How can we accept the physical theory of light and believe at thesame time that information about an external object must be conveyedby light? The latter is implied whenever we say that the object stimulatesthe eye. The outline of an answer was suggested in Chapter 1 (pp. 12-13,14-15). We can escape the paradox by distinguishing between radiantlight and ambient light - that is, between light emitted from an energysource and light reflected by the environment as a source. The convey-ing of information about surfaces by light of the latter kind is conceiv-able. To justify such a theory, however, the known laws of physicaloptics need to be supplemented with quite unfamiliar laws of ecologicaloptics

The difference between energy and information has been emphasizedin all of these chapters but the difference has not yet been made explicit.I have suggested that while energy is relevant to receptor-cells, informa-tion is relevant to organs, and that the stimulus for an organ or a per-ceptual system is of higher order than the stimulus for a cell. The heartof the question, however, is to explain how stimulus energy may carryor contain information. It is not how information might be picked upthat needs to be decided first, but simply whether it exists

A clear distinc-tion has been made between things that are sources of stimulation, eitherin the environment or in a laboratory, and the stimuli themselves. Theformer are objects, events, surfaces, places, substances, pictures, and otheranimals. The latter are patterns and transformations of energy at re-ceptors. A stimulus may specify its source, but it is clearly not the samething as its source.

In speaking, painting, sculpting, and writing, the human animal learnedto make sources of stimulation for his fellows, and to stimulate himselfin doing so. These sources, admittedly, are of a special sort, unlike thesources in the "natural" environment. They are "artificial" sources. Theygenerate a new kind of perception in man, which might be called knowl-edge, or perception at second hand. The so-called accumulation of knowl-edge in a society of men, however, depends wholly on communication,

The atmosphere, then, is a medium. A medium permits more or lessunhindered movements of animals and displacements of objects. Funda-mentally, I suggest, this is what is meant by "space." But a medium hasother equally important properties. It also permits the flou; of informa-tion. It permits the flux of light, it transmits vibration, and it mediatesthe diffusion of volatile substances. Only by illumination do animals"see" things, only by vibration do they "hear" things, and only by diffu-sion do they "smell" things. I shall argue that in these three ways variousproperties of a thing are broadcast, as it were, when it is illuminated, orvibrating, or chemically volatile.

Penrose is a framework for specifying how mathematical statements should be interpreted as visual diagrams. A clean separation between abstractmathematical objects and their visual representation provides new capabilities beyond existing code- or GUI-based tools. Here, for instance, the same set ofstatements (left) is given three different visual interpretations (right), via Euclidean, spherical, and hyperbolic geometry. (Further samples are shown in Fig. 29.)

As for meter, Arom adds that “it is in fact the most elementary manifestationof rhythm,” 17 made of identical durations with regular stress patterns.

“The pulse, as it has just been defined, is notrhythm. Rhythm is created by a succession of sound events with contrastingfeatures. This contrast may be generated by accents, timbres and durations.”15This is how these three components operate:

“(a) Breed.—The term ‘breed’ means to facilitate propagation or reproduction (whether intentionally or negligently), or to fail to prevent propagation or reproduction”.

egregores. Egregores don’t necessarily map onto humans. Rather than a hard-and-fast distinction, it’s more helpful to think of tulpas as a subtype of egregores, perhaps of the highest intensity. This is because egregores leech off of our tulpas. They are artificial entities that feel real (like actual beings), precisely because they’re parasitic. So brands, for instance, are egregores. An organization (workplace) or symbol (flag) or abstract idea can be egregoric. Fictional characters seem like tulpas insofar as they’re ‘people’, but they’re also egregores in that they’re not ‘real’.

