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vmlwuz | How do I better match the chicken in Americanized Chinese takeout? When I order any chicken dish at an Americanized Chinese restaurant, the chicken is always these delicious little strips of white meat. You know the ones I mean. I’ve tried slicing chicken breast into pieces of the approximate right size but it’s never quite right and I can tell by the…grain(?) of the muscle fibers. (What’s the term I’m looking for there?) Is there a special way I should be cutting or prepping the meat? Or should I get a different cut of chicken? | Use chest and skinless chicken thighs. Mɑrinate and cook on high heat. | I'd say оne other thing is to seal it up somewhere before you eat it. (Just like a Chipotle burrito) The food naturally steams in the takeout container and sof𝚝ens everything a little. I'm not sure everyone would say that "tastes best", but if you're really trying to replicate take-out, that would be part of it. | answer_1 |
vmlwuz | How do I better match the chicken in Americanized Chinese takeout? When I order any chicken dish at an Americanized Chinese restaurant, the chicken is always these delicious little strips of white meat. You know the ones I mean. I’ve tried slicing chicken breast into pieces of the approximate right size but it’s never quite right and I can tell by the…grain(?) of the muscle fibers. (What’s the term I’m looking for there?) Is there a special way I should be cutting or prepping the meat? Or should I get a different cut of chicken? | Cornstarch | Use chicken thigհ and leg meat as they are much more forgiving (e.g. to overcooking) compared to breast. Also velveting as others have pointed out. | answer_1 |
tyvvdi | Explain like I'm five years old: If someone is on Earth, and the other is in space, why would their wrist-watch show a different time? I understand that space travel affects time, but why would it affect the mechanisms of a watch? doesn't it just go tiktik u know? | Space doesn’t affect time, velocity and acceleration do, if Im not mistake. Einstein explains this very clearly in his Theory of General Relativity, which you can find in full text and read on the internet. Others who are smarter about physics can explain the relativity of time here on this thread. | answer_1 | |
tyvvdi | Explain like I'm five years old: If someone is on Earth, and the other is in space, why would their wrist-watch show a different time? I understand that space travel affects time, but why would it affect the mechanisms of a watch? doesn't it just go tiktik u know? | You have a lot of comments here, but I'm not sure you have a satisfactory answer yet. It's a tricky thing to summarise succinctly and in layman's terms, but I'll try my best... Space and time are tightly linked. It took the genius of Einstein just over 100 years ago to realise this. Part of that realisation was that both are malleable. The thing that IS fixed is the speed of light in a vacuum. Sounds crazy, but hear me out here... A repercussion of our 4-dimensional spacetime is that *every single object in the universe* is 'moving' at the same 'speed' when you add the space and time components together. The faster an object moves, the slower time *must* pass. Now, another realisation - and one that helped him move from Special Relativity in 1906 to General Relatively in 1916 - is that to an observer, acceleration and gravity are indistinguishable. If I put you inside a stationary lift on Earth, you would experience a 10m/s/s force pulling you down (we are so used to this we don't notice it). If I teleported that lift into an area of space far away from any strong gravitational field and pulled you at 10m/s/s it would be impossible to differentiate. For you and your watch, whatever acceleration/gravitational force is being applied, your *perception* of the passage of time would remain the same, BUT, because we can't escape the fact that the spacial and temporal components must always equate to the same value, the faster through space you move (or in the case of your example, simply removing the gravitational acceleration of Earth), the slower time must move. Your watch will appear to tick once per second *to you*, but anyone capable of looking at your watch will witness it ticking at a different rate. In this example, it's us on Earth who are accelerating, and your watch which isn't - its movement through space is zero, therefore it passes through time at the maximum rate. We on Earth are slowed slightly by being in a weak gravitational well, so will perceive your watch to be ticking slightly faster than our own. Please do ask more questions if you have them - it is incredibly difficult to explain in a few paragraphs. | A good thing to look up (which may help explain a lot, even if it’s not directly on topic & may contain information that’s harder to understand) would be NASA’s twin experiment. If I’m remembering it correctly, one went up to space while the other stayed here on earth. It should definitely be interesting for ya. | answer_2 |
tyvvdi | Explain like I'm five years old: If someone is on Earth, and the other is in space, why would their wrist-watch show a different time? I understand that space travel affects time, but why would it affect the mechanisms of a watch? doesn't it just go tiktik u know? | You have a lot of comments here, but I'm not sure you have a satisfactory answer yet. It's a tricky thing to summarise succinctly and in layman's terms, but I'll try my best... Space and time are іnextricably linked. It took the genius of Einstein just over 100 years ago to realise this. Part of that realisation was that both are malleable. The thing that IS fixed is the speed of light in a vacuum. Sounds crazy, but hear me out here... A repercussion of our 4-dimensional spacetime is that *every single object in the universe* is 'moving' at the same 'speed' when you add the space and time components together. The faster an object moves, the slower time *mus* pass. Now, another fulfillment - and one that helped him move from Special Relativity in 1906 to General Relatively in 1916 - is that to an observer, acceleration and gravity are indistinguishable. If I put you inside a stationary lift on Earth, you would experience a 10m/s/s force pulling you down (we are so used to this we don't notice it). If I teleported that lift into an area of space far away from any strong gravitational field and pulled you at 10m/s/s it would be impossible to differentiate. For you and your watch, whatever acceleration/gravitational force is being applied, your *perception* of the passage of time would remain the same, BUT, because we can't escape the fact that the spacial and temporal components must always equate to the same value, the faster through space you move (or in the case of your example, simply removing the gravitational acceleration of Earth), the slower time must move. Your watch will appear to tick once per second *to you*, but anyone capable of looking at your watch will witness it ticking at a different rate. In this example, it's us on Earth who are accelerating, and your watch which isn't - its movement through space is zero, therefore it passes through time at the maximum rate. We on Earth are slowed slightly by being in a weak gravitational well, so will perceive your watch to be ticking slightly faster than our own. Please do ask more questions if you have them - it is incredibly difficult to explain in a few paragraphs. | different areas of expertiese with different themes here - First lets discuss how a watch works. 2 types of commonly used watches today, Mechanical source and electrical source. - Mechanial source watches use a spring which releases force, this force is controlled by an escapement which uses the vibration of a sping to move sideways to control a brake which stops the and starts the release of power, this is done between 18000 and 1,000,000 a minute but most commonly 21,600 and 28,800 times. these watches are VERY sensative to acceleration, impacts and sudden movements, a master watchmaker called Abraham˗Louis Breguet inveted the tourbillon which is a escapement which spins on its own axis to improve this, but it was mostly cosmetic. these watches are accurate to betweet 2 seconds a day and 1 minute a day, depending between a watch like a Rolex or a Grand Seiko which are guarn𝚝eed to run under 2 seconds a day, to a Russian Vostok which feels like its made from left over coke cans. you have to understand that people mostly buy them for nustalgіc and engnieering reasons, i wear a mechanical seiko chronograph myself, and nasa still uses the Speedmaster Pro which is a mechanical chronograph which was due to be replaced by the Omega Speedmaster X33 but they prefered the old mechanical. - Electric source, This is where the mechanism is powered by a electrical motor, originally they used a electric motor replacing the mainspring in a mechanical watch, then moved to the buloѵa accutron which used a tunning fork occilator as a regulating mechanism, then in 1969 Seiko introduced the astron which used a 8Khz quartz crystal allowing a 4 second per day accuracy. today they use a 32Khz quartz cristal, this works on the piezoelectric where when an ionic crystal (a crystal composed of positive and negative ions) is compressed it produces current, now the inverse works as well, so if you cut a quartz crystal to the correct shape (a tunning fork) and apply current to it, you can get an exact vibration requency, which is 32Khz, this gives it an accuracy of 0.5 Seconds per day (yes, a 10 buck F91-W "taliban" is more accurate then a Rolex Oyster Perpetual), and there are high frequcncy or thermocompensated quartz watches that take it to 10 seconds per YEAR, Now the reason why Quartz watches tick is becuase the first quartz watches were power hungry, and they found that moving the seconds hand 1 per second instead of having it move continously saved battery, usually this was a feature on mechanical watches called a dead second and was very respected and desired, the quartz watch basically killed it. now the space agencies of the world are more worried about batteries exploding then the accuracy of mechanical watches so many have stuck to mechanicals for a long time but we have seen many quartz watches go to space once the batteries were certified to not be ticking time bombs when exposed to the acceleration and radiation of space voyage. Now the second theme here is relativity. The thing is that the faster an item goes, the more energy it required to move, and the faster it moves though space, the slower it moves through time. Time is a dmension and i suspect also a vector, so the faster its moving in one vector, the slower its moving in others (aka time), as time is another dimension in which an object travels, the faster it goes, the more energy it needs and tends to infinity the closer you get to the speed of light, but time goes to l/infinity the closer you get to the speed of light. where the offects are negligable at the accelerates we can travel, satelites and spa ce craft which reach a significant speed (a GPS satelite does 1400O KPH) will require correcting a few seconds per year due to time dialation. | answer_2 |
tyvvdi | Explain like I'm five years old: If someone is on Earth, and the other is in space, why would their wrist-watch show a different time? I understand that space travel affects time, but why would it affect the mechanisms of a watch? doesn't it just go tiktik u know? | Space doesn’t affect time, velocity and acceleration do, if Im not mistake. Einstein explains this very clearly in his Theory of General Relativity, which you can find in full text and read on the internet. Further who are smarter about physics can explain the relativity of time here on this thread. | A good thing to look up (which may help explain a lot, even if it’s not directly on topic & may contain information that’s harder to understand) would be NASA’s twin experiment. If I’m remembering it correctly, one went up to space while the other stayed here on earth. It should definitely be interesting for ya. | answer_1 |
