 I do this for your entertainment and education (and, of course, to remind you that if you’re looking for a freelance copy, content, product, or technical writer… yada yada, hire me).
There is a climactic moment in “The Post” where one of the journalists rouses his audience, both before and beyond the fourth wall, with a quote attributed to Phil Graham, late publisher of the Washington Post:
“[What we write is]… the first rough draft of history”, the actor, and character, proclaim proudly.
Admittedly, the line, delivered ham in fist, is but one of the many moments of Spielberg’s assured Oscar nominee so transparently designed to bludgeon audiences and critics alike with its poignance.
Nevertheless, I found it so particularly memorable given the “draft of history” this week writ with a single word:
“Shithole”
Wait, What Happened?
This week past, an important negotiation took place with US policy makers on “DACA”, the Deferred Action for Childhood Arrivals program, which protects immigrants brought to the US as children from knee-jerk deportation.
Amidst negotiations on this legislation, which has proven quite volatile given the current bipolarity of US sentiment on the issue, Trump allegedly questioned his country’s decision to ever make citizens of people from (quote) “shithole” countries.
As you might expect, the fallout has been legendary.
What Followed
Almost by itself, the lone word immediately set ablaze two massive infernos of public interest:
- News media ran wild with the story, some going so far as to use the word uncensored in headlines
- Social media erupted with a hashtag, indignant success stories, and glorious outcry from those born in the unceremoniously classified countries
Each had its own take, of course, but the general sentiment, to put it mildly, was negative.
News Media
As with pretty much any week lately, the media had a field day.
I intended to pull together the various headlines and framings from the mainstream media to highlight just how many different interpretations and crucifications “the swear” led to, but ironically the Washington Post beat me to it.
(As an aside, scanning the visual layout of how and where the quote was used on various media front- and homepages provides a really interesting perspective on where and how the news used this to draw attention.)
With dust settled, most outlets focused on the underlying political issue, the swear did play prominently in much of the coverage, where it was used effectively as shock value to generate broader interest and awareness.
Social Media
Social media likewise followed suit with a field day of its own.
By midday on the story’s break, “shithole” the hashtag began to trend as hundreds of thousands posted across various mediums their American Dream success story after emigrating from one of the purported “shitholes”.
The movement was staggering in the speed at which it arose, the participation of notable personalities, and the rate at which it is spreading.
In fact, at this rate, #shithole is likely to join #metoo as one of the most influential social commentary movements generated by the broader social media community since inception.
The Result
While the underlying racism and meaning behind this particular word is worthy of a great deal of analysis, I find myself entranced with the newfound semiotics of the word itself.
One word used one way in one context has now become supercharged with even more connotative meaning.
Indeed, words are such an important part of politics; it is with very few words that many a country’s history has been written.
“Hope” and “Change” played prominently in Obama’s rise to fame as did “sexual relations” and “crook” in the falls of Clinton and Nixon, respectively.
Even Trump’s own administration would argue (and I would be inclined to agree) that a huge part of the campaign’s success hinged on its ability to bubble complex ideas down into four simple words that everyone could understand.
Indeed, “Make America Great Again” became as supercharged for Trump’s base as “Shithole” has become for his detractors.
Perhaps it is poetic justice that one of Trump’s “everyman” words so effortlessly distills the rampant undertow of racism and isolationism that it could cause such widespread awareness and disgust and action.
That’s why I laughed when I heard that line in “The Post”.
The draft of history now has a squiggly red underline on its most recent and prominent word – a word that perfectly captures the tone, temperament, and totality of its current and increasingly memorable author.
The Takeaway
Believe it or not, I do think there’s a lesson to learn here that we can apply to the way we write about our products and services.
Swear words are amongst the most powerful in our lexicon. Very few words can more succinctly capture emotion in a human, relatable way.
In fact, this is something I believe in very strongly, and I regularly use swear words in presentations and in my writing. (See if you can find the swear word used pointedly and for effect in TouchBistro’s about page.)
Muzzle’s use of “fuckboy” on its primary product landing page is a great example. It captures very, very quickly the value prop of its product while injecting an effective humanized humour into its pitch.
But like all powerful things, swear words can be very dangerous when used inappropriately. The same stickiness that makes them useful can also make them deadly.
Just as very few will ever forget Trump’s message here, because it is captured by a single word that rouses our attention, so too will those that come across your product if you use incendiary language improperly.
So, you can use a word like “shithole” when you need to and be successful in doing so.
What about you? Any lessons you’ve drawn from this? Respond away. And if you’d like to learn more about me or my business, visit www.frankcaron.com.


---
title: RnD by Sigma ITC
pageUrl: https://sigmaitc.github.io/rnd-by-sigma/
description: Learn RnD the Sigma way
---
{% include head.html title=page.title pageUrl=page.pageUrl %}
{% include header.html %}
{% include primary-navigation.html %}
RnD by Sigma
{% include description-intro.html %}
{% include description-levels.html levels=site.data.levels-rnd %}
{% include description-remarks.html %}
{% include categories.html categories=site.data.categories-rnd skills=site.data.skills-rnd %}
{% include contributors.html %}
{% include footer.html %}


Outreachy - Round 15
Lightbend and Play Framework are proud to be participating in Outreachy, a program to help groups that are underrepresented in free and open source software get involved. For detailed information about Outreachy, including how to apply, see the main application page.
This is the landing page for Outreachy Play Framework projects.
Applications for Round 15 Play Framework projects close on the 23rd of October 2017.
Getting started
The best way to get started is to read Play's Get Involved page. From there you can find information about the project issue tracker and mailing lists, links to instructions for building Play from source.
The best place to talk about Play development is on the Play contributors Gitter channel, while the Play development mailing list can be used for deeper architectural and design style discussions. Discussion about the Play Outreachy projects can be had in the Play Outreachy Gitter channel, where Play Outreachy mentors can be found (though note that the Play team is very geographically distributed, including developers in Australia, USA, New Zealand and Europe, so don't expect to get immediate responses from any particular person.
Projects
Lightbend is sponsoring one intern for Play Framework in Outreachy in Round 15.
Play Module Directory
Mentor: Greg Methvin
Play 1 offered a module directory for Play modules, which can still be found on the Play website here. Unlike Play 1, where a home baked dependency management system was used, Play 2 uses sbt, which is able to use any Ivy or Maven based distribution system for distributing libraries. This makes the requirements of a module directory for Play 2 quite different to Play 1, which is why the Play 1 module directory has not been reused for Play 2.
Currently an ad-hoc module directory is maintained in the markdown documentation. This quickly gets out of date, and is missing features such as the ability to search for modules, as well as listing different module versions and compatibility matrices.
The new module directory should allow a user to login using their GitHub id, and then submit new modules for approval. Once approved by an admin, the user should be able to edit and maintain their module, adding new module versions. A brief outline of requirements and discussion about the feature can be found on this GitHub issue.
The intern ideally should have some web development experience. Play and/or Scala experience will be useful, but not required.


