Language Arts Films
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Information-09-00183.Pdf
information Review AI to Bypass Creativity. Will Robots Replace Journalists? (The Answer Is “Yes”) Andrey Miroshnichenko ID York & Ryerson Joint Graduate Program in Communication & Culture, York University, Toronto, ON M3J 1P3, Canada; [email protected] Received: 1 July 2018; Accepted: 21 July 2018; Published: 23 July 2018 Abstract: This paper explores a practical application of a weak, or narrow, artificial intelligence (AI) in the news media. Journalism is a creative human practice. This, according to widespread opinion, makes it harder for robots to replicate. However, writing algorithms are already widely used in the news media to produce articles and thereby replace human journalists. In 2016, Wordsmith, one of the two most powerful news-writing algorithms, wrote and published 1.5 billion news stories. This number is comparable to or may even exceed work written and published by human journalists. Robo-journalists’ skills and competencies are constantly growing. Research has shown that readers sometimes cannot differentiate between news written by robots or by humans; more importantly, readers often make little of such distinctions. Considering this, these forms of AI can be seen as having already passed a kind of Turing test as applied to journalism. The paper provides a review of the current state of robo-journalism; analyses popular arguments about “robots’ incapability” to prevail over humans in creative practices; and offers a foresight of the possible further development of robo-journalism and its collision with organic forms of journalism. Keywords: artificial intelligence (AI); automated journalism; robo-journalism; writing algorithms; future of news; media ecology; Turing test 1. Introduction Artificial intelligence (AI) is usually defined in two ways that, in a sense, are contradictory. -
Cesifo Working Paper No. 8302
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Ursprung, Heinrich Working Paper Jane Beats Them All: Price Formation and Financial Returns to Investing in Rare Books CESifo Working Paper, No. 8302 Provided in Cooperation with: Ifo Institute – Leibniz Institute for Economic Research at the University of Munich Suggested Citation: Ursprung, Heinrich (2020) : Jane Beats Them All: Price Formation and Financial Returns to Investing in Rare Books, CESifo Working Paper, No. 8302, Center for Economic Studies and Ifo Institute (CESifo), Munich This Version is available at: http://hdl.handle.net/10419/219120 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu 8302 2020 May 2020 Jane Beats Them All: Price Formation and Financial Returns to Investing in Rare Books Heinrich W. -
Issues and Emotions That Have a Long Histo- Ry
THE GREAT IDEAS ONLINE o Feb 16 Philosophy is Everybody’s Business N 853 Clifton Fadiman (May 15, 1902 – June 20, 1999) THE JOY OF READING Clifton Fadiman Unlike many men of letters, Clifton Fadiman thought of himself primarily as a guide to the wisdom of others. But as a guide, Fadiman had few equals: for over 60 years, the editor, essayist, anthologist, and broadcast personality led countless readers to myriad subjects. As an editor and judge for the Book-of-the-Month Club for over 50 years, he helped shape the reading choices of countless Americans. He wrote for the Encyclopaedia Britannica as well as numerous magazines and compiled over two dozen an- thologies on subjects ranging from mathematics to poetry to the pun. On radio and television programs, most notably the radio quiz show Information, Please!, he become a model of wit and er- udition. He wrote informal essays for Holiday magazine for 10 years, and more than 65 introductions to books ranging from The Martian Chronicles to War and Peace. For one anthology of short stories, he wrote not only the introduction, but also 63 commen- taries. In the early 1980s, Fadiman, who once listed his avoca- tions as wine and "the avoidance of exercise," co-authored the compendium The Joys of Wine with Sam Aaron. Fadiman once estimated that he had read over 25,000 books in his life. 2 At Columbia, Fadiman became lifelong friends with some of the College's most illustrious teachers and alumni: Jacques Barzun, Mark Van Doren (saluted by Fadiman in the essay, "What Makes a Teacher Great?"), Mortimer Adler, and Whittaker Chambers, whom Fadiman encouraged to read The Communist Manifesto. -
1661 Vll3d0 3H.L .LV .LNVA3'l
