You've never heard of this because it's not true. A note wants to resolve up or down based on it's relative distance from tonic. This had nothing to do with what it's named, the most important part of naming notes is not repeating letters in an 8-note scale.
> taking one example, F# "wants" to step up to G, whereas Gb "wants" to step down to F.
Uhhh....no? A flat or sharp can be the tonic, which does not lead to any other note. A note is named flat or sharp to maintain proper interval distance without repeating letters within the scale. A flat is typically not a leading tone because of interval distance, but can still want to resolve up or down. Any note can be consonant or dissonant, leading or resolved depending on the context.
Music theory is really a domain specific language. Like all languages (not programming), the only way to really learn is to converse with others. I don't think you can learn theory alone, it only makes sense when you talk about music using music theory with other musicians.
1) Talk to a lawyer. Details are going to vary wide depending on where you are and the documentation that exists.
2) Your work has value, quite possibly more value than the capital put in by Jim.
3) If you own 40%, Jim has to buy your 40%. You position as a shareholder is not related to your position as an employee. Ownership doesn't disappear. I don't quite understand how/why you would reduce to 5% from 40% (without dilution events).
4) Don't sign anything until you talk to a lawyer.
Whether or not the price falls within your expected range. Prices can rise faster than someone's perception of the price range, so the conclusion is that the asset is "overvalued". In other words, "overvalued" is a subjective conclusion that is weighted by human biases. What may be "overvalued" for one person might be "undervalued" for another. Another key component is the perception/faith of asset growth. Can the price of the asset continue to rise? If yes, then it is "undervalued".
Compare with the second paragraph:
"The reality is that Facebook is one of the most powerful companies the tech industry — and arguably, the world — has ever seen. True, everything posted on Facebook is put there for free, either by individuals or professional content creators; and true, Facebook isn’t really irreplaceable when it comes to the generation of economic value; and it is also true that there are all kinds of alternatives when it comes to communication. However, to take these truths as evidence that Facebook is fragile requires a view of the world that is increasingly archaic."
FB doesn't pay for the content, which is a major advantage over traditional companies that do both creation and distribution (newspapers) or ones where content is licensed somehow (television, music labels). FB is agnostic to the costs of creating the content, but their networks necessitate producers to user their platform.
Thompson's point here isn't about the content itself, but rather the supply chain for the content. Because the internet effectively provides 'infinite' distribution, the traditional models of controlling distribution are worthless. This is a very consistent theme in his writings.
Consider that both the worthless and valuable content that you've defined use the same methods for distribution; Facebook, Twitter, Google, etc.
Okay, let's use another example. I waited tables in high school. I was very bad. I knew I was bad, but I worked hard to improve. Still, even after a few years of experience a random person who had never had a job before could walk in and get better tips than me. My boss wouldn't fire me because I showed up for shifts, but I was generally a very poor waiter. Eventually I got smart and stopped waiting tables, and the world became a better place.
It's very possible to be bad at something AND know that you're bad at it AND not be able to reach the proficiency to perform the task at a professional level.
Also, it's pretty clear that I can read. If you are going to insult me, it's better to insult my comprehension or argumentation. However, I would argue that it's generally better to just not insult other people.
No, I am not a professional basketball player. I can't even compete in a neighborhood pickup game. That is the point; I lack the raw material to be a professional athlete. It's very possible to be bad at something AND know that you're bad at AND not be able to reach the proficiency to perform the task at a professional level.
I'm really bad at basketball. I have to insight to realize this, and I tried to get better. I really cared about getting better. But at the end of the day, I am not athletic. Sure, I can devote time and energy to improving my basketball skills, but I will never achieve anything beyond 'mediocre'.
There's also a chicken and the egg issue here; perhaps the author really does not enjoy coding and thus is not willing to put in the effort to improve?
Paying people to not contribute to GDP will result in decreased GDP. Lower GDP means less income to be distributed.
UBI is not the first time someone has proposed that a central authority should determine the income of the general population. It doesn't take much research into Russia to recognize this as 'serfdom'.
Looks good, I think there is a great foundation. The Pentatonic Scale feels out of place; but that's probably because I feel that pentatonic is just a mutation of other modes. Chords are really just stacked intervals, it might make sense to move them immediately after the 'harmony' section? The interface is really nice, but I don't think it clearly communicates or reinforces the idea of 'tonic', which is fundamental to understanding music theory. Please keep working on this, there needs to be a good interactive explanation of music theory!
EDIT: You might benefit from filling out the intervals section. Clearly articulate each interval, which are classified as consonant vs dissonant, etc. That would get the user/student thinking about 5ths vs 7ths, etc.
Yes, equal temperament is basically a compromise of tuning methods. While it can help ensure that a piece which modulates into different keys is in tune (as close as possible), equal temperament cannot tell the key that is being played.
I can see the G major argument. That would be a I/3 into IV. My professor would have said that answer is wrong due to voice leading, the 7 to 1 is very powerful. And the last chord is C, in root, meaning that's where you have resolved. Had the second interval been G+B, it would make the GMaj argument stronger. Ultimately, it's really context. You're really just asking about cadences, very roughly translated means "how chords resolve".