For my thesis I'm leveraging Overleaf's Lua compilation to automagically input all tex files in a given folder. It organizes them into chapters/sections/etc matching the folder hierarchy, sorting by leading indices in the folders' or files' name (eg "35 Topology.tex"). This allows me to split/collapse/reorder sections on a whim, keeping the table of contents in sync with the filesystem. I find it particularly useful as I'm developing a complex framework with yet unclear scope and internal logic. Btw, it supports commands (using ø) in the filesystem to write special characters in the titles.
If there's any interest I would like to share it, if only for the "import all files in folder" thing. But how should I go about sharing it? A Github repo? Or somewhere inside Overleaf?
What else would you expect? Both issues are about power, and I say that in the most matter-of-fact and non-judgemental fashion I can. The US government will effectively defend the privacy of American people as long as it poses a vulneravility, and that is one facet of AI safety. But a "right to privacy" as a domestic matter is different beast and there's clear malalignment.
Yes, you got the right idea. AFAIK every type of code running on the GPU is called a shader (eg. special data operations are even called "compute shaders", although they are a different beast). All the operations you mentioned (colors, shadows, shading, image-effects, general image-processing) are achieved through parallelized computing combining lots of data arrays (vertices and their properties, source textures, pre-computed functions, target textures, buffers, etc).
For example, to get light and shadows, your shader should have access to some (probably global) variable about the position and direction of eg. a spotlight. Very often composite lighthing is achieved by combining multiple shader passes (a base pass for global ilumination, and one for each light for example), each literally adding more light (additive pass). Now, in order to avoid adding light for pixels where the light source is blocked (ie. shadow) the most common technique is using what's called a Z-buffer (just a floating point texture). You want to know for each light in the scene where their light reaches, so (before all lighting is applied) you set up a single shader pass that combines all solid geometry on the scene and using the light position and direction as the camera transform, and use a special shader whose only purpose is writing the objects distance to the Z-buffer. Now, every time you want to know whether a point in space is reached by your light, you go about sampling this Z-buffer (after doing some geometry) and compare the point's distance to the saved value in that direction. Yes, it can be very buggy and precision errors abound, and every engine worth their salt already does this for you, but lets you get in there and modify the process.
Everything else are variations on this theme. Deferred rendering is rendering data instead of colors into an intermediate texture which is later processed to get the colors. Blur effects are 2D convolutions of the rendertexture (eg by a Gaussing kernel). Tesseletion shaders are about generation new geometry in the vertext shader. Even drawing text is achieved through font atlasing and small rectangles.
I believe we can talk about two ways of anthropomorphisation: assigning feelings to things in our mental model of it, or actually trying to emulate human-like thought processes and reactions in its design. It made me wonder when will models come out that are trained to behave, say, villainously. Not just act the part in transparent dialogue, but actually behave in destructive manners. Eg putting on a facade to hear your problems and then subtly mess with your head and denigrate you.
Accuracy is best thought as relative, though the usage of percentages here is not a good fit imho. You compare your result to the wanted value by dividing the error by the value. In this case |x - √2|/√2 < 0.000001 (or 0.0001% if you insist)
For comparison, the initial value of the iteration (1.2) would be 85% accurate, which without context might sounds like a lot but is pretty abysmal
In case anybody is interested in the art displayed on the right side; It's by Josan Gonzalez, who does amazing dystopic illustrations. The pic in question turns out to be the cover for a Brazilian edition of the book, and I'm guessing it's otherwise unrelated to the series, which is a pitty because Jason's art is amazing.
Here's a slightly animated showreel of his artbook "The Future is Now":
On the nail