6,378 karma · joined October 22, 2017
Having said this, nowadays the metric I like the most is SAD (sum of absolute difference) which is Sum(abs(x2i - x1i)), which is the L1-norm of the difference image. I find this oddly easy/simple to reason and implement, so I use it in any model where it works.
The implications of this on async seem tremendous. I'm a believer of async, even though it did do quite a bit of damage to the ecosystem, in the long term I bet on it being the correct abstraction (and Rust's implementation being close to the correct implementation). I think this change will make async more convenient and less restrictive to use.
I also do literate programming (write code as if it's a book written for your future self) with this exact same approach. Just write a two line script that removes everything that's not between ```python ``` and you can code inside Obsidian. (E.g. you can use a markdown parser like `marko` for python) I personally don't need syntax highlighting, but if you do, you can open it in your IDE/Emacs/etc and IDE should highlight most languages in Markdown files. You obviously don't get all the IDE bells and whistles, for those you can have separate files and import them in, or enable Python mode in markdown files (somehow). (Obsidian should support basic syntax highlighting for most common languages anyway)
Since Obsidian is so awesome, this approach has endless possibilities. E.g. you can do project management inside Obsidian via Kanban board, you can use Excalidraw tool in Obsidian to draw architecture diagrams, write music inside Obsidian with its Lilypond plugin, write math with LaTeX plugin etc. It just automatically works out of the box.
This is the root of all evil. The artificially created deadlines that make something that can be resolved next week "urgently today" just to increase your adrenaline levels so you work 30 mins more today is what causes a lot of software to end up being a piece of shit.
Software is about deep thinking, and comprehensive understanding. Yes, it's all about trade offs, but there is a point where things can't be any faster.
No artist can make rent money in that atmosphere.
Artists like Steve Reich and Philip Glass were gigantic innovators, they were iconoclasts, they wanted WCM to go way beyond what it was stuck at in 1970s. Of course they spent decades being considered a charlatan by their colleagues. Philip Glass in an interview explains how, when he founded the Philip Glass Ensemble and started producing his early (brutally minimalist) music people tried "helping" him by teaching basic musical composition, and told him that he needs to learn basics first before writing music like that. It's a farce really, from 2020s having listened to 21st century post-minimalism, if you go back and listen to early minimalism in 1970s and 1980s (think, Music for 18 musicians, Music in 12 parts, Einstein on the beach, in C, Glass Violin Concerto, De Stijl etc) it's just haunting how creative their music is. They had to invent everything from scratch! You have to go all the way back to 1640s Froberger to find anything that remotely sounds idiomatic within the tradition, while aggressively responding to their contemporaries like the extreme-complexity of Boulez etc. It's really unfortunate, my sense is, modern music education creates very conservative, robotic craftsmen who play technically perfectly but are unable to see innovation and artistic response.
I would like to say 21st century WCM is in a much better situation and there is more creativity, but I would say it's likely a marginal improvement over late 20th century, rather than a significant transformation.
The whole point of the movie you watched was that he's a disgusting piece of human garbage. There are tons of people around him that treat him like some kind of deity, but he's like the worst human being you can possibly know. It's a societal criticism.
In reality, on a human level, it doesn't work like that because, when you have disagreements on the very foundations of your field, although both camps can agree that their results do follow, the fact that their results (and thus terminology) are incompatible makes it too difficult to research both at the same time. This basically means, practically speaking, you need to be familiar with both, but definitely specialize in one. Which creates hubs of different sorts of math/stats/cs departments etc.
If you're, for example, working on constructive analysis, you'll have to spend tremendous amount of energy on understanding contemporary techniques like localization etc just to work around a basic logical axiom, which is likely irrelevant to a lot of applications. Really, this is like trying to understand the mathematical properties of binary arithmetic (Z/2Z) but day-to-day studying group theory in general. Well, sure Z/2Z is a group, but really you're simply interested in a single, tiny, finite abelian group, but now you need to do a whole bunch of work on non-abelian groups, infinite groups, non-cyclic groups etc just to ignore all those facts.
[1] https://en.wikipedia.org/wiki/Transfinite_number
[2] https://en.wikipedia.org/wiki/Ordinal_number#Ordinals_extend...
* It is a dialect of Prolog
* It reads from and writes to SQLite database format as well as CSV. This allows you to preprocess or postprocess data Souffle produces, or Souffle reasons. E.g. you can generate bunch of data in Python, output Sqlite, reason in Souffle. Load reasoning output back into python via sqlite.
* It is pretty feature complete when it comes to logical reasoning, and transactional database management. You get best of both Prolog and Sqlite worlds.
You can write useful programs in Agda. I wrote all kinds of programs in Agda including parsers and compilers.
* Cats absolutely can be obedient with training. I've been clicker training my cat for years and he can do any trick a dog can do. He also understands his name. I tested this many many times by yelling random words, seeing him continue sleeping, then yelling his name, causing him to jump and run towards me.
* Cats can be trained not to attack at hands like dogs. This is called "cat inhibition" and it's standard practice for cat owners, all good cat owners must know and practice inhibition training.
* Cats clearly prefer sitting next to humans and sleep close to them. If you never experienced this you never lived with a cat long term. It's actually fascinating, when a cat is "sleeping" they're actually not sleeping in a human sense, it's a particularly light sleep. They're still ready to hunt. What most cat owners will see is that when your cat is sleeping next to you, and you suddenly change the room to clean dishes or use the bathroom, your cat will get up and sleep somewhere close to you. Although a human interprets this as cat being lazy, they're exhibiting hypersocial behavior for their species.
* Cats are not weak. Have you ever fought a cat? I did. I'm a full sized human male who weight trains regularly and my cat can barely overpower me if he puts all his power. Go watch some feral cat vet videos, you'll see cats require a strongman sized vet to be fully seized (and rarely some still get away). An adult cat will have no problem overpowering a human female. If you think "cats are attacking their owners" you seriously have no idea how incredibly powerful these creatures are. When a cat slaps you or whatever they're merely warning you in a "polite" way (and, as explained before this is a sort of behavior that can usually be curbed with training)
When you support yourself through odd jobs, you can make bolder artistic statements, and show a middle finger to the art world, if you will. When an artist is a professor/teacher whose job is to teach the tradition in the mainstream way, they end up being immensely conservative. Just look at someone like Schoenberg who is -- of course -- considered an iconoclast by the academic art elite but his music is an extremely conservative extension of Western counterpoint and late German Romanticism in a very predictable way: make it more harmonically adventurous/experimental within the 12EDO framework... It's been everyone's go-to since forever, I mean Chopin made a fortune (and a mountain of novel piano music) off of it. Schoenberg simply refused to see what was right in front of his eyes, even though he clearly had gigantic artistic talent, spirit, and motivation (he is also one of my favorite composers, so I'm biased, granted). I really think teaching is not very compatible for artists who first and foremost want to be artists. Someone who wants to create, first and foremost, something new, profound, and personal... Of course, you'll find countless people who'll disagree with me staunchly...