~sports has been a bit empty lately. With the end of the NBA regular season I thought we could open this up to discussion of how the season went for your team, notable moments, what you didn't expect etc...

I'll start off, as an Orlando Magic fan I'm so incredibly psyched we finally made the playoffs, it's been too damn long. Speaking of the playoffs, how wild is it that Lebron's streak of finals appearances ends with him completely missing the playoffs? Is there even any point in the playoffs this season because the Golden State Monstars could just steamroll everyone in their way.

I thought it might be cool to get a random slice of people's music libraries, musical knowledge, and how they relate to songs that aren't necessarily standouts or favorites. Don't worry about the five tracks being a representative sample of your tastes or anything--I just think it's a fun exercise!

Also, if you get a bad list of five, it's okay to re-roll.

Some of you may have heard that the bright minds behind Risk of Rain have made their next effort with the help of an added dimension. Risk of Rain 2 released on Early Access lately, to many peoples' surprise and joy. I played a decent bit of the original, but never managed to get into it. Something about 2D scrollers like that puts me off hard, but I respected the hell out of the awesome art, fantastic music, and neat synergies/shenanigans throughout the game.

Risk of Rain 2, so far, has been an absolute blast and I'm super happy for the devs. They received way more support than they initially expected upon launch, and the buy 1 get 1 gift key strategy did wonders for them. I've been steadily playing this game with friends and after the initial Diablo 2 loot stealing shenanigans, we've all managed to memorize items, learn builds, and work out what survivalists we like. This game is a killer time-killer; I've spent what I thought was 10 minutes in one match only to glance at the timer and read that 70 minutes have passed. This game almost feels like it's a finished product, and the devs aren't even done yet. I'm super psyched for all the new stuff we'll get to see and experiment with.

I'm also curious as to what anyone else thinks. Has anyone played enough to share their opinions? Did anyone not enjoy their time with the game? Please share!

enikő

a story written on the edge of sleep and sanity

The dreams never seem to come unless they're tortured memories or painful reminders of some ill-begotten past nobody wants to remember. To sleep is to live with that reality, but there can be no sleep in such reality either, and neither can there be peace. In the reality there is Enikő, eyes strained against an all-consuming darkness, and the many fractured people that exist within.

"No sleep," mutters Enikő into the void. There are no people around to hear that, except the many fractured people within. Enikő flashes out of existence at once and the fractured people take their spaces, dance their dances against the blackness.

"You know," scolds Alyaza Birze, who flashes at once into existence, "you must cease to suppress me one of these days!" Probably Enikő is not truly around to hear this in the reality, for Enikő is just as nonexistent as all the other people within the darkness. Alyaza pays it no mind, for she is accustomed to such.

"Why must you always tax yourself so, Enikő?" calls Alyaza out to the void. "You know as I that you must sleep. The nightmares are no more common than the daydreams, and neither too are the thoughts. They are not often for you. Rest at once." The void does not answer.

Alyaza flashes back into nonexistence, and so takes her place is Natja Avidina. In some other place in some other space, it is so that Natja and Alyaza exist as roommates. In this reality though they are consigned to singular existences, never seeing one another. They are opposites, yin and yang, and in this reality yin and yang cannot be at the same time. Natja cannot exist where Alyaza does, nor can Alyaza exist where Natja does. Natja pays this no mind, for she too like Alyaza has long resigned to the void reality.

"Why do you make yourself suffer, Enikő?" slips the quiet voice of Natja into the void. "Surely you too must be tired, even with the nightmares and the thoughts, and surely you too must realize that there is no guarantee you will even remember them if you rest?" And then Natja too snaps out of existence and is replaced by Enikő.

"I don't want the thoughts or the nightmares or the dreams." says Enikő from reconstitution. "I have dreamed and thought like a crazy person for years and every day my sanity slips a little more because of it! Must I be consigned to suffer then like every other facet of life simply because you two demand it of me?"

Enikő's eyes drift, and into the void Alyaza calls back a simple "yes" before disappearing again. In the void little figures dance to the rhythm of a silent melody, one-two like so then one-two again, not figures like Alyaza or Natja but the manifestations of the thoughts and dreams and every little thing the brain conceives and conspires to employ in this god-forsaken hellspace of a reality. Fire and brimstone could never compare to the void that taunts and harasses the very depths of soul and sanity.

Enikő's eyes drift back into the void. "I refuse," she says with conviction. Sleep will bring upon this void all the figures dancing to the invisible beat a thousand times over complimented with the worst machinations of the mind. One thousand times too many has this happened and one thousand and one will not tonight.

Enikő gives way to another shard of a body, the one that always confronts the thoughts. The eyes of Twilight Sparkle methodically survey the void for the usual actors, the ones that seem to recur every time she is spirited to this curious place. This is not her home, nor has it ever been, and why she is here she never does seem to know. In another place she is lauded but anxious perpetually, sent against fate and time and gods themselves in the name of an abstract concept she supposes she represents. Here, she exists as a mixture of reason and reaction, and in the void it is never certain which side dominates. She has never been used to the void, but the void cares little for such things.

"The thoughts aren't anything you haven't experienced before." she says carefully. "If it were my call, I'd take it. Better than what the rest of the mind can spit out if you stay in this void for too long."

The manifestation of reason disappears, and reaction it seems has lost the day for once. But Enikő responds only with "I refuse" and vanishes once more into nonexistence. The Thompson-esque scene must shamble along once more, resembling more and more an acid trip gone awry with its talking purple ponies and radical socialist gryphon-kind. The void answers the call with frantic pace, the one-two double timing without a breath to spare and the void reaching with the first tendrils of abject paranoia. The void must call its call and spread until entropy overcomes its will. Sleep must one day win over void, or void must overcome all things otherwise.

But Enikő only pops back once more to refuse. "I shall not sleep, and none shall tell me otherwise. No void shall overcome me, no matter what, and I would sooner die than feel the thoughts once more."

Alyaza Birze has a plan. She is no strategist of course, and pays no claim to being such, but just as Enikő was the body within which all of the fractal personalities contained themselves, Alyaza was a person into which Enikő could project. And just as Enikő knew Alyaza, Alyaza must then have known Enikő.

The one-two one-two staccato of the void grew seemingly always more and more discordant, for which Enikő would no doubt pay in short order. But the void reality was not the only reality into which all of the fractal personalities could contain themselves, and Alyaza Birze knows this. There are many vectors by which to project yourself into another reality, and this too Alyaza Birze knows, but it is a very specific reality that Alyaza Birze seeks. And so into the void, with sudden rhythm, is a familiar humming.

Doo do, doo do do do.

Do do do do, do do do do, do do.

It is some indiscriminate time, in a place that is less so indiscriminate. Alyaza Birze is on a podium at the head of a sea of curious lifeforms in a reality that places her in a Thompson-like Battle of Aspen. But far from Aspen, this reality invokes some mayoral election for a town named Ponyville in a land called Equestria, in some god-forsaken reality that demands words but defies them and calls for no less than six tabs of acid. It is Birze, the uncharismatic but ever convention-defying radical speaker who raises a Gonzo fist to a species with no opposable digits and recites with conviction "All you maggot-smoking fags on Santa Monica boulevard." No explanation for these words or their significance to the Birze campaign is given, nor for the Gonzo fist, and the reality at once seems to shatter into a million ill-fitting pieces from such an illogical state of being. Birze pays none of it mind.

Somewhere to the side of the sea of life is a Twilight Sparkle equally oblivious of the void and all too aware of it, cringing at every word spoken by Birze and no doubt trying to distance herself from every syllable that is enunciated on that grand podium. No self-respecting person would be caught dead wholeheartedly agreeing with some platform literally based in nothing in this reality (except of course for the vast masses already doing so but without saying so). But then all of this is irrelevant and Twilight knows this and it is merely pomp and circumstance to the call of the void which exists and eats away at everything like a malignant cancer even in so far away a place as this. Behind the thinly veiled, multicolored sets of this reality jolt the rhythms of the void reality, ready to expand and consume here just as it too shall consume Enikő. And so it is under that circumstance that exponentially titled future Mayor of the Reality of the Freak Power Ponyvillians Alyaza Birze and shattered personality Twilight Sparkle meet both knowing and not knowing why it is they meet.

"To what pleasure do I owe speaking to the visit of our presumptive mayor?" asks the purple pony in the Thompson-esque scene. The void at least will not eat these words, so there is point and purpose in the intonation put on them.

"Someone as smart as you surely must know why I am here and not anywhere else today. Void is void, Tevilias. It is another one of those." said Alyaza with reservation. "And certainly I am no mayor, for the record."

"You must forgive me," Twilight strings together with lackadaisical attitude, "but what would 'one of those' mean?" There is an air of resignation in the words, like the inevitable weight of a hundred-million realities is about to crash down on this reality and consign it to some bad acid trip where it belongs.

"Well you know as I, Tevilias, that in twenty-odd hours I shoot all of you to that beat and tune, that bullshit line of "All you maggot-smoking faggots" in this strange smoke and mirrors bullshit reality that exists. That is where the thoughts go, that is what the void calls, and it is you who will die there too in agony a hundred times any other. And no doubt you know that I have no desire to do that. We've been through this a hundred times, haven't we? And we know what happens if we do that."

"Sure." The resignation is enviable.

"And so we will not let that happen, will we? Because it's not like I want to murder. And you know what will happen if we do." The three-headed cerberus that inhabits the void makes itself known then.

"I WILL MURDER YOU ALL IN COLD BLOOD" bays the first head. The second nods solemnly as though carried along for a ride it never asked. The third head is manic, bearing no mind to anything but the vast and acid-like surroundings and teetering back and forth on the cusp of some far off reality from here. All of them are Alyazas, stuck in a body that never represented them in a world that never cared for them, or so it seems. No one head ever seems to dominate, except when it surfaces and becomes The Alyaza Birze, the one that people know. And never is there a time when one knows which one is The Alyaza Birze or if none of them are The Alyaza Birze, the one that everybody interacts with. Perhaps twenty-odd hours from now it will be the first that will do the killing.

"So perhaps," says Alyaza Birze, the cerberus disappearing at once, "we should make this quick then." And Twilight Sparkle can merely nod as one of the fragmented personalities once in her own reality and soon to again no longer be.

The void cannot pace itself any longer, and the discordant harmonies cease at once to contain themselves. The thoughts grow darker and drearier as they always do and the figures in the void give way to the schizophrenic happenings of the night. The shadow figures that once were become again and reanimate against the pitch black, the vividness ever greater. Sleep is enviable, but the void shall not overcome. The thoughts shall not overcome, not the dreams of dying or doing the death dealing nor the inenviable and inevitable thoughts of wanton mutilation. "The void will not overcome me, and I shall not sleep." says Enikő, and the void surges its tendrils once more.

Alyaza Birze and Twilight Sparkle and all her friends and all the other fractal personalities but Natja Avidina constitute themselves in the void once more, humming the refrains to a song which they all care to know as fractal personalities to a person. What a thing to be a witness to the sunshine! What a dream to just be walking on the ground! Into the void must strum the beat to something more cheery, something to at least dispel the thoughts and the agonies and the void for awhile, something that isn't so depressive and destructive. Don't get so upset, the refrain cries, the world was never fair--but there are ways yet to get through the day and so too perhaps the night. None of the fractal personalities sing, for singing is never quite their tempo. In some other, non-void reality perhaps this is so, but here they simply drown in the thoughts. And the thoughts are drowned, slowly, but inexorably, by the feelings of the music.

The void begins to slow, and entropy takes its course as does inevitably for all things. Soon the dreams are gone and so too go the thoughts with them, and at once there is a true void where the nightmares and the thoughts frolic no longer.

