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THE TM 911 Franklin Street Weekly Newspaper Michigan City, IN 46360 Volume 36, Number 3 Thursday, January 23, 2020 3FJOWFOUJOH$MBTTJDT by Edmund Lawler Dan Schaaf (right) records dialogue for his latest project, “Dr. Mabuse: The Gambler,” with Sherri Waddle-Cummings. Photos by Paul Kemiel Suddenly, quite by accident, Dan Schaaf discov- ered a wildly creative artistic pursuit — breathing new life into classic silent fi lms by composing musi- cal scores and scripting dialogue performed by local stage actors. “Channel 20 used to run silent fi lms at midnight,” Schaaf recalls of his epiphany in the late 1990s. “They ran the Fritz Lang classic ‘Metropolis,’ a 1927 sci-fi that I had never seen. I fi gured I needed to see it once in my life, so I set the VCR to record it at midnight.” He watched it the next morning and was enchant- ed by the epic work of cinema from the legendary German director. But there was one problem. “It had this dreadful musical score that sounded like it came from a Laurel and Hardy comedy, and it had absolutely nothing to do with the fi lm,” Schaaf says. “I told myself, ‘I can do better than this.’” And he did. Schaaf, who fi rst began composing music as a Marquette High School student and later while studying English and electrical engineering at Pur- due University, penned a score for “Metropolis.” Un- Sherri Waddle-Cummings infuses emotion into her dialogue for the fi lm. Continued on Page 2 THE Page 2 January 23, 2020 THE 911 Franklin Street • Michigan City, IN 46360 219/879-0088 • FAX 219/879-8070 Beacher Company Directory -
Hugo Award -- Britannica Online Encyclopedia
10/10/2017 Hugo Award -- Britannica Online Encyclopedia Hugo Award Hugo Award, any of several annual awards presented by the World Science Fiction Society (WSFS). The awards are granted for notable achievement in science �ction or science fantasy. Established in 1953, the Hugo Awards were named in honour of Hugo Gernsback, founder of Amazing Stories, the �rst magazine exclusively for science �ction. Hugo Award. This particular award was given at MidAmeriCon II, in Kansas City, Missouri, on August … Michi Trota Pin, in the form of the rocket on the Hugo Award, that is given to the finalists. Michi Trota Hugo Awards https://www.britannica.com/print/article/1055018 1/10 10/10/2017 Hugo Award -- Britannica Online Encyclopedia year category* title author 1946 novel The Mule Isaac Asimov (awarded in 1996) novella "Animal Farm" George Orwell novelette "First Contact" Murray Leinster short story "Uncommon Sense" Hal Clement 1951 novel Farmer in the Sky Robert A. Heinlein (awarded in 2001) novella "The Man Who Sold the Moon" Robert A. Heinlein novelette "The Little Black Bag" C.M. Kornbluth short story "To Serve Man" Damon Knight 1953 novel The Demolished Man Alfred Bester 1954 novel Fahrenheit 451 Ray Bradbury (awarded in 2004) novella "A Case of Conscience" James Blish novelette "Earthman, Come Home" James Blish short story "The Nine Billion Names of God" Arthur C. Clarke 1955 novel They’d Rather Be Right Mark Clifton and Frank Riley novelette "The Darfsteller" Walter M. Miller, Jr. short story "Allamagoosa" Eric Frank Russell 1956 novel Double Star Robert A. Heinlein novelette "Exploration Team" Murray Leinster short story "The Star" Arthur C. -
Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS in SCIENCE FICTION and FANTASY (A Series Edited by Donald E
Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS IN SCIENCE FICTION AND FANTASY (a series edited by Donald E. Palumbo and C.W. Sullivan III) 1 Worlds Apart? Dualism and Transgression in Contemporary Female Dystopias (Dunja M. Mohr, 2005) 2 Tolkien and Shakespeare: Essays on Shared Themes and Language (ed. Janet Brennan Croft, 2007) 3 Culture, Identities and Technology in the Star Wars Films: Essays on the Two Trilogies (ed. Carl Silvio, Tony M. Vinci, 2007) 4 The Influence of Star Trek on Television, Film and Culture (ed. Lincoln Geraghty, 2008) 5 Hugo Gernsback and the Century of Science Fiction (Gary Westfahl, 2007) 