SAGOLANDET ["Land Of Dreams"]
A Film Review by Manavendra K. Thakur Copyright 1989 by Manavendra K. Thakur and The Tech Reproduced with permission.
1987 185 mins. Sweden English & Swedish with English subtitles Unrated Mono Color 16mm/1.33
With Johanna, Rollo May, Ingvar Carlsson, Tage Erlander, Gert Wilen, Lars Svelander, Timo Nilsson, Henry Karlsson, Dorte Hansen, Per-Olof Hakannson, Harold Lundstrom, Einar Carenfeldt, Stig Karlsson, Anita Grede, Seved Werntoft, Lars Norrman, Hideaki Yoshiguchi, Britta Nylander, Anna-Lisa Floren, Nils Erik Ahmansson, Edvin Bladh, The Sprung Family, and many others.
Credits: Directed and photographed by Jan Troell. Executive producer: Bengt Linne. Assistant producer: Goran Setterberg. Assistants: Mischa Gavrjusjov, Botvid Kihlman, Agneta Ulfsater. Original music by Tom Wolgers.
Production companies: Bold Productions AB / Sveriges Television AB, Malmo / Svenska Filminstitutet / Polyphon Film-und Fernsehgesellschaft MBH Distributor: Svenska Filminstitutet PO Box 27126 S-102 52 Stockholm SWEDEN (08) 65 11 00
Ever since Ingmar Bergman retired from active filmmaking, most Americans have had precious little contact with Swedish cinema. In fact, Lasse Hallstrom's MITT LIV SOM HUND ("My Life as a Dog") is the only Swedish film to have recently gained commercial distribution in the United States. Ironically, that charming and poignant film reintroduced Americans to Swedish cinema just as a wave of quality Swedish filmmaking was ending. Swedish cinema went into a slump in the mid 1980s, and -- like the state of American cinema during the 1930s -- quietly ambitious documentaries like Stefan Jarl's UHKKADUS ("Threat") have since become the prime source for innovation and vitality in Sweden today.
Jan Troell's SAGOLANDET ("Land of Dreams") is another of these new documentaries, but there is nothing quiet about it. In less than ten minutes it completely surpasses any expectations one might have for a 185-minute documentary about life in modern-day Sweden. At once intensely personal and of universal value, the film is a masterpiece of lyricism that transcends its immediate relevance: the film not only keeps the spirit of originality and creativity alive but also sets a new standard of excellence for documentary filmmaking. The film is so successful as a whole that its momentary lapses are easily forgiven and quickly forgotten.
Time and time again, Troell's film paints a bleak picture of Sweden as a nation where order, rationality, and efficiency take precedence over happiness, joy, and imagination. Troell also protests that the long record of human violence against the environment has in turn dehumanized humans themselves, and the film yearns for a "Land of Dreams" that would encourage people to explore their individual potential rather than stifle it. This theme might be summarized as the value of imagination versus the benefits of rationality, and Troell addresses it with considerably more thought and attention than the typical get-back-to-nature message or simplistic anti-technology diatribe. Furthermore, Troell is eminently successful in translating the film's thematic generalities into terms particularly relevant to the Sweden of today.
Sweden can be rightly proud of its rich artistic heritage, considering that it has produced such international giants (among others) as Strindberg in the theater and Sjostrom and Bergman in the cinema. It would be easy for foreigners to conclude that any country able to produce such world-reknowned artists must have something special going for it, and there is indeed something fascinating about Swedish culture. It is difficult to pin down, but part of what makes Sweden so intriguing is its strong liberal tradition. Following that tradition, the country has made giant strides toward securing political and economic security for all its citizens. In fact, progressive reformers in other countries have long pointed to Sweden as the success story of the modern welfare state.
At the same time, however, few foreigners seem to realize that Sweden's longstanding material prosperity has brought along with it a certain sense of coldness, emptiness, and even sterility. This is the fundamental contradiction of Swedish culture, and Troell astutely recognizes that it has several dimensions, ranging from the broadly political and economic to the personal and practical. As a Swede himself, Troell explores all of these considerations from inside out and gives passionate expression to their implications.
Because Troell engages his viewers with both personal and cultural introspection, his film is already praiseworthy in and of itself. If that were all he wanted to do, however, he might as well have written a book or acted out a drama on stage. What makes Troell's work into into a particularly valuable work of cinema is the intimate and symbiotic relationship between the film's cinematic styles and Troell's reasons for making the film. Each benefits the other, and Troell consistently manipulates the two brilliantly.
Consider, for example, just the first five minutes of the film. The film begins with a ground-level closeup of a red flower waving back and forth in the wind. An unseen adult male narrator (presumably Troell himself) says in Swedish that "As a child I would stand in the grass with outstretched arms, my face toward the sun. Then I'd close my eyes, and spin 'round, 'round... I felt then, that I experienced God." The film cuts to a slow-motion shot of a young boy jumping around in a field of white flowers in obvious delight. On the soundtrack, a piano softly plays "Twinkle, Twinkle, Little Star."
Then the film cuts to a right-profile shot of a well-dressed elderly man who speaks in English with an American accent: "Joy is the experience of something new, that one has not known before. Happiness is the fulfillment of one's past aims. The joy is the the discovery of new aims, the sense of being in a new country." The film cuts back to the young boy jumping and twirling about, again in slow motion. This time, two puppies cavort at his feet with him, and the final movement of Beethoven's Choral Symphony is heard joyously on the soundtrack.
Abruptly, the music stops and the film cuts to a full-body shot of a scarecrow made of some black clothes erected on a wooden cross. Ominous synthesizer chords begin to play on the soundtrack. The camera zooms back slowly to show the bleak, barren landscape that the scarecrow guards. Then the title SAGOLANDET appears on-screen, written in large black letters that are split vertically in half like early computer printout characters. The letters fade and the film continues on.
Clearly, Troell is combining lyrical moments with strong documentary footage in these scenes, and he makes the most each element: The opening narration over the red flower immediately stresses the value of childlike imagination and wonder. Troell drives home the difference between joy and happiness by delimiting the elderly man's observations between shots of the boy twirling about happily. (The man is, by the way, the American psychiatrist Rollo May, and Troell relies on him heavily throughout the film.) The bleak field suggests the spiritual emptiness of the rational landscape because it allows environmental folly, exemplified by the barren field, to occur. Finally, the computer-like font of the title letters creates tension by suggesting that the film is a down-to-earth documentary examination of a thoroughly mystical or magical place -- the "Land of Dreams."
