116 karma · joined March 29, 2020
caaa1abf886e3f9c97373e21b2069c262bf419af9396010bbe7e9b8839c3478c
If you can keep calm without awakening, you'll be on the "other side". There is no transition. In my case, the "other side" is just me, in my bed as if I'm awake. I tried some experiments, but I felt too weak to do anything really interesting. I moved a couple of pillows, for instance, and when I woke up they were in the original position, untouched.
A really bizarre experience, I stopped trying when I finally got close to full-replication-mode on three consecutive nights. I felt very weird as if I was starting to mess with the boundary between dream and reality.
If you know more about this phenomenon let's keep in touch!
Not exactly, take for example the Cmaj scale. You can write different melodies that "gravitate" around one of the 7 notes and that effect makes up for a particular mode of the scale of C. Even if the notes are exactly the same you can easily hear the different flavor of each mode.
The easiest way to hear the modes is to play continuously the Cmaj scale against a C drone (a long note), but each time starting from a different grade of the scale of Cmaj. Same notes, different feelings. It's unclear to me (and I think controversial even among musicians) if you should use the mode name as a qualifier for the key and usually people just say that a song is in the key of $note, but you can definitely hear the difference. In particular, it is (was?) common to modulate to the relative minor/major key to highlight a section of a song (e.g.: key changes from Cmaj to Amin, same notes).
> Is there any popular music that belongs to multiple keys because they only use the notes that are shared between them?
It's very common in jazz, a classic example: Giant steps by Coltrane. The song continuously modulates in major thirds and loops around three keys.
> Or, is there anything that doesn't belong to any key because it uses more notes than are allowed by any key?
Look up "serialism" and "atonal music".
db '4LOHA- W0rld' 0d 0a '$'
xchg ax, bp
xchg cx, dx
int 21
retThe way I interpreted the pre-print:
- They optimized the capture for very fast moving objects (and large FOVs? Maybe using a spectrophotometer is not as straightforward as it seems)
- They are making estimates more than precise measurements, using error bars that are "good enough" for them, for the specific domain and taking into consideration the constraints given by the assumptions and the equipment. Not that I see those errors bars, though :D
- Now that I'm re-reading: ...Frames were recorded using the ser format with 14 and 16 bits... (ser is an astronomical file format)
- Paper's exposition could be better
- They are not building the JWST. They are doing something like lambertian reflectance when you are asking for global illumination. Let's wait for (the negative results of) NASA's study. I share your skepticism btw, not a believer.
Just saying that they are not using Photoshop. The paper is lacking in details though, that's uncontroversial.
Been a pleasure talking with you, have a nice day!
Naaaaa, this is not my field, so I assume I'm missing some crucial pieces of information (which the paper apparently lack too, I agree on that).
>A bright yellow meteor trail will saturate red and green, and then blue.
Here I assume that they can do their job, but maybe you are right. Since they are doing their observations at two "meteor stations", maybe they know what they are talking about though.
>Their entire method and conclusion all hinges on analisying the relative intensities of RGB colours of photos of very bright meteor trails.
They use a simple mathematical model, with even other obvious limitations, like considering the atmosphere homogenous, so?
Here I'm citing the calibration part (which is a bit disappointing, true :) at the end of page 4:
...The color chart in Fig. 10 allows us to evaluate the color characteristics of the Moon and check the calibration of our cameras. The Moon has a color relative to the sky background: B - G = -2.5 log (1.7 / 2.7) = 0.5. We take into account the color correction in the Jhonson B - V system according to [x] due to Rayleigh scattering equal to 0.14 magnitude. Let’s get the estimate B - V of the Moon: B - V = 0.50 + 0.60 - 0.14 = 0.96. The actual color of the Moon is B - V = 0.91 according to [1] and differs from our estimate by 0.05 magnitudes within the photometric error. In Figure 9 we can see a local feature (water tower). The color diagram of the tower in Fig. 12 gives a distance estimate of 0 ± 1 km. The actual distance is about 300 meters. Thus, colorimetric measurements confirm our estimates...
EDIT: page 4 of the UAP paper
I was curious, so I found another paper by the original authors and the color correction is more carefully considered, since they seem to take into account the sensor response too [0].
Not many data points, but fig. 4 (page 3) is interesting: a linear relation between luminosity and speed. For meteors should be, as intuitively expected, proportional to kinetic energy, hence quadratic.
Does this relation holds for missiles too?
EDIT: they are not related to NASA, it's in the second sentence of the abstract (ops)
...The Main Astronomical Observatory of NAS of Ukraine conducts an independent study of UAP also...
Given sufficient future progress in AI [-], I can see two dangerous outcomes since one could conflate inanimate matter and life into the same computational basket: the nihilistic one, when our own sentience will be downgraded to triviality and only our codified laws will keep the human spirit philosophically afloat (but for how long?) and the specular outcome, a sort of machine-hugging movement :)
In a sense, or every life form is trivial and meaningless (including us) or everything is special and "sacred".
[-] For instance, if every test we throw at a language model strongly hints at "sentience"
nt-f\u+n:tAo(r[imo{@g3m1ai2l{.Nc;o'm
(discard the odd index chars)