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title: About Levi Neuwirth
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tags: meta
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---
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For a less formal, more detailed introduction to who I am, see [[Me]]. This page serves as a professional summary of my background.
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## Education
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**Brown University**, S.cB in Mathematics, Computer Science (May 2026)
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: advised by D. Ellis Hershkowitz, John F. Hughes, and Rashid Zia
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**DIS Copenhagen, Københavns Universitet** Semester Abroad (Fall 2024)
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### Research Interests
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ARTIFICIAL INTELLIGENCE, COMPUTER VISION, COMPUTER SYSTEMS, CRYPTOGRAPHY, MACHINE LEARNING, NETWORKING, NUMBER THEORY, REINFORCEMENT LEARNING, SECURITY
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## Publications & Preprints
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Coming soon
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## Languages
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- English (native)
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- Spanish (C1)
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- Danish (B1)
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- German (A2, currently focused on learning)
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- Chinese (A2)
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- French (A1)
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## Contact
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[ln@levineuwirth.org](mailto:ln@levineuwirth.org)
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title: Commonplace
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---
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A reading notebook. Passages that arrested me — lines I wanted to keep.
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title: Now
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---
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An index of my current projects and focuses across domains - research / professional, creative, miscellaneous, you name it.
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## Working on
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My main project at this time is the redesign of this website. This page will be expanded once the website itself is done!
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title: "The Philosophical Legacy of Dostoevsky's Implicit Rejection of Logic and Science in Part I of <em>Notes from Underground</em>"
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date: 2025-10-24
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abstract: >
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*Notes from Underground* is widely admired as a cornerstone of literature, culture, and philosophy. This paper develops the argument that the primary philosophical undercurrent is a rejection of logic and science as end-alls in modern life, traced through comparison with the more explicitly articulated works of Dostoevsky's contemporaries and successors: Nietzsche, Heidegger, Shestov, Ellul, Sartre, Camus, Husserl, and Arendt.
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tags:
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- nonfiction
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- nonfiction/philosophy
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authors:
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- "Levi Neuwirth | /me.html"
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---
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*Notes from Underground* is widely admired as a cornerstone of literature, culture, and philosophy.[@Frank] Dostoevsky masterfully combines the narrative of the now-iconic Underground Man with implicit philosophical undercurrents. The result is a piece which is simultaneously a masterwork of fiction and a deeply influential philosophical treatise. Intriguingly, Dostoevsky never explicitly defines what the philosophical positions that he is advocating for or against are in his work, instead exclusively expressing them implicitly through storytelling. This paper will develop the argument that the primary philosophical undercurrent in *Notes from Underground* is a rejection of logic and science as end-alls in modern life through comparison of Dostoevsky's implicit revelation to the more explicitly articulated philosophical works of his contemporaries.
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*Notes from Underground* opens with a contemplation on suffering, while also hinting at the notion of futility. In sections III and IV of part 1, the motif of the stone wall is introduced, one which will recur throughout the remainder of the part. The stone wall is emblematic of a barrier; it is the "only" object which "perhaps will stop" one from their goals.[@Notes] But the stone wall introduces an immediate double entendre. Dostoevsky initially refers to it as a "calming influence." The calming influence to which he refers is the supposed illusion of stability that the stone wall provides. The stability follows from scientific laws that are uniformly true --- Underground Man provides the example of the equation $2+2=4$, elaborating: "...I shall never be able to break through such a stone wall... but I shall not reconcile myself to it... As though such a stone wall were really the same thing as peace of mind."[@Notes]
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The Underground Man has thus, in the opening four sections of the work, established a contradiction. The apparent resultant stability that logic and science provide through laws of arithmetic and reason is one that, in the eyes of the Underground Man, incurs an unacceptable price in the reduction of creativity, of freedom of expression. Indeed, the primary grievance that the Underground Man indicates is the forced acceptance of advocates of such laws and, "consequently, all [their] results." This forced acceptance disregards, even outright dismisses his opinion on the laws.^[This is arguably a mischaracterization of scientific ideals, one repeated by many scientific credential-lacking philosophers. We withhold development of such an argument here; it would need to be a distinct paper.] There is apparently nothing which the stone wall is *actually* useful for.
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Dostoevsky, through his introduction and subsequent discussion of the stone wall in relation to scientific laws, has commenced his implicit philosophical treatise. Throughout the remainder of the work, as will be discussed further, the Underground Man's actions and anecdotes serve as illustrative evidence that the stability provided by the stone wall of science as a framework of thinking (and one which greatly captivates the Underground Man) is nothing more than illusion, for the Underground Man's actions are indicative of anything but stability, morality, etc. He further demonstrates, through the explicit discontent and boredom that Underground Man expresses in section V, that the stone wall of reason is insufficient even as mere entertainment.
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Nietzsche is a contemporary of Dostoevsky who was influenced not only by this philosophical argument, but additionally by the character of the Underground Man himself. In his *On the Genealogy of Morals*, he develops an explicit comparison of science to the "ascetic ideal," proclaiming that "science rests on the same basis as does the ascetic ideal: a certain impoverishment of life is the presupposition of the latter as of the former."[@Nietzsche_Gene] One might describe the Underground Man's situation as something of a cursed asceticism. He is certainly a hermit to the same extent that a religious ascetic would be. Yet he is not an ascetic due to religious ideals, nor is he one due to lack of social compulsion --- would such an ascetic not only be compelled to write about himself to such an extent, but describe it as the "greatest possible pleasure?" He is almost narcissistic in his self-indulgence through writing, a quality not advocated for by any major religion of which he could be an ascetic. Therefore, what Nietzsche really means is that science promotes a lifestyle that is akin to the sacrifice and abnegation that asceticism entails, while providing no real stability --- the stone wall *is* an illusion, as Dostoevsky claims --- and, thus, rejects science as an end-all. It seems that Dostoevsky's example deeply resonated with Nietzsche. He describes the lifestyle of sacrifice and abnegation as "periods of exhaustion, often of sunset, of decay --- the effervescing strength, the confidence in life, the confidence in the future are no more."[@Nietzsche_Gene] Over ten years before this writing, he had already begun to form his opinion on science in *The Birth of Tragedy,* writing "What I then laid hands on, something terrible and dangerous, a problem with horns... it was the problem of science."[@Nietzsche_Tragedy]
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Martin Heidegger is another of Dostoevsky's contemporaries who outlines, perhaps even formalizes^[Though Heidegger, demonstrated by his argument in "Letter on Humanism," would *hate* reduction to mere "formalization" of his predecessor, and is probably rolling in his grave at the thought.] a similar, aggressive perspective. In "Letter on Humanism," Heidegger argues that "such names as 'logic,' 'ethics,' and 'physics' begin to flourish only when original thinking comes to an end."[@Heidegger_Letter] Heidegger goes further within "Building Dwelling Thinking," indicating therein that "...building is closer to the essence of spaces and the essential origins of 'space' than any geometry and mathematics."[@Heidegger_Building]^[It may be debated the extent to which Heidegger intends for "building" in this work to come across in a metaphorical sense. He does remark, 8 pages before the chosen quote, that "We limit ourselves to building in the sense of...", which implies that further, implicit meanings are present (an argument with which I strongly concur). He never explicitly mentions any such metaphorical intention.] Heidegger's insistence that the consideration of science and logic as end-alls is a reductive position appears to have been influenced by Dostoevsky in *Notes from Underground*. Heidegger, once again in "Building Dwelling Thinking," presents an ingenious discourse on the necessity of some higher ulterior motivation than mere fulfillment of rational inquiry without exterior purpose, asserting that "The essence of building is letting dwell"[@Heidegger_Building]^[My proposed interpretation of "dwelling" in this more metaphorical sense.] --- or, to paraphrase, an interior motivation and fascination with one's pursuits is a prerequisite for the derivation of any sense of fulfillment from said pursuits. This is in stark contrast to the image of asceticism developed by Dostoevsky and Nietzsche, wherein science is a pursuit which reduces the extent of one's livelihood, thereby diminishing the qualities Heidegger presents as necessities.
