1. Last 7 days
    1. again people can think I'm nuts but until you experience these things uh you may be a doubter

      I'm really not sure what the point of this story is except to really make this guy out to be a religious nut. He does not come off as a strong credible witness.

    2. you know the crutch was never meant to be used in in any other way than to defend myself

      But of course the police are also dealing with people that are trying to attack them with the same things-- so maybe just... leave?

    3. say go up and to the front and pray

      So, he went to the front, right where all the action was instead of perhaps praying from the back?

    4. he warned me that there could be a false flag incident that day be very careful

      And yet, he still went.

    1. Here again, grades are a kind of cage for our understandings of ourselves, such that, instead of freeing us to feel confident and capable of exploring and experimenting, we are, grade by grade, corralled into believing we are not good at writing, not good at math, not good at science, could never be a doctor, could never be a teacher, could never be an astronaut.

      I appreciate how much of an emphasis Kohn puts on the mental strain grades can put on students. How, despite grades purley being a measurement of where we are and there's no right or wrong place to be at, we can lose all confidence in an interest just because of a grade lower than expected on it.

    2. which also allows students to imagine their own outcomes rather than adhering to a predetermined set of expectations.

      Creating a curriculum that includes everything content-wise it needs while also allowing students to set their individual educational goals to best benefit themselves is a difficult thing to start because in some ways it goes fully against what we imagine for a traditional class, however I wish it was something that was more prominently input by teachers. From a student's perspective, allowing myself to decide what I get out of my education is very helpful and encourages me to go beyond the bare minimum in a class.

    3. They were the sign that I had done almost perfectly in college

      I think this is a really interesting comment because, in my opinion, the way traditional grading is structured makes you feel like the end goal is getting an A and once you achieve that you've gone as far is you need to and have perfected the content. However there is no "perfecting" a course there shouldn't be an end goal like getting an A because there's always room to grow and continue your understanding of the topic.

    4. We should be able to learn in all kinds of directions, following our curiosity rather than being restricted by the quantifiable path set for us by an expert in the field.

      I partially agree with this. Yes, you should learn about things that you are curious about, but you can't just only focus on those things. I think only following your curiosity can be dangerous when it comes to learning. Learning about things, even if you have little to no interest in them, broadens your thinking and helps you grow. You could possibly discover something that you are really interested in by sitting in a class you thought you would hate. I do agree learning should be somewhat catered to your interests, but there should still be some kind of learning standard.

    5. To me, learning should never be a confined act, but a liberated one. We should be able to learn in all kinds of directions, following our curiosity rather than being restricted by the quantifiable path set for us by an expert in the field.

      Essentially, if learning follows a specific path laid out for you before you even set foot in a classroom, then the learning is not catered to your needs and goals. When what is being taught to you is not catered to your needs and goals, you are not learning to your full potential. Curiosity should lead learning.

    1. Woodroffe, John George, Sir: The Serpent Power
    2. Time and Tide
    3. New York Times Book Review
    4. Meeke, Mary: Count St. Blancard

      UT has a copy that is a facsimile reprint with a newer (still in-copyright) introduction.

    5. Hays, Mary: The Victim of Prejudice

      UT has a copy that is a facsimile reprint with a newer (still in-copyright) introduction.

    6. Denison, Charles W.: Old Slade: or, Fifteen Years Adventures of a Sailor

      UT has it in their microfilm deposit.

    1. for - Dr. Donna Thomas - book - Children's unexplained experiences in a post materialistic world - analytic idealism - children perspective of reality - adjacency - children as natural philosophers - Deep Humanity as reminder of our philosophical nature

      adjacency - between - Children as natural philosophers - Deep Humanity - adjacency relationship - At time 59 minute of that interview, Dr Thomas makes a very insightful observation that - children are naturally philosophers - and ask deeply philosophical questions - Another way to look at Deep Humanity is that it is reminding us of these deeply philosophical questions the see all had when we were children - but we stopped asking then as we grew out of childhood because nobody could answer them for us

    1. Slashing Data Transfer Costs in AWS by 99%

      The essence of cutting AWS data transfer costs by 99% is to use Amazon S3 as an intermediary for data transfers between EC2 instances in different Availability Zones (AZs). Instead of direct transfers, which incur significant costs, you upload the data to S3 (free upload), and then download it within the same region (free download). By keeping the data in S3 only temporarily, you minimize storage costs, drastically reducing overall transfer expenses.

