Why would I need to read the books to know if the films worked???
If I enjoy the films, they worked. When I've seen all three of them, complete with suspense and not knowing what happens next, then can read the books and rewatch the films, to fill in any gaps I might need to.
So far, though, I haven't needed to, because the films work perfectly well on their own.
Yeah, was just discussing the gifts with a work-colleague. I can't believe they left that out. There must have been something else they could have shortened to get that scene in.
Which is irrelevant to me. I'm watching them as films, and films alone. If they don't work without reading them as books, them I'm not that interested in seeing them.
Damn good point. Although anyone made home secretary seems to instantly shoot rightwards by about 50 feet. David Blunkett seemed half reasonable before his appointment.
Will your snazzy front end spot all films directed by Terry Gilliam and grab them for me? Will it allow me to watch programs that are currently recording? Will it spot clashes and then grab repeats so I don't miss my favourite shows?
Will it have a nice interface that I can control from the couch with a remote control?
I'm sure you could... given numerous man-yearsto write the whole thing. but Tivo have happily done all of that for me, and put it in a box.
Things have value because enough people want them.
Gold only has value because it historically has had value. What actual use is it, after all?
Similarly, MS stock is technically worthless - there's never been a dividend, probably never will be. The shares are worth money only because enough people think they should be.
From http://www.enteract.com/~katew/faqs/miscfaq7.htm The rights to MIRACLEMAN are a tangled mess.
The story begins with CAPTAIN MARVEL. In 1953, DC managed to finally stop Fawcett from publishing CAPTAIN MARVEL. After a drawn-out legal battle, the courts held CAPTAIN MARVEL to violate DC's SUPERMAN copyright. At this point, Fawcett decided that continuing the appeals process was not worthwhile and settled with DC (see section 5-25).
British publisher L. Miller & Sons had been publishing black and white reprints of CAPTAIN MARVEL. With Fawcett out of the CAPTAIN MARVEL business, L. Miller & Sons was left without anything to reprint. So they decided to make their own hero, and approached artist Mick Anglo to create one. What Anglo came up with was MARVELMAN. Anglo's CAPTAIN MARVEL "clone" was quite successful; MARVELMAN ran until 1963.
When MARVELMAN was revived and revamped in the 1982 (by Alan Moore and Gary Leach), as a feature in Dez Skinn's WARRIOR, the rights to the character apparently came to be held jointly by Skinn, Moore, and Leach (each holding a third). When Alan Davis took over from Gary Leach, Leach's share of the rights was apparently transferred to Davis.
However, there is a complication. Depending upon who is telling the story, Dez Skinn either: (a) believed that MARVELMAN was in public domain when WARRIOR revived the
character, (b) bought the rights to MARVELMAN from Mick Anglo (and shared them with
Moore and Leach), or (c) promised to buy the rights from Anglo, but never paid him for them.
If (a) or (b) is correct-and MARVELMAN was in the public domain when it was revived for WARRIOR-then the rights were shared equally by Skinn, Moore, and Davis. However, if (c) is correct, then Anglo may have a claim on some-if not all-of the MARVELMAN/MIRACLEMAN rights. catherine yronwode (former editor-in-chief of Eclipse) has said that Dez Skinn represented (b) being true when Eclipse was negotiating the purchase of Skinn's portion of the rights.
Assuming that MARVELMAN/MIRCALEMAN rights really were held jointly by Moore, Davis, and Skinn (which most of the principles involved apparently believed), then here's what happened:
Moore's MARVELMAN story was never completed in WARRIOR. In 1985, Eclipse and Alan Moore, revived the WARRIOR revival as MIRACLEMAN. The change from MARVELMAN to MIRACLEMAN was made in deference to Marvel Comics, because both publishers involved felt that a superhero named "MARVELMAN" might infringe on Marvel's US trademark.
Marvel had first objected to the use of "MARVELMAN" as a comic book title back when Skinn had published "MARVELMAN SPECIAL" in 1983.
Eclipse Comics bought Dez Skinn's 1/3 share of the MARVELMAN rights. Then, some time later, Eclipse bought Alan Davis' 1/3 share (at the time, Davis and Moore were embroiled in a dispute over whether to allow Marvel to reprint Moore and Davis' run on CAPTAIN BRITAN, and Davis wanted as little to do with Moore as possible). This left Eclipse with 2/3 of the rights, and Moore with 1/3.
When Moore finished his MIRACLEMAN story (at issue 16), and chose Neil Gaiman to replace him, he transferred his part ownership of the characters to Gaiman (or to Gaiman and his collaborator, Mark Buckingham). When Eclipse went bankrupt in 1994, the series ended in mid-story with issue 24. However, issue 25 of MIRACLEMAN existed in nearly complete form. As Eclipse was going under, yronwode mailed the finished art for MIRACLEMAN #25 to Gaiman. Presumably, he still has it.
