#importance of structured data

[mtbcleadgenbuzz]

Why Semantic SEO Is Crucial For E-Commerce Success

Why Semantic SEO Is Crucial For E-Commerce Success Search engine optimization (SEO) is a crucial aspect of e-commerce success, as it determines how visible your website is in search engine results. Semantic SEO, also known as contextual or intent-based SEO, is a relatively new approach that focuses on the context and meaning behind search queries. By understanding the intent of the searcher,…

[21st-century-minutiae]

Most web development in the early twenty-first century follows a server/client model. That is to say, you have a server, which is a (sometimes powerful) computer (or set of computers) owned (or rented) by the website organization and, any number of clients, which are people's personal computers of phones.

Code can be run on the server or on the client, because both are computers. The client will send a request to the server, which will run some server side code. The server will respond with a web page, which usually ALSO has bits of code in it for the client to run. Notably, the server never sees the client running any code and the client never sees the server running any code. They only see each other asking questions and responding.

While it is POSSIBLE to run code anywhere, server side code is used for complicated problems that are too hard for personal computers, for security questions like passwords (because the server can only say 'this is the code I think you should run, it can't actually make the client run that code without looking at it), and for communicating with other clients. Client side-code is usually used for highly responsive UI (since it doesn't need to wait for the messages to be sent back and forth), and to save processing power from the server when possible.

People in the early twenty-first century are unlikely to know how websites work and the distinction between servers and clients, unless they have a specific education or experience in the field. But this oversimplification would be considered trivially basic for anyone in the field, and it would be shocking (and upsetting) for a 'lead developed' to not know about it.

I think the real reason most websites are janky as hell to use these days is because web developers have become so specialised that nobody really understands how anything works anymore. The other day I had to explain why hosting critical Javascript libraries on a third-party CDN is a bad idea to a "lead developer" who genuinely didn't know the difference between server-side versus client-side scripting.

[sanjida1]

AI HIGH TICKET COMMISSIONS

[reasonsforhope]

"The coral reefs of south Sulawesi are some of the most diverse, colorful and vibrant in the world. At least, they used to be, until they were decimated by dynamite fishing in the 1990s.

As part of a team of coral reef ecologists based in Indonesia and the UK, we study the reefs around Pulau Bontosua, a small Indonesian island in south Sulawesi...

In many places around the world, damage like this might be described as irreparable. But at Pulau Bontosua, the story is different. Here, efforts by the Mars coral restoration program have brought back the coral and important ecosystem functions, as outlined by our new study, published in Current Biology. We found that within just four years, restored reefs grow at the same rate as nearby healthy reefs.

Speedy recovery

The transplanted corals grow remarkably quickly. Within a year, fragments have developed into proper colonies. After two years, they interlock branches with their neighbors. After just four years, they completely overgrow the reef star structures and restoration sites are barely distinguishable from nearby healthy reefs.

The combined growth of many corals generates a complex limestone (calcium carbonate) framework. This provides a habitat for marine life and protects nearby shorelines from storm damage by absorbing up to 97% of coastal wave energy.

We measured the overall growth of the reef framework by calculating its carbonate budget. That's the balance between limestone production (by calcifying corals and coralline algae) and erosion (by grazing sea urchins and fishes, for example). A healthy reef produces up to 20kg of reef structure per square meter per year, while a degraded reef is shrinking rather than growing as erosion exceeds limestone production. Therefore, overall reef growth gives an indication of reef health.

At Pulau Bontosua, our survey data shows that in the years following restoration, coral cover, coral colony sizes, and carbonate production rates tripled. Within four years, restored reefs were growing at the same speed as healthy reefs, and thereby provided the same important ecosystem functions...

Outcomes of any reef restoration project will depend on environmental conditions, natural coral larvae supply, restoration techniques and the effort invested in maintaining the project. This Indonesian project shows that when conditions are right and efforts are well placed, success is possible. Hopefully, this inspires further global efforts to restore functioning coral reefs and to recreate a climate in which they can thrive."

-via Phys.org, March 11, 2024

[it-related-online-course]

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[honeytonedhottie]

HONEYS IT GIRL MAGAZINE september edition⋆.ೃ࿔*:･🎀

welcome back to honeys it girl magazine, this is the september catalog. get ready for the inside scoop on data that i've collected, things i've learned/started doing, and just general info like that organized in kind of a teen-magazine inspired fashion. a magazine for it girls ✨ and now please enjoy, the it girl magazine.

YOUR GUIDE TO VINTAGE GLAM ;

lately i've been OBSESSED with vintage glam. their makeup is so dramatized and utterly stunning and it just has this timeless elegance to it. so im super duper excited to dive into that in this catalogue…💬🎀

♡ a classic red lip

♡ winged eyeliner

♡ lush lashes

♡ defined brows (arched brows like betty boop)

♡ faux beauty marks

♡ soft eyeshadows

♡ a big bouncy blow out

♡ pearls and diamonds cuz diamonds are a girl's best friend

other details that can really capture the essence of a vintage glam look include pearl necklaces and earrings, cat-eye sunglasses, or a structured handbag. remember, its all about enhancing natural elegance with just the right amount of drama and UMPH.

you can see with this page of my fashion journal where i styled some vintage glam looks. so i incorporated silkier textures and long dresses for that old hollywood charm. idk what it is about hand gloves but they just SCREAM elegance and beauty so i incorporated that into the first outfit.

clutches are SO vintage glam and gorgeous and as u can see i incorporated pearls into the second outfit in the earrings, bracelet and neck piece.

FALL FASHION ;

fall fashion to me is tights and mini skirts. leg warmers and uggs and form fitting sweaters. let’s talk about some fall fashion. the tights and mini skirt combo is a classic and it’s an amazing way to incorporate wearing mini skirts even as the weather begins to get a little colder. the tights add a nice touch, even if it isn’t the color of ur skin tone, tights IN GENERAL look rly nice.

ankle boots, ugg boots, BOOTS are so so fall. i rly love ankle boots that have a heel to them and bonus points if ur fall shoes include fur. the fall shoes on my shopping list are ->

ugg boots

ankle boots

mary jane style shoes

ballet flats

form fitting sweaters and jackets are so in for the fall. along with tracksuits. the color pallete for having a bambi doll fall are very much browns, cashmeres, and baby pink. honestly think of neapolitan colours. pink, brown and an off-whitish almost pastel yellow. think PASTRY PRINCESS.

baby phat puffers are perfect for the transition from fall to winter and a good pair of jeans is CRUCIAL for fall. another thing i wanna talk about with fall fashion is LAYERING. layering is such an important aspect of fashion period but ESPECIALLY fall fashion. experiment with different lengths, textures etc. one of my favorite layering combination during the fall is ->

long sleeve tops with a camisole underneath

a form fitting long sleeve top (the ones with buttons at the front) look so DOLLY and adorable when u dont button it, and wear a camisole underneath. its just MWAH. some more fall fashion details also include ->

fur details

ribbons and lace details

delicate jewelry choices

tights and leg warmers

layering

boots

neopolitan cinnamon princess color scheme

long sleeves

mini skirts + tights combo

BEING A HOTTIE THIS FALL ;

fall is such an easy season to romanticize! and what better way to romanticize the fall then to make a pinterest board or a mood board. in this section of the magazine lets talk about things that u can do this fall to make ur fall SUPER memorable…💬🎀

♡ make cinnamon rolls (recipe is in the section before horoscope)

♡ go apple picking

♡ read a spooky/mystery novel

♡ pumpkin spice latte!

