diff --git a/2026-01-30.md b/2026-01-30.md index af5fca8..0bf49cb 100644 --- a/2026-01-30.md +++ b/2026-01-30.md @@ -76,3 +76,14 @@ $n$ times in a row. There is a 93.75% chance that the median of a population is between the smallest and largest values in any random sample of five from that population. + +## 2026-01-30 18:33 + +Why is it that I find it so easy, even compulsory, +to clean my house while working from home, +even after returning from work on-site? +Why again does that feeling of necessity +persist even into the evening, +when I would normally be home anyway, +but unable to summon the will to do anything +about rapidly growing piles of dirty dishes and clothes? diff --git a/2026-01-31.md b/2026-01-31.md new file mode 100644 index 0000000..d61fbb2 --- /dev/null +++ b/2026-01-31.md @@ -0,0 +1,55 @@ +--- +id: +aliases: [] +title: 2026-01-31 +tags: + - authorship/original + - destiny/permanent + - status/draft + - type/daily +dg-publish: true +--- +# 2026-01-31 + +## 2026-01-31 12:48 + +Follow-up to [[2026-01-19#2026-01-19 11:57]] + +a **natural-language parser** +could easily determine where hyphens should be replaced with em dashes. + +"deep-set" `{ADJECTIVE}-{VERB_PAST_TENSE}` -> `{COMPOUND_ADJECTIVE}` +"leather-covered" `{NOUN}-{VERB_PAST_TENSE}` -> `{COMPOUND_ADJECTIVE}` +"magic-worker" `{NOUN}-{AGENT_NOUN}` -> `{COMPOUND_NOUN}` +"eon-old" `{NOUN}-{ADJECTIVE}` -> `{COMPOUND_ADJECTIVE}` +"one-armed" `{NUMBER_ADJECTIVE}-{ADJECTIVE}` -> `{COMPOUND_ADJECTIVE}` +"twenty-two" `{NUMBER_ADJECTIVE}-{NUMBER_ADJECTIVE}` -> `{NUMBER_ADJECTIVE}` + +[Agent noun](https://en.wikipedia.org/wiki/Agent_noun) + +- **-er / -or**: _worker, runner, actor_ +- **-ist**: _pianist, socialist_ +- **-ant / -ent**: _assistant, respondent_ + +[Theta role](https://en.wikipedia.org/wiki/Theta_role) + +- **-ee** (often recipient rather than doer, but related): _employee, trainee_ + +## 2026-01-31 17:49 + +[Linux Bash Shell Script Error: cannot execute: required file not found - Unix Stack Exchange](https://unix.stackexchange.com/questions/721844/linux-bash-shell-script-error-cannot-execute-required-file-not-found) + +> [!quote] [ctrl-alt-delor](https://unix.stackexchange.com/users/4778/) 2022-10-21 08:16 +> Note: use of back ticks e.g. `... ``command`` ...` is deprecated. Use the newer easier to use `"$(command)"` (but yes this simple use with echo is hoop jumping). Use of `.sh` at the end of file names is not Unix. And it violates the principle of abstraction, as it leaks implementation detail. Just name them by what they do, not how they do it. + +> [!quote] [Kusalananda](https://unix.stackexchange.com/users/116858/) 2022-10-21 08:22 +> @ctrl-alt-delor They are most definitely not deprecated, only awkward to use and should be avoided. In this particular case, any type of command substitution would be inappropriate. As for naming files, that's really up to the user. If you are concerned with abstraction, you could suggest the user uses the `hostname` command directly rather than via a nonsensical script with a function. + +> [!quote] ctrl-alt-delor 2022-10-21 08:29 +> `deprecate` : express disapproval of. I disapprove. You say should be avoided. Thus deprecated. As for up to the user. I agree, it is the same for drug use. And the best abstraction is no abstraction (it depends). However I assume the examples were minimum non-working examples. + +> [michael](https://unix.stackexchange.com/users/7832/) 2023-01-07 03:48 +> fwiw, this error is _usually_ a bad shebang, see also [stackoverflow.com/a/18818809/127971](https://stackoverflow.com/a/18818809/127971) + +> [Ed Swangren](https://unix.stackexchange.com/users/597584/) 2024-09-28 07:46 +> @ctrl-alt-delor `deprecate(3):` to withdraw official support for or discourage the use of (something, such as a software product) in favor of a newer or better alternative" you're right, but only accidentally, so no credit given and mockery warranted. Citing a dictionary definition in a technical context is always wrong, citing the wrong one is lazy and stupid, and citing your opinion as evidence is in line with what I'd expect after #1 and #2. No one cares. diff --git a/2026-02-01.md b/2026-02-01.md new file mode 100644 index 0000000..0d14c56 --- /dev/null +++ b/2026-02-01.md @@ -0,0 +1,15 @@ +--- +id: +aliases: [] +title: 2026-02-01 +tags: + - authorship/original + - destiny/permanent + - status/draft + - type/daily +dg-publish: true +--- +# 2026-02-01 + +## 2026-02-01 08:51 + diff --git a/2026-02-02.md b/2026-02-02.md new file mode 100644 index 0000000..51a127b --- /dev/null +++ b/2026-02-02.md @@ -0,0 +1,61 @@ +--- +id: +aliases: [] +title: 2026-02-02 +tags: + - authorship/original + - destiny/permanent + - status/draft + - type/daily +dg-publish: true +--- +# 2026-02-02 + +## 2026-02-02 06:50 + +I'm considering including management scripts in this vault, +but I'd generally prefer to keep it content only. +Ideally I could do anything I'd use a script for with a plugin, +but they have their limitations. +Eventually I should [[learn-to-write-obsidian-plugins]], +but for now here's a useful cmdlet I wrote a while ago but misplaced. + +```powershell +function Import-Markdown { + [CmdletBinding()] + param( + [Parameter(Mandatory)] + [string]$Path + ) + try { + $command = Get-Command ConvertFrom-Yaml -ErrorAction "Stop" + } + catch { + throw "no YAML conversion module installed. Try ``Install-Module powershell-yaml``." + } + + $content = Get-Content -Path $Path -Raw + $pattern = [Regex]'(?ms)^---\s*(.*?)\s*---\s*(.*)$' + $match = $pattern.Match($content) + if ($match.Success) { + $frontmatter = $match.Groups[1].Value + $body = $match.Groups[2].Value + } + else { + $frontmatter = '' + $body = $content + } + + return [pscustomobject]@{ + frontmatter = $frontmatter | ConvertFrom-Yaml + body = $body + } +} +``` + +That pattern is bizarre, and it needs better error handling, +but it works. + +A `Where-Markdown` for filtering by tags +and a `{Verb}-Markdown` for modifying tags +would be idiomatic. diff --git a/463-davison-ave-ne.md b/463-davison-ave-ne.md index df19ec0..285601b 100644 --- a/463-davison-ave-ne.md +++ b/463-davison-ave-ne.md @@ -12,6 +12,18 @@ tags: 463 Davison Ave NE St. Petersburg, FL 33703 +[Inspection results](https://app.tapinspect.com/shares/019c406e-758b-4d36-8cbe-2bf53a3daf87) + +## Insurance + +Homeowners Insurance: +Insurer: [American Traditions Insurance Company](https://portal.jergermga.com/) +Policy Number: ATH1143034 + +Flood Insurance: +Insurer: [National General](https://eservice.nationalgeneral.com/) +Policy Number: 0003457855 + ## Spaces ### Living/Dining @@ -43,4 +55,4 @@ Maybe take back from Val. 1 each bedroom (3) 2--3 living/dining area -#### \ No newline at end of file +#### diff --git a/homelab.md b/homelab.md index 506ed19..007bc3d 100644 --- a/homelab.md +++ b/homelab.md @@ -18,6 +18,7 @@ dg-publish: true * Calibre * Jellyfin * Local LLM's +* [Navidrome](https://www.navidrome.org/) ## REST Server @@ -57,4 +58,4 @@ her info is with her and a copy is with the rest of the computer docs. I followed this for basics, but it won't be enough for subsequent steps. -() +[How To Configure Nginx as a Reverse Proxy on Ubuntu](https://www.digitalocean.com/community/tutorials/how-to-configure-nginx-as-a-reverse-proxy-on-ubuntu-22-04) diff --git a/lovecraft_1937_writing-weird-fiction.md b/lovecraft_1937_writing-weird-fiction.md new file mode 100644 index 0000000..c737c9f --- /dev/null +++ b/lovecraft_1937_writing-weird-fiction.md @@ -0,0 +1,201 @@ +--- +id: +aliases: [] +title: Notes on Writing Weird Fiction +tags: + - authorship/other + - destiny/permanent + - exclude-from-word-count + - status/complete + - topic/writing + - type/media/article +authors: + - Howard Phillips Lovecraft +type: article +year: 1937 +--- +# Notes on Writing Weird Fiction + +My reason for writing stories +is to give myself the satisfaction of visualising +more clearly and detailedly and stably +the vague, elusive, fragmentary impressions +of wonder, beauty, and adventurous expectancy +which are conveyed to me by certain sights +(scenic, architectural, atmospheric, etc.), +ideas, occurrences, and images encountered in art and literature. +I choose weird stories because they suit my inclination best--- +one of my strongest and most persistent wishes being to achieve, momentarily, +the illusion of some strange suspension or violation +of the galling limitations of time, space, and natural law +which for ever imprison us and frustrate our curiosity +about the infinite cosmic spaces beyond the radius of our sight and analysis. +These stories frequently emphasise the element of horror +because fear is our deepest and strongest emotion, +and the one which best lends itself to the creation of nature-defying illusions. +Horror and the unknown or the strange are always closely connected, +so that it is hard to create a convincing picture +of shattered natural law or cosmic alienage or "outsideness" +without laying stress on the emotion of fear. +The reason why _time_ plays a great part in so many of my tales +is that this element looms up in my mind +as the most profoundly dramatic and grimly terrible thing in the universe. +_Conflict with time_ seems to me the most potent and fruitful theme +in