Connecting Storyworld Geography to Narrative Comprehension in Online Wiki Communities
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LOST with a Good Book
The Lost Code: BYYJ C`1 P,YJ- LJ,1 Key Literary References and Influ- Books, Movies, and More on Your Favorite Subjects Heart of Darkness by Joseph Conrad CAS A CONR/ eAudiobook LOST on DVD A man journeys through the Congo and Lost Complete First Season contemplates the nature of good and evil. There are several references, especially in relation to Lost Season 2: Extended Experience Colonel’s Kurtz’s descent toward madness. Lost Season 3: The Unexplored Experience Lost. The Complete Fourth Season: The Expanded The Stand by Stephen King FIC KING Experience A battle between good and evil ensues after a deadly virus With a Good Book decimates the population. Producers cite this book as a Lost. The Complete Fifth Season: The Journey Back major influence, and other King allusions ( Carrie , On Writing , *Lost: Complete Sixth & Final Season is due for release 8/24/10. The Shining , Dark Tower series, etc.) pop up frequently. The Odyssey by Homer FIC HOME/883 HOME/ CD BOOK 883.1 HOME/CAS A HOME/ eAudiobook LOST Episode Guide Greek epic about Odysseus’s harrowing journey home to his In addition to the biblical episode titles, there are several other Lost wife Penelope after the Trojan War. Parallels abound, episode titles with literature/philosophy connections. These include “White especially in the characters of Desmond and Penny. Rabbit” and “Through the Looking Glass” from Carroll’s Alice books; “Catch-22”; “Tabula Rosa” (philosopher John Locke’s theory that the Slaughterhouse-Five by Kurt Vonnegut FIC VON human mind is a blank slate at birth); and “The Man Behind the Curtain” A World War II soldier becomes “unstuck in time,” and is and “There’s No Place Like Home” ( The Wonderful Wizard of Oz ). -
Defining the Digital Services Landscape for the Middle East
Defining the Digital Services landscape for the Middle East Defining the Digital Services landscape for the Middle East 1 2 Contents Defining the Digital Services landscape for the Middle East 4 The Digital Services landscape 6 Consumer needs landscape Digital Services landscape Digital ecosystem Digital capital Digital Services Maturity Cycle: Middle East 24 Investing in Digital Services in the Middle East 26 Defining the Digital Services landscape for the Middle East 3 Defining the Digital Services landscape for the Middle East The Middle East is one of the fastest growing emerging markets in the world. As the region becomes more digitally connected, demand for Digital Services and technologies is also becoming more prominent. With the digital economy still in its infancy, it is unclear which global advances in Digital Services and technologies will be adopted by the Middle East and which require local development. In this context, identifying how, where and with whom to work with in this market can be very challenging. In our effort to broaden the discussion, we have prepared this report to define the Digital Services landscape for the Middle East, to help the region’s digital community in understanding and navigating through this complex and ever-changing space. Eng. Ayman Al Bannaw Today, we are witnessing an unprecedented change in the technology, media, and Chairman & CEO telecommunications industries. These changes, driven mainly by consumers, are taking Noortel place at a pace that is causing confusion, disruption and forcing convergence. This has created massive opportunities for Digital Services in the region, which has in turn led to certain industry players entering the space in an incoherent manner, for fear of losing their market share or missing the opportunities at hand. -
LOST "Raised by Another" (YELLOW) 9/23/04
LOST “Raised by Another” CAST LIST BOONE................................Ian Somerhalder CHARLIE..............................Dominic Monaghan CLAIRE...............................Emilie de Ravin HURLEY...............................Jorge Garcia JACK.................................Matthew Fox JIN..................................Daniel Dae Kim KATE.................................Evangeline Lilly LOCKE................................Terry O’Quinn MICHAEL..............................Harold Perrineau SAWYER...............................Josh Holloway SAYID................................Naveen Andrews SHANNON..............................Maggie Grace SUN..................................Yunjin Kim WALT.................................Malcolm David Kelley THOMAS............................... RACHEL............................... MALKIN............................... ETHAN................................ SLAVITT.............................. ARLENE............................... SCOTT................................ * STEVE................................ * www.pressexecute.com LOST "Raised by Another" (YELLOW) 9/23/04 LOST “Raised by Another” SET LIST INTERIORS THE VALLEY - Late Afternoon/Sunset CLAIRE’S CUBBY - Night/Dusk/Day ENTRANCE * ROCK WALL - Dusk/Night/Day * INFIRMARY CAVE - Morning JACK’S CAVE - Night * LOFT - Day - FLASHBACK MALKIN’S HOUSE - Day - FLASHBACK BEDROOM - Night - FLASHBACK LAW OFFICES CONFERENCE ROOM - Day - FLASHBACK EXTERIORS JUNGLE - Night/Day ELSEWHERE - Day CLEARING - Day BEACH - Day OPEN JUNGLE - Morning * SAWYER’S -