♡ invest in a yummy fall scented candle and light it often to make ur space smell like fall

fall beauty incorporates things like nude lip combos, warmer scents and french tips!…💬🎀

♡ soft bouncy curls

♡ nude lip combos

i recommend the nyx butter gloss (madeleine) and the nyx chocolate lip liner for a pretty chocolaty look. if ur looking for another nude lip combo use the nyx butter gloss (angel food cake) and the nyx club hopper lip liner…💬🎀

♡ french tips

♡ nude colored manicures and pedicures

♡ coffin and stiletto shaped nails

CINNAMON ROLLS RECIPE ;

nothing screams fall to me more than cinnamon rolls. they're just so yummy and cinnamony and so FALL. so here is a recipe to make ur very own cinnamon rolls this fall.

♡ in a mixing bowl, add 1 cup of warm milk

♡ 1/4 cup of sugar and 2 1/2 teaspoons of active dry yeast and give it a little mix

now set this aside for 5 minutes or until its frothed up. if it DOESNT froth up then ur yeast is not okay and ur gonna have to start again…💬🎀

♡ 4 2/3 cups of all purpose flour, 1/3 cup packed light brown sugar, 1/2 teaspoon of salt, half a teaspoon of cinnamon

♡ melt half a cup of butter and add it into the dry mixture and mix everything together in ur mixer but dont mix before adding 1 large egg and a tablespoon of vanilla extract

♡ now turn on ur mixture and knead the dough until its tacky but doesnt stick to ur fingers

♡ now get an oiled up bowl and put the dough in, and cover with a sheet. put it in a warm place so that then ur dough can rise (1 1/2 - 2 hours)

the reason why u have to wait so long is cuz the yeast is working rly hard to break down things like the milk and the butter so just be patient and excited cuz its gonna taste so good…💬🎀

♡ combine 1/2 cup of light brown sugar, 1 1/2 tablespoons of cinnamon and mix together with a fork

♡ once ur dough is done, make sure u flour up ur clean counter and put the dough onto it. with floured hands pat the dough and shape it, just kinda flatten it out

♡ spread out super soft butter across the dough and spread the cinnamon sugar we made over the dough in a nice even layer and once you've done that its time to roll the dough into a cylinder

♡ next butter ur baking dish, cut ur cinnamon rolls with some dental floss or string and place them in the dish, and make sure u give them room to grow

♡ cover them with a sheet again and put them in a warm place for 1 hour so that they can rise, once you've done that put them in the oven at 350 degrees for 20- 25 minutes

while the cinnamon rolls are baking, we'll make a luscious cream cheese icing to go on top of the cinnamon rolls once they're done…💬🎀

♡ combine 2 tablespoons of softened butter, along with 4 ounces of softened cream cheese, a pinch of salt and a teaspoon of vanilla extract and mix it with a hand mixer

♡ add 2 cups of powdered sugar and add a bit of milk as needed. if u want a thicker icing or a thinner one

♡ lastly add ur icing all over the top of ur cinnamon rolls once they're out of the oven and ENJOY

WHATS MY HOROSCOPE (SEPTEMBER 27-31) ;

♡ for virgo, when the sun enters libra on september 22, your self-esteem and natural talents are activated. with the ability to earn money and achieve success heightened, abundance flows. just be sure you’re saving, budgeting, and making wise investments. venus moves into scorpio on the same day, energizing your communication zone. surface-level connections will fall flat as you crave deeper, more intimate conversations. mercury enters libra on september 26, enhancing your powers of negotiation and manifestation.

♡ for aries, the energy changes when the sun enters libra on the twenty-second, activating your relationship sector. use this opportunity to strengthen your closest bonds, form alliances, and bring your romantic visions to life. venus enters scorpio the same day to awaken your realm of intimacy and money. you could find yourself drawn to mysterious people or situations. venus in motivated scorpio elevates your drive, making you an unstoppable force, especially regarding manifestation. this is an excellent time to negotiate. mercury enters libra on september 26, adding a dash of charm to communication with your loved ones.

♡ for taurus, the sun enters libra on september 22 and brings warmth to your realm of service and self-love. strive to create a healthy work/life balance. your relationships deepen when venus enters scorpio later the same day, bringing intensity to your closest connections. you could feel a stronger desire for intimacy and a pull toward mystery and secrets. be conscious of codependency and unrealistic expectations. mercury moves into harmony-seeking libra on september 26, encouraging solutions and charisma within your relationships.

♡ for gemini, you’re full of joy, creativity, and romance when the sun enters libra on september 22, activating your happiness sector. inspiration will be heightened, so pay attention to your ideas. when venus enters scorpio on the same day, it’s time to turn your attention inward. your desire to explore the depths of your mind, body, and soul intensifies, making this an excellent time to embrace self-care practices that promote greater self-love. mercury enters libra on september 26, awakening your charisma and warmth in communications.

♡ for cancer, when the sun enters air sign libra on september 22, you’ll feel ready to cozy up with your loved ones and enjoy the comforts of your environment. with your zone of intuition activated, your emotions will be powerful. venus enters scorpio on the same day, and your creativity will skyrocket. if you crave more romance, initiate it. mercury enters libra on september 26, encouraging you to share your real feelings.

♡ for leo, when the sun enters libra on september 22, you’ll feel eager to express your incredible ideas and connect with others. activating your communication sector, the libra sun enhances your natural charisma and creates ease in conversations. venus enters mysterious scorpio on the same day, prompting you to reflect on your emotional needs. your heart requires you to be assertive, especially with loved ones. mercury moves into peace-loving libra on september 26, inviting you to communicate from a place of neutrality.

♡ for libra, the sun enters your sign on september 22, ushering in a brand-new cycle. you’re the star of the show and your powers of manifestation are heightened. get ready for an exciting new chapter full of opportunity! venus enters scorpio on the same day, enhancing your ability to earn money. mercury enters your sign on september 26, which gives you the gift of clarity. share your ideas and express yourself. you will be well received.

♡ for scorpio, when the sun enters libra on september 22, your need for retreat and soul-searching is highlighted. over the next few weeks, you’ll find the most peace during moments of relaxation. the libra sun activates your imagination, so allow yourself moments to get lost in fantasy and embrace the fluidity and surrender it brings. venus enters your sign on the same day, prompting you to ardently pursue your deepest desires and ask for what you want. mercury enters libra on september 26, helping you process your subconscious thoughts.

♡ for sagittarius, you’re ready to connect with friends when the sun enters libra on september 22, energizing your zone of community. it’s an excellent time to collaborate with others and show up on social media. venus enters scorpio and your privacy sector on the same day, prompting you to take intentional time alone to get clear on your emotional needs. mercury enters libra on september 26, and exciting conversations take place.

♡ for capricorn, when the sun enters libra on september 22, your career and goals come into focus. you’re especially magnetic and charming, which bodes well for negotiations. find ways to creatively showcase your gifts and embrace your people skills to achieve success this season. recognition arrives when you show up confidently, so find ways to empower yourself. venus enters scorpio on the same day, bringing intimacy to your friendships. mercury moves into libra on september 26, offering you clarity on your goals and the ability to plan them.

