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redpajama_set_name: RedPajamaGithub


If you've been with us for any length of time, you know very well that awards shows have been an integral part of our past four years. Watching the red carpet while simultaneously scrolling Twitter, to pick favorite dresses, became an excuse for Mayhem to stay up past her bedtime. And honestly, it was fun for both of us.
But time passes, and in case it's not glaringly obvious, Mayhem is growing up. Yes, she still loves fashion. And yes, she's still crazy creative. But as she's quick to explain – "I still like making paper dresses, I just don't like wearing them anymore. You know, I'm kind of too old for that. And I like making other things too." So it remains, we'll never force her to make or wear a paper dress. I will, however, do everything in my power, to make sure she knows how much her creativity and imagination are valued.
We didn't tune in to the Golden Globes red carpet this year, and we weren't constantly refreshing Twitter for the latest dresses to have arrived. This year, Mayhem went to bed on time and without even the knowledge that an awards show was happening.
On the morning after the awards, I was careful about how I should approach the topic with Mayhem. I knew she'd be excited to see the dresses, but I also knew that it was my job to tell teach her about why all those women chose to wear black. That the black dresses, while absolutely stunning, were not about the fashion. They were an action to spread a message about a movement.
Mayhem noticed almost immediately that all the women were wearing black, so I explained to her that they actually planned it that way. I shared with her that a group of women had gotten together and decided they needed to take a stand against girls and women not being treated fairly. When she asked how girls weren't being treated fairly, I explained that in most professions, women make less money than men, for doing the exact same job. And that was a moment I wish I could have captured. Though, to be fair, her reaction is seared into my memory. The jaw drop, the furrowing of the brows, the utter disbelief.
Yes. Yes. Yes. Yes. And YES!
And then we talked about how many women that we don't know, or see, or hear of, have already been working hard on these issues for years and years. But because these ladies in Hollywood have a platform, they are able to amplify the message and get it seen by more people. And that is how women can lift each other up. Doing what they can, with their own resources, to make things better for everyone else who isn't being treated fairly.
There is so much more conversation ahead with this nice, smart, creative, awesome tennis playing, staring champion, but for now, that's how we've tackled the Times Up movement. We haven't dug into terms like 'sexual harassment and abuse' just yet, but we have talked about inappropriate behavior with respect to our bodies, and the conversation will only grow from here. We've also talked, at length, about how it's not just women who are being treated unfairly, but many groups of people. We'll continue to have discussions on what it means to be an ally, and how we can best use our resources to help others – be that time, money, or voice.
I have little doubt that massive change is on the horizon. And I'm encouraged by the women who have stepped forward, and risked so very much (both personally and professionally), to tip the scales. I hope they know that there is a generation of badass little ladies ready to take the reigns.
This is so incredibly encouraging. I'm a single mom to a 5 year old who love your Mayham and has made a few of her own paper dresses. She's more into making paper furniture and houses right now though. I have been so in awe of how you and your husband just let her be her. You and your family are such an encouragement to me on how to parent a creative spirit. Thank you for sharing.
YES! Thank you for sharing!
Love. I love every single word of this post. You are one amazing mother who is raising an equally amazing daughter. Very inspiring. Thank you.
And I'm positive that if you had a son, you'd be having the same conversations. That's what being a parent is all about. Keep up the good work! Y'all are awesome on so many levels!
I teach 4th grade and have heard so many students over the years saying things that show me that too many parents are not taking the time with their children to explain the things the way that you do with your daughter. From a teacher, thank you! Ia constantly trying to show my students that they do have the chance to make a difference in the world. I'm also trying to show them that it is ok to disagree with other people's opinions, especially when it comes to such an important topic. Thank you for sharing this with your readers!
Sorry! I'm not at school right now and obviously forgot to check my spelling before I posted!
Love and have followed y'all from the beginning. Thank you for giving a great way to chat about this topic. Y'all keep being awesome. ?
Meant to say a great way to chat with my daughter about this topic.


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Hero Quest Download (1991 Amiga Game)
Amiga Games:
Download full Hero Quest:
Hero Quest screenshots:
Of all the board game producers in the world, one is more notorious for its style, presentation and rules than any other - that company is Games Workshop. Just to underline this point, the rule book for the table-top version of Hero Quest would make any MicroProse flight simulator manual embarrassed at its relative weediness. Nothing is left to chance, with everything covered in detail, from how to move (which is never as simple as it sounds) to what dice to roll if a Chaos Lord attacks you from behind while wearing a yellow hat... on a Thursday.
The reason for all of this attention to detail in GW documentation is to heighten its games' accuracy, which makes it very surprising that, until now, none of the company's wares have ever been converted to computer - what better way could there be to keep track of all the number-crunching than by having a machine do the job?
Until recently, the main reason that none of these conversions have appeared was Games Workshop's slightly 'underground' reputation: all of the company's games were heralded as table-top role-playing games, which limited their growth somewhat (a pity, because they've come up with some real gems).
All of that changed however, as soon as mainstream board game specialist Milton Bradley noticed a growing interest in the RPG. A partnership between the two companies emerged and the all-new Hero Quest was born: Milton Bradley produced the basic 'kiddies' version, while Games Workshop went on to make a more complex older version called, simply, Advanced Hero Quest.
Now, thanks to the simpler rules and widespread popularity of the younger version, Gremlin has seen fit to convert both the board game and its expansion kits (extra quest scenarios - due to appear over the next few months), and is also due to begin work on the game's science fiction follow-up, Space Crusade.
WHILE, FOR THE MOST PART, Hero Quest manages to faithfully recreate the fun of the table-top version (without the player having to deal with all of the 'paperwork'), in one or two areas of this conversion Gremlin has actually managed to over-simplify things. This over-simplifying is mainly apparent in the combat areas: a larger feeling of involvement would have been generated by even the simplest of additions such as the roiling of a dice. As it stands, the fights are pretty bland and act more as a temporary obstacle than as a major part of the excitement. Another area that could be improved is the animation - it's not that there's anything monstrously wrong, it's just that there could be more of it, instead of printing the words "Your enemy is consumed with flames" on the screen, it would have been nice to see a large flaming ball scream from your character's fingertips towards the helpless goblin. Where Gremlin has succeeded is in taking all the elements from the board game and convincingly turning them into a highly playable computer game. The control method easily lends itself to multi-player games, while still managing to stay interesting enough for a single player - a rare feat indeed. Hopefully, Hero Quest will pave the way for more Games Workshop conversions as the system Gremlin has employed could quite easily lend itself to other games of this ilk. Providing the quality stays this high (and the presentation is polished up) they should all be just as successful.
Nice adventure game, which has many expansion disks available on the net too. Mostly it's like the Heimdall series.
An adaption of the well known boardgame Hero Quest (you wouldn't have guessed!). While not being a REAL RPG the (board-)game ranked somewhere near that genre and attracted especially those who where not quite into it - RPG light you could say... Now, what we have here is a (Computer-)RPG, that's made up very much like the original boardgame (actually I never owned it, so please don't send any angry e-mails if I'm wrong), you select your "missions" before you play them, so you can choose how to build up your character. Well, sure good fun, but nothing for those Hardcore-RPG-Fans amongst you, maybe a game for yer little brother ;-) Nice choice for a first look into the genre I think.
People who downloaded Hero Quest have also downloaded:
Hero Quest 2, Heimdall 2, Heimdall 1, Lemmings, Gods, Indiana Jones: The Last Crusade, Flashback, Hook