The Expression of Orientations in Time and Space With
The Expression of Orientations in Time and Space with Flashbacks and Flash-forwards in the Series "Lost" Promotor: Auteur: Prof. Dr. S. Slembrouck Olga Berendeeva Master in de Taal- en Letterkunde Afstudeerrichting: Master Engels Academiejaar 2008-2009 2e examenperiode For My Parents Who are so far But always so close to me Мои родителям, Которые так далеко, Но всегда рядом ii Acknowledgments First of all, I would like to thank Professor Dr. Stefaan Slembrouck for his interest in my work. I am grateful for all the encouragement, help and ideas he gave me throughout the writing. He was the one who helped me to figure out the subject of my work which I am especially thankful for as it has been such a pleasure working on it! Secondly, I want to thank my boyfriend Patrick who shared enthusiasm for my subject, inspired me, and always encouraged me to keep up even when my mood was down. Also my friend Sarah who gave me a feedback on my thesis was a very big help and I am grateful. A special thank you goes to my parents who always believed in me and supported me. Thanks to all the teachers and professors who provided me with the necessary baggage of knowledge which I will now proudly carry through life. iii Foreword In my previous research paper I wrote about film discourse, thus, this time I wanted to continue with it but have something new, some kind of challenge which would interest me. After a conversation with my thesis guide, Professor Slembrouck, we decided to stick on to film discourse but to expand it. -
Copyrighted Material
PART ON E F IS FOR FORTUNE COPYRIGHTED MATERIAL CCH001.inddH001.indd 7 99/18/10/18/10 77:13:28:13:28 AAMM CCH001.inddH001.indd 8 99/18/10/18/10 77:13:28:13:28 AAMM LOST IN LOST ’ S TIMES Richard Davies Lost and Losties have a pretty bad reputation: they seem to get too much fun out of telling and talking about stories that everyone else fi nds just irritating. Even the Onion treats us like a bunch of fanatics. Is this fair? I want to argue that it isn ’ t. Even if there are serious problems with some of the plot devices that Lost makes use of, these needn ’ t spoil the enjoyment of anyone who fi nds the series fascinating. Losing the Plot After airing only a few episodes of the third season of Lost in late 2007, the Italian TV channel Rai Due canceled the show. Apparently, ratings were falling because viewers were having diffi culty following the plot. Rai Due eventually resumed broadcasting, but only after airing The Lost Survivor Guide , which recounts the key moments of the fi rst two seasons and gives a bit of background on the making of the series. Even though I was an enthusiastic Lostie from the start, I was grateful for the Guide , if only because it reassured me 9 CCH001.inddH001.indd 9 99/18/10/18/10 77:13:28:13:28 AAMM 10 RICHARD DAVIES that I wasn’ t the only one having trouble keeping track of who was who and who had done what. -
Flying the Line Flying the Line the First Half Century of the Air Line Pilots Association
Flying the Line Flying the Line The First Half Century of the Air Line Pilots Association By George E. Hopkins The Air Line Pilots Association Washington, DC International Standard Book Number: 0-9609708-1-9 Library of Congress Catalog Card Number: 82-073051 © 1982 by The Air Line Pilots Association, Int’l., Washington, DC 20036 All rights reserved Printed in the United States of America First Printing 1982 Second Printing 1986 Third Printing 1991 Fourth Printing 1996 Fifth Printing 2000 Sixth Printing 2007 Seventh Printing 2010 CONTENTS Chapter 1: What’s a Pilot Worth? ............................................................... 1 Chapter 2: Stepping on Toes ...................................................................... 9 Chapter 3: Pilot Pushing .......................................................................... 17 Chapter 4: The Airmail Pilots’ Strike of 1919 ........................................... 23 Chapter 5: The Livermore Affair .............................................................. 30 Chapter 6: The Trouble with E. L. Cord .................................................. 42 Chapter 7: The Perils of Washington ........................................................ 53 Chapter 8: Flying for a Rogue Airline ....................................................... 67 Chapter 9: The Rise and Fall of the TWA Pilots Association .................... 78 Chapter 10: Dave Behncke—An American Success Story ......................... 92 Chapter 11: Wartime............................................................................. -
LOST the Official Show Auction
