the double bind was an evolutionary principle an evolutionary principle 00:36:26 so that every organism at some point right every organism is in relationship to all these other organisms and all those organisms are always changing a little bit 00:36:40 and so one day the moment comes when that organism cannot do what it used to do to survive if it does what it knows how to do it dies 00:36:54 but it doesn't know how to do anything else

the definition of a double bind is that you have a a problem a bind 00:35:07 in one context and you can't actually solve it in that context because it's caught in another context and so you can't solve it in that 00:35:20 context because it's caught in these other contexts

Moloch is a coordination failure where rational choices of individuals produce positive short-term effects for themselves at the expense of producing negative long-term effects for everyone, i.e. self-termination of humanity. Thus, Moloch is a system dynamics that is a cumulation of all the n-th order side effects that result from the totality of all self-interested "intelligent" action of all humans.

analogical reasoning

the idea of evolutionary convergence is relatively simple it's the idea that similar environmental conditions can give rise 00:09:05 to similar biological adaptations

Plex is a scientific philosophy. Instead of claiming that science is so powerfulthat it can explain the understanding of understanding in question, we takeunderstanding as the open question, and set about to determine what scienceresults. [It turns out to be precisely the science we use every day, so nothingneed be discarded or overturned - but many surprises result. Some very simpleexplanations for some very important scientific observations arise naturally inthe course of Plex development. For example, from the First Definition, thereare several Plex proofs that there was no beginning, contrary to StephenHawking's statement that "this idea that time and space should be finite withoutboundary is just a proposal: it cannot be deduced from some other principle."(A Brief History of Time, p. 136.) The very concept of a "big bang" is strictlyan inherent artifact of our science's view of the nature of nature. There was no"initial instant" of time.]Axioms are assumptions. Plex has no axioms - only definitions. (Only) Noth-ing is assumed to be known without definition, and even that is "by definition" ,

this other sort of development also happened in the last couple years just clip models um and this enables us to do predictive 00:09:47 modeling across domains um what do I mean by that it means that you can understand and provide the model information in one modality and it can essentially translate it into another

CommGrid

We define a FET as either a MET or a MCT that is absolutely necessary, yet insufficient alone, to set into motion a cascade of events that result in a MST.

We define such remarkable morphological adaptations as Major Competitive Transitions (MCTs), while acknowledging the definition’s subjective nature.

there are two broad classes of adaptations that qualify as gains in “organismal complexity” and constitute METs.

The field of sensory ecology is based on studying the sensory systems of animals in order to understand what they perceive in their environments and how that is going to affect their interactions with that environment (Dangles et al. 2009).

in the Middle Ages, and still in the usual meanings of words in English, transcendent and transcendental are almost synonymous. It means beyond, beyond what? Beyond appearances. Beyond experience. Something that explains experience, but it's not directly experienced. But Kant distinguished between the two meanings. 00:08:30 He said, as soon as we posit with the unconditioned, outside of all possible experience, the ideas become transcendent. So this is the usual meaning of transcendent. Kant uses transcendental in a completely different sense. It's not what is beyond appearances. But what is below appearances. And becomes the condition of possibility 00:08:58 of these appearances. It's from where appearances appear. That is the new sense of transcendental by Kant.

The case of experience is more tricky because there is no way to get a third person view of experience. 00:06:39 And therefore, you only have experience seen from the first person standpoint. Yet, there are features that are typical of this experience. For instance, the analog of a vanishing point is called by philosophers such as Heidegger, situatedness.

I draw inspiration and guidance from Václav Havel, the Czech playwright.  When he and other cultural dissidents in the 1970s faced a totalizing, repressive system impervious to change – in his case, the totalitarian Czech government – Havel had a counter-intuitive response.  He called for the development of a "parallel polis." A parallel polis is a community-created safe space in which people can mutually support each other, directly produce what they need, and build a kind of shadow society – outside of the machinery of the dominant political system.

Cultivate a

PLV

. It should be noted that stress can be seen as the inverse of “satisfaction” [22], and is relative to a contextual and non-stationary target.