"Well that was not so hard." says Alyaza Birze. "A work done well by everybody, I suppose." Twilight merely scoffs, and says nothing of it before she is reconstituted into her own reality, to perhaps be shot again sometime in not-so-far-gone future. So too out of existence and into their own blink her other friends, ever present in this void from time to time as she but never quite players in its major doings. One day in the not-so-far-gone future it is they too who may die at the hands of some Alyaza Birze. But tonight they are merely fractal personalities in a large symphony of them, called upon ever and remembered never.

Into the night Alyaza Birze skitters onto paper a little testimony she picked up on a day she can no longer remember but which sticks into her mind evermore.

It reads:

In my own country I am in a far-off land
I am strong but have no force or power
I win all yet remain a loser
At break of day I say goodnight
When I lie down I have a great fear
Of falling.

And then she too blinks into nonexistence, perhaps in some not-so-far-flung future destined to be as she was this night to kill, perhaps destined to rewrite the words of testimony, but ever destined to repeat the cycle of doing and being and defusing crises on this night and all others a million times over now and forever more.

And for the first time in a long while, Enikő is at peace and sleeps.

One of my favorite YouTube channels, Linus Tech Tips, does this all the time, but I have seen many others doing this as well, and I personally find it rather obnoxious. I understand that it's more effective at getting them views, which they rely on to stay in business... but I see it as just another form of clickbait, and so when I submit LTT videos I tend to remove that capitalization.

However, are there any cases where capitalization for emphasis is appropriate in a headline/title? And if not, should titles be edited to remove them?

p.s. Acronyms and Initialisms are obviously different, so let's ignore those and put them in the "clearly acceptable" category.

after some delay, we're back with the second week of this thread as we chug headlong into what will probably be a shitshow of a primary and an even bigger shitshow of an election. this is going to be longer than the last one, because there's been quite a bit going on, and i'm going to split the actual news from pieces that are either opinion or ideologically driven.

as with the previous thread, common sense should be able to generally dictate what does and does not get posted in this thread. if it's big news or feels like big news, probably make it its own post instead of lobbing it in here. like the other weekly threads, this one is going to try to focus on things that are still discussion worthy, but wouldn't necessarily make good/unique/non-repetitive discussion starters as their own posts.

Week 1 thread

News

from CBS - The 2020 contenders. this is probably one of the most comprehensive rundowns of who exactly all of these people are, what they stand for, are what their qualifications are. (it also demonstrates what an absolute clown car of a race this is already, but that's another thing). if you're shopping around for a candidate in the democratic primary to support, this might be a good place to start.

from FiveThirtyEight - What The Potential 2020 Candidates Are Doing And Saying, Vol. 13. in case you were curious what all of these people scurrying around the country were up to this week, 538 has you covered. of note are the whistlestop tours that sanders, o'rourke, yang, and harris are going on in iowa, as well as the ones gillibrand, booker, and currently speculative candidate michael bennet (the democratic senator from colorado and just-diagnosed pancreatic cancer victim) are going on in new england.

from NPR - Ohio Rep. Tim Ryan Joins 2020 Race With A Populist Pitch To Blue-Collar Voters. the clown car of a primary continues to grow with tim ryan's announcement. tim ryan, for the unaware, is a democratic congressman from ohio who currently sits in a district that voted D+6 in the last election, but is probably quickly sprinting to the right along with most of ohio. whether this is him trying to get ahead of what will probably be a hard seat to hold on to or him just being opportunistic, i dunno, but he's a fringe candidate to say the least. i'd be surprised if he made the debates, and he'll likely retain his seat since ohio is a state that allows you to run for two offices at the same time.

from The Hill - Swalwell running for White House on gun control: report. incidentally, we should also know by next week whether or not the primary will gain another member in representative eric swalwell (rep for california's 15th congressional district), who appears to be angling himself as the gun control candidate. for those of you keeping track, this will make him candidate number 19 if he does run (20, if you count ojeda before he withdrew). we're probably on track for at least 20 declared candidates, seeing as biden is presumably going to announce at some point.

from NPR - Sanders Tops Democratic Fundraising As O'Rourke, Harris And Buttigieg Draw Big Sums. fundraising is a very large part of the early stages of the race, and so far it's been a bonanza of cash for the frontrunners. sanders hauled in 18 million, harris hauled in 12 million, o'rourke 9.4 million, and buttigieg 7 million among others. smaller candidates will probably be releasing their numbers in the next few days or, if they don't, we'll see them on april 15th.

from Buzzfeed News - Andrew Yang Is Finding New Ways To Get Attention Offline. support for andrew yang is largely an internet phenomenon, but that hasn't stopped yang from campaigning like he isn't. we'll see if it pays off for him (he's seemingly in a weird middle ground between the second-tier of viable candidates and the ones that are basically guaranteed to get 1% in iowa and drop out), but i suppose actually being in front of the media can't really hurt him right now.

from Buzzfeed News - Joe Biden Says He'll Be "More Mindful" About Personal Space After Allegations Of Inappropriate Contact. if you've paid any attention to the news, you've probably seen the raking of joe biden recently for his history of being touchy-feely toward people who don't necessarily want it. this is his first personal acknowledgement of that, and while we'll have to see how it goes over, i don't think this is the last you'll be hearing of that particular subplot.

from The Guardian - Why the populist wave is setting the tone for Democratic candidates. this is a pretty straightforward piece on the undercurrent of populism--or the decided lack thereof--in the campaigns of many of these candidates on the campaign trail. expect to see this label come up a lot now that it isn't only sanders who it gets applied to.

Opinion/Ideology-driven

from Vox - Howard Schultz hasn’t gotten into policy specifics. Here are 4 ideas from women candidates who have. one of the early issues people are taking with the media so far in reporting on the primary is the decided lack of attention given to the female candidates (to which there may or may not be merit based on 538's tracking of candidate mentions). enter vox, then, with this piece highlighting some of the policy proposals they have. i could have probably categorized this under news, but it feels more like an opinion piece than not, so i'll leave it under this subheading.

from The Guardian - Democrats need a 2020 candidate who inspires. Joe Biden isn't it. biden is a fairly popular democrat both inside and outside of the party, but whether that lasts and whether or not people think he's worth voting for is a different story. there are plenty of people who have criticisms of biden, and this op-ed goes into a few of those criticisms. they're probably familiar to you if you've gone anywhere biden gets discussed, and whether or not they'll tank him if he runs remains to be seen.

from Slate - In a Diverse Candidate Field, How Is Pete Buttigieg’s Sexuality Factoring Into His Appeal? and A Conversation About Pete Buttigieg, Identity, and Diversity in the 2020 Race. these two pieces on buttigieg have been slightly controversial over the past week in their point that buttigieg, gay man as he is, doesn't really get treated like a gay man because he's also white and well off and shares more in common with sanders and o'rourke than any of the female or minority candidates. that's of course something you can probably dispute, but it's an interesting discussion to have (which is probably why there's a follow-up piece in the first place).

lastly and also from Slate - Elizabeth Warren’s Proposal to Imprison More Corporate Executives Is a Bad Idea. this article makes the case for the misguidedness of one of warren's proposals (which you can find here and also find her op-ed about here). on premise i personally agree, but i do find it curious that this objection comes when it's about corporate executives, seeing as corporate executives aren't exactly immutably corporate executives and they're also not a large portion of the population. i dunno, food for thought.

anyways, feel free to as always contribute other interesting articles you stumble across, or comment on some of the ones up there.

Here's a list of a lot of things that came out in this past week, including many which are set to release on Friday. Of course, there's no way to be completely comprehensive with this and I avoided including things where information was too lacking, so feel free to mention anything that isn't on here that you think is worth mentioning. Beyond that, if you have any thoughts of any of these albums, it would be great to hear them :)

(oh and don't bully me for the genre tags, a lot of these things have very limited resources available and I couldn't individually listen to everything and determine what fits best, so I'm pulling from third parties and an artist's past work a lot of the time)

&More - Ethel Bobcat (Hip Hop)

Ady Suleiman - Thoughts & Moments Vol. 1 Mixtape (Neo Soul)

Ages and Ages - Me You They We (Indie Pop, Indie Folk)

Alma - Have You Seen Her? (Dance-Pop, Electropop)

BAND-MAID - BAND-MAIKO (Hard Rock)

Big Eyes - Streets Of The Lost (Power Pop, Garage Rock)

BLACKPINK - Kill This Love (K-Pop)

Bogdan Raczynski - Rave 'Till You Cry (Drum and Bass, IDM)

Brass Box - The Cathedral (Shoegaze)

Brooks & Dunn - Reboot (Country)

Bryce Dessner (of The National) - El Chan (Modern Classical)

bülow - Crystalline (Electropop, Alternative R&B)

Callum Easter - Here or Nowhere (Alternative R&B, Indie Pop)

Cassia - Replica (Indie Pop)

CHEN (EXO) - April, and a flower (K Pop)

Cherry Pickles - Cherry Pickles Will Harden Your Nipples (Pop Punk, Surf Rock)

Christian Löffler - Graal (Ambient, Techno)

Circa Waves - What's It Like Over There? (Indie Rock)

Cities of Mars - The Horologist (Post-Metal, Doom Metal)

COCAINE PISS - Passionate and Tragic (Crust Punk, Noise)

Conjurer - Sigils (Doom Metal, Stoner Metal)

Crown of Autumn - Byzantine Horizons (Black Metal, Doom Metal)

Datura4 - Blessed is the Boogie (Blues Rock, Hard Rock)

DJ DB405 - Trillden United (Christian Hip Hop, Trap)

Don Felder - American Rock 'N' Roll (AOR)

The Drums - Brutalism (Indie Pop, Synthpop)

Eluveitie - Ategnatos (Celtic Metal, Melodic Death Metal)

Evan Greer - She/Her/They/Them (Folk Punk, Riot Grrrl)

Flying Fish Cove - At Moonset (Indie Rock)

Foie Gras - Holy Hell (Drone)

Girli - Odd One Out (Electropop, Dance-Punk)

Good Morning - The Option (Indie Pop)

GRiZ - Ride Waves (Glitch Hop, EDM)

Gurr - She Says EP (Jangle Pop, Indie Rock)

Hannah Grace - The Bed You Made EP (Singer-Songwriter)

Idlewild - Interview Muisc (Indie Rock, Alternative Rock)

I Know Leopard - Love Is A Landmine (Indie Pop, Dream Pop)

The Infamous Stringdusters — Rise Sun (Bluegrass)

IZ*ONE - HEART*IZ (K Pop)

Jackie Venson - JOY (Contemporary R&B, Indie Pop, Neo-Soul)

Jai Wolf - The Cure to Loneliness (Synthpop, Synthwave)

Jasmine Thompson - Colour EP (Teen Pop)

JAWS - The Ceiling (Indie Pop)

Jelly Boy - Everybody is a Universe (Indie Rock)

Jimbo Mathus - Incinerator (Country, Americana)

John Vanderslice - The Cedars (Electronic, Indie Pop, Indie Rock)

Jonathan Larson - The Jonathan Larson Project (Film Score, Show Tunes)

Kendrick Scott Oracle — A Wall Becomes A Bridge (Jazz)

Khalid - Free Spirit (Alternative R&B)

Kiefer — Bridges (Electronic, Jazz)

Kings Kaleidoscope - Zeal (Indie Rock)

Lady Lamb - Even in the Tremor (Singer/Songwriter, Indie Rock)

Larry “Ratso” Sloman — Stubborn Heart (Indie Folk)

Lee Fields & The Expressions - It Rains Love (Soul)

Lena - Only Love, L (Pop)

Lissie - When I'm Alone: The Piano Retrospective (Pop Country)

Luke Sital-Singh - A Golden State (Singer/Songwriter)

Mana — Seven Steps Behind (Electronic)

MARINA - LOVE (Electropop, Dance-Pop)

Matt Maeson - Bank On The Funeral (Singer/Songwriter)