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In section 5 the Underground Man expands his digression on science, therein beginning the expansion in scope of Dostoevsky's philosophical argument. Yet, before doing this, Dostoevsky feels it necessary to explicitly characterize the "laws of nature," doing so through the Underground Man's description of them as "a disgusting business" due to the "infinite worry and trouble" they have caused him.[@Notes] Here, Nietzsche and Dostoevsky begin to diverge. Nietzsche concedes that "...as for these celebrated victories of science; there is no doubt that they are victories..."[@Nietzsche_Gene] acknowledging that there is some merit to this "disgusting business." But Nietzsche is hardly the only philosopher to have felt the influence of *Notes from Underground*, and other philosophers have continued to agree more strongly with the Underground Man's classification to our current day and age.^[This is, once again, arguably another broad and disappointing mischaracterization of science. We withhold arguments here and refer you to Richard Feynman's 1988 book *What Do You Care What Other People Think?*]
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One such example of a philosopher in deep agreement with Dostoevsky is Lev Shestov. Shestov holds, contrary to Nietzsche, that the victories of science are better classified as stagnations, writing "In the 'ultimate questions of life' we are not a bit nearer the truth than our ancestors were... reason is a laggard, without much foresight..."[@Shestov] Shestov, in his work, develops an argument much closer in sentiment to Underground Man, and this is no coincidence; Dostoevsky is mentioned by name countless times in his work. Yet, for all of Shestov's agreement with Dostoevsky, in comparing *All Things Are Possible* and *Notes from Underground* an interesting contradiction arises. Shestov develops his claim that we have made no progress in answering the questions of life in a way that suggests he believes that ancient people had few answers and we have not added any. Dostoevsky, on the other hand, would almost certainly argue that his ancestors, say those who were around at the same time as Christ, had *all* of the answers, and over the next nearly 2,000 years no further answers were contributed because none were necessary; the questions were already satisfactorily answered. In section 7 of part I, amidst a lengthy development of his implicit philosophical treatise, Dostoevsky interjects with an intriguing reference to religion. The Underground Man asks "who was it who first said... the only reason man behaves dishonorably is because he does not know his own interests..."[@Notes] The discussion evolves into a wide-ranging one, touching upon enlightenment, innocence, and human nature in the subsequent lines. It is no accident that, to begin the section of part one directly at the center of a sequence of sections (5--9) entirely focused on development of his philosophical position against science and reason, he refers to religion in the abstract, never opting for the imagery of any one specific religion, but instead using religion to center and ground his argument. Dostoevsky's subtle yet crucial grounding of his argument in ancient ideas demonstrates an agreement with Shestov, if only one that is viewed from a different perspective.
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The Underground Man goes on, still in section 7, the center of his philosophical argument, to presciently discuss the dangers of unrestricted science and reason. In one of his most brilliant quotes, the Underground Man argues that "man is so obsessed by systems and abstract deductions that he is ready to distort the truth deliberately...", going further to emphasize the necessity of reliance on the senses.[@Notes] Interestingly, the Underground Man uses the example of war, illustrating through the imagery of bloodshed the pitfalls of reason's application and interaction with human nature. We may once again turn to Heidegger as an example of a philosopher who expanded upon this position.^[With the obvious irony that, of course, Heidegger had at least *some* (and likely *plenty* of) affiliation with the Nazi party.] In *The Question Concerning Technology*, Heidegger constructs an interpretation of technology as a mechanicism of "revealing," and, after much development, presents the incredible claim that "The destining of revealing is in itself not just any danger, but *the* danger."[@Heidegger_Building] Underground Man, throughout section 5, gradually transitions his discussion from the individual (which was the focus of the immediately preceding sections 3 and 4) to the collective, discussing the consideration of warfare and violence by civilization at large as an "abomination" only after his previous meditation on the individualistic impact of reason; Heidegger seems more interested in society from the start, neglecting to explicitly speak to the impact of technological progress through scientific innovation on the individual.
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Ellul was a philosopher who was, more similarly to Dostoevsky, equally concerned with the individual and the collective. Dostoevsky begins to discuss the collective impact through his brilliant "conversation" between the Underground Man and the reader, actively addressing and involving the latter in the second person. The reader ("you") postulates that science will have "completely re-educated human nature and directed it along the road of normal behavior," before the Underground Man deconstructs any notion of normality in such "normal" behavior.[@Notes] We may compare this to Ellul, who, not too unlike Heidegger, describes how "Science brings to the light of day everything man had believed sacred... Technique takes possession of it and enslaves it."[@Ellul] The Underground Man himself will develop a stunningly similar argument in which he concludes that "there will be no more independent actions or adventures in the world." Where Dostoevsky and Ellul differ is that Dostoevsky, once again implicitly through the Underground Man, argues that it is the laws of nature themselves (or, science in the abstract) that opens the possibility of such slavery to determinism, whereas Ellul (and, to a lesser extent, Heidegger) argues that it is technology (or, science in tangible application) that does so. Both come to strikingly similar conclusions, regardless of the means by which they reached them.
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The Underground Man subsequently presents a depiction of resistance, creating a character who advocates for sending "'all these logarithms to the devil so that we can again live according to our foolish will'."[@Notes] He goes on to argue that such a character "would certainly find followers." Interestingly, while Ellul himself never made such explicit predictions nor advocated for an anti-Technique revolution, it is well known and documented that Ted Kaczynski was profoundly influenced by Ellul's work, particularly *The Technological Society*, and these influences were part of his motivation to commit atrocities in the name of eco-terrorist ideology. Indeed, in Kaczynski's own *Industrial Society and Its Future*^[More commonly referred to as the "Unabomber Manifesto."], the phrase "technological society" occurs 10 times.[@Kacz] Whether the revolution called for in this document has found any followers, as a more extreme case of "sending all these logarithms to the devil," is not clear.
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The Underground Man continues into section 8 with a discussion of the absolute necessity of free will, describing in the process the shortcomings of reason. He argues that "Reason is only reason... whereas volition is a manifestation of the whole of life."[@Notes] This argument, once again, is not much unlike Heidegger's argument in *Building Dwelling Thinking*. The strength of Dostoevsky's conviction on behalf of volition and free will also deeply influenced Jean-Paul Sartre. Sartre develops an argument that he is "condemned to be free," elaborating that "no limits to my freedom can be found except freedom itself... that we are not free to cease being free."[@Sartre] The Underground Man is also an advocate of such unrestricted freedom, describing this absolute freedom as "the right to desire for himself even what is very stupid and not to be bound by an obligation to desire only what is sensible." Sartre goes on to describe how "man being condemned to be free carries the weight of the whole world on his shoulders; he is responsible for the world."[@Sartre] This explicitly solidifies a recurring implicit theme across Dostoevsky's work: that all is interconnected, and that everyone is to blame for everything. In *Notes from Underground*, this is continually reiterated through the depiction of the Underground Man's *underground* condition in incredible detail. The Underground Man has a seemingly contradictory self-awareness of his state, an awareness that in some ways he himself has created the conditions and the environment that proliferated such a state, and yet, at the same time, the meditations of the laws of nature and the interactions depicted in part II are used to implicitly build an argument of interconnection. The influence of this construction on Sartre is, once again, not one that I merely postulate; Sartre mentions Dostoevsky by name twice in *Being and Nothingness*.
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If Sartre was an advocate of unrestricted freedom as an absolute necessity in the same way that Dostoevsky was (implicitly through the Underground Man, of course), then Camus was much like our earlier example of Shestov, coming to near identical conclusions from a different perspective. Camus, much like the Underground Man, found suffering to be absolutely essential to happiness, writing in perhaps the most famous words of 20th century philosophy "The struggle itself toward the heights is enough to fill a man's heart. One must imagine Sisyphus happy."[@Camus_Myth] Nearly 80 years earlier, the Underground Man had demonstrated a similar, if less strong, conclusion through his illustration of the "'pleasure even in toothache.'" In fact, while the majority of sections 3 and 4 of part I are devoted to this meditation on suffering, the Underground Man elaborates on it again in section 9, stating "Does reason not make mistakes...? Is it not possible that man loves something besides prosperity? Perhaps he is just as fond of suffering?" Where Camus and Dostoevsky differ is in their view of the source of suffering. Where Dostoevsky relates the example of the toothache as an inevitable, almost mundane instance of suffering, one which the Utopian future that science promises cannot ever truly aspire to negate, Camus develops suffering as the result of existential inquiry --- and he argues that such inquiry is vital. Camus never takes a stance so explicitly against science and reason as, say, Nietzsche, rather elaborating, once again in *The Myth of Sisyphus*, that "I realize that if through science I can seize phenomena and enumerate them, I cannot, for all that, apprehend the world."[@Camus_Myth] Thus, Camus' stance on science is somewhere between Nietzsche's and Dostoevsky's. He acknowledges that science alone is insufficient for answering questions of stature similar to the "ultimate" ones raised by Shestov. This shortcoming of science, Camus argues, is a source of suffering, as it proliferates the existential dread that such questions impose. Yet Camus advocates for suffering elegantly in *Return to Tipasa*, beautifully proclaiming "In the depths of winter, I finally learned that within me there lay an invincible summer."[@Camus_Myth]^[This prose is even more beautiful in French, so we refer you to the original *Retour à Tipasa* from *L'Été.*] Dostoevsky, rather than appreciating (or, at least, feeling truly neutral) science as an emanation of suffering, argues that suffering is the ideological inverse of science. The Underground Man, again in section 9, discusses the Crystal Palace --- an unmistakable emblem of science and reason. In doing so, he refers to how "suffering is not permitted... In the Crystal Palace it is unthinkable: suffering is doubt, it is negation."[@Notes] Thus the Underground Man and, implicitly, Dostoevsky, take issue with what they perceive as the end goal of science: the cessation of suffering, the construction of a Utopian world, and the inevitable reduction, perhaps even cessation, of freedom as a consequence.^[Once again, I would argue that this is a mischaracterization --- perhaps to some this is an end goal of *technology*, but not of *science*. I refer you, in lieu of an extended argument, to chapter IV of Carl Sagan's 1994 *Pale Blue Dot.*]
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The Underground Man goes on, in section 10 now, to argue (in an unusually explicit way) that the primary conflict that arises between this notion of freedom and free will and science and reason is the objectivity of science. The Underground Man acknowledges and disregards this objectivity when he states "What do I care whether it is against the laws of nature? What does it matter so long as it exists in my desires?"[@Notes] He elaborates on his rejection of the rigidity and seriousness in objectivity of science and reason a few lines later: "I rejected the Crystal Palace myself for the sole reason that one would not be allowed to stick one's tongue out at it." These examples reinforce the previous development of the argument that Dostoevsky perceives freedom as inevitable, much like Sartre. The Underground Man goes further to characterize why science and reason in particular are the target of his scrutiny by saying "Perhaps what I resented was that among all our buildings there has never been one at which one could not stick out one's tongue."
