51 Matching Annotations
  1. Sep 2019
  2. Aug 2019
    1. Suspending is built on the mechanism as error boundaries. In fact, we recently (like last week) completely rewrote error handling to prepare for this feature. It's also built on the same "expiration time" model we use for CPU scheduling. I love it when features compose together!
    1. As Sebastian Markbage pointed out, no abstraction is superior to wrong abstractions. We are providing low-level components to maximize composition capabilities.
  3. May 2019
    1. About this time I met with an odd volume of the Spectator.[18] It was the third. I had never before seen any of them. I bought it, read it over and over, and was much delighted with it. I thought the writing excellent, and wished, if possible, to imitate it. With this view I took some of the papers, and, making short hints of the sentiment in each sentence, laid them by a few days, and then, without looking at the book, try'd to compleat the papers again, by expressing each hinted sentiment at length, and as fully as it had been expressed before, in any suitable words that should come to hand. Then I compared my Spectator with the original, discovered some of my faults, and corrected them. But I found I wanted a stock of words, or a readiness in recollecting and using them, which I thought I should have acquired before that time if I had gone on making verses; since the continual occasion for words of the same import, but of different length, to suit the measure, or of different sound for the rhyme, would have laid me under a constant necessity of searching for variety, and also have tended to fix that variety in my mind, and make me master of it. Therefore I took some of the tales and turned them into verse; and, after a time, when I had pretty well forgotten the prose, turned them back again. I also sometimes jumbled my collections of hints into confusion, and after some weeks endeavored to reduce them into the best order, before I began to form the full sentences and compleat the paper. This was to teach me method in the arrangement of thoughts. By comparing my work afterwards with the original, I discovered many faults and amended them; but I sometimes had the pleasure of fancying that, in certain particulars of small import, I had been lucky enough to improve the method of the language, and this encouraged me to think I might possibly in time come to be a tolerable English writer, of which I was extremely ambitious. My time for these exercises and for reading was at night, after work or before it began in the morning, or on Sundays, when I contrived to be in the printing-house alone, evading as much as I could the common attendance on public worship which my father used to exact of me when I was under his care, and which indeed I still thought a duty, thought I could not, as it seemed to me, afford time to practise it.

      Even the greats copied or loosely plagiarized the "masters" to learn how to write.The key is to continually work at it until you get to the point where it's yours and it is no longer plagiarism.

      This was also the general premise behind the plotline of the movie Finding Forrester.

  4. Mar 2019
    1. A composite process, remember, is organized from both human processes and computer processes

      Human-system/Tool-system fine-grained intersections and compositionalities. There are UX and UI levels here. There are likely further levels having to do with intentionalities of (semi-) autonomous Tool Systems, how they are to be guided by Human intentionalities, and - most importantly - how humans fully ascertain and guide their own intentionalities.

  5. Feb 2019
    1. books of rhetoric which abound in the world,

      How many copies of Blair's Lectures (62 editions, 51 abridgments, and 10 translations) did he stumble across? (see Rhetorical Tradition Enlightenment intro)

    1. Hugh Blair and George Campbell,

      Key players in shaping rhetoric and university curriculum in the 18th and 19th centuries (Cf. James Berlin's account of composition instruction in American universities)

  6. Jan 2019
    1. omposition and hacking are alreadyclose allies

      A striking statement/juxtaposition in a way -- interesting to think of these two concepts as "allies." However, sometimes things that are most unlike each other work the best together.

    1. first-year writing

      https://secure.ncte.org/store/strategies-for-teaching-1st-year-comp This book has great articles on first-year writing courses, but I'm specifically pointing to one entitled "An Honors Course in First-Year Composition: Classical Rhetoric and Contemporary Writing" By Marvin Diogenes, Stanford University.

  7. Nov 2018
    1. “The day is upon us where we need to strongly consider nurse practitioners and physician assistants as equal in the field,” he says. “We’re going to find a much better continuity of care for all our patients at various institutions with hospital medicine and … a nurse practitioner who is at the top of their license.”

      Hospitalists as QB should play leadership role in integrating all members of care team

    2. Recent State of Hospital Medicine surveys showed that 83% of hospitalist groups are utilizing NPs and PAs, and SHM earlier this year added Tracy Cardin, ACNP-BC, SFHM, as its first non-physician voting board member
  8. Sep 2017
  9. Apr 2017
    1. “Humans” do not simply assemble different apparatusesfor satisfying particular knowledge projects but are themselves specific localparts of the world’s ongoing reconfiguring

      I'm looking at this in the context of McLuhan's argument for technology as an extension of the human being. It seems to me that Barad also sees the "human" as extended beyond the materially contiguous body, but also in terms of reverse, humans as an extension of worldly processes, extended through us. The "person" stops being a discrete, immiscible beings, but "specific local parts" operating in "mutually implicated" elements of the world.

