2012, Dec, Google Introduces Metaweb Searching
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1 TABLE OF CONTENTS 2 I. INTRODUCTION ...................................................................................................... 2 3 II. JURISDICTION AND VENUE ................................................................................. 8 4 III. PARTIES .................................................................................................................... 9 5 A. Plaintiffs .......................................................................................................... 9 6 B. Defendants ....................................................................................................... 9 7 IV. FACTUAL ALLEGATIONS ................................................................................... 17 8 A. Alphabet’s Reputation as a “Good” Company is Key to Recruiting Valuable Employees and Collecting the User Data that Powers Its 9 Products ......................................................................................................... 17 10 B. Defendants Breached their Fiduciary Duties by Protecting and Rewarding Male Harassers ............................................................................ 19 11 1. The Board Has Allowed a Culture Hostile to Women to Fester 12 for Years ............................................................................................. 19 13 a) Sex Discrimination in Pay and Promotions: ........................... 20 14 b) Sex Stereotyping and Sexual Harassment: .............................. 23 15 2. The New York Times Reveals the Board’s Pattern -
Getting Started Computing at the Al Lab by Christopher C. Stacy Abstract
MASSACHUSETTS INSTITUTE OF TECHNOLOGY ARTIFICIAL INTELLI..IGENCE LABORATORY WORKING PAPER 235 7 September 1982 Getting Started Computing at the Al Lab by Christopher C. Stacy Abstract This document describes the computing facilities at the M.I.T. Artificial Intelligence Laboratory, and explains how to get started using them. It is intended as an orientation document for newcomers to the lab, and will be updated by the author from time to time. A.I. Laboratory Working Papers are produced for internal circulation. and may contain information that is, for example, too preliminary or too detailed for formal publication. It is not intended that they should be considered papers to which reference can be made in the literature. a MASACHUSETS INSTITUTE OF TECHNOLOGY 1982 Getting Started Table of Contents Page i Table of Contents 1. Introduction 1 1.1. Lisp Machines 2 1.2. Timesharing 3 1.3. Other Computers 3 1.3.1. Field Engineering 3 1.3.2. Vision and Robotics 3 1.3.3. Music 4 1,3.4. Altos 4 1.4. Output Peripherals 4 1.5. Other Machines 5 1.6. Terminals 5 2. Networks 7 2.1. The ARPAnet 7 2.2. The Chaosnet 7 2.3. Services 8 2.3.1. TELNET/SUPDUP 8 2.3.2. FTP 8 2.4. Mail 9 2.4.1. Processing Mail 9 2.4.2. Ettiquette 9 2.5. Mailing Lists 10 2.5.1. BBoards 11 2.6. Finger/Inquire 11 2.7. TIPs and TACs 12 2.7.1. ARPAnet TAC 12 2.7.2. Chaosnet TIP 13 3. -
Should Google Be Taken at Its Word?
CAN GOOGLE BE TRUSTED? SHOULD GOOGLE BE TAKEN AT ITS WORD? IF SO, WHICH ONE? GOOGLE RECENTLY POSTED ABOUT “THE PRINCIPLES THAT HAVE GUIDED US FROM THE BEGINNING.” THE FIVE PRINCIPLES ARE: DO WHAT’S BEST FOR THE USER. PROVIDE THE MOST RELEVANT ANSWERS AS QUICKLY AS POSSIBLE. LABEL ADVERTISEMENTS CLEARLY. BE TRANSPARENT. LOYALTY, NOT LOCK-IN. BUT, CAN GOOGLE BE TAKEN AT ITS WORD? AND IF SO, WHICH ONE? HERE’S A LOOK AT WHAT GOOGLE EXECUTIVES HAVE SAID ABOUT THESE PRINCIPLES IN THE PAST. DECIDE FOR YOURSELF WHO TO TRUST. “DO WHAT’S BEST FOR THE USER” “DO WHAT’S BEST FOR THE USER” “I actually think most people don't want Google to answer their questions. They want Google to tell them what they should be doing next.” Eric Schmidt The Wall Street Journal 8/14/10 EXEC. CHAIRMAN ERIC SCHMIDT “DO WHAT’S BEST FOR THE USER” “We expect that advertising funded search engines will be inherently biased towards the advertisers and away from the needs of consumers.” Larry Page & Sergey Brin Stanford Thesis 1998 FOUNDERS BRIN & PAGE “DO WHAT’S BEST FOR THE USER” “The Google policy on a lot of things is to get right up to the creepy line.” Eric Schmidt at the Washington Ideas Forum 10/1/10 EXEC. CHAIRMAN ERIC SCHMIDT “DO WHAT’S BEST FOR THE USER” “We don’t monetize the thing we create…We monetize the people that use it. The more people use our products,0 the more opportunity we have to advertise to them.” Andy Rubin In the Plex SVP OF MOBILE ANDY RUBIN “PROVIDE THE MOST RELEVANT ANSWERS AS QUICKLY AS POSSIBLE” “PROVIDE THE MOST RELEVANT ANSWERS AS QUICKLY -
