so incorporating speech improved the AUC by >10%

so this trial they used less detailed demographic information and were still able to get a pretty accurate result

Apolipoprotein E, an LDL associated with the formation of amyloid plaques and tau tangles

How much of the predictability is coming from the speech recognition and how much is coming from the other factors it is also accounting for (demographic, health factors, apolipoprotein E)? Now that is a specific question...

A way to measure efficacy of an AI based on accuracy and sensitivity

2.4 adn 2.5 so confusing...

used the same population for testing so not really independent testing. Would be interesting to see how it held up with a completely unrelated group of people. Potentially wouldn't hold up as well.

risk factor for AD

A Transformer is a neural network architecture introduced by Google. It revolutionized how machines understand and generate sequences

Instead of processing words one at a time, transformers look at all words in a sequence simultaneously and use a mechanism called self-attention to understand how each word relates to every other word.

Self-Attention Mechanism Each token “looks” at other tokens in the sentence and assigns attention weights — numbers that represent how important each word is to understanding the current one.

Example: In the sentence “The patient who had pneumonia was discharged.”, the word “was” should pay more attention to “patient” than to “pneumonia.” The self-attention mechanism captures this context automatically.

1. Stacked Layers

Many layers of self-attention and feed-forward networks are stacked.

Each layer learns increasingly abstract relationships — syntax, semantics, and even reasoning patterns.

What are these acoustic features and how do they affect diagnosis? Would it be useful to integrate them as well?

Okay so it works pretty good...what are some next steps? Application to a different disease that affects speech?

What are NLPs?

Okay there is value in this because it another way to help differentiate between MCI and Alzhimer's. Risk stratification, get them a MRI, then potentially some of the drugs that can prevent plaques and tangles from forming

OKAY a primary research article

The 3rd process of renationalisation regards anti-immigration policy implementations aimed to "protect the national cultures of Euro countries against population flows of global migration". France, Germany, and UK are challenging the principle of deep div by arguing that multicul is detrimental to maintenance of pol and soc cohesion.

There are observed efforts from the minority nations to "get a better deal" with existing pol settings (ex: Meech Lake prop with Quebec and Canada & suspension of pol institutions in Catalonia through application of Article 155). These are situtations where the central state are using the carrot (Canada) or the stick (Spain) to tame/silence opposition.

2nd process of renationalisation has to do with national responses to national building strategies. They assert they ought to have equal status with majority nation and claim to have right both to internal and external self-determination. Mentions Quebec's pol force mobilising behind "equality or independence". Similar scenarios have emerged in Catalonia, Basque country, Scotland, Flanders, and beyond.

The 1st is about the recurrence of violent conflicts in Cen and East Euro following collapse of USSR in 1993. Discusses two fallen multinat fed (Yugoslavia and Czechoslovakia) because they were affected by the pol tensions from the collapse. Their dismantlement led experts to say multinat fed could only lead to or feed pol instability. Or the author reframes as the experts are saying multinat fed contained the seeds of their own failure in their ethno-nationalist comp.

Just introducing the 3 key processes of renationalisation that is taking place in Euro identitfied by Joseph Marko

There are countries (Belgium, Canada, Finland, Germany, Switzerland, and UK) that have been willing to provide support to minority nations through dynamic push and pull that was benefitted by new sensitivity to cul pluralism, nat div, and linguistic div. However, in countries like Spain it wasn't going to last the whole time due to impending dom pol forces trying to reverse it back to central state hegemony and they themselves upholf state stability.

Trend of renationalisation (powerful forces bringing together the central state back) in the past 3 decades. This leads to weaker groups from holding onto their own power which lead to distrust and mistrust among leaders and neg impact between pol comms.

This the final definition the author landed on regarding multinat fed. Its a more collaborative and mutual agreement of the diversity of a multinat or multi level fed.

*I'm a little confused about this paragraph but here's my go. The author is engaging with the discussion about how most forms of multinat fed is linked to ethnofed whic is linked to be unstable "as narrow ethnic identities would prevail over broad civic achievement" or to the unraveling of various communist feds. The author's aim is to take rep of pol interests and their dem exp seriously instead of assuming like Bunce and her colleagues that all pol actions are motivated by ethnic aspirations/goals.

This is the author's definition of multinat fed, one about recognising presence of multiple identities and sustaining appropriate institutions capable of empowering pol comm to promote state differentiation and state collab.

Author highlights existing definitions of mulitnat fed. 1st and dominant current focuses on notion of territorial or mon-nat fed. 2nd thats gaining more prominence current focuses on pol presence of more than one sociological nat & sig for pursuit of pol legitimacy and maintenance of pol stability

Authors thesis + roadmap are here. Thesis = present multinat fed as a new distinctive form of pol association to favour nat div within complex dem settings. Roadmap = what multinat fed offers alt to dom lit on territorial/mononat fed, ongoing nat building processes and how multinat fed can aid, discusses reasons to adopt multinat fed in nat diverse contexts.

another counter arugment which involves students saying that multinat fed need a Staatsvolk to impose pol will to assert more dominance to be stable. Author fights this claim by arguing that we have seen the consequences of this through Spain (jailing pol leaders) and India when they removed the statute of pol autonomy from the Kashmir.

all nat subjects of a sovereign country. or those subjects belonging to the dominant ethnic group of a country, excluding minorities, especially those who belong to nations that have states of their own

The author brings in counter arguments from Christian Joppke (who argues that states are more inclined to secure and fortify majority culture and impose their authority, through adopting measurements) and Brian Barry (who argues that cultural diversity -> state fragmentation that turn into exploitation from ethnocultural pol entrepreneurs). Author concludes they are insensitive to minority claims

The author highlighted the period of advancement of deep diversity from late 1980s - mid 2000s. Within this period sprouted the ideas that diversity is really important to creativity that sustain public life. But after this period liberal Western dems witnessed backlash against this trend.

Mentions Myanmar, India, Malaysia, Sri Lanka, Iraq. Author shares these cases as a way to demonstrate where the n. gative protrayals of multinational federations are coming from + the root of the issue (the imposition of common nationality).

no es pequeño?

tables are just very helpful way to look at data for machine learning modeling

comma-separated values is what csv stands for i never knew that

Inicia Aquí la Lectura

as everyone has told me, 90% of ML is data

Data is extaordinarily important, literally one of the reasons im planning to go through all this now before i start going through my data, you can have a good loss function, but ultimately its all dependent on your data

no sería un efecto pequeño?

Although Eliot, Carpenter, and Spenser all depict the River Thames as a significant reflection of society, they diverge in their characterization of the river and its role in modern sexuality. Carpenter, an early proponent of sexual and relational freedom, describes the Thames as a fluid beauty balancing nature and humanity.Eliot warns against sexual freedom, contradicting Carpenter and inverting Spenser. The line “Sweet Thames, run softly, till I end my song” comes directly from the refrain in Spenser’s “Prothalamion.” Spenser describes the River Thames as a beautiful sight, and an even more beautiful sight being the two swans of Jove and Leda. He describes the swans as so “purely white,” that even the water was impure to them, so much so that the river didn’t wet their feathers to spare them from self-pollution. Here, he paints an idealized image of a society that shines “as heaven’s light,” following religious values.

“So purely white they were, That even the gentle stream, the which them bare, Seemed foul to them, and bade his billows spare To wet their silken feathers, lest they might Soil their fair plumes with water not so fair, And mar their beauties bright, That shone as heaven's light, Against their bridal day, which was not long”

Eliot, on the other hand, paints the Thames as extremely polluted, indicating that while he borrowed the line from Spenser, he views the more popular version of “Prothalamion” as a better reflection of society. In the more known version, Jove disguises as a swan to sexually assault Leda. In this case, the swans are not actors of love, but of sexual violence. Water, often a symbol of holiness and purity, is physically polluted by industrialization and overconsumption, but is also a reflection of how society has lost its holiness with the rise of sexual assault and sexual fluidity. Going deeper into Eliot’s religious allusions, Jesus washes his disciple’s feet as an act of mutual humility.Here, the “unholy” people of the Waste Land’s River Thames wash their own feet in “soda water,” indicating that the water has been polluted by modernity (soda being a “mutated,” modern form of water and the relational modernity rising in the 20th century) and even humility has been lost.