Upcoming balance changes for Alpha version
Adam Lexington • September 15, 2018 • Reply
After much user feedback we're making some quick changes to some core game mechanics. In particular we've noticed that the health system broke the suspension of disbelief for many players as they found eating multiple rodents to heal knife wounds to be unintuitive. ... Read more
2018 E3 Remote Conference Summary
Amanda Ricardo • August 25, 2018 • Reply
We had such an amazing time down here in San Fran for our remote webcast for E3. We were really able to discuss many of our development plans with other teams, connect with our fans, and reveal our full vision for the year's soon-to-be-best adventure game. ... Read more
Big changes here at the Unity Office
Eric Curmudgeonson • August 14, 2018•Reply
Big changes here at Unity! After nearly two years of off-and-on renovations we've finally completed the overhaul of our shared space at the office. Come checkout the gallery to see all the amazing work our construction team has put in this year. ... Read more
Planning Phase Finished for Upcoming DLC
Shantel Smith • August 1, 2018•Reply
While we haven't finished the core came yet it's never too early to start planning for the future. While the main dev team puts on the final touches for Crest Fallen our planning committee has given the greenlight for a planned DLC expansion called CrestFallen: Olympic Ice Age. ... Read more


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Left-handed women's quirk over sense of smell
by James GallagherScientists say they have discovered a biological anomaly that could change how we understand our sense of smell.
The study in the journal Neuron shows some people can smell normally, despite missing the part of the brain that is considered to be crucial for smell - the olfactory bulbs.
Lacking bulbs should cause anosmia (being unable to smell).
Curiously, the phenomenon mostly affects left-handed women, and has never been detected in men.
How does smell work?
So how do we smell a fresh mug of coffee, a garden flower or even a newborn's soiled nappy?
Current science says odours enter the nose where they excite nerve endings.
This creates an electrical signal that travels up to a specialised part of the brain called the olfactory bulbs.
They process the signals coming from the nose to work out what we are sniffing.
Except researchers at the Weizmann Institute of Science in Israel have found people who have a normal sense of smell even though they are bulb-less.
How common is it?
The scientists stumbled across the first example when doing brain scans of people with a healthy sense of smell as part of a completely unrelated study.
Researcher Prof Noam Sobel told BBC News: "We could not find any sign of olfactory bulb in her brain, it's an anomaly - this does not make sense, right?"
The woman was left-handed and the researchers wanted to compare her brain to other left-handed women, to see what was going on.
They only had to scan another nine brains before they found another woman with no bulbs, but a cracking sense of smell.
"It was overwhelmingly shocking, this started ringing all the bells," Prof Sobel said.
The team then turned to a public library of 1,113 brain scans - the Human Connectome Project - and found yet more examples.
The phenomenon has never been detected in men, but is present in more than 4% of left-handed women.
Prof Sobel said he had "absolutely no clue" why gender and left-handedness seem to be involved.
So what is going on?
There are a number of ideas, but only more research will tell which is correct.
One possibility is the women do have olfactory bulbs, but they are so small they cannot be detected on brain scans.
However, this does not explain how they retain such a good sense of smell with such compromised bulbs.
Another explanation is the brain's ability to adapt, known as plasticity.
If a child is born without olfactory bulbs, then maybe another part of the brain takes on the bulb's aroma-discerning responsibilities.
But the researchers have raised a more controversial explanation which challenges current understanding of smell.
They argue the bulbs may not be involved in recognising smells and instead have a different role, potentially for locating a smell rather than identifying it.
"It's a dramatic alternative," said Prof Sobel.
He added: "My hunch is the olfactory bulbs may be more important for the 'where'."
What do experts think?
"The fact that their olfactory ability is virtually identical to that of normal subjects is very surprising," Prof Matthew Cobb of the University of Manchester told the BBC.
Prof Cobb, author of the forthcoming book Smell: A Very Short Introduction says the living brain is very flexible, and may be compensating for a lack of olfactory bulbs.
"For example, there is a man in Marseille whose cortex - the region of the brain generally thought to be involved in higher intellectual functions - is compressed into a tiny sliver of cells, yet he is of average intelligence and holds down a job as a civil servant.
"In China, a young woman has no cerebellum - the structure at the base of the brain involved in co-ordination - and although she does have slurred speech and poor coordination, these symptoms are nowhere near as serious as animal studies would suggest they should be."


Honzi/Guides/Paper Mario
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- Double Dip (1)
- Happy Flower (3)
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- Combat (Defensive): (30/30)
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- Happy Heart (3)
- Ice Power (2)
- P-Up, D-Down (2)
- Power Bounce (2)
- Power Plus (6)
- S. Jump Charge (2)
- Spike Shield (2)
- S. Smash Charge (2)


In this area, configure the runtime checks to be generated for the
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.
(Selecting this option is recommended due to the potentially negative impact on the performance for
methods that are invoked very often.)
@NotNull
instrumentation of IntelliJ IDEA is
used.


I designed landing pages for premium content for Integrant that spurred visitors to download and read.