Matt Simons - After The LandsIide (Pop)

Mike Mains & The Branches — When We Were In Love (Indie Rock)

Molly Tuttle — When You’re Ready (Progressive Bluegrass)

Night School — Disappear Here (Indie Pop, Dream Pop)

Partner — Saturday The 14th EP (Power Pop)

Periphery - Periphery IV: HAIL STAN (Progressive Metal)

The Prescriptions — Hollywood Gold (Alternative Country, Folk Rock)

Priests — The Seduction Of Kansas (Post-Punk, Noise Rock)

PUP - Morbid Stuff (Pop Punk, Power Pop)

Ramriddlz - RamReaper (Alternative R&B)

Reba McEntire — Stronger Than The Truth (Contemporary Country)

Rescue Rangers — Divisive (Stoner Rock)

Rod Melancon — Pinkville (Country, Blues)

Rose Elinor Dougall — A New Illusion (Indie Pop, Dream Pop)

Rozi Plain — What A Boost (Indie Folk)

Sara Bareilles - Amidst the Chaos (Singer/Songwriter, Pop)

Savoir Adore — Full Bloom (Indie Pop)

Sego - Sego Sucks (Indie Pop)

Shana Cleveland — Night Of The Worm Moon (Folk)

Sharkmuffin — Gamma Gardening EP (Garage Punk, Riot Grrrl)

Social Club Misfits - MOOD. (Christian Hip Hop)

Spoony Bard — Old Friends (Hip-Hop, Electronic, Jazz)

Tayla Parx — We Need To Talk (Contemporary R&B)

Ten Tonnes - Ten Tonnes (Singer/Songwriter)

Tory Lanez - International Fargo (Pop Rap)

Tyler Ramsey — For The Morning (Contemporary Folk)

Uncle Meg — Butterfly EP (Emo Rap)

Weyes Blood - Titanic Rising (Art Pop, Baroque Pop)

Yarrow - A Mild Circus EP (Post-Punk)

Yung Garzi - Nothing To Something (Pop Rap)

Yung Van - Blackwater (Emo Rap)

Zaytoven - Make America Trap Again (Trap)

https://tildes.net/~hobbies/bzx/what_are_your_hobbies_and_how_do_you_get_into_them#comment-2z4f

See for yourself. Text is squished to the left side of the page, one or two words per line. No idea if anyone else can see this but since it happens every time l visit that link l thought it was worth asking.

Going to poke @Deimos on this one l suppose.

Edit: Issue created.

Eternal Love is a very popular Chinese romantic drama currently available on Netflix Canada. I originally had the English subtitles on, but eventually turned them off (as they were distractingly poor). As with a lot of period Chinese dramas with a female protagonist, there's crossdressing. Our main character pretends to be a guy, is accepted under a great master and trains alongside 16 other (all male) disciples.

I should mention here that Chinese is generally not gender specific. Written pronouns are basically for everyone, for female only (not really used, but seeing more use now for translating foreign media), for living creatures (like dogs and cats) and really specific uses (such as inanimate objects). When spoken, they all sound the same.

In this show's substitles, I noticed a very inconsistent use of pronouns for our main character. Since no one knows she's a woman, I expect the masculine form to be used. However, it often jumped to the feminine. My sister pointed out that it seemed like they stuck with the masculine in general, but switch to the feminine when talking about her romantically. So you end up with lines like "Shouldn't he be here?" and "Master's always had a soft spot for her." said by the same people.

This obviously made the show really confusing for me where I wasn't sure if everyone knew she was a woman. I know there's often ideas, feelings and more lost in translation, but this is one of the few times I felt very different message was sent in the original Chinese language (where a gay relationship was implied and accepted) to English (where there clearly wasn't a gay relationship).

Here, I should note that gay relationships in media and in public is not legally accepted in China. So I don't believe this was malicious. The Chinese version heavily implied a lot that couldn't be outright said, but translating it probably didn't afford the same liberties.

Thoughts? With so much international media easily available now, have you noticed anything similar?

Quick thought. Is there currently a purely visual way of distinguishing the rationale for why a comment is collapsed? It seems to me at the moment there's three distinct ways a comment can take on a collapsed property:

• The user actively collapsed the comment while scrolling through the topic. This type of collapse is transient, and is neither persisted on the Tildes server, or in the browser, after the users leaves the page.

• The comment was collapsed via the "negative weighting" heuristic as the community applied noise/joke tags to the comment. This is permanent, until presumably the comment gains enough votes to exceed any negative weighting causing its collapse.

• Thirdly, the comment can be collapsed because the user has enabled "collapse old comments" in https://tildes.net/settings/comment_visits. Once a user visits a thread, any comments that existed at the last visit to the thread will be collapsed on any subsequent visits to the thread.

Is there any visual way of distinguishing a user-collapsed comment from a community-collapsed comment currently? And if not, should there be one? Perhaps by making the collapsed text slightly more translucent? I'm actually looking to contribute to the Tildes source code in some small way, so this would potentially be an interesting shoehorn for that.

A recent thread has had its title changed due to the title being sensationalized. I'm not sure that this is the correct move, as the title in question was also the title of the submitted article. I think this does a disservice to the community as a whole, as it makes it appear as though we want to editorialize the content submitted here which seems to go against the ideal of fostering quality discussion.

"But wait!", I hear you say, "We have a topic log!" That will be ignored, easily, especially by those seeking to equate the community with something else. While we're busy misrepresenting content (because that's what changing a title does, it misrepresents), others will point at us and shout about how we're misrepresenting the content being posted. I cannot agree with this, and I think its detrimental to the community and the idea of Tildes as a whole. Note: Text-only posts obviously are excluded from this, I'm concerned with titles on submitted links that have their own title.

Now, what happens when the title of an article is already sensationalist and editorialized? The authors, editor, and publisher obviously have biases and platforms they want to support. It currently seems as though we are changing titles to something different than what the title of the article is, and I find this extremely off-putting. I can understand wanting to avoid bringing that bias over to Tildes, but I cannot understand a reason to deliberately misrepresent that bias by changing an article's title. I think this is going to be detrimental to the community and the mission of Tildes to generate high-quality discussion.

Where articles with sensationalized headlines are posted, I propose that we must retain those titles. The system of tagging is sufficient to indicate that a title is too strongly sensationalized. Deviating from this norm is antithetical with Tildes' mission to generate and foster quality content and discussion.

There are too many responses to really get into things individually, but I must say I feel as though there has been a breach of trust. I had no idea that altering the titles of submissions would go so far, and it has destroyed the image I had of the site. Maybe the site will evolve more as the experiment continues, who knows. In the meantime, I've been accused of making arguments in bad faith multiple times in this thread. I'm deeply offended by this, as I've tried to present my thoughts and feelings as clearly as I could. This is deeply troubling to me, especially since those accusations have been given strong support by other users.

unless we stopped editing titles

This is a misrepresentation, I only ask that titles match the article they're from. Edit away if the title doesn't match the article, or is a user's text post. Maybe I wasn't clear, but there it is spelled out.

Also, there was never an ultimatum, but Deimos and other users would smear me with such claims. Being unsure of whether or not a community is a good fit for yourself is not nearly the same thing as an ultimatum.

Preface

Conceptual models in programming are essential for being able to reason about problems. We see this through code all the time, with implementation details hidden away behind abstractions like functions and objects so that we can ignore the cumbersome details and focus only on the details that matter. Without these abstractions and conceptual models, we might find ourselves overwhelmed by the size and complexity of the problem we’re facing. Of these conceptual models, one of the most easily neglected is that of data and object structure.

Data Types Galore

Possibly one of the most overwhelming aspects of conceptualizing data and object structure is the sheer breadth of data types available. Depending on the programming language you’re working with, you may find that you have more than several dozens of object classes already defined as part of the language’s core; primitives like booleans, ints, unsigned ints, floats, doubles, longs, strings, chars, and possibly others; arrays that can contain any of the objects or primitives, and even other arrays; and several other data structures like queues, vectors, and mixed-type collections, among others.

With so many types of data, it’s incredibly easy to lose track in a sea of type declarations and find yourself confused and unsure of where to go.

Tree’s Company

Let’s start by trying to make these data types a little less overwhelming. Rather than thinking strictly of types, let’s classify them. We can group all data types into one of three basic classifications:

1. Objects, which contain key/value pairs. For example, an object property that stores a string.
2. Arrays, which contain some arbitrary number of values.
3. Primitives, which contain nothing. They’re simply a “flat” data value.

We can also make a couple of additional notes. First, arrays and objects are very similar; both contain references to internal data, but the way that data is referenced differs. In particular, objects have named keys while arrays have numeric, zero-indexed keys. In a sense, arrays are a special case of objects where the keys are more strictly typed. From this, we can condense the classifications of objects and arrays into the more general “container” classification.

With that in mind, we now have the following classifications:

1. Containers.
2. Primitives.

We can now generally state that containers may contain other containers and primitives, and primitives may not contain anything. In other words, all data structures are a composition of containers and/or primitives, where containers may accept containers and/or primitives and primitives may not accept anything. More experienced programmers should notice something very familiar about this description--we’re basically describing a tree structure! Primitive types and empty containers act as the leaves in a tree, whereas objects and arrays act as the nodes.

Trees Help You Breathe

Okay, great. So what’s the big deal, anyway? We’ve now traded a bunch of concrete data types that we can actually think about and abstracted them away into this nebulous mess of containers and primitives. What do we get out of this?

A common mistake many programmers make is planning their data types out from the very beginning. Rather than planning out an abstraction for their data and object architecture, it’s easy to immediately find yourself focusing too much on the concrete implementation details.

Imagine, for example, modeling a user account for an online payment system. A common feature to include is the ability to store payment information for auto-pay, and payment methods typically take the form of some combination of credit/debit cards and bank accounts. If we focus on implementation details from the beginning, then we may find ourselves with something like this in a first iteration:

UserAccount: {
    username: String,
    password: String,
    payment_methods: PaymentMethod[]
}

PaymentMethod: {
    account_name: String,
    account_type: Enum,
    account_holder: String,
    number: String,
    routing_number: String?,
    cvv: String?,
    expiration_date: DateString?
}

We then find ourselves realizing that PaymentMethod is an unnecessary mess of optional values and needing to refactor it. Odds are we would break it off immediately into separate account types and make a note that they both implement some interface. We may also find that, as a result, remodeling the PaymentMethod could result in the need to remodel the UserAccount. For more deeply nested data structures, a single change deeper within the structure could result in those changes cascading all the way to the top-level object. If we have multiple objects, then these changes could propagate to them as well. And what if we decide a type needs to be changed, like deciding that our expiration date needs to be some sort of date object? Or what if we decide that we want to modify our property names? We’re then stuck having to update these definitions as we go along. What if we decide that we don't want an interface for different payment method types after all and instead want separate collections for each type? Then including the interface consideration will have proven to be a waste of time. The end result is that before we’ve even touched a single line of code, we’ve already found ourselves stuck with a bunch of technical debt, and we’re only in our initial planning stages!

To alleviate these kinds of problems, it’s far better to just ignore the implementation details. By doing so, we may find ourselves with something like this:

UserAccount: {
    Username,
    Password,
    PaymentMethods
}

PaymentMethods: // TODO: Decide on this container’s structure.

CardAccount: {
    AccountName,
    CardHolder,
    CardNumber,
    CVV,
    ExpirationDate,
    CardType
}

BankAccount: {
    AccountName,
    AccountNumber,
    RoutingNumber,
    AccountType
}

A few important notes about what we’ve just done here:

1. We don’t specify any concrete data types.
2. All fields within our models have the capacity to be either containers or primitives.
3. We’re able to defer a model’s structural definition without affecting the pace of our planning.
4. Any changes to a particular field type will automatically propagate in our structural definitions, making it trivial to create a definition like ExpirationDate: String and later change it to ExpirationDate: DateObject.
5. The amount of information we need to think about is reduced down to the very bare minimum.
6. By deferring the definition of the PaymentMethods structure, we find ourselves more inclined to focus on the more concrete payment method definitions from the very beginning, rather than trying to force them to be compatible through an interface.
7. We focused only on data representation, ensuring that representation and implementation are both separate and can be handled differently if needed.

