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

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

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

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

Market analysis of library card catalogs in 2023.

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

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

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

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

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

A note on condition

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

Advice

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

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

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

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

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

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

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

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

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

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

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

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

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

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

They did not share it

The radioactive cloud

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

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

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

Humanity versus science

Who is to blame?

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

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

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

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

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

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

Other examples of religious symbolism in the poem:

"Forgive me, a human"

"God is in . . ."

"Theophanes the Greek"

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

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

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

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

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

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

"Forgive me, / a human, / Humanity"

Who is to blame?

Sources:

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

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

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

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

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

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

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

Sources:

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

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

Image Credit:

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

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

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

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

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

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

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

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

Penggunaan Jejaring Semantik sebagai metode evaluasi Mata Kuliah.

Lagunya Khayelitsha

Transcription and analysis

Tempo 112 pbm

Great intro problem to Kirchhoff's current law

Current divider notes as well!

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

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

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

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

ZABROUSKI: WRITE AN SUMMARY ON THE TWO ADDITIONAL PAGES

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

From LAWLER 230: This was deleted in 1891.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ZABROUSKI: ADD SOMETHING HERE

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

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

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

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

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

things to do to understand text:

• visualize single texts
• measure features of text
• identify distinctive words
• find or organize works
• model literay forms
• model social boundaries
• unsupervised modeling

Cause-specific Cox model

Objetivos del estudio

pros and cons about machine learning and traditional regression survival analysis such as KM-SV

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

• This paper is relevant to understanding

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

• Learning

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

Evokes Popper's situational analysis.

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

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

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

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

Determinants and outcomes of physical activity in patients with COPD: a systematic review

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

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

PDF summary by Cochrane for planning a meta-analysis at the protocol stage. Gives guidance on how to anticipate & deal with various types of heterogeneity (clinical, methodological , & statistical). Link to paper

Covers - ways to assess heterogeneity - courses of action if substantial heterogeneity is found - methods to examine the influence of effect modifiers (either to explore heterogeneity or because there's good reason to suggest specific features of participants/interventions/study types will influence effects of the intervention. - methods include subgroup analyses & meta-regression

If the statistical heterogeneity is larger that what's expected by chance alone, then what does that imply? That there's either clinical or methodological heterogeneity within the pooled studies.

What's the impact of the presence of clinical heterogeneity? The statistical heterogeneity (variation of effects/results of interventions) becomes greater than what's expected by chance alone

What's happens if methodological heterogeneity is present? The statistical heterogeneity (variation of effects/results of interventions) becomes greater than what's expected by chance alone

Paxson would have considered it a failure in note taking to have only compiled but not to have synthesized one's accumulated knowledge.

Why take notes if one is not going to use them to some end, whether that be personally in one's life, or to extend and expand the depth and breadth of human knowledge by analyzing and synthesizing the ideas to create something new for others' benefit?

Surely Sayers would be appalled by the current state of political argument... The "Sunday Shows" are full of talking points and all of the wrong sorts of "rhetoric" without much, if any basis in fact.

Another nationalist rejection of assimiliation into other cultures, seeing it as "disappear"ing and "shame"ful.

Spanish law had very specific classes depending on your race, Spaniard, Indian, or Mestizo. Different laws applied to the different races, but they were all given protection under the law. This was very different from the way the English and Americans treated natives. The Catholic Church, being an important political aspect of Spain, reinforced this legal status as well.

According to the Wikipedia article on Aztec legend, they were told where to settle where they saw an eagle perched on a cactus, eating a snake. I believe this is saying that the speaker's cultural identity, and his strength of his conviction for la Raza, is the new frontier on which the descendants of the Aztec civilization should settle. This nationalism is the new foundation of the birthright of the Aztecs.

I think this is a call to Nationalism, which was key to the manifesto of El Plan Espiritual de Aztlán. When the speaker is driven to tears, feeling hatred for the society oppressing him, he retreats to the safety of his cultural identity, of la Raza.

