April-June 2022 Archive

QIP2022 [playlist]

QUTIP2022

You need to unlearn a lot from blogging, and from online writing in general.

A media form which does this better than blogs is academic journals. Although it is possible to subscribe to a journal, it’s very uncommon to expect to read a journal entire. And the reason is that the form is designed so that each article finds its own audience. For instance: the title and abstract are designed to make it super-easy to not read a paper. They say “Oh, unless you have these interests and this background, you should ignore this”. They’re sometimes described as “marketing” for papers, but really they’re better thought of as [anti-marketing]. In particular: they set the right expectations, and help drive away the wrong kind of reader. That’s invaluable not just for the reader, but perhaps even more for the author.

There’s something strangely difficult in writing just for oneself. As far as I can tell, almost no-one can do it productively. We think better when the stakes are higher, and one of the best ways of raising the stakes is to make a document into something you’re sharing with people whose good opinion you desire.

it has been my position for a few years (which not everyone agrees with) that the information paradox can be resolved by replacing the no-hair theorem by a principle of holography of information. This is the result, which we have developed with several collaborators that, in an appropriate UV-completion of gravity, all the information inside the black hole is available outside, which is very different from the no-hair theorem. But the results of Calmet et al. do not establish such a principle and should not be conflated with our results. They only establish a more-limited result: that some information is available outside.

Musics

Manga

  • Ayashimon, Kaku Yuuji
  • Dandadan, Tatsu Yukinobu
  • Dead Dead Demon’s Dededede Destruction, Honobono Fuufu
  • Blue Lock, Kaneshiro Muneyuki, Ch 1-95, 108-154
  • Chi no wadachi (A Trail of Blood), Oshimi Shuuzou, Ch 1-28, 74-122

Oshimi Shuzo seems to have had a very complicated childhood due to his mother (which is why he always write women as antagonists in his works, although nuanced and mysterious ones). He seems to have found his path, so maybe Sei’s life will reflect this.

My source is this review of the manga by a French newspaper. I translated the relevant comments shared by the author to the reviewer

https://www.lemonde.fr/les-enfants-akira/article/2019/09/01/manga-les-liens-du-sang-ou-le-joug-d-une-mere-toxique_5505102_5191101.html

« Pour moi, l’adolescence n’est pas le doux souvenir d’une époque révolue. C’est un nœud de problématiques toujours bien ancrées au fond de mon cœur » […] « Je ressens de la peur à chaque fois que j’essaie de m’y confronter. Et pourtant, au-delà de la douleur se cache une excitation quasi sexuelle. A travers mes histoires, j’espère faire retrouver à mes lecteurs cette part cachée en eux. »

“For me teenage years are not a sweet memory of a bygone era. They’re a knot of issues still tightly bound deep in my heart.” […] I feel afraid every time I try to confront it. Yet, hidden beyond the pain is a a sort of sexual tension. I hope that through my stories my readers can rediscover this hidden part of their selves.”

« Je pense que ce sont les femmes que j’ai rencontrées jusqu’à présent qui ont formé ce goût pour un certain type de personnage féminin. J’ai toujours eu peur des femmes […] Pas des femmes réelles, mais de l’image que je m’en fais. L’ombre de ma mère plane sur elles. En même temps, je déteste ma propre masculinité, j’ai l’impression que c’est “sale”. Au fond de moi, j’espère pouvoir surmonter toutes ces représentations, vaincre mes peurs, me libérer de ma mère et me lier à une femme. »

I think that the women I met so far are the ones who shaped my taste for a certain type of female character. I’ve always been afraid of women […] Not of real women, but of how I picture them. The shadow of my mother looms over them. All the while, I hate my own masculinity, it feels dirty to me. Deep inside I hope that I’ll be able to overcome these ideas, win over my fears, free myself from my mother and form a relationship with a woman.”

[…] Shuzo Oshimi insuffle ses propres sensations et ses expériences d’adolescent qui s’ennuie intellectuellement dans une petite bourgade de la préfecture Gunma, au centre du Japon. Il donne d’ailleurs à Seiichi la même année de naissance que lui. Au collège dans les années 1990, l’auteur découvre et s’éprend des écrits sulfureux de Baudelaire ou encore du marquis de Sade. « Ce qui m’intéresse (…) c’est de pouvoir extérioriser des émotions qui n’auraient jamais pu être révélées autrement qu’à travers ce rapport de soumission »

Shuzo Oshimi finds inspiration in the feelings and experiences that he went through as a bored teenager in a small locality of the Gunma prefecture, right in the center of Japan. He even gave Seiichi his own birthdate. In middle school during the 90s, the author discovers and falls in love with the salacious writings of Baudelaire as well as the Marquis de Sade. “What attracts me is the possibility of externalizing emotions whose existence could only be revealed through a relationship of submission.”

Jusqu’à présent, Shuzo Oshimi n’avait pas autant égratigné la figure maternelle. « Je me suis rendu compte que les dilemmes ressentis dans la relation avec ma mère forment un des thèmes fondamentaux qui m’habitaient. C’est pour ça que j’ai décidé de le mettre au cœur de ce manga. »*

Shuzo Oshimi had yet to attack the mother figure in his work, at least as forcefully. “I realized that the dilemmas I feel in the relationship with my mother are behind one of the fundamental themes that I’ve been haunted with. This is why I decided to put it at the core of the manga.”

Anime

  • Invincible

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