When confronted with self-evidently brutal and ridiculous behaviour from their god, religious people will sometimes complain about “context”. The reason they do this is because they think it will shut down the argument. 

Complaining about “out of context” doesn’t mean anything unless you understand the correct context. So go ahead. 

I’ll wait. 

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The art of neural networks

@tedx talk from Mike Tyka explains the processes of neural networks and places them in the context of artistic technology:

Did you know that art and technology can produce fascinating results when combined? Mike Tyka, who is both artist and computer scientist, talks about the power of neural networks. These algorithms are capable to transform computers into artists that can generate breathtaking paintings, music and even poetry.

Dr. Mike Tyka studied Biochemistry and Biotechnology at the University of Bristol. He obtained his Ph.D. in Biophysics in 2007 and went on to work as a research fellow at the University of Washington, studying the structure and dynamics of protein molecules. In particular, he has been interested in protein folding and has been writing computer simulation software to better understand this fascinating process.

In 2009, Mike and a team of artists created Groovik’s Cube, a 35 feet tall, functional, multi-player Rubik’s cube. Since then, he co-founded ATLSpace, an artist studio in Seattle and has been creating metal and glass sculptures of protein molecules. In 2013 Mike went to Google to study neural networks, both artificial and natural. This work naturally spilled over to his artistic interests, exploring the possibilities of artificial neural networks for creating art.

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Among the largest fairs during Miami Art Week has always been the extensive Art Miami, which was conjoined with its sister fair CONTEXT Art Miami in Wynwood, and Aqua Art Miami on the other side of the causeway. We first attended Aqua Art Miami, so named for its host, the Aqua Hotel. Since 2005, the fair has filled room after room, and even the hotel’s hallways, with works by emerging galleries and mid-career artists.

Miami Art Week 2015: CONTEXT, Art Miami, and Aqua Art Miami Recap

Bump in the Night
  • *Annabeth presses ear against cabin door*
  • Percy:Harder!
  • Jason:*grunt*
  • Percy:C'mon harder!
  • Jason:Fuck!
  • Percy:I don't want to be able to walk tomorrow Grace! Harder! Faster!
  • Jason:*groans loudly*
  • Annabeth:JUST WHAT THE HADES IS GOING ON HERE! *bursts into the cabin*
  • Percy:*standing in the middle of the room with a wooden training sword and a pillow duct taped to his chest*
  • Jason:*lying on the floor in pain*
  • Percy:We're training Annabeth, gods.
  • Annabeth:Zeus dammit! Why is it never sex? I have a fifty bucks riding on this!

A bit more thought on that Oscar de la Renta quote: Since all of this is a quote out of context, I was trying to figure out what context this was said in and whether the item was meant as maybe a men’s valet tray, in which case the intended audience would be men, and the meaning would be as mentioned by one of the other commenters- backup. However, since Oscar de la Renta created women’s fashions, most of the quotes I found were about women. He often dressed fairly powerful women, and said he admired confidence, so I’m guessing that’s what he was referring to; a context of  public display where you WANT people’s attention. Your average person trying to get home at night by herself is not the intended audience.

Pretty sure the Oscar de la Renta team (since he’s passed away) does have some powerful women on it, but also pretty sure they don’t have everyday women on the street in mind when selling something like this. It still seems fairly sexist to be directed at women - we’re supposed to be on display for the the attention of men all the time? But maybe that’s not what was meant.

Nuance, I suppose, which I’m not very good at. They could be staring at your ass, or you could be leading them. The first, creepy; the second, more fitted to women who wore (and could afford) his outfits, such as Hillary Clinton (not an endorsement, just one of his customers).

Her queenship alone makes her unique, even among other women of her time.  Therefore, this study of her life must be one of constant questions, reasoned speculation and theories.  Her reputation and that of her family have, to an extent, been determined by certain responses perpetrated by early historians.  The authors of these are exclusively male.  Elizabeth’s actions as a princess, woman, wife, mother  and queen need to be judged by the standards of regal, wifely and motherly behavior of her time.  Literary and historical sources can offer some sense of the ideals of contemporary conduct but these cannot present us will a full picture of the workings of late fifteenth-century society.  The careers of her predecessors, Margaret of Anjou and her own mother, Elizabeth Wydeville, are most clarified when they deviated from the regal behavioral models of the time…

… Modern accounts of her life can present her as disappointingly one-dimensional, while historical sources emphasize her status; she is a construct of her feminity, beauty and fecundity; a distant iconic ideal.  Yet she was also a real woman.  Perhaps she may emerge as not so meek and mild after all, but rather an adaptor and survivor, operating within the limits of her choices.  And they were severely limited.

—  “Elizabeth of York: The Forgotten Tudor Queen”, Amy Licence