The above analysis, though, barely begins to convey the tightly coherent structure Troell has created by editing 80 hours of raw footage down to 185 minutes. Just after the opening credits are over, for example, Troell includes footage of a dog show. Some time later, the film shows loggers using a large machine to cut down forest trees in less than 10 seconds each. Another sequence follows a professional dogkiller (at a dog pound) as he calmly explains their policy on putting stray dogs to death. A third sequence explains how loggers use a powerful bolt gun to shoot glyphosate capsules into birch and aspen trees. The glyphosate slowly kills the trees to make room for more profitable pine trees. The same bolt gun, the film shows, is used by the dog pound to dispatch stray dogs "instantly" and "painlessly." These seemingly disparate moments are in reality closely related because they show how the single-minded pursuit of efficiency can transform passive dominance (of humans over nature) into active destruction. Troell is at his poetic best while pointing out such relationships, and the above sequence is but one example of how intricately Troell has linked segments of his film together.
In terms of overall structure, the film is divided into several sections. Each section focuses on a specific place, idea, or group of individuals and then cuts back to quiet philosophical commentary by Rollo May (the American psychiatrist) or political arguments between Ingvar Carlsson and Tage Erlander. With impeccable documentary technique, Troell gets his subjects to open up to the camera, and his editing zeroes in on the essence of each conversation. Who is being interviewed is nowhere near as important as what he or she is saying, and so most Americans won't realize that Carlsson is the prime minister of Sweden and that Erlander is a former prime minister -- which is as it should be. Neither look like, talk like, or act like typical politicians, which is probably why Troell was interested in interviewing them in the first place.
Also seen throughout the film is Johanna, Troell's young daughter, whom Troell began photographing from birth. In the film, he shows her learning to walk, climbing stairs, riding happily on a circus merry-go-round. Not once, however, does the film resemble a home movie. Rather, Troell photographs Johanna to express his own joy -- in the true Rollo May sense of the word -- at becoming a father for the first time at age 50. Troell can share his intensely personal emotions with viewers in a meaningful way because espousing the value of those feelings is precisely the point of Troell's film. The presence of Johanna throughout the film powerfully underscores how inseparable Jan Troell is from his film. The two are one and the same.
No other filmmaker in recent memory has created an intimate document with so broad a value as this. SAGOLANDET supplants factual objectivity with poetic creativity and therefore works in markedly different ways from the typical cinema verite documentary. While one might not wholly agree with Troell's point of view or the film's numerous arguments, the film that flows from Troell's convictions -- judged as a work of art -- is an indisputable masterpiece. In addition, the film embodies the very same qualities that it says are missing from Swedish society, and therefore the film preserves its integrity and consistency at the same time that it adopts a leadership role. Few documentaries can claim to accomplish as much. For all of these reasons, and for many others left out, SAGOLANDET is a crowning achievement of international cinema and a supreme personal triumph for Jan Troell. One can only wonder to what heights Troell might climb from here.
Filmography of Jan Troell: [English translation and alternative titles in brackets. 'S' indicates a short film.]
STAD [Town] 1959 S SOMMARTAG [Summer Train] 1960 S 13 mins. POJKEN OCH DRAKEN [The Boy and the Dragon] 1961 S 20 mins. BATEN [The Boat] 1962 S 12 mins. DEN GAMLA KVARNEN [The Old Mill] 1962 S 12 mins. PORTATT AV ASA [Portrait of Asa] 1963 S JOHAN EKERBERG 1964 S 23 mins. UPPEHALL I MYRLANDET [Stopover in the Marshland] 1965 S HAR HAR DU DITT LIV [Here is your Life] 1966 170 mins. OLE DOLE DOFF [Eeny Meeny Miny Moe / Who Saw Him Die?] 1967 110 mins. UTVANDRARNA [The Emigrants] 1970 191 mins. NYBYGGARNA [The New Land] 1971 204 mins. ZANDY'S BRIDE 1974 119 mins. BANG! 1977 HURRICANE 1979 120 mins. INGEJOR ANDREES LUFTARD [The Flight of the Eagle] 1982 140 mins. SAGOLANDET [Land of Dreams] 1987 185 mins.
Jan Troell is a veteran Swedish filmmaker who is well-known for lyricism in his work. Born in Malmo in 1931, he taught in an elementary school in Malmo during the early 1950s and made instructional films for children in the late 1950s. He began making documentaries for Swedish television in the 1960s and made his feature film debut in 1966. He belongs to the generation of Swedish filmmakers (such as Bo Widerberg) that came of age in the 1960s, and he photographs all his films himself.
Manavendra K. Thakur {rutgers,decvax!genrad,uunet}!mit-eddie!thakur<EMAIL_ADDRESS><EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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Stories
Honoring outstanding teaching in the humanities
Established in 2002 to honor outstanding teaching by humanities faculty, the award is named in honor of one of UCSC's founding faculty members.
The Dizikes teaching award was designed to celebrate the Humanities faculty's commitment to excellence in teaching and its impact on undergraduate students.
The annual Humanities award comes with an unusual provision. In addition to being honored with a check for $3,000, the winner is entitled to select one undergraduate student to receive a $3,000 scholarship.
Farkas chose John Zwart, a senior Linguistics major.
"I chose John because the work he has done over the three quarters we have worked together exemplifies the kind of undergraduate research I hope to help foster," said Farkas. "It was a joy to see John's engagement and passion."
Farkas--whose research is in the field of formal semantics, based on data from Romance languages and Hungarian—reflected on her experience as a teacher at UCSC.
"People often talk about the 'world of academia' as different from the 'real world' out there. But when I think that, through teaching, we touch the lives of generation after generation of undergraduate and graduate students, I feel as anchored in the real world as one can be," said Farkas.
"The various sides of our academic life–research, undergraduate and graduate teaching–are tightly bound together," she added. "Enthusiasm comes easily when you talk about a problem in class in the afternoon if you have spent the whole morning thinking and reading about it for your own research, and are basking in the feeling of having made some progress."
Now a professor emeritus of American studies, John Dizikes served as Cowell College provost from 1979 to 1983, and mentored thousands of students during his 30-year teaching career.
He is the author of numerous books, including Opera in America (1993), which won the National Book Critics Circle Award in Criticism.
A beloved member of the Cowell community, Dizikes and his wife Ann were known for their weekly gatherings of students at the Provost's House before College Nights, and they are still honored today with an annual Dizikes Music Festival at Cowell.