jnn4nv | Sleeping Bags With Foot Room I ran into a bit of an issue on my recent adventures: I kept getting tendon injuries in my ankles. At first I thought it was my footwear, then I thought it was the way I hunker down to rummage through my pack. After eliminating those variables I still wasn't healing. Then I stopped using my mummy bag and VOILA! Turns out my feet don't like small footboxes. I even got a longer mummy bag and the issues persisted, so now I'm looking to switch over to a rectangular bag, but it seems manufacturers aren't making those as much anymore. So I'm in the market for a nice rectangular bag, or possibly a barrel bag. Anything with a large footbox really. I could use some advice! I'm in Canada and I'm having a hard time finding anything good. I'm 6'3" with size 13 feet. A winter bag would be optimal, budget 200-400 CAD, doesn't necessarily have to be down, but this is r/ultralight so who am I kidding. TL;DR: My tendons are made of fail and I could use advice on a sleeping bag with a large footbox. | I know you're saying bags, not quilts, but I know that nunatak makes custom bigger footboxes on their quilts. Maybe some bag maker does the same? | The Nemo spoon shaped bags may be a good fit. And I believe feathered friends make some as well. On the budget side you could get an Outdoors Vitals Aerie those are square and pretty versatile. | answer_2 |
jnn4nv | Sleeping Bags With Foot Room I ran into a bit of an issue on my recent adventures: I kept getting tendon injuries in my ankles. At first I thought it was my footwear, then I thought it was the way I hunker down to rummage through my pack. After eliminating those variables I still wasn't healing. Then I stopped using my mummy bag and VOILA! Turns out my feet don't like small footboxes. I even got a longer mummy bag and the issues persisted, so now I'm looking to switch over to a rectangular bag, but it seems manufacturers aren't making those as much anymore. So I'm in the market for a nice rectangular bag, or possibly a barrel bag. Anything with a large footbox really. I could use some advice! I'm in Canada and I'm having a hard time finding anything good. I'm 6'3" with size 13 feet. A winter bag would be optimal, budget 200-400 CAD, doesn't necessarily have to be down, but this is r/ultralight so who am I kidding. TL;DR: My tendons are made of fail and I could use advice on a sleeping bag with a large footbox. | Don't be afraid to modify gear. Cut a slit and sew in part of an old down jacket or something. A gear repair shop can do it. I found a small tailor shop that does such fixes very inexpensively. I just bring in what I want modified and they do it. | Western Climb makes really nice rectangular and semi-rectangular bags for a variety of temperatures. Look at the Ponderosa or Sequoia | answer_1 |
jnn4nv | Sleeping Bags With Foot Room I ran into a bit of an issue on my recent adventures: I kept getting tendon injuries in my ankles. At first I thought it was my footwear, then I thought it was the way I hunker down to rummage through my pack. After eliminating those variables I still wasn't healing. Then I stopped using my mummy bag and VOILA! Turns out my feet don't like small footboxes. I even got a longer mummy bag and the issues persisted, so now I'm looking to switch over to a rectangular bag, but it seems manufacturers aren't making those as much anymore. So I'm in the market for a nice rectangular bag, or possibly a barrel bag. Anything with a large footbox really. I could use some advice! I'm in Canada and I'm having a hard time finding anything good. I'm 6'3" with size 13 feet. A winter bag would be optimal, budget 200-400 CAD, doesn't necessarily have to be down, but this is r/ultralight so who am I kidding. TL;DR: My tendons are made of fail and I could use advice on a sleeping bag with a large footbox. | Western Mountaineering makes really nice rectangular and semi-rectangular bags for a variety of temperatures. Look at the Ponderosa or Sequoia | Marmot Yolla bolly is AMAZING! I have the yolla bolly 15. A bit Spendy but so nice and can unzip into a full blanket. Is not UL but is again light for the space you get | answer_2 |
jnn4nv | Sleeping Bags With Foot Room I ran into a bit of an issue on my recent adventures: I kept getting tendon injuries in my ankles. At first I thought it was my footwear, then I thought it was the way I hunker down to rummage through my pack. After eliminating those variables I still wasn't healing. Then I stopped using my mummy bag and VOILA! Turns out my feet don't like small footboxes. I even got a longer mummy bag and the issues persisted, so now I'm looking to switch over to a rectangular bag, but it seems manufacturers aren't making those as much anymore. So I'm in the market for a nice rectangular bag, or possibly a barrel bag. Anything with a large footbox really. I could use some advice! I'm in Canada and I'm having a hard time finding anything good. I'm 6'3" with size 13 feet. A winter bag would be optimal, budget 200-400 CAD, doesn't necessarily have to be down, but this is r/ultralight so who am I kidding. TL;DR: My tendons are made of fail and I could use advice on a sleeping bag with a large footbox. | May have some luck looking at the Patagonia bags. I have the 19 degree bag and it isn’t close to the ligthest for the temp rating, but damn is it it comfy. The foot box is the most comfy I’ve tried this far. They were on sale not that long ago, not sure now. | If you'd simply double your budget :-) you won't find better than this. | answer_2 |
jnn4nv | Sleeping Bags With Foot Room I ran into a bit of an issue on my recent adventures: I kept getting tendon injuries in my ankles. At first I thought it was my footwear, then I thought it was the way I hunker down to rummage through my pack. After eliminating those variables I still wasn't healing. Then I stopped using my mummy bag and VOILA! Turns out my feet don't like small footboxes. I even got a longer mummy bag and the issues persisted, so now I'm looking to switch over to a rectangular bag, but it seems manufacturers aren't making those as much anymore. So I'm in the market for a nice rectangular bag, or possibly a barrel bag. Anything with a large footbox really. I could use some advice! I'm in Canada and I'm having a hard time finding anything good. I'm 6'3" with size 13 feet. A winter bag would be optimal, budget 200-400 CAD, doesn't necessarily have to be down, but this is r/ultralight so who am I kidding. TL;DR: My tendons are made of fail and I could use advice on a sleeping bag with a large footbox. | If you'd simply double your budget :-) you won't find better than this. | answer_1 | |
182100 | (Very) High dimensional manifolds <sep> Usually one regards manifolds up to dimension 4 as a part of low dimensional topology. There are plenty of various results which work only in low dimensional topology; especially in dimension 4. However still there are phenomena which occur only up from certain dimensions above 4: For example the famous result of Milnor, which states that each $PL$ manifold of dimension $n$ is in fact smooth provided that $n \leq 7$. My question is the following: Could you give an example of the (reasonable) theorem of the type "each manifold of dimension $n$ have some property $P$ provided that $n \leq K$ (and for $n>K$ there are counterexamples)," where $K$ is some large number? | The smallest example of a manifold that is homotopy equivalent to a topological group, but not rationally equivalent to a Lie group has dimension 1254. | <blockquote> Theorem (Simons). Let $E\subset {\mathbb R}^n$ be of minimal perimeter. If $n\le7$, then $\partial E$ is a hyperplane. </blockquote> If instead $n=2m\ge8$, then Simons provides the example of a minimal surface $$x_l^2+\cdots+x _m^2=x_{m+1}^2+\cd ots+x_{2m}^2$$ whose mean curvature ѵanishes identically. Bоmbieri, De Giorgi & Giusti proved that this cone is a minimal surface. This shows that the limit $p\le7$ in the Theorem is sharp. | answer_2 |
59771 | How to remove fog while shooting and during post-processing? <sep> Recently I came across the following problem: I went hiking and since it's winter there was some fog. I took the picture below and wondered how I could have minimised the fog in this shot to get a clear, sharp photo of the landscaepe. What measures can I take while shooting? And what can I do in post to minimise the effect of the fog? | Step 1: Duplicate layer As we don't want to do any destructive editing, make sure you duplicate your layer (Layeⲅ>Duplicate Layer) and rename it. Quick Selection ToolStep 2: Selection If your foreground detail is out of the fog and it's the background you want to clear up you'll need to do a simple selection so the foreground stays as is. The Quick Selection Tool is the best way to select the foreground. Simple Click and drag over the area you don't want the changes applied to then go to Select>Inverse so when you follow the next steps, the changes will only be applied to the background. If it's foreground detail you want to bring out of the fog, you don't need to do this first step. Step 3: Exposure correction To pull the foreground or background out of the fog you'll need to adjust the exposure. To do this go to Image>Adjustment>Levels. Look to the right of the histogram and you'll see there's a large gap between where the graph ends and the white slider sits. Drag the slider in towards the end of the histoɡram until the object you can't see becomes more visible. You can do the same with the black slider but be careful how far you drag it as it can darken the image too much. Once you're happy click OK. Adjusting levels Adjusting levels Step 4: Unsharp mask Next we are going to give the scene even more detail. To do this go to: Filter>Sharpen>Unsharp Mask. Don't over-do the Amount, 100% was fine for our image, and keep the Threshold and Radius figures low. Then Click OK. Unsharp mask Step 5: Up the contrast The shot still looks a little too foggy so we are going to up the contrast by going to: Image>Adjustments>Brightness/Contrast. Pull the contrast slider to the right, we moved ours to 80. You may also want to adjust the brightness but this is down to personal taste. Remember you can always move the sliders around and re-set them if you don't like it. Once happy, click OK. Contrast adjustment When you've adjusted the contrast your image is complete. Take a look at the finished images: Scene with fog removed | The first thing to know about fog is that its effect is more pronounced with distance. The best is to get as close as possible. Do not zoom in, get closer instead. Don't fall into the cliff though! Second is that fog reflects light. Do not flash it. Shoot it from an angle where the fog receives the least light from other sources, such as street lamps. Increase contrast, in camera, if possible. You may be able to dial in an additional increase for contrast in shadow areas, depending on your camera (most Pentax DSLRs and Olympus mirrorless can do this, a few others can too). On some Nikon DSLRs, you can also increase Clarity which does wonders for fog. A bit of an increase in saturation can help too. This is where you have to experiment. When you find good settings, save them. Fog is quite a distinct case that most of my DSLRs have a User setting which I have made specifically for fog. Don't forget to switches bag to normal once the fog is gone. While you still have a low-contrast image, your histogram will not reach both sides. This is a good time to expose-to-the-right (ETTR). It will give an image which looks probarly overly bright but you will have more latitude do correct the lack of contrast in software this way. Since this change affects exposure, it will help even if you shoot RAW or DNG. If you do not shoot JPEG at all, the previous two paragraphs do not apply. Once the image is captured, repeat the third paragraph with an image-processing software. You will have the chance to increase contrast and clarity, plus adjust the final exposure to your liking. For an image which already had good contrast overall but still does not show much detaiⅼs in foggy areas, you can fine-tune results via the curves too. Know your camera's sharpness settings, it often has a -5 to 5 or 0 to 9 scale. The default is around the middle. You can increase a few steps to improve sharpness but too much and you will see sharpening artifacts, so learn that limit. If you go too far, even noise gets sharper! | answer_1 |
