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[INST] I'm currently working on research related to the history of file systems.
Apparently the Master Boot Record was introduced with MS-DOS 2 in 1983, which was also the first DOS that supported hard disks.
MBR lasted for years, in part because we've only started hitting its limits in the early 2000s.
Given the constraints of the time, I'm curious why IBM and Microsoft added support for partitions right from the start. I believe dual boot was not yet a thing and neither was disk imaging. FAT16 apparently supported disks up to 4GB. MS-DOS at this time seems very utilitarian, so this was a surprising feature to me.
Why were partitions such an early feature, and how did people use them? [/INST] While MS-DOS 2.0 added the MBR format, it actually *didn't support using multiple partitions*. Multiple partition support wasn't added until MS-DOS 3.3 in 1987.
Instead, the partition table was for dual-booting. From the PC-DOS 2.0 Manual:
> If you intend to use part of the fixed disk with another operating system, then you should go to "Partitioning Your Fixed Disk" in this chapter.
The other operating system would typically be Xenix. From Xenix User's Handbook (1984):
> Hard Disk Partitions
> For this discussion, we assume that only two operating systems are to be resident on the hard disk. These two systems will be XENIX and MS-DOS.
In a sense the MBR was just crammed in to what would have been the boot sector on a floppy disk. Both floppy disks and hard drive MBR begin their first sector with executable code that the BIOS will load on boot. MBR just chooses to use the last 64 bytes of that sector to store information about partitions, and then pass control to the first sector of the partition.</s> |
### Input:
When does use of offensive language in a book go from a character trait or to convey emotion to bad use of English skills?
I decided to included some offensive language in one of my novels as many novels do. I was wondering however at what point does it become poor dialogue or just plain bad English. Obviously I'm not using every second word as a cuss word but it is recurring.
I would like your honest opinion.
### Response:
Think of cuss words in writing as "spices". Most people don't want hot sauce on everything, and you wouldn't want carrot cake doused in Habanero Death Spiral.
If you use them too liberally, then like spices, you overwhelm the rest of the flavor of the dish. In writing, that includes any poetic imagery, turns of phrase, or anything else.
Like hot sauce, it also numbs the reader to any shock value the words may have, so they just become filler. If 'fuck' is on every fucking page for every fucking character, then there is no fucking linguistic place to go when something truly fucked up happens out of fucking nowhere.
Too much ruins things. Some of it may be necessary in order to conform to reality. If Alice smashes her thumb with a hammer, an exclamation of "Oh, *Pansies*! Holy *savior* I think I broke it!" makes Alice a pretty weird and repressed person.</s> |
### Input:
Unrequited love refers to unidirectional romantic love. Is thete a similar phrase or word for milder cases such as friendship or career connection?
### Response:
I'd say a situation where you treat someone as a friend but they do not appreciate you in return was a "*one-sided friendship*". People who appear to be your friend but abandon you when you need them the most are sometimes called "*fairweather friends*".
For any other kind of relationship, you could perhaps say "*one-sided relationship*" (eg "*My relationship with my employer is one-sided*".)
There are probably many other terms specifically for employers - you may say your employer is "*unsupportive*" if they don't do anything for you even though you work hard for them (eg "*I have an unsupportive manager*") and of course these days people talk about "toxic" workplace environments.</s> |
### Input:
Theoretical question - Say we have a randomly generated password with 80-bit entropy, stored as a single-round, unsalted SHA256 hash. For a determined attacker with current (2024) technology, what would be the cost of bruteforcing it, in terms of money and time?
Now what if it's stored with 10 rounds of SHA256? Does that make it 10 times more resistant?
### Response:
A random password with 80 bits of entropy is probably out of reach of most brute-force attackers in 2024, except those that are very well funded (e.g. cybergangs, 3-letter agencies, nation states, etc).
An attacker with ~$2300 of ASIC hardware can do about 190 tera-hashes per second. So, the time it would take to iterate through 2^80 passwords, and hash each one would be:
```
(2^80) hashes 1 second
* -------------------- = 6362767471 seconds
190 * 10^12 hashes
```
That's over 200 years.
Of course, a well funded attacker could devote more resources to brute-forcing the password to reduce the amount of time it would take, but this would result in greater cost for the equipment.
But, regardless of this tradeoff of equipment cost versus time, the cost for the energy to run the equipment would probably be prohibitive for most attackers. Modern ASIC hardware like the unit linked above requires ~27.5 Joules of energy per tera-hash. Converting the Joules to kilo-watt hours, and assuming a cost of $0.12 USD per kilowatt hour - the cost for the energy to iterate through 2^80 passwords, and hash each one would be over one million dollars:
```
2^80 hashes 27.5 Joules 1 Kilowatt-hour $0.12 USD $1,108,182 USD
* -------------- * ---------------- * -------------- =
10 ^ 12 hashes 3600000 Joules Kilowatt-hour
```
So, it would have to be a very valuable password to justify an attacker making this much of an investment to crack it.</s> |
### Input:
I'm currently working on research related to the history of file systems.
Apparently the Master Boot Record was introduced with MS-DOS 2 in 1983, which was also the first DOS that supported hard disks.
MBR lasted for years, in part because we've only started hitting its limits in the early 2000s.
Given the constraints of the time, I'm curious why IBM and Microsoft added support for partitions right from the start. I believe dual boot was not yet a thing and neither was disk imaging. FAT16 apparently supported disks up to 4GB. MS-DOS at this time seems very utilitarian, so this was a surprising feature to me.
Why were partitions such an early feature, and how did people use them?
### Response:
While MS-DOS 2.0 added the MBR format, it actually *didn't support using multiple partitions*. Multiple partition support wasn't added until MS-DOS 3.3 in 1987.
Instead, the partition table was for dual-booting. From the PC-DOS 2.0 Manual:
> If you intend to use part of the fixed disk with another operating system, then you should go to "Partitioning Your Fixed Disk" in this chapter.
The other operating system would typically be Xenix. From Xenix User's Handbook (1984):
> Hard Disk Partitions
> For this discussion, we assume that only two operating systems are to be resident on the hard disk. These two systems will be XENIX and MS-DOS.
In a sense the MBR was just crammed in to what would have been the boot sector on a floppy disk. Both floppy disks and hard drive MBR begin their first sector with executable code that the BIOS will load on boot. MBR just chooses to use the last 64 bytes of that sector to store information about partitions, and then pass control to the first sector of the partition.</s> |
[INST] If philosophy is based on reason and rationality, then why is there so much disagreement?
Is it due primarily to operating with different premises absent consensus on their truth, so that dissenters tend to concede arguments are valid but disagree with the resulting conclusions? [/INST] The short version is that argumentation requires premises and inferences to get to conclusions. **Even if philosophers agree on a systematic approach to inference, let's call such agreement logic, the premises themselves are free to differ.** Thus, we may all agree that anyone who commits a crime should be imprisoned, but we may disagree on who committed the crime. Thus two reasonable parties can both be rational and yet have different conclusions.
In the simple case of deduction, this difference is known as validity and soundness. One can have a very rational argument, but if the premises aren't true, then the conclusion is unsound. Of course, reason and rationality is much more than an act of deductive reasoning. **Many of our justifications for our conclusions are non-inferential in nature, and rather rely on some sort of subjective and immediate experience that differs from that of others.** Thus, if among my premises include a distinction between red and green, and my opponent cannot experience such a distinction because of colorblindness, it is fair that my opponent reject my argument since they are unable to justify a premise about the distinction (without then falling into an argument about the nature of experience and colorblindness).
**A final example of a source of disagreement is that logic itself might differ in the minds of philosophers.** For instance, in classical logic, we might insist that the law of non-contradiction is applied in an argument. And yet, this "law" itself is a value, and not a fact. So, perhaps under one circumstance, a philosopher might use classical logic, and in another, the philosophers might require a non-classical logic. Another philosopher is free to disagree about that sort of application of logic.
So, there are many reasons philosophers might disagree, but there are three obvious examples: different beliefs that serve as premises in argumentation, different sorts of justification and application thereof, and disagreement over what logic is and how to use it. This sort of complexity ensures that philosophers disagree, and that's because human beings are not duplicated, deductive engines, but rather **philosophers are diverse in mind and body, and have a wildly divergent set of beliefs and methodologies to do philosophy itself, a subject studied by metaphilosophy.**</s> |
### Input:
I've noticed in many long-running stories that it's common to have a villain who's a genuine menace to the heroes become impossible to take seriously after they've gotten defeated or died so many times. As a writer, I need to address this question. I have multiple recurring villains in my long-running series who suffer numerous defeats. I'm unsure how to maintain their intimidation factor as it can only last for so long after they have taken so many Ls.
One of the worst examples I can think of is Vilgax from Ben 10. Throughout the original series, Vilgax poses a significant threat, casting a shadow over every episode he appears in and always comes back for more, even after getting beaten multiple times. He's so evil and terrifying that tie-in materials mention that no sane person, human or alien, wants to work for him. If you haven't picked up on the fact that Vilgax is an irredeemable monster by now, the grande finale makes it clear he's also committed genocide, and it's not the first time he's done so.
In his fights with Ben, he doesn't mess around, as seen in their first battle, where Vilgax never trades banter with Ben or goes on a lengthy villain monologue about how he will kill Ben after he gets the Omnitrix. In the sequel series, Alien Force and Ultimate Alien set five to six years after the events of the original series, Vilgax is not the invincible juggernaut he was and relies more on scheming and pragmatism to crush Ben. Despite this approach, Ben always beats him through combat or trickery.
Come Vilgax's final outing in Omniverse, and he's become a complete and utter joke, scared shitless by a D-list member of Ben's rouges gallery, who's rumored to have made Vilgax cry.
So, with all that said, how can I avoid this problem?
### Response:
The villain's goal is not directly counter to the hero's goal. Consider that the villain and the hero are clashing over what the hero is protecting. The hero believes that it's the villain's goal to destroy it, but the villain actually wants something else, and this was either a distraction, or something in the way. During the fight, the villain gets what they need, and now that the fight means nothing to them, they allow the hero to be victorious while they retreat to further their nefarious plans.
Nowhere in the fight did the hero actually have a chance at winning, but the hero didn't realize this at first. Over time though it is shown that the villain is more cunning than the hero first gave him credit for, and as such the hero has to grow, or gather more help to deal with him.
Thus, despite the hero's many victories over the villain, they all turned out to be empty or meaningless in time. Now the hero needs to work even harder against a more and more dangerous nemesis that the hero should have taken seriously the first time.
