The Historical Marker's location is located at Whitman Street entrance.
In 1922 the Yeppoon Sports Committee announced that they had acquired 2¼ acres of land at a cost of £445.
The original town plan for Yeppoon was drawn up prior to the first land sale in 1873. As with many other Queensland town plans, the focus was on the size of allotments and the layout of streets and roads. No provision was made for the allocation of land for any public facilities such as sporting grounds. As Yeppoon grew, land suitable for recreational use diminished and this concerned the sporting fraternity.
With this in mind, in 1921 the secretary of the Yeppoon Football Club pointed out that the only available land left for a sporting ground was part of the Whitman Estate. In 1922 the Yeppoon Sports Committee announced that they had acquired 2¼ acres of this land at a cost of £445. Trustees were appointed including long-time local identity James Edgar Stevenson (1867-1946) as Chairman. The trustees requested the Lands Department close that part of Whitman Street which divided the land.
The Yeppoon Tennis Club was the first to make use of the new sports ground, constructing tennis courts in 1922. Other clubs followed and the area proved to be a popular venue for many local sporting events, becoming unofficially known as "The Footy Ground".
Financing the upkeep of the grounds was never an easy matter for the trustees and they fell behind with payment of council rates. From 1929 onwards there was a push for the Council to assume responsibility for the provision of a sports ground for the people of Yeppoon. Eventually in 1942 the Livingstone Shire Council purchased the land from the Sports Committee for £288/17/6. Council subsequently officially named the ground "Stevenson Park" in recognition of the commitment given by James Edgar Stevenson and members of his family.
In 1943 Stevenson Park was extended when an area exceeding 10 acres (33 allotments) was generously donated by Mrs Ida Burnett, greatly enlarging the size of the grounds. In ensuing years, additional blocks were acquired and others sold to improve the suitability of the land as a sporting venue.
The Yeppoon and District Improvement League had held a festival in 1953 and in 1954 moved the event to Stevenson Park. They were given permission to make improvements to facilities in 1954 and in 1955 held a festival that is now recognised as the first Yeppoon Show.
The Yeppoon and District Agricultural Society was formed at a public meeting in August 1955 to take over organisation of future shows. The Society continues to lease Stevenson Park from Livingstone Shire Council and sub-leases portions to other community groups and sporting bodies, including a local cricket club which has used Stevenson Park since the early 1920s.
2. Map showing the initial land purchase, 1922.
4. Present configuration of allotments making up Stevenson Park.


text:
Q: How to get value of specific key from resource file in ASPNET Core? I wanna get value of a key in resource (.resx) file in .net core API. I followed the marked answer and implemented in my code. But When I am fetching value by key then only Key name is coming.
The linked is below which I followed :
How to get the .resx file strings in asp.net core
Please help me for this.
Thanks

A: Here is a working example , you could refer to :
Startup.cs
public void ConfigureServices(IServiceCollection services)
    {
        var connection = @"Server=(localdb)\mssqllocaldb;Database=WebAPIDbContext;Trusted_Connection=True;ConnectRetryCount=0";
        services.AddDbContext<RestaurantContext>(options => options.UseSqlServer(connection));

        services.AddLocalization(o => o.ResourcesPath = "Resources");

        services.AddMvc()
            .AddViewLocalization(LanguageViewLocationExpanderFormat.Suffix)
            .AddDataAnnotationsLocalization()
            .SetCompatibilityVersion(CompatibilityVersion.Version_2_2);
    }

    // This method gets called by the runtime. Use this method to configure the HTTP request pipeline.
    public void Configure(IApplicationBuilder app, IHostingEnvironment env)
    {
        if (env.IsDevelopment())
        {
            app.UseDeveloperExceptionPage();
        }
        else
        {
            // The default HSTS value is 30 days. You may want to change this for production scenarios, see https://aka.ms/aspnetcore-hsts.
            app.UseHsts();
        }

        //Request Localization
        //var options = app.ApplicationServices.GetService<IOptions<RequestLocalizationOptions>>();
        //app.UseRequestLocalization(options.Value);

        var supportedCultures = new[]
       {
            new CultureInfo("en-US"),
            new CultureInfo("zh-cn"),
        };

        app.UseRequestLocalization(new RequestLocalizationOptions
        {
            DefaultRequestCulture = new RequestCulture("en-US"),
            // Formatting numbers, dates, etc.
            SupportedCultures = supportedCultures,
            // UI strings that we have localized.
            SupportedUICultures = supportedCultures
        });

        app.UseHttpsRedirection();
        app.UseMvc();
    }

Controller
private readonly IStringLocalizer<SharedResource> _sharedLocalizer;
    public ValuesController(IStringLocalizer<SharedResource> sharedLocalizer)
    {
        _sharedLocalizer = sharedLocalizer;
    }

    // GET api/values/5
    [HttpGet("{id}")]
    public ActionResult<string> Get(int id)
    {
        var value = _sharedLocalizer["Title"];
        return "value";
    }

Resource file path

Note : the namespace of SharedResource.cs should be the root of application
namespace RestaurantReviewApi
{
  public class SharedResource
  {
  }
}

Request url : https://localhost:44318/api/values/3?culture=zh-cn
The screenshot of result :

Reference : https://learn.microsoft.com/en-us/aspnet/core/fundamentals/localization?view=aspnetcore-2.2

redpajama_set_name: RedPajamaStackExchange


text:
/* -*- Mode: C; tab-width: 4; c-basic-offset: 4; indent-tabs-mode: nil -*- */
/*
 *     Copyright 2018-2019 Couchbase, Inc.
 *
 *   Licensed under the Apache License, Version 2.0 (the "License");
 *   you may not use this file except in compliance with the License.
 *   You may obtain a copy of the License at
 *
 *       http://www.apache.org/licenses/LICENSE-2.0
 *
 *   Unless required by applicable law or agreed to in writing, software
 *   distributed under the License is distributed on an "AS IS" BASIS,
 *   WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 *   See the License for the specific language governing permissions and
 *   limitations under the License.
 */

#ifndef LIBCOUCHBASE_RND_H
#define LIBCOUCHBASE_RND_H 1

#include "config.h"
#include <libcouchbase/couchbase.h>

#ifdef __cplusplus
extern "C" {
#endif

LCB_INTERNAL_API lcb_U32 lcb_next_rand32(void);
LCB_INTERNAL_API lcb_U64 lcb_next_rand64(void);

#ifdef __cplusplus
}
#endif

#endif

redpajama_set_name: RedPajamaGithub


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A new study that highlights how Rx plans should be structured in order to get best buy-in from employees. .
Prepare yourself. Lots of questions coming.


text:
Vulcanella cribrifera är en svampdjursart som först beskrevs av William Johnson Sollas 1888.  Vulcanella cribrifera ingår i släktet Vulcanella och familjen Pachastrellidae.

Artens utbredningsområde är havet utanför Kap Verde. Inga underarter finns listade i Catalogue of Life.

