Lexicography is the practice of creating books, computer programs, or databases that reflect lexicographical work and are intended for public use.

Linguistic description is often contrasted with linguistic prescription

(1962) Pale Fire

In 1992, Lynx was born as an early Internet web browser. Its ability to provide hypertext links within documents that could reach into documents anywhere on the Internet began the creation of the Web on the Internet.

Google Wave, later known as Apache Wave, was a software framework for real-time collaborative online editing. Originally developed by Google and announced on May 28, 2009,[1][2][3] it was renamed to Apache Wave when the project was adopted by the Apache Software Foundation as an incubator project in 2010. Wave is a web-based computing platform and communications protocol designed to merge key features of communications media, such as email, instant messaging, wikis, and social networking.[4] Communications using the system can be synchronous or asynchronous. Software extensions provide contextual spelling and grammar checking, automated language translation[2] and other features.[5] Initially released only to developers, a preview release of Google Wave was extended to 100,000 users in September 2009, each allowed to invite additional users. Google accepted most requests submitted starting November 29, 2009, soon after the September extended release of the technical preview. On May 19, 2010, it was released to the general public.[6]

The media attention that Google Knol received at its launch soon dissipated.[4] The site failed to gain a large readership – by mid-2009, Knol as a whole was getting only about 175,000 views a month,[30] compared to Wikipedia, whose views accumulated into the billions. As a result, the financial model behind Knol was never realized.[31] Google stopped promoting Knol,[4] and two years after its inception, few people were aware of Knol's existence.[3] It became apparent that Google had fundamentally misunderstood the reasons for Wikipedia's success.[3]

7 November 2018 curprev 03:5303:53, 7 November 2018‎ LuckyLouie talk contribs‎ 20,890 bytes +90‎ →‎Conspiracy theories: Clarify from source, per Talk curprev 01:1301:13, 7 November 2018‎ LuckyLouie talk contribs‎ 20,800 bytes +179‎ →‎Conspiracy theories: C/e and add Weinberger source to clarify Project Pandora. Remove Jack Anderson "Operation Pandora" source as unneeded. 6 November 2018 curprev 19:4019:40, 6 November 2018‎ LuckyLouie talk contribs‎ 20,621 bytes −5‎ →‎Conspiracy theories: More accurate to source

curprev 12:4112:41, 23 June 2023‎ ReferenceMan talk contribs‎ 166,908 bytes −36‎ →‎Remote viewing: Changed Stanford Research Institute to SRI International. Its name changed in 1970, before the event mentioned. undo Tags: Visual edit Mobile edit Mobile web edit Advanced mobile edit

they were answered by Duns Scotus (1264–1308), who "developed the idea of preservative redemption as being a more perfect one: to have been preserved free from original sin was a greater grace than to be set free from sin".[30]

Termas are of two main kinds: earth treasures and intention, or mind, treasures. A teaching concealed as an intention treasure appears directly within the mind of the tertön in the form of sounds or letters to fulfill the enlightened intention of Padmakara.

treasure revealers known as tertöns

as a result, one can situate the khôra and, if necessary, lend it a topology, but one can never give it axiomatic form."[12]

iLike was an online service that allowed users to download and share music.

"Reply all" redirects here. For the podcast, see Reply All (podcast).

Datalog

The reliability of Wikipedia

In physics and engineering, the quality factor or Q factor is a dimensionless parameter that describes how underdamped an oscillator or resonator is. It is defined as the ratio of the initial energy stored in the resonator to the energy lost in one radian of the cycle of oscillation.[1]

Literary interpretation has considered the myth of Icarus as a consequence of excessive ambition.[27] An Icarus-related study of the Daedalus myth was published by the French hellenist Françoise Frontisi-Ducroux.[28] In psychology, there have been synthetic studies of the Icarus complex with respect to the alleged relationship between fascination for fire, enuresis, high ambition, and Ascensionism.[29] The term Icarus complex is defined by NGHIALAGI.net as, "A form of overcompensation wherein an individual, due to feelings of inferiority, formulates grandiose aspirations for future achievement despite lacking proper talent, experience, and/or personal connections. Such a person often exhibits elitism fueled by hubris and detachment from social reality."[30] In the psychiatric mind, features of disease were perceived in the shape of the pendulous emotional ecstatic-high and depressive-low of bipolar disorder. Henry Murray having proposed the term Icarus complex, apparently found symptoms particularly in mania where a person is fond of heights, fascinated by both fire and water, narcissistic and observed with fantastical or far-fetched imaginary cognition.[31][32] Seth Godin's 2012 The Icarus Deception, points to the historical change in how Western culture both propagated and interpreted the Icarus myth arguing that "We tend to forget that Icarus was also warned not to fly too low, because seawater would ruin the lift in his wings. Flying too low is even more dangerous than flying too high, because it feels deceptively safe."[33] Each study and analysis of the myth agrees Icarus was too ambitious for his own good.