all human expression. + +While my chosen form of story-writing +is obviously a special and perhaps a narrow one, +it is none the less a persistent and permanent type of expression, +as old as literature itself. +There will always be a small percentage of persons +who feel a burning curiosity about unknown outer space, +and a burning desire to escape from the prison-house of the known and the real +into those enchanted lands of incredible adventure and infinite possibilities +which dreams open up to us, +and which things like deep woods, fantastic urban towers, +and flaming sunsets momentarily suggest. +These persons include great authors +as well as insignificant amateurs like myself--- +Dunsany, Poe, Arthur Machen, M. R. James, Algernon Blackwood, +and Walter de la Mare being typical masters in this field. + +As to how I write a story---there is no one way. +Each one of my tales has a different history. +Once or twice I have literally written out a dream; +but usually I start with a mood or idea or image which I wish to express, +and revolve it in my mind until I can think of a good way of embodying it +in some chain of dramatic occurrences capable of being recorded in concrete terms. +I tend to run through a mental list of the basic conditions or situations +best adapted to such a mood or idea or image, +and then begin to speculate on logical and naturally motivated explanations +of the given mood or idea or image +in terms of the basic condition or situation chosen. + +The actual process of writing is of course +as varied as the choice of theme and initial conception; +but if the history of all my tales were analysed, +it is just possible that the following set of rules +might be deduced from the _average_ procedure: + +1. Prepare a synopsis or scenario of events + in the order of their absolute _occurrence_--- + not the order of their narration. + Describe with enough fulness to cover all vital points + and motivate all incidents planned. + Details, comments, and estimates of consequences + are sometimes desirable in this temporary framework. + +2. Prepare a second synopsis or scenario of events--- + this one in order of _narration_ (not actual occurrence), + with ample fulness and detail, + and with notes as to changing perspective, stresses, and climax. + Change the original synopsis to fit + if such a change will increase the dramatic force + or general effectiveness of the story. + Interpolate or delete incidents at will--- + never being bound by the original conception + even if the ultimate result be a tale wholly different from that first planned. + Let additions and alterations be made + whenever suggested by anything in the formulating process. + +3. Write out the story--- + rapidly, fluently, and not too critically--- + following the _second_ or narrative-order synopsis. + Change incidents and plot + whenever the developing process seems to suggest such change, + never being bound by any previous design. + If the development suddenly reveals new opportunities + for dramatic effect or vivid storytelling, + add whatever is thought advantageous--- + going back and reconciling the early parts to the new plan. + Insert and delete whole sections if necessary or desirable, + trying different beginnings and endings until the best arrangement is found. + But be sure that all references throughout the story are thoroughly reconciled with the final design. + Remove all possible superfluities--- + words, sentences, paragraphs, or whole episodes or elements--- + observing the usual precautions about the reconciling of all references. + +4. Revise the entire text, + paying attention to vocabulary, syntax, + rhythm of prose, proportioning of parts, niceties of tone, + grace and convincingness of transitions + (scene to scene, slow and detailed action + to rapid and sketchy time-covering action + and vice versa. . . . etc., etc., etc.), + effectiveness of beginning, ending, climaxes, etc., + dramatic suspense and interest, plausibility and atmosphere, + and various other elements. + +5. Prepare a neatly typed copy--- + not hesitating to add final revisory touches where they seem in order. + +The first of these stages is often purely a mental one--- +a set of conditions and happenings being worked out in my head, +and never set down until I am ready to prepare a detailed synopsis of events in order of narration. +Then, too, I sometimes begin even the actual writing +before I know how I shall develop the idea--- +this beginning forming a problem to be motivated and exploited. + +There are, I think, four distinct types of weird story; +one expressing a _mood or feeling,_ +another expressing a _pictorial conception,_ +a third expressing a _general situation, condition, legend, or intellectual conception,_ +and a fourth explaining a _definite tableau or specific dramatic situation or climax._ +In another way, weird tales may be grouped into two rough categories--- +those in which the marvel or horror concerns some _condition_ or _phenomenon,_ +and those in which it concerns some _action of persons_ +in connexion with a bizarre condition or phenomenon. + +Each weird story---to speak more particularly of the horror type--- +seems to involve five definite elements: +(a) some basic, underlying horror or abnormality---condition, entity, etc.