REVIEWED BY ALEX IOSHPE © 2001
RATING: 9/10
"Tense, dark, gothic and poetic in its visual wizardry"
This film is certainly pleasant news for every horror enthusiast. "Hannibal" is probably the most awaited film of this decade, standing proudly in the same line with "Star Wars: Episode 1" and "Lord of the Rings". Its financial success is therefore assured. When it comes to its artistic values, it is very speculative. You never know how the audiences are going to react, and this film has already suffered from a discouraging abscesses of Jodie Foster and basically all crew from its predecessor - the legendary "Silence of the Lambs". I say legendary, because it has been elevated to a cult-status, proclaimed a masterpiece by every critic (even by those who did not approve it when it first aired in 1991). I always believed that "Lambs" was slightly overrated. It was a great film, a virtually perfect detective story, but absolutely no masterpiece. It was simply a good film, nothing more and without Hopkins' legendary performance, it would have been much less. With this hype blinding your vision, it is hard to concentrate. Thomas Harris took his time and when his book was finished, it was received not too well. Jonathan Demme (the director), Ted Tally (screenwriter), Jodie Foster, and Scott Glenn - all rejected the book, labeling it too violent and grotesque. Finally a new cast and crew were assembled, with Anthony Hopkins in the lead.
10 years have passed and Clarice Starling is not what she used to be. Crawford, her guiding mentor is gone and so is her purpose. After a rather unsuccessful operation, she is humiliated and unfairly blamed by the media and her colleagues. Meanwhile, Hannibal Lecter peacefully lives his cultivated life as a respected art scholar in his beloved Florence, very much aware of the awkward situation that Starling is in. However his peaceful life is broken when Inspector Rinaldo Pazzi (Giancarlo Giannini) discovers him and the reward, provided by one of his old patients and his nemesis, the paralyzed Mason Verger (an uncredited and unrecognizable Gary Oldman). Mason is an insanely rich pedophile sadist, who lost his lips and one eye, when Dr. Lecter made him peal off his own face and feed it to his dogs ("It seemed like a good idea at the time", he chuckles). While Clarice inverstigates, Mason is preparing his ultimate revenge, a feast where Lecter will be eaten by giant man-eating hogs. Now everyone race against time and each other, in order to capture the famous doctor first. But when Hannibal finally appears in America, Clarice is split by her duty and her strange affections for her evil opponent, who is likewise drawn towards her..
Marquee screenwriters David Mamet (State and Main) and Steven Zailian (Schindler's List) are faithful to the source, but avoiding the very problems that made the book unsatisfying. Hannibal (as the most interesting character) is moved into the center, while a harder, more bitter Starling stands in the shadows. In fact, every positive element of "Lambs" is elevated here. The "supporting villain" is far more interesting and colorful than Buffolo-Bill, all the memorable characters (including Barney) reappear and the political intrigues in the FBI intensify.
Hopkins seems more at ease now, moving with a grace of a panther. He doesn't speak - he purrs in a seductive, devilish voice. His Hannibal is more interesting and edgy than ever before, a more complicated and less sympathetic character than in "Lambs", revealing himself in all his demonic monstrousity. Part of the films corrosive effect is the incredible sympathy that we develop for him in the beginning, and that so quickly turns agianst us, when we witness him enduldging to his darker side. Julianne Moore makes us forget about Jodie Foster completely, playing in a tougher vein with her interpretation as solid and honest as one could expect from an actress of her caliber. Giannini's inspector has the right aura of tarnished dignity and Gary Oldman is likewise spectacular and incredibly entertaining as Mason. Ray Liolita is sleazy as always and the rest of the cast do a decent job. Basically the acting is flawless.
"Hannibal"'s biggest problem is dealing with expectations, with people who have already created a picture in their heads about how the film should be - people who expect to see "Silence of the Lambs 2". These people will be very disappointed, because "Hannibal" is luckily not that. A new director is steering, with a new crew behind him. Since Lector has now moved into the center of events, the atmosphere had to be adjusted - in other words it had not to offend Lector's taste. That is why Ridley Scott (Alien, Blade Runner, Gladiator) could not be a better choice, and with director of photography John Mathison (Blade Runner, Gladiator), the talented editor Pietro Scalia (Gladiator) and sensational composer Hans Zimmer (The Thin Red Line, Gladiator) you simply can not loose. The result is something completely different. From the opening credits, when the word "Hannibal" is written elegantly in blood across the black screen, you sense a change of atmosphere. It's fresh, beautiful, dreamy -- all the things that "Lambs" wasn't. And while its predecessor was very gritty, shot in a naturalistic, almost photographic way, "Hannibal" sparkles with visual splendor, looking like a beautifully decorated christmas tree. The claustrophobic atmosphere of "Lambs" is replaced with a free, unconstrained sense of freshness, like a morning breeze. The sense of uneasiness is captured alternately by deep, sustained notes and the rapid attack of a full-throttle orchestra, whose intent to horrify never waivers. Scott has always been a wizard of visual imagery and he employs his talents here, creating a world of Lecter's morbid mind. Every frame is a painting, composed from rich contrasts of shadows and light. He intoxicates us with this visual poetry and dark symbolism, creating a creepy, gothic feeling around the whole picture. And it is this style that is the very element that makes "Hannibal" terrifying. We see Lecter lecturing the arts in the library, swapped into the beauty of the night, we see him in perfume shops, we watch him enjoying the opera. And then we see him killing his pray, spilling out the intestates and cooking them at home, using Dumas' recipes. Here lies the incredible horror of "Hannibal" - the taste, culture, intellect and the morbid violence shown in the same beautiful style, in the very same person. Scott succeeds where most have failed -- in creating this extreme polarity of the human soul, which is shown incredibly elegantly and without any sense of effort. The violence is shown in a different key than we are usually used to. It is as if we are looking with Lecter's eyes on the world around us, and everthing is therefore wrapped into a magical veil of taste and style, even the bodies. This violence is more grotesque than in "Lambs", but it is also more motivated, because it underlines the movie's theme.
Several critics have pointed out that the first installment was more clever and sophisticated. I slightly disagree with that statement. The story development in "Lambs" was its clever part, with the many bizarre events and characters, following one after another, but here its cleverness stopped. "Hannibal" is more clever in its theme, rather than in the twists and turns of the story (which by the way are quite remarkable as well). It is therefore darker, deeper and creepier than "Lambs", going under the skin of the two main characters, portraying their previously unknown sides. "Hannibal" should therefore not be viewed as a sequel, but instead accepted as a unique and completely different movie, acting on its own terms. Clarise is not the same honest, hard working idealist that she was in "Lambs". In the very beginning we see her being betrayed by her fellow agents, stabbed in the back, so to speak. These disappointments in her work, and her life in general, lead her onto a different path. In the end it is her fall from grace that is one of the central stories of the movie. Lecter is likewise different - more relaxed, calmer and in his natural environment. He no longer pushes for the extravagant, like in "Lambs". His evil is hidden behind the mask of charm and taste, making him more dangerous, unpredictable and calculating than ever before. And this also underlines one major difference between the two (now competing films) - while "Lambs" was completely straight, "Hannibal" is more dreamy, elegant and symbolic in its every element, in every scene. While Demme constructed a great story about nothing, Scott is actually painting a picture about the duality of human nature. This duality exists everywhere in his world, it can be found in the beauty of Florence, in the darkness of the woods, in Lecter and Starling. The connection between them is magical and creepy, as well as poetic. It is like beauty and the beast - the attraction of the poles, the fascination of the opposite. Scott has thus successfully created one of the most interesting psychological thrillers to date. In a way, it is a beautiful walz about the ways of evil, with its illusions, seductions and the incredible horror that lies beneath. To me this is far more interesting than a carefully woven detective story. This does not mean that "Hannibal" is entirely flawless. It is episodic in the end, as if the director was rushing towards the finish line. Forgetting that, it is a perfect psychological thriller. However I do not intend to make the same mistake as many did with "Lambs". I am not saying that this is a masterpiece, but in my opinion, this is certainly a more interesting and refreshing picture than its predecessor. It is richer, creepier and far more tasteful.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


