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829 results for “aoanla”
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@aoanla @quixoticgeek I think both of you are correct, and to make sure we establish something more concrete here, I would model a simple #Bayesian (#Markov) chain:
Helmet‑free → higher bike‑commute mode share → increased daily physical activity → lower incidence of rare cardiovascular disease
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CW: AoC 2025 Day 1 in Uiua
I've completed "Secret Entrance" - Day 1 - Advent of Code 2025 #AdventOfCode https://adventofcode.com/2025/day/1
Doing this in #uiua and I'm rusty so this is probably inefficient for pt2 but I wanted to chunk it into logical pieces. Listing is the parser and took me the longest to think about before I got to this version of it :D
Listing ← ≡₀(⋕⍣°(⊂@r)(⊂@-↘1) °□) ⊜□ ⊸≠@\n &fras "input"
Loops ← /+⁅-0.5÷ 100⌵ Listing
Moves ← ⍜⊙⌵◿ 100 Listing
Positions ← \(◿ 100 +)⊂ [50] Moves
Counts ← /+⨬(×⊙(±) ⊸≤ ⌵|⋅⋅0|≤ ⊙(⌵-100)) ⊸(+1±) Moves ⍜⇌ (↘ 1) Positions
+ Counts Loopshttps://codeberg.org/aoanla/Advent-of-code/src/branch/main/2025/01 for the fully commented version (as I was thinking about it out loud in the file)
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So, the Roller Derby World Cup happened from 3-6 July in Innsbruck, Austria. Our hosts Fearless Bruisers Innsbruck were extremely hard working, and from the 1st to the 7th (including set up + teardown time) we worked with 6 THOs, 2 THAs, 2 THPs and three GTOs (and 9 officiating crews, dozens of announcers and photographers, and a host of volunteers, along with our streaming tech friends at Real-Time Events) to make the world's largest Roller Derby event in history happen.
Despite this record-breaking scale over 5 tracks and 80 games, each of our 48 teams only played 3⅓ games on average. In order to make it possible to effectively run the equivalent of a qualifier, "group stage" and elimination all in just 4 days - with 6 teams entirely new to Derby! - we needed to use a tiny bit of statistics.
The advantage of the stats is that we can present you with a considerably richer "final result" than most sporting events would - estimating not just final ratings but also our errors on those ratings.
Code for this graph is open to the public at https://codeberg.org/aoanla/RDWC2025 (the game data needed will be uploaded very soon).
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Btw, a very beta version of If I Fran The Con, a f(r)an game for If I Ran the Con and WorldCon 2024 can be played at https://www.scottishrollerderbyblog.com/IfIFranTheCon/ (using github pages hosting, hence the url).
It's very in progress, although it's actually playable so hence published at this point, and my first project in Inkle's Ink.Comments & pull requests to the repo ( https://github.com/aoanla/IfIFranTheCon ) appreciated.
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Btw, a very beta version of If I Fran The Con, a f(r)an game for If I Ran the Con and WorldCon 2024 can be played at https://www.scottishrollerderbyblog.com/IfIFranTheCon/ (using github pages hosting, hence the url).
It's very in progress, although it's actually playable so hence published at this point, and my first project in Inkle's Ink.Comments & pull requests to the repo ( https://github.com/aoanla/IfIFranTheCon ) appreciated.
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@skjeggtroll @aoanla @CrypticMirror @cstross
Agreed - I think all the major parties in this election illustrate that - apart from the #frogEyedGrifter of course who is just a spiv selling populist snake-oil
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Hugo Novella finalists
The Summer War by Naomi NovikLike "Cinder House" this is both steeped in fairy tale and, somehow, also has much more heft to it than most of the other finalists. (There's even a similar distinction drawn between human and fey magic)
Really v good. -
So, because I can't watch *this* year's Hugo finalists for Long Form Dramatic Presentation, I instead finally got around to watching one of *last* year's finalists - I Saw The TV Glow.
It is very hard going, for intentional reasons - that is, because it's good, not because it's not good. I'm definitely glad I watched it, but I'm going to take a while to process it.
[Interestingly, this is now the *only* finalist from 2025's awards I've seen.]
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So, whilst I appreciate the provision of some streaming codes for some of the Hugo award finalists for "Dramatic Presentation: Long Form"... I've just tried to get the site to work with three different browsers on linux (including the one the FAQ on the site recommends) and none of them work - the streaming platform errors out with a complaint about the right DRM not being available.
I guess I'm not voting for either of those finalists, then, since I can't watch them.
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So, I'm about a third of the way through Antonia Hodgson's "The Raven Scholar" in my Hugo Nominees read through... and it's doing a lot of things that really annoy me.