According to scholia on Euripides, Icarus thought himself greater than Helios, the Sun himself, and the god punished him by directing his powerful rays at him, melting the beeswax. Afterwards, it was Helios who named the Icarian Sea after Icarus.[10]

After Theseus, king of Athens and enemy of Minos, escaped from the labyrinth, King Minos suspected that Icarus and Daedalus had revealed the labyrinth's secrets and imprisoned them—either in a large tower overlooking the ocean or the labyrinth itself, depending upon the account.[1][2] Icarus and Daedalus escaped using wings Daedalus constructed from feathers, threads from blankets, clothes, and beeswax.[3] Daedalus warned Icarus first of complacency and then of hubris, instructing him to fly neither too low nor too high, lest the sea's dampness clog his wings or the sun's heat melt them.[3] Icarus ignored Daedalus's instructions not to fly too close to the sun, causing the beeswax in his wings to melt. Icarus fell from the sky, plunged into the sea, and drowned. The myth gave rise to the idiom, "fly too close to the sun." In some versions of the tale, Daedalus and Icarus escape by ship.[1][4]

In Greek mythology, Icarus (/ˈɪkərəs/; Ancient Greek: Ἴκαρος, romanized: Íkaros, .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}pronounced [ǐːkaros]) was the son of the master craftsman Daedalus, the architect of the labyrinth of Crete.

Apollonov began five separate university degrees and failed to complete any of them.

