alabastervlog

I remain unconvinced they're (the whole LLM/"Attention Is All You Need" industry) even barking up the right tree to build anything usefully-close to "AGI".

GDP (or equivalent) gains.

Ricardo only says big aggregate number go up (with a bunch of caveats). Not for whom within that aggregate. It can (hypothetically) be one person seeing huge gains while every single other person loses a little bit. Or, pick any more-plausible scenario that sees a very-few benefitting greatly while the net for the rest of the population is somewhat negative.

Yeah nothing about home install solar + battery soundly beating utility power prices even paying retail rates for equipment and labor for years on end, as prices on the equipment falls year after year, while utility power prices keep going up makes any fucking sense.

Hell, last I checked PHP is still king of the server-side Web scripting languages, as far as real-world speed. Like, fast enough that you've gotta be pretty careful in Java or Go or whatever, or you'll end up slower than PHP.

The way you make a scripting language fast is by getting the hell out of it and into C or C++ as fast as possible, and PHP's library ecosystem embraces that harder than just about any other scripting language, is the reason (I think).

[EDIT] My point is mainly that Node's performance isn't really that impressive, in the field of "languages one might use to write server-side Web code". It beats absolute slugs like Python and Ruby handily, but past that... eh. And really, in its speed category you'd probably do just as well using either of those and paying a little more attention to things like network calls and database access patterns.

Planning for a shorter trip but running into trouble that stretches it to 10 years seems like almost the ideal outcome.

The full Odysseus experience. Minus starting it with ten other years away at war, I guess.

A lot of flat earthers shifted over to Qanon.

[EDIT] Which is unsurprising since the whole flat earth deal requires some sort of vast lizard-person conspiracy or whatever, and that's the kind of thing Qanon is, too.

> And while that may seem a far cry from the alt-right stuff he eschews

The podcast If Books Could Kill manages to stumble on a fair amount of overlap between "power of positive thinking" / "The Secret" crap, and right wing politics in the books they review.

I’m excited about lower prices from Chinese brands. The hikes in car prices in the US over the last decade or so have priced me out of new cars entirely, and I just about get sick even looking at used car prices these days. Need some price pressure on that crap.

Trump tried to nominate the CEO of accuweather to run NOAA his first term, but was blocked. That CEO has lobbied to get Congress to limit the services NOAA provides so it doesn’t “compete” with companies like accuweather.

https://www.cnn.com/2017/10/14/politics/noaa-nominee-accuwea...

Project 2025 calls for moves similar to that.

https://www.pbs.org/newshour/politics/fact-checking-what-pro...

Key quotes:

> The document describes NOAA as a primary component “of the climate change alarm industry” and said it “should be broken up and downsized.”

> Project 2025 would not outright end the National Weather Service. It says the agency “should focus on its data-gathering services,” and “should fully commercialize its forecasting operations.”

> It said that “commercialization of weather technologies should be prioritized to ensure that taxpayer dollars are invested in the most cost-efficient technologies for high quality research and weather data.” Investing in commercial partners will increase competition, Project 2025 said.

Should be enough from here for you to find your way with Google to further details, including the primary sources on the P2025 stuff.

I take this as a signal they think there’s no way the other two are going to raise theirs again, and are maybe worried one of those will downgrade another step in the near future while Moody’s rating is still high, which might look bad for them.

Kind of like a "musician's musician"—ones whose names come up often in interviews with famous musicians, and often have covers of their songs by more-famous artists become very popular, but are largely out of the limelight, at least relative to their fame and influence in certain circles.

Yeah, I remember going as a kid (the Saturn V and "rocket garden" are what stuck with me and how I realized I'd been there before) and thinking it was great, but going again a couple years ago it was a huge let-down. So much of it was just ugly MIC sales powerpoint infographics with not-great accompanying displays of missiles and such, there was a whole area that seemed to just be a warfare drone military contractor showroom (which could be cool, but the presentation was about as boring as possible in this case), a bunch of the interactive bits were broken, most of the handful still working cost extra (and admission was not what I'd call cheap), and in general it just felt like a place struggling to survive. It gave an almost ex-Warsaw-Pact vibe of being well past its prime and decaying in place. The Saturn V is still amazing, though, but even there the little bit of the hangar floor and wall space that they actually bothered to use was given over to kinda-lame material about things like the SLS that also had a strong "this came straight from a contractor's marketing department" feeling.