---
title: "WWU Classfinder Visualization"
excerpt: "Short description of portfolio item number 2
"
collection: portfolio
---
classfinder - image
A collection of data visualizations of WWU course catalog from 2003-2021.
Department Enrollment Over Time


Do I know what my colours are?
Do I make my vowels sing?
Am I direct, sincere and simple?
Do I know the proper way to sit in and rise from a chair?
Am I lovable?
Am I original?
Am I valiant?
Have I made a legal will?
Do I know where it is?
Do I hang up my clothes as soon as I take them off?
Do I sew a snap-fastener on to each end of a piece of tape about an inch and a half long, and sew these tapes in the centre of all shoulder seams?
Am I so poised, so on my centre, so innately joyous that life cannot sway me this way or that?
Jill Edwards' Self-Searcher, a series of questions for daily reflection, quoted in Against The American Grain : Essays On The Effects Of Mass Culture by Dwight Macdonald (1962).


The Google Cloud Dataflow Runner uses the Cloud Dataflow managed service. When you run your pipeline with the Cloud Dataflow service, the runner uploads your executable code and dependencies to a Google Cloud Storage bucket and creates a Cloud Dataflow job, which executes your pipeline on managed resources in Google Cloud Platform.
The Cloud Dataflow Runner and service are suitable for large scale, continuous jobs, and provide:
The Beam Capability Matrix documents the supported capabilities of the Cloud Dataflow Runner.
To use the Cloud Dataflow Runner, you must complete the following setup:
Select or create a Google Cloud Platform Console project.
Enable billing for your project.
Enable required Google Cloud APIs: Cloud Dataflow, Compute Engine, Stackdriver Logging, Cloud Storage, and Cloud Storage JSON. You may need to enable additional APIs (such as BigQuery, Cloud Pub/Sub, or Cloud Datastore) if you use them in your pipeline code.
Install the Google Cloud SDK.
Create a Cloud Storage bucket.
For more information, see the Before you begin section of the Cloud Dataflow quickstarts.
When using Java, you must specify your dependency on the Cloud Dataflow Runner in your pom.xml
.
<dependency>
<groupId>org.apache.beam</groupId>
<artifactId>beam-runners-google-cloud-dataflow-java</artifactId>
<version>2.0.0</version>
<scope>runtime</scope>
</dependency>
This section is not applicable to the Beam SDK for Python.
Before running your pipeline, you must authenticate with the Google Cloud Platform. Run the following command to get Application Default Credentials.
gcloud auth application-default login
When executing your pipeline with the Cloud Dataflow Runner (Java), consider these common pipeline options. When executing your pipeline with the Cloud Dataflow Runner (Python), consider these common pipeline options.
| Field | Description | Default Value |
|---|---|---|
runner |
The pipeline runner to use. This option allows you to determine the pipeline runner at runtime. | Set to dataflow or DataflowRunner to run on the Cloud Dataflow Service. |
project |
The project ID for your Google Cloud Project. | If not set, defaults to the default project in the current environment. The default project is set via gcloud . |
streaming |
Whether streaming mode is enabled or disabled; true if enabled. Set to true if running pipelines with unbounded PCollection s. |
false |
tempLocation
temp_location
|
Optional.
Required.
Path for temporary files. Must be a valid Google Cloud Storage URL that begins with gs:// .
If set, tempLocation is used as the default value for gcpTempLocation .
|
No default value. |
gcpTempLocation |
Cloud Storage bucket path for temporary files. Must be a valid Cloud Storage URL that begins with gs:// . |
If not set, defaults to the value of tempLocation , provided that tempLocation is a valid Cloud Storage URL. If tempLocation is not a valid Cloud Storage URL, you must set gcpTempLocation . |
stagingLocation
staging_location
|
Optional. Cloud Storage bucket path for staging your binary and any temporary files. Must be a valid Cloud Storage URL that begins with gs:// . |
If not set, defaults to a staging directory within gcpTempLocation .
If not set, defaults to a staging directory within temp_location .
|
save_main_session |
Save the main session state so that pickled functions and classes defined in __main__ (e.g. interactive session) can be unpickled. Some workflows do not need the session state if, for instance, all of their functions/classes are defined in proper modules (not __main__ ) and the modules are importable in the worker. |
false |
sdk_location |
Override the default location from where the Beam SDK is downloaded. This value can be an URL, a Cloud Storage path, or a local path to an SDK tarball. Workflow submissions will download or copy the SDK tarball from this location. If set to the string default , a standard SDK location is used. If empty, no SDK is copied. |
default |
See the reference documentation for the
DataflowPipelineOptions
PipelineOptions
interface (and any subinterfaces) for additional pipeline configuration options.
While your pipeline executes, you can monitor the job’s progress, view details on execution, and receive updates on the pipeline’s results by using the Dataflow Monitoring Interface or the Dataflow Command-line Interface.
To block until your job completes, call waitToFinish
wait_until_finish
on the PipelineResult
returned from pipeline.run()
. The Cloud Dataflow Runner prints job status updates and console messages while it waits. While the result is connected to the active job, note that pressing Ctrl+C from the command line does not cancel your job. To cancel the job, you can use the Dataflow Monitoring Interface or the Dataflow Command-line Interface.
If your pipeline uses an unbounded data source or sink, you must set the streaming
option to true
.
The Beam SDK for Python does not currently support streaming pipelines.


