Podcasts about matrices

ARTCENA et Rue du Conservatoire présentent « Première écoute », un rendez-vous audio pour découvrir un texte lauréat de l'Aide nationale à la création de textes dramatiques. Découvrez « MATRICES » de Daniely Francisque, un texte écrit et lu en français et créole martiniquais par Yane Mareine, Karine Pédurand, Nelson-Rafaell Madel et Cindy Vincent. CRÉDITS : Production : ARTCENA Montage : Daniely Francisque Réalisation : Marcel Jean-Baptiste Création sonore : Marc Sayous

Pour une nouvelle fois, on poursuit notre série d'épisodes sur le projet VADH. Après les indices de risques, on aborde maintenant une manière de visualiser la probabilité au risque de déficit hydrique des systèmes culturaux avec des matrices des risques. Encore une fois, Carl et moi laissons toute la place à notre collègue Paul Deschênes pour ses explications. Bonne écoute!

Cet épisode est commandité par Le Rawdon Golf Resort (https://rawdongolfresort.com/fr), un magnifique centre de villégiature 4 saisons, situé à seulement une 1 heure de Montréal. Nous remercions également notre nouveau partenaire, Polysleep (https://polysleep.ca/fr/) , qui vous offre généreusement 30 % de rabais quasi l'entièreté de leur site en utilisant le code promo LEA30. /// Bonjour à tous·toutes, Voici le dernier épisode de Dans ma semaine en mode café! ☕️ Après réflexions, Laurence et moi avons décidé de seulement poursuivre les captations de Dans ma semaine en mode cocktail, étant donné que mon horaire des prochains mois n'a absolument pas de bon sens! Pour ceux·celles qui l'ignoraient, j'écris actuellement mon premier spectacle solo, dont les rodages débuteront au printemps 2025. J'espère que vous nous suivrez dans cette nouvelle aventure! ⭐️ Abonnez-vous à ma chaîne et reprenez tous les épisodes sur les différentes plateformes de streaming (Spotify, Apple Music, etc.) /// Merci au Studio Bien Entendu Animatrice : Léa Stréliski Coanimatrice : Laurence Godcharles Réalisation et montage : Raoul Fortier-Mercier Gérance : Laurence Godcharles Coordination à la gérance : Audrey Latendresse Bourdon

In Episode 263: ADHD Prioritization Challenges + 2 Powerful Matrices, You Will Discover: Why prioritization is so tough for the ADHD brain Strategies to simplify the prioritization process Simple ways to adopt these approaches to best support your ADHD brain.   Links From The Podcast Learn more about We're Busy Being Awesome here Learn about 1:1 coaching here Get the top 10 tips to work with your ADHD brain (free ebook!) Discover my favorite ADHD resources here Get the I'm Busy Being Awesome Planning System here Get the Podcast Roadmap here Get the ADHD Routine Revamp here This post contains affiliate links, meaning I may earn a small commission if you make a purchase through my links, at no extra cost to you. Disclosure info here. Leave IBBA A Rating & Review! If you enjoy the podcast, would you be a rockstar and leave a review? Doing so helps others find the show and spreads these tools to even more people. Go to Apple Podcasts Click on the I'm Busy Being Awesome podcast Scroll down to the bottom of the page, where you see the reviews. Simply tap five stars; that's it! Bonus points if you're willing to leave a few sentences sharing what you enjoy about the podcast or a key takeaway from the episode you just heard. Thanks, friend!  

En Ivoox puedes encontrar sólo algunos de los audios de Mindalia. Para escuchar las 4 grabaciones diarias que publicamos entra en https://www.mindaliatelevision.com. Si deseas ver el vídeo perteneciente a este audio, pincha aquí: https://www.youtube.com/watch?v=BpXsKSDe6cc&t=2s En este directo, se abordarán varios puntos, recuperando el plan original para la Tierra. Nuestro universo trinito y las 3 Matrices creacionales: la 7, la 9 y la 12, en sincronía con la Matriz de la Tierra, la Biológica Humana y la Matriz del Cosmos. Todas se integran con la Matriz Original completa 12+1. Además, re-conectamos con la Consciencia Solar. - Matriz 7: Armonización emocional-energética. - Matriz 9: Activación de nuestro máximo potencial genético. - Matriz 12: Conexión al universo. Gabriela Reig Profesora de Filosofía, terapeuta transpersonal y cuántica y maestra de Registros Akáshicos y sistemas de sanación energética. Tiene formación en Chamanismo, Sistémica, Bioenergética, y Sincronario Maya. Creadora de su propia escuela. www.resonanciaradiante.com / resonanciaradiante / resonanciaradiante Infórmate de todo el programa en: http://television.mindalia.com/catego... **CON PREGUNTAS AL FINAL DE LA CONFERENCIA PARA RESOLVER TUS DUDAS *** Si te parece interesante.... ¡COMPÁRTELO!! :-) ------------INFORMACIÓN SOBRE MINDALIA----------DPM Mindalia.com es una ONG internacional sin ánimo de lucro. Nuestra misión es la difusión universal de contenidos para la mejora de la consciencia espiritual, mental y física. -Apóyanos con tu donación en este enlace: https://streamelements.com/mindaliapl... -Colabora con el mundo suscribiéndote a este canal, dejándonos un comentario de energía positiva en nuestros vídeos y compartiéndolos. De esta forma, este conocimiento llegará a mucha más gente. - Sitio web: https://www.mindalia.com - Facebook: / mindalia.ayuda - Instagram: / mindalia_com - Twitch: / mindaliacom - Vaughn: https://vaughn.live/mindalia - Odysee: https://odysee.com/@Mindalia.com *Mindalia.com no se hace responsable de las opiniones vertidas en este vídeo, ni necesariamente participa de ellas. *Mindalia.com no se responsabiliza de la fiabilidad de las informaciones de este vídeo, cualquiera sea su origen. *Este vídeo es exclusivamente informativo.

En Ivoox puedes encontrar sólo algunos de los audios de Mindalia. Para escuchar las 4 grabaciones diarias que publicamos entra en https://www.mindaliatelevision.com. Si deseas ver el vídeo perteneciente a este audio, pincha aquí: https://www.youtube.com/watch?v=BpXsKSDe6cc&t=2s En este directo, se abordarán varios puntos, recuperando el plan original para la Tierra. Nuestro universo trinito y las 3 Matrices creacionales: la 7, la 9 y la 12, en sincronía con la Matriz de la Tierra, la Biológica Humana y la Matriz del Cosmos. Todas se integran con la Matriz Original completa 12+1. Además, re-conectamos con la Consciencia Solar. - Matriz 7: Armonización emocional-energética. - Matriz 9: Activación de nuestro máximo potencial genético. - Matriz 12: Conexión al universo. Gabriela Reig Profesora de Filosofía, terapeuta transpersonal y cuántica y maestra de Registros Akáshicos y sistemas de sanación energética. Tiene formación en Chamanismo, Sistémica, Bioenergética, y Sincronario Maya. Creadora de su propia escuela. www.resonanciaradiante.com / resonanciaradiante / resonanciaradiante Infórmate de todo el programa en: http://television.mindalia.com/catego... **CON PREGUNTAS AL FINAL DE LA CONFERENCIA PARA RESOLVER TUS DUDAS *** Si te parece interesante.... ¡COMPÁRTELO!! :-) ------------INFORMACIÓN SOBRE MINDALIA----------DPM Mindalia.com es una ONG internacional sin ánimo de lucro. Nuestra misión es la difusión universal de contenidos para la mejora de la consciencia espiritual, mental y física. -Apóyanos con tu donación en este enlace: https://streamelements.com/mindaliapl... -Colabora con el mundo suscribiéndote a este canal, dejándonos un comentario de energía positiva en nuestros vídeos y compartiéndolos. De esta forma, este conocimiento llegará a mucha más gente. - Sitio web: https://www.mindalia.com - Facebook: / mindalia.ayuda - Instagram: / mindalia_com - Twitch: / mindaliacom - Vaughn: https://vaughn.live/mindalia - Odysee: https://odysee.com/@Mindalia.com *Mindalia.com no se hace responsable de las opiniones vertidas en este vídeo, ni necesariamente participa de ellas. *Mindalia.com no se responsabiliza de la fiabilidad de las informaciones de este vídeo, cualquiera sea su origen. *Este vídeo es exclusivamente informativo.

The Scars and Guitars April new music show is FULL of black and extreme shit! The show kicks things off with DEICIDE performing "Sever The Tongue," followed by Kerry King's "Residue." DARKTHRONE will present "Black Dawn Affiliation", and ACCEPT brings "Humanoid." The Omnific will showcase "Matrices," and APOCALYPTICA covers "The Unforgiven II." WARDRUNA will perform "Hertan," with Týr following with "Dragons Never Die." DORO will hit the stage with "Lean Mean Rock Machine," and FIVE FINGER DEATH PUNCH teams up with DMX for "This Is The Way." Orange Goblin delivers "(Not) Rocket Science," and MONO will perform "Oath." ZEAL & ARDOR are set to play "TO MY ILK," with DOPETHRONE bringing "Shlaghammer." Demersal introduces "Lys I Natten," and Faustian performs "Primordial Rot." Skulldozer begins with "Bow To None," PARACRONA features Baard Kolstad for "Carry The Cross." Darkthrone returns with "The Bird People Of Nordland," and Blaze Of Perdition plays "W kwiecie rozłamu." Morgue Meat takes the stage with "Crushing The Messiah's Skull," followed by KRÅBØL with "Perish." Enevelde will perform "Pandemonium," and Whoredom Rife presents "Den Vrede Makt." Nekyian offers "Hevn," and Nachtheem presents "Drift van Nostalgie." Obscuration will play "Violent Art," with Death Like Mass performing "Sorcery Unbridled." Altar Of Gore introduces "Carrion Womb," Hässlig plays "Slaves," and Unborn Generation brings "Heritage." UNITYTX is set for "PLAYING FAVORITES," and 156/Silence presents "Unreasonable Doubt." Wage War will perform "NAIL5," Make Them Suffer will present "Epitaph," and ERRA will take the stage with "Cure." AZIMUT19 will showcase "Anger Plague," and SMOKE AxD will perform "Smoke All Day." Vulture is lined up with "Oathbreaker," and Belushi Speed Ball closes with "My Favorite Color is Pizza."  Check out past issues here! https://scarsandguitars.com/monthly-music-show/

Unveil the hidden flaws of FMEA and risk matrices that could be skewing your analysis and decision-making. In the realm of risk assessment and management, traditional tools like Failure Mode and Effects Analysis (FMEA) and risk matrices have been widely accepted as the norm. However, beneath the surface of these established methods lie hidden flaws that can significantly impact the effectiveness of risk analysis and decision-making processes. The latest podcast episode takes a deep dive into these issues, offering listeners an exploration of the challenges posed by conventional risk assessment techniques.We take our conversation a step further, emphasizing not just the identification of such critiques but the vital role understanding them plays in fortifying our decision-making frameworks. The episode emphasizes the importance of staying informed and adapting to new methods in the ever-evolving landscape of risk management. By doing so, professionals can ensure that they are not only equipped to handle current challenges but also prepared to meet the demands of the future.And for those of you eager to translate this newfound knowledge into practice, we spotlight an exceptional resource: "FMEA in Practice from plan to risk-based decision making," an Udemy course that promises to elevate your risk-based decision-making abilities. Visit the podcast blog for a list of resources and more links.Give us a Rating & Review**NEW COURSE**FMEA in Practice: from Plan to Risk-Based Decision Making is enrolling students now. Visit the course page for more information and to sign up today! Click Here **FREE RESOURCES**Quality during Design engineering and new product development is actionable. It's also a mindset. Subscribe for consistency, inspiration, and ideas at www.qualityduringdesign.com.About meDianna Deeney helps product designers work with their cross-functional team to reduce concept design time and increase product success, using quality and reliability methods. She consults with businesses to incorporate quality within their product development processes. She also coaches individuals in using Quality during Design for their projects.She founded Quality during Design through her company Deeney Enterprises, LLC. Her vision is a world of products that are easy to use, dependable, and safe – possible by using Quality during Design engineering and product development.