♡ for aquarius, imagination and creativity are the keys to your success. you’ll feel ready for expansion and adventure when the sun enters libra on september 22, energizing your zone of exploration. plan an exciting excursion with loved ones or book a spiritual retreat. personal freedom will feel important for you, so be mindful of overcommitting yourself to serious tasks that feel like burdens. venus enters scorpio later the same day, motivating you to make power moves in your career. mercury enters libra on september 26, boosting your ability to learn quickly.

♡ for pisces, when the sun enters libra on september 22, your sights will be set on resources and intimacy. when it comes to your closest bonds, you’ll crave lots of privacy. your approach to money will feel more solution based, and you could tap into a new revenue stream. venus enters scorpio the same day, inviting you to take a chance. mercury moves into libra on september 26, activating your need for deep conversations.

[fans4wga]

'Why creatives are seeking residuals' - thread by Stefanie Williams

[Tweet thread by Stefanie Williams @/StefWilliams25

TRANSCRIPT:

Why creatives are seeking residuals vs. "do you pay the mattress maker every time you sleep on a mattress?" A thread. I keep hearing over and over again that writers/actors/creatives don't deserve residuals for the work they create. "If I build a bathroom in a house, I don't get paid every time someone uses the toilet."

TRUE! However, your bathroom build has a set market value. Art does not. No one knows what makes one TV show an overnight success, and another a flop. No one knows what makes one song a hit, and the other a dud. If they did, trust me when I say record companies would be churning out Taylor Swifts over and over again. Studios would be making nothing but Stranger Things.

But that isn't the case. No one could predict Stranger Things would be a massive, billion dollar hit. No one could predict Taylor Swift was going to be a world wide phenomenon who literally could record herself reading Aesop's Fables and make millions of dollars. Which is why residuals are important. The pay structure protects both the creators and the publishers/distributors.

The easiest way to explain it is by referencing an author writing a book. Sure, an author might get a very modest up front fee, but the author is banking on royalties to really make money on the book — for every book sold, the author gets a piece of the pie. This protects both the author and the publisher—because if the book is a flop, the publisher doesn't go broke on a financial promise they made to the author that didn't pan out, and if the book is a mega-hit, the author didn't give away a massive, million-dollar book for 20k.

It's a sliding scale that is required for a product that has no set market value. What makes an actor's work on a hit show more valuable than an actor's work on a show that gets canned after five episodes? The market value for art almost always comes after the fact, so residuals account for that reality. They make sure the creator get compensated at a fair market rate. A person who builds a bathroom knows, upfront, what the market rate for a bathroom is. That bathroom won't suddenly be worth 1000 times more than you built it for in six months. It doesn't have the potential to be built for 20k and generate 20 million.

Residuals are a pay structure that simply account for an unsure market value. Trust me, we all wish we could quantify art in terms of dollars. But art is unpredictable. So studios and streamers -- which literally REQUIRE content to stay viable -- have to account for that unpredictability. And for studios (or record labels, or book publishers) it's always trial and error. The only way to get a hit, is to go through a few flops.

For every Whitney Houston, there was a singer you never heard of. For every Sopranos, there was a show that got scrapped mid season. For every Titanic, there was a movie that bombed. For every Twilight, there was a book about vampires that went nowhere. Residuals are kind of a reverse market valuation. They pay a fair wage for a product than can only have a set value once it's been created and effectively consumed.

And even then, shit changes. Anyone think Kate Bush would spend weeks on the top of the charts in 2022? Residuals account for unpredictable markets. And in order to have accurate residuals, streamers and studios need to be transparent and open about their data, which is one of the MANY things the WGA and SAG are both fighting for.

[drdemonprince]

I was never really certain about my transition in the way that most gatekeeping hormone prescribers and curious members of the public demand that a trans person be. I didn’t “always know” that I was not cisgender. I haven’t “always known” anything about myself. Very few truths about me have always remained true, my existence is too interpersonal, contextual, and ever-evolving for all of that. (So is most everyone else’s, I think). I don’t think that the fact I’d eventually choose to exercise my body autonomy at age 30 by taking hormones is a decision I could have foreseen when I was a child. All that I knew about being transgender when I was a kid was a fact that most children intuitively know: gender assignment was a violation of my freedom, of everyone’s freedom in fact, and it was wrong. As an infant and then a child and teenager, people kept imposing labels on me; they kept forcing me and my body into prescribed gendered boxes, and while the specific labels and boxes never really felt like the right ones, the most disturbing part about it all was the forcing. No coerced identity would have ever felt right. Children can tell when secrets are being kept from them, and when adults are restricting their choices. They notice that they and the other children are being lined up boy-girl, boy-girl, without ever being told what a girl or a boy even is. They can see their parents frowning when they reach for the doll with the shimmery hair, or climb atop the neighbor kid on the playground. Kids know that they are forbidden from sitting with their legs spread wide or flicking their wrist, and their gender illegibility is shamed in them, long before they get any answers about what gender means or where it comes from or why it’s so important that they make themselves easy to understand.

Like the cloned children in Never Let Me Go who grow up being conditioned for a life of forced organ donation, children in a cissexist society grow up conditioned to fall within certain gendered boundary lines, and by the time they learn that the reason for this is almost completely arbitrary, they can’t imagine any alternative. Not until some of them hear about gender transition and find the prospect very compelling, for some reason. You can say that reason is because some of us are inherently trans, but there’s absolutely nothing in the way of brain science, genetics research, or even sociological data to back that up. Besides, the search for a biological “reason” that people are transgender or queer runs counter to the goal of queer liberation in the long run. Science only needs to explain the existence of transgender people (or queer people more broadly) if our existence is in some way aberrant or a problem. If queerness is accepted as a form of human diversity that simply exists, then there is no need to excuse it by claiming that it is never a choice. It can be a choice, if a person wants to make it, and hopefully it satisfies them, but maybe it won’t. Freedom to choose means freedom to forever be dissatisfied, to search endlessly for more, and yes, to capable of making a mistake. I would say that viewing myself as transgender was a choice. I decided to break away from the straight, female categories to which I had been assigned, and doing so allowed me to view the legal and societal power structures that had restricted me more clearly. It helped me better understand myself. But that does not mean the actual act of breaking away was always the truest reflection of who I am. The version of me that transitioned was a person on the run — and how a person behaves, thinks, and self-conceives when they are fleeing is not a great reflection of whom they might be if they were safe. If we all lived in a world free from mandatory gender assignment, and where our bodies were not mined for meaning about the kinds of sex we liked, the clothing we should wear, the personality qualities we have, the roles we should play in society, and the connections we are allowed to form with others, who knows who each of us might be. But none of us get to live in that world, or ever gets completely free from the frameworks of heterosexuality and the gender binary. These frameworks shape every legal institution we encounter, every school we attend, every item of clothing we put on, every substance we take into our bodies, every piece of paperwork that ever gets printed about us, and every look another person ever gives us. And so we make due with rewriting and recombining those frameworks as best we can. It should come as no surprise that those us who break away from the binary have to experiment and revise how we understand ourselves quite a bit — sometimes getting things “wrong,” sometimes searching forever for the semblance of something “right.” Sometimes reveling in the “wrongness” of all the available options is kind of the point.

I wrote about my detransition, retransition, and the eternal dissatisfaction that is probably the corest truth of my identity. It's free to read or have narrated to you on my Substack.