According to catherine yronwode, Gaiman had approved a spin-off series called MIRACLEMAN TRIUMPHANT that took place in the time period between the end of Gaiman's first storyline and the beginning of his second. MIRACLEMAN TRIUMPHANT was written by Fred Burke and illustrated by Mike Deodato Jr. (who shared the rights to this project with Eclipse and Gaiman). Two issues were scripted, and one issue was finished, but never released. The artwork is still in possession of yronwode, and she has stated that she intends to mail it to Fred Burke whenever someone finally untangles the MIRACLEMAN copyright problems, and agrees to publish MIRACLEMAN TRIUMPHANT.
At the time of the Eclipse bankruptcy, Eclipse held with two-thirds of the rights to MIRACLEMAN, and Gaiman held one-third of the rights (either on his own, or jointly with Buckingham). Then in 1996, Todd McFarlane Productions purchased all of Eclipse's assets at a bankruptcy auction for $40,000. These assets included whatever share of MIRACLEMAN that Eclipse owned, along with other Eclipse-owned characters like as Airboy, the Heap, Valkyrie, Sky Wolf, etc.
Rumor has it that McFarlane thought he was getting all rights to MIRACLEMAN (other than those rights held by Gaiman--or Gaiman and Buckingham). However, since then, Dez Skinn has reportedly claimed that some or all of the MIRACLEMAN rights have reverted to him. To further complicate matters, Anglo has claimed that he owns ALL rights to MARVELMAN/MIRACLEMAN. Finally, McFarlane and Gaiman are involved in a dispute over Gaiman's rights to Angela (which he co-created in SPAWN #9 on a handshake deal), and are not currently on very friendly terms.
Although there have been numerous second-hand reports that McFarlane has offered to trade whatever rights he holds to MARVELMAN/MIRACLEMAN to Gaiman in return for Gaiman dropping any claims on Angela, the rights to the two characters are in no way linked.
Interestingly enough, in October 1997, Todd McFarlane Productions filed for a US registered trademark on "MIRACLEMAN" under classes 016 (printed matter, namely, comic books and posters), 025 (clothing, namely, shirts, athletic shirts, T-shirts, caps and jackets), and 028 (toys, namely, action figures and accessories therefore). The proposed trademarks were published for opposition on 06/02/1998, and according to the US PTO's online database (http://trademarks.uspto.gov/access/sear ch-mark.ht ml), are still pending.
Naah, the music for Requiem for a Dream was Clint Mansell and the Kronos Quartet. Clint did the beepy bits, the Quartet did the cello bits. The bit in the trailer is definitely a string instrument.
Actually, people overrate the changes in the near term and underrate them in the long term.
Re:hope mono gets it right...
on
KDE Adopting Mono
·
· Score: 3, Insightful
This is what programmers due, pay attention to memory management, pointers, etc.
Nope, what programmers do is take input and convert it to the desired output. If they can do so in VB and produce something that fulfills the requirements in half the time they could do it in C++ then they should use VB to do so.
Aah, I'm not fanatical about OSS, I'm just happy to use anything which works. I've been generally impressed enough by Mozilla to use it, except for that one thing (and some rendering errors that are almost certainly the website's fault).
And when opening 15 links from my RSS reader program, I really don't fancy switching back and forth that many times.
I hope they fix it soon, and then I'll happily join in the fun.
Slashdot Mirror
You want to let ordinary people decide the laws?
Have you _met_ any ordinary people?
Half of them have IQs below 100 for fuck's sake!
Definitely.
Now, who gets to decide which laws make sense?
I'd like to point you at an article I wrote for kuro5hin on the subject of .net here.
Microsoft's introduction is here.
Mono's information is here.
I'd like to point you at an article I wrote for kuro5hin on the subject of .net:0 59/0319
d uctinfo /overview/default.asp
http://www.kuro5hin.org/story/2002/10/2/43
Microsoft's introduction is here:
http://msdn.microsoft.com/netframework/pro
Mono's information is here:
http://www.go-mono.org/rationale.html
How does one back things up centrally?
Because you really don't want all 3000 users backing up separately.
You don't have friends you can go with?
I've had my current girlfriend for a year and a half but I don't go everywhere with her!
Why would I need to read the books to know if the films worked???
If I enjoy the films, they worked. When I've seen all three of them, complete with suspense and not knowing what happens next, then can read the books and rewatch the films, to fill in any gaps I might need to.