Selected Filmography of Digital Culture and New Media Art
Dejan Grba SELECTED FILMOGRAPHY OF DIGITAL CULTURE AND NEW MEDIA ART This filmography comprises feature films, documentaries, TV shows, series and reports about digital culture and new media art. The selected feature films reflect the informatization of society, economy and politics in various ways, primarily on the conceptual and narrative plan. Feature films that directly thematize the digital paradigm can be found in the Film Lists section. Each entry is referenced with basic filmographic data: director’s name, title and production year, and production details are available online at IMDB, FilmWeb, FindAnyFilm, Metacritic etc. The coloured titles are links. Feature films Fritz Lang, Metropolis, 1926. Fritz Lang, M, 1931. William Cameron Menzies, Things to Come, 1936. Fritz Lang, The Thousand Eyes of Dr. Mabuse, 1960. Sidney Lumet, Fail-Safe, 1964. James B. Harris, The Bedford Incident, 1965. Jean-Luc Godard, Alphaville, 1965. Joseph Sargent, Colossus: The Forbin Project, 1970. Henri Verneuil, Le serpent, 1973. Alan J. Pakula, The Parallax View, 1974. Francis Ford Coppola, The Conversation, 1974. Sidney Pollack, The Three Days of Condor, 1975. George P. Cosmatos, The Cassandra Crossing, 1976. Sidney Lumet, Network, 1976. Robert Aldrich, Twilight's Last Gleaming, 1977. Michael Crichton, Coma, 1978. Brian De Palma, Blow Out, 1981. Steven Lisberger, Tron, 1982. Godfrey Reggio, Koyaanisqatsi, 1983. John Badham, WarGames, 1983. Roger Donaldson, No Way Out, 1987. F. Gary Gray, The Negotiator, 1988. John McTiernan, Die Hard, 1988. Phil Alden Robinson, Sneakers, 1992. Andrew Davis, The Fugitive, 1993. David Fincher, The Game, 1997. David Cronenberg, eXistenZ, 1999. Frank Oz, The Score, 2001. Tony Scott, Spy Game, 2001. -
Star Trek, Nyota Uhura, and the Female Role
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Theses, Dissertations, and Other Capstone Graduate Theses, Dissertations, and Other Projects Capstone Projects 2020 Expectation Versus Reality: Star Trek, Nyota Uhura, and the Female Role Cecelia Otto-Griffiths Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Mass Communication Commons Recommended Citation Otto-Griffiths, C. (2020). Expectation versus reality: Star Trek, Nyota Uhura, and the female role [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/1016/ This Thesis is brought to you for free and open access by the Graduate Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Expectation Versus Reality: Star Trek, Nyota Uhura, and the Female Role By Cecelia Otto-Griffiths [email protected] Advisor Dr. Laura Jacobi A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Communication Studies Minnesota State University, Mankato Mankato, Minnesota May 2020 i April 13, 2020 Expectation Versus Reality: Star Trek, Nyota Uhura, and the Female Role Cecelia Otto-Griffiths This thesis has been examined and approved by the following members of the student’s committee. -
Open Tunney.Thesis.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF FILM-VIDEO AND MEDIA STUDIES THE EVOLUTION OF UHURA: REPRESENTATIONS OF WOMEN IN TREK KRISTEN TUNNEY Fall 2010 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Film-Video with honors in Media Studies Reviewed and approved* by the following: Jeanne Lynn Hall Associate Professor of Communications Thesis Supervisor Barbara Bird Associate Professor of Communications Honors Adviser Paula Droege Lecturer in Philosophy Third Reader * Signatures are on file in the Schreyer Honors College. i Abstract: The Evolution of Uhura: Representations of Women in Trek will be a primarily textual character analysis* of the ways in which the character of Uhura has evolved and transformed over the past forty years. In the paper, I claim that Trek films have always had both positive and negative representations of women, and that ―NuTrek‖ fails and succeeds in ways that are different from but comparable to those of ―classic‖ Trek. I will devote the first half of my paper to Uhura‘s portrayal in Star Treks I through VI. The second half of my research will focus on the newest film, Star Trek (2009). I will attempt to explain the character‘s evolution as well as to critique the ways in which NuTrek featuring the Original Series characters manages to simultaneously triumph and fail at representing the true diversity of women. * my interpretation of how different characters can be ―read‖ as either positive or negative representations of gender; my own interpretation will be compared and contrasted with that of other Trek scholars, and I will be citing sources both in feminist literature and media studies literature (and some combinations) to back up my own conclusions about the films. -
