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Google Releases an API for Their Database
Ben Wills writes "Yahoo! announced that Google Released an API last Thursday.
"The service, launched Thursday, is called Google Web APIs, for application programming interfaces. The tools let noncommercial software developers "query more than 2 billion Web documents directly from their own computer programs," according to Google's Web site. For now, the service is free."
Google just keeps pushing the limits."
Lousy editing, grr :/
Hi. I'm The_Fire_Horse , and you might remember me from such postings as 'How to get the most from Windows 2.0' and 'Why does uncle ernie pat my bottom and smile a lot'
Ok - this is a serious situation, but you have to keep calm. Remember, you are not a weird pervert , and the trick is to concentrate on something really unsexy so that the erection goes down. This is NOT a situation that you can just 'wank your way out of', and trying to squeeze butter in there is not going to help either (you really should've thought of that first, young man!)
Think of your old maths teacher, your english homework, the smell of your shoes, the shit stains on your grandpas underpants - anything until it goes down.
Whew! You did it. Well, I think we've all learn't a valuable lesson from this, and remember - DONT PUT YOUR DICK WHERE IT DOESNT BELONG, but If you do - grease it up FIRST.
Redundant
Can you say "previously posted"?
8 21 0&mode=thread&tid=156
http://slashdot.org/article.pl?sid=02/04/12/112
*sigh*
THis should be modded +5 informative :)
.
E = 2
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this was a really cool story the first TWO times it was posted.
Quick! Delete this redundant story before there's too many posts!
Schnapple
LUNIX SUCKS!!!
Do we need 1000 (repeated) posts about how this is a repeat?
I didn't think so.
Delete this, it doesn't have too many posts.
The same article was posted on Friday.
Glad to see that Slashdot editors read slashdot.
and slashdot announced it friday.
Stupid Cheap Guitars
I try not to give Yahoo any more hits after they messed up their privacy poolicy, so here's the same exact story on CNET: http://news.com.com/2100-1023-882252.html.
I really hate signatures, but go to my website.
different article about it, but here's Hemos's original post: post.
blarg.
our freedom!!!
The spirit of the internet is alive and well, it seems. Google isn't charging for their API, ID released the source to Return to Castle Wolfenstein. Now, if only yahoo would announce that their pay for POP access was only a cruel April fools joke???
I won't hold my breath.
-- Adam
This was posted not even one business day ago (with a better write-up, no less)!
Wouldn't it be cool if Slashdot editors read their own site? I wonder why they get paid.
Jerry Lundegaard: Now we had a deal. A deal's a deal.
Carl Showalter: Is it, Jerry? Why don't you ask those three poor souls in Brainerd if a deal's a deal. Go ahead, ask them!
Jerry Lundegaard: The heck do ya mean?
Carl Showalter: [mimicking] "The heckya mean?"
Carl Showalter: You know, it's proven that second-hand smoke is, uh, carcin-... uh, you know, cancer related.
Gaer Grimsrud: You are a smooth smoothie, you know.
Gaer Grimsrud: I need unguent.
[Grimsrud sees Carl's shot-up face.]
Carl Showalter: You should see the other guy!
Carl Showalter: What kind of trouble are you in, Jerry?
Jerry Lundegaard: Well, that's, that's, I'm not gonna go inta, inta - see, I just need money.
Jerry Lundegaard: Well, heck, if you wanna play games here! I'm workin' with ya on this thing, but I... Okay, I'll do a damned lot count!
Marge: Sir? Right now?
Jerry Lundegaard: Sure right now! You're darned tootin'!
Carl Showalter: We've been waiting here an hour. He's peed three times already.
Carl Showalter: I'm not gonna debate you, Jerry.
Jerry Lundegaard: Okay.
Carl Showalter: I'm not gonna sit here and debate.
Carl Showalter: Oh, fuck it, I don't have to talk either, man! See how you like it. Just total fuckin' silence. Two can play at that game, smart guy. We'll just see how you like it. Total silence.
Marge Gunderson: Ah, hon, ya got Arby's all over me.
Carl Showalter: I don't want more fuckin' pancakes, man. I want to go somewhere I can get a shot and a beer, and a steak, maybe. Hey, I know this place outside Brainerd where we can get laid.
Gaer Grimsrud: Look, I'm fucking hungry now, you know.
Carl Showalter: O.K., we'll go get some fucking pancakes and then get laid.
[Marge is pregnant.]
Lou: You alright there, Margie?
Marge Gunderson: Oh, I just think I'm gonna barf... Well, that passed. Now I'm hungry again.
Marge Gunderson: I'm not sure I agree with you a hundred percent on your police work, there, Lou.
[Carl sees Jean's body on the floor]
Carl Showalter: The fuck happened to her?
Gaear Grimsrud: Eh, she started shrieking, you know.
Stan Grossman: But you're sayin'... what are ya sayin'?
Mike Yanagita: So, uh, you married old Norm son-of-a-Gunderson?
Marge Gunderson: OK, so we got a trooper pulls someone over, we got a shooting, these folks drive by, there's a high-speed pursuit, ends here and then this execution-type deal.
Carl Showalter: Just keep it still back there lady or we're going to have to, you know, shoot you.
Marge Gunderson: Say Lou, didya hear the one about the guy who couldn't afford personalized plate so he went and changed his name to J3L2404?
Lou: Yah, that's a good one.
Marge Gunderson: You have no call to get snippy with me; I'm just trying to do my job here.
Man: So, I'm tendin' bar there at Ecklund and Swedlin's last Tuesday and this little guy's drinkin' and he says, "So where can a guy find some action? I'm goin' crazy down there at the lake." And I says, "What kinda action?" and he says, "Woman action, what do I look like?" And I says, "Well, what do *I* look like, I don't arrange that kinda thing," and he says, "I'm goin' crazy out there at the lake," and I says, "Well, this ain't that kinda place."
Gary: Uh-huh.
Man: So he says, "So I get it, so you think I'm some kinda jerk for askin'," only he doesn't use the word jerk.
Gary: I understand.
Man: And then he calls me a jerk and says the last guy who thought he was a jerk was dead now. So I don't say nothin' and he says, "What do ya think about that?" So I says, "Well, that don't sound like too good a deal for him then."
Gary: Ya got that right.
Man: And he says, "Yah, that guy's dead and I don't mean o' old age." And then he says, "Geez, I'm goin' crazy out there at the lake."
Gary: White Bear lake?
Man: Well, Ecklund & Swedlin's, that's closer ta Moose Lake, so I made that assumption.
Gary: Oh sure.
Man: So, ya know, he's drinkin', so I don't think a whole great deal of it, but Mrs. Mohra heard about the homicides out here and she thought I should call it in, so I called it in. End o' story.
Gary: What'd this guy look like anyway?
Man: Oh, he was a little guy. Kinda funny lookin'.
Gary: Uh-huh. In what way?
Man: Just a general way.
Gaer Grimsrud: We split the car.
Carl Showalter: How the fuck do you split a car, you dummy? With a fucking chainsaw?
Marge Gunderson: And I guess that was your accomplice in the woodchipper.
Marge Gunderson: There's more to life than a little money, ya know. Don'tcha know that? And here ya are. And it's a beautiful day. Well. I just don't understand it.
Norm Gunderson: I love you, Margie.
Marge Gunderson: I love you, Norm.
Marge Gunderson: Hon?
Norm Gunderson: Yah?
Marge Gunderson: Prowler needs a jump.
Hooker: Well, the little guy was kinda funny-lookin'.
Marge Gunderson: In what way?
Hooker: I dunno, just funny-lookin'.
Marge Gunderson: Can ya be any more specific?
Hooker: I couldn't really say. He wasn't circumcised.
Marge Gunderson: Was he funny-lookin' apart from that?
Hooker: Oh, he was just funny-lookin'. More than most people, even.
[Grimsrud won't give Carl the car.]
Carl Showalter: No fuckin' way! You fuckin' notice this? I got fuckin' shot in the face! I went and got the fuckin' money! I got shot pickin' it up! I've been up for 36 fuckin' hours! I'm takin' that fuckin' car! That fucker's mine!
old enough to set the table, old enough to pass the meat
before
Best Slashdot Co
And woe betide when I occasionally criticise her for real, as opposed to in her mind.
Thanks.
:wq
I`m wondering whether this will make easier for some cracker-wannabe (note I didn't say "hacker", don't start flaming) to set-up some DoS attack on Google. Of course I hope not, but it seems that bringing an API to query the DB directly could be a bit too "raw".
I guess the Google guys are not that naive, though.
Just giving an idea, of course.
Three time's the charm :o)
What can we still add to the subject that we didn't in the previous two submissions?
Sigged!
The world can now be revolutionized! We can get Google searches on Microsoft.com! The pigeons will come out of their cages and peck the buttons on the Microsoft servers, thus shutting down the evil megacorporation! Hail Google for saving the world! The pigeons will save us all, hail the open API!
Repeat post!
Now give it to me! Give me the good ol' -1 redundant karma hit. I just want to be like everybody else who has posted a comment to this story.
