STARGATE SG-1 Insurrection Extract
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Simgate: Full-System, Cycle-Close Simulation of the Stargate Sensor Network Intermediate Node
SimGate: Full-System, Cycle-Close Simulation of the Stargate Sensor Network Intermediate Node Ye Wen, Selim Gurun, Navraj Chohan, Rich Wolski, and Chandra Krintz Department of Computer Science University of California, Santa Barbara Abstract— We present SimGate – a full-system simulator of most Stargate components including the processor, memory for the Stargate intermediate-level, resource-constrained, sen- hierarchy, communications (serial and radio), and peripherals. sor network device. We empirically evaluate the accuracy and As the result, SimGate boots and runs the Familiar Linux performance of the system in isolation as well as coupled with simulated Mica2 motes. Our system is functionally correct and operating system and any program binary that executes over achieves accurate cycle estimation (i.e. cycle-close). Moreover, it, without modification. the overhead of simulated execution is modest with respect to Our system is also unique in that we use it to simulate the previously published work. ensemble of both intermediate and base level sensor devices, i.e. Stargate and motes (e.g. Mica2). We do so by coupling I. INTRODUCTION SimGate with SimMote, a cycle-accurate full-system simulator Sensor networks have emerged as a technology for transpar- of motes [17]. This interoperability reveals the potential of ently interconnecting our physical world with more powerful simulating a complete sensor network setting including both computational environments, and ultimately, global informa- basic nodes, gateway nodes, and their interactivity. tion systems. In a typical sensor network, computationally We evaluate the accuracy of our system by comparing simple, low-power, sensor elements take physical readings the simulated clock cycles to measured clock cycles using a and may perform minor processing of these readings before range of stressmarks and community benchmarks. -
Stargate Sg-1
DIALOGUE CONTINUITY SCRIPT STARGATE SG-1 “Enemies” Episode #4951 Running Time: 44:19 PRODUCED BY: Stargate Productions V 6/5/01 This Script Prepared By: CASABLANCA CONTINUITY 11934 Tabor Street Los Angeles CA 90066 Tel. (310) 397-7741 Fax (310) 391-3041 STARGATE SG-1 – “ENEMIES” (#4951) Page 1 TIMECODE DIALOGUE START TIMECODE 00.00.00 AT FIRST FRAME OF PICTURE PROLOGUE 00.08.17 NARRATOR (VO)- Previously on Stargate SG-1… 00.11.16 CARTER- This is the sun that Vorash is orbiting. 00.13.24 JACOB- We want to blow it up. 00.22.03 O’NEILL- What the hell is that? 00.23.00 JACOB- We’re under attack. JACOB (OS CONT)- Hyperdrive is down. JACOB (CONT)- We’re sitting ducks. 00.31.04 APOPHIS (OS)- We must not allow them to escape. ` 00.37.13 O’NEILL- Jacob, pull up! O’NEILL (OS CONT FILTERED THROUGH RADIO)- Mayday, mayday…We are so going in! 00.44.18 DANIEL- Jack, can you hear me? STARGATE SG-1 – “ENEMIES” (#4951) Page 2 00.53.20 O’NEILL- So, now what? 01.05.18 JACOB- Less than four minutes before the sun begins to supernova. 01.08.07 O’NEILL- Daniel, just get me the hell out of here, will ya? 01.16.27 JACOB- Engaging hyperdrive. 01.23.21 CARTER (OS)- Sir… CARTER (CONT)- where’s Teal’c? 01.26.07 O’NEILL- I think he’s dead. 01.27.13 JACOB- We’ve traveled over four million light years. 01.29.28 CARTER- That’s impossible. 01.31.05 JACOB- It’s gonna take us a hundred and twenty-five years to get back. -
Telling Stories with Soundtracks: an Empirical Analysis of Music in Film