  10. Mar 2017
    1. Although some professors who urged a focus on public discourse and argumentation expressed opposition to the current-traditional approach, that method prevailed and, indeed. continued to be the predominant approach to composition through the first two-third~ of the twentieth century-and on some campuses much longer.

      It seems as though this decision to mandate the "current-traditional" approach of rhetoric in the academic setting cut out a large personal aspect of what rhetoric originally had

    1. Why, we ask at once, was there no continuous writing done by women before the eighteenth century?

      Point raised by Fr. Ong in The Presence of the Word "With the appearance of what we have called the sound-sight split in Latin, that stream of the language which developed into the modern romance vernaculars remained in use in the home, but the other stream known as Learned Latin, which moved only in artificially controlled channels through the male world of the schools was no longer anyone's mother tongue, in a quite literal sense." There was an active language-world for women in ancient Rome, but its one that was not recorded, and is now lost to time.

  11. Feb 2017
    1. For current-traditional rhetoric, reality is rational, regular and certain - a realm which when it is not static is at least in a predictable, harmonious, symmetrical balance. Meaning thus exists independent of the perceiving mind, reposing in external reality.

      No way Fish believes this.

    1. Phil9sophy is .i!1~ep¥Uble fyom Jang4age, and no self-consciousness will alter or transcend tqat circumstance.

      The important thing seems to be the self-consciousness. Nietzsche (swear to God, if the quiz asks us to spell that name, I swear to God) is trying to avoid the "I identified the problem, and thus, I've solved it." The image of unmasking their pretensions has the dangerous risk of thinking that the mask is something outside the norm, and that there's something stable underneath it that's been revealed.

    1. women helped each other come lo public voice,

      There's already a print annotation on the move forward to network theories, but what really strikes me about this is an earlier note from LoLo about collaborative and invitational rhetoric, and these co-ops seem like a laboratory for developing them. If nothing else, I'd love to know more about the dynamics of these, being something akin to the modern Writing Center but for developing a spoken voice.

    1. some wrilers have spoken or Rhetoric us 1he Art of Compoi.itio

      This is linkage I find compelling as composition is not reducible to writing.

    2. Composition, however, of the Argumentative II )\)fe kind, may be considered (as has been above stated) as coming under the province of Rhetoric. And this view of the subject is the less open to objection, inasmuch as it is not likely to lead to discussions that can be deemed superfluous, even by those who may chuse to consider Rhetoric in the most restricted sense, as relating only to "Per-suasive Speaking"; since it is evident that Arg11• me/II must be, in most cases at least, the basis of Persuasion.

      It can generally be agreed that the composition of an argument also befalls under the general umbrella of rhetoric.

    1. for which university training in rhetoric prepared men

      As Dr. Lynch is fond of recounting, even when women's colleges became a thing, Rhetoric was not part of the curriculum, and Composition was considered the women-appropriate substitute. Also, we're a century away, but the impact of pragmatic concerns on women's rhetoric will come back with A Room of One's Own.

  12. Jan 2017
  13. Oct 2016
    1. makesitgodead

      What makes it go dead? Recognition? As "beauty"?

    2. andromanticism

      One of the most puzzling moments: romanticism is linked with 1914 and with a widespread linkage of sameness and difference. Is the idea that romanticism, as the first "modernism" in language, normalizes the idea of a break, of discontinuity in search of continuity?

    3. usingeverything.

      Three principles of "composition": continuous present, beginning again and again, using everything. Unpack this for students.

    4. writingasitismade

      Introduction of Stein's "continuous present," the idea of creating a rich, contingent space for the writer in the act of writing and the reader in the act of reading, a temporality that abolishes the neat past/present/future triad of traditional narrative.

    5. goingtobethereandwearehere

      Another motif that recurs throughout: composition creates a distance in space and time. We are here and its is "going to be there," appearing to us from a distance.

    6. eginningagainandagain

      First occurrence of this motif: central principle of composition is repetition, is "beginning again," a phrase which Stein evidently loves for its poetic qualities as much as its investment in creating loops of time.

    7. athingacceptedbecomesaclassic

      Side note: Stein's argument here is extremely close to that of Eliot's in his 1919 "Tradition and the Individual Talent," though Eliot is advocating for the "classic" rather than the newness of the new.

    8. isanoutlawuntilheisaclassic

      Temporality of "composition": the experimental artist disrupts and then is integrated into history as a "classic." Stein jokes (seriously) that "there is almost not an interval" between these two moments, that we forget that (for example) Picasso was an "outlaw" once he has become "classic" and "beautiful." It's certainly the case that a tour through MoMA is rich in examples!

    9. time-sense.

      New term. The discussion of war leads to the discussion of "composition" with "time-sense," temporality, the idea of the new art as making a break in time.