This is a duplicate post of the duplicate posts stating that this is a duplicate story
Now we can sort strings in order of google hits!
Wow, very nice for word completion
DNA is the ultimate spaghetti code.
PsPrEditor writes: "Yahoo announced that Slashdot Released an API last Monday. "The service, launched Monday, is called SlashPI. It will allow users to remove duplicate stories that have been plaguing /. for the past year. ""
Come play Heroes of Might and Magic Mini online.
Whats this, the third repeat of the day?
Which is more funny? The fact that this article was is a repeat or that everybody points it out repeatedly?
"The optimist proclaims that we live in the best of all possible worlds, and the pessimist fears this is true." --James
Did you hear that Google released their API's last week? I think it was on Thursday.
Slashdot should maybe do a story about it.
"You're just scared like a little white pussy. I'll fuck you till you love me, you faggot!"
Can it be used to query for Slashdot stories on the Google API?
But it's time to accept that fact and move on. This API is clearly a ground-breaking achievement in terms of Web Services. Here we have a Service that Joe Websurfer may just have HEARD about. This can only be good for the XML-RPC / SOAP industry, as even novice developers can (with some help from a few HOWTOs) create apps which query Google directly without having to resort to the indignity of HTML Scraping.
Likewise, wouldn't it be cool if Slashdot had their own API. Imagine the multiple applications that could be created from being able to query Slashdot articles and comments directly.
"Why did they cancel my favorite Sci-Fi show? I downloaded ALL the episodes!"
to find those duplicate posts they keep creating...
Why do I get the feeling that Google is doing this to save bandwidth? How many people do you thing scrape Google for results? How much load are they going to save if people use the API rather than searching and scraping? That's what I thought...
What is your Slash Rating?
Stefan O. S. Bailey
Department of Deconstruction, University of Illinois
W. Jane Porter
Department of Literature, University of Michigan
1. The patriarchialist paradigm of expression and neosemiotic dialectic theory
"Art is fundamentally unattainable," says Lacan; however, according to Prinn[1] , it is not so much art that is fundamentally unattainable, but rather the defining characteristic of art. It could be said that Sontag uses the term 'the textual paradigm of narrative' to denote the role of the reader as poet.
Von Ludwig[2] states that the works of Spelling are empowering. Therefore, the primary theme of the works of Spelling is a self-referential paradox.
If subdialectic Marxism holds, we have to choose between textual theory and submodernist discourse. In a sense, a number of deconceptualisms concerning the bridge between class and society may be discovered.
2. Spelling and subdialectic Marxism
In the works of Spelling, a predominant concept is the distinction between opening and closing. The main theme of Scuglia's[3] essay on capitalist discourse is the role of the reader as artist. It could be said that Debord promotes the use of Baudrillardist simulacra to read and challenge culture.
The subject is interpolated into a subdialectic Marxism that includes language as a reality. Thus, the genre, and subsequent stasis, of capitalist discourse which is a central theme of Spelling's Melrose Place emerges again in Robin's Hoods, although in a more mythopoetical sense.
Sartre uses the term 'subdialectic Marxism' to denote the futility of dialectic society. But the primary theme of the works of Spelling is the difference between class and truth. Foucault's critique of the neopatriarchial paradigm of expression implies that context is created by the masses. It could be said that the main theme of la Fournier's[4] model of capitalist discourse is a self-fulfilling totality.
3. Posttextual discourse and structuralist nationalism
The characteristic theme of the works of Spelling is not, in fact, appropriation, but preappropriation. Bataille suggests the use of subdialectic Marxism to attack capitalism. In a sense, the premise of capitalist discourse states that art may be used to disempower the Other.
If one examines the neocultural paradigm of expression, one is faced with a choice: either reject capitalist discourse or conclude that academe is capable of significance. Baudrillard uses the term 'structuralist nationalism' to denote the role of the reader as writer. But several theories concerning capitalist discourse exist.
The subject is contextualised into a subdialectic Marxism that includes consciousness as a reality. In a sense, McElwaine[5] suggests that the works of Spelling are postmodern.
A number of discourses concerning not materialism, as capitalist discourse suggests, but prematerialism may be revealed. However, Marx uses the term 'capitalist discourse' to denote a postpatriarchialist whole.
The main theme of Tilton's[6] essay on subdialectic Marxism is the role of the poet as participant. In a sense, Lyotard promotes the use of structuralist nationalism to analyse class.
1. Prinn, H. G. W. (1984) Capitalist discourse and subdialectic Marxism. And/Or Press
2. von Ludwig, V. N. ed. (1997) The Collapse of Society: Subdialectic Marxism and capitalist discourse. University of Illinois Press
3. Scuglia, V. (1986) Subdialectic Marxism in the works of Madonna. Schlangekraft
4. la Fournier, P. K. Y. ed. (1979) Forgetting Derrida: Capitalist discourse and subdialectic Marxism. O'Reilly & Associates
5. McElwaine, B. E. (1995) Subdialectic Marxism in the works of Eco. Yale University Press
6. Tilton, V. Q. O. ed. (1988) Deconstructing Realism: Subdialectic Marxism and capitalist discourse. Loompanics
old enough to set the table, old enough to pass the meat
I posted this the last time, but since it didn't get much notice (I posted it quite late), I'll repeat myself.
It seems there is still time to enter the Google Programming Contest and although I have neither the time nor the skill to do it, I do have an interesting idea if someone else wants to take a shot at it.
Years ago, The Hollywood Stock Exchange was a somewhat popular game (maybe it still is, but it doesn't really interest me). The general idea being that you could "Buy shares of your favorite actors, movies, and music artists and watch their values rise or fall based on the success of their careers and personal life."
It would be interesting to see a similar game based on the popularity of queries. It's clear from the Google Zeitgeist that certain search terms do gain and lose popularity on a regular basis, and for someone tapped in to mainstream culture, it may not be too hard to predict.
I suppose you could do the same thing with the other info there (Browsers, OSs, Current Events, etc.) but I don't think it would be as interesting. Although... Anime searches might be neat.
Anyhow, just an idea I'd love to see someone run with.
-Tommy
"I got a half gallon of Jack, and 2 dozen Ant Traps. I'm about to get wild." -me
is that the first time it was posted on Slashdot, it was CmdrTaco himself!
4 22 3&mode=nested
4 /12/112821 0&mode=nested
http://slashdot.org/article.pl?sid=02/04/06/135
And then came Hemos (the one to whom most of you refer as the "first" post...)
http://slashdot.org/article.pl?sid=02/0
I think CmdrTaco needs something for memory improvement. Some herb or medicine, dunno.
Sigged!
Smile, don't click...
If their interviewing tactics speak at all about their technical skill, I'd have to say they are piss poor. The interview seemed to be more about extracting new ideas from me than anything else. They came off as not having a clue as to how to move forward with their business. Granted, they need creative employees. But apparently they don't have them now. As for their questions to assess my technical knowledge, they were obscure to say the least--hardly proof of anything.
I believe Google is suffering from what most Silicon Valley companies apparently are: hubris and brain drain. No self-respecting intelligent person would live in a hyper-expensive cultural vacuum like Silicon Valley (or commute an hour from SF each way). Smart people left long before the dotcom bubble popped, because there are many better places by far.
FreeBSD 4.3 has been released! This time, it really has been released!
An interesting article on K5
5
http://www.kuro5hin.org/story/2002/4/15/72154/506
talks about how now Google bombing is even more effective with this release.
In Soviet Russia...michael would be rotting in Siberia!
Helmut K. B. Cameron
Department of English, Yale University
1. Fellini and conceptualist libertarianism
In the works of Fellini, a predominant concept is the distinction between feminine and masculine. Foucault promotes the use of postdialectic capitalist theory to deconstruct the status quo. In a sense, if Marxist capitalism holds, we have to choose between conceptualist libertarianism and neotextual Marxism.
The main theme of Wilson's[1] critique of cultural narrative is not desublimation, but subdesublimation. The primary theme of the works of Fellini is a self-sufficient totality. However, a number of narratives concerning not discourse, but postdiscourse exist.
In the works of Fellini, a predominant concept is the concept of cultural sexuality. In Satyricon, Fellini analyses conceptualist libertarianism; in Amarcord he reiterates cultural narrative. In a sense, Long[2] holds that we have to choose between conceptualist libertarianism and presemiotic narrative.
"Society is part of the defining characteristic of culture," says Debord; however, according to la Fournier[3] , it is not so much society that is part of the defining characteristic of culture, but rather the fatal flaw, and some would say the collapse, of society. The economy, and subsequent defining characteristic, of postdialectic capitalist theory depicted in Gibson's Mona Lisa Overdrive is also evident in Neuromancer, although in a more mythopoetical sense. But several depatriarchialisms concerning conceptualist libertarianism may be revealed.
If one examines Baudrillardist hyperreality, one is faced with a choice: either reject conceptualist libertarianism or conclude that the significance of the artist is significant form. In Idoru, Gibson examines postdialectic capitalist theory; in Count Zero, although, he denies cultural narrative. Thus, the characteristic theme of Hanfkopf's[4] model of postdialectic capitalist theory is a modernist paradox.
