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Javier E

Beyond Billboards - The Daily Dish | By Andrew Sullivan - 0 views

  • The Atlantic Home todaysDate();Sunday, December 12, 2010Sunday, December 12, 2010 Go Follow the Atlantic » atlanticPrintlayoutnavigation()Politics Presented ByBack to the Gold Standard? Joshua GreenSenate Dems Lose Vote on 'Don't Ask' RepealMegan Scully & Dan FriedmanA Primary Challenge to Obama? Marc Ambinder Business Presented byif (typeof window.dartOrd == 'undefined') {window.dartOrd = ('000000000' + Math.ceil(Math.random()*1000000000).toString()).slice(-9);}jsProperties = 'TheAtlanticOnline/channel_business;pos=navlogo;sz=88x31,215x64;tile=1';document.write('');if( $(".adNavlogo").html().search("grey.gif") != -1 ){$(".adNavlogo").hide();}Will the Economy Get Jobs for Christmas?Daniel Indiviglio27 Key Facts About US ExportsDerek ThompsonThe Last StimulusDerek Thompson Culture Presented ByThe 10 Biggest Sports Stories of 2010Eleanor Barkhorn and Kevin Fallon al
  • at the force behind all that exists actually intervened in the consciousness of humankind in the form of a man so saturated in godliness that merely being near him healed people of the weight of the world's sins.
Richard Monari

Yakko's Universe Song - 0 views

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    This song, released on the Animaniacs in the 90s, first instilled in me a sense of relativity. Later on, I feel impressed that an animated show would include such material that discussed the largeness of the universe for small children. Also, it depressed me when they said "we're all really puny."
Javier E

The Science of Snobbery: How We're Duped Into Thinking Fancy Things Are Better - The At... - 0 views