Telling Stories with Soundtracks: An Empirical Analysis of Music in Film Jon Gillick David Bamman School of Information School of Information University of California, Berkeley University of California, Berkeley [email protected] [email protected] Abstract (Guha et al., 2015; Kociskˇ y` et al., 2017), natural language understanding (Frermann et al., 2017), Soundtracks play an important role in carry- ing the story of a film. In this work, we col- summarization (Gorinski and Lapata, 2015) and lect a corpus of movies and television shows image captioning (Zhu et al., 2015; Rohrbach matched with subtitles and soundtracks and et al., 2015, 2017; Tapaswi et al., 2015), the analyze the relationship between story, song, modalities examined are almost exclusively lim- and audience reception. We look at the con- ited to text and image. In this work, we present tent of a film through the lens of its latent top- a new perspective on multimodal storytelling by ics and at the content of a song through de- focusing on a so-far neglected aspect of narrative: scriptors of its musical attributes. In two ex- the role of music. periments, we find first that individual topics are strongly associated with musical attributes, We focus specifically on the ways in which 1 and second, that musical attributes of sound- soundtracks contribute to films, presenting a first tracks are predictive of film ratings, even after look from a computational modeling perspective controlling for topic and genre. into soundtracks as storytelling devices. By devel- oping models that connect films with musical pa- 1 Introduction rameters of soundtracks, we can gain insight into The medium of film is often taken to be a canon- musical choices both past and future. -
A Primer on U.S. Intellectual Property Rights Applicable to Music Information Retrieval Systems Michael W
American University Washington College of Law Digital Commons @ American University Washington College of Law Articles in Law Reviews & Other Academic Journals Scholarship & Research 2003 A Primer on U.S. Intellectual Property Rights Applicable to Music Information Retrieval Systems Michael W. Carroll American University Washington College of Law, [email protected] Follow this and additional works at: http://digitalcommons.wcl.american.edu/facsch_lawrev Part of the Entertainment and Sports Law Commons, and the Intellectual Property Commons Recommended Citation Carroll, Michael W. “A Primer on U.S. Intellectual Property Rights Applicable to Music Information Retrieval Systems.” University of Illinois Journal of Law Technology & Policy 2003, no. 2 (2003): 313-328. This Article is brought to you for free and open access by the Scholarship & Research at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Articles in Law Reviews & Other Academic Journals by an authorized administrator of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. A PRIMER ON U.S. INTELLECTUAL PROPERTY RIGHTS APPLICABLE TO MUSIC INFORMATION RETRIEVAL SYSTEMS Michael W. Carroll* [Note to reader: Pagination for this article is accurate, although the page breaks are sometimes in awkward places due to typeface constraints.] Digital technology has had a significant impact on the ways in which music information can be stored, transmitted, and used. Within the information sciences, music information retrieval has become an increasingly important and complex field. This brief article is addressed primarily to those involved in the design and implementation of systems for storing and retrieving digital files containing musical notation, recorded music, and relevant metadata – hereinafter referred to as a Music Information Retrieval System (“MIRS”). -
COVID-19 Rush Journal Club