SOLIDifying Our Conceptual Model

In object-oriented programming (OOP), there’s a generally recommended set of principles to follow, represented by the acronym “SOLID”:

• Single responsibility.
• Open/closed.
• Liskov substitution.
• Interface segregation.
• Dependency inversion.

These “SOLID” principles were defined to help resolve common, recurring design problems and anti-patterns in OOP.

Of particular note for us is the last one, the “dependency inversion” principle. The idea behind this principle is that implementation details should depend on abstractions, not the other way around. Our new conceptual model obeys the dependency inversion principle by prioritizing a focus on abstractions while leaving implementation details to the future class definitions that are based on our abstractions. By doing so, we limit the elements involved in our planning and problem-solving stages to only what is necessary.

Final Thoughts

The consequences of such a conceptual model extend well beyond simply planning out data and object structures. For example, if implemented as an actual programming or language construct, you could make the parsing of your data fairly simple. By implementing an object parser that performs reflection on some passed object, you can extract all of the publicly accessible object properties of the target object and the data contained therein. Thus, if your language doesn’t have a built-in JSON encoding function and no library yet exists, you could recursively traverse your data structure to generate the appropriate JSON with very little effort.

Many of the most fundamental programming concepts, like data structures ultimately being nothing more than trees at their most abstract representation, are things we tend to take for granted and think very little about. By making ourselves conscious of these fundamental concepts, however, we can more effectively take advantage of them.

Additionally, successful programmers typically solve a programming problem before they’ve ever written a single line of code. Whether or not they’re conscious of it, the tools they use to solve these problems effectively consist largely of the myriad conceptual models they’ve collected and developed over time, and the experience they’ve accumulated to determine which conceptual models need to be utilized to solve a particular problem.

Even when you have a solid grasp of your programming fundamentals, you should always revisit them every now and then. Sometimes there are details that you may have missed or just couldn’t fully appreciate when you learned about them. This is something that I’m continually reminded of as I continue on in my own career growth, and I hope that I can continue passing these lessons on to others.

As always, I'm absolutely open to feedback and questions!

Here's a list of a lot of things that came out in this past week, including many which are set to release on Friday. Of course, there's no way to be completely comprehensive with this and I avoided including things where information was too lacking, so feel free to mention anything that isn't on here that you think is worth mentioning. Beyond that, if you have any thoughts of any of these albums, it would be great to hear them :)

(oh and don't bully me for the genre tags, a lot of these things have very limited resources available and I couldn't individually listen to everything and determine what fits best, so I'm pulling from third parties and an artist's past work a lot of the time)

03 Greedo & Mustard - Still Summer in the Projects (West Coast Hip Hop, Trap Rap)

1TEAM - HELLO! (K Pop)

A Brilliant Lie - Threads: Weaver (Alternative Rock, Pop Punk)

American Pleasure Club - Fucking Bliss (Post-Industrial, Ambient Pop, Drone)

Ben Platt - Sing To Me Instead (Pop)

Betty Carter- The Music Never Stops (Vocal Jazz)

Billie Eilish - When We Fall Asleep, Where Do We Go? (Alternative R&B, Electropop)

Borleone - Hard to Kill (Trap Rap)

Brutus - Nest (Post-Hardcore, Alternative Rock)

C Duncan - Health (Indie Pop, Indie Rock)

Carcer City - Silent War (Metalcore)

Chris Cohen - Chris Cohen (Singer-Songwriter, Indie Pop)

Clint Alphin - Straight to Marrow (Singer-Songwriter, Bluegrass)

Coughy - Ocean Hug (Indie Pop)

DJ Muggs & Mach-Hommy - Tuez-Les Tous (East Coast Hip Hop)

Devin Townsend - Empath (Progressive Metal, Avant-Garde Metal)

Facs - Lifelike (Post-Punk Revival)

Fennesz - Agora (Ambient, Electroacoustic)

Fredo Bang - Big Ape (Trap)

Garcia Peoples - Natural Facts (Psychedelic Rock, Roots Rock)

George Strait - Honky Tonk Time Machine (Country)

I Prevail - TRAUMA (Metal Core)

ILL BILL - Cannibal Hulk (East Coast Hip Hop, Hardcore Hip Hop)

Ian Simmonds - All That's Left (Downtempo, Jazz)

JBJ95 - Awake (K Pop)

Jake Miller - Based on a True Story. EP (Pop)

Jake Owen - Greetings from...Jake (Bro Country)

Jamie Lawson - The Years In Between (Singer Songwriter)

Jo Schornikow - Secret Weapon (Ambient Pop, Indie Pop)

K Á R Y Y N - The Quanta Series (Art Pop, Glitch Pop)

L.A. Guns - The Devil You Know (Hard Rock, Glam Metal)

LION BABE - Cosmic Wind (Contemporary R&B)

La Bouquet - Sad People Dancing (Contemporary R&B)

Laura Stevenson - The Big Freeze (Indie Folk, Folk Rock)

Lil Debbie - Bay Chronicles (Trap Rap)

Logic - Supermarket (Soundtrack) (Indie Pop, Pop Rap)

M. Lockwood - Communion In The Ashes (Alt-Country, Indie Folk, Power Pop)

MaHaWaM - Is an Island (Hip Hop, House, Indie Pop)

Magic Circle - Departed Souls (Traditional Doom Metal, Heavy Psych)

Marvin Gaye - You’re the Man (Soul)

Matthew Herbert Big Band - The State Between Us (Big Band, Electronic)

Mdou Moctar - Ilana: The Creator (Tishoumaren)

Mechanical God Creation - The New Chapter (Death Metal)

Mekons - Deserted (Art Punk)

Melii - phAses (Pop)

Monsta X - Shout Out (K Pop)

Moodie Black - MB I I I. V MICHOA (Industrial Hip Hop)

Moon Tooth - Crux (Progressive Metal)

Musket Hawk - Upside of Sick (Grindcore, Doom Metal)

NEIKED - Best Of Hard Drive (Dance Pop)

Nightmarathons - Missing Parts (Pop Punk)

O.A.R. - The Mighty (Pop Rock)

OWEL - Paris (Emo, Indie Rock)

Ohtis - Curve of Earth (Indie Folk)

Okey Dokey - Tell All Your Friend (Indie Pop)

Oshiego - The Book of Wonders (Death Metal, Thrash Metal, Grindcore)

PENTAGON (Korea) - Genie:us (K Pop)

Park Ji Hoon - O'CLOCK (K Pop)

pH-1 - HALO (K Pop)

Pink Sweat$ - Volume 2 EP (Singer Songwriter)

Quelle Chris - Guns (Abstract Hip Hop)

Randy Randall - Sound Field Volume One (Ambient, Drone)

Reaches - Wherever The Internet Goes, Sorrow Follows (Dance Pop, House)

Saweetie - ICY EP (Trap Rap)

Section H8 - Phase One (Hardcore Punk, Heavy Metal)

Show Me The Body - Dog Whistle (Hardcore Punk)

Simple Creatures - Strange Love (Pop Rock, Electropop)

Small Feet - With Psychic Powers (Indie Pop, Indie Folk)

Son Volt - Union (Americana, Alt-Country)

Soulja Boy Tell 'Em - Tell Ya (Pop Rap)

Stella Parton - Survivor (Country)

Steve Earle & The Dukes - GUY (Americana, Country Rock)

Stray Kids - Clé 1: MIROH (K Pop)

Suzi Quatro - No Control (Hard Rock)

TAEYEON - Four Seasons (K Pop)

Tay Iwar - GEMINI (Singer Songwriter)

The Bobbleheads - Myths and Fables (Pop Rock, Indie Rock)

The Maine - You Are OK (Pop Rock, Alternative Rock)

The Strumbellas - Rattlesnake (Indie Rock, Folk Rock)

The Underground Youth - Lust & Fear (Psychedelic Rock, Gothic Rock)

The XCERTS - Wildheart Dreaming EP (Power Pop )

Tom Williams - What Did You Want To Be? (Indie Rock)

Triumvir Foul - Urine of Abomination (Death Metal)

Unkle - The Road: Part II (Art Pop, Trip Hop)

White Denim - Side Effects (Indie Rock, Psychedelic Rock)

Whitechapel - The Valley (Deathcore, Groove Metal)

Wincent Weiss - Irgendwie anders (Pop)

Yelawolf - Trunk Muzik III (Southern Hip Hop)

Yngwie Malmsteen - Blue Lightning (Neoclassical Metal)

woods + segal (Billy Woods & Kenny Segal)- Hiding Places (East Coast Hip Hop)

I think it'd be useful to merge duplicate threads when there's two topics that are very close to each other. I don't want the stackExchange style "closed as duplicate of x," but I think it would be worthwhile to simply have the comments moved to the oldest thread and transfer any votes that are different users on each topic.

This way, we aren't losing discussion by flat-out deleting topics that are dupes, and we're also able to take some sort of action on threads that are dupes.

Just a thought.

Personally, free speech to me means that while platforms like Facebook and YouTube are not required to host it, if they so choose to host it they should be able to do so. Speech should not be restricted because it is offensive or because it is viewed as immoral. This applies doubly so to political speech, which terrorism is the most extreme form.

Do you believe that some cultures/societies are more 'civilized' than others? What is your definition of 'civilized' / what does it mean to be 'civilized'?
~
If you've studied history and/or anthropology then surely you've heard many uses of the term "savages" to describe groups of people that were considered to be less 'civilized' than whomever was writing that piece.
I was also just reading a book that described in detail some of the really horrible war crimes committed by both sides in the Sri Lankan civil war including but not limited to: raging mobs burning people alive, murder and rape of civilians, use of child soldiers, suicide bombers, etc. Please note that in no way am I considering the people of Sri Lanka as 'uncivilized', just using an example of what seems to be 'uncivilized' behavior.

An initial thought that I had was "huh, I'm glad I don't currently live somewhere where I could be burned alive based on my ethnicity/religion/beliefs by a rage fueled mob of people", but then the history of the western world came to mind - some of those exact same thing happened less than 100 years ago to many non-white groups of people in America, including some things even worse (read: human slavery). From here came a flood of other thoughts poking holes in whatever my initial definition of 'civilized' was. Plenty of things in present-day United States could be considered uncivilized. Yet one could make an argument that a more 'civilized' civilization might be one that allows many personal freedoms.

So, I want to ask all of you what you think of the concept of being 'civilized'. Is it a colonialistic-type term used to promote a higher sense of placement in the world that should be abolished. Does it have any merit in its use? If so, what do you think makes a civilized group of people and does one exist?

Inspired by @Whom's music and anime threads

What have you been playing to this week? You don't need to be playing the latest games, nor do you have to write gigantic essays. This is just a space to talk games!

Feel free to give recommendations, thoughts, opinions. Chat about playstyles and habits! Reminisce about games and mechanics long gone, or coming back!

Hi everyone.

I'm in a more or less of a dilemma here.
For the ones that don't know, SCHUFA is monopolistic credit agency in Germany.

The good news is that my wife is pregnant and now we need to move to a new apartment with one extra room. Luckly, a friend of us is also moving and we simply got in contact with his landlord. We sent the information about our salaries and answered a few general questions and all is well for him. But, the landlord also wants our SCHUFA score.

We weren't worried at all because we don't have any credit cards or any loans and we are very frugal with our money. We really only spend money for our basic necessities and doing our holidays. We don't have any debts; we pay everything in a timely manner.