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Mac OS X 10.7 Lion: the Ars Technica review
Window management
Over the years, Apple has added several features that could loosely be defined as "window management aids." The first, and arguably most successful, was Exposé, introduced in Panther back in 2003. Two years later, Tiger shipped with Dashboard, which provided a dedicated screen for small "widget" windows, keeping them off the main screen. In 2007, Leopard brought official support for virtual desktops to Mac OS X under the name Spaces.
Each of these features came with its own set of configurable keyboard shortcuts, hot screen corners, and (eventually) multi-touch gestures. While each was understandable and useful in isolation, it was up to each user to figure out how best to incorporate them into a workflow. In Lion, Apple has taken a stab at consolidation under the umbrella name of Mission Control. Each individual feature still exists, albeit in slightly more limited forms, but activating one thing now provides access to them all.
Using any one of the supported Mission Control activation methods—a keyboard shortcut, a hot screen corner, or a four-finger upwards swipe—causes the current desktop picture to recede slightly into the center of the screen, revealing behind it our old friend the linen pattern. Overlaid on this are groups of windows, badged by the icons of the applications to which they belong. Along the top of the screen sit all open Spaces. (In Lion, each full-screen window creates a new Space, so those windows appear at the top rather than grouped with the other windows from the same application.) Dashboard is also (optionally) given its own Space.
A surprising number of things can be done from this screen. As with Exposé, clicking on any window will bring it to the front. Windows can also be dragged into any of the available Spaces (excluding Dashboard and those that contain a single full-screen window). Moving the cursor (or dragging a window) to the upper-right corner of the screen causes a panel with a "+" character to appear; clicking this creates a new space. Holding down the option key makes Dashboard-style "close" widgets appear on any non-fullscreen-window Spaces (except the original Desktop Space, which can never be closed).
The biggest limitation of this new arrangement is that Spaces are now confined to a one-dimensional line of virtual desktops. Four-finger swiping between spaces feels great, but there's no wrap-around when you hit the end.
As big a step down as this is from the much more flexible grid arrangement of Spaces in earlier versions of Mac OS X, the new limitations are probably a good idea. The new behavior of full-screen windows and the surprisingly natural-feeling four-finger swipes used to switch between them and enter Mission Control means that many more Mac users will likely find themselves using these new features than ever used the combination of Exposé and Spaces in earlier versions of the OS. A simple line of spaces with no wrap-around provides a safe, understandable environment for all these new Spaces users.
For the experts, well, consolidation always has its price. In this case, as in many others, Apple has decided that the good of the many outweighs the good of the few.
Application management
For all its warts, the radical simplification of application management brought to Mac OS X by the Dock really has benefitted the platform. As I wrote in my ten year Mac OS X retrospective, "For every user who continues to be frustrated by the Dock's limitations, there are thousands of others who are buoyed in their computing efforts by its reassuring simplicity and undemanding design."
But the Dock falls short, especially for novice users, as an application launcher. Or rather, it falls short if the application to be launched isn't actually in the Dock. Most novice users I know want to have every application they are likely to use available in the Dock at all times. As these users gain experience, the Dock can become a very crowded place. But why are these increasingly Mac-savvy users stuffing their Docks to the gills rather than limiting its contents to just the applications they use most frequently?
The answer lies in how applications not in the Dock are located and launched. Choices include the Finder, Spotlight, or (I suppose) a Terminal window. Moving from an always-visible line of colorful icons that's front and center on the screen to any one of those alternatives represents a huge increase in conceptual and mechanical complexity.
If you don't understand how typing the name of an application into a search box can be so much more difficult than clicking an icon in the Dock, I suggest that you have not spent enough time with novice users. Such users often don't even know the name of the application they want—or if they do, they don't know how to spell it. That's before considering the frequent disorientation caused by the rapid-fire search results refinement animation in the Spotlight menu, or the existence of multiple files whose contents or names contain the string being searched for. And this all assumes novices know (or remember) what Spotlight is and how to activate it in the first place.
The jump in complexity from the Dock to the Finder, I think, needs less explanation. As a general rule, novice users just don't understand the file system. They don't understand the hierarchy of machines, devices, and volumes; they don't grasp the concept of the current working directory; they don't know how to identify a file or folder's position within the hierarchy. Fear of the file system practically defines novice users; it is usually the last and biggest hurdle in the journey from timid experimentation to basic technical competence.
To put it another way, your dad can't find it if it's not in the Dock. (Well, my dad can't, anyway. Sorry to all the Mac-savvy dads out there; I am one, after all.)
In Lion, Apple aims to fill that gap with an application launching interface that's meant to be as easy to use as the Dock while providing access to every application on the system. It's called Launchpad, and you'll be forgiven for thinking that it looks like yet another interface element shamelessly ported from iOS.
Launchpad can be activated with a Dock icon (which, importantly, is in the Lion Dock by default), a multitouch gesture (a somewhat awkward pinch with the thumb and three fingers), or by dragging the mouse cursor to a designated corner of the screen. The grid of application icons that appears doesn't just look like iOS's SpringBoard, it also behaves like it, right down to the "folders" created by dragging icons on top of each other.
Holding down the option key makes all the icons sprout close widgets as they start to wiggle. Swiping right and left on the touchpad or with a click and drag of the mouse will move from screen to screen, accompanied by a familiar iOS-like dotted page indicator.
Launchpad will find applications in the standard /Applications
folder as well as ~/Applications
(i.e., a folder named "Applications" in your home directory), and any subfolders within them. Applications in the ~/Downloads
folder or on the desktop are not detected, which may actually be a problem for Mac users who have not yet figured out how to perform drag-and-drop application installations—yet another area where the Mac App Store will help make things simpler.
Speaking of which, when purchasing an application in the version of the Mac App Store that ships with Lion, the application icon leaps out of the Mac App Store window and lands in the next available position in the Launchpad grid, with an iOS-like progress bar overlaid on the new application's icon. If the Launchpad icon is in the Dock, it displays a similar progress bar and the icon bounces once when the download finishes.
Both serve as examples of animation that conveys useful information. "Here's where the application you just purchased has 'landed' on your Mac," the animation says. "To find it again, click the icon that just bounced in your Dock."
Given the wealth of excellent third-party application launchers available for the Mac, I'm not sure there's any reason for an expert user to use Launchpad instead of their current favorite alternative. But unlike, say, the Dock, Launchpad is easily ignored. Turn off the gesture, deactivate the hot corner, and remove the icon from the Dock and you'll never have to see it.
For everyone else, however, Launchpad will provide a huge improvement in usability. Even expert users should be excited about its arrival because it should make telephone or e-mail-based family technical support a bit easier.
User comments


This web application is used for searching the Western timetable. Users have the ability to create an account, save and edit lists of courses for logged in users, ability to publish these lists as well as the ability to add comments/ratings to individual courses. To have access to more functionality, please make sure to create an account and login. Enjoy!


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---
title: Research - Clifford Lab
permalink: "/research.html"
layout: default
---
All Projects
mHealth
- Perinatal Monitoring in Rural Guatemala
- CVD Screening in Souther India
- Rheumatic Heart Disease Screening in South Africa using a Low Cost Stethoscope
- Computational Psychiatry
- H1N1 tracking using mobile phone behaviors
- Low cost blood pressure monitoring
- Low cost neonatal monitoring
- Low cost ECG algorithms and devices
Sleep, circadian rhythms, and neuroscience
- Computational Psychiatry
- Automated detection of sleep apnea using video, audio and physiology
- PTSD and CVD
Critical care
- Predicting sepsis
- Predicting AF and stroke
- False alarm suppression
- Interfaces for decision support and labeling
- Crowd sourcing and algorithm voting
Perinatal monitoring
- Noninvasive fetal ECG modeling and extraction
- IUGR and preeclampsia detection using low cost devices
- Perinatal Monitoring in Rural Guatemala
- Low cost neonatal monitoring


