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Mathematics

(define (LR stack states-stack read-input unread-input output)
  (if (empty? unread-input) ((λ (z) (if (boolean? z) (err (length read-input)) (reverse (cons (car z) output)))) (from-start stack))
      (match (hash-ref trans-table (cons (car states-stack) (car unread-input)) 0)
        [0 (err (length read-input))]
        [(cons 'shift n) (LR (cons (car unread-input) stack) (cons n states-stack) (getread (car unread-input) read-input) (cdr unread-input) output)]
        [(cons 'reduce n) (define rul (vector-ref rules n))
                          (define len (length (rule-RHS rul)))
                          (LR (drop stack len) (drop states-stack len) read-input (cons (rule-LHS rul) unread-input) (cons rul output))])))
(define (finalize-token state l)
  (cond
    [(symbol=? state 'ID) (make-token (get-state (string->symbol (list->string l))) (list->string l))]
    [(or (symbol=? state 'ZERO) (symbol=? state 'NUM))
     (if (< (string->number (list->string l)) (arithmetic-shift 1 31)) (make-token 'NUM (list->string l)) (err))]
    [else (make-token state (list->string l))]))

6.43 If good or bad willing changes the world, it can only change the limits of the world, not the facts; not the things that can be expressed in language.
In brief, the world must thereby become quite another. It must so to speak wax or wane as a whole.
The world of the happy is quite another than that of the unhappy.

6.431 As in death, too, the world does not change, but ceases.

6.4311 Death is not an event of life. Death is not lived through.
If by eternity is understood not endless temporal duration but timelessness, then he lives eternally who lives in the present.
Our life is endless in the way that our visual field is without limit.

-Ludwig Wittgenstein, Tractatus Logico-Philosophicus

In my initial proposal for this course, I wrote:
I have many thoughts that I would like to share with my students that I would not be able to other courses. ... But the peripheral point is really a moral one in that they should be good people and take care of themselves and contribute to a functional collaborative environment.

Post writing this, I was reminded of Hideaki Anno's concept pitch document for Neon Genesis Evangelion. In this document, he outlines that the primary goal of the animated series is to foster within its target audience of middle school students a sense of self-purpose, and to spur the strength in them necessary to act of their own will. The series was to argue for the beauty and value of life, and ensure that its audience entered adulthood with self-authored ideals of a reality of justice and love.

Two years later, the series was being written and developed as it was airing, Anno was severely depressed, and the production team was collectively exasperated. Mid-production he wrote:
They say, 'To live is to change.' I started this production with the wish that once the production complete, the world, and the heroes would change. That was my 'true' desire. I tried to include everything of myself in Neon Genesis Evangelion-myself, a broken man who could do nothing for four years. A man who ran away for four years, one who was simply not dead. Then one thought. 'You can't run away', came to me, and I restarted this production. It is a production where my only thought was to burn my feelings into film. I know my behaviour was thoughtless, troublesome, and arrogant. But I tried. I don't know what the result will be. That is because within me, the story is not yet finished. I don't know what will happen to Shinji, Misato or Rei. I don't know where life will take them. Because I don't know where life is taking the staff of the production. I feel that I am being irresponsible. But... But it's only natural that we should synchronise ourselves with the world within the production. I've taken on a risk: 'It's just an imitation'. And for now I can only write this explanation. But perhaps our 'original' lies somewhere within there.

The tone of the series drifted to abject pessimism. The efforts of the characters to develop as people were met only with tragedy. Things fell apart, and the series concluded with a introspective deep-dive into the mind of its protagonist, as he grapples with his place in the world and his relationships with others. This leads to the final line of dialogue: kimochi warui (often translated to: how disgusting).

And in retrospect he concluded that: Something broken or deficient comes more naturally to me. Sometimes that thing is the body. Sometimes it is the mind.