Ever heard of Soul Matrices? How about Karma?This week Gabrielle and Nichole interview Anna from Anna Rising! Anna specializes in Soul Contracts via her system which expresses a soul's karma in this lifetime. Tune in to learn about the different types of karma, karmic numbers, sacred geometry and more!Connect with Anna online here: Website: https://annarising.org/Instagram: @annarisingofficial Purchase The Light Seer's Tarot here:https://www.amazon.com/TWWDE-AUG-Beginners-Keywords-Reversed/dp/B0BKL3THJB?crid=2MTFRGMLXYTT5&dib=eyJ2IjoiMSJ9.R8W6xX6fG6EdL2LeK7apkCzFGMQXBst-WzDUXaHqjFAfOUmNcNxRCL7S6_a2XnjEpSjt8-uFSYRA-c7EwDo2yp78kh2S11VvNZjGH9WBt3HLyYi_wU86RePQOMxJUUyBVpmEQeUW6U5TSAiSbeK0gykZGHWMaKQDx-LwH1P5GAQ5Zu4tP0EbGsagO6XkEialmQCoSUbeRiqHnDU-HnkkDS757bjw0LqrERJQonhAd_kKZoIf6SApz01MAQCvKl2rxcnvVkd_aKPVOgzRHHVMN6T9hPdLRQLhpi-JYIF84ng.2-PYuCqGyQ5A5L5cDbGIcGHDbbKJvUMxbo5JF7Yot84&dib_tag=se&keywords=light+seers+tarot+deck&qid=1708326681&sprefix=lightseer,aps,186&sr=8-5&linkCode=sl1&tag=momwifeythera-20&linkId=601488177337d7d0af56c45df9af6d81&language=en_US&ref_=as_li_ss_tlPlease rate and review the podcast on Apple, Google, Spotify, or wherever you listen!See our faces on YouTube!https://youtube.com/@TheSpiritualSistersPodcastWe would love to hear from you! Please send us an email at thespiritualsisterspodcast@gmail.com Follow us on Instagram @thespirtualsisterspodcast https://instagram.com/thespiritualsisterspodcast?igshid=YmMyMTA2M2Y= Follow Gabrielle on Instagram @aguaastrology https://www.instagram.com/aguaastrology/?igshid=YmMyMTA2M2Y%3D(She will NEVER DM you for readings! Watch out for scammers!)Follow Nichole on Instagram @momwifeytherapisthttps://instagram.com/momwifeytherapist?igshid=YmMyMTA2M2Y=Want to book a reading with Gabrielle? Please visit her website www.aguaastrology.com Want to book a reading with Nichole? Please visit her linkhttps://calendly.com/nicholechristine/45mins?month=2023-10Subscribe to Gabrielle's YouTube Channel Agua Astrology...