The industrial revolution, which I am studying in another literature class, had an enormous impact on agrarian lifestyles, and was not felt in the mostly agrarian areas of the US-Mexico border until later than it was in Europe or the American Northeast. The industrial processing of cash crops introduced the economy of scale into farming, and small, subsistence farming class was slowly strangled out, leaving super rich planters and landowners and laborers in the wake. The "monstrous, technical industrial giant," is the destruction of small farmers in favor of sharecropping and tenant farming.

This is the quintessence of the immigrant experience into America, I feel. Having come a long way, only to wind up somewhere with no welcome for you, that will try to take your cultural identity from you or else punish you with economic want.

I believe this couplet is a direct reference to El Plan Espiritual de Aztlán, the manifesto of economic recovery and cultural pride. These lines feel like the "thesis statement" of the poem, because of their position before the "And now!" and at the end of the introduction where we learn the sorry state of the speaker.

C. Wright Mills delineates a rough definition of "sociological imagination" which could be thought of as a framework within tools for thought: 1. Combinatorial creativity<br /> 2. Diffuse thinking, flâneur<br /> 3. Changing perspective (how would x see this?) Writing dialogues is a useful method to accomplish this. (He doesn't state it, but acting as a devil's advocate is a useful technique here as well.)<br /> 4. Collecting and lay out all the multiple viewpoints and arguments on a topic. (This might presume the method of devil's advocate I mentioned above 😀)<br /> 5. Play and exploration with words and terms<br /> 6. Watching levels of generality and breaking things down into smaller constituent parts or building blocks. (This also might benefit of abstracting ideas from one space to another.)<br /> 7. Categorization or casting ideas into types 8. Cross-tabulating and creation of charts, tables, and diagrams or other visualizations 9. Comparative cases and examples - finding examples of an idea in other contexts and time settings for comparison and contrast 10. Extreme types and opposites (or polar types) - coming up with the most extreme examples of comparative cases or opposites of one's idea. (cross reference: Compass Points https://hypothes.is/a/Di4hzvftEeyY9EOsxaOg7w and thinking routines). This includes creating dimensions of study on an object - what axes define it? What indices can one find data or statistics on? 11. Create historical depth - examples may be limited in number, so what might exist in the historical record to provide depth.

Aleksandr Yakovlevich Khinchin https://en.wikipedia.org/wiki/Aleksandr_Khinchin

Khinchin, Aleksandr Yakovlevich. Continued Fractions. 3rd ed. Chicago: University of Chicago Press, 1964.

annotation meta: may need new tag:

dynamic behavior vs. static analysis [not quite parallel]

or can we reuse something else like?: lexical semantics vs. run-time semantics

Langlois/Seignobos talk about this in their text Introduction aux études historiques (1879) as well, focusing especially on the analysis portion to have a solid base of historical information from which to build and create a synthesis.

Taking carbon steel as an example, as shown in Picture 1, using a 1000w fiber laser cutting machine, for carbon steel materials thickness below 10mm, when the thickness of carbon steel is less than 2mm, the cutting speed per minute can be up to 8 meters. When the thickness is 6mm, the cutting speed is about 1.6 meters per minute, and when the thickness of the carbon steel is 10 mm, the cutting speed is about 0.6 to 0.7 meters per minute.

• Taking carbon steel as an example, as shown in Picture 1, using a 1000w fiber laser cutting machine, for carbon steel materials thickness below 10mm, when the thickness of carbon steel is less than 2mm, the cutting speed per minute can be up to 8 meters. When the thickness is 6mm, the cutting speed is about 1.6 meters per minute, and when the thickness of the carbon steel is 10 mm, the cutting speed is about 0.6 to 0.7 meters per minute.