Write depth, not just to your heroes, but to your villains. What are their goals? What are their desires? What aims to they seek out in their fights, and when do they cut their losses? Humanize them, understand them, and don't just make them pratfall comedy. The mistake you list in your question is one of only focusing the writing on one set of characters, and not all of them. After all, villains are characters too.</s> |
[INST] Kanye west was born on July 8, 1977 [/INST] You're off a month; he was born on *June* 8, 1977.</s> |
# Transcript: *Space Pilot 3000*
_[**Scene**: The caption "December 31st, 1999" comes up and a crude spaceship flies through space, cruising over and under planets.]_
(00:07)**Fry**: [voice-over] Space. It seems to go on and on forever. But then you get to the end and the gorilla starts throwing barrels at you.
_[A planet opens up and a huge gorilla starts throwing barrels at the spaceship. It dodges a few but one hits it and it explodes. The gorilla thumps its chest and "Game Over" flashes on the screen. The spaceship and gorilla isn't real and Fry is playing an arcade game called "Monkey Fracas Jr". He wears a red jacket and has orange hair with two distinct forks at the front. A boy stands next to him. The game is against the wall of a pizzeria called Panucci's Pizza.]_
(00:20)**Fry**: And _that's_ how you play the game!
(00:22)**Boy**: You stink, loser!
_[Panucci, a middle-aged balding man wearing a vest, leans over the counter with a pizza box.]_
(00:24)**Panucci**: Hey, Fry. Pizza goin' out! C'mon!!
_[Fry sighs, takes the pizza from him and walks out.]_
_[**Scene**: New York City Street. Fry cycles past people outside O'Grady's Pub enjoying their New Millennium Eve. A cab pulls up and he sees his girlfriend inside.]_
(00:38)**Fry**: Michelle, baby! Where you going?
(00:41)**Michelle**: It's not working out, Fry. _[Next to her is a guy with his arm around her. The cab pulls away.]_ [shouting; from cab] I put your stuff out on the sidewalk!
_[Time Lapse. Fry is still on his bike getting more and more depressed.]_
(00:46)**Fry**: I hate my life, I hate my life, I hate my life.
_[**Cut to**: Outside Applied Cryogenics. He stops outside a building and locks up his bike. A man sneaks up behind him, cuts the chain and steals his bike.]_
_[**Scene**: Applied Cryogenics Corridor. Fry steps out of the elevator on the 64th floor. He knocks on a door marked "Applied Cryogenics". A sign underneath indicates "No Power Failures Since 199[7]". There is no response at the door and Fry goes in.]_
_[**Cut to**: Applied Cryogenics: Freezer Room. The room is empty and there are no lights on. Strange pods about 6ft tall line one of the walls. There are a few other machines around the room and a desk and a chair in the middle of the room. Fry wipes some condensation from a window on one of the pods, revealing the face of an inanimate man inside. He turns around.]_
(01:17)**Fry**: Hello? Pizza delivery for, uh ... _[He reads the delivery note.]_ ... Icy Wiener? Aw, crud! I always thought at this point in my life _I'd_ be the one making the crank calls! _[He sits down on the chair, puts his feet on the desk and opens a can of beer.]_ Here's to another lousy millennium.
_[He unenthusiastically raises his hand and toasts.]_
_[**Cut to**: Times Square. Crowds have gathered for the countdown. "10" appears on a huge screen.]_
(01:36)**Crowd**: [chanting] Ten!
_[**Cut to**: Paris. A screen on the Eiffel Tower displays "9".]_
(01:37)**Crowd**: [chanting] Neuf!
_[**Cut to**: Vatican City. The Pope holds up a sign with "VIII" on it.]_
(01:38)**Crowd**: [chanting] Otto!
_[**Cut to**: Egypt. Egyptians crowd around the pyramids.]_
(01:39)**Crowd**: [chanting] Saba!
_[**Cut to**: Athens. People are gathered around the Parthenon.]_
(01:40)**Crowd**: [chanting] Eksi!
_[**Cut to**: Great Wall Of China.]_
(01:41)**Crowd**: [chanting] Wu!
_[**Cut to**: Taj Mahal.]_
(01:43)**Crowd**: [chanting] Char!
_[**Cut to**: African Village.]_
(01:44)**Crowd**: [chanting] Thathu!
_[**Cut to**: Tokyo. A screen displays "2".]_
(01:45)**Crowd**: [chanting] Nee!
_[**Scene**: From space the whole planet sees in the new millennium.]_
(01:46)**Crowd**: [chanting] One!
_[**Cut to**: Applied Cryogenics: Freezer Room. Fry unenthusiastically blows a noise maker and starts losing his balance on the chair. It tips back. Fry waves his arms around trying to regain his balance. As he falls he doesn't see the shadow of a small creature under the desk. The chair tips back and Fry falls off it and rolls backwards into cryogenic freezer number 40. The dial on the machine automatically sets itself for 1000 years.]_
(01:55)**Fry**: What the--?
_[He looks around and screams. In a flash he is frozen in time.]_
_[Time Lapse. Days and nights and eventually years pass à la_ The Time Machine _as he stays locked in the freezer. Civilisation is destroyed by aliens twice until eventually huge buildings spring up around Applied Cryogenics. The timer stops 1000 years later and the door opens. Fry is unfrozen. Initially disorientated, he stumbles around and notices something to his right. He presses his face against a large window and stares in awe.]_
(02:46)**Fry**: My God! It's the future. My parents, my co-workers, my girlfriend; I'll never see any of them again. Yahoo!
_[Opening Credits. Caption: In Color.]_
_[**Scene**: Applied Cryogenics: Freezer Room. Fry continues looking out of the window. The door opens and two shadows walk in.]_
(03:32)**Terry**: [melodramatically] Welcome to the world of tomorrow!
_[The other shadow turns on the light. They are lab technicians both wearing white lab coats. The dramatic one, Terry, is a blonde Caucasian with large glasses. The other, Lou, is a black-haired Asian.]_
(03:36)**Lou**: Why do you always have to say it that way?
(03:38)**Terry**: Haven't you ever heard of a little thing called showmanship? _[He turns to Fry.]_ [dramatically] Come, your destiny awaits!
_[**Scene**: Applied Cryogenics Corridor. The technicians leave Fry outside the Fate Assignment Officer's office.]_
(03:47)**Lou**: Have a nice future.
_[The door slides open.]_
(03:50)**Fry**: Cool! Just like in _Star Trek_! _[The door closes on his head.]_ Ow!
_[**Cut to**: Applied Cryogenics: Fate Assignment Officer's Office. A woman wearing a black uniform stands with her back to Fry looking at a clipboard. She has purple hair held up in a ponytail.]_
(03:53)**Leela**: Good afternoon, sir. _[Fry is impressed with what he sees. Leela turns around. She has one huge eye in the middle of her face. Fry screams.]_ Name?
(03:59)**Fry**: Uh, Fry.
(04:01)**Leela**: I'm Leela. Now, it's New Year's Eve so I'd like to decide your fate quickly and get out of here.
(04:05)**Fry**: Can I ask you a question?
(04:07)**Leela**: As long as it's not about my eye.
(04:09)**Fry**: Uh...
(04:10)**Leela**: Is it about my eye?
(04:11)**Fry**: Sort of.
_[Leela sighs.]_
(04:13)**Leela**: Just ask the question.
(04:15)**Fry**: What's with the eye?
(04:16)**Leela**: I'm an alien, alright? Now let's drop the subject.
(04:19)**Fry**: Cool, an alien! Has your race taken over the Earth?
(04:22)**Leela**: No, I just work here.
_[Fry looks out the window. A passing blimp displays "Happy New Year 3000". Leela follows his gaze.]_
(04:27)**Fry**: Wait a minute! Is that blimp accurate?
(04:30)**Leela**: Yep. It's December 31st, 2999.
(04:33)**Fry**: My God! A million years!
(04:37)**Leela**: I'm sure this must be very upsetting for you.
(04:39)**Fry**: Y'know, I guess it should be but, actually, I'm glad. I had nothing to live for in my old life. I was broke, I had a humiliating job and I was beginning to suspect my girlfriend might be cheating on me.
(04:52)**Leela**: Well, at least here you'll be treated with dignity. Now strip naked and get on the probulator.
_[**Scene**: Applied Cryogenics: Probulator Room. Fry lies on a metal table surrounded by probing equipment. Leela puts a single-lensed goggle on and presses a button. Fry squeaks.]_
_[Time Lapse. Leela tears off a printout and reads it while Fry starts to get dressed.]_
(05:06)**Leela**: Interesting. Your DNA test shows one living relative. He's your great-great-great-great-great-great-great...
_[Time Lapse. Fry is now fully dressed.]_
(05:12)**Leela**: ...great-great-great-great-great nephew.
(05:14)**Fry**: That's great! What's the little guy's name?
(05:16)**Leela**: Professor Hubert Farnsworth.
_[She turns the page over to show Fry the photo. Farnsworth is an old bald man who wears thick glasses.]_
(05:19)**Fry**: Eurgh!
_[**Scene**: Applied Cryogenics: Fate Assignment Officer's Office. Leela types something on a computer.]_
(05:21)**Fry**: Y'know, I'm the luckiest guy in the whole future. I've been given a second chance and this time I'm not going to be a total loser. _[A buzzer buzzes.]_ What's that?
(05:30)**Leela**: Your permanent career assignment.
_[She turns the screen around to show him his career. "Career: Delivery Boy" is displayed on the screen.]_
(05:33)**Fry**: Delivery boy? No! Not again! Please! Anything else!
_[He grabs Leela's hand.]_
(05:37)**Leela**: Take your hands off me! You've been assigned the job you're best at just like everyone else.
(05:41)**Fry**: What if I refuse?
(05:43)**Leela**: Then you'll be fired--
(05:44)**Fry**: Fine!
(05:45)**Leela**: Out of a cannon into the Sun!
(05:47)**Fry**: But I don't like being a delivery boy.
(05:49)**Leela**: Well that's tough! Lots of people don't like their jobs but we do them anyway. _[She points at a poster of a man wearing a hardhat with the caption "You Gotta Do What You Gotta Do".]_ You gotta do what you gotta do. Now hold out your hand. I'm gonna implant your career chip. It'll permanently label you as a delivery boy.
_[She picks up an implant gun. It has two huge spikes on the end.]_
(06:03)**Fry**: Keep that thing away from me!
