HN user
Signals and systems enthusiast. Appreciator of determinism. Technoplebeian.
https://simple.industries/about.html
Those wax cylinders are a modern hack. The curved surface distorts the real artistic intent. The only way to appreciate the true beauty of sound is a the purity of soot etchings on a phonautogram.
The reference in the parent comment was already suitably frabjous.
IMO the power of NixOS is at the other extreme. Set it up with Impermanence (https://wiki.nixos.org/wiki/Impermanence) and reboot often.
Also worth flagging if you are only ever switching in new configs Kernel patches, firmware, or updates to systemd won’t apply until next boot.
Great examples. The English lexicon is continuously embiggened by the adoption and expansion of terms.
.id.au already has some similar requirements for associating a domain with a real world (human) identity: https://www.auda.org.au/au-domain-names/the-different-au-dom...
This is the most dystopic use for that bandwidth I could possibly imagine.
It was a bit of humour. It would be much for feasible to have an LLM generate programs that solve those problems rather than solving directly. I tried to make a start, but I couldn't even vibe a simple tool that would let me reliably validate if generated solvers would halt or loop forever.
The Riemann hypothesis, PvNP, and the Collatz conjecture.
It’s the linguistic equivalent of the loudness wars.
Black Mirror already did that episode: https://en.wikipedia.org/wiki/Common_People_(Black_Mirror).
You mean like this https://www.science.org/doi/10.1126/sciadv.aef5697, or this https://pmc.ncbi.nlm.nih.gov/articles/PMC8354557/.
Great to see VR gigs getting a Second Life.
Nope. 2007 is like 2 or 3 years ago, tops.
What do you mean Windows Vista "nostalgia"? That makes me feel a little long in the horn.
For the music application, Max Cooper uses items that appear in the OEIS catalogue pretty heavily. IMO, his works sound amazing. Tracks like Aleph 2 (https://vimeo.com/367747083) or Fibonacci Sequence (https://vimeo.com/991635293) stand out as immediate examples.
For something more mainstream even Tool lean into the Fibonacci sequence theme with Lateralus, almost to a meme level.
Is thinking about music as applied mathematics a good way to create good music? Or is it just the most easily digestible model of music for the crowd on this site?
It's a great way to analyse music (e.g. to categorise, understand, and communicate detail), but that does not mean it's a good way to create it. There's a lot of beauty in finding those abstractions and I think that representation appeals to a lot of people here.
Discussions about timbre, instrumentation, and stylistic influence are often symmetric to those about math. When you have 90 minutes to spare, highly recommend strapping in for a listen to https://malwebb.com/notnoi.html.
There's a lot of really incredible musicians, composers, producers, and educators that go deep on the math. There's also plenty that don't. People build mental models in different ways. That's a good thing and a big part of what makes most art interesting.
Like a light switch?
Or do you mean a button that activates chunked recording, passes it to a speech-to-text model, forwards to an LLM to infer intent, which triggers HA to issue a command, over a wireless network, to the computer with the light attached, to tell the light to turn on.
And if you'd like to get a little meta: https://clackernews.com/item/690.
Unfortunately, and “Attention Is All You Need”.
Turn them into biogas to create more energy for DCs.
That's certainly true to an extent. Other commenters have already highlighted necessary complexities. There is absolutely a lot of very entrenched "ways-of-working" that add unnecessary complexity, as with every domain. Not everything is a technical problem though and the social / process side of this sort of setup is what can make it work at all.
The approach that you're hinting mostly describes the general direction of remote production (https://video.matrox.com/en/media/guides-articles/what-is-re...). The big traditional players are already across that (https://www.grassvalley.com/ampp/, https://www.rossvideo.com/use-cases/remote-production/), AWS also has a plethora of services to lock you into their stack (https://aws.amazon.com/media-services/), and there's interesting new players too (https://www.tryiris.ai). There's a heap of different workflows out there, and OB trucks like the one highlighted here are just one of those.
ST 2110-22 is codec agnostic. It just standardises CBR compression, for which JPEG-XS is a good fit today.
For plug-and-play IPMX (https://ipmx.io/about/) is looking to be a pretty promising approach that combines ST 2110 with NMOS, auth, encryption and other useful features. It's targetted at the ProAV market but IMO should be mostly suitable for consumer use.
Platypus on a penny farthing.
This is a really good take.
I think the core caution is this is not type-level checks. Anything this validates still needs to be eval'd. It's not a guarantee of correctness for all inputs but does look to be a fairly light (and useful) tool to make unexpected states easier for you and others to identify.
Predicated 90% humidity at 3am this evening does not fill me with a great amount of joy.
I think the above commenter may be referring to the rather more unfortunate UK climate though.
Hard disagree. This is what brutalism looks like in sunny, subtropical Brisbane, Australia: https://commons.wikimedia.org/wiki/File:QPAC_Exterior.jpg
If the straight concrete isn’t your thing, they’re also currently extending it with a glasshouse: https://www.snohetta.com/projects/queensland-performing-arts...
For images surely this is the next pivot for hot dog / not hot dog.