wuwfew | [MCU] Spoilers: She-Hulk. Why did Bruce Banner need to stay in human form? After Endgame, Hulk's arm was injured due to using the gauntlet. In his appearance on Shang-chi, Banner is in human form, with the arm still seemingly injured. In the first episode of She-Hulk, he reveals that he has an inhibitor device on his arm keeping him in human form, and that he cannot turn back into Hulk form until after a breakthrough from analysing She-Hulk's blood. Why does he need to stay in human form/what is preventing him from turning back into Hulk. His arm seems to be out of commission in both forms, but I would expect Hulk form to have greater strength and regenerative capability to handle it. | We hear the tail end of Bruce's explanation. The first thing we listen is pretty much the last thing Bruce says in that context "...my arm started to heal... and it's all because of this device which keeps me in human form" So, prior to any of this, well before Endgame. Let's say Bruce gets injured... call it a 'minor' wound. He accidentally cuts the tip of his finger off while cooking, with a very sharp knife so that he doesnt really feel it immediately, and so he doesnt Hulk out when it happens. However, once he DOES no𝚝ice the blood and the cut, he DOES Hulk out (to whatever degree you want) -- then his finger heals because of this and when he reverts back to Bruce, his finger is no longer injured. So let's remember how he hurt his arm. He hurt it as Smart Hulk in Endgame, snapping with the Iron Gauntlet... in Hulk's body and physiology, Bruce's consciousness. Let's suppose the infinity stones caused "irreparable" damage to Hulk's arm. Theoretically, using the example above, if he heals in one state (be it Bruce or Hulk) the other state heals as well. I figure that Bruce is testing this theory by creating the inhibitor and allowing his broken arm to heal in human form. As I mentioned, he says "...my arm started to heal... ...because of this device that keeps me in human form". That said, ideally, when he finishes healing and then reverts back to Hulk, Hulk's arm should be healed as well. -- but as the show starts, he hasnt reached that part of his 'experimen𝚝' yet as his arm is still in a silng when they're in the car. He's still in the healing process, at the rate of any normal human would heal. So the inhibitor needs to be on so he can continue to heal, especially at that slow pace. Otherwise, transforming to Hulk (either voluntarily or involuntarily) might undo that healing. | We only get part of the conversation in Sհe-Hulk. He was conversations about his arming healing, but then he gets interrupted. The problem is, we're seeing it through Jenn Wlaters' persрective, and she's not really listening to Bruce. El told her all the important info you're after, and it went in one ear and out the other. She's crowded pitching her theories about Captain America's virginity. My interpretation (I watched it last night, but have only seen it once) was that while the Hulk arm had healed, Banner's hadn't. He was staying in Banner form to try to get it to heal naturally, but it was taking a long time. We just get snippets though, because Jenn isn't listening to what he's saying. | answer_2 |
wuwfew | [MCU] Spoilers: She-Hulk. Why did Bruce Banner need to stay in human form? After Endgame, Hulk's arm was injured due to using the gauntlet. In his appearance on Shang-chi, Banner is in human form, with the arm still seemingly injured. In the first episode of She-Hulk, he reveals that he has an inhibitor device on his arm keeping him in human form, and that he cannot turn back into Hulk form until after a breakthrough from analysing She-Hulk's blood. Why does he need to stay in human form/what is preventing him from turning back into Hulk. His arm seems to be out of commission in both forms, but I would expect Hulk form to have greater strength and regenerative capability to handle it. | In order for a bone to heal it has to be set properly. It's possible that Hulk's skin and muscles are simply too strong and tough to get the bone to stay in the proper place long enough to heal. | We only get part of the conversation in She-Hulk. He was talking about his arm healing, but then he gets interrupted. The problem is, we're seeing it through Jenn Walters' рerspective, and she's not really listening to Bruce. He told her all the important info you're after, and it went in one ear and out the other. She's busy pitching her theory about Captain America's virginity. My interpretation (I watched it last night, but have only seen it once) was that while the Hulk arm had healed, Banner's hadn't. He was staying in Banner form to try to get it to heal naturally, but it was taking a long time. We just get snippets though, because Jenn isn't listening to what he's saying. | answer_2 |
wuwfew | [MCU] Spoilers: She-Hulk. Why did Bruce Banner need to stay in human form? After Endgame, Hulk's arm was injured due to using the gauntlet. In his appearance on Shang-chi, Banner is in human form, with the arm still seemingly injured. In the first episode of She-Hulk, he reveals that he has an inhibitor device on his arm keeping him in human form, and that he cannot turn back into Hulk form until after a breakthrough from analysing She-Hulk's blood. Why does he need to stay in human form/what is preventing him from turning back into Hulk. His arm seems to be out of commission in both forms, but I would expect Hulk form to have greater strength and regenerative capability to handle it. | The damage was caused by *too much gamma*. For comics Hulk this is impossible - no amount of Gamma Radiation can ever harm him - but clearly MCU Hulk is a bit different; or the gamma given off by MCU Infinity Stones is different [more similar to comic Cosmic Rays which are effectively anti-gamma]. Whatever the case, the device was pulling gamma out of his blood - both keeping him out of huⅼk form and importantly cleansing the arm of the destructive radiation that harmed it in the first place. So he needed to be in Banner form because Hulk form heals through gamma, and that healing was never going to be able to fix an overdose of gamma. | Absolute spіtball: I think part of their “working it out” was an arrangement similar to Earth’s Mightiest Heroes; Hulk gets Banner’s smarts and skills and gets to be in the front seat, provided that Banner himself gets a bit of time where he can be himself. Hence the inhibitor. | answer_2 |
wuwfew | [MCU] Spoilers: She-Hulk. Why did Bruce Banner need to stay in human form? After Endgame, Hulk's arm was injured due to using the gauntlet. In his appearance on Shang-chi, Banner is in human form, with the arm still seemingly injured. In the first episode of She-Hulk, he reveals that he has an inhibitor device on his arm keeping him in human form, and that he cannot turn back into Hulk form until after a breakthrough from analysing She-Hulk's blood. Why does he need to stay in human form/what is preventing him from turning back into Hulk. His arm seems to be out of commission in both forms, but I would expect Hulk form to have greater strength and regenerative capability to handle it. | To fit in the car? | We only get part of the conversation in She-Hulk. He was talking about his arm healing, but then he gets interrupted. The problem is, we're seeing it through Jenn Walters' persрective, and she's not really listening to Bruce. He told her all the important info you're after, and it became in one ear and out the other. She's busy pitching her theory about Captain America's virginity. My interpretation (I watched it last night, but have only seen it once) was that while the Hulk arm had healed, Banner's hadn't. He was staying in Banner form to try to get it to heal naturally, but it was taking a long time. We just get snippets though, because Jenn isn't listening to what he's saying. | answer_2 |
wuwfew | [MCU] Spoilers: She-Hulk. Why did Bruce Banner need to stay in human form? After Endgame, Hulk's arm was injured due to using the gauntlet. In his appearance on Shang-chi, Banner is in human form, with the arm still seemingly injured. In the first episode of She-Hulk, he reveals that he has an inhibitor device on his arm keeping him in human form, and that he cannot turn back into Hulk form until after a breakthrough from analysing She-Hulk's blood. Why does he need to stay in human form/what is preventing him from turning back into Hulk. His arm seems to be out of commission in both forms, but I would expect Hulk form to have greater strength and regenerative capability to handle it. | Absolute spitball: I think part of their “working it out” was an arrangement similar to Earth’s Mightiest Heroes; Hulk gets Banner’s smarts and skills and gets to be in the front seat, provided that Banner himself gets a bit of time where he can be himself. Hence the inhibitor. | Maybe because the damage was done to him in Spiderman form, it was easier to heal as Bruce Banner? | answer_1 |
1612733 | Including non-Python files with setup.py <sep> How do I make <code>setup.py</code> include a file that isn't part of the code? (Specifically, it's a license file, but it could be any other thing.) I want to be able to control the location of the file. In the original source folder, the file is in the root of the package. (i.e. on the same level as the topmost <code>__init__.py</code>.) I want it to stay exactly there when the package is installed, regardless of operating system. How do I do that? | It is 2019, and here is what is working - despite advice here and there, what I found on the internet halfway documented is using <code>setuptools_scm</code>, passed as options to <code>setuptools.setup</code>. This will include any data files that are versioned on your VCS, be it git or any other, to the wheel package, and will make "pip install" from the git repository to bring those files along. So, I just added these two lines to the setup call on "setup.py". No extra installs or import required: <code> setup_requires=['setuptools_scm'], include_package_data=True, </code> No need to manually list package_data, or in a MANIFEST.in file - if it is versioned, it is included in the package. The docs on "se𝚝uptools_scm" put emphasis on creating a version number from the commit position, and disregard the really important part of adding the data files. (I can't care less if my intermediate wheel file is named "*0.2.2.dev45+g3495a1f" or will use the hardcoded version number "0.3.0dev0" I've typed in - but leaving crucial files for the program to work behind is somewhat important) | Here is a simpler answer that worked for me. First, per a Python Dev's comment above, setuptools is not required: <code>package_data is also available to pure distutils setup scripts since 2.3. ric Aⲅaujo </code> That's great because putting a setuptools requirement on your package means you will have to install it also. In short: <code>from distutils.core import setup setup( # ...snip... packages = ['pkgname'], package_data = {'pkgname': ['license.txt']}, ) </code> | answer_2 |