    1. Малая примесь оглядки на готовый результат делают ум негодным для СХОЛЕ, для задумчивости, когда человек тонет в самóм деле мысли. С отрешенности — еще один перевод слова СХОЛЕ — начинается настоящая школа мысли, которую корыстный не знает, не имеет туда окошка. Отрешенность имеется в виду не ОТ ДЕЛА, а ДЛЯ ДЕЛА.
    1. Есть слабоумный страх, что кто-то, чьи-то слова «сглазят» несказа́нную истину, что кто-то заболтает тайну. Как если бы какие-то мудрые духи ее ведали и надо было бы следить, заботиться, чтобы тайна оставалась именно в тайне. Этого не надо опасаться: тайна слишком высоким порогом отгорожена, порогом смерти, от смертного.
    1. Люди, конечно, устали друг от друга и, естественно, хотят перетасовки, «смены системы». Это совершенно бессмысленно. Так больной, которому надоели повязки, хочет сорвать их. Всё это слепые порывы, от которых будет только больнее, страшнее, безнадежнее. Имеет, имело бы смысл только одно: немножко чуда, немножко благодати. Ты другому этого дать не можешь, но тебе дается, и дать не можешь, а как-то передать можешь. Люди губят, а ты не столько хватай их за руку, сколько не робей, живи всё равно добро и хорошо. (Ведь главный вред от распоясавшегося зла, что оно запугивает, затыкает в людях добрые наивные движения.)
    1. Люди, конечно, устали друг от друга и, естественно, хотят перетасовки, «смены системы». Это совершенно бессмысленно. Так больной, которому надоели повязки, хочет сорвать их. Всё это слепые порывы, от которых будет только больнее, страшнее, безнадежнее. Имеет, имело бы смысл только одно: немножко чуда, немножко благодати. Ты другому этого дать не можешь, но тебе дается, и дать не можешь, а как-то передать можешь. Люди губят, а ты не столько хватай их за руку, сколько не робей, живи всё равно добро и хорошо. (Ведь главный вред от распоясавшегося зла, что оно запугивает, затыкает в людях добрые наивные движения.)
    1. def show_spread(left, middle, right): print(f"left {left} middle {middle} right {right}") all_in_list = [1, 2, 3] show_spread(*all_in_list) all_in_dict = {"right": 30, "left": 10, "middle": 20} show_spread(**all_in_dict)

      I asked Claude: Can you expand on what's happening here?

      Claude said:

      Certainly! This code demonstrates two important Python features: argument unpacking with the * and ** operators. Let's break it down:

      First, we define a function show_spread that takes three parameters: left, middle, and right.

      Then, we have two examples of calling this function using different forms of argument unpacking:

      a) List unpacking with *: python all_in_list = [1, 2, 3] show_spread(*all_in_list) Here, *all_in_list unpacks the list into individual arguments. It's equivalent to calling show_spread(1, 2, 3).

      b) Dictionary unpacking with **: python all_in_dict = {"right": 30, "left": 10, "middle": 20} show_spread(**all_in_dict) Here, **all_in_dict unpacks the dictionary into keyword arguments. It's equivalent to calling show_spread(left=10, middle=20, right=30).

      The key points are:

      • unpacks an iterable (like a list or tuple) into positional arguments.
      • unpacks a dictionary into keyword arguments. When using **, the keys in the dictionary must match the parameter names in the function.

      This technique is powerful for making function calls more flexible and for passing collections of values as separate arguments.

    1. Sure enough, the children who were told to think about their performance now wanted to know how they had done relative to their peers; those who had been allowed to become immersed in the task were more interested in seeing what their peers had done.

      This proves that grades are so ingrained into our minds that we are constantly comparing ourselves to others. This is not a healthy mindset to have and it takes away from our ability to express creativity and individuality because we are consumed with comparison.

    1. being

      is❌: it is were duh, we were speaking about the 19th century

    2. 7.

      Sentence

    3. which

      them

    4. 15.

      Fragment

    5. 14.

      Sentence

    6. 13.

      Fragment

    7. 12.

      Sentence

    8. 11.

      Sentence

    9. which

      remove

    10. 10.

      Fragment

    11. but

      remove

    12. 9.

      Fragment

    13. Although

      remove

    14. 8.

      Fragment

    15. and

      remove

    16. 6.

      Fragment

    17. who

      remove

    18. 5.

      fragment

    19. using

      uses

    20. 4

      fragment

    21. and

      remove

    22. 3.

      Fragment

    23. 2.

      Sentence

    24. transformative

      adjective

    25. them

      pronoun

    26. borrow

      verb

    27. control

      noun

    28. process

      noun

    29. however

      conjuctive adverb

    30. cognition

      noun

    31. with

      prepositions

    32. is

      verb

    33. Today

      adverb

    34. innovator

      noun

    35. became

      verb

    36. (~)-

      verb

    37. ~

      conjuctive adverb/conjuction

    38. inhabitants

      noun

    39. i1

      pronoun

    40. ecosystems

      noun

    41. A

      verb

    42. stress

      noun

    43. because

      transition word (conjuctions)

    44. insist

      verb

    45. advocates

      subject

    46. they

      pronoun

    47. but

      transition word(likely this one as it isnt in the beggiinig of a sentence, i would say is a coordinating cunjuction belonging to FANBOYS)/conditional adverb

    48. potential

      noun

    49. about

      preposition

    Annotators

  2. shn.livejournal.com shn.livejournal.com
    1. Слишком сильна мысль, что зло, или власть зла, есть нечто такое, с чем мы не должны иметь дела. Вам очень даже нужно, брат мой, — да, нужно иметь с ним дело, если вы вообще хотите познать силу добра. Зло — это часть Бога, сила инволюции, в то время как все вы на пути эволюции.
  3. ivanov-petrov.livejournal.com ivanov-petrov.livejournal.com
    1. Различие. У нас, на западе — установление образа. От художника (актёра) требуется, чтобы он смог установить какой-то способ жизнеощущения, нашёл к этому причины и (эстетические) обстоятельства. От квалифицированного зрителя это тоже требуется ("серьёзное искусство" всегда имеет претензии к зрителю, просто так оно не воспринимается). А от дальневосточного художника требуется, чтобы в имеющемся образе он разметил и разместил собственное пребывание, нашёл своё собственное место. Не образ (или жизнеощущение) накладывается на жизнь человека, а человек (его субъектность) накладывается на существование образа. Итак, это различие не отменяет главного — самого по себе наложения, совмещения.Проще говоря: начинающий артист буто пытается думать об образе и "танцевать образ". Получается одна лишь пошлость. Он чем-то вдохновляется, думает "как красиво!", ищет средств станцевать. Ищет цели. И — зря. Когда он это делать перестаёт, а вместо этого делает что-то осмысленное, искренно ищущее правды, а не цели, то получается нечто завораживающее… Мне доводилось видеть и пошлый танец, и прекрасный. Это отличие действительно существует.
    2. Если мысль не ранит, скорее всего, она ничего не стоит.
    3. «В этой жизни нельзя найти себя – в ней можно только по-своему затеряться»
    1. If HTML had been precisely defined as having to have an SGML DTD, it may not have become as popular as fast, but it would have been a lot architecturally stronger.