The History of Star Trek
The History of Star Trek The original Star Trek was the brainchild of Gene Roddenberry (1921-1991), a US TV producer and scriptwriter. His idea was to make a TV series that combined the futuristic possibilities of science fiction with the drama and excitement of TV westerns (his original title for the series was ‘Wagon Train to the Stars’). Star Trek was first aired on American TV in 1966, and ran for three series. Each episode was a self-contained adventure/mystery, but they were all linked together by the premise of a gigantic spaceship, crewed by a diverse range of people, travelling about the galaxy on a five-year mission ‘to explore new life and new civilisations, to boldly go where no man has gone before’. Although not especially successful it attracted a loyal fan-base, partly male fans that liked the technological and special effects elements of the show. But the show also attracted a large number of female fans, many of whom were drawn to the complex interaction and dynamic between the three main characters, the charismatic but impetuous Captain Kirk (William Shatner), the crotchety old doctor McCoy (DeForest Kelley) and the coldly logical Vulcan science officer Spock (Leonard Nimoy). After the show was cancelled in 1969 the fans conducted a lengthy and ultimately successful campaign to resurrect the franchise. Roddenberry enjoyed success with several motion pictures, including Star Trek: The Motion Picture (1979); action-thriller Star Trek II: The Wrath of Khan (1982); Star Trek III: The Search for Spock (1984) and the more comic Star Trek IV: The Voyage Home (1986). -
Ouellette, the Google Shortcut to Trademark Law, 102 CALIF
Preferred citation: Lisa Larrimore Ouellette, The Google Shortcut to Trademark Law, 102 CALIF. L. REV. (forthcoming 2014), available at http://ssrn.com/abstract=2195989. The Google Shortcut to Trademark Law Lisa Larrimore Ouellette* Trademark distinctiveness—the extent to which consumers view a mark as identifying a particular source—is the key factual issue in assessing whether a mark is protectable and what the scope of that protection should be. But distinctiveness is difficult to evaluate in practice: assessments of “inherent distinctiveness” are highly subjective, survey evidence is expensive and unreliable, and other measures of “acquired distinctiveness” such as advertising spending are poor proxies for consumer perceptions. But there is now a simpler way to determine whether consumers associate a word or phrase with a certain product: Google. Through a study of trademark cases and contemporaneous search results, I argue that Google can generally capture both prongs of the test for trademark distinctiveness: if a mark is strong—either inherently distinctive or commercially strong—then many top search results for that mark relate to the source it identifies. The extent of results overlap between searches for two different marks can also be relevant for assessing the likelihood of confusion of those marks. In the cases where Google and the court disagree, I argue that Google more accurately reflects how consumers view a given mark. Courts have generally given online search results little weight in offline trademark disputes. But the key factual questions in these cases depend on the wisdom of the crowds, making Google’s “algorithmic authority” highly probative. * Yale Law School Information Society Project, Postdoctoral Associate in Law and Thomson Reuters Fellow. -
An Examination of Jerry Goldsmith's
THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much. -
Star Trek Beyond Is a Knockout” –Peter Travers, Rolling Stone