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--- title: Share Your Design category: Designer Resources order: 0 ---
Want to show off your new creation or someone else's? The watchface embed allows you to embed an awesome preview of the face on any website. Here are the steps to get the embed html code:
If you're using multiple embeds on one page, it can be a good idea to use the static version, which loads faster. To load the static version, add a query parameters to the iframe URL: ?autorun=false

The dynamic embed shows the watch face in all its glory, fully running when it loads. This version is the default, but you can explicitly specify it by adding this query parameter to the iframe URL: ?autorun=true


Our a la carte menu available for lunch and dinner
features signature dishes which are a unique marriage
of global ingredients and techniques with the flavours
and traditions of India. A 3-course lunch menu us
available everyday from 12noon to 2.30pm.The six
course Chef's Tasting menu where each course is
paired with a selection of wines from India and across
the world, offers the complete dining experience of the
restaurant.
» 3 Course Lunch Menu
» Lunch or Dinner Menu
» Chef's Tasting Menu
» Chef's Tasting Menu with Mocktails
» Beverage Menu


In order to support client-side maps, WebDot can filter an
html page and replace all occurrences of <webdot...> tags
with a client-side map and an image reference.
For example, clientmap.dot contains:
after serving this page through /cgi-bin/webdot, this <webdot...>
tag is replaced by:
The advantages of this mode of WebDot are the much simpler authoring and
the responsiveness of client-side mapping. Notice that the URL that
would be reached by clicking on a node is flashed into the
status bar at the bottom of the browser.
The disadvantages are that the html source now contains non-standard markup and
the page has to be served through the /cgi-bin/webdot program.
Care must be taken that relative URLs in the html don't also get served
through the WebDot cgi program so it is important to use "rooted" hrefs
in documents and graphs served this way.
Embedded SVG is probably a better choice assuming SVG clients are available.
and the source of this page contains (for the graph on the right):
graph G {
node [URL="\N.html" label="" tooltip="\N" width=0.3 height=0.3 style=filled fillcolor=lightblue pencolor=black]
a -- b -- c; b -- d;
}
<webdot src="/cgi-bin/webdot/webdot/clientmap.dot" engine="neato" type="png" target="new">
<map name="webdot0">
<area shape="rect" href="/cgi-bin/webdot/http://localhost/cgi-bin/webdot/webdot/clientmap.dot.neato.png.help" title="Graph by WebDot" alt="Graph by WebDot" coords="147,240,235,228">
<area shape="rect" href="http://localhost/webdot/a.html" title="a" alt="" coords="8,132,37,161" target="new">
<area shape="rect" href="http://localhost/webdot/b.html" title="b" alt="" coords="108,105,137,135" target="new">
<area shape="rect" href="http://localhost/webdot/c.html" title="c" alt="" coords="180,179,209,208" target="new">
<area shape="rect" href="http://localhost/webdot/d.html" title="d" alt="" coords="135,7,164,36" target="new">
</map>
<img src="/cgi-bin/webdot/http://localhost/cgi-bin/webdot/webdot/clientmap.dot.neato.png"
width="235" height="240" border="0"
usemap="#webdot0"
alt="Graph by WebDot">


