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Chinese Blogger Addresses Weibo's "Elephant in the Room"
A recent noteworthy Weibo post says intellectual discussions are dying on Chinese social media.
A recent popular post on Weibo suggests that intellectual discussions are dying on Weibo and that Chinese web users can no longer ignore 'the elephant in the room,' triggering discussions on the status quo of social media in China.
Recently, a post by one popular Weibo blogger has attracted the attention of Chinese netizens.
On June 6, blogger 'V2' [alias], who often changes Weibo accounts, wrote about censorship on Chinese social media and 'the elephant in the room.'
The post started making its rounds this week shortly after a severe crackdown on Chinese social media during the 30th anniversary of Tiananmen, while protests in Hong Kong over the extradition bill were also taking off.
The poster, who has over 12270 fans on Weibo, wrote the following post [translation by What's on Weibo]:
"The intellectual density on Weibo is getting lower and lower. Scrolling through my timeline has already become somewhat worthless. One reason for that is temporary. This month they started to close down on overseas IP addresses, for example.
Another reason is more long term. Intellectuals around the world are increasingly focusing on China issues, from international relations scholars to economists to lawyers. There are already enough discussions about China to fill entire libraries with, and it's rapidly increasing; this period is a happy time for China watchers, with new reports and comments coming out every day.
But all these hot issues (including the Belt & Road Initiative, the modernization of the army, the future of Taiwan, IP theft, and the China-US trade war) are like an elephant in the room on Weibo.
We can't watch them, we can't discuss them. But because this elephant is getting bigger and bigger, ignoring its presence in this room is getting increasingly strange.
This strange feeling reached a peak these days [addressing June 4th, the commemoration of Tiananmen]. The whole world was discussing China, but China was like a tranquil lake. The top trending topic here was Produce Camp 2019 [a Chinese reality show]. Some people, including me, were silenced, while the rest was excited to talk about celebrities smoking, getting married, getting divorced or cheating – pretending that these topics are really worth discussing.
The truth is, that these are the only topics that are allowed to be discussed.
Reviewing the parallel world of millions of people, Weibo has become a crowded place within a tiny snail shell."
Since its publication on June 6th, this post received more than 22700 shares, 15500 likes, and hundreds of comments, with the post especially gaining traction since June 10.
"I want to see more, I want to think more, I want to express more."
Among hundreds of commenters, many people agreed with 'V2,' writing: "Even the early rulers in Rome knew that if they'd give the people enough bread to eat and the entertainment of an arena, they wouldn't be bothered about the rest."
Others commented: "Actually, people do want to discuss these issues, but how can we when the news sources are blocked?"
"This has really become more of an entertainment app. It's no longer a place to share news and knowledge, nor a place for open debate."
"I want to go to a wider place, I want to access more information, I want to see more, I want to think more, I want to express more," one commenter from Beijing writes.
"Not everything you read outside of the wall [Great Firewall] is true and Western media have been demonizing us for quite some time. But inside the wall, young people only pay attention to who is marrying who and who is divorcing now and this kind of entertainment news. They are numb; the intellect of the people is not developing."
"We're pretending everything is going well," another person says: "and [we're] creating a utopia that is isolated from the world."
"Just because it doesn't exist on Weibo, doesn't mean it's not there."
But some also disagreed with the critical post.
"Why don't you see that Weibo is just a small part of life?", one commenter writes: "Just because it doesn't exist on Weibo, doesn't mean it's not there. Don't Chinese intellectuals pay attention to the issues you just mentioned? Weibo's audience is really wide, but it is also quite narrow."
Other commenters also suggest that the author's expectations of Weibo are "too high":
"Weibo was meant for entertainment, it's not necessarily a news platform. The news about Hong Kong [protests] was reported on various websites. What is this blogger talking about, and then all these strange comments? As if we're just foolishly spending our days on Weibo without having any other information channels; as if all the people in this country are locked in a dark room? Stupid."
"It's not the room that's dark," one person writes: "It's the people who are blind."
"Viewing the sky from the bottom of the well."
There are also commenters who defend the strict control of Chinese social media, writing: "China has the largest population in the world. Think about it. Public opinion is really important. Isn't a stable popular sentiment more important than confronting people with terrible incidents? If 1.3 billion people don't trust their government, what kind of chaos do you think the country will end up in?"
Others jokingly say: "You can discuss these taboo topics all you want, I still am more interested in the latest celebrity divorce!"
One Weibo commenter uses a Chinese idiom to convey his thoughts, writing: "I'm just viewing the sky from the bottom of the well here."
Despite the critique of the blogger on the decline of more intellectual discussions on Weibo, their post shows that there still seems to space for some deeper discussions on Weibo. At the time of writing, the post has attracted over 4000 comments and counting.