Self is an illusory modelling construct created by perceptual systems of Agents

“stress” (the delta between current state and optimal state, or the difference between the goals at different subsystems’ levels)

The field of basal cognition [14,15,16,17,18] emphasizes a continuum of intelligence, which originated in the control loops of microbes but was scaled up throughout multicellular forms to the obvious kinds of intelligent behavior observed in advanced animals.

It is wiser to become less foolish instead of more wise, which avoids “wisdom signaling.”

Myths among some Apache groups are a unique type of storytelling that we call, “placemaking.”

“Placemaking” whereby the story-telling connects their cultural stories to a physical location that can be visited.

A myth is a sacred story that reflects and reinforces a community’s worldview.

attempting to write down these previously unwritten myths and stories. In so doing, Anthropologists coined the word ‘folklore’ – since these had been traditional oral traditions passed down from generation to generation.

Anthropologists define “art” as, “symbolic representations of thought, feeling and ideas.” Art is central to the foundation, establishment, and maintenance of all human societies.

solastalgia

These protocols work for both transactional (one to one) and marketing email (one to many or “bulk”).

This “heat dome” phrase is not a common phrase within the scientific community

@exodus/schemasafe can also function in a linter mode, collecting all schema errors instead of throwing on the first one.

Political scientists and political economists argue governments, public servants, the media and indeed the majority of decision-makers and influencers become captured by vested interests.

Life emerged from an out-of-equilibrium thermodynamic process known as dissipative adaptation

One of the core principles of Hermetic philosophy is the principle of Mentalism, which states that all things are created from and expand from the mind.

define spirituality

triple bottom line

Technological change is an accelerant and acts on the social ills like pouring gasoline on a fire

what is second order science and i'm sure we're gonna again go into it in this like fractal convo but and how does everyone play a role in it

the way we think about a decentralized city is that it's not all in one place um and so if you know you think about cities being built around the dominant technology of the 00:10:37 era uh for the past century that was cars we want to build cities around the dominant technology of this century which is the internet and blockchains and we think how that works is that people will be connected through this 00:10:51 mesh network online and through the dow but then they will actually live in you know physical locations that are spread out all over the world you can think of each of those as like a neighborhood in the city

I can tell you that   my experience is that intentional communities  are not only not fun, but a disaster.   00:51:53 And one of the reasons they're both not fun and  a disaster is that they have a mission statement.   They already know where they're going and there's  some abstracted map-like idea that everyone thinks   that they're cohering to. But then it turns  out that everyone actually interpreted that   differently and the way they interpreted it  yesterday changed. And so that thing becomes   00:52:16 the territory on which you are in polarity with  each other and not the thing that you agree about.   The thing you fight about most is the mission  statement.

roguishly

inasmuch

The Tweedledums

The Tweedledees

Thus, we seek to build a conceptual evolutionary model of the human socio-ecological system that is consistent with these insights from agricultural systems but is more evolutionary and more general and incorporates extra-somatic energy, defined as energy that is used by humans but not used in direct human metabolism (Price 1995).

die Utopie ist schon in uns, sie ist der handfeste Stoff, aus dem Träume gewoben werden. Das Utopische ist ein Samen in jedem Menschen, aber auch eine historische Erfahrung. Utopisten sind jene, die das Undenkbare aussprechen, um es vorwegzunehmen.

Loss of bone mass, along with microar-chitectural deterioration of the skeleton, leads to enhancedbone fragility and increased fractures—the bone diseaseknown as osteoporosis (1).

If I can pick up on that, Rex is going back to   something I said a little bit earlier about  unsustainability, or at least unsustainable   00:46:47 behavior being a natural phenomenon, because  we are far better than any other species   at exploiting our habitats.

Well, I'll say there's a danger in that question.  It's a good question and it's a question we should   be asking, but there's a danger, and that  is that we're going to come up with a model   for ecological community and then we're going  to make it happen. And that right away violates   everything that Nora just pointed out. That's  absolutely critically important.

The common definition of a progress trap is derived from the book’s cover text: “..it is the condition in which we find ourselves when science, technology and industry create more problems than they can solve. Often inadvertently.”

snowy peaks problem.

hypostatising abstractions

memory engrams in the brain

XMI is a standard which defines how to serialise object instances. Although XML is a very good way to store information in a tree structured way, it is not object oriented. XMI extends XML to make it object oriented.

