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Wonder Woman captured the attention and approbation of hordes of moviegoers interested in seeing a heroic female fantasy character. It wasn't personally meaningful to me the way that it seems to have been to a lot of people. I think the movie was pretty and entertaining but that, like many others that don't have a well-crafted core story, it could have been thematically stronger.
Keep reading for more on the movie's many possible themes and some questions I had (possibly because I'm not familiar with the source material) and things I liked, along with a plot summary with SPOILERS in the form of a beat sheet in the style described in Blake Snyder's Save the Cat.
Themes in Wonder Woman
What was the main theme?
I really thought it was going to be something like "be the change you wish to see in the world", since there was a very significant-sounding conversation about "doing nothing" vs. "doing something" if you see a problem in the world that needs fixing.
The theme could have been something about following your heart or making decisions independently in the face of opposition. Diana stubbornly insists on going to fight the war rather than standing aside as her mother advises her to do, but "just do it" is not really the main theme, either.
The salient thematic message in the finale was the rather vague and sentimental idea that "all you need is love" or perhaps "love conquers all". It's not clear whether the necessary type of love is selfless, universal Christian love for a naturally flawed race of humans, or the very personal romantic love for an attractive member of the opposite sex. It seems like the focus should be one or the other, but you could make a case for either one:
Universal love is the answer: After turning the other cheek and not killing the defeated and pathetic but clearly evil chemist, Diana leaps into the air, her body forming a cross shape in the sky. Salvation can't be earned, only given as a gift. Diana's function is to deliver that salvation by killing Ares, whether or not humanity deserves to be saved.
Romantic love is the answer: The thought that gives Diana the power to become the salvation of humanity is the memory of Steve saying "I love you" right before flying straight up into the sky on a suicide mission.
Maybe the theme was that even flawed humans like Steve (who confesses he and his friends are liars, smugglers, and murderers) are capable of great acts, thus humans are worthy of love and salvation.
Maybe the main theme was meant to be a feminist one such as "women can kick butt (and look good doing it)" or "there's no particular reason men should always get to tell women what to do". Those themes are definitely in there, but they don't drive the plot and aren't consistently highlighted in the dialogue.
Then there's a darker, more political issue: of whether it ever makes sense to kill for peace rather than compromise. In other words, if Diana kills "bad guys", is she just perpetuating the war? She certainly acts as though she thinks it's okay to kill to defend your people.
This review suggests that the point is that religious beliefs shouldn't be weaponized (good luck with that).
The world isn't morally black-and-white. Diana believes staunchly in truth and straightforward action, but the world is full of shades of grey. That could have been the whole movie right there: it could have been a coming-of-age tale where Diana finds out that everything she was taught was totally inaccurate or a lie, and she has to learn the hard way that she must apply her admirable but simplistic principles in ways more subtle than she ever imagined.
If I had to pick, maybe I would choose as the theme of the movie the self-deprecating toast: "May we get what we want; may we get what we need; but may we never get what we deserve." In a world of mighty Greek gods who could easily extinguish them, the best humans can hope for is to be tolerated. In a world that may or may not have a god or gods depending on whom you ask, we are still lucky if we are treated well. Much in life is earned or at least earnable, but then, much is not.
My Beat Sheet for Wonder Woman
Diana is working in a fancy office at the Louvre, where a Wayne Industries truck delivers a briefcase containing a photo.
Opening Image
A child version of Diana is running joyfully around the island. She wants to fight.
Adult Diana's mother does not want her to fight but the general of the Amazons is secretly teaching her. We learn that the women are waiting for a time when the last god, Ares, will need to be killed with a special, secret god-killing weapon that is hidden on the island. Diana learns that she has abilities other Amazons don't have; actually, she's not an Amazon, but her mother doesn't want her to find out what she is.
Steve the American spy/pilot, trying to escape the Germans of WWI with a notebook full of formulas for biological weapons, crash lands in the water near the hidden island and Diana saves him from drowning, kinda like Ariel saves Eric in The Little Mermaid.
Steve wants to go back and give the notebook to his boss to help the war effort because that's his job. Diana becomes convinced that the war is proof that the Amazons need to go kill Ares.
Break Into Two
Diana steals the sword and the Lasso of Truth and offers to help Steve off the island if he will take her to Ares. (Steve agrees, fully knowing he has no idea how to "take her to Ares".) Diana's mother catches them trying to leave, but gives her daughter her blessing and the dead general's iconic headband thingy.
B Story / Promise of the Premise
Cut to central London, where the little boat has rather magically arrived in no time at all (as in Madagascar 3). Diana needs contemporary clothes. Steve's rotund secretary points out that whatever she's wearing, she'll turn heads, and that glasses will make no difference. Steve accidentally takes her to a war meeting and tries to explain about the evil chemist's notebook. The army guys are impressed when Diana can read the multilingual code, but they don't want to attack because there's a peace agreement in the works.
Steve decides to attack with just his buddies, so he goes off to collect a Moroccan and a Scot from a bar. Steve's boss shows up with the secretary and offers to support Steve secretly from the office. A Native American smuggles Team Diana onto the continent.
Diana sees people in need of help. To recapture a town on the far side of the enemy lines, she strips off her disguise and leads a charge from the trenches. Lots of dramatic, slow-motion closeups of the warrior woman here. Bullets, sparks, wavy dark hair, yelling… the whole nine yards.
When the good-guy sniper proves unable to kill the bad-guy sniper in the town, Team Diana makes a shield platform and launches her onto a church tower, which collapses and kills the last of the enemies. Wonder Woman looks down in proud triumph. A photographer takes a photo of her and her war buddies in the town square. The town has a party, and Diana dances with Steve in the snow.
Bad Guys Close In
The chemist has given her boss a collection of magic pills that can make him super strong, and she's remembered how to make a particularly deadly gas. He uses it on the German army guys who are planning to sign the peace agreement, chucking a bioweapon and only one gas mask (which won't actually help anyone) into the room where they're meeting.
All Is Lost
Team Diana finds out about a German party and cleverly infiltrates the castle where it's taking place. Diana believes the German general is Ares and wants to kill him. Steve believes he can find out where the chemist's weapons are. At the party, they manage to prevent each other from achieving their separate goals. Result: the Germans launch a bioweapon that kills everybody in the town Diana just saved.
Steve thinks Diana is crazy for believing in Ares and her personal mission to kill the German guy, and she thinks Steve—and everybody else, not just the Germans—has been corrupted by Ares.
Break into Three
Diana goes to attack the German guy by herself. He uses one of his magic pills, but she manages to kill him anyway.
The war doesn't end when "Ares" dies. Clearly that guy wasn't Ares. Steve shows up again and suggests that maybe Ares doesn't really exist; maybe humans just fight each other because that's what humans do. Steve goes off to try to destroy the bioweapons.
Then the real Ares shows up. It's Steve's boss! Diana tries to use the god-killer sword on him, but it disintegrates, because the weapon for killing Ares was never a sword, it was Diana herself. Ares tries to talk her over onto his side. Humans don't deserve to be saved; let's you and me just kill them all so that the earth can be beautiful again. (He sounds like Agent Smith in The Matrix. Humans are a disease!)
When given the choice, however, Diana decides not to kill the evil chemist. Steve, meanwhile, has found the bioweapons, which are mounted on a plane about to take off for London. He tries to go explain his plan to Diana, but Ares has been beating her up and stuff has been exploding, so she can't hear him. Steve flies the plane straight up and ignites it. Diana realizes how much she loves him, and/or humanity generally, and kills Ares.
Final Image
Team Diana is relieved to still be alive, but Steve is gone. He's in the photo that was taken in France, though. Diana the museum curator takes it out of the briefcase and remembers him fondly.
Questions I Have About Wonder Woman
Why is she a museum curator? Couldn't we just have not had the frame story where she's a museum curator? I don't need to see her emailing Bruce Wayne. Wait, no, I get it—that's to tie into the DC movie I didn't see. I still think it was unnecessary. They could have put the end of the frame story after the credits.
Do these Amazons age or reproduce? There are no children or men on the island, and Diana says they need men to reproduce. To me that means that they don't age and that their numbers must be shrinking over time because of accidents. If they weren't just backstory, declining numbers would be an important problem. I think the queen should have thrown a line in about how because there were so few of them left, they couldn't risk fighting a war that might not have been started by Ares.
Why weren't Diana's days as an Amazon presented as flashbacks? Putting the Amazons at the beginning of the movie, just because that's where they are in the story chronologically, made them seem more important than they were. (I had this problem with Rogue One, too.) The island would have been more believable if it had been presented as a kind of happy dream or bittersweet memory.
Why couldn't we have had more stuff about Hestia's Lasso of Truth? It mostly just gets used as a kind of whip-style weapon, not to learn true facts or honest opinions. When captured by the Amazons, Steve tries hard to conceal the fact that he's a spy (though I'm not really sure why he would), and he uses the lasso to prove to Diana that he is still going to fight even though his boss has told him not to.
Does Ares have the ability to lie to the Lasso of Truth? Maybe he just blocks it from affecting him, or maybe he's telling the truth as he sees it. I really wasn't sure what was going on there when he was using his white-blue lightning against the golden lasso.
Can Ares look like anyone? Did that one guy make a deal with the devil, or did Ares just possess him, or is he just Ares and not human at all? I'm confused. Actually, I think the movie would have been better if Ares hadn't existed; if the point was for Diana to learn to understand and love the flawed human race, then the point would have been driven home more forcefully if there were no god of war at all (and no CGI battle where she vanquishes him).
Is Diana a god or a demi-god or what? I thought she wasn't really made from clay and given life by Zeus because that seemed like a lie her mother told her to obscure her role as the god-killer; and surely she's a god because only a god could kill another god. I also thought maybe this Diana was Diana/Artemis, one of the twelve really important Greek gods, in part because Artemis was a skilled hunter. In the DC Comics world, there seems to be more than one origin story, so Wonder Woman's parentage and identity aren't totally clear, but she's definitely not Artemis.
What I Liked about Wonder Woman
The feminism wasn't over-the-top like it was in Marvel's Agent Carter or Timeless or The Legend of Tarzan. This whole movie could just have been more of that same exaggerated awful nonsense. It wasn't.
Some liberties were definitely taken with Greek mythology somewhere along the line, but I liked the "moving painting" way in which that part of the story was shown on screen.
Diana is beautiful and womanly, innocent but fierce. The character is warm. We can care about her because she cares about everybody; she gives people the benefit of the doubt. She's earnest. Moreover, she's stubborn; that's the opposite of spineless, and IMO spineless is the worst thing a character can be.
There were some funny lines; maybe not as many as I'd have liked, but some, and that's important. This movie takes itself pretty seriously, but it isn't dark or gritty. I didn't like Skyfall. I didn't like Logan. They're depressing! Bring back more of this sunshine and laughter.
It's easier to find fault than to praise, and I don't want to find fault just for the sake of finding fault or to sound a contrasting note, but it's still worth saying that I didn't think this was a great movie because I would like to be able to say other movies are great that are better than this one.
For some people, it seems that Wonder Woman was great more or less because it was about a female warrior. For me, what makes a movie great is a finely tuned story. I'm not an expert on story, but like any number of other people on the internet, I have an opinion, and my opinion is this: The beginning was weighed down with too much backstory. The end was weighed down with too much CGI. The middle lacked the kind of anguish, despair, or time of somber reflection that would have allowed the character and viewers to absorb the movie's core message. Worst of all, the movie didn't seem to have a core message. If what matters to me is story, and this is how I see the story, I can't call it a great movie.
Not everybody loved it. I think some of those who say they did are grading on a curve as this highly contentious review says. (The reviewer, whatever his faults, uses an impressive literary pun to praise the Israeli star: he says it was worth "waiting for Gadot".)
Another review points out that the movie makes use of history to say that Americans are the good guys. Yeah, I noticed that, too. I often feel bad for contemporary Germans (and Russians), who must be darn sick of being depicted as villains.
Another review points out (among other things) that Diana doesn't properly mourn the destruction of the town she saved. That bothered me quite a lot. I would have liked to see less time spent on Amazons doing pretend fighting on a magic island and more time spent on Europeans doing real fighting in Europe, because I'm way more capable of having emotions about Europeans. That was a real war, and the character didn't really engage with the people in it as deeply as she should have.
2 Aug 2017 Edit
The more I think about it, the more it bothers me how Wonder Woman's charge across the battlefield is undercut by what happens later. She saves the town, but everyone in it then dies because she and her team screw up. She's naive, and the town pays the price. Charging up out of the trenches, saving the town, and taking that memorable group photo all simply goes to show that pride goeth before a fall. The triumph of that scene was false; it was worse than useless, it was proof of overconfidence. People are choosing to see that scene in isolation rather than as part of the story. If you see the scene as empowering, well, then, literally, more power to you, I guess, but I see the scene as proof of how wrong Diana was about the world and her place in it.
Posted on June 11, 2017 April 26, 2020 Categories moviesTags blake snyder beat sheet, movie log, save the cat beat sheet
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text:
Q: How to distribute requests over Unicorn and Puma? I have a Rails app currently running on Unicorn. I want to shift to Puma in such a way that the heavy requests are directed to the Puma server and the rest run like before on Unicorn. I'm using nginx.
I think I'll have to modify the nginx conf file somehow to divide such requests.
Is it possible?
Any link with info on this would be helpful so I can learn.