redpajama_set_name: RedPajamaCommonCrawl


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text:
https://www.barrons.com/advisor/articles/hightower-advisors-future-bob-oros-acquisitions-51641931070
Advisor Practice Management
What Will Hightower 3.0 Look Like?
Kenneth Corbin
Jan. 11, 2022 2:59 pm ET
Leah Jones, a Hightower advisor based in Bethesda, Md., wanted to boost her profile as a divorce expert. She tapped the expertise of Meghan McCartan, Hightower's head of marketing, who began working with Jones and her team in summer 2019 to develop a strategy.
Bob Oros, Hightower CEO
Courtesy of Hightower
The resulting marketing plan included blog posts, social advertising, a newsletter, and the development and promotion of a podcast, and quickly led to a spike in traffic based on search terms like "Leah Bethesda divorce."
Best of all, Jones brought in a host of new clients specifically seeking an advisor to help with a divorce, and, often, retained both husband and wife as clients after the split. Jones has since expanded her blog and podcast to include more outside experts.
Initially, Jones' team had been skeptical about executing on McCartan's plan. "To me that's a moment of pride, that they weren't sure that they could use marketing support and we were able to work really closely with them," McCartan says.
McCartan's work with Jones' team, what she calls "my little shining gold star," offers a glimpse of what Hightower, one of the most aggressive acquirers in the registered investment advisor space, is looking to become as it builds out a portfolio of resources to help its advisor teams continue to grow.
The company closed 2021 having acquired 13 firms—near the top of the pack in the RIA sector. It has already announced one acquisition in 2022, and more deal announcements will follow throughout the year, but Hightower brass like to stress how much effort they put into developing resources like marketing, education, and technology support to help their advisor teams drive organic growth.
Hightower's business model has always centered around assisting advisors, but it has evolved significantly since the company first began making waves by enticing brokers away from wirehouses with the promise of supporting them in building independent, fiduciary-bound practices.
A morning briefing on what you need to know in the day ahead, including exclusive commentary from Barron's and MarketWatch writers.
The firm "really started with nothing but a great idea, which was there are all these advisors who are sitting in the full-service firms—big brands—who are really operating a fiduciary model," even though their firms were bound by a lesser standard of care, says Hightower CEO Bob Oros. "There were advisors who were just looking for a better way to serve their clients."
Think of that as chapter one of Hightower's development. The firm made a compelling pitch to brokers who were eager to provide fiduciary advice, but were struggling to do it working in a wirehouse environment where conflicts of interest tend to be more embedded in the business model.
"It was a misalignment," says Mark Kravietz, a former UBS advisor in Long Island, N.Y., who jumped to Hightower in 2013. "We wanted to align our fiduciary responsibility with a fiduciary company."
Breakaway brokers drove Hightower's first wave of growth. But there was a problem with the model. They were operating under the auspices of Hightower and enjoyed the resources that the firm provided, but there was nothing keeping them tethered to the company. They could, just as they had jumped from their respective wirehouses, leave Hightower, and there wasn't anything Hightower could do to stop that.
Chapter two in the Hightower story began in 2016, when the company made its first RIA acquisition, buying RDM Financial Group and setting in motion a shopping spree that to date has seen the aggregator snap up 54 firms. Only three companies—Mercer Advisors, Focus Financial Partners , and Wealth Enhancement Group—have made more RIA acquisitions since 2016, according to the consulting firm DeVoe & Co., which keeps track of advisor M&A activity.
In 2019, Oros, a longtime industry veteran who has done stints at Charles Schwab , LPL Financial , and Fidelity, joined the company as CEO and dramatically accelerated the company's acquisition campaign. Since January of that year, Hightower has made 27 acquisitions, according to DeVoe.
Buying RIAs outright, rather than inviting brokers into the company as partners with equity stakes that would vest over time, solved the problem of advisors moving on from Hightower. That ownership model has created a stability and permanence that the organization did not enjoy in its first iteration.
"The firm today is just in a vastly different place because we don't have to worry about advisors getting up and leaving," Oros says. "It certainly creates a different level of engagement in the organization."
Over time Hightower wound down its recruiting efforts in the wirehouse channel. (Hightower hasn't brought in a breakaway broker team since Oros joined.) As it settled on the model of buying up like-minded RIAs, Hightower also began a series of what Oros calls "internal acquisitions," buying up the breakaway teams it had recruited earlier in a process very similar to how Hightower today buys RIA firms.
"Along the way we realized you can't be good at everything," Oros says. "We made a decision we wanted to be good at RIA acquisition." As a result, 97% of Hightower's revenue today comes from advisors with "long-term affiliations" with the company—Hightower-speak for advisor practices that it owns.
During Oros' tenure, the M&A team has increased from three to four individuals (depending on how responsibilities are defined) to 19, and Hightower plans to increase that group in 2022.
Seeking Partners. So what makes a firm an attractive target for Hightower? Scott Holsopple, Hightower's chief growth officer who leads the M&A team, starts with a threshold question.
"The first question I always look to answer is do they really want a partner," Holsopple says. "Where we fit very nicely with is people who say, 'I want a partner to help me build out this scale so that I can refocus on probably what I got into the business to do, which was serve my clients well and get new clients.'"
While the deals his team makes grab the headlines, Holsopple emphasizes that much of Hightower is intensely focused on building out its portfolio of services—insurance, estate planning, a trust company, etc.—that advisors can tap to offer more holistic planning services.
That service model is the fundamental value proposition that Hightower and other large aggregators offer: a breadth and depth of resources that smaller RIAs might never obtain on their own, but that clients increasingly are coming to expect.
"Scale is becoming more and more relevant," says Omar Qureshi, managing partner at Hightower Wealth Advisors in St. Louis, who joined the firm through one of Hightower's early RIA acquisitions in 2017.
The back-office operations needed to run a thriving RIA are substantial, and without sufficient support staff, the principal advisors at smaller firms end up "spending a heck of a lot more time running the business than you do actually working with clients," Qureshi says."Would we be able to grow faster with a firm like Hightower, or would we be able to grow faster on our own?" he says. "That's really the equation." For him, the answer is clear: Hightower enables growth.
Growth is the watchword at Hightower, which is only interested in acquiring firms that it expects to build their book of business following the acquisition. It's also very focused on firms' efforts to develop the next generation of advisors to support a succession plan.
"We want principals to stay on board to keep growing. We want them to be actively working with us instead of taking a check and moving on," McCartan says. "If you want to sell your business and go on your merry way, we're probably not the right firm."
Oros says he has turned down "way more" opportunities to acquire firms than he's gone ahead and done deals with. Any number of factors can be disqualifying. If a firm isn't the right fit culturally, if it isn't growth-oriented, doesn't have a strong leadership team or commitment to the next generation, or if it isn't focused on fiduciary advice, Hightower isn't interested.
So while the company is racing to drive up its assets under management and expand its nationwide footprint, Oros says the most important factor in determining whether a deal makes sense is if the firm is a good cultural fit.
"I learned long ago there's money everywhere," Oros says. "We'll fall in love with a $100 million firm, we'll fall in love with a $3 billion firm, but it's always going to be for the right set of reasons."
The Hightower model isn't for everyone. Hightower offers advisors a degree of autonomy—firms can choose their custodian, for instance—but selling to the aggregator necessarily means that certain decisions will no longer be up to the firm. If you're a Hightower firm, your CRM application is Salesforce , for instance, and advisors who want to place clients in new, alternative investments must get a sign-off from the central committee that evaluates alts.
Champions of smaller, independent RIAs acknowledge the flurry of M&A activity in the industry, but offer a little perspective to counter the exuberance of the consolidators. By the numbers, small shops still dominate the field.
"We measure RIAs in the tens of thousands, and the record deal volume is like we got to more than a hundred [deals in a year], and we might get close to 200," Michael Kitces, co-founder of XYPN, a network for independent fee-for-service advisors, said at the group's recent conference. It's hardly the dominant model. "It's like the grand debate is whether M&A gets to the point where maybe 1% of all RIAs actually change hands," Kitces said. "That's not the end of the independent RIA."
XYPN is building out a network that aims to provide many of the type of back-office support services that the large aggregators are offering, but offering them as a subscription-service model, rather than acquiring firms the way Hightower does.
Alan Moore, XYPN's other co-founder and CEO, tells Barron's Advisor that he envisions further consolidation to the point where a handful of colossal firms emerge in much the same way as the accounting world has its Big Four shops where young CPAs might start out, before moving on to start their own practice.
"I think you're going to continue to see the consolidation to create those megafirms, which I think is good for the industry, because the one thing we still don't have are actual career paths," Moore says of the fiduciary advice world. "CPAs have career paths—you always go to the Big Four for three or four years to find out if you're a corporate person or not, and you split off, but we haven't had that type of training in our space, so we're very excited about that. But ultimately the independent space will thrive."
Oros doesn't disagree. Bullish as he is on M&A activity, instead of four big, truly national RIAs, he envisions that there might end up being something like 25 or 50 large firms. But he still sees room for smaller, independent advisors to thrive.
"I'm not a believer that everyone should sell," Oros says. "Even though I'm a buyer, I don't think that's the right answer."
Maybe so, but in the near term, expect the deal announcements to continue. Backed by private-equity firm Thomas H. Lee Partners, Hightower is flush with cash, and Oros says he doesn't see the wave of acquisitions cresting any time soon.
Shift coming? As Hightower builds out its service model, it could shift gears in the way it approaches acquisitions philosophically. Oros places Hightower roughly in the middle of what he calls the "curve of conformity," referring to the degree that the aggregator takes over the business of a firm it acquires.
Hightower is "brand-agnostic," for instance, Oros says, unlike with some acquirers, where "if you do a deal with them, you become them," Hightower lets its advisors keep operating under their own brand.
Other aspects of the deal are nonnegotiable. Hightower files a single Form ADV that covers all of the firms it has acquired, and takes over functions like human resources, compliance, and some IT operations.
David DeVoe, founder and CEO of DeVoe & Company, agrees that, as aggregators go, Hightower is roughly in the middle of the continuum Oros described. By contrast, Focus Financial Partners is at the end of the spectrum offering RIAs a maximum level of independence, DeVoe says. At the other pole are acquirers that essentially take over all aspects of the firms they acquire, like Mercer Advisors and Creative Planning, according to DeVoe.
Oros envisions a future where Hightower plays in what he calls the "full-conformity" end of the spectrum. As Hightower continues to build out its service model, certain operations become more easily repeatable, and Oros can imagine Hightower starting to buy firms whose owners are looking to exit the business and plugging them into the Hightower platform, potentially through an internal merger that would pair them with an existing Hightower firm.
That could be part of what "Hightower 3.0" looks like, Oros says. While he expects external acquisitions to continue, he also anticipates a wave of internal consolidation. Hightower has already facilitated mergers among many of its teams, a process likely to ramp up as the acquisitions continue. So while Hightower today has roughly 120 underlying businesses, don't expect that number to double even as the buying streak continues.
"I don't think you're going to wake up one day and see us have 250 businesses," Oros says. "I think we'll start to build more scale from within."
So if Hightower 3.0 will be defined by an expanding menu of advisor services, continued acquisitions—broadened to include firms whose principals are looking to retire—and more internal consolidation, what about Hightower's ownership model?
Hightower closed its most recent round of private-equity funding in December 2020. Private equity has been good to Hightower, but as the company looks to become one of the first truly nationwide RIAs, some industry observers wonder if it might eventually go public, just as Focus Financial did in 2018.
"A public offering is clearly one of the options," DeVoe says. "Over the next five years, I think we'll see a couple more public offerings, and I think there's a high degree of likelihood that Hightower might be one of them."
Oros doesn't rule out the possibility of an IPO, though he observes that there are "a lot of different ways to think about capitalizing."
"I think it would be disingenuous to say no," Oros says when asked if he would consider an IPO. "Will there be another liquidity event? Absolutely."
On the other hand, he acknowledges that the private-equity model has worked well, and Hightower's current structure allows the firm to operate free from the inherent pressures that public companies are subject to.
"There's a lot of things I like about being a private company," Oros says. "Maybe an eventual public [offering] is the right choice, but I can promise you none of it's predetermined."
Write to advisor.editors@barrons.com
Leah Jones, a Hightower advisor based in Bethesda, Md.


