Conceptual Engineers want to make words better. However, they often underestimate how varied our usage of words is. In this paper, we take the first steps in exploring the contextual nuances of words by creating conceptual landscapes -- 2D surfaces representing the pragmatic usage of words -- that conceptual engineers can use to inform their projects. We use the spoken component of the British National Corpus and BERT to create contextualised word embeddings, and use Gaussian Mixture Models, a selection of metrics, and qualitative analysis to visualise and numerically represent lexical landscapes. Such an approach has not yet been used in the conceptual engineering literature and provides a detailed examination of how different words manifest in various contexts that is potentially useful to conceptual engineering projects. Our findings highlight the inherent complexity of conceptual engineering, revealing that each word exhibits a unique and intricate landscape. Conceptual Engineers cannot, therefore, use a one-size-fits-all approach when improving words -- a task that may be practically intractable at scale.

The Oscars are over, so your weekend should be wide open to check out the return of "Cats" to L.A., a revival of Tennessee Williams' "The Glass Menagerie," and two very different takes on two very different Mozart works, courtesy of Los Angeles Opera and Pacific Opera Project. Composer Meredith Monk presents a new vocal work, two L.A. Times Critics' Choice dramas give their final performances, and Los Angeles Ballet, Trinity Irish Dance and Martha Graham Dance Company all perform. If you know those lines, you know "Cats." Based on poems by T.S. Eliot, composer Andrew Lloyd Webber's Tony-winning musical is back with new choreography by Andy Blankenbuehler ("Hamilton"). The law of un-Nintendo'd consequences will be in full effect as Pacific Opera Project opens its season with "The Magic Flute."