Enneagram

A tulpa is an internal representation of another person.

finite time singularity

INFLUENCES FROM FOLK MUSIC, JAZZ, AL'ID ROCK

In addition to the ii 7–V7–Imaj7 and ii≤57–V7–i progressions, there are other harmonicprogressions that often occur in standard tunes. Probably the most recognizableprogression is a turnaround, also known as a turnback. The turnaround is a two- orfour-bar progression, usually with a faster harmonic rhythm, that typically occurs at theend of 8- or 16-bar phrases. One of the formal functions of the turnaround is to effectivelyprepare the arrival of the “top of the chorus” by ushering in a familiar chord progression. 1Just as the ii 7 –V 7 –Imaj 7 progression can be transformed with different harmonicsubstitutions, so too can turnarounds

Chapter 13 investigates two- and four-bar idiomatic jazz progressions. It also focuses onaural identification and keyboard realization of non-modulatory and modulatoryprogressions with various ii7–V7 or ii≤57–V7 interpolations, as well as miscellaneous four-bar phrases

Chapter 2 identifies the main characteristics of jazz rhythm

THE ROLE OF GUIDE TONESIn

voice leading

The musical depiction of the lyrics from Figure 9.2 illustrates an additional aspect of bluesperformance practice—the use of call and response. Originally practiced by a large groupof people, this improvisational technique involves sharing ideas between the leader andher/his followers. Mastering the call and response technique is especially important at thebeginning of our encounter with jazz improvisation. It engages us in a meaningfuldialogue that includes exchanging and communicating musical ideas. The communicativeaspect of call and response is relatively straightforward in the context of verbal conversation.

Broadly speaking, voice leading controls the interaction between chords and lines withinharmonic progressions. The principles of voice leading encompass several general topics,such as the role of outer-voice counterpoint, the types of melodic motion, the retentionof common tones, the treatment of dissonances, and others that will be discussedthroughout the book.At the surface level, jazz voice-leading conventions seem more relaxed than they are incommon-practice music. After all, jazz musicians use forbidden parallel perfect fifths andoctaves, move all the voices in the same direction, and tolerate voice crossings of differentsorts. The rules of jazz voice leading are different because the syntax of jazz is largelyincompatible with common-practice classical or other types of music. These differencesdo not mean, however, that the rules of jazz voice leading are any less strict. When jazzmusicians think about dissonance treatment or highlight a linear approach to harmony asopposed to a vertical one, they rely just as much on well-defined rules of voice leading asdo composers of common-practice music. The conventions of jazz voice leading dependgreatly on the soprano and bass, so-called outer-voice counterpoint.

When using Roman numerals, however, complex five-, six-, orseven-part formations will be translated to their essential four-part framework. For instance,F7(≤13) in the key of C major will be simply notated as IV7

The use of dynamics, legato, and especially articulation can substantially improve the overallpresentation of melodic lines. Generally, the use of dynamics should roughly follow thecontour of the melodic lines. Rising lines are typically played with a slight crescendo anddescending lines with a slight diminuendo. Additionally, melodic lines should be playedalmost legato with barely perceptible note detachment. Carefully distributed articulations(dynamic accents, staccato, tenuto, marcato, etc.) are also an essential component ofphrasing.

The term “swing” has multiple meanings and associations. Sometimes it refers to a specificmusical style from the 1930s called Swing. It may also refer to a performance practicetradition or a specific rhythmic attribute attached to the quality of 8th notes

Harmonic Considerations

Breath Phrase=Grammatical Phrase=Antecedent:A musical “proposal” (open ended, as if with a comma)Consequent:A musical “response” (closed, as if with a period)Form Phrase

Melodic Considerations

What is Jazz?

my editor who's from completely outside this world just Mark that and said you know I don't know what these words mean the Evangelical subculture 00:36:03 right I was like okay take it out and let me let me show don't tell and but the truth is like it's invisible to people on the outside what the Evangelical subculture is

my editor who's from completely outside this world just Mark that and said you know I don't know what these words mean the Evangelical subculture 00:36:03 right I was like okay take it out and let me let me show don't tell and but the truth is like it's invisible to people on the outside what the Evangelical subculture is

My attempt to answer the question “What is mbaqanga?” in terms ofits musical influences is that it is a vocal and instrumental genre of music that emerged in the early 1960s from a fusion between kwela, marabi, isicathamiya and jazz coupled with indigenous and traditional melodies of the Zulu-speaking people of South Africa. My attempt to answer the question “What is mbaqanga?” as it relates tomusical performance is that it is a vibrant, punchy genre of music where the drum set, bass guitar and electric guitar or electric organ are the primary instruments. A basic description of a mbaqangasong is where the drum set plays a kick drum and snare drum (rim) on all four beats while the hi-hats play up-beats or in an eighth-note division. The electric bass plays the root on the first beat of the bar while interjecting small melodic phrases within the harmonic rhythm. The electric guitar or electric organ plays the main melodic and cyclical phrase that the song will be based on. The basic harmonic rhythm has a chord changing at four beat intervals and the chord structure is based on a I-IV-V-I chord progression.

