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Pax and the Literary in the Digital Age

Pax and the Literary in the Digital Age

David Parry

David Parry argues that Pax occupies a position between literature and games - that it “glorifies play while undermining games,” and that it’s “not so much literature as it is literary.”

Pax is, to say the least, a confusing text. But more than being about confusion, Pax is also a confused text, literary for sure, but not quite literature, negotiating some rather hazy boundaries between “literature and ludology” (Moulthrop 149). This is not meant as a criticism but rather an observation meant to focus on a central feature of the work, indeed its principle aesthetic qualities seem to derive from its confusing nature. Thus in order to engage Pax one should first recognize that any attempt to mount a critique of it or Moulthrop’s exegesis will necessarily be informed by this confusion, perhaps always bordering on coherence rather than ever fully achieving it. But, as I have already suggested this confusion is one of the principle qualities of Pax, for, because of its confusing aesthetic and formal structures, it points to questions about its classification as literature and more generally about the literary in the age of the digital.

Indeed, as Moulthrop tells us, the event which served as the impetus for composing Pax was a day largely informed by confusion. Delayed in Dallas-Fort Worth Airport due to unspecified dangers, travelers were forced to wait as various unspecified procedures were conducted in order to protect against some unspecified threat. The security which had “somehow been compromised” needed to be restored, yet it was unclear to the travelers what this meant, or what this entailed (150). Even those supposedly in charge of the event appeared as confused as the travelers: a soldier acting as security personal called his girlfriend to find out if CNN was shedding any light on the incident. And, despite the fact that the security breach was eventually cleared up, the confusion remained; in Moulthrop’s account, we never get the cause of the delay. In fact, the whole incident at DFW seemed to be one of confusion, with conflicting stories and announcements leading to various responses, none of which ever amounted to anything - or at least anything that would offer clarity.

Although most of the text of Pax - here I refer to the written words generated on the right hand side of the screen - seems to generally refer to the incident at the airport, narrating travel through airports in a surveillance society always on the border of pulling the guns out, it is with regard to the reading practice necessitated by Pax that I find the larger connection between this textual instrument and the experience of confusion. Without first reading Moulthrop’s “Suggestions for Play” in the “About” section of his piece, it is difficult to understand what kind of art work one is faced with here. Accustomed to the technological reading practices which accompany a book, encountering Pax for the first time is a bit disorienting. Not only does the text demand something different than the simple turning of pages, but no tutorial explanation is available. In this sense, it differs rather substantially from the video games that Moulthrop says inform the work, for video games rely on either elaborate tutorials which train the players, or familiar interfaces, neither of which are present here. Only upon several “play throughs” does one come to understand the logic of the instrument: there are 14 characters, six stages, and clicking on characters as they float through the space produces text on the right hand side of the screen. Further, and perhaps most importantly, each playing is limited by a chronological progression that the user can do nothing to halt.

My initial readings of Pax were largely governed by this sense of imperfect information, feeling rushed where the flow of time pressured the readings to continue, despite my wanting the ability to arrest time or intervene so that consumption could happen more slowly. I usually felt as if the end came to soon, as if the bodies started falling before I was done with them rising. Not only is there not enough time to get to know all the characters and assemble the pieces which constitute their hazy and disparate experiences, there is not even enough time to consume each individual utterance once it is generated. By forcing the reader to navigate from the left where the text is produced to the right where the text is rendered a certain textual frustration is built into the work. I was faced with never enough time to dedicate to either - a feature consistently foregrounded by the clocks which appear around the suspended characters, and the time stamps of the narrative production. The consumption and production of the stories is always momentary, confusing, and imperfect.

In one regard, our understanding of the text is informed by our (in)ability to classify its nature. Is Pax best understood as a hypertext, a performance piece, a game, narrative, cybertext, a text generator (Moulthrop suggests that all of these relate in some manner)? Indeed it is in part all of these, but not wholly any of them either; its taxonomic ambiguity, its confusion, is one of its central aesthetic principles. Moulthrop suggests that we could understand this as a textual instrument, but that designation does little to clear our confusion, as that seems to be a singular label, a set of one with no other inhabitants when Pax seems to demand, paradoxically, a multiple identity. Thus perhaps we are better off attempting to orient ourselves around the two central classifications that Moulthrop indicates: hypertext and video game (151).

Pax is more play than game, more instrument than video game. Even if it exists somewhere in the intersection between hypertext and video game, it is clearly lacking in features we associate with video games and is more complicated than the usual structures associated with what is classified as hypertext. While play is clearly one of the key structuring elements of Pax, there is no goal - indeed, no ultimate evaluative criterion - we could use to judge the interaction. Thus it is substantially different from what we would recognize as a game, for there is no eschatological endpoint being pursued which will determine the success or failure of any given playing. There is no score being kept, no body count mounting. In this sense, Pax glorifies play while undermining games.

While each playing is singular, complete unto itself, each playing also only takes on meaning as part of a network of readings, playings and replayings, exploring the fourteen characters and the seemingly infinite variety of outputs which are achievable by varying one’s pattern of interaction. All of the readings are confusing because they are imperfect, lacking an ultimate completion which would provide a sense of final closure, even as each individual reading is framed by the final image of one of the characters. (Notably, the character pictured in the final image is a result of the choices the player made in his or her reading, a reflection of which character one has spent the most time listening to.) Thus each reading is always partial, one node in the confusing array of possible playings, rather than a coherent whole which might arrest the rising and falling bodies. If the experience of living with lesser apocalypses is about the experience of imperfect information, than each playing comes to represent this informational lack, where what is generated in the end clearly bears the mark of its incompleteness and confusion.

Moulthrop reflects a great deal on how Pax is a textual instrument to be played, playing which is distinct from game, but still linked to this sense of the action which composes a game. But there is another sense of play here, play as in give-and-take (the play of a machine, or the play in a steering wheel) that is equally as important to keep in mind. For Pax is not a well ordered textual machine, the output of which is pre-determined from the start, but rather a series of pieces that do not quite fit together, pieces with a bit of play between them, give-and-take to be negotiated, and it is this type of play which allows for there to be the other of which Moulthrop speaks, play made possible by play.

In the end I would argue that Pax is not so much literature as it is literary. That is, while it clearly utilizes tropes and structures we have come to associate with literature, several of its central features seem antithetical to the institution of literature, features I would not solely reduce to the “play” aspects of the text (as if we could fully separate the ludological from the literature in this work). As Moulthrop points out, Pax is characterized by its fluidity, evanescence, and lack of stability (153), features which seem to be antithetical to the stability and humanistic permanence which are the hallmark institutional claims of literature. Clearly, as with other hypertexts and digital works, there is no way to read for mastery of the work: to fix the borders of Pax and locate its narrative within a determined space. The structure of Pax resists this traditional reading of literature, for even if one were to crack open the internal working of Pax and independently read the database of textual pieces Moulthrop has coded, such an action would in no way approach the event of reading his work - not only would it eliminate the chronological borders and flow of the work, but, as per Moulthrop’s description, Pax relies upon a random value generator, and so could not be ultimately ordered (153). Thus he has ensured that Pax only exists as a literary event, a textual instrument being played in a literary way, rather than an individual object we might assign to the category of literature. As Moulthrop points out, it is only through multiple playings, multiple experiences of playing the literary, that one can begin to ascertain the architectural and thematic outlines of the text. So again in this case Pax seems more multiple, more a series of literary events, rather than a singular object of literature, the stability and permanence of which are signs of its aesthetic worth.

In this sense, Pax is very much a literary work which signals the end of the book, not in some simple utopic “now we have digital, we no longer need analog” sense, but the end in terms of the border, where we might say the territory of the book and literature end, but the literary still operates; where text operates as more than just aesthetic description or persuasive argument, but itself becomes malleable and flexible, something to be played with, and played on. To be sure, as Moulthrop points out, this playing is usually the domain of digital games or graphic interfaces, but the principle strength of a work like Pax is that it shows how play is not the sole domain of digital games, and neither is the literary the sole domain of literature.

So in this sense Pax is about the question of literature, and the end of the book. It is about what happens to the literary when it can no longer be contained within the domain of literature, what happens when the borders of the literary become infected, contaminated with and by these other expressive mediums, and what should we do about the confusing texts that such transgressions ignite.

Ben Underwood:

Parry’s formulation - “literary event” - aptly describes Pax, but it’s also an oxymoron, insofar as a literary text isn’t an event that one experiences, but an object that one interprets. This term points to the fate of “the literary in the age of the digital,” as Parry puts it. In digital environments, the emphasis on the event means that the literary becomes an object of experience rather than a interpretable text.


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Watch: N.O.R.E. Feat. Pharrell – The Problem (Lawwwddd)

Max G.

Directed by Will Millions, today we have the pleasure of sharing with you the accompanying video to N.O.R.E.’s latest record “The Problem (Lawwwddd),” featuring Pharell.

Check out the video below & make sure to grab a copy of N.O.R.E.‘s Student of the Game, out now.