The opening of this section seemed to me to reflect the structure in the beginning of Keats’ “What The Thrush Said.” Keats begins with “O thou whose face hath felt the Winter’s wind” and other such lines describing winter before writing “To thee the spring will be a harvest-time.” This repeats once more with slightly different description around light. “What the Thunder Said” begins with these lines highlighted—the second is the most explicitly wintry image, and the others become as such positioned around it. The “torchlight” fading suggests warmth and light being extinguished, as winter approaches; “frosty” feels an early winter quality; “stony places” are barren and hard, describing the frozen, unyielding quality of winter ground; the sounds of “shouting and crying” break through the wintry, “frosty,” silence as harsh winds or storms; and both “prison” and “palace” feel cold and stone-bound, echoing with emptiness. Then follows the sixth line, “Of thunder of spring over distant mountains.” This feels as/seems to function as the lines “To thee the spring will be a harvest-time” and “To thee the Spring shall be a triple morn” from Keats—presenting the rejuvenation and renewal that is to come, that is arriving. In Harrison’s study, she writes, “‘Thunder,’ said Umbara headman of the Yuin tribe, ‘is the voice of Him (and he pointed upwards to the sky) calling on the rain to fall and everything to grow up new.’” So this lovely spring thunder brings God (is God), and brings restorative rain. Interestingly, this is in opposition to the start of the poem, where April, the beginning of spring, is marked “the cruelest month.” But then, in fact, what follows is a seeming inversion of the story of Lazarus (as noted by William) and actually no water of any form. So what is left—from this dry state, to the expectation of water, to no water—is an intense thirsting. And then this is teased, with the way the second stanza goes round and round seemingly getting closer to reaching water, really—but not. Psalm 63 relates thirst to a thirst for God. I think this is definitely at play here. So again we are left with more paradoxes. God is present in the thunder, but absent with the absence of water. Spring at the beginning of “The Burial of the Dead” stirs life from death; spring here settles death (from life). How can these be reconciled?

Between his textual narrative of Lil and his reference to Ophelia, Eliot examines the contrast and connection between love, virginity, purity, and exploitation. Here, the speakers discuss how Lil is not taking care of her appearance and will not be appealing to her husband, then one says “What you get married for if you don’t want children?” This implies that the sole reasons for marriage are sexuality and having children, while the concept of love is not mentioned. The final line of “The Game of Chess” is “Good night, ladies, good night, sweet ladies, good night, / good night,” which is a reference to Ophelia’s farewell in Hamlet prior to her suicide. By ending the passage with Ophelia’s words of distress, it is implied that Ophelia’s situation is very significant to Eliot’s message. Ophelia says, in the excerpt from Hamlet, that “To-morrow is Saint Valentine's day, All in the morning betime, And I a maid at your window, To be your Valentine. Then up he rose, and donn'd his clothes, And dupp'd the chamber-door; Let in the maid, that out a maid Never departed more.” She mentions arriving at Hamlet’s window as a virgin (a maid – older description for a young unmarried virgin), looking to be his Valentine, or to find love. Ophelia leaves this meeting no longer a maid, or a virgin. Afterwards, Ophelia adds, “Before you tumbled me, You promised me to wed. So would I ha' done, by yonder sun, An thou hadst not come to my bed.” Hamlet promised to marry her, which she was ready for, but instead just slept with her and then shunned her. Ophelia seems to feel used and exploited for her body. Lil, having already lived a life of five children, chooses to resist the need to appease her husband with superficial changes to her appearance. It is almost as if Lil lived Ophelia’s life, but continued living with a different mindset, though she is still subject to the same expectations and judgement. The difference between the two women is that Lil experiences this while married, and Ophelia is a young unmarried woman. Considering the time period of the piece, having lost her virginity to a man who decides not to marry her after all, Ophelia is left “ruined” and “dishonored” in society and in future romantic relationships. Essentially, by taking her virginity without marrying her, Hamlet has sentenced Ophelia to a life without the authentic love she originally desired. Left without clear choices and grieving the loss of her father, Ophelia becomes mentally unstable and feels that she has no other option than suicide by drowning. This is significant, because water is most often viewed as spiritually pure, especially as the medium for baptism. At the start of one’s life, they are baptized, and at the end of Ophelia’s life, she drowns. So, at line 170, when the women in the bar say “goonight” to each other, they are just going home for the night. In the final line, however, when the farewells shift to Ophelia’s voice, she is saying goodbye to the “Game of Chess” – the “game” of a woman experiencing sexual exploitation and a loss of pure connection – and transitioning the reader to the next section where water (the River Thames) becomes polluted and “impure,” as well.

Eliot’s “The Game of Chess" and its referenced sources characterize women (or the queen piece) as the real pawns of society, exploited by men (the king piece) despite their power. Eliot begins the section with “The Chair she sat in, like a burnished throne, / Glowed on the marble…” In older versions of chess, specifically the marble-like Lewis chessmen, the queen piece sits on an elaborate throne, cradling her head in her hand with a tired expression. So, Eliot's description aligns closely with the chess piece of the Queen. At the same time, this description is a direct reference to Antony and Cleopatra: “The Chair she sat in, like a burnished throne, Glowed on the marble.” So, The Game of Chess begins with Cleopatra, the queen of Egypt and one of the most well known women of immense power labeled a seductress. In fact, the six assigned sources all display women used as scapegoats, always described but never given a chance to never given a chance to stand up for themselves. They are used as pawns in literature, society, and history. Further, these women are almost all associated deeply with snakes, or a symbol for the devil in many works. The foundation of this comparison is shown in Paradise Lost, as Eve is tempted by a serpent, or the devil, and then is blamed alongside the serpent for eternity. Notably, Cleopatra kills herself with an asp, or a serpent, to escape a future of humiliation at the expense of being forever silenced. In Ovid, Philomela’s tongue is cut out because the king dislikes her words, and severed tongue is compared to a snake. By taking away her tongue, or her voice, the king seems to believe he has stunted her ability to tempt and manipulate. In Baudelaire, he writes “The haunches slightly sharp, and the waist sinuous / As a snake poised to strike, / That she's still quite young!” Even as the woman is described in an undone state, she is still viewed as “a snake poised to strike.” Tying these references back to the text, Eliot argues through his characterization of “ the nightingale Filled all the desert with inviolable voice And still she cried, and still the world pursues,” that these women are labeled snakes, always poised to strike and poison others with their cunning manipulation, while they are truly nightingales, only afforded a grieving voice in the night. The thread is clear of women being exploited by men then blamed by those same men and the rest of society without a chance to share their voice.

Like Nerval’s fragmented account of his dreams, the Waste Land is a sort of dreamscape with a patchwork of seemingly random images, which all share a similar intention and background. “Unreal City” begins line 60 of The Waste Land, and Eliot leaves a footnote in French, nearly translating to “SWARMING city, city full of dreams, Where in a full day the spectre walks and speaks.” That quote in the footnote is from Baudelaire’s “The Seven Old Men,” which explores the shifting definition of beauty in nature, especially while Paris is rapidly industrializing. The city of Paris is labeled “Unreal City,” as a place built up by dreams and romanticized images, while industrialization begins to degrade the city.

The experience of reading the poem is similar to slipping in and out of consciousness, as literary, cultural, and historical references wash over the reader. So, “dreams” serve here as those of sleeping and those of hopes for the future. The concept of dreams as a whole is repeated throughout "The Burial of the Dead,” so ending the section with a direct connection to De Nerval’s account of dreams is symbolic for the poem’s overall structure. So, if we theorize that, here, this constant flow of people crossing the bridge are on a similar hell-like journey as the people who are neither here nor there in Dante (the uncommitted, unclassified , outcasts, etc.) The inscription in Dante on the gates of Hell translates to “"Abandon all hope, ye who enter here,” suggesting that this characterization of The Waste Land is one of abandoned hopes and dreams, leaving people to wade through the dreamscape (or nightmare) that is a fragmented modern society.