?Det-rev.
M.
Thiv
(B)
2001
No.
798
Family
Gentianaceae
Scientific
Name
Lisianthus
longiflorum
!
Common
Name
Locality
near
Pine
Grove,
Jamaica
Habitat
Roadiide,
about
2500
ft.
alt.
Collector
L.M.A.
Date
Feb.
12,
1970
----
1624672
Legend -
Level of confidence that token is an accurately-transcribed word
extremely low
very low
low
undetermined
medium
high
very high


Bullying Awareness Week highlights where to turn for help
the Province is running a digital campaign to show victims where they can turn if they need support
The government is raising awareness of bullying supports during Bullying Awareness Week, Nov. 18th-22nd.
“We are taking a stand against bullying. Bullying rates in Canada are higher than two-thirds of western countries,” notes a release. “It can consist of mean, cruel, hurtful behaviours done on an ongoing basis. It can happen verbally, physically, socially or online.
“In all its forms, it leaves a mark on its victims, no matter their age. With bullying so prevalent in our communities, it is up to each of us to do our part in its prevention and promote healthy relationships,” saidRajan Sawhney, minister of Community and Social Services.
During Bullying Awareness Week, from Nov. 18th to Nov. 22nd, the Province is running a digital campaign to show victims and bystanders of bullying where they can turn if they need support.
The campaign will help raise awareness of what resources are available for people affected by bullying.
No one should have to experience bullying. Regardless of where bullying happens, whether it’s at work, school, home or in a community, help is always available.
“We’re working hard to put an end to bullying by raising awareness of resources and also empowering victims and bystanders to learn how to deal with bullying. We can all work together to promote healthy relationships and help those in need,” said Sawhney.
Every student in our province deserves to learn in a welcoming, respectful and safe learning environment.
“I encourage everyone involved in our education system to continue to be proactive in preventing bullying and supporting students, families and staff throughout the year,” said Adriana LaGrange, minister of education.
This year’s campaign focuses on a wide range of year-round supports and services available to people experiencing bullying, and bystanders. These include:
– The Bullying Helpline (1-888-456-2323), an anonymous helpline available 24/7 in more than 170 languages.
– The Bullying Helpline Chat available daily from 8 a.m. to 8 p.m. at Alberta.ca/BullyingChat.
More information on Bullying Awareness Week and events taking place across the province can be found at www.alberta.ca/bullying.


Before Change
padded_indices.append(idx)
else:
tokens_with_context.append(sample[idx])
characteristics = pd.DataFrame(tokens_with_context).to_dict("list")
// make sure all features cover the same number of tokens, and calculate total num tokens
num_tokens = None
for label in self.context_labels:
After Change
else:
tokens_with_context.append(sample[idx])
//characteristics = pd.DataFrame(tokens_with_context).to_dict("list")
characteristics = {k:[dictionary[k] for dictionary in tokens_with_context] for k in tokens_with_context[0].keys()}
// make sure all features cover the same number of tokens, and calculate total num tokens
num_tokens = None
for label in self.context_labels:
new_length = len(characteristics[label]) if type(characteristics[label] == list) else 1
if num_tokens is not None and num_tokens != new_length:
raise FinetuneError("Incorrect label shapes.")
num_tokens = new_length
vector = np.zeros((num_tokens + len(padded_indices), self.config.context_dim), dtype=np.float32) // Feature vector for one document. Add 2 for the special tokens at beginning/end
current_index = 0
// Loop through each feature and add each to new index of the feature vector
for label in self.context_labels:
if label == self.config.pad_token:
continue
data = characteristics[label]
// Binary encoded features have different dimensionality as simple floats/ints, so must be handled differently.
if label in self.label_encoders.keys():
without_nans = [x for x in data if not pd.isna(x)]
data = self.label_encoders[label].transform(without_nans) //this removes nans from padded tokens, but now the list is too short. The "num_backward" variable will track this offset to ensure indices are correctly tracked.
data_dim = len(self.label_encoders[label].classes_)
if data_dim == 2: // since binary classes default to column vector
data_dim=1
else:
data = [x for x in data if not pd.isna(x)]
data_dim = 1
//print(label)
//print(self.label_encoders.keys())
//loop through indices and fill with correct data
num_backward = 0
for sample_idx in range(num_tokens):
if sample_idx in padded_indices: // there is no data, simply a pad from the encoder, so fill out with zero vector
vector[sample_idx][:] = 0
num_backward += 1 //since we"re skipping this sample, the next sample needs to be filled from this sample"s index in data. This variable tracks how far back we need to go for following indices
continue
for label_dimension in range(data_dim):
//print("Label dim:" + str(label_dimension + current_index) + "Sample Index:" + str(sample_idx) + "Current label" + label)
vector[sample_idx][current_index + label_dimension] = data[sample_idx - num_backward] if data_dim == 1 else data[sample_idx - num_backward][label_dimension]
current_index += 1
vector_list.append(vector)