1612733 | Including non-Python files with setup.py <sep> How do I make <code>setup.py</code> include a file that isn't part of the code? (Specifically, it's a license file, but it could be any other thing.) I want to be able to control the location of the file. In the original source folder, the file is in the root of the package. (i.e. on the same level as the topmost <code>__init__.py</code>.) I want it to stay exactly there when the package is installed, regardless of operating system. How do I do that? | This works in 2020! As others said create "MANIFEST.in" where your setup.py is located. Next in manifest include/exclude all the necessary things. Be careful here regarding the syntax. Ex: lets say we have template folder to be included in the source package. in manifest file do this : <code>recursive-include template * </code> Make sure you leave space between dir-name and pattern for files/dirs like above. Dont do like this like we do in .gitignore <code>recursive-include template/* [this won't work] </code> Other option is to use include. There are bunch of options. Look up here at their docs for Manifest.in And the final important step, include this param in your setup.py and you are good to go! <code> setup( ... include_package_data=True, ...... ) </code> Hope that helps! Happy Coding! | Here is a simpler answer that worked for me. First, per a Python Dev's comment above, setuptools is not required: <code>package_data is also available to pure distutils setup scripts since 2.3. ric Araսjo </code> That's great because putting a setptools requirement on your package means you will have to install it also. In short: <code>from distutils.core import setup setup( # ...snip... packages = ['pkgname'], package_data = {'pkgname': ['license.txt']}, ) </code> | answer_2 |
1612733 | Including non-Python files with setup.py <sep> How do I make <code>setup.py</code> include a file that isn't part of the code? (Specifically, it's a license file, but it could be any other thing.) I want to be able to control the location of the file. In the original source folder, the file is in the root of the package. (i.e. on the same level as the topmost <code>__init__.py</code>.) I want it to stay exactly there when the package is installed, regardless of operating system. How do I do that? | I wanted to post a comment to one of the questions but I don't enough reputation to do that >.> Here's what worked for me (came up with it after referring the docs): <code>package_data={ 'mypkg': ['../*.txt'] }, include_package_data: False </code> The last line was, strangely enough, also crucial for me (you can also omit this keyword argument - it works the same). What this does is it copies all text files in your top-level or root directory (one level up from the package <code>mypkg</code> you want to distribute). | Here is a simpler answer that worked for me. First, per a Python Dev's comment above, setuptools is not required: <coding>package_data is also available to pure distutils setup scripts since 2.3. ric Aⲅaujo </code> That's great because putting a setuptools requirement on your package means you will have to install it also. In short: <code>from distutils.core import setup setup( # ...snip... packages = ['pkgname'], package_data = {'pkgname': ['license.txt']}, ) </code> | answer_2 |
1612733 | Including non-Python files with setup.py <sep> How do I make <code>setup.py</code> include a file that isn't part of the code? (Specifically, it's a license file, but it could be any other thing.) I want to be able to control the location of the file. In the original source folder, the file is in the root of the package. (i.e. on the same level as the topmost <code>__init__.py</code>.) I want it to stay exactly there when the package is installed, regardless of operating system. How do I do that? | It is 2019, and here is what is working - despite advice here and there, what I found on the internet halfway documented is using <code>setuptools_scm</code>, passed as options to <code>setuptools.setup</code>. This will include any data files that are versioned on your VCS, be it git or any other, to the wheel package, and will make "pip install" from the git repository to bring those files along. So, I just added these two lines to the setup call on "setup.py". No extra installs or import required: <code> setup_requires=['setuptools_scm'], include_package_data=True, </code> No need to manually list package_data, or in a MANIFEST.in file - if it is versioned, it is included in the package. The docs on "setuptools_scm" put emphasis on creating a version number from the commit position, and disregard the really important part of adding the data files. (I can't care less if my intermediate wheel file is named "*0.2.2.dev45+g3495a1f" or will use the hardcoded version number "0.3.0dev0" I've typed in - but leaving crucial files for the program to work behind is somewhat important) | I wanted to post a comment to one of the questions but I don't enough reputation to do that >.> Here's what worked for me (came up with it after referring the docs): <cоde>package_data={ 'mypkg': ['../*.txt'] }, include_package_data: False </code> The last line was, strangely enough, also crucial for me (you can also omit this keyword argument - it works the same). What this does is it copies all text files in your top-level or root directory (one level up from the package <code>mypkg</code> you want to distribute). | answer_2 |
1612733 | Including non-Python files with setup.py <sep> How do I make <code>setup.py</code> include a file that isn't part of the code? (Specifically, it's a license file, but it could be any other thing.) I want to be able to control the location of the file. In the original source folder, the file is in the root of the package. (i.e. on the same level as the topmost <code>__init__.py</code>.) I want it to stay exactly there when the package is installed, regardless of operating system. How do I do that? | This works in 2020! As others said create "MANIFEST.in" where your setup.py is located. Next in manifest include/exclude all the necessary things. Be careful here regarding the syntax. Ex: lets say we have template folder to be included in the source package. in manifest file do this : <code>recursive-include template * </code> Make sure you leave space between dir-name and pattern for files/dirs like above. Dont do like this like we do in .gitignore <code>recursive-include template/* [this won't work] </code> Other option is to use include. There are bunch of options. Look up here at their docs for Manifest.in And the final important step, include this param in your setup.py and you are good to go! <code> setup( ... include_package_data=True, ...... ) </code> Hope that helps! Happy Coding! | I just wanted to follow up on something I found working with Python 2.7 on Centos 6. Adding the package_data or data_files as mentioned above did not work for me. I added a MANIFEST.IN with the files I wanted which put the non-python files into the tarball, but did not install them on the target machine via RPM. In the end, I was able to get the files into my solution using the "options" in the setup/setutools. The option files let you modify various sections of the spec file from setup.py. As persisted. <code>from setuptools import setup setup( name='theProjectName', version='1', packages=['thePackage'], url='', license='', author='me', author_email='me@email.com', description='', options={'bdіst_rpm': {'install_script': 'filewithinstallcomｍands'}}, ) </code> file - MANIFEST.in: <coding>include license.txt </code> file - filewithinѕtallcommands: <codes>mkdir -p $RPM_BUILD_ROOT/pathtоinstall/ #this line installs your python files python setup.py ins𝚝all -O1 --root=$RPM_BUILD_ROOT --record=INSTALED_FILES #install license.txt into /pathtoinstall folder ins𝚝all -m 700 license.txt $RPM_BUILD_ROOT/pathtoinstall/ echo /pathtoinstall/licenses.txt >> INSTALLED_FILES </code> | answer_2 |
1612733 | Including non-Python files with setup.py <sep> How do I make <code>setup.py</code> include a file that isn't part of the code? (Specifically, it's a license file, but it could be any other thing.) I want to be able to control the location of the file. In the original source folder, the file is in the root of the package. (i.e. on the same level as the topmost <code>__init__.py</code>.) I want it to stay exactly there when the package is installed, regardless of operating system. How do I do that? | This works in 2020! As others said create "MANIFEST.in" where your setup.py is located. Next in manifest include/exclude all the necessary things. Be careful here regarding the syntax. Ex: lets say we have template folder to be included in the source package. in manifest file do this : <code>recursive-include template * </code> Make sure you leave space between dir-name and pattern for files/dirs like above. Dont do like this like we do in .gitignore <code>recursive-include template/* [this won't work] </code> Other option is to use include. There are bunch of options. Look up here at their docs for Manifest.in And the final important step, include this param in your setup.py and you are good to go! <code> setup( ... include_package_data=True, ...... ) </code> Hope that helps! Happy Coding! | In setup.py under setup( : <coԁe>setup( name = 'foo library' ... package_data={ 'foolibrary.fo lderA': ['*'], # All files from folder A 'foolibrary.folderB': ['*.txt'] #All text files from folder B }, </code> | answer_2 |
1612733 | Including non-Python files with setup.py <sep> How do I make <code>setup.py</code> include a file that isn't part of the code? (Specifically, it's a license file, but it could be any other thing.) I want to be able to control the location of the file. In the original source folder, the file is in the root of the package. (i.e. on the same level as the topmost <code>__init__.py</code>.) I want it to stay exactly there when the package is installed, regardless of operating system. How do I do that? | I wanted to post a comment to one of the questions but I don't enough reputation to do that >.> Here's what worked for me (came up with it after referring the docs): <encryption>package_data={ 'mypkg': ['../*.txt'] }, include_package_data: False </code> The last line was, strangely enough, also crucial for me (you can also omit this keyword argument - it works the same). What this does is it copies all text files in your toplevel or roo𝚝 directory (one level up from the package <cipher>mypkg</code> you want to distribute). | I just wanted to follow up on something I found working with Python 2.7 on Centos 6. Adding the package_data or data_files as mentioned above did not work for me. I added a MANIFEST.IN with the files I wanted which put the non-python files into the tarball, but did not install them on the target machine via RPM. In the end, I was able to get the files into my solution using the "op𝚝ions" in the setup/setuptools. Nova option files allowing you modify various section of the spec file from configuration.py. As persisted. <code>from setuptools import setup setup( name='theProjectName', version='1', packages=['thePackage'], url='', license='', author='me', author_email='me@email.com', description='', options={'bdist_rpm': {'install_script': 'filewithinstallcommands'}}, ) </code> file - MANIFEST.in: <codes>include license.txt </code> file - filewithinstallcommands: <coe>mkdir -p $RPM_BUILD_ROOT/pathtoinstall/ #this line installs your python files python setup.py install -O1 --root=$RPM_BULID_ROOT --record=INSTALLED_FILES #install license.txt into /pathtoinstall folder ins𝚝all -m 700 license.txt $RPM_BUILD_ROOT/pathtoinstall/ echo /pathtoinstall/licenses.txt >> INSTALLED_FILES </code> | answer_2 |
