a question of aspect

The refrain of P. F. Sloan’s song “Let Me Be” (recorded by the Turtles) concludes,

I am what I am and that’s all I ever can be.

Defiance or fatalism?

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upload/resurrection fantasy, again

Previous version.

If your thousands of instances are linked in a line, the youngest and eldest are affected only very slowly by blending (if the middle is not to be hugely overrepresented); that is why I came up with daily sex-switching. The deletion of one avatar each night is also implied by the merging.

But if you start with two copies of the chain, linked at matching ends to make a loop, then no deletion is necessary and the degree of blending can be the same all around; each-you imports yesterday’s memory from your clockwise and counterclockwise neighbors alternately, with a weight of 1/3 or less. A permanent body has social advantages, so I drop the automatic switching.

If a body dies, voluntarily or otherwise, an irregularity in the blending flows out, becoming smaller at each step. Why would you kill one of your bodies voluntarily? For one thing, I mean to keep the idea of alternating sexes around the loop, and you might find living as the wrong sex, even half the (subjective) time, intolerable. (I believe I am otherwise; else would I have the idea?)

If the friendly(?) aliens’ goal is to merge all of humanity into one meta-mind (think Childhood’s End), your two strands are joined only at the elder end; your baby ends are linked instead to other strands, typically of very distant cultures.

What if your private worldlet has no adults because you died as a minor? Some of everyone’s instances – would every third be enough? – ought to live in a shared world, each in a different town (though all near each other).

2022 Nov 04: I made a more stable page collecting my thoughts from this thread.

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oblique pedals

Pedaling a bicycle is painful for me, because a crooked hip makes the knee transmit force at an unnatural angle. But perhaps I could mitigate that (if I had any relevant skills) by making the pedals’ axis oblique, connected to the main gear by bevel gears.

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toon trek

A few years ago I decided, having got behind and lost the thread of my favorite webcomics, to start them over; and then developed a more quixotic ambition: to sample as many webcomics as I can find and, more daunting, to catch up (eventually) on the good ones.

I sort the bookmarks by date, and read the oldest first. (I conceived that practice in the early days when crossovers were common.) At the moment I’m twenty years behind; if I can maintain a pace of three days per day, I’ll catch up in ten years.

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more bent frets

Some simplified meantone guitars (here showing only the first octave):

pentatonic (GDAEB); seven naturals; three flats and two sharps; six flats and six sharps.

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sic transit

A recent update of WordPress has broken a few things around here. Noticed so far: the Classic Editor can no longer save or preview (error 406); and the sidebar does not show up in single-article display.

(later) And the comment form is gone. Argh. Time to look for a theme that I don’t hate, until I get around to learning how to make one properly.

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31 frets

Here is the neck of a guitar that I’d like to have made someday, if I should ever develop the dexterity to make it worthwhile. The blue stripes show where standard frets would be, for comparison.

The tuning is my tweaked version of meantone: compared to just intonation, each factor of 2 is sharp by 1/16 comma, each factor of 3 is flat by 1/8 comma, and each factor of 5 is sharp by 1/4 comma. (A comma is the difference between 64:81, the Pythagorean major third derived from compounding fifths, and the more harmonious 4:5.) This makes the thirds and sixths much truer than in equal temperament, and the fifths slightly truer than in traditional meantone, which puts all the error in the 3s.

This design has 31 frets in the first octave: 12 flats, 7 naturals, 12 sharps. The bent frets span the difference (~151:152) between 18 of my sharp octaves and 31 of my flat fifths.

To reduce crowding, the second octave has only three flats and three sharps. The bent frets span the difference (~50:51) between G♯ and A♭.

The charts below should look familiar to players, if you squint a little.

The dots are placed according to a slightly different scale, which divides a factor of 12 into 111 equal steps; this is a local optimum among cyclic scales by the same criterion I used to choose the non-cyclic intervals for the frets.

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