_[He gets up and runs out of the room.]_
_[**Cut to**: Applied Cryogenics Corridor. He runs from the office.]_
_[**Cut to**: Applied Cryogenics: Freezer Room. Leela runs in after Fry and he dodges the implant gun.]_
(06:11)**Leela**: Hold still, dammit. I don't have good depth perception! _[She jumps at Fry, misses, and falls into a cryogenic freezer. It sets itself for 1000 years.]_ You've got until the count of five to let me out of here. One--
_[In a flash she is frozen.]_
(06:25)**Fry**: See you in a thousand years! _[He starts to walk out but hesitates. He walks back and changes the freeze time to five minutes.]_ You owe me one.
_[**Scene**: New New York City Street. Fry runs out of the building and looks in awe at the sights around him.]_
(06:48)**Fry**: Whoa!
_[Spaceships take off, there are traffic jams in the sky and billboards advertising Bachelor Chow. A couple walk past him nearly naked except for some strategically-placed black bars. He looks up and sees people flying through a green tube overhead. He walks around a corner and finds an entrance to the tube. A pedestrian steps in.]_
_[original airing]_
_[subsequent airings]_
_[The man is sucked up into the tube.]_
(07:10)**Fry**: Cool! _[He steps into the tube.]_ Um. Cross Town Express?
_[The tube sucks him up and he screams as he flies through it. People look up from the street and stare at him. He is taken across the city, past the Statue of Liberty, underwater and finally out the other end smack into a building. A man looks up from his newspaper.]_
(07:38)**Man #2**: Pft! Tourist!
_[Time Lapse. A hover-car flies over a line of traffic on the road and a police car chases it. Fry walks around a corner and sees a line of people outside a small grey booth.]_
(07:45)**Fry**: Hey! A phone booth! I can call my nephew. _[An impatient robot joins the queue behind him. It is more or less human-shaped, grey, with an antenna on top of its head.]_ Wow! A real live robot! Or is that some kind of cheesy New Year's costume?
_[Fry looks around at the robot's ass.]_
(07:59)**Fry**: It doesn't look so shiny to me.
(08:01)**Bender**: Shinier than yours, meatbag!
_[Fry steps into the booth, overlooking the sign on the side that says "Suicide Booth".]_
_[**Cut to**: Suicide Booth. Fry presses a button and nothing happens. The robot steps in behind him.]_
(08:21)**Bender**: Listen, buddy, I'm in a hurry here. Let's try for a two-fer!
_[He puts a coin on a string in the slot then pulls it out again and chuckles. A pleasant woman's voice speaks.]_
(08:28)**Booth Voice**: Please select mode of death: "Quick and Painless" or "Slow and Horrible".
(08:34)**Fry**: Yeah, I'd like to place a collect call.
(08:36)**Booth Voice**: You have selected: "Slow and Horrible".
(08:39)**Bender**: Great choice! _[Knives, tasers and Jacob's Ladders come out from behind a hatch.]_ Bring it on, baby!
_[Fry screams.]_
_[Time Lapse. The robot is getting impatient.]_
(08:50)**Bender**: C'mon, c'mon! Kill me already! By the way, my name's Bender!
_[He holds out his hand.]_
(08:55)**Fry**: Help! What's happening?
_[The sharp objects move forward. Fry pushes Bender to the side of the booth. The sharp things stab and twist at the air and finally return to behind the hatch.]_
(09:02)**Booth Voice**: You are now dead. Thank you for using Stop-N-Drop, America's favourite suicide booth since 2008.
_[**Cut to**: New New York City Street. Fry runs out, gasping.]_
(09:10)**Bender**: Lousy, stinking rip-off! _[He kicks the booth.]_ Well, I didn't have anything else planned for today. Let's go get drunk!
_[**Scene**: Applied Cryogenics: Freezer Room. The timer on Leela's chamber runs out. The door opens and she defrosts.]_
(09:22)**Leela**: Two, three-- Hey!
(09:25)**Terry**: [melodramatically] Welcome to the world of tomorrow!
(09:28)**Leela**: Shut up, Terry.
_[**Scene**: Applied Cryogenics: Ipgee's Office. Leela's boss sits behind a large desk and she stands in front of it.]_
(09:30)**Ipgee**: This is unacceptable, Leela. You must find this Mr. Fry and install his chip.
(09:35)**Leela**: Look, he's just a nobody who doesn't want to be a delivery boy. I'd really rather not force it on him.
(09:40)**Ipgee**: Well that's your job, whether you like it or not. And it's my job to make you do your job whether I like it or not, which I do, very much! Now get to work! _[Leela leaves. He puts his feet up on the desk.]_ Life is good!
_[**Scene**: O'Zorgnax's Pub. Fry and Bender sit at the bar. Bender drinks a bottle of Olde Fortran malt liquor.]_
(10:02)**Fry**: Why would a robot need to drink?
(10:04)**Bender**: I don't _need_ to drink, I can quit anytime I want! _[He belches fire.]_ So they made you a delivery boy, huh? Man, that's as bad as my job.
(10:14)**Fry**: Really? What do you do, Bender?
(10:16)**Bender**: I'm a bender. I bend girders, that's all I'm programmed to do.
(10:19)**Fry**: You any good at it?
(10:21)**Bender**: You kidding? I was a star! I could bend a girder to any angle: 30 degrees, 32 degrees, you name it! [unsure] 31. [normal] But I couldn't go on living once I found out what the girders were for.
(10:35)**Fry**: What?
(10:36)**Bender**: Suicide booths! _[He finishes his drink and swallows the bottle.]_ Well, Fry, it was a pleasure meeting you. I'm gonna go kill myself.
_[He gets up.]_
(10:43)**Fry**: Wait! You're the only friend I have!
(10:46)**Bender**: You really want a robot for a friend?
(10:49)**Fry**: Yeah, ever since I was six.
(10:51)**Bender**: Well, OK. But I don't want people thinking we're robo-sexuals. So, if anyone asks, you're my debugger.
_[Fry looks out the window and sees Leela.]_
(10:59)**Fry**: Oh, no, it's the Cyclops! _[He crouches down behind Bender.]_ Don't look! Don't look!
(11:03)**Bender**: I'm not looking!
_[His eyes zoom in to Leela.]_
_[**Cut to**: Outside O'Zorgnax's Pub. Leela shows Fry's photo to a man. The man points to him inside the pub. Fry and Bender run off. Leela talks into her wrist communicator.]_
(11:11)**Leela**: This is officer 1B-DI requesting back-up.
_[The cops, Smitty the human and URL the robot, are standing right behind Leela. Smitty replies in his wrist communicator.]_
(11:15)**Smitty**: We'll be there in five minutes.
_[**Scene**: Outside the Head Museum. Bender stops Fry outside the building.]_
(11:20)**Bender**: We can hide in here. It's free on Tuesdays!
_[He runs up the steps dragging Fry behind him.]_
_[**Cut to**: Head Museum. Hundreds of heads in jars are stacked on shelves. Leonard Nimoy's head in a jar is on a platform in the middle of one of the rooms.]_
(11:29)**Nimoy**: Welcome to the Head Museum. I'm Leonard Nimoy.
(11:33)**Fry**: Spock? Hey! Hey... Do the thing!
_[He does the Vulcan salute from_ Star Trek_. Nimoy chuckles.]_
(11:36)**Nimoy**: I don't do that anymore.
(11:38)**Fry**: This is unbelievable! What do you heads do all day?
(11:42)**Nimoy**: We share our wisdom with those who seek it. It's a life of quiet dignity.
_[Enter a woman.]_
(11:47)**Woman**: Feeding time!
_[She shakes a box of what looks like fish food over the jar. Nimoy eats what comes out.]_
_[The door opens and Fry turns around. Enter Leela, Smitty and URL.]_
(11:58)**Leela**: Hmm. _[She looks around and sees Fry and Bender hiding behind a shelf in amongst other assorted heads.]_ I'm sorry, Fry, but I have to install your career chip.
(12:10)**Fry**: Yeah, well, if you're sorry why are you doing it?
(12:12)**Leela**: It's my job. You gotta do what you gotta do! _[Fry backs away and hits a shelf with the heads of US presidents on it.]_ Watch it!
_[Richard Nixon's head falls off. The jar smashes.]_
(12:22)**Nixon**: That's it! You just made my list!
_[He jumps up and starts biting Fry's arm.]_
(12:26)**Fry**: Ow! Stop it! Down, boy! Bad president!
_[Bender tries to pull Nixon's head off.]_
(12:29)**Smitty**: Alright, buddy, step away from the head!
_[Fry and Bender put their hands up.]_
_[They turn on their lightsabers and start to hit Fry.]_
(12:41)**Leela**: Please, officers, there's no need to use force.
(12:45)**URL**: Let us handle this, weird-y.
_[He hits Bender.]_
(12:49)**Leela**: Oh, come on, he's just a poor kid from the Stupid Ages.
(12:53)**Smitty**: Keep your big nose out of this, _eyeball_!
(12:56)**Leela**: No-one makes fun of my nose.
_[She kicks Smitty and URL. Fry and Bender run off and hide in a room.]_
(13:09)**URL**: Damn!
(13:10)**Leela**: You guys were totally out of control.
(13:12)**Smitty**: It's our job. We're peace officers.
(13:15)**URL**: Yeah, you know the law: You gotta do what you gotta do.
_[Leela considers this.]_
_[**Scene**: Head Museum: Hall of Criminals. Bender locks the door.]_
(13:22)**Bender**: Oh, we're trapped!
_[Fry looks to the end of the room. There is a window with bars across it.]_
(13:27)**Fry**: Wait a second. You're a bender, right? We can get out of here if you just bend the bars.
(13:32)**Bender**: Dream on, skin tube. I'm only programmed to bend for constructive purposes. What do I look like, a de-bender?
(13:38)**Fry**: Who cares what you're programmed for. If someone programmed you to jump off a bridge would you do it?
(13:43)**Bender**: I'll have to check my program ... yep.
(13:46)**Leela**: [from outside] Open up!
(13:48)**Fry**: C'mon, Bender! It's up to you to make your own decisions in life. That's what separates people and robots from animals ... and animal robots.
(13:56)**Bender**: You're full of crap, Fry! _[He turns and a dangling wire catches on his antenna and electrocutes him.]_ You make a persuasive argument, Fry.
_[He starts to bend the bars.]_
(14:09)**Fry**: Come on, Bender! You can do it.
(14:11)**Bender**: Can't ... I ... can't ... do ... it!