TL;DR: Most interesting to me is the mirrored structure which exists both thematically and structurally within this section—and within all its references. At first glance I thought it might indicate a doubling or twinning of sorts; but I’ve now understood this “mirror” to be more of a replication (or regression).

Midway through the stanza comes the line “With a dead sound on the final stroke of nine.” Upon my initial reading two significant features revealed themselves. First, there is numerical weight to the chosen number “nine.” In Baudelaire's poem the unnamed narrator watches seven old men, all identical in misery and form, tread somberly before him, before at last arriving at the terrible understanding that he himself is the “awful eighth.” And so of course the natural progression is to uncover a ninth member in this hellish parade; and obligingly Eliot supplies us with one. The ninth is, of course, himself, or perhaps the reader; either way the mention of the number “nine” suggests that this repetitive pattern has not yet ceased. In the original Les Fleurs Du Mal, Baudelaire plays with the notion of what I initially thought was doubling: there is the “spectre” of self which walks and speaks in our “city full of dreams,” the hypocritical Reader decried as Baudelaire’s “second self—[his] brother,” and, of course, the seven (or eight) old men, whose presence compels the narrator to double back and flee home. But at the very end there is a line which suggests that—as I’ve come to realize—that this doubling is more of a regression: “In vain my reason tried to cross the bar,/ The whirling strom but drove her back again”. And so in this way Baudelaire introduces another creation story for the ‘doubled’ men, in which they are not copies of one another but one and the same, forced back along the same path after having failed to “cross the bar”. So what is this “bar” which cannot be crossed? Eliot appears to suggest it is death itself. It seems to me that “a dead sound on the final stroke of nine” is operating as a threshold of sorts, or the “bar” in question: the line cleaves the stanza into two exact halves, each of which can be considered a “double” of the other. In this way it becomes clear that the “doubles” we are dealing with are the stanza’s halves, each of which depict an eerily similar motif. The first half of the stanza (lines 1-8) pays homage to Dante. The line “undone by death” comes from a section of the Inferno in which Dante meets the Uncommitted, a group of souls who reside neither in hell nor out of it. But interposed over this image of dead souls in limbo is the living, since Eliot roots this classical reference in a visual description of modern London. And so through this overlay Eliot melts any barrier between the living and the dead, perhaps suggesting that they are one and the same (a suggestion, it is worth noting, somewhat loosely put forth in De Nerval’s dream writings). The second half of the stanza is much the same. Eliot introduces the image of the deathly bloom, where the narrator expects mysterious flowers to erupt from planted corpses. This description seems to be most obviously an allegory for the afterlife: flowers growing from corpses are, after all, a continuation of life after death. But interestingly, the afterlife appears to be inaccessible. The lines “'Or has the sudden frost disturbed its bed?/'Oh keep the Dog far hence, that’s friend to men,/'Or with his nails he’ll dig it up again!” suggest that small discrepancies are capable of disrupting our entire future (which, again, is the plot of De Nerval’s writings—he spends the entire excerpt ranting about how our lives are the sum product of infinitely small moments and knick-knacks); and the questions marks suggest that as a result of these discrepancies, the flowers’ ability to bloom, or our ability to access the afterlife, has been compromised. Looping back to Baudelaire’s model of duplication—in which doubles are produced by a ‘doubling back,’ or re-walking of the same path—we can see how the stanza’s halves inform our understanding of the poem as a whole. Both parts reference our inability to move into the afterlife: the first half speaks of life and death as another doubled pair, implying that the dead souls ‘double back’ onto the living (aka they hit a dead end, cannot move past into the afterlife, so turn around and go back into the realm of the living); and the second half’s tie to the continuation of life post-death has already been thoroughly explained. This understanding gives new resonance to “a dead sound on the final stroke of nine”. Yes, the line references death as a threshold; but importantly, it frames death as the “bar” we fail to cross. There exists “a dead sound,” suggesting a sudden impact or some unsuccessful attempt. I think what Eliot is trying to say is that nothing ever changes; having died, we fail over and over again to access the afterlife, instead ‘doubling back’ onto life. As a consequence all future generations become copies of the past; and we get this weird circularity that Eliot flirts with for the rest of the poem.

I think the notion of orientation is really important here. Addie suggests that the "Fishing" metaphor alludes to the Fisher King, positioned so that his back is facing hell. Her analysis sinks into a particularly relevant section from Weston's essay: ‘the Fish was sacred to those deities who were supposed to lead men back from the shadows of death to life,' and is brilliant enough that I was sufficiently convinced that the Fisher King does, indeed, face away from hell. Hurling ourselves back in time to the segment on Death by Water -- where the threshold of death is, thematically, embodied by water itself -- we can thus see that we find ourselves (as MacLeish scholars past have noted, shoutout Jeannie + Addie!) in the exact same position from which we began. We are at the edge of death. Water is before, us, and behind us is hell. And so what is the way forward? If the Waste Land is said to have a central conflict, it would be the struggle to escape the repetition of human life. Life flows into death flows back into the life; and in this way it appears that in Eliot's world, no souls have ever successfully reached the afterlife. And so at the end of the poem we find ourself faced with this exact same dilemma: we have effectively traversed through hell, and are standing before the Death: will we cross the bar into the afterlife? Or will we descend into the fated spiral once more?

Props to Quisha for drawing a connection between these lines and Bradley's Appearance and Reality. In her annotation she isolated a specific line from his essay: “In either case my experience falls within my own circle, a circle closed on the outside; and, with all its elements alike, every sphere is opaque to the others which surround it." I find this quote extremely revealing. In my past annotations I have loosely discussed how TS Eliot appears to be presenting the thematic motif of DOUBLING, and as such, has constructed two separate worlds: the world in reality and the world of perspective. The world in perspective collides resoundingly with the concepts of Tarot and orientation; that is, how our own internal worlds can shape our perception of the environments around us, and as such, potentially imprint upon them. The world in fact, however, is far bleaker - this is the waste land of which Eliot speaks, populated entirely by vast tracts of infertile land and a cacophony of disembodied voices. Upon reading Bradley’s essay, I was most struck by the notion of a soul truly “knowing” another - and the rarity of that occurrence. I think part of the Waste Land’s pessimism is birthed from the notion that while our perceptions can filter the external world in a way which infuses it with hope, our perceptions are exactly that: OURS. There is no guarantee that any one else will ever see into your soul, or has a soul similar to yours; and there is also no way to ensure that a communication is as accurate as you desire it to be. “The key”, then, is turned only when all these factors miraculously unite: when the world of perspective and reality are guaranteed to be identical.

Last year, Addie annotated this exact section and described how Eliot purposefully confuses the reader's sense of right-side-up and upside-down. In an especially insightful section of analysis she claims that if the reader were to orient herself with respect to Dracula (whom "crawled head downward down a blackened wall"), the tower down which he crawls becomes inverted - and the corresponding Tarot Card, the Dark Tower, is similarly flipped. Nested in this idea is a broader understanding: that in the chaos and turbulency of the modern world, the only form of agency we truly have is our perspective. When Dracula is flipped upside down, the world appears to him inverted; and though in fact it remains exactly the same as it always was, in his mind's eye all has been reoriented. That's precisely Eliot's point. Though the world itself may be a wasteland, there exists a copy of this world - a world of shadows, of impressions, of perspectives and opinions - which is completely up to interpretation. I think he invokes Tarot as a way of imbuing this doppelganger realm with purpose and value: Tarot is all about perspective. Your interpretation of the card, and what it tells you about your life in this theoretical duplicate of reality, informs the way you act in the real physical world - and so perhaps our agency, though constrained to our own perspectives, is more powerful than we think. The following two lines are relevant insofar as they condense several central thematic discussions: the voices, time, familiarity and remembrance, and water. All of these strands weave together a picture of reality IN FACT: that is, a world in which people are consigned to make the same mistakes over and over, a world where several voices overlap but never really hear one another, a world analogous to a dry rock. I think Eliot piles up all these images to drive home the fact that though our perspectives may change (though the Dark Tower may become inverted, or vice versa), objective reality is constant. In this way he DOES put a pessimistic constraint on the extent to which our conception of life can actually influence the events occuring around us; but nevertheless I do think there are some shards of positivity embedded in there.