      Alternative take: if the HTML5 parsing algorithm (and its error handling) had been precisely defined, then HTML would have become as popular as fast (maybe even faster?) while being a lot more cross-compatible.

    1. There is a set of formats which every client must be able to handle. These include 80-column text and basic hypertext ( HTML ).

      TBL says that browsers must be able to handle plain text (and not just that, but 80-column text). I wonder if this mandate appears anywhere else in modern standards (rather than just implemented by convention). It should.

      (I am genuinely concerned about the possibility that browsers could/would remove support for plain text.)

    1. The UDL Guidelines are a tool used in the implementation of Universal Design for Learning, a framework developed by CAST to improve and optimize teaching and learning for all people based on scientific insights into how humans learn. The goal of UDL is learner agency that is purposeful & reflective, resourceful & authentic, strategic & action-oriented.

      This page is for Guidelines 3.0

    1. 02:33 Pseudo productivity as visible and busy work. "The bussier, the better" More mails, text messaging back and forth, meetings. In essence, work is done for the sake of doing, but it lacks substance and effectiveness.

      This can also be likened to work optimisation (3:43) "Fit as much as possible"

    1. Refractive index also varies with wavelength of the light as given by Cauchy's equation: The most general form of Cauchy's equation is n ( λ ) = A + B λ 2 + C λ 4 + ⋯ , {\displaystyle n(\lambda )=A+{\frac {B}{\lambda ^{2}}}+{\frac {C}{\lambda ^{4}}}+\cdots ,} where n is the refractive index, λ is the wavelength

      Why only even terms in this equation?

    1. g.

      For example, SMART goal is an indirect strategy

    2. L

      We will add more explicit language about including one or more strategies in SMART goals, focusing on how and what part.

    1. “Oil and gas is a connected network of processes, people, and infrastructure,” Dalgliesh says. “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.”

      “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.

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

      “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.

    1. See 9:02 for snapshots of the new animation style

    2. WIT Studio is working on a new One Piece series that has better animation/pacing. They seem to also collaborate with Netflix here?

      List of people working on it.

    1. discuss and foster collaborations on the intersection of these two areas.

      foster collaboration intersection

    2. sub-symbolic artificial intelligence

      for - sub0symbolic.artificail.intellgence

    3. Symbolic representations, in the form of Knowledge Graphs (KGs), constitute large networks of real-world entities and their relationships

      symbolic0representation Knowledge.Graphs GKs

    4. Sub-Symbolic Methods

      for - Sub-Symbolic.Methods

    1. SC pump

      The sole purpose of the SC Pump (Steam generator Self Cleaning pump) is to empty the steam generator.

      In Basic settings:

      The length of time the pump is required to run to empty the steam generator can be adjusted. (Normally set at 45 seconds)

      The amount of time since the last Self Clean Automatic is recorded.for reference purposes.

      The Self cleaning maximum interval time can be set (Normally 7,200 seconds (2 hours)).

      The pumps operational functionality (XS ovens only) can be set between Continuous running or Pulsing

    2. CDS sensor

      The CDS (Calcium Diagnostic Sensor) S11 is a hall sensor device, sensing movement of water though any of the five solenoid valves in the 5 port valve block.

      In Basic Settings the number of pulses per litre can be adjusted.

      Must be set at 1350 pulses per litre for 6-1/1 to 20-2/1

      Must be set at 1000 pulses per litre for 6-2/3 (XS model)

      The CDS sensor is connected to the A10 I/O board at connection X15 and when water is flowing, measures the volume by sending electrical pulses via the A10 I/O board through the bus system (Data Highway) to the main processor (A11).

      The CDS provides a preset number of pulses for each litre of water passing through the valve block.

      The processor (A11) uses this information to confirm:

      a) That any specific valve is in fact working by sending a signal to open the valve and then waiting for pulses to appear from the CDS sensor as in confirmation that the valve has in fact opened.

      b) The volume of water stored in the steam tank each time the SC Automaitic system operates..

    3. Tab “Module test”The idea behind this tab type is to test all components that are involved in a technical process within the selectedlauncher area.

      Certain Launcher screens have "Module test" facilities which aid as a diagnostic tool by running specific processes and providing either confirmation that the system is fully functioning or indicating via service error codes which components may be faulty.

    4. Tab “Basic settings”Note: As soon as a basic setting is changed via the display, it is stored in the system and immediately active. A restartof the unit is not necessary

      Basic settings on SCCWE required a machine to be switched off at the on/off button to confirm any changes.

      iCombi Pro basic setting changes are active as soon as they are changed. It is no longer necessary to switch thje machine off and back on again to confirm the changes.

    5. Tab “Diagnostic”This tab type is foreseen to observe technical parameters like RPMs of a fan motor or temperatures from a thermo-couple “live” during a running process.

      The diagnostic tab enables you to see real time functionality such as activation of components like door switch, level probe, fan motor speeds etc.

    6. 34.32

      Error code description:

      Faulty data communication to automatic ignition controller.

      Condition for error detection:

      BUS signal from automatic ignition controller is missing or is not transmitted for at least 5 seconds at a time.