Photo Credit: NPR

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Senior Health Primary Care

Senior Health
Primary Care - Manchester
A Department Of Elliot Hospital
138 Webster Street
Manchester, NH 03104
(603) 663-7030

Senior Health
Primary Care - Londonderry
A Department Of Elliot Hospital
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Londonderry, NH 03058
(603) 663-7030

Triage Nurses will be available to assist you with your health concerns during the following hours:  Weekdays until 10 pm, Saturdays 8 am to 5 pm and Sundays 8 am to 3 pm.  If you need to speak with a nurse or doctor outside of these hours, or when the office is closed, please call this office.  The on-call doctor will return your call to assist you with your urgent healthcare concerns.

Click here for a copy of this notice.
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Senior Health Primary Care in Manchester and Londonderry are always accepting new patients.  For a new patient appointment please call (603) 663-7030.

Primary Care Model
Senior Health Primary Care specializes in treating patients 65 years of age or older.  As part of the Elliot Physician Network, Senior Health Primary Care consists of Geriatricians and Advanced Practice Registered Nurses specially trained in the treatment of older adults.  A Geriatrician is a medical doctor who is certified and trained in the Geriatric Medicine specialty.

Our Team Approach
The Geriatricians and Advance Practice Registered Nurses work closely with an integrated healthcare team comprised of nurses, medical assistants, a clinical pharmacist, and social workers in order to meet each patients’ individual healthcare needs.  Longer office visits allow patients the opportunity to ask their doctor questions and obtain specific information about their health status.

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The care we provide extends beyond the exam room.  Our nurse and medical assistants take the time to answer questions and send new or refill prescription orders to the pharmacy of choice.  Our patient service representatives will assist you in making referrals and appointments with other specialists as well as for laboratory and radiology appointments, before you leave the office.  Should you experience any changes in your health, our staff is available to assist.

Care Settings
When healthcare goes beyond the doctor’s office, our physicians will be there to help manage your care. We follow our patients at select assisted living, nursing and rehabilitation facilities in the area.  We believe it is important for a senior to have consistent care from a doctor they know, and trust.  When making the transition to a new healthcare environment, we know you have a choice in physicians and we look forward to continuing your care in the following settings:

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    If you do choose one of the facilities that is covered by the Elliot Senior Health Primary Care Physicians, please inform the staff upon admission to the extended care facility if you would like to be followed by our physicians. You have the right to specify your physician choice to the facility’s staff.

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Wednesday, April 23, 2014

The Choice

You can't expect what your children will choose to express themselves. As I've made her 'sing' since she was able to speak, it's kinda hard to accept when in highschool she decided to join PASKIBRA (the troop of flag raisers).

However, no matter what she does I am always proud watching. And still I can not hold my tears not to fall from the corner of my eyes.

1 comment:

rahmi said...

keren banget Paskibra..


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Emily Jess (57) 680x1024

Emily Baines

Emily Baines is one of the most exciting and versatile musicians working in the UK today. A specialist recorder player and singer (soprano), she is also a skilled multi instrumentalist performing worldwide on shawms, bagpipes and other early reed instruments.

Emily’s work as a performer involves a myriad different roles, from concerto or soprano soloist and chamber musician to theatre band and actor/musician roles.

As a musical director Emily is in increasing demand, her main work is currently in drama from the medieval, renaissance and baroque eras using both period and more contemporary musical styles.

As a researcher Emily is predominantly interested in the performance of historical music. Her current research is investigating the style of playing found in eighteenth-century mechanical musical instruments and how that might influence contemporary attitudes to playing eighteenth century music. However research plays an important role in all avenues of Emily’s professional life from leading foot-tapping ensembles to scoring bloodthirsty Jacobean theatre.


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Ship ceremonies

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USS Frank Knox (DD-742) is christened by Mrs. Frank Knox, during launching ceremonies at the Bath Iron Works, Bath, Maine, on 17 September 1944.

Ship ceremonies are held to mark historical occasions in the life of a ship. The ceremonies vary from country to country and from ship to ship. Warships are often honored differently than merchant ships, and larger ships are more subject to formal ceremonies than are smaller ones. Many of the ceremonies have roots that can be traced to antiquity.

U.S. Navy

U.S. Navy tradition dictates that each ship constructed for the service be honored on four historic ceremonial occasions: keel-laying, christening (or launching), commissioning, and decommissioning. Official directives pertaining to these events are issued periodically by the Chief of Naval Operations and subordinate commanders.

Typically, all these ceremonies begin with the playing of the national anthem, an invocation by a chaplain, and a speech in honor of the event. The formal execution of the purpose of the ceremony follows these, and the event is closed with a benediction, retirement of the colors and possibly music from a Navy band.

Keel-laying ceremony

Keel-laying, USS Missouri, 1941
The first milestone in the history of a ship is the generally simple ceremony that marks the laying of the keel. The invitation is issued by shipyard officials and the ceremony conducted by them. The builder may be the commander of a naval shipyard or the president of a private company.

The key parts of the ceremony are the optional authentication of the keel-laying by the placement of a plaque or the inscription of the authenticator's initials on the keel, followed by the workmen's moving the keel into position on the shipway, and the announcement that "the keel has been truly and fairly laid."

In the case of large and important warships, high officials of the Navy may attend and take part in the ceremony. For smaller ships, there may hardly be a ceremony at all. The nature of the ceremony also depends on the construction of the ship. Wooden ships are relatively small, and the keel is often one large piece of wood, sometimes placed by the men who made it. In older steel ships, the keel was often made from riveted pieces of metal, and the riveting of the first piece might correspond to the laying of the keel. World War II saw the introduction of welded ships, so a contemporary keel might be a massive welded assembly that is lowered into place by a giant crane.

Launching or christening ceremony

Mary Lin Moore christens USS Impervious, 1952
In this second significant ceremony, the recently constructed ship is solemnly dedicated, named and committed to the sea. There are many variations in the launching programs, even as to whether it is known as a launching or christening or both. The desires of the shipbuilder and of the Navy as well as existing circumstances will determine its final form. The designation of U.S. Ship (USS) is not properly used with the ship's name at this point, since she has not yet been accepted into naval service.

The speaker at this ceremony often pays tribute to the ship's namesake and recounts the history of other ships having the same name. It is not uncommon for the ceremony to be covered in the local or national press.

For this ceremony the ship has a sponsor, generally a prominent woman who, during the ceremony, names the vessel and breaks a bottle of wine or champagne against the ship's bow as the vessel slides into the water. Depending on the size and importance of the ship, its sponsor can be a community leader, a relative of the ship's namesake, a relative of an executive of the shipyard, or even a prominent national leader. Often the sponsor receives a ceremonial gift from the employees of the shipyard.

Commissioning ceremony

Commissioning of USS Bradley, 1965
The third and most important ceremony in a ship's history admits her to the U.S. Navy. The essence of the ceremony is her acceptance by the Navy, entitling her thereafter to fly the commission pennant and to be designated a U.S. Ship. Families of the ship's officers and crew are usually invited to the ceremony, so it tends to be a large and festive event. Officials of the Navy, the shipyard, and the local community generally attend as well.

There are two major steps in the commissioning process. Initially, the builder turns the ship over to the senior Navy official. The latter, who is the intermediary between builder and prospective commanding officer, receives the ship and commissions her. The Navy official then turns the ship over to the prospective commanding officer who accepts her, assumes command, and proceeds to act as host for the remainder of the ceremony.

During the ceremony, the crew of the ship being commissioned assembles and stands in formation, headed by their division officers and department heads. Other ship’s officers assemble facing the ceremony, usually behind the executive officer. Distinguished guests and participants in the ceremony are seated. The first watch and the officer of the deck (OOD) take their stations on the quarterdeck. Crew members station themselves at the ready, standing by the national ensign, union jack, and commission pennant or personal flag halyards. The officer making the transfer (usually an officer of flag rank) opens the ceremony by reading the orders for delivery of the ship to the U.S. Navy. “Attention” is sounded by the bugle, the national anthem is played, and all flags, including the personal flag of the officer making the transfer, are hoisted simultaneously. With this act the ship is officially commissioned.

The officer effecting the transfer delivers the ship to the new commanding officer by saying, “I hereby deliver the USS (name of ship)." The new commanding officer reads his orders and states, "I hereby assume command of the USS (name of ship)," and orders the executive officer to "set the watch," or sometimes "set the watch and bring the ship to life." The executive officer, in turn, directs the OOD to set the watch, and the ship’s boatswain (or chief boatswain’s mate in small ships) pipes the watch. The OOD and the other members of the watch take their assigned watch stations.

Decommissioning ceremony

Crew disembarks during decommissioning ceremony of USS Decatur, 1983
Still another ceremony terminates the active naval service of ships other than those lost at sea. A decommissioning is generally a somber occasion and far less elaborate than any of the others discussed here.

The ship's commanding officer is the featured speaker. After giving a brief history of the ship, he reads his orders and the ships colors are taken down. If the ship is being transferred to the reserve fleet, a representative of that organization will accept the custody of the ship.