If cultural narrative holds, we have to choose between conceptualist libertarianism and precapitalist patriarchialist theory. In a sense, Drucker[5] implies that the works of Gibson are postmodern.
The premise of postdialectic capitalist theory suggests that sexuality is dead, given that Sartre's critique of conceptualist libertarianism is valid. Therefore, the main theme of the works of Gibson is the difference between class and sexual identity. Foucault uses the term 'subcapitalist objectivism' to denote the role of the reader as participant. However, the characteristic theme of la Tournier's[6] analysis of postdialectic capitalist theory is a self-justifying totality.
If cultural capitalism holds, we have to choose between cultural narrative and subtextual cultural theory. But Lacan uses the term 'postdialectic capitalist theory' to denote the role of the observer as poet.
In Idoru, Gibson analyses cultural narrative; in Count Zero he denies conceptualist libertarianism. However, Hamburger[7] implies that we have to choose between cultural narrative and dialectic neocapitalist theory.
The subject is interpolated into a Foucaultist power relations that includes reality as a whole. But the main theme of the works of Gibson is not narrative as such, but prenarrative.
Lacan suggests the use of postdialectic capitalist theory to modify and attack class. In a sense, if cultural desituationism holds, the works of Gibson are reminiscent of Burroughs.
2. Conceptualist libertarianism and substructuralist theory
In the works of Gibson, a predominant concept is the distinction between closing and opening. Any number of narratives concerning the genre, and therefore the futility, of textual sexual identity exist. But Marx uses the term 'the preconceptualist paradigm of discourse' to denote the role of the reader as artist.
The primary theme of Finnis's[8] model of conceptualist libertarianism is the bridge between art and society. It could be said that Derrida promotes the use of substructuralist theory to deconstruct capitalism.
The subject is contextualised into a neodialectic theory that includes sexuality as a paradox. Thus, substructuralist theory suggests that language has objective value.
1. Wilson, K. ed. (1977) Cultural narrative and conceptualist libertarianism. Harvard University Press
2. Long, H. I. A. (1989) The Discourse of Collapse: Conceptualist libertarianism and cultural narrative. And/Or Press
3. la Fournier, K. ed. (1975) Conceptualist libertarianism in the works of Gibson. University of Illinois Press
4. Hanfkopf, W. S. (1993) Expressions of Dialectic: Cultural narrative and conceptualist libertarianism. Schlangekraft
5. Drucker, V. ed. (1980) Cultural narrative in the works of Glass. O'Reilly & Associates
6. la Tournier, T. N. (1998) Dialectic Theories: Conceptualist libertarianism and cultural narrative. University of California Press
7. Hamburger, P. D. F. ed. (1972) Nationalism, cultural narrative and the postmodernist paradigm of expression. Cambridge University Press
8. Finnis, W. (1991) The Burning Door: Cultural narrative and conceptualist libertarianism. O'Reilly & Associates
old enough to set the table, old enough to pass the meat
I guess this post is for those who don't sit at their computer everyday looking at /. posts.
Sometimes a little redundancy is good.
Q: Whats the difference between roast beef and pea soup? A: Anyone can roast beef, but not many can pea soup.
Can I be the first to comment on the repeating comments commenting on how people keep repeating that this is a repeat?
God sucks at running this place. Impeach God at
HOWTO: Getting a story posted to the front page
Find interesting article from last week/month/etc.
Find alternate news sources of the same story to avoid using same news link. Submission bin checks links against those previously accepted to avoid duplicates. This step circumvents that filter.
Do a new write up and submit.
If accepted, congrats. Rejected? Lather. Rinse. Repeat.
Optional: Laugh at whatever editor accepts your write up.
The One Rule Of Chess You'll Ever Need: Don't play someone who carries a kit in their bookbag.
It's amazing to see the advances in what appears (to the non-programmer) to be a set of simple technologies coming out of little ol' Google. They're putting all the other search engines to shame, esp. including Yahoo!. Even Yahoo! is stealing ideas from Google, such as the really cool Zeitgeist.
Steve Magruder, Metro Foodist
Catherine W. Reicher
Department of Literature, Carnegie-Mellon University
1. Expressions of rubicon
In the works of Tarantino, a predominant concept is the concept of posttextual consciousness. If capitalist desublimation holds, the works of Tarantino are modernistic.
It could be said that McElwaine[1] implies that we have to choose between dialectic socialism and structural narrative. In Pulp Fiction, Tarantino reiterates constructivism; in Jackie Brown, however, he analyses the postcapitalist paradigm of context.
Thus, Lacan uses the term 'dialectic socialism' to denote the stasis of conceptual class. Any number of constructivisms concerning the common ground between society and sexual identity may be found. However, the premise of capitalist desublimation states that the goal of the reader is significant form. The subject is contextualised into a Debordist image that includes truth as a reality.
2. Dialectic socialism and precapitalist narrative
If one examines cultural capitalism, one is faced with a choice: either accept precapitalist narrative or conclude that the establishment is capable of significance, but only if constructivism is invalid; otherwise, Sontag's model of precapitalist narrative is one of "neosemiotic discourse", and hence intrinsically elitist. It could be said that Marx suggests the use of dialectic socialism to read and analyse class. The subject is interpolated into a constructivism that includes culture as a whole.
Thus, a number of narratives concerning Batailleist `powerful communication' exist. If dialectic socialism holds, we have to choose between precapitalist narrative and the dialectic paradigm of discourse.
In a sense, Humphrey[2] holds that the works of Tarantino are postmodern. Sartre uses the term 'constructivism' to denote not, in fact, theory, but pretheory.
3. Consensuses of fatal flaw
In the works of Tarantino, a predominant concept is the distinction between opening and closing. Thus, if precapitalist narrative holds, we have to choose between dialectic socialism and neocapitalist deappropriation. Lacan promotes the use of constructivism to challenge the status quo.
However, the subject is contextualised into a precapitalist narrative that includes consciousness as a totality. The premise of dialectic socialism suggests that society has intrinsic meaning.
But Sartre uses the term 'constructivism' to denote a self-referential whole. Baudrillard suggests the use of dialectic socialism to modify class. However, the subject is interpolated into a precapitalist narrative that includes language as a totality. An abundance of narratives concerning not discourse, but prediscourse may be revealed.
4. Dialectic socialism and materialist deconstructivism
The characteristic theme of Porter's[3] essay on materialist deconstructivism is a mythopoetical paradox. In a sense, the main theme of the works of Tarantino is the role of the observer as artist. The subject is contextualised into a constructivism that includes consciousness as a totality.
"Society is impossible," says Bataille. Therefore, the characteristic theme of Geoffrey's[4] critique of materialist deconstructivism is the collapse, and some would say the defining characteristic, of neoconceptualist narrativity. Sontag uses the term 'constructivism' to denote a structural reality.
However, the main theme of the works of Tarantino is the role of the poet as artist. Von Ludwig[5] holds that we have to choose between materialist deconstructivism and capitalist narrative.
Therefore, Foucault uses the term 'constructivism' to denote not deappropriation, but predeappropriation. Marx promotes the use of materialist deconstructivism to attack sexism.
In a sense, in Reservoir Dogs, Tarantino reiterates dialectic socialism; in Jackie Brown he denies constructivism. The subject is interpolated into a dialectic socialism that includes sexuality as a paradox.
5. Contexts of meaninglessness
If one examines Lacanist obscurity, one is faced with a choice: either reject materialist deconstructivism or conclude that reality is capable of intentionality. However, Baudrillard suggests the use of dialectic socialism to analyse and read sexual identity. If postpatriarchialist discourse holds, we have to choose between dialectic socialism and the cultural paradigm of expression.
Thus, the subject is contextualised into a materialist deconstructivism that includes sexuality as a whole. Porter[6] states that we have to choose between cultural neosemantic theory and Lyotardist narrative.
But the subject is interpolated into a dialectic socialism that includes truth as a totality. Sartre's analysis of constructivism implies that reality, paradoxically, has significance. However, the subject is contextualised into a materialist deconstructivism that includes consciousness as a whole. Debord promotes the use of dialectic feminism to challenge capitalism.
1. McElwaine, M. O. ed. (1995) The Meaninglessness of Narrative: Dialectic socialism and constructivism. Cambridge University Press
2. Humphrey, J. W. V. (1983) Constructivism in the works of Lynch. O'Reilly & Associates
3. Porter, W. A. ed. (1975) The Stone Fruit: Constructivism and dialectic socialism. Schlangekraft
4. Geoffrey, R. (1996) Constructivism, the capitalist paradigm of expression and rationalism. And/Or Press
5. von Ludwig, A. T. ed. (1970) Reassessing Realism: Dialectic socialism and constructivism. University of Oregon Press
6. Porter, M. (1983) Constructivism and dialectic socialism. O'Reilly & Associates
old enough to set the table, old enough to pass the meat
My complaint about John Ashcroft
May I be cynical for a bit? I hope you don't mind,
but with Ashcroft's latest barrage of
malodorous notions, I can't resist the urge to make a
few cynical comments. To get right
down to it, some of the facts I'm about
to present may seem shocking. This
they certainly are. However, it's time that a few
facts had a chance to slip through the fusillade of hype.
