SANTA CLARA — When you have a chance to slay the boogeyman, you cannot hesitate.The 49ers’ boogeyman is Seattle Seahawks quarterback Russell Wilson.And on Monday night — in their biggest challenge of the season to date — the 49ers had countless chances to beat him and their arch-rivals from the Pacific Northwest. Countless chances to take the upper hand in a rivalry that has been lopsided for half a decade. Countless chances to announce to the NFL that they are, in fact, an elite squad this …
A press release from Michigan State University encourages scientists to run for school boards on a pro-evolution platform. Alarmed that 40% of students are doubting evolution, Jon Miller encourages his fellow evolutionists to get involved in improving “science literacy.” He sees this as a necessary counter to “other special interest groups, often conservative or religiously fundamental, highly organized in training and supporting candidates.” There’s a price to pay for involvement beyond the 15-hour-a-week commitment. “No scientist can run on a pro-evolution platform and not expect to find themselves engaged in other issues,” Miller said. In his 3-year stint on the DeKalb County school board, “he learned more about school finances than he had thought possible.”It’s a free country and whoever has the time, money and talent can give it their best shot. But would you vote for the Stalin Party for Congress? It’s not like the Darwinists don’t already have a complete monopoly on textbooks, curriculum and media with the ACLU-KGB at their beck and call. Isn’t it interesting that, after decades of government-funded indoctrination, this very one-sided situation in their favor has still not enabled them to convert more students. Don’t think the pro-evolution candidates want to just add their voice to a fair and balanced democratic process. They want to protect the Charlie Temple Mount from entry by other religions. That’s what happened in Kansas this month (see ARN).(Visited 6 times, 1 visits today)FacebookTwitterPinterestSave分享0
(Visited 42 times, 1 visits today)FacebookTwitterPinterestSave分享0 Some recent articles show that tiny bits of data can be used to generate whoppers.According to Live Science, Bill Hammond has been measuring uplift of the Sierra Nevada range since 2000. Currently they have measured about a millimeter or two of uplift a year for less than 12 years. Launching from that, the article stated:The amount might seem small, but the data indicate that long-term trends in crustal uplift suggest the modern Sierra could be formed in less than 3 million years, which is relatively quick when compared to estimates using some geological techniques.This represents an extrapolation of five orders of magnitude (stretching 12 years of data to “suggest” what happened in 3 million years). Nevertheless, they are convinced they have determined a “young” uplift for the California mountain range (see also PhysOrg). Despite the bold announcements, Hammond said, “he Sierra Nevada uplift process is fairly unique on Earth and not well understood.” Whether “unique” phenomena can be used to inform laws of nature was not explained.Even more hubris was displayed in another article, “Earth history and evolution,” on PhysOrg. The opening paragraph is the operative statement about mythology referred to in our title:In classical mythology, the cypress tree is associated with death, the underworld and eternity. Indeed, the family to which cypresses belong, is an ancient lineage of conifers, and a new study of their evolution affords a unique insight into a turbulent era in the Earth’s history.This article claimed that genetic data between several genera of cypress thought to have evolved independently after a mythical supercontinent, Pangea, split apart, has “revolutionized the field of biogeography” and given us “understanding” of earth history.The new study confirms that cypresses represent a very old plant family. Their origins can be traced back to Pangea, and the evolutionary divergence of the northern and southern subfamilies of cypresses actually reflects the break-up of Pangea about 153 million years ago. As fragmentation progressed and ancestral lineages were separated from each other, new lineages were established and followed separate evolutionary trajectories. The Cupressaceae is the first plant family whose evolutionary history gives us such a detailed picture of the break-up of a supercontinent.This adds another couple of orders of magnitude to the extrapolations from data evaluated in the present (see PNAS paper for the data used). The “insight” generated comes with some caveats, however. “Some groups have turned out to be surprisingly young in evolutionary terms, others much older than people had assumed.” It appears that using assumptions about a law of nature concerning evolutionary rates requires sacrificing laws of nature in other aspects of the story.Myths usually require sacrifices, so we should not be surprised.Let’s take stock of