After decommissioning, many U.S. Navy ships are transferred to a reserve fleet, where they remain the property of the Navy and are subject to future recommissioning. When the ship is no longer needed, it is "stricken from the Navy register", at which time it no longer belongs to the Navy. Stricken ships can be sold to other countries, scrapped, sunk as fishing and diving reefs, or even kept on hand in case of future need.


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Six Nations
'Maitland is proud of Scottish heritage'
ESPN Staff
January 23, 2013
Sean Maitland on the day he was named in the Scotland squad, Scotstoun, Glasgow, January 14, 2013
Sean Maitland on the day he was named in the Scotland squad © PA Photos
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Players/Officials: Scott Johnson | Sean Maitland
Tournaments/Tours: Six Nations
Teams: Scotland

Scotland skipper Kelly Brown not feeling the pressure

Scotland interim coach Scott Johnson insists the selection of New Zealand-born winger Sean Maitland is not "tokenism" and that he is proud of his Scottish heritage.

Former Crusaders winger Maitland signed for the Glasgow Warriors back in October on a three-year deal and has since made five appearances for the RaboDirect PRO12 side. Maitland had turned out for the Maori All Blacks and the New Zealand Under-20s in the past but was included in Scotland's squad for the Six Nations. And Johnson has emphasised that Maitland's upbringing is steeped in Scottish heritage.

Although Maitland's father was born in New Zealand, his uncle and grandparents hail from Scotland and he was brought up as "half Scottish". "When I spoke to his dad he was standing in his kilt in New Zealand," Johnson said. "Everyone thinks it's the grandfather rule that Sean comes under.

"Sean's father is Scottish and he has great pride in being a Scotsman. Sean used to be woken up as a kid to watch Scotland in the Five Nations, as it was. This kid is of proud Scottish heritage. This is not tokenism and he would be offended if anyone questioned that and so would his dad and his grandparents as well.

"He is a real proud Scotsman and he is there for the right reasons and that is why we value him as a member of this team."

Maitland will become the latest so-called "kilted Kiwi" if he makes his Scotland debut in their opening Six Nations match at Twickenham on February 2. Scotland have not won there in 30 years but Johnson dismisses that history as irrelevant.

"That is news to me. A lot of these players probably haven't been there before. We have to create our own history and disregard what has occurred in the past," Johnson said. "The unknown factor is a good thing for us. We are the poor little boys on the block and we are happy to go in as the poor little boys on the block. But rest assured, come game time we may not be a poor little boy."

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• Boxing/MMA

Tyson: MMA stars care more than boxers

ESPN staff
May 3, 2013

Boxing great Mike Tyson has revealed he would love to take on a commentary role in either boxing or mixed martial arts, but insists competitors in the latter care more than their flashy counterparts.

Tyson, a former undisputed world heavyweight champion, has long been known as an admirer of MMA, where he lists Jon Jones, Anderson Silva and Cain Velasquez as his favourite fighters.

Recently the paths of the two sports have become closely intertwined after British heavyweight boxer Tyson Fury claimed he would "smash" UFC heavyweight king Velasquez, labelling MMA a sport for average boxers.

'Iron' Mike Tyson has a rather different view, accusing the current generation of boxers of being more interested in fame and celebrity than carving out a memorable career. In his eyes, mixed martial artists are inspiring the next generation of fight fans.

"It has to be a passion. That's the problem with boxing: There's no passion," Tyson told ESPN.com. "People want to be record producers, rappers. In MMA, you see that passion. Georges St-Pierre, this is all he wants to do. That's why he's so successful.

"I think there's room for both [sports], but boxing just has too many black eyes. It doesn't have a good image. In MMA, even though people are fighting, they have a good image. Very few of them get into tragic troubles where they're beating people up and stuff.

"I love MMA and love boxing, but I'm always watching the MMA stuff. With boxing, you don't know if the guy's going to get a [good] decision, you know?

"In UFC, there's the Ultimate Fighter house - you cultivate the fighters spiritually, work with them, it's a team effort. In boxing, it's like, 'The hell with you'. The fighters dislike everybody. The MMA fighters are killing each other and they're friends!"

Tyson is currently touring America as part of the one-man stage show labelled "Mike Tyson: Undisputed Truth". He does not know what his long-term future holds, but admits his own passion for MMA could well lead to a commentary role.

"Absolutely," he replied when asked if he would be tempted into the hotseat. "I would also work in boxing if I could get a chance to clean it up, get it organised and government-operated. It has to be. Look at all the atrocities that have happened in the history of boxing.

"I look at MMA totally differently from how the fans look at it. I look at people overcoming adversities. Most guys being knocked out the way Cain was [against Junior Dos Santos] would've lost all of their spirit. He could've come back for a payday and gotten knocked out in one round. Instead, he examined his loss and changed the outcome."

© ESPN Sports Media Ltd.


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Memory Alpha

Medical report

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Reeds medical report, Silent Enemy

Lt. Reed's medical report in 2151

A medical report was a report that detailed the medical status of a patient after being examined by a medical practitioner, and likely the treatment one received for the ailment. It was typically prepared by the medical staff and was made available to senior officers, and was stored in the patient's medical file or crew report.

Doctor Phlox read every medical file of the crew on board Enterprise and remembered in a conversation with Hoshi Sato the medical record of Malcolm Reed which listed his allergies, including oak pollen, dust mites, tropical grasses, and bromelain. (ENT: "Silent Enemy")

In 2369, Doctor Julian Bashir ordered Nurse Jabara to pull up Chief Miles O'Brien's neurophysiological history, part of his medical report, to find an explanation for his strange behavior caused by the aphasia virus. (DS9: "Babel")

To confirm that Aamin Marritza suffered from Kalla-Nohra Syndrome instead of Pottrik Syndrome, Julian Bashir crosschecked the Bajoran and Federation medical records in 2369. Later, at the request of Constable Odo, Doctor Bashir checked the personal medical history of Aamin Marritza through a subspace link Odo established to Kora II. (DS9: "Duet")

In 2370, Doctor Julian Bashir interviewed Zolan regarding an incident in which a Cardassian boy bit Elim Garak in order to get facts for his medical report. Zolan was initially less than forthcoming, but eventually gave his take on what he knew about the both and his father. (DS9: "Cardassians")

Chakotay showed B'Elanna Torres the medical report on Lieutenant Joseph Carey that indicated significant impact fractures along his cranium after Torres hit him. (VOY: "Parallax")

Medical reports can be prepared to only show data from specialized scans. The Doctor performed neurological scans of Tom Paris after Banean memory engrams were integrated into his brain and the results were part of neurological reports that Tuvok referred to later on. (VOY: "Ex Post Facto")

The Doctor's report on the conditions of Chakotay and Captain Kathryn Janeway after being infected with a disease from an unnamed planet lead to Janeway's order to leave Chakotay and her on the planet. (VOY: "Resolutions")

In 2375, Janeway read a report from The Doctor indicating a biochemical bond had developed between Harry Kim and Derran Tal. (VOY: "The Disease")

This article or section is incomplete This page is marked as lacking essential detail, and needs attention. Information regarding expansion requirements may be found on the article's talk page. Feel free to edit this page to assist with this expansion.

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Memory Alpha

Rixx (Captain)

Revision as of 20:51, June 6, 2014 by PlasmarelaisBot (Talk | contribs)

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Captain Rixx

Captain Rixx was a 24th century Bolian Starfleet officer, commander of the USS Thomas Paine, and among Starfleet's finest.

In 2364, Rixx met Captain Jean-Luc Picard on the surface of the planet Dytallix B, together with Captain Walker Keel and Captain Tryla Scott to discuss the threat of irrational occurrences and orders given by Starfleet Command. Rixx had previously met Picard at the Altairian Conference. (TNG: "Conspiracy")

Rixx was played by Michael Berryman, and was the first Bolian to appear on Star Trek. The look of Rixx is noticeably different from that of other Bolians.
Berryman enjoyed this makeup so much he wore it home. (Michael Westmore's Aliens: Season One, DS9 Season 1 DVD, special feature)

Captain Rixx was mentioned by Captain Refellian in the non-canon Star Trek: Away Team game as one of Starfleet's best captains.

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Memory Alpha

Tamarian language

Revision as of 18:05, August 8, 2014 by (Talk)

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Tamarian written language

Examples of Tamarian written language

The Tamarian language was the spoken language of the Tamarians. The Tamarians spoke entirely by metaphor, referencing mythological and historical people and events from their culture. As a result, Federation universal translators – although they could successfully translate the individual words and sentence structure – were unable to convey the symbolic meaning they represented. Without prior knowledge of the Tamarians' history and legends, a word-by-word translation was of no use to someone attempting to communicate with them. This language barrier led to isolation of the Tamarian people after all attempts at communication had failed.