  • Expert judges and amateurs alike claim to judge classical musicians based on sound. But Tsay’s research suggests that the original judges, despite their experience and expertise, judged the competition (which they heard and watched live) based on visual information, just as amateurs do.
  • just like with classical music, we do not appraise wine in the way that we expect. 
  • Priceonomics revisited this seemingly damning research: the lack of correlation between wine enjoyment and price in blind tastings, the oenology students tricked by red food dye into describing a white wine like a red, a distribution of medals at tastings equivalent to what one would expect from pure chance, the grand crus described like cheap wines and vice-versa when the bottles are switched.
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  • Taste does not simply equal your taste buds. It draws on information from all our senses as well as context. As a result, food is susceptible to the same trickery as wine. Adding yellow food dye to vanilla pudding leads people to experience a lemony taste. Diners eating in the dark at a chic concept restaurant confuse veal for tuna. Branding, packaging, and price tags are equally important to enjoyment. Cheap fish is routinely passed off as its pricier cousins at seafood and sushi restaurants. 
  • Just like with wine and classical music, we often judge food based on very different criteria than what we claim. The result is that our perceptions are easily skewed in ways we don’t anticipate. 
  • What does it mean for wine that presentation so easily trumps the quality imbued by being grown on premium Napa land or years of fruitful aging? Is it comforting that the same phenomenon is found in food and classical music, or is it a strike against the authenticity of our enjoyment of them as well? How common must these manipulations be until we concede that the influence of the price tag of a bottle of wine or the visual appearance of a pianist is not a trick but actually part of the quality?
  • To answer these questions, we need to investigate the underlying mechanism that leads us to judge wine, food, and music by criteria other than what we claim to value. And that mechanism seems to be the quick, intuitive judgments our minds unconsciously make
  • this unknowability also makes it easy to be led astray when our intuition makes a mistake. We may often be able to count on the price tag or packaging of food and wine for accurate information about quality. But as we believe that we’re judging based on just the product, we fail to recognize when presentation manipulates our snap judgments.
  • Participants were just as effective when watching 6 second video clips and when comparing their ratings to ratings of teacher effectiveness as measured by actual student test performance. 
  • The power of intuitive first impressions has been demonstrated in a variety of other contexts. One experiment found that people predicted the outcome of political elections remarkably well based on silent 10 second video clips of debates - significantly outperforming political pundits and predictions made based on economic indicators.
  • In a real world case, a number of art experts successfully identified a 6th century Greek statue as a fraud. Although the statue had survived a 14 month investigation by a respected museum that included the probings of a geologist, they instantly recognized something was off. They just couldn’t explain how they knew.
  • Cases like this represent the canon behind the idea of the “adaptive unconscious,” a concept made famous by journalist Malcolm Gladwell in his book Blink. The basic idea is that we constantly, quickly, and unconsciously do the equivalent of judging a book by its cover. After all, a cover provides a lot of relevant information in a world in which we don’t have time to read every page.
  • Gladwell describes the adaptive unconscious as “a kind of giant computer that quickly and quietly processes a lot of the data we need in order to keep functioning as human beings.”
  • In a famous experiment, psychologist Nalini Ambady provided participants in an academic study with 30 second silent video clips of a college professor teaching a class and asked them to rate the effectiveness of the professor.
  • In follow up experiments, Chia-Jung Tsay found that those judging musicians’ auditions based on visual cues were not giving preference to attractive performers. Rather, they seemed to look for visual signs of relevant characteristics like passion, creativity, and uniqueness. Seeing signs of passion is valuable information. But in differentiating between elite performers, it gives an edge to someone who looks passionate over someone whose play is passionate
  • Outside of these more eccentric examples, it’s our reliance on quick judgments, and ignorance of their workings, that cause people to act on ugly, unconscious biases
  • It’s also why - from a business perspective - packaging and presentation is just as important as the good or service on offer. Why marketing is just as important as product. 
  • Gladwell ends Blink optimistically. By paying closer attention to our powers of rapid cognition, he argues, we can avoid its pitfalls and harness its powers. We can blindly audition musicians behind a screen, look at a piece of art devoid of other context, and pay particular attention to possible unconscious bias in our performance reports.
  • But Gladwell’s success in demonstrating how the many calculations our adaptive unconscious performs without our awareness undermines his hopeful message of consciously harnessing its power.
  • As a former world-class tennis player and coach of over 50 years, Braden is a perfect example of the ideas behind thin slicing. But if he can’t figure out what his unconscious is up to when he recognizes double faults, why should anyone else expect to be up to the task?
  • flawed judgment in fields like medicine and investing has more serious consequences. The fact that expertise is so tricky leads psychologist Daniel Kahneman to assert that most experts should seek the assistance of statistics and algorithms in making decisions.
  • In his book Thinking, Fast and Slow, he describes our two modes of thought: System 1, like the adaptive unconscious, is our “fast, instinctive, and emotional” intuition. System 2 is our “slower, more deliberative, and more logical” conscious thought. Kahneman believes that we often leave decisions up to System 1 and generally place far “too much confidence in human judgment” due to the pitfalls of our intuition described above.
  • Not every judgment will be made in a field that is stable and regular enough for an algorithm to help us make judgments or predictions. But in those cases, he notes, “Hundreds of studies have shown that wherever we have sufficient information to build a model, it will perform better than most people.”
  • Experts can avoid the pitfalls of intuition more easily than laypeople. But they need help too, especially as our collective confidence in expertise leads us to overconfidence in their judgments. 
  • This article has referred to the influence of price tags and context on products and experiences like wine and classical music concerts as tricks that skew our perception. But maybe we should consider them a real, actual part of the quality.
  • Losing ourselves in a universe of relativism, however, will lead us to miss out on anything new or unique. Take the example of the song “Hey Ya!” by Outkast. When the music industry heard it, they felt sure it would be a hit. When it premiered on the radio, however, listeners changed the channel. The song sounded too dissimilar from songs people liked, so they responded negatively. 
  • It took time for people to get familiar with the song and realize that they enjoyed it. Eventually “Hey Ya!” became the hit of the summer.
  • Many boorish people talking about the ethereal qualities of great wine probably can't even identify cork taint because their impressions are dominated by the price tag and the wine label. But the classic defense of wine - that you need to study it to appreciate it - is also vindicated. The open question - which is both editorial and empiric - is what it means for the industry that constant vigilance and substantial study is needed to dependably appreciate wine for the product quality alone. But the questions is relevant to the enjoyment of many other products and experiences that we enjoy in life.
  • Maybe the most important conclusion is to not only recognize the fallibility of our judgments and impressions, but to recognize when it matters, and when it doesn’t
tongoscar

Say It Loud: How Music Changes Society | uDiscover - 0 views

  • Songs are such powerful things: they can reassure, soothe, inspire and educate us – and that’s just for starters.
  • Songs have always held a mirror to the world, reflecting the things going on around us, and, arguably, music changes society like no other artform.
  • Songs could shape listeners in new ways, challenging people’s preconceived ideas of the world, shining a light on things that weren’t spoken of in the news of the day.
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  • Until the late 30s, music hadn’t directly confronted the issues of racism and segregation in the US. Venues were segregated, with famous black musicians such as Louis Armstrong labelled as “Uncle Toms”, suggesting they’d only play for white audiences, where the money really was.
  • “I wanted a club where blacks and whites worked together behind the footlights and sat together out front. There wasn’t, so far as I know, a place like it in New York or in the whole country.”
  • Back then, popular song wasn’t a place for such brutal truths, and Holiday would have been sorely aware of the trouble it could create.
kushnerha