I'd also been to the Cosmosphere as a kid (the SR-71 in the lobby is how I recognized that one when I returned, haha, don't see that every day) and have been about three more times over the last 15 years, as an adult, and it's still great.

Yeah, kind of what Lower Decks (the show, and for that matter also the episode "Lower Decks") is to Star Trek, but not comedy. Andor is indeed the closest I know of to that, though you see little touches of similar things in some episodes of The Mandalorian and the Clone Wars cartoon (though of course that one's also full of the "magical beings")

They built the lobby around the SR-71. It's friggin' cool.

FWIW I find it to be a much better museum than the more-famous one in Huntsville, AL. That one's badly run-down and is about 50% some kind of gross defense contractor permanent trade-show installation—though the blown-apart Saturn V they've got suspended in a hangar is notably amazing to see.

The Cosmosphere's got a more impressive collection (though that Saturn V makes up a lot of ground for Huntsville) and the presentation is much better.

There's an OK zoo (great, adjusting for where it is, really) nearby, worth a stop if you're there with kids anyway, but not much else I know of in the area. It's weird that there's such a good museum so far from everything, including from the most-traveled highway through-routes for the state.

That one and The Last Wave are the ones from his remaining ~7 movies I've not seen, that I fully expect to be good. I know less of the reputation of the other five, but even if all of them are bad that'll leave him with an excellent batting average.

[EDIT] To expand on my late-discovered love of the guy's work, the key figures in my slowly drifting toward being a bit of an actual film fan were all people I knew by name: Spielberg (Empire of the Sun, plus all his usual biggies), Don Bluth (Learning so young that a movie can hurt... and that can be a really good thing!), and George Lucas (first by hooking me on Star Wars, which got me into making-ofs and the craft of film-making and editing, the idea of the pastiche film which sent me chasing down influences, and then with the prequels with wanting, owing to my prior high levels of engagement with the franchise, to dig deeper into "... but why, exactly, are they so bad?" which was its own kind of education); but then, some time in the back half of my 30s, I discovered that a bunch of other films that'd been key on that journey were all by this one other dude whose name had previously failed to register. He was this fourth major figure in the early and middle parts of this journey, for me, and I didn't even know it!

Gunfire is insanely loud. Even a little .22 is louder than the apparent volume of heavier rounds in most film and TV. It's one of those things people can have entirely the wrong idea about if their only exposure to it is media. You see things like people firing rifles from inside a car and it's like... nobody in that car should be able to hear a damn thing for a full minute, and with repeated fire their ears might ring badly through the next day.

Archer kinda gets this more-right than most things, LOL. "MAWP! MAWP!"

1) God damn that movie is so good.

2) I think part of why it stands out so much is that there are incredibly few excellently-made age of sail war films. A few of the black & white and early color era ones are pretty good (The Sea Hawk and such) but those are pretty different in tone. Master and Commander is very nearly unique. You have to switch over to sci fi (Star Trek, maybe Forbidden Planet) to scratch a similar itch. If you want specifically age of sail, with that structure and tone (war, edge-of-civilization exploration with a ship), your options are very limited.

3) I have discovered only very-belatedly that Peter Weir is one of my favorite directors. I had no idea for the longest time that the same guy did The Mosquito Coast, Master and Commander, The Year of Living Dangerously, Dead Poet's Society, Witness, and The Truman Show. Dude just knocked out one quietly-great movie after another, across multiple genres. I've gone back and picked up some others (Gallipoli, The Cars that Ate Paris) and have yet to be disappointed. The remainder of his all-too-short catalogue is high up my to-watch list. I've seen zero duds from him so far.

If you rename them, you can re-create the whole library with auto scan, which is nice.

Do you mean you let it auto-scan the wrong id, go find that wrong movie in your library, then manually provide an e.g. IMDb id, for every one?

It’s for the (far) superior UX and having some things on it that either practically or literally cannot be purchased legitimately.