For example, instead of asking for cooperation, they would use a phrase such as "Darmok and Jalad at Tanagra", because their culture's stories include a tale of two Tamarians, Darmok and Jalad, who were brought together while fighting a common foe on an island called Tanagra. The problem with communicating in this fashion is that without understanding the meaning of the reference, the metaphor becomes meaningless. While explaining the structure of the language, Deanna Troi gave the example that "Juliet on her balcony" could be used to describe a romantic situation, but it is impossible to understand if the listener does not know who Juliet is, or why she was on the balcony. (TNG: "Darmok")

Some examples of the Tamarian language:

  • "Children of Tama" - Tamarian
  • "Darmok on the ocean" - loneliness, isolation
  • "Darmok and Jalad at Tanagra" - cooperation
  • "Darmok and Jalad on the ocean" - new friendship and understanding gained through a shared challenge
  • "The beast at Tanagra" - a problem to be overcome
  • "Kadir beneath Mo Moteh" - failure to communicate/understand
  • "Kiteo, his eyes closed" - refusal to understand
  • "Kiazi's children, their faces wet" - do not cry
  • "Temba, his arms wide/open" - signifying a gift
  • "Temba, at rest" - when a gift being offered is declined
  • "Mirab, with sails unfurled" - signifying departure/engines to full/fleeing
  • "Shaka, when the walls fell" - failure
  • "Sokath, his eyes uncovered/opened" - understanding/realization
  • "The river Temarc in winter" - be quiet/silence
  • "Zinda, his face black, his eyes red" - anger or conflict, also can indicate pain or discomfort, possible indication of inability to survive (either self, or other party)
  • "Rai and Jiri at Lungha. Rai of Lowani. Lowani under two moons. Jiri of Ubaya. Ubaya of crossroads, at Lungha. Lungha, her sky gray" - greeting between two different cultures/races
  • "Uzani, his army with fists open" - to lure the enemy towards you by spreading your forces
  • "Uzani, his army with fists closed" - to close rank and attack after luring the enemy
  • "Chenza at court, the court of silence" - not listening
  • "Kira at Bashi" - to tell a story
  • "Picard and Dathon at El-Adrel" - successful first contact between two alien cultures, or to work toward a common goal

These phrases and idioms were often attenuated in conversation: "Shaka, when the walls fell" was heard shortened to "Shaka"; others followed a similar pattern.

Dathon also used "Kalimash, at Bahar" after experiencing pain in his shoulder, signalling to Picard with a hand wave associated with "stay back", or perhaps meaning "I feel better now" or "the pain is gone".

The first officer said "Kalesh, when it rises!" when the Enterprise tried to beam Picard back up and Riker tried to inform them that their own captain was under attack by the entity. Since the result was that the Tamarians closed the channel, it may have meant something along the lines of "Let them figure it out by themselves." or "It isn't done yet!" as a reference to the rising of bread.

Background information

In one scene where Picard attempts to treat a wounded Dathon, the Tamarian says "Kiazi's children, their faces wet". It is unclear what Dathon means by this, although (since Dathon is trying to shoo Picard away from caring for his injuries at the time) it may allude to children crying for no reason; the Tamarian may be saying that Picard should not worry or feel sad, as nothing could be done. It might also mean that Dathon knew he was dying, as Kiazi's children apparently knew, since Picard was trying to find out the extent of Dathon's injuries at the time.

The Tamarian language is explored further in the short story "Friends with the Sparrows" from the TNG anthology The Sky's the Limit. In the story, it is explained that Tamarians have a fundamentally different brain structure to most humanoids, and as such experience concepts such as time and self differently.

The story explains that Tamarian children learn the stories behind the metaphors, and thus their meanings, through enactment and repetition. Variations of meaning in metaphors were conveyed through subtle vocal and gestural cues that the universal translator had previously missed. In fields such as engineering and programming, a musical language was used to convey precise equations, numbers and instructions; thus explaining how Tamarians could effectively operate starships.

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Interview with Yenny Zannuba Wahid

Religious Diversity instead of Intolerance

Yenny Zannuba Wahid, daughter of the former Indonesian president Abdurahman Wahid, is the head of the Wahid Institute in Jakarta, which promotes a tolerant, pluralistic Islam and social reforms in Indonesia. Zaki Amrullah spoke to her

Yenny Zannuba Wahid (photo: ©
Wahid: "Among the ordinary people, there's a greater acceptance and consciousness of the need to protect tolerance and diversity in Indonesia as part of the heritage of the founder of our nation"

 Ms Wahid, your organisation works for pluralism and moderation in Islam. What programmes and activities do you carry out to make your ideas better known among the people?

Yenny Zannuba Wahid: We've developed a variety of social and popular programmes which are directed at helping ordinary people, such as the Riyanto stipendium for chílldren up to twelfth grade. Riyanto, after whom the stipendium is named was a member of the Barison Ansor organisation, and was killed by a terrorist bomb in 2000 as he was helping to guard a Christian church building.

My father Abdurahman Wahid had issued a directive to the Barison Ansor troop [a paramilitary organisation attached to the Muslim lay movement Nahdlatul Ulama, of which Abdurahman Wahid was chairman] to guard a number of churches, since there had been bomb threats against several churches in major Indonesian cities. The bombs were said to be hidden in Christmas parcels.

Christmas parcels were being delivered to the church in which Riyanto was on duty, and as he was taking one out to check it, the bomb went off and killed him. We want to commemorate his actions, since he is a model of jihad – and not in the narrow sense of jihad which is used to intimidate the members of other religions.

You've been the head of the Wahid Institute for nearly five years. How far are you and the organisation accepted by the people?

Wahid: I believe the acceptance is considerable. Our activities, especially at the grass-roots level, are received with enthusiasm. Many religious leaders are involved – not just Islamic scholars, but also representatives of other religious communities. Among the ordinary people, there's a greater acceptance and consciousness of the need to protect tolerance and diversity in Indonesia as part of the heritage of the founder of our nation.

If the population already has such a positive attitude, what are the chances of the Wahid Institute securing the principle of pluralism in the Indonesian people?

Wahid: In my opinion, pluralism and tolerance have deep roots in the Indonesian people. When our nation was founded and Islam came to Indonesia, the religion was accepted out of conviction. It was not forced on the people, as in many other countries. Islam came via trade and culture, and was developed further and found acceptance in a positive way.

One just has to think of the Walisongo [the so-called "nine saints," who were the first ambassadors of Islam in Indonesia, and who ensured the spread of the faith by building mosques and transmitting Islamic teachings]. They used local cultural traditions, such as figure theatre, to spread the teachings. That was done to convince the people. When we consider the small groups in society which are intolerant, we all have to ask ourselves where they get such an attitude from.

On the one hand, it is said that tolerance towards other religions is minimal, but on the other hand, can't one say that it's the endless tolerance shown by part of the Muslim community which has made space within the religious community itself for the development of radical attitudes which have in the end led to terrorism?

Wahid: There have always been these ultra-conservative groups which have had the desire to make Indonesia into an Islamic state. Some of them – including anarchist groups – consider that any means are allowed to reach their ends. But most of the Indonesian population rejects this approach.

 The Wahid Institute is not the only organisation of its kind. Others, such as the "Liberal Islam Network" (Jaringan Islam Liberal) have similar positions. Where do the differences lie?

Wahid: There's a decisive difference between the "Liberal Islam Network" and the Wahid Institute. The "Liberal Islam Network" tends to push through values which are regarded as traditional and principled – including some which some people would call radical. With its social and popular programmes, the Wahid Institute is directly involved in the daily life of the lower classes in society.

What would be the most suitable way, in your opinion, to promote pluralism in Indonesia?

Wahid: The most effective method was and is a cultural one, working with good means and the power of conviction – just as the Walisongo used to do in the past. For example, the Wahid Institute makes an effort to use educational classes to provide a direct dialogue with ordinary people. Aside from that, we deal with economic problems. We're planning a programme to improve people's economic situation by providing the poor with cheap credit. Education is also important. We see every kind of education as a priority investment in the promotion of pluralist ideals.

But the radical groups continue to find it possible to gain a public audience with certain issues. Isn't there a danger that, against this background, the idea of pluralism which the Wahid Institute promotes will receive less attention?

Wahid: These groups package their ideas cleverly and they offer forms of dialogue in which they paint everything either black or white. When the debate on the anti-pornography law was taking place, for example, all those who spoke out against the law were described as supporters of pornography. Another example is the current discussion about polygamy. Those who oppose polygamy are being slandered as supporters of marital infidelity. It's suggested to the people that there is only a choice between polygamy and adultery.

Unfortunately, people in Indonesia don't always have the time to listen to things more carefully. Our people is turning into a people of television viewers, with merely superficial knowledge about everything. This I see as a challenge for the future.

How do you see the role of women in the campaign for pluralism?

Wahid: Women could become mediators, promoting the pluralist spirit in society. When a society closes its mind, women are always the first victims. In Aceh for example, women have recently been subjected to raids because they've been wearing tight jeans.

It seems as if women are always destined to be the guardians of morality in society. But that's nonsense: the morality of society does not depend on the behaviour of women, but on what goes in the heads of the people – both men and women. That's why the involvement of women in spreading the message of pluralism is of essential significance.

What is the biggest challenge to pluralism in Indonesia?

Wahid: The biggest current problem is the socio-economic situation, especially since the economic situation of the majority of the people is still below an acceptable level.