Källor

Horn- och kiselsvampar
cribrifera

redpajama_set_name: RedPajamaWikipedia


text:
Small, thick, and slow: Thinking about data and research publication in the Humanities in the age of Open and FAIR by Daniel O'Donnell
We often speak about "Scholarly Communication" as if it is a single enterprise. This is despite our experience, which suggests that every (sub)discipline has different understandings about almost every part of the process: from the value of journals, to the function of referees, to the very point of publication.
This is particularly true of the Humanities, which often seem like a complete outlier when it comes to many core aspects of modern networked research communication. They have different monopolistic presses, can be even more difficult to capture using standard bibliometric tools, and, perhaps most importantly, can have completely different understandings as to the purpose and nature of their major processes and elements.
In this paper, I look particularly at the question of data and their relation to research publication in the Humanities. I argue that at least some types of traditional humanities data are quite different from those dominant in other disciplines, and that the failure to recognise this has prevented us from fully understanding the strengths of traditional approaches to research in these disciplines.
I conclude by discussing an approach to the publication and citation of data in the Humanities that attempts to account for these differences and make it easier to incorporate traditional research in "big data" approaches to aggregation and reuse.
View presentation here
Daniel O'Donnell
Little Kids, Big Business on Social Media by Alexandra Ruiz-Gomez
Sharentng (parents sharing content and images of their children digitally) has become normalised behaviour on social media and a worldwide phenomenon (Blum-Ross & Livingstone, 2017; Leaver, 2015). The purpose of this research is to explore 'sharenting' practices as a means to launch ordinary kids to social media fame on Instagram. Why Instagram? It is the most under-explored SNS (social networking site) and the most popular platform amongst millennial parents. New parents, and millennial mums in particular, are considered to be responsible for the lion's share of sharenting (Marasli, Sühendan, Yilmazturk, & Cok, 2016; Le Moignan, Lawson, Rowland, Mahoney, & Briggs, 2017).
Although popular media increasingly reports on the growing number of parents that share their kids' content as their ticket to potential fame (Leaver & Abidin 2017), little academic research has explored sharenting driven by parents' aspirations of social media influencer status and monetisation. In this type of sharenting, ordinary parents deliberately design and share content of their children targeting large audiences of strangers. Stories of successful kid influencers appear frequently in popular media feeding the perception that fame is attainable. Even though not all kids will achieve star status, this does not seem to stop parents from chasing digital fame for their kids.
Can anyone turn their kids into social media stars? What attention-seeking practices are parents using to capture eyeballs on Instagram from strangers? How do parents package their children's lives for public consumption? What are the practices behind the accounts of successful kid influencers and how do these differ from other fame-seekers who never get any meaningful attention?
In sum, this study hopes to shed further light on the different practices carried out by parents driven by digital fame and fortune who share the lives and images of their children with strangers.
Alexandra Ruiz-Gomez
Intimate relationships, technology and abuse: What gender-based violence can teach us about protecting women online by Megan Lindsay Brown
Intimate partner violence (IPV) is a persistent global issue impacting the safety and well-being of individuals, primarily women and girls. In the United States, one in three women and one in four men report experiencing some form of IPV in their lifetimes (Black et al., 2011). Further, 55% of the total homicides of women in the United States are perpetrated by an intimate partner or an ex-intimate partner (Jack et al., 2018); and globally more than one-third of female homicide victims are killed by an intimate partner (Stöckl, Devries, Rotstein, Abrahams, Campbell, Watts, & Moreno, 2013). Recent developments in technology have brought about concerns regarding privacy, access to personal information, and the use of technology within abusive relationships. The most dangerous and persistent forms of violence rely on coercive control for instigating and maintaining a position of power within the relationship (Stark, 2009). Recent research developments show that an alarming pattern of everyday information communication technologies (i.e., mobile phones and social media) are being weaponized by abusers to further coercive control tactics (Dragiewicz, 2018). Using Johnson's typologies of IPV as a framework, this talk will explore ways to differentiate types of technology-based abuse. The talk will include exploratory quantitative data, qualitative interviews, and past research that has highlighted the unique risks of women face online. Given the high-risks for IPV survivors, some have suggested going offline in order to remain safe. Discussion will include shifting the focus back toward the publics' accountability for online publics, the responsibility of perpetrators, and why survivors need to access to a broader community and the ability to seek help online.
Megan Lindsay Brown, MSW, PhD is a Research Assistant Professor at Arizona State University in the School of Social Work. During her doctoral studies Brown's research focused on the use of information communication technologies (ICT) and the impact of mediated spaces on human development, specifically young adult women. Her work has examined young adult dating relationships, online harassment, and interventions for intimate partner violence including online safety planning. Currently, her research is focused on the ways digital cultures shape and influence continued
gender-based violence, sexism, and intimate partner abuse.
Megan Lindsay Brown
The role of Universities in the growth of Shenzhen's digital creative economy by Yao Cao
Shenzhen is a fast-growing city in southern China which has achieved remarkable digital economy performance. Over the past 40 years, the city has transformed from a rural village to a world-class megapolis. This project investigates relationships between universities and the digital creative economy in Shenzhen. This talk will introduce an initiative implemented by the Shenzhen government: 'Shenzhen Virtual University Park' (SZVUP), reporting on data gathered in Shenzhen and through interviews conducted with relevant stakeholders. Drawing on the triple helix theory (Leydesdorff & Etzkowitz, 1998; Ranga & Etzkowitz, 2015) and boundary spanning literature (Comacchio, Bonesso, & Pizzi, 2012; Lundberg, 2013), the project examines the main players in SZVUP: universities, industry and government. The project places particular emphasis on the role that boundary spanning individuals and institutions are playing in the development of SZVUP. It concludes with the identification of SZVUP as an innovative model for the utilization of knowledge, talent, connections and resources of universities using the triple helix approach. The project highlights the synergy between boundary spanning individuals and institutions in the triple helix dynamics.
Cao Yao is a PhD candidate in MACASI, and her research focuses on the interaction between the 'higher education' and the 'digital creative economy' in Shenzhen, China. She is particularly interested in understanding the impact of Universities on entrepreneurship and innovation in the creative industries.
Yao Cao
Feminist Digital Visual Posthumanism: One Theory by Katie Warfield
Feminist new materialism (Phematerialism) is a movement within the material turn that seeks out a tracing of the specifically fem-inal (not semin-al) (Ringrose, Warfield, Zarabadi, 2018). genealogies of theorizing the material in a more-than-discursive period. This traces the origins of Phematerialism through key feminist materialists theorists Rosi Braidotti, Donna Haraway and Karen Barad along with queer materialist theorists Deleuze and Guattari. The talk will address issues around the "newness" of new materialism by examining de-colonial theories and indigenous writings on the material turn. We examine and review the ontological origins of core concepts in Phematierialism for instance (but not a comprehensive list): posthumanism, anthropocentrism, rhizomes, nomadic thinking, post-representationalism, decentered subjectivities, affect, diffraction and intra-action, onto-ethics, immanence, becoming, string figures, and speculative fiction. This talk then moves to introduce one of many feminist posthuman visual methods for studying digital phenomena: reading the cuts and explains how a posthuman visual method differs from a classic qualitative visual method.
Katie Warfield is a distinguished scholar at Kwantlen University and a faculty member in the Department of Journalism and Communication. She is also the director of the Visual Media Workshop, a research center on digital visual culture. Her recent writings have appeared in New Media and Society, Social Media + Society, Feminist Media Studies, Language and Literacy. She has co-edited the books Feminist Posthumanisms, New Materialisms and Education (Taylor and Francis) and Mediated Interfaces: The Body on Social Media (Bloomsbury). She teaches classes in communication theory, popular culture, discourse theory, media and diversity, visual methods, and social media. Her research is located at the intersection of post-phenomenology, new materialism, digital literacy, and gender theory.
View the presentation here
www.thevisualmediaworkshop.com
www.makingselfiesmakingself.com
Katie Warfield
The Sky is Falling Upon Us: Cinematic Vision and the Flesh of the World by Kirsten Hudson and Antonio Traverso
This presentation enacts a chiastic cinematic tale of fleshy celestial and human bodies. It applies film phenomenology and structural film methodology to an engagement with a series of recent documentaries from around the world, which seek to visualise both material and imagined connections between the human lifeworld and the perceptible celestial domain. These films, it is proposed, challenge the disciplining of gesture and perception through the activation of an aesthetics of sensation that questions hegemonic regimes of visuality, which is expressed in the affective methods the films use as they seek to 'touch' an audience. We seek to undermine the presentation's chiastic structure through a poetics of the chiasm or intertwining, which disturbs the binaries and encourages the perception of an encroachment between the viewing and the viewed. Within this borderless cinematic vision, the sky is always upon us, as we are 'enfleshed' within it with all our violence, indifference, and sentient beauty.
Kirsten Hudson is a trans-disciplinary artist and writer, and a Screen, Photography and Cultural Studies academic at Curtin University, and her research focuses on the philosophies, histories, and materialities of the body.
Antonio Traverso is Senior Lecturer in Screen Studies at Curtin University, and his research focuses on experimental and political cinema, film philosophy, and memory and trauma studies.
There is no recording of this presentation.
(Image credit: Meteors by Gürcan Keltek, 2017)
What does the internet world of Chinese teenagers look like?
This group of children's Internet problem researchers from China, with an average age of 10 years, use their own eyes to find problems around them. They researched the questions below between schools and classmates and gave their answers personally. They are called Children Research Officers (CRO). This time, the questions they studied include:
1. Do you think the underage youths should or should not make friends in the game?
2. What are the differences between online learning and offline learning?
3. Do you have conflicts with your parents because of using electronic products?
4. Do you think it is suitable for children spending time on short videos?
They have already delivered a speech at the Children's Internet Conference (YIGFCN) with their own reports in China. They come to Curtin University this time, with their research findings, and look forward to having meaningful communication with you here!
Members of China Children's Palace
Beyond Translation: Chinese online translation communities and cultural 'Newness' by Yaoxia Zhu
In China, translation, and translation practices have undergone considerable and rapid change over the past decade: translation is set apart from its predecessors by internet mediation and the emergence of UGT (user-generated-translation). The practice of UGT embodies distinctive features in its selection of content, strategies and objectives, as well as the translators' subjectivity and their co-constitutive relationship with technology.
Translation and dialogue figure prominently in the 'semiosphere', a concept introduced by the Russian semiotician Yuri Lotman. Lotman holds that translation and dialogue activate the semiotic exchanges between inter-cultural and cross-cultural systems, thereby leading to cultural changes and evolutions. Thus, how translation produces, mediates and transforms the relational encounters within and between groups, cultures and systems will shed light on the dynamics of culture.
Using case studies of three Chinese online translation communities, this research examines the operation and dynamics of this current translation phenomenon. By examining the shifting relationships between the forces of globalization, government policies, technology, models of traditional translation practice, and participatory citizenship, it presents a comprehensive contextual analysis. The research argues that user translation communities in China have become an important driving force behind cultural newness in the digital age.
Yaoxia Zhu is currently a lecturer in Zhejiang University of Media and Communications and a PhD candidate of CCAT of Curtin University. With a Master degree in foreign languages and literature, she has a keen interest in translation, linguistic studies, and cultural studies. Through the PhD project, she has broadened her research scope by incorporating other disciplinary discoveries from cultural semiotics, cultural science, media studies and humanities.
Yaoxia Zhu
CCAT YouTube Channel