6 One Earth, One People: The Mythopoeic Fantasy Series of Ursula K. Le Guin, Lloyd Alexander, Madeleine L’Engle and Orson Scott Card (Marek Oziewicz, 2008) 7 The Evolution of Tolkien’s Mythology: A Study of the History of Middle-earth (Elizabeth A. Whittingham, 2008) 8 H. Beam Piper: A Biography (John F. Carr, 2008) 9 Dreams and Nightmares: Science and Technology in Myth and Fiction (Mordecai Roshwald, 2008) 10 Lilith in a New Light: Essays on the George MacDonald Fantasy Novel (ed. Lucas H. Harriman, 2008) 11 Feminist Narrative and the Supernatural: The Function of Fantastic Devices in Seven Recent Novels (Katherine J. Weese, 2008) 12 The Science of Fiction and the Fiction of Science: Collected Essays on SF Storytelling and the Gnostic Imagination (Frank McConnell, ed. Gary Westfahl, 2009) 13 Kim Stanley Robinson Maps the Unimaginable: Critical Essays (ed. William J. Burling, 2009) 14 The Inter-Galactic Playground: A Critical Study of Children’s and Teens’ Science Fiction (Farah Mendlesohn, 2009) 15 Science Fiction from Québec: A Postcolonial Study (Amy J. -
Introduction It Is the 51St Millennium, and the War Continues. There Was No Great Conflagration Or Calamitous Final Battle. Acro
Introduction It is the 51st Millennium, and the war continues. There was no great conflagration or calamitous final battle. Across the vastness of the galaxy, the Imperium died. Not with a bang, but with a whimper. The galactic empire of humanity crumbled, its enemies too many, too great and too terrible to imagine. The great conflict of Octavius had no victory, a war without end. In the fiery chasm of strife, the locust and the green holocaust fused, as beast looked upon barbarian and both saw the other as kin. The new entity spread with a speed undreamt of by ork or tyranid. War and hunger melded into a singular desire to ravage, rape and remake all in the image of the new devourer. The Devourer’s hybrid nightmares were regenerative, and spore-born, combining into a grand horror, which murdered the galaxy, leaving naught but fragments as it left. Metallic sentinels of unflinching dread rose up on some worlds, leaving them safe from the new devourer waaagh, but instead made them slaves to the silver sentinels, and fodder for their glowing metal gods. The Eldar who had held on to life for so long, slowly winked out of existence one craftworld at a time. Eventually, even the rumbling hearts of the avatars fell silent. For a time... In the dead craftworlds, something slithers through the infinity circuit to this day. Unfortunately, the great god of the dead, Ynnead, is trapped within this infinity circuit, howling its mournful song into the darkness, eternally hungry in its desire to wreak vengeance on She Who Thirsts. -
1: for Me, It Was Personal Names with Too Many of the Letter "Q"
1: For me, it was personal names with too many of the letter "q", "z", or "x". With apostrophes. Big indicator of "call a rabbit a smeerp"; and generally, a given name turns up on page 1... 2: Large scale conspiracies over large time scales that remain secret and don't fall apart. (This is not *explicitly* limited to SF, but appears more often in branded-cyberpunk than one would hope for a subgenre borne out of Bruce Sterling being politically realistic in a zine.) Pretty much *any* form of large-scale space travel. Low earth orbit, not so much; but, human beings in tin cans going to other planets within the solar system is an expensive multi-year endevour that is unlikely to be done on a more regular basis than people went back and forth between Europe and the americas prior to steam ships. Forget about interstellar travel. Any variation on the old chestnut of "robots/ais can't be emotional/creative". On the one hand, this is realistic because human beings have a tendency for othering other races with beliefs and assumptions that don't hold up to any kind of scrutiny (see, for instance, the relatively common belief in pre-1850 US that black people literally couldn't feel pain). On the other hand, we're nowhere near AGI right now and it's already obvious to everyone with even limited experience that AI can be creative (nothing is more creative than a PRNG) and emotional (since emotions are the least complex and most mechanical part of human experience and thus are easy to simulate). -