Contents move to sidebar hide (Top) 1Text 2Printing history 3The production process: Das Werk der Bücher Toggle The production process: Das Werk der Bücher subsection 3.1Pages 3.2Ink 3.3Type 3.4Type style 3.5Rubrication, illumination and binding 4Early owners 5Influence on later Bibles 6Forgeries 7Surviving copies Toggle Surviving copies subsection 7.1Substantially complete copies 8Recent history 9See also 10General bibliography 11References 12External links Toggle the table of contents Gutenberg Bible 48 languages العربية閩南語 / Bân-lâm-gúБеларускаяБеларуская (тарашкевіца)БългарскиCatalàČeštinaCymraegDanskDeutschEestiΕλληνικάEspañolEsperantoEstremeñuEuskaraفارسیFrançaisFrysk한국어Հայերենहिन्दीHrvatskiBahasa IndonesiaInterlinguaItalianoעבריתქართულიLatviešuМакедонскиമലയാളംमराठीNederlands日本語Norsk bokmålPolskiPortuguêsРусскийSimple EnglishSlovenčinaСрпски / srpskiSuomiSvenskaதமிழ்TürkçeУкраїнськаاردو中文 Edit links ArticleTalk English ReadEditView history Tools Tools move to sidebar hide Actions ReadEditView history General What links hereRelated changesUpload fileSpecial pagesPermanent linkPage informationCite this pageGet shortened URLDownload QR codeWikidata item Expand allEdit interlanguage links Print/export Download as PDFPrintable version In other projects Wikimedia Commons From Wikipedia, the free encyclopedia Earliest major book printed in Europe The copy of the Gutenberg Bible held at the Richelieu - Bibliothèques, musée, galeries. The Gutenberg Bible, also known as the 42-line Bible, the Mazarin Bible or the B42, was the earliest major book printed in Europe using mass-produced metal movable type. It marked the start of the "Gutenberg Revolution" and the age of printed books in the West. The book is valued and revered for its high aesthetic and artistic qualities[1] and its historical significance. The Gutenberg Bible is an edition of the Latin Vulgate printed in the 1450s by Johannes Gutenberg in Mainz, in present-day Germany. Forty-nine copies (or substantial portions of copies) have survived. They are thought to be among the world's most valuable books, although no complete copy has been sold since 1978.[2][3] In March 1455, the future Pope Pius II wrote that he had seen pages from the Gutenberg Bible displayed in Frankfurt to promote the edition, and that either 158 or 180 copies had been printed. The 36-line Bible, said to be the second printed Bible, is also sometimes referred to as a Gutenberg Bible, but may be the work of another printer.[4] Text[edit] Gutenberg Bible in the Beinecke Rare Book & Manuscript Library at Yale University in New Haven, Connecticut The Gutenberg Bible, an edition of the Vulgate, contains the Latin version of the Hebrew Old Testament and the Greek New Testament. It is mainly the work of St Jerome who began his work on the translation in AD 380, with emendations from the Parisian Bible tradition, and further divergences.[5] Printing history[edit] Gutenberg Bible of the New York Public Library; purchased by James Lenox in 1847, it was the first Gutenberg Bible to be acquired by a United States citizen. While it is unlikely that any of Gutenberg's early publications would bear his name, the initial expense of press equipment and materials and of the work to be done before the Bible was ready for sale suggests that he may have started with more lucrative texts, including several religious documents, a German poem, and some editions of Aelius Donatus's Ars Minor, a popular Latin grammar school book.[6][7][8] Preparation of the Bible probably began soon after 1450, and the first finished copies were available in 1454 or 1455.[9] It is not known exactly how long the Bible took to print. The first precisely datable printing is Gutenberg's 31-line Indulgence which certainly existed by 22 October 1454.[10] Gutenberg made three significant changes during the printing process.[11] Spine of the Lenox copy Some time later, after more sheets had been printed, the number of lines per page was increased from 40 to 42, presumably to save paper. Therefore, pages 1 to 9 and pages 256 to 265, presumably the first ones printed, have 40 lines each. Page 10 has 41, and from there on the 42 lines appear. The increase in line number was achieved by decreasing the interline spacing, rather than increasing the printed area of the page. Finally, the print run was increased, necessitating resetting those pages which had already been printed. The new sheets were all reset to 42 lines per page. Consequently, there are two distinct settings in folios 1–32 and 129–158 of volume I and folios 1–16 and 162 of volume II.[11][12] The most reliable information about the Bible's date comes from a letter. In March 1455, the future Pope Pius II wrote that he had seen pages from the Gutenberg Bible, being displayed to promote the edition, in Frankfurt.[13] It is not known how many copies were printed, with the 1455 letter citing sources for both 158 and 180 copies. Scholars today think that examination of surviving copies suggests that somewhere between 160 and 185 copies were printed, with about three-quarters on paper and the others on vellum.[14][15] The production process: Das Werk der Bücher[edit] A vellum copy of the Gutenberg Bible owned by the U.S. Library of Congress, on display at the Thomas Jefferson Building in Washington, D.C. In a legal paper, written after completion of the Bible, Johannes Gutenberg refers to the process as Das Werk der Bücher ("the work of the books"). He had introduced the printing press to Europe and created the technology to make printing with movable types finally efficient enough to facilitate the mass production of entire books.[16] Many book-lovers have commented on the high standards achieved in the production of the Gutenberg Bible, some describing it as one of the most beautiful books ever printed. The quality of both the ink and other materials and the printing itself have been noted.[1] Pages[edit] First page of the first volume: the epistle of St Jerome to Paulinus from the University of Texas copy. The page has 40 lines. The paper size is 'double folio', with two pages printed on each side (four pages per sheet). After printing the paper was folded once to the size of a single page. Typically, five of these folded sheets (ten leaves, or twenty printed pages) were combined to a single physical section, called a quinternion, that could then be bound into a book. Some sections, however, had as few as four leaves or as many as twelve leaves.[17] Gutenberg Bible on display at the U.S. Library of Congress The 42-line Bible was printed on the size of paper known as 'Royal'.[18] A full sheet of Royal paper measures 42 cm × 60 cm (17 in × 24 in) and a single untrimmed folio leaf measures 42 cm × 30 cm (17 in × 12 in).[19] There have been attempts to claim that the book was printed on larger paper measuring 44.5 cm × 30.7 cm (17.5 in × 12.1 in),[20] but this assertion is contradicted by the dimensions of existing copies. For example, the leaves of the copy in the Bodleian Library, Oxford, measure 40 cm × 28.6 cm (15.7 in × 11.3 in).[21] This is typical of other folio Bibles printed on Royal paper in the fifteenth century.[22] Most fifteenth-century printing papers have a width-to-height ratio of 1:1.4 (e.g. 30:42 cm) which, mathematically, is a ratio of 1 to the square root of 2 or, simply, 2 {\textstyle {\sqrt {2}}} . Many suggest that this ratio was chosen to match the so-called Golden Ratio, 1 + 5 2 {\textstyle {\tfrac {1+{\sqrt {5}}}{2}}} , of 1:1.6; in fact the ratios are, plainly, not at all similar (equating to a difference of about 12 per cent). The ratio of 1:1.4 was a long established one for medieval paper sizes.[23] A single complete copy of the Gutenberg Bible has 1,288 pages (4×322 = 1288) (usually bound in two volumes); with four pages per folio-sheet, 322 sheets of paper are required per copy.[24] The Bible's paper consists of linen fibers and is thought to have been imported from Caselle in Piedmont, Italy based on the watermarks present throughout the volume.[25] Ink

The mouse was developed by Apple, but designed by Hovey-Kelley (renamed IDEO in 1991[7]), who built hundreds of prototypes and conducted exhaustive testing with focus groups in order to create an ideal shape for the Lisa mouse.[8] The Lisa mouse was subsequently used as the foundational design for Apple mice, until the introduction of the multi-button design on the Mighty Mouse in 2005.