Contextualizing and Defining Mbaqanga and Ghoema

Information ecology was defined by Nardi and O’Day (1999) to be “a system of people, practices, values, and technologies in a particular local environment” (p. 49).

an “information ecology” is a local environment enriched with multiple heterogeneous technologies, such as personal computers, handheld devices, interactive screens, which are interlinked as a unified system.

Communication studies is a science that studies messages effectively from the sender of the message to the message’s recipient through various platforms. In this department, you will research communication at multiple levels, from an individual, media, advertising/publicity, intercultural communication, to social media communication.

The music style Marabi was characterized by a repeating, ostinato accompaniment, usually in the harmonic pattern I–IV–I64–V, upon which potentially endlessly melodies were improvised. These melodies often consisted of sections of popular pieces of any provenance (folk music, religious music, US jazz, dance music such as Vastrap, etc.) which, like the underlying pattern, could also be repeated at will. Marabi was mostly played on electric organs or pianos, with a percussive accompaniment of cans filled with stones

Like that of itsantecedents, the harmonic base of mbaqanga is the cyclical repetition of four primary chords. Shortmelodies, usually the length of the harmonic cycle, are repeated and alternated with slight variations, andcall-and-response generally occurs between solo and chorus parts. The characteristics that differentiatembaqanga from previous styles are a driving, straight beat, rather than swung rhythms; melodicindependence between instrumental parts, the bass and lead guitars providing particularly strongcontrapuntal lines; and electric rather than acoustic guitars and bass guitar

Mbaqanga

From the fusion of marabi music and the American element ofswing, developed a style sometimes referred to as “African Jazz”, a term which Ballantineuses interchangeably with “mbaqanga” (Ballantine, 1993:6; Ballantine 2012:7). However,there is some discrepancy about the interchangeable use of these terms. Authors, such asAllen (1993: 26) and Thorpe (2018:36), distinguishes between the two terms, mentioning thatthe former developed before the latter as a description of a style of music that contain elementsof both African music and jazz. According to Allen, mbaqanga was also used to describe acompletely different musical style, which became popular during the 60s, and therefore Allenprefers the term “African jazz” to avoid confusion. She states, however:The most popular and long-lasting name for this style (African jazz), however, wasmbaqanga, which is Zulu for the maize bread which constitutes the staple diet of themajority of South Africans. (Allen 1993:26, 27).Thorpe mentions, the name developed as an expression of “an independent and valuableblack South African urban identity” (Thorpe, 2018:36; Allen, 1993:26, 27). Since marabi wasalready waning in popularity and performance, this new style acted almost as a “regenerationof marabi” (Ballantine 1993:61). Ballantine, similarly, describes the ideological importance ofthis style:The explicit and conscious acceptance of aspects of a social and political philosophy – inthis case New Africanism – into the very constitution of music, was a turning-point in thehistory of black South African jazz (Ballantine 1993:62)

orthographic

phonological awareness and rapid automatic naming

Why did Adorno "Hate" Jazz?

Transcription

Jazz

The Canonization of Jazz and Afro-American Literature

Style

JAZZ AND CLASSICAL MUSIC DEFINED

TEXTURE

STANDARD JAZZ TECHNIQUES ..

Stride involves the alternation of chords and single notes (or octaves) in the left hand and the rapid, pianistic figures typical of ragtime in the right

Jazz

What is ‘groove’? 18Four Elements of Groove 241Metronomic Time 242Syncopation 313‘Deep metricality’ or Multi-levelled Meter 424Back-beat 49

n Pascal’s definition of style: ‘the manner in which a work of art is executed [...] which is orientated towards relationships rather than meanings, [...] it may be used to denote music characteristic of an individual composer, of a period, of a geographical area or centre, or of a society or social function’ (Pascal, 2001).