Members of islamistic Hizbut Tahrir (photo: AP)
Painting everything either black or white: Radical groups, like "Hizbut Tahrir", continue to gain a public audience with certain religious or political issues

 This is an opportunity for certain groups to win over people who live below the poverty line for their anti-pluralist ends – for example, with the claim that poverty and unemployment are injustices which have been created by other groups. We have to commit ourselves to ensuring that this is prevented.

The membership of the largest Islamist party in Indonesia, the "Partai Keadilan Sejahtera" (PKS) is growing rapidly, as one could see at the last parliamentary elections. What's your view of this phenomenon? Are you worried that the growth of this party, which promotes conservative Islamic values, could hinder the campaign for more pluralism?

Wahid: In general, the parties which form the Islam platform are losing votes, while the nationalist parties are winning them. The PKS has also been forced to take on more moderate views. At least, that's how it presents itself in public. What it's like behind the scenes, I don't know. But they certainly don't take up topics like the Islamic state in public any more. They seem to interpret public opinion as being that Indonesia should remain a state based on law, and not an Islamic state.

Could Indonesia go that way?

Wahid: If you mean: could Indonesia be ruled by an ultra-conservative with radical tencencies – yes, that could certainly happen. But looking at the current political tendencies, we are still very far away from that right now.

Interview: Zaki Amrullah

© 2009

Translated from the German by Michael Lawton

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#milkymist IRC log for Wednesday, 2012-06-27

GitHub141[board-m1] adamwang pushed 1 new commit to master: https://github.com/milkymist/board-m1/commit/e688f6ca2351d623247af6f5644a2325ad509c8101:20
GitHub141[board-m1/master] added 'PowerTree' for pdf generation - Adam Wang01:20
cladamw(R60/R61) wpwrak, hi these two DNP resistors I'd like to remove them. R61(DNP) has been designed since rc1 and there's no issues on this as I know. R60(DNP) is from rc3 for eliminating reset/nor corruption issue. How do you think ?01:32
wpwraklemme see ...01:34
wpwrakR60 definitely yes. even if we wanted a pull-anything there, it would be pull-down.01:37
wpwrakR61, hmm ... do you remember the pull-up strength in the FPGA ?01:42
cladamwlike uA-class, letmme check ...01:44
cladamwno, from actual measured current to 3V3 through 100 ohm, they are for example TP37 (RP#, 16mA), TP36(reset pin out, 19mA), INIT_B_2 (24.7mA)01:55
wpwrakthat doesn't sound like pull-up :)01:56
cladamwyeah ... :-)01:57
wpwrakah, here we are .. DS162, page 5. 200-500 uA01:58
cladamwyes, that's Irpu, you found it. :-)02:01
wpwrakso about 10 kOhm. R61 is thus unnecessary, too.02:03
cladamwdo we need also check U9.STS pin ?02:04
wpwrakit's open-drain02:07
cladamwi guessed that R61 was being added a pull-up since its datasheet said it needs a pull-up there. :-)02:08
cladamwpage 1402:08
wpwrakwe have the pull-up in the fpga :)02:11
cladamwsee also page 15 for note 6, but i think fpga in a mode with pull-up ability, no ? so a flash chip is in "pulled up by an external pull up resistance H10k) when the WSM is not busy, in block erase suspend mode (with programming inactive), program suspend mode, or reset power-down mode."02:11
wpwrakand it's strong enough. even if we configure the nor to pulse mode, it has plenty of time to ramp up.02:12
cladamwso even if we know fpga inside has pull-up, ha ~ but i don't know 'when' it's being acted. :-)02:12
wpwrakthe pull-up in the fpga is enabled in the configuration we use02:13
cladamwso can i say once fpga has been reconfigured then flash chip jumps into 'no-pull up' need status ?02:13
cladamwwell ... i don't quite figure out that true answer why it is though. :-) but from results since rc1, we can remove it. :-)02:16
wpwrakwhen configured, the fpga provides the external (from the NOR's point of view) pull-up02:16
wpwrakand before it's configured, it doesn't care about status (see UG380, page 48)02:17
wpwrakso yes, should be safe to remove02:18
wpwrakin pulse mode, the signal would look like this: http://downloads.qi-hardware.com/people/werner/tmp/flash_sts.ps02:22
cladamwso this means that if we are not using fpga that possesses pull-up ability ans used a microprocessor. we still need to check carefully on the initial and/or default once power-up on mcu side.02:23
wpwrakbut our requirements may be more relaxed. i don't see flash_sts being used anywhere in the core. so we don't really know if it works.02:24
wpwrakyes, if you make radical changes to the circuit, there will be many things that need checking ;-))02:24
cladamwyou means you didn't find 'any' sts pins in fpga ? :-)02:25
wpwrakoh, i see it in boards/milkymist-one/synthesis/common.ucf and boards/milkymist-one/rtl/system.v02:25
wpwrakbut that's all02:25
cladamwaha ... at least this .v expresses that http://en.qi-hardware.com/wiki/File:M1rc2_powerOnOff_sequences_manuscript.jpg i recorded. :-)02:29
cladamwwpwrak, alright, thanks for chats on it. :)02:29
wpwrakmy pleasure :)02:32
cladamwwpwrak, about flash_sts.ps, how did you know to use R1 = 0.1 ohm and C1 for 12pF ? I see a Cin for DIE input capacitance at the pad max. is 10pF in DS162, so you added a rough 2pF for stray capacitance, correct ?02:41
wpwrakoh, i used maximum in and out capacitance of the NOR (5+7 pF)02:45
wpwrak10 pF is a bit more. so let's make it 15 pF. yeah, a bit uglier.02:46
wpwrakR1 (0.1 Ohm) is simply to give qucs some resistance. it doesn't like circuits that are too "ideal".02:47
wpwrakthe value of R1 is not critical. it pretty much works the same with R1 = 100 Ohm.02:47
cladamwoh ~ when doing a simulation, we'd better to take consideration on both side circuits, theoretically right ? so this simulation, C1 is more like in total: (Cinput + Coutput, 12 pF) for STS pin + (Cin, 10pF) for fpga + (stray cap., said 2~3pF), am I right ? )02:50
cladamw(R1) i see, tks. :)02:51
wpwrak(cap) on the NOR side, you only need Coutput = 5 pF. i used the NOR's Cin as an approximation for the FPGA, because i was too lazy to look up that one.02:53
cladamwoh ~ no problem, I was just tried to realize how those values being picked when learning simulations in Qucs. :-) so it's typically for NOR side simulation. :)02:59
GitHub175[board-m1] adamwang pushed 1 new commit to master: https://github.com/milkymist/board-m1/commit/8e6ae7e6ef3bd6ceea8673b3afe67f4fba9114c504:08
GitHub175[board-m1/master] removed R60(DNP), R61(DNP); - Adam Wang04:08
GitHub21[migen] sbourdeauducq pushed 1 new commit to master: https://github.com/milkymist/migen/commit/a50df0a6ed741db0a838e5764b33be034606a17d22:46
GitHub21[migen/master] doc: link df simulation example - Sebastien Bourdeauducq22:46
--- Thu Jun 28 201200:00

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UnNews:Bush: Peaceful Iranian resolution "boring"

From Uncyclopedia, the content-free encyclopedia
Jump to: navigation, search

8 April 2007

Washington DC - Today in a press release President Bush announced that a peaceful resolution in Iran would be far to boring for the American viewer. The reality TV show titled "Jihad in Iranistan" recently began to air on Fox and its subsidiary networks. The reality TV series follows the details of events occurring in or revolving around Iran. President Bush a prominent investor in the show believes "The American viewer wants action, guns, violence. They don't want no pussy talky bullshit! Just look at Iraq. Every night families tune in all over the 50 states just to hear about car bombings and death counts! Iraq is a cash cow in more than just oil."

President Bush hopes that once conflict in Iran has "taken off", the ratings for the new TV series will sky rocket. "No one watches TV to hear people do the talky! Why the *obscenity* do you think C-SPAN is so boring? Now if we could see a decapitation or two and a Bill Clinton sex tape every now and then, well *obscenity* I'd even watch!" Bush furthered his comments by saying "Well *obscenity*, if this works out as well as Iraq, then why not get a North Korea going as well? Hell why stop there? *obscenity* Canada! *obscenity* Canada right in the *obscenity*. Them maple syrup loving, hockey playing yokels need a good *obscenity*."

Further in the press release Bush began to contemplate talk on spin off series "*obscenity* if survivor can do spin offs why can't I? I never really liked Tony Blair much anyways.." Bush later concluded the hour long press release with his newly devised platform on gophers and a long series of obscenities.

  • Tony Cancer Snow "[www.whitehouse.gov/pressrelease/moron/obscenity Bush talks on plans for reality TV series]." White House.gov, April 08, 2007


text:
royal oats

As I plow away on my “non-traded REITs” product presentation for my securities class, I can’t help but turn the volume up and share this song with my readers. Kudos to my friend Max for showing me this song!

See that handsome man in the trench coat? His name is Emil Hewitt and he’s a New Yorker with a handful of talents. Besides producing and writing, Emil also makes feel good pop music under the name Emil & Friends. Kitsune released Emil & Friends’ latest EP entitled Royal Oats. With a dapper voice and bubbly synthesizers, each track is filled with infectious energy.