666

Death in Venice (German: Der Tod in Venedig) is a novella by German author Thomas Mann, published in 1912.[1]

Ulysses moves through four emotional stages that are self-revelatory, not ironic: beginning with his rejection of the barren life to which he has returned in Ithaca, he then fondly recalls his heroic past, recognizes the validity of Telemachus' method of governing, and with these thoughts plans another journey.[9]

Culler himself views "Ulysses" as a dialectic in which the speaker weighs the virtues of a contemplative and an active approach to life;[8]

The ironic interpretations of "Ulysses" may be the result of the modern tendency to consider the narrator of a dramatic monologue as necessarily "unreliable".

Scholars disagree on how Ulysses' speech functions in this format; it is not necessarily clear to whom Ulysses is speaking, if anyone, and from what location. Some see the verse turning from a soliloquy to a public address, as Ulysses seems to speak to himself in the first movement, then to turn to an audience as he introduces his son, and then to relocate to the seashore where he addresses his mariners.[5]

Ulysses has returned to his kingdom, Ithaca, having made a long journey home after fighting in the Trojan War. Confronted again by domestic life, Ulysses expresses his lack of contentment, including his indifference toward the "savage race" (line 4) whom he governs. Ulysses contrasts his present restlessness with his heroic past, and contemplates his old age and eventual death

For much of this poem's history, readers viewed Ulysses as resolute and heroic, admiring him for his determination "To strive, to seek, to find, and not to yield".[1] The view that Tennyson intended a heroic character is supported by his statements about the poem, and by the events in his life—the death of his closest friend—that prompted him to write it. In the twentieth century, some new interpretations of "Ulysses" highlighted potential ironies in the poem. They argued, for example, that Ulysses wishes to selfishly abandon his kingdom and family, and they questioned more positive assessments of Ulysses' character by demonstrating how he resembles flawed protagonists in earlier literature.

Most critics, however, find that Tennyson's Ulysses recalls Dante's Ulisse in his Inferno (c. 1320).

Alfred, Lord Tennyson, author of "Ulysses", portrayed by George Frederic Watts "Ulysses" is a poem in blank verse by the Victorian poet Alfred, Lord Tennyson (1809–1892), written in 1833 and published in 1842 in his well-received second volume of poetry. An oft-quoted poem, it is a popular example of the dramatic monologue. Facing old age, mythical hero Ulysses describes his discontent and restlessness upon returning to his kingdom, Ithaca, after his far-ranging travels. Despite his reunion with his wife Penelope and his son Telemachus, Ulysses yearns to explore again.

o-Toluidine

Odysseus has traditionally been viewed as Achilles' antithesis in the Iliad:[35] while Achilles' anger is all-consuming and of a self-destructive nature, Odysseus is frequently viewed as a man of the mean, a voice of reason, renowned for his self-restraint and diplomatic skills.

When Helen of Troy is abducted, Menelaus calls upon the other suitors to honour their oaths and help him to retrieve her, an attempt that leads to the Trojan War.

He is most famous for his nostos, or "homecoming", which took him ten eventful years after the decade-long Trojan War.

husband of Penelope

In Greek and Roman mythology, Odysseus (/əˈdɪsiəs/ ə-DISS-ee-əs;[1] Greek: Ὀδυσσεύς, Ὀδυσεύς, translit. Odysseús.mw-parser-output .noitalic{font-style:normal}, Odyseús, .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}IPA: [o.dy(s).sěu̯s]), also known by the Latin variant Ulysses (/juːˈlɪsiːz/ yoo-LISS-eez, UK also /ˈjuːlɪsiːz/ YOO-liss-eez; Latin: Ulysses, Ulixes), is a legendary Greek king of Ithaca and the hero of Homer's epic poem the Odyssey. Odysseus also plays a key role in Homer's Iliad and other works in that same epic cycle.[2]

Helen (Ancient Greek: Ἑλένη, romanized: Helénē[a]), also known as Helen of Troy,[2][3][b] in Latin as Helena,[4] beautiful Helen, Helen of Argos, or Helen of Sparta,[5] was a figure in Greek mythology said to have been the most beautiful woman in the world. She was believed to have been the daughter of Zeus and Leda, and was the sister of Clytemnestra, Castor and Pollux, Philonoe, Phoebe and Timandra. She was married to King Menelaus of Sparta "who became by her the father of Hermione, and, according to others, of Nicostratus also."[4] Her abduction by Paris of Troy was the most immediate cause of the Trojan War.