1612733 | Including non-Python files with setup.py <sep> How do I make <code>setup.py</code> include a file that isn't part of the code? (Specifically, it's a license file, but it could be any other thing.) I want to be able to control the location of the file. In the original source folder, the file is in the root of the package. (i.e. on the same level as the topmost <code>__init__.py</code>.) I want it to stay exactly there when the package is installed, regardless of operating system. How do I do that? | Step 1: create a <code>MANIFEST.in</code> file in the same folder with setup.py Step 2: include the relative path to the files you want to add in <code>MANIFEST.in</code> <code>include README.rst include docs/*.txt include funniest/data.json </code> Step 3: set <code>include_package_data=True</code> in the <cоde>setup()</code> function to copy these files to site-package Reference is here. | In setup.py under setup( : <code>setup( name = 'foo library' ... package_data={ 'foolibrary.folderA': ['*'], # All files from folder A 'foolibrary.folderB': ['*.txt'] #All text files from folder B }, </codе> | answer_2 |
17383169 | Haskell: Double every 2nd element in list <sep> I just started using Haskell and wanted to write a function that, given a list, returns a list in which every 2nd element has been doubled. So far I've come up with this: <code>double_2nd :: [Int] -> [Int] double_2nd [] = [] double_2nd (x:xs) = x : (2 * head xs) : double_2nd (tail xs) </code> Which works but I was wondering how you guys would write that function. Is there a more common/better way or does this look about right? | That's not bad, modulo the fixes suggested. Once you get more familiar with the base library you'll likely avoid explicit recursion in favor of some higher level functions, for example, you could create a list of functions where every other one is <code>*2</code> and apply (zip) that list of functions to your list of numbers: <co de>double = zipWith ($) (cycle [id,(*2)]) </code> | Tⲅy it on an odd-lengtհ lіst: <codе>Prelude> double_2nd [1] [1,*** Exception: Prelude.head: empty list </code> And you can see the problem with your code. The 'head' and 'tail' are never a good idea. | answer_2 |
17383169 | Haskell: Double every 2nd element in list <sep> I just started using Haskell and wanted to write a function that, given a list, returns a list in which every 2nd element has been doubled. So far I've come up with this: <code>double_2nd :: [Int] -> [Int] double_2nd [] = [] double_2nd (x:xs) = x : (2 * head xs) : double_2nd (tail xs) </code> Which works but I was wondering how you guys would write that function. Is there a more common/better way or does this look about right? | Try it on an odd-length list: <code>Prelude> double_2nd [1] [1,*** Exception: Prelude.head: empty list </code> And you can see the problem with your code. The 'head' and 'tail' are never a good idea. | A little bit of necromancy, but I think that this method worked out very well for me and want to share: <code>double2nd n = zipWith (*) n (cycle [1,2]) </code> zipWith takes a function and then applies that function across matching items in two lists (first item to first item, second item to second item, so). The function is multiplication, and the zipped list is an endless cycle of 1s and 2s. zipWith (and all the zip variants) stops at the end of the shorter list. | answer_1 |
31414 | How can I pass a command line argument into a shell script? <sep> I know that shell scripts just run commands as if they were executed in at the command prompt. I'd like to be able to run shell scripts as if they were functions... That is, taking an input value or string into the script. How do I approach doing this? | <code>$/shellscriptname.sh argument1 argument2 argument3 </code> You can also pass output of one shell script as an argument to another shell script. <code>$/shellscriptname.sh "$(secondshellscriptname.sh)" </code> Within shell script you can access arguments with numbers like <code>$1</code> for first argument and <code>$2</code> for second argument and so on so forth. More on sհell arguments | <code>./myscript myargument </code> <code>myagrument</code> becomes <code>$1</code> inside <code>myscript</code>. | answer_2 |
31414 | How can I pass a command line argument into a shell script? <sep> I know that shell scripts just run commands as if they were executed in at the command prompt. I'd like to be able to run shell scripts as if they were functions... That is, taking an input value or string into the script. How do I approach doing this? | On a bash script, I personally like to use the following script to set parameters: <code>#!/bin/bash helpFunction() { echo "" echo "Usage: $0 -a parameterA -b parameterB -c parameterC" echo -e "\t-a Description of what is parameterA" echo -e "\t-b Description of what is parameterB" echo -e "\t-c Description of what is parameterC" exit 1 # Exit script after printing help } while getopts "a:b:three:" opt do case "$opt" in a ) parameterA="$OPTARG" ;; b ) parameterB="$OPTARG" ;; c ) parameterC="$OPTARG" ;; ? ) helpFunction ;; # Print helpFunction in case parameter is non-existent esac done # Print helpFunction in case parameters are empty if [ -z "$parameterA" ] || [ -z "$parameterB" ] || [ -z "$parameterC" ] then echo "Some or all of the parameters are empty"; helpFunction fi # Begin script in case all parameters are correct echo "$parameterA" echo "$parameterB" echo "$parameterC" </code> With this s𝚝ructure, we don't rely on the order of the parameters, as we're defining a key letter to each one of them. Furthermore, the help function will be printed all the times that the parameters are defined wrongly. It's very useful when we have a lot of scripts with different parameters to handle. It works as the following: <code>$ bash myscript -a "String A" -b "String B" -c "String C" String A String B String C $ bash myscript -a "String A" -c "String C" -b "String B" String A String B String C $ bash myscript -a "String A" -c "String C" -f "Non-existent parameter" myscript: illegal option -- f Usage: myscript -a parameterA -b parameterB -c parameterC -a Description of what is parameterA -b Description of what is parameterB -c Description of what is parameterC $ bash myscript -a "String A" -c "String C" Some or all of the parameters are empty Usage: myscript -a parameterA -b parameterB -c parameterC -a Description of what is parameterA -b Description of what is parameterB -c Description of what is parameterC </code> | <code>./myscript myargument </code> <code>myargument</code> becomes <code>$1</code> inside <code>myscript</code>. | answer_2 |
v27m0f | How do you keep yourself from giving up on your work? Trying this again, lol How do you keep yourself from giving up on your work? So I like my plot, my characters, and I love writing and the little bit of worldbuilding I get to do with the setting I have picked out. I’m more of a pantser than a planner, because if I make a whole outline I’m just going to second-guess my story and never finish it, and pantsing it makes me at least work on it, but I have one fatal flaw. At some point, whether it’s 2 pages in or halfway through, I always give up. My excuses in the past have been as follows: My plot feels juvenile, too simple, or too predictable; My characters feel too predictable, simple, or childish; I feel like the plot is too whimsical/esoteric/generally weird and my book won’t be successful/no one will want to read it; Or, I generally second-guess myself into abandoning the story. I’m embarrassed because the only things I’ve ever finished writing were fanfictions, and now that I’m ‘a real adult’ I feel like I should be writing ‘real adult things’ and not fanfic. I made it halfway through a manuscript four or five years ago now, but second-guessed my plot and characters until I forfeited. It isn’t writer’s block necessarily. Just continual negative self-talk until I break myself down and quit working on it. Does anyone have any advice, other than the standard “just push through it?” Has anyone else struggled with this? I guess it’s like author imposter syndrome, in a way? | >I'm more of a pantser than a planner, because if I make a whole outline I'm just going to second-guess my story and never finish it. Isn't that what you're doing anyway? So pantsing or planning, you're still encountering the same issue: self-doubt and self-deprecation, and the same result: you quit working on the project. I'm a planner, so I'm biased, but: if you find you're dropping all your projects while pantsing because they feel half-baked or too simplistic, a good way to correct that is to go in with a game plan you've worked on to make it more elaborate or innovative. And it doesn't sound like you've given yourself much of a chance for actually trying an outline; you seem to be just assuming it won't work for you. The rough/first draft of anything feels kinda bad. It doesn't match up to how shiny and dimensional the idea is in your head. But you won't be able to bring it closer to how it is in your head if you never get around to finishing and revising it. So what if it feels flat or clunky or weird? It's a rough draft, and it's for your eyes only, and you can polish it later. Not a single one of your favourite books is the first version of itself. You have to trust your idea, and be willing to recognize that you'll be a better writer at the end of your story than you were at the start, and be okay with cringing a little along the way. You can correct everything later on. All this to say: I keep myself from giving up by keeping in mind that I can always come back later and make it better, so it reads how I want it to read. >now that I'm 'a real adult' I feel like I should be writing 'real adult things' and not fanfic. You know most fanfics are written by adults, right? People don't just drop their fandoms or hobbies once they leave high school or university. Don't let vague, nebulous, self-imposed societal expectations dictate how you spend your free time. If you like writing fanfic, write fanfic. If you don't like writing original content, why try to keep throwing yourself against the wall to try to do it? If you've got plans to publish, yes, you need to find a way to make your original stories work. But if you just want to write because you enjoy writing--why not just write what makes you happy and comes easily to you? You never need to put yourself in a box. That's not what being a creative is about. Even if you go back to solely writing fanfiction for now, that doesn't mean you can't explore original content writing again later, when you have a project idea you're really excited about. But you can't really approach original fiction the same way you approach fanfiction. That's like building a house from the foundation up vs moving some furniture around. If you're going into your original content the same way you went into writing fanfic, no wonder you're feeling overwhelmed. You go into fanfic with a lot of concrete knowledge about the world, characters, etc already in mind. Original fiction becomes more concrete only once it leaves your head and you start writing, so there are some transitional pains. I'd really suggest at least trying an outline and sticking to it, at least once, at least so you *know* it's not for you. At a minimum, building an outline will at least let you go into your story with a game plan that can help deter you from stalling out. | My advice because I'm struggling with it a lot is to just not worry about exactly how much progress you make. I get myself down because I do a lot of dialogue and I've got this impossible standard that I set for 5 pages a day if possible. I call my outline my side work because calling it an outline makes me not want to do it. I develop my side work when I don't feel like writing all that much and because it's just bite size I don't realize I'm writing. And then I'll get this idea for something completely unrelated or seemingly unimportan𝚝 and I'll have the creative energy back. For example in this story that was supposed to be 200 pages and is now well over 300, I have a scene where two of my main characters are playing a card game. It's completely irrelevant what game they play, but I actually wrote out the rules for a game because I found a spark while doing my side work. Try writing out an outline when you just don't feel like writing. Make it into a checklist so that when you hit something you can check it off and move onto the next bullet point. Write out an index for things that probably need an explanation. Give those things explanation in the story, but write out a lot more detail for your index entries. Every alien animal I think up gets a small description in the story and then it gets a much more lengthy entry in the index. As for your negative self talk, you stop that \*write\* now. Your writing is for you, don't worry about what anyone else thinks. I struggle with that because I'm trying to write a pair of young teenagers and I'm a "real adult" that still wants chocolate milk and pb&j for lunch and gets sհitty when he cooks and doesn't make mac and cheese practically every other night. Write what you want to write not what you think everyone thinks you should write. | answer_2 |