Join co-hosts Annie Liontas and Lito Velázquez in conversation with LitFriends Melissa Febos & Donika Kelly about their grand statements, big revelations, sentential seduction, queering forms, the power of vulnerability, and love poems. We're taking a break and will be back for our next episode with guests Yiyun Li & Edmund White on January 16,  2024. Happy Holidays, LitFam!   LINKS Libsyn Blog www.annieliontas.com www.litovelazquez.com www.melissafebos.com www.donikakelly.com LitFriends LinkTree LitFriends Insta LitFriends Facebook TRANSCRIPT Annie: (00:00) This episode is dedicated to Chuck, a dog we have loved, and Donika and Melissa's sweet pup.   Annie & Lito: Welcome to LitFriends! Hey Lit Friends!   Annie: Welcome to the show.    Lito: Today, we're speaking with memoirist Melissa Febos and poet Donika Kelly, lit friends in marriage,   Annie: About seduction, big boss feelings, and sliding into DMs.   Lito: So grab your bestie,   Annie & Lito: And get ready to fall in love!   Annie: What I love about Melissa Febos, and you can feel this across all four of her books, is how she declares herself free. There's no ambiguity to this. This is her story, not your telling of it, not your telling of her. I meet her on the page as someone who's in an act of rebellion or an act of defiance. And I was not really surprised but delighted to find that, when I read Donika Kelly, I had sort of the same reaction, same impression. And I'm wondering if that's true for you, and, Lito, what your understanding of vulnerability and its relationship to power is.   Lito: The power for me in these conversations, and the power that the authors that we speak with possess, seems to me, in the ways that they have found how they are completely unique from each other. And more so than in our other conversations, Donika and Melissa, their work is so different. And yet, as you've pointed out, the overlap, and the fire, the energy, the defiance, the fierceness is so present. And it was present in our conversation. And so inspiring.   Annie: Yeah. I'm thinking even about Melissa Febos has this Ted Talk. (01:54) Where she says "telling your secrets will set you free." And it feels that not only is that true, but it's also very much an act of self reclamation and strength, right? Where we might read it as an act of weakness. It's actually in fact, a harnessing of the self.   Lito: Right, it's not that Melissa has a need to confess. It's that she really uses writing to find the truth about herself and how she feels about something, which that could not differ more from my writing practice.   Annie: How so?   Lito: I find that I sort of, I write out of an emotion or a need to discover something, but I already sort of am aware of where I am and who I am before I start. I find the plot and the characters as I go, but I know sort of how I feel.   Annie: Yeah, I think for me, I do feel like writing is an act of discovery where maybe I put something on the page, it's the initial conception, or yeah, like you coming out of a feeling. But as I start to ask questions, right, for me, it's this process of inquiry. I excavate to something maybe a little more surprising or partially hidden or unknown to myself.   Lito: That's true. There is a discovery of, and I think you're, I think you've pointed to exactly what it is. It's the process of inquiry, and I think both of them, and obviously us, we're doing that similar thing. This is about writing, about this, this is about asking questions and writing through them.   Annie: Yeah, and Donika Kelly, we feel that in her work, her poetry over and over, even when they have the same recurring, I would say haunting images or artifacts. Each time she's turning it over and asking almost unbearable questions.   Lito: Right.   Annie: And we're joining her on the page because she is brave enough and has an iron will and says, no, I will not not look this in the eye.    Lito: That's the feeling exactly that I get from both of them is the courage, the bravura of the unflinching.   Annie: I think something that seemed to resonate with you was (03:58) how they talk about writing outside of publishing right? Yeah.   Lito: Yeah, I love I love that they talk about writing as a practice regardless, they're separated from The need to produce a work that's gonna sell in a commercial world in a capitalist society. It's more about the daily practice, and how that is a lifestyle and even what you said about the TED talk, that's just her. She's just talking about herself. Like that she's just telling an absolute truth that people don't typically talk about.   Annie: Right. And it's a conscious, active way to live inside one's life. It's a form of reflection, meditation, and rather than just moving through life, a way to make meaning of the experience.   Lito: I love that you use the word meditation because when you talk about meditation, you think of someone in a lotus position quietly being, but the meditations that both of them do, these are not quiet.   Annie: No. And of course we have to talk about how cute they are as married literary besties.   Lito: Oh my god, cute and like, they're hot for each other.   Annie: Oh my god.   Lito: It's palpable.   Annie: So palpable, sliding into DMs, chatting each other up over email.   Lito: They romanced each other, and I hope—no—I know they're gonna romance you, listener.   Annie: We'll be right back.   Lito: (05:40) Back to the show.   Annie: Melissa Febos is the author of four books, including the best-selling essay collection Girlhood, which won the National Book Critics Circle Award, was a Lambda finalist, and was named a notable book by NPR, Time Magazine, the Washington Post, and others. Her craft book Body Work is a national bestseller and an Indie's Next Pick. Her forthcoming novel The Dry Season is a work of mixed form nonfiction that explores celibacy as liberatory practice. Melissa lives in Iowa City with her wife, the poet Donika Kelly, and is a professor in the English department at the University of Iowa, where she teaches creative writing.   Lito: Donika Kelly is the author of The Renunciations, winner of the Anisfield-Wolf Book Award in poetry and Bestiary, the winner of the 2015 Cave Canem Poetry Prize, a Hurston Wright Legacy Award for poetry, and the Kate Tufts Discovery Award. Donika has been a finalist for the National Book Critics Circle Award, the Publishing Triangle Awards, the Lambda Literary Awards, and was long listed for the National Book Award. (06:00) Donika lives in Iowa City with her wife, the writer Melissa Febos, and is an assistant professor in the English department at the University of Iowa, where she teaches creative writing.   Annie: Well, thank you for joining us for LitFriends to talk about the ultimate lit friendship. It does seem like you've won at the game of lit friends a little bit, having married your lit friend. I think of you both as writers who are in the constant act of subversion and resisting erasure. And that's the kind of work that Lito and I are drawn to, and that we're trying to do ourselves. And your work really shows us how to inhabit our bravest and most complex selves on the page. So we're really grateful for that.   Melissa: Thanks.   Annie: Yeah, of course. I mean, Donika, I think about poems of yours that my friends and I revisit constantly because we're haunted by them in the best way. They've taken residence inside of us. And you talk about what it means to have to do that work. And you've said, "to admit need and pain, desire and trauma and claim my humanity was often daunting. But the book demanded I claim my personhood."   And Melissa, I think you know how much your work means to me. I mean, as someone who is raised as a girl in this country and writing creative nonfiction, Body Work should not be as revelatory as it is. Yet what I see is that you're shaping an entire generation of nonfiction writers, many of them women. So, you know, also very grateful for that. And you've talked about that in Body Work. You've said "the risk of honest self-appraisal requires bravery to place our flawed selves in the context of this magnificent broken world is the opposite of narcissism, which is building a self-image that pleases you." So we'll talk more in a bit about courage and vulnerability and how you all do the impossible things you do, but let's dive into your lit friendship.   Melissa: Thank you, Annie, for that beautiful introduction.   Donika: Yeah, thank you so much. I'm excited to talk about our friendship.   Lito: We're so excited to have you here.   Melissa: Talk about our special friendship.   Annie: Very special friendship. Friendship with benefits.   Lito: So tell us about your lit friend, Melissa, tell us about Donika.   Melissa: (09:07) Tell us about her. Okay, she's fucking hilarious, like very, very funny and covers a broad spectrum of humor from like, there's a lot of like punning that goes on in our house, a lot of like silly wordplay, bathroom humor, and then like high level, like, literary academic sort of witticism that's also making fun of itself a lot. And we've sort of operated in all of those registers since like the day we met.   She is my favorite poet. There's like those artists that whose work you really appreciate, right? Sometimes because it's so different from your own. And then there are those artists whose work registers in like a very deep sort of recognition where they feel like creative kin, right? And that has always been my experience of Donika's work. That there is a kind of creative intelligence and emotionality that just feels like so profoundly familiar to me and was before I knew anything about her as a human being.   Okay, we also like almost all the same candy and have extremely opposite work habits. She's very hot. She only likes to watch like TVs and movies that she's seen many times before, which is both like very comforting and very annoying.   Lito: Well, I'm gonna have to follow that up now. What are some of the top hits?   Melissa: Oh, for sure, Golden Girls is at the very top. I mean…   Annie: No one's mad at that.   Lito: We can do the interview right now. Perfect. All we need to know. A++!   Melissa: She's probably like 50% of the time that she's sleeping, she falls asleep to the soundtrack of the Golden Girls or Xena, maybe. But we've also watched the more recent James Bond franchise, The Matrices, (11:00) and Mission Impossible, never franchises I ever thought I would watch once, let alone multiple times at some point.   Annie: I mean, Donika, your queerness is showing with that list.   Lito: Yeah.   Donika: I feel seen. I feel represented accurately by that list. She's not wrong. She's not wrong at all. But I've also introduced to her the pleasure of revisiting work.   Melissa: That's right.   Donika: And that was not a thing that Melissa was doing before we met, which feels confusing to me. Because I am a person who really likes to revisit. She was buying more books when we met, and now she uses the library more, and that feels like really exciting. That feels like a triumph on my part. I'm like…   Annie: That is a victory. Yeah.   Donika: …with the public services.   Melissa; Both of these examples really allude to like this deep, fundamental sort of capitalistic set of habits that I have, where I… like there's like this weird implicit desire to try to read as many books as possible before I perish, and also to hoard them, I guess. And I'm very happy to have been influenced out of that.   Annie: Well it's hard not to think—I think about that tweet like once a week that's like you have an imaginary bookshelf, and there are a limited amount of books on that you can read before you die, and that like troubles me every day.   Melissa: Yeah it's so fucked up. (12:22) I don't want that. It's already in my head. I feel like I was born with that in my head, and I'm trying to get free.   Lito: Same. Serious book FOMO, like…   Donika: There are so many books y'all.   Lito: I know. It's not possible.   Donika: And, it's like, there are more and more every year.   Annie: Well, uh Donika tell us about Melissa.   Donika: Oh Melissa As she has already explained we have a lot of fun It's a funny household. She's hilarious. Um, and also she's a writer of great integrity, which you know I'm sitting on the couch reading Nora Roberts, and she's like in her office hammering away at essays, and I don't know what's going on in there. I'm very nosy. I'm a deeply nosy person. Like, I just I want to know like what's going on. I want to know the whole history, and it's really amazing to be with someone who is like here it is.   Annie: How did you all meet?   Donika: (13:20) mere moments after Trump was elected in 2016. I was in great despair. I was living in Western New York. I was teaching at a small Catholic university. Western New York is very conservative. It's very red. And I was in this place and I was like, this place is not my place. This place is not for me. And I was feeling very alone. And Melissa had written an essay that came out shortly after about teaching creative writing at a private institution in a red county. And I was like, oh, she gets it, she understands.   I started, I just like looked for everything. I looked for like everything that she had written. I read it, I watched the TED talk. I don't know if y'all know about the TED talk. There was a TED talk. I watched the TED talk. I was like, she's cute. I read Whip Smart. I followed her on Twitter. I developed a crush, and I did nothing else. So this is where I pass the baton. So I did all of that.   Melissa: I loved Bestiaries, and I love the cover. The cover of her book is from this medieval bestiary. And so I just bought it, and I read it. And I just had that experience that I described before where I was just like, "Oh, fuck. Like this writer and I have something very deep in common." And I wrote her. I DMed her on Twitter.   Sometimes I obscure this part of the story because I want it to appear like I sent her a letter by raven or something. But actually, I slid into her DMs, and I just was like, "hey, I loved your book. If you ever come to New York and want help setting up a reading, like I curate lots of events, da da da." And I put my email in. And not five minutes later, refreshed my Gmail inbox, and there was an email from Donika, and…   Donika: I was like, "Hi. Hello. It's me."   Annie: So you agree with this timeline, Donika, right? Like, it was within five minutes.   Donika: Yeah, it was very fast. And I think if I hadn't read everything that I could get my hands on that Melissa had written, I may have been a little bit slower off the mark. It wasn't romantic. Like the connection, I wasn't like, oh, this is someone who like I want to (15:41) strike up a romantic relationship with, it really was the work. Like I just respected the work so much.   I mean, I did have a crush, like that was real, but I have crushes on lots of people, like that sort of flows in and out, but that often is a signifier of like, oh, this person will be my friend. And I was still married at the time and trying to figure out, like that relationship was ending. It was coming to a quick close that felt slow. Like it was dragging a little bit for lots of reasons.   But then once it was clear to me that I was getting divorced, Melissa and I continued writing to each other like for the next few months. Yeah. And then I was like, oh, I'm getting divorced. I was like, I'm getting divorced. And then suddenly the emails were very different. From both of us. It wasn't different.   Melissa: There had been no romantic strategy or intent, you know, and I think which, which was a really great way to, we really started from a friendship.   Annie: And sounds like a courtship really. I mean, it kind of is an old fashion.   Melissa: Yeah, in some way, it became that. I think it became that. But I think it was, I mean, the best kind of courtship begins as a, as a friendly courtship, you know what I mean? Where it was about sort of mutual artistic respect and curiosity and just interest. And it wasn't defined yet, like, what sort of mood that interest would take for a while, you know?   Lito: So how do you seduce each other on and off the page?   Donika: That's a great question.   Melissa: That is a great question.   Donika: I am not good at seduction. So that is not a skill set that is available to me. It has never been available.   Lito: I do not believe that.   Annie: I know. I'm also in disbelief out here, really.   Melissa: No one believes it, but she insists.   Annie: I feel like that's part of the game, is my feeling, but it is not.   Melissa: It's not. Here's the thing I will say is that like Donika, I've thought a lot about this and we've talked a lot about this because I balked at that statement as well. It's like Donika is seductive. Like there are qualities about her that are very seductive, but she does not seduce people. You know what I mean? Like she doesn't like turn on the charisma and shine it at you like a hypnotist. Like that's not… (18:08) that's not her form of seduction, but I will say…   I can answer that question in terms of like, I think in terms of the work, since we've been talking about that, like in a literary way, both in her own work, like the quality, like just someone who's really good at what they do is fucking sexy, you know? Like when I was looking for like a little passage before this interview, I was just like, "ah, this is so good." Like it's so attractive when someone is really, really good at their craft. right? Especially when it's a crop that you share.   Donika: So Melissa does have the ability to turn on what she has written about, which I think is really funny. Like she like she has like, she has a very strong gaze. It's very potent. And one of my gifts is to disrupt that and be like, what are you doing with your eyes? And so like, when I think about that in the work, when I'm reading her work, and I'm in like its deepest thrall, it is that intensity of focus that really like pulls me in and keeps me in. She's so good at making a grand statement.   Melissa: I was just gonna bring that up.   Donika: Oh, I think she and I like often get to, we arrive at sort of similar places, but she gets there from the grand statement, and I get there from the granular statement, like it's a very narrow sort of path. And then Melissa's like, "every love is a destroyer." I was like, whoa, every one? And there's something really compelling about that mode of— because it's earnest, and it's backed up by the work that she's written. I would never think to say that.   Melissa: I have a question for you, lit friend. Do you think you would be less into me if I weren't? Because I think for a nonfiction writer, I'm pretty obsessed with sentences. It's writing sentences that makes, that's the thing I love most about writing. It's like where the pleasure is for me. So I'm a pretty poetically inclined nonfiction writer. If I were less so, do you think that would be less seductive to you as a reader or a lit friend?   Donika: I mean, that's like asking me to imagine like, "so, what if… (20:30) water wasn't wet?" I just like, I can't like, I can't imagine. I do think the pleasure of the sentence is so intrinsic to like, I think there's something in the, in your impulse at the sentence level. That means that you're just careful. You're not rushing. You're not rushing us through an experience or keeping us in there and focused. And it's just it's tricky to imagine, or almost impossible to imagine what your work would look like if that weren't the impulse.   Lito: Yeah, I think that's an essential part of your style in some ways, that you're taking that time.   Melissa: Mm-hmm.    Annie: And how you see the world. Like I don't even think you would get to those big revelations Donika's talking about without it.   Melissa: Yeah. Right. I don't, yeah, I don't think I would either. We'll be right back.   Lito (21:19) Hey Lit Fam, Lit Friends is taking a break for the holiday. We hope you'll join us for our next episode with our guests, Ian Lee and Edmund White on January 16th. Till then, may your holiday be lit, your presents be numerous, and your 2024 be filled with joy and peace. If you'd like to show us some love, please take a moment now to follow, subscribe, rate, and review the LitFriends Podcast on Apple podcasts, Spotify, or wherever you listen to podcasts. Just a few moments of your time will help us so much. Big hugs to you and yours. Thank you for listening. And thank you for making season one a big success!   Annie: (22:05) Welcome back.   Lito: I've noticed that both of you, you know, you have your genres that you work in, but within that you're experimenting a lot with form and structure. Does anything of that come from being queer? I guess it's a question about queering forms of literature, and what that has to do also with the kinds of friendships that queer people have, and if that's different, maybe. So I guess I'm asking to connect form with queerness and friendship.   Melissa: That's a beautiful question. I think, and I'm starting with thinking about my relationship to form, which has been one of inheriting some scripts for forms. This is what an essay should look like. This is what plot structure looks like. This is how you construct a narrative. And sort of taking those for granted a little bit, and then pretty early on, understanding the limitations of those structures and the ways that they require that I contort myself and my content such that it feels like a perversion or betrayal of sort of what I'm dealing with, right? And so the way I characterize my trajectory, the trajectory of my relationship to form has been sort of becoming conscious of those inherited forms, and then pushing the boundaries of them and modifying them and distorting them and adding things to them and figuring out, letting my work sort of teach me what form it rests most easily in and is most transparent in. And I suspect that my relationship to friendship and particularly queer friendship mimics that.   Donika: Yeah, that sounds right to me. And I'm reminded of Denise Levertov has this essay titled "On the Function of the Line." And in it, she presents an argument that closed forms, received forms, are based on a kind of assumption of resolution, and that free verse or open design, like in a poem, it shows evidence of the speaker's thinking.   (24:24) Right? So that where the line breaks, the speaker is pausing, right? To gather their thoughts or like a turn might happen that's unexpected that mimics the turns in thinking. And I really love that essay. Like that essay is one of my favorites. So when I think about my approach to form, I'm like, what is the shape that this poem is asking for? What is the shape that will do, that will help the poem do its best work? And not even like to be good, but just like to be true.   I really love the sonnet shape. Like it's one of my favorite shapes. And it's so interesting and exciting to use a shape that is based on like argumentative structure or a sense of resolution, to explore. Like to use that as an exploratory space, it feels like queering our, like my expectations of what the sonnet does. Like there's something about the box. If I bounce around inside that box, there's gonna be something that comes out of that, that I wouldn't necessarily have gotten otherwise, but it's not resolution. Like the point is not resolution.   And when I think about my relationships and my chosen family, in particular, and to some degree actually my given family, part of what I'm thinking about is how can I show up and care and what does care look like in this relationship and how can I make room to be cared for? And that's so hard, like being cared for is so much more alien to me than, like, as a concept, like I feel like very anxious about it. I'm like, "am I asking for too much?" And like over and over again, my chosen family is like, "no, it's not too much. Like we, we got each other."   Melissa: I think particularly for queer people, we understand that it doesn't preclude romance or healthy kinds of dependency or unhealthy kinds of dependency, you know, that all of the things that happen in a very deep love relationship happen inside of friendship, where I think sort of like straight people and dominant culture have been like, "oh, no, like friendship isn't the site of like great romance or painful divorce or abuse." And queer people understand that all of those things happen within relationships that we call friendships.   Annie: (26:46) Yeah, I mean, I'm hearing you both talk about kind of queer survival and joy and even, Donika, what you were saying about having to adjust to being cared for as a kind of, you know, that's a sort of, to me, it's a sort of like a survivor's stance in the world. One of the things that I love about my kinship with Lito as, you know, my queer lit friend and, you know, brother from another mother is that he holds that space for me and I, you know, vice versa.   Even thinking about vulnerability, I think you both wield vulnerability as a tool of subversion too, right? And again, Lito and I are both creating projects right now that require a kind of rawness on the page. I'm about to publish a memoir called Sex with a Brain Injury, so I'm very consciously thinking about how we define vulnerability, what kind of work it does to reshape consciousness in the collective. And the ways that you each write about trauma helps us understand it as an act of reclamation, you know, power rather than powerlessness. So maybe you could talk a little bit about what is or what can be transformative about the confessional and maybe even more to the point, what does your lit friend teach you about vulnerability?   Melissa: (28:06) Oh, God, what doesn't she teach me about vulnerability? It's interesting because like you're correct that vulnerability is like very central to my work and to the like lifelong project of my work, and also like there's literally nothing on earth I would like to avoid more. And I don't think that is visible in my work, right? Because my work is the product of counteracting that set of instincts, which I must do to survive because the part of me that wants to avoid vulnerability, its end point is like literally death for me.   It is writing for me often starts from like kind of a pragmatic practice. I don't start like feeling my feelings. I write to get to my feelings and sometimes that doesn't happen until like after a book is published sometimes. You know like it's really interesting lately I've been confronting some feelings in like a really deep way that I think I have gotten access to from writing Girlhood, which came out in 2021. And it's like I had to sort of lay it all out, understand what happened, redefine my role in it and everyone else's. And I definitely had feelings while I was writing it. But like the feelings that Donika refers to as the big boss, like the deepest feelings about it. Like I, I feel like I'm only really getting. to it now.   My relationship to vulnerability, it's just like, it's a longitudinal process, you know? And there's no one who's taught me about that and how to be sort of like gentle and patient within that and to show up for it than Donika.   And I'm just thinking of like, you know, starting from pretty early in our relationship, she was working on the poems in The Renunciations, and over the years of our early, the early years of our relationship, she was confronting some childhood, some really profound childhood trauma. And she was doing that in therapy. And then there were like pieces of that work that she had to do in the poems. And I just watched her not force it. And when it was time, she like created the space to do the work. And like, I wasn't (30:35) there for that. I don't think anyone else really could have been there for that. And just like showing up for that work.   And then like the long tail of like publishing a book and having conversations with people and the way that it changes one's relationship and like the act of the vulnerability—achieved feels like the wrong word—but the vulnerability like expressed or found in the writing process, how that is just like a series of doorways and a hallway that maybe it never terminates. Maybe it doesn't even turn into death. I don't know. You know, but I've just seen her show up for that process with like a patience and a tenderness for herself at every age that I find incredibly challenging. And it's been super instructive for me.   Donika: Ooh. I, I'm, it makes me really happy to know that's your experience of like being like in like shared artistic space together. I think I go to poetry to understand, to help myself understand what it is that I'm holding and what it is that I wanna put down. Like that's what the poems are for. You know, like the act of writing helps me sort out what I need and what I wanna put down because narrative is so powerful. It feels like the one place where I can say things that are really hard, often because I've already said them in therapy.   Right? So then it's like, I can then explore what having said those hard things means in my life or how it sits in my life. And what Melissa shows me is that one can revise. I know I've said this like a few times, but that one can have a narrative. Like I think about reading Whipsmart and the story that she has about herself as a child in Whipsmart, and then how that begins to change a bit in Abandon Me. And then in Girlhood, it's really disrupted. And there is so much more tenderness there, I think. It looks really hard. Like, honestly, that joint looks hard because I might be in a poem, but I'm in it for like, like we're in it, like if I were to read it out loud for like a minute and a half.   Melissa: (33:50) It's interesting hearing you talk. I wonder if this is true. I think I'm hearing that it is true. And I think that's where it's with my experience that you often get to the feelings like in therapy or wherever, and then write the poems as more of a sort of emotional, but like also cognitive and kind of systemic and like a way of like making sense of it or putting it in context. And I think very much I, there'll be like deeply submerged feelings that emerge only as like impulses or something, you know, but I experience writing— I don't that often feel intense emotion while I'm writing. I think it's why that is writing is almost always the first place that I encounter my own vulnerability or that I say the like unspeakable thing or the thing that I have been unable to say. I often write it and then I can talk to my therapist about it or then I can talk to Donika about it.   And I think I can't. I'm too afraid or it feels like too much to feel the feelings while I'm writing. So I sort of experience it as a cognitive or like intellectual and creative exercise. And then once I understand it, sometime in the next five years, I feel the feelings.   Annie: Do you feel like it's a kind of talking to yourself or like talking outside of the world? Like what is it in that space that does that for you?   Melissa: Yeah, I do. I mean, it's like. Talking outside the world makes more sense to me than talking to myself. I mean, it is talking to myself, right? It's a conversation with myself, but it's removed from the context of me in my daily life. That's why it's possible. Within my daily life, I'm too connected to other people and my own internal pressures and just like the busy, superficial part of me that's like driving a lot of my days. I have to get away from her in order to do that work.   And so the writing really happens in a kind of separate space and feels like it is not, it has a kind of privacy that I don't experience in any other way in my life, where I really have built or found a space where I am never thinking about what other people think of me, and I'm not imagining a skeptical reader. (35:18) It is really like this weird spiritual, emotional, creative, intellectual space that is just separate from all of that, where I can sort of think and be curious freely.   And I think I created that space or found it really early on because I was, even as a kid, I was a person who was like so concerned with the people around me, with the adults around me, with what performances were expected of me. And being a person who was like very deeply thinking and feeling, I was like, well, there's no room for that here. So I need to like find somewhere else to do it. And so I think writing became that for me way before I thought about being a writer.   Lito: That's so fascinating to me. I think that's so different than how I work or Donika works or a lot of people I know. We'll be right back.   Lito: (36:26) Back to the show.   So this question is for both of you really, but it just makes me wonder then like, what is the role for emotion, but in particular anger? How does that like, when things get us angry, sometimes that motivates us to do something, right? So if you're not being inspired by an emotion to write, you're writing and then finding it, how does anger work as not only a tool for survival, but maybe a path towards personhood and freedom?   Donika: Oh, I was just thinking, I can't write out of that space, the space of anger. It took me a long time to get in touch with anger as a feeling. That took a really long time because in my family, in my given family, the way that people expressed anger was so dangerous that I felt that I didn't want to occupy those spaces. I didn't want to move emotionally into that, into that space if that was what it looked like. And it took me a long time to figure out how to be angry. And I'm still not sure that I'm great at it. Because I think often I'm moving quickly to like what's under that feeling. And often what's under my feelings of being angry, often, not always, is being hurt, feeling hurt. And I can… write into exploring what that hurt is, because I know how to do that with some tenderness and some care.   Melissa: I feel similarly, which is interesting, because we've never talked about this, I don't think. But anger is also a feeling that I think, for very different reasons, when I was growing up… I mean, I think just like baseline being socialized as a girl dissuaded me from expressing anger or even from feeling it, because where would that go?   But I also think in the particular environment that I was in, I understood pretty early that my expressions of anger would be like highly injurious to the people around me and that it would be better if I found another way to express those things. I think my compulsive inclinations have been really useful in that way. And it's taken me a lot of my adult life to sort of… (38:44) take my anger or as Donika said, you know, like anger for me almost always factors down to something that is largely powerlessness, you know, to sort of not take the terror and fury of powerlessness and express it through like ultimately self harming means.   Writing can be a way for me to arrive at like justifiable anger and to sort of feel that and let that move through me or to be like, oh, that was unjust. I was powerless in that situation. You know? Yeah, it has helped me in that way. But like, if I'm really being honest, I think I exhaust myself with exercise. And that's how I mostly deal with my feelings of anger.   Annie: Girl.   Melissa: Yeah, there's also a way I will say that like, I do think it actually comes out in my work in some ways. Like there is like a very direct, not people-pleasing vibe and tone in my work that is genuine, but that I almost never have in my life. Like maybe a little bit as a professor, but like    When Donika met me, she was like, "Oh… like you're just like this little gremlin puppy person. You're not like this intense convicted former dominatrix." You know, which is, I express it in my writing because it is a space where I'm not worried about placating or pleasing really. It's a space where I'm, I am almost solely interested in what I actually think.   Donika: I was just thinking about like the beginning of, I think it's "Wild America," when you talk about like not cleaning your room, Melissa. Because you didn't, like when you were a kid, right? It was like you cleaned your room when you wanted to appear good, but that didn't matter to you when you were alone in your room. Like you could get lost in a book or you could, you know, like just be inside yourself alone when you were alone in your room. And that's one of my favorite passages that you read. Like I'm always sort of like mouthing along, like it's a song.   Melissa: (40:57) I'm just interested and I really love the sort of conception of like a girl's room as a potential space that sort of maps on to the way I described the writing space where it's just like a space where other, where the gaze of others, or the gaze that we're taught to please like can be kept out to some extent. And just like, you know, that isn't true, obviously for like lots and lots and lots of girls, but just that there is an impetus for us to create or invent or designate a space where that is true.   Lito: Yeah, I think that's what she's up to in "A Room of One's Own."   Annie: It makes me think of like girls' rooms as like kind of also these reductive spaces, like they all have to have pink or whatever, but then you like carve out a secret space for yourself in that room, which I think is what you're talking about with your writing.   Donika: Oh, I was just thinking about what happens when you don't have a room like that, cause I didn't, like I absolutely did not have a room that was… inviolable in some way or that like really felt like I could close the door. But writing became a place where that work could happen and where those explorations could happen and where I could do whatever I want and I had control over so many aspects of the work. And I hesitated because I was saying I didn't have that much control over the content.   Like I might think, oh, I'm gonna write a poem about this or a poem about that. And as is true with most writing, the poems are so much smarter and reveal so much more than I might have intended, but I could like shape the box. There are just like so many places to have control in a poem, like there's so many mechanisms to consider where like when Melissa was first sharing like early work with me, I would get so nervous because I would wanna move a comma.   Because in a poem, like that's a big deal, moving somebody's commas around, changing the punctuation. And she was like, "it doesn't matter."   Melissa: I would get nervous because she would be like, "well, I just have one note, but it's like, kind of big." And I would be like, "oh, fuck, I failed." And she would be like,    Donika: "What's going on with these semicolons?"   Melissa: She'd be like, "I just, these semicolons."   Annie: You know, hearing you both talk about (43:20) how you show up for one another as readers, right? In addition to like romantic partners. I mean, we do have the sense, and this can be true of all marriages, queer or otherwise, where like we as readers have a pretty superficial understanding of what you kind of each bring to the table or how you create this protective space or really see one another. I imagine that you've saved yourselves, but I'm curious about to what extent this relationship may have also been a way to save you or subvert relationships that have come before. And yet at the same time, we've asked this question of other lit friends too, which is, you know, what about competition between lit friends? And what does that look like in a marriage? What is a good day versus a bad day?   Donika: I mean, we could be here for years talking about that first question. And so I'm gonna turn to the second part to talk about competition, which is much easier to handle.   I feel genuinely and earnestly so excited at the recognition that Melissa has received. Part of what was really exciting for me about the beginning of our relationship that continues to be exciting is that, is getting to watch someone be truly mid-career and navigate that with integrity. It feels like such a good model, for how to be a writer.   I mean, she's much more forward-facing than I would ever want to be. But I think in terms of just thinking about like, what is the work? How, like, where is the integrity? Like, it's just, it's always so, so forward and it feels really grounding for me and us in the house, so it's always big cheers in here. It helps that we write in different genres. I think that's super helpful.   Melissa: I think it's absolutely key. Yeah.   Donika: It's not, I mean, I think, and that we have very different measures of ambition. I think those two things together are really, really helpful.   But I've read everything that Melissa has written, I think. (45:38) There might be like a few little, I mean, I've read short story, like that short, there was like a short story from like shortly, I think after you, like before you were in your MFA program, maybe.   Melissa: Oh my God. What short story?   Donika: I can't, I'll find it. And show it to you later.   Melissa: Is it about that little plant?   Donika: No, no, it might've been an essay. I'm not sure.   Annie: I love this. This is sort of hot breaking news on LitFriends.   Donika: It's like, I've just like, I did a deep Google dive. I was like, I want to read everything and it's, it feels really exciting.   Melissa: You know, I've dated writers before, and it was a different situation. And I think even if I hadn't, even before I ever did, I thought, that seems unlikely to work. Because even though there are lots of like obvious ways that it could be great, the competition just seemed like such a poison dart that it would be really hard to avoid because writers are competitive, and I'm competitive. And maybe it would have been harder if we were younger or something.   And certainly if we were in the same genre, I think actually, who knows? Maybe it would be possible if we were in the same genre, but it would require a little more care. Even if for some reason we would never publish again, we would keep writing. It just like it functions in our lives in similar ways. And it's like a practice that we came to, you know, I have a more hungry ambition or have historically. And I think our relationship is something that helps me keep the practice at the center because we're constantly talking about it. And I'm constantly observing Donika's relationship to her work. So it really hasn't felt very relevant. Like it's kind of shocking to me how, how little impact competition or comparing has in our relationship. It's really like not even close to one of the top notes of things that might create conflict for us, you know, and I'm so grateful for that. And so happy to have like underestimated what's possible when you have a certain level of intimacy and respect and sort of compatibility with someone.   Lito: We'll be right back.   Annie: (47:57) Welcome back. Well, then I'm wondering, you know, you both have had some like incredible successes in the last few years. And I'm wondering if conversely, you've been able to show up for one another in moments of high pressure or exposure, or, you know, having to confront the world, having been vulnerable on the page in the ways you have been.   Melissa: Donika was not planning on having a book launch for The Renunciations.   Donika: What's a book launch? Like, why do people do that?   Annie: Listen, mine's going to be a dance party, Donika. So…   Melissa: And I made, meanwhile, like when I published Abandon Me, I had a giant dance party that I had like several costume changes for during. But I remember feeling pretty confident about making a strong case multiple times for her to have a book launch for The Renunciations. And also like having a lot of respect and like tenderness watching her navigate what it meant to take work that vulnerable and figure out how to like speak for it and talk about it and like present it to the world. Parts of her would have preferred to just let the book completely speak for itself out there.    Donika: But you were right it was a good time.   Melissa: I was right.   Donika: Because like when Melissa's so when Girlhood came out it was like, that was still the time of like so many virtual events. And it was just like, I think that first week there was like something every day that week, like there was an event every day that week. And now, now like, again, I had to be talked into having a book launch. So I own this. Um, but I was like, Ooh, why, why would you do that? Oh, yeah. Four?   Melissa: This is definitely one of the ways that she and I are like diametrically opposed, and therefore I think, helpful to each other in sort of like creating a kind of tension that can be uncomfortable but is mostly good for both of us to be sort of pulled closer to the middle.   Donika: But my favorite part of that is then hearing you give advice to your friends who are very similar and be like, "whoa, you did too much. You put too many things on the calendar."     Melissa: (50:15) You know, some people would say that that's hypocrisy, but I actually think, I have a real dubious like position and thinking about hypocrisy because I am an expert in overdoing things. And so I think I speak from, I am like the voice of Christmas future. You know what I mean? I'm like, let me speak to you from the potential future that you are currently planning with your publicist. And like, it's not pretty and it doesn't feel good. And it's not, it has not delivered the feeling that you're imagining when you're scheduling all those events.   Annie: I can appreciate this. And I appreciate Donika's kind of role, this particular role in a relationship, because sometimes I just have to go see Leto and literally just lay on Lito and be like, stop me from doing anymore.   Melissa: I know, I know.   Lito: You and Sara are like super overachievers. I have to be like, "can you calm down?"   Annie: We do too much.   Lito: Way too much. What would you like to see your lit friend make or create next?   Donika: I got two answers to this. The first one is the Cape Cod lesbian mystery. I'm ready. You know, we got, I've offered so much assistance as a person who will never write prose. Um, but I got notes and ideas. The second one is, uh, a micro essay collection titled Dogs I Have Loved. Cause I think it would be a New York Times bestseller.   Lito: Oh, I love that.   Donika: I know.   Lito: Speaking of, who's the little gremlin puppy there?   Donika: Oh, yeah, that's Chuck. Chuck is a 15-year-old chihuahua. I've had him since he was a puppy.   Annie: Is Chuck like a nickname, or is that just, it's just Chuck?   Donika: It's just Chuck.   Lito: I love that.   Melissa: His nickname is Charles sometimes. One of his nicknames is Charles, but his full name is Chuck.   Melissa: OK, so I would say, I mean, my first thought at this question was like, I want Donika to keep doing exactly what she's been doing? As far as I can tell, she doesn't have a lot of other voices getting in the way of that process. My second thought is that I'm really interested. I've never heard her talk. She has no interest in writing prose of any kind. She is like deeply wedded to poetry. But I have heard her talk more recently about potential collaborations with (52:40) other artists, visual artists and other writers. And I would, I'm really excited to see what comes out of that space.   Lito: Would you all ever collaborate beyond your marriage?   Annie: I could see you all doing a craft book together.   Melissa: I feel like we could make like a chapbook that had prose and poems in it that were responding to a shared theme. I could definitely see that.   Donika: I really thought you were gonna say Love Poems for Melissa Febos, that's what you wanted to see next.   Melissa: I mean, I already know that that's on deck, so I don't... I mean, it's in, it's on the docket. It's on deck. Yeah. So…   Lito: Those sonnets, get to work on the sonnets.   Donika: Such a mess.   Melissa: This is real, you think, this is not, like, a conversation of the moment. This is…   Annie: Oh no, we can, this is history.   Donika: "Where's my century of sonnets?" she says.   Lito (53:33) What is your first memory?   Donika: Dancing?   Melissa: Donika telling me I'm pretty.   Annie (54:15.594) Who or what broke your heart first?   Melissa: Maddie, our dog.   Donika: Kerri Strug, 1996 Olympics. Vault.   Lito: Atlanta.   Donika: The Vault final. Yeah. Heartbreaking.   Lito: Who would you want to be lit friends with from any time in history, living or dead?   Donika: I just thought Gwendolyn Brooks. I'm gonna go with that.   Lito: I love Gwendolyn Brooks.   Donika: Oh yeah.   Melissa: My first thought is Baldwin.   Donika: It's a great party. We're at a great party.   Melissa: I just feel like I would be like, "No, James!" all the time.   Melissa: (54:30) Or like Truman Capote.   Lito: It'd be wild.   Donika: Messy. So messy.   Annie: What's your favorite piece of music?   Melissa: Oh my god, these questions are crazy! "Hallelujah"?   Donika: Oh god, there's an aria from Diana Damraus' first CD. She's a Soprano. And it's a Mozart aria, and I don't know where it's from, and I can't tell you the name because it's in Italian and I don't speak Italian, but that joint is exceptional. So that's what I'm gonna go with. Oh God, just crying in the car.   Lito: If you could give any gift to your lit friend without limitations, what would you give them?   Donika: Just like gold chains. So many gold chains. Yeah! If I could have a gold chain budget, it'd be a lot.   Annie: (55:23) Donika, we can do this.   Lito: Achievable.   Donika: I mean, yeah. Yeah.   Lito: Bling budget.   Donika: That's the first thing I thought.   Annie: Love it.   Donika: Just like gold, just thin gold chains, thick gold chains.   Melissa: I'm going to go with that, then, and say an infinite sneaker budget.   Lito: Yes. Oh, I want a shoe room. (55:50) That'd be awesome.   Melissa: We need two shoe rooms in this house, or like one. Or we just need to have a whole living room that's just for shoes.   Donika: I just like there's just like one closet that's just like for shoes. Like that's what we need.   Lito: That's great.   Donika: Yeah, but it's actually a room. Yes. With like a sorting system, it's like computer coded.   Annie: Soft lighting. That's our show.   Annie & Lito: Thanks for listening.   Lito: We'll be back next week with our guests Yiyun Li and Edmund White.   Annie: Find us on all your socials @LitFriendsPodcast.   Lito: Don't forget to reach out and tell us about the love affair of you and your LitFriend.   Annie: I'm Annie Liontas.   Lito: And I'm Lito Velázquez. Thank you to our production squad. Our show is edited by Justin Hamilton.   Annie: Our logo was designed by Sam Schlenker.   Lito: Lizette Saldana is our marketing director.   Annie: Our theme song was written and produced by Robert Maresca.   Lito: And special thanks to our show producer, Toula Nuñez.   Annie: This was LitFriends, Episode Three.    

