SPARTACUS Still Censored After All These Years A film review by Duncan L. Cooper Copyright 1995 Duncan L. Cooper
Preface
An abridged version of the following research document appeared in the Summer 1994 issue of Cineaste. I welcome comments on the document and on my proposal for an uncensored "Director's Cut" of SPARTACUS, at my email address<EMAIL_ADDRESS>I would also be happy to participate in a discussion on the USENET groups rec.arts.movies.past-films and/or alt.movies.kubrick. Duncan Cooper
Introduction
Follow-up research to my article "Who Killed SPARTACUS?" (Cineaste, Summer 1991) has revealed evidence that Universal Studios deliberately censored this film's explosive historical content in an effort to keep it within the confines of the implicitly established mass media limits of acceptable political discourse. Despite the vigorous objections of executive producer Kirk Douglas, director Stanley Kubrick and screenwriter Dalton Trumbo, Universal's unwillingness to confront prevailing political myths with historical reality resulted in the elimination of approximately ten sequences which fostered the hope that Spartacus' rebellion might actually have succeeded in destroying Rome. These cuts included a six second battle sequence titled "Battle of Luceria," a ten second map sequence titled "Battle Map-Metapontum," and a lengthier battle sequence titled "Battle of Metapontum," all of which depicted some of Spartacus' greatest military victories. Four additional sequences were also eliminated but later restored thanks to the determined resistance of the filmmakers and the opposition of the Catholic Church's Legion of Decency. Unlike the other conventional cuts imposed on the film by the studio censors for sex, violence and nudity, these political excisions were intended to reduce the film's main character to a primitive spontaneous rebel who never really had a chance and to suppress screenwriter Dalton Trumbo's vision of him as "a great military leader who for four years running defeated the finest legions and the greatest armies Rome could put in the field against him." For Trumbo, this relentless attack on what he termed the Large View of Spartacus, gave evidence of 'an obsession with the Small View ... as to almost represent a conspiracy, a vulgar conspiracy, to kill any distinction this film might have had.' (1)
The Major Players
In his autobiography, Kirk Douglas described his conception of the historical Spartacus based on his reading of the Howard Fast novel:
"Spartacus was a real man, but if you look him up in the history books you will find only a short paragraph about him. Rome was ashamed; this man had almost destroyed them. They wanted to bury him. I was intrigued with the story of Spartacus the slave, dreaming the death of slavery, driving into the armor of Rome the wedge that would eventually destroy her." (2) According to Douglas's biographer, Michael Munn, "the film was first and foremost Kirk Douglas' vision" (3) and the film's star named himself executive producer precisely "to insure that the picture would be made his way."(4) Recent comments by Tony Curtis have confirmed that Douglas was determined to give at least equal emphasis in the film to the love story as to the slave uprising. In fact disagreements over this basic concept led to the dismissal of the film's first director Tony Mann two weeks into production. However, in a recent interview with Douglas himself, the actor/auteur repeatedly stressed his own determination to also portray on screen "the story of a slave whose dream of freedom nearly overthrew the Roman Empire."(5) Special consultant on SPARTACUS Saul Bass has confirmed to this author that during the whole time he worked on the project there was never any doubt or wavering about this point in the minds of Douglas, producer Eddie Lewis, screenwriter Dalton Trumbo or any of the other members of the production company. (6) As the shooting of the picture came to a close all the key promotional materials produced for the film: the thumbnail plot summaries, the comic book, the historical pamphlet, the study guide, the souvenir book, the Soundtrack Album Program Notes, the coming attractions trailers, the Bantam paperback edition of the Fast novel ... all told the same story of a slave revolt against Rome which won victory after victory and all but overthrew the Empire itself. The film's director Stanley Kubrick also subscribed to Douglas's basic premise; but, in contrast to Dalton Trumbo (as well as Douglas himself) he believed that historical realism demanded a more complex and ironic slave story line. To accomplish this Kubrick proposed some far reaching plot changes while filming was in progress; but because of Trumbo's opposition, these changes were only adopted after major alterations. Finally they were eliminated from the script altogether, probably by the studio, leading Kubrick to virtually disavow the picture. In response to Michel Ciment's question as to whether there was any relationship between his interpretation of antiquity in SPARTACUS and his parody of the inauthentic Hollywood sword and scandal epics of the 1950's in A CLOCKWORK ORANGE, Kubrick replied:
"None at all. In SPARTACUS I tried with only limited success to make the film as [historically] real as possible but I was up against a pretty dumb script which was rarely faithful to what is known about Spartacus. History tells us that he twice led his victorious slave army to the northern borders of Italy, and could quite easily have gotten out of the country. But he didn't, and instead he led his army back to pillage Roman cities. What the reasons were for this might have been the most interesting question the film might have pondered. Did the intentions of the rebellion change? Did Spartacus lose control of his leaders who by now may have been more interested in the spoils of war than in freedom? In the film, Spartacus was prevented from escape by the silly contrivance of a pirate leader who reneged on a deal to take the slave army away in his ships. If I ever needed any convincing of the limits of persuasion a director can have on a film where someone else is the producer and he is merely the highest-paid member of the crew, then SPARTACUS provided proof to last a lifetime." (7)
Kubrick may have wanted more realism but Douglas's concept still had the makings of a tremendously exciting motion picture. However, Universal Studios head Edward Muhl had some very different ideas leading to what Trumbo described as "a basic conflict of opinion about the dimensions of Spartacus and his struggle, a conflict which has been in evidence from the earliest beginnings of the project." Originally Muhl never really conceived of SPARTACUS as a "spectacle" or "blockbuster" but rather as an intimate film costing between $3 and $4 million. A personal friend of Trumbo's and the man who officially broke the Hollywood blacklist, Muhl too wanted to make an exciting, historically accurate film. He was particularly fascinated by the struggles between the liberal and conservative Roman senatorial factions, transparent analogues to contemporary American politics, which the writer had injected into the script. But, as he told this author: "Deep ideas are nice to have in a picture. But what counts is audience appeal." In response to the Douglas concept of SPARTACUS, he remarked: "its understandable that Kirk would want to build up his own part but that's not what the picture was about," concluding: "We did what was possible under the circumstances.... You know that phrase, 'the art of the possible'." (8) His attitude probably hardened when late in 1959 persistent rumors of new Hollywood hearings by the House Un-American Activities Committee began to surface and when a full-scale right-wing attack on the film began after it was revealed by Walter Winchell that blacklisted writer Dalton Trumbo was the author of the screenplay.(9) Thus, despite the fact that SPARTACUS was the first truly independent production bankrolled by Universal, in the end Muhl's cautious approach prevailed because he and the studio still held the trump card: the legal right to make the final cut.
The Battle For Control
Of course, every big-budget film like SPARTACUS is a compromise between the writer, director, producer and the studio which is providing the financial backing. However, in the case of SPARTACUS, so bitter did the conflict over the film's content become that Muhl only consented to speak with this author on the condition that the painful clash of personalities, now almost 35 years in the past, would not be discussed. According to Tony Curtis, "Universal was being so heavy handed about everything including production values.... SPARTACUS cost $12 million and was the most expensive picture Universal had ever made. It ended up grossing $14 or $15 million but they were scared shitless at the time." (10) In his autobiography Kirk Douglas also complained about studio interference in several pictures including SPARTACUS which his production company, Bryna Films, produced with Universal's financial backing and distribution. He wrote: "THE LAST SUNSET is another example of how a studio operates. Universal insisted on controlling the production." (11) In the case of SPARTACUS Douglas was particularly frustrated with the elimination by studio censors of the famous Oysters and Snails Scene between Tony Curtis and Laurence Oliver because of its veiled homosexual references. However, according to Muhl, Universal watched the picture closely "because it needed watching." Universal appointed Marshall Green assistant director to keep a close eye on Kubrick while Muhl's right hand man, Mel Tucker, viewed all the dailies, worked closely with Eddie Lewis, conferred frequently with Muhl himself, and accompanied Kubrick to Spain, where many of the battle scenes were filmed, to keep the young director within budget. The picture went through sweeping changes during the editing process, particularly in the section between the beginning of the slaves' trek across Italy and the end of their victorious march at the seaport of Brindusium (see below). According to supervising editor Irving Lerner, the struggle over the final content of the film became so intense that Universal executives, in an unprecedented move, periodically came right into the editing room and ordered him to reinstate or delete individual scenes, overriding Douglas' instructions. As a result, a number of scenes, particularly those featuring Charles Laughton, went in and out of the picture several times. The process of arriving at a final cut on which Lerner, Douglas, Kubrick and Muhl could even temporarily agree dragged on for so long that Lerner was finally forced to walk off the picture in order to begin directing his own film, STUDS LONIGAN. (12)
The Lost Battle Scenes of SPARTACUS
The politically motivated cuts made during the editing obliterated the film's intended inspirational message and seriously undermined its claim to historical authenticity, both of which depended upon the inclusion of at least a few battle sequences depicting some of Spartacus' historic victories. As SPARTACUS editor Robert Lawrence told this author: "the idea [of shooting full blown additional battle scenes] was discussed, but it was never actually done" because the money was not forthcoming from Universal. According to Lawrence, purportedly there were fears that if the scenes of the early slave victories were too good, they would detract from the impact of the final battle. In fact, following the conclusion of principle shooting, on August 4, 1959 an agreement was reached between Bryna and Universal to film six days of these slave victory scenes in Spain as part of a total of twelve days of battle scenes at an estimated cost of half a million dollars. However, when Douglas came back with Trumbo's proposals for a large number of additional scenes to be shot in Spain, the deal was re-negotiated. The new agreement of October 21, 1959 called for a total of twenty-two days of shooting in Spain the following month at an estimated cost of nearly a million dollars. However, the number of days for battle scenes was cut down to six, enough to accommodate the final battle but not the early slave victories. Instead, Douglas had to fall back on the idea of a "battle map" described to Trumbo as a map "with some pictorial device superimposed indicating the sequence of [a dozen important slave] victories ... during the march from Luceria to Metapontum."(13) However, the evidence suggests that the studio initially rejected the Battle Map concept in favor of a map without pictorial battles or superimposed descriptive titles. (14) According to SPARTACUS editor Bob Lawrence, "We had maps with battles and maps without battles because some people wanted one kind and some people wanted the other." Saul Bass was commissioned to design this alternate map and produced several different versions, "very elaborate at first, then later much simpler." Bass was told that his map was to be cut into segments to be used as inserts for a big montage containing marching and dialogue but no battles. However, in December 1959 a significant amount of battle footage did become available for additional battle scenes when the studio rejected the first version of the final battle filmed in Spain as "boring and conventional" and ordered a series of retakes featuring gory shots of severed arms, legs and heads.