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Hosteen Klah (, 1867– February 27, 1937) was a Navajo artist and medicine man. He documented aspects of Navajo religion and related ceremonial practices. As a traditional nádleehi person, he was both a ceremonial singer and master weaver.

Background
Hosteen (spelled "Hastiin" in the Navajo language) Klah was born to Navajo parents Hoksay Nolyae and Ahson Tsosie in 1867 in the Tunicha Valley of New Mexico, USA. He was called "Klah" for being left-handed. Able to avoid residential schooling, Klah learned traditional Navajo spirituality from his uncle, who was a medicine man. Klah was trained in healing ceremonies that involved dancing, chanting, singing, and sandpainting- the act of creating temporary designs on the ground using colored dirt and shells. Klah was able to fully memorize and perform his first ceremony by only age ten.

Gender
Hosteen Klah was commonly identified as a Nádleeh (pl. Nádleehi, meaning "one-who-has-been-changed"). Nádleehi are a third gender recognized by the Navajo people who take on both traditionally male and female roles, in Klah's case, being a healer (a traditionally male role) and a weaver (a traditionally female role). Nádleehi at the time, including Klah, were often assigned male at birth, though some may have been intersex. They would also often dress in traditionally women's clothing, although Klah did not. Klah was also reportedly not interested in women and never married.

Weaving
Klah mastered multiple traditional art forms, most notably sandpainting and weaving (which he learned from his mother). Klah wove his first complete weaving at the 1892–1893 World's Columbian Exposition in Chicago, where he also was probably part of a sandpainting demonstration. Around 1914 Klah began experimenting with combining other sacred imagery of with the act of weaving, and wove imagery from the Yé'ii bicheii dance into a rug. He completed his first sandpainting-inspired weaving around 1919. Some fellow healers within his community found these weavings controversial, as sandpaintings and their imagery produced during ceremonies are purposefully meant to be non-permanent- Klah did not conform to this by weaving them into a more permanent form. His colorful and intricate designs caught the eye of various art collectors, many of which purchased his work.

Klah went on to demonstrate sandpainting in 1934, at the Century of Progress Exhibition in Chicago, of which President Franklin D. Roosevelt was in attendance.

Klah taught his two nieces both his weaving techniques and designs before his death in 1937.

Wheelwright Museum
In 1921, Hosteen Klah was introduced to Mary Cabot Wheelwright, a Boston heiress. The two became friends and collaborated in founding the Wheelwright Museum of the American Indian in Santa Fe, New Mexico. Fearing for the future of Navajo religion after witnessing decades of assimilationist assaults on traditional culture by missionaries and the US government, Klah wanted to document Navajo religion and make it available for future generations. The museum was initially called the Navajo House of Prayer and House of Navajo Religion, but then renamed the Museum of Navajo Ceremonial Art, and ultimately renamed in 1977, when the museum repatriated sensitive cultural patrimony back to the Navajo Nation.

In 1942 the Museum of Navajo Ceremonial Art (as it was then called) published Navajo Creation Myth - the Story of the Emergence by Hosteen Klah, Recorded by Mary C. Wheelwright.

Death
Hosteen Klah died on February 27, 1937, from pneumonia, and he is buried on the grounds of the Wheelwright Museum.

See also
 Navajo rug
 Navajo way
 Wheelwright Museum of the American Indian

Notes

References
 Berlo, Janet C., and Phillips, Ruth B. (1998) Native North American Art. Oxford: Oxford University Press, . 1998, and later reprints.
 Everett, Deborah, and Elayne Zorn. "Hastiin Klah (1867–1937), Navajo Weaver." Encyclopedia of Native American Artists, Greenwood Press, 2008.
  1971, and later reprints.

 Koenig, Seymour H., and Harriet Koenig. Acculturation in the Navajo Eden: New Mexico, 1550-1750. YBK Publishers, 2005.
 Roscoe, Will. "We'Wha and Klah: The American Indian Berdache as Artist and Priest." American Indian Quarterly, vol. 12, no. 2, 1988, p. 127., https://doi.org/10.2307/1184319.
 Stein, Marc. "Klah, Hostiin." Encyclopedia of Lesbian, Gay, Bisexual, and Transgender History in America, Charles Scribner's Sons/Thomson/Gale, 2004.

Navajo artists
American weavers
Native American textile artists
Religious figures of the indigenous peoples of North America
Two-spirit people
American animists
1867 births
1937 deaths
Museum founders
Folk healers

redpajama_set_name: RedPajamaWikipedia


text:
Q: True or false: any word recognized by a context-free grammar can also be recognized via rightmost derivation? Suppose I have a context-free grammar
S -> ...
...

where "S" is a starting symbol. Let "w" be a word recognized by the grammar.  Is that true that w can also be recognized with rightmost derivation only?

