In practice, like many things, it's a matter of preference. I'm firmly a novice, but find I prefer an angle while chiseling but can't tolerate it for any other use of a hammer.
Do you use your lump hammer (aka mini-sledge as I know them) for chiseling much? I know masons like them but they use steel chisels, I've been taught to avoid using metal hammers on wood chisels.
As with everything in woodworking and Perl, theres more than one way to do it :-) If it works for you, that's what matters.
I do use my lump hammer when chiseling. Not hitting wooden tools with a metal hammer/mallet is one of those things people get all worked up about, but it's not really a big deal. For my money, it delivers a firmer strike than a beech mallet.
I have destroyed a chisel handle that was well on its way out when I got it used at a flea market, but turning a chisel handle is within my modest turning abilities.
If a 20 minute telehealth visit with a PA is a sufficient level of screening for a medication, it's hard to imagine a compelling reason why an AI system would not be.
Amazon's pharmacy prescribes a large swath of medications over text.
No call or video necessary.
To make things more complicated, every message I sent was responded to by a different nurse practitioner. So it seemed everytime i sent a response or question, it would get routed to a random NP and she would respond without reviewing the full conversation.
Works if you know what you need, and I can't imagine AI being a worse process than whatever Amazon is doing.
Isotretinoin (formerly sold under the brand name Accutane) is not one of the drugs which can be prescribed by the system. Also, the reason you know its name is precisely because it is abnormally associated with increased risk of suicide.
It’s not game over because AI doomers are wrong in their projections. LLMs are a transformative technology like the internet, but they’re also overhyped and the useful applications aren’t as broad as people think they are. They’re also not Skynet.
I’m also skeptical about some projections, particularly for robotics, but on the Internet at least, it does seem like AI is automating most things, more or less as predicted. We already have botnets and had one notorious AI botnet swarm, fortunately easily shut down without doing any real damage. I don’t think we’ve seen the last AI botnet.
AI-automated warfare is looking pretty scary too. I don’t think it will stay in Ukraine.
Time will tell. I think the problems will come from humans automating things that shouldn’t be automated, like the disaster of the Minab school targeting, not out-of-control superintelligence.
Viruses don't need to be intelligent at all and smart viruses (or AI internet worms) won't need to be superintelligent to be a real pain to deal with. DoS attacks due to scraping are bad enough already.
The situation is sort of like the Internet before broadband. There probably aren't enough AI-capable home machines to have big swarms of bots that run autonomously. If the swarm depends on an LLM API, it will be easier to cut it off once it's noticed.
I think it's an even chance that we will see a bot swarm in the wild (rather than coming from an AI lab) by the end of next year.
Right, but the internet survived the Melissa virus and other early widespread worm attacks. They caused widespread disruption and economic damage, but they weren’t the end of the world. And besides, at present people are using AI to find and patch software at a faster rate than they are using it to compromise software (more dollars are allocated to security these days).
IMHO the biggest problems will be with poorly written AI slop software, probably small business crapware produced with minimal investment (maybe entirely without an experienced developer) and legacy equipment that’s been abandoned by the manufacturer. This will lead to disruption but not catastrophe.
I didn't say I don't trust anyone. Don't put words in my mouth, it's a sign of bad faith.
Other countries have governments that have earned that level of trust. I believe the US could get there eventually, but it will take a very long time because it has a very long way to go.
The Library of Congress is selective about what it preserves too, as is every museum. No single entity could possibly hope to preserve every film, it takes a community.
> don’t even follow a basic 3-2-1 backup protocol
The swarm is the backup. You can't beat hundreds of hash-checked copies across the globe.
> I bet not even 1 in 1000 people pirating are doing it primarily as a preservation exercise.
I bet you're right. Isn't it wonderful, then, that those 1 in 1000 (who are overrepresented in tracker admin and release group/scene work) are able to harness those selfish impulses and turn them into the most complete, accessible, and durable distributed art preservation project in human history.
There are some preservation efforts on a couple of the big movie trackers. One is "donate Xtb of space and use this script to manage it" so you don't choose the torrents, they get assigned till your donated space is full.
In Another gives bonuses for adopting torrents where the original seeder doesn't want to/can't seed anymore.
Neither are perfect but as one of those 1 in 1000 its nice to help where I can.
> The Library of Congress is selective about what it preserves too, as is every museum. No single entity could possibly hope to preserve every film, it takes a community.
You can’t possibly compare this to yet another person downloading all of Friends to watch off their hard drive, and most of these people aren’t seeding back anyway, so they’re not even part of the swarm.
I don’t object to piracy but I do object to preservation arguments made for/by people who are in no way thinking along those lines. I can’t buy tailgating on some clearly inapplicable altruism argument.
Remux is not a community, it's a tag that pirate release groups uses to indicate that a release contains exact copies of the original video and audio streams present on the disc.
