Yep. MOOCs don't serve the important part of the teacher's job. Teaching is best as a dialogue. A videotaped lecture is little different from a book, in that the information is fixed; worse, unlike a book, you don't even get to read at your own pace. It's not without value, since some things adapt well to that and different modes work for different people, but it's still missing the two-way communication that a real teacher provides.
People have pushed MOOCs largely for the learn-a-bunch-of-facts classes, such as science and tech. Technique is also a "fact"; it's stuff that can easily be tested and graded. The things that are missing are the parts that make us consider a student well-rounded: history, literature, sociology, art. These sound trivial to nerds but they're about innovation and communication. They, too, have to be practiced, and it's not something that can be memorized. Even the STEMmest jobs are ultimately about people: seeing what people want, finding ways to tell them your ideas, building up a story together. And that's something that a real teacher can help with, and a videotaped teacher can't. (Nor can a videotaped teacher answer questions or ascertain just why a student isn't "getting it". Even a "great teacher" is little more than an actor when on video.)
Teaching is too often undervalued as if they were just handed a book. It's a skill of its own. We STEM nerds often undervalue that skill because it's not easily graded on a multiple-choice test.
TFS is written primarily in the present tense, which is kind of odd seeing as Lem has been dead for nearly a decade. We are already living in Lem's future, and the future for Lem himself is pretty much a steady-state.
Good for you, man. I'm glad to see it happening. I don't like having publishers as arbiters of public taste any more than you do. I just think it's important to recognize that the vast majority of self-published ebooks aren't very successful, and it's not just the bad ones.
Taking into account, of course, the fact that you have to do all of your own marketing. You have to make your novel stand out among zillions of other indie ebooks, all of which have the same low barrier to entry.
Just having a major publisher's name on it is pretty substantial marketing. Even more so if they go to the expense to print out a physical book, which is a large sunk cost up front. That tells readers that somebody believes in the book, to the tune of a few tens of thousands of dollars. And that publisher will generally get it into meatspace bookstores, where your book has to stand out only among a far, far smaller crowd of other physical books on the shelf.
It's not impossible to do very, very well with an ebook. But much of the time that additional 45% you get to keep is 45% of a much smaller pot. (And generally the margin is much wider than that, in fact. Going rate is usually in the 10-13% range, in my experience.)
The way I see it... if you can get a publisher interested, you probably should, at least until you have a large fan base of your own. It's the easiest way to that fan base. Building it up yourself is difficult. Not impossible, and possibly no harder than getting a publisher to take an interest in you. But if I had a publisher on the hook, I'd keep it.
There is a certain amount of lock-in to the film incentives, especially for TV series. Shooting a film requires a substantial amount of infrastructure, both personnel and equipment, which doesn't exist everywhere. These people are often not employed by the studio directly, but form local service companies. And where those companies exist, it's easier for more film projects to move in.
Even if Walking Dead were to pack up and move, Georgia may still have accomplished its goals with the subsidies. I know that Maryland is similarly pushing this. They developed a lot of that infrastructure a while back during the filming of Homicide in Baltimore, and there have been a lot of follow-on projects. They're now trying to boost that with House of Cards, which is an enormous undertaking that employs many hundreds of people (at least part time). The resources of material and knowledge built up in the local economy attract other film projects that can do the job faster and better because it's already here, rather than building it up from scratch.
Of course, producers know that, and will drive up the price as far as they can. Maryland nearly lost House of Cards in a kind of game of chicken; neither side wanted the production to move but each wanted to get a better deal. In the end, House of Cards largely won, and people in the local film industry are extremely happy about that. I don't know if it's really a good deal for the state in the end, but at least for the moment it's employing a lot of people, and since it's a series they'll go on having work to do for a while.
Interstates are the perfect place for it: relatively few surprises and extremely boring for drivers. They're all "limited access highways", so you don't have to worry about pedestrian crossings or children running into the street.
If they just left it at that, I'd consider it an enormous advance over the present state of things.
I don't know why, but to me it comes out oddly comforting when Slashdot reformats it as prose.
Get rid of your dictator and adopt a representative democracy and it will be over. Indeed, nobody could have thought it would go on this long.
one of the biggest steal companies in the world
Do tell. Enron, maybe?
High frequency trading
Most of the code driving that is written in Haskell
That's weird. The very article you link says most of it is written in C/C++, with a bunch of other stuff thrown in here and there. One guy said he used Visual Basic.
After any salary raise, you will have less money at the end of the month than you did before.
