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Many years ago I was privileged to see Mr. Nimoy play the great Sherlock Holmes on stage at the Shubert Theater in Chicago.
His performance was masterful and everyone enjoyed the evening, he will be sadly missed :-(

Here's even a similar musical reference: Gretchen Am Spinnrade (Gretchen at the Spinning Wheel) by Shubert, written in 1814. https://www.youtube.com/watch?.... The piano accompaniment imitates the sound of a spinning wheel, with the right hand notes rising and falling as the wheel speeds up and slows down, and the thudding pedal in the left hand. It would have been a familiar sound for centuries. But how many people recognize it anymore?

Maybe the vaccine is just a trigger event. What happens at around the same time in a child's life that they start getting vaccinated? They stop breast feeding and start eating solid foods. So why has the percentage of autistic children gone up so dramatically in the last 20 years? Rates of one in 50 in the USA but one in 200 in Germany. What is the difference?

In Germany the GMO foods have to be labled and nobody buys them so there are few if any glyphosate (RoundUp) contaminated foods.

So try this scenario: A child with a developing immune system is being fed glyphosate unknowingly by his parents. It damages the bacteria in their gut wreaking havoc on their immune system, nuerotransmitter production and sufur pathways (garbage disposal). Throw into that mix a vaccine which has aluminum and sometimes still thimerisol (49% mercury) and you have a recipe for a disaster.

So what needs to be researched is what is the rate of autism amongst vaccinated kids who have not been exposed to glyphosate in their food supply either by GMO foods or desication of crops (a practice that should be punishable by years in jail IMHO).

By the way it has been known for a long time (late 1970s / early 1980s) that aluminum and mercury are not additive in their effects. Given a dose of either strong enough to kill 1 in 100 to rats and then give that same dose combined killed 100%.

J. Shubert, E. Riley & S. Tyler. Combined Effects in Toxicology--A Rapid Systemic Testing Procedure: Cadmium, Mercury and Lead. J.Toxicology and Environmental Health v4, p763, 1978

Were Mozart, Beethoven, and... all those other guys people have never heard of (like Chopin, Berlioz, Shubert, Schumann, Tchaikovsky, Copland, Puccini, Mussorgsky, Greig, Handel, Prokofiev, Janacek, Vivaldi, Rossini, Ravel, Respighi, Strauss, Stravinsky, Orff, Offenbach, Bach, Bach, or Bach... the list goes on and on... for extra credit, do you know which of these composers was an American?) merely clever mathematicians?
I think it's unfair to paint them that way, just because a computer can replicate something similar, doesn't mean it used the same process. A good synthesizer can make a sound indistinguishable (by people) from the sound made by a guitar string resonating, by filtering "white-noise" to select only that part of the wave which sounds like said guitar string. This does not mean there's actually a string resonating within the synthesizer. The output may be indistinguishable, but that doesn't mean guitars are no longer useful because there are certain things about a guitar a synthesizer can never replicate. For instance, how good does a synthesizer sound when it has no power? Then again, what about the romance factor? Might as well ask if a chef is necessary, since he/she is, in reality, just a food-chemist. So enjoy your computer-composed music. As for me, I am going to listen to "Billy the Kid Rodeo," or "Night on a Bald Mountain," or "Symphonie Fantastique," or "Sinfonietta," or maybe "Tosca", confident that no computer will ever create anything quite like them.

Sure, and it was a waste of time finishing Shubert's 8th Symphony when there is a universe of unwritten music to be considered, some of which is undoubtedly better.

The appeal is that it is the unfinished work of a master. Anybody can have an opinion about how it should be finished. Finishing it in a satisfying way would be a great achievement.

A few things. One, The stagehands union complained about the demanded changes in work rules without something to compensate them for the changes and resulting loss of wages. Also, the producers were the ones who originally set the minimums of the "Load-in" crews for theatres and they are trying to change it again, with what I believe to be some ignorance of the requirements for the load-in. The theatre owners (the Shuberts, The Nederlanders, and the Jujamcins) were not the ones fighting so hard against the union, it was some of the the other producers relative new to Broadway who wanted to change the business dynamics of Broadway theatres into a money making venue like other forms of entertainment that pushed for these takebacks.

Finally, the average stangehand does not make that kind of money per year. I have seen these numbers mentioned before, but as I understand it (I work in the theatres, but not under that local) to get to those numbers, one has to work full time plus do overtime for the entire year. But most shows that come to Broadway don't even last six months, so there are many instances of a stagehand working five, six months and is later unemployed for the rest of the year.

I haven't really been keeping up with the other allocations, but the house and senate have agreed on $11 million for the Minnesota Shubert Dance Center.

Hopefully Pawlenty will bumb it up a bite more if it passes.

http://www.minnesotashubert.org/

I am a developer that typically falls into the category of being able to develop tremendous amounts of clean, documented, structured, functional code in a short time. It has taken me 25 years (starting at age 5) to learn to code quickly and cleanly. It's taken me a very long time to learn the thought process behind structured development. I've learned during this time the difference between shortcuts that are beneficial and short cuts that simply waste time later.