It can be seen that when the thickness of carbon steel material is less than 2mm, customers who attach great importance to cutting speed can consider using 2000W fiber laser cutting machine, but the 2000W machine is much higher than 1000W in equipment price and operating cost. When the carbon steel material is larger than 2mm, the 2000W machine is not much faster than the 1000W cutting speed. Therefore, the 1000W fiber laser cutting machine is more cost-effective than the 2000W fiber laser cutting machine.

The cutting speed can directly reflect the efficiency of the fiber laser cutting machine. For cutting different materials with different thickness, the cutting speed will also change greatly. The thicker the thickness, the slower the speed!

Rothmund, T., Farkhari, F., Azevedo, F., & Ziemer, C.-T. (2020). Scientific Trust, Risk Assessment, and Conspiracy Beliefs about COVID-19—Four Patterns of Consensus and Disagreement between Scientific Experts and the German Public. PsyArXiv. https://doi.org/10.31234/osf.io/4nzuy

Caulfield, T. (2017, October 24). The Vaccination Picture by Timothy Caulfield. Penguin Random House Canada. https://www.penguinrandomhouse.ca/books/565776/the-vaccination-picture-by-timothy-caulfield/9780735234994

Haas, J. W., Bender, F. L., Ballou, S., Kelley, J. M., Wilhelm, M., Miller, F. G., Rief, W., & Kaptchuk, T. J. (2022). Frequency of Adverse Events in the Placebo Arms of COVID-19 Vaccine Trials: A Systematic Review and Meta-analysis. JAMA Network Open, 5(1), e2143955. https://doi.org/10.1001/jamanetworkopen.2021.43955

Polis. (n.d.). Retrieved April 26, 2022, from https://pol.is/home

ReconfigBehSci. (2021, December 23). Risk of hospital stay 40% lower with Omicron than Delta, UK data suggests https://t.co/VupN8hY4qq [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1473916654421643266

ReconfigBehSci. (2021, November 26). maybe this is a good moment to remind people that makers of mRNA vaccines have been extensively prepping for the possibility of new variants. Biontech/Pfizer have given a timeline of 100 days to the delivery of a retooled version of their vaccine [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1464225264523747359

ReconfigBehSci. (2021, December 11). RT @MackayIM: Booster access brought forward to slow spread of Omicron COVID-19 variant https://t.co/PukbPydylw [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1469633384511119364

ReconfigBehSci. (2021, December 13). RT @DrEricDing: 11) Omicron is doubling every 1.6 days in UK 🇬🇧 according to @DrWilliamKu’s figure. That’s way faster growth than in South… [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1470451594378502154

Prof. Christina Pagel. (2021, December 23). UKHSA surveillance report shows reinfections rising sharply as Omicron takes hold https://t.co/UGArY4sbOA [Tweet]. @chrischirp. https://twitter.com/chrischirp/status/1474041921249189896

ReconfigBehSci. (2021, December 11). RT @DrEricDing: DOUBLING % in one day: The spike of probable #Omicron variant in Scotland🏴󠁧󠁢󠁳󠁣󠁴󠁿 has critically surged—Now at 13.3%, up fro… [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1469596523222781954

John Burn-Murdoch. (2021, November 25). Five quick tweets on the new variant B.1.1.529 Caveat first: Data here is very preliminary, so everything could change. Nonetheless, better safe than sorry. 1) Based on the data we have, this variant is out-competing others far faster than Beta and even Delta did 🚩🚩 https://t.co/R2Ac4e4N6s [Tweet]. @jburnmurdoch. https://twitter.com/jburnmurdoch/status/1463956686075580421

CNN, I. K. (n.d.). Vaccine inequity and hesitancy made the Omicron variant more likely, scientists say. CNN. Retrieved December 23, 2021, from https://www.cnn.com/2021/11/28/world/omicron-coronavirus-variant-vaccine-inequity-intl-cmd/index.html