Sometimes it refers to an abstract formalization of the objects and relationships found in a particular application domain

A data model[1][2][3][4][5] is an abstract model that organizes elements of data and standardizes how they relate to one another and to the properties of real-world entities.

So where do priors come from? They are engineering assumptions, chosen to help themachine learn. The flat prior in Figure 2.5 is very common, but it is hardly ever the best prior.You’ll see later in the book that priors that gently nudge the machine usually improve infer-ence. Such priors are sometimes called regularizing or weakly informative priors.They are so useful that non-Bayesian statistical procedures have adopted a mathematicallyequivalent approach, penalized likelihood. These priors are conservative, in that theytend to guard against inferring strong associations between variables.

How can we accept the physical theory of light and believe at thesame time that information about an external object must be conveyedby light? The latter is implied whenever we say that the object stimulatesthe eye. The outline of an answer was suggested in Chapter 1 (pp. 12-13,14-15). We can escape the paradox by distinguishing between radiantlight and ambient light - that is, between light emitted from an energysource and light reflected by the environment as a source. The convey-ing of information about surfaces by light of the latter kind is conceiv-able. To justify such a theory, however, the known laws of physicaloptics need to be supplemented with quite unfamiliar laws of ecologicaloptics

The difference between energy and information has been emphasizedin all of these chapters but the difference has not yet been made explicit.I have suggested that while energy is relevant to receptor-cells, informa-tion is relevant to organs, and that the stimulus for an organ or a per-ceptual system is of higher order than the stimulus for a cell. The heartof the question, however, is to explain how stimulus energy may carryor contain information. It is not how information might be picked upthat needs to be decided first, but simply whether it exists

A clear distinc-tion has been made between things that are sources of stimulation, eitherin the environment or in a laboratory, and the stimuli themselves. Theformer are objects, events, surfaces, places, substances, pictures, and otheranimals. The latter are patterns and transformations of energy at re-ceptors. A stimulus may specify its source, but it is clearly not the samething as its source.

In speaking, painting, sculpting, and writing, the human animal learnedto make sources of stimulation for his fellows, and to stimulate himselfin doing so. These sources, admittedly, are of a special sort, unlike thesources in the "natural" environment. They are "artificial" sources. Theygenerate a new kind of perception in man, which might be called knowl-edge, or perception at second hand. The so-called accumulation of knowl-edge in a society of men, however, depends wholly on communication,

The atmosphere, then, is a medium. A medium permits more or lessunhindered movements of animals and displacements of objects. Funda-mentally, I suggest, this is what is meant by "space." But a medium hasother equally important properties. It also permits the flou; of informa-tion. It permits the flux of light, it transmits vibration, and it mediatesthe diffusion of volatile substances. Only by illumination do animals"see" things, only by vibration do they "hear" things, and only by diffu-sion do they "smell" things. I shall argue that in these three ways variousproperties of a thing are broadcast, as it were, when it is illuminated, orvibrating, or chemically volatile.

Penrose is a framework for specifying how mathematical statements should be interpreted as visual diagrams. A clean separation between abstractmathematical objects and their visual representation provides new capabilities beyond existing code- or GUI-based tools. Here, for instance, the same set ofstatements (left) is given three different visual interpretations (right), via Euclidean, spherical, and hyperbolic geometry. (Further samples are shown in Fig. 29.)

As for meter, Arom adds that “it is in fact the most elementary manifestationof rhythm,” 17 made of identical durations with regular stress patterns.

“The pulse, as it has just been defined, is notrhythm. Rhythm is created by a succession of sound events with contrastingfeatures. This contrast may be generated by accents, timbres and durations.”15This is how these three components operate:

“(a) Breed.—The term ‘breed’ means to facilitate propagation or reproduction (whether intentionally or negligently), or to fail to prevent propagation or reproduction”.

egregores. Egregores don’t necessarily map onto humans. Rather than a hard-and-fast distinction, it’s more helpful to think of tulpas as a subtype of egregores, perhaps of the highest intensity. This is because egregores leech off of our tulpas. They are artificial entities that feel real (like actual beings), precisely because they’re parasitic. So brands, for instance, are egregores. An organization (workplace) or symbol (flag) or abstract idea can be egregoric. Fictional characters seem like tulpas insofar as they’re ‘people’, but they’re also egregores in that they’re not ‘real’.