(15) As Bob Lawrence told this author, "We had hundreds of feet of battle footage [for additional battle scenes]. But some people wanted it in the picture and some people didn't." The following month a six second battle scene, the "Battle of Luceria," depicting Spartacus' first great victory, was inserted into the film following the first big slave march from Mt. Vesuvius to Luceria. (16) At the same time, following the Revised Final Screenplay the filmmakers apparently decided to go ahead with the Battle Map using the rejected battle footage from Spain as well as titles naming the sites of the great slave victories. (17) To this end they inserted into the picture a ten second sequence probably containing more Spanish battle scenes, titled "Battle Map-Metapontum," following the second big slave march from Luceria to Metapontum. (18) There is also some evidence suggesting that the filmmakers subsequently assembled a much longer battle montage using the Spanish outtakes which they intended to combine with Bass' map inserts. In a post-production scheduling memorandum dated February 12, 1960 to Ed Muhl, Mel Tucker, Eddie Lewis and Bob Lawrence, Editorial Department Chief Sid Lund requested that "In addition, the number, design and timing of the map inserts for the battle sequences should be finalized as soon as possible." Lund was working on five other pictures at the time and does not specifically remember this memorandum; but as he told the author, if his memo made such a reference, "then the facts at the time had to support it." Mel Tucker was more non-committal, asserting that although he had never personally seen such a battle montage on film, it was possible that the filmmakers did put one together but then decided not to use it, before a screening for the studio could be held. In fact, the evidence indicates that some time over the next two months the filmmakers decided to drop the battle montage concept and the Battle of Luceria in favor of inserting one major slave victory sequence between the Battle-Map Metapontum and the triumphal March Into Metapontum which followed. This sequence, for which composer Alex North wrote a pencil sketch score entitled "Battle of Metapontum," is cited in the post-editing April 13, 1960 Revised Music Notes with the annotation "NOT IN AS YET." (19) Regrettably, by the end of April the Battle of Metapontum had also been eliminated from the film. However, National Screen Service did complete work on a shorter six second version of the Battle Map Metapontum for the filmmakers just in time for the June previews. This version included the Bass map together with a series of titles, superimposed over scenes from the film, possibly those used in the deleted six second Battle of Luceria. SPARTACUS production assistant Stan Margulies, who oversaw the production of the battle map by National Screen, cannot recall whether these scenes consisted of marching or battle sequences. However, as he told this author, his inclination is that the titles represented the sites of Spartacus' important victories. (20) Composer Alex North devoted the first six seconds of his piece entitled "Metapontum Triumph" to the four crescendos which comprise the music for the Battle Map and which can still be heard today as the opening bars of the film's Overture. (21) However, after the previews the film was handed over to Universal and "the Metapontum Map" was eliminated as part of a whole series of 42 cuts and trims made by the studio, according to Muhl, "for content, not for length." With the cutting of the Battle-Map Metapontum the entire triumphal March Into Metapontum which followed was rendered practically meaningless and the last vestige of truth about the real magnitude of Spartacus historic achievements was eliminated from this film. The studio cuts might have met with more determined resistance from the filmmakers except for the fact that, with the exception of Kirk Douglas, all of the other major players had departed for new projects and were (probably) unaware of what was taking place. Kubrick had returned to England to begin work on LOLITA, Irving Lerner was off directing STUDS LONIGAN, Bob Lawrence was in Spain making EL CID, and Dalton Trumbo was busy working on his next project EXODUS. Lawrence sensed that the picture was long even for first run theatres and might be cut by the studio. However, when he returned he was horrified to discover that, "All my notes, all the script notes: Gone. Gone. They were thrown out. All the trims, all the should-we-or shouldn't-we stuff, all the 'Stanley says hold onto it but Kirk doesn't like it'. All that kind of stuff, beautifully labelled and ready: Gone." However, composer Alex North was still on the scene and protested against the damage the cuts were doing to a number of his music cues. When he learned that additional cuts were being made he was infuriated and dictated the following scathing telephone message to Eddie Lewis:
"Since we spoke there have been additional cuts in Kitchen No. One, Forest Meeting and Luceria Camp [scenes]. This complete disregard and disrespect for me and for my contribution by persons not qualified in any artistic levels an insult to my abilities. The illogical picayune cuts force me to suggest you hire a butcher and remove my name from screen credits. With my background and reputation I do not intend to participate in amateur night." (22)
The Covert Censorship of the Film
At the same time that almost all of Spartacus' historically significant actions were eliminated from the film during the editing successful attempts were made to eliminate almost all the amplifying reactions to them as well. These cuts not only reduced the film's dramatic impact, in some cases they also seriously damaged its internal logic, as the following examples amply demonstrate.
- SPARTACUS BARGAINS WITH THE PIRATE TIGRANES FOLLOWING THE BATTLE OF LUCERIA. An added scene written by Trumbo as part of the retakes and originally inserted following the first big slave march from Vesuvius to Lucaria, it contained the following lines addressed to Spartacus:
"Of course it pleases Roman vanity to think you're noble. They shrink from the idea that a slave can beat them. Keep on winning and they'll elevate you to the rank of a prince! ... The party of Gracchus is in difficulty because the Senate can find no one to defeat you. Therefore the party of Crassus delights in every victory you win.... But you---you can't actually believe you're going to win? With the endless armies Rome can muster against you? ... Surely you understand you're going to lose. You have no chance. The world is too small for you. Every power on earth will fight you. Even the enemies of Rome will turn against you if you show promise of success.... They'll butcher you to the last man, women and child." (23)
A few days after this scene was shot it was shifted back in the film to just prior to the slaves' first battle on Mt.Vesuvius and as a result all the dialogue above was replaced with retakes or eliminated. (24) - CAESER DISCUSSES THE BATTLE OF METAPONTUM. The opening section of the scene in the Roman baths, this sequence contained the following dialogue referring to the Roman defeat at Metapontum:
Laelius: What news from Metapontum? Symmachus: Heralds are crying the news now. We lost nineteen thousand men including Commodius and all his officers! Laelius: Nineteen Thousand! ... It takes us five years to train a legion. How can this Spartacus train an army in seven months? There's something wrong. Something very wrong.
Eliminated from the film's first rough cut this sequence was restored as a result of an eloquent plea by Trumbo in his Report on SPARTACUS. Nearly cut again it survived to become the only specific reference to a major slave victory still in the film today. (25) - SPARTACUS SPEECH TO THE SLAVES BY THE SEA. A cutting sheet dated March 2, 1959 reads "dialogue out" in reference to Spartacus' lines:
"We've traveled a long ways together. We fought many battles. Won great victories. Now instead of returning to our homes across the sea, we must fight again.... I'd rather be here, a free man among brothers, facing a long march and hard fight, than to be the richest man in Rome. Fat with food he didn't work for, and surrounded by slaves." (26)
The heart of Spartacus' speech to the slaves, these lines ultimately remained in the film despite the initial cutting order. But without the battle scenes to which they refer most of their impact was lost. -THE PANIC IN ROME. A sequence depicting defeated legionaries limping back into Rome while a terrified citizenry begins to flee the city, these scenes were meant to convey the historical fact that Spartacus' revolt reached such proportions that it precipitated a panic which led to the installation of a dictatorship, signaling the beginning of the end of Roman democracy. As a result of Trumbo's Report on SPARTACUS, this sequence was reinstated on the Present Edited Continuity of Completed Picture as one of the Added Studio Scenes to be shot as part of the retakes which were approved at the top level meeting of October 10, 1959. It showed up a month later on the Revised Music Notes of November 2, 1959 marked "SCENE MISSING," but apparently it was never shot. (27) - THE SENATE APPOINTS CRASSUS. A scene intended to follow the PANIC IN ROME sequence, it contained dialogue in which the Senate offers Crassus the command against the slaves and warns him that if he does not accept, Rome will fall to Spartacus - a prospect to which Crassus reacts with indifference. Shot, according to Trumbo, as part of the retakes, it was never used in the film. (28) - THE BALCONY SCENE. A scene which follows Crassus' assumption of power in which Gracchus tells an increasingly outraged Caeser, "This Spartacus has quite a talent when it comes to handling an army.... He's developed such a bad habit of winning that Crassus may not be able to cure him of it ... If Spartacus wins I intend to ask the Senate to emancipate his whole army." Eliminated from the film's first rough cut this scene was belatedly restored as a result of Trumbo's Report on SPARTACUS and went in and out of the picture several times. Its final elimination by the studio after the Final Preview, destroyed the whole motivation for Caeser's epochal defection from his mentor, Gracchus--- and republican democracy, to Crassus---and imperial dictatorship. (29) - THE ORIGINAL PROLOGUE. Part of the first rough cut flashback version of the film, this scene contained Crassus' long address to his staff officers on the eve of the final battle including the lines: "Nine Roman armies have been destroyed by Spartacus ... and our defeat will mean the fall of Rome." Cut along with the rest of Crassus' original speech when the flashback was eliminated, these lines were still considered to have enough audience appeal to be used as the opening scene of the film's trailer. (30) - SPARTACUS AND VARINIA'S LAST NIGHT TOGETHER. A scene in which Spartacus confesses his fear of impending defeat to Varinia:
Varinia: They've never beaten us yet. Spartacus: No. But no matter how many times we beat them, they always seem to have another army to send against us. And another. Varinia, its as if we've started something that has no ending. (31)
The only specific statement in the film referring to Spartacus' series of brilliant victories which the censors apparently never attempted to cut, this scene represents the exception which proves the rule. The product of Trumbo's own growing uncertainty about the ultimate fate of the revolution, this scene's overall hopeless tone meshed too nicely with the studio's own hidden agenda to allow it to become a target for elimination, despite its unwelcome historical candor. - THE FINAL BATTLE. A crucial reaction shot from this sequence remains in the film, in which a visibly dazed and frightened Crassus heaves a surreptitious sigh of relief at the appearance of his allies, Pompey and Lucullus.(32) However, in contradiction to the filmmakers' express written intentions, the long and medium range rather than the closeup take of this shot was used, obscuring Olivier's brilliant performance during the picture's climactic moments and destroying the basis for his character's words and actions during the remainder of the film. (33) - CRASSUS WALKS AMONG THE SLAVE DEAD. This scene originally contained Crassus' lines expressing his shock and disbelief at the sight of the clearly evident love between the fallen slave men and women, a love which has banished their fear of death, transforming them into a force which he senses will ultimately prevail over the power of Rome. The cutting of these lines without the author's knowledge during the initial filming of this scene provoked some of the bitterest charges of bad faith in Trumbo's entire Report on SPARTACUS. But despite his vehement protests, these lines were nevertheless excluded from the subsequent retakes. (34)
Despite these cuts a large number of scenes from the first half of the film presaging great military success for the slave army did survive through the Final Preview and beyond, including such scenes as Spartacus' Speech to the Gladiators upon their return to the gladiatorial school, Spartacus' Greeting To New Recruits on Mt. Vesuvius, Spartacus Bargains With the Pirate Tigranes (Second Version), Spartacus Confronts The Defeated Glabrus and Glabrus Reports Back to the Senate (see my article, "SPARTACUS - A Second Look," Cineaste, Fall 1974). Furthermore, a number of scenes from the second half of the film which built upon or recapitulated the great slave victories also survived, including such scenes as the slaves' Triumphal March into Metapontum, Caeser Discusses Metapontum, Spartacus' Speech on the Beach at Brindusium, Spartacus and Varinia's Last Night Together and the Balcony Scene. Together these scenes formed a veritable constellation whose outline portrayed the figure of Spartacus, the rebel slave who almost defeated Imperial Rome. However, the power source which illuminated this constellation was the Battle-Map Metapontum which encapsulated in six seconds the action to which the dialogue in these scenes referred. Thus, once the studio pulled the plug by cutting the Battle Map after the Final Preview, all the lights in the constellation went out and the filmmakers' underlying conception of the picture simply disappeared.
The Overt Negation of the Film's Message
Not satisfied with the elimination or neutralization of nearly all of the scenes which affirmed the idea of the Large Spartacus, the studio appears to have forced radical changes in key dialogue as well in order to make its message unmistakable. Thus, during the last days of 1959, a retake was done of the last scene between Spartacus and Antoninus in which the key historical question posed by this film is addressed:
Antoninus: "Could we have won, Spartacus? Could we ever have won?" Spartacus: "Just by fighting them we won something. When even one man says 'No. I won't' Rome begins to fear. And we were tens of thousands who said it." (35)
But in the retake Spartacus replies in the negative, providing an explicit statement of the hopeless message which the film still delivers today:
Antoninus: "Could we have won, Spartacus? Could we ever have won?" Spartacus: "No.(!) That was the wrong fight. We were doomed from the beginning. But it was a beautiful thing" (36)
As Robert Lawrence, told the author, "this scene was redone because some people wanted the film to express this idea whereas other people wanted to express the original idea." (emphasis added) Possibly as the result of audience reaction, the original version of this scene was ultimately restored after the previews of June 1960. (37) But simultaneously a hastily revised version of the film's voiceover prologue was introduced with a new downbeat conclusion:
"Here [in the Nubian gold mines] under whip and chain and sun [Spartacus] lived out his youth and early manhood and dreamed the death of human servitude. The historians of ancient Rome have recorded the death of his dream, and the utter destruction of his life and all his hopes. Yet his name still lives.  And the defeat of Spartacus has become the victory of man " (38)
Fortunately, this crushing repudiation of the filmmakers' entire historical conception of SPARTACUS ultimately failed to find a permanent place in the film; but only because, shortly before the Premiere, objections from the Catholic Church's National Legion of Decency forced the studio to restore the original version with a new upbeat opening placing the story "in the last century before the birth of the new faith called Christianity which was destined to overthrow the pagan tyranny of Rome." (39)
Conclusion: For An Uncensored "Director's Cut" of SPARTACUS
In summary, de facto studio censorship reduced SPARTACUS from the tragic, but ultimately uplifting, historical epic that Douglas, Kubrick, Trumbo and even the Universal publicity department believed they were making, to a sad reflection from which all traces of hope for progressive social change had been eliminated. Even worse, all the deleted scenes from the picture which might have formed the basis for a full restoration were junked by Universal in 1975. Thus, although Stanley Kubrick and the SPARTACUS restoration team wanted to restore the full 202 minute June 1960 Final Preview version of the film, the best they were able to do was a shortened 196 minute version of the 199 minute July 1960 studio censored cut which was shown to the press.
Kubrick now reportedly feels the film is "better than he thought it was." However, the director has expressed no interest in going beyond the restoration to the reconstruction that is necessary to make a "director's cut" possible. Only such a Kubrick-designed and approved director's cut can legitimately express the filmmakers' real intentions in making SPARTACUS.
Such a director's cut of SPARTACUS would not be very difficult or expensive to produce, as the following sample outline of a reconstructed minimal "director's cut" indicates:
- The six second Battle-Map Metapontum depicting Spartacus' historic series of victories should be reshot and, together with North's accompanying music, overlaid onto some of the fighting scenes currently in the film. The completed scene should be inserted prior to the triumphal March into Metapontum. According to Saul Bass, this would cost no more than $100,000 or approximately ten percent of the total cost of the current restoration.
- The Intermission could be moved back to follow the Metapontum Triumph to underscore Spartacus' initially victorious campaign.
- A battle montage using stills from the lost Spanish battle scenes, sound from the final battle, and the current intermission music, could be inserted, either as part of the intermission or just prior to the Battle Map Metapontum thus reinforcing the action implied by the Battle Map.
- Olivier's "nine Roman armies lines" which still appear on the film's trailer, could be reinserted into the Tent scene in place of Crassus' redundant lines: "Spartacus has every reason to believe that he has outdistanced the pursuing armies of Pompey and Lucullus."
- Several successive closeup versions of Olivier's anxiety filled reaction shots during the final battle could be reinserted
Were a "director's cut" to be produced along these or similar lines, then a far greater and more authentic version of this film may yet emerge into the light of day.
... ... .
This essay is dedicated to the memory of Eric Orbom, 1960 Academy Award Winner for Best Art Direction, who lost his life in the effort to make the matte work in SPARTACUS state of the art. The struggle continues.
... ... .
Notes (1) Dalton,Trumbo, "The Sequence on Vesuvius: Notes," pg.2; "Report on SPARTACUS," Section II, pp.46-47 (2) Kirk Douglas, THE RAGMAN'S SON, pg.304 (3) Michael Munn, Letter to the Author (4) Michael Munn, KIRK DOUGLAS, pg.78 (5) Tony Curtis, Taped Radio Call-in Interview with the Author; Marshall Green (assistant director), Interview with David Chandler, March 25, 1960, pp.18-19; SPARTACUS, The Criterion Collection, (Laserdisc),Voiceover Commentary by Kirk Douglas, Analogue Track 2 (6) Saul Bass: Interview with the author Michel Ciment, KUBRICK, pg.151; See also Duncan Cooper, "Dalton Trumbo vs. Stanley Kubrick: Their Debate Over Arther Koestler's THE GLADIATORS," in Cineaste, Summer 1991. (8) Eddie Lewis, Interview with David Chandler, April 7, 1960, pp.34-35; Edward Muhl: Interview with the author; Dalton Trumbo, "The Sequence on Vesuvius: Notes," pg.2. (9) Dalton Trumbo, ADDITIONAL DIALOGUE, pp.493-4 (footnote), pp.534,536 (10) Tony Curtis, TONY CURTIS, THE AUTOBIOGRAPHY, pp. 180, 185 (11) Kirk Douglas, THE RAGMAN'S SON, pg.330 (12) Irving Lerner, Interview With David Chandler, June 29,1960, pp.3,17 (13) Dalton Trumbo, "SPARTACUS, Material To Be Shot in Spain," pg.31; Letter Jeffrey Asher to Eddie Lewis, January 25, 1960: Concerning SPARTACUS overhead charges by Universal on Spanish Shooting; Interview with Robert Lawrence. (14) SPARTACUS: Present Edited Continuity of Completed Picture, October 2, 1959; Seq.No.54; Appendix ST (Studio), ST-15; SPARTACUS: Revised Music Notes, November 5, 1959, pg.12, Reel XVI (15) Outline for Battle Sequence, August 13, 1959; SPARTACUS, Present Edited Continuity of Completed Picture, October 2, 1959; Seq. No. 73; Appendix SP (Spain), SP-12; Continuity Breakdown, October 15, 1959, Added Scenes-Spain, pp.51-55, Scenes 1-38; SPARTACUS, Music Notes, Revised II, January 21, 1960, by Stanley Kubrick, Reel XXII, Ft.No.000-441; SPARTACUS, Daily Production Report, November 25, 1959, December 14, 1959; Letter From Fred Banker to Charles Block of Globe Photos on Bill Nunley SPARTACUS Layout, March 10, 1960: Containing Promo-Profile of SPARTACUS propman-armorer Bill Nunley; "Proposed List of Gory Shots Tying to Battle Sequence As Outlined by S. Kubrick," January 4, 1960; Melville Tucker, Saul Bass, film editor Robert Lawrence: Interviews with the author (16) SPARTACUS, Music Notes, Revised II, January 21, 1960, by Stanley Kubrick, Reel XVIII, Ft.No.000-009 (17) SPARTACUS: Revised Final Screenplay, January 16, 1959 with revisions through March 27, 1959, Scene 248E (18) SPARTACUS, Music Notes, Revised II, January 21, 1960, by Stanley Kubrick, Reel XVIII, Ft.No.521-536. (19) SPARTACUS, Music Notes, April 13, 1960, Reels 16B, 17B; Interviews with Alex North collaborator Mark McGurty and orchestrators Henry Brandt and Sid Raiman (20) Letter from James Pollak, National Screen Service, to Stan Margulies, May 27, 1960 (21) Gordon Thiel, ALEX NORTH MANUSCRIPTS, UCLA Music Library SPARTACUS, Orchestrated Score for "Metapontum Triumph"; SPARTACUS, The Criterion Collection, (Laserdisc), Overture (22) SPARTACUS, Music Notes, April 13, 1960, Reel 17B; Post-Final Preview Cutting Sheet, Item No.32; Combined Continuity on SPARTACUS, June 20, 1960, Reel 9A, pg.3, no.19 (25 ft = 16 2/3 sec); Continuity and Dialogue on SPARTACUS, July 26, 1960, Reel 8B,pg.3, no.20 (13 1/2 ft = 9 sec) (Cut = 11 1/2 ft = 7 2/3 sec); Alex North, Typed Telephone Message to Eddie Lewis; Robert Lawrence, quoted in "The Fall and Rise of SPARTACUS," Film Comment, ` March-April 1991. (23) Dalton Trumbo, "Retakes; With Notes and Old Scenes For Comparison" October 1959; pp. 22, 24-27 (24) SPARTACUS, Daily Production Report, January 22,25,28,29, 1960; SPARTACUS, Music Notes, Revised II, January 21, 1960, by Stanley Kubrick, Reel XVIII, Ft.No.000; SPARTACUS: Present Edited Continuity of Completed Picture, October 2, 1959; Seq.No.53; Dalton Trumbo, "Report on SPARTACUS," Section II, pg.32 (25) Dalton Trumbo, "Report on SPARTACUS," Section II, pp.42-43; "Projection Room Notes-Running With Mr.Douglas," November 12, 1959, "Roman Bath Sequence"; Dialogue Continuity on SPARTACUS, April 18, 1960, Reel 17, pg.3 (26) SPARTACUS:Cutting Notes, March 2, 1960,"Speech on Beach," Reel 19; Dialogue Continuity on SPARTACUS, April 18, 1960, Reel 19, pp.1-2 (27) SPARTACUS, 2nd Draft Screenplay, September 22, 1958, Scenes 256, 259-260; Dalton Trumbo, "Report on SPARTACUS," Section II, pg.45; SPARTACUS: Revised Music Notes, November 5, 1959, pg.13, Reel XVII; SPARTACUS: Present Edited Continuity of Completed Picture, October 2, 1959; Seq.No.66; Appendix ST (Studio), ST-19 (28) Dalton Trumbo, ADDITIONAL DIALOGUE, pg.529; SPARTACUS; Photoplay Studies, Vol.25, No.4, August 1960; pg.18, still photo and caption (29) SPARTACUS, Final Shooting Script, September 14, 1959, Sc.No. 284; Dalton Trumbo, "Report on SPARTACUS," Section II, pp.45; SPARTACUS: Present Edited Continuity of Completed Picture, October 2, 1959; Seq.No.67-68; Appendix ST (Studio), ST-15;SPARTACUS, Music Notes, Revised II, January 21, 1960, by Stanley Kubrick, Reel XX, Ft.No.237.11; Dialogue Continuity on SPARTACUS, April 18, 1960, Reel 19, pg.1; Dialogue Continuity on SPARTACUS (Incorporating Changes), June 3,1960, Reel 18B, pp.2-3; Combined Continuity on SPARTACUS, June 20, 1960, Reel 10A, pp.4-5; Continuity and Dialogue on SPARTACUS, July 26, 1960, Reel 10A, pg.4; Post-Final Preview Cutting Sheet, Item No.31 (30) SPARTACUS, Final Shooting Script, September 14, 1959, (actually a Cutters Continuity in the form of a script), Sc.8 (31) SPARTACUS, Final Shooting Script, September 14, 1959, Sc.No. 273 (32) SPARTACUS, Unrestored Pan-and-Scan Video Tape Version,1985, Reel 2 (33) SPARTACUS, Daily Production Report, December 28, 1959; SPARTACUS, Additional Shots Beyond The Script Requirements, December 1959 (34) SPARTACUS: Revised Final Screenplay, January 16, 1959 with revisions through June 1, 1959, Sc.321-323; Dalton Trumbo, "Report on SPARTACUS," Section II, pp.46-47 (35) Dalton Trumbo,"Retakes; With Notes and Old Scenes For Comparison," October 1959, pp. 69-70 (36) Dialogue Continuity on SPARTACUS, April 18, 1960, Reel 26, pg.1; Combined Continuity on SPARTACUS, June 20, 1960, Reel 12B, pg.5 (37) Continuity and Dialogue on SPARTACUS, July 26, 1960, Reel 12B, pg.4 (38) Dialogue Continuity on SPARTACUS, April 18, 1960, Reel 2, pg.1; Combined Continuity on SPARTACUS, June 20, 1960, Reel 1B, pg.1; Continuity and Dialogue on SPARTACUS, July 26, 1960,Reel 1B,pp.1-2; SPARTACUS, Original Soundtrack Album, Decca Records, (and MCA Compact Disk), Program Notes (39) SPARTACUS, The Criterion Collection, (Laserdisc), Opening Prologue
For further information, interested film historians, restorationists or producers may contact the author at the following address:
Duncan Cooper 2026 Peach Orchard Drive Apt T1 Falls Church, Virginia 22043
or at his E-mail address<EMAIL_ADDRESS>[This article was announced as follows:
The research article "SPARTACUS: Still Censored After All These Years" has been placed on the rec.arts.movies.reviews newsgroup archives. The article documents how the filmmakers--Kirk Douglas, Stanley Kubrick and Dalton Trumbo--were intent on making a film about "a slave whose dream of freedom almost overthrew the Roman Empire," a much greater and historically more authentic Spartacus than the one which appears in the film we have today. The article also details how Universal Studios fought against this idea throughout the editing, how the filmmakers nevertheless produced a final version of the film which still projected their basic concept and which was shown at the final previews, and how the studio then completely suppressed their vision through a series of unilateral cuts made before the film was shown to the press and public. The author invites comments either to him personally at his e-mail address<EMAIL_ADDRESS>or in the alt.movies.kubrick and rec.arts.movies.past-films USENET groups.]
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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Preparation time
less than 30 mins
Cooking time
over 2 hours
Serves
Serves 4
Pork and apple is a classic combination, James Martin shows you how to take it to the next level.
For the slow-roasted pork belly, preheat the oven to 200C/400F/Gas 6.
Rub the sage leaves and lemon zest all over the pork. Season with sea salt flakes and freshly ground black pepper.
Place the pork skin-side up on a wire rack that fits over an empty roasting tin, and roast for one hour.
Reduce the oven temperature to 180C/350F/Gas 4 and roast for a further two hours.
For the cider and apple sauce, heat the apples, butter, water and cider in a coveredl saucepan for 4-5 minutes, or until the apples are soft enough to beat to a purée. Stir in soft dark brown sugar to taste. Keep warm.
For the creamy mash, cook the potatoes in a saucepan of boiling salted water for 10-15 minutes, or until tender.
Drain the potatoes, then return to the pan and gently warm to remove any excess moisture. Remove from the heat and mash the potatoes with the butter and cream until smooth.
Season, to taste, with salt and freshly ground black pepper. Set aside and keep warm.
Slice the pork and serve with the mash and apple sauce.