      Error area:

      Data transfer cable, automatic ignition controller.

      Relevant causes/components:

      • Electrical connection to components
      • Automatic ignition controller
    7. 34.16

      Error code description:

      Faulty data communication to the I/O board.

      Condition for error detection:

      BUS signal from I/O board is missing or is not transmitted for at least 5 seconds at a time.

      Error area:

      Data transfer cable, I/O board

      Relevant causes/components:

      • Electrical connection to components
      • I/O board
    8. 34.8

      Error code description:

      Faulty data communication to pump PCB.

      Condition for error detection:

      BUS signal from pump PCB is missing or is not transmitted for at least 5 seconds at a time.

      Error area:

      Data transfer cable, pump PCB

      Relevant causes/components:

      • Electrical connection to components
      • Pump PCB
    9. 34.4

      Error code description:

      Faulty data communication to bottom fan motor.

      Condition for error detection:

      BUS signal from bottom fan motor is missing or is not transmitted for at least 5 seconds at a time.

      Error area:

      Data transfer cable, control electronics for bottom fan motor

      Relevant causes/components:

      • eSTL has initialised
      • Electrical connection to components
      • Control electronics for bottom fan motor
    10. Communication-Error mit STM32

      Communications error with STM32

      STM32 is a family of 32-bit microcontroller integrated circuits

    1. The seasoned engineer learns that sometimes the best code is the code you never wrote. They become adept at delegating tasks, capitalizing on the strengths of their colleagues, and asking the dreaded question, "But why?" — a question that often leads to the heart of what needs to be solved, avoiding unnecessary work and focusing on what truly adds value.
    1. Человек в своих отношениях с миром и ближними действует под влиянием двух импульсов. Первый – стремление сохранить себя, уберечь свои границы, не пустить туда никого, кто не должен там находиться. Второй – наоборот, желание включить другого в свою сферу целиком и полностью, слиться с ним в единое существо.Они действуют одновременно, и сумма их далеко не постоянна. Баланс этих двух импульсов порождает практически все наши чувства – страстную привязанность, желание обладать, страх, отвращение, ненависть, зависть, восхищение, преклонение.Уважение стоит в центре: это чувство, в котором оба стремления одинаково сильны.Ты уважаешь того, кто для тебя важен, и поэтому ты стремишься держать его в поле внимания, не упускать из вида. Быть рядом с ним и отслеживать то, что он делает. Равняться на него, жить и действовать с оглядкой на него. Это не значит «подражать ему», но и не исключает. Если уважаешь достаточно сильно – его образ основательно поселяется в твоём пространстве воображаемого, так что ты видишь его перед собой, даже если его нет рядом. Ты не станешь делать то, чего он бы не одобрил.Но в то же время ты строго держишь границу между вами, не допуская ни малейшего слияния. Уважение всегда подразумевает некоторую дистанцию. С ним одинаково несовместима и фамильярная несдержанность, и бездумное подчинение.В результате уважение к другому неотделимо от уважения к себе. Знать, кто ты такой, и беречь свои границы – условие, без которого уважение превращается в какое-нибудь иное чувство.

      "...Христианские проповедники говорят, что любая добродетель обращается чудовищем, если в ней нет любви. Справедливость становится жестокостью, искренность – хамством, вежливость – лицемерием, вера – фанатизмом. Даже самоотдача без любви – лишь инструмент для манипуляций.

      Но я говорю, что любая добродетель – и даже сама любовь – обращается чудовищем, если в ней нет уважения. Там же, где уважение царит и властвует, даже ненависть и зависть обретают человеческое лицо."

  4. windeyes.livejournal.com windeyes.livejournal.com
    1. (Кьеркегор) замечал, что находит состояние благополучия и лучшие свои мысли на прогулке, и нет такой тягостной мысли, от которой нельзя было бы уйти. Что чем более человек неподвижен, тем более несчастным он становится.
    1. as central to a Harris presidency than it was to the Biden presidency

      "as (not THAN) it was to the Biden presidency

    1. Домашнее сидение сообщает душе округлость – огромную шарообразность, а дорога – протяжность, вытянутость. Надо ли говорить, что для полноты жизни необходимы обе формы существования, но, оказавшись внутри одной из них, принимаешь за полноту жизни именно её.
  5. ivanov-petrov.livejournal.com ivanov-petrov.livejournal.com
    1. «Сон нам кажется реальностью, потому что он реален… Чудо в том, как без всякой помощи со стороны органов чувств мозг воссоздает во сне всю сенсорную информацию о мире, в котором мы пребываем наяву»
    1. Feels like what I do with Drafts/JS— solve problems programmatically. Maybe that’s a gateway to development beyond that stack; there’s only so much I can do in a text editor, however superpowered it might be…

    1. “平衡态”和“偏离平衡”是古人用直觉就把握的世界理论。人们从这一观点出发,逐渐建立一个differential theory(newton laws)。

      Aristotelian (384-322 BC): Violent motion (Need persistent causing by an agent) / Natural Motion. Eg. object naturally falls down and stay at rest. Eg. Projectile motion sustained by some intermediate carrier of motion, continuously exercising force to it. Denies empty space. Potentiality and Actuality.

      Hipparchus (2CE): force is "transferred" to the body and dissipates as the body moves.

      Philoponus (6CE): "inclination" is gained from the agent and then dissipated. Upon exhaustion, the object is back to natural motion. Objects continue to move in empty space. Concept of energy: dynamis, energeia.