Enneagram

A tulpa is an internal representation of another person.

finite time singularity

INFLUENCES FROM FOLK MUSIC, JAZZ, AL'ID ROCK

In addition to the ii 7–V7–Imaj7 and ii≤57–V7–i progressions, there are other harmonicprogressions that often occur in standard tunes. Probably the most recognizableprogression is a turnaround, also known as a turnback. The turnaround is a two- orfour-bar progression, usually with a faster harmonic rhythm, that typically occurs at theend of 8- or 16-bar phrases. One of the formal functions of the turnaround is to effectivelyprepare the arrival of the “top of the chorus” by ushering in a familiar chord progression. 1Just as the ii 7 –V 7 –Imaj 7 progression can be transformed with different harmonicsubstitutions, so too can turnarounds

Chapter 13 investigates two- and four-bar idiomatic jazz progressions. It also focuses onaural identification and keyboard realization of non-modulatory and modulatoryprogressions with various ii7–V7 or ii≤57–V7 interpolations, as well as miscellaneous four-bar phrases

Chapter 2 identifies the main characteristics of jazz rhythm

THE ROLE OF GUIDE TONESIn

voice leading

The musical depiction of the lyrics from Figure 9.2 illustrates an additional aspect of bluesperformance practice—the use of call and response. Originally practiced by a large groupof people, this improvisational technique involves sharing ideas between the leader andher/his followers. Mastering the call and response technique is especially important at thebeginning of our encounter with jazz improvisation. It engages us in a meaningfuldialogue that includes exchanging and communicating musical ideas. The communicativeaspect of call and response is relatively straightforward in the context of verbal conversation.

Broadly speaking, voice leading controls the interaction between chords and lines withinharmonic progressions. The principles of voice leading encompass several general topics,such as the role of outer-voice counterpoint, the types of melodic motion, the retentionof common tones, the treatment of dissonances, and others that will be discussedthroughout the book.At the surface level, jazz voice-leading conventions seem more relaxed than they are incommon-practice music. After all, jazz musicians use forbidden parallel perfect fifths andoctaves, move all the voices in the same direction, and tolerate voice crossings of differentsorts. The rules of jazz voice leading are different because the syntax of jazz is largelyincompatible with common-practice classical or other types of music. These differencesdo not mean, however, that the rules of jazz voice leading are any less strict. When jazzmusicians think about dissonance treatment or highlight a linear approach to harmony asopposed to a vertical one, they rely just as much on well-defined rules of voice leading asdo composers of common-practice music. The conventions of jazz voice leading dependgreatly on the soprano and bass, so-called outer-voice counterpoint.

When using Roman numerals, however, complex five-, six-, orseven-part formations will be translated to their essential four-part framework. For instance,F7(≤13) in the key of C major will be simply notated as IV7

The use of dynamics, legato, and especially articulation can substantially improve the overallpresentation of melodic lines. Generally, the use of dynamics should roughly follow thecontour of the melodic lines. Rising lines are typically played with a slight crescendo anddescending lines with a slight diminuendo. Additionally, melodic lines should be playedalmost legato with barely perceptible note detachment. Carefully distributed articulations(dynamic accents, staccato, tenuto, marcato, etc.) are also an essential component ofphrasing.