Preview Dart Programming Tutorial
Dart Programming About the Tutorial Dart is an open-source general-purpose programming language. It is originally developed by Google and later approved as a standard by ECMA. Dart is a new programming language meant for the server as well as the browser. Introduced by Google, the Dart SDK ships with its compiler – the Dart VM. The SDK also includes a utility -dart2js, a transpiler that generates JavaScript equivalent of a Dart Script. This tutorial provides a basic level understanding of the Dart programming language. Audience This tutorial will be quite helpful for all those developers who want to develop single-page web applications using Dart. It is meant for programmers with a strong hold on object- oriented concepts. Prerequisites The tutorial assumes that the readers have adequate exposure to object-oriented programming concepts. If you have worked on JavaScript, then it will help you further to grasp the concepts of Dart quickly. Copyright & Disclaimer © Copyright 2017 by Tutorials Point (I) Pvt. Ltd. All the content and graphics published in this e-book are the property of Tutorials Point (I) Pvt. Ltd. The user of this e-book is prohibited to reuse, retain, copy, distribute or republish any contents or a part of contents of this e-book in any manner without written consent of the publisher. We strive to update the contents of our website and tutorials as timely and as precisely as possible, however, the contents may contain inaccuracies or errors. Tutorials Point (I) Pvt. Ltd. provides no guarantee regarding the accuracy, timeliness or completeness of our website or its contents including this tutorial. -
What Is Dart?
1 Dart in Action By Chris Buckett As a language on its own, Dart might be just another language, but when you take into account the whole Dart ecosystem, Dart represents an exciting prospect in the world of web development. In this green paper based on Dart in Action, author Chris Buckett explains how Dart, with its ability to either run natively or be converted to JavaScript and coupled with HTML5 is an ideal solution for building web applications that do not need external plugins to provide all the features. You may also be interested in… What is Dart? The quick answer to the question of what Dart is that it is an open-source structured programming language for creating complex browser based web applications. You can run applications created in Dart by either using a browser that directly supports Dart code, or by converting your Dart code to JavaScript (which happens seamlessly). It is class based, optionally typed, and single threaded (but supports multiple threads through a mechanism called isolates) and has a familiar syntax. In addition to running in browsers, you can also run Dart code on the server, hosted in the Dart virtual machine. The language itself is very similar to Java, C#, and JavaScript. One of the primary goals of the Dart developers is that the language seems familiar. This is a tiny dart script: main() { #A var d = “Dart”; #B String w = “World”; #C print(“Hello ${d} ${w}”); #D } #A Single entry point function main() executes when the script is fully loaded #B Optional typing (no type specified) #C Static typing (String type specified) #D Outputs “Hello Dart World” to the browser console or stdout This script can be embedded within <script type=“application/dart”> tags and run in the Dartium experimental browser, converted to JavaScript using the Frog tool and run in all modern browsers, or saved to a .dart file and run directly on the server using the dart virtual machine executable. -
Google Security Chip H1 a Member of the Titan Family