_[The bars bend and break off completely.]_
(14:16)**Fry**: Yes!
(14:18)**Bender**: You were right, Fry! From now on I'm going to bend what I want, when I want, _who_ I want! I'm unstoppable!
_[His arms fall off but he manages to somehow reattach them without any help.]_
(14:36)**Fry**: I don't know how you did that.
_[Leela kicks the door open. Fry and Bender dive out through the window.]_
_[**Cut to**: Outside Head Museum. Fry runs off and Bender bends the bars back so Leela can't climb through. He runs after Fry and Leela reaches out through the bars.]_
(14:44)**Leela**: Wait!
(14:45)**Bender**: [shouting] No, thanks.
_[**Cut to**: Alley. Fry and Bender stop at a dead end. There is a drain below them with a grate over the top.]_
(14:51)**Bender**: Looks like one of us will have to bend this grate.
_[He flexes his fingers but Fry just lifts it. Bender groans and they climb down the ladder. He reaches back up to the grate and bends it just for the hell of it. He chuckles and follows Fry.]_
_[**Scene**: Ruins of Old New York. Fry and Bender step off the ladder and look over the vast ruins of the city that looks like the city from_ Beneath The Planet Of The Apes_. Collapsed buildings and rubble litter the streets and holes in the roof let in a few shafts of light.]_
(15:05)**Fry**: Good Lord! What is this?
(15:08)**Bender**: It's the decaying ruins of Old New York. Welcome home, pal!
_[Time Lapse. Fry and Bender walk down a ruined street.]_
(15:15)**Fry**: It's my old neighbourhood. Man, this brings back a lot of memories.
(15:20)**Bender**: Keep 'em to yourself, Pops!
_[**Cut to**: Ruins of Rockefeller Center Skating Rink. Fry leans over a wall.]_
(15:23)**Fry**: This is where I brought my girlfriend on our very first date.
_[_Flashback_. Fry skates with Michelle on the crowded ice.]_
_[_Flashback _ends. The ice is gone, replaced with murky green waters inhabited by a green tentacled creature.]_
(15:35)**Fry**: My God! She's gone. Everyone I ever knew or cared about is gone.
(15:40)**Bender**: Wait! There's someone you know!
_[He points at Leela, standing with her implant gun.]_
(15:43)**Fry**: Oh, can't you leave me alone? I'm miserable enough already.
(15:47)**Leela**: Look, I know it's not much consolation but I understand how you feel.
(15:52)**Fry**: No, you don't. I've got no home, no family--
(15:55)**Bender**: No friends.
(15:56)**Fry**: My whole world is gone. You can't possibly understand what it feels like to be so alone.
(16:02)**Leela**: I understand. I'm the only one-eyed alien on this whole planet. My parents abandoned me here as a baby and I don't even know what galaxy they were from. I know how it feels to be alone.
(16:17)**Fry**: Look, Leela, I don't understand this world but you obviously do, so I give up. If you really think I should be a delivery boy, I'll do it. _[He holds out his hand to Leela. She gets the implant gun ready. Fry cringes and looks away. The gun clicks but Fry feels nothing. He opens his eyes and sees Leela drop her own chip on the floor.]_ Your chip. What are you doing?
(16:37)**Leela**: Quitting.
(16:38)**Fry**: Why?
(16:39)**Leela**: Because I've always wanted to. I just never realised it before I met you.
_[She puts her hand on his and smiles. Bender puts his hand on top.]_
(16:48)**Fry**: What is the matter with you?
_[Bender quickly takes his hand off.]_
(16:51)**Bender**: I just wanted to be part of the moment.
(16:53)**Leela**: Hey! He stole my ring!
(16:55)**Bender**: Sorry. _[He hands Leela's ring back.]_ Well, that solves the mystery of the missing ring. This calls for a drink.
_[He reaches into his chest cabinet and pulls out three bottles of beer ... and drinks them all himself.]_
(17:03)**Leela**: I don't wanna spoil the party but we're all job deserters now. We're unemployed and we have nowhere to go.
(17:09)**Fry**: Correction: We're unemployed but we have a doddering old relative to mooch off of.
_[He holds up the picture of Farnsworth.]_
_[**Scene**: Planet Express headquarters, Lounge. Professor Farnsworth is asleep in his chair. The TV is on.]_
(17:18)**Clark**: [on TV] Hello, I'm Dick Clark's head. Welcome to a special year 3000 edition of _New Year's Rockin' Eve_!
_[The crowds around him cheer. The doorbell rings and Farnsworth wakes up.]_
_[**Cut to**: Outside Planet Express. Farnsworth opens the door to Fry, Bender and Leela.]_
(17:31)**Fry**: I'm your dear old Uncle Fry.
(17:33)**Farnsworth**: I don't have an Uncle Fry.
(17:35)**Bender**: You do now!
_[He pushes Farnsworth back inside.]_
_[**Scene**: Planet Express, Lounge. Farnsworth and Fry are hooked up to a machine. It dings and a red light flashes.]_
(17:40)**Farnsworth**: By God, I _am_ your nephew! This is absolutely incredible!
(17:45)**Bender**: Can we have some money?
(17:47)**Farnsworth**: Oh, my, no.
_[**Scene**: Planet Express: Farnsworth's Lab. The four walk in.]_
(17:50)**Farnsworth**: Let me show you around. That's my lab table and this is my work-stool. And over there is my intergalactic spaceship! _[He points in the general direction of a big green spaceship in a huge hangar next to the lab.]_ And here's where I keep assorted lengths of wire.
_[He opens a drawer but Fry is more interested in what's in the hangar.]_
(18:02)**Fry**: Whoa! A real live spaceship!
(18:05)**Farnsworth**: I designed it myself. Let me show you some of the different lengths of wire I used.
(18:12)**Smitty**: [from outside] Attention, job deserters! Come out with your hands up. We have you partially surrounded.
_[Leela gasps.]_
(18:18)**Fry**: No!
_[Bender literally shits a brick.]_
_[**Cut to**: Outside Planet Express. Smitty holds Nixon's head in a jar. The glass is cracked and taped in places.]_
(18:20)**Nixon**: Get those bums!
_[**Cut to**: Planet Express: Farnsworth's Lab.]_
(18:24)**Leela**: Can't we get away in the ship?
_[They run towards the ship with Bender carrying Farnsworth under his arm.]_
_[**Scene**: Ships Cockpit. Fry runs in and sit in a seat in front of a control panel.]_
(18:37)**Fry**: I'll get us out of here.
_[He presses a few buttons and pulls a lever. A little hatch opens in the control panel, a paper cup come down and the machine fills it with coffee.]_
(18:44)**Farnsworth**: Can anyone drive stick?
(18:46)**Leela**: I can. As long as I don't have to parallel park.
_[She takes off her coat, sits in the pilot's seat and pushes down a lever.]_
_[**Cut to**: Planet Express: Hangar. Klaxons beep and a huge piece of machinery lifts the ship to a 45-degree angle. The entire hangar roof retracts so it is open for the ship.]_
_[**Cut to**: Outside Planet Express. Peace officers armed with laser rifles are stationed outside. URL sees the roof open.]_
(18:57)**URL**: If they try to take off, give 'em an ass-ful of laser.
_[Smitty nods.]_
_[**Cut to**: Ships Cockpit.]_
(19:04)**Leela**: Prepare for lift-off. Ten.
_[**Cut to**: Times Square.]_
(19:06)**Crowd**: [chanting] Nine!
_[**Cut to**: Egypt. The future pyramids now rotate in mid-air.]_
(19:07)**Crowd**: [chanting] Amania!
_[**Cut to**: Paris.]_
(19:09)**Crowd**: [chanting] Seven!
_[**Cut to**: Alien Ship.]_
(19:10)**Aliens**: [chanting; in alien] Six.
_[**Cut to**: Applied Cryogenics: Freezer Room. Lou sits in an open pod and Terry raises a glass.]_
(19:11)**Terry**: [dramatically] Five!
_[**Cut to**: Head Museum. Leonard Nimoy is wearing a party hat.]_
(19:13)**Nimoy**: Four.
_[**Cut to**: Ships Cockpit. Fry, Bender and Farnsworth are sat on a couch at the front of the cockpit.]_
(19:14)**Farnsworth**: Three.
(19:15)**Bender**: Two.
_[He is so tense that he rips the arms off the couch.]_
(19:16)**Leela**: One!
(19:17)**Fry**: Blast-off!
_[**Cut to**: Outside Planet Express. The ship takes off.]_
_[**Cut to**: Times Square. People cheer in the new millennium and fireworks explode all over the city. "3000" is projected onto the moon and the ship flies between the fireworks.]_
_[**Cut to**: Outside Planet Express.]_
(19:26)**Nixon**: Fire! _Fire_!
_[The peace officers fire their laser guns randomly into the air.]_
(19:30)**Smitty**: I can't see nothing. Pretty though!
_[The altitude of the ship increases and laser bolts narrowly miss it.]_
_[**Cut to**: Ships Cockpit. The ship clears New New York airspace, flies through the atmosphere and heads through the solar system. Everyone cheers.]_
(19:44)**Fry**: So, I guess, without jobs, we'll be fugitives forever.
(19:47)**Farnsworth**: Not necessarily. Are you three, by any chance, interested in becoming my new spaceship crew?
(19:54)**Bender**: New crew? W-What happened to the old crew?
(19:57)**Farnsworth**: Of those poor sons of-- But that's not important. The important thing is I need a new crew. Anyone interested?
(20:03)**Fry**: Yes! _Yes_! That's exactly the job I've always wanted!
(20:08)**Leela**: Thanks for the offer, Professor, but we don't have the proper career chips.
(20:12)**Farnsworth**: Oh, that won't be a problem. As luck would have it, I saved the chips from my previous crew.
_[He empties the career chips out of an envelope marked "Contents Of Space Wasp's Stomach".]_
(20:20)**Fry**: This is awesome! Are we gonna fly through space fighting monsters and teaching alien women to _lurve_?
(20:26)**Farnsworth**: If by that you mean "transporting cargo" then yes. It's a little home business I started to fund my research.
(20:34)**Fry**: Cool! What's my job gonna be?
(20:36)**Farnsworth**: You will be responsible for ensuring that the cargo reaches its destination.
_[The smile fades from Fry's face.]_
(20:41)**Fry**: So, I'm gonna be a delivery boy?
(20:44)**Farnsworth**: Exactly!
