Posted by & filed under Fragments.

 

I have to admit: I inherited the packrat gene. It isn’t bad enough to inspire a reality television show, and it’s not even photo-worthy, but sometimes I find it hard to give and/or throw things away. Part of it is because I sometimes see things as symbols of experiences. I keep a jacket that’s too big hanging in my closet because I have good memories associated with it; I feel a sense of loss if I give away a puzzle I worked on with my sister some years ago.

Sometimes it can get downright absurd – being afraid to get rid of pens I’ve somehow accumulated over six or seven years, because they’ve each come from various hotels I’ve stayed in, businesses I’ve worked for, schools I’ve gone to, pens I used to take final exams, pens I used to outline my dissertation. (Even one pen that somehow managed to survive the entire duration of grad school.)

It gets annoying.

I recently struck upon something that worked really well. It’s a simple rationalization to help shrug off the material attachment that sometimes causes packrat syndrome. It’s a maxim that you can repeat to yourself as you’re going through old things, and use it to rationalize detachment. Here it is:

If one changes internally, one should not continue to live with the same objects.

It’s important to acknowledge that some objects hold memory associations, but it’s just as important to acknowledge that holding on to those objects is a way of holding on to the past. And that’s a way of holding yourself back from changing (or acknowledging changing).

Source of quote: The Diary of Anais Nin.

Hat tip to BrainPickings for the original mention of the quote.

 

Posted by & filed under Fragments.

 

A Dungeon horrible, on all sides round
As one great Furnace flam’d, yet from those flames
No light, but rather darkness visible
Serv’d onely to discover sights of woe,
Regions of sorrow, doleful shades, where peace
And rest can never dwell, hope never comes
That comes to all; but torture without end
Still urges, and a fiery Deluge, fed
With ever-burning Sulphur unconsum’d…

 

Posted by & filed under Nerd Stuff.

 

If you write code, one of the things you discover quickly is that there is a significant amount of personal style that goes into your code. Most of the time it’s pedantic, a matter of a few spaces or parentheses; but more often than you might expect, it can play a significant role in code clarity, to the point of interfering with understanding what the code is doing.

Imagine, to give an analogy, if someone insisted on WRITING EVERY SINGLE THING THEY EVER WROTE IN CAPS AND ONLY IN CAPS, NO MATTER WHAT IT WAS, AND INSISTED THAT IF YOU WROTE ANYTHING TO THEM, THEY WOULD REWRITE WHAT YOU WROTE TO BE ALL IN CAPS TOO. Sure, you’d be able to understand what they’re saying, but all of those caps hinder the message they’re conveying. Or imagine if someone were to write everything with no punctuation and as a single sentence even when ending the sentence or putting in some punctuation marks was necessary wouldnt that be annoying after a while you would lose track of what they were saying and there would even be some grammatical ambiguities and then it would be even worse if they decided that every time you wrote something they had to rewrite it so that it didnt have any punctuation in it. So you can see how simple things like bracket placement, parenthetical styling, and indentation can interfere with interpretation of code.

But, you ask, is it really so important? Isn’t it more important that code run and give correct answers, than for it to be understandable? True, if you’re an end-user who never touches the source code, you don’t care how it looks. But for research codes or scientific codes, for open-source or collaborative software projects, code readability is a big deal. Imagine if you were on a team where everyone dealt with Microsoft Word documents, and there was one pinhead who insisted on putting everything in HTML format. Or imagine if everyone on your team used Macs, except for one pinhead who used a WIndows machine. These incongruencies caused by a single individual can cause headaches for everybody else.

Enter Artistic Style.

Artistic Style is a program that scripts the pedantic, OCD grooming that would otherwise be required to keep the code clean, consistent, and clear. Via the documentation, Artistic Style takes care of bracket styles, tab options, indentation (horizontal white space), padding (vertical white space), and line/block formatting.

My only wish, for Artistic Style, is that they would do better marketing: I wish I had learned about it before I finished grad school.

 

Postscript: How to Screw People Over With Artistic Style

There’s a sinister side to Artistic Style, for those users who have a mean streak. It involves Artistic Style used in conjunction with version control. Here it is: applying Artistic Style to a huge source code tree will touch every single code file. If someone has a version of the tree checked out, with significant modifications, then reconciling their changes with the new, artistically-styled code will create a huge number of inconsistencies.