what we know (or think we know) based on the data presented. (1) The Sierras have risen 1 or 2 millimeters per year since 2000, give or take the uncertainties that always need to be factored into any measurement. (2) Certain selected genes in certain selected species of cypress have a measurable percent difference, give or take the uncertainties that always need to be factored into any measurement.That’s it. The rest is interpretation.Are you better off with modern mythology than the Greeks and Romans were? The fighting gods of classical lore have been lumped into a new god named Evolution that performs whatever miracles are necessary to keep the myth going. We are told “new lineages were established”. By whom? Evolution, the god of death, the underworld and eternity. Evolution weaves tales of “turbulent eras in earth history” when he fought the Earth Giants, splitting continents and sending the spirits of Life Force on separate evolutionary trajectories. We don’t see Evolution, but through his oracles, we gain “understanding”. We envision “detailed pictures”. We achieve “unique insight”.Any mythmaker needs a sprinkling of data to keep the outsiders in awe. The priest of Delphi used gas from a cave to send the priestesses into ecstatic babblings. Now, GPS (gas of the priestesses of science) does the trick, while another group of divination prophets looks into the genes, like ancient Babble-onians looked into entrails.We know what they tell us is mythology because each new understanding overturns the previous understanding (implying it was never understanding in the first place). We also keep seeing that the new data contradicts the findings from the gas the previous oracle used. We also know it’s bunk because the interpreters (the university press departments), translate the incomprehensible babblings into ambiguous pronouncements that can be interpreted various ways. Does evolution run fast or slow? It depends. Are the Sierras rising fast or slow? It depends. [Scientific principle: Mathematical physics does not permit the extrapolation of a linear function over five orders of magnitude. That’s like drawing a mile-long curve from an inch of data.]Old King Croesus would have had equal luck listening to modern scientists tell him whether to go to war with Darius as we have trusting in the “understanding” we get from the priests of Darwinius. Don’t myth-take this for science. The rubric of their hubris is rootless.
The Airbus A350XWB is continuing to make its presence felt in Australia with several airlines in the past month announcing increased services using the fuel-efficient aircraft.Singapore Airlines became the latest when it announced on Tuesday it would start a daily A350-900 service to Melbourne from May 11 on its SQ208/207 services. The move means Melbourne will have two daily Singapore A350 services until June 30 when its SQ218/217 flights revert to Airbus A380.The 253-seat aircraft comes with 42 business class seats, 24 in premium economy and 187 in economy.The change means three of Singapore’s four daily flights from Melbourne will now offer premium economy. “We have seen good demand for our Premium Economy product in Melbourne,” Singapore Airlines regional vice president Tan Tiow Kor said in a statement. “I am sure the addition of a third flight that offers our Premium Economy cabin will be warmly welcomed by customers, as will the decision to operate the A350 on a daily basis.”Qatar Airways last week announced it was would use the A350 to resume daily services to Adelaide from December 2.Qatar said performance on the Doha-Adelaide route, which had been reduced to five services a week, had exceeded expectations in terms of consumer demand and air freight. “Trade and air freight between Australia and the Middle East have significantly increased over the past year and we are proud to play a role in this exciting expansion for South Australian businesses,’’ Qatar’s Australasian senior manager, Adam Radwanski, said.Cathay Pacific last month announced it would introduce its first scheduled A350 service to Perth on its daily CX170/171 services and a second A350 service into Melbourne (CX163/178) from October 29.The airline started its first A350 service into Melbourne in February and last month started using the plane on daily A350 flights into Brisbane.The move means a bigger aircraft for Perth and means two of Cathay’s three daily services to Melbourne use the A350.Airbus had delivered 70 A350-900s worldwide by February and has orders for more than 820 planes in the overall A350 XWB family.The next cab off the rank, the A350-1000, is due to fly later this year and two of three aircraft involved in the flight test program underwent high altitude, hot weather testing in South America last month.Airbus said early test results confirmed the good performance and behavior of both the aircraft and its Trent XWB-97 engines.“This is a major successful milestone in the aircraft certification flight test campaign,’’ it said.