So far, though, I haven't needed to, because the films work perfectly well on their own.
Yeah, was just discussing the gifts with a work-colleague. I can't believe they left that out. There must have been something else they could have shortened to get that scene in.
Which is irrelevant to me. I'm watching them as films, and films alone. If they don't work without reading them as books, them I'm not that interested in seeing them.
Thankfully, they do.
I haven't read the books in 15 years and plan to avoid them until I've seen Return of the King.
Friends of mine who have read them recently spend half the film thinking "Well, that's different, and this line of dialogue wasn't quite right."
I just want to watch great films for what they are.
When I want a bunch of things in order I stick them into a cursor or other data abstract and say "sort".
If King had said "I need $10k for the next chapter." he'd have been fine. By saying "x% of you need to pay" he was doomed to failure.
If I downloaded at home and work, then I screwed his calculations. If people downloaded 20 copies to screw with the system, they succeeded.
If a writer just decided what the market is worth for the story/novel and asks for it, then they're being fair and the system is more likely to work.
What's the difference between a self-replicating nanotechnogolical assembler and, say, bacteria?
Because I'm fairly sure that those exist.
Asimov's Foundation books. When the Empire collapses, the Foundation manages to hold on to some of the technology that would otherwise have been lost.
Damn good point. Although anyone made home secretary seems to instantly shoot rightwards by about 50 feet. David Blunkett seemed half reasonable before his appointment.
That indicates that the opposition don't plan to do exactly the same thing. Which they do!
Will your snazzy front end spot all films directed by Terry Gilliam and grab them for me? Will it allow me to watch programs that are currently recording?
Will it spot clashes and then grab repeats so I don't miss my favourite shows?
Will it have a nice interface that I can control from the couch with a remote control?
I'm sure you could... given numerous man-yearsto write the whole thing. but Tivo have happily done all of that for me, and put it in a box.
Things have value because enough people want them.
Gold only has value because it historically has had value. What actual use is it, after all?
Similarly, MS stock is technically worthless - there's never been a dividend, probably never will be. The shares are worth money only because enough people think they should be.
From http://www.enteract.com/~katew/faqs/miscfaq7.htm
r ch-mark.ht ml), are still pending.
The rights to MIRACLEMAN are a tangled mess.
The story begins with CAPTAIN MARVEL. In 1953, DC managed to finally stop
Fawcett from publishing CAPTAIN MARVEL. After a drawn-out legal battle, the
courts held CAPTAIN MARVEL to violate DC's SUPERMAN copyright. At this
point, Fawcett decided that continuing the appeals process was not
worthwhile and settled with DC (see section 5-25).
British publisher L. Miller & Sons had been publishing black and white
reprints of CAPTAIN MARVEL. With Fawcett out of the CAPTAIN MARVEL
business, L. Miller & Sons was left without anything to reprint. So they
decided to make their own hero, and approached artist Mick Anglo to create
one. What Anglo came up with was MARVELMAN. Anglo's CAPTAIN MARVEL "clone"
was quite successful; MARVELMAN ran until 1963.
When MARVELMAN was revived and revamped in the 1982 (by Alan Moore and Gary
Leach), as a feature in Dez Skinn's WARRIOR, the rights to the character
apparently came to be held jointly by Skinn, Moore, and Leach (each holding
a third). When Alan Davis took over from Gary Leach, Leach's share of the
rights was apparently transferred to Davis.
However, there is a complication. Depending upon who is telling the story,
Dez Skinn either:
(a) believed that MARVELMAN was in public domain when WARRIOR revived the
character,
(b) bought the rights to MARVELMAN from Mick Anglo (and shared them with
Moore and Leach), or
(c) promised to buy the rights from Anglo, but never paid him for them.
If (a) or (b) is correct-and MARVELMAN was in the public domain when it was
revived for WARRIOR-then the rights were shared equally by Skinn, Moore,
and Davis. However, if (c) is correct, then Anglo may have a claim on
some-if not all-of the MARVELMAN/MIRACLEMAN rights. catherine yronwode
(former editor-in-chief of Eclipse) has said that Dez Skinn represented (b)
being true when Eclipse was negotiating the purchase of Skinn's portion of
the rights.
Assuming that MARVELMAN/MIRCALEMAN rights really were held jointly by
Moore, Davis, and Skinn (which most of the principles involved apparently
believed), then here's what happened:
Moore's MARVELMAN story was never completed in WARRIOR. In 1985, Eclipse
and Alan Moore, revived the WARRIOR revival as MIRACLEMAN. The change from
MARVELMAN to MIRACLEMAN was made in deference to Marvel Comics, because
both publishers involved felt that a superhero named "MARVELMAN" might
infringe on Marvel's US trademark.