To Olivia: I agree! I think that gender fluidity is a big thematic motif throughout this section. Expanding that a bit further, I think there's a way to rope in Donne into how Eliot plays with male-female binaries. In his Elegy XIX, Donne describes the male desire for possession of the female body, or more specifically, the female soul. Initially it seems that Donne is simply illustrating the basic desire for ownership inherently embedded within sexual relations; but there exists another reading too, in which sexual yearning is a product of Man's intense wanting to be Woman. The elegy begins; "Come, madam, come, all rest my powers defy,/ Until I labor, I in labor lie." Of course there is the most obvious understanding of these lines as "Come to my bed, because I cannot rest until I can make love to you!" - but this is far too tame. I think there is an equally plausible interpretation in which Donne is saying he cannot rest until he not only makes love to Woman, but BECOMES a woman. "Labor" is here taken to mean work (sexual work, presumably), but one cannot help but think of its second meaning; that is, childbirth. In this way labor, being a biological capability that only woman possess, becomes a replacement for womanhood itself; and when Donne writes that he cannot rest until he lies "in labor," he is actually suggesting that he cannot rest before experiencing womanhood. This analysis colors the rest of the elegy in a different shade. The narrator's visceral descriptions of an undressing woman become not a product of sexual desire, but rather a deep-rooted envy of her femininity; and in this way Donne reframes love, lust, and hatred for the female figure as a function of Man's desire to be Woman.

To Lucas - I completely agree, but I also think there's an alternate meaning of the thrush in which the barren wasteland not only becomes hopeful, but grows un-wasted. You are definitely right to say that the thrush preaches a life of simplicity, and of thriving off of scant resources. If you've only ever lived off nothing, than something--even the smallest of crumbs--seems enormous to you. But there is another subtlety to Keats's poem as well: as he writes, "He who saddens/ At thought of idleness cannot be idle,/ And he's awake who thinks himself asleep." I think what he means here is that THINKING itself is something: having the thought of idleness inherently means that you are not idle, and the fact that you are thinking about being asleep proves that you are not, in fact, asleep. Similarly, thinking about the waste-land proves that the wasteland is not, in fact, wasted. Though there may be no water, nor soil, and perhaps just a rock, there nevertheless are THOUGHTS: and these thoughts are material growths in of themselves, proving that something in fact has grown out of this barren world. Thus, the wasteland cannot be wasted - it really just depends on the way you think about it. Perhaps this is Eliot's way of suggesting that all the spectres that he references - shadow selves, twins, the "sound" of water, thoughts - constitute something valuable? Something that, in a world of waste, has worth?

Death by Water represents the convergence of two central motifs: the twins and the voices. In the Inferno, Dante encounters two sinners who are being burned together in a double flame: that is, "who are twinned within a single fire." The identicality of their hellish fate stems from the fact that their sins were wrought together, or similarly; in this way the twins become a generalizable metaphor for the repetitive nature of the human race. Prone to the same errors, we live the same lives. Interestingly, one of these sinners (Ulysses) explains his final journey, in which he hit a underwater whirlwind and died via drowning. The convergence of these images - of fire after death, of water AS death, and of the whirlpool being life itself funneling towards death - mirror Phlebas's narrative structure exactly. How does this relate to Dante, you may ask? I am of the opinion that Eliot roots Phlebas's arc in the "twin" sinners as a way of indicating that Phlebas (much like Sybil with the voices) represents not one person, but many. Having been "a fortnight dead," he is presumably burning in hell; but if his Inferno counterparts are Ulysses and Diomedes, he must have twin counterparts too. Eliot helpfully introduces us to his double: the reader. The final line ("Consider Phlebas, who was once handsome and tall as you") uses a visual comparison to directly frame the reader as Phlebas's twin. In this way it becomes clear what Eliot is really trying to get at: that we as humans are doomed to repeat the same sins over and over, and as a result, will burn together in a "twinned flame." What that flame is we do not yet know.

“Moisture is the essence of wetness, and wetness is the essence of beauty,” says Derek Zoolander, dead serious. Keats would agree. His world glistened—wine, nightingale, sleep, feeling itself was fluid. Eliot’s isn’t. In What the Thunder Said, language cracks open: “Here is no water but only rock.” The Romantic current congeals to dust. Keats seeps into forest; Eliot splinters in desert. The thunder stutters where the nightingale once sang. “If there were water”, the words twitch, dehydrated prayer. Keats drinks. Eliot chokes on sand.

“Why is the rum gone?” Jack Sparrow asks, staring out at an empty sea that feels both comic and mournful. That’s how Mr. Apollinax reads to me, a poem laughing at its own drowning. His laughter is submarine and profound, already half below the surface, intellect bubbling through the drawing room air like something that shouldn’t survive there. Beneath the teacups and lemon slices, coral and green silence are already rising. The scene is civil, but the tablecloth is soaked through. Years later, in The Waste Land, Eliot returns to that same sea, but the laughter has gone still. The descent is no longer metaphorical. What was once a philosopher’s joke about depth becomes Phlebas’s silence. The current that once worried the drowned now picks his bones clean. The wit has been replaced by ritual. In Mr. Apollinax, the drowning is intellectual—a mind so deep in abstraction it begins to suffocate itself. In The Waste Land, the body follows. Phlebas is the same figure, just further down. The philosopher’s laughter becomes a whisper, the thought turned to tide. Both poems trace the same descent. One plays with it, the other completes it. The drawing room and the sea are the same room, seen at two depths. The shift from irony to elegy, from chatter to current, is the sound of Eliot’s tone sinking. Phlebas is Apollinax returned to the water, his laughter dissolved into the sea that always waited beneath the surface.

What interests me most here is the question of power. It seems to be the fundamental resource beneath all male-female relations: does man overpower woman, or vice versa? In this instance the answer seems to be neither; for the first time we see a productive partnership between Man and Woman - Elizabeth and Leicester - in which they are united against the court of public opinion. The following line ("beating oars") reveals another facet to this partnership. This reference is preceded by a section on the Thames, and so visually, we can imagine Elizabeth and Leicester trapped together on a tiny rowboat, working furiously to fight against - or even, perhaps, to escape - the dirty Thames. This metaphor fits neatly into historical records: Elizabeth and Leicester were partners in crime when it came to escaping public scolding, which in some sense can be viewed as a dirty contaminant (like the Thames) threatening to lay waste to their reputations. Importantly, both of them were unsuccessful in escaping the waste. Despite their "beating oars," they never did escape the Thames; the two were never married, and public speculation concerning their relationship--and the foul play which it may have catalyzed--never ceased. Perhaps a moral generalizable to the larger poem: that it is impossible to flee the waste.

“Are we there yet?” Donkey whines in Shrek, somewhere between tedium and revelation. The question feels small, but it’s also about arrival—what it means to get somewhere, or never really arrive at all. Augustine writes, “To Carthage I came, where there sang all around me in my ears a cauldron of unholy loves.” The line is clean and chronological, a simple confession of arrival. Eliot adds one word: then. “To Carthage then I came.” That small word changes everything. In Augustine, the journey is complete; in Eliot, it feels ongoing. Then marks not only sequence but recurrence, as if the speaker is caught in the act of remembering and re-experiencing at once.The addition of then places the line in the voice of Tiresias, who exists across genders, times, and stories. For Tiresias, to see is always to relive; his vision folds every moment into one. The then mirrors that condition. He cannot witness without returning, cannot perceive without repeating. Augustine’s journey to Carthage happens once in time; Tiresias’s happens perpetually, in vision. Eliot’s then transforms a historical confession into an eternal one. It turns Augustine’s movement through sin into Tiresias’s endless cycle of seeing. “To Carthage then I came” is no longer an arrival in place, but a return in consciousness—a moment that Tiresias, who can never stop seeing, must witness forever.