sarah perez Top Reasons to Go With Managed WordPress Hosting Tags:#cloud computing#Google#news#NYT#web Why Tech Companies Need Simpler Terms of Servic… Related Posts A Web Developer’s New Best Friend is the AI Wai… Dell has just released a customized version of Chromium OS, the open source code behind Google’s new operating system called Chrome, in a build designed specifically for Dell Mini computers. According to a blog post on the Dell Community site, several company employees were inspired create this custom version after seeing Engadget’s video showing Chrome OS running on a Vostro A860 netbook. After tinkering around with the code, they were able to create their own version of Chromium OS, complete with functional Wi-Fi drivers, and have made the build available for download as a USB key image file from the Direct2Dell blog. About Google ChromeAfter last week’s sneak peek at Google’s upcoming operating system dubbed Google Chrome OS, tech enthusiasts everywhere have been playing with the open source code which Google released to the community on the day of the press conference. This code, called Chromium OS, lets anyone take the basic building blocks of Google’s operating system and customize it for their own purposes. Going the open source route isn’t just an example of Google’s desire to “not be evil,” but protects the company from anti-trust, anti-competitive claims surrounding the new project – a project which is basically an OS that runs only one web browser: Google Chrome. In fact, Google’s browser is the operating system in its entirety. No desktop applications will be supported on this web-based, Wi-Fi only machine. As Google’s VP of Product Management, Sundar Pichai, said during the press event, if any other browser maker wants to build their own version of the OS using their own browser, they can. Since the launch of the Chromium OS source code, there have been a number of articles explaining how to run the operating system in a virtual machine on your own computer as well as how to boot the operating system from a USB flash drive. But up until now, these efforts have been steered by enthusiastic technology users and not those associated with any large computer manufacturer such as Dell. And while the Dell Chromium build isn’t exactly an “official” company product, it’s noteworthy for the fact that it was designed by company employees, posted publicly on a Dell website, and is customized to run specifically on Dell Mini computers.Dell’s Chromium OS Build According to the Dell blog post, the USB key image file (available here: http://linux.dell.com/files/cto) only works on Dell Mini 10v computers. Most importantly, the build makes the built-in Broadcom Wi-Fi adapter on these machines functional, a feature needed when running a web-based OS. After all, what good is a cloud operating system if you have to be tethered to an ethernet cable?The blog post includes instructions on how to copy the USB image file to a USB flash drive, but unfortunately the directions are aimed only at those who have access to another Linux machine. We’re not sure why Windows and Mac users couldn’t just modify the instructions found on this website to make their own Dell Chromium OS USB keys by substituting the Dell build for the one hosted on that site. In addition, if you’re interested in trying out the Dell version of Chromium OS, there are a couple of things you should know: You’ll need a hefty USB key drive – 8 GB minimum. It may take 5-10 minutes for the Chromium OS network connection manager to “see” the Wi-Fi access points. Some issues with the connection manager are still present. If it gets hung, reboot and try again. And by the way, there’s no “reboot” – you have to press the power button on the Mini laptop. The Dell build is unsupported and minimally tested – use at your own risk. If you’re still feeling brave, the download is available here. 8 Best WordPress Hosting Solutions on the Market
American luxury home builder Toll Brothers has launched a virtual reality app that lets home buyers view all 360 degrees of their kitchen in high-definition and choose from thousands of configurations.The app, called Kitchen 360, provides buyers with a tour of the kitchen through a connected tablet or HTC Vive VR. While on the tour, buyers can look at different configurations, swapping out appliances, changing colours and prefered models — all changes take effect in real time.See Also: How universities are defining the future of VRToll Brothers has partnered with Marxent, an augmented and virtual reality solutions company, specializing in commerce. The company has developed apps for Lowe’s and American Woodmark.“Until now, the personalization process of buying a new home posed a challenge for home buyers to visualize their combination of selected materials using small material samples,” said Mark Bailey, President of Toll Brothers Colorado Division.