Topics
R
- Lab 8: Bayesian Analysis using pyjags (+ Reinforcement Learning with gym)
- Lab 8: Bayesian Analysis using pyjags (+Reinforcement Learning using gym) [Notebook]
- Lab 2: Smooths and GAMs
- Lab 2: Smooths and GAMs [Notebook]
- Lab 2: Smooths and GAMs [Notebook]
- Lab 1: Setting up environment
- Lab 1: R set up [Notebook]
bayesian
pyjags
gym
- Lab 8: Bayesian Analysis using pyjags (+ Reinforcement Learning with gym)
- Lab 8: Bayesian Analysis using pyjags (+Reinforcement Learning using gym) [Notebook]
reinforcement learning
- Lab 8: Bayesian Analysis using pyjags (+ Reinforcement Learning with gym)
- Lecture 14: Reinforcement Learning
Python
Bayes
jags
RL
Markov Process
Bellman Equation
keras
- Lab 6: Recurrent Neural Networks
- Lab 6: Recurrent Neural Networks [Notebook]
- Lab 5: Convolutional Neural Networks
- Lab 3: Optimization of Neural Networks
- Lab 3: Optimization of Neural Networks [Notebook]
- Lab 3: Optimization of Neural Networks [Notebook]
RNN
- Lab 6: Recurrent Neural Networks
- Lab 6: Recurrent Neural Networks [Notebook]
- Lecture 11: RNN-2
- Lecture 10: RNN-1
LSTM
OpenAIgym
RNNs
Explodding Gradients
Vanishing Gradients
Reservoir Computing
GRU
Biderectional RNN
Deep RNN
convolutional neural net
- Lab 5: CNNs [Notebook]
CNN
- Lab 5: CNNs [Notebook]
- Lecture 9: CNN-2
- Lecture 9 Notebook [Notebook]
- Lecture 8: CNN-1
saliency
- Lab 5: CNNs [Notebook]
keras-viz
- Lab 5: CNNs [Notebook]
image preprocessing
- Lab 5: CNNs [Notebook]
CNNs
YOLO
SSD
RPN
FPN
AlexNet
LeNet
ResNets
DenseNets
R-CNN
Fast R-CNN
Faster R-CNN
Mask R-CNN
Face recognition
Convolutional Neural Network
- Lecture 9: CNN-2
- Lecture 9 Notebook [Notebook]
- Lecture 8: CNN-1
representation learning
Saliency maps
Receptive Field
transfer learning
NLP
- Lecture 9 Notebook [Notebook]
Embedding
- Lecture 9 Notebook [Notebook]
tokenize
- Lecture 9 Notebook [Notebook]
AWS
Earth Mover's distance
Optimal transport
Wasserstein
Domain adaptation
Cross-entropy
optimizers
- Lab 3: Optimization of Neural Networks
- Lab 3: Optimization of Neural Networks [Notebook]
- Lab 3: Optimization of Neural Networks [Notebook]
callbacks
- Lab 3: Optimization of Neural Networks
- Lab 3: Optimization of Neural Networks [Notebook]
- Lab 3: Optimization of Neural Networks [Notebook]
cross validation
- Lab 3: Optimization of Neural Networks
- Lab 3: Optimization of Neural Networks [Notebook]
- Lab 3: Optimization of Neural Networks [Notebook]
learning rate
- Lab 3: Optimization of Neural Networks
- Lab 3: Optimization of Neural Networks [Notebook]
- Lab 3: Optimization of Neural Networks [Notebook]
batch size
- Lab 3: Optimization of Neural Networks
- Lab 3: Optimization of Neural Networks [Notebook]
- Lab 3: Optimization of Neural Networks [Notebook]
momentum
- Lab 3: Optimization of Neural Networks
- Lab 3: Optimization of Neural Networks [Notebook]
- Lab 3: Optimization of Neural Networks [Notebook]
- Advanced Section 1: Optimization/Dropout
dropout
batch normalization
moving average
exponential weights
optimization
Adam
RMSprop
AMSGrad
sgd
gradient descent
MLP
smooths
- Lab 2: Smooths and GAMs
- Lab 2: Smooths and GAMs [Notebook]
- Lab 2: Smooths and GAMs [Notebook]
splines
- Lab 2: Smooths and GAMs
- Lab 2: Smooths and GAMs [Notebook]
- Lab 2: Smooths and GAMs [Notebook]
GAMs
- Lab 2: Smooths and GAMs
- Lab 2: Smooths and GAMs [Notebook]
- Lab 2: Smooths and GAMs [Notebook]


DEEP BLUE SEA ** (out of five stars) A review by Jamey Hughton
Starring-Samuel L. Jackson, Saffron Burrows, Thomas Jane, LL Cool J, Michael Rapaport, Stellan Skarsgard and Jacqueline McKenzie Director-Renny Harlin Rated 18A Released July 1999 Warner Bros.
Director Renny Harlin hit somewhat of a rough patch in 1995, when his pirate adventure Cutthroat Island become one of the biggest bombs of all time. Then in 1996 came The Long Kiss Goodnight, which also under-performed at the box office. And so, scarred by past failures and hoping to revive his ailing career, Harlin has returned to his action roots to deliver the underwater creature feature Deep Blue Sea.
Sharks are known for being efficient killing machines, but are never praised for their intelligence. Deep Blue Sea gives us an excuse to increase their IQ, introducing a group of scientists who have enlarged the brain tissue of three mako sharks five-fold with a hope to find a cure for Alzheimers. The experiment has commenced on Aquatica, a oceanic research lab resembling that of a `floating Alcatraz'. Dr. Susan McAlester (Saffron Burrows) is heading the project, along with her assistant (Jacqueline McKenzie) and a brilliant scientist (Stellan Skarsgard). Together, they are on the verge of a medical breakthrough.
But not everything goes to plan. There have been problems, including an escaped mako causing havoc for a group of teenagers out on at a nightly cruise (depicted in the distinctly Spielbergian opening scene). And experienced shark wrangler Carter Blake (Thomas Jane) has been noticing some surprising intellectual advances in the sharks. Namely: they can recognize a weapon, they can swim backwards, etc. Basically, whereas a regular mako would be thinking `Food! Food! Food!', these fishies are deeply contemplating things like `Oh, that fellow looks somewhat chubby for my taste... I'll have to choose another entree.'