Then, my SCHUFA-BonitätAuskunft arrived. I look at the first page, which is in this diploma-like format and it says: "We had only positive contractual information at our disposal." (Es liegen uns zum XX.XX.XXXX ausschliesslich positive vertragsinformationen vor.)

"Great!", I thought. Then, I turned to the next pages and I see "Explanatory informations for your certificate" and there it says that I'm a high risk person. Basically, my result is 335, right in the middle (scale from 100 to 600).

We have a high netto salary and it seems this doesn't count for anything. My guess is that they don't have almost no history about me (I'm only living in Germany for 4 years) and since we are not big spenders, basically we are high risk because they don't have data to infer the risk. A few months ago I opened a new bank account on Commerzbank and I guess my SCHUFA score was good enough to open a new bank account, so I don't understand.

How is it possible that in my certificate diploma-like paper says that they have only have positive information about me and then on the explanatory pages say that I'm a high risk person in basically every sector (Banken, Telekommunikation, etc)?

Now we also asked the SCHUFA score only for my wife and let's hope for the best.

Here's a list of a lot of things that came out in this past week, including many which are set to release on Friday. Of course, there's no way to be completely comprehensive with this and I avoided including things where information was too lacking, so feel free to mention anything that isn't on here that you think is worth mentioning. Beyond that, if you have any thoughts of any of these albums, it would be great to hear them :)

(oh and don't bully me for the genre tags, a lot of these things have very limited resources available and I couldn't individually listen to everything and determine what fits best, so I'm pulling from third parties and an artist's past work a lot of the time)

American Football - American Football (Midwest Emo)

Andrew Bird - My Finest Work Yet (Chamber Pop, Singer/Songwriter)

Anteros - When We Land (Indie Pop)

Aoratos - Gods Without Name (Black Metal)

Apparat - LP5 (Techno)

Aubrey Logan - Where The Sunshine Is Expensive (Vocal Jazz)

Avey Tare - Cows on Hourglass Pond (Neo-Psychedelia, Psychedelic Folk)

Bad Suns - Mystic Truth (Alternative Rock, Indie Pop)

Ballout - T.I. (Drill)

Battle Beast - No More Hollywood Endings (Heavy Metal, Power Metal)

Bill MacKay - Fountain Fire (Folk Rock)

Blue Angels - Sue EP (Ambient Folk)

Bonnie Tyler - Between The Earth And The Stars (Pop Rock)

Brian Carpenter’s Beat Circus - These Wicked Things (Avant Prog, Dark Cabaret)

Brim Liski - Duels (Shoegaze, Electronica)

Cellar Darling - The Spell (Folk Metal)

Christian Scott aTunde Adjuah - Ancestral Recall (Jazz Fusion)

Crows - Silver Tongues (Post Punk)

Dean Lewis - A Place We Knew (Singer-Songwriter, Pop)

Delta Heavy - Only in Dreams (Drumstep)

Dominanz - Let The Death Enter (Death Metal)

Donna Grantis (of 3rdEyeGirl) - Diamonds & Dynamite (Hard Rock)

Dos Monos - Dos City (Experimental Hip Hop)

Emily Wells - This World Is Too ____ For You (Chamber Pop)

Everglow - Arrival of Everglow (K-Pop, Dance-Pop)

Ex Hex - It's Real (Power Pop, Alternative Rock)

Extortionist - Sever the Cord (Deathcore)

Famous Dex - Wave Creator (Trap Rap, Pop Rap)

Flora Cash - Press (Indie Folk)

Flume - Hi This Is Flume (Wonky)

Fred Everything - Long Way Home (Deep House)

From Sorrow to Serenity - Reclaim (Deathcore, Groove Metal, Metalcore)

Heize - She's Fine (K-Pop, Contemporary R&B)

Ian Daniel Kehoe - Secret Republic (Pop)

Ibibio Sound Machine - Doko Mien (Afro-Funk)

Jayda G - Significant Changes (Deep House)

Jenny Lewis - On the Line (Pop Rock, Indie Pop)

Jeon Se Woon - Plus Minus Zero (K-Pop)

Johnny Booth - Firsthand Accounts (Metalcore)

Kevin Garrett - Hoax (Singer-Songwriter)

La Casa Azul - La Gran Esfera (Bubblegum, Indie Pop)

La Dispute - Panorama (Emo)

Lafawndah - Ancestor Boy (Alternative R&B, Art Pop)

Lambchop - This (is what I wanted to tell you) (Sophisti-Pop, Art Pop)

Leiva - Nuclear (Pop)

Lil Xan - Heartbreak Soldiers pt. 2 (Trap Rap, Emo Rap)

Lil Yee - Live 4 It, Die 4 It EP (West Coast Hip Hop)

Lucy Rose - No Words Left (Singer/Songwriter, Contemporary Folk)

Luther Dickinson And Sisters Of The Strawberry Moon - Solstice (Southern Rock, Blues)

Mary Lattimore And Mac McCaughan (of Superchunk) - New Rain Duets (Electroacoustic)

Matt Anderson - Halfway Home By Morning (Blues)

Maverick Sabre - When I Wake Up (Neo-Soul)

Mayfield - Careless Love (Post-Hardcore)

Meridian - Margin of Error (Heavy Metal)

Momoland - Show Me (K-Pop, Dance-Pop)

NAV - Bad Habits (Alternative R&B, Trap Rap, Pop Rap)

Niggght - Violent Delicacy EP (Doom Metal, Blues)

Nilüfer Yanya - Miss Universe (Indie Pop, Indie Rock)

No Win - Downey (Indie Rock, Power Pop)

Obsidian Sea - Strangers (Progressive Rock)

Orville Peck - Pony (Singer/Songwriter, Alt-Country)

Parting Gift - Ensom (Alternative Rock)

PnB Rock - TrapStar Turnt PopStar (Trap Rap)

Problem Daughter - Grow Up Trash (Pop Punk)

Queen Key - Eat My Pussy Again (Trap Rap)

RPWL - Tales From Outer Space (Progressive Rock)

Rachael Sage - PseudoMyopia (Singer Songwriter)

Red Sun Rising - Peel EP (Post Grunge)

Rich the Kid - The World Is Yours 2 (Trap Rap, Southern Hip Hop)

Ritual Howls - Rendered Armor (Gothic Country, Gothic Rock, Post-Punk)

Robin Trower - Coming Closer To Day (Blues Rock)

Ruth B - Maybe I'll Find You Again (Singer/Songwriter)

Sermon - Birth of the Marvellous (Alternative Metal, Progressive Rock)

Shawn James - The Dark & The Light (Contemporary Rock)

Shlohmo - The End (Electronic)

Sleep In. - The Stars On Your Ceiling (Emo)

Sleeper - The Modern Age (Britpop)

Slow Caves - Falling (Indie Rock)

Spiral Stairs (Pavement’s Scott Kannberg) - We Wanna Be Hyp-No-Tized (Alternative Rock)

Stillhound - Stillhound (House, Indie Rock)

Strand of Oaks - Eraserland (Indie Folk, Indie Rock)

Suzi Wu - Error 404 EP (Indie Pop)

Taali - I Am Here (Art Pop)

Tamaryn - Dreaming The Dark (Synth Pop, Dream Pop)

Terry Allen And The Panhandle Mystery Band - Pedal Steal + Four Corners (Singer Songwriter)

The Flaying - Angry, Undead (Death Metal)

These New Puritans - Inside The Rose (Art Pop, Darkwave)

They Hate Change - Clearwater EP (Experimental Hip Hop)

Trevor Daniel - Restless (Pop Rap, Emo Rap)

Truth Corroded - Bloodlands (Thrash Metal, Death Metal)

Tyson Meade - Robbing The Nuclear Family (Indie Rock)

VAV - Thrilla Killa (K-Pop, Dance-Pop, Electropop)

Vendredi sur mer - Premiers émois (Electropop, French Pop)

Wallows - Nothing Happens (Indie Rock, Indie Pop)

We Show Up On Radar - Zanzibar Whip Coral (Indie Pop)

Wild Belle - Everybody One of a Kind (Pop Reggae, Indie Pop)

Yawners - Just Calm Down (Indie Rock)

Yerin Baek - Our Love Is Great (K-Pop)

I see this a lot on the internet these days. The phrase "just because [some agreed-upon statement], it doesn't mean that [contested statement]."

That's fine when used correctly, but I've seen a lot of cases where it's used in a questionable way and people just jump on board with the phrase anyway.

I saw it again today in a conversation about video games, and one game in particular that everybody loves to hate. Someone said "I enjoy this game though," and someone else said "Just because you enjoy a game doesn't mean it's good."

Now, the impulse is to agree with the second statement because agreeing that there might be hidden subtlety in a matter is almost always safe, and nearly everyone involved in the conversation upvoted/reacted positively to that statement.

But the statement was really used to say "your opinion is wrong because there might be hidden subtleties that make me right," which seems like a fallacious position to me, or at least a pretty meaningless one. And when you stop to think about what was said, you realize that in fact, enjoying a video game might indeed be the most important, if not the only, metric in assessing its quality.

But the inclination to agree with anyone using the "just because, doesn't mean" format is definitely there I think. I'm not sure if that falls under the category of some other identifiable fallacy or not, but I thought I'd see what others thought.

Supernatural is one of those TV shows that had some fantastic early seasons. I really miss them.
As a show I feel it kinda turned way too much into fan service in its later seasons. It stayed decent (good, even), but lost a lot of its quality.
Every season there's a bigger, badder fish and things get more and more absurd. One of the things that kind of annoyed me the most about it is that characters dying has zero impact, as they come back into the show whenever convenient using whatever silly way the writers deem worthy. (That series is the polar opposite of Game of Thrones in that regard…)

Season 5 introduced the Four Horsemen. I remember Death's intro as being possibly the most memorable moment of the entire show. Re-watching them now, the introductions of all four were seriously chilling. Thought I'd share them here.

• War: https://www.youtube.com/watch?v=1I4nFgMuciU
• Famine: https://www.youtube.com/watch?v=sQSnVPzV4_k
• Pestilence: https://www.youtube.com/watch?v=7E2aQKYEsUw&t=33s
• And best of all, Death: https://www.youtube.com/watch?v=5EcsBgxXDqc

I'll recommend Supernatural if you like a good mix of horror-comedy without too much comedy. You may like it if you liked: Psych, Chilling Adventures of Sabrina, Buffy the Vampire Slayer, Angel.

Suppose you want to participate in an old post with hundreds of comments. You made your fresh new comment, injecting your thoughts and effort into it and hit the post button with hopes and dreams.

The post is bumped to the top under Activity. Other tilders saw the old post on the top, they are intrigued, perhaps as much as you are and wonder what you can add to the discussion, but they couldn't find your comment.

Why is that?

You replied to a thread with a very old top-level comment.

As Tildes is still relatively new, this isn't much of a issue now, but one that I feel needed to be addressed eventually as the site grows. It is certainly a low priority issue for the time being.

Sort by new only sorts comments by the time when top-level comment is posted, which is an inherent characteristic of comment threads. If my last years of memeing on redditting has taught me anything, it is that a new post gathers the most views in the first few minutes when it was posted (This might be a few days on Tildes).

Bumping helps extend the longevity of a given post if the thread gathers enough attention and discussion value to warrant a comment, but that alone would not alleviate the fact that new comments is seen by less and less people as the post gets older (as indicated by votes). If we want to make high-quality comments seen by more people, we need to make comment age a less limiting factor.

Tildes needs to help its users to discover new comments.

A few solutions come to my mind.

1. By presenting comments in a linear fashion like the good old bulletin board does without any hierarchy such that sort by new would truly be sort by new.

2. By highlighting ( or whichever other means ) comments that meet certain criteria (Comments that are among the latest 10 or comments that were posted within the last hour, this can vary depending on the activities of the comments)

3. I would like to propose a novel solution to this problem by compacting the comment threads to a forest of trees with navigable nodes. This sounds totally outlandish, it might very well be, but its an idea that I think worth sharing.