A: The most straightforward way is to distribute your requests among different
locations in nginx:
location /something/light {
    proxy_pass http://unicorn;
}
location /everything/else {
    proxy_pass http://puma;
}

redpajama_set_name: RedPajamaStackExchange


text:
Q: Sorting Program getting weird anomalies (sorry that everything is in code form, stack overflow wouldn't let me submit for reason)
I have recently been interested in computer sorting, and attempted to write a simple batch numerical sorter. It uses very basic math and is extremely inefficient, but was mostly a learning experience. The program almost works with certain number sets. I am relatively new to batch, so as far as I can tell, there is nothing specifically wrong with my sorting and checking, yet I've experiencing quite a few anomalies after sorts. In a set of 10 values, it sorts perfectly, except the largest number ends up being put first. And in larger sets of numbers, for example:
> Values:10
>
> Random Maximum:10
>
> UNSORTED: 8 5  0  0  5  4  7  1  5  1
>
> SORTED: 8  0  1  1  4  5  5  5  7

The following are the anomalies I have so far experienced while debugging:

*

*Highest number put first

*Numbers of lower places(tens, hundreds, etc) placed randomly in sets with a majority of numbers with a higher case

*Some numbers removed from unsorted-sorted

*Sorting restarts at various points in some cases in sorted.txt

*Likely many more to be discovered
Here is my batch script so far:
@echo off
color b
title sorting
if exist sortedlist.txt del sortedlist.txt
if exist unsortedlist.txt del unsortedlist.txt
if exist log.txt del log.txt
setlocal enabledelayedexpansion
set ar=0
set num=0
set check=0
set checknum=0
set checks=0
set /P totalnumber="Values:"
set /P randmax="Max Random Value:"
cls
::set totalnumber=200
::set randmax=500
echo %date% : %time%
echo PROGRAM INITIATED
echo VALUES:%totalnumber%
echo RANDMAX:%randmax%
echo %date% : %time% >> log.txt
echo PROGRAM INITIATED >> log.txt
echo VALUES:%totalnumber% >> log.txt
echo RANDMAX:%randmax% >> log.txt
:array
if %num% LSS %totalnumber% (
set /A a[%num%]=%random% %% %randmax%
set /A num=%num%+1
goto array
)
if %num% EQU %totalnumber% (
echo %DATE%:%TIME%
echo VALUE GEN COMPLETE
echo %date%:%time% >> log.txt
echo VALUE GEN COMPLETE >> log.txt
goto echo1
)
:echo1
for /F "tokens=2 delims==" %%s in ('set a[') do echo %%s
for /F "tokens=2 delims==" %%s in ('set a[') do echo %%s >> unsortedlist.txt
echo sort initialized
goto sort
)
:sort
set sorts=0
set n=0
:sortloop
set /A m=%n%+1
if %n% EQU %totalnumber% (
echo %date% : %time%
echo SORT COMPLETED
echo SORTS : %sorts%
echo %date% : %time% >> log.txt
echo SORT COMPLETED >> log.txt
echo SORTS : %sorts% >> log.txt
goto check
)
if !a[%n%]! GTR !a[%m%]! (
set hold=!a[%m%]!
set a[%m%]=!a[%n%]!
set a[%n%]=%hold%
set /A n=%n%+1
set /A sorts=%sorts%+1
goto sortloop
)
if !a[%n%]! LSS !a[%m%]! (
set /A n=%n%+1
goto sortloop
)
if !a[%n%]! EQU !a[%m%]! (
set /A n=%n%+1
goto sortloop
)
pause
:check
set check=0
set checknum=0
set checks=0
:checkloop
set /A checknumplus=%checknum%+1
if %check% EQU %totalnumber% (
goto complete
)
if %checknum% EQU %totalnumber% (
set /A checks=%checks%+1
echo %date% : %time%
echo CORRECT PAIRS : %check%
echo CHECKS : %checks%
echo %date% : %time% >> log.txt
echo CORRECT PAIRS : %check% >> log.txt
echo CHECKS : %checks% >> log.txt
goto sort
)
if !a[%checknum%]! LSS !a[%checknumplus%]! (
set /A check=%check%+1
set /A checknum=%checknum%+1
goto checkloop
)
if !a[%checknum%]! GTR !a[%checknumplus%]! (
set /A checknum=%checknum%+1
goto checkloop
)
if !a[%checknum%]! EQU !a[%checknumplus%]! (
set /A check=%check%+1
set /A checknum=%checknum%+1
goto checkloop
)
pause
:complete
set a[%totalnumber%+1]=%a[0]%
set %a[0]%=0
echo %date% : %time%
echo PROGRAM COMPLETE
echo %date% : %time% >> log.txt
echo PROGRAM COMPLETE >> log.txt
for /F "tokens=2 delims==" %%s in ('set a[') do echo %%s
for /F "tokens=2 delims==" %%s in ('set a[') do echo %%s >> sortedlist.txt

Any help cleaning up code, adding code, or resolving any of the issues I have will be greatly appreciated.

A: This question in "interesting". Independently of your low knowledge in Batch files, you have not asked a single definite question about the posted code! You basically have invited us to do whatever we want with it, so that is what I did. Also, it is important to note that the supposed "output example" show in the question have no relation with the posted code...
EDIT: The method used to show the list of numbers in a single line use a variable, so the maximum number of results is limited by the maximum variable length. For example, with numbers of 4 digits each the list can contain a maximum of 1637 numbers that, IMHO, was enough for a "simple batch numerical sorter" program.
I modified the method used to show the results, so it now supports 10,000 random numbers or more. However, you should note that this sorting method is slow, so I suggest to insert an echo command in the sortLoop in order to know that the program is still running.
@echo off
setlocal EnableDelayedExpansion

color b
title sorting

set /P "totalNumber=Values:"
set /P "randMax=Max Random Value:"
echo %date% : %time%
echo PROGRAM INITIATED
echo VALUES:%totalNumber%
echo randMax:%randMax%

(
echo %date% : %time%
echo PROGRAM INITIATED
echo VALUES:%totalNumber%
echo randMax:%randMax%
) > log.txt

:array
for /L %%i in (1,1,%totalNumber%) do set /A a[%%i]=!random! %% randMax

echo %DATE%:%TIME%
echo VALUE GEN COMPLETE
(
echo %date%:%time%
echo VALUE GEN COMPLETE
) >> log.txt

echo/
< NUL (
set /P "=UNSORTED: "
for /L %%i in (1,1,%totalNumber%) do set /P "=!a[%%i]! "
)
echo/
echo/
echo sort initialized

set "sorts=0"
:sortLoop
set "hold="
for /L %%m in (2,1,%totalNumber%) do (
   set /A n=%%m-1
   for %%n in (!n!) do if !a[%%n]! GTR !a[%%m]! (
      set /A hold=a[%%m], a[%%m]=a[%%n], a[%%n]=hold, sorts+=1
   )
)
REM ECHO Sorts: %sorts%
if defined hold goto sortLoop

echo %date% : %time%
echo SORT COMPLETED
echo SORTS : %sorts%
(
echo %date% : %time%
echo SORT COMPLETED
echo SORTS : %sorts%
) >> log.txt