You can download my favorite track for free here:

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Recommend a Friend for the Directory of Women Engineers

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I Want One of Those!

Night Runner

An L.E.D.-studded belt acts as both flashlight and reflector for safety in the dark. Abraham Clayman ’07, Daniel Harburg, Sanderson Hull ’09, Michal Jablonski ’09, and Alex Lippai ’09 won the Fall Term 2006 Phillip R. Jackson Award for outstanding performance in ENGS 21: Introduction to Engineering. The team’s teaching assistant was Deborah Sperling ’06 Th’07.

Night Runner
Night Runner. Photograph by Douglas Fraser.

Nordic Exchange

For developing strength in cross-country ski double poling, the Nordic Exchange leaves other trainers in the cold. Dual degree students Robert Courtney, David Drennan, Chris Klabes, and Christa Miller-Shelley, and Alix Toothman ’08 earned a Phillip R. Jackson Award honorable mention. Brian Hendrickson ’06 was their teaching assistant. You can see the Nordic Exchange in action on YouTube.

Nordic Exchange
Nordic Exchange. Photograph by Douglas Fraser.

For more photos, visit our Student Projects Flickr page.

Categories: The Great Hall, I Want One of Those

Tags: award, curriculum, projects, students

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From a course website for Brownian Motion and Stochastic Calculus

Recommended Reading: R-Rated

  • Stochastic Differential Equations: An Introduction with Applications (6th edition) by B. Oksendal
  • Brownian Motion by P. Morters and Y. Peres

Recommended Reading: X-Rated

  • Continuous Martingales and Brownian Motion by D. Revuz and M. Yor
  • Brownian Motion and Stochastic Calculus by I. Karatzas and S. Shreve

I was wondering what R-rated and X-rated mean here? I only know a little that they are normally used for film ratings. But I suspect the reference books are rated according to their rigorousness and/or difficulty?

share|improve this question
Perhaps soft-core and hard-core à la porn? –  bib Feb 10 '13 at 18:52
@bib: Which one is soft and which hard? –  Tim Feb 10 '13 at 19:04
R is milder (soft) than X (hard) –  bib Feb 10 '13 at 19:05
He gives his e-mail address on that link. Why not try asking him? It is an odd usage of a rating system. Maybe he is just being clever. –  JLG Feb 10 '13 at 19:29
Sounds like a cheesy joke made my an American in allusion to film ratings, yes. I'd be very surprised if a book on stochastic calculus were actually sexually explicit! –  Noldorin Feb 10 '13 at 20:26

2 Answers 2

up vote 1 down vote accepted

To interpret what is meant here, I think you have to consider a synonym of X-rated: hard core.

I would think that an “X-rated” book on stochastic modeling, then, would be “hard core.” In other words: chock full of intense math, and not very friendly toward the casual hobbyist. Another way to say this might be, “not for the faint of heart.” I can imagine someone issuing a warning: “Don't buy this book if you skipped the prerequisite course.” I'd expect such a text to be on the opposite side of the spectrum of where I'd find Math for Dummies, which, to extend the metaphor, would be a G-rated book.

share|improve this answer

Yes it's a joke on the R (restricted) and X (adult) cinema classifications.

It means the first two books are moderately complicated and the last two are much more intimidating. The term hard-core, also from the adult entertainment industry, is also used.

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Discuss as:

'Daily Show' pulls stunt on Florida governor

Chris O'Meara / AP

Florida Governor Rick Scott

Florida Governor Rick Scott, who supports drug testing for state employees and welfare applicants, was asked on Wednesday to prove he was drug-free himself by urinating into a cup.

The request came from actor and comedian Aasif Mandvi of Comedy Central's satirical "The Daily Show".

Mandvi offered to have everyone in the room turn around, to give Scott privacy, as he asked him to "pee into this cup."

"You benefit from hundreds of thousands of taxpayer dollars over the year, so would you be willing to prove to Florida taxpayers that you're not on drugs?" Mandvi asked the Republican governor at a news conference.

Scott, without smiling or seeming to get the joke, said, "I've done it plenty of times," but then moved on quickly to questions from other reporters.

Scott, a 59-year-old former healthcare executive who became governor in January, is defending a law requiring drug tests for state employees and sponsored legislation requiring drug testing for welfare applicants.

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Thursday, January 15, 2009

Heat Wave

This sucks, its 49 degrees outside - over a 60 degree temperature swing from a week ago.

Good bye wonderful snow.. you will be missed.

samh said...

Aigh. You're not alone. My "winter" camping trip planned for this weekend (Bozeman, MT) is probably going to be in temperatures upwards of 52 deg F. Damn and blast!

Fxdwhl said...

I think your cold air is camping out down here for the next couple of days. you're welcome to visit if you miss it.

Marla said...

Yeah, some of it leaked down here into Tennessee,too. It's low 20's in the heat of the day right now.


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Epic The Movie (2013) Wiki

31pages on
this wiki
Epic (2013 film) theatrical poster
Theatrical release poster
Film information

Directed by

Chris Wedge

Produced by

Lori Forte
Jerry Davis

Written by

Dan ShereCite error: Closing </ref> missing for <ref> tag.

Renato Falcão

Editing by

Andy Keir
Tim Nordquist

Blue Sky Studios
20th Century Fox Animation

Distributed by

20th Century Fox

Release Date(s)

May 24, 2013 (Theaters)

August 20, 2013 (DVD)

Running time

102 minutes[1]

$93 million[2][3]

Gross Revenue

Epic (stylized as epic) is a 2013 3D computer animated fantasy-adventure drama film based on William Joyce's children book The Leaf Men and the Brave Good Bugs.[5] It is being produced by Blue Sky Studios, and directed by Chris Wedge, the director of Ice Age and Robots. It stars the voices of Beyoncé Knowles, Colin Farrell, Josh Hutcherson, Amanda SeyfriedAziz Ansari, Pitbull, Jason Sudeikis and Steven Tyler. The film was released on May 24, 2013.

The film is described as a "battle deep in the forest between the forces of good and evil", and tells a story of a teenage girl who finds herself in a secret world, where she must help a team of fun and whimsical characters to save their world, which also saves the real world.[6]

Following the death of her mother, Mary Katherine (a.k.a. M.K.) (Amanda Seyfried), a 17 year old teenager, moves in with her estranged and eccentric scientist father, Professor Bomba (Jason Sudeikis), who has been searching for tiny human soldiers, about which M.K. is skeptical. She wants her father to stop his work. Unknown to the both of them, Bomba is right that there are tiny soldiers called Leafmen. They protect the forest Bomba lives near from evil creatures called Boggans, who shoot arrows that can kill any living thing, and their malevolent leader, Mandrake (Christoph Waltz), who plans to destroy the forest. An independent young soldier, Nod (Josh Hutcherson) decides to quit, much to the ire of the no-nonsense Leafmen leader, Ronin (Colin Farrell), who wants Nod to learn about teamwork.

The queen of the forest, Queen Tara (Beyoncé Knowles), who is aware of Ronin's apparent attraction to her, decides to choose an heir to her throne and goes out to a field of leaf pods, guarded by a laid-back slug named Mub (Aziz Ansari) and an uptight snail named Grub (Chris O'Dowd). Tara chooses the smallest pod as the heir; however, immediately after doing so, the Boggans attack. Tara flees the area with the pod, and though her bodyguards do their best to protect her, they are soon overwhelmed by the sheer number of Boggans. Tara uses her magic to slow down her pursuers, and is at one point rescued by a flower child who idolizes her; eventually, Ronin arrives for her, and the pair fly off on Ronin's hummingbird mount. They are then attacked by Mandrake and his son and lead general, Dagda (Blake Anderson); Dagda is killed by Ronin, but Tara is shot by Mandrake, and falls off Ronin's bird into the forest.

Meanwhile, M.K., annoyed at her father, decides to leave and leaves a note on one of his security monitors. Before she can leave, her and Bomba's one-eyed, three-legged dog, Ozzie, runs into the woods. While looking for Ozzie, M.K. sees Tara falling. A dying Tara gives her the pod and uses her magic to shrink her. She tells M.K. to take the pod to a Glowworm named Nim Galuu (Steven Tyler) before she dies. After meeting Ronin and the Leafmen, along with Mub and Grub, a confused and scared M.K. joins them. Ronin discovers that Nod has entered a race against other creatures and bugs on birds. He goes back on a deal with a tough bullfrog named Bufo (Pitbull). Before Bufo and his gypsy moth and scorpionfly goons can kill Nod, Ronin intervenes and orders the goons to leave. A reluctant Nod joins him, M.K., Mub, and Grub after hearing about Tara's death.