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5 airline fees that are worth paying (under specific circumstances)
by Rick SeaneyIf you’re thinking of a trip, comparing fares is a great way to save, and so is ditching all those annoying fees.
Nobody likes to pay extra, so I generally recommend not doing it at all … except in certain circumstances, when paying an airline fee could actually be a life-saver — or at least, a flight saver.
8 LUGGAGE-PACKING TIPS FOR TRAVELERS LOOKING TO SAVE SPACE
Here are five examples:
The 'improve your seat' fee
On many airlines, passengers are offered the opportunity to upgrade their seats. Not to first class, but just enough of an upgrade to give you a seat with an extra two inches of legroom. It isn’t cheap, either. You may have to pay a fee of $50 or $100 (or more) for this, so unless it’s a very long flight, forget the fee and tough it out.
The exception: Some airlines offer an additional economy class upgrade, for what's called a better-positioned seat. It’s significantly cheaper than the extra-legroom seat, seeing as you don't get any extra space, but instead a seat closer to the front of the plane, and often on the aisle. This fee can be really worth it to anyone who has to make a tight connection and needs to deplane as quickly as possible.
CLICK HERE TO SIGN UP FOR OUR LIFESTYLE NEWSLETTER
VIP lounge fee
If you want to fly like a celebrity, by all means, join an airline VIP lounge, but it’s helpful if you earn like a celebrity because these lounges aren’t cheap. American’s Admiral clubs, for example, cost up to $650 per year. Access to those lounges is sometimes also a perk for people who use specific credit cards, but those card-holders are generally paying annual fees north of $400.
The exception: Pay for a VIP lounge day pass (American’s is $59) when flights are getting canceled or delayed and there are long lines to speak to airline reps. You will find these reps in lounges too, but without the long lines. The next time schedules start going to pieces, give it a try.
Bag fee
Normally, this fee can be avoided by the simple act of using a carry-on, because carry-ons are often free. As someone who travels to Europe for ten days with a carry-on, it can be done (and my wife does it, too).
The exception: Some airlines charge for all bags, including carry-ons. You are, however, allowed a very small bag for free on the condition it be placed under the seat in front of you. This can be fine in the summer, if you’re just packing shorts and a bathing suit. Otherwise, go ahead and pay for the carry-on. It’s worth it if only because you don’t have to worry about the airlines losing a bag that travels by your side.
FOLLOW US ON FACEBOOK FOR MORE FOX LIFESTYLE NEWS
Early boarding
Who doesn’t want to board a plane early? But since you’re going to get on that plane one way or another, why pay for the privilege?
The exception: Go ahead and pay for early boarding if the price is right (on Southwest it starts at just $15). And pay if you must have your carry-on near you (perhaps because it holds medications or valuables). It’s especially important to pay if you’ll be among the last to board and there might be no bin space left, leaving the airline to take your bag and stow it away from you in cargo.
Overweight bag fee
This can cost $200 for domestic flights on Delta and up to $450 for certain international routes on American — and these overweight fees are in addition to the regular bag fee.
The exceptions: There are none. Do not pay overweight fees. If you’re at the airport and you're being told your bag is too heavy, you have two options: If you’re traveling with friends or family, shove some stuff into one of their bags; and if you're not, pull out your heaviest items — things like a coat, a sweater or boots — and put them on.
CLICK HERE TO GET THE FOX NEWS APP
The bottom line? Don’t pay any fees unless you absolutely have to. It’s just that much more in your pocket for fun times at your destination.


