I like moving over for motorcycles. It's a little thing, but costs me nothing and is totally available as a recognition. Maybe it's like saying, "I see you." I had wondered if it was helpful. Now that you told me it's not necessary, I guess I'll continue doing it anyways.
I think I may have given the wrong impression: I definitely appreciated it. When I said it's not necessary, I was distinguishing the act from legal acts that are necessary. For instance: a car waiting for me to take my turn at a stop sign cannot be evidence of the driver "showing consideration" since even the inconsiderate may yet prioritize adhering to a legal requirement.
Making it easier for me to lane-split on the other hand is not required of the driver. If they are doing it, they are doing so entirely optionally and consequently it is evidence of their being considerate.
When lane-splitting I appreciated the move over for the following reasons:
* I know you can see me
* It is more comfortable with more space
* I know you are willing to look out for other motorists => if a thing happens unexpectedly right in front, the spot I'm in next to you is safer than standard.
Related; when I'm driving my car, and I see a bicyclist riding on the shoulder, I like to leave tons of room as I pass (when I can). "Look at me! I'm a nice considerate guy! I like cyclists! I'm leaving tons of space! I respect your safety!"
On the flip side, when _I'm_ the one on the bicycle, and some car goes half out of the lane to pass me, I think "geez, you don't need to give me 20 feet of space, I'm not some drunk idiot, I can ride my bike in a straight line!"
I can add a bit of information to what might be behind this bug.
In MIDI, there are NOTE_ON and NOTE_OFF events, for when you press and release each key. The NOTE_ON has pitch and velocity parameters. The NOTE_OFF just has pitch parameter (maybe it has velocity as well I can't quite remember, it's off the point). So if you push middle C, it might look like this:
NOTE_ON 60 (middle C) 98 (velocity),
NOTE_OFF 60
Some keyboards never send NOTE_OFF events, instead they send NOTE_ON with velocity 0. On these keyboards, pressing middle C looks like this:
NOTE_ON 60 98,
NOTE_ON 60 0
Both are valid MIDI streams, and all stream processors should react appropriately to both. This app likely does not correctly map zero velocity NOTE_ON events to NOTE_OFF with the same pitch.
This error can be made for calculating the length of any curve. If you add the deltas in only one dimension, then you end up with a bounding box length measurement that doesn't follow the contours of the curve. It's a misuse of calculus, that can be done with or without the visualization.
These are neat! I guess you have to be comfortable with geometric proofs for them to really pop as obvious visual proofs, and certainly Archimedes was. I would have just started summing until it got close to 1/3, which is brutish by comparison to these beauties.
> that’s why CD music had a sample rate of 22000 Hz. Modern sound cards however tend to use sampling rates twice as high - 44100 Hz or 48000 Hz or even 96000 Hz.
Not exactly the point of the article, but this is all sort of wrong. CDs use a sample rate of 44.1 kHz per channel, not 22 kHz. I'd hazard this cuts down on rounding errors from having only one sample per 22kHz range. DAT used 48 kHz I believe to align evenly with film's 24 frames per second. 96 kHz is commonly used for audio today, and the additional accuracy is useful when editing samples without producing dithering artifacts within human hearing range.
20kHz is the top of the human hearing range, and picking something a little bit higher than 40kHz gives you room to smoothly roll off frequencies above the audible range without needing an extremely steep filter that would create a large phase shift.
You do in fact need an extremely steep filter. 44.1kHz is a little over an octave above 20k, and for adequate filtering and reconstruction you need 96dB of roll-off at at 16-bits and 144dB at 24-bits.
It's practically impossible to design an artefact-free filter with a roll-off as steep as that. Every single person who says that 44.1k is enough "because Nyquist" has failed to understand this.
You can trade off delay against various artefacts, including passband ripple, non-linear phase smearing, and others. But the shorter the delay, the less true it is that you get out exactly what you put in.
In practice, artifacts become common past something like 16 kHz. I'm not sure how much of this is math and how much is that almost all speakers are made very cheaply.
44.1 was selected because it was a viable rate for recording on both PAL and NTSC video recorders gently modified to capture digital audio on tapes that were sent out to the mastering plants. There is nothing otherwise special about it.
> It is the mark of the marvelous toleration of the Athenians that they let this continue for decades and that it wasn't till Socrates turned seventy that they broke down and forced him to drink poison.
A philosophy professor I had when I was an undergrad, asked the question "Why did Socrates deliver the Apology in such a way that was clearly unapologetic and designed to annoy the Athenians"? His answer was that he thought Socrates was old and wanted to go out with a bang. I thought his answer had merit, and also that it was an answer I, at 19, would never have come up with. At 70, I go "oh, yeah, baby".
I've noticed this with movies. If a movie is being advertised a lot, it's usually a bad movie. Why else are they trying so hard?
The opposite happened with the Matrix. I think I saw 1 bus stop poster for it, and didn't know what it was until multiple people at work said, "you have to see it!" Too bad they never made a sequel.
You might just not like big-budget movies - there's definitely a correlation between the size of the budget and a lack of novelty. Take a look at Wikipedia's list of most expensive films, almost every single one on there is a big franchise film - often late in the franchise too. I think the first one on there that isn't based on previous material is Avatar at #41 and I think the only other is Tenet at #62.
This makes sense - if you're funding a movie you want a return on your investment. You could make 20 risky $10m movies or one that's $200m which has to succeed or else. When you put your money into the $200m movie you want to make sure it's as inoffensive as possible and appeals to as wide an audience as possible, so you want a franchise that's proven to pump out hits in the past (or a director who does the same, like Cameron for Avatar and Nolan for Tenet).
