TIMECOP-AE Towards Innovative Methods for Combustion Prediction in Aero-Engines
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Sci-Fi Prop Model Kit Catalog
SSCCII--FFII PPRROOPP MMOODDEELL KKIITT CCAATTAALLOOGG 2/13 Welcome to the Arsenal Models sci-fi prop model kit catalog. We specialize in screen-accurate prop replica kits from your favorite science fiction films and TV shows. Prop kits shown are 1:1 scale highly detailed replicas of actual props used in the films or shows. Many are casts of actual screen-used prop weapons. Others are based on the actual weapons used by the prop makers with the proper modifications. All kits are cast in heavy solid white durable resin and come in full color boxes picturing the finished prop. Instructions and any hardware or labels required are also included. Since these are resin garage kits, a little kit building experience is helpful for assembling and finishing the prop, but not necessary. Remember, although the finished props look very authentic, these are only resin prop guns and cannot be made to fire anything. Please look over the entire catalog as items from a particular series can appear throughout. Ordering instructions are on the back page of the catalog. Thanks for looking! Battlestar Galactica Colonial Warrior Blaster This is a replica of the gun sidearm by the Colonial Warriors in the classic 70s show. Kit is one piece solid white resin and measures about twelve inches long. Comes in photo box with instructions…............................$45.00 Farscape Pulse Pistol This kit is the pulse pistol from the hit Sci-fi Channel series Farscape. This is an exact replica of the screen used props from the filming of the show. Includes main body and side scope. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Table of Contents
Table of Contents PART I. Introduction 5 A. Overview 5 B. Historical Background 6 PART II. The Study 16 A. Background 16 B. Independence 18 C. The Scope of the Monitoring 19 D. Methodology 23 1. Rationale and Definitions of Violence 23 2. The Monitoring Process 25 3. The Weekly Meetings 26 4. Criteria 27 E. Operating Premises and Stipulations 32 PART III. Findings in Broadcast Network Television 39 A. Prime Time Series 40 1. Programs with Frequent Issues 41 2. Programs with Occasional Issues 49 3. Interesting Violence Issues in Prime Time Series 54 4. Programs that Deal with Violence Well 58 B. Made for Television Movies and Mini-Series 61 1. Leading Examples of MOWs and Mini-Series that Raised Concerns 62 2. Other Titles Raising Concerns about Violence 67 3. Issues Raised by Made-for-Television Movies and Mini-Series 68 C. Theatrical Motion Pictures on Broadcast Network Television 71 1. Theatrical Films that Raise Concerns 74 2. Additional Theatrical Films that Raise Concerns 80 3. Issues Arising out of Theatrical Films on Television 81 D. On-Air Promotions, Previews, Recaps, Teasers and Advertisements 84 E. Children’s Television on the Broadcast Networks 94 PART IV. Findings in Other Television Media 102 A. Local Independent Television Programming and Syndication 104 B. Public Television 111 C. Cable Television 114 1. Home Box Office (HBO) 116 2. Showtime 119 3. The Disney Channel 123 4. Nickelodeon 124 5. Music Television (MTV) 125 6. TBS (The Atlanta Superstation) 126 7. The USA Network 129 8. Turner Network Television (TNT) 130 D. -
TIMECOP-AE Toward Innovative Methods for Combustion Prediction
PROJECT TIMECOP-AE Toward Innovative Methods for Combustion Prediction in Aero-Engines Funding: European (6th RTD Framework Programme) Duration: Jun 2006 - Nov 2010 Status: Complete with results Total project cost: €7,110,272 EU contribution: €4,800,000 Call for proposal: FP6-2005-AERO-1 CORDIS RCN : 79955 Background & policy context: Predictive tools are required to be able to reduce NOx emissions, to decrease the development time and costs of new combustion systems and to improve the operability of lean-burn combustion systems. Most promising approaches to satisfy future emission levels regulations are based on lean combustion technology. However, lean combustion compromises combustor operability, including ignition, altitude re-light, pull-away, weak extinction performance and thermo-acoustic instability behaviour. Therefore it is of prime importance to evaluate the behaviour of the flame during these transient phases in the design stage and modelling tools are required. Without these tools the development of advanced combustion systems relies on many costly and time consuming rig tests. The high-fidelity simulations proposed in TIMECOP-AE are therefore a way to increase competitiveness. Objectives: The aim of the FP6 TIMECOP-AE project was to improve the necessary combustion prediction methods that enable the development of practical advanced combustion systems for future engines, with reduced emission levels and fuel consumption. The main objective of the project was to enable European industry to design and develop innovative, optimised, low emissions combustion systems within reduced time and cost scales. This would be made possible by the development of state-of-the-art methods in the field of combustion modelling. -