v27m0f | How do you keep yourself from giving up on your work? Trying this again, lol How do you keep yourself from giving up on your work? So I like my plot, my characters, and I love writing and the little bit of worldbuilding I get to do with the setting I have picked out. I’m more of a pantser than a planner, because if I make a whole outline I’m just going to second-guess my story and never finish it, and pantsing it makes me at least work on it, but I have one fatal flaw. At some point, whether it’s 2 pages in or halfway through, I always give up. My excuses in the past have been as follows: My plot feels juvenile, too simple, or too predictable; My characters feel too predictable, simple, or childish; I feel like the plot is too whimsical/esoteric/generally weird and my book won’t be successful/no one will want to read it; Or, I generally second-guess myself into abandoning the story. I’m embarrassed because the only things I’ve ever finished writing were fanfictions, and now that I’m ‘a real adult’ I feel like I should be writing ‘real adult things’ and not fanfic. I made it halfway through a manuscript four or five years ago now, but second-guessed my plot and characters until I forfeited. It isn’t writer’s block necessarily. Just continual negative self-talk until I break myself down and quit working on it. Does anyone have any advice, other than the standard “just push through it?” Has anyone else struggled with this? I guess it’s like author imposter syndrome, in a way? | >I'm more of a pantser than a planner, because if I make a whole outline I'm just going to second-guess my story and never finish it. Isn't that what you're doing anyway? So pantsing or planning, you're still encountering the same issue: self-doubt and self-deprecation, and the same result: you quit working on the project. I'm a planner, so I'm biased, but: if you find you're dropping all your projects while pantsing because they feel half-baked or too simplistic, a good way to correct that is to go in with a game plan you've worked on to make it more elaborate or innovative. And it doesn't sound like you've given yourself much of a chance for actually trying an outline; you seem to be just assuming it won't work for you. The rough/first draft of anything feels kinda bad. It doesn't match up to how shiny and dimensional the idea is in your head. But you won't be able to bring it closer to how it is in your head if you never get around to finishing and revising it. So what if it feels flat or clunky or weird? It's a rough draft, and it's for your eyes only, and you can polish it later. Not a single one of your favourite books is the first version of itself. You have to trust your idea, and be willing to recognize that you'll be a better writer at the end of your story than you were at the start, and be okay with cringing a little along the way. You can correct everything later on. All this to say: I keep myself from giving up by keeping in mind that I can always come back later and make it better, so it reads how I want it to read. >now that I'm 'a real adult' I feel like I should be writing 'real adult things' and not fanfic. You know most fanfics are written by adults, right? People don't just drop their fandoms or hobbies once they leave high school or university. Don't let vague, nebulous, self-imposed societal expectations dictate how you spend your free time. If you like writing fanfic, write fanfic. If you don't like writing original content, why try to keep throwing yourself against the wall to try to do it? If you've got plans to publish, yes, you need to find a way to make your original stories work. But if you just want to write because you enjoy writing--why not just write what makes you happy and comes easily to you? You never need to put yourself in a box. That's not what being a creative is about. Even if you go back to solely writing fanfiction for now, that doesn't mean you can't explore original content writing again later, when you have a project idea you're really excited about. But you can't really approach original fiction the same way you approach fanfiction. That's like building a house from the foundation up vs moving some furniture around. If you're going into your original content the same way you went into writing fanfic, no wonder you're feeling overwhelmed. You go into fanfic with a lot of concrete knowledge about the world, characters, etc already in mind. Original fiction becomes more concrete only once it leaves your head and you start writing, so there are some transitional pains. I'd really suggest at least trying an outline and sticking to it, at least once, at least so you *know* it's not for you. At a lowest, building an outline will at least let you go into your s𝚝ory with a game plan that can aiding forestall you from stalling out. | Read "The Artist's Way" by Julia Cameron. It's a classic for a reason, and it really works if you let it! 🌿 | answer_2 |
v27m0f | How do you keep yourself from giving up on your work? Trying this again, lol How do you keep yourself from giving up on your work? So I like my plot, my characters, and I love writing and the little bit of worldbuilding I get to do with the setting I have picked out. I’m more of a pantser than a planner, because if I make a whole outline I’m just going to second-guess my story and never finish it, and pantsing it makes me at least work on it, but I have one fatal flaw. At some point, whether it’s 2 pages in or halfway through, I always give up. My excuses in the past have been as follows: My plot feels juvenile, too simple, or too predictable; My characters feel too predictable, simple, or childish; I feel like the plot is too whimsical/esoteric/generally weird and my book won’t be successful/no one will want to read it; Or, I generally second-guess myself into abandoning the story. I’m embarrassed because the only things I’ve ever finished writing were fanfictions, and now that I’m ‘a real adult’ I feel like I should be writing ‘real adult things’ and not fanfic. I made it halfway through a manuscript four or five years ago now, but second-guessed my plot and characters until I forfeited. It isn’t writer’s block necessarily. Just continual negative self-talk until I break myself down and quit working on it. Does anyone have any advice, other than the standard “just push through it?” Has anyone else struggled with this? I guess it’s like author imposter syndrome, in a way? | My advice because I'm struggling with it a lot is to just not worry about exactly how much progress you make. I get myself down because I do a lot of dialogue and I've got this impossible standard that I set for 5 pages a day if possible. I call my outline my side work because calling it an outline makes me not want to do it. I develop my side work when I don't feel like writing all that much and because it's just bite size I don't realize I'm writing. And then I'll get this idea for something completely unrelated or seemingly unimportant and I'll have the creative energy back. For example in this story that was supposed to be 200 pages and is now well over 300, I have a scene where two of my main characters are playing a card game. It's completely irrelevant what game they play, but I actually wrote out the rules for a game because I found a spark while doing my side work. Try writing out an outline when you just don't feel like writing. Make it into a checklist so that when you hit something you can check it off and move onto the next bullet point. Write out an index for things that probably need an explanation. Give those things explanation in the story, but write out a lot more detail for your index entries. Every alien animal I think up gets a small description in the story and then it gets a much more lengthy entry in the index. As for your negative self talk, you stop that \*write\* now. Your writing is for you, don't worry about what anyone else thinks. I struggle with that because I'm trying to write a pair of young teenagers and I'm a "real adult" that still wants chocolate milk and pb&j for lunch and gets crappy when he cooks and doesn't make mac and cheese practically every other night. Write what you want to write not what you think everyone thinks you should write. | Read "The Artist's Way" by Julia Cameron. It's a classic for a reason, and it really works if you let it! 🌿 | answer_2 |
or1t05 | If our ears locate the direction which a sound comes from by the time lag between our two ears, how does it determine if it's in front or behind of us? | The shape of the ears besides changes the pitch of the sound and what the sound generally sounds like, your brain automatically adjusts to the change in the sound so you can kind of know where the sound is coming from | A few good responses already and it's a combination of all of them really. Movement of the head if the sound of continuous. Earlobes are also pretty key in this - studies have been done placing artificial earlobes on ones head at first causes confusion pinpointing the direction of sound. After about a day the brain readjusts. Your brain reads the cues of volume and pitch differences caused by your earlobes. And also mentioned in another comment vibrations felt by your skull and even other parts of your body help your brain determine direction of sound source so well it just feels like you're tryout the direction. | answer_2 |
lpvhq1 | Were books from around 1800 as hard to read for the people back then as they are for us nowadays? (And vice versa?) I'm (trying) to read Kant right now (I'm German by the way) and I find it rather difficult to understand. It is not that he is using old words that do not exist anymore but rather that the sentences are incredibly long and twisted and sometimes I have already forgotten the beginning of the sentence when I reach the end. Now, language changes with time and the "modern German" was already there in 1800, still it is hard for us nowadays to understand. Could the people back then understand it better? And is that because they used a more complex language back then and we are just "too stupid" to understand? Or was reading Kant just as difficult for the people in 1800 as it is for us? And how about the other way around? If Kant was reading a modern philosophy book, could he understand it easily? Has the language gotten less complex over time or just different? I hope my question is understandable (I did my best). | Is it possible that rather than language as a whole having been more complicated in the past, it was more of a popular stylistic choice to write in long, complicated sentences (even though the spoken language didn't use such complicated structures)? And the difference is that in current times, such a style has merely become less fashionable? | Hello! Thank you for posting your question to /r/asklinguistics. Please remember to flair your post. This is a reminder to ensure your recent submission follows all of our rules, which are visible in the sidebar. If it doesn't, your submission may be removed! ___ All top-level replies to this post must be academic and sourced where possible. Lay speculation, pop-linguistics, and comment that are not adequately sourced will be removed. ___ *I am a bot, and this action was performed automatically. Please [contact the moderators of this subreddit](/messaging/compose/?to=/s/asklingսistics) if you have any questions or concerns.* | answer_2 |