4.8-2 Definition (Weak convergence).

4.8-1 Definition (Strong convergence).

4.5-1 Definition (Adjoint operator T X )

The term meme was defined by Richard Dawkins in The Selfish Gene as "a unit of cultural transmission".

n our tulpa theory of mind, each tulpa is such an agent.

rove

prate

squalid contentment

asinine

piquancy

small data

physics-informed neural networks – neural networks that aretrained to solve supervised learning tasks while respecting any given laws ofphysics described by general nonlinear partial differential equation

techno-economic affairs.

2.10-3 Definition (Dual space X').

2.8-2 Definition (Bounded linear functional)

2.8-1 Definition (Linear functional)

2.7-1 Definition (Bounded linear operator)

2.6-1 Definition (Linear operator).

2.4-4 Definition (Equivalent norms).

2.5-1 Definition (Compactness)

schadenfreude

catharsis

proleptic

everse-dominance hierarchies

We now state two alternate definitions ofa strongly feasible spanning tree.

ecclesiastical

jurisprudence

envisaged

syndic

DSM-5(3)Childpsychologicalabuse(995.51),whichincludes“harming/ abandoning...peopleorthingsthatthechildcaresabout.”DSM-5, pg. 716,719(5thed. 2013); WilliamBernet,et. al. , ChildAffectedbyParentalRelationshipDistress55J. oftheAm. Acad. ofChildandAdolescentPsychiatry571-579(2016)

DSM-5(2)Parent-childrelationalproblem(V61.20),whichincludes“negativeattributionsoftheother’sintentions,hostilitytowardorscapegoatingoftheother,andunwarrantedfeelingsofestrangement.”DSM-5, pg. 715,719(5thed. 2013); WilliamBernet,et. al. , ChildAffectedbyParentalRelationshipDistress55J. oftheAm. Acad. ofChildandAdolescentPsychiatry571-579(2016)

DSM-5DSM-5 hasTHREEspecificdiagnosesunderwhichParentalAlienationmayfall,albeitbydifferentnames:(1)Childaffectedbyparentalrelationshipdistress(CAPRD)(V61.29),which“shouldbeusedwhenthefocusofclinicalattentionis thenegativeeffectsofparentalrelationshipdiscord(e.g., highlevelsofconflict,distress,ordisparagement)ona childinthefamily,includingeffectsonthechild’smentalorothermedicaldisorders.”DSM-5, pg. 716,719(5thed. 2013); WilliamBernet,et. al. , ChildAffectedbyParentalRelationshipDistress55J. oftheAm. Acad. ofChildandAdolescentPsychiatry571-579(2016

SEVERE: thepreferredparentis obsessedwiththedesiretodestroythechild’srelationshipwiththeotherparent; thebehaviordoesnotrespondtotypicaloutpatientcounseling

What is the difference betweenalienation and estrangement?ALIENATION= childrejectsa parentwithouta goodreason. Thechild’srejectionis faroutofproportiontoanythingtherejectedparenthasdone.ESTRANGEMENT=childrejectsa parentfora goodreason,suchashistoryofabuseorneglect.

World Health OrganizationQE52.0:Caregiver-childrelationshipproblem= “substantialandsustaineddissatisfactionwithinacaregiver-childrelationshipassociatedwithsignificantdisturbanceinfunctioning.”INDEXTERMS◦Parent-childrelationshipproblem◦Parentalalienation◦Parentalestrangemen

The young were trained to be loyal, law-regarding, patriotic, and a defined system of crimes and misdemeanours with properly associated pains, penalties, and repressions, kept the social body together.

concomitant

contemptuous

Identity encompasses the memories, experiences, relationships, and values that create one’s sense of self. This amalgamation creates a steady sense of who one is over time, even as new facets are developed and incorporated into one's identity.

Inflation is a function of too much spending power “chasing” too little productive power.

caesaropapist

The kernel module that manages userspace applications is named Gall. Each application is called an agent.