The term “swing” has multiple meanings and associations. Sometimes it refers to a specificmusical style from the 1930s called Swing. It may also refer to a performance practicetradition or a specific rhythmic attribute attached to the quality of 8th notes

Harmonic Considerations

Breath Phrase=Grammatical Phrase=Antecedent:A musical “proposal” (open ended, as if with a comma)Consequent:A musical “response” (closed, as if with a period)Form Phrase

Melodic Considerations

What is Jazz?

my editor who's from completely outside this world just Mark that and said you know I don't know what these words mean the Evangelical subculture 00:36:03 right I was like okay take it out and let me let me show don't tell and but the truth is like it's invisible to people on the outside what the Evangelical subculture is

my editor who's from completely outside this world just Mark that and said you know I don't know what these words mean the Evangelical subculture 00:36:03 right I was like okay take it out and let me let me show don't tell and but the truth is like it's invisible to people on the outside what the Evangelical subculture is

My attempt to answer the question “What is mbaqanga?” in terms ofits musical influences is that it is a vocal and instrumental genre of music that emerged in the early 1960s from a fusion between kwela, marabi, isicathamiya and jazz coupled with indigenous and traditional melodies of the Zulu-speaking people of South Africa. My attempt to answer the question “What is mbaqanga?” as it relates tomusical performance is that it is a vibrant, punchy genre of music where the drum set, bass guitar and electric guitar or electric organ are the primary instruments. A basic description of a mbaqangasong is where the drum set plays a kick drum and snare drum (rim) on all four beats while the hi-hats play up-beats or in an eighth-note division. The electric bass plays the root on the first beat of the bar while interjecting small melodic phrases within the harmonic rhythm. The electric guitar or electric organ plays the main melodic and cyclical phrase that the song will be based on. The basic harmonic rhythm has a chord changing at four beat intervals and the chord structure is based on a I-IV-V-I chord progression.

Contextualizing and Defining Mbaqanga and Ghoema

Information ecology was defined by Nardi and O’Day (1999) to be “a system of people, practices, values, and technologies in a particular local environment” (p. 49).

an “information ecology” is a local environment enriched with multiple heterogeneous technologies, such as personal computers, handheld devices, interactive screens, which are interlinked as a unified system.

Communication studies is a science that studies messages effectively from the sender of the message to the message’s recipient through various platforms. In this department, you will research communication at multiple levels, from an individual, media, advertising/publicity, intercultural communication, to social media communication.

The music style Marabi was characterized by a repeating, ostinato accompaniment, usually in the harmonic pattern I–IV–I64–V, upon which potentially endlessly melodies were improvised. These melodies often consisted of sections of popular pieces of any provenance (folk music, religious music, US jazz, dance music such as Vastrap, etc.) which, like the underlying pattern, could also be repeated at will. Marabi was mostly played on electric organs or pianos, with a percussive accompaniment of cans filled with stones

Like that of itsantecedents, the harmonic base of mbaqanga is the cyclical repetition of four primary chords. Shortmelodies, usually the length of the harmonic cycle, are repeated and alternated with slight variations, andcall-and-response generally occurs between solo and chorus parts. The characteristics that differentiatembaqanga from previous styles are a driving, straight beat, rather than swung rhythms; melodicindependence between instrumental parts, the bass and lead guitars providing particularly strongcontrapuntal lines; and electric rather than acoustic guitars and bass guitar

Mbaqanga

From the fusion of marabi music and the American element ofswing, developed a style sometimes referred to as “African Jazz”, a term which Ballantineuses interchangeably with “mbaqanga” (Ballantine, 1993:6; Ballantine 2012:7). However,there is some discrepancy about the interchangeable use of these terms. Authors, such asAllen (1993: 26) and Thorpe (2018:36), distinguishes between the two terms, mentioning thatthe former developed before the latter as a description of a style of music that contain elementsof both African music and jazz. According to Allen, mbaqanga was also used to describe acompletely different musical style, which became popular during the 60s, and therefore Allenprefers the term “African jazz” to avoid confusion. She states, however:The most popular and long-lasting name for this style (African jazz), however, wasmbaqanga, which is Zulu for the maize bread which constitutes the staple diet of themajority of South Africans. (Allen 1993:26, 27).Thorpe mentions, the name developed as an expression of “an independent and valuableblack South African urban identity” (Thorpe, 2018:36; Allen, 1993:26, 27). Since marabi wasalready waning in popularity and performance, this new style acted almost as a “regenerationof marabi” (Ballantine 1993:61). Ballantine, similarly, describes the ideological importance ofthis style:The explicit and conscious acceptance of aspects of a social and political philosophy – inthis case New Africanism – into the very constitution of music, was a turning-point in thehistory of black South African jazz (Ballantine 1993:62)

orthographic

phonological awareness and rapid automatic naming

Why did Adorno "Hate" Jazz?