---, +(b) the general effects or bearings of the horror, +(c) the mode of manifestation---object embodying the horror and phenomena observed---, +(d) the types of fear-reaction pertaining to the horror, and +(e) the specific effects of the horror in relation to the given set of conditions. + +In writing a weird story I always try very carefully +to achieve the right mood and atmosphere, +and place the emphasis where it belongs. +One cannot, except in immature pulp charlatan--fiction, +present an account of impossible, improbable, or inconceivable phenomena +as a commonplace narrative of objective acts and conventional emotions. +Inconceivable events and conditions have a special handicap to overcome, +and this can be accomplished only through the maintenance of a careful realism +in every phase of the story _except_ that touching on the one given marvel. +This marvel must be treated very impressively and deliberately--- +with a careful emotional "build-up"--- +else it will seem flat and unconvincing. +Being the principal thing in the story, +its mere existence should overshadow the characters and events. +But the characters and events must be consistent and natural +except where they touch the single marvel. +In relation to the central wonder, +the characters should shew the same overwhelming emotion +which similar characters would shew toward such a wonder in real life. +Never have a wonder taken for granted. +Even when the characters are supposed to be accustomed to the wonder +I try to weave an air of awe and impressiveness +corresponding to what the reader should feel. +A casual style ruins any serious fantasy. + +Atmosphere, not action, is the great desideratum of weird fiction. +Indeed, all that a wonder story can ever be +is _a vivid picture of a certain type of human mood._ +The moment it tries to be anything else +it becomes cheap, puerile, and unconvincing. +Prime emphasis should be given to _subtle suggestion_--- +imperceptible hints and touches of selective associative detail +which express shadings of moods +and build up a vague illusion of the strange reality of the unreal. +Avoid bald catalogues of incredible happenings +which can have no substance or meaning +apart from a sustaining cloud of colour and symbolism. + +These are the rules or standards which I have followed--- +consciously or unconsciously--- +ever since I first attempted the serious writing of fantasy. +That my results are successful may well be disputed--- +but I feel at least sure that, +had I ignored the considerations mentioned in the last few paragraphs, +they would have been much worse than they are. diff --git a/ogden_1951_hangman.md b/ogden_1951_hangman.md new file mode 100644 index 0000000..83b055d --- /dev/null +++ b/ogden_1951_hangman.md @@ -0,0 +1,173 @@ +--- +id: +aliases: [] +title: The Hangman +tags: + - authorship/other + - destiny/permanent + - exclude-from-word-count + - status/complete + - type/media/poetry +authors: + - Maurice Ogden +year: 1951 +--- +# The Hangman + +## 1. + +Into our town the Hangman came \ +Smelling of gold and blood and flame--- \ +And he paced our bricks with a diffident air \ +And built his frame on the courthouse square. + +The scaffold stood by the courthouse side, \ +Only as wide as the door was wide; \ +A frame as tall, or little more, \ +Than the capping sill of the courthouse door. + +And we wondered, whenever we had the time, \ +Who the criminal, what the crime, \ +The Hangman judged with the yellow twist \ +Of knotted hemp in his busy fist. + +And innocent though we were, with dread \ +We passed those eyes of buckshot lead;  \ +Till one cried: "Hangman, who is he \ +For whom you raise the gallows-tree?" + +Then a twinkle grew in the buckshot eye, \ +And he gave us a riddle instead of reply: \ +"He who serves me best," said he, \ +"Shall earn the rope on the gallows-tree." + +And he stepped down, and laid his hand \ +On a man who came from