Schneider-Kreuznach Advertisement Feature
SCHNEIDER-KREUZNACH ADVERTISEMENT FEATURE Starring role Crescenzo Notarile decided to boldly go for Schneider-Kreuznach True-Streak filters when shooting a legendary sci-fi TV series hen a top Hollywood filmmaker calls his filters his “cinematographic brush” that he uses on many high- budgetW productions, you know they offer something very special. When Crescenzo Notarile landed the dream job of shooting the Star Trek: Discovery TV series, he knew he could rely on his trusty set of Schneider- Kreuznach True-Streak filters to make something that would live long and prosper. “Like a painter constructs his strokes of IMAGE Notarile on-set paint with the bristles of his brush, I like to using a Schneider- think in the same way by constructing the Kreuznach True-Streak strokes of light via certain filters,” he says. filter – a winner in our With an incredible back catalogue of Gear of the Year Awards work that includes TV and movie projects like Crazy and Timecop, plus music videos for the likes of Michael Jackson, Pink Floyd Carr, and lots of LED lights programmed lenses gives the ultimate in long flares. It’s and ZZ Top, Notarile has the eye to pick into a dimmer board with hundreds of a look that also works very well on standard equipment that allows him to put his own channels individually available to fine-tune lenses, giving an anamorphic-style look. creative stamp on his projects. the look. It’s no surprise they were voted as best Lens “I previously used the True-Streak “Each set cost hundreds of thousands of Accessory in the Pro Moviemaker Gear of the filters on a show I did calledCSI: Crime dollars, some cost millions, and took many Year Awards. -
ENAR 2013 Spring Meeting March 10–13
Abstracts ENAR 2013 Spring Meeting March 10–13 With IMS and Sections of ASA Orlando World Center Marriott Resort | Orlando, Florida S N O I T A T N E S E R P 1c. SEMIPARAMETRIC PROPORTIONAL RATE REGRESSION FOR THE COMPOSITE ENDPOINT R OF RECURRENT AND TERMINAL EVENTS E Lu Mao*, University of North Carolina, Chapel Hill T Danyu Lin, University of North Carolina, Chapel Hill ENAR 2013 S O Analysis of recurrent event data has received tremendous P attention in recent years. A major complication arises Spring Meeting when recurrent events are terminated by death. To assess | S the overall covariate effects, we consider the composite T endpoint of recurrent and terminal events and propose March 10 – 13 C a proportional rate model which specifies that (possibly A time-dependent) covariates have multiplicative affects TR on the marginal rate function of the composite event pro- BS cess. We derive appropriate estimators for the regression A parameters and the baseline mean function by modifying the familiar inverse probability weighting technique. We show that the estimators are consistent and asymptoti- cally normal with variances that can be consistently estimated. Simulation studies demonstrate that the proposed methods perform well in realistic situations. An application to the Community Programs for Clinical 1. POSTERS: CLINICAL TRIALS AND 1b. INTERACTIVE Q-LEARNING FOR DYNAMIC Research on AIDS (CPCRA) study is provided. STUDY DESIGN TREATMENT REGIMES Kristin A. Linn*, North Carolina State University email: [email protected] Eric B. Laber, North Carolina State University 1a. OPTIMAL BAYESIAN ADAPTIVE TRIAL Leonard A. Stefanski, North Carolina State University OF PERSONALIZED MEDICINE IN CANCER Yifan Zhang*, Harvard University 1d. -
Tobacco Control Policy Making: United States
UCSF Tobacco Control Policy Making: United States Title Tobacco product placement and its reporting to the Federal Trade Commission Permalink https://escholarship.org/uc/item/7kd981j3 Authors Polansky, Jonathan R Glantz, Stanton A, PhD Publication Date 2016-07-01 eScholarship.org Powered by the California Digital Library University of California Tobacco product placement and its reporting to the Federal Trade Commission Jonathan R. Polansky Onbeyond LLC, Fairfax, California Stanton A. Glantz, PhD University of California, San Francisco ___________________________ University of California, San Francisco This publication is available at www.escholarship.org/uc/item/7kd981j3 July 2016 Tobacco product placement and its reporting to the FTC | 2 Summary of findings The historical record strongly suggests that asking