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Let me start off by saying this was not my first experience with Salvia. A couple of months earlier I had tried Salvia, but could not feel the full effects. I was feeling gravity pushing against my face and I was a little bit off balance but other then that I did not experienced anything too intense.
 I was sitting on the floor as one of my friends (Dave) began to hit a bong with 20x Salvia. After a couple of hits he began to trip out. We sat around for a couple of minutes and then decided that it was a good time for me to hit the bong, Since Dave was already coming down from it. I switched spots with him and began to feel inticipation as I held on to the bong with the bowl full of 20x Salvia, I let my other friend (Andrew) light it for me because he was more experienced with salvia then me or Dave. Andrew began to light it as I began to relax. I inhaled deeply and held in my breath as my friend took the bong out of my hands. The longer I held in the hit, the stranger my face felt. It felt as though it was changing, after a couple of more seconds I exhaled. I had underestimated the effects of Salvia, and was not prepared for what had followed.
I began to feel as though the room was turned 90 degrees and that we were all sitting on the wall. I began to feel fear and confusion at this point. I started to struggle with my balance as I tried to get back on to the floor, which through my eyes was where the left wall should of been. I felt like I was knocking things over and banging my head against the wall. As a way to not injure my self I began to crawl on the surface I was previously walking on. The longer I stayed there crawling, the more I heard children's music and had a sudden urge to escape the room. I told my friends this later that day and they told me that I did not crawl on the floor, all I did was stood up and walked over to the other side of the room, with them helping me walk in the right direction, and step out into the hallway. I did not break anything because my friend had removed any obstacles in the room that would cause me to fall over and break something or injure myself.
Once I was in the hall, which at that time was extremely long and had bright white walls, the children's music began to fade away and the floor was were it was suppose to be. I still had no balance and was using one of the walls to support me. After a couple of minutes I got an intense body buzz. I then began to feel the full effects of the mysterious and wonderful plant. I could feel myself entering my body, I couldn't remember leaving it but I felt as though I was a different person. As my friends tried to talk to me (I couldn't understand english at this point) I began to realize that I was different than them. Thoughts began to cloud my mind as if I had a mild case of amneasa, then I remembered what I had forgotton. I was from a different universe, somehow I had switch bodies with an alien being and that my old consciousness was lost, and that the people in front of me were not my kind.
I remembering thinking that human kind was a threat and that my life was in danger. Also I knew that eventually I would have to tell these beings that I am not who they thought I was. That I was somehow brought to this universe and switch bodies with there former friend. Then I thought to myself that this could be dangerous, so I decided not to tell them until later on. All three of us moved back into the room and I sat onto the bed. I felt as though the bed and I was surrounded by the universe and that a higher being was watching me. I began to feel my face, which at this point felt unfamiliar. My hands were cold and felt as though they were not my own. Gravity was also constantly pushing me as I began to remember that I had smoked Salvia. I started to realise I was hallucinating and the universe began to disappear.
It took a couple of minutes for everything to be back to normal and after it was, it took me about an hour to remember everything that had happened to me. This was my very first intense experience with any drug and I will remember this for the rest of my life.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


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Smiley Mug at Corner Bakery Cafe on 10/2
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SweetFreeStuff.com.
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|
Drake
|
Struct for storing parameters for generating a desired acceleration objective \( \dot{v}_d \) for the QP inverse dynamics controller. More...
#include <drake/attic/systems/controllers/qp_inverse_dynamics/param_parser.h>
Public Member Functions | |
| DesiredMotionParam () | |
| DesiredMotionParam (int dim) | |
| bool | operator== (const DesiredMotionParam &other) const |
| Only checks numerical values being equal. More... | |
| bool | operator!= (const DesiredMotionParam &other) const |
Public Attributes | |
| std::string | name |
| Name can be arbitrary. More... | |
| VectorX< double > | kp |
| VectorX< double > | kd |
| VectorX< double > | weight |
Struct for storing parameters for generating a desired acceleration objective \( \dot{v}_d \) for the QP inverse dynamics controller.
A way to generate \( \dot{v}_d \) is through a simple PD law around a nominal setpoint \( (q^*, v^*, \dot{v}^*) \) as:
\[ \dot{v}_d = kp (q^* - q) + kd (v^* - v) + \dot{v}^*. \]
This setpoint is typically generated by some motion planner or simple heuristics. \( \dot{v}_d \) is then used in the quadratic cost function in the QP inverse dynamics controller. The cost function typically looks like:
\[ min_{\dot{v}} (\dot{v}_d - \dot{v})^T W (\dot{v}_d - \dot{v}), \]
where \( W \) is a diagonal weighting matrix. \( W \)'s diagonal terms are from weight
. Depending on the application, \( \dot{v}_d \) can also be ignored or treated as an equality constraint in the optimization. If weight(i)
is positive, \( \dot{v}_d(i) \) is used as a cost term. If weight(i)
is negative, \( \dot{v}_d(i) \) is used as an equality constraint. If weight(i) is zero, \( \dot{v}_d(i) \) is ignored.
This struct holds name, kp, kd, and weight.
|
inline |
|
inlineexplicit |
|
inline |
|
inline |
Only checks numerical values being equal.
Does not check for name equality.
| std::string name |
Name can be arbitrary.


SONiVOX EAS Version 2.00 Editing Software: Synthfont Viena Ported from Samsung GT-E1272 and Android Soundfont of SONiVOX EAS Full Presets and Full Keys Range (no reverb). Frequency 11khz - 32khz Using a Creative Sound Blaster GM bank. Using a Software Creative Vienna Soundfont Studio. Copy a Soundfont wt22khz.sf2 from in Floppy Disk 1.44MB Assembled of Indonesia. Sonivox Corporation Tokyo Japan. Copyright 1993 Sonivox Corporation
https://musical-artifacts.com/artifacts/824
This soundfont is based on the Sonivox EAS synthesizer, Copyright Sonic Network Inc. 2006. Sonivox EAS belongs to the Android Open Source Project. https://android.googlesource.com/platform/external/sonivox/+/refs/heads/master


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Today is a very special day at Hooting Yard. It's Yoko Ono's 74th birthday. Just as the people of Tanna, in Vanuatu in the South West Pacific, worship the Duke of Edinburgh as a god, we here at Hooting Yard recognise the divinity of Yoko.
Our devotion took a bit of a battering a few years ago when Mrs Gubbins dallied with Yokonetics, but a course of brain-sluicing with Baxter's Terrible Fluid and a visit from Yoko's lawyer set her back on the true path.
If anyone wants me, I shall be spending this special day in that field near Blister Lane Bypass, sitting in a bag with wool wrapped round my legs, screaming.