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This scrutiny of the harshly perceived immutability of science and reason likely influenced the philosopher Edmund Husserl. Husserl, originally trained as a mathematician,[@Cooper] was in some ways a stark contrast to Dostoevsky. He believed in the necessity of the philosopher "withdrawing into himself and attempting, within himself, to overthrow and build anew all the sciences that, up until then, he has been accepting."[@Husserl_Meditations] The belief in such a necessity implies a belief in the validity and worthiness of science that is contrary to Dostoevsky's implicit arguments. Yet this perspective on science, the perspective that one must develop their own scientific views for themselves, is emblematic of the broader skepticism that Dostoevsky advocates through the Underground Man. For Husserl does not advocate blind acceptance of science, but rather the replication and verification of any ends which are to be considered objectively true, like "laws of nature." Of course, Husserl does not pay any attention to the fact that building anew "all the sciences" is likely an impossible task, and one that is directly in opposition to the collaborative nature of science as an enterprise.^[As a mathematician more so than a scientist in training myself, I would argue this is very much the thinking and position of a mathematician and *not* a scientist. There is a difference, if subtle!] Yet, although Husserl does not appear to explicitly indicate this necessity as one that is necessary only as an intellectual exercise or means of philosophical development otherwise, he does express in his later work a broader skepticism and disdain for the objectivity of science and reason, much like the Underground Man. Where the Underground Man expresses his disdain for science's perceived immutability compared to other institutions of society, Husserl expresses his disdain in a more explicit and straightforward way, borrowing from Kant (with acknowledgment) when he states that "the objective sciences (no matter how much they... may consider themselves... to be in possession of the only true method) are not seriously sciences at all... not cognitions of what exists in ultimate truth."[@Husserl_Crisis] Yet, like Nietzsche, Husserl concedes the "virtue of their obvious theoretical and practical accomplishments."[@Husserl_Crisis] Husserl's notion of skepticism and rejection of objectivity, regardless of his perceived virtues of the *objective* sciences, creates an interesting juxtaposition of Dostoevsky's ideas with other ideas which Dostoevsky would've disapproved of. The Underground Man's rejection is perhaps more emotionally charged when, at the end of a paragraph of rhetorical questions, he asks "Can this be the sole purpose? I don't believe it."[@Notes] Although the Underground Man's (and thus, Dostoevsky's) ideas are distinctly differentiable from Husserl's, in another intriguing, deliberate contradiction that Dostoevsky introduces to his text through another dialogue between reader and Underground Man, he acknowledges that the Underground Man "longs for life, yet [he tries] to solve the problems of life by a logical tangle!"[@Notes] This (as he describes it, "insolent") logical tangle[@Notes] is not much unlike Husserl's advocated individualized building of the sciences anew from scratch.
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Finally, at the close of part I, Dostoevsky provides one further reason to be critical of science and reason, particularly in their perceived role as the progenitors of technology and automation. Similarly to his view on suffering, the Underground Man is, like Heidegger, an advocate of work, justifying his composition of part II with "Writing down things is, in fact, a sort of work. People say work makes man better and more honest. Well, here's a chance for me..."[@Notes] It should come as no surprise, then, that Hannah Arendt, a philosopher heavily influenced by (and personally involved with) Heidegger, is another party who shares similar views. Arendt captures her vision of the failed Utopia that technological progress catalyzed by science would provide with strong language, stating "What we are confronted with is the prospect of a society of laborers without labor, that is, without the only activity left to them. Surely, nothing could be worse."[@Arendt]
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Thus, at the end of the first part of *Notes from Underground* which we have confined our analysis to, all of the implicit philosophical undercurrents have been developed and connected full circle. We have now returned to the futility and boredom that both Dostoevsky and Arendt argue (the former implicitly and the latter explicitly) would arise from uninhibited forward progress in the realms of science and reason. Where in the later sections of part I the Underground Man returns to being primarily concerned with himself on the individual level, his self-centered contemplation of the Crystal Palace and philosophical discussions make an implicit argument concerning the collective. Arendt, likely influenced by this argument, whether directly or transitively through Heidegger, saves the strongest of words in her work for the perceived discrepancy, one she shares with Dostoevsky, between what science and reason promise and what they *actually* provide.
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*Notes from Underground* is a work that has retained its emotional and philosophical power, and, as a consequence, one that has stood the test of time. It is a work that is timelessly prescient, drawing unbelievably accurate conclusions about the discrepancies between the perceived end-goals of the end-alls of science and reason, end-goals that seemingly come from a place of daydreaming and fantasy, and the reality of the century following its composition: two world wars, intense geopolitical climate in the years where the wars were not active, immense economic turmoil and suffering, etc. If science *was* truly promising Utopia during Dostoevsky's time, it certainly failed to deliver in the subsequent century, and Dostoevsky presciently observed the inevitable shortcomings before they had even had a chance to occur. Regardless of the degree to which one agrees or disagrees with Dostoevsky's implicit conclusions and the more explicit conclusions of his contemporaries, one must acknowledge the incredible stature of his work, and its lasting legacy that continues to endure to the present day.
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---
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title: A Test Essay
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date: 2026-03-14
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abstract: A comprehensive end-to-end exercise of the Hakyll pipeline — typography, code, math, sidenotes, filters, tables, exhibits, and annotations.
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tags: [meta]
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status: Working model
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confidence: 72
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importance: 3
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evidence: 2
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scope: average
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novelty: moderate
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practicality: moderate
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confidence-history: [55, 63, 72]
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history:
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- date: "2026-03-01"
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note: Initial draft
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- date: "2026-03-14"
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note: Expanded typography and citation sections; added math examples
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---
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The body typeface is Spectral, a screen-first serif with seven weights and full OpenType support. Old-style figures are enabled by default: the year 2026, the number 1984, Euler's number 2.718. Standard ligatures are active: *first*, *fifty*, *ffle*. The typographic principles informing this layout draw on Butterick[@butterick2019] and Tufte[@tufte1983]. This document is built with Pandoc[@pandoc].
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Paragraphs following one another use first-line indentation in the traditional book manner, with no inter-paragraph vertical gap. This is the second paragraph of the opening section, and you should see the indent at the start of this line.
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A third paragraph to confirm the indent is consistent across multiple consecutive paragraphs and does not drift or accumulate.
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## Typography
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### Headings
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Headings are set in Fira Sans Semibold, a humanist sans-serif that complements Spectral. The hierarchy below demonstrates all levels used in practice.
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## Section heading (H2)
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### Subsection heading (H3)
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#### Minor heading (H4)
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##### Rarely used (H5)
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Body text resumes here, following the heading sequence above. The vertical rhythm above each heading and the transition back to Spectral below it should feel natural, not abrupt.
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### Inline Elements
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This sentence demonstrates **bold emphasis (700)** and <strong class="semibold">semibold emphasis (600)</strong> side by side — the authorial choice the spec describes. Italic text looks like *this phrase set in Spectral italic*. Combined: ***bold italic***.
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Abbreviations use Spectral's true small-caps via the `smcp` OpenType feature: the organisations <abbr title="National Science Foundation">NSF</abbr>, <abbr title="American Civil Liberties Union">ACLU</abbr>, and <abbr title="Central Intelligence Agency">CIA</abbr>. These should appear as genuine small capitals, not scaled-down full caps.
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Superscripts use Spectral's `sups` glyphs: E = mc^2^, footnote reference^1^, ordinals like 1^st^ and 2^nd^. Subscripts use `subs`: H~2~O, CO~2~.
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Inline code looks like `cabal run site -- build` and sits comfortably in a line of Spectral body text. The size differential and background tint should clearly distinguish it without being jarring.
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### Blockquotes
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> The site is the proof. If a site about careful writing is itself carelessly made, the argument is self-defeating. Every element must earn its presence.