LOST | The Auction 156 1-310-859-7701 Profiles in History | August 21 & 22, 2010 572. JACK’S COSTUME FROM THE EPISODE, “THERE’S NO 574. JACK’S COSTUME FROM PLACE LIKE HOME, PARTS 2 THE EPISODE, “EGGTOWN.” & 3.” Jack’s distressed beige Jack’s black leather jack- linen shirt and brown pants et, gray check-pattern worn in the episode, “There’s long-sleeve shirt and blue No Place Like Home, Parts 2 jeans worn in the episode, & 3.” Seen on the raft when “Eggtown.” $200 – $300 the Oceanic Six are rescued. $200 – $300 573. JACK’S SUIT FROM THE EPISODE, “THERE’S NO PLACE 575. JACK’S SEASON FOUR LIKE HOME, PART 1.” Jack’s COSTUME. Jack’s gray pants, black suit (jacket and pants), striped blue button down shirt white dress shirt and black and gray sport jacket worn in tie from the episode, “There’s Season Four. $200 – $300 No Place Like Home, Part 1.” $200 – $300 157 www.liveauctioneers.com LOST | The Auction 578. KATE’S COSTUME FROM THE EPISODE, “THERE’S NO PLACE LIKE HOME, PART 1.” Kate’s jeans and green but- ton down shirt worn at the press conference in the episode, “There’s No Place Like Home, Part 1.” $200 – $300 576. JACK’S SEASON FOUR DOCTOR’S COSTUME. Jack’s white lab coat embroidered “J. Shephard M.D.,” Yves St. Laurent suit (jacket and pants), white striped shirt, gray tie, black shoes and belt. Includes medical stetho- scope and pair of knee reflex hammers used by Jack Shephard throughout the series. -
Trauma, Fear, and Paranoia Lost and the Culture of 9/11
Trauma, fear, and Paranoia Lost and the Culture of 9/11 rachEl aldrich onE of thE Most popular tElEvision shoWs of thE last dEcadE, Lost (2004-2010) con- foundEd Many of its viewers With its tWisting, convolutEd plotlinEs. this articlE is an EXploration of thE Many ElEMEnts of thE shoW ovEr its first few, dynaMic yEars that ultiMatEly weavE togEthEr to forM a suBtlE, suBvErsivE iMagE of post-9/11 aMEri- can sociEty. through an EXaMination of spEcific charactErs, and thE cast as a WholE, as well as various distinctly tErroristic and apocalyptic coMponEnts of thE shoW’s plot, Lost is rEvEalEd as Both a rEproduction and a critical rE-iMagination of thE aMErican rEsponsE to thE EvEnts of sEptEMBEr 11th, 2001. Lost BEcoMEs not MErEly an artifact of post-9/11 aMErican sociEty But a MEans through Which viewers arE invitEd to sEE Ways in Which our World can groW and changE. The events of September 11, 2001, not only permanently subtle. The first scene of the pilot episode depicts Jack disfigured the face of New York City and greatly changed Shephard (Matthew Fox), a surgeon and the main charac- the lives of thousands of Americans, but also created a cul- ter of the series, sprawled on the ground in the middle of tural shockwave in America that is still felt today. Ameri- the jungle. He is wearing a tattered business suit and looks can society was transformed almost immediately after the remarkably like a corpse. The positioning of his body and attacks; this response to terror can be seen in much of the his costuming is meant to align him with those many vic- visual culture that followed. -
Supporting Sensemaking by the Masses for the Public Good
Supporting Sensemaking by the Masses for the Public Good Derek L. Hansen Assistant Professor, Maryland’s iSchool Director of CASCI (http://casci.umd.edu) Introduction One of the marvels of our time is the unprecedented use and development of technologies that support social interaction. Recent decades have repeatedly demonstrated human ingenuity as individuals and collectives have adopted and adapted these technologies to engender new ways of working, playing, and creating meaning. Although we already take for granted the ubiquity of social-mediating technologies such as email, Facebook, Twitter, and wikis, their potential for improving the human condition has hardly been tapped. There is a great need for researchers to 1) develop theories that better explain how and why technology-mediated collaborations succeed and fail, and 2) develop novel socio-technical strategies to address national priorities such as healthcare, education, government transparency, and environmental sustainability. In this paper, I discuss the need to understand and develop technologies and social structures that support large-scale, collaborative sensemaking. Sensemaking Humans can’t help but try to make sense of the world around them. When faced with an unfamiliar problem or situation we instinctively gather, organize, and interpret information, constructing meanings that enable us to move forward (Dervin, 1998; Lee & Abrams 2008; Russell, et al., 2008.). Individuals engage in sensemaking activities when we create a presentation, come to grips with a life-threatening illness, decide who to vote for, or produce an intelligence report. As collectives we engage in collaborative sensemaking activities at many levels of social aggregation ranging from small groups (e.g., co-authors of a paper) to hundreds (e.g., the scientific community developing a cure for cancer) to millions (e.g., fans of ABC’s Lost making sense of the complex show). -
Universidade Federal De Goiás Faculdade De Informação E Comunicação Graduação Em Publicidade E Propaganda