1661 ·~upds 06v :l!snw 1un woN ~u-e r .A.rnw Vll3d0 3H.L .LV .LNVA3'l liV~SO Oscar Levant is known for his songs in the area of popular music, but his operas are virtually unknown. Obtaining and studying any one of his three operas should be important for establishing him as more than a popular-music composer. Levant's opera Carnival, from the 20th Century Fox movie Charlie Chan at the Opera, is especially worthy of consideration. Through careful analysis of this work, much can be learned about the style and interests of Oscar Levant. While comparisons to other composers and their works may be too extensive for this specific paper, some comparisons to Levant's own popular tunes of the same time period as Carnival may reveal remarkable similarities and/or differences. Along with an analysis of the score, observation of the opera as it is presented in the movie will provide information about the basis for its content and reveal its incorporation into the movie's plot. In addition, seeing the movie will give aural information, such as the types of instruments used. The interest in this topic stems from Oscar Levant's own books A Smattering of Ignorance, The Unimportance of Being Oscar, and The Memoirs of an Amnesiac. He refers to this opera in A Smattering of Ignorance. but his references to his musical acquaintances in The Memoirs of an Amnesiac may supply additional facts to help in understanding his musical style. Examining c 'arnival will contribute to showing the significance of Oscar Levant's style of composition. -
Harry Bassler
the club joining the Western GA to make Over $50,000 a year in sales from 1941 caddie scholarships available and the an- to 1945 inclusive, this income derived each nual Caddies vs. Members softball game. year approximately as follows: Chicago and suburban newspapers were Club sales $30,000 kept supplied with information on the cam- Ball sales 10,000 paign and they gave it a good play. Accessory sales 5,000 Caddie Cart rentals 6,000 HARRY BASSLER Total $51,000 (Continued jrom page 34) Since 1945 when Bassler could start tak- ing time out to give lessons he has aver- dirt and papers, why Bassler grabs the aged over $5000 per year from this source, broom and takes care of the job then. giving as many as 15 lessons in a day. And Strange as it seems, Bassler says, after the remember: the above sales were made with assistants see you sweeping and cleaning a staff of 3 to 4 girls during the war years up, you will never have to ask them to as no young men were available. do it. Finally, Bassler is top money-winning But, best of all it gives you another pro in California area tournaments, add- chance to "shift around" your stock— ing in this manner an additional $1813 last which gives the appearance that you had year in money prizes he copped in 15 ac- to do so because you "sold out," or nearly credited tournaments. He is top money sold out, the items previously displayed winning pro in this area again so far this at certain spots. -
Books Added to Benner Library from Estate of Dr. William Foote
Books added to Benner Library from estate of Dr. William Foote # CALL NUMBER TITLE Scribes and scholars : a guide to the transmission of Greek and Latin literature / by L.D. Reynolds and N.G. 1 001.2 R335s, 1991 Wilson. 2 001.2 Se15e Emerson on the scholar / Merton M. Sealts, Jr. 3 001.3 R921f Future without a past : the humanities in a technological society / John Paul Russo. 4 001.30711 G163a Academic instincts / Marjorie Garber. Book of the book : some works & projections about the book & writing / edited by Jerome Rothenberg and 5 002 B644r Steven Clay. 6 002 OL5s Smithsonian book of books / Michael Olmert. 7 002 T361g Great books and book collectors / Alan G. Thomas. 8 002.075 B29g Gentle madness : bibliophiles, bibliomanes, and the eternal passion for books / Nicholas A. Basbanes. 9 002.09 B29p Patience & fortitude : a roving chronicle of book people, book places, and book culture / Nicholas A. Basbanes. Books of the brave : being an account of books and of men in the Spanish Conquest and settlement of the 10 002.098 L552b sixteenth-century New World / Irving A. Leonard ; with a new introduction by Rolena Adorno. 11 020.973 R824f Foundations of library and information science / Richard E. Rubin. 12 021.009 J631h, 1976 History of libraries in the Western World / by Elmer D. Johnson and Michael H. Harris. 13 025.2832 B175d Double fold : libraries and the assault on paper / Nicholson Baker. London booksellers and American customers : transatlantic literary community and the Charleston Library 14 027.2 R196L Society, 1748-1811 / James Raven. -
NBC MONITOR Begins 1955
