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.
@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.
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
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.
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