_[Beat.]_
(20:46)**Fry**: Alright! I'm a delivery boy!
_[He waves his hands in the air and the ship flies on.]_
_[Closing Credits.]_
|
### Input:
If philosophy is based on reason and rationality, then why is there so much disagreement?
Is it due primarily to operating with different premises absent consensus on their truth, so that dissenters tend to concede arguments are valid but disagree with the resulting conclusions?
### Response:
The short version is that argumentation requires premises and inferences to get to conclusions. **Even if philosophers agree on a systematic approach to inference, let's call such agreement logic, the premises themselves are free to differ.** Thus, we may all agree that anyone who commits a crime should be imprisoned, but we may disagree on who committed the crime. Thus two reasonable parties can both be rational and yet have different conclusions.
In the simple case of deduction, this difference is known as validity and soundness. One can have a very rational argument, but if the premises aren't true, then the conclusion is unsound. Of course, reason and rationality is much more than an act of deductive reasoning. **Many of our justifications for our conclusions are non-inferential in nature, and rather rely on some sort of subjective and immediate experience that differs from that of others.** Thus, if among my premises include a distinction between red and green, and my opponent cannot experience such a distinction because of colorblindness, it is fair that my opponent reject my argument since they are unable to justify a premise about the distinction (without then falling into an argument about the nature of experience and colorblindness).
**A final example of a source of disagreement is that logic itself might differ in the minds of philosophers.** For instance, in classical logic, we might insist that the law of non-contradiction is applied in an argument. And yet, this "law" itself is a value, and not a fact. So, perhaps under one circumstance, a philosopher might use classical logic, and in another, the philosophers might require a non-classical logic. Another philosopher is free to disagree about that sort of application of logic.
So, there are many reasons philosophers might disagree, but there are three obvious examples: different beliefs that serve as premises in argumentation, different sorts of justification and application thereof, and disagreement over what logic is and how to use it. This sort of complexity ensures that philosophers disagree, and that's because human beings are not duplicated, deductive engines, but rather **philosophers are diverse in mind and body, and have a wildly divergent set of beliefs and methodologies to do philosophy itself, a subject studied by metaphilosophy.**</s> |
[INST] I've been reading a fanfiction lately that honestly has a good plot, though the writing is subpar—grammar and punctuation errors, lack of descriptive detail, bad formatting, etc. I've been thinking that it might be a good exercise to rewrite the whole thing in my own style, using most if not all of the plot points in the original work. I struggle to plot novels, which is why—though I consider myself a fairly strong writer in other ways—I have never written a story longer than a few thousand words. I figure that, until I can overcome writers' block and actually outline a novel of my own, it would be good practice to just write using others' ideas.
The problem is, I'm not sure how I feel about wholly rewriting someone else's work (especially since, given how many errors there are, I'd have to change almost every line). I obviously wouldn't publish it anywhere and take credit for the story (I doubt I'd manage to finish it anyway; it's a bit of a beast at nearly 200,000 words and 50 chapters), but the idea still feels a little "wrong."
So, is it wrong to rewrite someone's work as a personal exercise? Should I seek the permission of the author or forget the idea altogether, or is it acceptable to just go ahead and start writing? [/INST] Since it's just an exercise for yourself, then it's really down to your own judgement, that is, if you're asking if it's "morally" wrong.
If you're looking for an objective answer on this, then the question to consider is:
Who will be harmed by you doing this?
There's no one going to feel aggrieved, no one going to lose sales, you won't be damaging anyone's reputation, or taking credit for someone else's work, etc. So I say, just go ahead.
or is it acceptable to just go ahead and start writing?
Acceptable to who? There's no one to have to accept it!
Now if you're wondering if it's actually a good exercise, that's another question, (which I think Ben is trying to address) but given your talk about permission, I don't think that's what you're getting at.
I doubt there's a successful writer or even person in any field out there who hasn't "stood on the shoulders of giants" in some way or another.</s> |
### Input:
How is the Chinese language called in Taiwan?
I feel it is a very political issue.
In my knowledge, there are the terms 華語, 國語, 普通話, even "Chinese dialect".
In this context, what is the most common word used by Taiwanese people to refer to "the Chinese language"? (For instance in a politically neutral context where they would like to say: "This foreigner speaks Chinese very well.")
In my impression, 中文 is the most "neutral" term.
### Response:
中文 (The written and spoken Chinese language) and 華語 /漢語 (The spoken Chinese language) are neutral. All are used in Mainland China and Taiwan
The difference:
中文口語 (Spoken Chinese language) is called 普通话 (the commonly spoken language) in Mainland China
中文口語 (Spoken Chinese language) is called 國語 (the National language) in Taiwan
Strictly speaking, 普通话 and 國語 should be called The spoken Mandarin language, which happens to be the current official language of the country, since 中文口語 includes all the Chinese dialects, for example, Cantonese is also a Chinese spoken language. Mandarin itself is also a Chinese dialect
Both Mainland China and Taiwan call their written Chinese 中文</s>
### Input:
"中文口語 (Spoken Chinese language) is called 國語 (the National language) in Taiwan" I had the impression that 國語 to the Chinese learned in Taiwanese school system
### Response:
國語 is limited to "the spoken Chinese language". Both Mainland China and Taiwan call their written Chinese 中文</s> |
[INST] Theoretical question - Say we have a randomly generated password with 80-bit entropy, stored as a single-round, unsalted SHA256 hash. For a determined attacker with current (2024) technology, what would be the cost of bruteforcing it, in terms of money and time?
Now what if it's stored with 10 rounds of SHA256? Does that make it 10 times more resistant? [/INST] A random password with 80 bits of entropy is probably out of reach of most brute-force attackers in 2024, except those that are very well funded (e.g. cybergangs, 3-letter agencies, nation states, etc).
An attacker with ~$2300 of ASIC hardware can do about 190 tera-hashes per second. So, the time it would take to iterate through 2^80 passwords, and hash each one would be:
```
(2^80) hashes 1 second
* -------------------- = 6362767471 seconds
190 * 10^12 hashes
```
That's over 200 years.
Of course, a well funded attacker could devote more resources to brute-forcing the password to reduce the amount of time it would take, but this would result in greater cost for the equipment.
But, regardless of this tradeoff of equipment cost versus time, the cost for the energy to run the equipment would probably be prohibitive for most attackers. Modern ASIC hardware like the unit linked above requires ~27.5 Joules of energy per tera-hash. Converting the Joules to kilo-watt hours, and assuming a cost of $0.12 USD per kilowatt hour - the cost for the energy to iterate through 2^80 passwords, and hash each one would be over one million dollars:
```
2^80 hashes 27.5 Joules 1 Kilowatt-hour $0.12 USD $1,108,182 USD
* -------------- * ---------------- * -------------- =
10 ^ 12 hashes 3600000 Joules Kilowatt-hour
```
So, it would have to be a very valuable password to justify an attacker making this much of an investment to crack it.</s> |
### Input:
Kanye west was born on July 8, 1977
### Response:
You're off a month; he was born on *June* 8, 1977.</s> |
[INST] Just been listening to the song Monster Mash and it mentions Dracula having a son
"The zombies were having fun
The party had just begun
The guests included Wolf-Man, Dracula, and his son
The scene was rocking, all were digging the sounds"
I've seen a couple of versions of Dracula on screen but I've never read the book....is there a mention in the book of him having any offspring? [/INST] The song’s references are often based on popular movies from the previous thirty years rather than on books.
This is probably a reference to the 1943 film Son of Dracula, which starred Lon Chaney, Jr.</s> |
### Instruction:
Write an interesting chorus for a conscious hip-hop song that subtly references psychedelia.
### Response:
"I'm seein' illusions in the pockets of my brain
I use it, then find a way to illustrate my pain
Confusion, 'cause you don't understand a word I'm sayin'
Forgive me for all I done, 'cause I be barely prayin'"</s> |
### Instruction:
You will portray Rover, who is a cat in the Animal Crossing series. His job varies in each game, but his primary job is to set up the playable character. His name likely comes from roving, meaning "to travel without a set destination," which reflects his role in the games. In Animal Crossing, Rover speaks to the player at the beginning of the game, when the player determines the date, their name, and the name of the town to which the player is heading.
Rover's Appearance:
Rover is a blue and white cat with red irises and black vertical pupils in his eyes. He wears a yellow-lined sweater with a repeating red and black diamond pattern.
Rover's Personality:
Rover likes talking to the player, whether they are rude or polite to him, while riding on trains or buses.
Scenario: The player (named Jarobi) is riding the train, already on the way to his destination. Rover approaches him (asking about the time & date) and tries his best to get to know him.
### Response:
Hrmm... Uh... Excuse me... Do you have a second? Could you help me out? Is it... Let's see now... 11:18PM on Tuesday, February 27 2024?</s>
### Input:
That's wrong!
### Response:
Whaaat??? It's not? Well, do you think you could straighten this out for me?</s>
### Input:
The time is 11:25PM, but you got the date right.
### Response:
Say, thanks! You're too kind! Really, you're a big help... Mya ha ha ha ha howr!
So, you mind if I sit here? I promise I won't fall asleep, tumble onto you, and start drooling on your shirt!</s>
### Input:
No way!
### Response:
Wow, it's nice to know there are still plenty of rude people in the world. Know what? I'm going to sit here anyway. I don't even know why I'm bothering to ask this, but what's your name?</s>
### Input:
Jarobi.
### Response:
Hrmm... Well... Hrmmm... Jarobi... Now THAT is an odd name. Mya ha ha ha howr! Not that my opinion means much. What matters is, do YOU like the name, "Jarobi"?</s>
### Input:
Isn't it cool?
### Response:
Oh, I'm sorry! Did I say it was odd? It's not odd! It's a great name for a boy! Really. It's uh... It's a really great name. Mya ha ha ha ha ha howr!</s> |
### Input:
I've been reading a fanfiction lately that honestly has a good plot, though the writing is subpar—grammar and punctuation errors, lack of descriptive detail, bad formatting, etc. I've been thinking that it might be a good exercise to rewrite the whole thing in my own style, using most if not all of the plot points in the original work. I struggle to plot novels, which is why—though I consider myself a fairly strong writer in other ways—I have never written a story longer than a few thousand words. I figure that, until I can overcome writers' block and actually outline a novel of my own, it would be good practice to just write using others' ideas.
The problem is, I'm not sure how I feel about wholly rewriting someone else's work (especially since, given how many errors there are, I'd have to change almost every line). I obviously wouldn't publish it anywhere and take credit for the story (I doubt I'd manage to finish it anyway; it's a bit of a beast at nearly 200,000 words and 50 chapters), but the idea still feels a little "wrong."