GP is correct that files with purely additive changes (like additional audio tracks) to remuxes are called hybrid remuxes.
ETA: To the author's credit, this is convention rather than a hard rule. I checked my usual sources and found the exact 89gb 4k Arrow remux the author mentions in the closing paragraph and it is indeed labelled 'remux' only. The uploader did make a note of this though: "Unfortunately, as Arrow had to pull the Italian dub due to rightsholders demands, I had to sync it from the 2017 Kino Lorber disc."
>Remux is not a community, it's a tag that pirate release groups uses to indicate that a release contains exact copies of the original video and audio streams present on the disc.
There is a community insofar as there is a relatively small group of people who sink their time into producing high quality remuxes, and this group talks to each other (on IRC and elsewhere).
>GP is correct that files with purely additive changes (like additional audio tracks) to remuxes are called hybrid remuxes.
As I corrected on a child comment to the GP, this is not correct. It is not convention either. A hybrid remux has a stream which is a hybrid of two or more sources. Simply combining tracks from different sources isn't a hybrid remux, it's just baseline good practice.
> A hybrid remux has a stream which is a hybrid of two or more sources.
This explicitly breaks the rules of multiple communities I participate in. All streams must be untouched in a remux, and a hybrid remux is a release with untouched streams from multiple sources (there are also hybrids which are not remuxes).
What even is "a stream which is a hybrid of two or more sources?" Cutting between or combining multiple audio or video streams is simply editing. You're describing a fanedit.
>This explicitly breaks the rules of multiple communities I participate in.
Probably. Not all places allow hybrid remuxes.
I promise you that I have these definitions correct as they are most commonly used, since I am actually involved in this space.
The word "Hybrid" has been used in the way you describe, most notably by FRaMeSTOR, but I would say that everyone else has coalesced on what I described and would call my definition the standard one. It's also how the "Hybrid" edition label is used on PTP.
>What even is "a stream which is a hybrid of two or more sources?" Cutting between or combining multiple audio or video streams is simply editing. You're describing a fanedit.
No I'm not. I stand by what I said. As an example you can look at Bridge.to.Terabithia.2007.Hybrid.1080p.BluRay.REMUX.AVC.TrueHD.5.1-BLURANiUM.mkv For the sake of those reading, I will copy from the release notes:
>GER has hardcoded translated movie title which is not present in other transfers so hybrid was needed to restore the original picture. Hybrid was done with USA disc since audio from same disc was used. GER video was retimed to 23.976 FPS, trimmed on valid IDR frames and merged with MKVToolnix.
In this case, two Blu-ray video streams were spliced together.
In my (admittedly limited) experience, adding audio tracks to a video track that weren't produced together often requires editing. If not for sample rate reasons, content reasons, like extra space for additional video space at the beginning or ending most basically. It seems like in any instances like that, which I would count as "nominal," it would be appropriate to identify those as "modified from" which would seemingly place you squarely into "hybrid" space within the taxonomy of this comment thread.
Right. There is some degree of transformation which is normal or necessary. For example, if one of {video, audio} is 24fps and the other is 23.976fps, the video will have its frame rate adjusted to match the audio. For basic video/audio mismatches you may need to trim audio, insert null audio, or add a mkv container delay.
These things are normally detailed in release notes. People write pretty detailed notes laying out exactly what they did.
The muxer can apply a timestamp offset to a track, so while the audio stream remains untouched it starts at some offset relative to the start of the video stream.
Agree once you're compensating for drift by scaling the audio track you've pushed yourself out of remux territory, but again these aren't hard and fast rules (evidenced by the disagreement over terminology).
In a pure series hybrid a gas engine acts a generator which charges a battery, which drives an electric motor, which provides power to the wheels.
In parallel hybrids, both the gas motor and the electric motor provide traction, sometimes simultaneously.
Parallel is more efficient if you're depending on gas often, as every conversion has losses. Toyota mostly sells hybrids you can't plug in, and the ones you can plug in are variants of the ones you can't, so they all share the same drivetrain.
Nothing makes me more excited about this museum than the turnover in curatorial leadership throughout the project, capped off by Lucas assuming the title himself.
Give me his unrestrained vision. Put it in my veins.
It's reminiscent of the difference between the Star Wars prequel and sequel trilogies. Regardless of your opinions on the quality of those movies, the biggest differentiator is that the prequels were the singular vision of a self-funded artist while the sequels are a corporate product of a global media empire. Even if the latter produces a better movie, it ends up sanding off many of the edges and those edges are where a lot of us found the magic of Star Wars. The Lucas Museum is similar in that it very clearly is the product of an excentric billionaire rather than the same type of curatorial thinking you will find in other art museums.
These are two crappy choices, and it's not a coincidence that a resource strapped filmmaker having to engage with many skilled artisans to sharpen their "singular vision" resulted in much better films (the original trilogy) than either of those two.