A: I think the confusion here revolves around the question of what it means for a grammar to "recognise a sentence".
In fact, context-free grammars are the representation of an operation which generates sentences, rather than recognises them. That is to say, each rule in the grammar defines a derivation step, which can be applied to a sentential form by replacing any one instance of the left-hand-side with the right-hand-side. If we form the closure of this operation starting with from the grammar's start symbol, then we have the set of sentential forms; the language of the grammar is the intersection of this set with the Kleene closure of the grammar's terminal alphabet.
(By "sentential form", we mean an element of the Kleene closure of the grammar's symbol alphabet, while "sentences" are restricted to elements in the Kleene closure of the terminal alphabet. This distinction is drawn from Knuth, I believe, but for now I'm still focusing on Noam Chomsky's groundbreaking paper On Certain Formal Properties of Grammars, written in 1959.)
As it happens, we can recursively enumerate the language (as a set). So we could "recognise" a sentence by starting the enumeration and waiting for the sentence to appear. This will work with any generative grammar, not just context-free grammars, but with Chomsky's unrestricted (Type 0) grammars, it has the problem that we never know when to give up waiting. (That is, it suffers from the same Halting Problem as general Turing Machines.) But with the restricted grammars we can produce an enumeration in which shorter sentences are generated before longer sentences, so we can definitely stop looking after we've enumerated all sentences of the length of the target sentence. (That's still not really satisfactory in practice, but it's great in theory. It's Theorem 3 in Chomsky's paper.) This is fundamentally the difference between a recursive set and a recursively enumerable set.
In practice, we want to create a parsing automaton based on the grammar, and more importantly we'd like the automaton to guarantee to work inside of well-defined time and space limits. And with Type 2 and Type 3 grammars, this is definitely possible (linear time and constant space for Type 3; polynomial time and space with exponent < 3 in the case of Type 2 grammars, and linear time and space in the case of a restricted subset of Type 2 grammars, called deterministic grammars.)
But let's go back to the question of what it means for the grammar to recognise (or generate) a sentence. Since the language is the closure of the derivation-step operator, it follows that every sentence in the language is the result of a finite sequence of derivation steps, starting with the start symbol. A sequence of derivation steps is called a derivation, and if there is a derivation of a sentence using a grammar, then the grammar is said to derive that sentence. That's as close as we're going to come to the concept of a grammar recognising a sentence.
Ideally, we'd like to reduce the noise created by the multitude of possible derivations of a sentence. Except for linear grammars, there will always be a lot of possible derivations because whenever there are two or more non-terminals in the sentential form, there are two or more possible derivation steps which can be applied, and in a context-free (Type 2) grammar the ones which "work" can be applied in any order. That's a simple way of thinking about what "context-free" means in this context. (I encourage any readers to try to make the previous statement more precise. I'm just trying to provide some intuitions here, not mathematical proofs.)
In Chomsky's paper, he shows how derivations can be viewed as traverses of a tree, where the tree actually expresses the syntactic structure of the derived sentence. Since we're actually interested in the tree and not the derivation sequence, we'd like to conflate all of the derivation sequences which are traverses of the same tree. And if there is only one such tree for any given sentence, then we can say that the grammar is unambiguous.
Unfortunately, as Chomsky also points out, Type 1 grammars are still too powerful to make this work, while Type 2 grammars are not powerful enough to represent the languages Chomsky was interested in (human languages, that is). But despite his frustration with this failure to define a useful category of grammars applicable to human language, his work was profoundly important in the development of modern formal language theory.
Now, let's restrict ourselves to Type 2 grammars, in which the order of application of derivation steps is irrelevant. In that case, we can use a very simple algorithm to associate a given parse tree with exactly one derivation sequence: we only allow the derivation sequence corresponding to a depth-first preorder right-to-left traverse. (That is, we visit the children right-to-left.) This corresponds to the rule that in a derivation sequence, each derivation step applies to the rightmost non-terminal in the sentential form. (It might seem more natural to do a left-to-right traverse, which would correspond to always expanding the leftmost non-terminal. That works, too, from the viewpoint of producing unique derivations from a parse tree. But it turns out to be less convenient.)
These insights come from another groundbreaking paper, Donald Knuth's On the Translation of Languages from Left to Right (1965).
So we should now be satisfied that the statements:

*

*Sentence Β is in the language of grammar G.

*G derives Β.

*G derives Β using only rightmost derivation steps.

all say the same thing. But along the way, we've also laid the foundation for several decades of parsing research.
It's pretty easy to find both of the papers I've cited here, and it's worth doing that because they are both pretty easy to read, and they contain a lot of the insights necessary to really understand LR parsing.

redpajama_set_name: RedPajamaStackExchange


text:
John C. Harmon (June 16, 1845January 22, 1921) was an American lumberman and pioneer of Wisconsin and Washington.  He was a member of the Wisconsin State Assembly, representing Chippewa County during the 1893 sessions.

Biography
John C. Harmon was born in June 1845 in Wooster, Ohio.  As a child, he came with his parents to the Wisconsin Territory, settling in Beaver Dam in 1847.  He was educated there and went to work in Chippewa County, Wisconsin, in the lumber business.  He was justice of the peace and county supervisor in Chippewa County, and was elected town treasurer of the town of Big Bend in 1881 and 1882.

He then moved into the city of Chippewa Falls, Wisconsin, where he was again elected county supervisor and member of the city council.  He was elected to the Wisconsin State Assembly in 1892, running on the Democratic Party ticket.  He represented Chippewa County's first Assembly district, which then comprised the southwest corner of the county.  He was part of a brief Democratic majority in the Legislature. His most notable contribution was likely authoring the first law to make Labor Day a holiday in Wisconsin.  He was not a candidate for re-election in 1894.

He moved to Puyallup, Washington, about 1908 and resided there until his death in 1921.  His body was interred at Chippewa Falls' historic Forest Hill Cemetery.

Electoral history

Wisconsin Assembly (1892)

| colspan="6" style="text-align:center;background-color: #e9e9e9;"| General Election, November 8, 1892

References

External links

1845 births
1921 deaths
People from Wooster, Ohio
Politicians from Chippewa Falls, Wisconsin
People from Puyallup, Washington
County supervisors in Wisconsin
Democratic Party members of the Wisconsin State Assembly
19th-century American politicians


In honor of Ellen DeGeneres' birthday, Anderson .Paak brought his son with him for his performance of "Am I Wrong." Since we all know Ellen loves to dance, father and son duo had a "soul"-filled dance party alongside the band.
Nominated for two Grammy's this year, one of which falls under the category of Best New Artist as reported by MTV News, Anderson .Paak also played the drums while singing, and got the audience involved in the charismatic dancing. As if .Paak and his six-year-old son hadn't already blessed Ellen with the perfect gift, on behalf of their band, Free Nationals, Ellen also received a black hoodie sweatshirt dawned with a black panther. The performance ended with a burst of confetti and a whole lotta love for the show host.
Somewhere between psychotic and iconic. Pop Culture. MTV.


I was talking to a colleague of mine recently and they mentioned Hatch Show Print shop. The conversation prompted me to go back through the photos I took when we visited Nashville way back last spring. Of course, I took tons of photos while visiting the shop. If you haven't heard of it, check it out! Lots of eye candy and typography to peruse.


Tenderstem® has teamed up with chef Donal Skehan to bring you this delicious nutty noodle recipe that's sure to get taste buds tingling.
This Indonesian-inspired Satay noodles dish can be enjoyed hot or cold, making it a great speedy dinner or lunchbox saviour to enjoy al-desko.
Place all the ingredients for the satay sauce in a small saucepan and bring to a steady simmer. Whisk to combine and once smooth, remove from the heat and allow to cool. Add one to two tablespoons of water to loosen the sauce as required.
Add the Tenderstem® to a large mixing bowl with the Chinese cabbage, carrot, cooked noodles and half the chilli and spring onions.
Pour the sauce over the contents of the bowl and toss everything together until completely combined.
Transfer the noodles to a serving platter and scatter with chopped peanuts and the remaining chilli and spring onions. Serve hot or cold.


The classic car world will descend on Memphis International Raceway (MIR) on Tuesday, June 9 when the Hot Rod Power Tour arrives in the Mid-South.
This year's Hot Rod Power Tour is expected to attract more than 6,000 participants as this caravan of American muscle and show cars winds its way from Madison, Wis. to Baton Rouge, La. The event at MIR is free and open to spectators. There is a $5 parking fee.
Gates to MIR will open at noon and will kick off a full day of activity all around the track.
The drag strip will be open to registered cars from 12:30 to 3:30 p.m. for quarter-mile fun runs, and the COMP Cams Engine Builder Duel will take place at 3 p.m. at the COMP Cams display on the midway.
The item on the schedule that is generating the most buzz is the attempt to break the Guinness World Record for largest continuous tire burnout that will take place on the drag strip at 4:30 p.m. The Australians packed 103 cars onto a track in January to set the current mark and the Hot Rod Power Tour is looking to smash that record with its attempt, which is presented by Continental Tire.
For those who'd like to enter their car into the day's activities, one-day registrations will be available at the track on Tuesday, June 9 starting at noon. A one-day registration is $55.