For example, when moving to my new job as an engineer at a video production firm, one of the tasks I've taken on was to develop an offline subtitling solution that integrates with Final Cut Pro, DVD Studio Pro, Sony Vegas 6, DVD Architect, and is able to read formats dating back to linear sector data written as raw files (no file system) on 8" floppy discs from 1979. The software required OCR for bitmap text of low quality and required the ability to produce varying levels of quality of bitmapped text images to suit the limitations of different formats. For example, 16:9 subtitles on DVD need to be rendered at 720x405 and then stretched vertically to 576 using a rough monochrome algoritm on the 4 individual colors channels. It also required the development of a text rendering engine for a subset of HTML with editing abilities. The program has many more features and items that I can list extensively here, however I believe I've at least clarified at least some of the complexity of the program.

The ability to parse text files and manage time codes (shifting and spacing) and then output text for DVD studio pro with formatting was finished in 2.5 hours. The second version of the application, adding support for bitmap rendering was developed in a week between my other responsibilities. The support for 8" floppy connectivity required an additional week including the development of a hardware controller board to connect a Shubert 8" double density floppy drive to USB.

The user interface of the application is cleanly designed and is highly usable and is currently being used for subtitling new films.

The application was written using Visual C++ 6 and Qt 4 for Windows. The code is documented in the same manor as Qt itself and there are flow charts designed in Visio for clarification of certain items such as parser flow. (I wrote a state based unicode replacement for Lex that is runtime based using QRegExp, not terribly fast, but given the circumstance, it doesn't need to be). The application itself is used on Mac and Windows.

All together this project has used a maximum of 60 hours of development time, though many more hours were spent while laying on the couch at home playing world of warcraft thinking the design out.

So on to World of Warcraft... my main char is a level 50 that I've grinded on for 15 days (when typing /played). Since I only play the game on my day off and after my children are in bed, this is quite a bit of time spent. But, with the exception of a much needed armour upgrade, my character is imba. My alt when I occassionally play it levels like wild fire. The reason for this is that like when programming, I spent years learning the little bits and facts needed to develop quickly and efficiently. With my main, I learned through an impressive amount of grinding where the best places to gain XP and cash are. Let me clarify, that I don't use my main to supply my alt, I consider this cheating.

All in all, I can easily compare the learning process and style of skill building in World of Warcraft with that of programming.

If I were to make a more fair statement that you have, I would instead say the following :

World of Warcraft, teaches that the time spent grinding through learning efficient character building in game, while applicable to many other areas in life, consumes the time that would be better spent learning a skill to help players in real life such as programming or graphics art.

(Sorry for posting anonymously, but I don't remember my login, don't often post)

We saw Spamalot the last week it was in Chicago at the Shubert(sp?) last year and it was pretty funny IMO!

It was actually a good friend's birthday so we bought a block of tickets in the nosebleed section. We laughed our ass off while the rest of the audience kind of just sat there.

It got so bad that we noticed that when the cast would do a good joke they'd glance up to see if we got it because they knew the rest of the crowd wasn't going to.

My only regret was that while we had one of the stuffed fake dead parrot toys with us we could not find a way to catapult it onto the stage due to distance.

What I mean is, music, like wine, is an acquired taste.

True, yet early music should not be forgotten once your ear is trained. The music that you are so fond of today was built off of the music that you've 'grown out of'. The building procedure was hundreds of years long, but it is the foundation. I still love to listen to Haydn, Mozart, Shubert, Brahms, Smetana, and other baroque-early romantic composers as well as Crumb, Berg, Scrabin, and other modern composers (and everything in the middle, plus lots of jazz). What I love to do is explore both modern and CPP (common practice period) composers, and try to find any connections betweeen them. Its a wholistic effect (listening to one enhances listening to the other and vise-versa). Its good to not stray on one side of the musical spectrum. Here's an excerpt from a poem from the Tao that will hopefully reinforce my point.

When people see some things as beautiful, other things become ugly.
When people see some things as good, other things become bad.

Being and non-being create each other.
Difficult and easy support each other.
Long and short define each other.
High and low depend on each other.
Before and after follow each other.

Therefore the master acts without doing anything, and teaches without saying anything.
Things arise and she lets them come;
things disappear and she lets them go.
She has but doesn't expect.
When her work is done, she forgets it.
That is why it lasts forever.

"It's a Turing-complete language, you see, highly useful for people who want to solve the Halting Problem..."

As will be learned in an introductory course in computer science, a key property of the Halting Problem is that it cannot be solved by a language which is only Turing-complete (isomorphic to a Turing machine). There is thus a strong inclination to believe that you do not, in fact, know what the halting problem is and have just inserted a term which you have at some point heard used in conjunction with Turing machines into your essay in a failed attempt to impart a touch of intellectual sophistication. This calls the rest of the piece into question as well; how many times did you gamble on something you didn't understand an manage to produce a brief allusion which is not visibly incorrect?