If you think he was significantly resourceful strapped making Empire and Jedi you are mistaken. At the time they were some of the most expensive films ever made.
Mostly self-funded too (a higher percentage for Jedi than Empire) so even in the original trilogy it was still Lucas signing the checks and making the ultimate decisions. Him being willing to delegate more in those days was personality driven rather than financially driven.
Let’s not forget though, the prequel trilogies were—not good. Lucas is at his best when he has collaborators who can help take the half-baked ideas and fully bake them.
They were better than good. I wouldn't call them masterpieces (my biggest critique is that they tried to do too much in II which messed up the pacing of Anakin's arc) but they're great films.
Yes, but while I may prefer "good" when it comes to the multiplex, I much prefer "interesting" when it comes to my art museums and Lucas's prequels and museum are both very interesting.
Phantom Menace is a super fun movie. Pure Star Wars. I've used it as an entry to the series for all of my kids (then I skip ahead to the OT to not ruin the twist).
I've generally found that most people who didn't like are people who were already adults when it came out, and had a different vision of what they wanted it to be.
Yeah, I think that's one of the keys: the lore in the prequels is so rich (and was so thoroughly fleshed out in stuff like the Clone Wars series) that if you're just directionally on board with the plot, the worldbuilding, the characters, you can read between the lines and just see the whole thing in a better light than the actual film on screen provides for itself.
For me personally, the prequels were very much an "emperor has no clothes" moment. There's a lot of "meh" in the prequels--in the writing, in the story, and in the direction. Some of the scenes between Anakin and Padme are just downright painful. But I could also see someone being able to overlook at least some of that, especially if they first saw the films when they were young. So I'm not here to complain about any of that.
I can sum up my biggest problem with the prequels (well, with Lucas really) in one word: midichlorians.
When he decided to explain how the force works, he took something that had been so eloquently portrayed in the OT*, and reduced it to something banal and mechanical. And there was no reason to do that. It's not like Darth Vader needed a blood sample to know that Obi-Wan was on the Death Star. And yet Lucas chose to do it anyway.
That choice showed such a baffling level of cluelessness. Like here's this guy, this supposed visionary, who has carte blanche to do whatever he wants (with what is supposedly his own story, no less) and he just.. doesn't really seem to get it?
It really made me question whether the OT were as a good as they were because of him or in spite of him. Apparently I got something out of the story that he did not.
* I'm referring particularly to Yoda's speech to Luke about the force in ESB. "Luminous beings are we, not this crude matter!". Beautiful writing, still gives me goosebumps. No wonder ESB is often considered the best one.
> That choice showed such a baffling level of cluelessness. Like here's this guy, this supposed visionary, who has carte blanche to do whatever he wants (with what is supposedly his own story, no less) and he just.. doesn't really seem to get it?
> It really made me question whether the OT were as a good as they were because of him or in spite of him.
He didn’t get it with the original trilogy either, but had Marsha Lucas to tell him no and patiently explain how normal people work. For the prequels he was surrounded by yes-men.
> Some of the scenes between Anakin and Padme are just downright painful.
The worse part of that is seeing clips from between takes: they actually have chemistry! They were actually directed to be unrealistic and unbelievable.
> It really made me question whether the OT were as a good as they were because of him or in spite of him.
Harrison Ford is why Han Solo says "I know" in response to Leia's "I love you". Contrasts directly with Anakin/Padme. "in spite of him" is at least a big chunk of it.
It can be both. Good art tends to allow a measure of interpretation outside of what the artists originally intended.
Dunno how in tune you are with random factoids but Lucas is on the record saying that his favorite episode in "The Clone Wars" is "A Sunny Day in the Void", where a bunch of droids are stuck in the desert. So...yeah, there's definitely _something_ he gets out of this series that might not line up with the fanbase at large.
He also wanted to double down on the midichlorians and the Whills for the sequels, so it definitely wasn't a one-off for him.
As for me, I don't hate the idea that a spiritual quality can have a physical component to it. (Makes you think about if a parting of the Red Sea or an ax head floating are "truly supernatural" events or more "natural, with mechanisms we can't understand".) I suppose it's a bit coarse that it's used to boil mysticism down to a number for comparison, and it certainly wasn't _necessary_ to move the plot along, though.
Nope. None of the frivolous NIMBY lawsuits ever made it to trial, nor was the museum ever a defendant in any of them (it was the city being sued for approving it). I don't see what you gain from misrepresenting this years after the fact.
The city could've gone to trial for the one case you're referencing, and would've won given enough money and time, but by that point the museum had already started investigating other locations.
Do you use your lump hammer (aka mini-sledge as I know them) for chiseling much? I know masons like them but they use steel chisels, I've been taught to avoid using metal hammers on wood chisels.
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