“The Kitchen 360 experience enhances a home buyer’s ability to visualize their space with a level of quality that has never been available before. Using this VR technology in combination with the look and feel of those material samples, the buyer has a more complete idea of their vision. They get the chance to actually step inside the space they’ve created, and preview how that space will work for their everyday lives.”Customization will be limited to Toll Brothers Englewood Design Studio, where representatives will help plan out configurations in real-time. There are 420 configurations at launch.The app is similar to IKEA’s new AR app launching on iOS 11, which allows customers to fit furniture into their home, using defined parameters. The difference here is the customer is buying the entire kitchen. Tags:#Augmented Reality#HTC Vive VR#luxury home#Marxent#real estate#Toll Brothers#virtual reality#VR The Key to Mass Adoption of Wearables Crucial Online Reputation Management Insights i… Related Posts David Curry How to Manage Remote Sales Teams Steps to Building a Successful and Scalable Sal…
We spoke with the writer/director about multi-protagonist screenplays, split screen editing, and her commitment to losing creative control.Writer/director Christina Kallas’s film titles might suggest happiness and rainbows, but she is most interested in exploring the violent storm before you get there. Here’s what she had to say about her work and a varied career.The Rainbow Experiment (courtesy Christina Kallas).PremiumBeat: Christina, there is always a vibrant, emotional core to your work. This is not surprising since you’ve written a book on screenwriting, Creative Screenwriting, with the subtitle “understanding emotional structure.” Can you tell us what you mean by “emotional structure?”Christina Kallas: I like starting the process of creating a film with an unresolved question. Something I have no answer to. But it nags me. I want to know. So each script I write, each film I make is for me a discovery. And that discovery is an emotional journey. In a strange way it mirrors the potential emotional journey of the audience member. That is what emotional structure is.What it is not is the emotional journey of a character — as in classic dramaturgy. This is the beauty of multi-protagonist — it disables continuous identification with one character, and so opens us up to something deeper, which has to do with each one of us as an audience member and with the human condition. We are not observing someone emote. We are emoting ourselves.In The Rainbow Experiment, my question was whether one can apprehend simultaneously the often opposing perspectives of everyone partaking in a traumatic incident — which to me is the long way of describing real compassion. So my question was Is real compassion possible? In 42 Seconds of Happiness, I wanted to know whether romantic love is real love, or whether it can ever be. With my next film, Paris is in Harlem, I guess I am wondering whether we can get over the division, the separation that we are experiencing right now as people.Maybe someone watching my films can answer these questions for themselves — I cannot give answers; I am just asking the questions. I am opening a box and inviting you to look inside. The eyes are yours and they are connected to your brain.Cast of 42 Seconds of Happiness (via Christina Kallas).PB: In both of your produced features, 42 Seconds of Happiness and The Rainbow Experiment, you work with ensemble casts. Often the scenes feel improvised. Is it scripted or do you allow the actors the freedom to contribute to the dialogue and action?CK: There’s a moment in Matty’s monologue in The Rainbow Experiment, where he says, “Is there a fucking script or does everything happen by accident? And if it does happen by accident, why this accident and not another? Why me? Why the hell me?” When he talks about the “fucking script,” he means fate, of course. He agonizes about what happened to him and whether he could have avoided it. He is the victim but also the perpetrator.But to answer your question more directly: I consider screenwriting an art form, which I have studied all my life, and I love experimenting with it. Multi-protagonist is the most challenging form of screenwriting. A multi-protagonist film without a precise screenplay is virtually impossible. How would you stay hooked, be able to follow so many storylines and characters, and have the emotional journey we were talking about? Not to add the whodunnit and the gradual discovery of what really happened. I knew that The Rainbow Experiment with its 36 characters and its complex nonlinear plot would end up being a longer film. The script — which was recently acquired by the Library of the Academy of Motion Picture Arts & Sciences for their permanent Core Collection — was just over 160 pages long. The film ended up being 129 minutes, which is a pretty normal length for a multi-protagonist film.As a director, I work extensively with the actors prior to shooting, and when we shoot I try to give them as much freedom as possible, as long as they cover the script — which enables more real-life