There are ten and two different notes, or steps, in my people's music. The sounds go up and down such that a note that is ten and three higher than another sounds the same but higher up. We group those notes into pleasing sounds, and those groups are made up of notes that have a set number of steps between them. The notes have names, but there are fewer names than there are steps! The notes between the named notes are named by adding a changing word that says if the note is higher or lower by one step than a named note.
To write down this music, we use one or more sets of five lines drawn from side to side next to each other. The notes are drawn as spots on or between the lines in the spaces with sticks going up or down from the spots. We use more lines and some smaller spots to say how long the note should be played. Some of the steps (the ones that don't have their own names) are really in between the lines or spaces, so we use two different pictures to say if a note is really higher or lower by one step.
If you select a region with transient mode on, then `query-replace` (`M-%` by default) will only affect the region. So select the region you want the change to effect (just like in the demo video), hit `M-%`, then type the old and new text, then you can type `!` when prompted for what to do and all instances of old become new only within the region.
A camp counselor introduced a bunch of us to "Nick Danger" one summer back in the '70's, and it was instant infatuation for me. I bought all of their albums I could find and listened to them all the time. No drugs involved at all, on my side at least. Their love of language play, political stances, satire and parody, and obvious skill and love of what they did made Firesign Theater amazing.
Yes, but if they did they are giving away security information: they are acknowledging that the entered email address is a legit delegated login. That's a bad thing to do, security-wise. You don't want bad guys to start trying email addresses and be able to see which ones are good email addresses.
The article's title is misleading. The mathematician has suggested an improvement or clarification to the notation used to describe a second derivative which makes it easier to manipulate formulaically.
With writing, music, and perhaps even software it is best to know and understand the rules and be able to use them before you start breaking them. When you do, you'll know why and do so for a purpose.
I've had the same Tom Binh Brain Bag backpack for about 15 years and I love it. Wearing it right now in fact. I also have an insert accessory for organizing papers, pens, etc. and a padded laptop protector.
There are different kinds of infinity. The integers are countable, the real numbers aren't. You can prove that if you try to map each integer to some rational number, there will be some rational numbers that are not on that list --- there are more of them. See https://en.wikipedia.org/wiki/Cantor%27s_diagonal_argument.
Yes, in theory. In practice, you'd not only remove this function but all of its calls. When somebody down the road realizes that they want this function back, they have to (A) realize it's in the VC history and (B) not only get back the function but all the calling points. That is so much of a pain and potentially error-prone that leaving this function in for a while with a comment might be the more practical approach.
They are very different beasts, even setting aside the syntax. ChucK is geared towards (musical) audio signal generation, with modules for wave generation, filtering, delay, etc. It also can generate notes, but the support for doing so is fairly low level when I last looked at ChucK. Alda is more geared towards generating note data (pitch, duration, amplitude) that gets fed into sound generation gear or software.
Let's say I want to simulate acceleration going forward. First, there's the burst of forward motion provided by the cable rig, and that can be > 1G. By also gradually flipping the person onto their back you can simulate continued acceleration of 1G because lying on your back feels the same as 1G of acceleration forward. The VR rig would still show you accelerating forward. I am guessing that if the rig also slowly moved back to its original starting point the user wouldn't notice.
Not sure about cheap. I spend about $350/month for the Metro North train ride from Connecticut into NYC, and half the time am riding in the 40-year old cars with dilapidated, uncomfortable seats. The NYC subway just bumped up its rates to $2.75/ride, which means I'm spending around $115/month for the subway. All that, and it takes me two hours door-to-door.
I live in Connecticut because the houses are slightly more affordable and my kids can go to decent public schools. As soon as they're out of high school in a few years we're considering moving, but all my contacts and the interesting, well-paying jobs are in NYC.
My father was a math professor at a community college. He was proud of his teaching and his students. Those students --- largely people looking to become nurses, firemen, or other professionals --- benefited from his love of teaching. He got his PhD in education during his teaching career, and even developed a game to help teach math. The game sucked, frankly, and was never released anywhere but it shows how much he cared about teaching.
I've been playing with Sonic Pi and loving it. It's by Sam Aaron, the same person who wrote Overtone (http://overtone.github.io/), a fantastic Clojure wrapper around SuperCollider (http://supercollider.sourceforge.net/) that adds many higher-level features. Right now, Sonic Pi looks to be a bit more limited than Overtone (more choices made for you, less access to low-level features) but I have a feeling that will change over time.
I wouldn't be so sure about that. I believe the core database from which BDB evolved (and which was also written by Keith Bostic) is part of some pretty widely-used Unix software (SMTP servers, or DNS, or something like that).
To write down this music, we use one or more sets of five lines drawn from side to side next to each other. The notes are drawn as spots on or between the lines in the spaces with sticks going up or down from the spots. We use more lines and some smaller spots to say how long the note should be played. Some of the steps (the ones that don't have their own names) are really in between the lines or spaces, so we use two different pictures to say if a note is really higher or lower by one step.