:complete
echo %date% : %time%
echo PROGRAM COMPLETE
(
echo %date% : %time%
echo PROGRAM COMPLETE
) >> log.txt

echo/
< NUL (
set /P "=SORTED:   "
for /L %%i in (1,1,%totalNumber%) do set /P "=!a[%%i]! "
)
echo/

EDIT: New sorting method added
I originally thought that this program represents to you "mostly a learning experience in computer sorting". However, if you are interested in create two files with random numbers named sorted.txt and unsorted.txt in an efficient way, you may use this code instead:
@echo off
setlocal EnableDelayedExpansion

set /P "totalNumber=Values:"
set /P "randMax=Max Random Value:"

echo/
set /P "=UNSORTED: " < NUL
< NUL (for /L %%i in (1,1,%totalNumber%) do (
   set /A a=!random! %% randMax
   set /P "=!a! " > CON
   set "a=    !a!"
   echo !a:~-5!
)) > unsorted.txt
echo/

sort unsorted.txt /O sorted.txt

echo/
< NUL (
set /P "=SORTED:   "
for /F %%a in (sorted.txt) do set /P "=%%a "
)
echo/

Remember that the maximum random number is 32767, but the amount of numbers have no limit.

A: AS aacini mentioned set will order environment vars alphabetically, to have the numbers sorted stuff them with leading zeroes and put the random numbers into the var name, to be able to store the same number multiple times append the index.
EDIT Modified the batch to output lists to unsorted.txt and sorted.txt
@echo off
setlocal EnableDelayedExpansion

set /P "totalNumber=Number of Values:"
set /P "randMax=Max Random Value:"

 echo %date% : %time% PROGRAM INITIATED VALUES:%totalNumber% randMax:%randMax%
(echo %date% : %time% PROGRAM INITIATED VALUES:%totalNumber% randMax:%randMax%) > log.txt

:array
(for /L %%i in (1,1,%totalNumber%) do (
  set /A "Rno=!random! %% randMax + 10*randMax"
  Set a_!Rno!_%%i=0
  Echo:!Rno!
))> unsorted.txt

echo/
 echo %date% : %time% Generated %totalNumber% numbers
(echo %date% : %time% Generated %totalNumber% numbers) >> log.txt

(for /F "tokens=2 delims=_" %%i in ('set a_') do (
  Set /A No=%%i - 10*randMax,Diff=No-Prev,Prev=No
  Echo:!No!
))> sorted.txt

:complete
 echo %date% : %time% PROGRAM COMPLETE
(echo %date% : %time% PROGRAM COMPLETE) >> log.txt


text:
Brazil: A Great Place to Visit, Wouldn't Want to Live There
By David Sterritt
On Film / Essays — Dec 4, 2012
Terry Gilliam stands with the greatest of film fantasists, and Brazil is unquestionably his masterpiece. The ongoing popularity of this amazing movie speaks for itself. Its story glides effortlessly from knockabout comedy and political satire to dreamy romance, rambunctious fantasy, and dystopian science fiction. Its verbal and visual wit remain as incisive as ever, and the themes it explores—social alienation, terrorism, the hazards of high technology, and the bureaucratization of absolutely everything—are more urgent now than when the film premiered in 1985. One of the few things it doesn't have is anything to do with Brazil, apart from its theme song. Brazil figures here the way Chinatown does in Roman Polanski's 1974 film: it's a shadowy somewhere else that haunts the imagination without intruding much on the characters' world.
Set in the not-so-distant future, the tale takes place in an unnamed city where nothing works right and terrorist bombings are an everyday nuisance. Our hero is Sam Lowry (Jonathan Pryce), an ordinary guy who's determined to stay ordinary, dreading the day when someone will try to promote him above his humdrum job in the Department of Records, one of the many government agencies that rule every aspect of society. Sam's only escape from the dullness of his life comes in his dreams, where he's a winged superhero battling forces of darkness and saving a lovely woman in distress. At Sam's work one day, a bug gets squished in a computer, causing a name to be misprinted—Tuttle comes out as Buttle—and an innocent man to be arrested, tortured, and killed. Visiting the man's bewildered widow, Sam spots the girl of (literally) his dreams, living in the apartment overhead. Her name is Jill Layton (Kim Greist), and before long, both she and Sam are on the run as suspected terrorists, thanks to their accidental links to the late Archibald Buttle.
Those events are exciting and suspenseful, but what really propels the story is . . . air-conditioning! Setting after setting in Brazil is crisscrossed, congested, or positively clogged with ventilation ducts, each one a serpentine absurdity—if there were a Monty Python, he might look like one of these—forever prone to breaking down. The actual Tuttle (Robert De Niro) is a guerrilla repairman who swings into action from the sky, fixes things without endless paperwork or pointless licenses, and disappears as suddenly as he arrived. Naturally, the Ministry of Information considers him a terrorist, and Sam is in big trouble when the officially approved repairmen, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), find out that someone else has been making his overheated home more habitable. Such are the low-tech realities of this supposedly high-tech society.
Others involved in the marvelously acted story are Sam's mother, Ida (Katherine Helmond), a plastic surgery addict; Dr. Jaffe (Jim Broadbent), her overeager physician; Mr. Kurtzmann (Ian Holm), the timid head of Sam's department; Mr. Helpmann (Peter Vaughan), the pompous Ministry of Information chief; and the ever-smiling Jack Lint, a government interrogator played by Michael Palin, one of Gilliam's gifted colleagues in the Monty Python troupe. Jack is Sam's best friend, until Sam ends up in his interrogation chamber, sparking the film's conclusion, which is so artistically ingenious and emotionally wrenching that it must be seen to be believed. There's nothing else quite like it in world cinema.
For an auteur with a truly unique imagination, Gilliam is famously collaborative in his methods. After drafting the screenplay for Brazil, he brought in Tom Stoppard, whose credits include Rosencrantz and Guildenstern Are Dead, knowing that the playwright's gift for language would complement his own gift for imagery; further contributions to the script came from Charles McKeown, who also gives an uproarious performance as Harvey Lime, the drudge who shares Sam's office desk. On all his films, Gilliam likes everyone in the crew to work on every aspect of the production—costume ideas from the set designer, script ideas from the art director, and so on. And somehow the result bears Gilliam's inimitable imprint, steeped in the humor, mystery, danger, and perceptiveness that stretch from Time Bandits (1981) to Twelve Monkeys (1995) and Fear and Loathing in Las Vegas (1998) and beyond.
With so much brilliance in its favor, it's jolting to recall that Brazil was almost suppressed by its American distributor. Deeming it overlong, confusing, and downbeat—especially the finale, which exposes Hollywood's happy-ending tradition as the intelligence-insulting farce it often is—Universal seized control of the final cut from Gilliam, whose version exceeded the contractual running time by a few minutes. The studio then chopped Gilliam's 142-minute cut down to a meager 94 minutes, complete with a sentimental conclusion that blew the film's razor-sharp satire to smithereens.
Proclaiming that "love conquers all" was not the message he'd had in mind, Gilliam declared war, buoyed by the knowledge that his own version was pleasing audiences in Europe, where another studio had successfully released it. He engineered some private screenings in the U.S., over Universal's objections, and in December of 1985, the Los Angeles Film Critics Association made the unprecedented move of giving its top honors—best picture, best director, and best screenplay of the year—to a picture that had never been publicly shown. Obviously beaten, Universal finally released a 132-minute compromise cut in theaters. Ticket sales weren't spectacular, recouping only about a third of the production's cost, but the picture quickly built a large and loyal following, with Gilliam's European cut becoming the cut to see. (What's presented here is that version with some fine-tuning by the director—now known informally as Terry's Final Cut.)
Gilliam drew enormous dividends from his modest fifteen-million-dollar budget, often using his trademark wide-angle lenses to stretch small, claustrophobic spaces into large, intimidating ones. A tracking shot down a seemingly endless corridor in the Department of Records is a logistical wonder created by moving the camera twice through a single passageway, with precisely choreographed actors swarming just inches away from the lens. This was filmed in an abandoned Victorian flour mill still containing its obsolete wooden machinery, refinished by the crew to get the ungainly mix of newfangled ugliness and oldfangled inefficiency that characterizes the picture's look.
Gilliam used the same old mill for the exterior of the wildly misnamed Shangri-La Towers, where Jill and the Buttles live. The billiards room of London's National Liberal Club doubles as Ida's posh apartment; a Knightsbridge disco serves as a chapel; the streets of Sam's neighborhood were filmed in a modernistic Paris suburb; and Dr. Jaffe operates in the Arab Hall of a nineteenth-century English mansion. Most strikingly of all, Gilliam built the sinister interrogation room in the cooling tower of a decommissioned nuclear power plant, requiring Sam's rescuers to rappel 250 feet and land on slender metal strips thirty feet above the floor. Equally incomparable sets were constructed from scratch on soundstages.
The visual-effects team also faced big challenges. Richard Conway had worked on previous Gilliam projects—Monty Python and the Holy Grail (1975), Jabberwocky (1977), Monty Python's The Meaning of Life (1983; cowritten but not directed by Gilliam)—and knew what he was in for. George Gibbs, also a Meaning of Life veteran, had just shared an Academy Award for effects in Steven Spielberg's Indiana Jones and the Temple of Doom (1984), and when he saw the script for Brazil, he immediately said it would be harder! Remarkably, the special effects were mostly done "in camera," filmed on a stage with no further optical work. A good example is Sam's dream about enormous monoliths violently erupting from the ground—a fearsome sight created by filming miniatures over and over in meticulously timed slow motion.
Other memorable images arise from the ever-present gizmos. The preposterous Probeoscope that guards the Ministry of Information is a me´lange of lamps, valves, radio parts, telescopic arms, and dental equipment, while the giant samurai warrior who troubles Sam's dreams is both an ancient archetype and a postmodern pastiche made of cobbled-together computer parts. The movie's crowning touch is its musical leitmotif: Ary Barroso's 1939 song "Aquarela do Brasil," sung by Geoff Muldaur and reprised so often in the score that composer Michael Kamen said he started to think he might have written it himself.
At the core of the film's social critique is Gilliam's insistence that contemporary culture is enslaved by its technologies, which waste more time and resources than they save. The government in Brazil makes things even worse, aiming at total control but achieving zero due to stupidity and incompetence at every level. Look at the computer and television screens, for example—instead of nice big monitors, everyone has cramped little ones clumsily magnified by additional screens in front of them—or at Sam's telephone, a muddled knot of plugs and wires more like an archaic switchboard than a sleek electronic device. The powers that be—or Central Services, in the government's deceptively bland jargon—do everything the convoluted way, nothing the obvious way. Horrible explosions recur throughout the story, but despite the government's constant claims that terrorists are to blame, it's possible there are no terrorists, just a lot of lethal accidents caused by bungling authorities. This richly ironic idea–that the guardians of civic order are the worst enemies of civic order—resounds throughout the film.
Brazil is as zany and hilarious as the greatest screen comedies, but it's also as serious and cautionary as two classic dystopian satires to which it bears a family resemblance: Franz Kafka's The Trial (1925), still the most blood-chilling tale of humanity crushed by bureaucratic overkill, and George Orwell's Nineteen Eighty-Four (1949), which anticipates the official malice and malpractice so ubiquitous in Brazil, even though Gilliam says he never read it. The sociopolitical message of Brazil is woven into every aspect of its pullulating tapestry. When he first enters his tiny office, for instance, Sam finds that his desk extends through the wall into the next office, forcing him to play tug-of-war with the neighboring clerk for his proper share of desktop—a terrific sight gag, and also a sardonic commentary on the way capitalist culture turns trifling items into ruthlessly contested symbols of status and prestige. To infuse the inescapable bureaucracy into the film's smallest details, Gilliam went so far as to print innumerable forms, dossiers, certificates, and pieces of stationery emblazoned with official stamps and signatures, right down to documents informing arrested persons how and when their families will be billed for the expense of arresting, jailing, and/or executing them. Propaganda posters ("Don't Suspect a Friend--Report Him") and advertisements ("Mellowfields—Top Security Holiday Camps—Relax in a Panic-Free Atmosphere") are ubiquitous as well.
I first saw Brazil at one of the under-the-counter screenings Gilliam set up during the distribution tussle, and although I've watched it many times since, I never fail to be surprised, delighted, and moved by scenes that grow ever more pungent and evocative. The film's visionary nature is all the more evident when you remember that it hails from the middle 1980s, when science fiction and fantasy were tending toward escapist blockbusters like Ghostbusters (1984), Back to the Future (1985), and the latest Star Wars and Indiana Jones installments. Brazil has set a high bar for fantasy, science fiction, and social satire ever since, and you can see its influence in everything from Tim Burton's Batman (1989) and Steven Soderbergh's Kafka (1991) to Jean-Pierre Jeunet and Marc Caro's The City of Lost Children (1995) and Alfonso Cuarón's Children of Men (2006), not to mention the retro-futuristic aesthetics of the "steampunk" design movement. But Brazil stands alone, depicting a society that's as thrillingly outlandish—and eerily familiar—as any the screen has given us. Rarely has such a badly bungled world been such a breathtaking place to visit.
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David Sterritt is chair of the National Society of Film Critics, editor in chief of Quarterly Review of Film and Video, a contributing writer at Cineaste, and a film professor at the Maryland Institute College of Art. His books include Terry Gilliam: Interviews, edited with Lucille Rhodes, and The Cinema of Clint Eastwood: Chronicles of America.
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A work of rapturous energy, John Cameron Mitchell's beloved debut feature is a freewheeling rock-and-roll musical suffused with heartbreak and pleasure.
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redpajama_set_name: RedPajamaCommonCrawl