The editing is rudimentary but I hope the idea is communicated well.

Cheers!

What’s up tildorans, This is more of a thought experiment then anything else, is the impact of consuming calories more or less impactful then producing the electricity needed to power the bike? And I also understand this is extremely affected by circumstance. Let’s say you eat beef 3 times a day and live in a part of the world where power is mostly generated via nuclear or hydroelectric. At that point, would the impact via electricity be less then the one via calories? What if you flip the spectrum and you’re a vegan living somewhere that produces all its energy via coal and oil, how does that affect the equation? Thanks

What are your thoughts on the Fediverse style model of social media/websites in general? If you are unfamiliar with it, https://peertube.social/videos/watch/9c9de5e8-0a1e-484a-b099-e80766180a6d and https://peertube.social/videos/watch/d9bd2ee9-b7a4-44e3-8d65-61badd15c6e6

EDIT: Punctuation

It's been asked a couple of times before, but not particularly recently (last was in August I think!). So who or what do you support on Patreon, and why?

I currently pay for two podcasts: Let's Know Things, and The Film Reroll.
Let's Know Things is a podcast made by Colin Wright, who if you've seen the Minimalists documentary on Netflix you may be familiar with. It's a great weekly podcast that picks apart a recent article, adds a load of context to the subject, and extrapolates from it somewhat. It's always insightful, and I've learned a load that I never thought I would from it.
The Film Reroll is probably my favourite podcast right now. The basic premise is that a group of people take the plot of a movie, and turn it into an RPG (using GURPS). So instead of normal improv where they can just do something, they have to roll dice to see if they actually succeed at doing it. It invariably ends up going completely off the rails, and is always hilarious. Highlights include the Speed episode where they catch the mastermind before he has a chance to plant the bomb on the bus, and Jumanji, where the dice rolls for the board game go so well that they beat it before things have a chance to go dreadfully wrong.

It's not through Patreon, but I also make a monthly contribution towards this website called wikipedia. It's pretty wild: an online encyclopaedia where anyone can view, submit, or edit the information, for free. It's got a page on just about anything you can think of, and whilst it's not perfect, it can be a fantastic jumping off point for learning about a subject, and going deeper via the sources. I believe it to be one of the pinnacles of online achievements, and I use it easily twice a week directly (and more indirectly, every time I get instant answers from Google).

So what do you support via Patreon (or other means)?

EDIT: A followup question. Does the amount that a creator on Patreon is already receiving have any bearing on your decision to contribute?

I recently uncovered a seeming inconsistency in my thinking, and I thought I’d air it here for people to discuss.

I support secessionists. If the Catalans want to secede from Spain and form an independent country, good for them. If the New Caledonians want to secede from France and form an independent country, good for them. If the people in Western Australia want to secede from Australia and form an independent country, good for them. I don’t believe anyone should be forced to be governed by a government not of their choosing.

Meanwhile, I don’t support individuals seceding from a country and becoming sovereign citizens (or freemen on the land, as they’re also known). In my mind, this is effectively anarchy: if everyone secedes, then there’s no government and it’s everyone for themselves. I don’t support this at all. I’m definitely pro-government.

However, both these movements share something at their cores:

• Secessionists are people who refuse to be governed by a government they didn’t choose and don’t want.

• Sovereign citizens are people who refuse to be governed by a government they didn’t choose and don’t want.

During a conversation today, I realised the inconsistency in my supporting one form of separatism but not the other. I’m okay with a million people seceding from a country, but not a single person seceding. And I can’t find the dividing line, or the principle, which underlies this inconsistency. I know that I believe in government, so a secessionist group must be just that: a group. However, while a group of two million seceding is reasonable, a group of two seceding is just ridiculous.

What are your thoughts? Are secessionists and sovereign citizens effectively the same at the core (or not)? Do you support either or both of these movements? Why or why not?

After reading a thread on AskReddit requesting songs that made people cry, I thought about my favorite music and realized that most of the songs that made me cry were because they were uplifting in one way or another. So here I am today, asking you this: what songs move you to tears because of positive emotions? Here are a few of mine:

The Beatles - Let It Be. It's almost embarrassing to put this one first, but a simple three word phrase has never been filled with so much meaning. "Let it be" is practically my motto, and it's the philosophy which has most helped to steer me towards sanity. The music accompanying the lyrics just resonates with my heartstrings and it always makes me feel relieved after listening.

Yoko Kanno - Gotta Knock a Little Harder. People often describe music they like as being written for them. To me, this song feels like my very essence was put into sound. Its a song about breaking free of depression and loneliness. The thing I love about it is how honest it is; breaking through that door is brutally difficult. I love how there isn't an extra verse telling you how much better the narrator's life is after breaking through the door (or even that they made it through), instead implying it through choral swells and a little bit of the listener's imagination.

Arto Lindsay - Counting the Roses. This one may be cheating a little, because it's really the context of the song that makes me cry. It was written for a video game called D2, where a tragic character named Kimberly wrote the lyrics after a particularly terrible day. While the song is beautiful by itself, what affects me is the concept that it represents: even in an ugly, poisonous, depressing world, pure and beautiful things can still be found.

It's a simple question, or is it? How would you measure best? Complexity? Realism? Creativity? Detail?

I think it's fairly obvious that Tolkien has set the gold standard of all worldbuilding, but more recent authors like GRRM, Brandon Sanderson and JKR or the late Terry Pratchett have also created beloved worlds.

Some, like GRRM, are apparently more interested in complex worldbuilding itself rather than finishing their novels while others like JKR use the worlds more as a window dressing without keeping it fairly consistent. Is it alright if the Wizarding World is inconsistent if it serves the plot? How complex can Westeros become before it gets in the way of the story?

I think that GRRM and JKR are both extremes on the spectrum. When reading The Song of Ice and Fire, I felt like GRRM needed a proper editor to reign him in while JKR managed to build a fantastical world in 7 books which, upon closer inspection, makes no sense. On the other hand you have Terry Pratchett, who with the Discworld was clearly more interested in creating a parody of the real world, but still managed to make it very interesting and unique.

Thoughts?

Another story. The narrator is not well and slips into periods of "extended daydreaming" where they image they're someone else or that the context of their life is otherwise different. I thought about coloring the text differently for those moments but couldn't figure out a way to do it well.

No one walks out to this place. Why would they? It’s too far for children to be playing or for teenagers to sneak away to, there’s no beauty or interesting landscapes or scenery for hikers, and God knows it’s worthless for development. I walked out here because I knew I couldn’t stay at home and I kept walking because I knew I had nothing to go back to. Then, brooding, thinking that I would just continue walking until I died of exposure (which would have taken a while in that day’s mild weather), I stumbled across this place. I stopped to explore it of course, how often does one’s life yield such a whimsical sight?

I started daydreaming as I walked through the trains. They looked ancient, the cars were buried up to their wheels in the dirt and huge patches had lost their paint and rusted over. The interiors were stripped, but I spotted some kind of hatch in the roof (by the pile of leaves and other debris below it) and clambered up. Then I was standing astride the car looking down at the whole scene. Two neat little rows, five cars in one and four in the other, with the only sign tracks used to run here being a small corridor where the trees were shorter.

I loved it. It was a sort of post-industrial twist on the railway bum, you know? They would hitch rides on trains and travel all over the country, seeing everything it had to offer and adventuring everywhere they went. I had, in the past, been disappointed I didn’t live in a time where the vagabond could thrive, and was delighted to imagine the 21st century equivalent. Sitting in a rusted old abandoned train car, the Seeker (I always name my characters like that) sat by his gas fire watching the rain pour down and spatter across the corrugated walls. It was lovely. I felt much better and after playing around a bit more headed back home with a smile, all the while dreaming of the Seeker. The evening passed comfortably and I slid into sleep imagining I was the man sleeping out by the trains.

I pulled my blanket closer, clutching it around myself. I had found something, and tonight II was able to rest peacefully because of it. The night breeze flowed over me in soft, regular breaths. It was sweet and pleasantly cool, and carried memories of cheery days. All else faded always as I walked into them, leaving behind the blanket and the breeze and the night itself.

When I got up the next morning though the levity had vanished. I dragged myself through the morning and lacking anything real to do and completely out of distractions for the afternoon I headed out for another wander in the woods. Alone with just the half-leafless trees to speak to I very quickly fell into my thoughts and my world of pasts, real or imagined. I don’t know how long I walked, just that after a while my breath was coming out in ragged bursts and that I was approaching the top of a hill. Attaining it I realized with gloomy resignation that I was somewhat lost, and that the cup of tea I was desiring now more than most anything would be a while yet. As I started back in the direction I more or less thought town was I imagined how the Seeker had trudged through the same damp leaves and browning grass. Autumn would quickly change from the mild early days to the coldness that marked the start of winter, and this landscape would be unrecognizable. Even this escape would not last. Just like them. More gloominess. Pushing through a thicket of young trees I was surprised to be face to face with the train wrecks from yesterday, and, after briefly marveling at the occurrence started back home. I was throwing off my shoes and starting the kettle in just over an hour.

At home I picked, for some foolish reason, the blue teapot (of memories) and was soon sitting at the table and warming my hands on a steaming cup. I was shivering. Sometimes I don’t realize how cold I am until I’m back inside. I need to dress warmer. For a while I could pretend to be content sipping at my tea and feeling myself thaw out a little, but after a few cups I started thinking about what I would do for the rest of the day. That’s why I had gone out in the first place wasn’t it, that I had nothing here? I didn’t feel warm anymore. And since I had picked this pot (it was three years ago, why should I care?) my thoughts slid further and further back until I was recalling the conversation we had over it. And how I had laughed and taken your picture holding it and you had smiled as the wind whipped your hair back and I couldn’t stand sitting there and looking at it anymore. I fled to the couch and fell face first down into it.

What was I doing? I couldn’t sit here for another eight hours waiting to go to bed and dream, I was gripped with sinking panic just at the thought. No, I couldn’t stay. And I didn’t have to. If I could tell myself a story about it, I could do it myself, right? I could just leave. I could make it real. Go to another town, or sleep in a car, or, go camping. Yes, I could camp for the night. I did tell people I was an outdoorsman after all, even if for the past few years I hadn’t done anything more than day hikes to run from my reality. I had all the gear, I knew what I was doing.

Twenty minutes later I was out the door, heading back the woods for the second time today, this time with my pack slung across my shoulders. As I walked I thought about how unpleasant this would probably be and I was pleased. At least it would be because of something else. Something immediate. I went to the trains because where else would I go and also because I knew they were isolated and I wanted to be sure no one would be out harassing me over lighting a fire or being a vagrant. It was perfect.

And as evening fell the fire was lit. I had set camp in between the two rows of derelict cars to provide some shelter from the wind.

The heat from the flames sank into the metal siding of the cars and soon they were radiating back a friendly warmth. Touching it felt almost like being warmed by the sun. I leaned back against one now and stared at the fire. It was a comfortable scene, even if the ground was cold and hard and all I had to do was sit and think and brood. It was basically what I would have done at home anyway, but now I was not drawn into despair. No, out here all these feelings were beautiful, and if it was beautiful I could enjoy it. Some time and drinks passed and I became outright elated. Considering the whole absurdity of where I was right now I had to laugh. I might curse my life every day, but it was, if nothing else, interesting. Even if I was the only one who would ever know. Just look at where I am! I grinned and kept laughing and drinking and soaking up the intoxicating woodsmoke and tender light that flowed from the fire. I loved that this was something I did. And later as the flames hid back in their coals I climbed into my tent and floated right away on a dreamless, happy sleep. Lord of my little realm of heat and smoke. Good times for all. All for good times.