text:
Anne Rice (INTERVIEW)
The "Beauty's Kingdom" Interview
with Kam Williams
A Nice Slice of Rice
Anne Rice's debut novel, Interview with a Vampire, was adapted into an Oscar-nominated film starring Tom Cruise and Brad Pitt. She is also the author of many other best-sellers, including the hugely successful Vampire Chronicles, The Mummy or Ramses the Damned, Violin, Angel Time, and the Mayfair Witches series.
Born and raised in New Orleans, Anne now lives in Southern California. Here, she talks about her latest book, Beauty's Kingdom, an eagerly-anticipated extension of her popular, Sleeping Beauty trilogy.
Kam Williams: Hi, Anne. Thanks for the interview. I'm honored to have this opportunity
Anne Rice: Thanks, Kam.
KW: I'll be mixing my questions in with some sent in by fans. I really enjoyed Beauty's Kingdom. What inspired you to extend the Sleeping Beauty trilogy after such a long hiatus?
AR: I had more to say. Many years have passed since I wrote the original trilogy. I felt a new book could refine and deepen the vision. Also, times have changed and, with them, attitudes towards erotica. It's accepted today in a way it was not before, and I did find that inspiring.
KW: Bobby Shenker says: I read and loved the Beauty series when I discovered it in the mid-Eighties. Did the appearance of Fifty Shades of Grey have any influence on your decision to continue the series?
AR: Yes, the success of Fifty Shades indicated that people were out of the closet about their appreciation of erotica. Erotica no longer need be an underground thing. I was inspired by this new acknowledgement of the significance of erotica.
KW: Harriet Pakula-Teweles asks: How do you make the writing psychological shift from Gothic fiction to Erotic fiction—or is there a lot of one in the other?
AR: For me erotic and gothic fiction have much in common. Both are imaginative realms that are talking about the meaning of life in metaphorical terms. I love that. I don't have any problem writing in both genres.
KW: Director Lawrence Greenberg says: Anne, I am a huge fan. I think that I have read every one of your books. Can you speak a little bit about how your writing has been adapted to the screen and what you have learned from that process, for better or worse?
AR: I have good and bad experiences with screen adaptation. What I learned above all is that it is always a risk. However, I love film in all forms, and I think it's worth the risk. So I keep agreeing to and encouraging adaptations. Of course, I feel those adaptations which are entirely faithful to the underlying work are the most successful. When producers and directors and screenwriters try to re-imagine and substantially change the underlying material, more often the end product fails.
KW: Editor Lisa Loving says: Wow! OK! Dang! Anne Rice rearranged part of my mind during the years I read her novels, including the three-part Sleeping Beauty. Will… never... get... over... that! Whoa! Anne, one of the things I love the most about your writing is the way you consistently encompass wide swaths of human history. What is your favorite history book, or do you have a go-to source for your historical perspectives?
AR: I read very widely in history and consume an amazing number of biographies. The well written biography is the best way for me to learn about a period, whether we are talking about a biography of Harriet Beecher Stowe or Elizabeth I or Peter the Great or Augustus Caesar. I read history all the time for pure pleasure often immersing myself in a character or a century that might not show up in my novels at all. Reading history for me is like eating ice cream.
KW: Lisa's also curious about what made you turn to writing about the life of Jesus. What did that historical research involve? And what has been the response of your readers?
AR: Writing my two novels about Jesus involved years of research into life in the First Century, research in the Bible, research in Bible scholarship, research in ancient mythology and literature, etc. I visited Israel twice while writing these books. ---- The reader response to both Christ the Lord books was hugely positive, but I eventually moved away from the project for theological reasons. I loved writing about the private life of Jesus, trying to re-create what daily life was like for Him as a boy in Nazareth, but when it came to tackling His public life and teachings, I found the age old theological battles about Him draining and discouraging. But I loved working in this area. I am a believer in Jesus who has no organized theology to back up that belief. I seek for Jesus outside organized religion and its quarreling churches and cults. And my two books about Jesus are the full expression of my love for Him and faith in Him.
KW: Do you have any favorite "monsters" that you have never written about? Is "monster" the right word to describe vampires, witches and Lasher? Is there a real-life Lestat that you patterned the character on?
AR: My favorite monster is the vampire without doubt. He is a metaphor for the outsider in all of us, the outcast, the lonely one, the lost one. I'll be interrogating that metaphor for the rest of my life.
KW: Editor/Legist Patricia Turnier says: Without giving too much away about Beauty's Kingdom, tell us what readers should expect from it? If it becomes a movie one day, who'd you like to direct and star in it?
AR: Beauty's Kingdom picks up the characters twenty years after the trilogy. Beauty and her beloved husband, King Laurent, are called upon to come back to the kingdom where they met as slaves and preserve the way of erotica slavery. Beauty declares that henceforth all slavery must be voluntary and open to applicants of all classes. The book explores, among other things, the outlook of those who volunteer to be slaves and how they love it and what they expect from their royal masters and mistresses. ---- Right now, Beauty is being developed for cable television.
KW: Patricia also says: I didn't read Interview with the Vampire but I truly loved the movie. The best movies often come from great books, and it helps when the author writes the screenplay like in this case. How did you insure that the filmmaker would do a great job adapting your novel? Were you involved with the casting? Did you spend a lot of time on the set, too?
AR: I couldn't really insure anything. I did write the script and Neil Jordan added many things but was essentially faithful to the script and the books. But it's always a risk. There was no guarantee it would turn out that way. David Geffen was the producer behind it all, and it was his desire I think for fidelity that underscored the whole effort.
KW: It is amazing that you became highly successful with your first novel. I assume you encountered many naysayers prior to getting published. What kept you going and what advice do you have for aspiring authors?
AR: Writers have to have faith. They have to be stubborn. They have to endure lots of insults, contemptuous dismissal and criticism, and they have to keep going. I always believed this. I always believed the author has to fight for her vision, her story, her characters, her "right" to be a writer and to offer something fresh and interesting in a marketplace that will always be tough. I don't know where I got my courage. I am a scrapper. It's in my genes.
KW: What was your first job?
AR: My first job was as a cafeteria waitress in a downtown cafeteria in New Orleans. I worked on weekends and made 75 cents an hour. It was hard work but I loved it.
KW: Thanks again for the time, Anne, and best of luck with the book.
AR: Thank you, Kam.
To order a copy of Beauty's Kingdom, visit:
Posted by Kam at 1:21 PM
Fifty Shades of Grey (DVD REVIEW)
Selma (DVD REVIEW)
Nia Vardalos (INTERVIEW)
Kam's Movie Kapsules for 5-8-15
ISIS: Inside the Army of Terror (BOOK REVIEW)
Loni Love (INTERVIEW)
Days of Grace (FILM REVIEW)
Ex Machina (FILM REVIEW)
The Gambler (DVD REVIEW)
Top Ten DVD Releases for 4-28-15
Inherent Vice (DVD REVIEW)
The Wedding Ringer (DVD REVIEW)
Blackbird (FILM REVIEW)
More Than a Score (BOOK REVIEW)
Queen Latifah and Keke Palmer (INTERVIEW)
Helicopter Mom (FILM REVIEW)
Brotherly Love (FILM REVIEW)
Unfriended (FILM REVIEW)
Alex of Venice (FILM REVIEW)
Supremacy (DVD REVIEW)
The Squeeze (FILM REVIEW)
The Human Experiment (FILM REVIEW)
Kam's Movie Kapsules for 4-24-15
Corruption Officer (BOOK REVIEW)
Kevin James (INTERVIEW)
Freida Pinto (INTERVIEW)
Furious 7 (FILM REVIEW)
The Sisterhood of Night (FILM REVIEW)
Like Sunday, Like Rain (DVD REVIEW)
The Girl Is in Trouble (FILM REVIEW)
Desert Dancer (FILM REVIEW)
My Grandfather Would Have Shot Me (BOOK REVIEW)
Aunjanue Ellis and Clement Virgo (INTERVIEW)
Beyond the Mask (FILM REVIEW)
Top Ten DVD Releases for 4-7-15


Great quality urinalysis strips from a name you can trust. Valutest are an excellent value for money, helping you to stetch your budget further.
Valutest are easy to use and are perfect for conducting a simple, quick and efficient urine test in your surgery.
Valutest can be used for general evaluation of health and aid the diagnosis and monitoring of metabolic or systemic diseases that effect the kidney function, endocrine disorders and diseases, or disorders of the urinary tract.


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Do I need one of these .mobi Domains to sell mobile content?
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To be able to add RingOver numbers, you must first be an account administrator.
You will then see that the number or numbers have been added to the list of "unassigned numbers."
Your monthly bill will be updated to reflect the price of the added numbers.