This line is a modified version of Psalm 137: "By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion." The general plot of Psalm 137 revolves around the Babylonian exiles, who have been sent away from Zion (their home) and made to live, against their will, in a foreign land. The captors demand of them a happy song from Zion, and describing this demand, the captives write: "they that wasted us required of us mirth." In the Eliot-Psalm parallel, the Thames supplants Zion. This replacement is peculiar, since the Thames is neither traditionally "sweet" nor a homeland to be longed after, as Zion is for the exiles. Perhaps Eliot means this tongue-in-check reference to be a nod to the industrialization of the modern world: those who "wasted" society--that is, big business, factories, etc.--expect the public to sing mirthfully of the disgusting Thames, polluted and chemical-filled as it is. Interestingly, Eliot obliges: over the course of the next two lines it is revealed that he does in fact sing his song. In Psalm 137, the exiles refuse to sing a song of mirth out of principle: "How shall we sing the Lord's song in a strange land?" The fact that Eliot has no such hesitations, and sings willfully, suggests that perhaps this land is not so strange - he feels perfectly at home in this foreign land (and no sorrow at his home having been "wasted") simply because he comes from a wasteland also. And so perhaps the true optimism in the poem does not come from broad generalizations of "beauty in the waste" or promises that "we're all in this together"...rather, Eliot seems to take the most comfort in the understanding that we are all at home, always. No matter how bad the world gets or how wasted we become, we can still sing our songs of mirth - for after all, we come from the wasteland.

I suspect the "Goonight" is a nod back to one of Eliot's previous subtextual motifs; that is, the idea that life and death exist in an endless loop of repetition. Sofia theorized (in a fantastic annotation of her own) that Eliot believed small changes---aka waste (the tiny objects or moments which comprise our entire lives)---to be the reason behind massive changes in our destinies; in one of my own earlier annotations, I spoke very briefly about how these small changes are responsible for the cyclical nature of life and death (in which dead souls are repurposed into new ones, thus condemning the human race to an eternity of the same lives lived over and over again). Zooming into this section specifically, the dropping of the "d" in "Goodnight" represents one of these many "small changes." Perhaps Eliot means to parody the decay of great literature by directly contrasting the "Goonight" with the Shakespearian original below; but either way such a decay represents only one of the many ways in which human society signs its own death sentence.

Romeo and Tybalt fights

Benvolio returns and tells Romeo that Mercutio is dead. He mentions he was a good man went up to heaven. Romeo says bad days just began

Tybalt wants to fight romeo

Benvolio, concerned about fighting out in public but Mercutio isn’t worried about fighting in front of people

Pun talk and fight

Full ownership

Hyperbole

Make sure that you have the right information.

Is it worth using a source if it is missing a publication date? Or is that a rare occurrence?

I think this sentence is important because I have gathered sources I enjoy in the past and tried really hard to make one work when I could have just set it aside and picked a different source.

I need to make sure to ask the professor if i am doing things the right way.

Nonfiction book written for a general audience vs scholarly books or scientific studies are written for an audience with specialized knowledge. That's good to know.

Some other examples upon a google search include: -Orginal documents and records. Ex: Birth Certificate, Marriage Record, Census Data.

Potential angle: improving the differential diagnoses between AD and non AD

Generative: creating new categories/classifications in which to place data points (finding new patterns in complex data sets). Not used as much. Potential for a question here?

follows a step by step predictable pathway that yields the same result each time (no randomness involved)

@SmartSceptic

Как применить идеи из эссе в жизни:

Тарские определения работают в рамках разговров с людьми. Это похоже на разговор с помощью "я", "ты" сообщений.

Вместо того, чтобы давать определение "плохой" или "хороший", можно использовать тарские определеиня.

Определять что реально наблюдается: сделанное действие, например или намерение.

@SmartSceptic

Как применить идеи из эссе в жизни:

Давать "тарские" определения для целей.

На какой "X" будет истинным "Y".

Лучше бы он просил воспринимать остаток текста как метафору. Ведь когда по просьбе автора пытаешься понять буквально - все голова взрывается от отсылок.

@SmartSceptic

Как применить идеи из эссе в жизни:

При встрече демагога (таких как Марк) можно обернуть рассуждения, постоянно "стукая" их об реальность.

Попросить прийти к практическим результатам исходя из их рассуждений.

отличная аналогия в споре про солипсизм

@SmartSceptic

О чем эссе:

Юдковский в несвойственной себе манерет, в самом начале эссе делает небольшое резюме основной идеи.

Восстановить наивные представления о истине

Цитата от @SmartSceptic

Юдковски говорит: посмотрите на то, как вы выглядите со стороны.

О чем эссе:

• @HardQA : В спорах когда мы добавляем научных аргументов, иногда переходим на переход обсуждение концепции истины, в особенно часто в интернет дискусиях. Эссе направляет на мысль что спорить о истине бесполезно намного полезнее вернутся к изначальной теме спора (карта и територия).<br /> Спор относительно истины имеет смысл насколько твоя карта соответсвует твоей територии
• Замысловатус пытается разными путями увести обсуждение в демагогию и софистику, а главный герой спускается на предметный уровень.
• Бесполезно производить споры об определениях.

Первое появление Замысловатуса и одна из отсылка к истинности, которая может определяется значком ?

Думаю, эта часть эссе отлично передает основной его смысл и даже подчеркивает связь с концовкой.

Сложно ответить на вопрос, что называть истиной, но инутивно мы понимаем ее связь с нашими предсказаниями.

В таком виде утверждение ложно. Я могу быть банально "ограничен технологиями своего времени" или доступными ресурсами.

Вбоквел мысль: Можно обсудить степени компетентности

Очевидное, но от этого не менее сильное заявление (на первый взгляд) Хочется обсудить что в такой форме, без конкретики и ограничений на слова не всегда ** и Иногда ** несет мало практичесского смысла...

Еще одно уточненное заявление о цели эссе

Автор в отличие от многих других заявил цель эссе

• Informativo 1177
• AR 2876 QO / DF
• Órgão julgador: Tribunal Pleno
• Relator(a): Min. GILMAR MENDES
• Julgamento: 23/04/2025 (Presencial)
• Ramo do Direito: Processual Civil
• Matéria: Ação Rescisória; Questão de Ordem; Decisão Superveniente do STF; Coisa Julgada; Efeitos Temporais

Ação rescisória: prazo para ajuizamento nos casos de decisão superveniente do STF declarando a inconstitucionalidade de norma

Tese fixada

O § 15 do art. 525 e o § 8º do art. 535 do Código de Processo Civil devem ser interpretados conforme à Constituição, com efeitos ex nunc, no seguinte sentido, com a declaração incidental de inconstitucionalidade do § 14 do art. 525 e do § 7º do art. 535:

• 1. Em cada caso, o Supremo Tribunal Federal poderá definir os efeitos temporais de seus precedentes vinculantes e sua repercussão sobre a coisa julgada, estabelecendo inclusive a extensão da retroação para fins da ação rescisória ou mesmo o seu não cabimento diante do grave risco de lesão à segurança jurídica ou ao interesse social.
• 1. Na ausência de manifestação expressa, os efeitos retroativos de eventual rescisão não excederão cinco anos da data do ajuizamento da ação rescisória, a qual deverá ser proposta no prazo decadencial de dois anos contados do trânsito em julgado da decisão do STF.
• 1. O interessado poderá apresentar a arguição de inexigibilidade do título executivo judicial amparado em norma jurídica ou interpretação jurisdicional considerada inconstitucional pelo STF, seja a decisão do STF <u>anterior ou posterior</u> ao trânsito em julgado da decisão exequenda, salvo preclusão (Código de Processo Civil, arts. 525, caput, e 535, caput).”

Resumo

Os efeitos temporais das decisões do STF e o prazo para o ajuizamento de ação rescisória podem ser definidos caso a caso pela Corte e, em hipóteses de grave risco de lesão à segurança jurídica ou ao interesse social, é possível estabelecer o não cabimento da ação.

• Essas prerrogativas objetivam equilibrar a necessidade de corrigir decisões baseadas em fundamentos que o próprio Tribunal declarou inconstitucionais com o princípio da segurança jurídica e a estabilidade das relações jurídicas já consolidadas pela coisa julgada.