Dedicamos este episodio a uno de los grandes temas de las matemáticas de bachillerato: las matrices y ese extraño animal salvaje que siempre les acompaña, los determinantes. Las matrices son la puerta de entrada al álgebra lineal y, curiosamente, son uno de los elementos más recientes incluidos en el currículum de secundaria, porque las cosas que hoy hacemos con matrices antes las hacíamos de otras maneras. Hoy os explicamos cómo las presentamos a los estudiantes, y también damos algunas pinceladas sobre su historia. En esa historia está el origen de la palabra "determinante" y también "matriz", y quizá podría ser utilizada como método alternativo para explicar estos conceptos. También reflexionamos un rato sobre qué son los determinantes y cómo podemos hacerlos más comprensibles para los estudiantes. Si queréis hojear el libro de matemáticas del que hablamos en el episodio, lo tenéis aquí: https://www.apuntesmareaverde.org.es/grupos/mat/LOMLOE/Bachillerato/BC2%2002%20Determinantes.pdf y en esa misma página tenéis otros muchos recursos para las asignaturas del currículo, tanto de ciencias como de humanidades y letras. En el programa de hoy podéis escuchar a los ignorantenautas habituales: Alberto Aparici, que es físico y divulgador científico en el Instituto de Física Corpuscular de Valencia, en Onda Cero y en los podcasts Coffee Break y Mochila al Pasado; Víctor Marco, físico y profesor de matemáticas en el IES El Grao de Valencia; y Javier Vargas, también físico y profesor de Física y Química en el IES Playa de San Juan de Alicante. También os recordamos que tenemos un correo en el que podéis poneros en contacto con nosotros y contarnos vuestras sugerencias, críticas o dudas. Es deignoranciapodcast@gmail.com