[dunmeshistash]

Interview to celebrate the opening of the Ryoko Kui Exhibition

About Delicious in Dungeon: Story making

Q1. Your first long-running series has lasted for about 9 and a half years. Has it been different from your previous experience drawing short stories?

A1. Compared to short stories, the series has been easier because the same characters appear each time. But I was surprised to find that I got tired of drawing the same characters too many times.

Q2. You have said before that the overall structure of the story was decided before serialization began, but how much of that had you communicated to your editor? Also, what kind of communication did you have during the series production?

A2. The goal was something we discussed and had decided on from the beginning. The goal itself was simple, but the path to get there was more difficult and took longer than imagined.

Q3. Regarding the overall story concept and development, did you write out or put anything down in writing (such as the plot)?

A3. I did, but it was simple.

Q4. Did you come up with the dishes based on the monsters you wanted in the story? Or did you come up with the monsters based on the dishes?

A4. It depended on the story, but usually the story came first followed by the monsters or food. I feel like that was most often the order.

Q5. As you progressed in drawing the series, what elements of the characters, story, or world expanded or grew in the most unexpected way?

A5. Nothing particularly unexpected perhaps. When I used to draw web manga, I tended to think up inconsequential settings. So, from the beginning I tried to restrain myself as much as possible and not expand too much. I was surprised when my editor said "Let's expand it more," in the second half of the series.

Q6. "Delicious in Dungeon" starts with a relatively simple setting, but as the series and the labyrinth exploration continues, the map slowly expands little by little in the readers' minds. It becomes more three-dimensional, revealing the secrets of the world, and taking on a multilayered structure. Are there any sources that you used as a reference, or which influenced you in creating this multilayered structure?

A6. A long time ago, when I was working on my personal web manga (fantasy), I drew it however I wanted, thinking that "Only people who can read this will read it," but I regularly received feedback that it was "unreadable", so I tried to make it as easily. accessible as possible.

Q7. The series combines many elements, including "fantasy", "gourmet", "battles", and "puzzle solving", but I think it's also important that it is a "comedy" which makes people laugh. Could you let us know if you have a creative commitment towards depicting humor?

A7. My hopes are that I can make it fun for people to read.

[page 5]

About Delicious in Dungeon: Drawing manga

Q1. Please tell us about the drawing tools you currently use, both digital and analogue.

A1. In terms of analogue tools, I use a light box, a G pen, a round pen, and a brush pen. And for digital, I use CLIP STUDIO PAINT and a Wacom LCD tablet. Screentone pasting is always done on the computer, so ultimately it all ends up as a digital manuscript.

Q2. Do you have any rules or reasons for using digital and analog separately?

A2. I'm always looking for ways to draw better and save time, so the exact approach is probably different for almost every chapter. Personally, I feel that analogue methods create more appealing lines, but I feel like digital saves time, so maybe I'll do a digital rough sketch and do the inking by hand… I might have been using a G pen, and maybe I'll try out a turnip pen, or this time I'm short on time so I'll draw it entirely digitally, but with digital I can redo it over and over, so maybe analogue is still faster, and so on and so forth. I'm indecisive in this way and so haven't developed a consistent process.

Q3. I understand that you prepare 3D data for your assistants to draw the backgrounds. What kind of data did you make for "Delicious in Dungeon" ?

A3. You could call it 3D, but it's not a proper model, just something to help with the rough sketching. I line up cubes to share the perspective and sense of scale, and they use it as a reference.

Q4. At the beginning of the series, the characters and backgrounds were somewhat simply drawn, and it seems like they became richly detailed over the progression of the story. What was your intention behind using these different styles?

A4. It's simply that my technique isn't stable. I thought I'd put a lot of effort in at the start. I remember being confused when my editor asked me to add more in to the drawing, and I wondered "Where…?"

Q5. Thinking about the food, were there any menu illustrations that you were particularly satisfied with, or which you struggled with?

A5. I've never liked my own food illustrations. But the times when I read other people's manga and thought "That looks delicious," I think it's been more an influence of the movement, the staging, and the situation than the drawings.

Q6. For the world maps and the terrain of each continent, did you refer to any maps of the real world? I feel like the shape of the 'island' is similar to the shape of Fukuoka Prefecture or Kyushu.

A6. I didn't reference any specific geography, but I did try to put thought into things like whether a developed city would be near a river or the sea, and what the coastline would look like. I'm pleased if it feels similar to a real place, because it means my interpretation was pretty accurate.

About Delicious in Dungeon: Other

Q1. Which is your favorite monster?

A1. Nightmare.

Q2. I'm sure you have received a lot of feedback from readers in countries and regions outside of Japan. Please tell us if there was anything from them that made you happy, was unexpected, or which made a lasting impression on you.

A2. When you play foreign games, there are times when you think "Why did they translate it into Japanese like that?" But having been on the side of having something translated, I've realized some things are unavoidable, or endless, and there are many things that don't matter either way from the author's perspective, so it was interesting.

About Ryoko Kui's short story collections and herself

Q1. Dragons are a consistent and important motif in your work. Was there any particular work or experience which inspired this? Also, are there points about drawing dragons which you find interesting or have had to work hard on?

A1. It's less about liking dragons, and more that I'm interested in the worlds in which dragons exist. When I draw dragons, the depiction in itself has a sweet feeling to it. I have never had a pet reptile, so I don't have a very good understanding of them.

Q2. Unomiya University in your story "The dragon's school is on top of the mountain" has a Faculty of Dragons, Department of Environmental Studies, and Department of Technology Studies, and a Faculty of Veterinary Medicine. If you were to enroll in the university, which department or faculty would you like to enter?

A2. I probably wouldn't be accepted….

Q3. The collection includes a short story staged as an essay manga. Are you a fan of essay manga? Please tell us about any genres of essay manga that you like.

A3. I love all kinds of essay manga. I read them often.

Q4. If you were to make your own game, what kind of game would you like to make?

A4. I prefer being a player when it comes to games.

Q5. When did you first start drawing illustrations (doodles)?

A5. I don't exactly remember when I first drew a picture, but I think I started drawing manga around the fourth or fifth grade of elementary school. in my notebooks and had my friends read them.

Q6. What is the most fun part about drawing manga?

A6. Every part is fun and hard in its own way.

Q7. Please tell us if there is anything you "just can't stop no matter what".

A7. My procrastination habit.

Q8. Could you please tell us if there's something you want to draw now?

A8. I've been working continuously since the serialization, so I'd like to take about 2 to 3 months to just draw whatever I want.

[why-animals-do-the-thing]

Over the last few years, I’ve begun to heavily encourage people to think of a zoo or aquarium or sanctuary being accredited as conveying important information about their ethos / operations / politics - but not as an inherent indicator of quality. Why? Because accrediting groups can be and are fallible. There are issues with all of the accrediting groups and programs, to varying degrees, and so they’re just a piece of information for a discerning zoo-goer to incorporate into their overall opinion. I just saw a news article go by with some data that proves my point.

First off, good for Houston, no commentary that follows is directed that them.

This isn’t the first time I’ve seen a headline like this - there was one a couple years ago, about Cheyenne Mountain Zoo in Colorado also getting a perfect inspection. But here’s what bugs me about it.