• Ademais, quando esta Corte não definir, de forma expressa, a partir de quando seus precedentes vinculantes devem valer no tempo, a eficácia retroativa para fins de propositura de ação rescisória fica limitada ao período de até cinco anos anteriores à data de seu ajuizamento, observando-se, em todo caso, o prazo decadencial de dois anos a contar do trânsito em julgado da decisão que fundamenta o pedido rescisório.

• Por fim, ressalvados os casos de preclusão (1), admite-se a arguição da inexigibilidade de título executivo judicial fundado em interpretação judicial ou em norma declaradas inconstitucionais pelo STF, <u>independentemente da anterioridade ou posterioridade</u> dessa decisão em relação ao trânsito em julgado da sentença exequenda.

• Com base nesses entendimentos, o Plenário resolveu questão de ordem e fixou a tese anteriormente citada, com ressalvas de alguns ministros ao ponto 2. Vale destacar que, nessa sessão de julgamento, decidiu-se apenas a questão de ordem, de modo que a análise do caso concreto deverá ocorrer já se considerando as diretrizes ora fixadas.

• Falta de emenda à inicial = não precisa intimar pessoalmente o autor - Prazo <u>15</u> dias;

• Abandono de causa = precisa intimar pessoalmente o autor - Prazo <u>5</u> dias (art. 485, § 1º)

Art. 485. O juiz não resolverá o mérito quando: - II - o processo ficar parado durante mais de 1 (um) ano por negligência das partes;

• III - por não promover os atos e as diligências que lhe incumbir, o autor abandonar a causa por mais de 30 (trinta) dias;

§ 1º Nas hipóteses descritas nos incisos II e III, a parte será intimada <u>pessoalmente</u> para suprir a falta no prazo de 5 (cinco) dias.

you need to have confident words included in the thesis.

the thesis has to contain opinions of your own

a thesis has to be able to be argued

a thesis has to be precise

a thesis has to be specific.

A thesis is not the topic of your essay instead it is the interpretation of the essay like what are the key points.

Imposto de renda não é causa para revisão do contrato. Demais alterações tributárias poderão dar ensejo á revisão dos valores do contrato.

• Tarifa = Fixada pela proposta vencedora da licitação;

• <u>Revisão</u> da tarifa = regras previstas em lei, contrato e edital

Observação:

Art. 135. Os preços dos contratos para serviços contínuos com regime de dedicação exclusiva de mão de obra ou com predominância de mão de obra serão repactuados para manutenção do equilíbrio econômico-financeiro, mediante demonstração analítica da variação dos custos contratuais, com data vinculada:

• I - à da apresentação da proposta, para custos decorrentes do mercado;

• II - ao acordo, à convenção coletiva ou ao dissídio coletivo ao qual a proposta esteja vinculada, para os custos de mão de obra.

§ 1º A Administração não se vinculará às disposições contidas em acordos, convenções ou dissídios coletivos de trabalho que tratem de matéria não trabalhista, de pagamento de participação dos trabalhadores nos lucros ou resultados do contratado, ou que estabeleçam direitos não previstos em lei, como valores ou índices obrigatórios de encargos sociais ou previdenciários, bem como de preços para os insumos relacionados ao exercício da atividade.

§ 2º É vedado a órgão ou entidade contratante vincular-se às disposições previstas nos acordos, convenções ou dissídios coletivos de trabalho que tratem de obrigações e direitos que somente se aplicam aos contratos com a Administração Pública.

§ 3º A repactuação deverá observar o interregno mínimo de 1 (um) ano, contado da data da apresentação da proposta ou da data da última repactuação.

§ 4º A repactuação poderá ser dividida em tantas parcelas quantas forem necessárias, observado o princípio da anualidade do reajuste de preços da contratação, podendo ser realizada em momentos distintos para discutir a variação de custos que tenham sua anualidade resultante em datas diferenciadas, como os decorrentes de mão de obra e os decorrentes dos insumos necessários à execução dos serviços.

§ 5º Quando a contratação envolver mais de uma categoria profissional, a repactuação a que se refere o inciso II do caput deste artigo poderá ser dividida em tantos quantos forem os acordos, convenções ou dissídios coletivos de trabalho das categorias envolvidas na contratação.

§ 6º A repactuação será precedida de solicitação do contratado, acompanhada de demonstração analítica da variação dos custos, por meio de apresentação da planilha de custos e formação de preços, ou do novo acordo, convenção ou sentença normativa que fundamenta a repactuação.

• Considerando que parcela significativa é aquela que representa no mínimo 4% do valor global da contratação, será admitido a exigência da Administração de comprovação, por meio de certidões e atestados, que há capacidade de execução de, <u>no máximo</u>, 50% da referida significativa parcela.

Para fins de habilitação técnica, parcela de maior relevância ou de valor significativo será aquela que representar, ao menos, 4% do valor total da contratação.

It’s really shocking to realize how much personal information can be inferred from simple online behavior. The idea that AI or data mining can guess someone’s sexual orientation or addiction tendency just from their friend list or social activity feels invasive and unethical. I personally think it crosses a line between public and private life.

At the same time, I understand why companies want to use data to “predict” users—it’s part of how social media algorithms work. But when this data is used to judge people’s race or personality through pseudo-scientific facial recognition, it becomes a form of digital discrimination. It makes me wonder if we are gradually losing control of our identities online.

在该教程中，BERT模型预测的开始位置和结束位置，均是针对输入的“问题-文本”拼接序列中的文本部分（即回答来源文本） 而言，目标是定位该文本中能够回答问题的片段的起始与终止边界。以下是具体拆解说明：

1. 输入结构：“问题-文本”的拼接规则

SQuAD任务的核心是“给定问题和一段包含答案的文本，从文本中提取答案片段”，因此模型输入需先将“问题”和“文本”按固定格式拼接，具体规则在教程的construct_input_ref_pair函数中定义： - 拼接顺序：[CLS] + 问题 tokens + [SEP] + 文本 tokens + [SEP] - [CLS]：BERT的特殊起始token，用于整体序列表示； - [SEP]：特殊分隔token，第一个[SEP]分隔“问题”和“文本”，第二个[SEP]标记整个序列的结束； - 示例（教程中的输入）： - 问题：What is important to us? - 文本：It is important to us to include, empower and support humans of all kinds. - 拼接后完整序列（含token索引）： [CLS](0) what(1) is(2) important(3) to(4) us(5) ?(6) [SEP](7) # 问题部分（0-7） it(8) is(9) important(10) to(11) us(12) to(13) include(14) ,(15) em(16) ##power(17) and(18) support(19) humans(20) of(21) all(22) kinds(23) .(24) [SEP](25) # 文本部分（8-25）

2. 预测目标：定位“文本部分”中的答案片段

模型预测的“开始位置”和“结束位置”，是答案片段在上述完整拼接序列中的token索引，但这些索引必然落在“文本部分”（即第一个[SEP]之后、第二个[SEP]之前的区域，教程示例中为索引8-24），原因如下： - SQuAD任务的定义决定：答案只能从“文本”中提取，而非“问题”； - 教程中的验证： - 真实答案（ground truth）：to include, empower and support humans of all kinds，对应文本部分的token索引13（to）-23（kinds）； - 模型预测结果：to include , em ##power and support humans of all kinds，对应索引13-23，与真实答案的位置完全匹配（见教程中print('Predicted Answer: ...')的输出）； - 归因分析佐证：教程中“结束位置预测”的归因结果显示，kinds（索引23，文本部分的关键token）的归因分数最高，进一步说明预测目标是“文本部分的答案边界”。

3. 关键辅助机制：token_type_ids区分“问题”与“文本”

为避免模型混淆“问题”和“文本”，教程通过construct_input_ref_token_type_pair函数生成token_type_ids（序列类型标识），明确划分两部分： - token_type_ids=0：对应“问题部分”（从[CLS]到第一个[SEP]，示例中索引0-7）； - token_type_ids=1：对应“文本部分”（从第一个[SEP]到第二个[SEP]，示例中索引8-25）； - 模型在训练时会学习到“答案仅来自token_type_ids=1的区域”，因此预测的开始/结束位置会自动约束在该区域内。

总结

模型预测的“开始位置”和“结束位置”，是SQuAD任务中“答案片段”在“问题-文本拼接序列”中的token索引，且这些索引必然属于“文本部分”（即第一个[SEP]之后、第二个[SEP]之前的区域）——本质是定位“文本中能够回答问题的片段的起始和终止token”。

Wow, the bare faced lie on it, too.