They eventually find Nim Galuu, who is a showman and keeper of magic scrolls that tell what has occurred during the times, in a tree. After learning about Tara's death, he leads the group down to the scrolls, where M.K. discovers Tara's brief message before shrinking her, and a message that will get her back to normal size. When Ronin leaves, Nod takes M.K. on a deer ride and they fall in love. Mandrake (to whom Bufo fearfully reveals the location of the pod, which he overheard from Ronin and Nod) arrives and kidnaps Mub and Grub and imprisons them, along with the pod, which he hopes to bloom in darkness to destroy the forest. To get into Boggan territory undiscovered, M.K., Nod, and Ronin set out to Bomba's house to get some disguises, where M.K. learns that her father is what the Leafmen call a "stomper" and have been leading Bomba off their trail. After getting the disguises, Ozzie (who earlier returns to Bomba's house) sees M.K. and chases her, catching Bomba's attention. He sees the group and catches M.K., but faints after seeing her. Before leaving, M.K. marks where the Leafmen territory is on one of Bomba's maps with a red push-pin.

When they reach the Boggan land, which is a wasteland of dead trees, Ronin distracts the Boggans while M.K. and Nod rescue Mub, Grub, and the pod. They are eventually found out by Mandrake, who summons the Boggans to stop them. M.K., Nod, Mub, and Grub escape alive, but Ronin sacrifices himself to ensure their escape. Before the full moon can sprout the pod at Nim Galuu's place with moonlight, Mandrake's bats block the light, causing the pod to sprout in darkness. When the Leafmen set out to fight the Boggans (with Grub unsuccessfully joining them) M.K. sets out to get her father for assistance, but an exasperated Bomba, after regaining consciousness, decides to give up on what he has been doing to find his daughter and shuts off all his cameras, believing that he didn't really see M.K. and that he's been insane all his years, but changes his mind when he sees the push-pin in his map.

After locating M.K., Bomba is overjoyed to see that he has been right and when he follows M.K. to Moonhaven, he (with his daughter's persuasion) uses his iPod to make bat sounds, causing the bats to follow Bomba. Meanwhile, Mub and Nim Galuu try to stop Mandrake from reaching the pod, but are unsuccessful. Just then, Ronin appears, bearing scars and bruises from Boggans. Mandrake manages to outdo him, but Ronin is defended by Nod, who earlier finally understands the importance of teamwork. Before Mandrake can obtain his victory, the moonlight takes over the pod before it blooms in darkness, causing it to bloom in light and Mandrake gets sucked into a tree. It also heals the forest after much damage from the Boggans.

The chosen heir is the flower child who idolized and saved Tara earlier in the film. Grub becomes a Leafman, Nod and Ronin reconcile, and Nod and M.K. kiss and become a couple before M.K. is given back her original height by the new queen. After reuniting with Bomba and becoming his assistant, the reunited human family still keep regular contact with their new small friends as they continue the research of the world by their home.

In 2006, it was reported that Chris Wedge will direct for Fox Animation an animated feature film based on the William Joyce's book, The Leaf Men and the Brave Good Bugs. Joyce, who had already collaborated with Wedge as a designer and producer on the 2005 film Robots, was set to produce the film.[11] At one point, Wedge got a permission to find a new home for the film and turned to Pixar, led by John Lasseter, whom Wedge knew from working on Tron. But when they tried to close the rights for the film, Fox changed their mind. The film was officially greenlit in 2009, under the title Leaf Men.[5] In May 2012, Fox announced new title for the film - Epic, its first cast, and a plot,[6] somewhat different from the book, where bugs summon the Leaf Men to help them defeat the evil Spider Queen and her goblins.

Although, the film is based on Joyce's The Leaf Men and the Brave Good Bugs, and it borrows many characters from the book, its plot has been significantly changed. Wedge explained: "But while Bill wrote a wonderful book, it is a quaint story. We wanted to make a gigantic action-adventure movie." To address online speculations about whether the film is similar to other films, like FernGully: The Last Rainforest or Avatar, Wedge said: "I hate to associate it with other movies. It is adventure on the scale of Star Wars. And it does immerse the audience completely in a world like Avatar. But it has its own personality."[10]

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Colonel JAC Gibbs and the Mons Drum

Wilcock, Paul (2010) Colonel JAC Gibbs and the Mons Drum. Yorkshire Regiment Journal, 8. pp. 94-96.

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    “It will all be over by Christmas” Only last year, those with the last personal memories of the horrors of trench warfare, Henry Allingham and Harry Patch, passed away. As the First World War passes from living memory we rely to some degree on our regimental traditions and museums to maintain an understanding of the human cost.

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Sargeant, A. and Radcliffe, R. (2007) How come people leave legacies at all? In: Institute of Fundraising National Convention, London, UK, 2007, July.

Sargeant, A. and Radcliffe, R. (2004) Successful legacy fundraising: Just what do donors think is appropriate? In: 24th International Fundraising Congress, Noordwijkerhout, The Netherlands, October, 2004.

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‘My Perfect Mind’ Comes to Young Vic

Released on: March 26, 2013, 1:06 am
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Cheap London hotels announced for initial run

March 26, 2013, 1:06 am — /EPR NETWORK/ — Acclaimed production company Told By An Idiot have returned with a new play. Currently touring the country, My Perfect Mind is set to run at the Young Vic from April 3rd until April 20th

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Thursday, September 2, 2010

My Books and All Kinds of Learners

Many teachers who work with children who are autistic or children who have learning disabilities write to me and tell me that my books are helpful in their classrooms. I’m not an expert in the field of education but I am very pleased that I do reach all kinds of learners.

I started school in the US and had a wonderful experience. But when my family moved back to Germany it was a different story. There was a strict, mean teacher and I began to hate school and hating school prevented me from learning. Back then it wasn’t recognized whether you were learning disabled but I’m sure I was.

I try in each of my books to include learning and entertainment and I aim to let readers into my world, my life experiences. The learning part I always camouflauge. It’s just one aspect; one dimension of the book.

I feel strongly that each child is an individual; each child is different. I don’t even like to use the word children. I prefer to say, a child and a child and a child. I think I make my books for a child, and that child is me, the child in me.

Mollie. said...

A child, a child, and a child. Love that, and love your heart. Thank you!

Wendy Walker Cushing said...

We all learn in different ways and thus are all learning disabled in some way to someone. Simple and pure and from your heart! That is what makes your books so wonderful! Thank you for sharing your heart with the world!!

Lianna said...

My five year old son, Gabriel, has Down syndrome. When Gabe was two years old, he could use ASL to read two books, one of which was "Brown Bear, Brown Bear". When rocking Gabe to sleep each night, my husband or I would recite Brown Bear. :)

When Gabriel was about three and half years old, he began preschool. Each month, there was "Show 'n Tell", and every time he would pick a book to bring.

At this time in our lives, my husband and I worried about his verbal capability. If he answered, it was one word. He rarely volunteered to speak. Towards the end of his preschool year, he actually read out loud, "Panda Bear, Panda Bear".

I think his teacher and EA were about to fall over with surprise. ;)

Gabriel is now nearing five and half, and he reads at a Grade One level. He will begin Senior Kindergarten next Tuesday. In fact, we have an appointment shortly to meet his new teacher. I'm always wary of these meetings because often our most difficult job as Gabriel's parents is to ensure that he is seen as a child with potential first and always.

Your beautiful books will always stay with us to remind our family of our son's achievements. My son is now on the road to literacy, and it is authors/artists such as yourself that make this journey WONDERFUL!

Belén Junquera said...

I´m a teacher and I use your books
They are fantastic, I love them and children love them.
Just an example ( )
take care
hugs and kisses

mermaid2884 said...

my favorite is when the kids memorize your books at a very young age, so they think they are really reading it all by themselves! it builds so much confidence :-)

calibosmom said...

Thank you for sharing your gifts and talents with us. We recently took a family field trip to the Eric Carle museum. I was surprised to see books of yours I had not seen before. Out of all the books in the store, my 8 year old son wanted to get Dragons Dragons & other creatures that never were. He is drawn to poetry and loves monsters and dragons so this book is perfect for him. Thank you for creating a book with my child in mind!

Karen said...

I love that phrase "a child and a child and a child". How true. Each is individual and each is so special.

Gifts of Creation said...

Hello! I am so excited to find your blog! I am a pediatric Speech Pathologist and your books, especially "Brown Bear" have been a staple in my therapy for years. I work with autistic children, children with speech and learning problems and children who stutter. They all love your books! The stutterers learn to be fluent, and my non-verbal babies begin to say their first words, when they see your books. You will never know how many, many lives you have touched and changed by sharing your art with the world. I also play with art and I am doing an art class for some home-schoolers on Sept 17 based on your work. We are going to be doing an ocean collage. I am making a blog for the class and will post their work when they are done. I have posted some of my own samples....Take a peek if you like!

Gifts of Creation said...

The blog is

Lenita said...

Hi Eric,
I'm a pre-school teacher from Portugal.
I really love your work, last year I devoleped a project with my pupils based on the story of the hungry caterpillar. I have the big book, bout it from Amazon, here we only have the small edition, by Kalandraka.
I have a blog
maybe you'll visit it and see some of our work.
You are a very special person, and you realy have a child inside.
Thank you.

julie degni marr said...

There's so much loving kindness in you and your books. Bless you for that.

Ms. Amy said...

I so agree, and appreciate how beautifully you put this. As an artist and a teacher you are my hero!

mari said...