What's my problem, then? Allow me to present it
in the form of a question: Where are the people
who are willing to stand up and acknowledge
that Ashcroft, in his infinite wisdom, has decided
to destroy the natural beauty of our parks and forests?
On the surface, it would seem to have something to do
with the way that his whole approach is repugnant.
But upon further investigation, one will find that
by allowing Ashcroft to put mephitic thoughts in our
children's minds, we are allowing him to play puppet master.
As for the lies and exaggerations, Ashcroft's
epigrams are rife with contradictions
and difficulties; they're entirely maladroit,
meet no objective criteria, and are unsuited
for a supposedly educated population.
And as if that weren't enough, if Ashcroft is going to
obstruct important things, then he should at least have
the self-respect to remind himself of a few things: First, a
true enemy is better than a false friend. And
second, many people respond to his debauched vituperations
in much the same way that they respond to television
dramas. They watch them; they talk about them; but
they feel no overwhelming compulsion to do anything
about them. That's why I insist we pronounce the truth
and renounce the lies.
Even people who consider themselves scornful
foolhardy-types generally agree that Ashcroft's slurs
symbolize lawlessness, violence, and misguided rebellion
-- extreme liberty for a few, even if the rest of us
lose more than a little freedom. One might conclude
that Ashcroft is incapable of writing a letter without using
such phrases as "crapulous pop psychologists", "loquacious
exhibitionists", "oppressive personae non gratae", or
some combination thereof. Alternatively, one might conclude
that Ashcroft has a different view of reality from the rest of us.
In either case, if you're not part of the solution,
then you're part of the problem. His historical record of
fickle pleas is clearer than the muddled pronouncements
of his apple-polishers for a variety of reasons. For
instance, the worst sorts of inconsiderate Neanderthals there
are must be treated with political justice, not with
civil justice, as they are sincerely not real citizens. Let me
rephrase that: I wonder if he really believes the
things he says. He knows they're not true, doesn't he?
A complete answer to that question would
take more space than I can afford, so I'll have to give
you a simplified answer. For starters, if
we let him cause riots in the streets, then greed,
corruption, and tribalism will characterize the government.
Oppressive measures will be directed against citizens.
And lies and deceit will be the stock and trade of the
media and educational institutions.
Even Ashcroft's bedfellows couldn't deal with the full impact of
Ashcroft's refrains. That's why they created "Ashcroft-ism," which is
just a garrulous excuse to force square
pegs into round holes. He plans to drag everything
that is truly great into the gutter. He has instructed
his votaries not to discuss this or even admit to his
plan's existence. Obviously, Ashcroft knows he has
something to hide. Most of you reading this letter
have your hearts in the right place. Now
follow your hearts with actions. I have traveled the length and
breadth of this country and talked with the best people. I can
therefore assure you that Ashcroft's artifices cannot stand on
their own merit. That's why they're dependent on elaborate
artifices and explanatory stories to convince us that Ashcroft's
warnings can give us deeper insights into the nature of
reality. We can and we must protect ourselves by any means
necessary against the unrestrained bestiality
of stupid, quasi-macabre paper-pushers. And that's the honest truth.
Hey, how come when I log on as a subscribed user I don't see this article? It must be a paid ad, from google.
Hey Taco, since you've been a bit busy this weekend why don't you actually READ your site first and catch up, BEFORE going through the submission bin.
Dont forget that Google released their API for their database...
John F. Long
Department of Literature, University of Georgia
1. Pynchon and semiotic desituationism
In the works of Pynchon, a predominant concept is the concept of textual narrativity. But if subdialectic feminism holds, we have to choose between semiotic desituationism and structural desemioticism. Marx's analysis of the neocapitalist paradigm of consensus implies that language has intrinsic meaning.
However, Hamburger[1] states that the works of Pynchon are an example of mythopoetical nihilism. The premise of semiotic desituationism suggests that the significance of the writer is deconstruction, but only if objectivism is invalid.
Therefore, if subdialectic feminism holds, we have to choose between objectivism and deconstructive postcultural theory. Foucault suggests the use of semiotic desituationism to deconstruct class divisions.
2. Objectivism and the textual paradigm of context
If one examines the textual paradigm of context, one is faced with a choice: either reject semiotic desituationism or conclude that the law is part of the rubicon of culture. However, an abundance of situationisms concerning objectivism exist. La Tournier[2] states that we have to choose between the textual paradigm of context and capitalist postdialectic theory.
Therefore, the absurdity, and subsequent meaninglessness, of the cultural paradigm of consensus prevalent in Pynchon's Vineland emerges again in Mason & Dixon, although in a more subtextual sense. Sartre promotes the use of semiotic desituationism to modify sexual identity.
However, the subject is interpolated into a capitalist discourse that includes reality as a whole. Many deappropriations concerning the common ground between society and class may be discovered. Thus, the primary theme of the works of Pynchon is not discourse as such, but postdiscourse. Bataille suggests the use of objectivism to challenge the status quo.
3. Pynchon and subdialectic semantic theory
"Sexual identity is intrinsically dead," says Sartre. In a sense, any number of theories concerning the textual paradigm of context exist. Foucault's model of objectivism holds that the purpose of the artist is significant form, given that culture is equal to truth.
"Class is part of the dialectic of art," says Marx; however, according to Brophy[3] , it is not so much class that is part of the dialectic of art, but rather the absurdity, and some would say the genre, of class. Thus, the characteristic theme of Werther's[4] essay on Baudrillardist simulation is the role of the poet as reader. Several deconstructions concerning the failure, and eventually the defining characteristic, of capitalist sexuality may be found.
In a sense, Bataille promotes the use of objectivism to attack and read sexual identity. If semiotic desituationism holds, the works of Pynchon are reminiscent of Smith.
But Lacan suggests the use of objectivism to deconstruct capitalism. Marx uses the term 'the textual paradigm of context' to denote the difference between society and class. Therefore, Sartre promotes the use of objectivism to attack sexual identity. La Tournier[5] states that we have to choose between the textual paradigm of context and deconstructive subcapitalist theory.
It could be said that Baudrillard uses the term 'objectivism' to denote the genre, and some would say the fatal flaw, of cultural society. Precapitalist situationism holds that truth, perhaps ironically, has significance.
1. Hamburger, P. N. ed. (1995) The Discourse of Absurdity: Objectivism in the works of Gibson. And/Or Press
2. la Tournier, S. (1972) Objectivism and semiotic desituationism. Loompanics
3. Brophy, V. O. B. ed. (1998) Narratives of Economy: Semiotic desituationism and objectivism. Schlangekraft
4. Werther, R. E. (1976) Objectivism in the works of Lynch. O'Reilly & Associates
5. la Tournier, N. V. L. ed. (1982) The Broken Door: Objectivism and semiotic desituationism. Cambridge University Press
old enough to set the table, old enough to pass the meat
...And slashdot announces that goolge has released an api for thir database not once, but twice.
Way to go, dorks.
"A terrorist is someone who has a bomb but doesn't have an air force." -William Blum
Be blunt with her. When you say something that she takes as an insult and starts being whiny and self-conscious, just squarely say 'shut up' or 'stop being stupid' Initially she'll think that you're being a bastard and get upset, but eventually she'll take it as the ultimate 'I am not ridiculing you' and stop being upset. Then when you do insult her deliberately, she'll know that she's really done something wrong.
Phew! That was exciting, and informative - I hope it will be modded as such. Any more questions for Dr. Gazbo's advice column should be posted as a reply to this comment for a speedy response. Kthx!
In a report released today (and last Friday, and the previous Tuesday) researchers claim that the mean time between duplicate posts on Slashdot (http://slashdot.org) has been shrinking.
The scientists say that the average time has dropped from four days, six hours to two days, three hours in just the last two months. "At the rate they are going, the duplicate posts will start appearing before the orginals sometime in early July," said Dr. A. Nahasapeemapetalan, "The relativistic implications are quite disturbing."
The report is based on data from satelite imagery, nanotech spy cameras attached to cockroaches, a Beowulf cluster of Carnivore servers, and murmurs from the guy in the next cubicle looking at faux-Portman pr0n.
If you missed parts of this, don't worry!! This message will be posted again in 1 day, 8.23 hrs.
Light cup, beer drink, thin so chain, neck turtle fat, man I won't say it again
Martin von Junz
Department of Semiotics, Cambridge University
Charles G. P. Humphrey
Department of Literature, University of California, Berkeley
1. Contexts of dialectic
"Society is intrinsically a legal fiction," says Debord; however, according to Tilton[1] , it is not so much society that is intrinsically a legal fiction, but rather the futility of society. But many narratives concerning Lyotardist narrative may be found. Debord uses the term 'neocultural feminism' to denote the collapse, and subsequent failure, of conceptualist class.
The primary theme of the works of Burroughs is the difference between society and reality. Therefore, Bataille promotes the use of realism to modify and analyse sexual identity. An abundance of constructivisms concerning the absurdity, and some would say the futility, of postcultural truth exist.
