> This “thought” experiment although based on real “physical” objects can be treated as a simple mathematical object and so allows us to explore some of the consequences of this object or objects. The important feature is that any finite series is fixed, so greater sized disks, blue ray, whatever, is not significant to the idea, that is in a finite universe there are a finite number of finite objects. The size of the bit strings set real limits on the number of possible objects; web pages typically use 24 bits to encode colors, 8 bits for red, 8 for blue, and 8 for green that gives 256 x 256 x 256 or 16,777,216 possible colors, and no more.
> In Deleuzean terms, you could call this, all possible CDs, the “virtual plane”, thought experiment, in the case of 2 to the power 6265728000 of all possible audio on CD, a virtual set of possibilities or a virtual plane, and the actual physical CDs in the world are actualizations of these virtualalities. Actual objects, physical CDs, being intensities on this virtual plane. Actual CDs are not mere copies of there virtual counterparts, they are not re presentations of the virtual, for they have many more properties, many physical properties, color, size, shape etc., just as in the Deleuzean Virtual and Real planes, the real is not a copy of the virtual, but an intensity.
> Using this as a model we can “experience” actualities that are physically unlikely for humans if not in practice impossible, for 2 to the power 6265728000, is approximately 10 to the power 2000000000. There are only 10 to the power 118 particles in the universe so a full and total actualization of the virtuality of CDs seems impossible.
That would be a handy thing to do. A workaround could be to have a raspberry pi or similar as your ssh access point to a local network via ngrok, with your main ngrok service running on another machine on the local network in screen or tmux. Then just ssh into the raspberry pi, connect to the machine running the main ngrok service, drop into the session and reconfigure as you like?
We write to share the sad news that Professor Emeritus Jon Appleton passed away on Sunday, January 30, in White River Junction, VT. The cause of death was leukemia.
Jon was a member of the Music Department from 1967 until 2009, retiring as the Arthur R. Virgin Professor of Music. A composer with broad interests in classical, folk, popular, and film music, he was best known as a pioneer in the field of electro-acoustic music. Jon founded Dartmouth's Bregman Electronic Music Studio in 1967, with support from President John G. Kemeny and Gerald Bregman '54. It was one of the first such studios at an American university, attracting many visiting composers from around the world, and it remains a hub of sonic experimentation today. In 1989, Jon founded the Music Department's Master's Program in Electroacoustic Music (now Digital Musics) with composer David Evan Jones. Close to 100 students have since graduated from the program.
In the 1970s, Jon collaborated with engineers Syd Alonso and Cameron Jones at the Thayer School of Engineering to develop the Synclavier, the first commercially-available digital musical instrument, which was widely used in film soundtracks and pop music albums of the 1980s, including Michael Jackson's Thriller, Paul Simon's Hearts and Bones, and Frank Zappa's Jazz from Hell. Jon released more than 20 albums of electronic music during his career, including Human Music (1970), a collaboration with jazz trumpeter and Dartmouth faculty member Don Cherry. In 2003 Jon was awarded the Lifetime Achievement Award of the Society for Electro-Acoustic Music in the United States.
A longtime resident of Hartford, Vermont, Jon maintained friendships with many of his former students and colleagues. At the time of his death, he was editing his autobiography, titled "Human Music." His manuscripts, papers and recordings are archived at the Rauner Library and the Dartmouth Digital Library Program.
Legos; also the ender 3d printer. I had a nostalgic time putting the ender together. Felt like a lego set. That's not saying it was trivial (it challenged me) but that I trusted it every step of the way not because of previous experience, but because of the obvious well-designed aspects of the experience as I was putting it together. For example: I put on a part sloppily, and trying to attach anther part was the first real resistance I felt in the entire process -- physical that is, I had to study every page of the manual for a minute or two before even being able to figure out what the next step would need to be, but it was always clear after studying.
I'm sorry, but 3D printers, while quite an innovation allowing cheap and fast prototyping, are not well designed things. I own three, and talk to friends who collectively probably own close to 100.
They, including models with great reputation (e.g. Prusa printers), break all the time. Also the mere fact that there are thousands of mods for all of them on sites like Thingieverse to make them better is another indication they aren't really all that well designed.
Things like manual leveling, heat creep, bottom layer adhesion issues are common problems across all models.
They're finicky things with PLENTY room for improvement.
At work I've had several over the years and the Markforged Mark 2 is hands-down the best I've used. Easy to use, great software (the preprocessor/slicer is online and the support material becomes easier to remove with each update). Above all else, great documentation and easy to follow maintenance guides. It has 2 nozzles, one that dispenses carbon-fibre-filled nylon and one of which dispenses a single carbon fibre for reinforcement. Those wear out fairly quickly but they have wear indicators so you can quickly judge if they need to be replaced. Unlike your example, it doesn't have any upgrade parts as far as I know and hasn't been updated or replaced in 4 years.
Unfortunately it's like $15k and material is also very expensive.
I think the last consumer paper(inkjet/laser) printer I've seen with the same reliability as my Prusa Mini broke down 20 years ago.
I haven't had a single print come off the bed by itself and never had to level anything. In ~150 prints there was one failure. Of course I'm just a hobbyist, but still. It could be worse.
I agree. Inedible exciting and rewarding machines, worth the time investment, but it’s still very early. I’m sure I’ll be blown away by what’s possible in ten years or so. Today I’m still babying each print and the machine itself. Jams are the worst.
With the exception of having to occasionally replace the print head my mk3s are excellent. No leveling problems, solve all layer height with live z. Flex filament works great
I had a very similar experience. IIRC I did 90 minute naps every 4 hours for a week. My first full night of sleep after a week of 90 minute naps felt like waking up after one really extremely long and weird day.
I'm finally reviving a little music label, mostly offline. Just mailed out the first batch of "catalogs" I printed at home (with an axidraw pen plotter, much fun to play with fluorescent inks and etc) to mostly friends and collaborators.
Tom Johnson's Chord Catalog which organizes the 8,178 chords possible in a single octave of the piano: https://fr.wikipedia.org/wiki/The_Chord_Catalogue
James Whitehead's All Possible CDs: http://www.jliat.com/APCDS/index.html
> This “thought” experiment although based on real “physical” objects can be treated as a simple mathematical object and so allows us to explore some of the consequences of this object or objects. The important feature is that any finite series is fixed, so greater sized disks, blue ray, whatever, is not significant to the idea, that is in a finite universe there are a finite number of finite objects. The size of the bit strings set real limits on the number of possible objects; web pages typically use 24 bits to encode colors, 8 bits for red, 8 for blue, and 8 for green that gives 256 x 256 x 256 or 16,777,216 possible colors, and no more.
> In Deleuzean terms, you could call this, all possible CDs, the “virtual plane”, thought experiment, in the case of 2 to the power 6265728000 of all possible audio on CD, a virtual set of possibilities or a virtual plane, and the actual physical CDs in the world are actualizations of these virtualalities. Actual objects, physical CDs, being intensities on this virtual plane. Actual CDs are not mere copies of there virtual counterparts, they are not re presentations of the virtual, for they have many more properties, many physical properties, color, size, shape etc., just as in the Deleuzean Virtual and Real planes, the real is not a copy of the virtual, but an intensity.
> Using this as a model we can “experience” actualities that are physically unlikely for humans if not in practice impossible, for 2 to the power 6265728000, is approximately 10 to the power 2000000000. There are only 10 to the power 118 particles in the universe so a full and total actualization of the virtuality of CDs seems impossible.