Enthusiasm – In enthusiasm – or possession – God is understood to be outside, other than or beyond the believer. A sacred power, being or will enters the body or mind of an individual and possesses it. A person capable of being possessed is sometimes called a medium. The deity, spirit or power uses such a person to communicate to the immanent world

Lewis argues that ecstasy and possession are basically one and the same experience, ecstasy being merely one form which possession may take. The outward manifestation of the phenomenon is the same in that shamans appear to be possessed by spirits, act as their mediums, and even though they claim to have mastery over them, can lose that mastery

Ecstasy, trance – In ecstasy the believer is understood to have a soul or spirit which can leave the body. In ecstasy the focus is on the soul leaving the body and to experience transcendental realities. This type of religious experience is characteristic for the shaman.

Skeptics may hold that religious experience is an evolved feature of the human brain amenable to normal scientific study.

Many religious and mystical traditions see religious experiences (particularly the knowledge which comes with them) as revelations caused by divine agency rather than ordinary natural processes. They are considered real encounters with God or gods, or real contact with higher-order realities of which humans are not ordinarily aware.[5

A religious experience (sometimes known as a spiritual experience, sacred experience, mystical experience) is a subjective experience which is interpreted within a religious framework.[1] The concept originated in the 19th century, as a defense against the growing rationalism of Western society.[2] William James popularised the concept.[2] In some religions, this may result in unverified personal gnosis.[3][4]

The Miletus torso (c. 480–470 BC) at the Louvre has been suggested as the poem's subject. "Archaic Torso of Apollo" (German: Archaïscher Torso Apollos) is a sonnet by the Austrian writer Rainer Maria Rilke, published in the collection New Poems in 1908. It opens the collection's second part and is a companion piece to "Early Apollo", which opens the first part. The poem describes the impressions given by the surviving torso of an archaic statue, which for the poet creates a vision of what the intact statue must have been like.

The Miletus torso (c. 480–470 BC) at the Louvre has been suggested as the poem's subject.

Republic of India (ISO: Bhārat Gaṇarājya),[21] is a

Andragogy refers to methods and principles used in adult education.[1][2] The word comes from the Greek ἀνδρ- (andr-), meaning "adult male", and ἀγωγός (agogos), meaning "leader of". Therefore, andragogy literally means "leading men (adult males)", whereas "pedagogy" literally means "leading children".[3]

Pranayama

The Invisible Internet Project (I2P) is an anonymous network layer (implemented as a mix network) that allows for censorship-resistant, peer-to-peer communication.

Isomorphic JavaScript

The performative mode, the final mode Nichols discusses, is easily confused with the participatory mode, and Nichols remains somewhat nebulous about their distinctions. The crux of the difference seems to lie in the fact that where the participatory mode engages the filmmaker to the story but attempts to construct truths that should be self-evident to anyone, the performative mode engages the filmmaker to the story but constructs subjective truths that are significant to the filmmaker themself. Deeply personal, the performative mode is particularly well-suited to telling the stories of filmmakers from marginalized social groups, offering the chance to air unique perspectives without having to argue the validity of their experiences, as in Marlon Riggs’ 1990 documentary Tongues Untied about his experiences as a gay black dancer in New York City. The departure from a rhetoric of persuasion allows the performative film a great deal more room for creative freedom in terms of visual abstraction, narrative, etc. Stella Bruzzi (2000), by contrast, holds a broader view of the performative mode. Inspired by J. L. Austin’s notion of the performative, which Nichols avoids, Bruzzi argues that documentary films are by default performative because they are “inevitably the result of the intrusion of the filmmaker onto the situation being filmed.” In particular, Bruzzi considers documentaries that foreground the “artificialisation by the camera” perfect examples of the performative mode. Hongjian Wang (2016) extends the discussion of the performative mode by Nichols and Bruzzi to the “performing camera,” which documents by reenacting the subjective perspective of the subjects (not necessarily that of the filmmaker) in the documentary films. By “performing” the point of view of the subjects, the performative documentaries put the audience in the positions of the subjects. Wang further distinguishes between “the empathetic performative mode,” which prompts audience identification with the subjects, and “the critical performative mode,” which provokes the audience to feel disgusted by, angry at, and critical about the subjects.[3] With the filmmaker visible to the viewer, and freed to openly discuss their perspective in regard to the film being made, rhetoric and argumentation return to the documentary film as the filmmaker clearly asserts a message. Perhaps the most famous filmmaker currently working in this documentary mode is Michael Moore. The performative mode is also manifested in ethnographic film, such as "Incidents of Travel in Chichen Itza" by Jeff Himpele and Quetzil Castaneda. In this visual ethnography of cultural event of the spring equinox involving new age tourism at a sacred Maya site in Mexico, the ethnographers both document the event and provide an ethnographic questioning of the meanings that are projected on the physical heritage objects that attract 50,000 tourists to the equinox at Chichen. In this film, unlike the performative documentaries of Michael Moore in which there is a specific take away message and argument, the ethnographic filmmakers create an open-ended, polyphonic film in which the audience is provided greater opportunity to define the meanings, messages, and understandings of what the film represents. In general, documentaries, especially educational documentaries are scripted such that the audience is persuaded to accept a specific lesson or message, the performative mode of documentary is used to break from a monological or monotone understanding not only through the use of dialogical principles of dialogical anthropology, but of experimental ethnography. The Himpele and Castaneda therefore create an ethnographic documentary that expands the idea of experimental ethnography as a set of principles for writing a text to producing and postproducing ethnographic film.