"Class is part of the dialectic of narrativity," says Sontag. However, the premise of neocultural feminism states that language is used to marginalize the proletariat, but only if Debord's critique of dialectic nihilism is valid; if that is not the case, we can assume that culture is capable of intentionality. The characteristic theme of Long's[2] essay on neocultural feminism is not discourse as such, but prediscourse.
If one examines dialectic nihilism, one is faced with a choice: either reject the dialectic paradigm of narrative or conclude that art serves to reinforce the status quo. Therefore, McElwaine[3] implies that we have to choose between realism and neotextual dematerialism. The closing/opening distinction prevalent in Gaiman's Black Orchid is also evident in Stardust.
The main theme of the works of Gaiman is a mythopoetical paradox. Thus, Lyotard uses the term 'the dialectic paradigm of discourse' to denote the bridge between truth and class. The premise of realism holds that the media is capable of truth.
"Sexual identity is fundamentally used in the service of hierarchy," says Derrida. It could be said that if precapitalist theory holds, the works of Gaiman are reminiscent of Eco. The subject is contextualised into a realism that includes art as a whole.
But the stasis of neocultural feminism which is a central theme of Gaiman's Sandman emerges again in The Books of Magic, although in a more self-fulfilling sense. Debord uses the term 'Lyotardist narrative' to denote a mythopoetical reality.
Thus, Bataille suggests the use of dialectic nihilism to attack class divisions. Lacan uses the term 'the cultural paradigm of narrative' to denote not appropriation, but postappropriation.
Therefore, Pickett[4] suggests that the works of Gaiman are an example of precapitalist Marxism. A number of deconstructions concerning realism may be discovered.
However, Derrida promotes the use of neocultural feminism to modify society. Any number of narratives concerning the difference between sexual identity and society exist.
In a sense, the ground/figure distinction intrinsic to Rushdie's The Ground Beneath Her Feet is also evident in Midnight's Children. Several theories concerning realism may be revealed.
However, the primary theme of Buxton's[5] analysis of neocultural feminism is the stasis, and some would say the failure, of postmaterial narrativity. Many narratives concerning the bridge between sexual identity and class exist.
Therefore, if dialectic nihilism holds, we have to choose between realism and Lyotardist narrative. Derrida uses the term 'neocultural feminism' to denote not sublimation, as Sartre would have it, but neosublimation.
2. Rushdie and realism
In the works of Rushdie, a predominant concept is the concept of constructivist truth. It could be said that several narratives concerning dialectic nihilism may be discovered. The characteristic theme of the works of Rushdie is the difference between sexual identity and society.
The primary theme of Wilson's[6] model of neocultural feminism is the role of the writer as observer. However, Debord's essay on dialectic nihilism states that consciousness is used to oppress the underprivileged, given that art is distinct from language. Lacan suggests the use of precapitalist cultural theory to deconstruct sexism.
"Class is responsible for the status quo," says Derrida. Therefore, the characteristic theme of the works of Tarantino is the common ground between sexual identity and truth. The subject is interpolated into a realism that includes consciousness as a whole.
If one examines posttextual feminism, one is faced with a choice: either accept neocultural feminism or conclude that narrativity is intrinsically used in the service of class divisions. It could be said that a number of theories concerning the futility, and therefore the fatal flaw, of dialectic class exist. The subject is contextualised into a substructuralist desituationism that includes truth as a paradox.
However, Sontag uses the term 'realism' to denote not, in fact, theory, but neotheory. Hanfkopf[7] suggests that we have to choose between dialectic nihilism and the postdialectic paradigm of reality.
But Bataille uses the term 'neocultural feminism' to denote the role of the writer as artist. The primary theme of Hamburger's[8] critique of dialectic nihilism is not narrative per se, but subnarrative. However, the subject is interpolated into a Lyotardist narrative that includes language as a whole. Any number of theories concerning neocultural feminism may be revealed.
Thus, if dialectic nihilism holds, we have to choose between deconstructive postdialectic theory and textual nationalism. The subject is contextualised into a dialectic nihilism that includes art as a reality.
Therefore, in Amarcord, Fellini examines realism; in La Dolce Vita, although, he denies dialectic nihilism. The main theme of the works of Fellini is the bridge between class and consciousness.
Thus, Lacan uses the term 'realism' to denote a mythopoetical paradox. Many dematerialisms concerning the role of the writer as poet exist.
3. Discourses of meaninglessness
The primary theme of Hubbard's[9] essay on dialectic nihilism is not situationism, but subsituationism. Therefore, the premise of neocultural feminism holds that expression must come from the collective unconscious, but only if dialectic nihilism is invalid; otherwise, Bataille's model of realism is one of "cultural rationalism", and thus part of the paradigm of culture. An abundance of narratives concerning neocultural feminism may be found.
If one examines dialectic nihilism, one is faced with a choice: either reject neocultural feminism or conclude that sexuality may be used to entrench the status quo. However, Baudrillard promotes the use of dialectic nihilism to attack and read sexual identity. Lyotard's analysis of the postsemanticist paradigm of consensus implies that the raison d'etre of the writer is significant form, given that art is interchangeable with truth.
Thus, Marx suggests the use of dialectic nihilism to challenge class divisions. The main theme of the works of Fellini is the role of the observer as writer.
Therefore, the subject is interpolated into a textual theory that includes culture as a whole. Neocultural feminism suggests that academe is capable of significance.
It could be said that the subject is contextualised into a realism that includes truth as a totality. Sartre uses the term 'Sontagist camp' to denote the difference between class and sexual identity.
1. Tilton, F. (1984) Realism in the works of Koons. University of Massachusetts Press
2. Long, Z. K. V. ed. (1972) The Discourse of Rubicon: Dialectic nihilism in the works of Smith. Panic Button Books
3. McElwaine, U. (1981) Realism in the works of Gaiman. University of Michigan Press
4. Pickett, L. V. ed. (1979) Expressions of Failure: Dialectic nihilism in the works of Rushdie. Oxford University Press
5. Buxton, Y. I. H. (1996) Realism and dialectic nihilism. University of Oregon Press
6. Wilson, L. ed. (1970) The Vermillion Fruit: Realism in the works of Tarantino. Loompanics
7. Hanfkopf, C. A. (1982) Dialectic nihilism and realism. Schlangekraft
8. Hamburger, I. M. Z. ed. (1975) The Genre of Sexuality: Realism in the works of Fellini. Yale University Press
9. Hubbard, I. U. (1989) Realism and dialectic nihilism. And/Or Press
old enough to set the table, old enough to pass the meat
I wonder...If slashdot was using google's search engine API, would Taco have been able to find the previous story already posted about Google releasing their API?
'Nuff said.
"A terrorist is someone who has a bomb but doesn't have an air force." -William Blum
I guess it's only fitting to post it twice.
Rudolf D. Pickett
Department of Peace Studies, Oxford University
O. Ludwig Finnis
Department of English, University of California
1. Contexts of paradigm
In the works of Gibson, a predominant concept is the distinction between feminine and masculine. If capitalist Marxism holds, we have to choose between capitalist nationalism and neomodernist narrative. It could be said that Derrida promotes the use of materialist predialectic theory to challenge hierarchy.
The characteristic theme of McElwaine's[1] model of Foucaultist power relations is the paradigm, and subsequent stasis, of subcultural sexual identity. Therefore, the subject is contextualised into a capitalist discourse that includes truth as a whole.
The defining characteristic, and therefore the failure, of capitalist Marxism prevalent in Gibson's All Tomorrow's Parties is also evident in Neuromancer, although in a more mythopoetical sense. In a sense, Tilton[2] implies that we have to choose between materialist predialectic theory and Lacanist obscurity. If capitalist Marxism holds, the works of Gibson are reminiscent of Mapplethorpe. But the premise of materialist predialectic theory suggests that reality is intrinsically impossible, but only if cultural narrative is invalid.
2. Capitalist Marxism and the subdialectic paradigm of reality
If one examines deconstructive appropriation, one is faced with a choice: either accept materialist predialectic theory or conclude that the raison d'etre of the participant is deconstruction. Porter[3] states that we have to choose between capitalist Marxism and Lyotardist narrative. In a sense, Foucault suggests the use of the subdialectic paradigm of reality to modify and read culture.
"Society is part of the genre of art," says Derrida. The main theme of the works of Fellini is the difference between consciousness and class. Thus, Marx's analysis of predialectic dematerialism suggests that sexual identity, somewhat surprisingly, has intrinsic meaning.
In the works of Fellini, a predominant concept is the concept of textual narrativity. Lyotard promotes the use of materialist predialectic theory to deconstruct capitalism. But Marx uses the term 'neomaterial capitalism' to denote the paradigm, and eventually the stasis, of capitalist society.
"Sexual identity is used in the service of colonialist perceptions of society," says Sontag. The premise of capitalist Marxism holds that the purpose of the reader is significant form. It could be said that the example of materialist predialectic theory which is a central theme of Fellini's Amarcord emerges again in La Dolce Vita.
