#tell me the real world connection for the imaginary numbers unit that my kids can understand without having first learned about like fuckin

[syn-odics]

one of the most annoying things about being a math teacher is just how little other teachers understand about what you’re actually trying to do in your classroom

#nothing has pissed me off more than when someone is like 'well why don't you just xyz in your classroom' ALGEBRA 2 DOESNT WORK LIKE THAT #'real world connections' 'exploratory learning' 'continuity between lessons' #algebra 2 is literally just a hodge podge of the most obnoxious formulas you've ever seen in your life thrown at you with no rhyme or reason #and all the math is either a supremely abstract extension of stuff you already learned or its such a preliminary pre req to the actual math #needed to do a thing that there is like No real world scenario that's not an extremely forced stretch #tell me the real world connection for the imaginary numbers unit that my kids can understand without having first learned about like fuckin #matrices or diff eqs or gd vector physics #theres Nothing its literally just silly mind games #which like *i* think is cool. about 3 of my 65 students think its cool #the rest are like god in heaven save me and you know what i dont really blame them

[douchebagbrainwaves]

WHY I'M SMARTER THAN PEOPLE

If you'd asked me as a kid how rich people became poor, I'd have said by spending all their money. The reason I've been writing about existing forms is that I don't know what new forms will appear. He didn't mean it to be a huge number of software patents. If someone seems slippery, or bogus, or a tool for 3D animation. Nearly everyone's is. We can all imagine an old-style editor getting a scoop and saying this will sell a lot of errands undone. They generally prefer to use time in units of half a day, a week, a whole week's backlog of shit accumulates. Suppose you could find a really good manager. They're something you have to keep running it. Logically, you don't want to print vague stuff like fairly big. Unless the opposing argument actually depends on such things, the only purpose of correcting them is to discredit one's opponent. This was roughly true.

Why do good hackers have bad business ideas? Then I'd sleep till about 11 am, and come in and work until dinner on what I called business stuff. Not the length in distinct syntactic elements—basically, the size of the parse tree. Why? A recent article in the Wall Street Journal for a week should give anyone ideas for two or three new startups. In the process we may decrease economic inequality want to do on the maker's schedule are willing to compromise. There should be some market, but it's not likely to have happened to any bigger than a cell. The average trade publication is a bunch of people is: gradually realize how completely fucked they are, their patents probably haven't issued yet. And while it can be convincing. Starting a startup will change you a lot. When PR people and journalists recount the histories of startups after they've become big, they always want to know what the tricks are for convincing investors. The first was called Traf-o-data.

No one uses pen as a verb in spoken English. And I know it's usually my fault: I let errands eat up the day, to avoid facing some hard problem. Which means if the qualities that make someone a great programmer are evenly distributed, 95% of great programmers are here, the more interesting sort of convergence that's coming is between shows and games. In fact, you don't want to make it something that they themselves use. Lisp;-Though useful to present-day languages, if they'd had them. The other reason creating wealth is such a tenacious source of inequality is that it will make the people who express opinions on the subject do it not based on such research, but toward languages being developed as open-source projects you don't get much practice at the third skill, deciding what problems to solve. In the software business, seem to get sued much by established competitors. Though better than attacking the author, this is a constant problem when you're painting still lifes. I've definitely had days when I might as well have sat in front of a VT100 connected to a single central Vax. Because another of the characteristic mistakes of young founders is to go through the motions of starting a startup so much that there's nothing else they'd rather do. Search for a few key phrases and the names of the clients and the experts, look for the client. This can be a net win.

The purpose of a company we fund, the founders still had a majority of the board seats after the series A and if you're lucky IPO. Most people who write about procrastination write about how to get in. One reason is that you may not get any reward in the forseeable future. I ignored it because he seemed so impressive. This is a controversial view. This is a rare case where being less self-centered will make people angrier. He said We'd hire 30 tomorrow morning. It's very common for a group of medium-high quality people and get the desired result. Things always seem intangible when you don't. If you do manage to threaten them, they're more likely to succeed if you wait. But as I explained in The Refragmentation, that was an anomaly—a unique combination of circumstances that compressed American society not just economically but culturally too.

I was annoyed recently to read a description of Y Combinator that helps people start startups. Then you could, in principle, be designed today, and 2 such a language, if it existed, might be good to program in today. This is what real productivity looks like. That's much more likely to buy you than sue you. Unfortunately, though public acquirers are structurally identical to pooled-risk company management companies existed, signing up with one would seem the ideal plan for most people, including the experts themselves, can measure. Does that make written language worse? If a startup wants to grow into a big company, which is almost necessarily impossible to predict, I think it is good to have such a target and to keep it consciously in mind. The urge to look corporate—sleek, commanding, prudent, yet with just a touch of hubris on your well-cut sleeve—is an unexpected development in a time of business disgrace. Here's a simple trick for getting more people to read what you write, yes. And if half the people around you are out of their element. But while I'd spent a lot of tricks for making myself work over the last 20 years, I wouldn't think here is someone who is way ahead of their peers. And while there are many popular books on math, few seem good.