Now, if the “target” of such a move does not know about Artistic Style, this can potentially render entire branches of code, or modifications representing months of work, unusable in a single fell swoop. Such changes can be “held hostage,” so to speak.

But if they do know about Artistic Style – well, in that case, keep looking for another way to outfox them.

 

 

Posted by & filed under Fragments.

 

An excellent read that discusses the phenomena of economic stratification in San Francisco, what effect this is having on the city’s makeup, and the role of wealthy tech companies in the whole process. It is an excellent, in-depth treatment of a complex issue, one around which most everyone seems to have an opinion.

http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary

London Review of Books Diary, via Longreads.com

 

 

Posted by & filed under Books, Fragments.

 

One of the themes of the novel is that Oran, quarantined from the outside world, becomes an absurd prison, with, as the Jesuit priest Father Paneloux puts it, God “striking at random, swinging up again in a shower of drops of blood, and spreading carnage and suffering” with no sense of justice.

In this situation, many people in Oran (e.g., Rambert) find themselves trapped in this prison for no particular reason, suffering for no particular reason, and they seek to escape (“nightly attempts were made to elude the sentries and escape to the outside world.”)

But the absurd prison is an allegory for human existence itself; so there really is no “outside world” to which to escape. The plague, human suffering, is inescapable, and the outside world is a world beyond what we experience (or, as Kant expresses it, the “thing in itself,” as opposed to the “thing as it appears”).

The quarantine, then, represents our isolation from our ideals, our isolation from a “perfect world.” But it’s a world we never experience. To experience it would be a paradox. This is a tragedy of the human condition – that the perfect world is characterized (defined?) by our inability to experience it.

 

Posted by & filed under Uncategorized.

 

But then the sound of hurried footsteps came again. Rieux was already halfway
down the stairs, and when he stepped out into the street two men brushed past him. They
seemed to be on their way to one of the town gates. In fact, what with the heat and the
plague, some of our fellow citizens were losing their heads; there had already been some
scenes of violence and nightly attempts were made to elude the sentries and escape to the
outside world.

 

Posted by & filed under Books.

 

“Oh, I know it’s an absurd situation, but we’re all involved in it, and we’ve got to accept it as it is.”

“But I don’t belong here.”

“Unfortunately, from now on you’ll belong here, like everybody else.”

[...]

“You’re using the language of reason, not of the heart; you live in a world of abstractions.”

Soon the ambulance could be heard clanging down the street… Then came a second phase of conflict, tears and pleadings – abstraction, in a word. In those fever-hot, nerve-ridden sick-rooms crazy scenes took place. But the issue was always the same. The patient was removed. Then Rieux, too, could leave.

 

Posted by & filed under Books.

 

Under other circumstances our townsfolk would probably have found an outlet in
increased activity, a more sociable life. But the plague forced inactivity on them, limiting
their movements to the same dull round inside the town, and throwing them, day after
day, on the illusive solace of their memories. For in their aimless walks they kept on
coming back to the same streets and usually, owing to the smallness of the town, these
were streets in which, in happier days, they had walked with those who now were absent.

Thus the first thing that plague brought to our town was exile.

It was undoubtedly the feeling of exile, that sensation of a void within which never left us, that irrational longing to hark back to the past or else to speed up the march of time, and those keen shafts of memory that stung like fire. Sometimes we toyed with our imagination, composing ourselves to wait for a ring at the bell announcing somebody’s return, or for the sound of a familiar footstep on the stairs; but, though we might deliberately stay at home at the hour when a traveler coming by the evening train would normally have arrived, and though we might contrive to forget for the moment that no trains were running, that game of make-believe, for obvious reasons, could not last. Always a moment came when we had to face the fact that no trains were coming in. And then we realized that the separation was destined to continue, we had no choice but to come to terms with the days ahead. In short, we returned to our prison-house, we had nothing left us but the past, and even if some were tempted to live in the future, they had speedily to abandon the idea anyhow, as soon as could be, once they felt the wounds that the imagination inflicts on those who yield themselves to it.