Includes two functions to evaluate the hypothesis of complete spatial randomness (csr) in point processes. The function 'mwin' calculates quadrat counts to estimate the intensity of a spatial point process through the moving window approach proposed by Bailey and Gatrell (1995). Event counts are computed within a window of a set size over a fine lattice of points within the region of observation. The function 'pielou' uses the nearest neighbor test statistic and asymptotic distribution proposed by Pielou (1959) to compare the observed point process to one generated under csr. The value can be compared to that given by the more widely used test proposed by Clark and Evans (1954).
| Version: | 1.03-0 |
| Depends: | R (≥ 3.0.2) |
| Imports: | sp |
| Published: | 2015-04-12 |
| Author: | Sarah Smith |
| Maintainer: | Sarah Smith <smirks2 at hotmail.com> |
| License: | GPL-2 |
| NeedsCompilation: | no |
| CRAN checks: | csrplus results |
| Reference manual: | csrplus.pdf |
| Package source: | csrplus_1.03-0.tar.gz |
| Windows binaries: | r-devel: csrplus_1.03-0.zip, r-release: csrplus_1.03-0.zip, r-oldrel: csrplus_1.03-0.zip |
| OS X binaries: | r-release: csrplus_1.03-0.tgz, r-oldrel: csrplus_1.03-0.tgz |
Please use the canonical form https://CRAN.R-project.org/package=csrplus to link to this page.


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I came across this excellent post from Tristan Mahr on plotting partially pooled estimates for mixed-effects models and was inspired to create an R package for it based on the code in the post. I found mixed models made more sense to me when I thought of them in terms of partial pooling, and I had been looking for ways to plot partially pooled estimates both as a more accessible way into telling others about mixed effects models and as a way to assess the fit of and better understand mixed effects models when I came across Mahr’s post.
Background
As a bit of background (this is from the Description for the package):
Scholars have defined mixed effects models as a compromise between complete pooling estimates (i.e., those from a linear model ignoring a grouping factor), no pooling estimates (i.e., a linear model for which each level of the grouping factor is dummy-coded), and partially pooled estimates (i.e., those from mixed effects models, for which group-specific estimates are shrunken to (or gather strength from) the overall estimates (Gelman & Hill, 2007).
lme4plotpartial
The package, tentatively and not very interestingly named lme4plotpartial
, is on GitHub here. It loads a function, plot_partial_pooling()
, that plots the complete pooling, no pooling, and partially pooled estimates for a mixed effects model.
Example
For now, an example, from Mahr’s post (here, dplyr
and lme4
are loaded for data procesing and a data file, respectively):
library(dplyr, warn.conflicts = FALSE)
library(lme4)
library(lme4plotpartial)
sleepstudy <- sleepstudy %>%
as_tibble() %>%
mutate(Subject = as.character(Subject))
plot_partial_pooling(sleepstudy, y_var = Reaction, x_var = Days, group = Subject)
Future improvements
In terms of potential improvements, an idea that would vastly expand functionality is to parse a lme4()
formula to specify the variables.
As a bit of reflection: The best part about creating this package, to me, was that after making I messaged Tristan, who then took time to (immensely) improve on it (in changes that are now reflected in the version of it available on GitHub). It was a cool example of the benefits of sharing (in my case, even in-progress work), because others can then use it.
Check it out and let us know what you think.


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To be a part of business world where I can contribute, utilize my skills and knowledge in Psychology to the organization, and enhance my experience through continuous learning and development.
Education
DE LA SALLE - LIPA
Bachelor of Science in Psychology
Tertiary
JUNE 2015 - JUNE 2019
CUENCA INSTITUTE
Gen Malvar Street Brgy. 3 Cuenca, Batangas
Secondary
JUNE 2011 – MARCH 2015
ST. ISIDORE CATHOLIC SCHOOL
Gen Malvar Street Brgy. 3 Cuenca, Batangas
Primary
JUNE 2006 – MARCH 2011
Skills
Knowledgeable in Microsoft Office application particularly Microsoft Word, Microsoft Excel, and Microsoft Power Point
Satisfying knowledge in administering and scoring objective personality tests, structured personality tests, excluding projective tests and other higher-level forms of psychological tests
Interprets the results of the psychological reports and prepares a written report on the results
Fluent in using English and Tagalog, whether oral or written
Ability to work under pressure
Cooperative when it comes to teamwork
Good leadership skills
Adaptability and Self- motivation
Always willing to learn new things
Awards & Leaderships
3rd Honor Awardee of College Of Educations and Sciences of De La Salle Lipa, S.Y .2015-2016
3rd Honor Awardee of College Of Educations and Sciences of De La Salle Lipa, S.Y .2017-2018
League of Volunteers Chairperson of De La Salle Lipa, Psychology Society, S.Y. 2016-2017
Assistant Finance Manager of De La Salle Lipa, Psychology Society, S.Y. 2017-2018
Vice President for Membership of De La Salle Lipa, Psychology Society, S.Y. 2018- 2019
Internship
JETBEST ANIMAL NUTRITION AND HEALTH CARE, INC.
Marawoy, Lipa City, Batangas
HUMAN RESOURCES INTERNSHIP
Job and Duties
~Conducted Phone Interviews
~Manage Company Supply Inventory
~Event Commmittee
~Encoder
~Administer, Scored and Interpret Tests
JANUARY 2019 – MARCH 2019
ST CLARE’S MEDICAL CENTER
1838 Dian Street, Makati City
CLINICAL INTERNSHIP
Job and Duties
~Conducted Mental Status Examination
~Reviewed patietns records before conducting an interview
~Group Dynamics
~Interacting with Patients
~Observing Patients and talk to a PSychologist
JUNE 2018 – JULY 2018
Seminars Attended
PSYNERGY 13: “MALAS O SWERTE? MGA KAALAMAN, PANINIWALA AT KWENTONG BAYAN NA MAY KINALAMAN SA ATING KAPALARAN”
Benitez Theater, Kolehiyo ng Edukasyon, Unibersidad ng Pilipinas - Diliman
2019
31ST ANNUAL PAPJA CONVENTION “PHILIPPINE PSYCHOLOGY IN CHALLENGING TIMES”
SMX Convention Center, Mall of Asia, Pasay City De La Salle University, Taft Avenue Manila
2018
13TH ANNUAL PROVINCIAL CONVENTION 2018 PSYCHOLOGICAL ORGANIZATION FOR THE PROMOTION OF MENTAL HEALTH “CAREER PATH IN PSYCHOLOGY: PUTTING YOUR DEGREE TO WORK” • 2018
De La Salle Lipa SENTRUM, Lipa City, Batangas
2017
PSYNERGY 11: “KAPWA, WER NA U? PAGHAHANAP NG KONSEPTO NG KAPWA SA MAKABAGONG PANAHON”
De La Salle Lipa Sentrum, Lipa City Batangas
2017
“FREE DATA: ISANG PAGTALAKAY SA PAGKALAT NG FAKENEWS”
Bro.Henry Virgil Gymnasium, De La Salle Lipa
2017
14TH EDUKCIRCLE CONVENTION ON PSYCHOLOGICAL COMMUNICATION: “PSYCHOLOGY AND THE CYBERWORLD: THE DIFFERENT EFFECTS OF THE INTERNET TO HUMAN BEHAVIOR”
AFP Theater Camp Aguinaldo, Quezon City, Philippines
2016
1ST PSYCHOLOGICAL SOCIETIES ASSOCIATION MENTAL HEALTH PSYCHOLOGICAL ORGANIZATION FOR THE PROMOTION OF MENTAL HEALTH (PSAMH-POPMH) STUDENT CONGRESS
Librada Avelino Auditorium, Centro Escolar University