First, create a maze roughly of size 15x15, in CSV format. Below is an example.
_,_,_,_,_,_,_,_,M,_,_,_,_,_,_
_,_,_,_,_,_,_,_,_,_,_,_,_,_,_
_,_,_,_,W,T,_,_,_,_,_,_,_,_,_
_,_,_,_,W,W,_,W,W,_,_,_,_,_,_
_,_,_,_,_,_,_,_,_,_,_,_,_,_,_
_,_,_,_,_,_,_,_,_,_,_,_,_,_,_
_,_,_,_,_,_,_,_,_,_,_,_,_,_,_
_,_,_,1,_,_,_,_,_,_,_,_,_,@,_
_,_,_,_,2,_,_,_,_,_,_,_,_,_,_
_,_,_,_,_,3,_,_,_,_,_,_,_,_,_
_,_,_,_,_,_,_,_,_,_,_,_,_,_,_
_,_,_,_,_,_,_,F,_,_,_,_,C,_,_
_,_,_,_,_,_,P,_,S,_,_,_,_,_,_
_,_,@,_,W,_,W,_,W,_,_,_,_,_,_
_,_,_,W,_,_,_,E,_,_,_,_,_,_,_
Key:
_ Empty space
E Entrance to the maze (players start here)
W Wall, players may not pass through
T Treasure, the goal for the players
C Compass, may be picked up by any player, points towards the treasure
F Fire trap, mage is immune, fatal to thief
P Pitfall trap, warrior is immune, fatal to mage
S Spike trap, thief is immune, fatal to warrior
M Maze Maker's starting location
@ Warp portal
1-4 Prisons 1 through 4
Cells are separated by commas, and rows are separated by line breaks.
Paste this text into the textbox above. Don't worry, your maze will not be visible in the textbox.
Select which classes will be in play, and then click Play to start the game.
The positions of the players are indicated by the first letter of their class. The position of the Maze Maker (when visible) is indicated by #'s.
Each player begins his turn by clicking the Roll dice button. The player may then make that many moves.
To move to a cell, simply click on it.
Players trapped in a trap or prison will be indicated by a yellow border. Players killed by a trap will be indicated by a red border.
To free/revive another player from a trap or prison, you must move onto their cell and click on it again. Doing so will cost 1 move.
A player with the compass may pass it to other players in the same cell. Any player in that cell can click it to pass the compass. Doing so does not cost moves.
During the Maze Maker's turn, he can use the arrow keys to select a new location within a 3x3 square. Press the spacebar to commit to a location.
If the Maze Maker wishes to capture a player on his turn, he must move onto that player's cell and then hit the key corresponding to that player's class instead of hitting the spacebar. That player and the Maze Maker will then both be teleported to a random unused prison.
If the Maze Maker forgets his location or the layout of the maze, he can click the Reveal Maze button on his turn. Hitting any key will hide the maze again.


Ireland defender Chloe Mustaki joins Charlton Athletic
The former Shelbourne player recently received her first senior international call-up from Vera Pauw.
by Paul DolleryCHARLTON ATHLETIC HAVE announced the signing of versatile Republic of Ireland senior squad member Chloe Mustaki.
The defender, who can also operate in midfield, made her debut for her new club in last night’s Continental Cup victory against London City Lionesses.
“Chloe on her debut looked very composed and she’s only going to get better with match sharpness,” said Charlton Athletic manager Riteesh Mishra.
The 24-year-old most recently played for Shelbourne in the Women’s National League. She previously had spells with Peamount United, UCD Waves and Bordeaux.
Mustaki, who has captained Ireland at U19 and Universities level, recently received her first call-up to the senior squad from new manager Vera Pauw.
Charlton Athletic are currently second from bottom in the FA Women’s Championship — the second tier of English football — ahead of Sunday’s game against London Bees.


What is this?
This is a page where I send all my domains that don't have anything on them yet.
That means you are looking at a super cool project that I might or might not actually do at some point.
This is a page where I send all my domains that don't have anything on them yet.
That means you are looking at a super cool project that I might or might not actually do at some point.
My name is Jennifer Kirsch, although my friends call me Syd (long story).
I am a web developer with way too many ideas syndrome (ADHD), which leads to me buying a lot of
domains.
If you want to look at things I actually did build, consider taking a look at
my blog or
my GitHub account.
No.
(Unless you're extremely rich. If I could buy a house and a whirlpool after selling it, I might consider
that.)


Chumchuq so'ysa ham, qassob so'ysin!
But I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account.
But I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account.