Thank you for your interest in Xcel Surfaces. We are ready to help you and your customers enjoy the beauty, flexibility and quality of our many different concrete surfacing systems.
We are happy to provide you with more information about our products. Please feel free to call us or submit an online request.


When Buddy's had a tough day at work dreaming up new pet products, he likes to settle in with a nice cold one—a Grrrona beer bottle toy that is. This chew toy isn't the toughest toy on the market, but it is the one that's best for making your dog feel likes it's a part of your next party.
This entry was posted on Friday, September 30th, 2011 at 1:13 PM.	It is filed under Blog. You can follow any responses to this entry through the RSS 2.0 feed.


text:
Know About The Ingrowing Demand Of The New Trend: Metaverse
The Metaverse may be a conception that was enforced in a very basic kind in 1985. However, the term itself didn't become common till 1992. Since then, there have been numerous forms, changes to the definition and new pop-cultural references.
Last but not least, the latest rumours of a few Facebook metaverse in Gregorian calendar month 2021 caused the term to appear. As a result, Mark Zuckerberg is designing the event of a metaverse together with his Facebook cluster.
Here you'll determine what a metaverse or Metaverse is. However, you'll imagine it and that corporations are designing a virtual world for the accessible Net.
Metaverse / Metaverse – what's it exactly?
The term metaverse is usually employed in fantasy novels and films as an artistic movement version of the Net. It's conjointly employed in video games.
Quite merely, it's a walkable net wherever folks will use their avatars to access info, communicate with each other, do business, and therefore the like. AN avatar is that the virtual, digital image of the user – reckoning on the Metaverse, may be displayed in 2nd or 3D.
A well-known metaverse from contemporary popular culture is delineated in "Ready Player One". The 2011 novel was recorded in 2018 and played several game and fantasy enthusiasts to the cinema.
In "Ready Player One", a digital world with nearly unlimited potentialities is drawn. Individuals will enter with their digital and customizable 3D avatar exploitation VR glasses and, if necessary, further instrumentation.
The online game "Second Life", launched in 2003, offers a true risk of interacting with others on the Net employing a 3D image. The title means that one thing like "second life" and gives users the chance to manoeuvre around with their avatar in a very 3D infrastructure, to contact alternative avatars (and so the users behind them), to try to business, to feature living areas produce / style and a lot of. In 2018 there ought to be fifty-seven million accounts in two hundred countries.
What is the Facebook Metaverse?
One reason for this informative post square measures the various articles and rumours that came up in Gregorian calendar month 2021 and trot out a Facebook metaverse. For instance, Mark Zuckerberg is to arrange AN accessible net with Facebook (or a brand new company) for the event of that ten,000 jobs square measure to be created in Europe alone.
There square measure z. B. a piece of writing within the Verge, wherever one refers, among alternative things, to info from Reuters.
How many years will the finished product be expected, and whether or not the longer term of the Net, social media and communication within the Facebook Metaverse remains questionable? As a result, alternative corporations and even states wish to organize for the longer term with a metaverse.
Not solely Mark Zuckerberg has been dreaming of it with Facebook since 2019 at the newest, and I have listed dozens of alternative examples below for you.
But back to Facebook: the video game is nothing new for Mark Zuckerberg's company. The corporate receptor VR was confiscated in 2014 and delivered the primary receptor video game telephone receiver back in 2013.
Since the takeover, there are alternative models once the "Oculus Rift" for Windows PCs, Apple Macs and Linux computers: receptor Rift S, receptor Quest, receptor Quest a pair of and receptor Go.
The technology and therefore the range of workers needed for programming, merging hardware and software package moreover as all alternative tasks can be placed along quickly.
The large challenge for the Facebook Metaverse is to convert the potential users of the protection of the accessible social media platform, knowledge protection and encrypted communication. As a result of information, protection is such a factor on Facebook …
Which corporations square measure acting on a metaverse?
The fact that Facebook or a brand new parent company for the social media platforms Facebook, Instagram and WhatsApp can work on a digital world for the accessible Net from 2021 is simply the tip of the iceberg. As a result of there have conjointly been plans for z. B. Epic Games and Microsoft.
Epic Games appears to need to convert the popular game "Fortnite" into a metaverse. The Windows manufacturers aimed for mixed reality with "Microsoft Mesh",. a regular video game and increased reality platform is also being sought-after by South Korea with a national Metaverse alliance.
But that is not all. In keeping with the Wikipedia page on the subject, there square measure more metaverse endeavours. Here are an outline of past, current And new attempts to make an accessible net with a virtual world (excerpt):
1993 – The text-based VR "The Metaverse" is introduced within the "Illuminati Online" bulletin board system
1995 – ActiveWorlds Iraqi National Congress. publishes "Active Worlds" as a platform that refers to the novel "Snow Crash" (see below)
1998 – With "There.com", there's a virtual world within which folks will move and trade as avatars. The in-game currency might be bought with real cash
2003 – "Second Life" by Linden science lab is launched and offers opportunities for communication, social interactions, games and business
2005 – A Metaverse-like free and open supply platform is launched beneath the name "Solipsis."
2006 – "Roblox", a world that's still common these days for games and interaction, particularly among younger users, is launched
2007 – "OpenSimulator" seems as AN open supply server platform that's for the most part compatible with Second Life
2014 – With "VRChat", a social VR platform seems within which folks will communicate as their 3D avatars
2019 – "Facebook Horizon" is declared because the social VR world of Facebook
2021 – There square measure Metaverse plans from Facebook, Epic Games, Microsoft, South Korea, and more
What alternative samples of the Metaverse square measure there?
Before a virtual world is realized in games like Fortnite or AN accessible net world is started from South Korea, you'll cross-check alternative examples.
At the start, I discussed that a form of Metaverse was printed as early as 1985 – particularly with the sport "Habitat". The sport developed by LucasArts / Lucasfilm Games, among others, is the primary MMORPG (Massive Multiplayer Online Role-Playing Game) with a graphical interface. It's conjointly called a "multi-participant online virtual environment" or just Net.
Neal George Stephenson conjointly competes for a key role in coining the term "Metaverse" with his 1992 fantasy novel "Snow Crash". In Snow Crash, the word "avatar" was conjointly established as a reflection of the user.
The Metaverse is delineated in history because of the successor to the Net, within which one interacts via a video game. Additional samples of novels and games from the Eighties and Nineteen Nineties may be found within the cyberpunk genre.
Another necessary film example of a metaverse is "Matrix". The primary film of the previous Matrix trio (the fourth film will be free in cinemas at the top of 2021) introduces a virtual world within which systems and programs written by machines square measure purported to simulate the important world.
With the assistance of immortal Trinity and Co., the protagonist modern manages to flee, however conjointly to come to the Matrix in a very controlled manner. The latter can, in all probability, even be a difficulty in Matrix four.
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Hollywood Scandal - Murder Mystery
Hollywood Scandal is our most popular murder mystery theme. People love to dress as the actor or character they have always dreamed of becoming. Some people even have a glamour night with guests walking the red carpet in their black tie finest.
Normal Use: Fundraiser, kids 11+, teenage or adult party.
Special Use: All characters in this theme have names that can be male or female e.g. "The Publicist". This means the Hollywood Scandal murder mystery is great as an all girl, all boy or hen's night party.
Setting: A party on Hollywood Boulevard.
Costumes: Guests come as their favourite Hollywood actor, personality or character. More info on costumes go to our sister website www.thecostumepartyshop.com.au
Background: A collection of Hollywood greats have come together to start up a film company called Beautiful People Productions.
The Story: "The Star" has descended upon Hollywood and is determined to hit the big time. The only problem is that so have many other beautiful and handsome potential stars. "The Star" creates many enemies in their quest and ultimately this leads to a tragic death in the cellar. Many people are implicated but only one person is the true murderer. Unravel the story of the cellar, the dangers in the gazebo and the love affair that reaches its height just before the party.
Will you survive a night on Hollywood Boulevard?!