It is noteworthy that our townspeople very quickly desisted, even in public, from
a habit one might have expected them to form, that of trying to figure out the probable
duration of their exile. The reason was this: when the most pessimistic had fixed it at,
say, six months; when they had drunk in advance the dregs of bitterness of those six
black months, and painfully screwed up their courage to the sticking-place, straining all
their remaining energy to endure valiantly the long ordeal of all those weeks and days,
when they had done this, some friend they met, an article in a newspaper, a vague
suspicion, or a flash of foresight would suggest that, after all, there was no reason why
the epidemic shouldn’t last more than six months; why not a year, or even more?
At such moments the collapse of their courage, willpower, and endurance was so
abrupt that they felt they could never drag themselves out of the pit of despond into
which they had fallen. Therefore they forced themselves never to think about the
problematic day of escape, to cease looking to the future, and always to keep, so to speak,
their eyes fixed on the ground at their feet. But, naturally enough, this prudence, this
habit of feinting with their predicament and refusing to put up a fight, was ill rewarded.
For, while averting that revulsion which they found so unbearable, they also deprived
themselves of those redeeming moments, frequent enough when all is told, when by
conjuring up pictures of a reunion to be, they could forget about the plague. Thus, in a
middle course between these heights and depths, they drifted through life rather than
lived, the prey of aimless days and sterile memories, like wandering shadows that could
have acquired substance only by consenting to root themselves in the solid earth of their
distress.

Thus, too, they came to know the incorrigible sorrow of all prisoners and exiles,
which is to live in company with a memory that serves no purpose. Even the past, of
which they thought incessantly, had a savor only of regret. For they would have wished
to add to it all that they regretted having left undone, while they might yet have done it,
with the man or woman whose return they now awaited; just as in all the activities, even
the relatively happy ones, of their life as prisoners they kept vainly trying to include the
absent one. And thus there was always something missing in their lives. Hostile to the
past, impatient of the present, and cheated of the future, we were much like those whom
men’s justice, or hatred, forces to live behind prison bars. Thus the only way of escaping
from that intolerable leisure was to set the trains running again in one’s imagination and
in filling the silence with the fancied tinkle of a doorbell, in practice obstinately mute.

 

Posted by & filed under Books.

 

Robert Palmer / 1972

Isn’t it going to be very dangerous if, as seems likely, the people who control these [conditioning and deconditioning] techniques are the people most opposed to deconditioning?

That argument is always raised with any new discovery or any piece of equipment, but this equipment is not all that expensive, or difficult. Anybody can do it.

…It seems to me that the best insurance that the discovery is not used for control purposes is people knowing about it. The more people that know about it, the less chance there is to monopolize it…

I predicate that the word is an actual virus, and a virus that has achieved equilibrium with the host, and therefore is not recognized as a virus. I have a number of technical books on that subject, and there are other viruses that have achieved this. That is, they replicate themselves within the cells but they don’t harm the cells.

Do you have any information on the introduction of weight heroin into Harlem and into the ghettos during the Forties, which seems to have been the beginning of the current problem?

I don’t. you see, I was there in the late Forties and early Fifties, and the agents then were just beginning to bother addicts. Before that they’d been more interested in pushers.

Why did they start bothering addicts rather than pushers?

In order to spread it. That kept the pushers continually looking for new markets.

You’ve often pointed out attitudes and styles shared by young people all over the world – they dress similarly, use cannabis and other consciousness-expanding drugs, hear the same music. Are these generational ties more binding than national, cultural, family ties?

Yes, I would say so, very definitely. And one reason that they are is of course media.

Do you foresee these ties eventually unifying the world’s youth to the point where they can destroy the control machine being perpetuated by their elders?

Certainly. They will become their elders, and therefore make the changes. Now in 20 or 30 years all the Wallace folks etc. will have died. Well, who’s going to take their place? Occupying all the positions that are now occupied by their elders, either occupying all those positions or nullifying them. you’re bound to have a whole different picture. I mean, if they’ve got some cool, pot-smoking cat as President, he’s not going to make the same kinds of decisions or impose the same policies.