Slow_Hand
Joined 6 years ago
Joined 6 years ago
Apple better have some better use examples than THAT.
I’m not saying players have to be metronome-locked like a drum machine. Pulling/pushing the click is fine.
At her level of responsibility she'd better know. Whatever the case, she's either deceitful or incompetent. Neither answer is flattering or acceptable.
That sounds like René Girard's "mimesis of desire" in which we desire the things because we observe other people desiring them.
Since learning of it I frequently ask myself how much I actually want something, versus "How much do I want this because I feel that I _should_ have it because I saw others desire it?"
Have there been any other studies that attempt to confirm this theory?
I’d be interested in a traditional suit, but with a lot of extra give for mobility and cooling engineered in for active play. Think performing on stage under heavy lights or playing sports.
Or am I woefully uninformed about suits and this is already a common option?
It has since gone into my lexicon of thought-terminating cliches.
It's not that Trump doesn't have a coherent reason for some of his policies, but it very much felt like a dismissal of thinking along the lines of "His strategy is too advanced for us to know what games he's playing, so I don't have to explain it."
For my taste, his harmonic language tips over the threshold where it goes from being viscerally enjoyable to a more heady, academic exercise. It all feels like a blur to me. Maximal in it’s vocabulary, and yet flat in it’s overall effect. It’s often so dense that it ends up feeling “same-y” and grey to me. Like Schoenberg’s serial music.
Maybe my impression here comes from the fact that by the time I began listening to him in the mid 2000’s an entire school of derivative jazz players had long since developed upon and retroactively made his innovations feel far more common (to no fault of his own). It’s that flavor of jazz where you get the impression that the players are enjoying this way more than the audience. It’s not for me.
Some modular performers like Keith Fullerton Whitman have a very dynamic approach to patching. I've seen shows where he was aggressively re-patching throughout the performance and hot-swapping connections on the fly. I'm talking several patches in a minute. It wasn't subtle, either. It was a nice contrast to many performers who tend to design their system as a fixed structure and then play from there.
The LLM isn’t seeing something that’s not there, but deliberately making up _something_ so that it can return a response.
What do we really think we're missing out on by not using X?
To your second point, surely they’ve considered the hit to their relationship with their customers before selling for $1/car. Surely the trust between them and their buyers is worth far, far more than that.
Even assuming maximum greed, is every car manufacturer really so short-sighted as to break that trust for so small of a return?