Our core criteria follow the definition of CCE provided in Tomasello's quotation above. We suggest that the minimum requirements for a population to exhibit CCE are (i) a change in behaviour (or product of behaviour, such as an artefact), typically due to asocial learning, followed by (ii) the transfer via social learning of that novel or modified behaviour to other individuals or groups, where (iii) the learned behaviour causes an improvement in performance, which is a proxy of genetic and/or cultural fitness, with (iv) the previous three steps repeated in a manner that generates sequential improvement over time.

In contrast [to non-human species' cultural traditions], human cultures do accumulate changes over many generations, resulting in culturally transmitted behaviors that no single human individual could invent on their own.

crack up capitalism that is a form of economic activity 00:04:47 propagated by people whose profit model and their kind of a normative vision of change and the social future relies on an idea of an accelerating process of social dissolution and an accelerating process of political 00:05:00 fragmentation this is a form of this is sort of a profit model and a kind of a political vision that sees an acceleration in the near future and the medium-term future 00:05:14 of processes of political crack-up

the fundamental insight of anatma, the denial of ego-self.

Fear of missing out (FOMO) is the flip side of infoglut. We expect that we should be able to sanely monitor more than we actually can

Information overload, once called infoglut, remains a challenge. We’re all flooded with more channels than we can handle, more conversations happening in more places than we can keep track of.

When entering an unfamiliar field we lack the knowledge of how to get along in it, but over time our perspective shifts to fit new parameters, recognizing new patterns, and we fit ourselves to the norms we find and begin to share in the shaping of them. Luhrmann describes this process as “interpretive drift,” and explains how the process can be initiated through ritual practice.

(2.3)

An algorithm is said to be !l(f(n» if for some numbers e / and no and all n ~no, the algorithm takes at least e'f(n) time on some problem instance.

An algorithm is said to be e(f(n» if the algorithm is both O(f(n» and !l(f(n».

An algorithm is said to run in O{f(n» time if for some numbers c and no, thetime taken by the algorithm is at most cf{n) for all n 2: no.

We refer totwo directed paths from node s to node t as arc disjoint if they do not have any arcin common.

by definition, the capacity 3 of an augmenting path is always positive

espied

“Consider a future device …  in which an individual stores all his books, records, and communications, and which is mechanized so that it may be consulted with exceeding speed and flexibility. It is an enlarged intimate supplement to his memory.”

psychology of aesthetics that aren't in the museum

understanding of the universe would not be found merely in the examination of ‘ parts ’ but in the recognition of ‘ wholes ’ and the observation of process.

5.1-1 Definition (Contraction).

Ginsberg’s poem famously begins “I saw the best minds of my generation destroyed by madness”. I am luckier than Ginsberg. I got to see the best minds of my generation identify a problem and get to work.

telos

Las Vegas doesn’t exist because of some decision to hedonically optimize civilization, it exists because of a quirk in dopaminergic reward circuits, plus the microstructure of an uneven regulatory environment, plus Schelling points. A rational central planner with a god’s-eye-view, contemplating these facts, might have thought “Hm, dopaminergic reward circuits have a quirk where certain tasks with slightly negative risk-benefit ratios get an emotional valence associated with slightly positive risk-benefit ratios, let’s see if we can educate people to beware of that.” People within the system, following the incentives created by these facts, think: “Let’s build a forty-story-high indoor replica of ancient Rome full of albino tigers in the middle of the desert, and so become slightly richer than people who didn’t!”

4.4.1. D EFINITION .

let this dot here represent the transcendental 00:00:26 ego or subject and this circle will represent the limits of this transcendental egos phenomenological experience so in Morton's terms well 00:00:39 refer to this is the sensory screen

limit point

define Safetyism as “a culture or belief system in which safety has become a sacred value, which means that people are unwilling to make trade-offs demanded by other practical and moral concerns.”

myth is an arrangement of the past whether real or imagined in patterns that reinforce a culture's deepest values and aspirations

the victorian ideal of progress

belief perseverance

suffrage

A history of ideas would refer to “a dialectical or syllogistic process, the thoughts of one age arising discursively out of, challenging, and modifying the thoughts and discoveries of the previous one.”