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Then it turns you into a
From 1999, Discover Kerala, has been one of the most trusted and reliable Kerala tourism services.
Discover Kerala, at the best budget friendly prices with implacable luxuries.
Discover Kerala tower, number 4, EYM complex, Trivandrum


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Here lies the core of the software development lifecycle - from high level concepts and design through connecting to production code with scenarios. The structure provides a natural framework for design by decomposition - a superset of specification by example. Start with an overview description of the project or sub-project. From this you can discern vision points. These points lead to concrete goals. To reach goals the resulting software will need capabilities. Capabilities are made up of features and features are described by examples in the form of scenarios.
Place vision points that are not for immediate action below this section for later.


--- layout: project2 type: project image: images/uh.jpg title: UH Access Point Data 8/16/2018 - 8/22/2018 permalink: projects/uhmap date: 2018 labels: - Plot.ly - MapBox - Data Visualization summary: Portions of UI elements for UH HeatMap Access Point Data (ICS 484 Final Project) ---
< Select a data set


{% extends 'site/base.html' %} {% block content %}
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This is a web server, written completely in Python, that implements the xmlStorageSystem protocol used by Radio UserLand, a popular weblog tool.
Join up to get some free community webspace under pycs.net, or check out the recently updated weblogs (entire list). Users: log in to delete comments, etc.
DevelopmentPyCS Development Phil's Noteblog Scott Lewis's Radio Weblog |
CommunityX-Archetypes Workbench Peer to Peer by Richard Truex |
Version history from release 0.01 to the present
The README - installation notes
Developers: Project homepage at SourceForge


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DWIT Hiking Club Organizes First Batch Hike
The feeling of excitement had no boundaries when I heard about the compulsory hike to Nagarkot for Class of 2020 on Dec. 18. As it was a mandatory event, I knew everybody was going to be there, and since we hadn’t got a chance to interact with friends from another section, it was a great opportunity for bonding and knowing new people. Nagarkot..
Read more...


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|
CS Dungeon
1.0a
A simple game made by amateurs
|
This class allows an audio clip to be played during an animation state. More...
Public Member Functions | |
| override void | OnStateUpdate (Animator animator, AnimatorStateInfo stateInfo, int layerIndex) |
Public Attributes | |
| float | t = 0.5f |
| The point in normalized time where the clip should play. More... | |
| float | modulus = 0f |
| If greater than zero, the normalized time will be (normalizedTime % modulus). More... | |
| AudioClip | clip |
| The audio clip to be played. More... | |
This class allows an audio clip to be played during an animation state.
| override void PlayAudioClip.OnStateUpdate | ( | Animator | animator, |
| AnimatorStateInfo | stateInfo, | ||
| int | layerIndex | ||
| ) |
| AudioClip PlayAudioClip.clip |
The audio clip to be played.
| float PlayAudioClip.modulus = 0f |
If greater than zero, the normalized time will be (normalizedTime % modulus).
This is used to repeat the audio clip when the animation state loops.
| float PlayAudioClip.t = 0.5f |
The point in normalized time where the clip should play.


Perl test 1 is with no threshold filter on constraints (which means that all constraints are added, which takes much longer). For test 2, a threshold of 0.95 was used, which is the current standard for the toolkit. Python tests 3 and 4 are very similar. None of them uses a threshold. The only difference is in the method Graph._add_constraint_to_queue(): in 3 the inverted constraint is also added, in 4 it isn't. The results are the same, but 4 is faster. The Python code was not tested with the threshold.
1 Perl, no threshold 34 2 Perl, threshold of 0.95 9 3 Python, no threshold, adding inverted constraints 29 4 Python, no threshold, no inverted constraints 23
It seems fair to say that the Python implementation is 15-30% faster. What's more, the Python version derives more links: 5050 versus 3556 (perl test3). This is not yet explained.
The closure phase takes about ten times more time that the reduction phase, this may be even worse for larger documents. The optimizations suggested in the specifications stiil seem to make sense (although the gain on compiling out intersections is smaller than expected). In addition, the following things can be done (listed with the highest-impact changes first):
Test 5 includes the optimizations just mentioned, test 6 adds a threshold on confidence on classifier links. The speed improvement from test 4 to 5 is about 70%, more than bargained for (and more than reported by the profiler, which suggested a 55% improvement). Test 6 took less than a second (0.54 in fact). The speedup there is much bigger than with the Perl version probably because the Perl version seemed to miss some derivations, which must have sped up the system, skewing speed test 1. It seems fair to say that the partially optimized Python version is more than 10 times faster than the Perl version. This needs to be checked on all of TimeBank.
1 Perl, no threshold 34 2 Perl, threshold of 0.95 9 3 Python, no threshold, adding inverted constraints 29 4 Python, no threshold, no inverted constraints 23 5 Python, like 4, but with some optimizations 7 6 Python, like 5, using a threshold of 0.95 1
For the reduction phase, the first two items above were implemented as well as the use of the source attribute for deciding when an edge is derivable. This gave very good speed improvements: the CPU time reported by the profiler went down from 0.160 to 0.030 (about 80% faster).


