I hadn’t really thought of it until now (no pun intended), but the set up of this website and how people opt in to creating a Now Page on their own websites, makes it an interesting and unique type of online directory for the discovery of a particular type of online set of links. Certainly an interesting set up and concept for Brad Enslen and Kicks Condor to take a look at in their online explorations of these types of discovery-based websites.
Certainly webmention could be used to collect the data and provide updates for such a directory. (I’ll note that most people who do have Now pages put a small notice at the bottom of their pages with a link back to the directory to reference it–something which I’m sure has helped spread the general idea.) One of the things I haven’t seen directories like this necessarily have is a feed of content that one could subscribe to updates from. While this one doesn’t have this sort of ability built into it (or seemingly any search or sorting functionality by categories or tags), it does have a Twitter feed that pushes out semi-regular updates of people within the directory. This way, if you’re subscribed, you see others’ updates being fed out. Every couple of months it also mentions me directly, which provides me with a regular reminder to update my presence within the directory.
I’m curious how we might expand this sort of concept to other types of online directories? Is there anything else useful about how this is one is set up?
BookmarkedUngifted by Gordon Korman(Scholastic Inc.)
This funny and touching underdog story is a lovable and goofy adventure with robot fights, middle-school dances, live experiments, and statue-toppling pranks! When Donovan Curtis pulls a major prank at his middle school, he thinks he’s finally gone too far. But thanks to a mix-up by one of the administrators, instead of getting in trouble, Donovan is sent to the Academy of Scholastic Distinction, a special program for gifted and talented students. Although it wasn’t exactly what Donovan had intended, the ASD couldn’t be a more perfectly unexpected hideout for someone like him. But as the students and teachers of ASD grow to realize that Donovan may not be good at math or science (or just about anything), he shows that his gifts may be exactly what the ASD students never knew they needed.
This book is built on a simple premise: Most companies don't know what creativity really is, so they can't benefit from it. They lack creative clarity.
Creative clarity requires you to do four things:
1. Choreograph a creative strategy, describing a clear future even among the blurry business landscape.
2. Grow teams that include those creative, unpredictable outcasts; give them the space to produce amazing work; and build a unique form of trust in your company culture.
3. Institutionalize an iterative process of critique, conflict, and ideation.
4. Embrace chaos but manage creative spin and stagnation.
This book is primarily for people in charge of driving strategic change through an organization. If you are a line manager responsible for exploring a horizon of opportunity, the book will help you establish a culture of creative product development in which your teams can predictably deliver creative results. You'll learn methods to drive trust among your team members to enable you to critique and improve their work. And as an organizational leader, you'll complement your traditional business strategies with the new language and understanding you need to implement creativity in a strategic manner across your company.
In a creative environment, chaos is the backdrop for hidden wonderment and success. In this book, you'll gain clarity in the face of that chaos, so you can build great products, great teams, and a high-performing creative organization.
Zipf's, Heaps' and Taylor's laws are ubiquitous in many different systems where innovation processes are at play. Together, they represent a compelling set of stylized facts regarding the overall statistics, the innovation rate and the scaling of fluctuations for systems as diverse as written texts and cities, ecological systems and stock markets. Many modeling schemes have been proposed in literature to explain those laws, but only recently a modeling framework has been introduced that accounts for the emergence of those laws without deducing the emergence of one of the laws from the others or without ad hoc assumptions. This modeling framework is based on the concept of adjacent possible space and its key feature of being dynamically restructured while its boundaries get explored, i.e., conditional to the occurrence of novel events. Here, we illustrate this approach and show how this simple modelling framework, instantiated through a modified Polya's urn model, is able reproduce Zipf's, Heaps' and Taylor's laws within a unique self-consistent scheme. In addition the same modelling scheme embraces other less common evolutionary laws (Hoppe's model and Dirichlet processes) as particular cases.
Prof. Yosef Garfinkel (Hebrew University)
Mr. Saar Ganor (Israel Antiquities Authority)
The Hebrew University of Jerusalem
Israel, 20 miles southwest of Jerusalem
Iron Age, early 10th century BC; Hellenistic
Kibbutz Netiv Ha-Lamed Hei
The fieldwork lasted from 2007 to 2013. Now the expedition concentrates on the analysis of the finds and writing the final excavation reports. A new field project is starting at Tel Lachish, cooperation between the Institute of Archaeology of the Hebrew University of Jerusalem and the Institute of Archaeology of Southern Adventist University.
