A small piece of wisdom regarding programming that I didn’t find in any textbook: “In C++, pay special attention to the order in which you include your header files.”
The escalator principle: people want to be moved (especially emotionally) but are too lazy to move by themselves.
As mentioned, it’s raining now. I have to add, though, that it’s already raining since last night and in huge amounts, by the way (cats-and-dogs style). So I thought it would be best to listen to some music and upload one of my pieces again:
The above piece may be unusual to some extent; I would describe it (depending on the situation) as alluring, contemplative, or even uncoordinated. The piece is completely improvised and was part of an older project. I recorded it, I believe, in 2010.
For a change of pace here’s a somewhat extensive selection of interesting articles and videos regarding all kinds of things. I hope that everybody will find something to his or her liking!
– In light of current events since it just became a World Cultural Heritage site: a little bit on the history and background on the controversy of 軍艦島 Gunkanjima (“battleship island”).
– Who ever wanted to call a 3.8 meter high and 5 tons heavy robot his own… Currently sold out, but it was recently priced at 120 Mil. Yen (ca. 970,000 USD). A Video:
What does it mean to be “forward-looking” (in Japanese as well: 前向き mae muki, “forward-looking”)? Can’t you also stand to what is supposedly in front with your back and walk backwards? Don’t you still reach what is “forward”?
Something hymnal. Something that is melodic, solemn and that at the same time contains a ‘hard’ component. This is what I had in mind when I started composing this piece, Gravity’s Rain. Named like this for a couple of reasons, the most important is that I wanted to evoke the image of an ever-resounding force that promises us more but ultimately keeps us back.
The main element of this is the central arpeggio line that starts off acoustically and gradually transitions into distorted powerfulness. The complex arpeggio line was furthermore supposed to give the rhythm guitar a more melodically supporting but also distinctly accompanying character. By doing this I wanted to avoid this piece to end up just as a ballad.
The whole piece is framed by a simpler arpeggio line that rings weightlessly in acoustic space – and through this very framing it lends the whole thing a parabolic character –, with a mysterious note in the reprise. Where this rain originates?
Thank you. These words not just simply state my gratitude for you reading this blog and this article but also serve to introduce the main topic of this entry. This is to say that I want to focus on the linguistic derivation of the phrase “thank you” in Japanese.
I would like to present to you this small linguistic gem from my Introduction to Japanese Linguistics class because it helped me – along with the drawings and musings I did while I was supposed to listen – divert myself from the boredom of the lecture. Apart from that there is no reason why I chose this topic.
Anyway, since this is my first entry in English, this furthermore presents a good opportunity to show off my pretentiousness when it comes to linguistic knowledge in two ways, first, with regard to technical vocabulary and secondly, with regard to the use of the English language in general.
OK, let’s put the self-praise aside and start digging deep linguistically.
Je mehr man weiß, desto mehr läuft man Gefahr, Sklave seines Wissens zu werden.
Student: “Teacher, which are the words I can say?”
Teacher: “You can say any word, Ragetsu. You see: Words are for everyone.”
Teacher: “Yes, it can make one quite speechless, can it not.”
Student: “It is not that, teacher, which I was contemplating about.”
Teacher: “What was it then?”
Student: “It would have sounded more natural to me if you had said Lemmata are universal in their utterability, teacher.”
Teacher: “Yes, that is what I was saying.”
(from: Kawasaki Saburō, Zen in Modern Japan)