SUPER MARIO BROTHERS A film review by James Berardinelli Copyright 1993 James Berardinelli
Rating: 5.5 out of 10 (C-, *1/2 out of ****)
Date Released: 5/28/93 Running Length: 1:44 Rated: PG (violence)
Starring: Bob Hoskins, John Leguizamo, Dennis Hopper, Samantha Mathis, Fisher Stevens, Richard Edson Directors: Rocky Morton and Annabel Jankel Producers: Jake Eberts and Roland Joffe Screenplay: Parker Bennett, Terry Runte, and Ed Solomon Music: Alan Silvestri Released by Hollywood Pictures
65 million years ago, when an asteroid crashed into the Earth and obliterated the dinosaurs, a parallel dimension was created in which dinosaurs evolved into the dominant creature. Now, millennia later, King Koopa (Dennis Hopper) of Dinohatten wants to fuse the two dimensions together so that he can expand his domain (and increase the food supply). There are two elements necessary to his plan: a small chip of the asteroid broken off upon impact and Princess Daisy (Samantha Mathis), who lives in the other dimension and, coincidentally, wears the asteroid chip as a necklace. Koopa sends his incompetent cousins Iggy (Fisher Stevens) and Spike (Richard Edson) through the bridge between worlds to capture Daisy, who is in the process of falling for Luigi Mario (John Leguizamo), an apprentice plumber. When, after numerous mistakes, Iggy and Spike finally capture her and take her back to their dimension, Luigi and his brother Mario Mario (Bob Hoskins) go to her rescue.
Describing the story of SUPER MARIO BROTHERS is a difficult chore, considering how little intelligible plot there is. I suppose it's only natural to expect this, considering the source material for the movie. As we all know, arcade-style diversions are not known for strong, original storylines or well-developed characters. In that sense, this film is worthy of its inspiration.
The fun of playing the video game is that you're involved--you control what the little figure on the screen does.  Following an unnecessarily long opening sequence (which is actually the best part of the movie), SUPER MARIO BROTHERS is ninety-odd minutes of pointless action sequences which serve little purpose other than to keep the motion picture faithful to the spirit of the game. In doing so, however, they commit the cardinal sin of boring the audience. With no genuine sense of danger, there's no excitement.
Some interesting casting choices were made. Bob Hoskins, who suddenly appears willing to lend his respected name to ventures of dubious quality, gives a solid-if-unspectacular performance as the older of the Mario brothers. John Leguizamo, on the other hand, is not good; earnestness doesn't compensate for lack of ability. Samantha Mathis, who has shown her skill in films such as PUMP UP THE VOLUME and THIS IS MY LIFE, plays an appealing, if somewhat gawky, college-aged princess. Dennis Hopper is disappointing. His role as King Koopa cries out for an over-the-top performance but, for some inexplicable reason, Hopper plays him straight, creating a dull and uncharismatic villain. This guy is so boring that we find it difficult to root against him--that is, when we can unravel enough of the murky plot to figure out why we're not supposed to like him.
Admittedly, the visual effects are nice, but it's a poor movie these days that can't have that said about it. There isn't anything new or revolutionary here. Back in 1979, STAR TREK: THE MOTION PICTURE proved that special effects alone, no matter how impressive, cannot sustain the interest of an audience. What was true then remains so today. SUPER MARIO BROTHERS is all glitz and no substance, and makes for a pretty poor time at the movies. If you crave excitement and action, see CLIFFHANGER.
Kids will probably love this film but, to be frank, most children aren't that discriminating (apologies to the few who are). There's nothing in the film that's reprehensible (although some may find the concept of a one-hundred-five-minute commercial for a game offensive in itself), but I find it hard to believe that many adults accompanying their youngsters will be entertained.
In general, about the best recommendation I can come up with regarding this movie is to turn on the Nintendo and play a game yourself. You'll have more fun, spend less money, and it will be over a whole lot faster.
- James Berardinelli<EMAIL_ADDRESS>.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


{% extends 'base.html' %} {% block body %}
Please enter your old password, for security's sake, & then enter your new password twice so we can verify you typed it in correctly.


--- layout: post title: 'MWI day: Introduction from Tim Berners-Lee' date: 2005-11-15 00:00:00 categories: interfaces-&-interaction mobile ---
Introduction from Tim Berners-Lee (by video)
Our challenge is to create a web which is still "one web". It's important that we have one information space: if I give you a URI for something, it'll be the same thing for you that it is for me.
It's not about The Mobile Web as a separate entity, it's about making the web mobile.
We need to separate information from device type, by doing this now we insure ourselves against future devices.


@@include("partials/head.html", { "pageTitle": "Goodkit" })
@@include("partials/modals.html") @@include("partials/navbar.html", { "classList": "navbar-light bg-white fixed-top" })Find the perfect hire in under 72 hours or our services are free.
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Wordpress expert
Build it the right way the first time around to save money in the long term.
React developer
I love developing well considered systems for early growth startups.
Rails developer
Helping a company get from a blank slate to MVP is my bread and butter.
UX & Visual Designer
My job is to design a cohesive brand and language for emerging startups.
SEO expert
I take companies into the Alexa 500 within 3-6 months every single time.
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Building a thriving business is hard enough without worrying about overhead. Do the smart thing and just use Goodkit.Clarissa Jones
COO at Stripe
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We wouldn't be able to run the majority of our business without the Goodkit platform helping us manage everything.Malcolm Travillon
HR at Pinterest
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troff
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`Next `__
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**troff**: /T´rof/, /trof/, n.
[Unix] The gray eminence of Unix text processing; a formatting and
phototypesetting program, written originally in
`*PDP-11* <../P/PDP-11.html>`__ assembler and then in barely-structured
early C by the late Joseph Ossanna, modeled after the earlier ROFF which
was in turn modeled after the `*Multics* <../M/Multics.html>`__ and
`*CTSS* <../C/CTSS.html>`__ program RUNOFF by Jerome Saltzer (*that*
name came from the expression “to run off a copy”). A companion program,
nroff, formats output for terminals and line printers.
In 1979, Brian Kernighan modified troff so that it could drive
phototypesetters other than the Graphic Systems CAT. His paper
describing that work (“A Typesetter-independent troff,” AT&T CSTR #97)
explains troff's durability. After discussing the program's “obvious
deficiencies — a rebarbative input syntax, mysterious and undocumented
properties in some areas, and a voracious appetite for computer
resources” and noting the ugliness and extreme hairiness of the code and
internals, Kernighan concludes:
None of these remarks should be taken as denigrating Ossanna's
accomplishment with TROFF. It has proven a remarkably robust tool,
taking unbelievable abuse from a variety of preprocessors and being
forced into uses that were never conceived of in the original
design, all with considerable grace under fire.
The success of `*TeX* `__ and desktop publishing systems have
reduced **troff**'s relative importance, but this tribute perfectly
captures the strengths that secured **troff** a place in hacker
folklore; indeed, it could be taken more generally as an indication of
those qualities of good programs that, in the long run, hackers most
admire.
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+----------------------------+----------------------------+-------------------------------+
| `Prev `__ | `Up <../T.html>`__ | `Next `__ |
+----------------------------+----------------------------+-------------------------------+
| trivial | `Home <../index.html>`__ | troglodyte |
+----------------------------+----------------------------+-------------------------------+


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| ID | Name | Position | Date of birth | ||
|---|---|---|---|---|---|
| @i.getId | @i.getFname @i.getSname | @i.getPosition | @i.getEmail | @i.getDobString | View |