redpajama_set_name: RedPajamaCommonCrawl


text:
Justia Patents Three-dimensionUS Patent for Vision system computer modeling apparatus including interaction with real scenes with respect to perspective and spatial relationship as measured in real-time Patent (Patent # 6,690,370)
Vision system computer modeling apparatus including interaction with real scenes with respect to perspective and spatial relationship as measured in real-time
Jan 23, 2003 - GeoVector Corp.
Vision systems for use in modeling an environment or scene are presented. A user views a scene through an electronic camera and is presented with CAD type functionality for creating graphical representation of the addressed scene. The apparatus having knowledge of where it is with respect to objects being addressed and with respect to where it has been previously, the model perspective and size can be continuously updated to reflect the presend view of the scene in real time as the camera addresses from any point in space.
Latest GeoVector Corp. Patents:
Maintenance and Security Guide
Photographer's guidance systems
Information systems having position measuring capacity
Augmented reality vision systems which derive image information from other vision system
This is a continuation of application Ser. No. 08/482,944, filed Jun. 7, 1995, now U.S. Pat. No. 6,535,210.
This application continues from U.S. application Ser. No. 08/482,944, filed Jun. 7, 1995, presently pending. These inventions are generally concerned with computer vision systems and specifically concerned with computer vision systems combined with computer aided design facilities.
The following disclosure is presented with the assumption that elements of computer aided design are well known to the reader. Texts explaining the current state of that are available from various sources, but those relating to AutoCad® may be particularly helpful. No attempt is made here to explain the details of implementing computer models with software except as it relates to the new arraignment presented.
Vision systems which combine electronic cameras with computers to perform image functions are described in various texts including co-pending patent applications of the present inventors having series 08 Ser. Nos.: 119,360; 270,911; 355,710; 335,940; 335,912; 411,299; 307,360.
It should be understood that all of the herein referenced provide considerable definition of elements of the present invention. Therefore, those materials are incorporated herein by reference whereby the instant specification can rely upon them for enablement of the particular teachings of each.
Computer aided design and modeling techniques are useful in various fields. Commonly referred to as CAD or computer aided design, an electronic computer can be used to model devices, objects or environments. Changes to the model are easily made and a great number of variations might be tried before arriving at a final desired result. Examples of uses of CAD include: by architects for buildings proposed to be built, or by automobile designers for cars proposed to be manufactured. A designer may start from a conceptual idea, a photograph, an artist drawing or other medium. From that initial idea or representation, a designer may construct on a computer, a model. A model consists of a plurality of individual graphical objects each having some correspondence to some real object. A photograph suggests to the CAD designer how particular features of the subject may look and give hints to how they might be implemented in a graphical representation. With advanced computers, it is even possible for the photograph to be scanned into an electronic image and combined with the CAD drawing, thereby facilitating formulation of a more accurate model. Converting real world objects into a computer model is of great interest to CAD designers as it provides very sophisticated designs in early stages of development.
Novel techniques have been discovered which provide very specialized uses of vision systems, and in particular as they may relate to computer aided modeling and design. While the systems and inventions of the prior art are designed to achieve particular goals and objectives, some of those being no less than remarkable, these inventions have limitations which prevent their use in new ways now possible. These prior art inventions are not used and cannot be used to realize the advantages and objectives of the present invention.
It is now first presented here, inventions of vision system computer modeling apparatus including devices for creating computer models of real scenes. It is a primary function of these systems to provide means and method for computer modeling or real objects. It is a contrast to prior methods and devices that known systems do not interact with real scenes with respect to perspective and spatial relationships as measured in real-time. A fundamental difference between the computer modeling apparatus of these instant inventions and those of the art can be found when considering its interaction and spatial relationships with respect to scenes being modeled.
An electronic imaging system combined with a computer aided design system and in communication with position, attitude, and optionally range measuring devices forms vision system computer modeling apparatus of these inventions. These vision system computer modeling apparatus are operable for addressing real scenes from some user chosen point-of-view, or perspective. The model presented at a display as a two-dimensional image has associated therewith a perspective which relates to a perspective of the three-dimensional real scene being modeled. The model as presented to a user is continuously responsive to changes in perspective. When the imaging system is moved such that the perspective of the scene changes, the perspective of the model similarly and correspondingly changes as well. This is accomplished via measurements of position and attitude of the apparatus with respect to the scene being addressed.
Tools and principles of computer aided design can be combined with real time continuous imaging systems to result in sophisticated modeling instruments. As it is readily possible to measure spatial information including position, attitude and range of the imaging system with respect to scenes being modeled, these data can be used to better create advanced models with great accuracy with respect to the real world.
For illustration by example, the combination of a computer running CAD software; a camcorder electronic camera; and position and attitude measuring apparatus forms the foundation of these systems.
Using such a system, a model designer may view a scene in real time and construct a model of the scene as it is viewed. Computer graphical objects can be created and associated with attributes of the real scene. In particular, the graphic objects and their nodes can be indexed to the real position and orientation of objects and features of objects they represent. As the camera is moved about the scene, i.e. to a new perspective, so can the appearance and perspective of the graphical objects in the computer model in a fashion which corresponds to the way real objects would be imaged from the new camera position. By combining computer aided design with real time electronic cameras and position, attitude and range measuring systems, a novel and powerful modeling system is realized.
These inventions thus stand in contrast to methods and devices known previously. The invention is a computer modeling apparatus with live real-time images and position and attitude measurement devices which relate the computer model to the scene being modeled in proper perspective for all relative positions of the apparatus with respect to the scene. Presently CAD systems are typically computer workstations with the ability to scan photographs and other graphics which may relate to a scene being modeled. The position and orientation of the workstation has nothing to do with the models residing within the computer.
It is a primary object of the invention to provide vision system computer modeling apparatus.
It is additionally an object of the invention to provide computer aided design apparatus whose models are responsive to the position and attitude of the apparatus with respect to the scene being modeled.
It is an object of the invention to provide apparatus comprising the combination of a computer aided design system, an electronic camera, position and attitude measuring apparatus and optionally, ranging apparatus.
A better understanding can be had with reference to the detailed description of Preferred Embodiments and with reference to the appended drawings. These embodiments represent particular ways to realize the invention and are not inclusive of all ways possible. Therefore, there may exist embodiments that do not deviate from the spirit and scope of this disclosure as set forth by the claims, but do not appear here as specific examples. It will be appreciated that a great plurality of alternate versions are possible.
These and other features, aspects, and advantages of the present invention will become better understood with regard to the following description, appended claims and drawings where:
FIG. 1 is line drawing of objects having a certain spatial relationship;
FIG. 2 is a different view of the same scene;
FIG. 3 shows a close-up and normal view at once;
FIG. 4 shows a resizing operation;
FIG. 5 shows a scene space geometry;
FIG. 6 shows a top view of that same geometry;
FIGS. 7 and 8 illustrate line elements generated from various positions;
FIGS. 9, 10, 11, and 12 show the side of a building being modeled;
FIG. 13 is a flow diagram for a modeling method; and
FIG. 14 is a system block diagram.
PREFERRED EMBODIMENTS OF THE INVENTION
In accordance with each of the preferred embodiments of these inventions, there are provided apparatus for creating a computer model of a scene where the model is responsive to the position and attitude of the apparatus. It will be appreciated that the apparatus of one preferred embodiment may be different than the apparatus of another embodiment. Many alternatives and versions may exist for various components of these systems. Adoption of certain variations can be made without deviation from the true spirit of the invention. The scope of the following disclosure should not be limited to the example elements chosen here for illustration. The scope of the invention is set forth by the appended claims. The following examples are considered by the inventors to be the best of many possible modes of executing these inventions.
To realize an apparatus of these inventions, one may combine: 1) a camera; 2) a computer, and 3) position and attitude measuring devices.
Real-time electronic digital video is available by way of common CCD type electronic cameras. Hand held camcorders can be battery powered and highly portable. They allow a user to view some real scene at a display device, for example a liquid crystal display device. In addition, they are particularly well suited for the present subject as the digital signal they produce is compatible with computer processing operations.
Computers use similar liquid crystal displays for user interface. The images computers generate therefore are compatible with presentation on those devices. Therefore the combination of electronic cameras and computers is facilitated by the common display format. Very advanced design software is now available having graphical modeling capabilities. CAD methodology permits graphical objects to be manipulated in a great plurality of ways so that they may represent real objects in a computer model. These present inventions therefore can most simply be described as the combination of a real-time electronic camera with a computer running CAD type modeling software.
A user may address some real scene by pointing the camera there towards from a fixed position. Where a computer is connected to the camera and is running CAD software, a user may create a model of the real scene as it is viewed.
A careful reader will realize that models created with such a system would necessarily be specific to a certain perspective. For this reason, the system computer is preferably arranged to be in communication with position and attitude determining devices. If the device is moved, then the perspective of the real scene necessarily changes. To account for this change in the model, the computer mathematically determines a new perspective for the objects of the model by applying rotation, scale, translation algorithms which are responsive to the camera's new position such that the perspective of the model continuously updates in accordance with the true perspective of the real scene.
For example, a camera is addressing a scene, FIG. 1, of a box (11) five meters in front of the camera and a ball (12) five meters further in the same direction. If the camera is moved toward the scene, FIG. 2, the objects in the foreground, the box (21), would appear in the display to increase in size at a greater rate than those in the background, the ball (22). Given sufficient views of the objects in question, the apparatus would have sufficient data to recall a model of a cube (33) and a sphere (34) to match to the box (31) and the ball (32). The recalled models would then be scaled and oriented by the user or the apparatus itself, and placed so that the models (43, 44) coincided with the real objects (41, 42) as is shown in FIG. 4.
For the computer to properly size the two objects it may be required to re-size "stretch" the objects, either manually or automatically via image recognition for example, to fit the new size of the corresponding real box and ball. After such manual re-sizing, the computer could estimate via a triangulation routine the relative positions with respect to the measured camera displacement. Additional camera displacements could result in automatic graphic object updates. The first re-sizing operation would calibrate the device and further adjustments may be calculated and the re-sizing of the model objects performed without further user input. Similarly, other perspective and depth features could be accounted for. Mathematical translations from a real world 3-D scene to a 2-D computer display are already very common. Many advanced computer routines have been developed to facilitate perspective representations of 3-D objects on a 2-D display. It is important to realize here that the invention does not propose any new perspective computation routines. The well developed routines known are sufficient. It is, however, a new combination of primary elements which result in the powerful modeling tool.