Google Security Chip H1 A member of the Titan family Chrome OS Use Case [email protected] Block diagram ● ARM SC300 core ● 8kB boot ROM, 64kB SRAM, 512kB Flash ● USB 1.1 slave controller (USB2.0 FS) ● I2C master and slave controllers ● SPI master and slave controllers ● 3 UART channels ● 32 GPIO ports, 28 muxed pins ● 2 Timers ● Reset and power control (RBOX) ● Crypto Engine ● HW Random Number Generator ● RD Detection Flash Memory Layout ● Bootrom not shown ● Flash space split in two halves for redundancy ● Restricted access INFO space ● Header fields control boot flow ● Code is in Chrome OS EC repo*, ○ board files in board/cr50 ○ chip files in chip/g *https://chromium.googlesource.com/chromiumos/platform/ec Image Properties Chip Properties 512 byte space Used as 128 FW Updates INFO Space Bits 128 Bits Bitmap 32 Bit words Board ID 32 Bit words Bitmap Board ID ● Updates over USB or TPM Board ID Board ID ~ Board ID ● Rollback protections Board ID mask Version Board Flags ○ Header versioning scheme Board Flags ○ Flash map bitmap ● Board ID and flags Epoch ● RO public key in ROM Major ● RW public key in RO Minor ● Both ROM and RO allow for Timestamp node locked signatures Major Functions ● Guaranteed Reset ● Battery cutoff ● Closed Case Debugging * ● Verified Boot (TPM Services) ● Support of various security features * https://www.chromium.org/chromium-os/ccd Reset and power ● Guaranteed EC reset and battery cutoff ● EC in RW latch (guaranteed recovery) ● SPI Flash write protection TPM Interface to AP ● I2C or SPI ● Bootstrap options ● TPM -
Robert Wise's the Day the Earth Stood Still Part I
Robert Wise’s The Day the Earth Stood Still Part I: A Religious Film? By Anton Karl Kozlovic Fall 2013 Issue of KINEMA ROBERT WISE’S THE DAY THE EARTH STOOD STILL Part I: A RELIGIOUS FILM? Abstract Science fiction (SF) films have frequently been the home for subtextual biblical characters, particularly Christ-figures. Crafting these sacred subtexts can make the difference between an ordinary filmandan exceptional one. This investigation intends to explore the religious and other dimensions of the 1951 SF cult classic The Day the Earth Stood Still directed by Robert Wise. In Part 1 of this analytical triptych, the film’s reception as a UFO film with political, artificial intelligence (AI), police and philosophical dimensions was canvassed. It was argued that Wise’s film contains all of the above genre dimensions; however, it can bemore fully appreciated as a profoundly religious film wrapped in contemporary scientific garb. The forthcoming parts will explore the factual elements of this proposition in far greater analytical detail. Introduction: SF and Sacred Storytelling Historically speaking, science fiction (SF) films(1) have harboured numerous hidden biblical characters in typically covert forms. For example, Barry McMillan described many an SF alien as ”a ’transcendent’ being - a benign entity who brings wisdom and knowledge, the imparting of which brings resolution, insight and the beginnings of personal or political harmony” (360). Whilst Bonnie Brain argued that: ”The ascendancy of the aliens derives strongly from their aura of religious authority. Teachers, mystics, priests, or prophets, capable of ”miracles” and, in some cases, ”resurrection,” these aliens flirt with divinity” (226). -
Ēarty Siö Skoţczyäy
14 INFORMATOR PÓâKA Z DVD ēarty siö skoþczyäy Na ten temat juĪ tyle napisano, Īe moĪna spokojnie dodaü jeszcze trochĊ. Chodzi o remake filmu Roberta Wise The Day the Earth Stood Still (1951), który przez minione póáwiecze zyskaá status obrazu kultowego (numer 5 na liĞcie najlepszych filmów SF i numer 67 wĞród najbardziej inspirujących filmów wszechczasów AmerykaĔskego Instytutu Filmowego). Nie byá on nigdy wyĞwietlany w polskich kinach, choü parĊ lat temu pokazaáa go nasza telewizja jako DzieĔ, w którym stanĊáa Ziemia. Jak by nie byáo, film jest oceniany w Polsce niemal tak wysoko, jak w USA (FilmWeb - 7,77/10, IMDb - 8,1/10). Jest rzeczą niezwykle sporną, czy remake takiego klasyka powinien w ogóle powstaü – jednak bardziej sáuszne pytanie brzmi, czy moĪna to byáo zrobiü lepiej niĪ zrobiono. Twórcy filmu najwyraĨniej byli Ğwiadomi problemu zmierzenia siĊ z legendą, co przejawiáo siĊ w