High Performance Slabs-on-Ground: Start with the Basics!
Presented By: Barry E. Foreman, P.E., P.Eng.
Building owners want quality floor slabs that last, that shine, that are crack free, that don't curl. They have high expectations. Every owner wants a high performing slab. Floor slabs need to meet the expectations requested by the owner. The floor slab designer is an integral part of the design and construction team. With this audience of engineers at the meeting, we will focus on the designer's contribution to meeting the owner's expectations for a high performance slab.
In order to achieve a high performance slab, designers need to start by following the basics of floor slab design and specifying. Many issues with floors not meeting the owner's expectations start with the design. If the design is poor or non-existent, then the resulting floor slab is on a path of potential "poor performance" and not the expected "high performance" quality desired by the owner. First, we will assume that most designers know how to properly determine the thickness to the slab. Next, the importance of proper subgrade design is so critical in supporting the floor. Poor support will lead to a bad slab. Geotechnical engineers don't always recommend the correct materials under the floor. The concrete mix design is very critical and most designers ignore specifying it correctly. They assume, many times incorrectly, that the construction component of the building team knows what to do. There will be discussion on concrete ingredients. There are many types of reinforcing for floor slabs and if used, they must be done correctly. The advantages of using reinforcing and the different types will be discussed. Using no reinforcing will also be reviewed. Proper jointing is related to the reinforcing and the concrete mix. Improper joint patterns can lead to floor cracks. The floor surface is the portion of the slab that everybody can see. Again, designers have the responsibility to design the slab with a surface that meets the expectations of the building owner. Understanding flatness/levelness of the surface, curing, sealers, and hardeners is important so that the designer can understand the difference between achieving a high performance slab versus getting an "ordinary" floor slab.
There will be discussion on some slab designs that have been around for many decades as well as some newer concepts that can provide "super high performance" floor slabs. Achieving a high performance slab does not necessarily require an expensive design, but rather, just following the basic techniques recommended by ACI will be a key in providing a design that will meet the high expectations of a building owner.
About Our Speaker: Barry Foreman brings 40 years of experience in the areas of manufacturing, processing, distribution and storage facilities. His well-rounded education and experience provides the expertise for complete design integration of the architectural work with the structural system.
Barry is well qualified in the design and construction of slabs-on-grade, slabs on deck, and elevated structural slabs especially for the high loadings and wear imposed by racking systems and material handling equipment in manufacturing and distribution centers. Barry is chair of ACI Committee 360, Design of Slabs on Grade and chair of the subcommittee on the Chapter on Floor Slab Design in Refrigerated Buildings. He is also a voting member of ACI Committee 302, Construction of Concrete Floors and a voting member of ACI 223, Shrinkage-Compensating Concrete. He also provides expert witness consulting relative to concrete and structural investigation and litigations. Barry is a nationwide seminar presenter on slab on ground design and construction.
Reserve by Monday, November 16th - Space is limited!


He's a gifted lyricist from Westchester, by way of the Boogie Down Bronx.
His name, KYD Works, stands for "killing your demographic" works.
He released his first mixtape, "Stress Test, Volume 3," two weeks after his release from prison.
His next mixtape will be called "The Lost," and will be accompanied by an EP called "Rise of the Lost."
His squad is called L.D.L.E.G., meaning "Lost Dynasty League of Extraordinary Gentlemen." It is comprised of both producers and rappers.
At 6'3" and 223 lbs., he studied nutrition at Westchester Community College and is a trained, qualified sports, fitness and wellness trainer, with his own successful fitness company.
He is also the Hip Hop Director of radio station 88.1/WARY-FM and hosts a weekly radio show on the station.
He sings most of the hooks on his rap songs.
He belongs to an organization called "Stop, Don't Shoot," which aims to curtail the "inappropriate use of firearms" by all.
He's on a positivity tip and aims to effect change in his lifetime.


Greg Harkins has lived in Vaughan Mississippi for all of his life. At an early age he began studying the craft of wood working and since that time he has never worked for anybody else. His techniques are passed down from the mid-1800s and he is preserving a virtually lost craft.
Like his craft, Greg Harkins is entirely original and handmade.
To contact Greg, it is best to give him a call because he does not do email.
Greg form Lofty Pursuits wunt poop at my hous ????????????


text:
namespace llvm {
class StringRef;

class MSP430Subtarget : public MSP430GenSubtargetInfo {
public:
  enum HWMultEnum {
    NoHWMult, HWMult16, HWMult32, HWMultF5
  };

private:
  virtual void anchor();
  bool ExtendedInsts;
  HWMultEnum HWMultMode;
  MSP430FrameLowering FrameLowering;
  MSP430InstrInfo InstrInfo;
  MSP430TargetLowering TLInfo;
  SelectionDAGTargetInfo TSInfo;

public:
  /// This constructor initializes the data members to match that
  /// of the specified triple.
  ///
  MSP430Subtarget(const Triple &TT, const std::string &CPU,
                  const std::string &FS, const TargetMachine &TM);

  MSP430Subtarget &initializeSubtargetDependencies(StringRef CPU, StringRef FS);

  /// ParseSubtargetFeatures - Parses features string setting specified
  /// subtarget options.  Definition of function is auto generated by tblgen.
  void ParseSubtargetFeatures(StringRef CPU, StringRef FS);

  bool hasHWMult16() const { return HWMultMode == HWMult16; }
  bool hasHWMult32() const { return HWMultMode == HWMult32; }
  bool hasHWMultF5() const { return HWMultMode == HWMultF5; }

  const TargetFrameLowering *getFrameLowering() const override {
    return &FrameLowering;
  }
  const MSP430InstrInfo *getInstrInfo() const override { return &InstrInfo; }
  const TargetRegisterInfo *getRegisterInfo() const override {
    return &InstrInfo.getRegisterInfo();
  }
  const MSP430TargetLowering *getTargetLowering() const override {
    return &TLInfo;
  }
  const SelectionDAGTargetInfo *getSelectionDAGInfo() const override {
    return &TSInfo;
  }
};
} // End llvm namespace

#endif  // LLVM_TARGET_MSP430_SUBTARGET_H

redpajama_set_name: RedPajamaGithub


text:
Matisse Thybulle collects five defensive stats on Friday
G, Washington Wizards
According to Ben Standig of NBC Sports Washington, the Pelicans have a "sincere interest" in exploring a trade for Wizards shooting guard Bradley Beal.
The Wizards seem to be determined to keep Beal, but they currently don't have a general manager, and perhaps their stance could change. The basis for trading Beal centers on maximizing his asset value with two years and $56 million remaining on his original five-year contract signed in 2016. Washington will likely struggle next season with fellow guard John Wall out and an evolving roster that currently has only five players with guaranteed contract. Beal is coming off an outstanding season in which he averaged a career-highs of 25.6 points and 5.0 rebounds, and almost single-handedly kept the Wizards in a chase for a playoff spot until the season's final weeks.
Source: NBC Sports Washington
Bradley BealWashington Wizards
Matisse Thybulle
SG-SF, Philadelphia Sixers
Thybulle started on Friday and scored seven points to go with four rebounds, two steals and three blocks in 36 minutes.
The defensive stats are the bread and butter of Thybulle's fantasy game. He has at least one steal and one block in his past four games and is averaging 1.5 steals and 2.3 blocks over that stretch. Thybulle should continue to start with Embiid out and has standard-league value in the short-term as defensive stats specialist.
Matisse ThybullePhiladelphia 76ers


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There are a few different design thinking methodologies : IDEO, d.school, FROG design, etc. Don Buckley, the Director of Innovation, brought to our school the Design Thinking methodology developed by and with aruliden, a leading NY design firm. Along with aruliden, Don facilitated the Tools At Schools design event of the year. Eighth grade students would redesign a locker, chair and desk, by first considering the problems they were going to solve for through design. This method used by engineers would prove to be a monumental achievement for our students. Backed by Bernhardt designs, they had a booth at International Contemporary Furniture Fair (ICFF) convention at the Jacob Javits Center. Top design firms present and promote their latest fare their. Design schools like RISD, Parsons and Stanford were there too. But at the end of the event, The School was awarded the the 2011 ICFF Editors Award for Design School. Fast Company wrote about us and videos of the program were featured on the site.
Why do I rehash all of this? Because at the end of the day, I need to give credit to think leaders that I have had the fortune of knowing. I feel like I can't talk about Design Thinking without discussing this back story. I had two years of direct training in this method under Don and aruliden and I feel I can fly!
Where does this fit in with the littlest learners? Well, I am doing the same project with 2nd Grade! Students spent 8 quiet minutes surveying their environment – the classroom and the pod — and identified problems that they want to address through design! I get emotional when I think about the message we are giving them. One of the paste boards given to the 7 year olds says "Fill this space with images, words, materials – whatever got you thinking". This project says we value their critiques, thoughts and ideas. More importantly, we are saying they have the power to identify and solve problems and one method is through design thinking.
Last week, students walked through their pod and classroom, clipboards in hands, and identified problems. They were not allowed to talk or share information during this 8 minutes. The students were so engaged in the activity, you could hear a pin drop. Also, I explained to them that it was very important that they are identifying problems only. This was not the space for solutions. A good example of a solution instead of a problem is "I need to put on a coat". That is the solution to "It is cold outside" and not an example of a problem. What did the students say?
Wow! The clear messages are the cubbies, closets and chairs need to be redesigned! Six groups of 3 to 4 children, 2 teams per category, will spend the coming weeks using design thinking problems that are important to them. This is an integrated project that will include technology, art, and math.
Can you share the worksheet you used?
A lot of the worksheets I use can be found at donbuckley.info. Click on the design thinking templates link. Let me know if I can be of more help.