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|
||||
Text resumes after the blockquote without indent — the indent reset rule is working if this line begins flush left.
|
||||
|
||||
> A nested quotation scenario: this outer blockquote contains ordinary text, establishing the left-border visual hierarchy.
|
||||
|
||||
## Code
|
||||
|
||||
JetBrains Mono is used for all code. Ligatures and contextual alternates are active: `->` `=>` `!=` `::` `>=` in inline code, and in blocks below.
|
||||
|
||||
```haskell
|
||||
-- Hakyll site compiler entry point
|
||||
module Main where
|
||||
|
||||
import Hakyll (hakyll)
|
||||
import Site (rules)
|
||||
|
||||
main :: IO ()
|
||||
main = hakyll rules
|
||||
```
|
||||
|
||||
```css
|
||||
/* CSS custom property example */
|
||||
:root {
|
||||
--bg: #faf8f4;
|
||||
--text: #1a1a1a;
|
||||
}
|
||||
|
||||
body {
|
||||
background-color: var(--bg);
|
||||
color: var(--text);
|
||||
font-feature-settings: 'liga' 1, 'onum' 1;
|
||||
}
|
||||
```
|
||||
|
||||
```python
|
||||
def greet(name: str) -> str:
|
||||
return f"Hello, {name}!"
|
||||
```
|
||||
|
||||
The code block border, background tint, and monospaced font should feel quiet — part of the page, not a jarring box.
|
||||
|
||||
## Tables
|
||||
|
||||
Tables use Fira Sans at 90% size, with lining figures and tabular spacing enabled for numeric alignment.
|
||||
|
||||
| Font | Role | Weight(s) | File size |
|
||||
|:---------------|:----------------|:------------|:----------|
|
||||
| Spectral | Body text | 400, 600, 700 | 21–24 KB |
|
||||
| Fira Sans | UI / headings | 400, 600 | 16 KB |
|
||||
| JetBrains Mono | Code | 400 | 19–20 KB |
|
||||
|
||||
## Dark Mode
|
||||
|
||||
Use the toggle in the top-right corner of the nav to switch between light and dark. Both themes use warm monochrome palettes derived from the same base hue. The background, text, borders, muted text, code blocks, and blockquote borders should all shift coherently.
|
||||
|
||||
Check the following specifically in dark mode: sidenotes, code block backgrounds, the blockquote border, and the table header row. The `transition` on `body` should make the switch feel smooth rather than abrupt.
|
||||
|
||||
- Background: `#1c1a18` (warm dark, not pure black)
|
||||
- Text: `#e8e5df` (warm off-white, not pure white)
|
||||
- Muted text, borders: proportionally darker warm greys
|
||||
|
||||
## Mathematics
|
||||
|
||||
The quadratic formula solves $ax^2 + bx + c = 0$ for real roots:
|
||||
|
||||
$$x = \frac{-b \pm \sqrt{b^2 - 4ac}}{2a}$$
|
||||
|
||||
This is a well-known result.[^quadratic] Euler's identity is often cited as the most beautiful equation in mathematics:
|
||||
|
||||
$$e^{i\pi} + 1 = 0$$
|
||||
|
||||
It connects the five most important constants in mathematics.[^euler] The CSS smallcaps filter should catch abbreviations like NASA, HTML, CSS, and API automatically.
|
||||
|
||||
[^quadratic]: The formula follows directly from completing the square. For a derivation, see any introductory algebra text, e.g. Stewart's *Precalculus*.
|
||||
|
||||
[^euler]: This follows from Euler's formula $e^{i\theta} = \cos\theta + i\sin\theta$ evaluated at $\theta = \pi$.
|
||||
|
||||
### Turán's Theorem
|
||||
|
||||
The Turán graph $T(n,k)$ is the complete $k$-partite graph on $n$ vertices with part sizes as equal as possible. Its edge count is given by the formula below — this is the identity the moving-vertex argument exploits.
|
||||
|
||||
::: {.exhibit .exhibit--equation data-exhibit-name="Turán Edge Count" data-exhibit-type="equation" data-exhibit-caption="Edge count of a complete k-partite graph: total pairs minus same-part pairs."}
|
||||
|
||||
:::: exhibit-body
|
||||
$$\binom{n}{2} - \sum_{i=1}^{k}\binom{m_i}{2}$$
|
||||
::::
|
||||
|
||||
:::
|
||||
|
||||
Every pair of vertices is adjacent *except* those within the same part, so the formula counts edges by subtracting same-part pairs from all pairs.
|
||||
|
||||
::: {.annotation .annotation--static}
|
||||
<div class="annotation-header">
|
||||
<span class="annotation-label">Remark</span>
|
||||
<span class="annotation-name">Equal parts maximise edges</span>
|
||||
</div>
|
||||
<div class="annotation-body">
|
||||
Intuitively: if two parts differ in size by more than one vertex, moving a vertex from the larger to the smaller part creates more cross-part pairs than it destroys within-part pairs. The moving-vertex argument below makes this precise.
|
||||
</div>
|
||||
:::
|
||||
|
||||
::: {.annotation .annotation--collapsible}
|
||||
<div class="annotation-header">
|
||||
<span class="annotation-label">Note</span>
|
||||
<span class="annotation-name">Turán graph definition</span>
|
||||
<button class="annotation-toggle" aria-expanded="false">▸ expand</button>
|
||||
</div>
|
||||
<div class="annotation-body">
|
||||
The *Turán graph* $T(n,k)$ is the unique (up to isomorphism) complete $k$-partite graph on $n$ vertices whose part sizes differ by at most one. By Turán's theorem, $T(n,k)$ is the $K_{k+1}$-free graph on $n$ vertices with the maximum number of edges.
|
||||
</div>
|
||||
:::
|
||||
|
||||
::: {.exhibit .exhibit--proof data-exhibit-name="Turán Bound" data-exhibit-type="proof" data-exhibit-caption="Moving one vertex from the larger to the smaller part strictly increases the edge count when parts differ by ≥ 2."}
|
||||
|
||||
:::: exhibit-body
|
||||
Without loss of generality suppose $n_1 - n_2 \ge 2$. Form a new complete $k$-partite graph by moving one vertex from part 1 to part 2. Since the new graph is still complete $k$-partite on the same $n$ vertices, it suffices to show it has strictly more edges.
|
||||
|
||||
The number of edges in any complete $k$-partite graph $M_{m_1,\ldots,m_k}$ is
|
||||
|
||||
$$\binom{n}{2} - \sum_{i=1}^{k}\binom{m_i}{2},$$
|
||||
|
||||
since every pair of vertices is adjacent *except* those within the same part. Therefore
|
||||
|
||||
$$|E(G')| - |E(G)| = \binom{n_1}{2} + \binom{n_2}{2} - \binom{n_1-1}{2} - \binom{n_2+1}{2}.$$
|
||||
|
||||
Using $\binom{m}{2} = \frac{m(m-1)}{2}$, this simplifies to $(n_1 - 1) - n_2 = n_1 - n_2 - 1$. Since $n_1 - n_2 \ge 2$, we get $|E(G')| - |E(G)| \ge 1 > 0$. [□]{.proof-qed}
|
||||
::::
|
||||
|
||||
:::
|
||||
|
||||
## Music Notation
|
||||
|
||||
Score fragments are embedded inline as responsive SVGs, integrated with the gallery focusable system. Clicking the fragment — or the expand glyph that appears on hover — opens the shared overlay. The SVG inherits the page's text color via `currentColor`, so notation renders correctly in both light and dark modes. The caption below the score is a persistent `<figcaption>`, in keeping with the convention of printed musical editions.
|
||||
|
||||
::: {.score-fragment score-name="Sample Fragment" score-caption="A short excerpt demonstrating inline SVG score embedding with dark-mode-aware notation."}
|
||||
|
||||
:::
|
||||
|
||||
Prose commentary surrounds the fragment just as it would in an analytical text — above to introduce the passage, below to elaborate on what was shown.
|
||||
|
||||
## Links and Wikilinks
|
||||
|
||||
External links with domain classes: [Wikipedia on the quadratic formula](https://en.wikipedia.org/wiki/Quadratic_formula), an [arXiv preprint](https://arxiv.org/abs/1234.5678), a [DOI link](https://doi.org/10.1000/xyz123), and [jgm/pandoc on GitHub](https://github.com/jgm/pandoc). A generic external: [example.com](https://example.com).
|
||||
|
||||
An internal link [to the essay index](/essays/index.html) is left completely unchanged — no extra classes or attributes added.
|
||||
|
||||
Wikilinks: [[About This Site]] resolved from `[[About This Site]]`, and [[The Colophon|the colophon]] resolved from `[[The Colophon|the colophon]]`.
|
||||
|
||||
## Filter Output
|
||||
|
||||
### Abbreviations
|
||||
|
||||
`Filters.Typography` matches exact Pandoc `Str` tokens against a table of common Latin abbreviations and wraps them in `<abbr title="…">` elements. Hover over the highlighted abbreviations below to see the tooltip.