An alternate apparatus of the invention may comprise: 1) a camera; 2) a computer; 3) position and attitude measuring devices, and 4) a range finding device. The addition of a ranging capability enhances the ability of the apparatus to create three dimensional models of the scene being addressed. To calculate the position of a point in the scene, the user would range on the point of interest and the unit, given position and attitude data, could calculate the coordinates of the point directly. It is important to realize that the invention does not propose a new method of position calculation based on unit position and attitude, and range to object. This method has been in use, in radar directed gunnery for example, for many years, though not for developing of computer graphical models. What is important is that range based position calculation enables the user to quickly develop a model based on nodes and connecting lines and curves, much as in CAD type programs. Also, range based position calculation enables the unit to use advanced modeling methods based on image processing such as edge detection within a defined area and coplanar modeling.
For example, a user of the apparatus may choose to use a method of coplanar modeling, FIG. 13. A user would range to sufficient points, at least three are required to define a plane but the user could define as many points as are needed to define the area of interest, to define the boundaries of a planar area 1302. These boundaries may or may not be part of the model. The user may also define areas within these edge boundaries that the unit is to ignore. In other words, the user may cut pieces out of the defined area that will not be analyzed by the unit, in effect setting up interior boundaries. This would enable the user to define exactly the area that is to be analyzed by the unit. Once the area has been defined the unit then calculated the equation defining the plane 1303. The unit then detects, using edge detection and other methods known, all lines and curves within the defined area 1304 and displays them to the user 1305. The user then deletes all lines that are not to be modeled 1306. By utilizing the knowledge of the location and orientation of the defined plane in relation to the units position, and the ability of the unit to measure angles from its bore-sight, by pixel counting and knowledge of lens zoom state, the unit can calculate the location of all of the nodes needed to define those lines and curves in the defined plane 1308, 1309. FIGS. 9-12 illustrate the basic steps involved in relation to modeling a wall of an office building. In FIG. 9, the user defines the planar area by ranging to vertexes 1-6. In FIG. 10 the user confirms the process by using an interactive graphical user interface. In FIG. 12 the unit displays the calculated model to the user.
A continuation of the coplanar method would be to use a pair of planar models, created from different positions, using the same boundary limits. If any objects projected from, or were inset into, the plane the two images would appear different. The unit would be able to calculate, through triangulation, the correct coordinate for these nodes. Some situations may require a third view from another location for completeness. FIG. 5 shows a general situation in which a user defines a planar area 51 that has a line 52 sticking out of it at right angles. The viewer would go through the planar modeling process from viewing position #153 and from viewing position #254 to generate the coordinates for node A 55 within the plane and to calculate the coordinates of the endpoint, node B 56, without the user having to range to either point specifically. In this simple situation it would seem easier to just range on the two points in question, nodes A & B, and have done with it. But if the area contained many projections or indentations the user, by using this method, would merely have to define a planar area, and view it from several points of view, to model these projections in three dimensions. FIG. 6 gives a plan view of the situation and clearly shows that, if node B 62 is assumed to be in the defined planar area 61, that the coordinates calculated for the intersection of a line, from the two viewing positions 63,64 to node B 62, and the plane 61 will produce different coordinates, nodes B166 and B265. In the case of node A 61 the change in viewing position will not produce a change in coordinates because node A 61 is indeed in the defined plane. These coordinates, as calculated from each viewing position, are shown in FIGS. 7 and 8. These figures clearly shows that node A 71, 81 is within the plane. FIGS. 7 and 8 also show, through the discrepancies in the positions of modes BI 72 and B282, that the real position of node B is not within the defined plane. To calculate the actual coordinates of node B is quite simple. Given the knowledge of the location of each viewing position and the knowledge of the bearings, both horizontal and vertical, to the node, based on the pixel counting angular offset method, from each viewing position the unit could calculate the actual position of the node by triangulation.
The primary elements of the systems are:
a camera to acquire a digital image of a real scene;
a computer to run CAD type software and combine graphical objects with the real image, and further to compute perspective relationships between a real 3-D scene and a 2-D perspective of that scene, the computing routines being responsive to position, attitude and ranging measurements; and
apparatus operable for measuring position, attitude, range.
the camera may be a camcorder type, a portable battery operated device for producing a digital video signal, in communication with a computer processor;
the computer may be the type known as a personal computer: having a microprocessor for example Pentium or Power PC processors which have been employed to execute code developed for computer modeling, further being operable for combining an image from an electronic camcorder with a computer generated graphical model image, further being in communication with and responsive to apparatus for measuring position, attitude and range of the camera.
The apparatus for measuring position, attitude and range may be as follows:
the position measuring apparatus may be a large scale system such as the global position system G.P.S. or may be a local system arranged with a particular environment in mind such as a city block or single room of a building, each employing some radio location measures, depending upon desired accuracy, the choice of appropriate position measuring system will vary;
the attitude measuring apparatus may be an electronic compass, flux gate compass, interferometer ring gyro or other device which is operable for measuring relative pointing direction of the camera imaging axis; and
the ranging apparatus may be an ultrasonic or radar device which measures relative position of object by timing a test pulse which is reflected therefrom. Some of these devices are common to simple photographic cameras in auto-focus systems. Other types of ranging, such as laser or infrared rangefinders, may be equally effective as long as it is possible to determine the distance from the camera to a particular object and relay that measurement to the computer.
In a special version of the invention, the camera is omitted. A viewing path is defined by a reticule system which provides reference or "pointing" axis for the devices. In common CAD methods, "pointing" and "clicking" may be done via a mouse peripheral device. An icon, for example an arrow, designates a position on the model field as displayed on the screen. Objects of the model are manipulated by pointing and clicking, clicking and dropping, etc. The model may relate to some real scene, but is not generally responsive thereto.
In a particular version of the invention, pointing, clicking and dragging operations may be implemented by manipulation of a pointing axis into a real scene. Clicking is accomplished by a simple switch on the device sensitive to tactile manipulation. Again, the system's ability to know its position and pointing attitude as well as certain range data allows it to directly interface with the real world. The model is sensitive to and responsive to the position and attitude of device in the 3-D scene. The displayed model, therefore, corresponds to how the scene would look from any perspective.
Modeling methods of these inventions include methods having the primary steps as follows: viewing a scene with an electronic camera; measuring position and attitude of said camera; recording a first point associated with said measurements; changing either the position state or attitude state of the camera; recording at least one other point associated with the new position and attitude state; and displaying said points superimposed with an image captured with said electronic camera. In this way, one can see the scene while also viewing the model being formed together in the same perspective. The methods may also include a step where the points are connected together by line segments. Or, further by connecting several points to form a polygon computer model object. Such polygons may be shaded, colored, or textured by application of these attributes in the computer model databases.
Where a model of an object in a scene is formed from one point of view, the user may later go to a different point of view and repeat some or all of the points. From a second position, the points which are repeated may be averaged with the points acquired from the previous viewpoint to form a more accurate point definition.
Although the present invention has been described in considerable detail with clear and concise language and with reference to certain preferred versions thereof including the best modes anticipated by the inventor, other versions are possible. Therefore, the spirit and scope of the appended claims should not be limited by the description of the preferred versions contained therein.
1. Apparatus for creating computer models comprising:
an electronic camera; position and attitude measurement apparatus; a display; and
a computer operable for: running CAD software, acquiring images from said electronic camera, receiving position and attitude information relating to a present system position and attitude of said electronic camera, computing perspective adjustments, combining imagery from said electronic camera with imagery from said CAD software, displaying combined imagery at said display; said electronic camera, position and attitude measurement apparatus each in communication with said computer.
2. Apparatus of claim 1 further comprising: a range measurement apparatus, said computer further being operable for receiving range information relating to the distance between the apparatus and a point in the scene being addressed, said range measurement apparatus being in communication with said computer.
3. Apparatus of claim 1, said displaying combined imagery includes forming a composite image of the real scene with a computer model graphic superimposed thereon in proper perspective.
4. Apparatus of claim 1, the elements of said apparatus being integrated into a handheld mobile system.
5. Apparatus of claim 4, said position measurement apparatus being a GPS receiver.
6. Computer modeling apparatus comprised of:
a computer in communication with each of the following:
an electronic camera;
a position determining means;
an attitude determining means;
a range determining means; and
a display,
said electronic camera having an imaging axis and an image plane, the imaging axis defining a system pointing direction, the intersection of the imaging axis and image plane defining a position reference point;
said computer arranged to run CAD software in conjunction with software to communicate with said position, attitude and range determining means and said display;
said position determining means arranged to determine the position of the reference point,
said attitude determining means arranged to determine the system pointing direction,
said range determining means arranged to determine the distance from the camera to a point on an object in a scene being addressed, and
said display having a substantially planar image field with its normal direction aligned to the pointing direction.
7. A computer apparatus of claim 6, said computer including a computer software object model responsive to the position and attitude of the apparatus.
8. A computer apparatus of claim 7,
said response being a translation of perspective whereby the perspective of the scene being addressed from the camera viewpoint corresponds to the perspective of the displayed model.
9. Computer modeling methods comprising the steps:
viewing a scene with an electronic camera;
measuring position and attitude of said camera;
recording a first point associated with said measurements;
changing either the position state or attitude state of the camera;
recording at least one other point associated with the new position and attitude state; and
displaying said points superimposed with an image captured with said electronic camera.
10. Computer modeling methods of claim 9, further comprising the steps forming a computer model be connecting a plurality of points with line segments.
11. Computer modeling methods of claim 9, further comprising the steps forming polygon objects which correspond to planar elements of a real scene.
12. Computer modeling methods of claim 11, further comprising the steps applying color and texture attributes to said polygons to form portions of an object model.
13. Computer modeling methods of claim 9, further comprising a step to re-acquire a previously defined from a new position to improve the accuracy by averaging.
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Filed: Jan 23, 2003
Assignee: GeoVector Corp. (San Francisco, CA)
Inventors: John Ellenby (San Francisco, CA), Thomas Ellenby (San Francisco, CA), Peter Ellenby (San Francisco, CA)
Primary Examiner: Phu K. Nguyen
Current U.S. Class: Three-dimension (345/419)
International Classification: G06T/1500;