If these get dirty, don't worry! Just throw them in the washing machine!
I've stocked these before and everyone raves about them ...including me! In a lightweight fabric, these Supersoft shoes are easy to slip on, zip up and off you go. They fit really well to the foot and are slimming! They also have a removable filler for a thin orthotic if required and once removed, you can throw these into the washing machine! How good is that?!
DONATION: I am happy to donate $1 every time I sell a pair of these to MicroLoan Foundation Australia, which provides small loans to women in Malawi so they can start their own business. As a proud small business woman, too, this makes me very proud!


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Insta Souls
PSG star Neymar equals club record of scoring in 8 consecutive games
Kylian Mbappe's Ligue 1 scoring record has him 20 goals ahead of nearest competitors
Too Old For The Premier League? – Three Senior Players From Manchester United, Chelsea and Manchester City Who Could Leave This Summer
by Raghavendra Goudar February 28, 2017, 1:00 am
The business end of the Premier League season is fast approaching and teams, while having one eye on their ongoing campaign, will also have started to put in place their transfer plans and strategies for the upcoming season.
Premier League, over the years, has become the league that spends the most in transfer windows and it will not be any different in the coming summer. And new players coming in means it will be time for some stars to move on from their clubs. Here we take a look at three players on the wrong side of the 30's who could be headed out of the Premier League at the end of this season:
The long-serving Manchester United midfielder is in the last few months of his current contract with the club, but there have been no negotiations initiated regarding a new deal and it looks like Carrick will be headed out of Old Trafford come season end.
The 35-year old has, once again, been one of the most influential presences in the middle of the park this season for Jose Mourinho and despite his age, has shown he still has what it takes to have an impact for the team and can contribute in a meaningful way. But with United targeting more additions in the midfield in the upcoming summer and Ander Herrera's emergence as the Red Devils' mainstay in the centre of the pitch, it is very likely that this could be the last season we see the stalwart in United colours.
Michael Carrick has been an absolute legend for Manchester United.
The Chelsea legend has been dropping hints that this could be his last year with the Premier League champions-elect and the amount of time he has played under Antonio Conte also is an indicator of the fact that JT could very well be headed away from Stamford Bridge.
Terry started the season as the preferred centre-half, but post an injury, he has struggled to break into the playing XI. Cesar Azpilicueta, David Luiz and Gary Cahill have been performing up to expectations and the likes of Kurt Zouma and Nathan Ake are waiting in the shadows. And add to the fact, Andreas Christensen will return from his two-year loan spell with Borussia Monchengladbach, where he has excelled immensely. Hence, it seems very unlikely that there is a way back for Terry.
It is probably time for John Terry to leave Chelsea.
The Manchester City goalkeeper, in recent weeks has established himself as the No.1 under Pep Guardiola ahead of the summer arrival Claudio Bravo, but could be on his way out in the summer with the manager looking to add new faces to the squad.
The former Malaga shot stopper has brought the much-needed calm and composure after some nervy displays from Bravo in goal and has been able to stabilize things at the back for City. Caballero put in one of his best displays for the Mancunian club in their 5-3 win over Monaco in the Champions League. But with his deal set to expire in the summer, the 35-year old Argentine could be playing his last season for the Citizens.
Caballero's time at Manchester City could be up.
Written by Raghavendra Goudar
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Soccer Souls
Soccersouls is a platform covering the best of the English game from Arsenal to Aberdeen, from Liverpool to Luton Town
© 2019 SoccerSouls.com (Owned by FFO Sports Publishing)


law enforcement and terrorist activity.
income and purchasing power between countries.
NI-CO is a not for profit, public body dedicated to the pursuit of building efficient, accountable and sustainable public sector institutions capable of managing donor aid effectively and implementing positive change.
Are you interested in working with us? Why not upload your CV now. Your details are kept confidential.
We work in the following sectors – Governance, Policing & Accessible Justice, Health & Social Care and Consumer Protection.
NI-CO are a key player in exporting UK public sector expertise and values overseas. NICO practitioners working alongside counterparts in the Western Balkans and the European Neighbourhood, have helped build institutions that provide valuable public services to the citizens of those regions. They continue to deliver effective and well designed projects; and have been active contributors to the FCO programme to encourage more UK public sector bodies to get involved in projects abroad. We look forward to continuing to work with them in the future.
The practical and collaborative approach adopted by NI-CO in the delivery of this project has fostered a strong bond between Romania and Northern Ireland which I hope will be sustained well into the future. The willingness of experts to share their first hand experience of the challenges and successes of the management of EU structural funds coupled with NI-CO's project management expertise augurs well for a highly successful project which should surpass its objectives.
Mr Gabriel Friptu, General Director, Ministry of Development, Public Works and Housing, Bucharest, Romania.
My colleagues and I from the Eurasian Training Centre in Kazakhstan enjoyed a warm and professional relationship with NI-CO that enabled us to have a very fruitful time studying at the University of Ulster.
Dinazat Kassymova, Tutor Trainer and Head of Administration, Eurasian Training Centre, Kazakhstan.
I would like to extend my appreciation to NI-CO for their work and effort in regard to the recent EU funded project. The project may have ended but the legacy of NI-CO's invaluable expertise and support lives on, helping Jordan to meet the challenges presented by international trading legislation.
Dr Armani Kudeir, EU Affairs Officer, Ministry of Planning and International Co-operation, Amman, Jordan.
I would like to place on record my sincere thanks to NI-CO for their support to the Qatar Ministry of Interior capacity building program. Both in hosting visits to Northern Ireland and delivering training in Qatar they have demonstrated professionalism, cultural sensitivity and flexibility and remain a valued partner.
Kevin Smith, Advisor Qatar Ministry of Interior.
The expertise and skill of NI-CO's specialists has not only advanced the cause of justice in Nigeria but their sensitive approach has helped to foster collaborative relationships.
British High Commission, Abuja, Nigeria.


The stunning Popeyes Guest Satisfaction Sweepstakes (8) photo below, is segment of #12+ Popeyes Guest Satisfaction Sweepstakes content which is classified within Company Offers, Mc Donalds, Mcdonalds Hours, Talk To Wendys, Telloutback and published at March 29, 2019.
Here is necessary data on Company Offers, Mc Donalds, Mcdonalds Hours, Talk To Wendys, Telloutback. We have the cool step for Company Offers, Mc Donalds, Mcdonalds Hours, Talk To Wendys, Telloutback. Check it out for yourself! You can acquire Popeyes Guest Satisfaction Sweepstakes (8) guide and read the latest #12+ Popeyes Guest Satisfaction Sweepstakes.


Holiday Inn® Trnava hotel is a few minutes' walk from the main square in the Trnava's historic Old Town.
Trnava train and bus stations are a short drive from the hotel, and Bratislava Airport (BTS) is just 35 minutes away. Four minutes' walk from the hotel, the 16th-century City Tower presides over cobbled Trinity Square in the historic Old Town, and the Baroque, twin-towered St. John the Baptist Cathedral is filled with ornate paintings and statues. The hotel's eight modern function rooms are equipped with state-of-the-art audio-visual equipment and can host events for up to 800 people.
Air-conditioned rooms have premium quality mattresses and pillow menus to help you get a good night's sleep. Suites have separate living rooms, and the huge Presidential Suite has two bedrooms and its own private terrace. Wake up to an American buffet breakfast served in the stylish Oak Tree Restaurant. The restaurant's lunch and dinner menus feature Slovakian cuisine and fine wines from around the globe. After a busy day, unwind with friends or colleagues over cocktails in the smart lobby lounge bar, or at a table out on the terrace.


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Toronto, Ont. – The Canadian Hockey League announced today that Sudbury Wolves forward Alex Pharand has been added to the 2023 Kubota CHL/NHL Top Prospects Game set to take place on Wednesday, January 25 in Langley, BC.
Pharand will replace injured Wolves teammate Quentin Musty in the game, suiting up for Team Red.
An 18-year-old from Sudbury, Pharand has 27 points (16-11–27) in 38 games this season for his hometown Wolves. The 6-foot-3, 198Ib. right-winger has also spent time down the middle this season. Pharand recorded 14 points (6-8–14) in 56 games between the Wolves and Hamilton Bulldogs last season. He was selected by Hamilton with the 14th overall pick of the 2021 OHL Priority Selection. NHL Central Scouting listed Pharand as the 54th-ranked skater in North America on their midseason list last week.
Additionally, the CHL announced that Soo Greyhounds defenceman Andrew Gibson will not compete in the game due to injury. He has been replaced on Team White by Halifax Mooseheads defenceman Dylan MacKinnon.
For more information on the 2023 Kubota CHL/NHL Top Prospects Game, visit chl.ca.
Posted in 2023 NHL Draft, Press ReleaseTagged Alex Pharand, Andrew Gibson, Quentin MustyLeave a comment


The South Australian Country Women's Association Incorporated welcome donations to the following funds.
Donations (unless otherwise specified) are not tax deductable.
Please select a fund from the list below to find out more information and nominate a donation amount.
SACWA provides assistance to families in need through the SACWA Emergency Aid Fund. Assistance is provided by recommendation from a social worker, rural counsellor or Association members. SACWA uses every dollar raised for this purpose as it does not take out administration costs.
Please ensure to add your name in the contact details on bank transfers and fill in the form above so that we may send you a receipt.
Donations to provide grans for rural students to further their studies.
In 2017/2018 the SACWA Annual State Objective is the State Property Fund.