|
||||
|
||||
Common scholarly shorthand: e.g. the quadratic formula, i.e. the formula $x = \frac{-b \pm \sqrt{b^2-4ac}}{2a}$. See cf. Stewart §3.4. The argument follows from first principles, viz. the moving-vertex technique. NB: the result holds only for $k \ge 2$.
|
||||
|
||||
### Smallcaps
|
||||
|
||||
`Filters.Smallcaps` detects runs of three or more uppercase letters and wraps them in `<abbr class="smallcaps">`. Technology acronyms detected automatically: HTML, CSS, API, JSON, URL, NASA, MIT. Trailing punctuation is stripped before the check so HTTP, and REST. also work correctly.
|
||||
|
||||
Not converted: short tokens like I, OK (two letters), or mixed-case tokens like JavaScript, macOS, or LaTeX.
|
||||
|
||||
### Annotations
|
||||
|
||||
::: {.annotation .annotation--static}
|
||||
<div class="annotation-header">
|
||||
<span class="annotation-label">Remark</span>
|
||||
<span class="annotation-name">On static annotations</span>
|
||||
</div>
|
||||
<div class="annotation-body">
|
||||
This is a static annotation. It is always visible and has no toggle. The border separates the header from the body.
|
||||
</div>
|
||||
:::
|
||||
|
||||
::: {.annotation .annotation--collapsible}
|
||||
<div class="annotation-header">
|
||||
<span class="annotation-label">Note</span>
|
||||
<span class="annotation-name">On collapsible annotations</span>
|
||||
<button class="annotation-toggle" aria-expanded="false">▸ expand</button>
|
||||
</div>
|
||||
<div class="annotation-body">
|
||||
This annotation is collapsed by default. The abbreviations i.e. and e.g. should be wrapped in `<abbr>` tags by `Filters.Typography`. Clicking the button should expand and collapse this body smoothly, with the last line fully visible.
|
||||
</div>
|
||||
:::
|
||||
|
|
@ -0,0 +1,23 @@
|
|||
---
|
||||
title: GPG Key
|
||||
---
|
||||
|
||||
Public key for [ln@levineuwirth.org](mailto:ln@levineuwirth.org).
|
||||
|
||||
**Key ID:** `XXXXXXXXXXXXXXXX`
|
||||
|
||||
**Fingerprint:**
|
||||
```
|
||||
XXXX XXXX XXXX XXXX XXXX XXXX XXXX XXXX XXXX XXXX
|
||||
```
|
||||
|
||||
Download: [pubkey.asc](/gpg/pubkey.asc)
|
||||
|
||||
Also available on [keys.openpgp.org](https://keys.openpgp.org).
|
||||
|
||||
## Verification
|
||||
|
||||
```bash
|
||||
curl -s https://levineuwirth.org/gpg/pubkey.asc | gpg --import
|
||||
gpg --fingerprint ln@levineuwirth.org
|
||||
```
|
||||
|
|
@ -0,0 +1,62 @@
|
|||
---
|
||||
title: Levi Neuwirth
|
||||
home: true
|
||||
---
|
||||
|
||||
You have reached the website of **Levi Neuwirth**, computer scientist, composer, mathematician, researcher, etc. - but first and perennially foremost, a humble STUDENT [OF]{.smallcaps} THE UNIVERSE. This website is a curated space of living documents that not only contains but constitutes the medium for much of my work. Through it I hope to convey the juxtapositions of rigor and elegance, breadth and depth, and curiosity with determined focus that have broadly come to define who I am. *Te accipio, hospes benignus*.
|
||||
|
||||
<details class="site-guide">
|
||||
<summary>How to navigate this site</summary>
|
||||
<div class="site-guide-body">
|
||||
This website is organized broadly by **Portals** and **Tags**. The concept of a Portal is one I have taken from [Wikipedia](https://en.wikipedia.org/wiki/Wikipedia:Contents/Portals). Autogenerated indices for all tags exist. Portals are also automatically populated, but cover a broader area than mere tags, and thus there is additional commentary on such pages. When these mechanisms fail, one can search pages by keyword or by semantic embeddings. There are many novel features of this website, inspired by many wise folks and incredible developers. Rather than comment on them at length, I leave it to you to explore!
|
||||
</div>
|
||||
</details>
|
||||
|
||||
<div class="contact-row">
|
||||
<a href="/about.html" data-contact-icon="person">Biography</a>
|
||||
<a href="/cv.pdf" data-contact-icon="document">CV</a>
|
||||
<a href="mailto:ln@levineuwirth.org" data-contact-icon="email">Email</a>
|
||||
<a href="https://github.com/levineuwirth" data-contact-icon="github">GitHub</a>
|
||||
<a href="/gpg.html" data-contact-icon="key">GPG</a>
|
||||
<a href="https://orcid.org/0009-0002-0162-3587" data-contact-icon="orcid">ORCID</a>
|
||||
</div>
|
||||
|
||||
<div class="curated-grid">
|
||||
|
||||
<a class="curated-card" href="/me.html">
|
||||
<span class="curated-portal">About</span>
|
||||
<span class="curated-title">Levi Neuwirth</span>
|
||||
<span class="curated-desc">An introduction to who I am. Start here.</span>
|
||||
</a>
|
||||
|
||||
<button class="curated-card" id="random-page-btn">
|
||||
<span class="curated-portal">Anywhere</span>
|
||||
<span class="curated-title">Random Page</span>
|
||||
<span class="curated-desc">Hic sunt dracones.</span>
|
||||
</button>
|
||||
|
||||
<a class="curated-card" href="/research/">
|
||||
<span class="curated-portal">Research</span>
|
||||
<span class="curated-title">Research</span>
|
||||
<span class="curated-desc">Inquiry, institutional and personal, is a defining theme of my life.</span>
|
||||
</a>
|
||||
|
||||
<a class="curated-card" href="/nonfiction/">
|
||||
<span class="curated-portal">Nonfiction</span>
|
||||
<span class="curated-title">Writing</span>
|
||||
<span class="curated-desc">A compendium of living documents forming the heart of this website.</span>
|
||||
</a>
|
||||
|
||||
<a class="curated-card" href="/music/">
|
||||
<span class="curated-portal">Music</span>
|
||||
<span class="curated-title">Music</span>
|
||||
<span class="curated-desc">Primarily my compositions, with added musical commentary and analysis, and raw materials.</span>
|
||||
</a>
|
||||
|
||||
<a class="curated-card" href="/miscellany/">
|
||||
<span class="curated-portal">Cacophonous Confabulations</span>
|
||||
<span class="curated-title">Miscellany</span>
|
||||
<span class="curated-desc">Everything that defies category, including shorter "blog" type posts and other musings.</span>
|
||||
</a>
|
||||
|
||||
</div>
|
||||
|
|
@ -0,0 +1,67 @@
|
|||
---
|
||||
title: About Levi Neuwirth
|
||||
date: 2026-03-16
|
||||
abstract: An extensive introduction to who I am, what defines me, what I do, tools I use, etc. For a more concise, professionally formatted synopsis, see the Biography page linked from the site index.
|
||||
tags: [meta]
|
||||
status: "Draft"
|
||||
confidence: 90
|
||||
importance: 2
|
||||
scope: personal
|
||||
novelty: moderate
|
||||
practicality: high
|
||||
---
|
||||
|
||||
How does one resolve the age-old dilemma of earnest self description? Is any such act of description overly humiliating and reductive in nature? Hubristic and egotistical, on the contrary? I have pondered over this subject for years, my greatest conclusion being that my actions and character should be the pinnacle of how I am described, for these form the pinnacle of what constitutes me.
|
||||
|
||||
I understand that this presents an issue: casual surfers of this website, curious readers of my research or other output, and even, believe it or not, myself, for my own personal reference on sporadic occasion, would benefit from an attempted summary in words of who I am. I am obliged to deliver, and such a summary follows.
|
||||
|
||||
---
|
||||
|
||||
## Basic Traits
|
||||
|
||||
I have always thought that the defining characteristic of what makes Levi *Levi*, in so far as I or anyone have such a thing^[My chief concern throughout this document, as established in the introduction, is establishing a balance between reductivity and egotism. The broader conclusion I have come to? Human lives and persona cannot be mapped onto human language. Interesting!], is my **curiosity** and **creativity**. This is not a curiosity that manifests purely in the abstract. I am certainly interested in abstract things, rabbit holes, all-nighters composed of study, you name it - but I am equally curious in a more tangible sense, one that invokes the process of creation. Much of the substance of my life has been the result of various incarnations of this latter form of curiosity combined with a creativity whose origin I cannot explain. In a concise way, I could state it as follows: I generally feel a strong urge to produce and put my own spin on *anything* that I consume.