UNIVERSIDADE FEDERAL DE GOIÁS FACULDADE DE INFORMAÇÃO E COMUNICAÇÃO GRADUAÇÃO EM PUBLICIDADE E PROPAGANDA NATÁLIA SANTOS DIAS ANÁLISE NARRATIVA E INTELIGÊNCIA COLETIVA: UM ESTUDO DAS PRÁTICAS DA WIKI TV TROPES GOIÂNIA 2018 NATÁLIA SANTOS DIAS ANÁLISE NARRATIVA E INTELIGÊNCIA COLETIVA: UM ESTUDO DAS PRÁTICAS DA WIKI TV TROPES Trabalho apresentado à Banca Examinadora do Curso de Comunicação Social - Publicidade e Propaganda, da Faculdade de Informação e Comunicação da Universidade Federal de Goiás, como exigência parcial para a Conclusão de Curso. Orientação: Prof. Dr. Rodrigo Cássio Oliveira GOIÂNIA 2018 NATÁLIA SANTOS DIAS ANÁLISE NARRATIVA E INTELIGÊNCIA COLETIVA: UM ESTUDO DAS PRÁTICAS DA WIKI TV TROPES Monografia defendida no curso de Bacharelado em Comunicação Social - Publicidade e Propaganda da Faculdade de Informação e Comunicação da Universidade Federal de Goiás, para a obtenção do grau de Bacharel, defendida e aprovada em 26/11/2018, pela Banca Examinadora constituída pelos seguintes professores: ______________________________________________________ Prof. Dr. Rodrigo Cássio Oliveira (UFG) Presidente da Banca ______________________________________________________ Prof. Drª. Lara Lima Satler (UFG) Membro da Banca ______________________________________________________ Prof. Dr. Cleomar de Sousa Rocha (UFG) Membro da Banca AGRADECIMENTOS Agradeço aos meus pais Cleoneide Dias e Júlio Cézar, pelo incentivo, o apoio e por me ensinarem desde cedo a amar as histórias; À Rodrigo Cássio Oliveira, orientador e professor exemplar, por me -
For the Field
For the Field Of the People, For the People: Exploring Wikipedia as a Site for Community Building Introduction The COVID-19 pandemic has heightened the need for equal access to factual information about the virus. Free and open sources of information are increasingly important in our digital age. Although Wikipedia has often been touted as an unreliable source in the academic context, it can provide a great starting place for those interested in researching a given topic. Additionally, due to its inherently collaborative structure, this could be a site to help build community or extend an existing community, from the physical into the digital. Through a brief examination of the player/editor created and maintained Nukapedia, a wiki-site hosted by Fandom.com and dedicated to the videogame Fallout 4, I will demonstrate that a community can be formed even through asynchronous editing projects. I have experienced the power of this game in building community as a long-time fan of this series who has played through three of its titles: Fallout: New Vegas, Fallout 3, and Fallout 4. My long-time partner and I even had out first “official date” on the midnight release of Fallout 4 at our local EB Games. Although I am not an especially talented videogame player, I do enjoy the storylines and aesthetic of its fictional world. These collaborative projects based on collecting, organizing, and sharing knowledge can be employed by library professionals for community programming. As mentioned by Snyder in Edit-a-thons and Beyond (2018), organizing “edit-a-thon Emerging Library & Information Perspectives 1 events” can be a way to meet institutional goals and even engage with new patrons. -
Learning from Ambiguously Labeled Images
University of Pennsylvania ScholarlyCommons Technical Reports (CIS) Department of Computer & Information Science January 2009 Learning From Ambiguously Labeled Images Timothee Cour University of Pennsylvania Benjamin Sapp University of Pennsylvania Chris Jordan University of Pennsylvania Ben Taskar University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/cis_reports Recommended Citation Timothee Cour, Benjamin Sapp, Chris Jordan, and Ben Taskar, "Learning From Ambiguously Labeled Images", . January 2009. University of Pennsylvania Department of Computer and Information Science Technical Report No. MS-CIS-09-07 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/cis_reports/902 For more information, please contact [email protected]. Learning From Ambiguously Labeled Images Abstract In many image and video collections, we have access only to partially labeled data. For example, personal photo collections often contain several faces per image and a caption that only specifies who is in the picture, but not which name matches which face. Similarly, movie screenplays can tell us who is in the scene, but not when and where they are on the screen. We formulate the learning problem in this setting as partially-supervised multiclass classification where each instance is labeled ambiguously with more than one label. We show theoretically that effective learning is possible under reasonable assumptions even when all the data is weakly labeled. Motivated by the analysis, we propose a general convex learning formulation based on minimization of a surrogate loss appropriate for the ambiguous label setting. We apply our framework to identifying faces culled from web news sources and to naming characters in TV series and movies.