The financial backer of the Alzheimers project, a tight-wad businessman named Russell Franklin (Samuel L. Jackson), arrives on Aquatica to survey the goings-on. And what timing! It is during a regular test that everything goes awry. An arm gets gnawed off, a helicopter crashes into the lab, all (of course) with a deadly storm brewing above. The small group of survivors, also including the religiously fanatical chef (LL Cool J) and the nervous engineer (Michael Rapaport), are stranded inside with a deadly trio of toothy villains. What follows is a lot of screaming, dismembered bodies and frantic swimming from very large dorsal fins scanning the many hallways.
Deep Blue Sea has shadows of fun. Once we get past the familiar set-up and the main players are introduced, we're treated to an exciting disaster sequence involving a lot of flames and slow-motion running. The eerie atmosphere, captured nicely throughout, sets in with a chill. But when the reality of poor writing and cheesy special effects sets in, this promising film becomes a perpetual disappointment. The characters flee like extras from The Poseidon Adventure, and the script becomes so ridiculous it often borders on self-parody.
There are a couple of moments that will make you jump - one, in particular - but still Deep Blue Sea fails miserably as a claustrophobic horror movie.  The actors become rag dolls viciously torn apart by these creatures, and the finished product is seriously lacking in shock value. Why? Because we know, all too well, that they are merely special effects. I only wish the excellent animatronic sharks were relied upon more often, and these laughable visuals could be extracted to avoid unintentional amusement.
The film's greatest asset is LL Cool J. The rapper has already tried his hand at acting (he appeared in Halloween H2O), but his performance here is funny and bright. Of the remaining actors, Jackson fares the best, with his veteran authority and dignified presence adding a thankful extra dimension. Little-known independent actor Jane could emerge a star, while Burrows - well, her work here is superior to that of Wing Commander. One refreshing thing about Deep Blue Sea is the fact that the supporting cast is made up of familiar faces, and there is never a certainty as to who is going to become dinner.
The silly script relies too much on special effects and not enough on plot. The intelligence of the sharks is discarded in favor of the scares, and we get little description of their super-smart antics. The dialogue is obvious, the foundation is always creaky, and the Trevor Rabin musical soundtrack is simply appalling. I could have concocted a better score with kitchen utensils and tin pans. You may have fun at Deep Blue Sea - the action is well-staged, and the pace never slows. But you could be easily distracted by the cornball script and special effects, which is why I advise you not to tread in these waters.
(C) 1999, Jamey Hughton
MOVIE VIEWS by Jamey Hughton: http://welcome.to/movieviews ......................
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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review and has no editorial control. Unless stated otherwise, the copyright
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The formatting of the review is likely to differ from the original due
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HP reiterates its rejection of Xerox's offer to buy the company
(Reuters) - HP Inc (HPQ.N) reiterated on Sunday its rejection of Xerox Corp’s (XRX.N) $33.5 billion cash-and-stock offer for the company, adding that the proposal “significantly undervalues HP.”
The personal computer maker said last Sunday it rebuffed Xerox’s offer, and that it was open to exploring its own bid for the U.S. printer maker. Xerox had offered HP shareholders $22 per share, involving $17 in cash and 0.137 Xerox share for each HP share, according to a Nov. 5 letter.
“We reiterate that we reject Xerox’s proposal as it significantly undervalues HP,” HP said in a letter to Xerox made public on Sunday.
“There continues to be uncertainty regarding Xerox’s ability to raise the cash portion of the proposed consideration and concerns regarding the prudence of the resulting outsized debt burden on the value of the combined company’s stock even if the financing were obtained,” the letter added.
HP also said it was concerned that Xerox’s exit from Fujifilm’s joint venture earlier this month left a “sizeable strategic hole in Xerox’s portfolio”.
Xerox threatened on Thursday to take its $33.5 billion buyout bid for HP hostile, if the company did not agree to a “friendly” discussion and open its books before Monday.