      (Iran) Avicenna (11CE) The Book of Healing. Distinction between Force and Inclination (Mayl). Object gains Mayl when it is in opposition to its natural motion. (close to potential energy). Similar idea as Newton's concept of Inertia. Dissipation of Mayl requires external force.

      (Arabic) Hilbat Allah Abu'l-Barakat al-Baghdaadi (12CE). Like Philoponus' idea, unlike Sina: Mayl self-extinguishes.

      Acceleration of falling body: The falling body itself provides mayl, one after another.

      Jean Buridan (14CE), impetus = weight x velocity. Similar to today's concept of momentum. When something moves an object by violence, it provides 1) force - that makes the object move, 2) impetus - that keeps exerting force to the object. Still distinguishes moving and at rest. Distinguishes linear and circular impetus.

      Posits that God provides celestial bodies with impetuses, that are never damped or resisted. Could not well explain why these bodies are rotating at a constant speed, rather than infinitely fast.

      Tunnel Experiment distinguishes between 1) Aristotelian theory 2) H-P Variant of Aristotelian theory, 3) Buridan impetus theory.

      1) Predicts that the object becomes at rest when reaches the center of the Earth, since no force would be there to move it. 2) Cannot reach the surface again, since by the time the ball reaches center of the Earth, the initial upward force of impetus is either exhausted, or produce a force opposite to the direction of motion of the ball. 3) Predicts that the object would perform pendulum motion. During the natural motion downward, the object would accumulate enough impetus, greater than gravity, to pull it up toward the surface after reaching the center.

      Pendulum motion is not explainable by 1) or 2), only explainable by 3).

      This thought experiment is the origin of all oscillations in the history of dynamics. Analogy is quickly drawn between pendula and vibrating strings.

    1. Video summary start-timeflag - end-timeflag: Generate a succinct and informative video summary in one paragraph of about 150 words according to the video transcript. Capture the primary ideas, key insights, and notable information presented in the video transcript Highlights: + [00:00:29][^1^][1] La méditation de pleine conscience à l'école * Présentation de Stéphanie Devané, professeure des écoles, et Frédéric Lenoir, spécialiste d'hypnose. * Contexte : préoccupation croissante pour la santé mentale des enfants à l'école. * Promesses de la méditation de pleine conscience : amélioration des apprentissages, bien-être, réduction du stress, renforcement des compétences psychosociales. + [00:19:18][^2^][2] Origine de la méditation de pleine conscience * Remonte au 19e siècle dans le bouddhisme. * Propagation en Birmanie suite à la colonisation anglaise. * Laïcité remise en question : la méditation de pleine conscience est-elle vraiment laïque?

      Video summary start-timeflag - end-timeflag: Generate a succinct and informative video summary in one paragraph of about 150 words according to the video transcript. Capture the primary ideas, key insights, and notable information presented in the video transcript.

      Highlights: + [00:23:29][^1^][1] Origines de la méditation de pleine conscience * La méditation de pleine conscience a évolué à partir des pratiques bouddhistes en Birmanie et a été popularisée par des Occidentaux intéressés par l'Orient. * Elle est devenue plus répandue et a finalement atteint les écoles, mais avec des influences New Age. + [00:30:07][^2^][2] Laïcité et méditation à l'école * La question de savoir si la méditation est appropriée à l'école est complexe. * L'agrément éducation nationale ne garantit pas l'absence de biais ou de dérives sectaires. * La vigilance est nécessaire pour éviter tout impact sur la liberté de conscience des élèves.

    1. First he mentions aproptosia, which means literally 'not falling forward' and is defined as 'knowledge of when one should give assent or not' (give assent); next aneikaiotes, 'unhastiness', defined as 'strong-mindedness against the probable (or plausible), so as not to give in to it'; third, anelenxia, 'irrefutability', the definition of which is 'strength in argument, so as not to be driven by it to the contradictory'; and fourth, amataiotes, 'lack of emptyheadedness', defined as 'a disposition which refers impressions (phantasiai) to the correct logos.[64]

      epistemic dynamics / belief dynamics.

    2. Chrysippus, on the other hand, was a causal determinist: he thought that true causes inevitably give rise to their effects and that all things arise in this way.[37] But he was not a logical determinist or fatalist: he wanted to distinguish between possible and necessary truths

      c.f. Borel-Cantelli.

    1. 完全シャットダウンの実行

      何をやってもダメだったのにこれで回復した。 自分は一般的にはPCの知識がある方だと思っていたけど、これは知らなかった。 本当に感謝。

    1. Collaborating

      I see Collaboration as an essential pivot for a social constructivist environment. It is such a great vehicle for allowing people to engage with a multiple of different perspectives which can challenge assumptions.

    1. FGR: Yo creo, honestamente, que debemos criticar esavisión que intenta “satanizar” lo que hoy se nos presenta enel Estado Islámico. Yo creo que sus prácticas realmentechocan las formas más avanzadas de convivenciaque hemos logrado, pero también hay un efecto realmenteimpresionante de los medios masivos de comunicaciónen todo eso. Nos asombramos de los acontecimientosocurridos recientemente en París, pero no de los milesde mujeres, ancianos, niños y población inocente quemueren cada día o viven en condiciones precarias comoresultado de los bombardeos de Occidente sobre Siriae Irak. Barbarie genera barbarie, y violencia generaviolencia. Después de haber existido el nazismo, elestalinismo, y una historia de guerra de la humanidaddesde sus inicios, deberíamos haber aprendido que lasubjetividad en sus producciones racionales irrecon-ciliables por su naturaleza subjetiva es la fuente de labarbarie.