It rained all night last night. We lost power for several hours, but it was back on when we woke up this morning. The rain changed to snow after dawn, and continued lightly for about an hour. Now the temperatures are rising (high 30's) and the warm air hitting the snow on the ground creates what we call "snow fog" - a low mist that settles over the ground everywhere. Sometimes rather eeire, sometimes quite lovely.
Everywhere the snow is melting, and bare patches are beginning to pop up here and there, mostly around the edges of the snowbanks. And, anywhere there is bare dirt, it is MUD. Here in New Hampshire, we have a whole season devoted to mud. It's a short season, perched somewhere between the snow melt of late winter and the real beginning of spring. We plan around it. We say things like, "Once mud season is over, we can get the tractor out."
or, "When mud season hits, I know it is time to plant the lettuce in the cold frames."
Mud season is the enemy of any animal enclosure. It is not good for ANY critter to have to stand around in mud. So the homesteader has to provide some dry mulch to keep animals out of the mud as much as possible. Its an every day chore. A single milk cow might need 50 pounds of hay or straw every day laid down in her pen. Since we are are only dealing with chickens right now, my quantities are not that drastic, but I still have to fork out and spread some straw in their run. The last two days I have not let them out because I am away working and cant' keep an eye on them. Plus, it has been raining and they are not always smart enough to get out of the weather. I just try to keep as dry a layer on top as possible so they are not constantly walking around with wet feet. I wouldn't like that either if I were them.
But, don't get me wrong. We welcome mud season, as it is the signal that long awaited spring is finally coming. All of a sudden, on a sunny day in late March, you just might walk outside and smell EARTH... that wonderful, composty, sweet, pungent smell of beautiful beautiful dirt and all the life within it. After a long winter, THAT is something to cherish.
I have been working all week, filling in for a friend at a gallery, while she is off gallivanting in France or some such place. So, not much work has gotten done around here. But i did do a much-needed cleaning of the chicks cage today. I moved a few things around, removed one of the heating units, as they don't need it so much and it takes up space their growing selves can use now. It's been about 15 minutes and they have already made a total mess of the clean cage.
The clean litter seems to awaken their scratching and pecking instincts, and they toss pine shavings everywhere in their frantic search for something under the litter.
Even more, the clean soft litter brings out their desire to have a bath. Chickens bath with dirt. This is an important part of keeping them healthy, actually, as it is how they rid themselves of excess skin oils, feather mites and other parasites. If you have ever seen a chicken taking a dust bath, it is pretty funny, and they look about as content as you could ever hope to see.
No, they're not dead, they are enjoying a nice dust bath.
The chicks do this too. Only, with 26 of your brothers and sisters all crowding in and stepping on you as you try to bathe, well, it's not quite as easy as you might think.
So, today's chick flick is watching some of the dust bathing activity.


Because the best care is Natural Care!
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text:
Anedhella boisduvali är en fjärilsart som beskrevs av Pierre E.L. Viette 1965. Anedhella boisduvali ingår i släktet Anedhella och familjen nattflyn. Inga underarter finns listade i Catalogue of Life.

Källor

Externa länkar

Nattflyn
boisduvali


The Book Buff: My Muscles Are Sore from All the Cringing While Reading the Mortal Instruments Series...HELP!
Okay people....tell me what to do. So I borrowed The Mortal Instruments Series from my sister. I burned through City of Bones in like a day (Yeah....I know I'm late to the party....by like a lot, I know its unforgivable for a book blogger but get over it and keep reading!). I burned through the first half of City of Ashes in about another day. Then I stopped. It just got too creepy. I'm at a point where I want a spoiler. Jace and Clary's relationship is so icky to me it is ruining the books. Please tell me in the comments if I should keep reading or bail.
If Jace and Clary are really brother and sister, I seriously don't want to read anymore, its just too gross. So hit the comments and tell me if I should keep going. My muscles are super sores from cringing through the reading.....please spoil it for me!!!
dang, I'm the first? I was hoping for spoilers! I still haven't read the series and I agree, brother/sister is cringe worthy.
Lol. I haven't read this series but I love to read voices in dissent.
Of course, they're not! But, I agree, the possibility that they COULD be is disturbing.
It's a great series -- keep reading!
I just finished City of Ashes and cannot believe they would leave these two as brother and sister. It seems like they set it up for things to change in this book when Simon told her they were only going to be friends. I can't wait to see what happens. I followed you. I'm at www.thebooknerd2013.blogspot.com. I just did a brief review of City of Ashes.
I followed you. Looking for some more followers myself and it seems like we have some books in common. Check it out if interested!
Keep going! I was going to stop after the first one because I was so mad about how it ended. I went back a couple of months later and read the summary on Barnes and Noble and it seemed like they wouldn't really be siblings. I'm starting the 4th book today and I'm glad I didn't give up!
Oh the possibilities. Keep reading and it will all make sense. Nicely done!
What Kind of Book Ya Lookin' for?
heres my button, grab it!
4th Hunger Games Book Just Announced!!!!!


text:
Railway Union News – Strong preparation for a tough season ahead
Pictured:1sts Ladies Railway Hockey Team.
Since early August both Railway Union Mens and Ladies Hockey squads have put in a strong preparation for an exciting second season of the elite All Ireland Hockey Leagues sponsored by Ernst and Young.
The leagues got under way on the weekend of September 24th and 25th, with both sides having two matches in the first weekend.
The men's side will look to build on an 8th place finish last season, with a new-look extended panel. The club welcomes Stuart O'Grady and Peter Catchpole, who have both joined from UCC, while Jeremy Mc Keever, Michael Fulham, Felim Kelly, Aaron Rooney and Conor Montgomery all make a step up, seeking to play at a higher level after joining from Leinster Division 1 sides. We also welcome Kieran Springett from Australia. Jack Kavanagh and David Mills both return to Ireland after living overseas for some time.
A big challenge for coach David Bane is how the team replace the goal-scoring prowess of James Dick, who has returned to his native Tasmania. However, Mateusz Nowakowski played and scored for Poland seniors during the summer and has shown signs of added sharpness in pre-season and should step up.
Pictured: 1sts Men's Railway Hockey Team.
Railway Union have retained the same management for the third year. David Bane continues to mould this larger squad in his own image as a hard-working side with plenty of flair. He is assisted by former first team player, now first team manager, Stewart O'Higgins.
The ladies team have Colm Blennerhassett back for his second season as head coach. Additions of Anna-May Whelan (Trinity) and Maja Heiden (UHC Hamburg- Germany) are a great boost to the squad. The ever-reliable Orla Fox will captain the side this year.
Colm Blennerhassett has added former South African international and current Three Rock Rovers player, Jody Hosking, as his assistant coach, as well as enlisting the help of Jean McDonnell, former Railway sharp-shooter, as a specialist forwards coach.
The squad has recently been buoyed by the inclusion of seven players in the U18 Leinster team: Grace McLoughlin, Niamh Carey, Michelle Carey, Katie Fearon, Nina Heisterkamp, Kate O'Hogan and Niamh Shaw, in addition to 17 year olds Michelle and Niamh Carey getting called up to the Ireland U-21 Panel and Development squad respectively.
Goalkeeper Grace O'Flanagan has returned to the Senior Irish set up this summer, along with the addition of the exciting and intelligent midfielder, Anna-May Whelan, who earned her first Senior Irish cap this summer, which makes this an exciting year for the squad and club. They will be looking to build on last year's good first season with Blennerhassett, which saw them reach the National Finals Weekend.
Railway Union Football update
After promotion last season, Railway's Senior Mens football team will compete in the AUL Senior Saturday division for 2016/17. This is the highest level in the AUL for Saturday football.
The schoolboy season has begun and all teams are looking forward to their campaigns. After winning a number of cups last season the under-13 team are particularly looking forward to starting 11-a-side matches. The under-8 and under-10 squad welcome new players. Training is on Wednesday evenings from 5-6pm. The 'Soccer Academy' is every Wednesday, 5-6pm and all new players from 5-10 years old are welcome. Please contact David Grouse (groused@tcd.ie)
Ultan Daly, winner, and Bryan Fields, runner-up, of the Singles Handicap Championship at Railway Union Bowling Club. The club has enjoyed a very good season, gaining promotion back to Division 1 of the Bowling League of Ireland.
Images By Taz Stedham.
By David Carroll
On October 14, 2016 / Sport / Comments


Assays that quantify disease phenotype changes in cells require no a priori knowledge of disease mechanism of action. A good example of this is in the field of oncology, where uncontrolled cell proliferation is a hallmark of cancer and can be used as the basis for a phenotypic assay. Cytation and Lionheart can quantify many types of phenotype change, such as counting cells by either fluorescence or brightfield microscopy in the case of cell proliferation. Many other phenotypes can be quantified based on the use of specific fluorescent probes, such as those for oxidative stress, hypoxia, apoptosis, translocation, etc and the image analysis capabilities of Gen5 Image Prime that provide dual masking capabilities and sub-population analyses based on a wide range of calculated metrics.