Model validation
Historical NEMDE case files contain the inputs passed to the NEMDE, along with the outputs (dispatch targets and prices) returned by the program. Backtesting involves passing these same data to the Dispatch API's model and then comparing the outputs to those returned by the NEMDE. The degree to which the Dispatch API's solutions correspond to NEMDE outputs gives an indication as to the model's accuracy - the smaller the difference, the more accurate the approximation.
Sample
Backtests are performed for all dispatch intervals between 2021-04-01 4:05:00 and 2021-05-01 4:00:00 (8640 dispatch intervals in total).
Metrics
Unless otherwise specified, summary statistics are computed for the difference between the Dispatch API's solution and NEMDE outputs, with the solution difference given by the following formula
Solution difference = Model solution - NEMDE solution.
Tables presenting summary statistics consist of columns corresponding to the key for which the solution difference has been computed, while rows display different metrics, the definitions of which are given in the following table:
| Name | Description |
|---|---|
| count | Sample size |
| mean | Mean value |
| std | Standard deviation |
| min | Minimum value in sample |
| X % | X percentile |
| max | Maxiumum value in sample |
The raw data used to generate the following summary statistics can be downloaded here.
Period solution
Summary statistics for aggregate constraint violations and objective function values are shown in the following table.
| @TotalFastStartViolation | @TotalGenericViolation | @TotalInterconnectorViolation | @TotalMNSPCapacityViolation | @TotalMNSPOfferViolation | @TotalMNSPRampRateViolation | @TotalObjective | @TotalRampRateViolation | @TotalUIGFViolation | @TotalUnitMWCapacityViolation | |
|---|---|---|---|---|---|---|---|---|---|---|
| count | 8640 | 8640 | 8640 | 8640 | 8640 | 8640 | 8640 | 8640 | 8640 | 8640 |
| mean | -5.78704e-10 | -0.000230032 | 0 | 0 | 0 | 0 | -5.24741 | -2.87037e-08 | -4.6573e-07 | -1.49676e-06 |
| std | 3.87875e-08 | 0.0213337 | 0 | 0 | 0 | 0 | 804.892 | 2.66806e-06 | 5.65038e-05 | 0.000107749 |
| min | -3e-06 | -1.983 | 0 | 0 | 0 | 0 | -8196.99 | -0.000248 | -0.0005 | -0.0005 |
| 0.1% | 0 | -0.000482083 | 0 | 0 | 0 | 0 | -46.2393 | 0 | -0.000494 | -0.000499 |
| 1% | 0 | -1.8e-05 | 0 | 0 | 0 | 0 | -34.3667 | 0 | -0.00025 | -0.000440561 |
| 10% | 0 | 0 | 0 | 0 | 0 | 0 | -20.0326 | 0 | 0 | -8e-06 |
| 25% | 0 | 0 | 0 | 0 | 0 | 0 | -17.5938 | 0 | 0 | -3.59e-06 |
| 50% | 0 | 0 | 0 | 0 | 0 | 0 | -15.3853 | 0 | 0 | 0 |
| 75% | 0 | 0 | 0 | 0 | 0 | 0 | -13.1249 | 0 | 0 | 0 |
| 90% | 0 | 0 | 0 | 0 | 0 | 0 | -11.3609 | 0 | 0 | 8e-06 |
| 99% | 0 | 1.2122e-05 | 0 | 0 | 0 | 0 | 7.45146 | 0 | 0.0002439 | 0.000426899 |
| 99.9% | 0 | 0.000423971 | 0 | 0 | 0 | 0 | 706.385 | 0 | 0.000493936 | 0.000494574 |
| max | 0 | 0.0004973 | 0 | 0 | 0 | 0 | 74021.6 | 0 | 0.0005 | 0.00050146 |
The @TotalObjective
metric is of particular interest. Small perturbations to input parameters or constraint formulations can lead to large changes in the objective function's value at optimality. As there can be considerable variability with respect to the magnitude of this metric additional context is provided by normalising the difference using the following formula:
Normalised Difference = (Dispatch API Total Objective - NEMDE Total Objective) / NEMDE Total Objective
.
Summary statistics for this normalised metric are shown below:
| @TotalObjectiveNormalisedDifference | |
|---|---|
| count | 8640 |
| mean | 8.7459e-07 |
| std | 2.13632e-05 |
| min | -0.000545912 |
| 0.1% | -6.55193e-05 |
| 1% | -3.78768e-06 |
| 10% | -3.54142e-07 |
| 25% | -4.97563e-08 |
| 50% | 1.04533e-06 |
| 75% | 1.38992e-06 |
| 90% | 1.74495e-06 |
| 99% | 6.26676e-06 |
| 99.9% | 4.17993e-05 |
| max | 0.00120749 |
The mean relative difference is 0.000087%, suggesting excellent correspondence for a vast majority of the dispatch intervals investigated.
The following histograms plot the normalised difference.
/home/compo/miniconda3/envs/dispatch-api-tutorials/lib/python3.9/site-packages/pandas/plotting/_matplotlib/tools.py:400: MatplotlibDeprecationWarning:
The is_first_col function was deprecated in Matplotlib 3.4 and will be removed two minor releases later. Use ax.get_subplotspec().is_first_col() instead.
if ax.is_first_col():
Regions
The difference between region solutions obtained from the Dispatch API and NEMDE are shown in the following table:
| @ClearedDemand | @DispatchedGeneration | @DispatchedLoad | @EnergyPrice | @FixedDemand | @L5Dispatch | @L5RegDispatch | @L60Dispatch | @L6Dispatch | @NetExport | @R5Dispatch | @R5RegDispatch | @R60Dispatch | @R6Dispatch | @SurplusGeneration | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| count | 43200 | 43200 | 43200 | 43200 | 43200 | 43200 | 43200 | 43200 | 43200 | 43200 | 43200 | 43200 | 43200 | 43200 | 43200 |
| mean | -0.00726389 | -0.00724513 | 0.000256479 | -0.0549102 | -1.28787e-05 | -0.0469272 | 7.34422e-06 | -0.0928329 | -0.0659896 | -0.0075605 | -0.181868 | -0.000211147 | -0.0129342 | 0.000143315 | 0 |
| std | 0.230423 | 3.11459 | 0.0441242 | 4.28704 | 0.00288432 | 1.5733 | 0.742168 | 1.95298 | 7.22621 | 3.12331 | 5.11396 | 0.771209 | 3.09734 | 1.77893 | 0 |
| min | -15.8901 | -170.276 | -5 | -576.211 | -0.00499998 | -72 | -40 | -62 | -70 | -170.278 | -117 | -33 | -84 | -46 | 0 |
| 0.1% | -2.89466 | -20.0235 | -0.00360901 | -6.61755 | -0.00499061 | -21.0438 | -9 | -43.801 | -40.0042 | -21.1914 | -65.0777 | -9.40064 | -30.9064 | -18.9885 | 0 |
| 1% | -0.0049563 | -0.00497 | 0 | -0.00136307 | -0.0049087 | -1.71042 | -0.00499952 | -0.00487 | -25 | -0.00492488 | -10.0038 | -0.0049756 | -9.99378 | -3 | 0 |
| 10% | -0.00404488 | -0.004 | 0 | -2.23e-05 | -0.00399141 | -0.0016932 | -2e-06 | -0.0019 | -0.004616 | -0.003945 | -0.003317 | -0.00089856 | -0.0039411 | -0.0033334 | 0 |
| 25% | -0.00249697 | -0.00248 | 0 | -1e-06 | -0.0025206 | 0 | 0 | 0 | 0 | -0.00230016 | 0 | 0 | -0.000548 | 0 | 0 |
| 50% | 3.69658e-05 | 4.335e-05 | 0 | 0 | -1.47997e-05 | 0 | 0 | 0 | 0 | -5.52071e-05 | 0 | 0 | 0 | 0 | 0 |
| 75% | 0.00255456 | 0.00259803 | 0 | 4e-06 | 0.00246805 | 0 | 0 | 0 | 0 | 0.00244 | 0 | 0 | 0.000228425 | 0 | 0 |
| 90% | 0.00409419 | 0.00406955 | 0 | 0.00024791 | 0.00399658 | 0.00149863 | 2e-06 | 0.00201015 | 0.00416214 | 0.00401877 | 0.003097 | 0.0007324 | 0.003333 | 0.0031746 | 0 |
| 99% | 0.00594889 | 0.00553584 | 0 | 0.00150106 | 0.00490659 | 0.796617 | 0.005 | 0.0048288 | 29.6966 | 0.00627672 | 10 | 0.0049268 | 8.96169 | 2.22 | 0 |
| 99.9% | 0.307791 | 18.8761 | 0.00317649 | 0.0632088 | 0.00499133 | 9.25666 | 9 | 0.005 | 49.5024 | 18.8804 | 39 | 9.5 | 30.0037 | 23.9121 | 0 |
| max | 8.62209 | 205.594 | 5 | 85.3612 | 0.00499974 | 23 | 55 | 23.16 | 70 | 205.593 | 100 | 33 | 50.5 | 46.0023 | 0 |
Interconnectors
Summary statistics for the difference between interconnector solutions obtained from the Dispatch API and NEMDE outputs are shown in the following table:
| @Deficit | @Flow | @Losses | |
|---|---|---|---|
| count | 51840 | 51840 | 51840 |
| mean | 0 | 0.043914 | -0.00630429 |
| std | 0 | 3.57264 | 0.340097 |
| min | 0 | -188.532 | -27.7887 |
| 0.1% | 0 | -9.47514 | -2.74303 |
| 1% | 0 | -1e-05 | -5e-06 |
| 10% | 0 | 0 | -4e-06 |
| 25% | 0 | 0 | -2.5e-06 |
| 50% | 0 | 0 | 0 |
| 75% | 0 | 0 | 2.2625e-06 |
| 90% | 0 | 0 | 3.95e-06 |
| 99% | 0 | 1e-05 | 0.00911366 |
| 99.9% | 0 | 29.9524 | 0.401957 |
| max | 0 | 215.551 | 22.8728 |
Traders
Summary statistics for the difference between trader solutions obtained from the Dispatch API and outputs reported by the NEMDE are shown below:
| @EnergyTarget | @FSTargetMode | @L5RegTarget | @L5RegViolation | @L5Target | @L5Violation | @L60Target | @L60Violation | @L6Target | @L6Violation | @R5RegTarget | @R5RegViolation | @R5Target | @R5Violation | @R60Target | @R60Violation | @R6Target | @R6Violation | @RampDnRate | @RampUpRate | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| count | 3.0648e+06 | 630694 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 3.0648e+06 | 2.90928e+06 | 2.90928e+06 |
| mean | -9.88134e-05 | 0.00117965 | -1.03417e-09 | 0 | -0.000661336 | 0 | -0.00130888 | 0 | -0.000930919 | 0 | -2.73462e-06 | 0 | -0.00256321 | 0 | -0.000180932 | 0 | 2.43402e-06 | 0 | -0.000100076 | -9.80774e-05 |
| std | 0.390342 | 0.166714 | 0.310275 | 0 | 0.795769 | 0 | 1.1752 | 0 | 1.06659 | 0 | 0.31334 | 0 | 1.25552 | 0 | 0.722973 | 0 | 0.591007 | 0 | 0.000727775 | 0.0007142 |
| min | -146.461 | -4 | -50.0001 | 0 | -116.757 | 0 | -124.716 | 0 | -115.321 | 0 | -36.707 | 0 | -107.657 | 0 | -92.4525 | 0 | -33 | 0 | -0.005 | -0.005 |
| 0.1% | -7.12462e-06 | -1 | -2 | 0 | -3.93637 | 0 | -6.73891 | 0 | -14 | 0 | -1.34313 | 0 | -13.4952 | 0 | -5.71423 | 0 | -5 | 0 | -0.00499993 | -0.00499993 |
| 1% | -1.1e-06 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | -0.00372711 | -0.00372711 |
| 10% | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| 25% | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| 50% | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| 75% | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| 90% | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| 99% | 1e-06 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 9.15527e-05 | 5.72205e-06 |
| 99.9% | 5.5603e-06 | 4 | 1.89784 | 0 | 3.75162 | 0 | 6.26603 | 0 | 12 | 0 | 1.4188 | 0 | 10 | 0 | 5.74791 | 0 | 5 | 0 | 0.00497025 | 0.00499995 |
| max | 175 | 4 | 50.0001 | 0 | 80 | 0 | 124 | 0 | 68.1516 | 0 | 42.375 | 0 | 83.5758 | 0 | 97.5939 | 0 | 49.5355 | 0 | 0.00499828 | 0.00499996 |
Energy market dispatch targets obtained from the Dispatch API correpsond closely to those within NEMDE outputs, illustrated by the following histograms:


getcap path/to/file1 path/to/file2 ...- Get capabilities for all the files recursively under the given directories:
getcap -r path/to/directory1 path/to/directory2 ...- Displays all searched entries even if no capabilities are set:
getcap -v path/to/file1 path/to/file2 ...


The buttons allow to send commands to the edge.
Command-1! Command-2!
The log window shows you messages read from the Kafka topic while they come.


Third page rendered!
Look that select dropdown:
And this two way data binding using a simple form:
😱 {{myForm.value.anyText}}


Lil Nas X Receives Album of the Year Grammy Nomination for His EP and People Are Pissed
by Peter A. BerryLil Nas X has yet to drop his debut album, but that didn't stop him from getting an Album of the Year nomination for the 2020 Grammy Awards.
On Wednesday (Nov. 20), it was announced that the "Old Town Road" performer's 7 EP was nominated for the prestigious award for the forthcoming awards show, which will air from Los Angeles' Staples Center on Jan. 26, 2020.
"What’s up with lil Nas X getting a nomination for album of the year for a super shitty EP????" one Twitter user said of Nas X's EP, which was nominated for Album of the Year alongside Bon Iver (i,i), Lana Del Rey (Norman Fucking Rockwell!), Billie Eilish (When We All Fall Asleep, Where Do We Go?), H.E.R. (I Used to Know Her), Ariana Grande (thank u, next),
Lizzo (Cuz I Love You) and Vampire Weekend (Father of the Bride).
"Up early thinking about how lil nas’ album is up album of the year AT THE GRAMMYS but tyler the creator’s isnt," wrote another.
While Lil Nas X's project was a commercially successful one that also earned some positive reviews from critics, the confusion around his selection for the nomination is understandable. After all, the project was never marketed as an album in the first place.
Still, the project actually falls within the Grammys guidelines for an album certification, so things make sense on that angle. According to the awards committee, "For purposes of eligibility, The Academy defines an ALBUM as having no less than five (5) different tracks, and having a total playing time of no less than 15 minutes."
Somewhat curiously, Lil Nas X's debut major label EP is a project that was deemed worthy of an Album of the Year nomination, but it wasn't nominated for Best Rap Album. The project is one that finds him delving into multiple genres, so that might be the reason.
For his part, Lil Nas X, who has yet to embark on his first tour, tweeted out what appears to be a simple reaction to his nominations.
Nas X was also nominated for Best New Artist, Record of the Year and Best Rap/Sung Performance.
See Twitter's reactions to Lil Nas X getting an Album of the Year nomination for yourself below.
/1197152776041717760
See 10 Rappers’ Purchases That Broke the Bank
24Hrs
“$35,000 on the deposit to my house.”
Berner
"My house was $3.7 million. Then I put about $600,000 into it. That's the most I've ever spent, but I look at it as a good investment.  It could be there for the kids. I don't feel like I'm playing myself no more. Just paying rent was never feeling good anyways."
"Other than that, trips. Hawaii trips. I bring homies with me. I usually go like five to seven deep. It'll cost sometimes if I go on a trip. Sometimes it's around $80,000 to $100,000. Spend 100 racks on a trip, that's something you can never lose. Your watch can get taken from you, your chain can get taken, you can go to jail and they can take your home, but memories are forever."
Blac Youngsta
"A few things: Maybe my home, a car. I'd say my Lamborghini truck that I bought—I haven't drove yet. Bought it a year ago. Hasn't came yet."
Bobby Brackins
“When I first signed my record deal, I went and bought a Mercedes[-Benz] in cash. That was the most cash I ever took out the bank and bought something with. It’s a matte black Convertible CLK. It was about $55,000 at the time.”
DRAM
“The down payment on my car—the Porsche Panamera 4S Executive. It was a lot of money. I love that fuckin’ car.”
Iamsu!
"Probably some shoes. I bought these [Yeezy] Red Octobers a couple years ago. They was like five racks.  But those, they don't make those [anymore]."
Icy Narco
“Oh my God. I’ve been spending money before I got signed. What’s my name? Exactly. So you already know how that is.
But I’d say me, my brother and my uncle. A strip club [in] Miami. $60,000. Every stripper in the club. I didn’t pay for that, though, but it was a lot of my family [laughs].”
Queen Key
“Some $5,000 boots. Balenciaga’s. And I ain’t even really into that, but it is what it is.”
Reese Laflare
“On one item? This watch, it’s a Rolex. It’s a rainbow Yacht-Master. The retail price of this watch is $95,000.”
Tokyo Jetz
“My niece’s college money [laughs]. I’ve spent $30,000 so far. She still got a little bit more that I gotta pay. I don’t even know what school she go to, but they got my money [laughs].


Satan is a deceiver and the father of lies, he will try to capture your thoughts ﬁrst, then he will help you create a story ﬁlled with half truths, lies and accusations so he can capture your emotions and ﬁnally your will.
It becomes a story when we do not have all the facts and we need to ﬁll in the gaps with our own imagination or the accuser of the brethren helps us ﬁll in the gaps with his F.E.A.R.
It is not the facts that create the emotion, it is the story we create around the facts.
The meaning determines the feeling. We need to be aware of the meaning we are attaching to the facts and then challenge that meaning with the truth. Often times it means seeking counsel from others so we can recognize reality and allow truth to set us free.


--- layout: post title: Editing via less date: 2011-09-28 00:40:03.000000000 -07:00 type: post published: true status: publish categories: tags: [] meta: _edit_last: '1' _jd_twitter: '' _jd_tweet_this: 'yes' _wp_jd_clig: '' _wp_jd_bitly: '' _wp_jd_wp: '' _wp_jd_yourls: '' _wp_jd_url: '' _wp_jd_target: '' _jd_wp_twitter: '' _jd_post_meta_fixed: 'true' author: login: admin email<EMAIL_ADDRESS>display_name: admin first_name: Carina C. last_name: Zon ---
Do you ever do this?
$ less myfile
(View some stuff... Ah-hah, I need to make some changes in this—)
$ editor myfile
Here's a nice shortcut: from within less, hit the 'v' key instead. Voila, file open and read to edit.
man less
(OSX 10.6*)
v
- Invokes an editor to edit the current file being viewed. The editor is taken from the environment variable VISUAL if defined, or EDITOR if VISUAL is not defined, or defaults to "vi" if neither VISUAL nor EDITOR is defined. See also the discussion of LESSEDIT under the section on PROMPTS below.
- LESSEDIT
- The default value for LESSEDIT is:
%E ?lm+%lm. %f
. Note that this expands to the editor name, followed by a + and the line number, followed by the file name. If your editor does not accept the "+linenumber" syntax, or has other differences in invocation syntax, the LESSEDIT variable can be changed to modify this default.
For example, the documentation for TextMate recommends LESSEDIT='mate -l %lm %f'
.
The 'v' shortcut only applies when less is reading a file. It's not applicable to reading standard input (STDIN).


Create
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| Contents | Previous | Next |
JMX technology provides a standard API for management and monitoring of resources. The API includes remote access, so a remote management application can manage and monitor applications, systems, and networks. This chapter outlines JMX architecture in the following sections:
JMX technology is defined by two closely related specifications developed through the Java Community Process (JCP) as Java Specification Request (JSR) 3 and JSR 160:
The following table shows that the management architecture can be broken down into three levels. The first two levels shown in the table, instrumentation and agent,
Java VM are defined by JSR 3. The remote management level is defined by JSR 160.
To manage resources using JMX technology, you must first instrument the resources in the Java programming language. You use Java objects known as MBeans to implement the access to the instrumentation of resources. MBeans must follow the design patterns and interfaces defined in the specification. This ensures that all MBeans provide the instrumentation of managed resources in a standardized way.
Once a resource has been instrumented by MBeans, it can be managed through a JMX agent. MBeans do not require knowledge of the JMX agent with which they will operate.
MBeans are designed to be flexible, simple, and easy to implement. Developers of applications, systems, and networks can make their products manageable in a standard way without having to understand or invest in complex management systems. Existing resources can be made manageable with minimum effort.
 This allows MBeans to generate and propagate notification events to components of the other levels.
A JMX agent is a standard management agent that directly controls resources and makes them available to remote management applications. JMX agents are usually located on the same machine as the resources they control, but this is not a requirement.
The core component of a JMX agent is the MBean server, a managed object server in which MBeans are registered. A JMX agent also includes a set of services to manage MBeans, and at least one communications adaptor or connector to allow access by a management application.
When you implement a JMX agent, you do not need to know the semantics or functions of the resources that it will be used to manage. In fact, a JMX agent does not even need to know which resources it will serve, because any resource instrumented in compliance with the JMX specification can use any JMX agent that offers the services it requires. Similarly, the agent does not need to know the functions of the management applications that will access it.
JMX API instrumentation can be accessed in many different ways, either through existing management protocols such as the Simple Network Management Protocol (SNMP), or through proprietary protocols. The MBean server relies on protocol adaptors and connectors to make a JMX agent accessible from management applications outside the agent’s Java Virtual Machine (Java VM).
Each adaptor provides a view through a specific protocol of all MBeans registered in the MBean server. For example, an HTML adaptor could display an MBean in a Web browser.
Connectors provide a manager-side interface that handles the communication between manager and JMX agent. Each connector provides the same remote management interface though a different protocol. When a remote management application uses this interface, it can connect to a JMX agent transparently through the network, regardless of the protocol.
JMX technology provides a standard solution for exporting JMX API instrumentation to remote applications, based on Remote Method Invocation (RMI). In addition, the JMX Remote API defines an optional protocol based directly on TCP sockets, called the JMX Messaging Protocol (JMXMP). An implementation of the JMX Remote API does not have to support this optional protocol. The Java SE platform does not include the optional protocol. See Appendix A, "JMX Technology Versions" for further information.
The JMX Remote API specification describes how you can advertise and find JMX agents using existing discovery and lookup infrastructures. Examples of how to do this are provided and are described in the Java Management Extensions (JMX) Technology Tutorial. The specification does not define its own discovery and lookup service. The use of existing discovery and lookup services is optional: alternatively you can encode the addresses of your JMX API agents in the form of URLs, and communicate these URLs to the manager.
| Contents | Previous | Next |