Event Location:
Christchurch Polytechnic Institute of Technology (CPIT)
Madras Street
Christchurch, , New Zealand
Abstract:
Every once in a while a client will have an unusual or obscure requirement that is either very difficult or not possible to satisfy with the out of the box tools provided by SSIS. What do you do when your data sources aren’t predictable or in a format not easily read by standard SSIS adapters? This is when scripting “#8 fencing wire” of SSIS really comes to the fore. During this session we’ll explore and solve some interesting real life scenarios with SSIS scripts.
Speaker(s): Simon Peck,
Abstract:
The power of BimlScript is amplified by the availability of rich metadata to drive the automation of your SSIS solution. Peter will demonstrate a flexible and reusable framework for storing and managing the metadata that you will use as an input to your BimlScripts. The framework demonstrated will be made available to all attendees and can be used with the free BidsHelper Visual Studio add in.
Speaker(s): Peter Avenant,
Abstract:
Following on from the Metadata driven session Peter will introduce BimlScript transformers and show how they can be used, either interactively or as part of an automatically applied framework. Topics will include transformer syntax, merge modes, target types, execution options, and transformer layering. Peter will also show you how you can enforce these patterns using validators that ensure best practices within your enterprise. This session focus on more advanced Biml features available in Varigence Mist.
Speaker(s): Peter Avenant,
Abstract:
SARGability is such a significant thing in the database world, and goes far beyond "Keep your columns on the left and functions on the right". In this talk, you'll be able learn principles that will affect not only how easily your data can be located, but also the way that joins are performed and more. You can even learn ways to tune poorly performing queries without having to rewrite anything.
Speaker(s): Rob Farley,
Abstract:
With the release of SQL Server 2014 comes some new features which can provide performance improvements for your SQL Server environment. In this session Warwick will take you through these new features including Buffer Pool Extension, Resource Governor for I/O, InMemory OLTP, InMemory DW, Managed Lock Priority Single Partition Online Index Build that could help improve performance in your SQL Server environment .
Speaker(s): Warwick Rudd,
Abstract:
Since November 2013, Kiwibank has had SQL Server 2014 running live in Production, despite it only going RTM in April 2014. This session will go over the pros and cons of deploying a pre-release version and also cover some of the things that we did do, didn't do and couldn't do. This deployment is fully supported by Microsoft and I'll share some of the background info on that too. This session will be a beginner to intermediate with some advanced aspects as well.
Speaker(s): Brent McCracken,
Abstract:
Data Warehouses are heavily in use nowadays in most of businesses around the world. Data Warehousing brings higher performance, faster and more insightful data analysis out of operational databases. By the way there are some challenges in design and implementing Data Warehouses which needs robust and reliable ETL implementation. In this session you will learn an ETL Architecture implemented by SSIS and MDS to solve couple of most challengeable Data Warehousing scenarios which are Slowly Changing Dimension and Inferred Dimension Member. There will be many demos through this session which helps you to understand design and implementation of the architecture.
Speaker(s): Reza Rad,
Abstract:
With 2 MCM's and 2 MVP's in Christchurch to present it's an excellent opportunity to have an open forum to pretty much ask any of those SQL related questions that you've always wondered about. Format will be pretty informal - it you have advance questions please email then through to<EMAIL_ADDRESS>Look forward to seeing you all there.
Speaker(s): Martin Catherall,
Abstract:
With the release of SQL Server 2012 the High Availability landscape has moved. Like anything in this world we live in we need to move and keep up with the changes. In this session Warwick will look at what is needed to design and implement a Highly Available solution in your SQL environment.
Speaker(s): Warwick Rudd,
Abstract:
You’re a business intelligence developer or manager trying to provide quality data in a timely, cost-effective manner. Perhaps you’ve considered Agile methodology, but found that the details of ETL, the plumbing if you will, makes iterative development all but impossible. In just this session Peter will demonstrate a flexible and reusable framework for storing and managing the metadata that you will use as an input to your BimlScripts, alleviating the pain and tedium of data warehouse development.
Speaker(s): Peter Avenant,