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ZEISS Camera Lenses
現在閲覧中のページ: Home 映画撮影 Ultra Prime Lenses
Home 映画撮影 Ultra Prime Lenses
A perfect optical match. ARRI / ZEISS Ultra Prime Lenses
ARRI / ZEISS Ultra Prime Lenses
Highest performance over the entire focusing range.
ARRI / ZEISS Ultra Prime Lenses have the widest focal range of prime lenses giving you the flexibility to get the coverage you want. The Ultra Prime lenses are lightweight standard speed lenses that are a perfect optical match to the high speed ARRI / ZEISS Master Prime lenses. They have been developed in a cooperation of ARRI and ZEISS.
Well controlled distortion and breathing
Superior close focus ability
Floating elements design
Easy-to-read calibrated scales
Uniform diameters
Particularly robust and easy to service
16 high performance prime lenses offer the widest set available: from the Ultra Prime 8R extreme wide angle lens to the best telephoto lens designed specifically for motion pictures, the Ultra Prime 180 mm, giving you the flexibility to get the coverage you want.
Ultra Prime
Close Focus1
Front diameter
AOV3
UP 8R/T2.8 T2.8 to T22 0.35 m / 14" 130 mm / 5.12" 134 mm / 5.3" 2.0 kg / 4.4 lbs 114.0°
UP 10 mm/T2.1 T2.1 to T22 0.35 m / 14" 143 mm / 5.63" 156 mm / 6.1" 2.9 kg / 6.4 lbs 102.1°
UP 12 mm/T2 T2.0 to T22 0.30 m / 12" 140 mm / 5.51" 156 mm / 6.1" 2.0 kg / 4.4 lbs 92.6°
UP 14 mm/T1.9 T1.9 to T22 0.22 m / 9" 112 mm / 4.41" 114 mm / 4.5" 1.8 kg / 4.0 lbs 82.6°
UP 16 mm/T1.9 T1.9 to T22 0.25 m / 10" 94 mm / 3.70" 95 mm / 3.7" 1.2 kg / 2.6 lbs 75.2°
UP 24 mm/T1.9 T1.9 to T22
0.3 m / 12"
91 mm / 3.58"
95 mm / 3.7"
1.0 kg / 2.2 lbs
UP 28 mm/T1.9
T1.9 to T22 0.28 m / 11" 91 mm / 3.58" 95 mm / 3.7" 1.0 kg / 2.2 lbs 48.4°
UP 50 mm/T1.9 T1.9 to T22 0.60 m / 2' 91 mm / 3.58" 95 mm / 3.7" 1.0 kg / 2.2 lbs 27.2°
UP 65 mm/T1.9 T1.9 to T22 0.65 m / 2' 3" 91 mm / 3.58" 95 mm / 3.7" 1.1 kg / 2.4 lbs 21.8°
UP 100 mm/T1.9 T1.9 to T22 1 m / 3'3" 91 mm / 3.58" 95 mm / 3.7" 1.2 kg / 2.6 lbs 13.9°
UP 135 mm/T1.9 T1.9 to T22 1.5 m / 5' 119 mm / 4.69" 95 mm / 3.7" 1.6 kg / 3.5 lbs 10.5°
UP 180 mm/T1.9 T1.9 to T22 2.6 m / 8'6" 166 mm / 6.54" 114 mm / 4.5" 2.6 kg / 5.7 lbs 7.9°
1) Close focus distance is measured from the image plane
2) Front to PL mount flange
3) Horizontal angle of view for an ANSI Super 35 Silent camera (aspect ratio 1:1.33, dimensions 24.9 mm x 18.7 mm / 0.98" x 0.74")
Depth of field Tables
Depth of field Tables (Meter)
Depth of field Tables (Feet)
A landmark year was 1937 with the design and construction of the first reflex mirror shutter camera, the ARRIFLEX 35.
A vibrant partnership for 75 years
ARRI and ZEISS
ARRI and ZEISS have been partners for three-quarters of a century, a cooperative relationship that is unmatched anywhere else in the film industry. Across every conceivable genre – comedy, documentary, action movies and computer-animated 3D productions – a long succession of masterpieces have been created, in Hollywood and elsewhere, with the cameras and lenses of ARRI and ZEISS. The script of this unique partnership has included some truly exciting moments in the history of filmmaking.
ARRI was born in 1914, when August Arnold and Robert Richter fitted an electric motor and an arc lamp of their own design to a hand-operated film projector. In 1917, the two inventors established the firm Arnold & Richter Cine Technik GmbH & Co Betriebs KG, or ARRI for short, based in the Türkenstrasse in the Schwabing district of Munich. Their major breakthrough came two decades later in 1937 with the Arriflex 35. This was the first movie camera in which the viewfinder showed the user the exact image being photographed, thanks to a mirror shutter developed by ARRI.
This milestone also marked the start of the partnership with ZEISS in Oberkochen; the developers from ZEISS designed the lenses for the new camera. At that stage, the camera could be fitted with three different lenses simultaneously. A special mechanism was provided to rotate the required lens into the shooting position. This enabled the camera operator to respond quickly to different situations, and the three most important focal lengths were immediately available.
August Arnold and Robert Richter working together on a grinding machine and lathe.
ARRI was born in 1914, when August Arnold and Robert Richter fitted an electric motor and an arc lamp of their own design to a hand-operated film projector. In 1917, the two inventors established the firm Arnold & Richter Cine Technik GmbH & Co Betriebs KG, or ARRI for short, based in the Türkenstrasse in the Schwabing district of Munich. Their major breakthrough came two decades later in 1937 with the Arriflex 35. This was the first movie camera in which the viewfinder showed the user the exact image being photographed, thanks to a mirror shutter developed by ARRI. This milestone also marked the start of the partnership with ZEISS in Oberkochen; the developers from ZEISS designed the lenses for the new camera. At that stage, the camera could be fitted with three different lenses simultaneously. A special mechanism was provided to rotate the required lens into the shooting position. This enabled the camera operator to respond quickly to different situations, and the three most important focal lengths were immediately available.
After the Second World War, the Arriflex 35 became an export winner, and ARRI, alongside ZEISS, emerged as an international player in the film industry. The first Hollywood film that was shot with this camera was Dark Passage in 1947, starring Humphrey Bogart and Lauren Bacall. A characteristic feature of this film was the use of images as seen from the point of view of the protagonists. This required a camera that could go wherever the actors went, making the compact Arriflex 35 with its mirror shutter the perfect choice.
Humphrey Bogart and Lauren Bacall in Dark Passage, released in late 1947.
The 1950s were a period of continuous expansion and new activity for ARRI. In the Maxvorstadt district of Munich in particular, the company built film workshops, a large movie theater, a color copying factory and production plants for cameras, development and copying machines, as well as cinematographic accessories of all kinds. The Arriflex, as the cornerstone of the company's success, has also changed with the times, with a constant succession of further enhancements that continues to this day. The Arriflex has been fitted with digital control electronics since the 1990s, and more recent models, starting with the ARRICAM from 2001, have been equipped with state-of-the-art software that allows the programming of running speeds and optical settings. Today, ARRI is recognized as the market leader in the international movie industry. Of the 300 professional movie cameras that are manufactured each year, 220 are made by ARRI.
Cine lenses have also always had to meet the highest standards, given that images created on the small surface area of a 35mm film or a digital sensor are magnified up to 1,000 times when shown on a large screen in a movie theater. Dr. Winfried Scherle, Senior Vice President of the Camera Lens Division of Carl Zeiss AG, says, "Lenses for motion picture productions have always facinated me. It is a real challenge to make the performance of the lenses so good that an image taken on a detail the size of a finger nail later appears on the large screen the size of a house."
Achieving this requires not only a very high-performance camera, but also lenses with outstanding imaging power – a combination that the partners have continued to perfect over time. ZEISS now develops and produces a wide range of lenses exclusively for ARRI, specifically used for making movies. All of these lenses have outstanding image quality, sharpness of detail and color fidelity. The Ultra Prime range of ARRI/ZEISS lenses now comprises a total of 16 focal lengths, the most extensive spectrum currently available in the cinematographic sector. In addition, the extremely fast Master Prime and Master Zoom lenses open up unprecedented expressive possibilities for cinematographers.
The outstanding diversity and recognised superior quality of ARRI cameras in combination with ZEISS cine lenses make them the technology of choice on international film sets for discerning cameramen and producers. Numerous legendary and recent prize-winning films such as The King's Speech, The Lord of the Rings and James Bond »Skyfall« have been shot with this highly successful combination. "It is always impressive to see what works of art have been created with our technology," says Scherle. According to the leading German cameraman Michael Ballhaus, who shot some of the films of Rainer Werner Fassbinder (The Marriage of Maria Braun) and Martin Scorsese (The Departed). "With ARRI cameras and the lenses of ZEISS, what I see in the camera will be exactly what the viewers will see on the screen."
Stanley Kubrick on the set of The Shining.
Authentic images were also the order of the day for star director Stanley Kubrick when shooting his masterpiece Barry Lyndon, released in 1975. Kubrick's film version of William M. Thackeray's novel aimed to give the audience a living experience of the atmosphere of Baroque painting and music. For Kubrick, this meant above all replicating the light conditions of the time, long before the invention of the incandescent bulb. After being told by all the camera specialists that this was impossible, Kubrick heard that ZEISS had an extremely fast lens, the Planar f0,7/50mm with a maximum aperture of f/0.7, which had been developed for NASA for taking shots on the moon. Using this lens, Kubrick proceeded to shoot all the interior scenes for Barry Lyndon by candlelight – a genuine sensation in 1975. And as his camera, Kubrick used an Arriflex 35 BL, a further enhanced version of the legendary camera dating from 1937.
More than 40 Hollywood films that have been shot with ARRI/ZEISS lenses have won Oscars. But it is not only their creative power that has been awarded. The lenses originating from the partnership between ARRI and ZEISS have also won three "technical Oscars". Recently, the designers of the Master Prime range of lenses picked up the 2012 Scientific and Engineering Award (Academy Plaque®) of the Academy of Motion Picture Arts and Sciences®. This is the industry's highest distinction for filming technology.
Today, as 75 years ago, ARRI and ZEISS continue to set new standards in the film industry in terms of performance excellence and innovative technology. This can be attributed to their determination, passion and mutual trust, which have proved to be the key success factors in their long, innovative and extremely fruitful partnership. For locations and more information, visit: www.arri.com
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Posts Tagged 'Vance v. Ball State'
Richard Epstein: "The Myth of a Pro-Business SCOTUS"
Left-leaning lawprofs like Erwin Chemerinsky and Arthur Miller regularly flog the idea that decisions they disagree with — such as Twombly and Iqbal on pleading, AT&T v. Concepcion and AmEx v. Italian Colors on arbitration, and Vance v. Ball State and Ledbetter v. Goodyear Tire on workplace liability — show the Supreme Court to be biased in favor of business defendants. Richard Epstein rebuts.
Filed under: arbitration, Lilly Ledbetter, pleading, Richard Epstein, Supreme Court, Vance v. Ball State
Vance v. Ball State: the press miscoverage begins
There's an awful lot of — well, confusion is one way to put it — in the early commentary on yesterday's Supreme Court case Vance v. Ball State, on the scope of supervisorial liability in harassment cases. Here's Jeffrey Toobin writing in The New Yorker:
As in Ledbetter, it was a vote of five-to-four, with the Republican appointees in the majority and the Democratic appointees in dissent. In Vance v. Ball State University, the Court narrowed the definition of "supervisor." This is important because plaintiffs can win in Title VII cases only if they suffer discrimination from a supervisor, not from a peer in the workforce.
If "discrimination" is read to include "harassment," as the law does in fact read it, this is simply untrue. Here is the second sentence of the syllabus of Vance (which is word-for-word identical with the third sentence of Justice Alito's majority opinion):
If the harassing employee is the victim's co-worker, the employer is liable only if it was negligent in controlling working conditions.
And here is Justice Ruth Bader Ginsburg on page 4 of her dissent stating the same standard, unchanged by the opinion:
if the harassing employee is a co-worker, a negligence standard applies. To satisfy that standard, the complainant must show that the employer knew or should have known of the offensive conduct but failed to take appropriate corrective action.
There are many miles of difference between "you can't win," which is how Toobin chooses to summarize the current right to seek damages for co-worker misconduct, and "you can win but you need to show employer negligence," the more accurate way to summarize it.
Nor is Toobin the only one to make this mistake. An error-strewn U.K. Guardian opinion story reacting to the case asserts (to quote its subheadline) that "the US supreme court has ruled that job harassment only counts if it's from a 'supervisor'." That's flatly untrue, for the reasons above. Author Jason Farago also swallows whole the sharply disputed contentions of misconduct leveled by the plaintiff in the Ball State case, although no level of the court system appears to have done so; a trial court found Vance's treatment "neither sufficiently severe nor pervasive to be considered objectively hostile for the purposes of Title VII" and neither the Seventh Circuit nor the Supreme Court elected to reach that issue. Indeed, Justice Ruth Ginsburg in her dissent chooses to illustrate the feared impact of the new rule by reciting details of other cases that could be affected, as opposed to Vance's.
Admittedly, it's not easy to stay on top of the details of a law as complex as Title VII, and we all make honest mistakes. But when given the choice between risking dullness by accurately describing the actual state of the law, and embellishing a tale of conservative insensitivity so as to inflame their left-leaning readers, Toobin and Farago appear to have a head start on that old bit of advice, "print the legend."
Filed under: Jeffrey Toobin, media bias, Vance v. Ball State


