We don’t write well enough. Linkbait invective spreads quickly because it angers people, in turn prompting a degradation in the quality of writing. People write opinions unchecked and unedited, leading to thoughtless arguments and shoddy research.
In this video a very viscous (but still Newtonian) fluid is falling in a stream onto a moving belt. Initially, the belt is moving quickly enough that the viscous stream creates a straight thread. As the belt is slowed, the stream begins to meander sinusoidally and ultimately begins to coil. Aside from some transient behavior when the speed of the belt is changed very quickly, the behavior of the thread is very consistent within a particular speed regime. This is indicative of a nonlinear dynamical system; each shift in behavior due to the changing speed of the belt is called a bifurcation and can be identified mathematically from the governing equation(s) of the system. (Video credit: S. Morris et al)
David Cronenberg’s new film A Dangerous Method opens with the ominous notes of a cello, that, leading out of the opening credits, give way to a horn and string crescendo and the disturbing first scene: Sabina Spielrein (Keira Knightley) arrives screaming, restrained by men, in a black carriage drawn by black horses, at the Burgholzli Clinic. And as our stomachs vibrate from the bass and the violence of the scene just past, a calm Carl Jung (Michael Fassbender) greets his new patient in a beige paneled room with dark parquet floors and bounced light. This is Zurich. It is 1904. Sabina suffers from mental hysteria (with spontaneous orgasms provoked by humiliation), and she and Jung eventually begin a sexual relationship.
In these early meetings between Jung and Spielrein, conversation occurs in total silence — that is, without any background atmospheric noise. No cricket or ticking clock gives the stillness form. This is a pure and unnerving silence. Chirping birds add texture to the air, without which the infinity of time and space weighs down upon you so that it is unthinkable to sleep without the whir of a fan. Hyperconsciousness promotes a focus of such stimulating intensity, it quickly becomes erotic, and at the end of the long road of observations that occur in the first moments of a movie, you find yourself contemplating the details of faces and bodies with growing arousal.
You realize that there are three lines decorating the expanse of Fassbender’s forehead. And as you admire the precision of those lines and the glorious precision of his upper body, the precise subtleties of his performance and how each tooth in his head lies precisely against the next tooth, you think increasingly of Keira Knightley and her humiliation upon first unveiling her character on set, not because her performance was weak (it was strong), but because, rather strangely, it is all about her vagina.
Not as glistening pussy, but vagina ungroomed, as anatomical fact.
The other day, I experienced the “Color Vision Experience Room” at the event of the Hokkaido Color Universal Design Organization (HCUDO), where I had invited to speak. The event’s main objective was to educate the public about the diversity of color vision which exists in…
“I was shy the way many geeky girls can be. Professors hardly noticed that they rarely answered girls’ questions before some boy who didn’t actually know the answer interrupted. But a professor who later became my adviser gave me the best advice I ever received, which was to not be afraid to speak up and ask questions. Suddenly teachers were speaking directly to me, and my questions were usually good enough that I could detect the relief of other students who actually had the same ones, reassuring me I was doing the right thing. Now, as a professor, I know not to see classes as passive experiences. The occasional interruption keeps people engaged and illuminates subtle points, and in research even leads to new research directions. Just participating and questioning makes your mind work better. Don’t you agree?”
What’s the difference between a “package” and a “module”? Though modules have evolved beyond their low-level origins into richly composable, type-based abstractions, packages are largely stuck in a Linux-like land of version ranges and imprecise specifications.
How can we bring packages up to speed with contemporary module systems? For my first big project, I’m investigating this question in the context of GHC Haskell and its package management system, Hackage/Cabal.