performances. And I try not to block a scene as much as I can, so as to allow for more organic movement. Obviously I adjust between takes, and there are scenes that offer themselves for this kind of approach more than others. Cassavetes used to do this a lot — Altman too. With The Rainbow Experiment, I gave myself an extra challenge with the aforementioned Matty — the character who breaks the fourth wall. He had to speak his lines in a feverish way and not ever miss a single beat or word — that is a wholly different type of performance and a very different process. I kind of liked the idea that the person who is between life and death is much more limited in his freedom than the characters who are still alive. But I did not know if the combination would work, so I shot each scene with and without Matty, to have both options available to me when I edit.The Rainbow Experiment.PB: The editing in The Rainbow Experiment plays out almost like another character in the film. It manages to be both visible and seamless in a way that enhances the disturbing narrative. What did you discuss with your editor, Natalie Reneau, when you first showed her the footage? Was this approach always in your mind, or did it evolve in the editing bay?CK: The other character in the film is you, the audience member. The cinematography and the editing are meant to give one the sense that one is in the film rather than watching a film. Like being a (very nervous, emotionally involved) fly on the wall. My editors (Brian Miele in 42 Seconds of Happiness, Natalie Reneau in The Rainbow Experiment) are extremely important to me. Editing is a very long and complex process on my films, also because of the split screen experimentation — so we need to be able to have fun with each other. So I guess my first discussions with Natalie were more aimed at finding out whether we had a common sense of humor. But yes, the split screens were written in the screenplay, or we wouldn’t have had the appropriate footage to create them.You know, it is a funny coincidence, but this last semester I taught a course at the Feirstein Graduate School of Cinema in Brooklyn, which was called “Script Analysis for Cinematographers and Editors.” And while teaching that course, I understood how inherent cinematography and editing are to the narrative structure. The films I most like are not just filmed — they have an inspired, conceptual approach to cinematography and editing, which is defined by the story or the experience that the filmmaker is aiming to create.In 42 Seconds of Happiness, I saw it much like when we join a party as a guest and need time to orient ourselves to how everything and everyone are connected, and then suddenly, after witnessing a key moment, we understand more and retrospectively what we have experienced and why we have experienced it that way. The cinematography and the editing were following that idea more than anything else.My next film, which I am currently preparing to shoot, Paris is in Harlem, will be structured like a piece of jazz — in a way it is my humble tribute to the most freewheeling of American art forms — and in my eyes America’s greatest contribution to world culture. The film’s multi-character approach, the framing, the fractured timeline, the rhythm: they all evoke jazz.Paris in Harlem (courtesy of Christina Kallas).PB: Both your films were clearly passion projects. As a writer/director, creative control must be important to you. How does that translate to distribution? What is the strategy to get the films seen and sold?CK: You know, that idea of creative control is interesting. Actually, I do all I can to lose control. My whole process is an orchestrated effort to lose as much control as possible, so that accidents can happen. It is imperfection that bears beauty or that state of fearlessness and surrendering which allows for the deepest ideas. So yes, creative control is important to me. Let me put it another way: I do not want my films to be controlled by anything other than truthfulness.I do not have a strategy to get my films seen and sold. My only strategy is to become who I really am. You know, as an artist, you have to find a way to do whatever you want. And to go beyond what kind of films the market tells you to make. Figure out who you are, what you are good at, what you want to do, and do that. It’s less simple than it sounds.Also, the films that the market tells you to make have been made already. So what’s the point of remaking them?Christina Kallas (photo by Lauren Sowa).PB: You’ve had a varied career, from filmmaker to producer to professor — and even held the mantle of President of the Federation of Screenwriters in Europe. How is your part as storyteller different in each role?CK: Yeah, I’ve done it all, haven’t I? My CV is nuts. I’m curious, so I had to have firsthand experience of as many things as possible and as extensively as possible. Also, I moved country and even continent a few times, so I am not really to be categorized in any possible way. Sometimes I think