claimed she found it "difficult to write of real experiences." This idea also encompasses the concept of aestheticism, the doctrine in which art exists for the sake of beauty alone.

From LAWLER 230: This was deleted in 1891.

ZABROUSKI: Because of the typical stereotypes Victorian men and women were placed, readers would have viewed this characteristic as immoral effeminacy.

From LAWLER 206: Wilde added several lines here in 1891: "Are you serious?" / "Quite serious, Basil. I should be miserable if I thought I should ever be more serious than I am at the present moment."

ZABROUSKI: This may just be a personal opinion, but I don't think adding that extra dialogue was necessary. However, I suppose the extra back and forth between Basil and Henry is meant to emphasize how beautiful Sybil is. Because there was no lead up to Basil asking Harry if he approves of the marriage, one may have argued that Basil was hinting at previous romantic relations between Harry and Dorian.

ZABROUSKI: Throughout the novel, Wilde chooses to describe Dorian as "fascinating." Etymologically, the word derives from the Latin "fascinātus," and means to enchant or bewitch. ("Fascinate") Concepts of witchcraft and enchanting nature build the foundation of Dorian's character; not only does Dorian not physically age or lose his beauty, but whenever he talks to other men, they seem to be set under a spell by his natural charms. By using witchcraft as a cover for homoerotic seduction, Wilde was able to keep sections like these in the novel.

From LAWLER 238: Wilde changed this line three times. In the typescript, there was another sort of pun in Dorian's reply: "There is a good deal of heaviness in modern art." In 1891, Wilde changed it again to the deliberately prosaic "I am afraid it is rather heavy," emphasizing a different mood entirely.

ZABROUSKI: While the original quote portrayed a fictional character's humor, the 1891 change seems to portray Wilde's personal struggle in publishing this book. This change may be alluding to the backlash Wilde received when Dorian Gray was first published. Thus, this darker, sadder, and overall more pessimistic tone would be bringing attention to Wilde's opinion on the debate between morality vs. art.

ZABROUSKI: Changed to "Oh, Basil is the best of fellows, but he seems to me just a bit of a Philistine. Since I have known you, Harry, I have discovered that" in 1891.

A "Philistine" is a person who is indifferent to the culture or the arts (Oxford Dictionary). This alteration not only ties into Wilde's interest in aestheticism but more importantly detaches Basil from any romantic characteristics. Additionally, the following two lines of dialogue are deleted in the 1891 edition, which mutes the homoerotic undertones between Basil and Lord Henry; Lord Henry's comment that "[Basil] certainly has romance" provides insight that there was some sort of romantic relationship between the two. Furthermore, the fact that Henry asks Dorian if Basil has ever "let [him] know that" rather than "tell [him] that" also points to Basil's homosexuality. Because having any homosexual relations was illegal at the time, Henry's phrasing acts as an unspoken tip to Dorian. One could argue, then, that Basil, Lord Henry, and Dorian are homosexual. Another thing to note is that this particular deletion draws more attention to Basil's art rather than romantic relations. In this way, Wilde adds emphasis to the romance of art rather than homosexual romance.

From LAWLER 203: Originally, Dorian had asked whether "Basil has got a passion for somebody?" Lord Henry answered, "Yes, he has. Has he never told you?" This dialogue was cancelled, and Wilde wrote the changes in the margin.

From LAWLER 200: Was originally "your mistress," but Stoddart changed it. Wilde altered Stoddart's emendation in 1891, making it "I suppose she will belong to you some day."

ZABROUSKI: I found this specific change interesting, for it seems like such a minor alteration yet makes a big impact in the grand scheme of things. Lawler claimed that the 1891 alteration is "stronger" than what is here. Given the time this was published, that claim rings true; because Victorian women were typically viewed as property or arm candy rather than an actual partner, saying the phrase "belong to" would have been fitting for a heterosexual Victorian man.

From LAWLER 186: Wilde added this sentence and the following five paragraphs to the typescript of this edition in a long marginal note ending with "...of the silence."