Drug ionization in a weak acid or base if dependent on pH.

Check the model in the lecture slides about this!!

You become better at detecting broad, low-detail (“coarse”) features — like shapes, movements, or sudden changes in the environment. This comes from increased activity in subcortical visual pathways (like the superior colliculus and amygdala) that specialize in quick, rough visual analysis. You become less focused on fine details (like facial features or small text), but more able to spot threat-relevant cues (like movement in your periphery, or something large approaching you).

oop

research-driven digital derive enabled by the internet

lol

... hyperlinks make it so people can browse at their own leisure, and choose what they click on

Esto se lo puede pensar desde el evolucionismo

Compromiso

between organization and human nature or to put the matter in another way the

divorce of the - economic motive from the - impulses of creation and possession

First lecture

Title

Authority and the in-divi-dual 1 I

From the projects, there will be dramatic changes in the chemistry and biology of the coming decades, even if its not as dramatic as reefs and shells actually dissolving. This is why teh planetary ounday is set at up to 80% of preindustrail average of 3.44 We're currently aruond 2.8, at 81% of preindustrail levels, 2.75 is the lowest it can go

When argonite saturation is greater than 1, aragonite favours precipation, less than favours dissolution Some parts of the ocean have historically low argonite saturdation levels, but most temperate and tropical oceans havevalues greater than 3. This can change over time, but much of the oceans are forecast to be below 3 by the end of 2000s. This will make the production of aragonite energetically more expensive.

Global picture of HP matches the patterns evident in GoM and Oregon Coastal zones which drain large areas of croplands into shallow seas are more prone

used to be episodic but human activity make HP worse. nurtirent offrun from land causes by this is polluting the ocean The mississippi runs into the ocean, through 40% of the USA's crops, over nurtirents in this water stimulates algal blooms - nurtrient loading Algal blooms then degrade, are consumed and low oxygen water is consumed - which creates an oxygen dead zone near the sea floor Stratification of water means the water layers don't mix (fresh and salty sit ontop of each other) oxygen is less soulble in temps - marine animals consume more oxygen in warm temps - leading to more stratifcation with global warming (open ocean) coastal areas is similar and nutrient loading is expected to rise with increased storms To manage this we need to reduce nurtrient loading in the large water sheds (gulf of mexico) narrow ganitz bay regulated sewage treatmnet plant water - HP reduced

Hypoxia is caused by a lack of oxygen Shellfish & worms get trapped and suffocate and die Brown shrimp in mexico was a big fisherie - optimal habitat reduced by 25% Hypoxia takes away a food source (veg) which has a chain reaction HP can effect the growth and reproductive potiental of some bottle dwelling fish, even with intermient exposure it's more sub-leathal affects which is an issue rather than death, as they cascade through the food chain Looks like it's causing a reduction in shrimp growth Fish & shirmp tend to stay on the ages when there's HP so fisherman might be taking the shrimp when they're young it has an adverse affect on the economy

I think that socialization for students with differences and disabilities can make a whole world of a difference. It will allow them to learn from their peers academically and behaviorally but also allow them to feel more included which is the whole point!

DOI: 10.3390/en15176486

Resource: None

Curator: @bandrow

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.1145/3219104.3219147

Resource: None

Curator: @bandrow

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.1145/3219104.3219113

Resource: None

Curator: @bandrow

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.1126/science.abb6310

Resource: None

Curator: @bandrow

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.1029/2022GL100913

Resource: None

Curator: @bandrow

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.1029/2022GL098274

Resource: None

Curator: @bandrow

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.1029/2021JA030249

Resource: None

Curator: @bandrow

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.1029/2019WR026853

Resource: None

Curator: @bandrow

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.1021/acs.jpclett.2c02391

Resource: None

Curator: @bandrow

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: (ATCC Cat# CRL-3304, RRID:CVCL_II76)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_II76

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: (Sigma-Aldrich Cat# D9663, RRID:AB_2810235)

Curator: @scibot

SciCrunch record: RRID:AB_2810235

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: (Jackson ImmunoResearch Labs Cat# 711-575-152, RRID:AB_3095472)

Curator: @scibot

SciCrunch record: RRID:AB_3095472

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: HTSeq (RRID:SCR_005514)

Curator: @scibot

SciCrunch record: RRID:SCR_005514

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: DISCOVERY WORKBENCH (RRID:SCR_019192)

Curator: @scibot

SciCrunch record: RRID:SCR_019192

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: rna-star (RRID:SCR_004463)

Curator: @scibot

SciCrunch record: RRID:SCR_004463

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: BD FACSDiva Software (RRID:SCR_001456)

Curator: @scibot

SciCrunch record: RRID:SCR_001456

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: edgeR (RRID:SCR_012802)

Curator: @scibot

SciCrunch record: RRID:SCR_012802

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: (MMRRC Cat# 034840-JAX,RRID:MMRRC_034840-JAX)

Curator: @scibot

SciCrunch record: RRID:MMRRC_034840-JAX

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: ImageJ (RRID:SCR_003070)

Curator: @scibot

SciCrunch record: RRID:SCR_003070

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: GraphPad Prism (RRID:SCR_002798)

Curator: @scibot

SciCrunch record: RRID:SCR_002798

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: (MP Bio Cat# 08810133, RRID:AB_2335265)

Curator: @scibot

SciCrunch record: RRID:AB_2335265

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: Imaris (RRID:SCR_007370)

Curator: @scibot

SciCrunch record: RRID:SCR_007370

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: (Abcam Cat# ab126649, RRID:AB_3095985)

Curator: @scibot

SciCrunch record: RRID:AB_3095985

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: (Abcam Cat# ab178846, RRID:AB_2636859)

Curator: @scibot

SciCrunch record: RRID:AB_2636859

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: (BioLegend Cat# 121602, RRID:AB_572021)

Curator: @scibot

SciCrunch record: RRID:AB_572021

What is this?

DOI: 10.1016/j.neuron.2025.09.032

Resource: (R and D Systems Cat# F0111, RRID:AB_573127)

Curator: @scibot

SciCrunch record: RRID:AB_573127

What is this?

DOI: 10.1016/j.neuron.2025.09.027

Resource: (IMSR Cat# JAX_007004,RRID:IMSR_JAX:007004)

Curator: @areedewitt04

SciCrunch record: RRID:IMSR_JAX:007004

What is this?

DOI: 10.1016/j.isci.2025.113805

Resource: (ICLC Cat# HTL95023, RRID:CVCL_0030)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_0030

What is this?

DOI: 10.1016/j.isci.2025.113805

Resource: (RRID:CVCL_0063)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_0063

What is this?

DOI: 10.1145/3332186.3332229

Resource: None

Curator: @bandrow

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.1016/j.celrep.2025.116448

Resource: (ATCC Cat# CRL-2914, RRID:CVCL_B057)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_B057

What is this?

DOI: 10.1016/j.celrep.2025.116443

Resource: RRID:Addgene_105558

Curator: @areedewitt04

SciCrunch record: RRID:Addgene_105558

What is this?

DOI: 10.1016/j.celrep.2025.116443

Resource: RRID:Addgene_100852

Curator: @areedewitt04

SciCrunch record: RRID:Addgene_100852

What is this?

DOI: 10.1016/j.celrep.2025.116441

Resource: RRID:IMSR_JAX:000664

Curator: @areedewitt04

SciCrunch record: RRID:IMSR_JAX:000664

What is this?

DOI: 10.1016/j.celrep.2025.116441

Resource: (IMSR Cat# JAX_029977,RRID:IMSR_JAX:029977)

Curator: @areedewitt04

SciCrunch record: RRID:IMSR_JAX:029977

What is this?

DOI: 10.1016/j.celrep.2025.116441

Resource: (IMSR Cat# JAX_002216,RRID:IMSR_JAX:002216)

Curator: @areedewitt04

SciCrunch record: RRID:IMSR_JAX:002216

What is this?