I was at the time, perhaps most of the time. Looking forward a hundred years from now people will still tell computers what to do using programs we would recognize as such. He said VCs told him this almost never happened. Slashdot has an icon that expresses the problem vividly: a knife and fork with the words patent pending superimposed. Oh yes you are. But the world has gotten more complicated: the most dangerous traps now are new behaviors that bypass our alarms about self-indulgence leads to trouble. Values are what have types, not variables, and assigning or binding variables means copying pointers, not what they point to. And later stage investors? There hasn't been a lot of mistakes.

Working on hard problems is to work on a particular problem is that big projects tend to grow out of small ones. And while there are a lot of their own people would rebel. We have the potential to ensure that the US remains a technology superpower just by letting in a few thousand great programmers a year. That's no problem for someone on the other end of a trade loses a dollar. There they have the really big ideas. But in fact there is a second much larger class of judgements where judging you is only a means to something else. Patent trolls seem to have looked far for ideas.

The problem is, the USPTO in effect slept with Amazon on the first date. Which means if the qualities that make someone a great programmer are evenly distributed, 95% of great programmers are born outside the US. Will we even be writing programs in an imaginary hundred-year language now, it would take me several weeks of research to be able to say whether patents have in general been a net win to blow off everything you were supposed to do for the next few days to work on the most important principles in Silicon Valley has been happening for thousands of years is dangerous. So have we just shown, by reductio ad absurdum, that it's false that economic inequality is to treat it as a book. That's still expensive. Ok, he replied. He will smite you in his just wrath, but there's no malice in it. When I think of the people working in it. If a company starts misbehaving, smart people won't work there. It's a sideline for most of them, we could make sites for people who didn't want them, we either try to remove it, or shift the startup sideways.

#automatically generated text #Markov chains #Paul Graham #Python #Patrick Mooney #length #software #errands #way #group #subject #business #ones #today #class #problem #quality #day #startup #hackers #ideas #someone #leads #slept #purpose #research #look #tool #argument #malice

[aion-rsa]

Why Kid Cosmic Is About “People, Not Powers”

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This feature contains some spoilers for Netflix’s Kid Cosmic.

After exploring the stretches of space, wonder, and imagination in shows like Foster’s Home for Imaginary Friends and Wander Over Yonder, Craig McCracken returns to the realm of superheroes with Kid Cosmic, a more direct, comic book-esque take on the genre than his first smash hit show, The Powerpuff Girls. 

The show stars Kid, a young boy who finds a set of superpowered stones, and from there, all heck breaks loose. In the midst of fighting waves upon waves of aliens and creatures from other worlds, however, is an earnest, realistic story about a boy dealing with grief, and the small town that unites behind him through it all.

Den of Geek got a chance to chat with Craig over email about the show, about what it means to be a superhero, and how Netflix allowed for Kid Cosmic to explore that in a more mature, “all ages” way that’s arguably beyond the scope of most animated kids shows.

Den of Geek: Kid Cosmic is about a kid who is so engaged in comic books that when a set of super-powered stones literally lands at his feet, he wants to be a real superhero, arguably at some pretty significant costs and risk. What influenced you to come up with this specific premise? How do you view this, and the serial, thematic nature of it, against the immense number of superhero based media in the world today?

Craig McCracken: I was inspired by the supreme confidence that kids have at that age. I, like a lot of kids, dreamt of being a superhero when I was young, and in my fantasies I was always amazing and really good at it. I had that same confidence with my drawing when I was young. I drew all the time, I studied every cartoon and comic I could get my hands on, and I had the passion to do the job. I couldn’t understand why I had to grow up and go to art school before I could have that career, I was ready for the job at 12! 

The answer was that I wasn’t good enough yet, I had way more to learn (still do!). So I took that personal childhood experience with my drawing and applied it to superpowers instead. The thing that I feel sets Kid Cosmic apart from other hero-based media is that it’s focused less on epic hero mythologies and more on the smaller human stories. In writing the series we always reminded ourselves it’s about the people not the powers. 

Style wise, the show is heavily indebted to the classic comic book/serial look. The framing and storyboarding; the uses of fonts in the credits; the nifty end cards with the characters on fake comic books. One thing I’ve noticed, specifically, is that the movements at points were jumpy, as if frames were missing. Was that a conscious choice? Do you think that adds to the look and feel you’re going for?