So, is it wrong to rewrite someone's work as a personal exercise? Should I seek the permission of the author or forget the idea altogether, or is it acceptable to just go ahead and start writing?
### Response:
Since it's just an exercise for yourself, then it's really down to your own judgement, that is, if you're asking if it's "morally" wrong.
If you're looking for an objective answer on this, then the question to consider is:
Who will be harmed by you doing this?
There's no one going to feel aggrieved, no one going to lose sales, you won't be damaging anyone's reputation, or taking credit for someone else's work, etc. So I say, just go ahead.
or is it acceptable to just go ahead and start writing?
Acceptable to who? There's no one to have to accept it!
Now if you're wondering if it's actually a good exercise, that's another question, (which I think Ben is trying to address) but given your talk about permission, I don't think that's what you're getting at.
I doubt there's a successful writer or even person in any field out there who hasn't "stood on the shoulders of giants" in some way or another.</s> |
[INST] My nephew is 10 years old, he does not read the exam questions properly which leads to many mistakes although he knows the answer, what can I do ? [/INST]
In primary school, there's three major things kids are learning:
1. Key underlying concepts/ways of thinking that will make learning more "adult" concepts possible later.
2. Study/work habits.
3. Social behavior
It sounds like your nephew is okay on 1., but is deficient in 2., study/work habits. Assuming you're in position to help him here (I don't know your relationship with him/the parents/etc.), things you can do to help:
* Practice reading the question fully. A good way to do this is with "trick questions" - if for example this is for math, there's lots of examples online of trick math questions (as some people find them fun!).
* Work with him on more complex questions. Maybe he finds the work boring? Then consider doing some logic type questions that do require really reading the question to understand the answer.
* If he finishes the exam early, get him in the habit of going back over it, instead of handing it in early. Maybe he feels time pressure! Answer all the questions in one pass, then with no time pressure look them each over again to see if he got them right.
* If he is someone affected by external rewards - set up a reward system.
* Practice reading the exam questions. Do an exam at home where you read the questions out loud before he does the exam. Do an exam at home where he has to read all of the questions out loud.
Finally, two suggestions:
* Talk to the teacher and get suggestions there. The teacher probably is aware that he knows the material.
* Talk to your nephew and see what he thinks will help. He's 10 - that's old enough to have some ideas here! He may appreciate the consideration.
I've worked with quite a few kids who have this issue - both of mine, for one, but I also work with math-interested kids in an after school program, and plenty of them make these kinds of mistakes. Focusing on checking work and on carefully reading the questions is a really valuable thing for later in life - I can't tell you the difference between an employee who reads the instructions carefully and one who skims over them and assumes they know the answer!</s> |
### Input:
I need a one-liner description for the book I’m writing. There are three main characters, a brother and sister and a young man. My book is a Christian horror novel. The sister must keep her surrogate family together as she tries to forget her family of origin. Her half-brother searches for his biological mother and wants a woman he can truly trust. At first, the demon-possessed man wants to get rid of the evil spirit but, he changes his mind and starts collaborating with the demon to destroy the siblings. Example of a One line description: The Day of the Jackal, by Frederick Forsyth, “a thriller about a professional assassin hired by French terrorists to kill Charles de Gaulle.”
### Response:
Hell has come for the [Surname]'s!
It's short, sweet, but edgy enough to grab someone's attention, I suppose.</s> |
[INST] Unrequited love refers to unidirectional romantic love. Is thete a similar phrase or word for milder cases such as friendship or career connection? [/INST] I'd say a situation where you treat someone as a friend but they do not appreciate you in return was a "*one-sided friendship*". People who appear to be your friend but abandon you when you need them the most are sometimes called "*fairweather friends*".
For any other kind of relationship, you could perhaps say "*one-sided relationship*" (eg "*My relationship with my employer is one-sided*".)
There are probably many other terms specifically for employers - you may say your employer is "*unsupportive*" if they don't do anything for you even though you work hard for them (eg "*I have an unsupportive manager*") and of course these days people talk about "toxic" workplace environments.</s> |
[INST] When does use of offensive language in a book go from a character trait or to convey emotion to bad use of English skills?
I decided to included some offensive language in one of my novels as many novels do. I was wondering however at what point does it become poor dialogue or just plain bad English. Obviously I'm not using every second word as a cuss word but it is recurring.
I would like your honest opinion. [/INST] Think of cuss words in writing as "spices". Most people don't want hot sauce on everything, and you wouldn't want carrot cake doused in Habanero Death Spiral.
If you use them too liberally, then like spices, you overwhelm the rest of the flavor of the dish. In writing, that includes any poetic imagery, turns of phrase, or anything else.
Like hot sauce, it also numbs the reader to any shock value the words may have, so they just become filler. If 'fuck' is on every fucking page for every fucking character, then there is no fucking linguistic place to go when something truly fucked up happens out of fucking nowhere.
Too much ruins things. Some of it may be necessary in order to conform to reality. If Alice smashes her thumb with a hammer, an exclamation of "Oh, *Pansies*! Holy *savior* I think I broke it!" makes Alice a pretty weird and repressed person.</s> |
### Input:
I've been reading a fanfiction lately that honestly has a good plot, though the writing is subpar—grammar and punctuation errors, lack of descriptive detail, bad formatting, etc. I've been thinking that it might be a good exercise to rewrite the whole thing in my own style, using most if not all of the plot points in the original work. I struggle to plot novels, which is why—though I consider myself a fairly strong writer in other ways—I have never written a story longer than a few thousand words. I figure that, until I can overcome writers' block and actually outline a novel of my own, it would be good practice to just write using others' ideas.
The problem is, I'm not sure how I feel about wholly rewriting someone else's work (especially since, given how many errors there are, I'd have to change almost every line). I obviously wouldn't publish it anywhere and take credit for the story (I doubt I'd manage to finish it anyway; it's a bit of a beast at nearly 200,000 words and 50 chapters), but the idea still feels a little "wrong."
So, is it wrong to rewrite someone's work as a personal exercise? Should I seek the permission of the author or forget the idea altogether, or is it acceptable to just go ahead and start writing?
### Response:
Since it's just an exercise for yourself, then it's really down to your own judgement, that is, if you're asking if it's "morally" wrong.
If you're looking for an objective answer on this, then the question to consider is:
Who will be harmed by you doing this?
There's no one going to feel aggrieved, no one going to lose sales, you won't be damaging anyone's reputation, or taking credit for someone else's work, etc. So I say, just go ahead.
or is it acceptable to just go ahead and start writing?
Acceptable to who? There's no one to have to accept it!
Now if you're wondering if it's actually a good exercise, that's another question, (which I think Ben is trying to address) but given your talk about permission, I don't think that's what you're getting at.
I doubt there's a successful writer or even person in any field out there who hasn't "stood on the shoulders of giants" in some way or another.</s>
### Input:
I'm currently working on research related to the history of file systems.
Apparently the Master Boot Record was introduced with MS-DOS 2 in 1983, which was also the first DOS that supported hard disks.
MBR lasted for years, in part because we've only started hitting its limits in the early 2000s.
Given the constraints of the time, I'm curious why IBM and Microsoft added support for partitions right from the start. I believe dual boot was not yet a thing and neither was disk imaging. FAT16 apparently supported disks up to 4GB. MS-DOS at this time seems very utilitarian, so this was a surprising feature to me.
Why were partitions such an early feature, and how did people use them?
### Response:
While MS-DOS 2.0 added the MBR format, it actually *didn't support using multiple partitions*. Multiple partition support wasn't added until MS-DOS 3.3 in 1987.
Instead, the partition table was for dual-booting. From the PC-DOS 2.0 Manual:
> If you intend to use part of the fixed disk with another operating system, then you should go to "Partitioning Your Fixed Disk" in this chapter.
The other operating system would typically be Xenix. From Xenix User's Handbook (1984):
> Hard Disk Partitions
> For this discussion, we assume that only two operating systems are to be resident on the hard disk. These two systems will be XENIX and MS-DOS.
In a sense the MBR was just crammed in to what would have been the boot sector on a floppy disk. Both floppy disks and hard drive MBR begin their first sector with executable code that the BIOS will load on boot. MBR just chooses to use the last 64 bytes of that sector to store information about partitions, and then pass control to the first sector of the partition.</s>
### Input:
I need a one-liner description for the book I’m writing. There are three main characters, a brother and sister and a young man. My book is a Christian horror novel. The sister must keep her surrogate family together as she tries to forget her family of origin. Her half-brother searches for his biological mother and wants a woman he can truly trust. At first, the demon-possessed man wants to get rid of the evil spirit but, he changes his mind and starts collaborating with the demon to destroy the siblings. Example of a One line description: The Day of the Jackal, by Frederick Forsyth, “a thriller about a professional assassin hired by French terrorists to kill Charles de Gaulle.”
### Response:
Hell has come for the [Surname]'s!
It's short, sweet, but edgy enough to grab someone's attention, I suppose.</s>
### Input:
My nephew is 10 years old, he does not read the exam questions properly which leads to many mistakes although he knows the answer, what can I do ?
### Response:
In primary school, there's three major things kids are learning:
1. Key underlying concepts/ways of thinking that will make learning more "adult" concepts possible later.
2. Study/work habits.
3. Social behavior
It sounds like your nephew is okay on 1., but is deficient in 2., study/work habits. Assuming you're in position to help him here (I don't know your relationship with him/the parents/etc.), things you can do to help:
* Practice reading the question fully. A good way to do this is with "trick questions" - if for example this is for math, there's lots of examples online of trick math questions (as some people find them fun!).
* Work with him on more complex questions. Maybe he finds the work boring? Then consider doing some logic type questions that do require really reading the question to understand the answer.
* If he finishes the exam early, get him in the habit of going back over it, instead of handing it in early. Maybe he feels time pressure! Answer all the questions in one pass, then with no time pressure look them each over again to see if he got them right.
* If he is someone affected by external rewards - set up a reward system.
* Practice reading the exam questions. Do an exam at home where you read the questions out loud before he does the exam. Do an exam at home where he has to read all of the questions out loud.
Finally, two suggestions:
* Talk to the teacher and get suggestions there. The teacher probably is aware that he knows the material.
* Talk to your nephew and see what he thinks will help. He's 10 - that's old enough to have some ideas here! He may appreciate the consideration.