11 1 8 .« Discussing "Monitor" opening at NBC's new Radio Central are, left to right Sylvester L. Weaver, Jr., NBC Presi- dent; James Fleming, Executive Producer and Editor of "Monitor," Robert W. Sarnoff, NBC Executive Vice-President; Dave Garroway, "Monitor" Communicator, and Mike Zeamer, program's Entertainment Producer. "Monitor" Takes to the Air A he National Broadcasting Company has — A pickup of Jerry Lewis at Brown's Hotel in the opened a new era in network radio with the revolution- Catskills and a preview of a segment of his latest film. ary service, "Monitor." Using the immediacy and mo- — A discussion of "The Spiritual Climate of Amer- bility of radio, "Monitor" is designed to bring listeners ica," with Dr. William Saltonstall, principal of Phillips- whatever is most interesting, important or entertaining, Exeter Academy, interviewing Dr. Nathan Pusey, Presi- wherever it may be happening. dent of Harvard. The new weekend radio service was introduced — A dress rehearsal of Victor Jory's "The Fairly June 12 with an ear-and-eye-opening one-hour similcast Fortune" at Bucks County Playhouse, with a com- — a program presented on both radio and television — mentary by producer Michael Ellis. from NBC Radio Central, the network's new §150,000 The Opening Team world listening post in New York. Continuing on the NBC radio network for eight hours in its opening The initial simulcast was presided over by Sylvester broadcast, "Monitor" indicated its scope with a virtual L. Weaver, Jr., President of NBC, and featured James kaleidoscope of information and entertainment. Among Fleming, executive producer and editor of "Monitor." its features were: Also on hand were "communicators" Dave Garroway, — A tense interview with a prisoner inside the walls Clifton Fadiman, Walter Kiernan, Morgan Beatty, Frank of the Federal Penitentiary at San Quentin. -
John Gassner
John Gassner: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Gassner, John, 1903-1967 Title: John Gassner Papers Dates: 1894-1983 (bulk 1950-1967), undated Extent: 151 document boxes, 3 oversize boxes (65.51 linear feet), 22 galley folders (gf), 2 oversize folders (osf) Abstract: The papers of the Hungarian-born American theatre historian, critic, educator, and anthologist John Gassner contain manuscripts for numerous works, extensive correspondence, career and personal papers, research materials, and works by others, forming a notable record of Gassner’s contributions to theatre history. Call Number: Manuscript Collection MS-54109 Language: Chiefly English, with materials also in Dutch, French, German, Greek, Hebrew, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, and Turkish Access: Open for research Administrative Information Acquisition: Purchases and gifts, 1965-1986 (R2803, R3806, R6629, G436, G1774, G2780) Processed by: Joan Sibley and Amanda Reyes, 2017 Note: The Ransom Center gratefully acknowledges the assistance of the Gladys Krieble Delmas Foundation, which provided funds to support the processing and cataloging of this collection. Repository: The University of Texas at Austin, Harry Ransom Center Gassner, John, 1903-1967 Manuscript Collection MS-54109 Biographical Sketch John Gassner was a noted theatre critic, writer, and editor, a respected anthologist, and an esteemed professor of drama. He was born Jeno Waldhorn Gassner on January 30, 1903, in Máramarossziget, Hungary, and his family emigrated to the United States in 1911. He showed an early interest in theatre, appearing in a school production of Shakespeare’s The Tempest in 1915. Gassner attended Dewitt Clinton High School in New York City and was a supporter of socialism during this era. -
Rex Stout Does Not Belong in Russia: Exporting the Detective Novel
Wesleyan University The Honors College Rex Stout Does Not Belong in Russia: Exporting the Detective Novel by Molly Jane Levine Zuckerman Class of 2016 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in the Russian, East European, and Eurasian Studies Program Middletown, Connecticut April, 2016 Foreword While browsing through a stack of Russian and American novels in translation on a table on Arbat Street in Moscow in 2013, I came across a Russian copy of one of my favorite books, And Be a Villain, by one of my favorite authors, Rex Stout. I only knew about this author because my father had lent me a copy of And Be a Villain when I was in middle school, and I was so entranced by the novel that I went out to Barnes & Noble to buy as many as they had in stock. I quickly ran out of Stout books to read, because at the time, his books were out of print in America. I managed to get hold of most copies by high school, courtesy of a family friend’s mother who had died and passed on her collection of Stout novels to our family. Due to the relative difficulty I had had in acquiring these books in America, I was surprised to find one lying on a book stand in Moscow, so I bought it for less than 30 cents (which was probably around the original price of its first printing in America). -
Artie Shaw 1938-1939