New Ways Into the Brain's 'Music Room' - The New York Times - 5 views

  • Every culture ever studied has been found to make music, and among the oldest artistic objects known are slender flutes carved from mammoth bone some 43,000 years ago — 24,000 years before the cave paintings of Lascaux.
  • And though the survival value that music held for our ancestors may not be as immediately obvious as the power to recognize words, Dr. Rauschecker added, “music works as a group cohesive. Music-making with other people in your tribe is a very ancient, human thing to do.”
  • devised a radical new approach to brain imaging that reveals what past studies had missed. By mathematically analyzing scans of the auditory cortex and grouping clusters of brain cells with similar activation patterns, the scientists have identified neural pathways that react almost exclusively to the sound of music — any music. It may be Bach, bluegrass, hip-hop, big band, sitar or Julie Andrews. A listener may relish the sampled genre or revile it. No matter. When a musical passage is played, a distinct set of neurons tucked inside a furrow of a listener’s auditory cortex will fire in response.Other sounds, by contrast — a dog barking, a car skidding, a toilet flushing — leave the musical circuits unmoved.
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  • “Why do we have music?” Dr. Kanwisher said in an interview. “Why do we enjoy it so much and want to dance when we hear it? How early in development can we see this sensitivity to music, and is it tunable with experience? These are the really cool first-order questions we can begin to address.”
  • Dr. McDermott said the new method could be used to computationally dissect any scans from a functional magnetic resonance imaging device, or F.M.R.I. — the trendy workhorse of contemporary neuroscience — and so may end up divulging other hidden gems of cortical specialization. As proof of principle, the researchers showed that their analytical protocol had detected a second neural pathway in the brain for which scientists already had evidence — this one tuned to the sounds of human speech.
  • Importantly, the M.I.T. team demonstrated that the speech and music circuits are in different parts of the brain’s sprawling auditory cortex, where all sound signals are interpreted, and that each is largely deaf to the other’s sonic cues, although there is some overlap when it comes to responding to songs with lyrics.
  • In fact, Dr. Rauschecker said, music sensitivity may be more fundamental to the human brain than is speech perception. “There are theories that music is older than speech or language,” he said. “Some even argue that speech evolved from music.”
  • , many researchers had long assumed that the human brain must be equipped with some sort of music room, a distinctive piece of cortical architecture dedicated to detecting and interpreting the dulcet signals of song. Yet for years, scientists failed to find any clear evidence of a music-specific domain through conventional brain-scanning technology
  • when previous neuroscientists failed to find any anatomically distinct music center in the brain, they came up with any number of rationales to explain the results.“The story was, oh, what’s special about music perception is how it recruits areas from all over the brain, how it draws on the motor system, speech circuitry, social understanding, and brings it all together,” she said. Some researchers dismissed music as “auditory cheesecake,” a pastime that co-opted other essential communicative urges. “This paper says, no, when you peer below the cruder level seen with some methodologies, you find very specific circuitry that responds to music over speech.”
  • The researchers wondered if the auditory system might be similarly organized to make sense of the soundscape through a categorical screen. If so, what would the salient categories be? What are the aural equivalents of a human face or a human leg — sounds or sound elements so essential the brain assigns a bit of gray matter to the task of detecting them?
  • Focusing on the brain’s auditory region — located, appropriately enough, in the temporal lobes right above the ears — the scientists analyzed voxels, or three-dimensional pixels, of the images mathematically to detect similar patterns of neuronal excitement or quietude.“The strength of our method is that it’s hypothesis-neutral,” Dr. McDermott said. “We just present a bunch of sounds and let the data do the talking.”
  • Matching sound clips to activation patterns, the researchers determined that four of the patterns were linked to general physical properties of sound, like pitch and frequency. The fifth traced the brain’s perception of speech, and for the sixth the data turned operatic, disclosing a neuronal hot spot in the major crevice, or sulcus, of the auditory cortex that attended to every music clip the researchers had played.
  • “The sound of a solo drummer, whistling, pop songs, rap, almost everything that has a musical quality to it, melodic or rhythmic, would activate it,” Dr. Norman-Haignere said. “That’s one reason the result surprised us. The signals of speech are so much more homogeneous.”
  • The researchers have yet to determine exactly which acoustic features of music stimulate its dedicated pathway. The relative constancy of a musical note’s pitch? Its harmonic overlays? Even saying what music is can be tricky.
qkirkpatrick

Sparrows don't just sing the same old song - The Hindu - 0 views

  • A sparrow’s song may sound simple, consisting of little more than whistles and trills. But to the sparrows, those few noises can take on vastly different meanings depending on small variations in context and repetition, researchers have found.
  • n humans, the ability to extract nearly endless meanings from a finite number of sounds, known as partial phonemic overlapping, was key to the development of language
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    Researchers have found that Sparrows communicate through their whistles. The sounds have different meanings depending on small variations in context and repetition. Lesson on language.
Javier E

Social Media and the Devolution of Friendship: Full Essay (Pts I & II) » Cybo... - 1 views

