body hair creates a spacer between body and fabric which creates wind, aids in sweat evaporation, and creates a cool pocket of air around your skin
@clayote@cybre.space i don’t take issue with it and sometimes the responses are interesting but i also wonder where all the people who do understand what i’m asking are
sometimes it feels like i am on a different wavelength from a lot of folks and most don’t have the patience to actually inquire further so their initial assumptions can be important
“what is your favourite type of pizza and why”
“oh, pizza? usually when i want pizza i open the map app on my phone and scroll through the nearest places until i find something with lots of stars”
@aescling i think bell hooks said it is possible to be racist against white people but it is better to be racist than white supremacist
anyway final, reveal‐all or sudden‐change‐in‐perspective or even brilliant‐moment‐of‐persuasion conversations solve the wrong problem and attempt to resolve the narrative tensions of the story in place of the structural ones. they very rarely take place in structural time and closing out your story that way is footgun which spits in the face of all your hard work actually trying to architecture something pleasing or meaningful, effectively saying “none of that structure actually matters because in the end these words were the key”
at which point you might as well toss out the entire rest of the story and just print that, if that’s what you think
for example star wars converts the narrative tension of the impending threat of the death star, around which the story is structured, into the narrative tension of the rebels launching an all‐out war against the empire, about which the story structure has nothing meaningful to say
i think a lot of writers write themselves into impossible situations because they rely entirely on the narrative for tension, and narrative tension can never be completely resolved without it sounding like somebody is running a con
in fact, the only utility narrative tension has for the writer is in giving weight to the tension in the story’s structure; the goal of the writer is to convert narrative tension which is structurally entwined into narrative tension which is structurally free, at which point the story reaches its close
if you are going to have your protagonist have a life‐altering conversation, first of all you should stick it at the BEGINNING of the work
Personal, motivation. mh?
@noelle in the long term yes, although in the short term it probably helps to bundle it with a reward mechanism so that instead of “oh i need to clean” you get “oh i should clean and [nice thing you are used to getting which only comes with cleaning]”
it's faster i think to build an expectation on receiving [nice thing] and use that to power your cleaning; if you can make a habit out of [nice thing] you will start craving it which will equate to desiring to do the work to get it
(a good example of [nice thing] might be a podcast you only listen to while cleaning; if you like and want to continue listening to the podcast that will motivate you cleaning more often)
@bx i think the difficulty is largely conceptual with the large number of terms of art in programming… for example with arrays, you have “push”, “pop”, “map”, etc which are all specific algorithms which won’t necessarily have an obvious translation in most languages… you can translate the words but it's not clear you mean the same thing
to someone who is making a new programming language, who is probably already familiar with the english words for those concepts, it is a lower conceptual barrier to just reuse the english names than to come up with a whole nother language for those kinds of operations (and expect people to learn it…)
and once they have committed to using english for those terms, using english for the rest of the standard library feels like the path of least resistance… i think this isn't necessary though; i think a good starting point might be a bilingual programming language which uses english for established algorithms but a different language for everything else
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