DOI: 10.1016/j.celrep.2025.116433

Resource: (RRID:CVCL_0063)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_0063

What is this?

DOI: 10.1016/j.celrep.2025.116433

Resource: (ATCC Cat# CRM-CRL-1420, RRID:CVCL_0428)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_0428

What is this?

DOI: 10.1016/j.celrep.2025.116433

Resource: (KCB Cat# KCB 200730YJ, RRID:CVCL_1119)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_1119

What is this?

DOI: 10.1016/j.celrep.2025.116433

Resource: (IMSR Cat# GPT_N000013,RRID:IMSR_GPT:N000013)

Curator: @areedewitt04

SciCrunch record: RRID:IMSR_GPT:N000013

What is this?

DOI: 10.1016/j.celrep.2025.116433

Resource: (ECACC Cat# 87092802, RRID:CVCL_0480)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_0480

What is this?

DOI: 10.1016/j.celrep.2025.116433

Resource: RRID:IMSR_GPT:D000521

Curator: @areedewitt04

SciCrunch record: RRID:IMSR_GPT:D000521

What is this?

DOI: 10.1016/j.celrep.2025.116433

Resource: (NCBI_Iran Cat# C558, RRID:CVCL_0152)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_0152

What is this?

DOI: 10.1016/j.celrep.2025.116433

Resource: (ATCC Cat# CRL-4036, RRID:CVCL_C467)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_C467

What is this?

DOI: 10.1016/j.celrep.2025.116433

Resource: (IZSLER Cat# BS TCL 4, RRID:CVCL_0186)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_0186

What is this?

DOI: 10.1016/j.cej.2025.169735

Resource: (CCLV Cat# CCLV-RIE 1035, RRID:CVCL_0023)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_0023

What is this?

DOI: 10.1016/j.cej.2025.169735

Resource: (ICLC Cat# HTL95023, RRID:CVCL_0030)

Curator: @areedewitt04

SciCrunch record: RRID:CVCL_0030

What is this?

DOI: 10.7191/jeslib.964

Resource: None

Curator: @scibot

SciCrunch record: RRID:SCR_011538

What is this?

DOI: 10.7191/jeslib.964

Resource: Oregon Health and Science University; Oregon; USA (RRID:SCR_009665)

Curator: @scibot

SciCrunch record: RRID:SCR_009665

What is this?

DOI: 10.7191/jeslib.964

Resource: None

Curator: @scibot

SciCrunch record: RRID:SCR_019299

What is this?

DOI: 10.7191/jeslib.964

Resource: LI-COR Odyssey Classic Imager (RRID:SCR_023765)

Curator: @scibot

SciCrunch record: RRID:SCR_023765

What is this?

DOI: 10.7191/jeslib.964

Resource: Florida State University; Florida; USA (RRID:SCR_011228)

Curator: @scibot

SciCrunch record: RRID:SCR_011228

What is this?

DOI: 10.1016/S1474-4422(25)00313-8

Resource: (Agilent Cat# IS64930-2, RRID:AB_2861415)

Curator: @scibot

SciCrunch record: RRID:AB_2861415

What is this?

DOI: 10.1016/S1474-4422(25)00313-8

Resource: None

Curator: @scibot

SciCrunch record: RRID:AB_1833336

What is this?

DOI: 10.1016/S1474-4422(25)00313-8

Resource: (Abcam Cat# ab34269, RRID:AB_732367)

Curator: @scibot

SciCrunch record: RRID:AB_732367

What is this?

DOI: 10.1016/S1474-4422(25)00313-8

Resource: (Thermo Fisher Scientific Cat# MN1020, RRID:AB_223647)

Curator: @scibot

SciCrunch record: RRID:AB_223647

What is this?

DOI: 10.1016/S1474-4422(25)00313-8

Resource: None

Curator: @scibot

SciCrunch record: RRID:AB_2564857

What is this?

DOI: 10.1016/S1474-4422(25)00313-8

Resource: (Agilent Cat# GA623 (also GA62361-2), RRID:AB_3073940)

Curator: @scibot

SciCrunch record: RRID:AB_3073940

What is this?

DOI: 10.1016/S1474-4422(25)00313-8

Resource: (Millipore Cat# MABN12, RRID:AB_10562244)

Curator: @scibot

SciCrunch record: RRID:AB_10562244

What is this?

DOI: 10.1016/j.ymthe.2025.10.036

Resource: RRID:Addgene_39174

Curator: @scibot

SciCrunch record: RRID:Addgene_39174

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: ImageJ (RRID:SCR_003070)

Curator: @scibot

SciCrunch record: RRID:SCR_003070

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: (BD Biosciences Cat# 550274, RRID:AB_393571)

Curator: @scibot

SciCrunch record: RRID:AB_393571

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: SPSS (RRID:SCR_002865)

Curator: @scibot

SciCrunch record: RRID:SCR_002865

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: None

Curator: @scibot

SciCrunch record: RRID:SCR_018620

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: (Abcam Cat# ab92486, RRID:AB_10562492)

Curator: @scibot

SciCrunch record: RRID:AB_10562492

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: (IMSR Cat# CRL_086,RRID:IMSR_CRL:086)

Curator: @scibot

SciCrunch record: RRID:IMSR_CRL:086

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: None

Curator: @scibot

SciCrunch record: RRID:AB_11211959

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: Chemotaxis and Migration Tool (RRID:SCR_022708)

Curator: @scibot

SciCrunch record: RRID:SCR_022708

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: (Abcam Cat# ab16667, RRID:AB_302459)

Curator: @scibot

SciCrunch record: RRID:AB_302459

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: (NCBI_Iran Cat# C596, RRID:CVCL_0153)

Curator: @scibot

SciCrunch record: RRID:CVCL_0153

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: (ECACC Cat# 92030501, RRID:CVCL_2537)

Curator: @scibot

SciCrunch record: RRID:CVCL_2537

What is this?

DOI: 10.1016/j.ymthe.2025.10.033

Resource: (RRID:CVCL_1085)

Curator: @scibot

SciCrunch record: RRID:CVCL_1085

What is this?

DOI: 10.1016/j.xhgg.2025.100532

Resource: (ECACC Cat# 05092802, RRID:CVCL_1045)

Curator: @scibot

SciCrunch record: RRID:CVCL_1045

What is this?

DOI: 10.1016/j.xgen.2025.101040

Resource: Integrated Islet Distribution Program (IIDP) (RRID:SCR_014387)

Curator: @scibot

SciCrunch record: RRID:SCR_014387

What is this?

DOI: 10.1016/j.xgen.2025.101040

Resource: (Miltenyi Biotec Cat# 130-090-853, RRID:AB_244346)

Curator: @scibot

SciCrunch record: RRID:AB_244346

What is this?

DOI: 10.1016/j.xgen.2025.101040

Resource: (Novus Cat# NBP1-18946C, RRID:AB_1723990)

Curator: @scibot

SciCrunch record: RRID:AB_1723990

What is this?

DOI: 10.1016/j.xgen.2025.101040

Resource: None

Curator: @scibot

SciCrunch record: RRID:AB_445799

What is this?

DOI: 10.1016/j.xgen.2025.101040

Resource: (Miltenyi Biotec Cat# 130-080-801, RRID:AB_244342)

Curator: @scibot

SciCrunch record: RRID:AB_244342

What is this?

DOI: 10.1016/j.talanta.2025.128978

Resource: (DSMZ Cat# ACC-633, RRID:CVCL_1896)

Curator: @scibot

SciCrunch record: RRID:CVCL_1896

What is this?

DOI: 10.1016/j.talanta.2025.128978

Resource: (CCTCC Cat# GDC0199, RRID:CVCL_U251)

Curator: @scibot

SciCrunch record: RRID:CVCL_U251

What is this?

DOI: 10.1016/j.phrs.2025.107997

Resource: (CLS Cat# 300483/p789_NCI-H295R, RRID:CVCL_0458)

Curator: @scibot

SciCrunch record: RRID:CVCL_0458

What is this?