postawie umiarkowanej pokory wobec pierwowzoru. Interesujące jest to, Īe niektórych rzeczy nie potrafili zmieniü, mimo intensywnych wysiáków. W dodatkach na páycie DVD moĪna obejrzeü na przykáad caáą kolekcjĊ róĪnych pomysáów wyglądu robota Gorta, jeden bardziej wyrafinowany od drugiego. Po wielu miesiącach ciĊĪkiej pracy koncepcyjnej ktoĞ wreszcie nieĞmiaáo zaproponowaá, Īeby moĪe jednak powróciü do oryginalnego wizerunku, co wszyscy przyjĊli z ulgą. W rezultacie Gort jest czáekoksztaátny, tyle Īe wielokrotnie wyĪszy od swojego poprzednika, a jego struktura skrywa (do czasu) záowrogą niespodziankĊ. JeĞli chodzi o aktorstwo, to najwiĊcej ciĊgów zebraá Keanu Reeves za rolĊ Klaatu, którą odegraá z kamienną twarzą. Powiedzcie mi jednak, jaką mimiką powinien posáugiwaü siĊ obcy w ludzkiej skórze, aby film nie zeĞlizgnąá siĊ w groteskĊ? Dla mnie jest raczej oczywiste, Īe taki przybysz, w przeciwieĔstwie do czáowieka, nie powinien odczuwaü przymusu poruszania caákowicie nieuĪytecznymi miĊĞniami twarzy. -
Polish Journal for American Studies Yearbook of the Polish Association for American Studies
Polish Journal for American Studies Yearbook of the Polish Association for American Studies Vol. 14 (Spring 2020) INSTITUTE OF ENGLISH STUDIES UNIVERSITY OF WARSAW Polish Journal for American Studies Yearbook of the Polish Association for American Studies Vol. 14 (Spring 2020) Warsaw 2020 MANAGING EDITOR Marek Paryż EDITORIAL BOARD Justyna Fruzińska, Izabella Kimak, Mirosław Miernik, Łukasz Muniowski, Jacek Partyka, Paweł Stachura ADVISORY BOARD Andrzej Dakowski, Jerzy Durczak, Joanna Durczak, Andrew S. Gross, Andrea O’Reilly Herrera, Jerzy Kutnik, John R. Leo, Zbigniew Lewicki, Eliud Martínez, Elżbieta Oleksy, Agata Preis-Smith, Tadeusz Rachwał, Agnieszka Salska, Tadeusz Sławek, Marek Wilczyński REVIEWERS Ewa Antoszek, Edyta Frelik, Elżbieta Klimek-Dominiak, Zofia Kolbuszewska, Tadeusz Pióro, Elżbieta Rokosz-Piejko, Małgorzata Rutkowska, Stefan Schubert, Joanna Ziarkowska TYPESETTING AND COVER DESIGN Miłosz Mierzyński COVER IMAGE Jerzy Durczak, “Vegas Options” from the series “Las Vegas.” By permission. www.flickr/photos/jurek_durczak/ ISSN 1733-9154 eISSN 2544-8781 Publisher Polish Association for American Studies Al. Niepodległości 22 02-653 Warsaw paas.org.pl Nakład 110 egz. Wersją pierwotną Czasopisma jest wersja drukowana. Printed by Sowa – Druk na życzenie phone: +48 22 431 81 40; www.sowadruk.pl Table of Contents ARTICLES Justyna Włodarczyk Beyond Bizarre: Nature, Culture and the Spectacular Failure of B.F. Skinner’s Pigeon-Guided Missiles .......................................................................... 5 Małgorzata Olsza Feminist (and/as) Alternative Media Practices in Women’s Underground Comix in the 1970s ................................................................ 19 Arkadiusz Misztal Dream Time, Modality, and Counterfactual Imagination in Thomas Pynchon’s Mason & Dixon ............................................................................... 37 Ewelina Bańka Walking with the Invisible: The Politics of Border Crossing in Luis Alberto Urrea’s The Devil’s Highway: A True Story ............................................. -
It Must Be Karma: the Story of Vicki Joy and Johnnymoon
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-14-2010 It Must be Karma: The Story of Vicki Joy and Johnnymoon Richard Bolner University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Bolner, Richard, "It Must be Karma: The Story of Vicki Joy and Johnnymoon" (2010). University of New Orleans Theses and Dissertations. 1121. https://scholarworks.uno.edu/td/1121 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. It Must be Karma: The Story of Vicki Joy and Johnnymoon A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree Master of Fine Arts in Film, Theatre and Communication Arts Creative Writing by Rick Bolner B.S. University of New Orleans, 1982 May, 2010 Table of Contents Prologue ...............................................................................................................................1