“Star Trek Beyond is a knockout” –Peter Travers, Rolling Stone “A total blast!” –Scott Mantz, “Access Hollywood” FROM DIRECTOR JUSTIN LIN AND PRODUCER J.J. ABRAMS COMES ONE OF THE BEST-REVIEWED ACTION MOVIES OF THE YEAR The All-New Star Trek Adventure Takes Off on 4K Ultra HD™, Blu-ray™ and Blu-ray 3D™ Combo Packs November 1, 2016 Get it on Digital HD Four Weeks Early on October 4! HOLLYWOOD, Calif. – The intrepid crew of the USS Enterprise returns in “the best action movie of the year” (Scott Mantz, “Access Hollywood”). The “highly entertaining” (David Rooney, Hollywood Reporter) new installment in the iconic franchise, STAR TREK BEYOND sets a course on 4K Ultra HD, Blu-ray 3D and Blu-ray Combo Packs, DVD and On Demand November 1, 2016 from Paramount Home Media Distribution. The sci- fi adventure will also be available as part of the STAR TREK TRILOGY Blu-ray Collection. The film warp speeds to Digital HD four weeks early on October 4, 2016. Director Justin Lin (Fast & Furious) delivers “a fun and thrilling adventure” (Eric Eisenberg, Cinemablend) with an incredible all-star cast including Chris Pine and Zachary Quinto, as well as newcomers to the STAR TREK universe Sofia Boutella (Kingsman: The Secret Service) and Idris Elba (Pacific Rim). In STAR TREK BEYOND, the Enterprise crew explores the furthest reaches of uncharted space, where they encounter a mysterious new enemy who puts them and everything the Federation stands for to the test. The STAR TREK BEYOND 4K Ultra HD, Blu-ray 3D and Blu-ray Combo Packs are loaded with over an hour of action-packed bonus content, with featurettes from filmmakers Page 1 of 4 and cast, including J.J. -
"I'm an American" — George Takei on a Lifetime of Defying Stereotypes by Kalama Kelkar, PBS Newshour on 05.18.17 Word Count 1,414 Level MAX
"I'm an American" — George Takei on a lifetime of defying stereotypes By Kalama Kelkar, PBS Newshour on 05.18.17 Word Count 1,414 Level MAX George Takei arrives at the 2014 Human Rights Campaign Gala in Los Angeles, California. AP Photo George Takei, the famed actor and activist perhaps best-known for his role of Sulu in "Star Trek" or for his posts on civil rights to his millions of social media followers, has lived many lives. Among them: he was one of roughly 120,000 Japanese-Americans who lived through internment after Japan attacked Pearl Harbor, an experience that he says he feels more obliged than ever to discuss. He recently recounted in the The New York Times, “I was 7 years old when we were transferred to another camp for ‘disloyals.’ My mother and father’s only crime was refusing, out of principle, to sign a loyalty pledge promulgated by the government. The authorities had already taken my parents’ home on Garnet Street in Los Angeles, their once thriving dry cleaning business, and finally their liberty.” After they were released, he and his family had to readjust. Takei ran for school government in junior high and high school, studied architecture at the University of California, Berkeley, and earned a degree in drama from the University of California, Los Angeles. A turning point for his This article is available at 5 reading levels at https://newsela.com. career came in 1966 when he began playing the role of Hikaru Sulu in the Star Trek television series. From the beginning, Takei fought stereotypes and tropes imposed on his character — in one instance, for the "Star Trek" episode “The Naked Time,” Takei convinced writer John D.F. -
Creativity in Computer Science. in J
Creativity in Computer Science Daniel Saunders and Paul Thagard University of Waterloo Saunders, D., & Thagard, P. (forthcoming). Creativity in computer science. In J. C. Kaufman & J. Baer (Eds.), Creativity across domains: Faces of the muse. Mahwah, NJ: Lawrence Erlbaum Associates. 1. Introduction Computer science only became established as a field in the 1950s, growing out of theoretical and practical research begun in the previous two decades. The field has exhibited immense creativity, ranging from innovative hardware such as the early mainframes to software breakthroughs such as programming languages and the Internet. Martin Gardner worried that "it would be a sad day if human beings, adjusting to the Computer Revolution, became so intellectually lazy that they lost their power of creative thinking" (Gardner, 1978, p. vi-viii). On the contrary, computers and the theory of computation have provided great opportunities for creative work. This chapter examines several key aspects of creativity in computer science, beginning with the question of how problems arise in computer science. We then discuss the use of analogies in solving key problems in the history of computer science. Our discussion in these sections is based on historical examples, but the following sections discuss the nature of creativity using information from a contemporary source, a set of interviews with practicing computer scientists collected by the Association of Computing Machinery’s on-line student magazine, Crossroads. We then provide a general comparison of creativity in computer science and in the natural sciences. 2. Nature and Origins of Problems in Computer Science December 21, 2004 Computer science is closely related to both mathematics and engineering.