COVID-19 Rush Journal Club NOVEL CORONAVIRUS SARS-COV-2. Transmission electron micrograph of SARS-CoV-2 virus particles, iso- lated from a patient. Image captured and color-enhanced at the NIAID Integrated Research Facility (IRF) in Fort Detrick, Maryland. Credit: NIAID Available at: https://www.flickr.com/photos/niaid/49597768397/in/al- bum-72157712914621487/. Accessed April 19, 2020. This document is a collection of efforts from students of Rush University. It provides brief reviews of research articles regarding COVID-19. We hope that this will be helpful to clini- cians, students, community leaders, and the general public. This document, however, does not act as a replacement of the original source documents. Please use the DOI on each page to read more. Student Editors Blake Beehler, MD John Levinson, MS2 Alice Burgess, MS2 Luke McCormack, MS2 Alyssa Coleman, MS3 Diana Parker, MS2 Shyam Desai, MD Elena Perkins, MS3 Joseph Dodson, MS1 Hannah Raff, MS3 Joshua Doppelt, MD Ayesan Rewane, MSCR Emily Hejna, MS2 Audrey Sung, MS3 Danesha Lewis, PhD student Literature Selection Christi Brown, MS2 Lindsay Friedman, MS3 Danesha Lewis, PhD Student Travis Tran, MS2 Student Editors in Chief Joseph deBettencourt, MS3 Alyssa Coleman, MS3 Lindsay Friedman, MS3 Leah Greenfield, MS2 Beth Hall, MD Morgan Sturgis, MS2 Travis Tran, MS2 Ashley Wehrheim, MS2 Kaitlyn Wehrheim, MS2 Bijan Zarrabi, MS2 Faculty Editors and Mentors Frank Cockerill, MD - Adjunct Professor of Medicine Mete Altintas, PhD - Director, Translational and Preclinical Studies Rachel Miller, -
Stargate Sg1 "Flesh and Blood" Episode #1001 Dialogue Continuity Script
STARGATE SG1 "FLESH AND BLOOD" EPISODE #1001 DIALOGUE CONTINUITY SCRIPT June 5, 2006 Prepared by: Line 21 Media Services Ltd. #122 - 1058 Mainland Street Vancouver, B.C. V6B 2T4 Phone: (604) 662-4600 [email protected] 1 STARGATE SG-1 - "Flesh and Blood" - Episode #1001 TIMECODE DIALOGUE START TIMECODE 01:00:00:00 AT FIRST FRAME OF PICTURE RECAP 01:00:00:05 TEAL'C: Previously on Stargate SG-1... 01:00:03:08 DOCI: In the name of the gods, ships shall be built to carry our warriors out amongst the stars. 01:00:08:22 ORLIN: Everything Origins followers devote themselves to is a lie. 01:00:12:16 MITCHELL: Whose baby is it? 01:00:13:21 VALA: I don't know. 01:00:14:19 PRIOR (V/O):The child is the will of the Ori. 01:00:18:10 VALA (V/O): The ships are planning to leave. 01:00:19:28 VALA (CONT'D): Somewhere out there, the Ori have a working supergate. 01:00:22:11 CARTER (V/O): We've managed to locate the dialing control crystals on one particular section of the gate. 2 STARGATE SG-1 - "Flesh and Blood" - Episode #1001 01:00:26:10 CARTER (CONT'D): We dial out before they can dial in. 01:00:28:20 CARTER (CONT'D INTO RADIO): Something's happening. 01:00:31:09 (EXPLOSION) 01:00:35:19 CARTER (CONT'D): My god... 01:00:36:27 NETAN: I didn't think you were that stupid. 01:00:38:14 TEAL'C: I have come to seek the assistance of the Lucian Alliance. -
Interfacing STARGATE-IP to UPB Networks
Interfacing STARGATE-IP to UPB Networks INTRODUCTION This Application Note describes Stargate-IP and Stargate-Lite support for controlling UPB Powerline devices. These control- lers, when connected to the powerline by a UPB Powerline Interface Module, can control a network of up to 250 UPB lighting dimmers and other UPB devices. This application note assumes a working knowledge of UPB and that the UPB devices have been installed and properly configured using the UPStart program (available from PCS or Simply Automated websites). Support for UPB requires a UPB Powerline Interface Module (PIM), also called a Computer Interface Module (CIM) and a UPB serial adapter and cable. The PIM connects to COM2 or COM3 of the Stargate via the UPB serial adapter cable. Once configured, the UPB devices are fully integrated into Stargate and can be controlled in the same manor as X10 or ALC lighting devices. Stargate Controllers NEW Controllers Stargate-IP and Stargate-Lite controllers shipped with firmware 