"... results that look distinctly worse than if you'd used MS Word..."

If your assertion is that Times New Roman and Courier are better-looking than Computer Modern, you're putting yourself at odds with industry and academia alike. It's a noble attempt to take up the mantle of Gallileo, but you must remember than in order to be persecuted for being right one must first be right.

TeX is the best mathematical typesetting system available today, and is used for all major mathematical journals for this reason. As TeX is generally used to produce postscript output, it's quite easy to make use of any postscript font one wishes, but computer modern should really suffice in most cases.

"Like Schubert's Unfinished Symphony..."

The first movement of Shubert's unfinished symphony stands on its own, almost as a sort of program piece, and this is why the symphony is so popular. Nobody expects a third movement, and indeed very few particularly care for the second.

Having shown a complete lack of the most basic knowledge in relation to mathematics, computers, music, literature, and several other areas of knowledge, you should strongly consider returning to school and completing your high school degree in order to help you form coherent, relevant essays if you wish to further pursue book criticism.

KGS, the Kiseido Go Server, is a wonderful way for new and experienced players to enjoy the game of Go. It has a great user interface including the best support for teaching and reviewing games. The programmer, Bill Shubert, is a genius.

At times there are over a thousand users and hundreds of games on the server. There are many rooms. One of the most popular is the Beginner's room (in the Lessons group of rooms). Ask for it. KGS runs tournaments every so often. Some championship games are broadcast live. Professional players give lessons for hire and many strong amateurs will play you a teaching game. There are sometimes free pro lessons.

There are many tips and much discussion about KGS on Sensei's Library.

It runs on Linux, Mac, and Windows. It is free of charge (no charge for users from Japan or anywhere else).

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recorded at your local highschool orchestra concert where they play shubert, or mozart;

No good. The arrangements are copyrighted, even though the actual music is in the public domain.

It's illegal for the school to photocopy extra copies of the scores for the band members too.

recorded at your local highschool orchestra concert where they play shubert, or mozart;
what's wrong with being local -- we could use
more of this anyway.

I prefer FLAC, as while current lossy-compression standards might be OK for nu-metal/alternative/pop they completely mangle more complex music such as Shubert's Streichquintett C-Dur D 956 (Op. Post.163): Allegro ma non troppo or Twisted Sister's I Wanna Rock. However, the potential pitfall in using such a system has less to do with patents and more to do with copyright: it's quite possible that streaming over 802.11 requires broadcast royalties, especially if the stream isn't secured with a Virtual Private Network such as Microsoft's PPPTP. While it isn't likely they'll come after you, I'd be worried enough about people freeloading off of my expensive collection that I'd rather go with an over-the-wire solution.

Chron X is a game of skill, not of money. Some of our highest-rated players have not spent more than $10 on the game. Ever. Over 3 years of gameplay for $10 is pretty darn good, IMHO.

We put out expansions, and we put most of the "must haves" at a rarity or common or uncommon. This means that players usually have extras to trade. While most people need to spend between $25 and $50 to compete, spending more than that will not really give you a better deck. It will give you more options on the type of deck you want to build, and that's OK.

I work with Genetic Anomalies, the creators of the game. Sony is the online publisher for it... while my word is not gospel and shouldn't be taken as an "official company stance," you can take it as the stance of the designer of the game...

- Anthony Shubert Game Design Guru:: Genetic Anomalies

I'm the "game design guru" here at Genetic Anomalies. We've been doing online virtual property for 2 years now -- patent pending and everything.

What I'm failing to understand is this: If a character in UO is not owned by the player -- and it is not, check their EULA -- why do people pay for accounts? If their server crashes and they cannot recover it, too bad. That time you spent? Gone. That money you spent on eBay? Gone too. Oops. Oh yeah, once you buy the character you still have to pay Origins $10 a month to "use" your "property."

What if you had to pay $10/month to walk through your front door each month? (The door to the house you own outright, not rent or lease or have payments to make on.)

Our Collectible Bits(TM) technology allows for real ownership of virtual property. In Chron X, our first commercial application of this technology, we've handled millions of trades and purchases of virtual cards IN REAL TIME without a hitch. And our users own the cards. We don't charge any fees to keep the cards, log into our servers, download our full-feature client or to play games. We sell virtual property.

...and our Collectible Bits titles are fully compatible with each other. We have the license to make an online game featuring the World Wrestling Federation superstars, and you'll be able to trade Chron X cards for WWF moves and holds. Try doing that in UO with Everquest. (Or for a more fair comparison, UO with Origin's other online games. When they make some.)

- Anthony Shubert
ashubert@geneticanomalies.com
(Not an Anonymous Coward. /. is not emailing me a password. Sigh. =)