Asterisks Password Viewer is advanced password recovery tool that allows you to see the actual password behind the asterisks. OS Windows stores your frequently used passwords, such as the passwords in Microsoft Outlook email or for an FTP account. But since you no longer enter the saved passwords manually, you often tend to forget them. The password is staring right at you, but it's hiding behind a row of asterisk - *****. This feature is intended to protect your passwords; but sometimes this feature becomes more of a nuisance, rather than a benefit. Asterisks Password Viewer is a program that lets you see the actual password behind the asterisks! It can recover passwords to programs such as Microsoft Outlook or Outlook Express, The BAT! and other e-mail clients, FTP clients such as CuteFTP, FlashFXP, etc. Asterisks Password Viewer supports password recovery in Microsoft Windows Internet Explorer.


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Security Hacking Hacker who exposed rape case faces tougher sentence than rapists
Hacker who exposed rape case faces tougher sentence than rapists
Deric Lostutter, the hacker with alleged links with the hacktivist group Anonymous, is considered a hero by many. After all, he was the one who hacked a website and exposed an underage high school girl's rapists.
But American laws do not seem to quite agree.
Lostutter has been charged with violating federal computer laws, and if found guilty, could face a sentence eight times longer than that of the rapists.
Lostutter, who went by the online alias KYAnonymous was indicted by a federal grand jury on July 7. He was charged with hacking, as well as making false statements to investigating officers.
In 2013, Lostutter and a co-conspirator who goes by the alias JustBatCat, allegedly breached into the website of the Steubenville High School, Ohio, searching the identity of the high schoolers whom they saw in an online rape video.
As per court documents, the perpetrators who were members of a local football team had repeatedly sexually assaulted the underage girl and recorded clips of their horrifying act, some of which they later shared online.
The case came to the limelight and received international attention after incriminating emails, photos, and social media messages exchanged by the rapists were published online, allegedly by Lostutter.
The hackers had also accused the high school administration, as well as the local government and law enforcement agencies of orchestrating a coverup to safeguard the rapists.
Over the next few weeks since the revelation by Lostutter and his co-conspirator, the duo received international fame and was covered by national and global media.
Eventually, the FBI tracked down both the hackers and slapped various charges on them. Meanwhile, two of the high schoolers shown in the videos were found guilty of sexual assault. One of them was sentenced to two years in jail while the other received only one year.
Lostutter faces up to 16 years in prison on three hacking counts and for lying to the FBI during their investigation. JustBatCat had pleaded guilty days after his arrest.
Steubenville rape
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Day 12: The theme of this day is millwork - the painters came and caulked the kitchen cabinets and doors, and Robert came by so we went over the new drawer fronts and hardware. Then more cabinet crew showed up with the floating shelves that will go above the coffee station as well as in the bathrooms (to replace those headknocker cabinets that were above the toilets).
The cabinet guy asked me how high I wanted the shelves over the coffee station, so I brought out our coffee maker in order to get the height right. He held up the shelf and I realized that it was too deep for that section - it was just too hefty, if that makes sense. Once again, I had an initial thought of "oh dang, this isn't what I wanted" before remembering that changes can be made - so I asked if the shelf could be made narrower, and he said yes, it's a simple thing to rip it down. Whew! It's funny, even with all the communicating I had with Robert, his vision of a shelf for that section vs my vision was different. Now I know to hold out a tape measure with the carpenter so that we both have the same vision.
This isn't even all that arrived - there were a couple cans of varnish that were used to clearcoat the cabinet drawers.
This is before the narrower drawer fronts were replaced with the solid blanks.
I'm sure there will be more caulking involved with this - they must buy it by the pallet.
These will be painted white.
The drawers were sprayed with a clearcoat of varnish and then wrapped with paper so that the primer wouldn't cover the clearcoat.
The cabinet doors were lined up all the way down the hallway.
Changing things up, here's the ceiling trim.
Inspector Paco wants to know what's inside of the paper-wrapped drawers.
The doors were rehung on the kitchen cabinets - the final look is getting closer!
Paco did not like the painter when he was on stilts, not at all. But when he wasn't wearing them, Paco was his best friend. I told the guy that I could use a pair of stilts, especially with how easy he made it seem to walk around on them.
Dining room - still needs some molding on top of the wainscoting, but it's getting there. And check out the tray ceiling! They did a good job with that - there are three different paint colors on it: ceiling paint, trim paint. and wall paint.
My office - no more lime green walls. Much as I loved them, I was ready for a change.
Family room - it's like the mantle was never there!
The paint is all from Sherwin Williams. Wall color is Silverpointe, trim is Extra White, and ceiling is Ceiling Bright White. We love how light and airy the house looks already, and it's nice to have every room the same color - I'm going for a more cohesive look altogether, so between having the same tile flooring throughout the house (except for the bedrooms, which will be carpeted) and having all the walls painted the same color, this should tie everything together nicely.
This finished out the third week - the painters still have a couple more days of work remaining, but they, like us, were ready for a break so we all got the weekend off from the renovation.
It's so fun to see this all coming together! I love how bright and fresh everything looks. Now--are you getting all new furniture too?
My sister just built a house and of course walls, etc. were painted and the newest trend is that all rooms be the same color. And if you transition the color it should just be a different depth of the same color, i.e. a cool grey to a warm grey. Which means you're right in current style!!
Interesting - I didn't know that was the trend. Much as I love color, I was ready to have a more neutral backdrop everywhere.
Good thing you have inspector Paco. He's keeping things on track.
He has a job, and he's constantly doing it, LOL.
It must feel so nice and fresh to have the new paint, even though the rest of it is being constructed. It's a glimpse of what it's going to be though!
The colors you chose are so nice. Very soft and calming! Pretty funny, Paco with stilt-man vs.. regular man. He is kind of scary looking with those stilts on :) I'm glad you got a weekend off!
So excited. Can't wait to see the finished product.
The difference of buying a kitchen here and in the USA is that you buy cabinets here painted already in the color you want. So when they install your kitchen it's ready to use immediately. Love to see how things are done elsewhere.