Transcription

Jazz

The Canonization of Jazz and Afro-American Literature

Style

JAZZ AND CLASSICAL MUSIC DEFINED

TEXTURE

STANDARD JAZZ TECHNIQUES ..

Stride involves the alternation of chords and single notes (or octaves) in the left hand and the rapid, pianistic figures typical of ragtime in the right

Jazz

What is ‘groove’? 18Four Elements of Groove 241Metronomic Time 242Syncopation 313‘Deep metricality’ or Multi-levelled Meter 424Back-beat 49

n Pascal’s definition of style: ‘the manner in which a work of art is executed [...] which is orientated towards relationships rather than meanings, [...] it may be used to denote music characteristic of an individual composer, of a period, of a geographical area or centre, or of a society or social function’ (Pascal, 2001).

4.8-2 Definition (Weak convergence).

4.8-1 Definition (Strong convergence).

4.5-1 Definition (Adjoint operator T X )

The term meme was defined by Richard Dawkins in The Selfish Gene as "a unit of cultural transmission".

n our tulpa theory of mind, each tulpa is such an agent.

rove

prate

squalid contentment

asinine

piquancy

small data

physics-informed neural networks – neural networks that aretrained to solve supervised learning tasks while respecting any given laws ofphysics described by general nonlinear partial differential equation

techno-economic affairs.

2.10-3 Definition (Dual space X').

2.8-2 Definition (Bounded linear functional)

2.8-1 Definition (Linear functional)

2.7-1 Definition (Bounded linear operator)

2.6-1 Definition (Linear operator).

2.4-4 Definition (Equivalent norms).

2.5-1 Definition (Compactness)

schadenfreude

catharsis

proleptic

everse-dominance hierarchies

We now state two alternate definitions ofa strongly feasible spanning tree.

ecclesiastical

jurisprudence

envisaged

syndic

DSM-5(3)Childpsychologicalabuse(995.51),whichincludes“harming/ abandoning...peopleorthingsthatthechildcaresabout.”DSM-5, pg. 716,719(5thed. 2013); WilliamBernet,et. al. , ChildAffectedbyParentalRelationshipDistress55J. oftheAm. Acad. ofChildandAdolescentPsychiatry571-579(2016)

DSM-5(2)Parent-childrelationalproblem(V61.20),whichincludes“negativeattributionsoftheother’sintentions,hostilitytowardorscapegoatingoftheother,andunwarrantedfeelingsofestrangement.”DSM-5, pg. 715,719(5thed. 2013); WilliamBernet,et. al. , ChildAffectedbyParentalRelationshipDistress55J. oftheAm. Acad. ofChildandAdolescentPsychiatry571-579(2016)

DSM-5DSM-5 hasTHREEspecificdiagnosesunderwhichParentalAlienationmayfall,albeitbydifferentnames:(1)Childaffectedbyparentalrelationshipdistress(CAPRD)(V61.29),which“shouldbeusedwhenthefocusofclinicalattentionis thenegativeeffectsofparentalrelationshipdiscord(e.g., highlevelsofconflict,distress,ordisparagement)ona childinthefamily,includingeffectsonthechild’smentalorothermedicaldisorders.”DSM-5, pg. 716,719(5thed. 2013); WilliamBernet,et. al. , ChildAffectedbyParentalRelationshipDistress55J. oftheAm. Acad. ofChildandAdolescentPsychiatry571-579(2016

SEVERE: thepreferredparentis obsessedwiththedesiretodestroythechild’srelationshipwiththeotherparent; thebehaviordoesnotrespondtotypicaloutpatientcounseling

What is the difference betweenalienation and estrangement?ALIENATION= childrejectsa parentwithouta goodreason. Thechild’srejectionis faroutofproportiontoanythingtherejectedparenthasdone.ESTRANGEMENT=childrejectsa parentfora goodreason,suchashistoryofabuseorneglect.