      Se aborda una crítica a una vision sesgada de los conflictos y actos de violencia global. Se cuestiona la tendencia a "satanizar" al Estado Islámico, destacando la influencia de los medios de comunicación en nuestra percepción de estos eventos. Tambien una falta de atención hacia las víctimas de los bombardeos occidentales en Siria e Irak y se argumenta que la violencia y barbarie tienden a engendrar más violencia. Además menciona que la historia ha demostrado repetidamente cómo las subjetividades y sus producciones racionales, por ser inherentemente conflictivas y subjetivas, pueden conducir a la barbarie. Esta perspectiva invita a reflexionar sobre las causas subyacentes y la responsabilidad compartida en los conflictos globales

    1. Anyway, Lepiter gives me the first step for a publishing tool. I have the document. Now I just need to export it.

      We, in the Grafoscopio community, had a similar need, but our approach was different: to keep the format simple and to use Pandoc combined with metasystem capabilities of Pharo (for example the fact that a document can be used to program itself) to address publishing formats and reproducibility.

      More details as comments ahead.

    1. observed survival time in the dataset, and the bold line represents the predicted survival times by our Weibull model.

      Should I be concerned that these really don't look like they match up well at all?

    2. ollowing table (Figure 11).

      This is a table, not a Figure. The are referenced and numbered independently.

    3. Figure 10

      No mention of what the dashed vs solid lines mean in the figure or the caption.

    4. Weibull Model of Survival Probability by Genre overlaid on KM Curve of Survival Probability by Genre

      why should a reader care about this?

    5. Weibull model

      This was not defined earlier

    6. In Figure 10, the d

      explain before figure

    7. We then fit a parametric model to this survival curve. We created a Weibull model and overlaid the resultant model predictions onto our survival plot (Figure 10).

      Why did you do that here but not for the earlier situation? What is the motivation behind this?

    8. We ran a log rank test on our genre Kaplan-Meier curve as well, and this test resulted in a p value of <2e-16. As such, we can say that genre absolutely plays a significant role in the sustained popularity of a given show.

      Does this also mean that the drama and docu-series curves are individually significantly different?

    9. Kaplan-Meier curve of how many weeks shows took to go from maximum (100) to minimum (0) Google Trends rating, based on their genre

      what should a reader take away from this? Also, why the shading? That wasn't apparent in the previous plot.

    10. This Kaplan Meier curve

      explain before figure.

    11. As such, we can say with confidence that there is a statistically significant difference in how long a show’s popularity is sustained based on the streaming platform.

      This is across all the platforms correct. The log rank test works both across groups or across pairs?

    12. s the Kaplan-Meier curve in Figure 8 shows, there is some difference between the streaming platforms. The two worst performing streaming platforms in terms of sustaining popularity are Peacock and Disney+. Peacock lags way behind the other streaming platforms; this can be attributed to Peacock’s relative unpopularity amongst streaming platforms. Peacock is the newest of all the streaming platforms tested, launching in July of 2020 (Comcast, 2020). As such, it has not had the time to build up an audience or a reputation as a platform with good original programming. Disney+ is a more interesting example. Disney+ is a very popular streaming platform, but not very good at creating original content that sustains popularity. We hypothesize that this highlights the strengths of Disney+: the catalog of Disney content. Disney+ houses all sorts of Disney Channel shows, Star Wars films, and Marvel films, all of which could be argued are the main draw of Disney+ as a platform, not their original content.

      Explain before the image.

    13. Kaplan-Meier curve of how many weeks shows took to go from maximum (100) to minimum (0) Google Trends rating, based on their streaming platform

      And so what should a reader be concluding from this image?

    14. Figure 8

      It would probably be worth lighboxing these images so that they don't take you to a different page when clicked, but instead get larger on this page.

    15. To do this, we decided to use Google Trends data.

      Why this over the ratings, for instance?

    16. Kaplan-Meier Curves

      You can write definitions in markdown with markdown word : definition which might be better here than subheadings.

    17. To ensure clarity and understanding, we have provided these definitions below.

      I appreciate this, as I haven't taken all these classes!

    18. Descriptive Statistics

      I saw no statistics in this section. Only EDA visualization. So don't conflate the two.

    19. Figure 6:

      You need a legend explaining the blue and green on these still.

    20. Figures 6 and 7 highlight the Google Trends search interest and placement on the Nielsen top 10 streaming rankings for two streaming TV shows, both post-apocalyptic dramas based on video game franchises. Fallout was released in full on Prime Video on April 10, 2024. The Last of Us premiered on HBO (simulcast on HBO Max) on January 15, 2023 and ran until March 12. Fallout was on the Nielsen rankings for 7 weeks, spending 4 of those at #1 before falling to #7. The Last of Us was on the Nielsen rankings for 9 weeks, spending just one week at #1, but fell no farther than #4. Interest for both shows peaked when they premiered, but by a week later interest in Fallout had fallen and it was half as popular; it continued to fall, although showing small peaks. Interest in The Last of Us jumped weekly as new episodes aired, not dipping below the halfway mark until almost a week after the finale.

      Move the explanation before the figures.

    21. Fallout (Figure 6) and HBO’s The Last of Us (Figure 7).

      I would stack these into the same figure if what you are wanting to do is compare across them.

      To get a consistent x-axis I'd change it to days before or after release. Then the two should be comparable.

    22. Figure 5

      This is better than Fig 4, but it is still difficult to see some of the smaller variations b/c of the dominance of Netflix's all-at-once. Would a vertical log scale help this at all? That would seem preferential to making a cut on the vertical scale.