This is a list of speakers from the XML Guidebook records. The details and URLs were valid at the time of the event.
Contact: http://www.bimlscript.com
Peter is the Technical Director at Varigence Australia, an SSIS Developer, Trainer and Consultant, and SQL Server data warehouse specialist. His background includes developing a metadata framework that integrates with BimlScript to create dimensional data warehouses. Prior to joining Varigence Australia, Peter was an early adopter of Biml and has given numerous community talks and training sessions on Biml in Australia and New Zealand
LinkedIn: http://nz.linkedin.com/pub/brent-mccracken/8/510/a34/
Contact: http://www.sqldba.co.nz
I've been working with SQL Server since v6.5 and nearly completed my MCM qualification. I am the technical lead for the database operations team in a nationwide bank in New Zealand.
LinkedIn: http://au.linkedin.com/pub/warwick-rudd/0/956/718
Contact: http://www.sqlmastersconsulting.com.au/Blog
Warwick Rudd is a Microsoft Certified Master – SQL Server 2008 and Principal Consultant at SQL Master Consulting. He is a frequent speaker at local SQL Server User Groups and SQLSaturday events in Australia. When not playing with the SQL stack, Warwick likes to get away to the cold and spend time snowboarding.
LinkedIn: http://au.linkedin.com/pub/warwick-rudd/0/956/718
Contact: http://www.sqlmastersconsulting.com.au/Blog
Warwick Rudd is a Microsoft Certified Master – SQL Server 2008 and Principal Consultant at SQL Master Consulting. He is a frequent speaker at local SQL Server User Groups and SQLSaturday events in Australia. When not playing with the SQL stack, Warwick likes to get away to the cold and spend time snowboarding.
LinkedIn: http://nz.linkedin.com/in/rezarad/
Contact: http://radacad.com/blog
Reza Rad is a Microsoft Regional Director, MVP, author, trainer, speaker and consultant. He is a Microsoft Data Platform MVP for nine years from 2011. Reza wrote many books on Power BI subjects including the Power BI from Rookie to Rock Star, and Pro Power BI Architecture. Reza is the invited speaker at the world's well-known conferences such as Microsoft Ignite, Microsoft Business Applications Summit, Ignite Tour, PASS Summit, and many other conferences. Reza is an active blogger and writes regularly about Power BI at https://radacad.com.
LinkedIn: https://www.linkedin.com/in/monchopper
Simon is a MCSE in data analytics, certified Biml Expert (BimlHero) and co-author of "The Biml Book" he has been working with SQL Server since the 90's. Simon is a director of Data Engineers a Christchurch based data solutions provider specialising in Microsoft based cloud and on-premise BI and Data Warehousing solutions. Having worked for 50+ organisations worldwide over last 20 years he has a wealth of experience across many business sectors, he is also a co-leader of the Christchurch SQL User Group.
Contact: http://www.bimlscript.com
Peter is the Technical Director at Varigence Australia, an SSIS Developer, Trainer and Consultant, and SQL Server data warehouse specialist. His background includes developing a metadata framework that integrates with BimlScript to create dimensional data warehouses. Prior to joining Varigence Australia, Peter was an early adopter of Biml and has given numerous community talks and training sessions on Biml in Australia and New Zealand
LinkedIn: http://au.linkedin.com/in/robfarley/
Contact: http://blogs.lobsterpot.com.au
Rob Farley runs LobsterPot Solutions in Australia, where he's a consultant in the Microsoft Data Platform and Analytics space. He's been an MVP since 2006, probably because of his blogging, his presentations around the world, and his dedication to the Adelaide Data Analytics User Group which he has led since before the release of SQL Server 2005. He's on Twitter at @rob_farley, but you can always email him using<EMAIL_ADDRESS>Contact: http://www.bimlscript.com
Peter is the Technical Director at Varigence Australia, an SSIS Developer, Trainer and Consultant, and SQL Server data warehouse specialist. His background includes developing a metadata framework that integrates with BimlScript to create dimensional data warehouses. Prior to joining Varigence Australia, Peter was an early adopter of Biml and has given numerous community talks and training sessions on Biml in Australia and New Zealand
LinkedIn: https://www.linkedin.com/in/martincatherall
Contact: http://martincatherall.com
Martin is a data consultant in Melbourne, Australia, a Microsoft Data Platform MVP, and PASS Regional Mentor for the Asia Pacific (APAC) region. Martin founded the Christchurch, New Zealand PASS Local Group and lead the group for a number of years before relocating to Melbourne. He has been using SQL Server in various roles since 2000. In addition to anything data related, he enjoys playing the guitar and having fun with his family.
The following is a list of sponsors that helped fund the event.