4.0.0 or later are modified and ready for UPB support. These units are shipped with a UPB serial adapter and cable for connection to a UPB Powerline Interface Module. The UPB Powerline Interface Module is not supplied. The UPB Powerline Interface Module (PCS PIM) or Computer Interface Module (Simply Automated CIM) are available from various distributors. NOTE: Your PIM or CIM must be in MESSAGE mode, not PULSE mode, in order for this module to behave correctly. If you are experiencing problems when the PIM or CIM is connected to Stargate, your interface is likely in PULSE mode and needs to be changed to MESSAGE mode. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Plural Subjectivity in Stargate SG-1
Language, Literature, and Interdisciplinary Studies (LLIDS) ISSN: 2547-0044 ellids.com/archives/2020/07/3.4-Ferebee.pdf CC Attribution-No Derivatives 4.0 International License www.ellids.com “Pain in Someone Else’s Body”: Plural Subjectivity in Stargate SG-1 K.M. Ferebee Abstract Lennard Davis, in his work on visualizing the disabled body, argues that at root the body is inherently and always already fragmented. The unified “whole body” is, therefore, hallucinatory in nature—an imaginary figure through which the body’s multiplicity is repressed. There is much in this view that is consonant with posthumanism, which so often seeks to destabilize the “whole” and singular one in favor of the multiple, the fragmentary, and the hybrid. Yet despite these considerations of the body as fragmentary, little attention has been paid to the value of considering the body not only as fragmentary, but also as potential fragment. What might we learn by rejecting anthropocentric assumptions about the body-mind’s inherent completeness, and exploring the radically plural ontologies offered by visions of shared, joint, or group body-minds? This paper turns to science fiction as a source of such visions, considering depictions of symbiotic and hive minds through the non-traditional models of ontology and agency. While science fiction has traditionally represented plural being as a troubling and fearful injury to wholeness, this paper aims to highlight the symbiotic Tok’ra1 of television series Stargate SG-1 as a model of excess being that not only challenges the naturalization of the “complete” body, but also asks us to interrogate presumed boundaries between self and other. -
Stargate Lay Under the Sands of Egypt for Ten Thousand Years
SHEILA BLACK Introduction Daniel shut his eyes, walked into the wall of light, and suddenly saw himself flying among stars, millions of them. He seemed to fly for thousands of years, until. The StarGate lay under the sands of Egypt for ten thousand years. Then, in 1928, some archeologists found a mysterious stone. The writing on it said, ‘A MILLION YEARS INTO THE SKY IS RA, SUN GOD.’ Sixty years later, in the USA, a young archeologist called Daniel Jackson finds a way to open the StarGate again. What is on the other side? Daniel and some soldiers from the United States Army go through the gate to find out. Millions of light years from Earth, they find another world where Ra, the Egyptian Sun God, is king. But his people are not free — they are his prisoners. Ra knows that he must kill the visitors from Earth and close the StarGate for ever. Daniel and the soldiers must fight Ra to stay alive, and then find a way to get home . StarGate is a film by Roland Emmerich. It was one of the most popular films in America in 1994. It starred James Spader as Daniel Jackson, Kurt Russell as Jack O’Neil (O’Neil works for the US Army in the film), and Jaye Davidson as Ra. People have been interested in the life of the Egyptians for thousands of years — their gods, their writing, and their pyramids. The biggest pyramids are at Giza,just outside Cairo. The largest one is that of Pharaoh Khufu. It was built in 2550 BC and is also called the Great Pyramid. -