Because you compared Dropbox and MozyPro Cloud Backup, we think this app could fit your needs.
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Misha Collins (Boston, 20 augustus 1974) , geboren als Dmitri Tippens Krushnic, is een Amerikaans acteur, filmproducent, filmregisseur en scenarioschrijver.

Biografie
Collins doorliep de high school aan de Northfield Mount Hermon School in Franklin County (Massachusetts) en hierna studeerde hij af aan de Universiteit van Chicago in Chicago.

Collins begon in 1998 met acteren in de televisieserie Legacy, waarna hij nog meerdere rollen speelde in televisieseries en films. Hij is vooral bekend van zijn rol als Castiel in de televisieserie Supernatural waar hij in 122 afleveringen speelde (2008-2020). In 2014 won hij voor deze rol een People's Choice Award in de categorie Favoriete Platonische Relatie op TV.

Collins is in 2001 getrouwd en heeft hieruit twee kinderen.

Filmografie

Films
Uitgezonderd korte films.
2021 Encounter - als Dylan
2010 Stonehenge Apocalypse – als Jacob
2008 The Grift – als Buster
2008 Over Her Dead Body – als Brian
2007 Reinventing the Wheelers – als Joey Wheeler
2006 Karla – als Paul Bernardo
2003 Finding Home – als Dave
2003 Moving Alan – als Tony Derrick
2002 Par 6 – als Al Hegelman
1999 Girl, Interrupted – als Tony
1999 Liberty Heights – als Guy

Televisieseries
Uitgezonderd eenmalige gastrollen.
2021 Bridgewater - als Jeremy Bradshaw - 10 afl.
2008-2020 Supernatural – als Castiel – 146 afl.
2011 Divine: The Series – als pastor Christopher – 3 afl.
2005-2006 ER – als Bret – 3 afl.
2002 24 – als Alexis Drazen – 7 afl.
1999 Charmed - als Eric Bragg - 1 afl.

Filmproducent
2021-2022 Roadfood - televisieserie - 12 afl.
2021 Bridgewater - podcastserie - 10 afl.
2014 TSA America: Yeah, But Is It Ticking? - korte film
2014 TSA America: Suspicious Bulges - korte film
2013 TSA America: Just Relax - korte film
2011 Divine: The Series – televisieserie – 6 afl.
2008 Loot – documentaire

Filmregisseur
2014 Behind the Scenes of Supernatural: A Fan's Perspective - korte film
2014 TSA America: Yeah, But Is It Ticking? - korte film
2014 TSA America: Suspicious Bulges - korte film
2014 Supernatural – televisieserie – 1 afl.
2013 TSA America: Just Relax - korte film
2010 Stranger Danger – korte film

Scenarioschrijver
2014 Behind the Scenes of Supernatural: A Fan's Perspective - korte film
2014 TSA America: Yeah, But Is It Ticking? - korte film
2014 TSA America: Suspicious Bulges - korte film
2013 TSA America: Just Relax - korte film
2011 Divine: The Series – televisieserie – 3 afl.
2010 Stranger Danger'' – korte film

Amerikaans filmacteur
Amerikaans televisieacteur
Amerikaans filmproducent
Amerikaans filmregisseur
Amerikaans scenarioschrijver
Pseudoniem

redpajama_set_name: RedPajamaWikipedia


The firm emanated from the senior partner, Rafique Dawood Patel, who was formerly a partner at Leicestershire's leading law firm Harvey Ingram LLP Solicitors. Rafique was a partner in the dispute resolution department. He was also head of regulatory and trading and also responsible for finance for the dispute resolution team.
With 14 years qualified experience as a solicitor, the firm has begun in 2007, with an enviable list of clients and now has 15 members of staff in various different departments being lawyers, personal assistants, marketing, financial management and other areas, offering a full law firm service.
The firm now has 15 members of staff in various departments. These include, lawyers, personal assistants, marketing officers, financial managers as well as other areas, offering a full law firm service.
The firms' client base is around the United Kingdom but also in countries such as the United States, the Far East and Africa.
It has a number of links with a number of different law firms in relation to clients who have property transactions in different countries or have various litigation cases in different countries.
The senior partner has won a number of awards in relation to legal and professional expertise and the firm boasts a strong reputation for quality of service and case management. The firm also prides itself with its excellent use of information technology and uses the software provided by TFB Plc which is a leading legal information technology provider.
- Standard Government Disbursements which include Land Registry Fees.
- Plus varying Disbursement costs.


text:
Checkered Flag 50 Laps for $749
You will receive any upcoming email promotions for Holland Motorsports Complex as well as Nationwide promotions. You can opt out at anytime. If you would like to receive specific promotions for any other track, please visit that track's page and submit your email for that track.
Hickory Motor Speedway Driving Experience
Track Length: 0.363 Mile
Track Style: Banked Oval
Official Website: http://www.hickorymotorspeedway.com
Track Address: 3130 US-70, Newton, NC 28658
Hickory Motor Speedway is a short track located in Hickory, North Carolina . It is one of stock car racing 's most storied venues, and is often referred to as "The World's Most Famous Short Track" and the "Birthplace of the NASCAR Stars".
The track first opened in 1951 as a 1 / 2 -mile (0.80 km) dirt track. Gwyn Staley won the first race at the speedway and later became the first track champion. Drivers such as Junior Johnson , Ned Jarrett , and Ralph Earnhardt also became track champions in the 1950s, Earnhardt alone winning five of them.
In 1953, NASCAR's Grand National Series (later the Sprint Cup ) visited the track for the first time. Tim Flock won the first race at the speedway, which became a regular part of the Grand National Schedule. After winning his track championship in 1952, Junior Johnson became the most successful Grand National driver at Hickory, winning there seven times.
The track has been re-configured three times in its history. The track became a 0.4-mile (644 meters) dirt track in 1955, which was paved for the first time during the 1967 season. In 1970, Hickory was shortened a second time to its present length of 0.363 miles (584 meters).
Hickory was dropped from the Grand National schedule after the 1971 season when R. J. Reynolds began sponsoring the series and dropped all races under 250 miles (402 kilometers) from the schedule. It remained in use as a popular NASCAR Late Model Sportsman Series venue. When the series was reformed as the Budweiser Late Model Series (later the Busch Grand National Series and currently the Nationwide Series ) in 1982, Hickory played a prominent part of its first season, hosting six of the series' 28 races. Drivers Jack Ingram and Tommy Houston , two former track champions, each won eight times at the track in the Busch Series.
As more tracks began hosting Busch Series races, Hickory's involvement was progressively reduced to two races a year by 1987, and then just the Easter weekend by 1995. By 1998, the Busch Grand National Series began adding more races at Winston Cup Series tracks, and Hickory was dropped from the schedule after 17 years.
Hickory is still used as a venue for NASCAR's club racing division, the Whelen All-American Series . The CARS Tour featuring Late Model and Super Late Model touring series cars on the same night also features a full meet at the track.
Hickory Motor Speedway Opened In July 1951
First winner (Gwyn Staley)
Track Size & Banking
.363 mile asphalt oval
14 degrees Turns 1 & 2
8 degrees Front & Back stretch
Choose your Hickory Motor Speedway Driving Experience or Ride Along Experience below to begin booking. If you're giving as a gift or are unsure about a date, you can purchase a gift voucher and you or the recipient will have 90 days to return to the website or call 855-227-8789 and book a date.


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Kuanyshbek Yessekeev (, Qýanyshbek Baqytbekuly Esekeev) is Chairman of the Board of Kazakhtelecom.

From January 25, 2019 to March 24, 2022, he was a member of the Board of Directors of Kcell JSC.

Early life
In 1995, he graduated from Al-Farabi Kazakh National University, majoring in applied mathematics. During his student years, he already wrote a dissertation paper. At the age of 22 after graduation he attained the status of candidate of sciences in physics and mathematics. His topic of dissertation was "Dynamic problems solvability of impure liquids." After this he became youngest scientist in the Republic of Kazakhstan, the record is still unbeaten. Additionally, he received second bachelor's degree in finance and credit in Narxoz University.

He can speak Kazakh, Russian and English.

Career

Between 1998 and 2002, he was head of the IT department in Kazakhoil, Kazakhstan Temir Zholy.  In 2002, he worked in government affairs as Director of Department at Ministry of Finance, Economics and Budget Planning in the Republic of Kazakhstan and advised on informatization.  On 13 May 2004, Kuanyshbek Yessekeev was appointed as Deputy of Chairman in Kazakhstan Agency of Information and Communication. Starting from February 2007 until March 2010 lead KAIC as Chairman. In November 2008 entered the board of directors for National Info-Communication holding company Zerde.  In AIC he built Online Government of Republic of Kazakhstan, freed range of 3G networks for mobile operators. Starting on 15 March 2010, he worked as Chairman of Kazakhtelecom. Where he introduced network standards for 4G (through subsidiary company Altel), developed cloud services, digital television, and IP telecommunications, also prepared company before listing in London Stock Exchange. Position of Yesekeev's term as Chairman in Kazakhtelecom was extended for three years from 15 March 2016 - according to the decision of Board of Directors of Kazakhtelecom (Protocol from 05.02.2016 #1).

On January 25, 2019, Esekeyev Kuanyshbek Bakhytbekovich joined the new board of directors of Kcell JSC.