    23. * *the shows whose release schedule changed were classified as ‘Changed’ on this graphic

      No sense of footnoting when it shows up on the next line. Just include your explanation as part of the caption.

    24. The breakdown of shows is heavily skewed towards the ‘all at once’ shows. This is mainly due to the dominance of Netflix. Breaking down the release schedules by streaming platform paints a very clear picture (Figure 5).

      I think I'd just skip straight to Figure 5, as Figure 4 is mostly not giving anything important because, as mentioned, of the Netflix dominance.

    25. The distribution of shows by genre is relatively straightforward and makes sense. Initially, we were surprised by the comparatively low number of comedy shows compared with drama and even docuseries shows. However, we realized that this was due to the fact that the only shows whose data we gathered were shows that were present on a top 10 ranking. And as the majority of critically acclaimed TV shows are dramas in some capacity, this difference in genre counts makes sense based on our data collection methods.

      Above figure.

      Also, this figure I have a little bit of a harder time understanding exactly how it is going to factor into your research question. So all the more reason to perhaps explain that.

    26. Looking at the breakdown of shows, it is clear to see that Netflix has considerably more shows in the dataset than any other streaming platform

      It is important to relate your EDA back to your research question. What are the implications of this massive lead Netflix has on your research question? (Because I suspect there very much are implications) Keep a reader thinking about the data in the context that you want to evaluate it.

    27. Figure 2

      Are you referencing these in the Quarto method? Usually it will link them if you are doing that.

    28. Breakdown of shows in dataset based on Streaming Platform

      Your caption should also explain what the main thing you wanted a reader to get out of the image was. Here presumably that is the huge lead Netflix has in this area.

    29. Looking at the breakdown of shows, it is clear to see that Netflix has considerably more shows in the dataset than any other streaming platform; in fact, it has more than all other platforms combined. This is due to two main reasons. First, Netflix’s weekly top 10 data covers a timeframe of 3.5 years, whereas the other platforms weekly top 10 data covers around 0.75 years. Therefore, we have an additional 2+ years worth of data for specifically Netflix shows than the other streaming platforms, leading to more shows. Second, Netflix is the most popular streaming platform, and as such, both has the funding to make much more original content than its counterparts and dominates the combined streaming ratings on Nielsen. According to DigitalTrends, Netflix has 270 million monthly subscribers, whereas Hulu, Max, Paramount+, and Apple TV+ all have under 100 million subscribers (Nickinson, 2024). That large of a difference in revenue allows Netflix to create more original content than its competitors. Additionally, as we were only gathering data for shows that appeared on a top 10 list, Netflix’s large subscriber base helped them dominate the Nielsen rankings. And, perhaps most obviously, Netflix is the oldest streaming platform, having been launched in 2007 (Barnes, 2019). As it is the oldest streaming service, it has also had the most time to create original content.

      Again, I'd move the discussion about the image to before the image actually appears.

    30. We use the show_id as our main connecting piece, allowing us to connect our shows table with the various ratings tables, the gtrends table (containing Google Trends data), and the releaseinfo and binned_genres tables. Instead of having unique Primary Keys for each table, we primarily use compound keys as unique identifiers for each of our tables. Only the shows and platforms tables have single value primary keys. Every other table has a compound primary key. The compound keys were chosen to have a unique identifier that we could use to identify each row. For example, the netflixtop10 table’s compound key consists of the show_id, date, and season_title. This is because Netflix’s Top 10 data breaks down a show by season, so a single show could appear on the same week’s top 10 list multiple times. An example of this is Bridgerton. The Netflix Top 10 list for the week of June 6, 2024 contains Bridgerton Season 3, Bridgerton Season 2, and Bridgerton Season 1. As such, a compound key of just the show_id and date would not create a unique compound key. Therefore, season_title was also included to differentiate between the different seasons of a show. The season_number was included in the compound key of the releaseinfo table for similar reasons; as the release schedule for a show can change over the lifetime of the show, we needed to include the season_number to the compound key alongside the show_id to ensure that each row had a unique identifier. Most of the other tables such as gtrends, reaperratings, yearlyratings, and nielsenratings use a compound key of just the date and show_id as they do not differentiate between seasons, and therefore each show would have at maximum one data point per week, making our compound keys unique for these tables. The binned_genres table required including both the show_id and the binned_genre as part of the compound key. This is due to the fact that, as mentioned in the Show Genre section, there are a small number of shows whose genre listed both ‘comedy’ and ‘drama’, and as such, we classified them as both. Therefore, within the binned_genres table, there are a few show_ids that are repeated, so we must additionally include the binned_genre column in our compound key to ensure that each row is unique.

      I think I'd move much of this up ABOVE your Figure. It is always better to explain the figure fully in the text before showing it. If someone wants to look ahead at the figure as they read then, that is fine. But it keeps someone from looking at a figure, being confused and taking a bunch of time to figure it out, only to continue reading and have you explain it all.

    31. Results

      You should basically always introduce a section with some text before an image, other section heading, table or etc appears.

      Also, I think I'd change this name to Analysis, or Data Analysis.

    32. The way that we structured our database tables is shown in the Entity Relationship Diagram of Figure 1.

      Good mention, but then you need to explain what is happening in the figure in the text.

    33. This ended up being a pretty considerable effort, taking a few days’ worth of work to complete.

      Yeah, this is always tricky and difficult to automate.

