u/pafagaukurinn

The people are made of indescribable matter which to the machines is what the machines are to man = AI?

A couple of questions to those who have random flare-ups 1+ years after mesh repair of inguinal hernia, without any other suspicious symptoms such as inflammation or really severe pain. How long do these flare-ups usually last? Do you tend to reduce your activity those days/weeks, or is it a case of grin and bear it, knowing that it will (or won't) go away whether you take it easy or not? My theory is, by that point the mesh should have become as firmly attached as it will ever be, so either something is seriously wrong with it, or the sensation is purely neural and therefore not related to physical activity.

Please help understand the highlighted phrase. Larger fragment is given for context:

>Hingað til hefur þótt um of létt að leiða glettuna mína fram; þú verður þá sú fyrsta, sem ég get grafið hana fyrir svo ekki örli á. Þá er nú miður skilist við vináttuna minnar handar en ég óska eftir og vil ef svo fer. Ekki er þetta heiting; hitt er það, ég er svo vandgæfur í lund; forlögin þokuðu mér svo kostgæfilega á glettunnar stigu; ef til vill er líka það, sem Bólu-Hjálmar sagði, ekki fjarri: "upplagið var bölvað".

All I can understand is that the friendship from his side would in some way become worse than he wishes. Is it me, or do you also find this turn of phrase convoluted and hard to follow?

Can anybody explain this stanza, it is too archaic and poetic for me:

>Með gagnlegu hári
í gyllini-ári
sig giptir hann;
beizlar nú klárinn
með bólginn nára,
og bólstað fann;
um sumarið dára
seggi vann,
en setti skára
á túnhalann.

What the hell is gagnlegt hár? Who has bólginn nári, he or the horse, and what does it represent? And in the last part I am not even sure how parts of speech are related, only that he probably did something not very good in summer instead of making hay.

Þetta er vissulega "long shot", en hver veit, nema einhver nenni að hjálpa hér. Ég er að kanna núna öll listaverk eftir Þorgils gjallanda. Er búinn að finna næstum allt nema tvær smásögur, Glámur og Veizlulok. Það lítur út fyrir að þessar sögur væru ekki prentaðar í neinum tímaritum (þeas ekki til á timarit.is) né fáanlegar sem rafbækur. Þar sem ég bý ekki á Íslandi, og er ekki heldur Íslendingur, ég get ekki bara farið á bókasafn, og ég vil ekki panta, borga toll og sendingarkostnað till þess eins að fá það sem ég á nú þegar 95 prósent af.

Þannig að, ef einhver á bækurnar og nennir að skanna eða taka myndir af þessum fáeinum blaðsíðum, þá væri ég þakklátur. Eða að minnsta kosti gefa ráð um hvar hægt er að fá þær annars staðar. Mér vitanlega sögurnar voru birtar í ritsafni höfundarins (1945; 2. (Veizlulok) og 3. (Glámur) bindi), og í "Dyrasögum I" (1910; aðeins Glámur). Höfundurinn lést fyrir meira en 100 árum, þannig að það hlýtur að vera fulllöglegt að dreifa verkum hans.

According to some authors, there have been several stages/eras of music distribution. First it was sheet music, then vinyl, cassettes, CDs, digital downloads. Now it is streaming. Common sense tells me that it can stay that way for too long, and something new has to appear to replace streaming. But at the same time it is hard to see how else music could be distributed - apart from direct injection in the brain with telepathic waves (although technically it would also be a form of streaming). Or perhaps music will cease to be distributed at all and will be created in place, on user's devices, using AI, online or even offline? What do you think, what will be the next stage?

In the following fragment, what does "að fara beint á höfuðið" mean? He is not thinking about bankruptcy or financial disaster, it is about love to the married woman.

I also don't know what slendríanið is, but I don't expect many here to know either. Appears to be some loanword, perhaps from Danish or German, and if so, it may mean "sloppiness" (although I am not sure how it fits).

>Jú, Þórarinn kunni það allt. "Það fer beint á höfuðið og við bæði... ég get ekki snúið aftur, er búinn að tapa sterkasta aflinu... Bara ég mætti berjast við einn eftir annan, ganga opinberlega á hólm við slendríanið og tálmanirnar... Fyrir okkur bæði... Eins og það sé hægt... Það drepur molluloftið að tarna... Verðum samferða öðrum lygurum... Fallegt að vera með í lestinni... Nei, það geri ég aldrei, þá er þó skárra að..."

Is there a direct analog, or what is the idiomatic phrase to express this sentiment otherwise?

Been reading a book on mixing by a relatively prolific audio engineer, where he claims that all mixing styles are traceable to just four: New York, Los Angeles, Nashville and London. I thought, wat? How about French chanson or avant-garde or Italian pop and prog-rock? Or music from the post-Soviet bloc? Are they really all derivatives? Is it some kind of Americano-centrism, or do you think all mixing styles can eventually be reduced to those four?

What would have happened if Iceland was not occupied by Britain during WW2, but Germany did try to invade? Would it have been realistically able to hold it, or, if not, what events would have likely unfolded - guerilla war, Ally liberation forces, or the occupation would have simply quietly petered out? Or would Iceland have been suffered to remain in Hitler's hands? And if Germany did manage to successfully hold it, would it have been a serious factor in the subsequent war, and in what way would it have influenced it?

How much editing are you prepared to accept in your tracks as a recording musician? Bum notes, wrong intonation, timing issues. Supposing all of them are fixable, would you accept the fix and move on or insist on doing a clean take?

Bonjour à tous. Quelqu'un sait-il s'il existe des publications, autres qu'AutoHebdo, qui traitent du championnat de France production/superproduction des années 70-80 ? Existe-t-il des livres imprimés en dehors de " Voitures de production " de Malcher/Bertin?

La série était-elle régulièrement diffusée à la télévision à l'époque ?

The question is inspired by the other chap here who asked about stopping time.

If we conceptualize time as one of space-time dimensions, how do we actually know if it is exactly one and not more? Supposing our minds are conditioned to perceive all processes unfolding in unidirectional asymmetrical time, then we would be unable to detect if it is not so. For example, if we sit in a subway train and look out the window, we are unable to perceive turns, ascents and descents of the tunnel (if the train moves slowly enough of course, so that we don't feel acceleration) and imagine it being straight.

What experiments would be able to prove or disprove that there is indeed only one time dimension, and how would "angular acceleration" in our "movement" through time manifest itself, supposing it did exist?

Can somebody please suggest how to record oboe *within specified constraints*: unprepared living room, single Audiotechnica AT2020 mic? I am specifically looking for the best mic placement relative to the instrument to a) get decent signal level, b) minimize key noise, c) minimize reflections. I get that, since the room is unprepared, some reflections are inevitable.

I have tried placing the mic around the head level at 45 deg angle to the instrument, pointing at middle-low part of the oboe, at 30-40 cm distance - gain and reflections are passable, but key clacking in energetic passages seems excessive. I tried to move laterally away from the mic to minimize key noise, but it significantly increases reverberation. Just for information, the room does not feel especially reverberant to the naked ear, and the oboe mechanism isn't noisy either. Should I maybe direct it more in line with the mic axis rather than at an angle? Should I stand even closer? Maybe the mic should be placed lower?