  • social networking sites create pressure to put time and effort into tending weak ties, and how it can be impossible to keep up with them all. Personally, I also find it difficult to keep up with my strong ties. I’m a great “pick up where we left off” friend, as are most of the people closest to me (makes sense, right?). I’m decidedly sub-awesome, however, at being in constant contact with more than a few people at a time.
  • the devolution of friendship. As I explain over the course of this essay, I link the devolution of friendship to—but do not “blame” it on—the affordances of various social networking platforms, especially (but not exclusively) so-called “frictionless sharing” features.
  • I’m using the word here in the same way that people use it to talk about the devolution of health care. One example of devolution of health care is some outpatient surgeries: patients are allowed to go home after their operations, but they still require a good deal of post-operative care such as changing bandages, irrigating wounds, administering medications, etc. Whereas before these patients would stay in the hospital and nurses would perform the care-labor necessary for their recoveries, patients must now find their own caregivers (usually family members or friends; sometimes themselves) to perform free care-labor. In this context, devolution marks the shift of labor and responsibility away from the medical establishment and onto the patient; within the patient-medical establishment collaboration, the patient must now provide a greater portion of the necessary work. Similarly, in some ways, we now expect our friends to do a greater portion of the work of being friends with us.
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  • Through social media, “sharing with friends” is rationalized to the point of relentless efficiency. The current apex of such rationalization is frictionless sharing: we no longer need to perform the labor of telling our individual friends about what we read online, or of copy-pasting links and emailing them to “the list,” or of clicking a button for one-step posting of links on our Facebook walls. With frictionless sharing, all we have to do is look, or listen; what we’ve read or watched or listened to is then “shared” or “scrobbled” to our Facebook, Twitter, Tumblr, or whatever other online profiles. Whether we share content actively or passively, however, we feel as though we’ve done our half of the friendship-labor by ‘pushing’ the information to our walls, streams, and tumblelogs. It’s then up to our friends to perform their halves of the friendship-labor by ‘pulling’ the information we share from those platforms.
  • We’re busy people; we like the idea of making one announcement on Facebook and being done with it, rather than having to repeat the same story over and over again to different friends individually. We also like not always having to think about which friends might like which stories or songs; we like the idea of sharing with all of our friends at once, and then letting them sort out amongst themselves who is and isn’t interested. Though social media can create burdensome expectations to keep up with strong ties, weak ties, and everyone in between, social media platforms can also be very efficient. Using the same moment of friendship-labor to tend multiple friendships at once kills more birds with fewer stones.
  • sometimes we like the devolution of friendship. When we have to ‘pull’ friendship-content instead of receiving it in a ‘push’, we can pick and choose which content items to pull. We can ignore the baby pictures, or the pet pictures, or the sushi pictures—whatever it is our friends post that we only pretend to care about
  • I’ve been thinking since, however, on what it means to view our friends as “generalized others.” I may now feel like less of like “creepy stalker” when I click on a song in someone’s Spotify feed, but I don’t exactly feel ‘shared with’ either. Far as I know, I’ve never been SpotiVaguebooked (or SubSpotified?); I have no reason to think anyone is speaking to me personally as they listen to music, or as they choose not to disable scrobbling (if they make that choice consciously at all). I may have been granted the opportunity to view something, but it doesn’t follow that what I’m viewing has anything to do with me unless I choose to make it about me. Devolved friendship means it’s not up to us to interact with our friends personally; instead it’s now up to our friends to make our generalized broadcasts personal.
  • While I won’t go so far as to say they’re definitely ‘problems,’ there are two major things about devolved friendship that I think are worth noting. The first is the non-uniform rationalization of friendship-labor, and the second is the depersonalization of friendship-labor.
  • In short, “sharing” has become a lot easier and a lot more efficient, but “being shared with” has become much more time-consuming, demanding, and inefficient (especially if we don’t ignore most of our friends most of the time). Given this, expecting our friends to keep up with our social media content isn’t expecting them to meet us halfway; it’s asking them to take on the lion’s share of staying in touch with us. Our jobs (in this role) have gotten easier; our friends’ jobs have gotten harder.
  • The second thing worth noting is that devolved friendship is also depersonalized friendship.
  • Personal interaction doesn’t just happen on Spotify, and since I was hoping Spotify would be the New Porch, I initially found Spotify to be somewhat lonely-making. It’s the mutual awareness of presence that gives companionate silence its warmth, whether in person or across distance. The silence within Spotify’s many sounds, on the other hand, felt more like being on the outside looking in. This isn’t to say that Spotify can’t be social in a more personal way; once I started sending tracks to my friends, a few of them started sending tracks in return. But it took a lot more work to get to that point, which gets back to the devolution of friendship (as I explain below).
  • Within devolved friendship interactions, it takes less effort to be polite while secretly waiting for someone to please just stop talking.
  • When we consider the lopsided rationalization of ‘sharing’ and ‘shared with,’ as well as the depersonalization of frictionless sharing and generalized broadcasting, what becomes clear is this: the social media deck is stacked in such a way as to make being ‘a self’ easier and more rewarding than being ‘a friend.’
  • It’s easy to share, to broadcast, to put our selves and our tastes and our identity performances out into the world for others to consume; what feedback and friendship we get in return comes in response to comparatively little effort and investment from us. It takes a lot more work, however, to do the consumption, to sift through everything all (or even just some) of our friends produce, to do the work of connecting to our friends’ generalized broadcasts so that we can convert their depersonalized shares into meaningful friendship-labor.
  • We may be prosumers of social media, but the reward structures of social media sites encourage us to place greater emphasis on our roles as share-producers—even though many of us probably spend more time consuming shared content than producing it. There’s a reason for this, of course; the content we produce (for free) is what fuels every last ‘Web 2.0’ machine, and its attendant self-centered sociality is the linchpin of the peculiarly Silicon Valley concept of “Social” (something Nathan Jurgenson and I discuss together in greater detail here). It’s not super-rewarding to be one of ten people who “like” your friend’s shared link, but it can feel rewarding to get 10 “likes” on something you’ve shared—even if you have hundreds or thousands of ‘friends.’ Sharing is easy; dealing with all that shared content is hard.
  • t I wonder sometimes if the shifts in expectation that accompany devolved friendship don’t migrate across platforms and contexts in ways we don’t always see or acknowledge. Social media affects how we see the world—and how we feel about being seen in the world—even when we’re not engaged directly with social media websites. It’s not a stretch, then, to imagine that the affordances of social media platforms might also affect how we see friendship and our obligations as friends most generally.
Javier E

