Majority means > 50%. Perhaps you meant plurality.
Regardless, US presidential elections do not depend on getting a majority or even a plurality of popular votes, but rather on a majority of electoral votes. And Trump did not get a majority of popular votes as claimed.
This being HN, the fact-check seemed appropriate and I stand by it.
> What law are they breaking by forcefully extracting a criminal?
"All Members shall refrain in their international relations from the threat or use of force against the territorial integrity or political independence of any state, or in any other manner inconsistent with the Purposes of the United Nations."
This is not an answer to your question, but one issue is that if you write about some niche sort of thing (as you do, on a self-hosted blog) that no one else is really writing about, the LLM will take it as a sole source on the topic and serve up its take almost word for word.
That's clearly plagiarism, but it's also interesting to me as there's really no way the user who's querying their fav. ai chatbot if the answer has truthiness.
I don't see how this is different from the classic citogenesis process; no AI needed. If a novel claim is of sufficient interest, then someone will end up actually doing proper research and debunking of it, probably having fun and getting some internet fame.
Agreed, it's definitely a problem, but I'm just saying that it's the basic problem of "people sometimes say bullshit that other people take at face value". It's not a technical problem. The most relevant approach to analyze this is probably https://en.wikipedia.org/wiki/Truth-default_theory
Are you suggesting that the AI chatbot have this built-in? Because the chances that I, an amateur who is writing about a subject out of passion, have gotten something wrong would approach 1 in most circumstances, and the ask that the person receiving the now recycled information will perform these checks every time they query an AI chatbot would be 0.
I have a degree in fine art painting and drawing and that's not correct for oil painting. We would first put on a layer of earth tones, and work from the shadows to the mid tones. Once you got the form correct, you would work on things like adding color, details, and highlights.
In no way would you start with saturated colors. One, they're very expensive, so why would you apply them, just for most to be painted over? Secondly, the more saturated (strong) a color is, the harder it is to paint over. Try painting over a wall painted bright red with literally anything. Paint it over in blue and your blue turns brown. Paint it in yellow and you'll just get red again. That's why we (still) employ a very opaque, white paint to the canvas. Oil paint also becomes more transparent over time, so getting the form right with the earth tone underpainting is crucial for the painting to last hundreds of years.
Perhaps you're thinking of fresco painting? Then, the pigments are added to the medium (plaster) initially, and only very subtle highlights are added afterwards (if at all). This is a very, very difficult technique, and illusions like highlight and shadow are hard to pull off. But the painting over was frowned upon, because it doesn't last nearly as long as the embedded pigment in the plaster (and certainly not after cleaning/restoration). But adding highlight/shadow to a sculpture seems like not the play, as the 3D-ness of a sculpture would imply it brings its own to the table.
Makes more sense just to paint the sculptures the color you wanted them painted, like the (in comparison very contemporary) bust of Nefertiti in the article, which looks excellent. No need for highlight/shadow. I could only see that needed in the face, which would look and act much like makeup.
friendly knuckle cracking I wouldn't normally do this, but I did say I'd die on this hill. I'm a tenured professor of art at a major research university. Firstly, maybe I shouldn't have said "saturated," but then again, you wouldn't argue that your earth tones, for example Yellow Ochre or Burnt Sienna aren't saturated in color?
I have a particular expertise in historical scenic painting, (granted, largely for theatrical and ceremonial practice, but that's where we have the oldest examples of painting a fake thing to look real, see trompe l'oeil https://www.britannica.com/art/trompe-loeil )
In these examples, it's clear that the painters started with relatively saturated midtones, and used washes to take the shadows down and clay filled light colors (think gouache) for the highlights: https://masonicheritagecenter.org/backdrops-gallery/
As to the expense of saturated colors, it's the scholars claiming saturated colors, so the expense was made, obviously. But was yellow the final color, when it is the perfect base coat for a two part skin tone using first yellow, and then pink? In the first image in the article, you can see that half of the face is yellow, but that the other half is light colored skin. This exact theatrical layering practice has been used, first yellow, and then pink.
The fourth and eighth images in the article looks extremely similar to the scenic backdrops I've linked above, but one is from the same time period as these statues, and the other is from hundreds of years later. There is a clear similarity in the final work. I believe it's obvious that both painters used dry pigment mixed down to a thin consistency, and used a series of 5 to 7 quick layers to achieve fast, one session results.
This practice doesn't have anything to do with what we call oil painting today, which can be quite laborious and is normally achieved over multiple sessions. These artists would have wanted to knock out a work and get down off the ladder.
> Firstly, maybe I shouldn't have said "saturated," but then again, you wouldn't argue that your earth tones, for example Yellow Ochre or Burnt Sienna aren't saturated in color?
I think you are confusing a definition of saturation meaning "unable to absorb more" with the visual perception definition.
Optical Engineer here, but AFAIK artists use the term the same way: "saturation" refers to how the color is free of both white- and black-shading, "degree of non-grayness" if you will.
The outer ring of this image is fully saturated; you'll see that "muddy" colors like ochre and sienna don't occur there.
The difference here could be because we're in different fields. We would call what you're referring to as "chroma." In historical palettes, almost no colors had that intensity of color at the top of your image. In pigment, a color can be extremely saturated and very dark. I submit this random video I found: https://www.tiktok.com/@color.nerd/video/7215966155071163691...
The author suggests that this minimizes the opportunity for mischief, but tbqh it's likely that the ancients were simply much better artists than the people carrying out these reconstructions today.
I'd love to see a modern artist attempt one of these reconstructions using original materials but with greater artistic freedom.
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