ZABROUSKI: This addition plays into Wilde's interest in aestheticism, especially in regards to music, art, and linguistics.

From LAWLER 188: Wilde cancelled the following line from his original manuscript: "If you set yourself to know life, you will look evil; if you are afraid of life, you will look common."

ZABROUSKI: The homoerotic undertone of this sentence wouldn't have gone unnoticed if it was included in this edition. Though Lord Henry seems to be talking about the changes in appearance through aging, if those lines were included in this edition, Lord Henry could've been implicitly addressing society's view on homosexual relations rather than society's view on physical appearance. The phrase "afraid of life" may suggest being afraid of acting on one's true desires, and the phrase looking "common" may suggest an unwanted submission to a heterosexual relationship.

From LAWLER 182: The following lines were cut from the original manuscript: "I am not afraid of things, but I am afraid of words. I cannot understand how it is that no prophecy has ever been fulfilled. None has I know. And yet it seems to me that to say a thing is to bring it to pass. Whatever has found expression becomes true, and what has not found expression can never happen. As for genius lasting longer than beauty, it is only the transitory that stirs me. What is permanent is monstrous and produces no effect. Our senses become dulled by what is always with us."

ZABROUSKI: ADD SOMETHING HERE

ZABROUSKI: Changed to "Oh, something like, 'Charming boy--poor dear mother and I absolutely inseparable. Quite forget what he does--afraid he--doesn't do anything--oh, yes, plays the piano--or is it the violin, dear Mr. Gray?' Neither of us could help laughing, and we became friends at once" in 1891.

The phrase "engaged to be married to the same man--I mean married on the same day" suggests that Dorian was engaged to a man, and in accidentally sharing that piece of information, Lady Brandon attempts to correct herself. The 1891 text omits that phrase completely, for readers may have pointed out the homosexual undertone in the 1890 edition.

From LAWLER 181: Wilde altered this paragraph in every revision.

ZABROUSKI: In the 1891 version, Wilde wrote, “Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!” In the original manuscript, Wilde had (after "But the world might guess it") "where there is merely love, they would see something evil. Where there is spiritual passion, they would suggest something vile." If Wilde kept those two sentences in, it could be assumed that critics would have used it as fuel for their argument on what constitutes a moral vs immoral book.

Not strictly true. Plenty of happy things happen throughout the lives of the Baudelaire orphans. This series shows us that it's the little things that count. the grim nature of the series is part of the charm of it.

Siehe Zusammenfassung: https://preview.mailerlite.io/emails/webview/249617/80710936082515396

• This paper is relevant to understanding

  • cumulative cultural evolution
    • https://jonudell.info/h/facet/?user=stopresetgo&max=300&expanded=true&any=cumulative+cultural+evolution&exactTagSearch=true
  • social tipping points
    • https://jonudell.info/h/facet/?user=stopresetgo&max=300&expanded=true&any=social+tipping+points&exactTagSearch=true

• Learning

• it introduces me to a number of new useful concepts
  • cognitive advantage
  • cultural network analysis
  • more detailed understanding of memetics
  • cultural epidemiology

Evokes Popper's situational analysis.

How effective is second language incidental vocabulary learning? A meta-analysis

!- traceability: of cryptocurrency - US government solved many cases with a company called Chain Analysis - who had figured out the vulnerability and traceability of cryptocurrency

I'd always known this was a thing, but didn't have a word for it.

several key factors of attitude diffusion: 1. multiple, interacting attitudes 2. social influence between individuals 3. media influence

One of the issues we see in the Sunday morning news analysis shows (Meet the Press, Face the Nation, et al.) is that there is usually a large amount of context collapse mixed with lack of general knowledge about the topics at hand compounded with large doses of Gish Gallop and F.U.D. (fear, uncertainty, and doubt).

The units are only "comparable across studies" if there weren't any mishaps (eg, clinical or methodological heterogeneity). If there's clinical heterogeneity, then we're probably comparing apples to oranges (ie, either participants, interventions, or outcomes are different among studies). If there's methodological heterogeneity, then that means there's a difference in study design