The velocity approximation given by the algorithm is m1 = n1lim, where n1 = Nep1/Ndt1. By the nature of the counting, Nep1 can be any whole number while Ndt1 is a natural number. If the velocity is higher than lim, there are more Iep impulses than dt impulses, so Ndt1 is always one; on the contrary, if the velocity is smaller than lim, there are more dt impulses than Iep, so Nep1 is one. Possible values for n1, when the velocity is high, are 1,2,3,…, and for low velocities are ½, ⅓, ¼,….

________________
Helping one of our deacons who is in Memphis studying robotics to proofread a paper the general language of which seems to be English, when I can make it out.

So what does Jacob do in his final words: bless or prophecy? Does he know these things will be or does he wish it? What is the relationship of these two activities? What relationship exists (relationships exist?) between a future tense and an imperative mode?

Worth thinking about at any level you want (especially in English where the future tense seems less a tense and more the function of a modal verb). In Genesis 49, the text starts out saying he is going to tell them what will come, it ends up saying he has blessed them.

How much of what Jacob says is desire and how much what he says is what he has seen, truly seen? Is there that much of a difference between faith and desire in the heart of a believer? Is that what Jacob has finally learned: to match them up?

Jacob has learned both to be in earnest and to rest. He has desired and cared, and now that he is content at last, carefree and even feeling more blessed than all his forebears; has he indeed learned to align faith and desire? Does it seem they can be misaligned somehow? His poetry has moments in which it is playful enough, matched exactly to what God will do.

Sed Deus disponit . . . homo ludit, yes?

Receeding Stars

When all the stars have fled away
you will discover that no more
can gods come from the Milky Way,
but faceless wander pathless seas
without a guide or farther shore
beneath the feckless galaxies.

No constellations in the void
of shame and surreptitiousness.
And through it rumbling, unemployed
and rusting inter-stellar ships
guided in adventitiousness
by moldering computer chips.

We knew an age in summer times
when stars were ripening the fruit
during the secret midnight’s chimes.
Now frozen juice and circuitry
and sightless human eyes commute
on dimming quests of errantry.

Anubis was the dog-headed Egyptian god. I’m sure Moses knew of him. I think of Anubis in connection with Genesis 48 because what happens is strange and I am wondering if we weren’t meant to laugh. C.S. Lewis, after some conversations with his wife who was Jewish, began to comment to people in letters that there is a lot of humor in the Old Testament, and that we often solemnly pass by it because of course we are being spiritual. And I wonder here if in this view into Jacob’s bed-chamber we aren’t being treated to a funny scene.

Jacob decides to adopt Joseph’s sons formally in order that they may have part along with the rest of the brothers in his inheritance. Joseph is pleased, bows down either to thank God or acknowledge the honor paid, or both. Things proceed. Then Jacob wants to bless the boys, and Joseph, competent as ever, brings them close all lined up for Jacob to bless the older with the right hand and the younger with the left. But the wily old man gets into his head to cross his hands at that moment. (This is great in Spanish: a Jacob se le da por cruzar las manos.)

No! says Joseph, and it is wrong (evil, but probably just wrong) in his eyes.

Hold on, says Jacob, I know what I’m doing. And we wonder. And then what he says about one becoming greater I take to mean that he is saying, or at least implying, that this is how God wants it.

Now we don’t really know if Jacob crosses his arms on purpose or on a whim, but being the rascal he is: cheater of his brother, wrangler with Laban, the family situation (another instance of humor, the child-wars of his silly wives?), and his grousing to Pharaoh, none of these things incline me to believe it was not a whim. But that’s just the thing: we don’t know.

How does Jacob know who will be what? What do you have in the text? Jacob knows it is going to work out that way because that’s what happened, that’s how the dice landed.

Does God play dice? Well, he at least participates in every cast of the dice, doesn’t he? The dice show what they do by the determinate council and causal foreknowledge of God, as the story of Joseph goes to some pains to demonstrate beyond all shadow of a doubt.

The story of Joseph! Who in all the Scripture save our Lord ever trusted and actually rested in the sovereign purpose and control of God more than Joseph? Surely not Jacob, who struggled with it all his life.

And here is Jacob playing at dice with the blessing and lecturing Joseph about it in the quiet of his bed chamber. I find it hard to think that in all this Moses is not also having himself a little joke. And perhaps you can say that there you have Jacob’s last ironic admission of what he struggled to internalize all of his life.

Need to live in a city where people are doing this:

And more: http://www.youtube.com/user/lutevoice (I love the way that dude plays the lute.)

In order to finish a story I need a list of the kind of things stores and restaurants give away. Such as: ketchup packets, plastic forks, butter packs, chopsticks etc.

Any ideas? Any weird things you’ve ever gotten?

At one of the coffee shops here you always get a napkin and two coffee beans dipped in chocolate. Not weird but not usual.

All effects are legitimate.

LEGITIMATE!, you see? ¡Luhgitimecht!
Luh-dgi-dammit, the sound there,
the overt suggestion undermined.

And so things were assimilated
in the clacking of the keys
typewriterwise. We now?

We now with other symbols/signs
juxtapositional in ways
that writing would have rendered
meaningless we type. We have now
the formality of formal fonts!

The ebb and flow of music
needs to be, ¿but is it anymore?

(Ususual that, ¿eh? Have it again
for the IIIrd time and the ¡IVth!)

The difference of exploiting
typesetting too–
too markedly ¿PERHAPS?– wuz this:
the music could be lost, and even was
PERHAPS, in tricks. Plain trix.

¡New trick! But just a tr¡ck.

Though Ez and the old boyz
I think were trying to PRESERVE
in the new-fangled way the old.
To add to add and shew–enhánce.

Have we degenerated down into effects
without the old mag¿c?

?Is that why @ the present
when the magíque is recovered
it must out through the way-it-used-to be:
in rhyme and formal verse¿

I think the problem always is
the one of diction–more easy
formerly to figure out than ¡n-OW!

. . . had Tolkien not known how to tell a story.

I do envy them some of the things they can do in the illustrations. Like the style a lot mostly.

Congratulations! Your piece titled Skaftna’s Doom has been accepted
into Yesteryear Fiction and will be published on our front page on
2/29/12! (It’ll still be available in our archives to link to or read
after that date.)

Editor’s note: Very elegant. I like this piece a lot! :)
-E

What to do now:

Spread the word!

The sonnet [No Resignation] disappeared, but the encouragement was needed and went down well. I have now submitted a whole lot of stuff and am working on a whole lot more in a mad, heedless way. Thanks to my new pal the snake-handler, I use Duotrope which is an awfully good idea and easier to use than Ralan. I still remember going to the library and poring over the Writer’s Market. If I get out of Colombia and settle into comfort in the USA and get two monitors to do this with, I’ll be all set.

If I get anything accepted. Last year for that for me was 2009, and that was a good year.

Thanks to Duotrope, I have found an interesting new sub-genre called Bizzaro. Think that might just be my niche. What else is the Cron. if not Bizzaro?