|
||||
|
||||
The realization of this curiosity/creativity complex yields what I find simultaneously as my greatest strength and my most detrimental flaw. I can be relentlessly ambitious and work persistently towards goals that others might dismiss as too far-sighted, impossible, etc. - but I also consistently bite off more than I can chew and overwork myself. I'm at least aware of the latter fact and try to counter it by introducing work that I enjoy, such as work on this website!
|
||||
|
||||
## Education
|
||||
|
||||
### University
|
||||
|
||||
I am currently finishing my senior year at **Brown University**, from which I will graduate with degrees in Mathematics and Computer Science in May. This autumn I will begin my graduate studies in Computer Science. I chose these areas because their generality and broad interaction with abstraction captivated me in a notable way. This fact is still true to this day - I have never felt significant burnout, nor felt that I had exhausted some finite supply of interest and curiosity in my chosen fields.
|
||||
|
||||
### Autodidacticism
|
||||
|
||||
The bulk of what I have learned has been on an individual basis rather than in affiliation with some institution. This is merely a personal preference; I do not think that autodidactic learning is uniformly intrinsically better, nor do I believe that is necessarily more efficient or otherwise superior to learning through an institution. It is simply what I have always known works for me, and my intuition in this regard has been substantiated by years of empirical evidence.^[Read: progressing through the formalisms of various educational institutions. My grievances are primarily with the public school system that I endured for 13 years of my life, in which autodidacticism was actively perceived as contrary to the goals of the institution, whereas autodidacticism is essentially implied at the University level, or, at a minimum, at a University as rigorous at Brown.]
|
||||
|
||||
### Study Habits
|
||||
|
||||
A core element of my autodidacticism and one that I write about with frequency is what I call *metalearning* - the notion that frequent study of *how* to study itself is a worthy, if not necessary, undertaking. To this end, I try to keep my own study habits somewhere at the midpoint between the relevent cognitive psychology literature and my own intuition of what works best for me.
|
||||
|
||||
I broadly adopt technologies that assist me in learning, and generally do so without reservations. I believe in the capability of (ethically designed and well-intentioned) technology to augment the power of human intellect. I firmly believe that the technologies that I use, both the ones that through societial usage are taken for granted, and those that are perhaps more novel, strongly augment my ability to think, learn, and create. The key word in the previous sentence is **augment**, and the delineation between **augmentation** and **automation** is a crucial one. I will *not* use technologies such as Generative AI to automate away my cognitive processes. I believe that synergistic augmentation is the way forward in the current age of much technological excitement, rather than automation with subsequent deprication of what it means to be human.
|
||||
|
||||
---
|
||||
|
||||
## Music
|
||||
|
||||
Music is core to who I am. I have played trumpet, my primary instrument, for the majority of my life. I also play piano, horn, trombone, euphonium, tuba, and a bit of drums. More important to me than playing, however, is composition. I feel that my compositions are fundamentally a part of me, an extension of the person that I am.
|
||||
|
||||
### Composition
|
||||
|
||||
::: {.score-fragment score-name="Violin Sonata - III (2021)" score-caption="A short excerpt from the third movement of my Violin Sonata, composed in October 2021."}
|
||||
|
||||
:::
|
||||
|
||||
::: dropcap
|
||||
COMPOSITION [IS]{.smallcaps} PERHAPS MORE THAN ANYTHING ELSE THE PRACTICE [OF MY]{.smallcaps} LIFE. I say these strong words because I feel strongly about this process. Composition uses the entirety of not only my mind and my intellectual power, but also the entirety of my essence. When I am immersed in a composition, I am the composition, and the composition is me. We are wholly isomorphic. Thus, my compositions function in many manners: they are time capsules, they are personifications, or, if you like, anthropomorphisms of some sort; they are expressions of the Universe, or whatever *you* prefer to call them. They are, and they will continue to pour out of me, because as far as I can tell, it is by my pen that my *life* is defined.
|
||||
:::
|
||||
|
||||
|
||||
Music composition is thus **chiefly distinct** from other forms of creative activity for me. Music is the most rewarding for me, and the medium by which I feel I have the most expression potential and the most capacity to express.^[These are two different things for me. By **expression potential**, I mean the range of sentiments and ideas that music can, in the abstract / in principle, express. This **expression potential** is thus innately provided to me by mere virtue of my partaking in the act of writing music. By **capacity to express**, I am referring to my own personal ability as a composer to successfully express *that which I intend to* rather than the full range of what music itself might be able to encapsulate.] When I hear a composition that I have finished it surmounts me and effortlessly transports me into an immersive state; I am returned to the deep feelings and profound^[Not necessarily in grandeur, but in personal depth.] ideas that I tried to capture through my project. On the contrary, music also torments me. I am something of a perfectionist with my compositions and get frustrated when they do not pan out the way I intend. I scrap many projects that I perceive as insufficient, and when ideas are not flowing, I suffer for it. Luckily, since composition is such a core constituent of who I am, I have found a consistency in my undergraduate years, and the ideas have generally flowed without significant pause since 2023. I can only hope for my own sake that this trend continues far into the future.
|
||||
|
||||
::: {.score-fragment score-name="Violin Sonata - I (2026)" score-caption="A short excerpt from the first movement of my Flute Sonata, composed in January 2026."}
|
||||
|
||||
:::
|
||||
|
||||
## Interests
|
||||
|
||||
I have many interests.
|
||||
File diff suppressed because one or more lines are too long
|
After Width: | Height: | Size: 142 KiB |
|
|
@ -0,0 +1,847 @@
|
|||
<svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" version="1.2" width="147.67mm" height="64.99mm" viewBox="1.4866 -0.0000 84.0451 36.9897">
|
||||
<style type="text/css">
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|
After Width: | Height: | Size: 61 KiB |
|
|
@ -0,0 +1,41 @@
|
|||
---
|
||||
title: Memento Mori
|
||||
date: 2026-03-17
|
||||
abstract: The power of vanitas through vanity, herein serving to emanate motivation and tranquility.
|
||||
tags: [miscellany]
|
||||
js: scripts/memento-mori.js
|
||||
---
|
||||
|
||||
<figure class="poem-excerpt">
|
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<blockquote>
|
||||
<p>Like as the waves make towards the pebbled shore,<br>
|
||||
So do our minutes hasten to their end;<br>
|
||||
Each changing place with that which goes before,<br>
|
||||
In sequent toil all forwards do contend.</p>
|
||||
</blockquote>
|
||||
<figcaption><a href="/poetry/sonnet-60.html">Sonnet 60</a> — William Shakespeare</figcaption>
|
||||
</figure>
|
||||
|
||||
[Your writing here. This page is for you as much as anyone. A few paragraphs about time, about why you make things, about what this site and its slow accumulation mean. The grid below is the argument; this prose is the response to it.]
|
||||
|
||||
<div id="weeks-grid-wrapper"></div>
|
||||
|
||||
|
||||
<div id="countdown-wrapper"></div>
|
||||
|
||||
---
|
||||
## Applied Vanitas
|
||||
|
||||
|
||||
|
||||
::: dropcap
|
||||
Time passes regardless of our wishes, our intentions, our apprehensions. That is perhaps the most beautifully profound fact of our existence, and one that therefore I view with gratitude.
|
||||
:::
|
||||
|
||||
MANY ARTISTS AND THINKERS ALIKE HAVE, OVER CENTURIES, TRIED [TO]{.smallcaps} ENCAPSULATE THIS BEAUTIFUL PROFUNDITY. [*Vanitas*](https://en.wikipedia.org/wiki/Vanitas)^[Spanish Wikipedia has a far more detailed and preferable entry concerning *Vanitas*. For those who speak Spanish, [see here](https://es.wikipedia.org/wiki/Vanitas)] I do not think that my words can do this subject terrible justice, so rather than trying to encapsulate the potent nature of the subject myself, I will only speak here about what it means to me, interspersing my remarks with art of various forms for us to appreciate.
|
||||
|
||||
### My Creative Works
|
||||
|
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::: {.score-fragment score-name="Bassoon Concerto, II (2025-2026)" score-caption="A solo bassoon excerpt from my 2025-2026 Bassoon Concerto."}
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:::
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</g>
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<g transform="translate(0.9923, 19.8787)">
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<text font-family="serif" font-size="2.2002" text-anchor="start" fill="currentColor">
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<tspan>Bsn.</tspan>
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<g transform="translate(5.9993, 16.0367)">
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<text font-family="serif" font-size="1.7461" text-anchor="start" fill="currentColor">
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<tspan>3</tspan>
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</text>
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</g>
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<path transform="scale(0.0040, -0.0040)" d="M218 136c66 0 108 -36 108 -89c0 -89 -113 -183 -218 -183c-66 0 -108 36 -108 89c0 89 113 183 218 183z" fill="currentColor"/>
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</g>
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</svg>
|
||||
|
After Width: | Height: | Size: 60 KiB |
|
|
@ -0,0 +1,9 @@
|
|||
---
|
||||
title: Music
|
||||
abstract: Compositions spanning orchestral, chamber, solo, and vocal writing.