I sat at the edge of fire’s light clutching my cup closely. It was a bitter tea, what one could brew with just a cup over a camp fire, but I sipped at it greedily anyway, burning my lips on the rim. It would hold the blaze’s heat for a while yet, the cup was almost painful to handle even through my gloves, now streaked with ash. It had been a long, cold day. I had almost lost myself, but now, resting in the half-light at the edge of reality, it was alright. I smiled and, tipping my head ever so slightly up, whistled out a few bars of some song or another. Yes, here it was alright. There was a lot I didn’t know, but that was fine, I knew I was, as was the fire and the smoke and the warmth and the tea.

I refocused on the fire, source of the little world I had found myself in. It was as if I were gazing through into my own light. A welcome feeling, as I had felt a dull cold more than anything recently. I looked more intently, allowing the firelight to wash out the surroundings until I and it were all that existed. Like this I could see hints, now and then, of what had been. Perhaps if I looked too greedily the flames would even take me then, shattering the gracious illusion of the light in the process. No, echos would have to do. They were all that was real anyway. I stared for a long while, lost in burning contemplation.

That was a... number of days ago. I haven’t counted exactly. For the first few I was at home most of the day, only heading out for the trains in the evening. The first morning I didn’t plan to come back at all and tore my whole camp down. But around mid afternoon my listlessness would become unbearable and I’d flee from the prospect of another night in. So I started leaving my tent pitched, figuring I’d do this as some kind of therapy until I got better and figured out what I was going to do with myself. And I did get better! Or at least the more time I spent in the woods the less time I was sinking in the mire of my thoughts and the more I marveled at them. Maybe they were still dragging me down, but I didn’t notice anymore. Soon I was spending the afternoons out as well, and then I was only going back home in the morning to grab food and water.

I’ll probably be forced out by the weather soon. It’s been getting much colder these past days, but I don’t want to leave yet, I like this routine. I like the work of building the little stone wall, or clearing the ground around the fire pit I’m slowly carving out of the stiff ground, or sketching my map of the area around the camp. It was more than I had back there.

As the last of the purple in the sky was swept away by the darkening blue I stretched out alongside the newly rekindled fire. I had known for days that I was not going to find it here. I would have to go back and see what was next for me. But it was comfortable here, and for that I could pretend I had a reason to stay, at least for a little while longer. Yes, I’ll have to leave soon, but for now I can just enjoy the fire. I can walk in dream a little while longer.

Hey folks, I thought I'd bring up something that I've been struggling with for the past few years. As the title suggests, my issue is that it's been really, really difficult for me to watch television lately. I rarely find anything that looks appealing to begin with, and even when I do, I almost always end up in a constant state of—for lack of a better word—cringe. This happens with some movies, but almost every single TV show I try to start.

The moments when I start getting uncomfortable are pretty consistently dialogue scenes. It's not the idea of two characters interacting that bothers me, but rather how they do it. The way that people talk on TV (especially protagonists) is unrealistic to the point where it is distracting enough to make me stop watching, because it makes literally no sense as a part of human society. I understand that no show is going to replicate real-life conversations 1:1, and that makes sense (filler words, useless tangents, etc. would just be distracting), but so many characters are direct to the point where any characterization that their words are supposed to provide seems utterly contrived, and I consequently ignore it.

I seem hyper-aware of the fact that everything that a character is doing serves a specific purpose to either stretch the plot or artificially deepen their personality, but not in a meaningful way. The somewhat cheesy premise of The 100 (as a random example) kept me watching for a little while, but literally every conflict was forced. I could tell that there was a writer behind every, "Hey, look at Mr. <humorous adjective> here" and, "I'm telling you right now, stop! Don't do this!" and, "Just leave me alone!" trying to provide multiple sides to a character. The fourth wall may as well not even exist. Yes, I understand that your characters are all very complex human beings, but only because you're using every method known to man to imply it. It's just so heavy-handed that I can't pay attention to your broader message and instead focus on how ridiculous every word out of their mouths are.

Okay, I understand that this character is supposed to be a symbol of feminine empowerment because she just kicked 14 guys and made a witty remark about having been underestimated. Okay, I understand that these scary-looking buff guys are bad because they keep explicitly saying how much they like murdering people. Are audiences really so stupid that they have to have characterization spelled out for them in dialogue? Can actions alone not be enough to convey meaning? Why does every meaningful interaction have to coincide with a ridiculously on-the-nose explanation of why it's relevant?

It's ruining almost everything I watch. My immediate thought after hearing any TV quote that's supposed to be remotely funny or attention-grabbing is, "Ugh, that is such a 'television' thing to say," and it instantly makes me think negatively of the work. I've noticed that the feeling is somewhat dampened when watching foreign TV (in a different language), although it still feels sort of formulaic. Are my standards unrealistically high? Am I being a massive elitist? If so, how would I even change the way I look at television at this point? Or am I too far down the meta TV tropes rabbit-hole to be able to enjoy the medium fully again?

Hey everyone, thanks to you who posted in the original Workshop Wednesday; I think it went really well! Here we are for week 2 (sorry it took me til noon, I was busy this morning!)

Some questions:

• do we need a new topic every week? Or will one be enough?
• any other comments/suggestions?

Please begin your comment with [META] to discuss these. Otherwise, I'll copy and paste the guidelines from last week.

What's a workshop?

Basically, a workshop is when you have a bunch of people with poems or stories they've written, and everyone gets together, reads everyone's work, and comments on it, sharing what they got out of it and what the author could do to improve the work for publication. I used to do a lot of them in college, and I've missed the dynamic since graduating. I thought others might also be interested, so here goes nothing.

How this'll work (for now, anyway)

Each week, I'll post a "Workshop Wednesday" post. If you have a poem or (short) story you'd like workshopped, post that as a top comment. Then, read others' top comments and reply with what works/doesn't work/questions you have/ideas you have for the piece that could make it better. If you post some writing, try to comment on at least two other people's pieces as well -- we're here to help each other improve.

So, a little background, my profession is technical writing. I want to write a novel but I'm struggling a little with getting the creative side of my brain going. Technical writing seems to further inhibit my creativity with all its rules.

I'm looking into local writers' workshops but they're all full at the moment. In the meantime, I was wondering if anyone here has any advice for exercises or things I could do to stimulate my creativity and free my mind from all the rules of technical writing. Thoughts?

Apollo 11 is a limited IMAX only engagement, at least for now, and I don't know how long it'll be in theaters. But while it is, I implore everyone to go see it.This movie left me speechless, and not just in the sense of the footage being so incredible as to leave me without words, though that's certainly a factor. It's restored footage and audio of the Apollo 11 mission, for anyone that doesn't know, and it covers the launch, moon landing, and re-entry.

It's so easy for historical events to be looked back on and be seen as just that: events. Like a natural disaster or the existence of a waterfall or a canyon, so many battles, inventions, and human triumphs are stripped of humanity, remembered only as things that happened, not things people did. Apollo 11 has staggering to witness footage, yes, but it weaves that footage together with the human moments wonderfully. The scenes of the launch countdown or the lander making its descent are intercut and splitscreened with the footage of the NASA control centers, with names of all the teams, as audio of their conversations with the astronauts and recaps of what has happened and is going to play over the incredibly restored launch footage. Cuts to the crowd overlooking the Apollo 11 launch are also common in the beginning.

This is not an educational video, one to be seen for great understanding of the finer details of the mission. Apollo 11 instead acts as history in motion, with a perspective to the individuals and the event simultaneously. It's about the people that accomplished the amazing things you see. A display of the triumph of human spirit over the perceived rules of the world and the desire for understanding out world and breaking the limits that we thought were imposed on us. And yet, we as the viewers have a perspective that the people who actually accomplished the great things we see never did. The splitscreening helps to assign human beings to the awe inspiring footage in front of the viewer, yes, but at the same time it offers 2 entirely separated perspectives framed as one, one that the human beings being assigned to the footage never truly experienced in the moment. We have an intimate view of the control center with a simultaneous omnipotent-esque view of the mission in all of its glory. The viewer as the omnipotent being is true of most films to some degree, but the way in which the movie frames its central event, small and big at the same time, really highlights an omnipresent view that even those who lived through the launch never experienced in real time. It's a film of contrast between the individuals and the accomplishment of the collective, but in its control center voiceovers and constant splitscreens, it's really a movie that bridges the two contrasts.

Basically, I loved it in ways that, despite my extensive best efforts, I find difficult to describe. This line sounds corny, I know, but you owe it to yourself to see it on the biggest screen that you can, and I implore everyone to try to make time for it and find a true IMAX showing, if possible. The visuals alone may not have been the biggest thing that awed me, but they were certainly a huge part of it. And for anyone that's also seen it, what'd you think? I'd love to see other perspectives on this doc.

Not sure if this the right place to post this but here goes... I'm writing a story and I'm trying to figure out the best medium to tell it. I'm strongly leaning toward visual novels. I like anime and I want the story to have a similar look and feel. Maybe someday it will even become an anime. Who knows?

That said, does anyone here have any thoughts on the pros/cons of taking the visual novel approach as opposed to a traditional novel or light novel?

Releases of the week 23/02/2019 - 01/03/2019

Featured Release

Solange - When I Get Home (Neo-Soul, Alternative R&B)

Solange has unveiled her new album, When I Get Home. Spanning 19 tracks, it marks Solange’s fourth album to date and serves as the follow-up to her 2016 opus, A Seat at the Table.
When I Get Home was written, performed, and executive produced by Solange herself, but she was hardly in the studio. Among the album’s many contributors were Earl Sweatshirt, Panda Bear, Tyler the Creator, Blood Orange’s Dev Hynes, Sampha, Pharrell Williams, Gucci Mane, Playboi Carti, Raphael Saadiq, Metro Boomin, The-Dream, Cassie, Abra, and The Internet’s Steve Lacy.
“Y’all! I’m filled w so much joy right now!!! Wow! I can’t thank y’all enough for this moment and for all the feelings i feel in my body!” Solange wrote in a tweet. “I’m bringing home w me everywhere I go yalll and I ain’t running from shit no more. Your love lifts me up so high. Thank you!”

Source: Consequence of Sound

Listen to single

Stream

Other Notable Relases

Pond - Tasmania (Neo-Psychedelia, Psychedelic Pop)

Listen to single
Stream

2 Chainz - Rap or Go to the League (Trap Rap, Southern Hip Hop)

Listen to single
Stream

Sun Kil Moon - I Also Want To Die In New Orleans (Contemporary Folk, Spoken Word)

Listen to single
Stream

T-Pain - 1UP (Alternative R&B, Trap Rap)

Listen to single
Stream

Feel free to discuss or feature any and all other releases in the comments below

Discussion Points

Have you listened to any of these releases?
What are your thoughts?
What are you looking forward to listen to?
What have you enjoyed from these artists in the past?

// All feedback on this format welcome.

Preface

Recently I briefly touched on the subject of cyclomatic complexity. This is an important concept for any programmer to understand and think about as they write their code. In order to provide a more solid understanding of the subject, however, I feel that I need to address the topic more thoroughly with a more practical example.

What is cyclomatic complexity?