Definition 2

Definition 28

Definition 15

Definition 12

polymorphous

polysemic

multivalent

immersed

intertextuality

semiotics

■

twilight zone

This larger perspective is offered by an analysis of citizenship and the common good. I begin with the idea of citizenship as being a practice entrusted with the preservation and conservation of the nexus of recognitional practices in a society. Then I move to the notion of the common good, interpreted not as a collective thing, a transcendent principle, or an abstract concept, but as the flourishing of the recognitional nexus itself. 

I define surveillance capitalism as the unilateral claiming of private human experience as free raw material for translation into behavioral data. These data are then computed and packaged as prediction products and sold into behavioral futures markets — business customers with a commercial interest in knowing what we will do now, soon, and later.

Coral is far more red than her lips' red

My mistress'

foreign key is the combination of one or more columns in a table that reference (match) the primary key in the parent table (or parent row in the case of recursive relationships)

primary key is a column or set of columns that uniquely identifies each row in a table.

Data Definition Language (DDL)

As in mathematics, an SQL function returns a single value each time it is executed

An inner join is best thought of as an exclusive join because the result set includes only rows where matches were found in both tables (unmatched rows are excluded from the results)

An outer join, on the other hand, can be thought of as an inclusive join because unmatched rows from either side of the join (the left side or the right side) can be included

Cartesian product

think

o the chariot doesn't just depend upon 00:56:29 the narrow base of parts it depends upon our conceptual imputation which is an essential idea for child security that what there is in the world depends not only on things 00:56:42 outside of us but also on how we think about things i call that broad super veniance if the chariot doesn't just depend on its parts it depends on the whole scheme in which chariots figure as 00:56:57 objects

”Creating ‘social operating systems.’ An operating system, in the context of a single computer, manages the allocation of hardware and software resources such as memory, CPU time, disk space, and input/output devices. A social operating system, in addition to doing all these things, will also have to manage the mustering and allocation of human resources to tasks. This will require fast, robust infrastructures for contracts, payments, or other motivational elements, as well as scalable task-to-resource matchmaking such as markets. These will be challenging problems because people (unlike hardware resources) are diverse in all the ways we have described. But providing easy-to-use solutions for the problems of finding and motivating human participants—rather than requiring each system developer to solve this problem individually—will greatly facilitate programming the global brain.”

Keywords

Services are duplicates if they are provided to the same target group, by the same provider, under the same agreement, to the same location, and using the same interface.

The meaning of the term "pedagogy" is often contested and a great variety of definitions has been suggested.[7]

goal of learning is to find a model and its corresponding parame-ters such that the resulting predictor will perform well on unseen data

features, attributes, or covariates

“Epistemology” is a philosophically complicated subject, but it’s essentially the study of knowledge – what it is, and how it’s formed.

The field of public choice has a name for this, regulatory capture: where corporations gain so much power in the government that they “capture” their regulator and end up implementing regulations in their industry that have the effect of cementing their market positions in place and preventing new competition. We see this in pharma, housing, healthcare, education, taxi cab industry — nearly every regulated industry. 

You could think of Bourgeois capitalism as Robber Baron capitalism (think Atlas Shrugged) — industrialists like Ford, Rockefeller, Carnegie building up their empires and retaining a controlling stake in them. What’s differentiating about Bourgeois capitalism is that the owners are also the managers. The people who own the company also run the company. There’s total alignment between managers and shareholders. 

Managerial capitalism, by contrast, is defined by the split between ownership and control — on both the founder and investor side. Instead of owners having direct control, you have layers of intermediary managers (e.g. board of directors, executive teams, hired CEOs) who are running the company on behalf of the shareholders and original owners, but who also have different incentives as a result of having less ownership. They may be more short-term driven than long-term driven, for example, since they are incentivized by their salary instead of their equity ownership. 

ARG game masters have described one of the pathologies of players as apophenia, or seeing connections that aren’t “really there” — that the designers didn’t intend — and therefore pursuing red herrings.

Feature location (FL) is the task of finding the source code that implements a specific, user-observable func-tionality in a software system.

pA(λ) := det(A − λI)

is invertibleif and only if det(A) 6 = 0

determinant of a square matrix A ∈ Rn×n is a function that maps A

doctrinaire