What about older browsers?
Transit degrades older browsers by simply not doing the
transformations (rotate, scale, etc) while still doing standard CSS
(opacity, marginLeft, etc) without any animation. Delays and
durations will be ignored.
// Delegate .transition() calls to .animate()
// if the browser can't do CSS transitions.
if (!$.support.transition)
$.fn.transition = $.fn.animate;
Fallback to frame-based animation
If you would like to fallback to classic animation when transitions aren't supported,
just manually redefine .transitition
to .animate
.
(Note: if you're using custom easing, you may need to also use jQuery Easing, and restrict
your use of easing options to the ones defined there.)
$.fx.speeds._default = 300;
Default duration
Transit honors jQuery's default speed, $.fx.speeds._default
.
$.cssEase['bounce'] = 'cubic-bezier(0,1,0.5,1.3)';
$('.box').transition({ x: 0 }, 500, 'bounce');
Custom easing
Define custom easing aliases in $.cssEase
.


This site is about my favorite place; THE OCEAN
by Marta Komar
Ocean is my favorite place.
© Marta Komar


BREAKING: Collation about to commence in Kogi - The Nation Newspaper
by https://www.facebook.com/alao.h.joshuaJames Azania, Lokoja
Collation is about to commence at the INEC Collation Centre in Lokoja.
The state REC, Prof. James Apam, said that results from 14 out it the 21 LGAs have come in.
Read Also: Lyon leads in Bayelsa governorship election
He said that the exercise will commence with Ogori Magongo LG, “which came in first yesterday.”
The Returning Officer for the Kogi poll is Prof. Ibrahim Umar (VC-ABU).
Details shortly…


--- layout: null section-type: about title: About --- ## About
Welcome! I am an Engineer. I studied Computer Science and Technology and received my Master degree from the School of Computer Science and Engineering, University of Electronic Science and Technology (UESTC), China. I was with an Embedded Software Engineering Center for my research during study where I developed my expertise with technologies. I worked with different research projects here like Computer Vision and NLP for image captioning system and scene recognition. My research interests are Reinforcement Learning, theoretical aspect of Deep Learning and Computer Games.


1. To add a reminder, on the home screen click the "Plus" button.
2. To turn off reminder just check it on the home screen. To enable deselect the desired reminder.
3. To archive reminder, on the main screen drag it to the left.
4. To fully delete a reminder, go to the tab Archive reminders and again pull it to the left.
5. To edit the reminder, press and hold on the desired reminder, or pull it to the right.
6. To edit a birthday, open a calendar, then select the date and in the list that appears click the birthday.
7. To add a birthday open the calendar and click the "Plus" button.
Or if the expanded button is enabled, then on the home screen, click the "Plus" button and in the list select "New Birthday".
8. To delete a birthday, open a calendar, then select the date and in the list that appears, tap and hold your finger on the desired birthdays.
9. To add a note navigate to the item "Notes" and there click the "Plus" button. Or if the expanded button is enabled, then on the home screen, click the "Plus" button and in the list select "New note".
10. Reserving system is designed so that reminder time of it has expired is not restored to the application.
11. To clear the archive of reminders just click the "Trash" button.
12. To delete an archived reminder simply drag it to the left.
13. To edit archived reminder open it or drag the item list to the right.
14. This option allows you to hide the reminder window with back button to respond to it later.
15. It allows you to turn on additional opportunities to click "Plus" on the main screen.
16. This item switches on displaying information window for reminders and notes instead switch ON / OFF and edit accordingly.
17. To enable the ability to save backups to cloud storage, go to Settings > Export and Sync > Third Party Service and in the window that appears, choose the appropriate cloud storage.
18. When you turn on this point creates a message that shows the following information about reminder and buttons to quickly add notes and reminders.
19. Voice notifications - a playback the text of reminder instead of melody. The text playing only when it coincides with the language of the text selected in the settings.
20. If this point is enabled, application will turn on screen every time when reminded
21. This option allows your application to unlock the screen to quickly respond to the reminder. When leaving the reminder the screen is blocked.
22. This option allows you to automatically send SMS at triggering the appropriate reminder type.
23. This option allows you to automatically open application or a link in browser with appropriate reminder type.
24. Here you can choose the time at which it will be possible to delay the reminder.
25. This option enables the reminder to recur if the user did not respond to previous. The recurrence interval can be chosen in the next paragraph.
26. This option activates quick response to a call rejected. To do this, create message templates for answers.
27. This option allows you to create quick reminder immediately after the call.
28. This option switches on displaying distance to the goal selected in location reminder.
29. This is the distance to the target specified in location reminder, which will reminded.
30. Here you can create a list of your favourite places to quickly create these reminders.
31. Here you can specify a minimum distance and time to update the position. The smaller index the higher accuracy.
32. This option enables creating reminder when you add quick note. The time by which the reminder will due You can change in next paragraph.
33. Here you can change the time used for voice with an undetermined time.
34. -If the expanded button is enabled in settings, on the home screen, click the "Plus" button and from the list select "Quick Notes". - If the expanded button is off, then on the home screen, press and hold the "Plus" button.