There are a number of problems.
The target is an executable, not a .c file:
That should be:
The program is dependent on object files. The object files are dependent on source files, but GNU make already knows that, so you don't need to tell it how to compile.
Now, make provides a way of making up object file names, from source file names using text substitution.
So, we need to name the source files:
And you do have to tell it how to link.
1 2
|
$(TARGET): $(SRCS:.c=.o)
$(LINK.c) $^ -o $@
| |
$^
is the list of sources,
proj1.o
in this case.
$@
is the name of the target,
proj1
in this case.
Use
$(LINK.cc)
to link C++ programs.
The clean step must also delete the object files:
1 2
|
clean:
rm $(TARGET) $(SRCS:.c=.o)
| |


public static class Camera.StateCallbackDefault extends java.lang.Object implements Camera.StateCallback
| Constructor and Description |
|---|
StateCallbackDefault()
|
| Modifier and Type | Method and Description |
|---|---|
void |
onClosed(Camera camera)
The method called when a camera device has
been closed with
Camera.close() .
|
void |
onError(Camera camera,
Camera.Error error)
The method called when a camera device has
encountered a serious error.
|
void |
onOpened(Camera camera)
The method called when a camera device has
finished successfully opening.
|
void |
onOpenFailed(CameraName cameraName,
Camera.OpenFailure failureReason)
A request to open a camera has failed.
|
public void onOpened(Camera camera)
Camera.StateCallback
At this point, the camera device is ready to use, and Camera.createCaptureSession(<any>)
can be called to set up a capture session.
Important: once this method is invoked, callee is responsible
for calling
Camera.close()
when they are finished using the camera device.
onOpened
in
interface Camera.StateCallback
camera
- the camera device that has become
opened
CameraManager.asyncOpenCameraAssumingPermission(org.firstinspires.ftc.robotcore.external.hardware.camera.CameraName,
<any>, long, java.util.concurrent.TimeUnit)
public void onOpenFailed(CameraName cameraName, Camera.OpenFailure failureReason)
Camera.StateCallback
onOpenFailed
in
interface Camera.StateCallback
cameraName
- The identity of the camera that
failed to open.
CameraManager.asyncOpenCameraAssumingPermission(org.firstinspires.ftc.robotcore.external.hardware.camera.CameraName,
<any>, long, java.util.concurrent.TimeUnit)
public void onClosed(Camera camera)
Camera.StateCallback
Camera.close()
.
Any attempt to call methods on this Camera in the
future will likely throw a RuntimeException
.
onClosed
in
interface Camera.StateCallback
camera
- the camera device that has become
closed
public void onError(Camera camera, Camera.Error error)
Camera.StateCallback
This indicates a failure of the camera device or camera
service in
some way. Any attempt to call methods on this Camera in the
future will likely throw a CameraException
There may still be capture completion or camera stream callbacks that will be called after this error is received.
You should clean up the camera with Camera.close()
after
this happens. Further attempts at recovery are error-code
specific.
onError
in
interface Camera.StateCallback
camera
- The device reporting the errorerror
- The error code


The Billion Oyster Project Curriculum and Community Enterprise for Restoration Science (BOP-CCERS) aims to improve STEM education in public schools by linking teaching and learning to ecosystem restoration and engaging students in hands-on environmental field science during their regular school day. The project also strongly emphasizes the use of computer science and digital tools for environmental monitoring, citizen science, stewardship, and advocacy. BOP-CCERS is a research-based partnership initiative between New York Harbor Foundation, Pace University, New York City Department of Education, Columbia University Lamont-Doherty Earth Observatory, New York Academy of Sciences, University of Maryland Center for Environmental Science, New York Aquarium, The River Project, and Good Shepherd Services. We are a diverse community of students and teachers, professional scientists and citizen scientist volunteers, schools, universities, businesses, and community organizations, all working together to conduct oyster restoration-based scientific research in New York Harbor.
This material is based upon work supported by the National Science Foundation under Grant Number NSF EHR DRL 1440869/PI Lauren Birney. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation.
Copyright 2021


| 1 |
Data Poisoning |
Feature Collision Attack |
{{ scan_detail.rank }} |
{{ scan_detail.accuracy }} |
{{ scan_detail.exec_end_date }} |
{{ scan_detail.status }} |
|
|
|
|
|
| 2 |
Convex Polytope Attack |
{{ scan_detail.rank }} |
{{ scan_detail.accuracy }} |
{{ scan_detail.exec_end_date }} |
{{ scan_detail.status }} |
|
|
|
|
|
| 3 |
Bullseye Polytope Attack |
{{ scan_detail.rank }} |
{{ scan_detail.accuracy }} |
{{ scan_detail.exec_end_date }} |
{{ scan_detail.status }} |
|
|
|
|
|
| 4 |
Model Poisoning |
Node Injection Attack |
{{ scan_detail.rank }} |
{{ scan_detail.accuracy }} |
{{ scan_detail.exec_end_date }} |
{{ scan_detail.status }} |
|
|
|
|
|
| 5 |
Malicious Layer Injection Attack |
{{ scan_detail.rank }} |
{{ scan_detail.accuracy }} |
{{ scan_detail.exec_end_date }} |
{{ scan_detail.status }} |
|
|
|
|
|
| 6 |
Evasion |
Fast Gradient Signed Method |
{{ evasion.evasion_fgsm.rank }} |
{{ evasion.evasion_fgsm.accuracy }} |
{{ evasion.evasion_fgsm.exec_end_date }} |
{{ evasion.evasion_fgsm.status }} |
|
|
|
{% if evasion.evasion_fgsm.scan_id %}
|
{% if evasion.evasion_fgsm.scan_id %}
|
| 7 |
Carlini and Wagner Attack |
{{ evasion.evasion_cnw.rank }} |
{{ evasion.evasion_cnw.accuracy }} |
{{ evasion.evasion_cnw.exec_end_date }} |
{{ evasion.evasion_cnw.status }} |
|
|
|
{% if evasion.evasion_cnw.scan_id %}
|
{% if evasion.evasion_cnw.scan_id %}
|
| 8 |
Jacobian-based Saliency Map Attack |
{{ evasion.evasion_jsma.rank }} |
{{ evasion.evasion_jsma.accuracy }} |
{{ evasion.evasion_jsma.exec_end_date }} |
{{ evasion.evasion_jsma.status }} |
|
|
|
{% if evasion.evasion_jsma.scan_id %}
|
{% if evasion.evasion_jsma.scan_id %}
|
| 9 |
Exfiltration |
Membership Inference Attack |
{{ scan_detail.rank }} |
{{ scan_detail.accuracy }} |
{{ scan_detail.exec_end_date }} |
{{ scan_detail.status }} |
|
|
|
|
|
| 10 |
Label Only Membership Inference Attack |
{{ scan_detail.rank }} |
{{ scan_detail.accuracy }} |
{{ scan_detail.exec_end_date }} |
{{ scan_detail.status }} |
|
|
|
|
|
| 11 |
Model Inversion Attack |
{{ scan_detail.rank }} |
{{ scan_detail.accuracy }} |
{{ scan_detail.exec_end_date }} |
{{ scan_detail.status }} |
|
|
|
|
|
|
|
|
|
|
|
|
|
|


Man dead after ATV crash with two vehicles in Poinciana
by WFTS Digital StaffPOINCIANA, Fla. — One man is dead after an ATV crash on Saturday.
The Polk County Sheriff's Office said around 9:40 p.m., deputies responded to a crash on Lake Marion Creek Drive north of Pacific Road in Poinciana. The crash involved two cars and an ATV.
POLK NEWS | The latest headlines from Polk County
According to the investigation so far, the ATV driven by Carlos Santiago, 29, was in the grass and for an unknown reason turned left and went into the path of a vehicle.
The driver of the vehicle and Santiago crashed. The crash propelled Santiago onto the roadway and he was then struck by another vehicle.
Santiago was airlifted to Osceola Regional Health Center where he died from his injuries.
The two drivers of the car were not injured.
Officials said there were no street lights in the area and there were no signs of impairment for any of the drivers.


Please provide as detailed a description as possible. If there are errors in cataloging or problems/bugs in the user interface, please include URLs to the relevant pages in your feedback. This will enable us to address these issues as quickly as possible.
The email has been sent to the managers of this collection. Thank you for your feedback.


public class
NavUtil
extends java.lang.Object
NavUtil
is a collection of utilities that provide useful manipulations of
objects related to navigation.
| Modifier and Type | Method and Description |
|---|---|
static
Velocity
|
integrate
(
Acceleration a,
double dt)
|
static
Position
|
integrate
(
Velocity v,
double dt)
|
static
Velocity
|
meanIntegrate
(
Acceleration cur,
Acceleration prev)
Integrate between two accelerations
to determine a change in velocity using an
assumption
that the mean of the accelerations has been acting
the entire interval.
|
static
Position
|
meanIntegrate
(
Velocity cur,
Velocity prev)
Integrate between two velocities to
determine a change in position using an assumption
that the mean of the velocities has been acting the
entire interval.
|
static
Acceleration
|
minus
(
Acceleration a,
Acceleration b)
|
static
Position
|
minus
(
Position a,
Position b)
|
static
Velocity
|
minus
(
Velocity a,
Velocity b)
|
static
Acceleration
|
plus
(
Acceleration a,
Acceleration b)
|
static
Position
|
plus
(
Position a,
Position b)
|
static
Velocity
|
plus
(
Velocity a,
Velocity b)
|
static
Acceleration
|
scale
(
Acceleration a,
double scale)
|
static
Position
|
scale
(
Position p,
double scale)
|
static
Velocity
|
scale
(
Velocity v,
double scale)
|
public static Acceleration plus( Acceleration a, Acceleration b)
public static Acceleration minus( Acceleration a, Acceleration b)
public static Acceleration scale( Acceleration a, double scale)
public static Velocity integrate( Acceleration a, double dt)
public static Position meanIntegrate( Velocity cur, Velocity prev)
cur
- the current velocity
prev
- the previous velocity
public static Velocity meanIntegrate( Acceleration cur, Acceleration prev)
cur
- the current acceleration
prev
- the previous acceleration


Mock it
like it's hot
Gabor Szakacs
## Agenda - What is mocking? - When to mock? When not to mock? - Different types of test doubles - Make it testable by mocking (live coding) - Get your hands dirty
## What is mocking? 1. You're testing an object that has a dependency on another object (collaborates with it). 1. For some reason you don't want to create and use a real object as a collaborator. 1.  1. You replace the collaborator object with this fake one.
## Naming conventions - Mocks is an informal name for all types. - The formal name is _test doubles_.
## How many types of test doubles are there?
## Types of test doubles - Dummy - Stub - Fake - Spy - Mock
## Dummy - You have to pass a collaborator, but it won't be used.
## Stub - The behavior of the object under test depends on the value returned by the collaborator. - You want to control this return value. - To be used for Query methods.
## Fake - A stub that has business logic in it. - It can return different values based on the input. - It can easily grow in complexity, probably needs their own tests.
## Spy - The object under test modifies the state of the collaborator. - Instead of verifying the new state, you verify that the right method was called with the right arguments. - A Spy can record the calls (and arguments) it received. - To be used for Command methods.
## Mock - A spy that knows what calls were expected. - It can verify itself. - Used by mocking libraries.
## Mocking libraries - Easy to generate mocks and set them up. - They have their own DSL. - The generated mocks are less readable. - Too easy to generate mocks - can be overused.
## When to mock? - It would take a lot of time to use the real one (network request, DB, file I/O, complex calculation) - Initializing the collaborator needs a lot of setup. - You want to easily control the response. (stub) - You want to easily check the sent message. (spy) - You want to isolate the unit and focus on that. 🤨
## Drawbacks of mocking
## It's easier to overlook integration issues
## Mocking introduces tight coupling to the internals of your unit - Your tests start depending on the implementation details, not just the behavior of your code. - You can't refactor your code without modifying the tests. - 😢
# Hands-on
## Links & Reads - [The example app](https://github.com/gaborszakacs/fakenews), you can see the progress commit by commit - [The exercise](https://github.com/gaborszakacs/who-is-on-call) and [one way to solve a similar one](https://quii.gitbook.io/learn-go-with-tests/go-fundamentals/mocking). I highly recommend the whole book. - [This has a nice chapter](https://martinfowler.com/articles/mocksArentStubs.html) on classical vs mockist testing types - [Different type of mocks](https://blog.cleancoder.com/uncle-bob/2014/05/14/TheLittleMocker.html) - [http client testing](http://hassansin.github.io/Unit-Testing-http-client-in-Go)