Park Open Release DRAFT
FOR IMMEDIATE RELEASE “It’s playtime!”™ SIX FLAGS MARINE WORLD OPENS 2004 SEASON ON th SATURDAY, MARCH 20 New Shows, New Dolphins, New Year To Celebrate Fun, Family & Friends! Six Flags Marine World – the Bay Area’s most popular playground – is now open for monkey business! The Northern California place to go for the pursuit of happiness starts off its 2004 Season on Saturday, March 20, with a darling new dolphin to meet, a new STARGATE™ ride to thrill to, and new ways to beat the wintertime blahs. America’s first combination wildlife park, oceanarium and theme park is filled with cool playtime gear for big kids and little kids. With 35 rides that range from world- class roller coasters to family-friendly children’s rides, along with nine sensational shows and 35 animal attractions, Six Flags Marine World is open on weekends in the Spring and Fall, and open daily over Spring Break (April 2 – 18) and during the Summer (May 28 – August 29). A DOLPHIN LOVE STORY… Cupid, the Valentine’s Day dolphin, makes his public debut on the Park’s Opening Day, March 20. The playful two-year-old dolphin was discovered near death, washed up on a Texas beach on Valentine’s Day 2003 and came to Six Flags Marine World just before Valentine’s Day this year. Park guests can watch Cupid the dolphin swim and frolic through the Dolphin Discovery pools underwater viewing window. He was nursed back to health by dedicated efforts of the Texas Marine Mammal Stranding Network. Cupid survived and thrived thanks to human care, A permanent neurological disorder and occasional seizures-like episodes make Cupid a likely lunch for a shark if the dolphin had been returned to the ocean. -
STINGER VP Virtual Pinball Machine
STINGER VP Virtual Pinball machine NewAgeArcade.com User Manual and Game list 863 Pinball Games in One I.PC Configuration Mainboard: Gigabyte H81 CPU: Intel G1840 RAM: 4GB Graphics Card:NVIDIA GT730 ,DDR5,1GB SSD:SAMSUMG 120 GB (or Sandisk or Intel) II.Monitor Requirement 1.Playfield monitor:1920*1080 (optimum resolution),connect to DVI of graphics card 2.Backglass monitor: 1366*768 (optimum resolution),connect to VGI of graphics card 3.DMD monitor:640*480 (Minimum resolution) ,connect to VGI of mainboard III.Buttons Layout 1 / 12 1. Left Flipper 2. Left MagnaSave 3. Left (game exploring),Left Tilt (game playing) 4. Right ( game exploring),Fwd Tilt (game playing) 5. PageLeft (game exploring),Right Tilt (game playing) 6. PageRight (game exploring),Mech Tilt (game playing) 7. Free play 8. Start game 9. Plunger 10. Exit 2 8 7 1 9 3 4 10 5 6 IV.These games release the ball by RMagnaSave ,LMagnaSave or LeftTilt key after starting. No. GameName No. GameName 1 Ali Baba (Gottlieb 1948) 17 Frolics (Bally 1952) 2 Alpine Club (Williams 1965) 18 Golden Arrow (Gottlieb 1977) 3 Ballyhoo (Bally 1969) 19 Happy Days (Gottlieb 1952) 4 Bank A Ball (Gottlieb 1965) 20 KC Jones (Gottlieb 1949) 5 Big Casino (Gottlieb 1961) 21 Lightning Ball (Gottlieb 1959) 6 Big Daddy (Williams 1963) 22 Mermaid (Gottlieb 1951) 7 Big Top (Gottlieb 1964) 23 Mystic Marvel (Gottlieb 1954) 8 Broadway (Bally 1952) 24 Palisades (Williams 1953) 2 / 12 9 Buccaneer (Gottlieb 1948) 25 Queen of Hearts (Gottlieb 1952) 10 Buckaroo (Gottlieb 1965) 26 Silver (Gottlieb 1957) 11 Casino (Williams 1958) 27 Spitfire (Williams 1954) 12 Chinatown (Gottlieb 1952) 28 TeleCard (Gottlieb 1949) 13 Crosstown (Gottlieb 1966) 29 Ten Spot (Williams 1961) 14 De-Icer (Williams 1949) 30 Three Coins (Williams 1962) 15 Dragonette (Gottlieb 1954) 31 Three Deuces (Williams 1955) 16 FotoFinish (Gottlieb 1961) 32 Twin Bill (Gottlieb 1955) V.Games List No.