Marvel had first objected to the use of "MARVELMAN" as a comic book title
back when Skinn had published "MARVELMAN SPECIAL" in 1983.
Eclipse Comics bought Dez Skinn's 1/3 share of the MARVELMAN rights. Then,
some time later, Eclipse bought Alan Davis' 1/3 share (at the time, Davis
and Moore were embroiled in a dispute over whether to allow Marvel to
reprint Moore and Davis' run on CAPTAIN BRITAN, and Davis wanted as little
to do with Moore as possible). This left Eclipse with 2/3 of the rights,
and Moore with 1/3.
When Moore finished his MIRACLEMAN story (at issue 16), and chose Neil
Gaiman to replace him, he transferred his part ownership of the characters
to Gaiman (or to Gaiman and his collaborator, Mark Buckingham). When
Eclipse went bankrupt in 1994, the series ended in mid-story with issue 24.
However, issue 25 of MIRACLEMAN existed in nearly complete form. As Eclipse
was going under, yronwode mailed the finished art for MIRACLEMAN #25 to
Gaiman. Presumably, he still has it.
According to catherine yronwode, Gaiman had approved a spin-off series
called MIRACLEMAN TRIUMPHANT that took place in the time period between the
end of Gaiman's first storyline and the beginning of his second. MIRACLEMAN
TRIUMPHANT was written by Fred Burke and illustrated by Mike Deodato Jr.
(who shared the rights to this project with Eclipse and Gaiman). Two issues
were scripted, and one issue was finished, but never released. The artwork
is still in possession of yronwode, and she has stated that she intends to
mail it to Fred Burke whenever someone finally untangles the MIRACLEMAN
copyright problems, and agrees to publish MIRACLEMAN TRIUMPHANT.
At the time of the Eclipse bankruptcy, Eclipse held with two-thirds of the
rights to MIRACLEMAN, and Gaiman held one-third of the rights (either on
his own, or jointly with Buckingham). Then in 1996, Todd McFarlane
Productions purchased all of Eclipse's assets at a bankruptcy auction for
$40,000. These assets included whatever share of MIRACLEMAN that Eclipse
owned, along with other Eclipse-owned characters like as Airboy, the Heap,
Valkyrie, Sky Wolf, etc.
Rumor has it that McFarlane thought he was getting all rights to MIRACLEMAN
(other than those rights held by Gaiman--or Gaiman and Buckingham).
However, since then, Dez Skinn has reportedly claimed that some or all of
the MIRACLEMAN rights have reverted to him. To further complicate matters,
Anglo has claimed that he owns ALL rights to MARVELMAN/MIRACLEMAN. Finally,
McFarlane and Gaiman are involved in a dispute over Gaiman's rights to
Angela (which he co-created in SPAWN #9 on a handshake deal), and are not
currently on very friendly terms.
Although there have been numerous second-hand reports that McFarlane has
offered to trade whatever rights he holds to MARVELMAN/MIRACLEMAN to Gaiman
in return for Gaiman dropping any claims on Angela, the rights to the two
characters are in no way linked.
Interestingly enough, in October 1997, Todd McFarlane Productions filed for
a US registered trademark on "MIRACLEMAN" under classes 016 (printed
matter, namely, comic books and posters), 025 (clothing, namely, shirts,
athletic shirts, T-shirts, caps and jackets), and 028 (toys, namely, action
figures and accessories therefore). The proposed trademarks were published
for opposition on 06/02/1998, and according to the US PTO's online database
(http://trademarks.uspto.gov/access/sea
So who owns MIRACLEMAN? Nobody knows...
Naah, the music for Requiem for a Dream was Clint Mansell and the Kronos Quartet. Clint did the beepy bits, the Quartet did the cello bits. The bit in the trailer is definitely a string instrument.
Language evolves. Contractions happen all the time, and new words are produced from old ones.
I always thought that it was iteration one had to understand in order to understand recursion.
Actually, people overrate the changes in the near term and underrate them in the long term.
This is what programmers due, pay attention to memory management, pointers, etc.
Nope, what programmers do is take input and convert it to the desired output. If they can do so in VB and produce something that fulfills the requirements in half the time they could do it in C++ then they should use VB to do so.
Aah, I'm not fanatical about OSS, I'm just happy to use anything which works. I've been generally impressed enough by Mozilla to use it, except for that one thing (and some rendering errors that are almost certainly the website's fault).
And when opening 15 links from my RSS reader program, I really don't fancy switching back and forth that many times.
I hope they fix it soon, and then I'll happily join in the fun.