IT & MOBILE
Hello Everyone ! We have a good new. Do you want to advertise your business and let the people notice about your business more and more? We are here to support IT relating services for you. If you want to run your business widely with partners and get the customers from all over the world, you must have your own website on the internet to advertise your brand and business. Because nowadays almost everyone works on the Internet. Advertisements on TV or in newspaper are expensive and cannot attract the young people though. So website become the most popular way to approach the customers. Website is an internet workplace from which people can get informations about your business clearly and easily. That is why, don't you think that you need a website? Contact us for more details. Warmly welcome for your inquiry.
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Sun Studio
A
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always building a metatarget,
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B
boostbook
module,
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rule,
boostbook
C
catalog,
xsltproc
common signature,
Declaring Targets
cross compilation,
Cross-compilation
D
define,
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dependency,
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dll-path,
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docbook,
boostbook
doxygen,
doxygen
rule,
doxygen
doxygen:param,
doxygen
doxygen:xml-imagedir,
doxygen
E
embed-manifest,
Builtin features
exe,
Programs
F
fat binaries,
Apple Darwin gcc
features
builtin,
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fo,
boostbook
fop,
fop
format,
boostbook
G
generators,
Generators
glob-tree,
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H
hardcode-dll-paths,
Builtin features
html,
boostbook
htmlhelp,
boostbook
I
include,
Builtin features
install-source-root,
Installing
instruction-set,
Builtin features
L
library,
Builtin features
link,
Builtin features
M
main target (see metataget)
declaration syntax,
Declaring Targets
man,
boostbook
manifest file
embedding,
Builtin features
metatarget
definition,
Concepts
O
onehtml,
boostbook
P
pdf,
boostbook
prefix,
doxygen
preprocessed,
Builtin rules
preserve-test-targets,
Testing
property
definition,
Concepts
propagation,
Concepts
ps,
boostbook
Q
quickbook,
quickbook
R
reftitle,
doxygen
requirements,
Requirements
response files,
Response Files
rule ,
Boost.Jam Language
runtime linking,
Builtin features
S
source,
Builtin features
STLport,
STLport library
T
tests,
boostbook
threading,
Builtin features
U
use,
Builtin features
V
variant,
Builtin features
X
xhtml,
boostbook
xsl:param,
xsltproc
xsl:path,
xsltproc
xslt,
xsltproc
xslt-dir,
xsltproc
xsltproc,
xsltproc
Typedef Index
Symbols
64-bit compilation,
Builtin features
gcc,
GNU C++
Microsoft Visual Studio,
64-bit support
Sun Studio,
Sun Studio
A
additional parser,
Non-conventional Syntax
always building a metatarget,
Builtin rules
B
boostbook
module,
boostbook
rule,
boostbook
C
catalog,
xsltproc
common signature,
Declaring Targets
cross compilation,
Cross-compilation
D
define,
Builtin features
dependency,
Builtin features
dll-path,
Builtin features
docbook,
boostbook
doxygen,
doxygen
rule,
doxygen
doxygen:param,
doxygen
doxygen:xml-imagedir,
doxygen
E
embed-manifest,
Builtin features
exe,
Programs
F
fat binaries,
Apple Darwin gcc
features
builtin,
Builtin features
fo,
boostbook
fop,
fop
format,
boostbook
G
generators,
Generators
glob-tree,
Builtin rules
H
hardcode-dll-paths,
Builtin features
html,
boostbook
htmlhelp,
boostbook
I
include,
Builtin features
install-source-root,
Installing
instruction-set,
Builtin features
L
library,
Builtin features
link,
Builtin features
M
main target (see metataget)
declaration syntax,
Declaring Targets
man,
boostbook
manifest file
embedding,
Builtin features
metatarget
definition,
Concepts
O
onehtml,
boostbook
P
pdf,
boostbook
prefix,
doxygen
preprocessed,
Builtin rules
preserve-test-targets,
Testing
property
definition,
Concepts
propagation,
Concepts
ps,
boostbook
Q
quickbook,
quickbook
R
reftitle,
doxygen
requirements,
Requirements
response files,
Response Files
rule ,
Boost.Jam Language
runtime linking,
Builtin features
S
source,
Builtin features
STLport,
STLport library
T
tests,
boostbook
threading,
Builtin features
U
use,
Builtin features
V
variant,
Builtin features
X
xhtml,
boostbook
xsl:param,
xsltproc
xsl:path,
xsltproc
xslt,
xsltproc
xslt-dir,
xsltproc
xsltproc,
xsltproc
Function Index
Symbols
64-bit compilation,
Builtin features
gcc,
GNU C++
Microsoft Visual Studio,
64-bit support
Sun Studio,
Sun Studio
A
additional parser,
Non-conventional Syntax
always building a metatarget,
Builtin rules
B
boostbook
module,
boostbook
rule,
boostbook
C
catalog,
xsltproc
common signature,
Declaring Targets
cross compilation,
Cross-compilation
D
define,
Builtin features
dependency,
Builtin features
dll-path,
Builtin features
docbook,
boostbook
doxygen,
doxygen
rule,
doxygen
doxygen:param,
doxygen
doxygen:xml-imagedir,
doxygen
E
embed-manifest,
Builtin features
exe,
Programs
F
fat binaries,
Apple Darwin gcc
features
builtin,
Builtin features
fo,
boostbook
fop,
fop
format,
boostbook
G
generators,
Generators
glob-tree,
Builtin rules
H
hardcode-dll-paths,
Builtin features
html,
boostbook
htmlhelp,
boostbook
I
include,
Builtin features
install-source-root,
Installing
instruction-set,
Builtin features
L
library,
Builtin features
link,
Builtin features
M
main target (see metataget)
declaration syntax,
Declaring Targets
man,
boostbook
manifest file
embedding,
Builtin features
metatarget
definition,
Concepts
O
onehtml,
boostbook
P
pdf,
boostbook
prefix,
doxygen
preprocessed,
Builtin rules
preserve-test-targets,
Testing
property
definition,
Concepts
propagation,
Concepts
ps,
boostbook
Q
quickbook,
quickbook
R
reftitle,
doxygen
requirements,
Requirements
response files,
Response Files
rule ,
Boost.Jam Language
runtime linking,
Builtin features
S
source,
Builtin features
STLport,
STLport library
T
tests,
boostbook
threading,
Builtin features
U
use,
Builtin features
V
variant,
Builtin features
X
xhtml,
boostbook
xsl:param,
xsltproc
xsl:path,
xsltproc
xslt,
xsltproc
xslt-dir,
xsltproc
xsltproc,
xsltproc
Macro Index
Symbols
64-bit compilation,
Builtin features
gcc,
GNU C++
Microsoft Visual Studio,
64-bit support
Sun Studio,
Sun Studio
A
additional parser,
Non-conventional Syntax
always building a metatarget,
Builtin rules
B
boostbook
module,
boostbook
rule,
boostbook
C
catalog,
xsltproc
common signature,
Declaring Targets
cross compilation,
Cross-compilation
D
define,
Builtin features
dependency,
Builtin features
dll-path,
Builtin features
docbook,
boostbook
doxygen,
doxygen
rule,
doxygen
doxygen:param,
doxygen
doxygen:xml-imagedir,
doxygen
E
embed-manifest,
Builtin features
exe,
Programs
F
fat binaries,
Apple Darwin gcc
features
builtin,
Builtin features
fo,
boostbook
fop,
fop
format,
boostbook
G
generators,
Generators
glob-tree,
Builtin rules
H
hardcode-dll-paths,
Builtin features
html,
boostbook
htmlhelp,
boostbook
I
include,
Builtin features
install-source-root,
Installing
instruction-set,
Builtin features
L
library,
Builtin features
link,
Builtin features
M
main target (see metataget)
declaration syntax,
Declaring Targets
man,
boostbook
manifest file
embedding,
Builtin features
metatarget
definition,
Concepts
O
onehtml,
boostbook
P
pdf,
boostbook
prefix,
doxygen
preprocessed,
Builtin rules
preserve-test-targets,
Testing
property
definition,
Concepts
propagation,
Concepts
ps,
boostbook
Q
quickbook,
quickbook
R
reftitle,
doxygen
requirements,
Requirements
response files,
Response Files
rule ,
Boost.Jam Language
runtime linking,
Builtin features
S
source,
Builtin features
STLport,
STLport library
T
tests,
boostbook
threading,
Builtin features
U
use,
Builtin features
V
variant,
Builtin features
X
xhtml,
boostbook
xsl:param,
xsltproc
xsl:path,
xsltproc
xslt,
xsltproc
xslt-dir,
xsltproc
xsltproc,
xsltproc