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External resources are a key element of customization. Use them to integrate images, leverage third-party libraries, and use custom labels. If you're not familiar with external resources check out the static resources documentation and custom label documentation.
To demonstrate how to leverage an external resource in a Lightning web component, we'll change the avatar component to use a graphic image PNG file instead of the standard account icon.
Step 1
Copy your external resource to the force-app/main/default/staticresources
folder. If you don't have an image, copy our salesforce_logo.resource
and rename it. The resource name can contain only underscores and alphanumeric characters, and must be unique in your org. It must begin with a letter, not include spaces, not end with an underscore, and not contain two consecutive underscores.
Rename the resource to filename.resource
, and add a filename.resource-meta.xml
file to define the content type of the static resource. If you used our image above, here's the corresponding salesforce_logo.resource-meta.xml
. To see the tags supported in the resources metadata file, see StaticResource in the Metadata API Developer Guide.
Step 2
Import the resource at the top of playground.js.
Create a getter for your static resource in the JavaScript class.
Step 3
Update playground.html to specify the static resource as the src
attribute of the existing <lightning-avatar>
.
The account summary card shows your external image as the avatar!


The owner of this website (graphs.coinmarketcap.com) has banned you temporarily from accessing this website.


Recently I was brought on full-time at BetterUp as a Jr. Computational Social Scientist. My timing has been spot on. Our product is growing at an astronomical pace and we’ve just recently finished a Series E round of funding. Couldn’t be more proud of where we’re at.
Although this is all new, I’m also discovering a new world of things. Part of this has been a real salary and benefits. New hires have to make a decision about retirement planning as well. The decision which has boggled my mind since our first week of onboarding has been: do I contribute to the traditional 401(k) the company offers, or their Roth 401(k), or both?
I like the idea of saving my money while I’m young so compound interest can work its magic, so I’ve decided that I must contribute something. But which one will give me the biggest bang for my buck in 30 years?
Unfortunately, young people are put into the workforce before anyone ever teaches them about taxes, retirement, and saving. Here I’m going to break down my decision to contribute fully to a traditional 401(k) here, although I’m not licensed to talk about this nor am I an expert. Just a young professional trying to make a decision.
I had to do the math myself, so I made a spreadsheet (find on Google Sheets here).
I make some assumptions before starting though, including: 1) my income is $X and won’t increase ever, 2) federal taxes only, 3) 6.00% constant annual interest rate on investments, 4) single and no dependents for life, 5) no inflation, 6) all 2021 tax rates, and 7) marginal tax rate at retirement of 15%. Crazy assumptions but it’s the best I can do right now.
I’d like to illustrate my decision, but I don’t know how I feel about sharing my exact salary. For the sake of the example, let’s say we’re dealing with an income of $110,000 per year.
First, for the traditional: \(110,000 in income, and let’s say we basically max out the 401k contributions at \\)18,000 per year. With the 2021 standard deduction and pre-tax contributions, my taxable income would be \\(89,450. Therefore, the actual paid taxes would be \\)15,489. Post-tax income is the difference which is \\(73,961. I can continue to contribute $18,000 per year for the remaining 41 years: that’s $1,500 / month at 6% interest for 41 years, or $3,189,985.63 saved. After withdrawals at 15% retirement tax rate, which would be ~\)478,500 in taxes, I’d be left with $2,711,487.79.
Next, for the Roth 401k: $110,000 in income, less the standard deduction is $97,450.00 in taxable income. That’s $17,409 in federal taxes. Post-tax contributions would be $18,000, so post-tax income is $62,041. That’s about $4,000 less than the traditional per year (so if I was concerned about having more annual income then the tradition wins right here). At 6% interest, and 41 years, and $1,500 / month contributions, I’d again have $3,189,985.63 saved. With the Roth though, no withdrawal taxes, so I’d be left with all that. This here is almost $500k more than the traditional. Additionally, I would pay about $177,000 more in taxes up front for the Roth than the traditional (19809 - 15489 = 4320 * 41 = 177120).
However, the flaw in the Roth is that is assume no increase in income. Suppose instead that I meet the $140k income limit for only the next 10 years. I’d be able to contribute the $18k/yr to the Roth 401k for those 10 years, but I would then be unable to contribute to the account (since I reached the max income). So for 10 years at 6% interest and $1,500/month, I’d accumulate $245,819.02. Then this amount would just sit as principal without contributions for the remaining 31 years. At 6% interest, that’s $1,571,775.29. This is $1.2m less than the traditional 401k in 41 years.
So the gist of it: the Roth 401k would cost about $177k more up front in taxes, but ultimately be worth about $500k more than the traditional. This is assuming I’d be under the $140k income limit for the next 41 years though, which doesn’t represent where I see myself, and so accounting for that, the traditional far out performs.
That’s my naive understanding of taxes, appreciation, and investing. It’s enough of a justification for a decision now, and hopefully I won’t regret it too much in the future. The bottom line though is that contributing to any compounding interest account is better than not, so this all might just be fluff. Even if that though, I’ve learned a bit about income taxes, retirement, and investing.


Team members design and construct a chemically powered vehicle within certain size constraints. The teams will be told at the time of the competition the distance that the car must travel. Entries deemed unsafe by the judges will be disqualified. The winner will be determined by a combined score, for traveling the correct distance, and for creativity. .
An abstract must be submitted before the deadline. Only selected participants will be allowed to participate in the main competition. This abstract should describe how the car is powered by the chemical reaction, the unique features of the car and the safety features in the design. In addition to the abstract the following documents must also be sent:
Vehicle Drive System: An objective of this contest is a demonstration of the ability to control a chemical reaction. The only energy source for the propulsion of the car is a chemical reaction.
Vehicle Design Component: Vehicles entered into the competition must have a significant and demonstrable student design component, particularly with respect to the vehicle drive system, and the starting and stopping mechanisms. The vehicle must be powered and stopped by controlling a chemical reaction. Any vehicle that is purchased from a vendor without major modifications to its operation will be disqualified. For example a team could not purchase a fuel cell car and race this car without any modifications.
Size Of Car: All components of the car must fit into a box of dimensions no larger than 40 cm x 30 cm x 20 cm. The car may be disassembled to meet this requirement. If the judges are uncertain whether the car will fit inside the box when dissembled, they may request that the team demonstrate that they can do this. There can be no mechanical or electronic timing device(s) to stop the chemical reaction or stop the car. In addition, a timing device cannot utilize what is normally considered as an instantaneous reaction.
No Brakes: No mechanical force can be applied to the wheel, gears, driveshaft, etc. or ground to slow or stop the car. The car must be an autonomous vehicle and cannot be controlled remotely. Pushing to start the vehicle or using a mechanical starting device is not allowed. “Bleeding” the time off at the starting line is prohibited.
No Commercial Batteries (for example, AA batteries) are allowed as the power source. Commercial batteries are allowed for specialized instrumentation (e.g. detectors, sensors)
Each car will be given two opportunities to traverse a specified distance. The distance will be given to each team one hour prior to the start of competition. The distance will be between 5-20m. Teams are allowed to adjust "fuel" or reactants used in the car's chemical reaction in different trials.
Course Layout and Distance Measurement:
The car will start with its front end just touching the designated starting line. There will be a designated finish line. The distance will be measured with respect to the front most point of the car. The goal of the competition is to have your car stop closest to the specified finish line which would be clearly marked in an arc of constant distance from the starting point. The physical site will dictate the exact course layout. See Figure for an example of the course layout. A vehicle that goes outside the course will have its distance measured from the start point till where it went out of bounds and as a penalty a distance of 2-3 m will be subtracted from the total distance travelled. “Outside the course” is defined as having the entire vehicle outside the side tape boundaries of the course. The tape is considered as part of the course.
CRITERIA OF JUDGEMENT:
Appropriate documentation on the design of your vehicle must be available for inspection by the judges at the competition. Team members must be present during judging to answer questions from the judges.
EXTRA POINTS:
Extra points will be awarded if vehicle is driven by a biological reaction or any green reactionSneha Agrawal
sneha@mindbend.in