Do we need to concede that we'll never be able to accurately measure the impact of our soft skills development solutions? If so, that's an enormous amount of spending without knowing if we're making enough of a difference. In this episode, we discuss how it is possible to plan, design and deliver for real impact and how this is already working. KEY TAKEAWAYS Tell people upfront how what they learn applies to their job.  Use proprietary internal knowhow to plug content gaps.  Have people practice what they learn. Improve 1st line management training. Understand outputs and how they are measured. If processes are not being followed by top performers, the processes are wrong. L&D needs to develop too, to set an example. BEST MOMENTS'We do too much one size fits all.' 'They can learn from each other's best practice.' VALUABLE RESOURCESThe Learning And Development Podcast - https://podcasts.apple.com/gb/podcast/the-learning-development-podcast/id1466927523L&D Master Class Series: https://360learning.com/blog/l-and-d-masterclass-home  Guy Wallace BioGuy W. Wallace is a retired Performance Analyst and Instructional Architect and had been designing and developing performance-based Instruction - Performance Guides & Learning Experiences - for Enterprise Learning functions and their business-critical target audiences since 1979.  Guy started as a Training Developer at Wickes Lumber in 1979 and then became a Training Project Supervisor at Motorola in 1981. Since 1982, he specialized in Curriculum Architecture Design via a Facilitated Group Process. In 1984, he co-authored two articles on these approaches: a Training Magazine article on Curriculum Architecture Design via a Group Process - and another on Creating Models and Matrices using a Group Process - for NSPI's Performance & Instruction Journal. Guy completed his 76th performance-based Curriculum Architecture Design consulting project - since 1982 - in 2019.  Guy, an ISD consultant since 1982 and a partner/owner at three consulting firms, personally served over 80 clients, primarily in Fortune 500 firms in the USA and firms in Canada, Germany, and The Netherlands.   See his websites for lists of clients, descriptions of 250+ projects, publications, presentations, and over 600 free ISD and Performance Improvement PDFs, plus links to free audio & video resources: Guy Wallace LinkedIn: https://www.linkedin.com/in/guywwallace HPT Treasures https://hpttreasures.files.wordpress.com/2018/12/Harless-PIJ-1983-Interview.pdfhttps://hpttreasures.files.wordpress.com/2018/12/Harless-1985-Performance_Improvement.pdfCarl Binder: https://www.sixboxes.com/The-Team.htmlDawn Snyder: https://www.dawnsnyderassoc.comSteve Villachica: https://www.linkedin.com/in/steve-villachica-96a0a69  ABOUT THE HOSTDavid James David has been a People Development professional for more than 20 years, most notably as Director of Talent, Learning & OD for The Walt Disney Company across Europe, the Middle East & Africa.  As well as being the Chief Learning Officer at 360Learning, David is a prominent writer and speaker on topics around modern and digital L&D.  CONTACT METHOD  Twitter:  https://twitter.com/davidinlearning  LinkedIn: https://www.linkedin.com/in/davidjameslinkedin  L&D Collective: https://360learning.com/the-l-and-d-collective  Blog: https://360learning.com/blog  L&D Master Class Series: https://360learning.com/blog/l-and-d-masterclass-home  This show was brought to you by Progressive Media

Risk Management - it's a really hot topic right now. I'm joined by long-time management consultant, the inventor of Applied Information Economics (AIE), and author of 'The Failure of Risk Management: Why It's Broken and How to Fix it', Douglas W Hubbard. During our chat, Douglas talks about: 1. The challenge with Risk Assessments, 2. Probability defined (not as easily defined as you think), 3. Problems with the traditional risk matrix and matrices (sure to surprise you!), 4. Analysis placebo, 5. Using information incorrectly, 6. The long definition and short definition of risk management, 7. The 4 responses to risk action...can be ...a little murky, 8. Risk neutrality, 9. Changes in risk tolerance, 10. Risk and impact, 11. Value Statistical Life (VSL), 12. Tips to chat current risk practices. Effective risk management plays an essential role in effective decision-making. By applying the insights Douglas provides, you'll find yourself (and your organization) making smarter decisions based on techniques that have shown measurable benefit. (Adapted from the back cover sleeve). Enjoy!

Risk Management - it's a really hot topic right now. I'm joined by long-time management consultant, the inventor of Applied Information Economics (AIE), and author of 'The Failure of Risk Management: Why It's Broken and How to Fix it', Douglas W Hubbard. During our chat, Douglas talks about: 1. The challenge with Risk Assessments, 2. Probability defined (not as easily defined as you think), 3. Problems with the traditional risk matrix and matrices (sure to surprise you!), 4. Analysis placebo, 5. Using information incorrectly, 6. The long definition and short definition of risk management, 7. The 4 responses to risk action...can be ...a little murky, 8. Risk neutrality, 9. Changes in risk tolerance, 10. Risk and impact, 11. Value Statistical Life (VSL), 12. Tips to chat current risk practices. Effective risk management plays an essential role in effective decision-making. By applying the insights Douglas provides, you'll find yourself (and your organization) making smarter decisions based on techniques that have shown measurable benefit. (Adapted from the back cover sleeve). Enjoy!