Lacklustre worldbuilding from lazy animal tropes - hey, "foxes are tricksy" and "oxen are reliable workers" and "hounds track things down" - through tons of anachronistic concepts and features [the main viewpoint character gets hot chocolate at one point, clearly intended to be the modern version of the drink, for example], and some arbitrary skepticism (the main character also doesn't believe in "magic" in the sense of the Gods, but she's literally directly experienced practical magic [like people who can read minds], and has a *magic book*).It gets some plus points for the main character clearly being neurodivergent coded... but also loses points for almost everyone in the book being written with the emotional control of a teenager despite being in their 30s or older.
We'll see if it gets better, but it's introduced a Murder Mystery but is spending most of its time on an already slightly tedious Trials sequence so...
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Yeah, on Dispatch: I tried giving episode 5 another go or two, but it's really lost its shine for me. Like a lot of games that want to be "adult", it's mostly like it was written by a 16 year old who wanted to sound like they were a decade older with no experience.
This is not getting my Hugo vote for best game, sadly. (I really did think it might, at Episode 1...)
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Yeah, on Dispatch: I tried giving episode 5 another go or two, but it's really lost its shine for me. Like a lot of games that want to be "adult", it's mostly like it was written by a 16 year old who wanted to sound like they were a decade older with no experience.
This is not getting my Hugo vote for best game, sadly. (I really did think it might, at Episode 1...)
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Yeah, on Dispatch: I tried giving episode 5 another go or two, but it's really lost its shine for me. Like a lot of games that want to be "adult", it's mostly like it was written by a 16 year old who wanted to sound like they were a decade older with no experience.
This is not getting my Hugo vote for best game, sadly. (I really did think it might, at Episode 1...)
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So, in other news, I played Esoteric Ebb over the last week or so.
I thought it was good, but not as good as Disco Elysium, which I'm on record as thinking is the best (computer) RPG ever made. This is relevant because Esoteric Ebb is very open about being influenced by the latter, and by the most philosophical of the late-90s/early2000s D&D video games, Planescape: Torment - broadly, it's approximately D&D 5e mechanics and a homebrew setting with metacommentary on D&D tropes (some of which as well worn as the fact that Enchantment is the most overtly evil school of magic, some of which becomes a bit overly postmodern for me), with DE's "your attributes speak to you", "you can internalise thoughts for bonuses", "politics is everywhere" and general approach to time passing and interactions.
Interestingly, the lone dev does *not* do 5e combat straight - it's a sort of fusion of DE's one combat encounter ("make choices in the same mode as everything else, but with higher stakes") and D&D initiative order and to-hit mechanics. What I find a little irritating about reviews of EE is how they call this innovative, when it's not even innovative for *tabletop* RPGs - there's plenty of systems which don't do D&D's turn-based mechanical approach to combat (including games where combat can be a single die roll, just like anything else, if it's not particularly important to the flow of the game).
And, I guess, broadly, this might also be why I'm generally not as incredibly enthusiastic about EE as reviewers seem to be - it's well-written, there's parts that are even quite effecting (but nothing as good as the best of DE)... but the fantasy-kitchen sink setting and the general "D&D wackiness" of it really detracts from the focus that made DE a truly excellent game. -
So, in other news, I played Esoteric Ebb over the last week or so.
I thought it was good, but not as good as Disco Elysium, which I'm on record as thinking is the best (computer) RPG ever made. This is relevant because Esoteric Ebb is very open about being influenced by the latter, and by the most philosophical of the late-90s/early2000s D&D video games, Planescape: Torment - broadly, it's approximately D&D 5e mechanics and a homebrew setting with metacommentary on D&D tropes (some of which as well worn as the fact that Enchantment is the most overtly evil school of magic, some of which becomes a bit overly postmodern for me), with DE's "your attributes speak to you", "you can internalise thoughts for bonuses", "politics is everywhere" and general approach to time passing and interactions.
Interestingly, the lone dev does *not* do 5e combat straight - it's a sort of fusion of DE's one combat encounter ("make choices in the same mode as everything else, but with higher stakes") and D&D initiative order and to-hit mechanics. What I find a little irritating about reviews of EE is how they call this innovative, when it's not even innovative for *tabletop* RPGs - there's plenty of systems which don't do D&D's turn-based mechanical approach to combat (including games where combat can be a single die roll, just like anything else, if it's not particularly important to the flow of the game).
And, I guess, broadly, this might also be why I'm generally not as incredibly enthusiastic about EE as reviewers seem to be - it's well-written, there's parts that are even quite effecting (but nothing as good as the best of DE)... but the fantasy-kitchen sink setting and the general "D&D wackiness" of it really detracts from the focus that made DE a truly excellent game. -
So, in other news, I played Esoteric Ebb over the last week or so.