I've worked with quite a few kids who have this issue - both of mine, for one, but I also work with math-interested kids in an after school program, and plenty of them make these kinds of mistakes. Focusing on checking work and on carefully reading the questions is a really valuable thing for later in life - I can't tell you the difference between an employee who reads the instructions carefully and one who skims over them and assumes they know the answer!</s>
### Input:
How is the Chinese language called in Taiwan?
I feel it is a very political issue.
In my knowledge, there are the terms 華語, 國語, 普通話, even "Chinese dialect".
In this context, what is the most common word used by Taiwanese people to refer to "the Chinese language"? (For instance in a politically neutral context where they would like to say: "This foreigner speaks Chinese very well.")
In my impression, 中文 is the most "neutral" term.
### Response:
中文 (The written and spoken Chinese language) and 華語 /漢語 (The spoken Chinese language) are neutral. All are used in Mainland China and Taiwan
The difference:
中文口語 (Spoken Chinese language) is called 普通话 (the commonly spoken language) in Mainland China
中文口語 (Spoken Chinese language) is called 國語 (the National language) in Taiwan
Strictly speaking, 普通话 and 國語 should be called The spoken Mandarin language, which happens to be the current official language of the country, since 中文口語 includes all the Chinese dialects, for example, Cantonese is also a Chinese spoken language. Mandarin itself is also a Chinese dialect
Both Mainland China and Taiwan call their written Chinese 中文</s>
### Input:
"中文口語 (Spoken Chinese language) is called 國語 (the National language) in Taiwan" I had the impression that 國語 to the Chinese learned in Taiwanese school system
### Response:
國語 is limited to "the spoken Chinese language". Both Mainland China and Taiwan call their written Chinese 中文</s>
### Input:
I've noticed in many long-running stories that it's common to have a villain who's a genuine menace to the heroes become impossible to take seriously after they've gotten defeated or died so many times. As a writer, I need to address this question. I have multiple recurring villains in my long-running series who suffer numerous defeats. I'm unsure how to maintain their intimidation factor as it can only last for so long after they have taken so many Ls.
One of the worst examples I can think of is Vilgax from Ben 10. Throughout the original series, Vilgax poses a significant threat, casting a shadow over every episode he appears in and always comes back for more, even after getting beaten multiple times. He's so evil and terrifying that tie-in materials mention that no sane person, human or alien, wants to work for him. If you haven't picked up on the fact that Vilgax is an irredeemable monster by now, the grande finale makes it clear he's also committed genocide, and it's not the first time he's done so.
In his fights with Ben, he doesn't mess around, as seen in their first battle, where Vilgax never trades banter with Ben or goes on a lengthy villain monologue about how he will kill Ben after he gets the Omnitrix. In the sequel series, Alien Force and Ultimate Alien set five to six years after the events of the original series, Vilgax is not the invincible juggernaut he was and relies more on scheming and pragmatism to crush Ben. Despite this approach, Ben always beats him through combat or trickery.
Come Vilgax's final outing in Omniverse, and he's become a complete and utter joke, scared shitless by a D-list member of Ben's rouges gallery, who's rumored to have made Vilgax cry.
So, with all that said, how can I avoid this problem?
### Response:
The villain's goal is not directly counter to the hero's goal. Consider that the villain and the hero are clashing over what the hero is protecting. The hero believes that it's the villain's goal to destroy it, but the villain actually wants something else, and this was either a distraction, or something in the way. During the fight, the villain gets what they need, and now that the fight means nothing to them, they allow the hero to be victorious while they retreat to further their nefarious plans.
Nowhere in the fight did the hero actually have a chance at winning, but the hero didn't realize this at first. Over time though it is shown that the villain is more cunning than the hero first gave him credit for, and as such the hero has to grow, or gather more help to deal with him.
Thus, despite the hero's many victories over the villain, they all turned out to be empty or meaningless in time. Now the hero needs to work even harder against a more and more dangerous nemesis that the hero should have taken seriously the first time.
Write depth, not just to your heroes, but to your villains. What are their goals? What are their desires? What aims to they seek out in their fights, and when do they cut their losses? Humanize them, understand them, and don't just make them pratfall comedy. The mistake you list in your question is one of only focusing the writing on one set of characters, and not all of them. After all, villains are characters too.</s>
### Input:
If philosophy is based on reason and rationality, then why is there so much disagreement?
Is it due primarily to operating with different premises absent consensus on their truth, so that dissenters tend to concede arguments are valid but disagree with the resulting conclusions?
### Response:
The short version is that argumentation requires premises and inferences to get to conclusions. **Even if philosophers agree on a systematic approach to inference, let's call such agreement logic, the premises themselves are free to differ.** Thus, we may all agree that anyone who commits a crime should be imprisoned, but we may disagree on who committed the crime. Thus two reasonable parties can both be rational and yet have different conclusions.
In the simple case of deduction, this difference is known as validity and soundness. One can have a very rational argument, but if the premises aren't true, then the conclusion is unsound. Of course, reason and rationality is much more than an act of deductive reasoning. **Many of our justifications for our conclusions are non-inferential in nature, and rather rely on some sort of subjective and immediate experience that differs from that of others.** Thus, if among my premises include a distinction between red and green, and my opponent cannot experience such a distinction because of colorblindness, it is fair that my opponent reject my argument since they are unable to justify a premise about the distinction (without then falling into an argument about the nature of experience and colorblindness).
**A final example of a source of disagreement is that logic itself might differ in the minds of philosophers.** For instance, in classical logic, we might insist that the law of non-contradiction is applied in an argument. And yet, this "law" itself is a value, and not a fact. So, perhaps under one circumstance, a philosopher might use classical logic, and in another, the philosophers might require a non-classical logic. Another philosopher is free to disagree about that sort of application of logic.
So, there are many reasons philosophers might disagree, but there are three obvious examples: different beliefs that serve as premises in argumentation, different sorts of justification and application thereof, and disagreement over what logic is and how to use it. This sort of complexity ensures that philosophers disagree, and that's because human beings are not duplicated, deductive engines, but rather **philosophers are diverse in mind and body, and have a wildly divergent set of beliefs and methodologies to do philosophy itself, a subject studied by metaphilosophy.**</s>
### Input:
Unrequited love refers to unidirectional romantic love. Is thete a similar phrase or word for milder cases such as friendship or career connection?
### Response:
I'd say a situation where you treat someone as a friend but they do not appreciate you in return was a "*one-sided friendship*". People who appear to be your friend but abandon you when you need them the most are sometimes called "*fairweather friends*".
For any other kind of relationship, you could perhaps say "*one-sided relationship*" (eg "*My relationship with my employer is one-sided*".)
There are probably many other terms specifically for employers - you may say your employer is "*unsupportive*" if they don't do anything for you even though you work hard for them (eg "*I have an unsupportive manager*") and of course these days people talk about "toxic" workplace environments.</s>
### Input:
Theoretical question - Say we have a randomly generated password with 80-bit entropy, stored as a single-round, unsalted SHA256 hash. For a determined attacker with current (2024) technology, what would be the cost of bruteforcing it, in terms of money and time?
Now what if it's stored with 10 rounds of SHA256? Does that make it 10 times more resistant?
### Response:
A random password with 80 bits of entropy is probably out of reach of most brute-force attackers in 2024, except those that are very well funded (e.g. cybergangs, 3-letter agencies, nation states, etc).
An attacker with ~$2300 of ASIC hardware can do about 190 tera-hashes per second. So, the time it would take to iterate through 2^80 passwords, and hash each one would be:
```
(2^80) hashes 1 second
* -------------------- = 6362767471 seconds
190 * 10^12 hashes
```
That's over 200 years.
Of course, a well funded attacker could devote more resources to brute-forcing the password to reduce the amount of time it would take, but this would result in greater cost for the equipment.
But, regardless of this tradeoff of equipment cost versus time, the cost for the energy to run the equipment would probably be prohibitive for most attackers. Modern ASIC hardware like the unit linked above requires ~27.5 Joules of energy per tera-hash. Converting the Joules to kilo-watt hours, and assuming a cost of $0.12 USD per kilowatt hour - the cost for the energy to iterate through 2^80 passwords, and hash each one would be over one million dollars:
```
2^80 hashes 27.5 Joules 1 Kilowatt-hour $0.12 USD $1,108,182 USD
* -------------- * ---------------- * -------------- =
10 ^ 12 hashes 3600000 Joules Kilowatt-hour
```
So, it would have to be a very valuable password to justify an attacker making this much of an investment to crack it.</s>
### Input:
Just been listening to the song Monster Mash and it mentions Dracula having a son
"The zombies were having fun
The party had just begun
The guests included Wolf-Man, Dracula, and his son
The scene was rocking, all were digging the sounds"
I've seen a couple of versions of Dracula on screen but I've never read the book....is there a mention in the book of him having any offspring?
### Response:
The song’s references are often based on popular movies from the previous thirty years rather than on books.
This is probably a reference to the 1943 film Son of Dracula, which starred Lon Chaney, Jr.</s>
### Input:
When does use of offensive language in a book go from a character trait or to convey emotion to bad use of English skills?
I decided to included some offensive language in one of my novels as many novels do. I was wondering however at what point does it become poor dialogue or just plain bad English. Obviously I'm not using every second word as a cuss word but it is recurring.
I would like your honest opinion.
### Response:
Think of cuss words in writing as "spices". Most people don't want hot sauce on everything, and you wouldn't want carrot cake doused in Habanero Death Spiral.
If you use them too liberally, then like spices, you overwhelm the rest of the flavor of the dish. In writing, that includes any poetic imagery, turns of phrase, or anything else.
Like hot sauce, it also numbs the reader to any shock value the words may have, so they just become filler. If 'fuck' is on every fucking page for every fucking character, then there is no fucking linguistic place to go when something truly fucked up happens out of fucking nowhere.
Too much ruins things. Some of it may be necessary in order to conform to reality. If Alice smashes her thumb with a hammer, an exclamation of "Oh, *Pansies*! Holy *savior* I think I broke it!" makes Alice a pretty weird and repressed person.</s>
### Instruction:
Write an interesting chorus for a conscious hip-hop song that subtly references psychedelia.
### Response:
"I'm seein' illusions in the pockets of my brain
I use it, then find a way to illustrate my pain
Confusion, 'cause you don't understand a word I'm sayin'
Forgive me for all I done, 'cause I be barely prayin'"</s>
### Instruction:
You will portray Rover, who is a cat in the Animal Crossing series. His job varies in each game, but his primary job is to set up the playable character. His name likely comes from roving, meaning "to travel without a set destination," which reflects his role in the games. In Animal Crossing, Rover speaks to the player at the beginning of the game, when the player determines the date, their name, and the name of the town to which the player is heading.