Politics in the Academy: The Same Old Song - NYTimes.com - 0 views

  • I have been arguing for years that academic activity is distinctive and that it is wrong, both descriptively and normatively, to mix it up with other kinds of activity, especially with politics. In response, I am often asked how a discussion, either in a class or at a conference like this one, could be kept purely academic if the subject matter on the table is itself inherently political. The answer is really quite simple:  Political subject matter could be the starting point of an intellectual inquiry in the course of which the political urgency originally attached to it is replaced by the academic urgency of getting something right, where “right” means accurately described or analyzed or rendered more problematic. (In the academic world not reaching a resolution is a good thing.)
  • The urgency presiding over the occasion was not the urgency of doing something, but of understanding something, and everyone agreed that the project of understanding was an endless one and that the best we could do in two days would be to expose areas of concern that had not yet been recognized or adequately formulated. The comment heard most often at the end of a session was, “ You’ve given me a lot to think about.”
  • that’s what we do when we’re doing the job properly — talking (or writing about) issues without ever coming up with a policy proposal or with an argument for supporting a party or a candidate.
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  • Why should funds be authorized to bring 29 scholars to San Diego so that they can sit around all day gabbing and eating unhealthful pastry? There is no good answer to that question, nor should there be.
Javier E

Teaching a Different Shakespeare From the One I Love - The New York Times - 0 views

  • Even the highly gifted students in my Shakespeare classes at Harvard are less likely to be touched by the subtle magic of his words than I was so many years ago or than my students were in the 1980s in Berkeley, Calif. What has happened? It is not that my students now lack verbal facility. In fact, they write with ease, particularly if the format is casual and resembles the texting and blogging that they do so constantly. The problem is that their engagement with language, their own or Shakespeare’s, often seems surprisingly shallow or tepid.
  • There are many well-rehearsed reasons for the change: the rise of television followed by the triumph of digital technology, the sending of instant messages instead of letters, the ‘‘visual turn’’ in our culture, the pervasive use of social media. In their wake, the whole notion of a linguistic birthright could be called quaint, the artifact of particular circumstances that have now vanished
  • For my parents, born in Boston, the English language was a treasured sign of arrival and rootedness; for me, a mastery of Shakespeare, the supreme master of that language, was like a purchased coat of arms, a title of gentility tracing me back to Stratford-upon-Avon.
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  • It is not that the English language has ceased to be a precious possession; on the contrary, it is far more important now than it ever was in my childhood. But its importance has little or nothing to do any longer with the dream of rootedness. English is the premier international language, the global medium of communication and exchange.
  • as I have discovered in my teaching, it is a different Shakespeare from the one with whom I first fell in love. Many of my students may have less verbal acuity than in years past, but they often possess highly developed visual, musical and performative skills. They intuitively grasp, in a way I came to understand only slowly, the pervasiveness of songs in Shakespeare’s plays, the strange ways that his scenes flow one into another or the cunning alternation of close-ups and long views
  • When I ask them to write a 10-page paper analyzing a particular web of metaphors, exploring a complex theme or amassing evidence to support an argument, the results are often wooden; when I ask them to analyze a film clip, perform a scene or make a video, I stand a better chance of receiving something extraordinary.
  • This does not mean that I should abandon the paper assignment; it is an important form of training for a range of very different challenges that lie in their future. But I see that their deep imaginative engagement with Shakespeare, their intoxication, lies elsewhere.
  • The M.I.T. Global Shakespeare Project features an electronic archive that includes images of every page of the First Folio of 1623. In the Norton Shakespeare, which I edit, the texts of his plays are now available not only in the massive printed book with which I was initiated but also on a digital platform. One click and you can hear each song as it might have sounded on the Elizabethan stage; another click and you listen to key scenes read by a troupe of professional actors. It is a kind of magic unimagined even a few years ago or rather imaginable only as the book of a wizard like Prospero in ‘‘The Tempest.’
  • But it is not the new technology alone that attracts students to Shakespeare; it is still more his presence throughout the world as the common currency of humanity. In Taiwan, Tokyo and Nanjing, in a verdant corner of the Villa Borghese gardens in Rome and in an ancient garden in Kabul, in Berlin and Bangkok and Bangalore, his plays continue to find new and unexpected ways to enchant.
maddieireland334