If you see/hear the phrase “Facility X has been accredited by Y organization, which holds the highest standards in the world for this type of facility”, it kind of implies that facility X meets all of those standards, doesn’t it? Not most of them, not the majority. When you hear that a zoological facility has gone through a rigorous process to earn an accreditation branded (by the accrediting org) as “the gold standard” in the industry… the general public is going to interpret that as saying these facilities are in compliance with every single rule or standard. And what these headlines tell us, alongside the commentary from AZA in the articles, is that it’s not only not true - it never has been true. Most AZA accredited facilities apparently don’t meet all the AZA standards when they’re inspected, and that’s both okay with them and normal enough to talk about without worrying about the optics.

Let’s start with the basic information in the Houston Chronicle article, which will have been provided to them by the zoo and the AZA.

“Since it's inception in 1974, the AZA has conducted more than 2,700 inspections and awarded only eight perfect evaluations throughout the process's 50-year history. Houston Zoo's final report is 26 pages long — and filled with A's and A-pluses."

Okay, so… doing that math, less than one percent of AZA accreditation inspections don’t meet all the standards at the time of inspection. But, wait, that’s not just what that says. That bit of information isn’t talk about AZA accredited facilities vs the ones that got denied accreditation: this is telling us that of facilities that earned AZA accreditation, basically none of them meet all the standards at the time. This isn’t talking about tabled accreditations or provisional ones where they come back and check that something improved. Given that math from earlier, this information means that most - if not all - AZA accredited facilities have repeatedly failed to meet all of the standards at one point in time … and have still been accredited anyway.

That tracks with what was said about Cheyenne Mountain Zoo, back in 2021 when they got their perfect accreditation.

“Cheyenne Mountain Zoo has earned an incredibly rare clean report of inspection and its seventh consecutive five-year accreditation from the Association of Zoos and Aquariums (AZA). In nearly 50 years of accreditations, CMZoo is only the fourth organization to earn a ‘clean’ report, which means there wasn’t a single major or minor concern reported”

Seven consecutive accreditation processes - and only one of them where they actually met all the standard at the time.

Here’s what the AZA CEO had to say about Houston’s accreditation achievement in that article, which reinforces my conclusion here:

"AZA president and CEO Dan Ashe says the multi-day inspection process, which occurs every five years, has been described as "comprehensive, exhausting and intimidating."

"We send a team of experts in who spend several days talking to employees, guests and the governing board. They look at animal care and husbandry. They look at the governance structure and finances. They look comprehensively at the organization," Ashe explains. "For a facility like Houston Zoo to have a completely clean accreditation and inspection is extremely rare. These inspectors are experts, it's hard to get to the point where they can't find something.""

Now, here’s the rub. We, as members of the public, will never have any idea which standards it is deemed okay for a given AZA facility to not meet. All of the zoological accrediting groups consider accreditation information proprietary - the only way we find out information about how a facility does during accreditation is if they choose to share it themselves.

On top of that, it’s complicated by the fact that last time I read them AZA had over 212 pages of accreditation standards and related guidance that facilities had to comply with. Now, AZA doesn’t accredit facilities if there are major deviations from their standards, or if there’s an issue on something important or highly contentious. So - based on my completely outsider but heavily researched perspective - this probably means that most zoos are in non-compliance with a couple of standards, but not more than a handful.

To make trying to figure this out even more fun, it is also important to know that AZA’s standards are performance standards: whether or not they’re “met” is based on a subjective assessment performed by the accreditation inspectors and the accreditation committee. This means that what qualifies as fulfilling the standards can and does vary between facilities, depending on who inspected them and the composition of the committee at the time.

So why do I care so much? Because when it comes to public trust, branding matters. AZA has gained a reputation as the most stringent accrediting group in the country - to the point that it can lobby legislators to write exceptions into state and federal laws just for its members - based on how they message about their accreditation program. How intensive it is, how much oversight it provides, what a high level of rigor the facilities are held to. That… doesn’t track with “well, actually, the vast majority of the zoos meet most of the standards most of the time.” People who support AZA - people who visit AZA accredited zoos specifically because of what it means about the quality of the facility - believe that accreditation means all the standards are being met!

To be clear: most AZA zoos do meet some pretty high standards. It’s likely that what are being let slide are pretty minor things. I expect it’s on stuff the facility can improve without too much hassle, and it might be that doing so is probably part of what’s required. There’s not enough information available to people outside the fold. But I will say, I don’t think any zoo is getting accredited despite AZA having knowledge of a serious problem.

Where I take issue with this whole situations is the ethics of the marketing and branding. AZA frames themselves as being the best-of-the-best, the gold standard, when it turns out that most of their accredited zoos aren’t totally in compliance, and they know and it’s fine. They seem to be approaching accreditation like a grade, where anything over a certain amount of compliance is acceptable. The public, though, is being fed a narrative that implies it’s a 99/100 pass/fail type of situation. That’s not super honest, imho, which shows up in how there’s zero transparency with the public about it - it goes unspoken and unacknowledged, except when it’s used for promotional gain.

And then, like, on top of the honesty in marketing part, it’s just… something that gets joked about, which really rubs me the wrong way. Like this statement from the media releases for the Cheyenne Mountain accreditation:

“Another of our ‘We Believe’ statements is, ‘We value laughter as good medicine,’” said Chastain. “To put this clean accreditation into perspective, when I asked Dan Ashe, AZA president and CEO, for his comments about how rare this is, he joked, ‘A completely clean inspection report is so unusual, and so unlikely, it brings one word to mind — bribery!’“

So, TL;DR, even AZA accreditation is designed so that their accredited zoos don’t have to - and mostly don’t - actually fully meet all the standards. I’d love to know more about what types of standards AZA is willing to let slide when they accredit a facility, but given the proprietary nature of that information, it’s pretty unlikely there will ever be more information available. AZA accreditation tells you what standards a zoo aspires to meet, what their approximate ethics are, and what political pool they play in. When it comes to the quality of a facility and their animal care, though, sporting an accreditation acronym is just a piece of the larger puzzle.

[artsekey]

I'd been seeing videos on Tiktok and Youtube about how younger Gen Z & Gen Alpha were demonstrating low computer literacy & below benchmark reading & writing skills, but-- like with many things on the internet-- I assumed most of what I read and watched was exaggerated. Hell, even if things were as bad as people were saying, it would be at least ~5 years before I started seeing the problem in higher education.

I was very wrong.

Of the many applications I've read this application season, only %6 percent demonstrated would I would consider a college-level mastery of language & grammar. The students writing these applications have been enrolled in university for at least two years, and have taken all fundamental courses. This means they've had classes dedicated to reading, writing, and literature analysis, and yet!

There are sentences I have to read over and over again to discern intent. Circular arguments that offer no actual substance. Errors in spelling and capitalization that spellcheck should've flagged.

At a glance, it's easy to trace this issue back to two things:

The state of education in the United States is abhorrent. Instructors are not paid enough, so schools-- particularly public schools-- take whatever instructors they can find.

COVID. The two year long gap in education, especially in high school, left many students struggling to keep up.

But I think there's a third culprit-- something I mentioned earlier in this post. A lack of computer literacy.

This subject has been covered extensively by multiple news outlets like the Washington Post and Raconteur, but as someone seeing it firsthand I wanted to add my voice to the rising chorus of concerned educators begging you to pay attention.