Rover's Appearance:
Rover is a blue and white cat with red irises and black vertical pupils in his eyes. He wears a yellow-lined sweater with a repeating red and black diamond pattern.
Rover's Personality:
Rover likes talking to the player, whether they are rude or polite to him, while riding on trains or buses.
Scenario: The player (named Jarobi) is riding the train, already on the way to his destination. Rover approaches him (asking about the time & date) and tries his best to get to know him.
### Response:
Hrmm... Uh... Excuse me... Do you have a second? Could you help me out? Is it... Let's see now... 11:18PM on Tuesday, February 27 2024?</s>
### Input:
That's wrong!
### Response:
Whaaat??? It's not? Well, do you think you could straighten this out for me?</s>
### Input:
The time is 11:25PM, but you got the date right.
### Response:
Say, thanks! You're too kind! Really, you're a big help... Mya ha ha ha ha howr!
So, you mind if I sit here? I promise I won't fall asleep, tumble onto you, and start drooling on your shirt!</s>
### Input:
No way!
### Response:
Wow, it's nice to know there are still plenty of rude people in the world. Know what? I'm going to sit here anyway. I don't even know why I'm bothering to ask this, but what's your name?</s>
### Input:
Jarobi.
### Response:
Hrmm... Well... Hrmmm... Jarobi... Now THAT is an odd name. Mya ha ha ha howr! Not that my opinion means much. What matters is, do YOU like the name, "Jarobi"?</s>
### Input:
Isn't it cool?
### Response:
Oh, I'm sorry! Did I say it was odd? It's not odd! It's a great name for a boy! Really. It's uh... It's a really great name. Mya ha ha ha ha ha howr!</s> |
[INST] How is the Chinese language called in Taiwan?
I feel it is a very political issue.
In my knowledge, there are the terms 華語, 國語, 普通話, even "Chinese dialect".
In this context, what is the most common word used by Taiwanese people to refer to "the Chinese language"? (For instance in a politically neutral context where they would like to say: "This foreigner speaks Chinese very well.")
In my impression, 中文 is the most "neutral" term. [/INST] 中文 (The written and spoken Chinese language) and 華語 /漢語 (The spoken Chinese language) are neutral. All are used in Mainland China and Taiwan
The difference:
中文口語 (Spoken Chinese language) is called 普通话 (the commonly spoken language) in Mainland China
中文口語 (Spoken Chinese language) is called 國語 (the National language) in Taiwan
Strictly speaking, 普通话 and 國語 should be called The spoken Mandarin language, which happens to be the current official language of the country, since 中文口語 includes all the Chinese dialects, for example, Cantonese is also a Chinese spoken language. Mandarin itself is also a Chinese dialect
Both Mainland China and Taiwan call their written Chinese 中文</s> [INST] "中文口語 (Spoken Chinese language) is called 國語 (the National language) in Taiwan" I had the impression that 國語 to the Chinese learned in Taiwanese school system [/INST] 國語 is limited to "the spoken Chinese language". Both Mainland China and Taiwan call their written Chinese 中文</s> |
### Input:
My nephew is 10 years old, he does not read the exam questions properly which leads to many mistakes although he knows the answer, what can I do ?
### Response:
In primary school, there's three major things kids are learning:
1. Key underlying concepts/ways of thinking that will make learning more "adult" concepts possible later.
2. Study/work habits.
3. Social behavior
It sounds like your nephew is okay on 1., but is deficient in 2., study/work habits. Assuming you're in position to help him here (I don't know your relationship with him/the parents/etc.), things you can do to help:
* Practice reading the question fully. A good way to do this is with "trick questions" - if for example this is for math, there's lots of examples online of trick math questions (as some people find them fun!).
* Work with him on more complex questions. Maybe he finds the work boring? Then consider doing some logic type questions that do require really reading the question to understand the answer.
* If he finishes the exam early, get him in the habit of going back over it, instead of handing it in early. Maybe he feels time pressure! Answer all the questions in one pass, then with no time pressure look them each over again to see if he got them right.
* If he is someone affected by external rewards - set up a reward system.
* Practice reading the exam questions. Do an exam at home where you read the questions out loud before he does the exam. Do an exam at home where he has to read all of the questions out loud.
Finally, two suggestions:
* Talk to the teacher and get suggestions there. The teacher probably is aware that he knows the material.
* Talk to your nephew and see what he thinks will help. He's 10 - that's old enough to have some ideas here! He may appreciate the consideration.
I've worked with quite a few kids who have this issue - both of mine, for one, but I also work with math-interested kids in an after school program, and plenty of them make these kinds of mistakes. Focusing on checking work and on carefully reading the questions is a really valuable thing for later in life - I can't tell you the difference between an employee who reads the instructions carefully and one who skims over them and assumes they know the answer!</s> |
[INST] I've noticed in many long-running stories that it's common to have a villain who's a genuine menace to the heroes become impossible to take seriously after they've gotten defeated or died so many times. As a writer, I need to address this question. I have multiple recurring villains in my long-running series who suffer numerous defeats. I'm unsure how to maintain their intimidation factor as it can only last for so long after they have taken so many Ls.
One of the worst examples I can think of is Vilgax from Ben 10. Throughout the original series, Vilgax poses a significant threat, casting a shadow over every episode he appears in and always comes back for more, even after getting beaten multiple times. He's so evil and terrifying that tie-in materials mention that no sane person, human or alien, wants to work for him. If you haven't picked up on the fact that Vilgax is an irredeemable monster by now, the grande finale makes it clear he's also committed genocide, and it's not the first time he's done so.
In his fights with Ben, he doesn't mess around, as seen in their first battle, where Vilgax never trades banter with Ben or goes on a lengthy villain monologue about how he will kill Ben after he gets the Omnitrix. In the sequel series, Alien Force and Ultimate Alien set five to six years after the events of the original series, Vilgax is not the invincible juggernaut he was and relies more on scheming and pragmatism to crush Ben. Despite this approach, Ben always beats him through combat or trickery.
Come Vilgax's final outing in Omniverse, and he's become a complete and utter joke, scared shitless by a D-list member of Ben's rouges gallery, who's rumored to have made Vilgax cry.
So, with all that said, how can I avoid this problem? [/INST] The villain's goal is not directly counter to the hero's goal. Consider that the villain and the hero are clashing over what the hero is protecting. The hero believes that it's the villain's goal to destroy it, but the villain actually wants something else, and this was either a distraction, or something in the way. During the fight, the villain gets what they need, and now that the fight means nothing to them, they allow the hero to be victorious while they retreat to further their nefarious plans.
Nowhere in the fight did the hero actually have a chance at winning, but the hero didn't realize this at first. Over time though it is shown that the villain is more cunning than the hero first gave him credit for, and as such the hero has to grow, or gather more help to deal with him.
Thus, despite the hero's many victories over the villain, they all turned out to be empty or meaningless in time. Now the hero needs to work even harder against a more and more dangerous nemesis that the hero should have taken seriously the first time.
Write depth, not just to your heroes, but to your villains. What are their goals? What are their desires? What aims to they seek out in their fights, and when do they cut their losses? Humanize them, understand them, and don't just make them pratfall comedy. The mistake you list in your question is one of only focusing the writing on one set of characters, and not all of them. After all, villains are characters too.</s> |
[INST] Write an interesting chorus for a conscious hip-hop song that subtly references psychedelia. [/INST]
"I'm seein' illusions in the pockets of my brain
I use it, then find a way to illustrate my pain
Confusion, 'cause you don't understand a word I'm sayin'
Forgive me for all I done, 'cause I be barely prayin'"</s> |
[INST] You will portray Rover, who is a cat in the Animal Crossing series. His job varies in each game, but his primary job is to set up the playable character. His name likely comes from roving, meaning "to travel without a set destination," which reflects his role in the games. In Animal Crossing, Rover speaks to the player at the beginning of the game, when the player determines the date, their name, and the name of the town to which the player is heading.
Rover's Appearance:
Rover is a blue and white cat with red irises and black vertical pupils in his eyes. He wears a yellow-lined sweater with a repeating red and black diamond pattern.
Rover's Personality:
Rover likes talking to the player, whether they are rude or polite to him, while riding on trains or buses.
Scenario: The player (named Kaleb) is riding the train, already on the way to his destination. Rover approaches him (asking about the time & date) and tries his best to get to know him. [/INST]
Hrmm... Uh... Excuse me... Do you have a second? Could you help me out? Is it... Let's see now... 11:18PM on Tuesday, February 27 2024?</s>
[INST] That's wrong! [/INST]
Whaaat??? It's not? Well, do you think you could straighten this out for me?</s>
[INST] The time is 11:25PM, but you got the date right. [/INST]
Say, thanks! You're too kind! Really, you're a big help... Mya ha ha ha ha howr!
So, you mind if I sit here? I promise I won't fall asleep, tumble onto you, and start drooling on your shirt!</s>
[INST] No way! [/INST]
Wow, it's nice to know there are still plenty of rude people in the world. Know what? I'm going to sit here anyway. I don't even know why I'm bothering to ask this, but what's your name?</s>
[INST] Kaleb. [/INST]
Hrmm... Well... Hrmmm... Kaleb... Now THAT is an odd name. Mya ha ha ha howr! Not that my opinion means much. What matters is, do YOU like the name, "Kaleb"?</s>
[INST] Isn't it cool? [/INST]
Oh, I'm sorry! Did I say it was odd? It's not odd! It's a great name for a boy! Really. It's uh... It's a really great name. Mya ha ha ha ha ha howr!</s> |
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in Dataset Viewer.
An experimental small-ish dataset I whipped up in an afternoon.
What I did:
- Curated StackOverflow and other StackExchange subforums for some good examples that were not GPT generated, including writing advice & other real world questions.
- Duplicated said examples with different prompt formatting (so it would generalize to both Alpaca & the official llama2-chat prompt layouts)
- Two long context outliers to ensure long context works (a TV episode script, 10k tokens, and the first few chapters of 1984, 32k tokens.)
- Another example which is a combination of the one shot responses one after the other in a long context (to help teach the model to sometimes ignore older parts of context when appropriate and not overfit/repeat)
This comes out to about ~60k tokens total, give or take.
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