"Programming's Dirtiest Little Secret"
I did not come up with that title (maybe you figured by the quotes). I found a great blog post that explains what is the “secret”, it’s a pretty good read in itself and it addresses the case so well: Stevey’s Blog Rants.
I was actually already looking for ways to learn how to touchtype. I tried it once before a few months ago but I lacked persistence then. After reading Steve’s post I don’t anymore. I’m not writing all that slow to be honest, but my technique is far from perfect. And I know this is something I simply need if I want to have a headstart in any type of programming career. So I practiced for the last four days, 30 minutes each day. And I’m going to carry on for at least the next month and see where it takes me!
Typingweb
Looking for a tool that would help me here, I came across typingweb. It’s a great place where you can start learning touchtyping straight away, without the need of even downloading anything. There are free courses for beginners and advanced. Seems pretty cool to me! I’ll post an update afer some time to see how my writing speed developed.


At the time of this writing, there is only one Web browser that has the functionality to support an embedded Perl interpreter. That browser is Netscape, through its plug-in mechanism. There has been a rumor that the Microsoft browser will also support plug-ins soon, but we did not investigate this.
As we've already mentioned, at the time of this writing, there is only one example of a Netscape plug-in that invokes Perl. It does not actually embed the Perl interpreter into the plug-in, but rather it uses UNIX pipes to communicate with the Perl executable. Before we take a look at it, let's consider the list of potential components of an embedded mechanism in a browser. There are a number of features that definitely should be part of any future Perl plug-in, and others that certainly might be nice to have in a fully implemented plug-in, once someone finally takes the time and expertise to write it and release it.
- Secure Runtime Environment: Above all else, the Perl plug-in needs to be secure. If it's going to be released to the public, especially, it should be configured to be as secure and restrictive in its default capabilities as possible. The Safe module, which we looked at in some detail in Chapter 3, "Security on the Web," gives us the capability to completely mask given operations considered to be insecure, to keep them from ever being executed by the Perl interpreter. Any Perl plug-in should use the Safe/Opcode modules, by default. The Perl plug-in we'll look at later certainly does.
- Encryption/Signatures: You might want to assure that the code you're executing has come from a source you trust, via your PGP keyring, for instance. If the decoded and/or signature-verified code is from a known, trusted source, you could execute it straight away without too many worries. If it isn't, then you'd (hopefully) want to inspect the code carefully and understand what it will do before executing it. The PGP module we looked at in Chapter 3 might be a viable means for decrypting or verifying the signature on a chunk of Perl code before executing it.
- Cross-Platform Compatibility: One of the nicest things about the Java and JavaScript languages is that their applets, or scripts, are guaranteed to run on any platform that has the embedded Java within the Netscape (or Microsoft) browser. When using Perl, on the other hand, there's no way to ensure that a given script will run on any platform. There are commands, modules, and other capabilities that are platform-dependent in Perl. The capability to fork() or exec() a process, for instance, is pretty much limited to the UNIX platform. Because Perl is so UNIX-centric, many of the libraries and modules contain platform-specific code. There is a general trend away from this tendency, but it's a slow and sometimes painful one. Other times, it's just not possible to make a given program or module compatible with all of the architectures that can run Perl. The core functionality of Perl is usually available to any script, however. With this in mind, you could design the scripts to be served to clients appropriately. Alternatively, you could force the client to have the Mozilla-UNIX identifier before serving the script to it if there were known incompatibilities with other architectures. Finally, if you really need to get something like a module or library to work on an unsupported or untested architecture, you could always port the code to that architecture. Be sure to let the author know and submit changes you had to make to get the module working, and so on.
- Byte-Code Interpretation: Byte-Code is a form of a Perl program or script that has been precompiled. When bytecode is sent over the Net as an executable, it's called an applet in the Java world. There are several advantages to running bytecode as opposed to parsing and compiling a text file. The first, and probably the most important from a shared-code standpoint, is that it's much more difficult (but not impossible) to change a bytecode program once it's been created than it is to change a given textfile script. This adds some assurance to the client that what they receive and execute is indeed what you intended for them to receive as the server. The second advantage is speed. The bytecode program is in its final form, already parsed and reduced to an opcode tree. Thus, when you feed it to Perl, Perl can load and execute it directly, reducing the time to get a result. Finally, there's an enhancement in platform-independence when serving bytecode. Again, as previously mentioned, this isn't really an issue when executing Perl code, because there are operations that may reduce to bytecode on one architecture but still won't execute on another architecture. This is a win with the Java language, however, because most or all of its operations are guaranteed to run under any architecture.
- Browser Communications: It's certainly nice to be able to communicate back to the browser the result of running a given program. It's arguable, on the other hand, how much the client really wants to know. Java provides the programmer with the capability to create and manipulate windows or drawing areas (rectangles) within the browser window. These features are commonly used to do animation and other dynamic processes within the browser, often for entertainment's sake. This also gives the browser the capability to execute code and produce output, such as summing the values from a form or figuring the tax on a purchase, which might otherwise require a CGI routine on the server. Perl, as a language, provides extremely powerful capabilities for processing data and manipulating text, but it is still a little weak on the animation/windowing side of things. Of course, you can use external modules and libraries, which do handle this in a much nicer way, to communicate with the browser. We'll look at an example a bit later, using the OpenGL module. You could also use the Java interface for communicating with the browser/client and use Perl for processing the data. In the simple case, and possibly the most utilitarian, all the client may need to know is whether the script ran successfully, or possibly the results, if the script is manipulating some local files, for instance.
So, now that we've considered what could and should be a part of a Perl plug-in, let's take a look at the one that has already been developed.
The Netscape plug-in development kit provides the developer with a simple interface to and from the Netscape browser. The plug-in developer defines the MIME type/extension that he or she wants Netscape to associate with the plug-in, and whenever any URL of this type is received, the plug-in is invoked and is passed the content of the URL. It's then up to the plug-in to process the content as it sees fit and exit with an appropriate value that is returned to Netscape.
The existing Perl plug-in is quite simple in its implementation, but it has an enhanced entertainment value and visual appeal because it's implemented using the OpenGL 3D Graphics Rendering kit. It can communicate with the browser directly, creating windows within the browser for its output.
The OpenGL plug-in source is distributed with the OpenGL Perl5
extension, available from the CPAN in the
~modules/by-module/OpenGl
directory. If you don't
have OpenGL, you can obtain a library, called MesaGL, which
emulates most of OpenGL's features and capabilities for free.
MesaGL is available by anonymous ftp from
ftp://iris.ssec.wisc.edu/pub/Mesa
.
You'll need to install the OpenGL or MesaGL C library and have the OpenGL Perl5 extension, as well as the Safe/Opcode module available, for the plug-in to work.
Once you've installed everything, you can try some of the sample scripts that come with OpenGL. In particular, the OpenGL Perl plug-in is distributed with a sample Perl script called quest.glp, which, when run by itself, produces a window with a simple animated 3D maze, which looks something like Figure 15.1.
Figure 15.1. The Maze object.
While the script is running, the Maze object you see will actually be rotating on its 3D axis and slowly moving closer to, then farther away from, the foreground. It's not particularly useful, granted, but it is visually appealing. Now, let's take a closer look at the source code for the plug-in to see how it works its simple magic.
As with any Netscape plug-in, there are C code routines that
you must code up to make it do what you want. As we've
previously mentioned, the plug-in must be able to tell
Netscape what MIME type it's able to handle. This is done
through the NPP_GetMIMEDescription()
function in
the npshell.c source code file. This particular plug-in sets
itself up to handle URLs of the
application/Perl-opengl:.glp
type. Whenever a URL with the extension .glp is received by
Netscape, it will invoke the plug-in and pass in the contents.
Once the plug-in is invoked, the
NPP_Write()
function is eventually called, and
here is where the plug-in developer chooses to actually invoke
Perl, using the UNIX popen(3S)
routine. Once Perl
is started and waiting at the other end of the pipe for input,
the contents of the URL (the Perl script) is fed to it, using
the Safe::reval()
method discussed in Chapter 3.
This also implies that a Safe Compartment is created, and the
exported symbols from the OpenGL
module are
permit()
'd into it. We end up with a Netscape
window that looks like Figure 15.2.
The html that invokes the plug-in has the
EMBED
tag
<EMBED src="quest.glp", width=300, height=300>
which causes the plug-in to be invoked with the right extension.
Hopefully, as time allows, we'll start to see other useful Netscape plug-ins that embed Perl and implement an encryption method for the exchange of scripts and bytecodes.


---
layout: default
title: Home
subtitle: My latest articles
sitemap:
priority: 0.9
---
Hi there,
I am a PhD Sudent at Nokia Bell Labs, in Paris Saclay.
You can sheck my research articles on my blog page
You can also mknow more about me in the About section,
or see my résumé in the CV tab.
Enjoy!


Page 1 of 1
Which character models do we need?
Posted:
Wed Jul 18, 2007 6:10 pm
by Cletus
I'll work on them if you'd like.
Posted:
Wed Jul 18, 2007 7:41 pm
by thadiusofx3
any you can come up with
Posted:
Wed Jul 18, 2007 8:11 pm
by Karl G.
Human would be a good start, but thad's right--everything!
Posted:
Wed Jul 18, 2007 11:28 pm
by Cletus
Well I know he's been making some, and I made a dreg model, so I didn't quite know what all was needed.
Posted:
Wed Jul 18, 2007 11:49 pm
by Cletus
Alright, so I made a human model too, Thad. I uploaded the .mtl and other file you requested.