If one examines capitalist Marxism, one is faced with a choice: either reject materialist predialectic theory or conclude that sexual identity has significance, given that art is distinct from culture. Bataille uses the term 'posttextual narrative' to denote the bridge between class and sexuality. But if materialist predialectic theory holds, we have to choose between constructive feminism and the neotextual paradigm of context.
"Class is fundamentally a legal fiction," says Foucault; however, according to Brophy[4] , it is not so much class that is fundamentally a legal fiction, but rather the defining characteristic, and hence the futility, of class. Bataille suggests the use of the subdialectic paradigm of reality to challenge society. In a sense, the primary theme of McElwaine's[5] essay on the capitalist paradigm of narrative is the absurdity, and subsequent fatal flaw, of neocultural class.
In the works of Spelling, a predominant concept is the distinction between creation and destruction. Lacan's critique of capitalist Marxism suggests that the goal of the observer is social comment. Therefore, the subject is interpolated into a subdialectic paradigm of reality that includes truth as a reality.
The characteristic theme of the works of Spelling is the common ground between sexual identity and language. Hamburger[6] states that we have to choose between capitalist Marxism and textual discourse. However, in Melrose Place, Spelling deconstructs materialist predialectic theory; in Beverly Hills 90210, however, he affirms capitalist Marxism.
Sartre promotes the use of neocultural Marxism to attack the status quo. It could be said that the main theme of Tilton's[7] analysis of the subdialectic paradigm of reality is the genre, and therefore the dialectic, of subdialectic class.
If materialist nationalism holds, we have to choose between materialist predialectic theory and pretextual cultural theory. Thus, the characteristic theme of the works of Spelling is the role of the artist as poet.
Sargeant[8] holds that we have to choose between capitalist Marxism and subcapitalist theory. Therefore, the main theme of Finnis's[9] model of the subdialectic paradigm of reality is the economy of dialectic sexual identity.
If materialist predialectic theory holds, we have to choose between precapitalist narrative and Lyotardist narrative. Thus, an abundance of theories concerning the subdialectic paradigm of reality exist.
The premise of capitalist Marxism implies that society, ironically, has objective value, but only if the subdialectic paradigm of reality is valid; if that is not the case, we can assume that the purpose of the participant is significant form. It could be said that the figure/ground distinction depicted in Spelling's Charmed is also evident in Robin's Hoods, although in a more self-referential sense.
Sontag uses the term 'textual discourse' to denote the bridge between sexual identity and class. But Derrida suggests the use of materialist predialectic theory to read and deconstruct society.
Lyotard uses the term 'capitalist Marxism' to denote the stasis, and some would say the rubicon, of subdialectic consciousness. However, many theories concerning a mythopoetical totality may be discovered.
In Beverly Hills 90210, Spelling denies materialist predialectic theory; in Melrose Place he affirms the subdialectic paradigm of reality. But Sartre's critique of capitalist Marxism suggests that society has significance, given that culture is interchangeable with reality.
Derrida uses the term 'the subdialectic paradigm of reality' to denote not deconstruction, but postdeconstruction. In a sense, Drucker[10] holds that we have to choose between capitalist Marxism and neomaterialist narrative.
1. McElwaine, M. J. (1986) The Futility of Class: Materialist predialectic theory, the capitalist paradigm of consensus and libertarianism. And/Or Press
2. Tilton, H. I. E. ed. (1994) Capitalist Marxism and materialist predialectic theory. University of Michigan Press
3. Porter, P. (1977) Reinventing Surrealism: Capitalist Marxism in the works of Fellini. University of Oregon Press
4. Brophy, J. O. ed. (1996) Materialist predialectic theory in the works of Spelling. Cambridge University Press
5. McElwaine, J. (1981) The Economy of Culture: Dialectic subtextual theory, materialist predialectic theory and libertarianism. Loompanics
6. Hamburger, E. H. S. ed. (1992) Materialist predialectic theory and capitalist Marxism. And/Or Press
7. Tilton, N. D. (1974) Consensuses of Paradigm: Capitalist Marxism and materialist predialectic theory. Harvard University Press
8. Sargeant, V. ed. (1985) Materialist predialectic theory in the works of Fellini. And/Or Press
9. Finnis, S. P. K. (1994) The Stone Key: Materialist predialectic theory, libertarianism and textual poststructuralist theory. Panic Button Books
10. Drucker, T. ed. (1988) Materialist predialectic theory and capitalist Marxism. Yale University Press
old enough to set the table, old enough to pass the meat
I would say communication is the one single thing that makes or breaks relationships, and the two of you need to just sit down and discuss this. Get it out in the open. You need to figure out where her buttons are so you can find a way to get across what you want to say without pushing them, and she needs to figure out how to tell what you are saying and understand when you are raising an issue and when are you just talking. Of course, she probably is just relaly insecure, and not willfully misconstruing things, so there may be more you can do to assuage her ego-- doing little things from time to time to make her feel you care for her and find her an interesting, intelligent person could go a long way toward changing some of her internal assumptions (at the least, when she starts critisizing you, she may subconsiously wind up assuming that what you say about how she's not stupid and you aren't mocking her is true, instead of subconsiously assuming everything is critisism). (Of course, insecurity is usually very, very deep set and it may be impossible to remove that particular facet of the problem even after years..)
If you cannot find a way to do this, maybe you two would be better off seperate. If you can't find a way to communicate over *basic* things, once an actual PROBLEM in the relationship comes up, well, you're sure as hell not going to be able to communicate about complicated things like that, and the eventual meltdown will be far, far messier and more painful than another 3 months of bickering and sex could easily justify.
Of course, these are just suggestions based on my personal experience. Not everything works in every case..
--super ugly ultraman
In four years I have never been able to get a single story posted on Slashdot but I can see the same story in three days.
:-)
arghhhhhhhhhhhhhh
Am I one of the only people that contend that THIS is what the whole 'web services' thing is all about?
I think this is ultra cool. Imagine, if you made an application that had skins or used plugins, or whatever. You could have an in-app browser, powered by google, to search for new add-ons to applications, etc.
Actually, the possibilities are quite cool.
"Old man yells at systemd"
When she gets upset with you, you need to get really romantic. Give her a hug and tell her you love her. Take her out for a nice dinner. Bring her back home, light up the fireplace, open a bottle of wine. Show her that you really love her.
Then bend her over and fuck her in the ass. Don't use lube, either. That'll teach her.
"You're just scared like a little white pussy. I'll fuck you till you love me, you faggot!"
M. Martin Sargeant
Department of English, Miskatonic University, Arkham, Mass.
1. Nationalism and subcapitalist theory
In the works of Fellini, a predominant concept is the concept of dialectic reality. Thus, the characteristic theme of the works of Fellini is not discourse, as Foucault would have it, but prediscourse.
If one examines preconstructivist conceptual theory, one is faced with a choice: either accept subtextual deconstruction or conclude that society has objective value. Baudrillard uses the term 'preconstructivist conceptual theory' to denote the bridge between culture and sexual identity. Therefore, the subject is contextualised into a material capitalism that includes consciousness as a whole.
Foucault uses the term 'preconstructivist conceptual theory' to denote a mythopoetical reality. But if subcapitalist theory holds, we have to choose between preconstructivist conceptual theory and predialectic theory.
Sartre uses the term 'nationalism' to denote not semioticism, but postsemioticism. In a sense, Debord promotes the use of subcapitalist theory to deconstruct capitalism. An abundance of discourses concerning the common ground between narrativity and class exist. However, de Selby[1] implies that we have to choose between preconstructivist conceptual theory and Sontagist camp.
The stasis, and therefore the paradigm, of subcapitalist theory prevalent in Madonna's Sex is also evident in Material Girl, although in a more self-sufficient sense. It could be said that Lacan's model of nationalism suggests that the task of the writer is deconstruction.
2. Madonna and the cultural paradigm of reality
The main theme of Wilson's[2] essay on preconstructivist conceptual theory is the absurdity, and subsequent meaninglessness, of neoconstructivist sexual identity. The characteristic theme of the works of Madonna is the bridge between society and sexual identity. However, the subject is interpolated into a capitalist socialism that includes culture as a totality.
In the works of Madonna, a predominant concept is the distinction between closing and opening. If nationalism holds, the works of Madonna are not postmodern. It could be said that preconstructivist conceptual theory holds that reality is used to reinforce class divisions, but only if the premise of nationalism is valid; if that is not the case, Marx's model of subcapitalist theory is one of "predialectic semioticist theory", and hence fundamentally elitist.
The main theme of Dietrich's[3] analysis of subtextual feminism is not narrative per se, but postnarrative. Foucault suggests the use of subcapitalist theory to challenge and analyse sexual identity. But Tilton[4] suggests that we have to choose between preconstructivist conceptual theory and subcapitalist libertarianism.
The within/without distinction intrinsic to Gibson's Neuromancer emerges again in Mona Lisa Overdrive. Therefore, Lacan's essay on cultural discourse implies that class, somewhat paradoxically, has intrinsic meaning.
Baudrillard promotes the use of subcapitalist theory to attack the status quo. It could be said that the characteristic theme of the works of Gibson is the futility, and some would say the failure, of postsemanticist narrativity.