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text:
L.A. Unleashed
All things animal in Southern
California and beyond
« Previous Post | L.A. Unleashed Home | Next Post »
From 'It' dog to 'What is it?' dog: The Sealyham Terrier loses steam
From Alfred Hitchcock to Humphrey Bogart to Elizabeth Taylor to Cary Grant, old Hollywood loved the Sealyham Terrier. (Grant even named his Archie Leach, after himself.) Sealyhams were owned by royalty and among the world's most popular breeds.
But the Sealyham ("a proud, compact sturdy little dog that makes an ideal companion for young and old in today's modern world, adapting well to both city and country living" according to the American Sealyham Terrier Club's website) has fallen out of favor in recent years, according to the Independent:
...the breed is declining so fast that extinction beckons. More than 1,000 Sealyham puppies a year used to be registered with the Kennel Club but, in 2008, there were just 43.
Originally bred in Wales in the 19th century as a working terrier, the Sealyham appears to have become the victim of what propelled it to fame in the first place –- fashion. Between the wars, and up to the 1960s, it was almost a must-have accessory for your pooch-loving celeb, especially in the movie industry.... But fashions change. "These days Hollywood stars like little continental dogs such as Chihuahuas and shih-tzus in their handbags," said Paul Keevil, formerly of the Kennel Club's vulnerable breeds committee. "This is one reason why their numbers are dwindling."
Beyond just the evolving whims of dog buyers, why the fall from favor? One theory suggests that increased regulation in Britain over the docking of dogs' tails may play a role. (Sealyhams' tails are traditionally docked at a young age, the rationale being that short, stocky tails are better engineered to help owners pull their terriers out of the holes into which they're fond of following small prey animals.)
The AKC recently noted a few other breeds whose popularity has waned in recent years; among them were the Rottweiler, the Basset Hound and the Lhasa Apso.
Any breeds you wish would lose their popularity? Let us know in the comments.
-- Lindsay Barnett
Photo: Matt Rourke / Associated Press


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Mrs. Ted Bliss
by Stanley Elkin
Library Journal After her husband's death, Dorothy Bliss stays on alone in The Towers, their Miami Beach retirement condo. Everyone continues to address her as Mrs. Ted Bliss, as if she had no identity of her own. But Dorothy adapts quickly to change, and soon she is on The Towers's A-list, hobnobbing with "Tommy Overeasy," an elegant South American drug lord, and the building's chief engineer, a Yiddish-speaking Aztec. By the time Hurricane Andrew bears down on southern Florida, a fully self-sufficient Mrs. Bliss simply barricades herself inside and rides out the storm. Elkin has a highly developed sense of the absurd and a wonderful ear for spoken language. Multicultural Miami Beach provides him with plenty of comic material. However, as in his heartbreaking Magic Kingdom (LJ 4/15/85), death is such a strong presence that the comedy comes across as gallows humor. Still, Elkin's many fans will be waiting for this posthumously published final novel. For larger fiction collections.?Edward B. St. John, Loyola Law Sch. Lib., Los Angeles
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Publishers Weekly The title of Elkin's latest could not be more apt: it refers to the book's main character and, with a minimum of fuss, connotes a good deal of the woman's identity, self-image and history. Dorothy Bliss, a Russian-born Jew whose mother bribed an immigration official to add three years to young Dorothy's age so she could get work on Manhattan's Lower East Side, married the butcher Ted Bliss and lived a full life in Chicago: ``She was a mother, she and Ted had married a daughter, bar mitzvahed two sons, buried one of them.'' And now she has buried a husband. When the book opens, Ted has died of cancer after their retirement to Miami, and thus begins the last stages of Mrs. Ted Bliss's life on earth, a lonely but spirited, comic existence in a condominium overlooking Biscayne Bay. Elkin (George Mills) is at his best here, blessed with the gift of one-liner insight and a definite, if reluctantly exercised, ability to tug on a reader's heartstrings. His Dorothy Bliss is an unreflective woman wholly mundane in her ways, and therefore an outrageous subject for a novel: she likes cards, food?``Supper, coffee, dessert. Cooking.''?and television. ``What she remembered of being a kid,'' observes the narrator, ``was what she remembered of being an adult: her family.'' And the family is as ordinary as they come, replete with the kind of dramas that fill lives commonly enough, but seldom live in books. If T.S. Eliot saw a modern alienation being measured out in coffee spoons, Elkin's Mrs. Ted Bliss measures hers out in perceived slights and jai alai tickets. This is not to say there is not at least the threat of exoticism in Dorothy's waning years?her condo neighbors are a colorful lot, including some shady South American gents. But as they age, they seem as defanged as Dorothy is resigned to the dimming light of her world. In the end, it is the trenchant quips about the way of all flesh, and memory, that will give Dorothy Bliss a life after death: ``The same thing that gives us wisdom gives us plaque,'' she observes. Countless retirees in America?Jewish and otherwise?will recognize themselves and people they know in Dorothy Bliss. But finding her in a novel?Who would have thought? 1500 signed copies of limited edition as ABA giveaways; author tour. (Sept.)
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An Iranian Filmmaking Master's Ode to His Own Mortality
The late Abbas Kiarostami's final film, '24 Frames,' is a wondrously poetic tribute to his lifelong love of cinema.
Nick Schager
Updated Jan. 28, 2018 2:46PM ET / Published Jan. 27, 2018 8:45AM ET
Photo Illustration by The Daily Beast
Abbas Kiarostami died of complications from gastrointestinal cancer on July 4, 2016, at the age of 76, leaving behind one of the most distinctive and breathtaking oeuvres in movie history.
Beginning his career with shorts before transitioning to features in the late 1970s, he achieved international acclaim with Close-Up (1990), Through the Olive Trees (1994), A Taste of Cherry (1997), and The Wind Will Carry Us (1999), and then found further success with the daring Five (2003) and mesmerizing Certified Copy (2010). In the process, the Iranian-born director pushed the medium into daring and inventive realms, seguing between a variety of modes—including, most notably, blending fiction and non-fiction methods in unique ways—to create a new sort of cinema. As Jean-Luc Godard once famously pronounced, "Film begins with DW Griffith and ends with Abbas Kiarostami."
Thus, his passing was nothing short of a tremendous loss. Although before he departed, he left us with a final masterwork, which arrives in U.S. theaters this Friday, February 2—a truly idiosyncratic film that once again confirms that Kiarostami was a one of a kind artist.
24 Frames is a most unconventional effort, one that can't be wholly classified as either a drama or documentary. Fascinated by still photography and—as prologue text makes clear—forever curious about what took place before and after a given picture was immortalized by his camera, Kiarostami embarked on this film, which functions, in a fundamental sense, as a simultaneously somber and playful act of cine-imagination. Guided by a simple, symmetrical structure, the movie is divided into twenty-four frames (i.e. segments), each one lasting approximately four-and-a-half minutes, and presenting a single image that—save for the opening vignette—was taken by Kiarostami with a traditional photographic camera. Yet there's nothing static about what unfolds, as the director then uses digital techniques (primarily, the insertion of green-screened video material) to make these stills come to vibrant, animated life.
Kiarostami begins with Bruegel's 1565 painting "The Hunters in the Snow," which quickly shakes off its inertia as smoke begins blowing out of chimneys, noisy birds move about, and dogs run around women stoking fires. Through this formal trickery, Kiarostami situates viewers in a realm that's somewhere between the artificial and the real—and whose illusory atmosphere is amplified by the fact that the image's active components have a slightly digital sheen to them, further calling attention to the material's inauthenticity. Except, of course, that what the director achieves is nonetheless deeply authentic, a heightened sort of realism that recalls the "ecstatic truth" that Werner Herzog claims he strives for in his own work.
After that introduction, the remainder of 24 Frames focuses on vistas snapped by Kiarostami himself. The vast majority of them share a handful of elements: they're in black-and-white; they're populated not by humans but by birds (or cows); they're set at the ocean or snow-covered landscapes (often with falling snow); they're generally awash in natural sounds; and they're spied through windows. Since aside from the second passage the camera doesn't move, the film compels us to scan the frame for information, to investigate its nooks and crannies, and to study its inhabitants—a process that, after a short while, makes you feel as if you're actually falling into the screen, losing yourself in dark foliage passageways, or drifting outward over the foreground's breaking waves and into the vast sea. Per Kiarostami tradition, there's a simple, hypnotic poeticism at play here, enveloping the senses and stimulating the mind.
While staring at these lovely sights for 114 minutes is a reward unto itself, there's predictably more to the proceedings than merely abstract audio-video pleasures. Kiarostami doesn't reveal the purpose of this swan-song project; each vignette is delivered sans commentary. However, the more one gives in to its laconic rhythms and becomes attuned to its underlying wavelength, the more that patterns, and possible interpretations, begin to materialize. Solitary animals begin to represent isolation and loneliness. Other creatures, appearing in pairs or groups, leave an impression of, respectively, companionship, compassion and conflict—or, in the amusing case of two lions who have less-than-romantic sex, of the dynamics that govern male-female relations. The window frames that so conspicuously surround the action become self-conscious nods to the man-made construction of the movie itself.
And then there's the constant movement that Kiarostami initiates, which often takes the form of animals trudging across the screen—and which speaks to the film's fundamental preoccupation with forward progress in every endeavor, at every given instant. As it methodically proceeds from one segment to the next, 24 Frames becomes an impressionistic collage of captured moments that can't stay still; they have to swing and sway in the wind, burrow down into the snow, and scamper across the damp sand. It's a sly, spellbinding treatise on the inherent advancement of life, and, also, the movies—which, to Kiarostami, are one and the same.
Of course, life develops in only one direction, and as his final big-screen work, it's not hard to also read 24 Frames as a personal statement on mortality. Animals are killed in three different episodes, and the gray, snowy weather of so many scenes further casts a deathly pall that's difficult to shake, especially as one witnesses winged and four-legged figures repeatedly sitting alone, only to share brief contact with others before moving on in separate directions. That melancholy air peaks during the film's peerlessly executed closing frame, in which, as a person sleeps at a desk and trees rock to and fro in the blustering wind, a desktop iMac plays the last seconds of a classic movie featuring a happy woman kissing a man to the sounds of "Love Never Dies" from the 2010 Andrew Lloyd Webber musical of the same name. Concluding once the computer-screen clip fades to "The End," it's a vision rooted in finality. And yet it's also one that expresses love's primacy in all of human experience—as well as Kiarostami's own lifelong, undying romance with the cinema.
At once euphoric and heartbreaking, it's one last unforgettable moment in a legendary career defined by them.