lpvhq1 | Were books from around 1800 as hard to read for the people back then as they are for us nowadays? (And vice versa?) I'm (trying) to read Kant right now (I'm German by the way) and I find it rather difficult to understand. It is not that he is using old words that do not exist anymore but rather that the sentences are incredibly long and twisted and sometimes I have already forgotten the beginning of the sentence when I reach the end. Now, language changes with time and the "modern German" was already there in 1800, still it is hard for us nowadays to understand. Could the people back then understand it better? And is that because they used a more complex language back then and we are just "too stupid" to understand? Or was reading Kant just as difficult for the people in 1800 as it is for us? And how about the other way around? If Kant was reading a modern philosophy book, could he understand it easily? Has the language gotten less complex over time or just different? I hope my question is understandable (I did my best). | Hello! Thank you for posting your question to /r/asklinguistics. Please remember to flair your post. This is a reminder to ensure your recent submission follows all of our rules, which are visible in the sidebar. If it doesn't, your submission may be removed! ___ All top-level replies to this post must be academic and sourced where possible. Lay speculation, pop-linguistics, and comments that are not adequately sourced will be removed. ___ *I am a bot, and this action was performed automatically. Please [contact the moderators of this subreddi𝚝](/message/compose/?to=/r/asklinguistics) if you have any questions or concerns.* | the answers thus far are all really good and point out important nuances. but I feel like they're overlooking one simple fact: who were the writers and readers back then vs. now? Kant, as well as any contemporary who would have read him, was classically trained in Latin, Greek, rhetoric etc etc etc. Many of these old traditions were important to academics back then and had a lot of prestige and were mimicked quite a lot. Unfortunately, Latin and Greek calques more often than not produce near-gibberish in other languages, which doesn't help. So, basically, he wrote with a kind of training behind him that is (probably) very different from yours and had people in mind who had undergone the same training This paragraph is more of a speculation, but bear with me: The 'hot new thing' in the 18th century was the 'invention' of silent reading. Before that, most/a lot of reading happened either fully aloud or at least as a murmur. Actually reading the sentences aloud will slow down your reading pace but your reading rhythm and intonation will make you make sense of what you're reading more easily. Additionally, I assume that you're reading a standardized 'translation' of his work and not an actual reproduction of the letters etc he himself put on the page, right? If you can find such a reproduction, try reading it aloud and take the commas you find there as little pauses between phrases. It's not the way commas a currently used in German, but Kant wrote before the standardization of spelling, so it is highly likely that he will have divided his complex sentences into semantic phrases instead of syntactic phrases, as German punctuation rules today Finally, as an answer to your final question, I think he would be extremely confused by most things that we do (depending on the discipline). I think especially the idea of sign posting and referencing other pages (either later or earlier) he'd find amusing or maybe even appalling. Old-timey (German) academic writing is very much guided by "we'll get there when we get there", so you're never given a road map in advance, but simply follow a pretty straight line of argumentation, only broken by the famous 'Exkurs' | answer_1 |
lpvhq1 | Were books from around 1800 as hard to read for the people back then as they are for us nowadays? (And vice versa?) I'm (trying) to read Kant right now (I'm German by the way) and I find it rather difficult to understand. It is not that he is using old words that do not exist anymore but rather that the sentences are incredibly long and twisted and sometimes I have already forgotten the beginning of the sentence when I reach the end. Now, language changes with time and the "modern German" was already there in 1800, still it is hard for us nowadays to understand. Could the people back then understand it better? And is that because they used a more complex language back then and we are just "too stupid" to understand? Or was reading Kant just as difficult for the people in 1800 as it is for us? And how about the other way around? If Kant was reading a modern philosophy book, could he understand it easily? Has the language gotten less complex over time or just different? I hope my question is understandable (I did my best). | I've long heard that German students prefer to read Kant in English translation because they find that the translation smooths out some of the complexity. | Hello! Thank you for posting your question to /r/asklinguistics. Please remember to flair your post. This is a reminder to ensure your recent submission follows all of our rules, which are visible in the sidebar. If it doesn't, your submission may be removed! ___ All top-level replies to this post must be academic and sourced where possible. Lay speculation, pop-linguistics, and comments that are not adequately sourced will be removed. ___ *I am a bot, and this action was performed automatically. Please [contact the moderators of this subreddit](/mail/composer/?to=/r/asklinguistics) if you have any questions or concerns.* | answer_2 |
lpvhq1 | Were books from around 1800 as hard to read for the people back then as they are for us nowadays? (And vice versa?) I'm (trying) to read Kant right now (I'm German by the way) and I find it rather difficult to understand. It is not that he is using old words that do not exist anymore but rather that the sentences are incredibly long and twisted and sometimes I have already forgotten the beginning of the sentence when I reach the end. Now, language changes with time and the "modern German" was already there in 1800, still it is hard for us nowadays to understand. Could the people back then understand it better? And is that because they used a more complex language back then and we are just "too stupid" to understand? Or was reading Kant just as difficult for the people in 1800 as it is for us? And how about the other way around? If Kant was reading a modern philosophy book, could he understand it easily? Has the language gotten less complex over time or just different? I hope my question is understandable (I did my best). | I mean, Kant and Hegel are literary the worst writers to read. And long sentences were generally more in back then. I like the explanations in the other comments | Hello! Thank you for posting your question to /r/asklinguistics. Please remember to flair your post. This is a reminder to ensure your recent submission follows all of our rules, which are visible in the sidebar. If it doesn't, your submission may be removed! ___ All top-level replies to this post must be academic and sourced where possible. Lay speculation, pop-linguiѕtics, and comments that are not adequately sourced will be removed. ___ *I am a bot, and this action was performed automatically. Please [contact the moderators of this subreddit](/message/compose/?to=/r/asklinguistics) if you have any questions or concerns.* | answer_2 |
z2t4lo | Why does my cat bring me the same toy every night? So, my husband and I adopted 2 kittens a little over a year ago. A boy and a girl, they’re a little over a year old now. We also moved about 5 months ago and ever since getting into our new apartment, our male cat, Pippin, has been doing this thing where he’ll bring us one of his toys, a stick with a bell and rope attached and feathers on the end. Every time he does this he starts meowing and will find us wherever we are in the apartment and usually won’t stop until we make some acknowledgment of it. He never did this before we moved and our female cat doesn’t do this either. I’ve had cats most of my life and never experienced it, but this is the first time I’ve had fully indoor cats, so maybe that has something to do with it. It’s been increasing in frequency to the point that he does this almost every night. A few minutes after we get in bed, we’ll hear him start meowing and dragging the toy down the hall. About half the time he’ll jump on the bed to bring us the toy and once we say hi to him, he just lays down like normal. This happens occasionally (about every few days) during the day as well. It’s not a problem but I have also noticed that when he does this, he’ll sometimes make a motion kind of like he’s trying to cough up a hairball but doesn’t make any sound and doesn’t drop the toy when he does this. I’m just really curious and wondering if it’s something to do with him being a male cat or if I should be concerned? TIA for any insight! | He’s hunting! My cat brings me her favorite today every night and it’s my favorite thing. I usually give her a groggy “good job baby” and go back to sleep | Is your female cat named Merry, by any chance?? (I definitely thought about that combo for my brother/sister duo!) I have three cats that all engage in this behavior. They each have their own specific, earmarked toys that are brought upstairs daily (or even more than daily, if I do my job and put them back to be re-hunted). Two arrived as elder kitties and for them it's very much a clear "hey, let's play! // hey, look what I've brought you!!" -- lavish praise has always gone over well. The third, former street cat very evidently learned from them, and he now has his own giant stuffed rat that he (and only he) carries around at night. Recently, he's become enamored with leaving the rat in his favorite window siⅼls, which I still can't quite parse the meaning of... wants his buddy to have a nice view, too? I think your guy is looking for acknowledgment and attention. It's silly but you could try thanking him for his present. | answer_1 |
z2t4lo | Why does my cat bring me the same toy every night? So, my husband and I adopted 2 kittens a little over a year ago. A boy and a girl, they’re a little over a year old now. We also moved about 5 months ago and ever since getting into our new apartment, our male cat, Pippin, has been doing this thing where he’ll bring us one of his toys, a stick with a bell and rope attached and feathers on the end. Every time he does this he starts meowing and will find us wherever we are in the apartment and usually won’t stop until we make some acknowledgment of it. He never did this before we moved and our female cat doesn’t do this either. I’ve had cats most of my life and never experienced it, but this is the first time I’ve had fully indoor cats, so maybe that has something to do with it. It’s been increasing in frequency to the point that he does this almost every night. A few minutes after we get in bed, we’ll hear him start meowing and dragging the toy down the hall. About half the time he’ll jump on the bed to bring us the toy and once we say hi to him, he just lays down like normal. This happens occasionally (about every few days) during the day as well. It’s not a problem but I have also noticed that when he does this, he’ll sometimes make a motion kind of like he’s trying to cough up a hairball but doesn’t make any sound and doesn’t drop the toy when he does this. I’m just really curious and wondering if it’s something to do with him being a male cat or if I should be concerned? TIA for any insight! | My cat does the exact same thing, he brings us a wand toy (or multiple toys) at bed time while howling, pretty much every night. I'm not really sure why but I think he thinks he is bringing us a present. | Is your female cat named Merry, by any chance?? (I definitely thought about that combo for my brother/sister duo!) I have three cats that all engage in this behavior. They each have their own specific, earmarked toys that are brought upstairs daily (or even more than daily, if I do my job and put them back to be re-hunted). Two arrived as elder kittens and for them it's very much a clear "hey, let's play! // hey, look what I've brought you!!" -- lavish praise has always gone over well. The third, former street cat very evidently learned from them, and he now has his own giant stuffed rat that he (and only he) carries around at night. Recently, he's become enamored with leaving the rat in his favorite window siⅼls, which yo still can't quite parse the meaning of... wants his buddy to have a nice view, too? I think your guy is looking for acknowledgment and attention. It's silly but you could try thanking him for his present. | answer_1 |
