Here's one thing that has bugged me for a while. Why is it said that the great red spot is around 500 years old? How do we know that it hasn't been around for much longer?
Do we have before/after evidence that at one point it didn't exist, and then around 500 years ago it existed?
To extend, a series of disjoint astronomical observations of the Earth would likely show a hurricane/cyclone/typhoon somewhere, but it wouldn't necessarily follow that they were all the same one.
Nothing linkbaity about it. "Dread" as in "fear of God" is a common theme in western Christianity, especially around Bach's time (and still is in some cases today, cf. the Rastafarian dreadlocks being a symbol of respect for the power of God). And in this sense, "fear" is meant less as "scary haunted house" kind of fear, and more as respect and obedience to the divine power.
Also of interest: the etymology of the word "dread"[0]; Fear-God Barebone, the brother of the more famous Praise-God Barebone, for whom the "Barbone's Parliament" during the English Commonwealth takes its name[1][2]; and the theological theory behind the idea of the fear of God[3].
Ah, fantastic. Some cultures still do names like that: I once met a woman from Zimbabwe whose name translated as "Merciful Lord", which I thought was pretty cool.
Upvoted. Despite the sibling comment (+ thread) explaining quite well (thank you) about "dread" and "holy dread", that's not something everyone is knowledgeable about, and as such the title can appear to be "baity". Especially as a non-native speaker, as well as someone not into devotional music and its history, this comment was appreciated, and it was what made me decide to read it, which I'm glad I did! Thanks!
Musician checking in. Reading music in the original notation I have found to be particularly enlightening.
Where the manuscript writer (or print publisher) chose to put bar lines, for instance, can give clues as to intent in performance. I'm thinking specifically about Venetian publishers in the 17th century -- but there are plenty of other examples.
Notation can be incredibly important when trying to discern intent in some disciplines.
Picture a piece for 3 players -- 2 soprano instruments and Basso Continuo (a bass instrument + let's say, harpsichord). It's a piece with a recurring harmonic structure; say, Passamezzo or ciacona -- think Pachelbel Canon.
The BC in this particular instance might only have barlines every 8 measures. The soprano parts might have barlines every 8 measures too, but might also have them where a significant change to their melodies change. Like, when a flurry of 16th notes begin to crop up.
Now, this isn't always the case -- it's definitely inconsistent, but such things show up enough that those hints cannot be discounted at all, and seem to be enough of a performance hint to at least be noted and appreciated by the performer.
One could interpret placement of barlines as something close to paragraph markers -- not all the time, but often enough that they seem to indicate specific intent.
It's great for me to hear that Grendel's is still there. I used to love to go there for their Sour Cream Chocolate cake.
I don't imagine Elsie's diner is there (and also Tommy's). I loved to get bagels at Elsie's of a morning, knowing that the bagel would be infused with whatever else was on the grill that morning.
I used to hang out there all the time in the '80s. My most memorable moment would have to be the time I complained to the waitress about the cockroaches that scurried from beneath my plate. Her answer?
"What do you expect from a restaurant that's in the f*cking basement?"
Strangely, that experience didn't stop me from returning to Algiers…
As a grad student and later denizen of the area, I loved to hang out at Cafe Algiers. I have fond memories of a young waitress dumping a scalding hot pot of coffee onto my lap, then barely saying "sorry". At least they didn't charge me for the coffee.
"Please don't roll your own security" isn't much of an option when many of these things are running on custom stuff from the ground up. But, I doubt many will pay for a secure foundation to run on... Makes me wonder if the windows for IoT has any promise.
I guess my uninformed concern is… if I write an app that has an interface that manages a device that is suddenly embroiled in a class-action lawsuit, what are the chances that I'd be sucked into that lawsuit?
As a musician, I've often wondered how a performer whose native language contained such words as "allegro", "largo", "andante" interpreted those markings vs me, whose native language does not contain those words.
To me, "allegro" is a tempo marking, not a state of being, for the most part.
I'm not actually sure who is getting the short end of the stick, in this particular instance, to tell you the truth.
It's easy to assume that a word has some sort of underlying notion, and that an Italian might think of "largo" slightly differently because it also means "generous" or "free". However, in practice, words often develop distinct meanings that don't necessarily affect each other. For example, the notion of bar (a musical notation, a pole, an alcohol establishment, or the law exam) are quite separate even if they may have had some common ancestry.
I am thinking it's a question of filters. I first encountered 'despacio' in a piece of music. Now that I'm living in a spanish-speaking country, whenever I come up to that word, the first filter is that piece of music; the second filter is the actual meaning of the word.
Your comment brings up a good question. Would a spanish-speaker transliterate those terms into a musical context, or into a language context first, since the words themselves are pretty equivalent?
Most are suficiently different (allegro would be alegre in spanish) or unused (andante) to keep the musical context. But it's easy to grasp the musical context from the language one anyway (in the case of largo and lento).
Do we have before/after evidence that at one point it didn't exist, and then around 500 years ago it existed?