The concept of "cyclomatic complexity" is simple: the more conditional branching and looping in your code, the more complex--and therefore the more difficult to maintain--that code is. We can visualize this complexity by drawing a diagram that illustrates the flow of logic in our program. For example, let's take the following toy example of a user login attempt:

<?php

$login_data = getLoginCredentialsFromInput();

$login_succeeded = false;
$error = '';
if(usernameExists($login_data['username'])) {
    $user = getUser($login_data['username']);
    
    if(!isDeleted($user)) {
        if(!isBanned($user)) {
            if(!loginRateLimitReached($user)) {
                if(passwordMatches($user, $login_data['password'])) {
                    loginUser($user);
                    $login_succeeded = true;
                } else {
                    $error = getBadPasswordError();
                    logBadLoginAttempt();
                }
            } else {
                $error = getLoginRateLimitError($user);
            }
        } else {
            $error = getUserBannedError($user);
        }
    } else {
        $error = getUserDeletedError($user);
    }
} else {
    $error = getBadUsernameError($login_data['username']);
}

if($login_succeeded) {
    sendSuccessResponse();
} else {
    sendErrorResponse($error);
}

?>

A diagram for this logic might look something like this:

+-----------------+
|                 |
|  Program Start  |
|                 |
+--------+--------+
         |
         |
         v
+--------+--------+    +-----------------+
|                 |    |                 |
|    Username     +--->+    Set Error    +--+
|    Exists?      | No |                 |  |
|                 |    +-----------------+  |
+--------+--------+                         |
         |                                  |
     Yes |                                  |
         v                                  |
+--------+--------+    +-----------------+  |
|                 |    |                 |  |
|  User Deleted?  +--->+    Set Error    +->+
|                 | Yes|                 |  |
+--------+--------+    +-----------------+  |
         |                                  |
      No |                                  |
         v                                  |
+--------+--------+    +-----------------+  |
|                 |    |                 |  |
|  User Banned?   +--->+    Set Error    +->+
|                 | Yes|                 |  |
+--------+--------+    +-----------------+  |
         |                                  |
      No |                                  |
         v                                  |
+--------+--------+    +-----------------+  |
|                 |    |                 |  |
|   Login Rate    +--->+    Set Error    +->+
| Limit Reached?  | Yes|                 |  |
|                 |    +-----------------+  |
+--------+--------+                         |
         |                                  |
      No |                                  |
         v                                  |
+--------+--------+    +-----------------+  |
|                 |    |                 |  |
|Password Matches?+--->+    Set Error    +->+
|                 | No |                 |  |
+--------+--------+    +-----------------+  |
         |                                  |
     Yes |                                  |
         v                                  |
+--------+--------+    +----------+         |
|                 |    |          |         |
|   Login User    +--->+ Converge +<--------+
|                 |    |          |
+-----------------+    +---+------+
                           |
                           |
         +-----------------+
         |
         v
+--------+--------+
|                 |
|   Succeeded?    +-------------+
|                 | No          |
+--------+--------+             |
         |                      |
     Yes |                      |
         v                      v
+--------+--------+    +--------+--------+
|                 |    |                 |
|  Send Success   |    |   Send Error    |
|    Message      |    |    Message      |
|                 |    |                 |
+-----------------+    +-----------------+

It's important to note that between nodes in this directed graph, you can find certain enclosed regions being formed. Specifically, each conditional branch that converges back into the main line of execution generates an additional region. The number of these distinct enclosed regions is directly proportional to the level of cyclomatic complexity of the system--that is, more regions means more complicated code.

Clocking out early.

There's an important piece of information I noted when describing the above example:

. . . each conditional branch that converges back into the main line of execution generates an additional region.

The above example is made complex largely due to an attempt to create a single exit point at the end of the program logic, causing these conditional branches to converge and thus generate the additional enclosed regions within our diagram.

But what if we stopped trying to converge back into the main line of execution? What if, instead, we decided to interrupt the program execution as soon as we encountered an error? Our code might look something like this:

<?php

$login_data = getLoginCredentialsFromInput();

if(!usernameExists($login_data['username'])) {
    sendErrorResponse(getBadUsernameError($login_data['username']));
    return;
}

$user = getUser($login_data['username']);
if(isDeleted($user)) {
    sendErrorResponse(getUserDeletedError($user));
    return;
}

if(isBanned($user)) {
    sendErrorResponse(getUserBannedError($user));
    return;
}

if(loginRateLimitReached($user)) {
    logBadLoginAttempt($user);
    sendErrorResponse(getLoginRateLimitError($user));
    return;
}

if(!passwordMatches($user, $login_data['password'])) {
    logBadLoginAttempt($user);
    sendErrorResponse(getBadPasswordError());
    return;
}

loginUser($user);
sendSuccessResponse();

?>

Before we've even constructed a diagram for this logic, we can already see just how much simpler this logic is. We don't need to traverse a tree of if statements to determine which error message has priority to be sent out, we don't need to attempt to follow indentation levels, and our behavior on success is right at the very end and at the lowest level of indentation, where it's easily and obviously located at a glance.

Now, however, let's verify this reduction in complexity by examining the associated diagram:

+-----------------+
|                 |
|  Program Start  |
|                 |
+--------+--------+
         |
         |
         v
+--------+--------+    +-----------------+
|                 |    |                 |
|    Username     +--->+   Send Error    |
|    Exists?      | No |    Message      |
|                 |    |                 |
+--------+--------+    +-----------------+
         |
     Yes |
         v
+--------+--------+    +-----------------+
|                 |    |                 |
|  User Deleted?  +--->+   Send Error    |
|                 | Yes|    Message      |
+--------+--------+    |                 |
         |             +-----------------+
      No |
         v
+--------+--------+    +-----------------+
|                 |    |                 |
|  User Banned?   +--->+   Send Error    |
|                 | Yes|    Message      |
+--------+--------+    |                 |
         |             +-----------------+
      No |
         v
+--------+--------+    +-----------------+
|                 |    |                 |
|   Login Rate    +--->+   Send Error    |
| Limit Reached?  | Yes|    Message      |
|                 |    |                 |
+--------+--------+    +-----------------+
         |
      No |
         v
+--------+--------+    +-----------------+
|                 |    |                 |
|Password Matches?+--->+   Send Error    |
|                 | No |    Message      |
+--------+--------+    |                 |
         |             +-----------------+
     Yes |
         v
+--------+--------+
|                 |
|   Login User    |
|                 |
+--------+--------+
         |
         |
         v
+--------+--------+
|                 |
|  Send Success   |
|    Message      |
|                 |
+-----------------+

Something should immediately stand out here: there are no enclosed regions in this diagram! Furthermore, even our new diagram is much simpler to follow than the old one was.

Reality is rarely simple.

The above is a really forgiving example. It has no loops, and loops are going to create enclosed regions that can't be broken apart so easily; it has no conditional branches that are so tightly coupled with the main path of execution that they can't be broken up; and the scope of functionality and side effects are minimal. Sometimes you can't break those regions up. So what do we do when we inevitably encounter these cases?

High cyclomatic complexity in your program as a whole is inevitable for sufficiently large projects, especially in a production environment, and your efforts to reduce it can only go so far. In fact, I don't recommend trying to remove all or even most instances of cyclomatic complexity at all--instead, you should just be keeping the concept in mind to determine whether or not a function, method, class, module, or other component of your system is accumulating technical debt and therefore in need of refactoring.

At this point, astute readers might ask, "How does refactoring help if the cyclomatic complexity doesn't actually go away?", and this is a valid concern. The answer to that is simple, however: we're hiding complexity behind abstractions.

To test this, let's forget about cyclomatic complexity for a moment and instead focus on simplifying the refactored version of our toy example using abstraction:

<?php

function handleLoginAttempt($login_data) {
    if(!usernameExists($login_data['username'])) {
        sendErrorResponse(getBadUsernameError($login_data['username']));
        return;
    }

    $user = getUser($login_data['username']);
    if(isDeleted($user)) {
        sendErrorResponse(getUserDeletedError($user));
        return;
    }

    if(isBanned($user)) {
        sendErrorResponse(getUserBannedError($user));
        return;
    }

    if(loginRateLimitReached($user)) {
        logBadLoginAttempt($user);
        sendErrorResponse(getLoginRateLimitError($user));
        return;
    }

    if(!passwordMatches($user, $login_data['password'])) {
        logBadLoginAttempt($user);
        sendErrorResponse(getBadPasswordError());
        return;
    }

    loginUser($user);
    sendSuccessResponse();
}

$login_data = getLoginCredentialsFromInput();

handleLoginAttempt($login_data);

?>

The code above is functionally identical to our refactored example from earlier, but has an additional abstraction via a function. Now we can diagram this higher-level abstraction as follows:

+-----------------+
|                 |
|  Program Start  |
|                 |
+--------+--------+
         |
         |
         v
+--------+--------+
|                 |
|  Attempt Login  |
|                 |
+-----------------+

This is, of course, a pretty extreme example, but this is how we handle thinking about complex program logic. We abstract it down to the barest basics so that we can visualize, in its simplest form, what the program is supposed to do. We don't actually care about the implementation unless we're digging into that specific part of the system, because otherwise we would be so bogged down by the details that we wouldn't be able to reason about what our program is supposed to do.

Likewise, we can use these abstractions to hide away the cyclomatic complexity underlying different components of our software. This keeps everything clean and clutter-free in our head. And the more we do to keep our smaller components simple and easy to think about, the easier the larger components are to deal with, no matter how much cyclomatic complexity all of those components share as a collective.

Final Thoughts

Cyclomatic complexity isn't a bad thing to have in your code. The concept itself is only intended to be used as one of many tools to assess when your code is accumulating too much technical debt. It's a warning sign that you may need to change something, nothing more. But it's an incredibly useful tool to have available to you and you should get comfortable using it.

As a general rule of thumb, you can usually just take a glance at your code and assess whether or not there's too much cyclomatic complexity in a component by looking for either of the following:

• Too many loops and/or conditional statements nested within each other, i.e. you have a lot of indentation.
• Many loops in the same function/method.

It's not a perfect rule of thumb, but it's useful for at least 90% of your development needs, and there will inevitably be cases where you will prefer to accept some greater cyclomatic complexity because there is some benefit that makes it a better trade-off. Making that judgment is up to you as a developer.

As always, I'm more than willing to listen to feedback and answer any questions!

So I was talking to @cadadr in this thread about starting a workshop on Tildes, and since today makes for an alliterative title, I thought I'd start one now.

What's a workshop?

Basically, a workshop is when you have a bunch of people with poems or stories they've written, and everyone gets together, reads everyone's work, and comments on it, sharing what they got out of it and what the author could do to improve the work for publication. I used to do a lot of them in college, and I've missed the dynamic since graduating. I thought others might also be interested, so here goes nothing.

How this'll work (for now, anyway)

Each week, I'll post a "Workshop Wednesday" post. If you have a poem or (short) story you'd like workshopped, post that as a top comment. Then, read others' top comments and reply with what works/doesn't work/questions you have/ideas you have for the piece that could make it better. If you post some writing, try to comment on at least two other people's pieces as well -- we're here to help each other improve.

Going forward

Since this is the first one, obviously we can change the format or do something else. Please start meta-discussions with the word [META] so that we know it's not a poem you're trying to workshop!

I'm excited. Let's do this!

Basically, the ability to receive a notification whenever someone comments on a subscribed topic. Currently, there is a save option (Unless it's been removed? I'm looking now and can't seem to find it) which makes for a decent solution for the time being, but personally I know how easy it is to forget all about what you have saved and have it fly completely under your radar. I, for one, think it would be a good idea if you could subscribe to a topic you're interested so you don't completely forget and miss some discussion.

Comment Visits Setting

This data is retained for 30 days. After not visiting a particular topic for 30 days, the data about your last visit to it will be deleted.

We've had discussions before about long-lived topics, resurrecting old topics, etc. and the general consensus is that they were good and encouraged. Unfortunately, with the limited 30-day memory for topic read-vs-new comments, resurrected posts become a real pain. The current activity-sorted all-time front page has three topics from 2018, each with over a hundred comments. It'd be nice to read the new activity, but that takes either some tedious Ctrl+F with various terms ("minutes", "days", etc.) to find newish comments or re-reading everything.

I'd like to avoid relying on a third-party extension to handle this (browser and device support, issues with syncing multiple devices, etc.), and I understand the privacy goals. What are people's thoughts on making read-comment memory user-configurable, even if it's just "default 30-days" and "all-time"?