'3BlackChicks Review...'
CHICKEN RUN (2000) Rated G; running time 85 minutes Genre: Animated IMDB site: http://us.imdb.com/Details?0120630 Official site (US): http://www.reel.com/chickenrun/ Official site (UK): http://www.chickenrun.co.uk/ Written by: Mark Burton, Karey Kirkpatrick, Jack Rosenthal Directed by: Nick Park, Peter Lord Cast: Voices of: Mel Gibson, Julia Sawahla, Miranda Richardson, Anthony Haygarth, Phil Daniels, Timothy Spall, Lynne Ferguson, Jane Horrocks, Imelda Staunton, Benjamin Whitrow
Review Copyright Rose Cooper, 2000 Review URL: http://www.3blackchicks.com/bamschicken.html
Like many of My Fellow Americans, my only real exposure to British Humour has been through the occasional transplanted TV series made over for an American audience, and through shows like BENNY HILL and PRISONER: CELL BLOCK H (yes, I know it was Aussie, and a drama. Hey, work with me here). All the more reason why I enjoyed CHICKEN RUN so much: I didn't have the added burden of having the ready comparison to its kin WALLACE AND GROMMIT or THE WRONG TROUSERS, for better or worse. Without hesitation or excuse, I could (and did), in my Anglo-virgin eyes, enjoy CHICKEN RUN for what it was.
The Story (WARNING: **spoilers contained below**):
Life on the farm is anything but fun for dese hea' chicks.
Tired of being cooped up for her purchase of eggs (and of living in fear that the axe will fall the day that her egg-production days are over), Ginger (Julia Sawahla) dreams of freedom Somewhere Out There, away from her oppressors, evil chicken farmer Mrs. Tweedy (Miranda Richardson) and her henpecked husband Mr. Tweedy (Anthony Haygarth).  But Ginger ain't havin' it; and with the help of packrats Nick (Timothy Spall) and Fetcher (Phil Daniels), and Rocky (Mel Gibson), a cocky flying Rhode Island rooster who falls out of the sky and into their roost, Ginger believes she and her chick friends might soon gain their freedom after all...
The Upshot: Loverly. Simply loverly.
CHICKEN RUN got the adult-to-children entertainment ratio right, even moreso than TOY STORY 2 did--and TS2 was one of my top ten flicks of 1999, so you know that's saying a lot. A good mix of clever allusions to war flicks of the past (especially THE GREAT ESCAPE and STALAG 17), plus quick nods to the likes of COOL HAND LUKE and Gibson's BRAVEHEART, "Chicken" didn't forget to play for the kiddies as well--and it did so without patronizing the children or insulting its older audience's intelligence. For every adult-type inside joke that went over the wee tot's heads ("bend over and kiss your bum goodbye!"), there was a message that could be easily grasped by the young ones. Would that DINOSAUR had been scripted by this team of folks; it might've been a much different flick.
But that's too heavy a statement to make here. The beauty of CHICKEN RUN is that it was fun to watch, even with its non-bright colors (done purposefully, I'd say, to denote a World War II-ish time period, as well as the comparative bleakness of the setting). In fact, not having seen the aforementioned WALLACE AND GROMMIT yet (though I'll be remedying that right soon, I reckon), I can easily compare it to another animated favorite of mine, A BUG'S LIFE, in its attention to detail and surrounding environment. And, like "Bug" in its climax, "Chicken" addresses the concept of teamwork, another good lesson for kids to take away. Not a shabby one for us adults either, come to think of it.
The animation technique used in CHICKEN RUN - claymation - worked beautifully; there were only a few moments (primarily when the camera was pulled back for a long shot) that the "drawings" seemed transparent and the scene didn't look natural (as if a chicken with teeth, and hands instead of wings, could possibly look natural). Still, it was head-and-shoulders above the schizo animation mix in TITAN A.E. with the added benefit of looking less polished (and therefore, even more believable) in its backgrounds.
But as good as the animation was, the voice characterizations were even better; again, a welcome improvement over "Titan" and "Dinosaur" before it. Here, the characters were convincing in their chickdom (and let us not forget about Nick and Fetcher's ratitude), and more important, the actors seemed in-touch with their characters; they seemed to be having fun with them. From the sweet airheadedness of Jane Horrock as Babs (her "How did you enjoy your Holiday?" as Ginger was brought back from time in The Hole, had more sincerity in its English lilt than the same line from an American Gen X actress could ever hope to deliver), to Phil Daniels and Timothy Spall's delight in playing a couple'a rats, to Lynne Ferguson's Mac and her playful nod to Scotty of STAR TREK fame, Julia Sawahla's dogged determination as Ginger, and the overall image of chickens running around like their heads were cut off - the actors and their characters almost all worked for me.
Especially, much to my surprise, Mel Gibson. After his mugging of the camera in "Lethal Weapon"s 2, 3, and 4, I was ready to write off his cute butt as one of those grossly overpaid movie stars who have more money than talent. As much as the producers balked at an American "stealing the show" (it's been reported that the production team insisted that the Yankee Rocky not be the hero here), that's exactly what happened in any scene where Gibson laid on his considerable charms as cocky Rocky. It wasn't so much that the other actors were lacking--they weren't--but Gibson just shined a wee bit brighter than the rest, and most surprising of all, he didn't work that last nerve in doing so. But on the other end of the spectrum was Miranda Richardson as Mrs. Tweedy; I know Richardson has the stuff of a good actress, but in "Chicken", I just wasn't feelin' her. Here, she was not only mean enough, she also wasn't given enough lines, making her character seem more a supporting player than the lead the story suggested. A minor quibble, to say the least; even at its worst, CHICKEN RUN just daggone fun to watch.
The one head-scratcher I came away with was the attitude of the chickens to their eggs. One has to wonder if these chickens grasped the "where do little chickens come from, mommy?" concept. This, however, was counterbalanced by the snicker-funny "which came first?" discussion between rats Nick and Fetcher--which reminds me to remind you: never leave an animated movie before the credits are over, or you might miss something "special".
CHICKEN RUN is one of those flicks I look forward to seeing multiple times with different age groups, to see the different vibes folks of all ages get from it. Can't wait to see it with my young cousins--and with my mother.
Bammer's Bottom Line: A clever, funny flick with a good sense of Brit style, and a surprisingly good (without being overbearingly cloying) vocal performance by Mel Gibson. Claymation sure has come a long way since "The California Raisins", eh?

Rose "Bams" Cooper /~\ Webchick and Editor, /','\ 3BlackChicks Review /','`'\ Movie Reviews With Flava! /',',','/`, Copyright Rose Cooper, 2000 `~-._'c / EMAIL<EMAIL_ADDRESS>`\ ( http://www.3blackchicks.com/ /====\
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Pair programming is a method of writing code where two people work on one project at the same time. Pair programming can take a few forms. The common ways to pair program are: driver/navigator and ping pong. Driver/navigator paring involves the navigator explaining what needs to be done, while the driver writes the code. In ping pong pairing, each of the pairs take turns on writing the code. Driver/navigator is most commonly used when one of the pair has a greater expertise.
Pair programming divides the labor of coding into two parts, which allows greater focus on each. The driver gets to focus on getting the code written effectively and accurately, while the navigator can analyze the direction of the project and copy-edit the syntax without having to split their attention with writing. By bringing two different skill sets and knowledge bases to bear on the same problem, each person helps mitigate the gaps in the other's experience and broadens the number of "tricks" available to the programmers.
To be successful at pair programming, the most important quality for the pair to share is communication. It is essential that the pair discuss their plan, how to execute their plan, and any misconceptions along the way regarding the execution. Pair programming is a great way to learn, but only if the pairs make the most of it. It's important for each of the pairs to ask questions so that they can learn along the way.
Dev Bootcamp brings together people with different skillsets and asks them to learn very quickly. The sharing of knowledge that is fundamental to pair programming accelerates that learning organically. Also, DBC puts enormous focus on developing empathy and teamwork in coding situations: pair programming is both a model and an experimental lab for those people skills.
Pairing with Alex was a good introduction to pairing. We probably spent a little too much time in the beginning discussing the technicalities of pairing, but I imagine that was because it was both of our first times pairing. I was happy that the assignment was something that we were qualified to accomplish. It was nice talking about our process and implementing the website together, because I felt we were on the same page most of the time. Since the task wasn't too difficult we could separate the work well and make sure we were efficient as well as effective. I think I learned that I'm talkative when I pair, so I should make sure that I ask my pair if I'm being too talkative. To be honest, my favorite part of this pairing was learning more about Alex, really neat and interesting stuff!
I really enjoyed working with Casey. We communicated well, with a structured but fluid understanding of our roles at a given time, and we had a pretty similar level of experience. The vibe was really positive and genuinely collaborative, and Casey knew some HTML5 tricks that really simplified our CSS. The challenge itself was pretty simple, which gave us space to figure out what worked for each of us in Stypi. I was afraid at first that I was taking the reins too much, but Casey was really good about keeping the lines of communication flowing, which made it easy to keep things on equal footing. He seems like just a solid guy.