tobacco companies to report their product placement activities and expenditures did not capture all activity in this area. This report compares expenditures for product placement described in internal documents from American Tobacco, Brown & Williamson, Liggett & Myers, Philip Morris and RJ Reynolds tobacco companies with reports the companies were required to submit to the US Federal Trade Commission in the “endorsements and testimonials” category of cigarette promotion and advertising. During that time, in their internal documents, American Tobacco, Brown & Williamson, Philip Morris and RJ Reynolds, or their contracted product placement agents, listed 750 motion pictures as engaged for product placement, 600 of which were released widely to theaters (Appendix). Substantial discrepancies exist between product placement spending described in the internal industry records and the spending reported to the Federal Trade Commission in the “endorsements and testimonials” category. Nearly half (47 percent; $2.3 million of about $5 million) of spending for on-screen product placement described in internal industry records between 1978 and 1994 was not reported in to the FTC in the “endorsements and testimonials” category. -
Juuma Houkan Accele Brid Ace Wo Nerae! Acrobat Mission
3X3 EYES - JUUMA HOUKAN ACCELE BRID ACE WO NERAE! ACROBAT MISSION ACTRAISER HOURAI GAKUEN NO BOUKEN! - TENKOUSEI SCRAMBLE AIM FOR THE ACE! ALCAHEST THE AMAZING SPIDER-MAN - LETHAL FOES ANGELIQUE ARABIAN NIGHTS - SABAKU NO SEIREI-O ASHITA NO JOE CYBERNATOR BAHAMUT LAGOON BALL BULLET GUN BASTARD!! BATTLE SOCCER - FIELD NO HASHA ANCIENT MAGIC - BAZOO! MAHOU SEKAI BING BING! BINGO BISHOUJO SENSHI SAILOR MOON - ANOTHER STORY SAILOR MOON R BISHOUJO SENSHI SAILOR MOON SUPER S - FUWA FUWA PANIC BRANDISH 2 - THE PLANET BUSTER BREATH OF FIRE II - SHIMEI NO KO BS CHRONO TRIGGER - MUSIC LIBRARY CAPTAIN TSUBASA III - KOUTEI NO CHOUSEN CAPTAIN TSUBASA V - HASH NO SHOUGOU CAMPIONE CARAVAN SHOOTING COLLECTION CHAOS SEED - FUUSUI KAIROKI CHOU MAHOU TAIRIKU WOZZ CHRONO TRIGGER CLOCK TOWER CLOCKWERX CRYSTAL BEANS FROM DUNGEON EXPLORER CU-ON-PA SFC CYBER KNIGHT CYBER KNIGHT II - CHIKYUU TEIKOKU NO YABOU CYBORG 009 DAI 3 JI SUPER ROBOT WARS DAI 4 JI SUPER ROBOT WARS DAIKAIJ MONOGATARI DARK HALF DARK LAW - THE MEANING OF DEATH DER LANGRISSER DIGITAL DEVIL STORY 2 - SHIN MEGAMI TENSEI II DONALD DUCK NO MAHOU NO BOUSHI DORAEMON 4 DO RE MI FANTASY - MILON NO DOKIDOKI DAIBOUKEN DOSSUN! GANSEKI BATTLE DR. MARIO DRAGON BALL Z - HYPER DIMENSION DRAGON BALL Z - CHOU SAIYA DENSETSU DRAGON BALL Z - SUPER BUTOUDEN DRAGON BALL Z - SUPER BUTOUDEN 3 DRAGON BALL Z - SUPER GOKUDEN - TOTSUGEKI HEN DRAGON BALL Z - SUPER GOKUDEN - KAKUSEI HEN DRAGON BALL Z - SUPER SAIYA DENSETSU DRAGON QUEST I AND II DRAGON QUEST III - SOSHITE DENSETU E... DRAGON QUEST V - TENKUU NO HANAYOME -
Tobacco Product Placement and Its Reporting to the Federal Trade Commission
Tobacco product placement and its reporting to the Federal Trade Commission Jonathan R. Polansky Onbeyond LLC, Fairfax, California Stanton A. Glantz, PhD University of California, San Francisco ___________________________ University of California, San Francisco This publication is available at www.escholarship.org/uc/item/7kd981j3 July 2016 Tobacco product placement and its reporting to the FTC | 2 Summary of findings The historical record strongly suggests that asking tobacco companies to report their product placement activities and expenditures did not capture all activity in this area. This report compares expenditures for product placement described in internal documents from American Tobacco, Brown & Williamson, Liggett & Myers, Philip Morris and RJ Reynolds tobacco companies with reports the companies were required to submit to the US Federal Trade Commission in the “endorsements and testimonials” category of cigarette promotion and advertising. During that time, in their internal documents, American Tobacco, Brown & Williamson, Philip Morris and RJ Reynolds, or their contracted product placement agents, listed 750 motion pictures as engaged for product placement, 600 of which were released widely to theaters (Appendix). Substantial discrepancies exist between product placement spending described in the internal industry records and the spending reported to the Federal Trade Commission in the “endorsements and testimonials” category. Nearly half (47 percent; $2.3 million of about $5 million) of spending for on-screen product placement -
Historicizing the Liminal Superhero