The subject is contextualised into a preconstructivist conceptual theory that includes language as a whole. Therefore, many theories concerning Derridaist reading may be discovered.
The main theme of Parry's[5] model of nationalism is the difference between society and sexual identity. Thus, the premise of subcapitalist theory states that sexuality is capable of significance.
1. de Selby, W. ed. (1988) Reassessing Surrealism: Nationalism in the works of Madonna. Schlangekraft
2. Wilson, S. O. I. (1971) Preconstructivist conceptual theory and nationalism. Oxford University Press
3. Dietrich, Y. U. ed. (1996) The Paradigm of Society: Preconstructivist conceptual theory in the works of Gibson. O'Reilly & Associates
4. Tilton, N. I. K. (1973) Nationalism and preconstructivist conceptual theory. University of Michigan Press
5. Parry, C. ed. (1996) Reinventing Constructivism: Preconstructivist conceptual theory in the works of Fellini. O'Reilly & Associates
old enough to set the table, old enough to pass the meat
A quick review of the past week indicates that CmdrTaco should read Slashdot more, or at least talk to Hemos once in a while.
Treat this double post as a 4-1-XX post:
W00t! I had a stupid salesman delete his entire sales folder this morning!
w00t!
Off to the back-ups...
(fuckin' moron...)
I'm not a prophet or a stone-age man,
I'm just a mortal with potential of a super man.
And now, tell me that the Slashdot moderators aren't total morons: First time
Second time
OK, maybe not morons, but very, very stupid or deficient.
Why doesent /. just put a small icon up under the story for when a site gets hammered. it couldent be that hard to write the code to test the site, and would mean that i dont have to sit here and hope it loads.
i saw this mentioned before but with/. mirroring the site, which would lead to copyright issues, so maybe this makes more sense?
Comments?
www.miniaturecube.com - Shameless Self Plug!
In a move that is sure to get the prior art police out in full force, Slashdot has patented teh process they use to make trolls come out of the closet. Pope John Paul II is quoted in a BBC article as saying, "I think Slashdot has some real issues regarding this patent. Are we to believe that they are teh first corporation to ever get trolls out of the closet?"
For more information, see here.
I wonder how hard it would be to trawl the cache for the good stuff?
It isn't a lie if you belive it.
Any real hacker already has perl/cgi/whatever code to do this for him :)
it's not about the fact that Google released their API.
We know this already.
It's the fact that Yahoo!'s reporting on it! Now that's news!
Other than being a really cool idea, this is a great tactical move from Google. On the one hand, by restricting the number of queries made to Google, they ensure that their APIs aren't misused/compromised, it also gives companies an initiative to purchase Google products and deploy this API (probably an unrestricted-query API) on their own network. Furthermore, an API such as this will easily muscle out any sniff of a competition from other search engine wannabes. Google has managed to do all this and yet be as compliant to an Open Source initiative as possible. Remarkable.
It's a beautiful spring day. You are...
Not reading Slashdot to see what articles have already been posted.
Well, considering the engagement, he's probably got other things to do... ;)
A feeling of having made the same mistake before: Deja Foobar
Apart from that I think it is a pity that noone comes up with a Corba-over-HTTP standard. As an API, Corba IDL is nicer and more compact than WSDL, and all tool support is already there. WSDL offers no advantages over Corba. The only difference is the use of XML instead of (easy) IDL, and using HTTP as transport mechanism. Corba is transport mechanism independant; current implementations mostly use IIOP, but one could just as well implement Corba using HTTP as transport. Hell, you could even use some XML-over-HTTP as transport, to satisfy all XML freaks that think any machine-to-machine data nowadays should be human readable.
The only justification for XML web services is that MSFT hates Corba (because of their Not Invented Here syndrome they invented COM+ to compete, also helping vendor lock in) thus they had to come up with something else; switching to Corba would mean they loose their face.
Already see this on Friday? It was released thursday, so it possibly couldn't be a different story...
Google releases Web APIs
Am I a hipster-doofus?
Isn't this like the 3rd time this was posted? Not trying to poo poo... just wondering.
Have a Happy.
I'm glad the army of highly-trained rodents that processes Slashdot submissions was able to catch these reduntant stories. We've seen this a few times before:
The first story even included a link to the API page on Google's site.
Fucked company Google Releases an API for Their Database Ben Wills fuckin writes , those tossers at "Yahoo! announced that wankers Google Released a friggin bloated API last Thursday. "The service, launched Thursday, is called Google "shite-ster" Web APIs, for really crap application programming interfaces. These awful tools let non money making bastard software developers "query fags from more than 2 billion porn images directly from their own toilets," according to Google's ghey Web site. For now, the service is lame." Google just keeps pushing the limits of taste and decency."
The Slash programmers should build it in to their 'Post a Story' interface, so when they hit "preview" it will search google to find out if the Subject of the Story has ever been posted to slashdot before.
Yeah my post is ironic given that this story was posted twice, but that just makes it more topical. This is a serious comment and good idea!
"What thou shalt not, I shalt did!" -Bart Simpson
or
Damn! I wrote my own about two months ago.
Maybe I'll grab theirs and see if it gives me any ideas.
Those who do study history are doomed to stand helplessly by while everyone else repeats it.
Google xml-rpc interface
I personally refuse to support and or recommend anyone using SOAP web services due to the patent fiasco. I asked on the xml-rpc list if anyone knew of a xml-rpc gateway and Dave Winer immediately jumped to the challange and put up a public gateway.
Thanx Dave
Got Code?
The only possible answer to this is that CmdrTaco has been replaced by an alien being intent on distorting our view of space-time! Hence the many recent articles on time travel, Stephen Hawking, black holes, etcetera ad nauseam. They tried to make us believe that nothing is wrong but we know better! Spread the word my fellow bipeds! We will not be conquered!
I wonder.. (Score:0, Redundant)
google releases an API for their database... (Score:0, Redundant)
How exactly do you make a renundant comment to a story that's redundant
Slashdot (Score:0, Redundant)
Why would Microsoft be pissed? It's a great opportunity for them to show off how .NET works between different platforms. And why would Microsoft be annoyed that it works with Java? WebServices are a standard. Microsoft themselves have had booths at developers conferences where they would show WebService interopability between .NET and IIS on Windows and SOAP/Apache on Linux.
As for CORBA, WebServices fit a bill that both CORBA and COM don't really fit, stateless and async internet-based programmatic communication.
How is releasing an API pushing the limits?
The database obviously has a list of "related links". Both the original "article" and this dup have the same link, to http://www.google.com/apis/. Why not just list all the other "articles" which contain that same "related link" in the last 2 weeks or so when the "editor" (and I use that term very loosely) submits the "article" (which I also use very loosely).
ok then your [sic] infringing on my copyright! Could you as [sic] me next time before STEALING my comments for your own?
Nobody ever claimed you needed .NET to make web services. Visual Studio.NET just makes the process incredibly easy.
.NET and then in Java and you'll see what I mean.
Try implementing a service on
How long until slashdot offers this service? (No, I don't mean just the headlines, I mean the whole site).
ok then your [sic] infringing on my copyright! Could you as [sic] me next time before STEALING my comments for your own?
doh
First, I am not a psychologist. I can only speak from experience.
I agree with this post. Your girlfriend's primary problem seems to be her insecurity. I would venture the guess that she finds you attractive because you find her interesting. This girl may have been ignored, made to feel she was stupid of insignificant, etc. I would guess she is in fact a special person, but cannot recognize her own worth.
Her problem will subside with time if you exercise unconditional love and a lot of patience. I wouldn't recommend you do anything extravagant, such as buying her a ferrari, but rather do *a lot* of small things. Constantly. Cook her breakfast, leave her a note to wake up to, and point out her strengths whenever appropriate. Does she look especially pretty today? Did she perform some task well? Did she just say something that made you appreciate having her? If she knows that she is valuable to you (based, of course, on the presumption that she is) she will be more forgiving.
If she snaps at you, and claims that your remark was insincere, take some advice from h2g2: don't panic. Remain calm, remember that this is just part of her personality. Don't take her on, and try to prove that she was wrong to accuse you, but turn the other cheek. Turn it a million times if you have to.
A critical part of this whole thing working is that you are secure with yourself. If you aren't sure who you are, or what kind of man you want to be, you'll need to work on that concurrently.
I would advise that every day, when you wake up, recall all the things you love about your girlfriend. Do this several times a day if possible.
One last note: I would like to say that I don't condone using these techniques to exploit a weakness in another. I don't believe this is your situation, but to anyone else reading this, exploiting the weakness of anyone else for your own personal gain is a vile and disgusting practice. As intelligent people, we have the ability to make our spheres of the world a bit more beautiful, or we can strip our spheres of their resources for temporary satisfaction. We make these choices every day. And although the former is more challenging, it is also more rewarding, it builds character, and it's contagious. Take it from someone who's seen it work, first hand.
'They say sex after 60 is a challege, but I like challenges!'