|
||||
tags: [music]
|
||||
---
|
||||
|
||||
I have been composing since [year]. My work tends toward [brief characterization — e.g. post-tonal writing with clear formal architecture, strong rhythmic identity, attention to color and register]. I am drawn to [influences, preoccupations, recurring concerns].
|
||||
|
||||
Scores are available for most works through the score reader; recordings where available are embedded on each composition's page.
|
||||
|
|
@ -0,0 +1,25 @@
|
|||
---
|
||||
title: Sonnet 60
|
||||
date: 1609-05-20
|
||||
poet: William Shakespeare
|
||||
abstract: Like as the waves make towards the pebbled shore, / So do our minutes hasten to their end.
|
||||
tags: [poetry]
|
||||
---
|
||||
|
||||
Like as the waves make towards the pebbled shore,
|
||||
So do our minutes hasten to their end;
|
||||
Each changing place with that which goes before,
|
||||
In sequent toil all forwards do contend.
|
||||
|
||||
Nativity, once in the main of light,
|
||||
Crawls to maturity, wherewith being crown'd,
|
||||
Crooked eclipses 'gainst his glory fight,
|
||||
And Time that gave doth now his gift confound.
|
||||
|
||||
Time doth transfix the flourish set on youth,
|
||||
And delves the parallels in beauty's brow,
|
||||
Feeds on the rarities of nature's truth,
|
||||
And nothing stands but for his scythe to mow.
|
||||
|
||||
And yet to times in hope my verse shall stand,
|
||||
Praising thy worth, despite his cruel hand.
|
||||
|
|
@ -0,0 +1,382 @@
|
|||
(function () {
|
||||
'use strict';
|
||||
|
||||
// -------------------------------------------------------------------------
|
||||
// Constants
|
||||
// -------------------------------------------------------------------------
|
||||
|
||||
// Birthday: Monday, December 29, 2003
|
||||
const BIRTHDAY = new Date(2003, 11, 29); // month is 0-indexed
|
||||
// End of the 80-year span: December 29, 2083
|
||||
const LIFE_END = new Date(2083, 11, 29);
|
||||
|
||||
const YEARS = 80;
|
||||
const WEEKS_PER_YEAR = 52;
|
||||
const TOTAL_WEEKS = YEARS * WEEKS_PER_YEAR; // 4160
|
||||
|
||||
// A tropical season: 365.25 / 4 days
|
||||
const SEASON_MS = 91.25 * 24 * 60 * 60 * 1000;
|
||||
|
||||
// -------------------------------------------------------------------------
|
||||
// Utilities
|
||||
// -------------------------------------------------------------------------
|
||||
|
||||
function fmtDate(d) {
|
||||
return d.toLocaleDateString('en-US', {
|
||||
month: 'short', day: 'numeric', year: 'numeric'
|
||||
});
|
||||
}
|
||||
|
||||
function fmtDayShort(d) {
|
||||
return d.toLocaleDateString('en-US', {
|
||||
weekday: 'short', month: 'short', day: 'numeric'
|
||||
});
|
||||
}
|
||||
|
||||
function currentSeasonName() {
|
||||
const now = new Date();
|
||||
const m = now.getMonth(); // 0-indexed
|
||||
const d = now.getDate();
|
||||
// Approximate meteorological seasons (northern hemisphere)
|
||||
if (m < 2 || (m === 11)) return 'winter';
|
||||
if (m < 5) return 'spring';
|
||||
if (m < 8) return 'summer';
|
||||
return 'autumn';
|
||||
}
|
||||
|
||||
// -------------------------------------------------------------------------
|
||||
// Grid
|
||||
// -------------------------------------------------------------------------
|
||||
|
||||
function buildGrid() {
|
||||
const container = document.getElementById('weeks-grid-wrapper');
|
||||
if (!container) return;
|
||||
|
||||
const today = new Date();
|
||||
today.setHours(0, 0, 0, 0);
|
||||
|
||||
const grid = document.createElement('div');
|
||||
grid.className = 'weeks-grid';
|
||||
grid.setAttribute('role', 'img');
|
||||
grid.setAttribute('aria-label', 'A grid of 4,160 squares representing 80 years of life, one square per week.');
|
||||
|
||||
let globalWeekIndex = 1;
|
||||
|
||||
for (let year = 0; year < YEARS; year++) {
|
||||
|
||||
// Anchor the start of every row exactly to the calendar anniversary.
|
||||
const yearStart = new Date(BIRTHDAY.getTime());
|
||||
yearStart.setFullYear(yearStart.getFullYear() + year);
|
||||
|
||||
for (let weekInYear = 1; weekInYear <= WEEKS_PER_YEAR; weekInYear++) {
|
||||
|
||||
const start = new Date(yearStart.getTime());
|
||||
start.setDate(start.getDate() + (weekInYear - 1) * 7);
|
||||
|
||||
const end = new Date(start.getTime());
|
||||
|
||||
// Stretch week 52 to the eve of the next birthday, absorbing
|
||||
// the 365th/366th day so no day falls outside the grid.
|
||||
if (weekInYear === WEEKS_PER_YEAR) {
|
||||
const nextBday = new Date(BIRTHDAY.getTime());
|
||||
nextBday.setFullYear(nextBday.getFullYear() + year + 1);
|
||||
end.setTime(nextBday.getTime() - 24 * 60 * 60 * 1000);
|
||||
} else {
|
||||
end.setDate(end.getDate() + 6);
|
||||
}
|
||||
|
||||
const cell = document.createElement('span');
|
||||
cell.className = 'week';
|
||||
|
||||
if (today > end) {
|
||||
cell.classList.add('week--past');
|
||||
} else if (today >= start) {
|
||||
cell.classList.add('week--current');
|
||||
} else {
|
||||
cell.classList.add('week--future');
|
||||
}
|
||||
|
||||
if (weekInYear === 1 && year % 10 === 0) {
|
||||
cell.classList.add('week--decade');
|
||||
}
|
||||
|
||||
cell.dataset.start = fmtDate(start);
|
||||
cell.dataset.end = fmtDate(end);
|
||||
cell.dataset.startRaw = start.getTime();
|
||||
cell.dataset.endRaw = end.getTime();
|
||||
cell.dataset.year = year;
|
||||
cell.dataset.weekInYear = weekInYear;
|
||||
cell.dataset.index = globalWeekIndex;
|
||||
|
||||
grid.appendChild(cell);
|
||||
globalWeekIndex++;
|
||||
}
|
||||
}
|
||||
|
||||
container.appendChild(grid);
|
||||
|
||||
const legend = document.createElement('p');
|
||||
legend.className = 'weeks-legend';
|
||||
legend.textContent =
|
||||
'Each row is one year (age 0–79). Each cell is one week. ' +
|
||||
'Decade boundaries are marked.';
|
||||
container.appendChild(legend);
|
||||
|
||||
initTooltip(grid);
|
||||
initWeekPopup(grid);
|
||||
}
|
||||
|
||||
// -------------------------------------------------------------------------
|
||||
// Tooltip
|
||||
// -------------------------------------------------------------------------
|
||||
|
||||
function initTooltip(grid) {
|
||||
const tip = document.createElement('div');
|
||||
tip.className = 'weeks-tooltip';
|
||||
tip.setAttribute('aria-hidden', 'true');
|
||||
tip.hidden = true;
|
||||
document.body.appendChild(tip);
|
||||
|
||||
grid.addEventListener('mouseover', e => {
|
||||
const cell = e.target.closest('.week');
|
||||
if (!cell) { tip.hidden = true; return; }
|
||||
|
||||
const year = parseInt(cell.dataset.year, 10);
|
||||
const weekInYear = parseInt(cell.dataset.weekInYear, 10);
|
||||
const index = parseInt(cell.dataset.index, 10);
|
||||
|
||||
const isPast = cell.classList.contains('week--past');
|
||||
const isCurrent = cell.classList.contains('week--current');
|
||||
const status = isPast ? 'elapsed' : isCurrent ? 'this week' : 'remaining';
|
||||
|
||||
tip.innerHTML =
|
||||
`<span class="tt-age">age ${year}</span>` +
|
||||
`<span class="tt-week">year ${year + 1}, week ${weekInYear}</span>` +
|
||||
`<span class="tt-date">${cell.dataset.start} – ${cell.dataset.end}</span>` +
|
||||
`<span class="tt-meta">` +
|
||||
`week ${index.toLocaleString()} of ${TOTAL_WEEKS.toLocaleString()}` +
|
||||
` · ${status}` +
|
||||
`</span>`;
|
||||
|
||||
tip.hidden = false;
|
||||
});
|
||||
|
||||
grid.addEventListener('mouseleave', () => { tip.hidden = true; });
|
||||
|
||||
document.addEventListener('mousemove', e => {
|
||||
if (tip.hidden) return;
|
||||
const tw = tip.offsetWidth;
|
||||
const th = tip.offsetHeight;
|
||||
let x = e.clientX + 14;
|
||||
let y = e.clientY - th - 10;
|
||||
if (y < 8) y = e.clientY + 16;
|
||||
if (x + tw > window.innerWidth - 8) x = e.clientX - tw - 14;
|
||||
tip.style.left = x + 'px';
|
||||
tip.style.top = y + 'px';
|
||||
});
|
||||
}
|
||||
|
||||
// -------------------------------------------------------------------------
|
||||
// Week popup — dynamic day count
|
||||
// -------------------------------------------------------------------------
|
||||
|
||||
function initWeekPopup(grid) {
|
||||
const backdrop = document.createElement('div');
|
||||
backdrop.className = 'week-popup-backdrop';
|
||||
backdrop.hidden = true;
|
||||
|
||||
const card = document.createElement('div');
|
||||
card.className = 'week-popup-card';
|
||||
card.setAttribute('role', 'dialog');
|
||||
card.setAttribute('aria-modal', 'true');
|
||||
|
||||
backdrop.appendChild(card);
|
||||
document.body.appendChild(backdrop);
|
||||
|
||||
function openPopup(cell) {
|
||||
const startMs = parseInt(cell.dataset.startRaw, 10);
|
||||
const endMs = parseInt(cell.dataset.endRaw, 10);
|
||||
const year = parseInt(cell.dataset.year, 10);
|
||||
const weekInYear = parseInt(cell.dataset.weekInYear, 10);
|
||||
const index = parseInt(cell.dataset.index, 10);
|
||||
|
||||
const today = new Date();
|
||||
today.setHours(0, 0, 0, 0);
|
||||
|
||||
// Dynamically calculate how many days are in this week (7, 8, or 9).