Glenn Miller Archives ARTIE SHAW 1938-1939 Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 1 Table of Contents I. 1938 ................................................................................................................... 3 June 1938 ............................................................................................................... 3 July 1938 ................................................................................................................ 4 August 1938 ......................................................................................................... 12 September 1938 ................................................................................................... 15 October 1938 ........................................................................................................ 32 November 1938 .................................................................................................... 37 December 1938 .................................................................................................... 60 II. 1939 ............................................................................................................... 101 January 1939 ...................................................................................................... 101 February 1939 .................................................................................................... 131 March 1939 ........................................................................................................ -
Bronze Medallist Tuttle Was More Than “Merely an American Horseman”
Bronze medallist Tuttle was more than “Merely an American Horseman” By James H. Goddard Tuttle and Buster in traditional cavalry training, riding down an embankment at Brownsville, Texas. Photo: Dolph Briscoe Center for American History, University of Texas at Austin. A four-year old boy, thrilled with the power of riding Born in 1882 on a farm in Dexter, Maine, the curious bareback on an immense, plodding plow horse, guiding and talented Tuttle needed to make his way using his it with just a strap in its mouth, absorbed the lessons just mechanical skills, musical talents, dramatic flair, and as his father, grandfather, and great-grandfather had his intellect to lift himself out of the rural existence done.1,2 Coming of age in the late 1800’s, this experience and into a more sophisticated life. As a young man planted in him the skills and appreciation for the Tuttle worked at a blacksmith shop near his father’s supreme and most valued tool of that time – the horse. farm, using his flair for mechanics. He later went A young Hiram E. Tuttle was given a gift of deep on to study engineering in Boston, Massachusetts, understanding of the nature of horses. With refined and subsequently worked in the automatic watch skills in training his mounts, he would eventually land machinery business. At age 26, he pursued the study of in company with the greatest American horse riders and law at Boston’s Suffolk University, achieving the highest trainers of all time. And what is more remarkable, his average marks to that date at the school, and graduated highest performing horses had been initially selected in 1912.4 He gained membership to the Massachusetts for racing or cavalry work, not performing. -
Rex Stout, Playwright
Rex Stout: War-Effort Leader, Proponent of Limited World Government, & Dramatist THE WOLFE PACK BLACK ORCHID ASSEMBLY DECEMBER 1, 2012 NEW YORK, NY Bob Gatten Acknowledgements Rebecca Stout Bradbury Susan Adamson Amy Asch Anne Fadiman Carol Novak John McAleer, Rex Stout: A Biography Thomas Howell, The Writers’ War Board: U.S. Domestic Propaganda in World War II Overview Part 1 Rex Stout, the Writers’ War Board, and a resulting play Part 2 Rex Stout, the Writers’ Board for World Government, and a resulting play Part 1 Rex Stout and the Writers’ War Board Dec. 7, 1941 Henry Morganthau, Jr. Dec. 9, 1941 Howard Lindsay Rex Stout and the Writers’ War Board Lindsay called Stout+ Board complete by January 1942 Board of about 20 authors from NYC Rex Stout and the Writers’ War Board Stout at the Writers’ War Board Office Chanin Building, 122 E 42 St. Board Members Oscar Hammerstein II Clifton Fadiman Board Members Russel Crouse Margaret Leech Board Members Pearl Buck Paul Gallico Board Members William L. Shirer John Marquand Purpose Initially, stimulate sale of war bonds Promote governmental policy for WWII Encourage popular support for war effort Allow government to avoid being in propaganda business Function as “an arm of the government” Clifton Fadiman to Thomas Howell Work Weekly meetings of Board Recruited services of over 4,000 writers No government control or censorship Work Received information from government Responded to governmental requests for action Received government rental and stenographic support (eventually