I have lived a few lives, all in one. The one I am living now is the most fitting of all. I love directing. Maybe I am finally becoming who I really am.PB: You’ve recently been invited to be a juror for the 46th annual daytime Emmy awards. What is your process when evaluating material? How does one choose “the winner” in a category?CK: You know, this whole thing of competitions and awards and best-of lists is a game we are all playing consciously, although we know it means very little in terms of goodness. I do not have a process. I do not know if anyone has a process. We are watching or reading based on who we are and what we have watched and read before — which can be a lot or very little. Our education and our background plays a huge role — ideally jurors or gatekeepers should be as educated as possible and have a background which is as diverse as possible. Otherwise we would end up with a monoculture, which would be very boring, don’t you think?An award or a nomination is just a stamp of approval from a limited group of people — nothing more and nothing less. The mechanism is simple: the more we have heard of something, the more we have heard of others liking it and giving it their stamp of approval the more we are prone to like it — or, if we are more of a character who likes to differ, to dislike it. But it’s fine. Until we find something else, we need this game to be able to reach an audience that is as large as possible. Because the larger the audience, the bigger the chance you will be able to change some people’s lives as an artist. And, ultimately, this is the goal, right? To change the world. To make it a better place. Isn’t that the real reason why we are all doing what we are doing?Cover image via The Rainbow Experiment.Looking for more industry interviews? Check these out.Tom Cross on Editing First Man and Working with IMAX FootageSet Photographer Matt Kennedy on Shooting for Marvel and MoreInterview: Composer Dan Marocco of Brooklyn Nine-NineScreenwriter Patricia Resnick on Altman, Mad Men, and Working 9 to 5Jonah Hill on Writing and Directing Mid90s — and Tips He Learned from the Greats
Everton U23 coach Unsworth: EFL Trophy good for developmentby Paul Vegas22 days agoSend to a friendShare the loveEverton U23 coach David Unsworth was delighted with their EFL Trophy win over Burton Albion.Unsworth admits he’s a supporter for the competition and the potential introduction of B teams.Asked if the competition has worked for Everton, Unsworth told the Liverpool Echo: “Yeah, I think it has. It’s a competition we’ve been delighted to be in. For the first couple of years, there was almost a novelty for the players to play against first-team players.“You know me and you know I’m a big advocate of what happens everywhere around Europe with B-teams and for the purpose of developing young players quicker, it is brilliant the way they work throughout the leagues in Europe.”When we’ve had a sniff of playing first-team opponents, I’ve been all over it. Even in pre-season, it is something I feel very passionately about.“You’ve seen tonight, a very, very good mid-table League One club with an experienced manager, we’ve been the better team and won quite comfortably.”People slag off under-23s football, the Premier League do the best they can and it’s a league that has improved year after year and it’s not as bad as people make it out to be. You’ve seen that tonight.”Technically, we’ve looked the better team, we handled the ball brilliantly and the way we work proves it’s right, in terms of being like a first-team and working a lot on physicality and speed and tempo and limited touches because tonight we were just awesome.” About the authorPaul VegasShare the loveHave your say
Lys Mousset overjoyed to score Sheffield Utd winner against Arsenalby Freddie Taylor4 days agoSend to a friendShare the loveLys Mousset was delighted to score for Sheffield United in Monday’s 1-0 victory over Arsenal.The summer signing from Bournemouth endeared himself to the Blades faithful after his 30th minute strike sealed a memorable victory at Bramall Lane.He told Sky Sports: “It was a good feeling and it was good to be back in the team.”I wanted to say thank you to the manager for bringing me to Sheffield United and he told me just to play my football and try to score.” About the authorFreddie TaylorShare the loveHave your say
Dallas Cowboys quarterback Tony Romo and head coach Jason Garrett have never been shy about their love for the Duke Blue Devils – they’ve been spotted attending home games and hanging out with players in the locker room. Sunday night, it looks like the duo will be in Houston to watch their favorite college basketball squad try to reach this year’s Final Four. Laura Keeley of the Raleigh News & Observer snapped a photo of them finding their seats behind Duke’s bench.Early Tony Romo and Jason Garrett sighting behind the Duke bench pic.twitter.com/kMXVHx0N3R— Laura Keeley (@laurakeeley) March 29, 2015If Duke loses, expects the conspiracy theories to start flying.