The Huffington Post: What Advice Would You Give Your 20-Something Self? Top PR Pros Weigh In.
This week I was honored to be inducted into PR News' League of "Top Women in PR" during a New York City awards ceremony. Too often women are painted as competitors when in reality, most successful women know there's nothing like the strong sisterhood bond of a good female friend, or mentor. I'm thankful for so many inspirational women who mentored me along my path. As someone fortunate enough to have worked hard in a field I love and found success, I think it's important to pay it forward. This year's PR News' "Top Women in PR"awards ceremony focused on mentoring the next generation of women working in PR.


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Two former Cyclones meeting up in Des Moines tonight
Chris Williams, Dec 19 •	0 Comments
Photo courtesy of South Dakota State University athletics.
DES MOINES — If you're bored tonight and love college basketball, two former Iowa State assistant coaches will be going head-to-head at the Knapp Center.
Personally, I think this will be pretty cool.
Former Greg McDermott and Fred Hoiberg staffers Jeff Rutter (Drake) and T.J. Otzelberger (South Dakota State) spent close to a combined two decades roaming the sidelines of Hilton Coliseum together and are set to meet as head coaches for the first time.
Otzelberger, who also coached under Steve Prohm last season, has the Jackrabbits off to a 6-7 start in his first season as a head coach. South Dakota State has won five of its last six games, with the one loss coming to Northern Iowa on Dec. 7.
Rutter, who replaced Ray Giacoletti (who resigned) at Drake on Dec. 6, gave Iowa State a real scare on Saturday.
This is a relationship that goes way beyond their years at Iowa State though.
"It's special," Rutter said. "I had a chance to coach T.J. what seems like 100 years ago. Then we coached together for seven years."
Rutter is referring to his time as the head coach at UW-Parkside (D-2), where he recruited Otzelberger.
"Jeff Rutter has been a mentor to me and someone that I have looked up to for over 20 years," Otzelberger said. "I wouldn't be in the position that I am in today if Jeff Rutter hadn't taken an interest in me. He's a phenomenal basketball coach but an even better man of character."
There's a lot of mutual respect between these former colleagues, who have are a big reason for Iowa State's five straight NCAA Tournament berths.
"He is a hustler," Rutter said. "He is an incredibly hard worker. He has paid his dues. I am happy that he has gotten the chance. That South Dakota State program is in great hands and they have bright days ahead. But we would love nothing more than to hand him a loss come Monday night."
Tonight's game tips off at 7 and will be televised on MC22.
Previous Naz Mitrou-Long named Big 12 Player of the Week
Next CFTV: Steve Prohm discusses moving forward after the win over Drake
Jeff Rutter to Drake, tidbit on his replacement
WBB: State title run begins tonight
REPORTS: Otzelberger to become head coach at SDSU