    10. thewar

      Beginning of a set of riffs on WWI narrowly and war more broadly: war as that which makes a break, produces difference. To this extent, modernism is deeply implicated with WWI and (perhaps) with war in general.

    11. makesacomposition,itconfuses,itshows,itis,itlooks,itlikesitasitis,andthismakeswhatisseenasitisseen

      Stein emphasizes that "ways of looking" change, and the list of verbs emphasize the power of the "composition" to derange looking and make us see "the same thing" anew in ways that "make a difference."

    12. BythisImeansosimplythatanybodyknowsitthatcompositionisthedifferencewhichmakeseachandallofthemthendifferentfromothergenerationsandthisiswhatmakeseverythingdifferentotherwisetheyareallalikeandeverybodyknowsitbecauseeverybodysaysit

      This word "composition" will be THE keyword in the piece. Note how much S freights "composition" with here: a) it inserts a wedge between generations (i.e., each generation has its own "composition" that is authentically "new"); b) it's something that only those who "know it" perceive, thus internally splitting a generation between those who are down with its "composition" and those who lag.

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    1. This word "composition" will be THE keyword in the piece. Note how much S freights "composition" with here: a) it inserts a wedge between generations (i.e., each generation has its own "composition" that is authentically "new"); b) it's something that only those who "know it" perceive, thus internally splitting a generation between those who are down with its "composition" and those who lag.

  14. Sep 2016
    1. hat use-value the curriculum may ultimately have for them in their particular contexts

      I see how this is problematic.

    2. As a result, students will begin to see rhetoric as an adaptive process that requires a proliferation of methods at every instant. Instead of pre-ordained processes or methods, students would “start with experience, generalize a pattern or schema from that experience, turn that pattern on future experience, and then adapt the pattern to devise a new schema

      Yes!

    3. Hawk’s emphasis on ecology and immersion promises to counter-act such hyper-disciplinarity and ossification.

      Yes: this is so key.

    4. s. It is no surprise then that institutionalized writing is steadily moving away from the essay as the universal proving ground for student writers, and towards teaching to write effectively in a variety of genres students can expect to work in as they leave college for the workforce. This shift from writing as a single, universal skill to writing as multiple and genre-based is both potentially liberating and potentially disenfranchising.

      Yes.

    5. as the ability to think of different ways of locating themselves within complex human-technological networks, the emergence of students’ own purposes for using rhetoric, and along with that, their own methods of rhetorical invention.

      The real purpose of Hawk's pedagogy.

    6. Instead of a pedagogy of heuristics, which presupposes interiority, Hawk argues for the importance of “ecology and immersion,” in which students gain a greater understanding of their rhetorical presence as multivalent, existing from moment to moment, in connection with other bodies and technologies

      As opposed to "synchronic."

  15. Aug 2016
    1. Functional programming is not only about composing functions and algebraic data structures — it makes concurrency composable

      This seems to refer to my last comment: composition is not just about composing function and ADTs, but also makes concurrency composable.

      From this first lvar paper: http://lambda-the-ultimate.org/node/4823, if two sets of modifications can be structured to commute, then they are guaranteed to be thread safe and thus can be composed.

  16. Mar 2016
    1. This is important. All abstractions can be grounded in some concrete event or situation. However, the practice of starting with theory often ignores this and students struggle to grasp abstractions that are suspended in space. Given that all abstractions have origins, it should be easy to situate instruction in something concrete.

  17. Jan 2016
    1. The simplest way is to just have the melody played down the octave. This gives you a strong sound. It’s not the most interesting, but it works

      Baritone sax

    2. Notice that the interval between the top two voices is always a 3rd or 4th. This is ideal and correct for the traditional style. It is possible to have a major 2nd in this range but I try to avoid it; in the next octave up it may even sound like a mistake. A minor second should be totally avoided if you are going for a traditional sound
    3. This is where you maintain the shape of the chord (same interval structure) and move it under the melody

      Technique called "Planing"

    4. It is handy to think of the 9th as replacing the tonic.
    5. There is another option to consider when harmonizing the tonic chords. If you wish to create a really traditional sound, a la Glenn Miller, then use 6th chords instead of major 7th chords
    6. There are a few ways to harmonize this F, but the most common method (and my default) is to use a ‘passing diminished.’
  18. May 2015
    1. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

      Digital annotation is particularly suited to this type of everyday writing practice.

      In a sense, it's more like posting to Facebook or Twitter than writing an essay. But because it is grounded in text, it encourages more thoughtfulness.

      At the same time, if students are regularly annotating using an application like hypothes.is, then they will surely exceed the word count usually required in a five page essay. Annotation projects might be seen as pre-writing--a collaborative drafting space for ideas and language to be developed later in formal papers--or it might be seen as an end in itself.

    2. through the effective selection, organization, and analysis of content.

      This is essential to the pedagogy of annotation as well. The first step must be to identify an appropriate selection of text from a document. The annotation itself is the space for analysis.