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We can always count on Rachel Green — er, I mean Jennifer Aniston — to bring our favorite '90s fashion staples back into the spotlight, and she did just that while arriving to Jimmy Kimmel Live. The actress strolled up to the studio in LA wearing a pair of dark maroon combat boots that instantly reminded us of the good ol' days spent in flannel shirts and band tees.
Her shoes laced up the front and had chunky soles reminiscent of Dr. Martens, but they also featured ribbed panels on the sides for a modern flair. They're certainly a far cry from her usual strappy heels and comfy sneakers, which is exactly why we're so in love with 'em.
The Dumplin' actress went the monochromatic route with the rest of her outfit, simply pairing her cool-girl boots with a plain black top, leather pants, long coat, and crossbody bag. Keep reading to see Jennifer's rainy-day-approved look and shop similar '90s-inspired boots for yourself.


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Tag: American Horror Story
Farmiga to Play Multiple Roles in 'AHS: Apocalypse'
Horror Movies and TV Shows Sean McLaughlin - August 24, 2018 0
It looks like Taissa Farmiga will be pulling double-duty on the upcoming season of American Horror Story! According to Entertainment Weekly, Farmiga (The Nun) will be following in co-star Jessica Lange's footsteps...
The Coven is Back Together in New 'American Horror Story' Reunion Photo
Horror Movies and TV Shows John Evans - August 20, 2018 0
Ryan Murphy just made a legion of American Horror Story: Coven fans happy! To hype up the upcoming premiere of American Horror Story: Apocalypse, the prolific showrunner took to Twitter to share a reunion photo...
Ryan Murphy Announces Return of 5 Fan-Favorite Actresses in 'American Horror Story: Apocalypse'
Horror Movies and TV Shows John Evans - August 7, 2018 0
As we near closer to the premiere of American Horror Story: Apocalypse on FX, the details of the series' returning stars just keeps getting better and better! Just four days ago, we learned...
Jessica Lange is Back for 'American Horror Story' Season 8… and 'AHS' will be Back for Season 10
American Horror Story's eighth season may be called Apocalypse... but today's news makes it seem like a better title may be Rebirth! In just one day, we've learned that fan-favorite and original star of...
Title Revealed for Season Eight of 'American Horror Story'
Horror Movies and TV Shows John Evans - July 20, 2018 0
We've known for some time now that the eighth season of FX's American Horror Story would feature a crossover between the Murder House and Coven seasons; but today's reveal could mean that the upcoming season may...
Season 8 of 'American Horror Story' to Return in Early September
Horror Movies and TV Shows John Evans - June 28, 2018 0
Good news hit the internets today for American Horror Story fans who can't wait for the upcoming Murder House/Coven crossover: we'll still be sporting our summer tans by the time the first episode airs! Accompanied by...
Upcoming Season of 'American Horror Story' to Feature a Crossover
Horror Movies and TV Shows Rob Caprilozzi - June 15, 2018 0
American Horror Story showrunner Ryan Murphy announced on Twitter that the next season of the show will be a crossover between season one's Murder House and season three's Coven. https://twitter.com/MrRPMurphy/status/1007361446093586432 Murder House, the inaugural...
Billie Lourd to Return in 'American Horror Story' Season Eight
Horror Movies and TV Shows John Evans - May 20, 2018 0
Billie Lourd fans were certainly disappointed when her first Ryan Murphy horror series, Scream Queens, was prematurely cancelled after just two seasons... but it looks like she's found a permanent home on Murphy's other...