Again, this is not about faking a RAW file from scratch, just being able to edit it in place.

Of course, software people know that it would be tedious but technically straightforward to concoct a fake RAW file from another 'raw' format such as a PPM image. The stakes in these competitions can be quite high so it's a bit disconcerting that they rely on a presumption that converting RAW files to editable images is a one-way process.

The inversion of control that this paper is talking about is the way an application running on a webserver typically gets called by the browser rather than the other way around. Continuation-based webservers reverse this inversion and create an illusion of continuity of control flow on the server side. The application is suspended when a page is sent to the browser and resumed (via a continuation) when the response arrives. So this is about permitting server-side applications to be written in a nicer style as far as control flow is concerned.

I think you are getting downvoted because your comment more or less says that you don't know much about the background, and haven't read and understood the paper, but are inclined to dismiss it anyway.

Bear in mind that a secondary education, for most people, involves learning the basics of calculus. You might be thinking that all artists are bad at math or too stupid to grasp calculus. You might be thinking that there are no applications of calculus in art. I don't know. But given the role artists are supposed to play in society, it seems pretty reasonable to expect that some of them will have an interest in learning calculus to a high school level like a significant fraction of the non-specialist public.

A concrete example of this might be an artist who is interested in systems theory from an ecological perspective. Once you start talking about stocks and flows (of fish or minerals or greenhouse gases) then calculus and differential equations are really the next thing to tackle.

https://en.wikipedia.org/wiki/British_Rail_Class_46

Apparently one had to have a publishing contract to be admitted. I'm not sure how elitist that actually worked out to be.

There are also membership-funded places like http://www.writersroom.org/

I know more about how this works in the arts, where the relevant term is "residency". Access to exclusive residencies is usually allocated on the basis of previous career success, and they are usually funded by endowments of some kind. It's an example of institutional support for artists, and the top residencies are extremely elitist. There are lots of humble ones too, though.

It's a relief that the heavy mathematical prerequisites of optimal control theory aren't needed to understand what the birds do.

https://en.wikipedia.org/wiki/Proportional_navigation https://en.wikipedia.org/wiki/Constant_bearing,_decreasing_r...

Geeking out about this kind of topic is routine for people with an interest in engineering. And let's be clear: it really is just a matter of geeking out, people getting a thrill out of playing at "appearing to really know their stuff".

NB, the line taken by the cables of a suspension bridge with a deck of uniform weight is a parabola. I think this is what causes the popular confusion.

I know all about Chipperfield, at least to the extent of having seen him lecture about his work in Berlin. He was inspired by Dollgast's work http://www.prewettbizley.com/graham-bizley-blog/dollgast and to be honest I don't see the contradiction with what I said. Not everything Chipperfield did in the Neues Museum falls into the category of "restoration" but the parts that do absolutely follow this principle of discreet but identifiable replacement.

Chipperfield on Dollgast: http://www.youtube.com/watch?v=RfizDUjvomA&t=36m56s

See especially the bit at 38:30 where he talks about not confusing the original with the new (in archaeological reconstruction).

Here also is a reference to a 2013 book that says almost exactly what I said: https://books.google.ie/books?id=ddTZAAAAQBAJ&pg=PT366&dq=br...

Please don't further pollute the already toxic environment on HN by assuming the person you are talking to is incompetent, acting in bad faith, or knows less than you do.

If you replace an element (e.g. a brick) with a new brick, you should aim for it to blend in discreetly and convincingly with the existing structure BUT you should not try to conceal the fact that it is a repair (by distressing it, for example).

Pratchett's comment didn't require a lot of insight to come up with—it's just the (essentially reactionary) observation that publishing on the internet is a free-for-all. And Gates correctly observed that ranking systems like HITS (or PageRank) would recreate, online, the way information sources gain authority in the offline world.

The fake news problem has nothing to do with the web's openness—it thrives on FB. Offline, and independent of the web, the narrative Fox pushes is arguably very close to fake news as well. Neither Pratchett nor Gates displayed significant insight into the that kind of political problem.