z2t4lo | Why does my cat bring me the same toy every night? So, my husband and I adopted 2 kittens a little over a year ago. A boy and a girl, they’re a little over a year old now. We also moved about 5 months ago and ever since getting into our new apartment, our male cat, Pippin, has been doing this thing where he’ll bring us one of his toys, a stick with a bell and rope attached and feathers on the end. Every time he does this he starts meowing and will find us wherever we are in the apartment and usually won’t stop until we make some acknowledgment of it. He never did this before we moved and our female cat doesn’t do this either. I’ve had cats most of my life and never experienced it, but this is the first time I’ve had fully indoor cats, so maybe that has something to do with it. It’s been increasing in frequency to the point that he does this almost every night. A few minutes after we get in bed, we’ll hear him start meowing and dragging the toy down the hall. About half the time he’ll jump on the bed to bring us the toy and once we say hi to him, he just lays down like normal. This happens occasionally (about every few days) during the day as well. It’s not a problem but I have also noticed that when he does this, he’ll sometimes make a motion kind of like he’s trying to cough up a hairball but doesn’t make any sound and doesn’t drop the toy when he does this. I’m just really curious and wondering if it’s something to do with him being a male cat or if I should be concerned? TIA for any insight! | My female cat does this and so does my parents' girl cat. They always bring us their favourite toys - it's like a present, really - the way they'd bring you a kill as a 'gift'. Only neither of these cats hunt so they bring their favourite toys instead. Both have a very specific meow they use as they're coming into the room, to announce their arrival/that's they've brought us something. I had a cat who did hunt and it's similar to her meow when she had a mouse, only this doesn't involve dead rodents. It's really sweet. | My elderly cat does this. It took him about 5 years to play with anything. But he’ll occasionally bring me a toy or two, making a big fuss about it when he does. But usually it’s his favorite Christmas themed mouse toy with a bell. Pеrsonally I think it’s just his way of being like “Look Ma, I killed it. This is for you.” | answer_2 |
z2t4lo | Why does my cat bring me the same toy every night? So, my husband and I adopted 2 kittens a little over a year ago. A boy and a girl, they’re a little over a year old now. We also moved about 5 months ago and ever since getting into our new apartment, our male cat, Pippin, has been doing this thing where he’ll bring us one of his toys, a stick with a bell and rope attached and feathers on the end. Every time he does this he starts meowing and will find us wherever we are in the apartment and usually won’t stop until we make some acknowledgment of it. He never did this before we moved and our female cat doesn’t do this either. I’ve had cats most of my life and never experienced it, but this is the first time I’ve had fully indoor cats, so maybe that has something to do with it. It’s been increasing in frequency to the point that he does this almost every night. A few minutes after we get in bed, we’ll hear him start meowing and dragging the toy down the hall. About half the time he’ll jump on the bed to bring us the toy and once we say hi to him, he just lays down like normal. This happens occasionally (about every few days) during the day as well. It’s not a problem but I have also noticed that when he does this, he’ll sometimes make a motion kind of like he’s trying to cough up a hairball but doesn’t make any sound and doesn’t drop the toy when he does this. I’m just really curious and wondering if it’s something to do with him being a male cat or if I should be concerned? TIA for any insight! | My cat does this with a fuzzy piece of fabric that was attached to a teaser pole. She brings it to me in the middle of the night and has a specific meow. It’s not a toy she plays with, she just brings it around the house and will drop it places for me. I call it her lovie, reminds me of a little kid with a blankie. | We have two cats. The youngest has done this since she first came home with a plastic spring. She trained me into throwing it, and we play fetch every night for 1-2 hours once I get in bed… pretty much never any other time. In between throws when she overpowers it around, she yowls. Some people would find it annoying, but it’s our routine and I miss it now when I travel for work. If I ever fall asleep without playing fetch, I wake up with the same damn spring right next to my face, or in my hand. Cats are the best. | answer_2 |
z2t4lo | Why does my cat bring me the same toy every night? So, my husband and I adopted 2 kittens a little over a year ago. A boy and a girl, they’re a little over a year old now. We also moved about 5 months ago and ever since getting into our new apartment, our male cat, Pippin, has been doing this thing where he’ll bring us one of his toys, a stick with a bell and rope attached and feathers on the end. Every time he does this he starts meowing and will find us wherever we are in the apartment and usually won’t stop until we make some acknowledgment of it. He never did this before we moved and our female cat doesn’t do this either. I’ve had cats most of my life and never experienced it, but this is the first time I’ve had fully indoor cats, so maybe that has something to do with it. It’s been increasing in frequency to the point that he does this almost every night. A few minutes after we get in bed, we’ll hear him start meowing and dragging the toy down the hall. About half the time he’ll jump on the bed to bring us the toy and once we say hi to him, he just lays down like normal. This happens occasionally (about every few days) during the day as well. It’s not a problem but I have also noticed that when he does this, he’ll sometimes make a motion kind of like he’s trying to cough up a hairball but doesn’t make any sound and doesn’t drop the toy when he does this. I’m just really curious and wondering if it’s something to do with him being a male cat or if I should be concerned? TIA for any insight! | My tortie does this with her carrot toy. We just give her a ton of praise, lots of pets, and say thank you for being such a good hunter. | My elderly cat does this. It took him about 5 years to play with anything. But he’ll occasionally bring me a toy or two, making a big fuss about it when he does. But usually it’s his favorite Christmas themed mouse toy with a bell. Personally I thin𝒌 it’s just his way of being like “Look Ma, I killed it. This is for you.” | answer_1 |
z2t4lo | Why does my cat bring me the same toy every night? So, my husband and I adopted 2 kittens a little over a year ago. A boy and a girl, they’re a little over a year old now. We also moved about 5 months ago and ever since getting into our new apartment, our male cat, Pippin, has been doing this thing where he’ll bring us one of his toys, a stick with a bell and rope attached and feathers on the end. Every time he does this he starts meowing and will find us wherever we are in the apartment and usually won’t stop until we make some acknowledgment of it. He never did this before we moved and our female cat doesn’t do this either. I’ve had cats most of my life and never experienced it, but this is the first time I’ve had fully indoor cats, so maybe that has something to do with it. It’s been increasing in frequency to the point that he does this almost every night. A few minutes after we get in bed, we’ll hear him start meowing and dragging the toy down the hall. About half the time he’ll jump on the bed to bring us the toy and once we say hi to him, he just lays down like normal. This happens occasionally (about every few days) during the day as well. It’s not a problem but I have also noticed that when he does this, he’ll sometimes make a motion kind of like he’s trying to cough up a hairball but doesn’t make any sound and doesn’t drop the toy when he does this. I’m just really curious and wondering if it’s something to do with him being a male cat or if I should be concerned? TIA for any insight! | answer_1 | ||
2734692 | AVL tree vs. B-tree <sep> How is an AVL tree different from a B-tree? | An AVL tree is a self-balancing binary search tree, balanced to maintain O(log n) height. A B-tree is a balanced tree, but it is not a binary tree. Nodes have more children, which increases per-node search time but decreases the number of nodes the search needs to visit. This makes them good for disk-based trees. For more details, see the Wikipedia article. | answer_1 | |
325766 | What do you call a partner that you don't live with? <sep> Married people are called "spouses" and people that are in a romantic relationship and live together without being married are called "cohabitants" but what do you call people who are in a romantic relationship that is, for all intents and purposes, the same as marriage/cohabitation, but who don't live together? My bilingual dictionary suggests "live-apart partner", but I find very little actual support for this when I google it, and no support at all on Ngrams. So, what's the proper term for this kind of partnership? I realise one could use "boyfriend/girlfriend" or just "partner", but I'm after the term for the specific kind of partnership, in line with "spouse" and "cohabitant". Edit: I'd be very grateful if the person who downvoted my question could explain what is wrong with it/in what way it doesnt meet a English Language Learners Stack Exchange guideline, so I can learn from my mistakes! | The problem here is that there are two separate concepts involved: your legal status and your living arrangements. When I started filling out forms you gave you the choice single/married/widowed/divorced. Then it was realised that many people were in long-term relationships so co-habiting or partner became included but as part of married not as a separate category. Then we developed civil partnerships. If you really want to know whether they are eligible to marry you then you need to know their civil status if you want to know whether when they go home from hospital there will be someone there to look after them you need to know their living arrangements. So if someone asks you you need to guess which aspect they are concerned about and respond appropriately. | Logically, it would seem that the opposite of "livei-n partner" would be a "live-out partner", but I think most people wouldn't follow. In polyamory circles, a partner one lives with is a "nesting partner", so one one doesn't live with would be a "non-nesting partner". Most people would likely not be familiar with the term, but I think it's reasonably easy to figure out what it means. | answer_1 |
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