Six seconds that shaped 1,500 songs - 0 views

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    Amen, Brother was a little-known B-side released in 1969. Barely noticed at the time, its drum solo has been hugely influential, appearing in different forms in more than 1,500 other songs - but the band behind it never made any money from it.
sissij

The Necessity of Atheism | Big Think - 0 views

  • Previously our ignorance kept us from unraveling nature’s secret process; when the process is understood knowledge replaces mysticism. He sums this up succinctly:
  • Education is essential because religion is effectively a struggle for power.
  • Since God is invented by man, it is through man that he is made known. Make people believe in your story and you can write whatever narrative you’d like. 
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  • This indifference confuses Shelley: a being that we endow with all the goodness in the world while turning a blind eye to endless atrocities.
  • Atheism is a necessity to the thinking mind, Shelley concludes.
  • The mind of Shelley has held up in the two centuries since his drowning. He discovered firsthand, however briefly before he succumbed, the extraordinary forces of nature.
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    I think Shelley's idea is really interesting. The questions he asked about religion is somehow similar to the questions we ask in our TOK class. As we discuss in TOK about religion, we talked about that God is invented by human so religion is essentially a human invention. The ignorance that Shelly talked about in this article also reminded me of Song of Solomon, where Pilate said "ignorance is the only thing that can kill him (Milkman)". I think atheism is a belief that human should not avoid questions that cannot be answered by creating an answer to it. --Sissi (3/16/2017)
johnsonel7

Musicians Using AI to Create Otherwise Impossible New Songs | Time.com - 0 views

  • n November, the musician Grimes made a bold prediction. “I feel like we’re in the end of art, human art,” she said on Sean Carroll's Mindscape podcast. “Once there’s actually AGI (Artificial General Intelligence), they’re gonna be so much better at making art than us.”
  • Artificial intelligence has already upended many blue collar jobs across various industries; the possibility that music, a deeply personal and subjective form, could also be optimized was enough to cause widespread alarm.
  • While obstacles like copyright complications and other hurdles have yet to be worked out, musicians working with AI hope that the technology will become a democratizing force and an essential part of everyday musical creation.
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  • Stavitsky realized that while people are increasingly plugging into headphones to get them through the day, “there’s no playlist or song that can adapt to the context of whatever’s happening around you," he says. His app takes several real-time factors into account — including the weather, the listener's heart rate, physical activity rate, and circadian rhythms — in generating gentle music that’s designed to help people sleep, study or relax.
  • “AI forced us to come up against patterns that have no relationship to comfort. It gave us the skills to break out of our own habits,” she says. The project resulted in the first Grammy nomination of YACHT’s two-decade career, for best immersive audio album.
  • . “There’s something freeing about not having to make every single microdecision, but rather, creating an ecosystem where things tend to happen, but never in the order you were imagining them,” she says. “It opens up a world of possibilities.” She says that she has a few new music projects coming this year using Bronze’s technology.
melnikju

The Expression of Grief and the Power of Art - The New York Times - 0 views

    • melnikju
       
      Amazing writer, really recommend his work to everyone
  • Great literature, like great thinking, shows the way to clarity. It covers nothing up
  • Virgin cradles her dead son's head and leans imploringly into his face as if to revive him with her breath, while in the sky above, angels tear their garments and howl.
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    • melnikju
       
      Most requiems I've listened to are extremely impactful. Would recommend Mozart's Requiem to everyone
    • melnikju
       
      Baroque era artist, known for elaborate lighting and detailed works.
  • In those pictures of grief in which the subjects are caught looking directly at the photographer, their expressions are often oppositional: What are you looking at?
  • The point is to witness history, not to change it.
  • Grief, more often than not, is a reaction to the unspeakable
  • the song struck a deeper chord of loss in those who heard it, touching a place that sometimes only music can reach.
    • melnikju
       
      Very emotionally attached to this song because a group I like sang it and I would listen to it after my friend passed away.
Javier E

What Can We Learn from Barnes & Noble's Surprising Turnaround? - 0 views

  • This is James Daunt’s super power: He loves books.
  • Daunt used the pandemic as an opportunity to “weed out the rubbish” in the stores. He asked employees in the outlets to take every book off the shelf, and re-evaluate whether it should stay. Every section of the store needed to be refreshed and made appealing.
  • Daunt also refused to dumb-down the store offerings. The key challenge, he claimed was to “create an environment that’s intellectually satisfying—and not in a snobbish way, but in the sense of feeding your mind.”
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  • That’s an extraordinary thing to hear from a corporate CEO. Daunt wanted to run a bookstore that was “intellectually satisfying” and “feeds your mind.
  • If you want to sell music, you must love those songs. If you want to succeed in journalism, you must love those newspapers. If you want to succeed in movies, you must love the cinema.
  • You don’t fall in love for logical reasons, and you could never convince someone else to do so on the basis of arguments. People either feel it or they don’t. That’s true whether you love your spouse or you love something more intangible like a song or a book or a movie.
  • But even if you can’t teach this kind of love, you know it when you see it. There are people who are passionate about these things. They believe in them with ardor and devotion. You can find them and hire these people—and those are the individuals you can trust.
Javier E