Cost-per-minute and total minutes delivered being key metrics for their production folks would have a similar effect, and is kinda the same thing (how many minutes of viewing will be experienced by someone who watches the show you made for us?) if they don't also have effective controls in place to keep the editing tight—and, from what they put out, I think they do not.

You do have to follow the naming scheme, though 95% of the time I don’t need to touch the names of tv show episodes, just stick them in the correct folders. The exceptions are mostly anime and shows I could only find on internet archive, as, for some reason, those often come with just the episode number in the name, not the full “s01e14” that basically everyone else uses.

I rename my movies but that takes maybe ten seconds per one I add, tops, and the result is easier to read when managing files later than leaving them as “www.torrenting.com The.Matix.ita.eng.1999[rarbg]” or whatever insane file names they usually come with.

I just got an old used workstation that can’t transcode for shit, bumped the ram up and filled it with disks, then made sure my client devices can all handle whatever I throw at them (appleTV) so I never need to transcode.

If it’s just you watching on your laptop, true. Add family and a decent home theater and there are reasons to set up Jellyfin and use torrents.

Mandalorian benefitted a lot from being far more episodic, though of course it also had some longer plot lines. Most shows that try to make their main thing the prestige TV “big damn plot” just aren’t very good at it. Episodic’s easier to get right, or at least to do OK.

It’s also a better star wars, in that it’s playing in the same space as the originals, and not a lot of things do that very well, so it’s nice to see anything doing it decently well. Andor’s competition is basically all of political action-thrillers, and that’s a crowded space in which it doesn’t really stand out.

> I have made a mistake radiologists call 'satisfaction of search'.

Ah, now I have a name for it.

When I've chased a bug and fixed a problem I found that would cause the observed problem behavior, but haven't yet proven the behavior is corrected, I'm always careful to specify that "I fixed a problem, but I don't know if I fixed the problem". Seems similar: found and fixed a bug that could explain the issue, but that doesn't mean there's not another one that, independently, would also cause the same observed problem.

I do think the cost thing is a factor.

You've got 30 seconds you shot that, when the editor sits down to put it all together, definitely needs to be trimmed. But if you do that, it's 30 fewer seconds of "content". Your business measures output in terms of minutes of content, finished or watched. If you leave it in, the scene's worse, but how many viewers will stop watching because of it? Fewer than what it's worth to have that extra half-minute of "content". So it stays.

And operating this way, you can shoot 7 minutes of dialog that'd be trimmed to 4.5 minutes in a good edit (it's many individual shots, and most have at least a little on the beginning or end that need to go), instead trimming only what's absolutely necessary and get 5 or maybe 5.5 minutes out of it; do that over an entire 40 minute episode and you've saved yourself an entire longish scene that you'd have had to set up for otherwise, to fill the same time. Each set-up is expensive, so that's also saving you money despite being the same amount of "content".

Eh... it's extremely flabby, like most of these franchise-tied TV series (all the Marvel ones have the same problem, both the Netflix and Disney ones, though the Netflix ones are far worse about it). Tons of scenes where I want to yell at the editor "fucking cut away! It's over!" and then it goes on another 20 seconds, shots where it clearly should have cut a couple seconds earlier, whole pieces of dialog that are painfully redundant, restating things or adding nothing to either plot or character, et c, and it adds up.

My best guess for why they do this is that it fills time with fewer set-ups and sets, saving production costs. I can't figure out another angle for how this could be saving money per minute of "content".

The new season makes that really clear, because each 3-episode "movie" is 130ish minutes long and clearly could have been one 90ish minute film without losing anything important at all, still with plenty of time for relaxed-pace character development and such.

My dad grew up with hand-pump well water, an outhouse, a four-room house his dad built on cinderblocks that was too small for both the girls and the boys so the boys slept in the barn (and I think maybe they had a dirt-floor house at first, that one may have come after he was born), no electricity in his early years, no phone until he was a teen and I think it was a party line until after he moved out. Pretty sure they still had a one-room school house, too (small rural town).

This was the late '40s through '60s, not even the '30s. In the US.

Kinda. I dunno, I had a job and went to a cheap college.