Baker & Daniels LLP has announced its top leadership positions for 2010, including the election of Rick Michaels to a three-year term on the law firm's strategic and policy board. Michaels is the managing partner of the Chicago office and practices business and corporate finance. Baker & Daniels LLP provides advice and counsel to regional, national and international clients with transactional and litigation needs. With more than 370 attorneys and legal professionals, the full-service law firm has offices in Indiana, Chicago, Washington, D.C. and Beijing. B&D Consulting, a national advisory and advocacy firm focused on key sectors of the economy and based in Washington, D.C., is a division of Baker & Daniels. For more information about Baker & Daniels or B&D Consulting, visit www.bakerdaniels.com or www.bakerdconsulting.com.
Ungaretti & Harris LLP Litigation Partner Amy M. Gardner has been selected by the German Marshall Fund of the United States (GMF) to receive one of its prestigious 2010 Marshall Memorial Fellowships. Ms. Gardner is one of 54 emerging American leaders who were chosen for distinguishing themselves in their respective professions while demonstrating a commitment to enhancing relationships between the United States and Europe. She is one of four from Illinois and the only Illinois attorney to receive the honor this year. Since its inception 28 years ago, the program has attracted more than 1,650 of the best and brightest American and European professionals. During a 24-day European travel program, Ms. Gardner and other Fellows will explore political, economic and social institutions and issues impacting the United States and Europe. They will meet formally and informally with policymakers and prominent members of the business, government, political, non-governmental organizations and media communities who will provide a local perspective on transatlantic and domestic issues. Following the Fellowship, Ms. Gardner intends to use the knowledge she gains to educate Ungaretti & Harris attorneys and clients on conducting business, particularly related to commercial and intellectual property litigation matters, in foreign jurisdictions. At Ungaretti & Harris, Ms.
Bryan Sims opens Sims Law Firm, Ltd.
Read more or comment about Bryan Sims opens Sims Law Firm, Ltd.
Frank A. Sommario, an associate attorney at the Chicago law firm of Romanucci & Blandin, LLC, was elected and installed treasurer of the Workers' Compensation Lawyers Association (WCLA), Ltd., at a dinner meeting held January 23 at the Drake Hotel. Sommario was first elected to the WCLA Board of Directors in 2008 and served in that capacity for fiscal years 2008-09. He became a member of the organization in 2001. The WCLA was established to promote fellowship among members of the bar engaged in the trial of workers' compensation matters; promote, foster and sponsor legislation relating to workers' compensation and its administration; aid, assist and cooperate with judicial tribunals and administrative bodies in matters relating to the administration of workers' compensation laws; and improve quality of service to the general public for workers' compensation legal services. Prior to joining Romanucci & Blandin, Sommario was a partner in a firm which represented petitioners in their workers' compensation claims, and while in law school, was a law clerk for the Illinois Attorney General's Office. A certified public accountant, as well as a registered investment advisor, he received his J.D. degree from DePaul University College of Law in 2000 and his B.S.
Edward J. Downs, a lawyer described as having a soft tough for those in need, passed away from pancreatic cancer last week. Mr. Downs spent five years with the Cook County Public Defender's Office before becoming McHenry County's first public defender.
"I think he really semi-adopted his clients," said Chuck Murphy, a criminal defense attorney who met Mr. Downs 37 years ago. "He took an interest in that [client's] case, but also in what was going on in the person's life."
Mr. Downs received his master's degree from Loyola University and his law degree from DePaul University. Click here to read the full obituary in the Chicago Tribune.
Former Cook County prosecutor and legal consultant Mike Rogers of LaGrange recently passed away. Mr. Rogers was a 1981 graduate of Fenwick High School. He graduated from Regis University in Colorado and received his law degree from Chicago-Kent College of Law.
"Mike was the best at bringing new technology to the courtroom - in graphics, audiovisuals and re-enactments," said Chicago attorney John Lyke, who worked with Mr. Rogers in the Cook County state's attorney's office. "He was a hard-charging professional, and someone who was great at training other trial lawyers."
The Women's Bar Foundation was created in 1966, and established as a non-profit organization in 1968, for the purpose of funding scholarships for deserving women law students attending Illinois law schools. For further information on the WBF, see www.womensbarfoundation.org.
Kurtis B. Reeg, founder and president of Reeg Lawyers, LLC, is now admitted to the practice of law in the staets of Missouri, Illinois, Kansas and Nebraska. For 30 years, Mr. Reeg has focused his practice on toxic torts, products liability and insurance law.
Enterprise Law Group, LLP is pleased to announce that Samuel L. Pappas has joined the firm as Of Counsel. Samuel is a business lawyer with 20 years' experience in areas including banking and bank regulation, business finance, complex structured and mezzanine finance, commercial real estate transactions, and securitized lending, as well as consumer finance and regulation. During his career, Samuel practiced in a large law firm, and has also been a transactional attorney for various banks and financial services companies, including Parkway Bank & Trust Company, Transamerica Finance Corporation, Bank One (n/k/a Chase Bank), and The Asahi Bank, Ltd. (a Japanese bank). He will be providing legal services to entrepreneurs, middle market companies, private enterprises and financial services clients. Samuel received his J.D. degree from Washington University School of Law in St. Louis. He received a Bachelor's degree in Political Science from Northwestern University, where he served as President of Pi Sigma Alpha (a national honor society for political science majors).


It may never occur to you to stop and appreciate it, but the jingle that precedes all announcements at Kuala Lumpur International Airport is wonderfully melodic. Sound is often underrated when we think of travel – yet it can transport us back to a certain place and time. Like the incessant ticking of a traffic light when crossing a road in Hong Kong. Or the urgent beat of street performer drums in Osaka.
Airlines Cathay Pacific and Cathay Dragon have taken that concept and run with it, creating something marvellous. Cataloguing the sights and, more importantly, sounds of a journey from Kuala Lumpur to Hong Kong then to Osaka and Kyoto, the song was composed from the thousands of ambient noises and constructed notes recorded over seven days. The crack of a bamboo pole as it is sliced in half. The rustle of prayer joss sticks. The click of a baggage handle. It melds together in a jaunty tune that syncs perfectly with the visual aspects of travel – because Cathay Pacific wants you to listen carefully.
To celebrate the launch of The Sounds of Travelling Well campaign, the airlines will be holding a weekly contest across four weeks. Simply visit the campaign website to submit the most memorable sounds of travel and sound experiences that you wish to discover on your next trip and share the submission on your Facebook page. Winners will received a pair of Cathay Pacific/Cathay Dragon tickets to a destination within Asia. The contest runs from July 25 to August 25 2017, and is open to citizens and residents of Malaysia residing in Malaysia only.


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Q: How to use SNAG theorem to find the unitary representations of the additive group $\mathbb{R}^n$? Consider the additive group $\mathbb{R}^n$. It is an abelian, locally compact group. The SNAG theorem applies. That theorem says:

SNAG Theorem: Let $T$ be an unitary continuous representation of an abelian locally compact group $G$ in a Hilbert space $\mathscr{H}$. Then there exists on the character group $\hat{G}$ a spectral measure $E$  such that $$T(x)=\int_{\hat{G}}\langle \hat{x},x\rangle dE(\hat{x})$$

It is said that for $\mathbb{R}^n$ there are $n$ strongly commuting self-adjoint operators $Y_1,\dots, Y_n$ with
$$T_x=\prod_{k=1}^n\exp(i x_k Y_k)$$
Now, how can this be derived?
I think the starting point is to find the character group. Since a character is a continuous group homomorphism $\chi : G\to S^1$ it is $\chi(g)=e^{i\theta(g)}$ for $\theta : G\to \mathbb{R}$ a continuous function with $\theta(gh)=\theta(g)+\theta(h)$.
For the $G = \mathbb{R}^n$ the function $\theta$ is continuous and satisfies $\theta(g+h)=\theta(g)+\theta(h)$ so it is linear.
Hence fixing a basis $\{e_i\}$ of $\mathbb{R}^n$ with dual basis $\{\omega^i\}$ expanding $\theta = \sum \theta_i \omega^i$ and $g =\sum g^ie_i$ we have
$$T_g=\int_{(\mathbb{R}^n)^\ast}\exp(i\sum_k\theta_k g^k) dE(\theta)=\int_{(\mathbb{R}^n)^\ast}\prod \exp(i \theta_k g^k)dE(\theta).$$
I think now we would need to split the integral as a product of integrals and then identify $Y_i$. But how this is done? Why the integral can be split as a product? How the $Y_i$ are identified?
How, rigorously, the SNAG theorem gives the unitary representations of $\mathbb{R}^n$ in that form?

A: Denote by $\pi_k$ the projection onto the $k$-th coordinate. If $E$ is a spectral measure on $\mathbb{R}^n$, then the operators $Y_i$ defined by
\begin{align*}
D(Y_k)&=\left\{\xi\in\mathscr{H} : \int \pi_k(\theta)^2\,d\langle E(\theta)\xi,\xi\rangle<\infty\right\},\\
Y_k\xi&=\int \pi_k(\theta)\,dE(\theta) \xi
\end{align*}
are self-adjoint with spectral measure $E_k=(\pi_k)_\#(E)$. In particular, these operators commute strongly.
To see that these operators yield the desired representation of $T$, first note that the spectral integral $f\mapsto \int f\,dE$ is a $\ast$-homomorphism from the algebra of bounded Borel functions to the algebra of bounded linear operator on $\mathscr{H}$: For simple functions $f=\sum_j a_j 1_{A_j}$ and $g=\sum_k b_k 1_{B_k}$ one has
$$
\int fg\,dE=\int \sum_{j,k}a_j b_k 1_{A_j\cap B_k}\,dE=\sum_{j,k}a_j b_k E(A_j)E( B_k)=\left(\sum_j a_j E(A_j)\right)\left(\sum_k b_k E(B_k)\right)=\left(\int f\,dE\right)\left(\int g\,dE\right).
$$
For arbitrary bounded Borel functions $f$, $g$ the result follows by continuity. Similarly one can verify linearity.
Thus
$$
\int \prod_{k=1}^n f_k(\theta_k)\,dE(\theta)=\prod_{k=1}^n \int f_k(\theta_k)\,dE(\theta)=\prod_{k=1}^n f_k(Y_k)
$$
for all bounded Borel functions $f_1,\dots,f_n$.