Football and racist language: Reclaiming the Y-word | The Economist - 0 views

  • Game theory Sports Previous Next Latest Game theory Latest from all our blogs Football and racist language Reclaiming the Y-word Nov 9th 2012, 16:28 by B.R. ENGLISH football grounds in the 1980s were not pleasant places. Fans were squeezed into caged terraces which were often left open to the elements. Hooliganism was rife and the country was in a state of moral panic as lurid images of fighting youths became a fixture on news bulletins. Margaret Thatcher, the prime minister, convened a "war cabinet". Ken Bates, the chairman of Chelsea football club, suggested electrifying the fences in the stadiums to keep the warring factions apart. By the end of the decade English football reached its nadir. In 1985, 39 Italian football fans had been killed in Heysel, Belgium after a riot by Liverpool supporters. In 1989, Liverpool supporters themselves were the victims as 96 lost their lives at Hillsborough as a result of incompetent policing.Some time toward the beginning of that decade, aged around ten, your correspondent was taken to his first away game by his father, a fanatical supporter of Tottenham Hotspur. The game was a derby with Chelsea, a bitter London rival. Chelsea's fans were among the game’s most notorious. Many were skinheads; foot soldiers of extreme right-wing parties such as the National Front and the British Movement. Tottenham, because of the area in North London in which it is situated, had a large and visible Jewish following. It did not make for a pleasant combination. At one point during the first half the hostile Chelsea crowd fell suddenly silent. Quietly at first came a hissing sound, like someone letting out gas from a canister. Before long the hissing reached crescendo. It was a terrifying sound for a small boy. But I was too young to grasp the significance. Only later was I filled in: the Chelsea fans were mimicking the sound of cyanide being released at a Nazi concentration camp. As the years wore on, the abuse towards Spurs fans became less subtle. When clubs with a large right-wing following came to Tottenham’s White Hart Lane stadium, such as Chelsea, West Ham, Leeds and Manchester United, the anti-semitism was relentless. One common song ran:Spurs are on their way to BelsenHitler's going to gas ‘em againThe Yids from TottenhamThe Yids from White Hart Lane The Y-word. It was the most relentless chant of all. Thousand of opposition fans, faces snarled, would come together in spiteful mantra: “Yiddo! Yiddo!” It was directed towards Tottenham fans and players alike. It would go on for minutes at a time, many times in a game. After a while it was so commonplace that one became immune to it. At some point during that time, something odd began to happen. Tottenham fans began to appropriate the Y-word. Gradually they began to refer to themselves as Yids. The club’s supporters started to describe themselves as the “Yid Army”. Soon the word was being chanted solely by Tottenham fans referring to themselves in a spirit of celebration and of togetherness. It had been reclaimed in much the same way that the word “nigger” was taken back by black hip-hop artists and “queer” was by gays.As a result, the word died as an insult, at least within football grounds.
Javier E

Choose to Be Grateful. It Will Make You Happier. - The New York Times - 2 views

  • Building the best life does not require fealty to feelings in the name of authenticity, but rather rebelling against negative impulses and acting right even when we don’t feel like it. In a nutshell, acting grateful can actually make you grateful.
  • some people are just naturally more grateful than others. A 2014 article in the journal Social Cognitive and Affective Neuroscience identified a variation in a gene (CD38) associated with gratitude. Some people simply have a heightened genetic tendency to experience, in the researchers’ words, “global relationship satisfaction, perceived partner responsiveness and positive emotions (particularly love).” That is, those relentlessly positive people you know who seem grateful all the time may simply be mutants.
  • Evidence suggests that we can actively choose to practice gratitude — and that doing so raises our happiness.
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  • , researchers in one 2003 study randomly assigned one group of study participants to keep a short weekly list of the things they were grateful for, while other groups listed hassles or neutral events. Ten weeks later, the first group enjoyed significantly greater life satisfaction than the others
  • acting happy, regardless of feelings, coaxes one’s brain into processing positive emotions. In one famous 1993 experiment, researchers asked human subjects to smile forcibly for 20 seconds while tensing facial muscles, notably the muscles around the eyes called the orbicularis oculi (which create “crow’s feet”). They found that this action stimulated brain activity associated with positive emotions.
  • gratitude stimulates the hypothalamus (a key part of the brain that regulates stress) and the ventral tegmental area (part of our “reward circuitry” that produces the sensation of pleasure).
  • In the slightly more elegant language of the Stoic philosopher Epictetus, “He is a man of sense who does not grieve for what he has not, but rejoices in what he has.”
  • In addition to building our own happiness, choosing gratitude can also bring out the best in those around us
  • when their competence was questioned, the subjects tended to lash out with aggression and personal denigration. When shown gratitude, however, they reduced the bad behavior. That is, the best way to disarm an angry interlocutor is with a warm “thank you.”
  • A new study in the Journal of Consumer Psychology finds evidence that people begin to crave sweets when they are asked to express gratitude.
  • There are concrete strategies that each of us can adopt. First, start with “interior gratitude,” the practice of giving thanks privately
  • he recommends that readers systematically express gratitude in letters to loved ones and colleagues. A disciplined way to put this into practice is to make it as routine as morning coffee. Write two short emails each morning to friends, family or colleagues, thanking them for what they do.
  • Finally, be grateful for useless things
  • think of the small, useless things you experience — the smell of fall in the air, the fragment of a song that reminds you of when you were a kid. Give thanks.
Javier E