A key role for the CISO and the team is to identify and plan for mitigation of the most damaging risks. Various approaches have been used over the years with varying levels of success. Are we measuring the right things? Are we using the right instruments? Join us as we discuss some of the flaws present in measuring risk today and considerations to improve our risk management approach. https://www.howtomeasureanything.com/cybersecurity Visit https://securityweekly.com/csp for all the latest episodes! Follow us on Twitter: https://www.twitter.com/cyberleaders Follow us on LinkedIn: https://www.linkedin.com/company/cybersecuritycollaborative/ Show Notes: https://securityweekly.com/csp-146

Risk Management - it's a really hot topic right now. I'm joined by long-time management consultant, the inventor of Applied Information Economics (AIE), and author of 'The Failure of Risk Management: Why It's Broken and How to Fix it', Douglas W Hubbard. During our chat, Douglas talks about: 1. The challenge with Risk Assessments, 2. Probability defined (not as easily defined as you think), 3. Problems with the traditional risk matrix and matrices (sure to surprise you!), 4. Analysis placebo, 5. Using information incorrectly, 6. The long definition and short definition of risk management, 7. The 4 responses to risk action...can be ...a little murky, 8. Risk neutrality, 9. Changes in risk tolerance, 10. Risk and impact, 11. Value Statistical Life (VSL), 12. Tips to chat current risk practices. Effective risk management plays an essential role in effective decision-making. By applying the insights Douglas provides, you'll find yourself (and your organization) making smarter decisions based on techniques that have shown measurable benefit. (Adapted from the back cover sleeve). Enjoy!

Risk Management - it's a really hot topic right now. I'm joined by long-time management consultant, the inventor of Applied Information Economics (AIE), and author of 'The Failure of Risk Management: Why It's Broken and How to Fix it', Douglas W Hubbard. During our chat, Douglas talks about: 1. The challenge with Risk Assessments, 2. Probability defined (not as easily defined as you think), 3. Problems with the traditional risk matrix and matrices (sure to surprise you!), 4. Analysis placebo, 5. Using information incorrectly, 6. The long definition and short definition of risk management, 7. The 4 responses to risk action...can be ...a little murky, 8. Risk neutrality, 9. Changes in risk tolerance, 10. Risk and impact, 11. Value Statistical Life (VSL), 12. Tips to chat current risk practices. Effective risk management plays an essential role in effective decision-making. By applying the insights Douglas provides, you'll find yourself (and your organization) making smarter decisions based on techniques that have shown measurable benefit. (Adapted from the back cover sleeve). Enjoy!

En esta webinar veremos el proceso de Identificación del riesgo con una visión general que incluye: la exploración de los riesgos, su reconocimiento y su descripción. Conoceremos lo básico de este importante proceso que ha de tener una relación de objetivos y de fuentes de incertidumbre. Y nos acercaremos a una herramienta, muy valiosa en esta fase de la gestión, como son las Matrices de riesgos. En este seminario trataremos también la Clasificación de los distintos tipos de riesgos. Otro método que nos permite tener una categorización adecuada de cara a obtener una buena base para una amplia y correcta identificación, y de ahí, continuar con una evaluación eficaz, una gestión eficiente y un seguimiento y control de dichos riesgos. Podremos clasificarlos por ejemplo según: su origen, sus características, su naturaleza, u otras categorías adecuadas según sean nuestras necesidades. – Acerca de la ponente, Cristina Fernández – Ha desarrollado su carrera profesional durante 30 años, en distintas empresas multinacionales, en el área de finanzas, en gran parte como Directora Financiera, tras haber trabajado en los departamentos de Administración y Contabilidad, Consolidación y Control de Gestión, liderando equipos en los últimos 15 años. En paralelo, ha sido Formadora Interna y ha colaborado en proyectos de auditoría, implantaciones de ERP, nacionales y europeos. Y directora de inversiones en un family office. Así mismo, es Executive Coach por la Escuela Europea de Coaching (EEC), Profesora de Economía y Finanzas, Formadora Motivacional, de Liderazgo y Crecimiento Personal, en cursos online y ha sido Team Coach en Teamlabs, un grado universitario en Emprendimiento, Liderazgo e innovación."

This podcast is a commentary and does not contain any copyrighted material of the reference source. We strongly recommend accessing/buying the reference source at the same time. ■Reference Source https://www.ted.com/talks/bill_shillito_how_to_organize_add_and_multiply_matrices ■Post on this topic (You can get FREE learning materials!) https://englist.me/34-academic-words-reference-from-bill-shillito-how-to-organize-add-and-multiply-matrices-ted-talk/ ■Youtube Video https://youtu.be/l5a2POEG9po (All Words) https://youtu.be/gN__DlpuDMs (Advanced Words) https://youtu.be/xezG-GIdebA (Quick Look) ■Top Page for Further Materials https://englist.me/ ■SNS (Please follow!)

This is a recap of the top 10 posts on Hacker News on July 15th, 2023.This podcast was generated by wondercraft.ai(00:37): Every time you click this link, it will send you to a random Web 1.0 websiteOriginal post: https://news.ycombinator.com/item?id=36739920&utm_source=wondercraft_ai(02:36): Signal president says company will not comply with U.K. ‘mass surveillance' lawOriginal post: https://news.ycombinator.com/item?id=36737733&utm_source=wondercraft_ai(04:25): A third of North America's birds have vanishedOriginal post: https://news.ycombinator.com/item?id=36741910&utm_source=wondercraft_ai(06:39): Another World ported to FPGAOriginal post: https://news.ycombinator.com/item?id=36738347&utm_source=wondercraft_ai(08:16): PostgreSQL: No More Vacuum, No More BloatOriginal post: https://news.ycombinator.com/item?id=36740921&utm_source=wondercraft_ai(09:50): The shady world of Brave selling copyrighted data for AI trainingOriginal post: https://news.ycombinator.com/item?id=36735777&utm_source=wondercraft_ai(11:34): Lets-Plot: An open-source plotting library for statistical dataOriginal post: https://news.ycombinator.com/item?id=36741476&utm_source=wondercraft_ai(13:20): Matrices and GraphOriginal post: https://news.ycombinator.com/item?id=36734771&utm_source=wondercraft_ai(15:09): Receiving unintentional voice transmissions from GPS satellitesOriginal post: https://news.ycombinator.com/item?id=36739320&utm_source=wondercraft_ai(16:47): Snakemake – A framework for reproducible data analysisOriginal post: https://news.ycombinator.com/item?id=36735616&utm_source=wondercraft_aiThis is a third-party project, independent from HN and YC. Text and audio generated using AI, by wondercraft.ai. Create your own studio quality podcast with text as the only input in seconds at app.wondercraft.ai. Issues or feedback? We'd love to hear from you: team@wondercraft.ai

Steven Edwards, Switching Product Manager at Pickering Interfaces and Chris Giovanniello, Co-Founder and senior VP of Marketing at Menlo Micro, talk with Microwave Journal about the introduction of high-performance MEMS switches into switching matrices used in high speed testing. They discuss the great improvements in performance and life time realized with the first products introduced into the market. See their demo at IMS 2023.

https://www.indigoangel222.com/starseed-activators?ref=GdvC0VibCoupon CodeTYPICALSKEPTICP if you found this content beneficial please consider donating:buymeacoffee.com/typicalskeptic Or maybe Join the Patreon for bonus content New Unreleased shows every week for less than a cup of coffee: Help me keep making videos!patreon.com/typicalskeptic Check out what I'm selling: Typical skeptic podcast t shirts:https://merc.li/KmGQPE9Nb?sv=0 For more typical skeptic podcast interviews go to:youtube.com/@typicalskepticwww.anchor.fm/typical-skepticwww.rokfin.com/typicalskepticwww.rumble.com/typicalskeptic Affiliates: Tachyon Living- tachyonliving.com/rob.html and use code skeptic free gift for a free gift -Book a reading with Debra Moffit Intuitive readings:Use Code TSP2023 https://www.debramoffitt.com?cc=STP2023 -Natural Shilajit and Monoatomic Gold from Healthy Nutrition LLC.use code: ROBAnd my affiliate link to share: https://glnk.io/77v6/3 -Starseed Activatorshttps://www.indigoangel222.com/starse...Coupon Code TypicalSkepticP --- Send in a voice message: https://podcasters.spotify.com/pod/show/typical-skeptic/message Support this podcast: https://podcasters.spotify.com/pod/show/typical-skeptic/support

Tory Gray, CEO and Founder of Gray Dot Company, connects the dots between SEO objectives, insights, and execution. Keyword matrices have been used in the SEO world for a long time to organize content. However, Gray Dot Company has been exploring using a template on Airtable to take it to the next level. Today, Tory discusses up-leveling with keyword matrices. Show NotesConnect With: Tory Gray: Website // LinkedInThe Voices of Search Podcast: Email // LinkedIn // TwitterBenjamin Shapiro: Website // LinkedIn // TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Take a look at how we manufacture and test our Charlieplexed Matrices and Drivers https://www.adafruit.com/product/2974 https://www.adafruit.com/product/2946 https://learn.adafruit.com/animated-flame-pendant #adafruit #manufacturing #nyc ----------------------------------------- Visit the Adafruit shop online - http://www.adafruit.com ----------------------------------------- LIVE CHAT IS HERE! http://adafru.it/discord Adafruit on Instagram: https://www.instagram.com/adafruit Subscribe to Adafruit on YouTube: http://adafru.it/subscribe New tutorials on the Adafruit Learning System: http://learn.adafruit.com/ -----------------------------------------

Links: Episode page with related links Subscribe to Sigma Nutrition Premium Receive Danny's free weekly email Description: Substantial evidence shows that a high intake of saturated fat in the diet has the potential to significantly raise LDL-C and ApoB-containing lipoproteins in many people, and in turn increase their risk of developing atherosclerotic cardiovascular disease (ASCVD). However, people may raise what seems to some contradictory evidence, or what is sometimes thought of as a paradox: the impact of full-fat dairy on CVD risk. This paradox arises because given the saturated fat content of full-fat milk, yogurt and cheese, we typically don't see the same impact on blood lipid profiles. In addition, epidemiology can often show such foods in a favourable light. And the dairy fat story gets more interesting when we look at evidence showing there is a huge difference in the impact of consuming different dairy foods (e.g. butter vs cheese/yogurt). So this leads to many questions that people rightly ask, which we aim to address in this episode. Questions such as: Why doesn't increased dairy consumption lead to same increases in CVD risk as other saturated fat sources? Do results from full-fat dairy studies prove that saturated fat isn't a problem? What is it about cheese/yogurt that makes it different to butter? How do low-fat and full-fat dairy compare? Diets including/excluding dairy: how to compare? Subscribe to Sigma Nutrition Premium

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Giant (In)scrutable Matrices: (Maybe) the Best of All Possible Worlds, published by 1a3orn on April 4, 2023 on The AI Alignment Forum. It has become common on LW to refer to "giant inscrutable matrices" as a problem with modern deep-learning systems. To clarify: deep learning models are trained by creating giant blocks of random numbers -- blocks with dimensions like 4096 x 512 x 1024 -- and incrementally adjusting the values of these numbers with stochastic gradient descent (or some variant thereof). In raw form, these giant blocks of numbers are of course completely unintelligible. Many hold that the use of such giant SGD-trained blocks is why it is hard to understand or to control deep learning models, and therefore we should seek to make ML systems from other components. There are several places where Yudkowsky or others state or strongly imply that because SGD-trained models with huge matrices are unintelligible, we should seek some more easily-interpretable paradigm. I'm going to argue against that. I think that a better alternative is probably not possible; that the apparent inscrutability of these models actually has little-to-nothing to do with deep learning; and finally that this language -- particularly to the non-rationalist -- suggests unwarranted mystery. 0: It Is Probable That Generally Intelligent Systems Must be Connectionist Imagine a universe in which it is impossible to build a generally intelligent system that is not massively connectionist. That is, imagine a world where the only way to get intelligence from atoms is to have a massive number of simple, uniform units connected to each other -- or something that is a functional equivalent of the same. In such a world, all smart animals would have become smart by scaling up the number of such units that they have. The dominant evolutionary species might become intelligent by scaling up its head size, despite paying the evolutionary cost of making childbirth dangerous and painful by doing so. Flying species that could not afford this extra weight of scaling up skull volume might take another approach, shrinking their neurons to pack more of them into a given volume. Even animals far distant from the dominant species along the phylogenetic tree and in which the evolution of high levels of intelligence occurred entirely separately, would do so by scaling up their brains. The dominant species, once it could make information-processing equipment, might try for many years to make some generally intelligent system without massive connectionism. They might scorn connectionism as brute force, or as lacking insight; thousands of PhDs and software engineers would spend time devising specialized systems of image classification, voice transcription, language translation, video analysis, natural language processing, and so on. But once they coded up connectionist software -- then in a handful of years, the prior systems built through hundreds of thousands of hours of effort would fall to simple systems that an undergrad could put together in his spare time. And connectionist systems would quickly vault out from the realm of such prior systems, to build things completely unprecedented to non-connectionist systems. Of course, such a world would be indistinguishable from our world. Is this proof that intelligence must be connectionist? Of course not. We still await a Newton who might build a detailed causal model of intelligence, which confirms or refutes the above. But if the universal failure of nature and man to find non-connectionist forms of general intelligence does not move you, despite searching for millions of years and millions of man-hours -- well, you could be right, but I'd really like to see any predictions an alternate hypothesis makes. 1.a: Among Connectionist Systems That We Know To Be Possible, Sy...