During the silent film era in Japan, which extended into the early 1930s, film screenings were accompanied by live narrators, called benshi. In the industry’s early years, benshi functioned much in the way scientific lecturers did in early American and European cinema, providing simple explanations about the new medium and the moving images on screen. Soon, however, benshi developed into full-fledged performers in their own right, enlivening the cinema experience with expressive word, gesture and music. Each with their own highly refined personal style, they deftly narrated action and dialogue to illuminate—and often to invent—emotions and themes that heightened the audience’s connection to the screen. Loosely related to the style of kabuki theater in which vocal intonation and rhythm carries significant meaning and feeling, benshi evolved in its golden age, between 1926-1931, as an art form unto itself. Well-established benshi such as Tokugawa Musei, Ikukoma Raiyfi, and Nakamura Koenami were treated as stars, reviewed by critics, featured in profiles (in 1909, the first issue of one of Japan’s earliest film journals featured a benshi on its cover) and commanded high salaries from exhibitors. The prominence and significant cultural influence of benshi prompted the government to try to regulate their practice, instituting a licensing system in 1917 and attempts were made to enhance their role as “educators” through training programs overseen by the Ministry of Education. The benshi were not without controversy, however. While some contemporary critics argued that the benshi were essential to differentiating Japanese film culture from the rest of the world’s output, others argued that the benshi, along with other theatrical elements, impeded the artistic and technical evolution of Japanese cinema into a fully modern art form. Benshi did vigorously resist the coming of sound to Japanese cinema and the practice continued, though with increasing rarity, into the sound era. The art, today, is carried on by a small group of specialized performers who have been apprenticed by the preceding generations of benshi, creating a continuous lineage back to the original performers.
The Archive and the Tadashi Yanai Initiative for Globalizing Japanese Humanities are pleased to present this major benshi event in Los Angeles which will afford audiences a once-in-a-lifetime chance to experience this unique art form in all its rich textures. Pairing rare prints of Japanese classics and new restorations of American masterworks, this weekend-long series features performances by three of Japan’s most renowned contemporary benshi, Kataoka Ichirō, Sakamoto Raikō, and Ōmori Kumiko. Trained by benshi masters of the previous generation, they will each perform their unique art live on stage in Japanese (with English subtitles) to multiple films over the course of the weekend. Every performance and screening will be accompanied by a musical ensemble with traditional Japanese instrumentation, featuring Yuasa Jōichi (conductor, shamisen), Tanbara Kaname (piano), Furuhashi Yuki (violin), Suzuki Makiko (flute), Katada Kisayo (drums).
Special thanks to the Tadashi Yanai Initiative for Globalizing Japanese Humanities, The Tsubouchi Memorial Theatre Museum at Waseda University and the Top Global University Project, Global Japanese Studies Model Unit, Waseda University (MEXT Grant), National Film Archive of Japan.
I’ve always loved old school screenings of silent films, but I’ve never experienced benshi. This sounds like it could be pretty cool and definitely unique as its own artform.
Export your Google+ feeds to Wordpress, Blogger and JSON. Simply choose your OS.
I haven’t tried it yet, but this is one of the first Google+ exporters I’ve seen.
Finally! a way to re-platform your Google+ data before the April 2019 shutdown.https://t.co/GX0IZi5jYK exports to WordPress, Blogger and other places. Hoping that this allows for communities to transition to new hosting or for individuals to go #indieweb
The Shfela, or Shephelah, lit. "lowlands" (Hebrew: הַשְּפֵלָה, also שְׁפֵלַת יְהוּדָה, Shfelat Yehuda, the "Judaean foothills"), is a transitional region of soft-sloping hills in south-central Israel stretching over 10–15 km between the Judaean Mountains and the Coastal Plain. The different use of the term "Judean Plain", as either defining just the Coastal Plain segment stretching along the Judaean Mountains, or also including, or only referring to, the Shfela, often creates grave confusion.
Today the Shfela is largely rural with many farms.
The Bible assigned land in the Shfela to the tribes of Judah and Dan.
Quantum theory provides an extremely accurate description of fundamental processes in physics. It thus seems likely that the theory is applicable beyond the, mostly microscopic, domain in which it has been tested experimentally. Here, we propose a Gedankenexperiment to investigate the question whether quantum theory can, in principle, have universal validity. The idea is that, if the answer was yes, it must be possible to employ quantum theory to model complex systems that include agents who are themselves using quantum theory. Analysing the experiment under this presumption, we find that one agent, upon observing a particular measurement outcome, must conclude that another agent has predicted the opposite outcome with certainty. The agents’ conclusions, although all derived within quantum theory, are thus inconsistent. This indicates that quantum theory cannot be extrapolated to complex systems, at least not in a straightforward manner.
According to quantum theory, a measurement may have multiple possible outcomes. Single-world interpretations assert that, nevertheless, only one of them "really" occurs. Here we propose a gedankenexperiment where quantum theory is applied to model an experimenter who herself uses quantum theory. We find that, in such a scenario, no single-world interpretation can be logically consistent. This conclusion extends to deterministic hidden-variable theories, such as Bohmian mechanics, for they impose a single-world interpretation.
If you’ve ever wanted to see an old lady’s personal anger and rants about the modern web industry turned into a talk, you’ve come to the right place.
This is Old Lady Shouts At Clouds to the nth degree.
History of the web
I’m here to talk to you about the single biggest invention in human hi...
Indigenous is all about controlling your social experience on the internet. Using modern internet technology, you can follow websites as easily as following a person on Facebook, and Post content to your own website as easily as tweeting on Twitter.
Indigenous requires you to be signed up with a server that provide Micropub or Microsub compatibility in order to use the features of Indigenous.
I have been using Blot, a simple blogging platform with no interface, for quite some time now for running my blog. I am not alone when I say this, but am mighty impressed with how simple it is to post things on blot and maintain the overall site. They are just some files in Dropbox - that’s about ...