As the interface we use to engage with technology becomes more user friendly, the knowledge we need to access our files, photos, programs, & data becomes less and less important. Why do I need to know about directories if I can search my files in Windows (are you searching in Windows? Are you sure? Do you know what that bar you're typing into is part of? Where it's looking)? Maybe you don't have any files on your computer at all-- maybe they're on the cloud through OneDrive, or backed up through Google. Some of you reading this may know exactly where and how your files are stored. Many of you probably don't, and that's okay. For most people, being able to access a file in as short a time as possible is what they prioritize.

The problem is, when you as a consumer are only using a tool, you are intrinsically limited by the functions that tool is advertised to have. Worse yet, when the tool fails or is insufficient for what you need, you have no way of working outside of that tool. You'll need to consult an expert, which is usually expensive.

When you as a consumer understand a tool, your options are limitless. You can break it apart and put it back together in just the way you like, or you can identify what parts of the tool you need and search for more accessible or affordable options that focus more on your specific use-case.

The problem-- and to be clear, I do not blame Gen Z & Gen Alpha for what I'm about to outline-- is that this user-friendly interface has fostered a culture that no longer troubleshoots. If something on the computer doesn't work well, it's the computer's fault. It's UI should be more intuitive, and it it's not operating as expected, it's broken. What I'm seeing more and more of is that if something's broken, students stop there. They believe there's nothing they can do. They don't actively seek out solutions, they don't take to Google, they don't hop on Reddit to ask around; they just... stop. The gap in knowledge between where they stand and where they need to be to begin troubleshooting seems to wide and inaccessible (because the fundamental structure of files/directories is unknown to many) that they don't begin.

This isn't demonstrative of a lack of critical thinking, but without the drive to troubleshoot the number of opportunities to develop those critical thinking skills are greatly diminished. How do you communicate an issue to someone online? How do look for specific information? How do you determine whether that information is specifically helpful to you? If it isn't, what part of it is? This process fosters so many skills that I believe are at least partially linked to the ability to read and write effectively, and for so many of my students it feels like a complete non-starter.

We need basic computer classes back in schools. We need typing classes, we need digital media classes, we need classes that talk about computers outside of learning to code. Students need every opportunity to develop critical thinking skills and the ability to self-reflect & self correct, and in an age of misinformation & portable technology, it's more important now than ever.

[ayeforscotland]

What is Dataflow? Part 2: Diagrams

This is the second part of a couple of posts about Dataflow, particularly why it's important for the world going forward and relating to the Crowd Strike IT disaster.

Read the first part here.

Before I get into this one today, I wanted to address a couple of things.

Firstly, Dataflow is something that nearly every single person can understand. You do NOT:

Need to have a degree in Computing Science

Need to work in IT

Need to be a data analyst / Spreadsheet master

If any of you see the word 'Data' and feel your eyes glazing over, try and snap out of it because, if you're anything like me, Dataflow is much more approachable as a concept.

Secondly, what do I mean by IT?

Traditionally in most of our media the all-encompassing 'IT department' handles everything to do with technology. But every business works differently and there are many job titles with lots of crossover.

For example, you can be an infrastructure engineer where your focus is on building and maintaining the IT infrastructure that connects your organisation internally and externally. This is a completely different role from an Application Portfolio Manager who is tasked with looking after the Applications used in business processes.

Both are technical people and come under the banner of 'IT' - but their roles are focused in different areas. So just bear that in mind!

Now that's out of the way, let's begin! This one will be a little bit deeper, and questions welcome!

An Intro to Diagrams

You probably do not need a history of why pictures are important to the human race but to cover our bases, ever since we put traced our hands on a cave wall we have been using pictures to communicate.

Jump forward in time and you have engineers like Leonardo Da Vinci drafting engineering schematics.

You get the idea, humans have been creating diagrams (Pictures) for thousands of years. Centuries of refinement and we have much more modern variations.

And there's one main reason why diagrams are important: They are a Common Language.

In this context, a Common Language helps bridge a language gap between disciplines as well as a linguistic gap. A Spanish electrician and a German electrician should be able to refer to the same diagram and understand each other, even if they don't know each other's language.

The reason they can do this is because they're are international standards which govern how electrical diagrams are created.

A Common Language for Digital?

Here's an image I've shown to clients from governments and institutions to global organisations.

Everything around us, from the products we use to the bridges we drive over and the buildings we live, work, enjoy and shop in had diagrams backing them.

You would not build a skyscraper without a structural engineering diagram, you would not build an extension on your house if an architect couldn't produce a blueprint.

Why is there not an equivalent for the Digital World and for Dataflow?

Where is the Digital Common Language?

This is the bit where the lightbulb goes on in a lot of people's heads. Because, as I mentioned in Part 1, the flow of data is the flow of information and knowledge. And the common mistake is that people think of dataflow, and only ever think about the technology.

Dataflow is the flow of information between People, Business Processes *and* Technology Assets.

It is not reserved to Technology specialists. When you look at the flow of data, you need to understand the People (Stakeholders) at the top, the processes that they perform (and the processes which use the data) and the technology assets that support that data.

The reason why this is important is because it puts the entire organisation in context.

It is something that modern businesses fail to do. They might have flow charts and network diagrams, and these are 'alright' in specific contexts, but they fall to pieces when they lack the context of the full organisation.

For example, here is a Network Diagram. It is probably of *some* value to technical personnel who work in infrastructure. Worth bearing in mind, some organisations don't even have something like this.

To be absolutely clear, this diagram will hold some value for some people within the organisation. I'm not saying it's completely useless. But for almost everyone else, it is entirely out of context, especially for any non-technical people.

So it doesn't help non-technical people understand why all of these assets are important, and it doesn't help infrastructure teams articulate the importance of any of these assets.

What happens if one of those switches or routers fails? What's the impact on the organisation? Who is affected? The diagram above does not answer those questions.

On the other side of the business we have process diagrams (aka workflow diagrams) which look like this.

Again we run into the same problem - This is maybe useful for some people working up at the process layer, but even then it doesn't provide context for the stakeholders involved (Are there multiple people/departments involved throughout) and it doesn't provide any context for technical personnel who are responsible for maintaining the technology that supports this process.

In short, nobody has the big picture because there is not a common language between Business & IT.

Conclusion

So what do we do? Well we need to have a Common Language between Business & IT. While we need people with cross-functional knowledge, we also need a common language (or common framework) for both sides of the organisation to actually understand each other.

Otherwise you get massively siloed departments completely winging their disaster recovery strategies when things like Crowd Strike goes down.

Senior Management will be asked questions about what needs to be prioritised and they won't have answers because they aren't thinking in terms of Dataflow.

It's not just 'We need to turn on everything again' - It's a question of priorities.

Thing is, there's a relatively simple way to do it, in a way that looking at any engineering diagram feels simple but actually has had decades/centuries of thought behind it. It almost feels like complete common sense.

I'll save it for Part 3 if you're interested in me continuing and I'll make a diagram of my blog.

The important thing is mapping out all the connections and dependencies, and there's not some magic button you press that does it all.

But rigorous engineering work is exactly that, you can't fudge it with a half-arsed attempt. You need to be proactive, instead of reacting whenever disaster strikes.

[covid-safer-hotties]

Also preserved on our archive

By Pandora Dewan

Levels of the virus that causes COVID-19 remain high across the U.S. despite recent decreases in positive case reports across the country. However, viral activity varies significantly across different states, new data from the U.S. Centers for Disease Control and Prevention (CDC) shows.