BOX OFFICE BACK ISSUES: HISTORICIZING THE LIMINAL SUPERHERO FILMS, 1989–2008 by ZACHARY ROMAN A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2020 DISSERTATION APPROVAL PAGE Student: Zachary Roman Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Peter Alilunas Chairperson Janet Wasko Core Member Erin Hanna Core Member Benjamin Saunders Institutional Representative and Kate Mondloch Interim Vice-Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2020 ii © 2020 Zachary Roman iii DISSERTATION ABSTRACT Zachary Roman Doctor of Philosophy School of Journalism and Communication December 2020 Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 Although the superhero film became a dominant force in Hollywood early in the 21st century, the formation of the superhero genre can be attributed to a relatively small temporal window beginning in 1989 and ending in 2008. This dissertation argues that a specific group of superhero films that I call the liminal superhero films (LSF) collectively served as the industrial body that organized and created a fully formed superhero genre. The LSF codified the superhero genre, but that was only possible due to several industrial elements at play before they arrived. An increasing industrial appetite for blockbusters coming out of the 1970s, the rise of proprietary intellectual property after the corporate conglomeration that occurred at the end of the 20th century, and finally, the ability of the LSF to mitigate risk (both real and perceived) all led to this cinematic confluence. -
HAVERFORD-Spring-Summer-2019.Pdf
Thesis Statement Pipeline to the MLB Tobias Iaconis ’93 The singular experience of the Fords make their Long road to the senior capstone project way into the front office big screen The Magazine of Haverford College SPRING/SUMMER 2019 DANIEL DAE KIM ’90 Bringing Change to Hollywood 6 21 Editor Contributing Writers Eils Lotozo Karen Brooks DEPARTMENTS Charles Curtis ’04 Class News Editor Brian Glaser 2 Inbox Mara Miller Johnson ’10 Mara Miller Johnson ’10 3 View From Founders Giving Back Editor Ryan Jones Pat Laws Lini S. Kadaba 5 In Season Steve McGovern Photography Editor Natalie Pompilio 6 Main Lines Patrick Montero Anne Stein 14 Academix Graphic Design College Communications 21 Ford Games Tracey Diehl, editorial assistants: Eye D Communications Michael Weber ’19, Allison Wise ’20 23 Mixed Media Director of News Contributing Photographers 46 Roads Taken and Not Taken and Social Media Noel Besuzzi 47 Giving Back/Notes From Rebecca Raber Holden Blanco ’17 the Alumni Association Assistant Vice President for Stephanie Alvarez Ewens College Communications Dan Z. Johnson 53 Class News/Obituaries Chris Mills ’82 College Communications 77 Then and Now photography team: Vice President for Institutional Advancement Alexandra Iglesia ‘21, Ruiming Li ’22, Cole Sansom ’19, Lily Xu ’19 Ann West Figueredo ’84 On the cover: Daniel Dae Kim ’90. Photo by Mendy Greenwald. Back cover photo: The nature trail. Photo by Patrick Montero. Haverford magazine is printed on recycled paper that contains 30% post-consumer waste fiber. spring/summer 2019 34 40 FEATURES 28 TELL US MORE 34 Our Thesis Statement Tobias Iaconis ’93: On the Big Screen Haverford is rare among its peers for not only offering, but requiring, a senior thesis project for any student majoring at the College. -
Year 5: Summer 2 – Timecop 2
YEAR 5: SUMMER 2 – TIMECOP 2 SCIENCE: Living things and their habitats UNDERSTAND, DESCRIBE AND EXPLAIN: LIFE CYCLES To understand and Life cycle Mammal Foetus Baby Child Adult Amphibian Metamorphosis describe the Bird Egg Incubation Hatchling Nestling Fledgling Juvenile bird Adult bird differences in the life Insect Egg Hatch Larvae Pupa/Chrysalis Adult insect Metamorphosis Transformation cycles of: Life cycle means the stages a living thing goes through during its life. Different living things can have very different life cycles. Mammals Amphibians Mammals: Mammals are a particular class of animal. They must have glands that give milk to feed their babies. Second, they are warm-blooded. Birds Third, all mammals have fur or hair. Humans are mammals and so are dogs, whales, elephants, and dolphins. Most mammals have teeth with the Insects exception of the ant eater which doesn't have any teeth. Mammals live in all sorts of environments including the ocean, underground, and on land. Some mammals, bats for example, can even fly. Learning links: THINKING POINT: Science: What 3 things MUST a creature have or do to be classified as a mammal? Y4: Living things and Here is the life cycle of a human: habitats Classification/ Animals/ Mammals/ Foetus Baby Toddler Child Teenager Adult Old Age Death Amphibians/Birds/ Insect Y6: Evolution and inheritance Amphibians: Life cycle/ Amphibians are a class of animals like reptiles, mammals, and birds. They Reproduction live the first part of their lives in the water and the last part on the land. When they hatch from their eggs, amphibians have gills so they can breathe in the water.