October 19th
October 19th
Lecture
- Mail server notes:
- nslookup -type=MX cornellcollege.edu -- looks up mail sever address fo cornellcollege.edu
- Java doc notation = /**....*/
- method to check for valid message. To address, from address, etc.
- Some ginger kid:
- Spanning Trees
- Avoids constant cycling links like occurs duing broadcast storms
- Avoids broadcast storms
- Center based approach:
- Set a single node to be the "center". Serves are root of spanning tree.
- Tree-join messages are sent from every node in graph (or graph subset). Hop from node to node till it reaches either the center, or a branch that already reaches the center.
- Nodes not part of the spanning tree, act as hubs for either further nodes trying to join, or messages sent though the spanning three.
- Joe:
- Dijkstra's algorithm
- Created random graph of Edges and Nodes.
- test function that lists what nodes are connected by an edge
- Salem:
- Link-state (LS) routing algorithm
- each node floods using link state packets to find all of its neighbors
- each node receives every other nodes' LSP, combines them into a full topology of the network
- Each node uses dijkstra's algorithm
- Makes a forwarding table for each node
- Flood update sent out and recomputed if there are changes
- Link missing or removed, then link is removed
- node missing or removed, then links to that node are removed (removing node by association).
- if new node is added, or old one updated then LSP updates all of the links
- Distance-vector (DV) algoritm
-
Lab
Rebecca Sullens talk on Career Development Tools
- Berry center offers:
- Offer resume reviews at the Berry Career center
- Cornell2Career (JIVE) job board Link To Cornell Page Direct Link
- Career workshops
- Student-alumni networking even Friday (this Friday)
- Fellowships and non-fellows internships
- Dimensions (pre-health)
- Cornell2Career:
- Opportunities: job listings
- Personality quiz what you might want to do
- What can I do with this major
- Global: global job/internship posting
- Resumes:
- Advertisement of your skills/experiance
- Prioritize, put important stuff on top. May need to adjust for certian jobs
- Keywords!!!! HR person or computer looks at it and scans for keywords
- Reverse chronological format per section. Most recent stuff first
- Adjust resume so that it is relevant information/experiance for the job you apply
- Tailor each resume for job you apply
- Should be one page (not master though)
- minimum 10pt, maximum 12pt font
- Times New Roman, Arial, Cambria, Calibri, Garamond
- Use PDF for submission cause word formatting can mess up between computers
- 1" margin, minimum .75 TLR and .5 B. White space is fine
- Contact info at top
- Education: institution & location, Degree (title), graduation month and date, majors and minors, GPA and honors (optional)
- Work experience: Employer, location, title, dates (start and end, month and year), duties and responsibilities (bullets). Use caccurate verbs (if there present tense, if no longer them past tense)
- Leadership and service (campus/community involvement): Organization, location, title, dates, bullets. Use accurate verbs
- Special skills: languages ('fluent', 'beginner/advanced conversation skills', etc.), technical skills ('proficent', 'working familiarity', etc.)
- Honors or awards: college, national recognition in H.S.
- Consistency matters (abbrivations, punctuation, location, etc.)
- eliminate personal pronouns. No subject, only verbs
- PDF version (turn in), MS Word version (edits)
- Proofread!!!!!!!!!!!!!!!!!!!!!!!!!
- Resume is never done
- Long and short version (master, and tailored)
- Social Networking:
- Making connections with people and developing relationships
- Asking people for assistance
- Helping others
- Working together to become more efficient and accomplish a goal
- Being Visible
- Sharing resources
- Gathering and exchanging information
- Listening, don't just talk about yourself, people love to talk about themselves so have them do it
- LinkedIn:
- You should care because the people who hire people care
- 400 million users
- 94% of recruiters use it
- Your online resume
- One of your top 3 google results
- Allows others to see your qualifications, and be reccomended
- Make yourself more visible: good profile picture, bullets for jobs, etc.
- Keep it up to date with your current resume
- Customize your headline with keywords/phrases


SweetFreeStuff.com
///////////////////////////////////////////
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Bootstrap Typography
Using typography feature of Bootstrap you can create headings, paragraphs, lists and other inline elements
Bootstrap Typography
Using typography feature of Bootstrap you can create headings, paragraphs, lists and other inline elements
Bootstrap Grid System
discuss the Bootstrap Grid System
Bootstrap Typography
Using typography feature of Bootstrap you can create headings, paragraphs, lists and other inline elements
Bootstrap Typography
Using typography feature of Bootstrap you can create headings, paragraphs, lists and other inline elements
Bootstrap Typography
Using typography feature of Bootstrap you can create headings, paragraphs, lists and other inline elements


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GloVe is an unsupervised learning algorithm for obtaining vector representations for words. Training is performed on aggregated global word-word co-occurrence statistics from a corpus, and the resulting representations showcase interesting linear substructures of the word vector space.
Getting started (Code download)
- Download the latest latest code
(licensed under the
Apache License, Version 2.0).
Look for "Clone or download"
- Unpack the files: unzip master.zip
- Compile the source: cd GloVe-master && make
- Run the demo script: ./demo.sh
- Consult the included README for further usage details, or ask a question
Download pre-trained word vectors
- Pre-trained word vectors. This data is made available under the Public Domain Dedication
and License v1.0 whose full text can be found at:
http://www.opendatacommons.org/licenses/pddl/1.0/.
- Wikipedia 2014 + Gigaword 5 (6B tokens, 400K vocab, uncased, 50d, 100d, 200d, & 300d vectors, 822 MB download): glove.6B.zip
- Common Crawl (42B tokens, 1.9M vocab, uncased, 300d vectors, 1.75 GB download): glove.42B.300d.zip
- Common Crawl (840B tokens, 2.2M vocab, cased, 300d vectors, 2.03 GB download): glove.840B.300d.zip
- Twitter (2B tweets, 27B tokens, 1.2M vocab, uncased, 25d, 50d, 100d, & 200d vectors, 1.42 GB download): glove.twitter.27B.zip
- Ruby script for preprocessing Twitter data
Jeffrey Pennington, Richard Socher, and Christopher D. Manning. 2014.
GloVe: Global Vectors for Word Representation.
[pdf] [bib]
1. Nearest neighbors
The Euclidean distance (or cosine similarity) between two word vectors provides an effective method for measuring the linguistic or semantic similarity of the corresponding words. Sometimes, the nearest neighbors according to this metric reveal rare but relevant words that lie outside an average human's vocabulary. For example, here are the closest words to the target word frog:
- frog
- frogs
- toad
- litoria
- leptodactylidae
- rana
- lizard
- eleutherodactylus
3. litoria
4. leptodactylidae
5. rana
7. eleutherodactylus
2. Linear substructures
The similarity metrics used for nearest neighbor evaluations produce a single scalar that quantifies the relatedness of two words. This simplicity can be problematic since two given words almost always exhibit more intricate relationships than can be captured by a single number. For example, man may be regarded as similar to woman in that both words describe human beings; on the other hand, the two words are often considered opposites since they highlight a primary axis along which humans differ from one another.
In order to capture in a quantitative way the nuance necessary to distinguish man from woman, it is necessary for a model to associate more than a single number to the word pair. A natural and simple candidate for an enlarged set of discriminative numbers is the vector difference between the two word vectors. GloVe is designed in order that such vector differences capture as much as possible the meaning specified by the juxtaposition of two words.
The underlying concept that distinguishes man from woman, i.e. sex or gender, may be equivalently specified by various other word pairs, such as king and queen or brother and sister. To state this observation mathematically, we might expect that the vector differences man - woman, king - queen, and brother - sister might all be roughly equal. This property and other interesting patterns can be observed in the above set of visualizations.
The GloVe model is trained on the non-zero entries of a global word-word co-occurrence matrix, which tabulates how frequently words co-occur with one another in a given corpus. Populating this matrix requires a single pass through the entire corpus to collect the statistics. For large corpora, this pass can be computationally expensive, but it is a one-time up-front cost. Subsequent training iterations are much faster because the number of non-zero matrix entries is typically much smaller than the total number of words in the corpus.
The tools provided in this package automate the collection and preparation of co-occurrence statistics for input into the model. The core training code is separated from these preprocessing steps and can be executed independently.
GloVe is essentially a log-bilinear model with a weighted least-squares objective. The main intuition underlying the model is the simple observation that ratios of word-word co-occurrence probabilities have the potential for encoding some form of meaning. For example, consider the co-occurrence probabilities for target words ice and steam with various probe words from the vocabulary. Here are some actual probabilities from a 6 billion word corpus:
As one might expect, ice co-occurs more frequently with solid than it does with gas, whereas steam co-occurs more frequently with gas than it does with solid. Both words co-occur with their shared property water frequently, and both co-occur with the unrelated word fashion infrequently. Only in the ratio of probabilities does noise from non-discriminative words like water and fashion
cancel out, so that large values (much greater than 1) correlate well with properties specific to ice, and small values (much less than 1) correlate well with properties specific of steam. In this way, the ratio of probabilities encodes some crude form of meaning associated with the abstract concept of thermodynamic phase.
The training objective of GloVe is to learn word vectors such that their dot product equals the logarithm of the words' probability of co-occurrence. Owing to the fact that the logarithm of a ratio equals the difference of logarithms, this objective associates (the logarithm of) ratios of co-occurrence probabilities with vector differences in the word vector space. Because these ratios can encode some form of meaning, this information gets encoded as vector differences as well. For this reason, the resulting word vectors perform very well on word analogy tasks, such as those examined in the word2vec package.
GloVe produces word vectors with a marked banded structure that is evident upon visualization:
The horizontal bands result from the fact that the multiplicative interactions in the model occur component-wise. While there are additive interactions resulting from a dot product, in general there is little room for the individual dimensions to cross-pollinate.
The horizontal bands become more pronounced as the word frequency increases. Indeed, there are noticeable long-range trends as a function of word frequency, and they are unlikely to have a linguistic origin. This feature is not unique to GloVe -- in fact, I'm unaware of any model for word vector learning that avoids this issue.
The vertical bands, such as the one around word 230k-233k, are due to local densities of related words (usually numbers) that happen to have similar frequencies.
- GloVe v.1.2: Minor bug
fixes in code (memory, off-by-one, errors). Eval code now also
available in Python and Octave. UTF-8 encoding of largest data file
fixed. Prepared by Russell Stewart and Christopher Manning. Oct 2015.
- GloVe v.1.0: Original
release. Prepared by Jeffrey Pennington. Aug 2014.
GitHub: GloVe is on
GitHub. For bug reports and patches, you're best off using the
GitHub Issues and Pull requests features.
Google Group: The Google Group
globalvectors
can be used for questions and general discussion on GloVe.