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Giant (In)scrutable Matrices: (Maybe) the Best of All Possible Worlds, published by 1a3orn on April 4, 2023 on LessWrong. It has become common on LW to refer to "giant inscrutable matrices" as a problem with modern deep-learning systems. To clarify: deep learning models are trained by creating giant blocks of random numbers -- blocks with dimensions like 4096 x 512 x 1024 -- and incrementally adjusting the values of these numbers with stochastic gradient descent (or some variant thereof). In raw form, these giant blocks of numbers are of course completely unintelligible. Many hold that the use of such giant SGD-trained blocks is why it is hard to understand or to control deep learning models, and therefore we should seek to make ML systems from other components. There are several places where Yudkowsky or others state or strongly imply that because SGD-trained models with huge matrices are unintelligible, we should seek some more easily-interpretable paradigm. I'm going to argue against that. I think that a better alternative is probably not possible; that the apparent inscrutability of these models actually has little-to-nothing to do with deep learning; and finally that this language -- particularly to the non-rationalist -- suggests unwarranted mystery. 0: It Is Probable That Generally Intelligent Systems Must be Connectionist Imagine a universe in which it is impossible to build a generally intelligent system that is not massively connectionist. That is, imagine a world where the only way to get intelligence from atoms is to have a massive number of simple, uniform units connected to each other -- or something that is a functional equivalent of the same. In such a world, all smart animals would have become smart by scaling up the number of such units that they have. The dominant evolutionary species might become intelligent by scaling up its head size, despite paying the evolutionary cost of making childbirth dangerous and painful by doing so. Flying species that could not afford this extra weight of scaling up skull volume might take another approach, shrinking their neurons to pack more of them into a given volume. Even animals far distant from the dominant species along the phylogenetic tree and in which the evolution of high levels of intelligence occurred entirely separately, would do so by scaling up their brains. The dominant species, once it could make information-processing equipment, might try for many years to make some generally intelligent system without massive connectionism. They might scorn connectionism as brute force, or as lacking insight; thousands of PhDs and software engineers would spend time devising specialized systems of image classification, voice transcription, language translation, video analysis, natural language processing, and so on. But once they coded up connectionist software -- then in a handful of years, the prior systems built through hundreds of thousands of hours of effort would fall to simple systems that an undergrad could put together in his spare time. And connectionist systems would quickly vault out from the realm of such prior systems, to build things completely unprecedented to non-connectionist systems. Of course, such a world would be indistinguishable from our world. Is this proof that intelligence must be connectionist? Of course not. We still await a Newton who might build a detailed causal model of intelligence, which confirms or refutes the above. But if the universal failure of nature and man to find non-connectionist forms of general intelligence does not move you, despite searching for millions of years and millions of man-hours -- well, you could be right, but I'd really like to see any predictions an alternate hypothesis makes. 1.a: Among Connectionist Systems That We Know To Be Possible, Synchronous Mat...

Madhuvanthi Jayaraman graduated from the Joint Program of Biomedical Engineering at UNC and NC State in 2019. Now, she is a Design Control Systems Engineer at Intuitive Surgical. Madhu joins us to talk about her role, building traceability matrices as part of the device design process, and moving across the country for a new job. More on The BME Grad Podcast: www.thebmegradpodcast.com Subscribe on YouTube: www.youtube.com/channel/UCyfF0xH80d5lS1RpQsmpw0Q/videos Follow us on LinkedIn: www.linkedin.com/company/thebmegradpodcast/ Follow us on Instagram: www.instagram.com/thebmegradpodcast/ --- Support this podcast: https://podcasters.spotify.com/pod/show/the-bme-grad/support

Madhuvanthi Jayaraman graduated from the Joint Program of Biomedical Engineering at UNC and NC State in 2019. She now works as a Design Control Systems Engineer with the Tools and Processes team at Intuitive, supporting the development, testing, and implementation of internal tools that help in building documentation and traceability matrices which adhere to the current Design Control Process for medical devices. Madhu joins us to talk about her role, building traceability matrices as part of the device design process, and moving across the country for a new job. More on The BME Grad Podcast: www.thebmegradpodcast.com Subscribe on YouTube: www.youtube.com/channel/UCyfF0xH80d5lS1RpQsmpw0Q/videos Follow us on LinkedIn: www.linkedin.com/company/thebmegradpodcast/ Follow us on Instagram: www.instagram.com/thebmegradpodcast/ --- Support this podcast: https://podcasters.spotify.com/pod/show/the-bme-grad/support

Greg Yang is a mathematician and AI researcher at Microsoft Research who for the past several years has done incredibly original theoretical work in the understanding of large artificial neural networks. Greg received his bachelors in mathematics from Harvard University in 2018 and while there won the Hoopes prize for best undergraduate thesis. He also received an Honorable Mention for the Morgan Prize for Outstanding Research in Mathematics by an Undergraduate Student in 2018 and was an invited speaker at the International Congress of Chinese Mathematicians in 2019.     In this episode, we get a sample of Greg's work, which goes under the name "Tensor Programs" and currently spans five highly technical papers. The route chosen to compress Tensor Programs into the scope of a conversational video is to place its main concepts under the umbrella of one larger, central, and time-tested idea: that of taking a large N limit. This occurs most famously in the Law of Large Numbers and the Central Limit Theorem, which then play a fundamental role in the branch of mathematics known as Random Matrix Theory (RMT). We review this foundational material and then show how Tensor Programs (TP) generalizes this classical work, offering new proofs of RMT. We conclude with the applications of Tensor Programs to a (rare!) rigorous theory of neural networks.     Patreon: https://www.patreon.com/timothynguyen     Part I. Introduction 00:00:00 : Biography 00:02:45 : Harvard hiatus 1: Becoming a DJ 00:07:40 : I really want to make AGI happen (back in 2012) 00:09:09 : Impressions of Harvard math 00:17:33 : Harvard hiatus 2: Math autodidact 00:22:05 : Friendship with Shing-Tung Yau 00:24:06 : Landing a job at Microsoft Research: Two Fields Medalists are all you need 00:26:13 : Technical intro: The Big Picture 00:28:12 : Whiteboard outline Part II. Classical Probability Theory 00:37:03 : Law of Large Numbers 00:45:23 : Tensor Programs Preview 00:47:26 : Central Limit Theorem 00:56:55 : Proof of CLT: Moment method 1:00:20 : Moment method explicit computations Part III. Random Matrix Theory 1:12:46 : Setup 1:16:55 : Moment method for RMT 1:21:21 : Wigner semicircle law Part IV. Tensor Programs 1:31:03 : Segue using RMT 1:44:22 : TP punchline for RMT 1:46:22 : The Master Theorem (the key result of TP) 1:55:04 : Corollary: Reproof of RMT results 1:56:52 : General definition of a tensor program Part V. Neural Networks and Machine Learning 2:09:05 : Feed forward neural network (3 layers) example 2:19:16 : Neural network Gaussian Process 2:23:59 : Many distinct large N limits for neural networks 2:27:24 : abc parametrizations (Note: "a" is absorbed into "c" here): variance and learning rate scalings 2:36:54 : Geometry of space of abc parametrizations 2:39:41: Kernel regime 2:41:32 : Neural tangent kernel 2:43:35: (No) feature learning 2:48:42 : Maximal feature learning 2:52:33 : Current problems with deep learning 2:55:02 : Hyperparameter transfer (muP)  3:00:31 : Wrap up Further Reading: Tensor Programs I, II, III, IV, V by Greg Yang and coauthors.   Twitter: @iamtimnguyen   Webpage: http://www.timothynguyen.org

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: The Singular Value Decompositions of Transformer Weight Matrices are Highly Interpretable, published by Beren Millidge on November 28, 2022 on The AI Alignment Forum. Please go to the colab for interactive viewing and playing with the phenomena. For space reasons, not all results included in the colab are included here so please visit the colab for the full story. This post is part of the work done at Conjecture. TLDR If we take the SVD of the weight matrices of the OV circuit and of MLP layers of GPT models, and project them to token embedding space, we notice this results in highly interpretable semantic clusters. This means that the network learns to align the principal directions of each MLP weight matrix or attention head to read from or write to semantically interpretable directions in the residual stream. We can use this to both improve our understanding of transformer language models and edit their representations. We use this finding to design both a natural language query locator, where you can write a set of natural language concepts and find all weight directions in the network which correspond to it, and also to edit the network's representations by deleting specific singular vectors, which results in relatively large effects on the logits related to the semantics of that vector and relatively small effects on semantically different clusters Introduction Trying to understand the internal representations of language models, and of deep neural networks in general, has been the primary focus of the field of mechanistic interpretability, with clear applications to AI alignment. If we can understand the internal dimensions along which language models store and manipulate representations, then we can get a much better grasp on their behaviour and ultimately may be able to both make provable statements about bounds on their behaviour, as well as make precise edits to the network to prevent or enhance desired behaviours. Interpretability, however, is a young field where we still do not yet fully understand what the basic units of the networks' representations are. While analyzing and investigating individual neurons has led to some impressive results, especially in convolutional vision models, a key issue has always been the polysemanticity of neurons. A single neuron might not just represent a single 'feature' but some linear combination of features in superposition. This effect has been studied in toy models where it is argued that neural networks resort to superposition when required to represent many more features than they have neurons, and that superposition has a regular and understandable geometry. A natural hypothesis following from the apparent ubiquity of superposition in neural networks, as well as the autoassociative memory literature, is to store features as directions and not in individual neurons. To minimize interference ideally these directions would be pseudo-orthogonal. Technically the features as neurons hypothesis is trivially an orthogonal direction where each feature is encoded by a specific neuron, but the storage capacity of this representational scheme scales only linearly. In theory, we can do much better if we instead distribute features across multiple neurons and accept some noise. Specifically, the Johnson-Lindenstrauss lemma suggests that we can store exponentially many features in pseudorthogonal subspaces. While neural networks probably cannot utilize all of this exponential space, they almost certainly scale superlinearly, necessitating polysemanticity across 'neurons'. If this hypothesis is true, at least approximately, a key question becomes how we can figure out the directions in which specific features are encoded. While certainly not the entire story, we hypothesize that at least a number of the primary directions used by...