The observational mode of documentary developed in the wake of documentarians returning to Vertovian ideals of truth, along with the innovation and evolution of cinematic hardware in the 1960s. In Dziga Vertov's Kino-Eye manifestoes, he declared, "I, a camera, fling myself along…maneuvering in the chaos of movement, recording movement, startling with movements of the most complex combinations." (Michelson, O’Brien, & Vertov 1984) The move to lighter 16mm equipment and shoulder mounted cameras allowed documentarians to leave the anchored point of the tripod. Portable Nagra sync-sound systems and unidirectional microphones, too, freed the documentarian from cumbersome audio equipment. A two-person film crew could now realize Vertov’s vision and sought to bring real truth to the documentary milieu. Unlike the subjective content of poetic documentary, or the rhetorical insistence of expositional documentary, observational documentaries tend to simply observe, allowing viewers to reach whatever conclusions they may deduce. Pure observational documentarians proceeded under some bylaws: no music, no interviews, no scene arrangement of any kind, and no narration. The fly-on-the-wall perspective is championed, while editing processes use long takes and few cuts. Resultant footage appears as though the viewer is witnessing first-hand the experiences of the subject: they travel with Bob Dylan to England in D.A. Pennebaker's Dont Look Back [sic] (1967,) suffer the stark treatment of patients at the Bridgewater State Hospital in Frederick Wiseman's Titicut Follies (1967,) and hit the campaign trail with John F. Kennedy and Hubert Humphrey in Robert Drew’s Primary (1960.)

In the participatory mode "the filmmaker does interact with his or her subjects rather than unobtrusively observe them."[1] This interaction is present within the film; the film makes explicit that meaning is created by the collaboration or confrontation between filmmaker and contributor. Jean Rouch's Chronicle of a Summer, 1960, is an early manifestation of participatory filmmaking. At its simplest this can mean the voice of the filmmaker(s) is heard within the film. As Nichols explains "what happens in front of the camera becomes an index of the nature of interaction between filmmaker and subject."[2] According to Nichols (2010), in the participatory mode of documentaries, “the filmmaker becomes a social actor (almost) like any other (almost because the filmmaker retains the camera and with it a degree of potential power and control over events)” (p. 139.) Through interviews, the filmmaker’s voice is shown as it combines contributing material about the story that they are trying to tell. An example of this is the machine invented by Errol Morris called the Interrotron. This machine allows for the subject to engage with the director directly while still being able to look into the lens of the camera

Spleen et Idéal (Spleen and Ideal) Tableaux parisiens (Parisian Scenes) Le Vin (Wine) Fleurs du mal (Flowers of Evil) Révolte (Revolt) La Mort (Death)

Les Fleurs du mal (.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}French pronunciation: [le flœʁ dy mal]; English: The Flowers of Evil) is a volume of French poetry by Charles Baudelaire.

A Space-based architecture (SBA) is an approach to distributed computing systems where the various components interact with each other by exchanging tuples or entries via one or more shared spaces.

Holy Land

Crusades

medieval period

It was created in 2001

The United States worried that the success of the Creole slaves in gaining freedom would encourage more slave revolts on merchant ships

The Bahama islands were inhabited by the Arawak and Lucayans, a branch of the Arawakan-speaking Taíno, for many centuries.[13] Christopher Columbus was the first European to see the islands, making his first landfall in the "New World" in 1492 when he landed on the island of San Salvador.

Philhellenism ("the love of Greek culture") was an intellectual movement prominent mostly at the turn of the 19th century.