|
||||
const daysInWeek = Math.round((endMs - startMs) / (24 * 60 * 60 * 1000)) + 1;
|
||||
|
||||
const header = document.createElement('div');
|
||||
header.className = 'week-popup-header';
|
||||
|
||||
const title = document.createElement('div');
|
||||
title.className = 'week-popup-title';
|
||||
title.textContent = `Age ${year} — year ${year + 1}, week ${weekInYear}`;
|
||||
|
||||
const sub = document.createElement('div');
|
||||
sub.className = 'week-popup-sub';
|
||||
sub.textContent = `week ${index.toLocaleString()} of ${TOTAL_WEEKS.toLocaleString()}`;
|
||||
|
||||
const closeBtn = document.createElement('button');
|
||||
closeBtn.className = 'week-popup-close';
|
||||
closeBtn.setAttribute('aria-label', 'Close');
|
||||
closeBtn.innerHTML = '×';
|
||||
closeBtn.addEventListener('click', closePopup);
|
||||
|
||||
header.appendChild(title);
|
||||
header.appendChild(sub);
|
||||
header.appendChild(closeBtn);
|
||||
|
||||
const days = document.createElement('div');
|
||||
days.className = 'week-popup-days';
|
||||
|
||||
for (let d = 0; d < daysInWeek; d++) {
|
||||
const dayDate = new Date(startMs);
|
||||
dayDate.setDate(dayDate.getDate() + d);
|
||||
dayDate.setHours(0, 0, 0, 0);
|
||||
|
||||
const wday = document.createElement('div');
|
||||
wday.className = 'wday';
|
||||
|
||||
if (dayDate < today) {
|
||||
wday.classList.add('wday--past');
|
||||
} else if (dayDate.getTime() === today.getTime()) {
|
||||
wday.classList.add('wday--today');
|
||||
} else {
|
||||
wday.classList.add('wday--future');
|
||||
}
|
||||
|
||||
const dot = document.createElement('div');
|
||||
dot.className = 'wday-dot';
|
||||
|
||||
const name = document.createElement('div');
|
||||
name.className = 'wday-name';
|
||||
// Derive day name from the date itself — never misaligned.
|
||||
name.textContent = dayDate.toLocaleDateString('en-US', { weekday: 'short' });
|
||||
|
||||
const date = document.createElement('div');
|
||||
date.className = 'wday-date';
|
||||
date.textContent = dayDate.toLocaleDateString('en-US', {
|
||||
month: 'short', day: 'numeric'
|
||||
});
|
||||
|
||||
const dayNum = Math.floor(
|
||||
(dayDate.getTime() - BIRTHDAY.getTime()) / (24 * 60 * 60 * 1000)
|
||||
) + 1;
|
||||
const numEl = document.createElement('div');
|
||||
numEl.className = 'wday-daynum';
|
||||
numEl.textContent = 'day ' + dayNum.toLocaleString();
|
||||
|
||||
wday.appendChild(dot);
|
||||
wday.appendChild(name);
|
||||
wday.appendChild(date);
|
||||
wday.appendChild(numEl);
|
||||
days.appendChild(wday);
|
||||
}
|
||||
|
||||
card.innerHTML = '';
|
||||
card.appendChild(header);
|
||||
card.appendChild(days);
|
||||
|
||||
backdrop.hidden = false;
|
||||
closeBtn.focus();
|
||||
}
|
||||
|
||||
function closePopup() {
|
||||
backdrop.hidden = true;
|
||||
}
|
||||
|
||||
grid.addEventListener('click', e => {
|
||||
const cell = e.target.closest('.week');
|
||||
if (!cell) return;
|
||||
openPopup(cell);
|
||||
});
|
||||
|
||||
backdrop.addEventListener('click', e => {
|
||||
if (e.target === backdrop) closePopup();
|
||||
});
|
||||
|
||||
document.addEventListener('keydown', e => {
|
||||
if (e.key === 'Escape' && !backdrop.hidden) closePopup();
|
||||
});
|
||||
}
|
||||
|
||||
// -------------------------------------------------------------------------
|
||||
// Countdown
|
||||
// -------------------------------------------------------------------------
|
||||
|
||||
function initCountdown() {
|
||||
const wrapper = document.getElementById('countdown-wrapper');
|
||||
if (!wrapper) return;
|
||||
|
||||
let unit = localStorage.getItem('mm-unit') || 'seconds';
|
||||
|
||||
const labelEl = document.createElement('div');
|
||||
labelEl.className = 'countdown-label';
|
||||
|
||||
const valueEl = document.createElement('div');
|
||||
valueEl.className = 'countdown-value';
|
||||
|
||||
const switcherEl = document.createElement('div');
|
||||
switcherEl.className = 'countdown-switcher';
|
||||
|
||||
['seconds', 'hours', 'seasons'].forEach(u => {
|
||||
const btn = document.createElement('button');
|
||||
btn.className = 'countdown-btn';
|
||||
btn.dataset.unit = u;
|
||||
btn.textContent = u;
|
||||
if (u === unit) btn.classList.add('is-active');
|
||||
btn.addEventListener('click', () => {
|
||||
unit = u;
|
||||
localStorage.setItem('mm-unit', u);
|
||||
switcherEl.querySelectorAll('.countdown-btn').forEach(b =>
|
||||
b.classList.toggle('is-active', b.dataset.unit === u));
|
||||
tick();
|
||||
});
|
||||
switcherEl.appendChild(btn);
|
||||
});
|
||||
|
||||
wrapper.appendChild(labelEl);
|
||||
wrapper.appendChild(valueEl);
|
||||
wrapper.appendChild(switcherEl);
|
||||
|
||||
function format(ms) {
|
||||
if (ms <= 0) return '0';
|
||||
if (unit === 'seconds') return Math.floor(ms / 1000).toLocaleString();
|
||||
if (unit === 'hours') return Math.floor(ms / (1000 * 60 * 60)).toLocaleString();
|
||||
return Math.floor(ms / SEASON_MS).toLocaleString(); // seasons — whole integer
|
||||
}
|
||||
|
||||
function label() {
|
||||
if (unit === 'seconds') return 'seconds remaining';
|
||||
if (unit === 'hours') return 'hours remaining';
|
||||
// seasons: poetic label with current season name
|
||||
return 'seasons remaining — it is ' + currentSeasonName();
|
||||
}
|
||||
|
||||
function tick() {
|
||||
const ms = Math.max(0, LIFE_END.getTime() - Date.now());
|
||||
labelEl.textContent = label();
|
||||
valueEl.textContent = format(ms);
|
||||
}
|
||||
|
||||
tick();
|
||||
setInterval(tick, 1000);
|
||||
}
|
||||
|
||||
// -------------------------------------------------------------------------
|
||||
// Init
|
||||
// -------------------------------------------------------------------------
|
||||
|
||||
function init() {
|
||||
buildGrid();
|
||||
initCountdown();
|
||||
}
|
||||
|
||||
if (document.readyState === 'loading') {
|
||||
document.addEventListener('DOMContentLoaded', init);
|
||||
} else {
|
||||
init();
|
||||
}
|
||||
|
||||
}());
|
||||
|
|
@ -0,0 +1,6 @@
|
|||
---
|
||||
title: Search
|
||||
search: true
|
||||
---
|
||||
|
||||
<div id="search"></div>
|
||||
Loading…
Reference in New Issue