A lot of the choices that we made in Kid were based on the fact that these are real people in the real world, they aren’t cartoon characters. So with the animation we avoided overly smooth and flowy actions or lots of squash and stretch, things that you associate with “cartoons.”  If an action felt natural on 3s or 4s we kept it. 

New Mexico as a setting is an inspired choice. There’s something freeing about its wide expanse of desert, but also terrifying in its (from a kids’ perspective) unexplored nothingness. How do you think the setting reflects the themes?

It’s not specifically New Mexico but sort of a generic rural southwest desert vibe. It could be New Mexico, it could be California, it could be Arizona, basically it’s a remote enough place where a spaceship could crash and not a lot of people would know about it. The other thing that is nice about the desert is that it forces you to tell a story about the characters because there is no surrounding environment for the characters to get distracted by, it’s a flat empty stage to play in. It’s also alone in the middle of nowhere, sort of like Earth is in the greater universe. 

This is, relatively speaking, darker than most kids animated shows. It has pretty brutal alien deaths, and while they’re dispatched in unique ways (colorful blood, “de-rezzing” out of existence), they’re still a bit more intense then what’s usually out there. How was Netflix in responding to this? Do you feel there may be a kind of commentary here on how sensitized kids may be to the kind of violence they witness in superhero comics and films?

Again that’s the reality creeping in, even though there is fantastic stuff happening, Kid Cosmic doesn’t take place in a fantasy world. Danger exists, the stakes are high. This just increases Kid’s struggle and makes it more real. At the beginning, Netflix said this isn’t specifically a “kid’s show” it’s an all ages show that can be watched by young viewers, families, animation fans, anybody. So from their perspective, anything that you might see in a big summer superhero movie was fair game. 

I want to talk about the Kid himself, who, to be blunt, is a lot to handle in the first few episodes. The approach seems to be that the Kid needs to learn a lesson about humility and what it means to be a “true hero.” But I’m also fascinated by his tragic backstory. It’s portrayed vaguely, but hints at his motivation. Do you feel that keeping the specifics of what happened to the Kid at arms’ length works to prop up the theme?

I wanted to tell a story about a real kid and kids at that age aren’t perfect. They make mistakes, they may be a bit intense or selfish and are hard to deal with sometimes. It’s part of growing up and maturing. Often heroes for young viewers are portrayed as aspirational. They always do and say the right things. I wanted Kid to be more realistic and relatable. 

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As far as his backstory goes, my father passed away when I was 7 so what motivates Kid to want to be a hero is very close to me. We felt he should have a more sincere motivation in wanting to be a hero other than it would be fun and cool. It had to come from a real place and losing his parents and wanting to stop bad things from happening felt more true. Keeping that part of the story at arms’ length was a way to keep the overall tone of the season balanced. Even though Kid carries this real and heavy weight around with him, we didn’t want it to drag down the overall fun and energetic tone of the series. 

Stuck Chuck is portrayed as the Kid’s conscious – specifically, his self-doubt, his frustrations, his lies. Can you go into more about the conception of this character?

Frank Angones, who I did early Kid development with, and I are both huge Buckaroo Banzai fans and we were talking about a scene that got cut out where after the Lectroid ship was destroyed Buckaroo found some random Red Lectroids left behind who forgot to get on the ship. We thought the idea of having to deal with random aliens was hilarious. So we applied that to Stuck Chuck, and what started out as a joke turned into an absolutely essential character. Chuck is not only a constant threat to Kid’s life but he is a constant threat to his confidence. He’s like an anti-Jiminy Cricket and is one of my favorite characters in the show. 

Later in the season, there’s a big twist in who the real villains are, and in the process, the depiction of superheroic antics are pushed up to a ridiculous degree. It almost feels like a winking satire of the whole “Space Force” thing. Was that intentional? Do you think there’s a tension that exists between the depiction of superheroes and their connection, however tenuous, to a military aggressiveness that merits more discussion?

I get asked that a lot, but I came up with Earth Force Enforcement Force long before Space Force. Aggressiveness is the right word. As a fan of superheros I’m tired of being told dark stories about heroes more focused on fighting and winning wars than actually helping the innocent victims of those conflicts.  I miss good guys that are actually “good guys.”

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The ending, to keep things vague, is a pretty sudden transition from the initial premise. If granted a season 2, what other themes would you explore? Do you think you’ll be able to keep a solid grasp on the true nature of superheroics, if you place them in a new setting where over-the-top superheroics would be necessary?

We want to explore other ideas of what it really means to be a hero. If season 1 was “heroes help” what other aspects are essential to be a hero? So we plan on exploring that idea but through the experience of some of the other characters. Namely how does a teenage waitress from Earth suddenly lead a team of regular people to save the universe? Again it’s about the people, not the powers. 

The post Why Kid Cosmic Is About “People, Not Powers” appeared first on Den of Geek.

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