I thought it was good, but not as good as Disco Elysium, which I'm on record as thinking is the best (computer) RPG ever made. This is relevant because Esoteric Ebb is very open about being influenced by the latter, and by the most philosophical of the late-90s/early2000s D&D video games, Planescape: Torment - broadly, it's approximately D&D 5e mechanics and a homebrew setting with metacommentary on D&D tropes (some of which as well worn as the fact that Enchantment is the most overtly evil school of magic, some of which becomes a bit overly postmodern for me), with DE's "your attributes speak to you", "you can internalise thoughts for bonuses", "politics is everywhere" and general approach to time passing and interactions.
Interestingly, the lone dev does *not* do 5e combat straight - it's a sort of fusion of DE's one combat encounter ("make choices in the same mode as everything else, but with higher stakes") and D&D initiative order and to-hit mechanics. What I find a little irritating about reviews of EE is how they call this innovative, when it's not even innovative for *tabletop* RPGs - there's plenty of systems which don't do D&D's turn-based mechanical approach to combat (including games where combat can be a single die roll, just like anything else, if it's not particularly important to the flow of the game).
And, I guess, broadly, this might also be why I'm generally not as incredibly enthusiastic about EE as reviewers seem to be - it's well-written, there's parts that are even quite effecting (but nothing as good as the best of DE)... but the fantasy-kitchen sink setting and the general "D&D wackiness" of it really detracts from the focus that made DE a truly excellent game. -
I realised that I've not really properly listened to any Divine Comedy albums after Regeneration (you know, the one where Neil Hannon tried to be something he's not, semi-disastrously). So, what better thing to do on Good Friday than catch up with several albums of back catalogue?
So far, it's quite impressive: it's still the case that every album has at least one track that makes me cry spontaneously (*two* on Bang Goes the Knighthood) *and* also at least one incisively witty track [although few as *angry* as The Complete Banker, also from the above album].
(I do cry easily from some triggers, but Hannon seems particularly good at this.) -
Back in July last year, I attended a workshop on Decolonising the Physics curriculum at #UniversityOfSheffield .
The recommendations from that workshop went to a report to the #IoP - and they're now public (along with a blog from the convener, Matt Mears) on the per-he website. https://per-he.org/from-cautious-ambition-to-coordinated-action-reflections-on-the-decolonising-the-physics-curriculum-workshop/ (link to Matt's blog that links in turn to the report)
I am especially proud at getting "epistemic harm" into the report as a concept, as I think it's pretty core to thinking about this area.
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Back in July last year, I attended a workshop on Decolonising the Physics curriculum at #UniversityOfSheffield .
The recommendations from that workshop went to a report to the #IoP - and they're now public (along with a blog from the convener, Matt Mears) on the per-he website. https://per-he.org/from-cautious-ambition-to-coordinated-action-reflections-on-the-decolonising-the-physics-curriculum-workshop/ (link to Matt's blog that links in turn to the report)
I am especially proud at getting "epistemic harm" into the report as a concept, as I think it's pretty core to thinking about this area.
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Back in July last year, I attended a workshop on Decolonising the Physics curriculum at #UniversityOfSheffield .
The recommendations from that workshop went to a report to the #IoP - and they're now public (along with a blog from the convener, Matt Mears) on the per-he website. https://per-he.org/from-cautious-ambition-to-coordinated-action-reflections-on-the-decolonising-the-physics-curriculum-workshop/ (link to Matt's blog that links in turn to the report)
I am especially proud at getting "epistemic harm" into the report as a concept, as I think it's pretty core to thinking about this area.
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Maximally annoying #videogames experience: on my first attempt today at Gold ranking a segment of #SayonaraWildHearts I got a score within 100pts of the target. I then failed to get within 2/3s of it for the next 10 goes...
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Maximally annoying #videogames experience: on my first attempt today at Gold ranking a segment of #SayonaraWildHearts I got a score within 100pts of the target. I then failed to get within 2/3s of it for the next 10 goes...
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Maximally annoying #videogames experience: on my first attempt today at Gold ranking a segment of #SayonaraWildHearts I got a score within 100pts of the target. I then failed to get within 2/3s of it for the next 10 goes...
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Maximally annoying #videogames experience: on my first attempt today at Gold ranking a segment of #SayonaraWildHearts I got a score within 100pts of the target. I then failed to get within 2/3s of it for the next 10 goes...
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Maximally annoying #videogames experience: on my first attempt today at Gold ranking a segment of #SayonaraWildHearts I got a score within 100pts of the target. I then failed to get within 2/3s of it for the next 10 goes...
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CW: Super Meat Boy short gameplay video
Okay, #videogames #supermeatboy is almost at an end... but after attempting the final (light world) boss level for about 3 hours in total, I still have absolutely no idea how to do the bit I die at in this video. And I mean no idea - I've tried approaching from various angles and I just die on the sawblades on the floor regardless (I might, if lucky, jump them once, but they get me the next time). What am I supposed to do here?
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A bit disappointed that people don't seem to widely recognise the xorshift prng nowadays...
#AdventOfCode2024