On March 16, 2022, by the decision of the Board of Directors of Kazakhtelecom JSC, Kuanyshbek Yesekeyev was elected to the position of Chairman of the Board.

May 24, 2022 - Kuanyshbek Yessekeyev was prematurely removed from the Board of Directors of Kcell JSC.

May 24, 2022 - headed the Supervisory Board of Mobile Telecom-Service.

On December 2 , 2022 , he was elected President of the Judo Federation of Kazakhstan.

References

21st-century Kazakhstani people
Living people
Kazakhstani politicians
Narxoz University alumni
1975 births


text:
Cloned from : https://github.com/zackshapiro/chrome-extension-template

# **Example Chrome Extension**

This is a blank template Chrome extension with a basic event/message passing skeleton for you to easily get started building a Chrome extension.

I've also included Mixpanel for tracking, just drop an API key associated with your project into the `mixpanel.js` file.

### MVC
- Popup script (view)
- Content script (controller)
- Background script (model)

### Purpose

I wanted to create this for myself, as a start place for future extensions, but figured it might help you out as well. I hope it does.

### Contributing

Feel free to clone this repo and submit a pull request to add other basic elements of a useful Chrome extension.

*Created by [@ZackShapiro](http://twitter.com/zackshapiro) under the MIT License.*


Adjusting business strategies in the light of the "switch to digital" necessitates familiarity with the complex landscape of standards. As noted in Part 1 of this series describing that landscape (November 2011), efforts are under way to simplify the implementation of book industry standards. But there are also trends moving in the opposite direction.
One of these involves the management of rights. Ultimately, as the distribution of content moves from the physical to the digital environment, the unit of commerce moves from being sale of a product to sale of a license. This has major consequences.
You cannot sell someone a file; far less can you sell them the work that is recorded in that file. All you can sell is a set of rights to access and use that file and the work that it contains. This is a statement of the blindingly obvious.
You can, of course, choose to license people to make use of that file as if they owned something (including giving them a right to resell it or to give it away) but that is a completely separate issue. In the licensing of digital content, it is difficult not to think in terms of analogies with what exists in the physical world—"lending" e-books, for example. But these are always just analogies.
Every content transaction on the network is a rights transaction. It can never be anything else.
And this is a major challenge because really (outside the collective management sector) no one in the book and journal supply chains has much in the way of rights and licensing systems—certainly not for the comprehensive management of rights and licenses through the complete life cycle.
Publishers have no experience in creating XML license expressions; libraries have no experience ingesting and making use of them. The value has been demonstrated (see, for example, "RELI: A Project to Pilot the Development of a Licence Registry: Final Report" (2009; ie-repository.jisc.ac.uk/478/1/RELI_Final_Report.pdf), but the lack of system capability is a real challenge.
And this is just the beginning. Projects related to rights are currently in development, including one in collaboration with the Book Industry Study Group's Rights Committee, which is looking at the potential for communicating rights-related royalty information at a business-to-business level (see bisg.org/committee-1-17-rights-committee.php). However, the sheer complexity and lack of consistency of semantics between different players in the chain looks daunting. Although there is a real communications "pain point," relieving the pain will be extremely difficult.
Another area of complication has started to become visible in the last few months—subject coding. Within English-language markets, there has been a fundamental dichotomy over the use of subject coding schemes, with the United Kingdom (and other countries, including Australia) adopting the BIC subject categories developed by Book Industry Communication in the United Kingdom, and the United States and Canada using BISG's BISAC Subject Headings.
The need for a worldwide mechanism for the management of subject encoding is now becoming higher on everyone's agenda. However, any attempt to converge BIC and BISG may be too little, too late. Such centrally defined subject coding mechanisms, designed primarily to support merchandising of physical books in bookstores, are insufficiently fine grained and precise for the requirements of online discovery—once online discovery becomes the only discovery mechanism open for selling online content.
A completely different (and much more ambitious) project may be needed to develop (or more likely to adopt) taxonomies and ontologies that will enable really effective discovery. Such techniques have already been pioneered by individual medical and scientific publishers (where substantial authoritative ontologies had already been developed), and it seems we may have to facilitate a move in this direction over the coming years.
How has book and journal publishing metadata developed in comparison with what has happened in other media? Some interesting parallels and contrasts may be drawn with the music industry.
Because of the long-established collective management of primary rights in music, some aspects of rights communication have been much more highly developed in the music industry. The need to manage underlying musical works as well as recordings has driven the music rights societies, led by CISAC, to develop an extremely sophisticated (if closed) metadata infrastructure called CIS Net.
However, at the commercial end of communication, the recorded music industry had no specialized e-commerce standards prior to the launch of Digital Data Exchange (DDEX) in 2006. DDEX messages comprehensively cover a wide set of requirements for communication about digital music, including three main sets of messages.
The Electronic Release Notification Message Suite (ERN) supports the communication of information about albums, sound recordings, musical works, and the contracts associated with them—usually sent from a record company or aggregator to a digital retailer.
The Digital Sales Reporting Message Suite (DSR) supports the communication of sales and usage information about albums, sound recordings, and musical works and the financial transactions associated with them—usually sent by a digital retailer to record companies and music rights societies or music publishers.
The Musical Work Licensing Message Suite (MWLI) supports the communication of information about musical works to enable musical work licensing—usually exchanged between record companies or digital retailers and music rights societies.
Some parallels between publishing and the recorded music industry (the "record labels") are worth noting. In particular, both industries have struggled (and continue to struggle) to manage digital products with systems whose fundamental design is still oriented toward physical products. Both industries have had serious problems with identifier compliance and frustratingly slow implementation. However, the DDEX standards are finally getting considerable traction, and the number of implementation licenses has been growing exponentially as the bigger players in the industry begin to make compliance mandatory.
DDEX has also attracted the interest of the movie industry. The audiovisual sector, although strong in technical content standards, has been late in recognizing the need for specialized e-commerce standards but has recently made a significant move by forming EIDR, a Digital Object Identifier (DOI) Registration Agency for audiovisual assets.
This is the same technical infrastructure used throughout journal publishing (where the equivalent is CrossRef). The development of a pervasive unique identification system for AV is an important step toward adopting a wider set of standards for e-commerce.
Of course, what this all points to is convergence.
There was a time when it was complicated for trains to cross some borders because rail gauges were not standardized. Currently, we are seeing similar boundary problems between the media on the Internet, and here the problems may be even more acute, because the boundaries may be in our minds, our histories, and our industry structures—but they are not of even passing interest to consumers.
Within the publishing industry, we are seeing divergence and convergence at the same time: divergence because different sectors of book publishing can increasingly be seen as the different industries that they are (although previously united by a single physical product); and convergence because our online channels for marketing digital content are converging with those of other media at high speed.
We are also seeing a growing need for convergence between commercial and library applications—with recognition that, despite the differences in requirements between commercial metadata and cataloging, we need to find ways of avoiding unnecessary duplication of effort.
There are some hopeful signs in this respect. The Library of Congress is using ONIX for Books as a way of substantially increasing the efficiency of parts of its CIP program. And OCLC has developed a mapping tool for managing ONIX to MARC and MARC to ONIX (although it is worth noting that accurate mappings of this kind between schemas with very different structures and purposes are very complex and, without skilled human intervention, are almost inevitably "lossy").
Looking a little further forward, current joint efforts on interoperability, led principally by the Vocabulary Mapping Project (VMF), may make a significant difference. There is much in common between the library world's Functional Requirements for Bibliographic Records (FRBR) and the abstract analysis that underpins ONIX, DDEX, and all DOI-associated metadata (i.e., the <indecs> framework). Although much remains to be done, meaningful first steps have been taken.
Even in connection with the main challenge for convergence—the management of rights, licensing, and permissions—there are some hopeful signs of collaboration in a project created and led by the European Publishers Council. This is an area where individual parts of the media cannot possibly continue to work in isolated silos.
We are facing considerable challenges in the standardization of e-commerce, and there would be little point in pretending otherwise. But the indicators on my dashboard are steadily becoming more positive.
At EDItEUR, we have increased our membership by over 20 percent in two years, no mean feat at a time of severe economic stringency. So far as we can tell, new members are joining because they are either upgrading (from ONIX for Books 2.1 to 3.0) or implementing one or more of our standards for the first time. We are seeing a significant uptick in the implementation of ONIX for Books 3.0 and in implementation of some of the ONIX for Serials messages.
The recent inclusion of both Japan and China in the ONIX for Books community constitutes a major step forward in the internationalization of our efforts—and a monument to the original architects of ONIX, which has proved extremely robust as new requirements are made of it.
Agreement around documentation of international best practice is likely to reduce international fragmentation still further.
Disagreements between the United States and the rest of the world over the implementation of the ISBN for e-book identification may be diminishing, although it might be optimistic to expect a final agreement in the very near future.
There is growing evidence of a willingness to move from the venerable and extremely inflexible fixed-format EDI messages toward more widespread acceptance of XML EDI.
Interest in the potential for use of ONIX is growing in the library world.
There is growing collaboration between the media on development of the essential cross-media infrastructure for managing rights, licensing, and permissions on the Internet.
To keep an eye on standards and metadata developments, use the EDItEUR site (editeur.org) and/or the Book Industry Study Group site (bisg.org). And if you are interested in influencing these developments, consider joining BISG.
Mark Bide is executive director of EDItEUR, the global trade standards for the book and serial supply chains, and a director of Rightscom, the specialist media consultancy where he has worked since 2001. During his 40 years in and around the publishing industry, he has been a director of the European subsidiaries of both CBS Publishing and John Wiley & Sons. To reach him, email mark@editeur.org. This article and the companion piece published last month are derived, with the author's permission, from "Identifier and Metadata Standards for e-Commerce—Responding to Reality in 2011," in the Journal of Electronic Publishing (hdl.handle.net/2027/spo.3336451.0014.108).


The Mini sling works equally well for a night out as it does day-to-day for those who want a tiny care-free bag that just holds the basics. Refined, elegant & feminine with minimal details and an easy feel. Updated for SS19 with a fully adjustable strap allowing the bag to be worn in a variety of ways; under the arm, cross-body or sling style.