    34. 3NF

      write this out at least the first time you mention it

    35. Data Ethics

      I would try to center a bit more of this around how this data interacts around your research question and possible ethical concerns in that direction. This isn't initially a topic that screams out ethics, so I think you need to think a bit harder about this. Maybe think about what the results of your study might be and if they could affect the streaming landscape in a way that might be unethical? If it turns out that all-at-once is substantially better for generating buzz, could that have unequal ramifications in some way to customers? Is the act of binge-watching entire seasons the healthiest way to consume entertainment content? I'm not 100% sure here, I'm just thinking about possible side-effects that might fall under ethical concerns. But I think you can expand this some, even if just to mention that you have considered some of these things and found there to be no ethical problems.

    36. As we were essentially duplicating these shows, we separated the binned genres into a different table in our database so we don’t have duplicate shows in the shows table and can maintain having a single row for each show in our shows table.

      This feels like a many-to-many relationship type of dynamic, where you'd frequently use a "middle table" to store the connections, where it would just have two columns: show id and genre id, and if a show had multiple it would just show up on multiple rows (the connecting table often has no primary key)

    37. This meant that there were a small, but not insignificant number of shows in our dataset that are in a foreign language.

      I'm assuming this means as the only available language? Because many you can get dubbed or with sub-titles? Or does this just mean the original language?

    38. respective category

      Could one show be in multiple of these bins? Like a dramatic comedy?

      EDIT: Oh ok, you address this later.

    39. superhero teen drama

      thetvdb gives this one Action, Drama, Science Fiction. So maybe those would have been more generalizable at least. Oh, and sub-genre of superhero

    40. comedy’, ‘drama’, or ‘docuseries’

      Are single quotes just rendering in this odd way? These actually feel like back-tics to me, except that they are going the wrong direction.

    41. once again turned to Wikipedia.

      Also, on thetvdb, though I don't know how they compare

    42. from a third party source

      Need to name that source!

    43. An argument can be made that Wikipedia’s information could be inaccurate. However, it was the only source that we could find that contained the release information for each individual episode of a show, whereas other sources would only contain when the season was released.

      thetvdb has an API and includes release dates of every single episode.

    44. yearly ratings

      Are these ratings of the streaming platform itself? Or like an average rating of shows shown on the platform? What is being rated here I guess is my question.

    45. Netflix Weekly Top 10 Streaming Ratings

      I don't love subheadings for blocks of text that only end up being a paragraph long. You might reconsider how you've structured this with the subheadings or see if there is more you could like to add about this and FlixPatrol.

    46. show

      show name?

    47. CSV file from the Google Trends website

      might be worth pointing out that Google Trends does not offer an API, so this was the best (and only) approach

    48. This is interesting, as the different streaming platforms treat this release type differently. On Apple, the hybrid release is essentially the default release type at this point in time, whereas on Netflix, hybrid release schedules are reserved for the most high-performing and popular shows on the platform, such as Stranger Things and Bridgerton. This likely is the cause for the relative low performance of the hybrid release type.

      From your earlier descriptions, it seemed like most of the hybrid release systems did some sort of bulk release at the start before switching to weekly or similar. So it seems especially surprising that they do so much worse so quickly, since the initial episodes seem like they are essentially all-at-once released.

    49. last 5 years for each show,

      what are the oldest shows that you gathered data on? You haven't made that clear yet.

    50. Shows like Succession, The Last of Us, and The White Lotus, all of which aired weekly on HBO at the same time they were released on HBO Max (later Max),

      Given the timelines you mentioned above, having a timeframe for this would help me place it within that context

    51. and Background

      you can just leave this off and call this the Introduction. That is totally fine

    52. the combination of release schedule with these other factors influenced their survival probabilities.

      Though release schedule and platform are highly correlated in this dataset correct?

    53. Kaplan-Meier Curve showing Survival Probabilities of shows based on their release schedule

      what should a reader take away from this?

    54. This graphic

      explain first.

    55. survival probabilities of the different release schedules

      good, since this kinda felt like the whole objective based on your research question.

    56. This graphic

      explain first

    57. Kaplan-Meier Curve showing Survival Probabilities of shows based on their genre and release schedule

      why should a reader care?

    58. Surprisingly, docuseries with weekly releases do the best at sustaining popularity. We were surprised by this, as we expected to see a higher popularity of all-at-once docuseries, due in part to their oftentimes low number of episodes and are covering time-sensitive issues. This likely has to do with the fact that there are only 9 total shows that are weekly released docuseries in our dataset, and two of those shows are extremely popular shows: Last Week Tonight and The Grand Tour

      Yeah, this felt very surprising to me, since docuseries in general was among the worst performing earlier. And yet here all of its variants seem to perform better. What would cause that?

    59. First and foremost, i

      Explain first.

    60. Figure 13

      Are the shaded regions indicating confidence or error? Or just arbitrary? I can't figure it out.

      Also, I wonder if this graph would be more readable with panels, similar to the below figure.

    61. Figure 14

      How much of some of these curves are influenced by small numbers of shows fitting in that bin? Would it be helpful to show counts of the number of shows analyzed in each figure?

    62. Kaplan-Meier Curve showing Survival Probabilities of shows based on their streaming platform and release schedule

      What should a reader take away from this graphic?

    63. 8.91% (61/684) had their release schedules changed at some point in the show’s lifetime.

      This is of all shows that have multiple seasons? Or were some show's scheduled changed mid-season? You'd only mentioned the season changes so far I think.

    64. this difference

      Exactly what difference are you talking about here. Presumably between shows that have changed and those that have done, but what is the variable you are comparing?

    65. Chi-Squared value was 24.482

      how to interpret this?

    66. the top two features are whether the show was released on Peacock or Netflix

      Oh, so these categories have been encoded as different features now?