another land. \ +And we breathed again, for another's grief \ +At the Hangman's hand was our relief. + +And the gallows-frame on the courthouse lawn \ +By tomorrow's sun would be struck and gone. \ +So we gave him way, and no one spoke, \ +Out of respect for his hangman's cloak. + +## 2. + +The next day's sun looked mildly down \ +On roof and street in our quiet town \ +And, stark and black in the morning air, \ +The gallows-tree on the courthouse square. + +And the Hangman stood at his usual stand \ +With the yellow hemp in his busy hand;  \ +With his buckshot eye and his jaw like a pike \ +And his air so knowing and businesslike. + +And we cried: "Hangman, have you not done, \ +Yesterday, with the alien one?" \ +Then we fell silent, and stood amazed: \ +"Oh, not for him was the gallows raised . . ." + +He laughed a laugh as he looked at us: \ +" . . . Did you think I'd gone to all this fuss \ +To hang one man? That's a thing I do \ +To stretch the rope when the rope is new." + +Then one cried "Murderer!" One cried "Shame!" \ +And into our midst the Hangman came \ +To that man's place. "Do you hold," said he, \ +With him that's meant for the gallows-tree?" + +And he laid his hand on that one's arm, \ +And we shrank back in quick alarm, \ +And we gave him way, and no one spoke \ +Out of fear of his hangman's cloak. + +That night we saw with dread surprise \ +The Hangman's scaffold had grown in size. \ +Fed by the blood beneath the chute \ +The gallows-tree had taken root. + +Now as wide, or a little more, \ +Than the steps that led to the courthouse door, \ +As tall as the writing, or nearly as tall, \ +Halfway up on the courthouse wall. + +## 3. + +The third he took---and we had all heard tell--- \ +Was a usurer and infidel. And: \ +"What," said the Hangman, "have you to do \ +With the gallows-bound, and he a Jew?" + +And we cried out: "Is this one he \ +Who has served you well and faithfully?" \ +The Hangman smiled: "It's a clever scheme \ +To try the strength of the gallows-beam." + +The fourth man's dark, accusing song \ +Had scratched out comfort hard and long;  \ +And "What concern," he gave us back, \ +"Have you for the doomed---the doomed and black?" + +The fifth. The sixth. And we cried again: \ +"Hangman, Hangman, is this the man?" \ +"It's a trick," he said, "that we hangmen know \ +For easing the trap when the trap springs slow." + +And so we ceased and asked no more, \ +As the Hangman tallied his bloody score; \ +And sun by sun, and night by night, \ +The gallows grew to monstrous height. + +The wings of the scaffold opened wide \ +Till they covered the square from side to side;  \ +And the monster cross-beam, looking down,  \ +Cast its shadow across the town. + +## 4. + +Then through the town the Hangman came \ +And called in the empty streets my name, \ +And I looked at the gallows soaring tall \ +And thought: "There is no one left at all + +For hanging, and so he calls to me \ +To help him pull down the gallows-tree." \ +And I went out with right good hope \ +To the Hangman's tree and the Hangman's rope. + +He smiled at me as I came down \ +To the courthouse square through the silent town, \ +And supple and stretched in his busy hand \ +Was the yellow twist of the hempen strand. + +And he whistled his tune as he tried the trap \ +And it sprang down with a ready snap--- \ +And then with a smile of awful command \ +He laid his hand upon my hand. + +"You tricked me, Hangman!" I shouted then, \ +"That your scaffold was built for other men . . . \ +And I no henchman of yours," I cried. \ +"You lied to me, Hangman, foully lied!" + +Then a twinkle grew in the buckshot eye: \ +"Lied to you? Tricked you?" he said, "Not I. \ +For I answered straight and I told you true: \ +The scaffold was raised for none but you." + +"For who has served me more faithfully \ +Than you with your coward's hope?" said he, \ +"And where are the others that might have stood \ +Side by your side in the common good?" + +"Dead," I whispered: and amiably, \ +"Murdered," the Hangman corrected me;  \ +"First the alien, then the Jew . . . \ +I did no more than you let me do." + +Beneath the beam that blocked the sky, \ +None had stood so alone as I--- \ +And the Hangman strapped me, and no voice there \ +Cried "Stay!" for me in the empty square. diff --git a/wishlist.md b/wishlist.md index 69f54f2..b73b4c6 100644 --- a/wishlist.md +++ b/wishlist.md @@ -17,4 +17,5 @@ dg-publish: true ## Pricier -* [ ] [[e-ink-tablet]] \ No newline at end of file +* [ ] [[e-ink-tablet]] +* [ ] 61-key midi controller (M-AUDIO Keystation 61 MK3, Nektar Impact GXP61) \ No newline at end of file