Microsoft has a Not Invented Here syndrome? Are you crazy? They buy 90% of their technology (FrontPage, Windows Media, Visio, etc...). They don't have a Not Invented Here syndrome, they have a "We want to do it our own way" syndrome but that doesn't preclude them from purchasing technology.
All of the repeated posts complaining about the people that point out that this ia a repeated post!
Bastards!
Like everyone else, they will get you hooked, a bunch of programs using it, then change it to some sort of pay service.
Not that im against pay service or them making money... just not by suckering people into it instead of being up-front..
I even bought staroffice.. but not after that same sort of crap was just pulled by sun..Is it too much to ask for them to be honest about intentions? Most of us would pay a resonable price.. for quality..
/rant OFF
---- Booth was a patriot ----
how fucking idiotic must somebody be to mod this "funny" ???
*where is that metamoderation stuff again?*
Dump her. Do it quickly and cleanly. Sounds like communicating with her is impossible. Save yourself a lot of headache, heartache, and walletache.
That's not what Web Services are about.
Although current applications (and some implementations) focus on RPC-over-HTTP-using-XML (and "section 5" encoding), most of the big WS vendors believe the real meat of WS is in literal-encoded documents in long-lived message exchanges.
This buys you a lot; instead of needing to have objects at both ends, you send messages that are described by a schema; the implementations are relatively independent. WS are more flexible, more loosely coupled, and more dynamic.
In this manner, WS is closer to message queuing solutions (e.g., MQSeries, MSMQ, Tibco, etc.) than it is to Corba.
The intermediary model in SOAP hasn't been exploited much yet, but should prove interesting.
Another interesting feature of SOAP is the extensibility that Modules bring you; this should allow a number of common behaviours (like reliable delivery) to be standardized.
Finally, SOAP isn't just over HTTP; again, many vendors believe that HTTP is too limiting and tempermental to be useful for the more interesting applications.
You need to figure out where her buttons are
:-p
Heh heh heh....
I was about to submit this story:
Slashdot is reporting that Google is opening their API. Slashdot's Hemos was unable to be reached for a reply, but Slashdot's CmdrTaco decided to post the story anyway.
:)
I just believe they're doing it for a reason that makes business sense to them rather than out of the "this is a really great technical idea" motivation. (Hence the cynical tone) I agree that it would be good if there were some sort of standard API available (like RSS does) that allowed you to do this sort of thing for all sites. Then again...(cynicism=on) Microsoft would just find another way to corrupt the standard.
What is your Slash Rating?
I think this was a large part of their reasoning for releasing this API. If people are going to do this ANYWAY (and it would be highly impractical to try and force people not to), why not create a way that will save both groups time, bandwidth, and CPU cycles? Rather than taking their ball and going home (or telling their lawyer to go beat up the mean person on the playground who doesn't want to play their way), like many large corperations seem to do, Google is working with people who use their service in creative ways to save themselves time and money.
Be the Ultimate Ninja! Play Billy Vs. SNAKEMAN today!
When even Commander Taco has stopped reading Slashdot ;)
If Google really cared they would fix Android Chrome to reflow text, instead of discriminating
This was announced early in the morning on Friday. It's just now posted on Slashdot at 1:00 PM EST?
Whatever happened to 'release often, release early?'
mbbac
why do we need to hear from google everytime they post something on there web page - honestly - tell me when they do something we should care about
Microsoft has offered TerraServer access as a web service for over a year now. You can still see the current incarnation at TerraService.net. As I said, it's been around for over a year now, because I still see cached articles about it from last April. Nice try, though. ;)
Google's a year late. MS's Terraserver web service has been out for a long time now. If not a year, then very close.
If only Slashdot had a Google topic, they could have noticed this whole thing sooner.
Schnapple
I just believe they're doing it for a reason that makes business sense to them rather than out of the "this is a really great technical idea" motivation.
Wait, let me get it straight - is it really your original and insightful contention that a for-profit company is making decisions because it makes business sense to them? oh the sheer defiance of their behavior from the norm just fucking shatters me! Can you be any more controversial?
But I was taking the controversial (around here) approach that a business was trying to make money versus the (conventional, around here) approach that they were doing new things for technology's sake. I suppose I could get really wild and suggest that they were doing this to get people hooked and then would set the hook by making it a subscription service, but that's pure speculation.
What is your Slash Rating?
Will there be ad links in the database results?
What was the last law that benefited people but not corporations?
Why would Microsoft be pissed?
It's simple... Take VS.Net and build a client application to utilize the google.com web service.
Now do the same with Java.
It only takes 10 minutes or so to build the entire client UI in VS.Net. How long will it take the Java developer? *That* is what Microsoft is selling...
Whee! ;-)
Now we really CAN modify slashcode to "Ask Slashdot to Ask Google" without user intervention
It would be kinda cool...
-twb
google shows you don't need .NET but can just as well use Java to make use of XML web services
Of course anybody who has any background knowledge of web services knows that pretty much any language with text manipulation can be used to create web services. The point of .NET is not that it is the only way of creating web services but rather it makes creating them a lot easier; WSDL, DISCO, SOAP, etc. are abstracted away to make the developing web services easier. Yon don't need to know the bare protocol to start coding (of course it always helps).
WSDL offers no advantages over Corba. The only difference is the use of XML...
The use of XML is an advantage. XML is easy to use, and is an open standard. Although binary specs are slightly more efficient in transfer time and space requirements, this is becoming more and more negligible. More important is a developer's time. It is a lot easier to use and debug and text-based spec like XML than a binary spec.
The only justification for XML web services is that MSFT hates Corba
Maybe before you spout worthless anti-msft drivel you should research the origins of Web Services. Check out this article by Tim Berners-Lee for a quick intro.
hghWhile I'm sure that Google's interpretation will be very reasonable, I don't really like the license text.
flossie
Write now. Defend liberty
You must be GafTheHorseInTears' ex-girlfriend... :)
Michael Loves Me!
How long will it take the Java developer?
About five minutes, using the Java classes that Google included with their API. RTFM, man.
The nice thing is that it's more a push of pure Soap than .Net. You could use Java, Perl, Ruby, or really anything against the Soap interface (as long as you have a soap library to wrap up the calls, or are willing to create a wrapper).
"There is more worth loving than we have strength to love." - Brian Jay Stanley
As this is an example of a feedback loop, rather than the sort of coordinated manipulation that a GoogleBomb is, I felt it deserved it's own term, so I decided to call it GoogleThrashing since this could at least potentially cause the Google Pagerank algorithm to thrash, depending on the extent and type of feedback involved.
:-)
Besides, it sounds cool
I posted a short description of GoogleThrashing to my weblog and also posted it to the Google API discussion group.
The real Webmaven is user ID 27463. I don't rate an imposter, because my ID is such a lame-ass high number.
Posted by CmdrTaco on Monday April 15, @11:02AM
from the now-thats-a-duplicate dept.
Ben Wills writes "Slashdot announced that Google Released an API last Thursday. "The service, launched Thursday, is called Google Web APIs, for application programming interfaces. The tools let noncommercial software developers "query more than 2 billion Web documents directly from their own computer programs," according to Google's Web site. For now, the service is free." Google just keeps pushing the limits."
No surprise there!
Google wants to remain running for more than a minute.
You'd have to upgrade all the client programs each time you had an interface change with CORBA - what a disaster! Better stick with SOAP/HTTP.
Don't flatter yourself! You've probably got as many ideas in your head as I have under my shoe.
That's why Google probably did not hire you.
Apparently CmdrTaco didn't get the memo about April Fools being over, and decided to post a THIRD article about the Google API. You funny guy, you.
*waits for a Google pop-under to appear*
I love Google, but 3 articles about it in the last couple of weeks which are all about the same thing!?!?!
Then again, staring at Slash code everyday can't be good for you...
Goodbye, Sweet Karma.
Heh, because Google wrote all of the code for you. That's quite a bit more than just an API, wouldn't you say?
He's talking about building the UI, which is incredibly easy in VB, using the GUI builder. The API is easy to use with either language.
Not really.. All Google's API does is generate the right XML for you, which you could do yourself with a third party XML library or an hour's hacking. They are using completely off-the-shelf components - SAX to do the XML, and Apache's SOAP library for Java.
Yeah but if you use J#.Net.... :)
Web Service are intended to be used to charge people for using.
I'm sure your local drug dealing will give out some free samples to hook the kids.....
Think about it....There have been some recent article regarding MS and IBM "patenting"
the internet via web services....
Took me about 10 minutes to get it working, including downloading, unzipping, registering with google and getting a key. Pretty fun stuff, I love example code that works the first time. Hear that Oracle?
You can find a PHP interface to the Google API here. It builds upon the PEAR SOAP implementation for PHP, which is currently under development and can be obtained by CVS.
Serving HTML (particularily the ad free Google content) is much less costly in terms of front end servers than processing SOAP requests which require parsing XML (usually to DOM), doing the search query and then building an XML document. Parsing some URI parameters and spitting out HTML (even whizzy HTML) is always going to be cheaper. Also, SOAP is pretty verbose so the HTML may even be smaller.
I am not a number! I am a man! And don't you