In stark disagreement with my past self from episode 92, I don't think a regular old skills matrix is good for anything. Here's what I think we can do better.   SCRIPT Less than a year ago, back in December 2021, in episode 92 of this podcast I said the words “I actually really like the standard skills matrix, as long as it's well-defined and regularly updated.” And I proposed adding a new feature in the form of laying out the bare minimum expectations that EVERY director needs to bring to the table. Just to, y'know, make sure that everyone actually brings at least the bare minimum in addition to their CV. Anyway, I'm here to say that I completely disagree with the December 2021 version of myself. Not only do I not ‘really like the standard skills matrix' anymore, but I also don't think that my proposed feature is sufficient to take a plain vanilla skills matrix from trash to treasure. If your skills matrix is going to actually help you to recruit a good group of directors, here's the information I think it needs – at the very least – to be substantially useful. First, it needs skills – measurable stuff like “basic financial literacy” or “types at least 80wpm,” or “can hit a 95mph fastball”. Second, it needs professional expectations, like “has managed an organization with a $50m budget” or “has taught at least 1000 people how to surf.” Third, it needs those bare minimum things I mentioned before, like “is available to attend 24 meetings per year,” or “is fully caught up on OMG.” Fourth, it needs some indication of interpersonal aptitude, like “demonstrates willingness to change mind when presented with new information,” which can be tested in an interview.” Finally, it needs an indication of how many people on the board need each of those things. With those bare minimum things, for instance, EVERYONE needs those. But how many experienced surf instructors do you need? Is it one? Five? How many fast typists? How many seasoned executives? Put ALL of it in your skills matrix! Otherwise, how can you *really* assess your recruitment needs?

paypal.me/LibroTobias Esta semana en nuestra “Sección principal” tenemos una petición de nuestro donante vía PayPal Juan Daniel Goas Freire que nos ha pedido “Hostiles” de Scott Cooper, una historia de redención y perdón en el Oeste americano a finales del siglo XIX. Además en nuestra sección “El callejón oscuro” os traigo a Christopher Bernard Wilder, “El Asesino de la Reina de Belleza”. Fue un asesino en serie australiano que asesino a bellas jóvenes a las que engañaba haciéndose pasar por fotógrafo de modelos. Finalmente en la sección “¿Qué fue de?” esta semana os hablo de Olga Taussky-Todd una matemática austrohúngara de origen judío, que adoptó la nacionalidad estadounidense en 1953, experta en Teoría de Números y Teoría de Matrices. Tiempos: Sección principal: del 00:03:34 al 01:48:21 Sección “El callejón oscuro”: del 01:48:22 al 02:41:22 Sección “¿Qué fue de?”: del 02:41:23 al 03:28:39 Presentación, dirección, edición y montaje: Asier Menéndez Marín Diseño logo Podcast: albacanodesigns (Alba Cano) Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Mathematics is one of the most intimidating barriers for those looking to get into quantum coding. Mention linear algebra the next time you want to grind a conversation to a halt. What if there was a resource to learn the necessary mathematics to best prepare for such a career? Join host Konstantinos Karagiannis for a chat with Leonard Woody, the author of an excellent new book, Essential Mathematics for Quantum Computing, and learn precisely the math chops you need in order to code quantum applications effectively.For more on the book Essential Mathematics for Quantum Computing, visit www.packtpub.com/product/essential-mathematics-for-quantum-computing/9781801073141.Visit Protiviti at www.protiviti.com/postquantum to learn more about how Protiviti is helping organizations get post-quantum ready.Follow host Konstantinos Karagiannis on Twitter and Instagram: @KonstantHacker and follow Protiviti Technology on LinkedIn and Twitter: @ProtivitiTech. Contact Konstantinos at konstantinos.karagiannis@protiviti.com. Questions and comments are welcome! Theme song by David Schwartz. Copyright 2021.

Welcome to The Redcaps Podcast, In today's episode we talk about AC, THAC0, Attack Matrices, and which I think is better. Please leave us a voice message! Anchor: https://anchor.fm/theredcaps Phone (USA): 385.273.3227 Find us at www.theredcaps.net or on twitter @theredcapsnet Intro music: Eyes Gone Wrong by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ --- Send in a voice message: https://anchor.fm/theredcaps/message

Prototyping NeoTrellis M4 Mainboard time lapse (0:03) https://www.adafruit.com/product/3938 Checking the correct orientation of LEDs (0:17) Making LED Charlieplexed Matrix (0:32) https://www.adafruit.com/product/2947 Animated candle flame using 15x7 CharliePlex LED Matrix Display FeatherWing (1:09) https://learn.adafruit.com/animated-flame-pendant https://www.adafruit.com/product/3163 Testing the CRICKIT for CPX (1:30) https://www.adafruit.com/product/3093 Testing the CRICKIT HAT (1:48) https://www.adafruit.com/product/3957 Construction time lapse (2:04) Q&A Assembling one board in two pick and place machines (2:26) #adafruit #manufacturing #nyc ----------------------------------------- Visit the Adafruit shop online - http://www.adafruit.com ----------------------------------------- LIVE CHAT IS HERE! http://adafru.it/discord Adafruit on Instagram: https://www.instagram.com/adafruit Subscribe to Adafruit on YouTube: http://adafru.it/subscribe New tutorials on the Adafruit Learning System: http://learn.adafruit.com/ -----------------------------------------

Manufacturing Monster M4sks (0:03) https://www.adafruit.com/product/4343 Placing LEDs and testing CharliePlexed 9x16 LED Matrices (0:12) https://www.adafruit.com/product/2947 Testing a pile of 7-Segment LED Matrix Backpacks (0:50) https://www.adafruit.com/product/877 Colorful Adafruit products (1:02) Examining a digital light sensor under a microscope (1:44) https://www.adafruit.com/product/1980 Checking LIS3DH stencil against PCB (1:55) https://www.adafruit.com/product/2809 Glue stick at sunset (1:59) Building facade continues (2:06) #adafruit #manufacturing #nyc ----------------------------------------- Visit the Adafruit shop online - http://www.adafruit.com ----------------------------------------- LIVE CHAT IS HERE! http://adafru.it/discord Adafruit on Instagram: https://www.instagram.com/adafruit Subscribe to Adafruit on YouTube: http://adafru.it/subscribe New tutorials on the Adafruit Learning System: http://learn.adafruit.com/ -----------------------------------------

Lucy Butler is a special ed teacher who at the start of the 2021-2022 school year was given the assignment of working with all the students in her high school who had failed ninth grade the previous year. Lucy had been attending my on-line clinics through the summer and over Labor Day weekend she attended our Science Camp, so she was very excited to apply the concepts of constructional training to her classroom students. With the help of Dr Claire St Peter and two of Claire's former graduate students, Lucy began the process of changing the lives of her students. In Part 1 Lucy reviewed some of the major lessons from the first half of the year. In Part Two we move into the second half of the year with a discussion of SMART goals. The students were learning that felt good to improve, so now they were further empowered by being asked to develop their own goals. What did they want to improve? Learn about SMART goals and how to use a Ruleg matrix to teach complex concepts.

Welcome to EP 4 of Year 12 diaries which aims to celebrate and uncover the challenges and successes of year 12!  This episode covers - my final ever high-school camp, so sadd. We had lots of fun, which includes an elevator incident or two... English Oral presentation mishaps... analysing my survey data gathered for extended investigations and preparing for the Matrices, Further maths SAC..  SAC goals for the maths sac - 70+, matrices can be confusing, but generally an achievable topic for everyone. Chill zone: weekly tips regarding maintaining mental health -socialising with friends.  - Busting Year 12 myths (Do you need to study hard to get a great ATAR?  Please send in your questions below!   ---   Contact Email - jezzaa004@gmail.com   Instagram - https://www.instagram.com/jezzandfriends

Welcome to From Complex to Queens, the Amazin' Avenue podcast focusing on the Mets' minor league system. Inspired by an email that became a meme, Steve, Lukas, Ken, and Thomas decide between From Complex To Queens memes, in Promote, Extend, Trade. Next, Steve, Lukas, Ken, and Thomas give updates on their Way-Too-Early Draft Special players of interest. After, they discuss one of the latest mock drafts and discuss recent events involving player who is a major reason why the Mets will be drafting they way they will in 2022. After, the guys review how the Syracuse Mets, Binghamton Rumble Ponies, Brooklyn Cyclones, and St. Lucie Mets did this past week. Lastly, the team discusses some interesting articles written by JJ Cooper of Baseball America this past week regarding minor league stadiums and facility standards. As always, you can listen or subscribe to the podcast through Apple Podcasts, where we encourage you to leave a review if you enjoy the show. It really helps! And you can find us on the Stitcher app, Spotify, or listen wherever you get podcasts. Got questions? Comments? Concerns? You can email the show at fromcomplextoqueens at gmail dot com, and follow us on Twitter: Steve is (@stevesypa), Lukas is (@lvlahos343), Ken is (@kenlavin91), and Thomas is (@sadmetsszn). Until next week, #lovethemets #lovethemets! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Only ONE PODCAST has the BALLS to do Charlie Sheen bits in 2022! It's okay, it's actually relevant to today's episode, I'm fine.Welcome to the Friendsmen program, today we have the Psychmen from the We Heard About Pluto Podcast; George, Reegs and Guest JP are here. We talk about Leather Face, Matrices, and of course we talk about whatever the shit Chandler is doing this week. Fuck, Chandler is so fucking funny.JP was admitted to a hospital after pulling double duty as guest and host, He has not yet woken up, please send money to Clare.Follow the FriendsmenProduced by @xytmusicWatch and Listen to our guests programs:We Heard About Pluto PodcastThe Best Little Horror House in Philly PatreonFamily Dinner with JP on TwitchHappy Hour with Reegs on TwitchNate and Dean do a Stream on Twitch

In this week's episode Greg and Patrick continue their discussion from last week in The Mättrix Part Deux, exploring the magic of matrices including estimation, eigenvalues, and eigenvectors. Along the way they also mention flawed audio transcripts, 50 Shades of Greg, drunkenly shoving a matrix, drug mules, things you need, isomorphic interdigitation, plywood and tennis balls, heroin-filled condoms, talking to volleyballs, bawitdaba da bang a dang diggy diggy, meat grinders, not going to prom, vector bouquets, and The Wright Stuff.  

Ben and Jon dig into their experiences with both the original Matrix and the latest entry into the series.

The end of the quarter-finals is in sight as Edinburgh join Imperial in the Semifinals. Despite several lost points and a concerted effort from the Emmanuel team, the last Scottish University in the competition clinched it at the very last. Join us as we dissect the teams' performances, as well as tangents on the importance of editing in film, the nightmares that are Matrices and the sneaky reemergence of English Geography.

This week, we enlisted a lotta help from CoinOps' longtime buddy: Daemon. There's more to this Ep than a mere review of The Matrix Resurrections. We go beyond the film to discuss what's beneath it, around it, and inside it. No one can tell you what that is. You have to hear it for yourself.Daemon's notes:Barbara Kruger's profile on the MoMA's websiteCáel Keegan's 2019 talk on the Matrix's aesthetics"Lana and Lilly Wachowski: Sensing Transgender""all about love”"Love and Living""The Matrix Sequels Are Good, Actually,”"But She Said: Feminist Practices of Biblical Interpretation."Here is the interview with Lana Wachowski on the red carpet with IGNHit us up here:patreon.com/neondystopiahttps://twitter.com/neondystopiahttps://twitter.com/L0wl1f3Thehttps://www.neondystopia.com/https://mixlr.com/coinops-mcgillicuttyhttps://discord.gg/M6fGZERb7Zl0wl1f3crapshop.com

Vince and Phil do a shameful sequel to their last podcast about THE MATRIX RESURRECTION. Click her to listen to this episode. Click here to visit our TeePublic store for 3 Drinks in Podcast merch! This podcast is available here … Continue reading →

During this week's episode, Dom and John discuss the challenges of bioanalysis in non-routine matrices."The Weekly Bioanalysis" is a podcast dedicated to discussing Bioanalytical news, tools and services related to the Pharmaceutical, Biopharmaceutical and Biomarker industries. Every week, KCAS will bring you another 30 minutes of friendly banter between our two finest Senior Scientific Advisors as they chat over coffee and brief themselves on what they've learned about the Bioanalytical world the past week.The Weekly Bioanalysis is brought to you by KCAS. KCAS is a progressive growing contract research organization of well over 100 talented and dedicated individuals committed to serving our clients and improving health worldwide. Our experienced scientists provide stand-alone bioanalytical services to the Pharmaceutical, Biopharmaceutical, Animal Health and Medical Device industries.

In order to guide our discussion, we will use the paper Further Thoughts on the Utilities of Risk Matrices.Topics:The risk matrix was something to use to determine expected values.Today, the risk matrix is a table, not just an equation.Risk matrices can prove helpful in decision making.There are a few types of papers that discuss the efficacy of risk matrices.The Loss of Information idea.Cox's coloring rules for matrices.How formal decision making processes can be damaging.How risk matrices are often used in organizationsQuotes:“The assumption is that we use risk matrices, because they help us, in some way, to make decisions.”“...What you're representing on the matrix is less information than you started with: It's either less precision than you had or its not representing the full range of uncertainty…”“We've got a lot of tools in safety and risk management...and it's worth knowing how those tools are being used and how effective people find them…”Resources:Ball, D. J., & Watt, J. (2013). Further thoughts on the utility of risk matrices. Risk analysis, 33(11), 2068-2078.Anthony (Tony) Cox Jr, L. (2008). What's wrong with risk matrices?. Risk Analysis: An International Journal, 28(2), 497-512.Feedback@safetyofwork.com