ReconfigBehSci. (2021, December 22). RT @chrischirp: Positivity rising steeply too—There are definitely many more people we aren’t catching https://t.co/4xDPwYQtrx [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1473695678610214927

ReconfigBehSci on Twitter: “RT @chrischirp: As well as Tom’s new one (B.1.1.529), C.1.2 seems to be spreading in S Africa—C.1.2 was the one with lots of worrying mut…” / Twitter. (n.d.). Retrieved December 23, 2021, from https://twitter.com/SciBeh/status/1463597407082532864

ReconfigBehSci. (2021, December 16). RT @MadsAlbertsen85: #Omicron update from Denmark. Omicron cases on the 12th of December adjusted up to 20.5% (+2%). Omicron is now having… [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1471516083819462670

ReconfigBehSci. (2021, December 9). a rather worrying development- a (local) newspaper “fact checking” the new German health minister simply by interviewing a virologist who happens to have a different view. There’s simply no established “fact” as to the severity of omicron in children at this point in time [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1469037817481334786

Trevor Bedford. (2021, December 11). We find that logistic growth of Omicron sequence fraction looks similar between the UK, the US and Germany with roughly 1% of sequenced cases in all three countries being Omicron on Dec 1. 3/10 https://t.co/De0t2xreU9 [Tweet]. @trvrb. https://twitter.com/trvrb/status/1469784757261127685

ReconfigBehSci on Twitter: “RT @fascinatorfun: Ouch. Norway 4117 new cases is equivalent to over 50k in the U.K. But the kickers are the sheer speed of increase (43%…” / Twitter. (n.d.). Retrieved December 23, 2021, from https://twitter.com/SciBeh/status/1468139950939901952

Prof. Shane Crotty. (2021, October 19). 1/ The regular vaccines give great booster responses against Delta and other variants This was first shown by Moderna, with “original recipe” vaccine booster, compare to Beta booster. Https://nature.com/articles/s41591-021-01527-y https://t.co/g7YDwGIURP [Tweet]. @profshanecrotty. https://twitter.com/profshanecrotty/status/1450489709050744833

Eric Topol. (2021, October 27). 'The benefit of a third [booster] dose in reducing transmission is sizeable and increases with vaccine coverage and contact rates among individuals." https://medrxiv.org/content/10.1101/2021.10.25.21265500v1 by @billygardner and @DiseaseEcology https://t.co/zAZcJgF1nJ [Tweet]. @EricTopol. https://twitter.com/EricTopol/status/1453153076165021696

Nerd, G. M.-K. H. (2022, February 25). The Jury is Still Out on Ivermectin. Medium. https://gidmk.medium.com/the-jury-is-still-out-on-ivermectin-7d0a1895549

ReconfigBehSci. (2021, December 11). RT @DocMoschos: Massive French study on school transmission should now put a stopper to the “no transmission in schools” U.K. mantra: Trans… [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1469635260451373056

ReconfigBehSci. (2021, November 27). RT @_HassanF: 📢 2 key 📑 resources, if you writing about us in Africa right now: Africa-Vaccine Data 2021: Https://mediahack.co.za/datastories/coronavirus/africa-covid19/africa-vaccinations/ @mediah… [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1464683668631392257

ReconfigBehSci. (2021, November 26). RT @PeterHotez: …this info is more relevant than immune escape. For instance the B.1.351 from ZA last year never really took off. So transm… [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1464240155070447632

Petersen, M. B., Rasmussen, M. S., Lindholt, M. F., & Jørgensen, F. J. (2021). Pandemic Fatigue and Populism: The Development of Pandemic Fatigue during the COVID-19 Pandemic and How It Fuels Political Discontent across Eight Western Democracies. PsyArXiv. https://doi.org/10.31234/osf.io/y6wm4

I wanted to read this article because I love Kon's movies and I'm curious what the link to social media is.

great reference table for SC vulenrabilities detection

comment on: https://www.youtube.com/watch?v=9OUn2-h6oVc