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jsGraph plots scientific data into the browser. It is written in javascript and is self-contained. Embed it within seconds in your web application or web page. jsGraph renders line plots, scatter plots, bars, boxes, zone plots or density map. Through a full-featured API, you can customize and interact with your graph, or download the resulting SVG for static display or for scientific publications.
Using scalable vector graphics is the best way to generate high-quality graphs for scientific publications. Customize your graph with the full-featured API to make it look like exactly how you want it to.
jsGraph implements several layers of optimizations that allow blazing fast rendering. Millions of data points can be displayed in a few milliseconds. Very useful to display high quantity of data such as XRD or NMR spectra.
Zoom over your graph, drag it around or annotate some specific points using mouse and keyboard. All of that from the browser. Enable or disable mouse features at will.


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BLACKPINK is a four-member group consisting of Jennie, Lisa, Jisoo and Rosé. They are the newest girl group from YG Entertainment after seven years following 2NE1. A team of pretty visuals as well as talented and artistic individuals, they were first introduced in 2012 with “Who’s That Girl???” teaser series. With most members spending their childhood in foreign countries, the girls are fluent in Korean, English and Japanese, adding up their international appeal suggesting that they were formed to conquer not just the Korean music industry but the global stage as well!
BLACKPINK debuted on August 8th of 2016 with single album “SQUARE ONE” which includes dual title tracks ‘BOOMBAYAH’ and ‘WHISTLE’. ‘WHISTLE’ is a catchy hip-hop song that presents BLACKPINK’s groovy rap and soulful vocals while ‘BOOMBAYAH’ is EDM (cross-over) combined with electronic house and dance hall, a mega-trend genre that is sweeping American Billboard recently.
On November 1, 2016, BLACKPINK returned with the single album “SQUARE TWO” featuring two title tracks ‘PLAYING WITH FIRE’, a tropical house genre with medium tempo & a strong main synth sound and ‘STAY’, a song that boasts tender harmonica sound and sentimental guitar melody.
As a surprise gift to fans while the group is preparing for “SQUARE THREE’ album, BLACKPINK came back into the KPOP scene dropping the single ‘AS IF IT’S YOUR LAST’ which is like a cool drink that will take away the summer heat. It’s a fun, cute and BLACKPINK’s fastest track with lyrics talking about the excitement of love.


Microsoft says in blog post that it will honour California's privacy law in US
Microsoft Corp said in a blog post on Monday that it would honour California's privacy law, known as CCPA, throughout the United States.
WASHINGTON: Microsoft Corp said in a blog post on Monday that it would honour California's privacy law, known as CCPA, throughout the United States.
(Reporting by Diane Bartz)


AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY A film review by Serdar Yegulalp Copyright 1997 Serdar Yegulalp
CAPSULE: Godawful "comedy" that's amazingly shabby and cut-rate, and rather bereft of laughs.
I was having a bad week in my life when I saw AUSTIN POWERS:INTERNATIONAL MAN OF MYSTERY. I desperately needed something to cheer me up, or at least distract me so I could get a clear head. Get some perspective. Even dumb movies can do that for me, sometimes.
I tried hard not to let my dejection affect my judgment, but I am certain now that AUSTIN POWERS would have also sucked rocks through bamboo shoots on the day I won the lottery. Michael Myers has taken a character that would barely have supported a five-minute sketch on SATURDAY NIGHT LIVE and stretched it to the length of a feature film, padding it out with toilet jokes and the sort of props-strategically-positioned-between-naked-actors-and-camera gags that Benny Hill got tired of fifteen years ago.
The plot, what little there is of it: Back in the Swinging Mod Hep Sixties (I don't think I'm doing a disservice to the movie's attempted early look and feel by describing it that way), sexy British secret agent Austin Powers tangled with his nemesis Dr. Evil. Evil launched himself into orbit and cryogenically forze himself to return decades later, when Powers was out of the picture. Powers also had himself frozen, and he wakes up to find the Nineties a very hard time to deal with.
The basic gag, that of Powers' total inability to cope with the Nineties, is not so much exhausted during the course of the movie as never even really dealt with.  The movie's amazingly bereft of ideas, come to think of it, with a couple of bright exceptions. One is Dr. Evil's son -- there is a sidesplitting scene where father and son go to an encounter group, chaired by Carrie Fisher -- and the other is a throwaway gag where Austin mimics various forms of transportation from behind a couch (it's a visual gag -- hard to describe, and hard to recommend seeing the movie for).
A lot of Sixties kitsch has been resurrected and thrown on the screen for this movie, but it's desperate rather than clever. Instead of skewering the whole thing, it's a rather bloodless and unfunny tribute. Myers himself is also desperate: he's given an idea to play, not a character. Plus, the attempts to make the character work by giving him a relationship with another sexy (albeit "Nineties") agent are a waste of time. I wanted to have the movie end with him trying yet again to get it on with her, only to have her deck him one. With a couple of exceptions, the movie misses all of its own best moments.
The movie even looks cheesy, and not in a good way: I kept wondering if it had been transferred down from Hi-Def video or something, so grainy was the film stock in a good many scenes. The whole thing has the air of being done on the cheap.
My definition of comedy is simply: Did it make me laugh? The few times that I laughed in AUSTIN POWERS were completely offset by the time I spent cringing and wanting out. The most damning thing I could say about the movie is that Wayne and Garth would most likely have shoved it into Mike Tyson's shorts and sent it sailing.
One out of four flowers.
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