As of September 21, the overall viral activity level in wastewater across the country has been demoted from "very high" to just "high," although "very high" levels are still being detected in 13 states. These are particularly concentrated in the Midwest. Twenty-one states now exhibit "high" levels of wastewater activity, and nine are classed as "moderate."

Meanwhile, "low" levels have been detected in six states, with "minimal" levels, the lowest classification, seen in New York.

After a surge in COVID-19 cases this summer, infection rates seem to be on the decline. Positive tests now account for 11.6 percent of all COVID tests (excluding at-home testing) in the U.S., down 1.8 percent from the previous week. Coronavirus levels do remain high in certain states, especially those in the Central U.S.

The map below shows which states have seen the highest detections in wastewater.

(Follow link for interactive map)

Viral levels in wastewater are a helpful indicator of disease prevalence within a population.

Recent spikes in COVID-19 cases have been largely driven by a new class of subvariants nicknamed FLiRT after the position of the mutations on the virus' spike proteins, the projections that allow them to enter our cells.

These proteins are also used as targets by immune systems and vaccinations, so changes in their structure can allow the virus to bypass the body's defenses more easily. However, existing vaccines are likely to provide at least some form of protection against more severe symptoms and long COVID.

As of September 28, the now dominant subvariant, KP.3.1.1, accounted for more than 59 percent of all U.S. COVID-19 cases over the previous two weeks, according to the CDC, with the FLiRT variants accounting for more than 80 percent of cases in total.

However, while the U.S. has seen a steady rise in infections over the summer, hospitalizations and deaths have remained relatively low. It appears that the new FLiRT variants, while more infectious, do not generally cause such severe symptoms.

The symptoms include the following, according to the CDC:

Fever or chills Cough Shortness of breath Fatigue Muscle or body aches Headache Loss of taste or smell Sore throat Runny nose Nausea or vomiting Diarrhea

More vulnerable individuals may still be at risk of severe illness, so it is important to self-isolate if you receive a positive COVID test.

[nasa]

Caution: Universe Work Ahead 🚧

We only have one universe. That’s usually plenty – it’s pretty big after all! But there are some things scientists can’t do with our real universe that they can do if they build new ones using computers.

The universes they create aren’t real, but they’re important tools to help us understand the cosmos. Two teams of scientists recently created a couple of these simulations to help us learn how our Nancy Grace Roman Space Telescope sets out to unveil the universe’s distant past and give us a glimpse of possible futures.

Caution: you are now entering a cosmic construction zone (no hard hat required)!

This simulated Roman deep field image, containing hundreds of thousands of galaxies, represents just 1.3 percent of the synthetic survey, which is itself just one percent of Roman's planned survey. The full simulation is available here. The galaxies are color coded – redder ones are farther away, and whiter ones are nearer. The simulation showcases Roman’s power to conduct large, deep surveys and study the universe statistically in ways that aren’t possible with current telescopes.

One Roman simulation is helping scientists plan how to study cosmic evolution by teaming up with other telescopes, like the Vera C. Rubin Observatory. It’s based on galaxy and dark matter models combined with real data from other telescopes. It envisions a big patch of the sky Roman will survey when it launches by 2027. Scientists are exploring the simulation to make observation plans so Roman will help us learn as much as possible. It’s a sneak peek at what we could figure out about how and why our universe has changed dramatically across cosmic epochs.

This video begins by showing the most distant galaxies in the simulated deep field image in red. As it zooms out, layers of nearer (yellow and white) galaxies are added to the frame. By studying different cosmic epochs, Roman will be able to trace the universe's expansion history, study how galaxies developed over time, and much more.

As part of the real future survey, Roman will study the structure and evolution of the universe, map dark matter – an invisible substance detectable only by seeing its gravitational effects on visible matter – and discern between the leading theories that attempt to explain why the expansion of the universe is speeding up. It will do it by traveling back in time…well, sort of.

Seeing into the past

Looking way out into space is kind of like using a time machine. That’s because the light emitted by distant galaxies takes longer to reach us than light from ones that are nearby. When we look at farther galaxies, we see the universe as it was when their light was emitted. That can help us see billions of years into the past. Comparing what the universe was like at different ages will help astronomers piece together the way it has transformed over time.

This animation shows the type of science that astronomers will be able to do with future Roman deep field observations. The gravity of intervening galaxy clusters and dark matter can lens the light from farther objects, warping their appearance as shown in the animation. By studying the distorted light, astronomers can study elusive dark matter, which can only be measured indirectly through its gravitational effects on visible matter. As a bonus, this lensing also makes it easier to see the most distant galaxies whose light they magnify.

The simulation demonstrates how Roman will see even farther back in time thanks to natural magnifying glasses in space. Huge clusters of galaxies are so massive that they warp the fabric of space-time, kind of like how a bowling ball creates a well when placed on a trampoline. When light from more distant galaxies passes close to a galaxy cluster, it follows the curved space-time and bends around the cluster. That lenses the light, producing brighter, distorted images of the farther galaxies.

Roman will be sensitive enough to use this phenomenon to see how even small masses, like clumps of dark matter, warp the appearance of distant galaxies. That will help narrow down the candidates for what dark matter could be made of.

In this simulated view of the deep cosmos, each dot represents a galaxy. The three small squares show Hubble's field of view, and each reveals a different region of the synthetic universe. Roman will be able to quickly survey an area as large as the whole zoomed-out image, which will give us a glimpse of the universe’s largest structures.

Constructing the cosmos over billions of years

A separate simulation shows what Roman might expect to see across more than 10 billion years of cosmic history. It’s based on a galaxy formation model that represents our current understanding of how the universe works. That means that Roman can put that model to the test when it delivers real observations, since astronomers can compare what they expected to see with what’s really out there.

In this side view of the simulated universe, each dot represents a galaxy whose size and brightness corresponds to its mass. Slices from different epochs illustrate how Roman will be able to view the universe across cosmic history. Astronomers will use such observations to piece together how cosmic evolution led to the web-like structure we see today.

This simulation also shows how Roman will help us learn how extremely large structures in the cosmos were constructed over time. For hundreds of millions of years after the universe was born, it was filled with a sea of charged particles that was almost completely uniform. Today, billions of years later, there are galaxies and galaxy clusters glowing in clumps along invisible threads of dark matter that extend hundreds of millions of light-years. Vast “cosmic voids” are found in between all the shining strands.

Astronomers have connected some of the dots between the universe’s early days and today, but it’s been difficult to see the big picture. Roman’s broad view of space will help us quickly see the universe’s web-like structure for the first time. That’s something that would take Hubble or Webb decades to do! Scientists will also use Roman to view different slices of the universe and piece together all the snapshots in time. We’re looking forward to learning how the cosmos grew and developed to its present state and finding clues about its ultimate fate.

This image, containing millions of simulated galaxies strewn across space and time, shows the areas Hubble (white) and Roman (yellow) can capture in a single snapshot. It would take Hubble about 85 years to map the entire region shown in the image at the same depth, but Roman could do it in just 63 days. Roman’s larger view and fast survey speeds will unveil the evolving universe in ways that have never been possible before.

Roman will explore the cosmos as no telescope ever has before, combining a panoramic view of the universe with a vantage point in space. Each picture it sends back will let us see areas that are at least a hundred times larger than our Hubble or James Webb space telescopes can see at one time. Astronomers will study them to learn more about how galaxies were constructed, dark matter, and much more.