"The Gods of Greece" ("Die Götter Griechenlandes") is a 1788 poem by the German writer Friedrich Schiller. It was first published in Wieland's Der Teutsche Merkur, with a second, shorter version (with much of its controversial content removed) published by Schiller himself in 1800. Schiller's poem proved influential in light of German Philhellenism and seems to have influenced later German thinkers' views on history, Paganism and myth, possibly including Georg Wilhelm Friedrich Hegel and Max Weber.

NNTP

but most news administrators will ignore these requests unless a local user requests the group by name.

news.announce.newgroups,

RFD (Request For Discussion)

There was a rapid growth of alt.* as a result, and the trend continues to this day. Because of the anarchistic nature with which the groups sprang up, some jokingly referred to ALT standing for "Anarchists, Lunatics and Terrorists" (a backronym).

This situation resulted in the creation of an alt.* (short for "alternative") Usenet hierarchy,

n the Great Renaming of 1986–1987,

comp.* — Discussion of computer-related topics news.* — Discussion of Usenet itself sci.* — Discussion of scientific subjects rec.* — Discussion of recreational activities (e.g. games and hobbies) soc.* — Socialising and discussion of social issues. talk.* — Discussion of contentious issues such as religion and politics. misc.* — Miscellaneous discussion—anything which does not fit in the other hierarchies.

the early community was the pioneering computer society

The news admin (the administrator of a news server)

regarding anything a member chooses to discuss as on-topic

called a "post".

maintain a level of robust data persistence

Network News Transfer Protocol (NNTP)

Typically, the newsgroup is focused on a particular topic of interest.

http://www.rfc-editor.org/

typewrote

Request for Comments

absence of online connectivity

discussion groups, known as newsgroups,

ifurcation of merging"

but their confidence level is still below that of high performers

Nor does it claim that people lacking a given skill are as confident as high performers

which people with limited competence

positive prior beliefs about one's skills are the source of false self-assessment

inhibit people from addressing their shortcomings

engaging in dangerous behavior

systematic tendency to engage in erroneous forms of thinking and judging

the tendency of highly skilled people to underestimate their abilities relative to the abilities of others

incompetence often includes being unable to tell the difference between competence and incompetence

people with low intelligence

wood (especially specific

Iphigenia in Tauris (German: Iphigenie auf Tauris) is a reworking by Johann Wolfgang von Goethe of the ancient Greek tragedy Ἰφιγένεια ἐν Ταύροις (Iphigeneia en Taurois) by Euripides.

In Greek mythology, Iphigenia (/ɪfɪdʒɪˈnaɪ.ə/; Ancient Greek: Ἰφιγένεια, Iphigéneia, [iːpʰiɡéneː.a]) was a daughter of King Agamemnon and Queen Clytemnestra, and thus a princess of Mycenae.

Sturm und Drang (/ˌʃtʊərm ʊnt ˈdræŋ, - ˈdrɑːŋ/,[1] .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}German: [ˈʃtʊʁm ʔʊnt ˈdʁaŋ]; usually translated as "storm and stress"[2]) was a proto-Romantic movement in German literature and music that occurred between the late 1760s and early 1780s. Within the movement, individual subjectivity and, in particular, extremes of emotion were given free expression in reaction to the perceived constraints of rationalism imposed by the Enlightenment and associated aesthetic movements.

Prometheus is the creative and rebellious spirit which, rejected by God, angrily defies him and asserts itself; Ganymede is the boyish self which is adored and seduced by God. One is the lone defiant, the other the yielding acolyte. As the humanist poet, Goethe presents both identities as aspects or forms of the human condition.

Both belong to the period 1770–1775. Prometheus (1774)

"Prometheus" is a poem by Johann Wolfgang von Goethe, in which the character of the mythic Prometheus addresses God (as Zeus) in misotheist accusation and defiance. The poem was written between 1772 and 1774 and first published in 1789 after an anonymous and unauthorised publication in 1785 by Friedrich Heinrich Jacobi. It is an important work of the Sturm und Drang movement.

Bette Nesmith Graham (March 23, 1924 – May 12, 1980) was an American typist, commercial artist, and the inventor of the correction fluid Liquid Paper. She was the mother of musician and producer Michael Nesmith of The Monkees.

Dynastic cycle (traditional Chinese: 朝代循環; simplified Chinese: 朝代循环; pinyin: Cháodài Xúnhuán) is an important political theory in Chinese history. According to this theory, each dynasty of China rises to a political, cultural, and economic peak and then, because of moral corruption, declines, loses the Mandate of Heaven, and falls, only to be replaced by a new dynasty. The cycle then repeats under a surface pattern of repetitive motifs.[1]

BornGiovan Battista Vico(1668-06-23)23 June 1668Naples, Kingdom of NaplesDied23 January 1744(1744-01-23) (aged 75)Naples, Kingdom of Naples

Giambattista Vico (born Giovan Battista Vico /ˈviːkoʊ/; .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}Italian: [ˈviko]; 23 June 1668 – 23 January 1744) was an Italian philosopher, rhetorician, historian, and jurist during the Italian Enlightenment.