A Better Way to Teach Math - NYTimes.com - 2 views

  • “Almost every kid — and I mean virtually every kid — can learn math at a very high level, to the point where they could do university level math courses,”
  • “If you ask why that’s not happening, it’s because very early in school many kids get the idea that they’re not in the smart group, especially in math. We kind of force a choice on them: to decide that either they’re dumb or math is dumb.”
  • In particular, math teachers often fail to make sufficient allowances for the limitations of working memory and the fact that we all need extensive practice to gain mastery in just about anything.
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  • current teaching approaches underestimate the amount of explicit guidance, “scaffolding” and practice children need to consolidate new concepts. Asking children to make their own discoveries before they solidify the basics is like asking them to compose songs on guitar before they can form a C chord.
  • he gained a reputation as a kind of math miracle worker. Many students were sent to him because they had severe learning disabilities (a number have gone on to do university-level math). Mighton found that to be effective he often had to break things down into minute steps and assess each student’s understanding at each micro-level before moving on.
  • Mighton saw that if he approached teaching this way, he could virtually guarantee that every student would experience success. In turn, the children’s math anxiety diminished. As they grew more confident, they grew excited, and they began requesting harder challenges. “More than anything, kids love success,” he says, “and they love getting to higher levels, like in a video game.”
  • Mighton saw that if you provided painstaking guidance, children would make their own discoveries. That’s why he calls his approach “guided discovery.”
  • Schools in British Columbia evaluate students based on whether they meet expectations for learning outcomes. “Teachers who used Jump were suddenly finding that they had all of their kids in the ‘fully meeting expectations’ category,” Grant told me. “It was such a foreign experience. It doesn’t typically happen when we’re teaching science or language arts. And they were kind of at a loss. ‘What do we do about this?’”
  • Even deeper, for children, math looms large; there’s something about doing well in math that makes kids feel they are smart in everything. In that sense, math can be a powerful tool to promote social justice. “When you have all the kids in a class succeeding in a subject, you see that they’re competing against the problem, not one another,” says Mighton. “It’s like they’re climbing a mountain together. You see a very healthy kind of competition. And it makes kids more generous to one another. Math can save us.”
Ryan Beneck

Will We Ever Run Out of New Music? - 0 views

  •  
    Are there a finite amount of songs that can exist? This is an interesting video that looks at the arts in a mathematical way.
Javier E

Learning How to Exert Self-Control - NYTimes.com - 1 views

  • Part of what adults need to learn about self-control is in those videos of 5-year-olds. The children who succeed turn their backs on the cookie, push it away, pretend it’s something nonedible like a piece of wood, or invent a song. Instead of staring down the cookie, they transform it into something with less of a throbbing pull on them.
  • Adults can use similar methods of distraction and distancing, he says. Don’t eye the basket of bread; just take it off the table. In moments of emotional distress, imagine that you’re viewing yourself from outside, or consider what someone else would do in your place. When a waiter offers chocolate mousse, imagine that a cockroach has just crawled across it
  • “If you change how you think about it, its impact on what you feel and do changes,”
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  • there are two warring parts of the brain: a hot part demanding immediate gratification (the limbic system), and a cool, goal-oriented part (the prefrontal cortex). The secret of self-control, he says, is to train the prefrontal cortex to kick in first.
  • To do this, use specific if-then plans, like “If it’s before noon, I won’t check email” or “If I feel angry, I will count backward from 10.” Done repeatedly, this buys a few seconds to at least consider your options. The point isn’t to be robotic and never eat chocolate mousse again. It’s to summon self-control when you want it, and be able to carry out long-term plans.
  • “We don’t need to be victims of our emotions,” Mr. Mischel says. “We have a prefrontal cortex that allows us to evaluate whether or not we like the emotions that are running us.
  • Self-control alone doesn’t guarantee success. People also need a “burning goal” that gives them a reason to activate these skills, he says. His students all have the sitzfleisch to get into graduate school, but the best ones also have a burning question they want to answer in their work, sometimes stemming from their own lives
  • His secret seems to come straight from the marshmallow test: distraction. “It’s to keep living in a way one wants to live and work; to distract constructively; to distract in ways that are in themselves satisfying; to do things that are intrinsically gratifying,” he says
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