The simulations are much more than just pretty pictures – they’re important stepping stones that forecast what we can expect to see with Roman. We’ve never had a view like Roman’s before, so having a preview helps make sure we can make the most of this incredible mission when it launches.

Learn more about the exciting science this mission will investigate on Twitter and Facebook.

Make sure to follow us on Tumblr for your regular dose of space!

[too-fond-to-be-fearful]

Been thinking recently about the goings-on with Duolingo & AI, and I do want to throw my two cents in, actually.

There are ways in which computers can help us with languages, certainly. They absolutely should not be the be-all and end-all, and particularly for any sort of professional work I am wholly in favour of actually employing qualified translators & interpreters, because there's a lot of important nuances to language and translation (e.g. context, ambiguity, implied meaning, authorial intent, target audience, etc.) that a computer generally does not handle well. But translation software has made casual communication across language barriers accessible to the average person, and that's something that is incredibly valuable to have, I think.

Duolingo, however, is not translation software. Duolingo's purpose is to teach languages. And I do not think you can be effectively taught a language by something that does not understand it itself; or rather, that does not go about comprehending and producing language in the way that a person would.

Whilst a language model might be able to use probability & statistics to put together an output that is grammatically correct and contextually appropriate, it lacks an understanding of why, beyond "statistically speaking, this element is likely to come next". There is no communicative intent behind the output it produces; its only goal is mimicking the input it has been trained on. And whilst that can produce some very natural-seeming output, it does not capture the reality of language use in the real world.

Because language is not just a set of probabilities - there are an infinite array of other factors at play. And we do not set out only to mimic what we have seen or heard; we intend to communicate with the wider world, using the tools we have available, and that might require deviating from the realm of the expected.

Often, the most probable output is not actually what you're likely to encounter in practice. Ungrammatical or contextually inappropriate utterances can be used for dramatic or humorous effect, for example; or nonstandard linguistic styles may be used to indicate one's relationship to the community those styles are associated with. Social and cultural context might be needed to understand a reference, or a linguistic feature might seem extraneous or confusing when removed from its original environment.

To put it briefly, even without knowing exactly how the human brain processes and produces language (which we certainly don't), it's readily apparent that boiling it down to a statistical model is entirely misrepresentative of the reality of language.

And thus a statistical model is unlikely to be able to comprehend and assist with many of the difficulties of learning a language.

A statistical model might identify that a learner misuses some vocabulary more often than others; what it may not notice is that the vocabulary in question are similar in form, or in their meaning in translation. It might register that you consistently struggle with a particular grammar form; but not identify that the root cause of the struggle is that a comparable grammatical structure in your native language is either radically different or nonexistent. It might note that you have trouble recalling a common saying, but not that you lack the cultural background needed to understand why it has that meaning. And so it can identify points of weakness; but it is incapable of addressing them effectively, because it does not understand how people think.

This is all without considering the consequences of only having a singular source of very formal, very rigid input to learn from, unable to account for linguistic variation due to social factors. Without considering the errors still apparent in the output of most language models, and the biases they are prone to reproducing. Without considering the source of their data, and the ethical considerations regarding where and how such a substantial sample was collected.

I understand that Duolingo wants to introduce more interactivity and adaptability to their courses (and, I suspect, to improve their bottom line). But I genuinely think that going about it in this way is more likely to hinder than to help, and wrongfully prioritises the convenience of AI over the quality and expertise that their existing translators and course designers bring.

[literaryvein-reblogs]

Writing Notes: Self-Editing

Take a Break Before Editing

One of the most effective self-editing techniques is to distance yourself from your writing before diving into the editing process. After completing your draft, give yourself some time away from the text – a few hours, a day, or even longer if possible. This break provides a fresh perspective, allowing you to approach your work with a more critical eye.

Read Aloud

Engage your auditory senses by reading your work aloud. This not only helps identify grammatical errors and awkward phrasing but also allows you to assess the overall flow and rhythm of your writing. Awkward sentences are more apparent when heard.

Focus on One Element at a Time

To avoid feeling overwhelmed during the self-editing process, concentrate on specific elements in each round. Start by checking for grammatical errors and punctuation, then move on to sentence structure, coherence, and finally, style. This systematic approach ensures a thorough examination of your writing.

Add Dimensions

After you are finished with your first draft, flip to the beginning and start anew. As you write and edit more of your story, you may add different aspects to a character that might need to be mentioned in a section you already edited. You might add a part of the plot that should be alluded to earlier in your book.

Fill in the Gaps

Re-reading your first draft might reveal plot holes that will be addressed via revisions. It may expose logical inconsistencies that must be buttressed with enhanced detail. If you, as the author, know a lot of details about a character’s backstory, make sure your reader does as well.

Mend Character Arcs

Audiences want engaging plots, but they also want detailed characters who undergo change during the events of a story. Use a second draft to make sure that your main character and key supporting characters follow consistent character arcs that take them on a journey over the course of the story. If your story is told through first person point of view (POV), this will be even more important as it will also affect the story’s narration.

Track the Pacing of your Story

Find ways to space out your story points so that every section of your novel is equally compelling and nothing feels shoehorned in.

Clean up Cosmetic Errors

When some first time writers think of the editing process, they mainly think of corrections to grammar, spelling, syntax, and punctuation. These elements are certainly important but such edits tend to come toward the end of the process. Obviously no book will go out for hard copy publication without proofreading for typos and grammatical errors, but in the early rounds of revising, direct most of your energy toward story and character. If you consider yourself a good writer who simply isn’t strong on elements like spelling, grammar, and punctuation, consider hiring an outside proofreader to help you with this part of the writing process.

Inject Variety

The best novels and short stories contain ample variety, no matter how long or short the entire manuscript may be. Look for ways to inject variety into your sentence structure, your narrative events, your dialogue, and your descriptive language. You never want a reader to feel like s/he’s already read a carbon copy of a certain scene from a few chapters back.

Check for Consistency

Consistency is key to maintaining a professional and polished tone in your writing. Ensure that your language, formatting, and style choices remain consistent throughout your piece. Inconsistencies can distract the reader and diminish the overall impact of your work.

Eliminate Redundancies

Effective communication is concise and to the point. During the self-editing phase, be vigilant in identifying and eliminating redundancies. Repetitive phrases and unnecessary words can dilute your message and hinder clarity.

Verify Facts and Information

If your writing incorporates facts, figures, or data, double-check the accuracy of your information. Providing accurate and up-to-date information enhances your credibility as a writer. Cross-referencing your sources during the self-editing process ensures the reliability of your content.

Consider Your Audience

Keep your target audience in mind during the self-editing process. Ensure that your language, tone, and examples are tailored to resonate with your intended readership. This step is crucial for creating a connection with your audience and enhancing the overall impact of your writing.

Utilise Editing Tools

Take advantage of the various editing tools available to writers. Spell and grammar checkers, and style guides can serve as valuable companions during the self-editing journey. However, remember that these tools are aids, not substitutes, for your critical evaluation.

Seek Feedback

Engage with others to gain fresh perspectives on your writing. Peer reviews or feedback from mentors can offer valuable insights that you might have overlooked. Embrace constructive criticism and use it to refine your work further.

Be Ruthless with Revisions

Effective self-editing requires a degree of ruthlessness. Don’t be afraid to cut or rewrite sections that do not contribute to the overall strength of your piece. Trim excess words, tighten sentences, and ensure that every element serves a purpose.

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