Virtual memory

averaged vector

Considering n {\displaystyle n} vectors V i , i ∈ { 1 , … , n } {\displaystyle V_{i},\,i\in \{1,\ldots ,n\}} of signal samples of length T {\displaystyle T} :

Wood was quoted in this period as stating, "All the good ideas I've ever had came to me while I was milking a cow."[1]

His main works, which appeared late in 1940 and 1944, are the aforementioned Vom Mythos zum Logos, die Selbstentfaltung des griechischen Denkens von Homer bis auf die Sophistik und Sokrates and Griechische Geistesgeschichte von Homer bis Lukian in ihrer Entfaltung vom mythischen zum rationalen Denken dargestellt, are the result of his Greek studies conducted over several decades.

Wilhelm Nestle (.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}German: [ˈnɛstlə]; 16 April 1865, Stuttgart, Kingdom of Württemberg – 18 April 1959, Stuttgart) was a German philologist and philosopher.[1]

Vom Mythos zum Logos. Die des griechischen Denkens Selbstentfaltung von Homer bis auf die Sophistik und Sokrates. (From Mythos to Logos: The Self-development of Greek Thought from Homer to the Sophistics and Socrates.) 1940. 2nd edition. 1942. Reprint. 1975, 1986.

The cTuning Foundation is a global non-profit organization developing a common methodology and open-source tools to support sustainable, collaborative and reproducible research in Computer science and organize and automate artifact evaluation and reproducibility inititiaves at machine learning and systems conferences and journals.[1]cTuning Foundation은 컴퓨터 과학 분야에서 지속 가능하고 협력적이며 재현 가능한 연구를 지원하고 기계 학습 및 시스템 컨퍼런스 및 저널에서 아티팩트 평가 및 재현성 이니셔티브를 구성 및 자동화하기 위한 공통 방법론과 오픈 소스 도구를 개발하는 글로벌 비영리 조직입니다. [1]

rows correspond to irreducible representations

Some colleges and universities in the US bring therapy dogs to campus to help students de-stress

owned approximately 75,000 acres of land

In 2011 they sold their 70% interest in Frac Tech for $3.5 billion.

shell company,

early investors in political commentator Ben Shapiro's media company The Daily Wire

The church is not Christian, believing that Yahweh is the only god and that Jesus (called Yahushua) is a separate entity. In early 1952 Charles restricted communion to once a year rather than weekly and moved worship from Sunday to Saturday.

In 1947, Voy and Myrtle Wilks along with Myrtle's father Charlie Cullen Fenter Fenter were disfellowshipped from the Churches of Christ and founded a church which was at first called simply “A Church of Christ.”

It teaches that "the true religion is Jewish (not a Gentile religion)" and its members celebrate the Old Testament holidays rather than those related to the New Testament.

A 2021 study by Brown University estimated that 30,177 veterans of post-9/11 conflicts had died by suicide. When compared to the 7,057 personnel killed in the conflicts, at least four times as many veterans died by suicide than personnel were killed during the post-9/11 conflicts.[10]

ounger s

Consistency models

Moreover, the ordering is effectively determined by the effects of the operations when they are generated

Consequently, the total order becomes application specific

The invocation of every operation is admissible in its execution state

The above CSM model requires that a total order of all objects in the system be specified

Second, it was defined as operation context-based pre- and post- transformation conditions for generic OT functions

Chernoff faces, invented by applied mathematician, statistician and physicist Herman Chernoff in 1973, display multivariate data in the shape of a human face. The individual parts, such as eyes, ears, mouth and nose represent values of the variables by their shape, size, placement and orientation. The idea behind using faces is that humans easily recognize faces and notice small changes without difficulty. Chernoff faces handle each variable differently.

The name Marathon comes from the legend of Pheidippides, the Greek messenger. The legend states that, while he was taking part in the Battle of Marathon, which took place in August or September 490 BC,[3] he witnessed a Persian vessel changing its course towards Athens as the battle was near a victorious end for the Greek army. He interpreted this as an attempt by the defeated Persians to rush into the city to claim a false victory or simply raid,[4] hence claiming their authority over Greek land. It was said that he ran the entire distance to Athens without stopping, discarding his weapons and even clothes to lose as much weight as possible, and burst