Dear Eric Carle,

My name is Mari in Japan.
My family enjoy your warmful vivid calendar everyday!
I am so happy I can understand your message in English through this blog.
Thank you very much!

Shelley said...

I love how you put it..."a child, a child..." But I am even more satisfied that you included yourself, the child in yourself. I don't know of a child who loves your books more than my 39 year old, teacher/mother self. Thank you, for touching our lives in deep, impactful, and positive ways.

Butterfly Kisses said...

Eric, I love what you shared in this post. Each child and her learning style is quite unique. Thanks for sharing your heart with us. Your books have certainly blessed me and my three kids. :)

***If you have a moment, please check out my blog for a story I recently wrote, called "Kissing Animals." --Dianne :)

Lot's said...

Interesting and inspiring text! I enjoyed reading it. I truly hope I can get in touch with Eric Carle to talk about the identity of an illustrator, for I'm one too.

Some people has compared my work with your work, Mister Carle! I always found that a great compliment.

Thank you for your very nice books! :D

Greetings from Holland!

Heather said...

Thank you for all that you have done for "the child." Your books are timeless.
Would love to invite you for a book signing at our annual conference in April 1&2, 2011 at The Gideon Putnam in Saratoga Springs, New York. "We" being Family Child Care Association of New York State provide training for child care providers throughout New York State.
This Association is celebrating our 20th year!!
Look forward to hearing from you,
Heather Schwegler - Board Member

Julie Hendriks said...

That's wonderful..I'm thinking about making a childrensbook for and about a child with autism, like my son. Lot's of numbers and letters i think :-) and trains.

Eddie said...

This is from my son, Eddie - 4 years old "I like your books cause I like those pages that you wrote cause they are so awesome. I like the 'Hungry Hungry Calipitar' and I like how you writed it and i really think that they are super super cool, and i like how you wrote the 'Hungry Hungry Calipitar', like how you drew pictures about the calipitar and what the calipitar is doing and I like that. I like how you like, drew those pictures, and it is really really cool. You are awesome at doing that - like how you do green and yellowish - I really like that.

love to Eric Carle
from Eddie"

Chez Chouke said...

I'm a teacher in a special school for children with learning disabilities in Holland. And I put lots of love in my work. I adore these children, their lives are not easy-going, which makes them so wise not to laugh at others. They're so young and already understand that. I'm rich with a job like this. And they love your books, by the way.

AllysonBrode said...

Would you be opposed to particpating in a skype call with a second grade class. You could talk to us from inside your home.
I am learning how to integrate technology into the classroom and this would be a great opportunity.

honghavok said...

Wooooo! Eric Carle, You the best! I've been A fan of you since I was 5 years old, I'm now 15!

Sharon said...

Thank God for the child in you.

@nson 翠璇 said...

Just want to share my happiness with you...this is how my preschool children reproduce the collage of "The Very Hungry Caterpillar" with me. They enjoyed doing the collage very much! This is our happy moment. Hope you can feel it too!!

Kathy said...

Thank you for all your wonderful books. We enjoy so many of them in my art room.

iqbal singh said...

Ebook Gratuit
Livres gratuits, eBooks gratuits, Livres numériques, téléchargement immédiat et gratuit, livre électronique gratuit au format PDF. Guides Pratiques, Développement personnel, amour, ebusiness...


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Lung Cancer Surgery and Seniors

OncoLink Team
The Abramson Cancer Center of the University of Pennsylvania
Ultima Vez Modificado: 7 de mayo del 2013

Would you recommend lung cancer surgery on an 80 year old with non-small cell lung cancer who is in good health? What type of surgeon should do this procedure? What steps would you recommend for the most aggressive approach? How can a non-oncologist be knowledgeable enough to perform such an intense surgery?

Charles B. Simone II, MD, Radiation Oncologist at Penn Medicine, responds:
Without knowing the details of this particular case, I cannot make any definite recommendations. However, in general, surgery is the treatment with the greatest chance of curing non-small cell lung cancer. Thus, all patients with newly diagnosed non-small cell lung cancer, regardless of their age, should ideally be evaluated by a surgeon to determine if they are a candidate for surgical resection. Studies have shown that the risk of morbidity and even dying from surgery are higher for patients over the age of 70, typically because older patients have more medical problems other than lung cancer, poorer lung function, or are otherwise less able to tolerate surgery and the perioperative recovery. That is why all patients being considered for surgery should undergo a comprehensive preoperative work-up that includes: 1) pulmonary function tests to make sure the patient has enough lung function to remove part of the lung and still be able to breathe well, 2) PET/CT scan to evaluate for metastatic disease outside of the chest, and 3) brain MRI to evaluate for metastatic disease to the brain. If a patient has any prior cardiac history, a cardiology evaluation and potentially also a stress test is likely necessary. After this work-up, if the tumor is in fact localized and the patient overall is healthy, surgery can be considered, regardless of the age of the patient.

Regarding who should do the surgery, lung cancer surgery is best performed by a cardiothoracic surgeon (sometimes referred to as a thoracic surgeon) with a special interest in lung cancer. Such surgeons are often referred to as "general thoracic surgeons" or "non-cardiac thoracic surgeons." Surgeons who are board certified in "Thoracic Surgery" have had extensive training specifically in lung cancer surgery. General surgeons, surgical oncologists, and cardiac surgeons who are not board certified in Thoracic Surgery also perform lung cancer surgeries, but they may have less experience in those surgeries than a dedicated thoracic surgeon.


text:
Poor ol' nigga thinks its a cadilac
U see a nigga drivn in a pontiac
Por Trystian 29 de marzo de 2008
30 more definitions
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The first to introduce the "Muscle Car". In 1964, the G.T.O. was offered by Pontiac as a high end option on its popular midsize car, the Tempest LeMans. The High Performance option included a 389 CID engine that could be equipped with either a single 4 bbl or 3-Two bbl carburetors. The package was backed by a 4-Speed Transmission with a Hurst Shifter or an Automatic 3-Speed.
A factory built car that could outperform anything on the street.
Look at that Pontiac outrunning that Corvette! That is what I call power!
Por Pontiac Motor Division 05 de mayo de 2003
when properly equipped, some sick shit.
That GRP ripped that caddilac off the block, damn did u see that shit fly.
Por V 25 de noviembre de 2003
Pontiac, GM's excitement division with such performance-oriented vehicles as the 185HP Aztek, 200HP SV6, and 200HP G6! Excitement indeed.
My Aztek looks lovely, doesn't it?
Por J 28 de septiembre de 2004
Good car manufacturer. They make nice cars that last a long time and run well. Drive it and see how good they are to drive.
That Pontiac firebird is awesome.
Por x15029 01 de mayo de 2008
1. A city in MI. that is ran by predjudice black officials, & police

2. A city in MI. where white people think or wish they were black.

3. A city in MI. where girls like being called hoes

4. A city in MI. where white girls don't say dad they say babydaddy.

5. A city in MI. where someone who never worked a day in their life drives a better car than someone who's worked their entire life.
Pontiac has all kinds of hoes dude.
Por XXXGspotter 12 de julio de 2009
'Poor ol guinea wishes he could afford a car'
Hey, look at that kids..The guy who couldnt even afford a 1974 used gremlin was found on urban dictionary putting down pontiacs, even though he could never afford to buy or drive one. HA

No wonder youre out of work and have no money, you must spend all your free time on urban dictionary hating.
Por rca3 23 de septiembre de 2006

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Oct 26, 2007

Mexico Bound

In a few hours I’ll be on a flight bound for Mexico City and for the next 10 days will explore and photograph cities, towns and villages north of the big DF (Distrito Federal).

The first destination will be San Miguel de Allende, a charming town about a four hour bus ride from Mexico City. Next it's northwest to Guanajuato, a UNESCO World heritage site, followed by San Luis Potosi and the more rural and off the beaten path Matehuala and Real de Catorce.

This trip will coincide with the Day of The Dead, which will be spent in Real de Catorce, a former mining and old ghost town undergoing a renaissance.

There will be plenty to write about and photograph. In the meantime I have posts lined up for while I’m on the road.

Photo: Poetic Barber Shop, Oaxaca City Mexico

Darth Tater said...

Hey! First time here, very nice blog! This time of the year is one of the best ones in Mexico, the celebration of the Day of the Dead is the most traditional and important one in the year, and the whole country become a cemetery, but a different one than the ones you have met before. Death is a friendly concept among Mexican people and for sure you will take nice pictures showing skulls as candies and skeletons as toys... good luck and enjoy my beautiful country!

Joni said...

You might want to check out a new award-winning documentary film that is set in San Miguel de Allende.
It's called Lost and Found in Mexico and can be purchased online.

Wendy said...

thank you. I am very much enjoying your beautiful country. Am currently in Guanajuato and just went to the top for the view of the city.

Thank your for the recommendation. Will check it out.

Mélanie said...

I love San Miguel de Allende . Such a beautiful mexican city .
Are you going to share some pictures?

Wendy said...

Hi Mélanie,
I returned last night from Mexico and will definitely be posting photos of San Miguel de Allende. It is quite beautiful.