Uh no, I can follow most derivatives pricing but Quantum Field Theory is several orders of magnitude more difficult
A good rule of thumb - anything that uses the word 'quantum' outside of established physics is BS - this seems no different
You got the trick, but this scam is seriously in the air and money is pouring in. I am not urging academics to play heros, ignore my rants. Just keep safe and do your job for your own sake. I am the one to play at this level.
That is some solid math, QTF is not much a bigger issue than the financial math if you got the chance if you can do financial math at stochastics. The biggest problem for american students is the racial affirmation and money. Education in college is way cheaper in China than in the US, western students can try to get into chinese colleges to study STEM.
I am religious but not superstitious, meaning that I don't usually think that hearing a classical composition is going to offend me because of its content, even if evil is presented in an ambiguous manner or portrayed directly. In these cases the content may even strengthen my resolve to resist evil. But if I sense an attempt to drag in, overwhelm, derange or brutalize the listener, who is also the viewer if it is a musical stage work, I will protest. I think there is an implicit contract of mutual respect in classical music between performers, composers, and listeners.
I don't know how we got to that point, but we're also at the point where a trip to the supermarket will get you tortured by music when all you're paying for is eggs and cantaloupes.
I agree with your approach and assessment. I have avoided Salome altogether. While I won't listen to Ave Maria in choral music, I just heard Elisabeth singing her prayer to the Virgin in Tannhauser a few moments ago and have no problem with that. Incidentally, I have six Tannhauser on DVD and with four of them I refuse to watch the first part (some 20 minutes) because of the risque imagery, so instead have converted that section to mp3 file and just listen.
Yes I agree. And even at the local pharmacy, which is now also a food market and department store, deoderant or shampoo cannot be purchased without hearing the auto-tuned wailing of a distraught teenager worried that she may not have found quite the right boyfriend. All this to pounding electronic percussion programmed to scare the wrong demographic (me) out the door. But first I must pay at the automated checkout, no cashier in view, while rapping is sounded by a young male earnestly explaining that even if he doesn't seem like the right boyfriend today, he may be the one tomorrow, a thought that stuns both of them into heavy breathing as they find themselves vaulted into a major key. Alas, I never find out what happens, as the checkout line spits me outdoors into driving wind and howling rain along the bleak existential streets on a November evening -- wondering why I didn't appreciate Muzak when we had it.
I guess it keeps us moving along. It is a bit like playing Mozart in public spaces to stop teenagers congregating.
Finally, a great post related to the original Topic. I too agree with the above.
In which way can you go too far if you are true to the intentions of either the composer or the writer? True art surely transcends notions of good and evil as it is merely itself. Both beauty and indeed ugliness are truly in the eye of the beholder.
From a brief Google search it appears that Strauss did intend Salome to be unclothed at the end of the Dance of the Seven Veils. Some more recent productions have however added graphic content to the visual presentation of the opera to a greater extent than was done in Strauss's time. For The Rite of Spring, I haven't seen any suggestion that Stravinsky or Nijinsky intended to make it explicit. At the premiere the jerky and seemingly disorganized movements were what offended. Imitation assault has been staged more recently in this work, though.
The staging of such material is beside the point, isn't it? I thought this was about the music, and whether it has the capacity to offend.
The post I was responding to referred to the intentions of the composer. In a ballet or opera of the kind mentioned, the composer's intentions most definitely involve the work as a whole, not only the music. Otherwise I don't have anything to add to my previous posts on this thread.
...in response to your previous post about staging.
1905 an even half nude Salome would have hardly been possible. You could get this in a sleazy cabaret but no respected opera singer would partially undress on stage. The original singer at the premiere refused to do the dance at all, so it was done by a dancer.