Update June 11, 2019:
As some commenters in the thread already feared, this post has now been deleted.
Featured image by 广博郝. Featured image not related to the blogger in this article.
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Manya Koetse is the editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.
Angelababy, Huang Xiaoming, Li Fei'er: Love Triangle Rumors From Decade Ago Revisited
China Arts & Entertainment
What started with a 2003 internet sensation grew into a massive movement – Hanfu is booming on Weibo and beyond.
Things That Talk
It's been nearly two decades since the Chinese traditional clothing trend named Hanfu 汉服 first became noticeable as a popular social phenomenon in mainland China. Throughout the years, Hanfu has gone from a fashion style to a full-fledged movement that is flourishing on Chinese social media. Koen van der Lijn reports.
When objects meet social media, two websites meet as well. This is a collaboration between What's on Weibo and Things That Talk (follow on Insta @thingsthattalk).
This last Christmas, Hanfu was once again a trending topic on Weibo. Enthusiasts of the traditional Chinese clothing trend posed online in their Christmas inspired Chinese clothing.
It was yet another development in the Hanfu Movement, which has been a hot topic with hundreds of hashtags and thousands of pictures, videos, and stories on Weibo, with the official Weibo Hanfu @微博汉服 account boasting a whopping 1.8 million followers and a Weibo 'supertopic' on Hanfu being joined by nearly half a million fans.
"You can also wear Hanfu during Christmas," post and images by @弥秋君 on Weibo.
One example of the manifold of Hanfu content on Weibo is a video recently posted by Chinese actress Xu Jiao (徐娇). In the short video, which is an advertisement by the e-commerce platform RED (小红书), the actress wears Hanfu in various settings while talking about the meaning behind the fashion. Xu Jiao, being 23 years of age, is part of Generation Z (mid-1990s – early 2010s), who are adept users of social media and make up the mass of Hanfu enthusiasts.
Screenshot of video posted by Xu Jiao 徐娇
Though Hanfu enthusiasts seldomly go out on the streets whilst wearing the clothing style,1 Hanfu sales have been increasing a lot over the past few years.2 Possibly linked to the popularity of Chinese costume dramas, many Chinese youth have started to wear Hanfu in the past two decades. However, it is not just a form of cosplay or a new clothing style. As Xu Jiao says herself in the video: "It's not just a style, it's a mission."
Background of the Hanfu Movement
It was November 2003 when Wang Letian walked the streets of Zhengzhou in Hanfu. News of his action rapidly spread over the internet through websites such as hanminzu.net.3
Besides online discussions, an article was also written about Wang Letian's bold move in the Singaporean newspaper Lianhe Zaobao 联合早报, helping spread word about the young man's actions. This moment was seen as the start of the Hanfu Movement.
Wang Letian in the Lianhe Zaobao of November 29, 2003.
Now, roughly twenty years later, the wearing of Hanfu has developed into a true movement, with many young Chinese participating in the wearing of the traditional Chinese dress. Especially on college campuses, the trend is very much alive.
Image by https://www.teepr.com/1322728/cindyleung.
In its most basic idea, the Hanfu Movement can be described as a social movement that supports the wearing of Han Chinese ethnic clothing. The emphasis on the Han ethnicity is of importance here. Han Chinese make up the vast majority of the population in China, accounting for more than 90% of China's total population. However, aspects famous outside China for being typically Chinese, such as the queue, are actually of Manchu origin.
The Manchus are an ethnic group from Northeastern China, showing cultural similarities to the Mongols, who ruled China's last dynasty, the Qing dynasty (1644-1912). Their clothing style has influenced foreign perceptions of China, due to the fact that the Manchus were the ruling class in the last Chinese imperial dynasty.
Image via https://shop60421556.taobao.com/.
Hence the emphasis on the Han ethnicity. Central to the Hanfu Movement is the idea that ethnic Han clothing, as worn during Han Chinese ruled dynasties, such as the Han dynasty (202BC-220AD), the Tang dynasty (618-907), and the Ming dynasty (1368-1644), has much value in its own and should be worn and appreciated by contemporary Han Chinese, just as the ethnic clothing of China's minorities is appreciated in contemporary China.4
On 4 December 2020, blogger Mi Qiujun posted a video with the hashtag #How to make the world understand Hanfu?#, (#如何让世界了解汉服#), gaining many likes and comments. Showing clips of herself wearing Hanfu in Egypt, the United States, France, and Japan, she tells how she became determined to make people around the globe understand China's traditional culture after her clothing being wrongly identified as a Japanese kimono at her first stop in Nepal.
Mi Qiujun discusses an important aspect of the Hanfu movement. Hanfu enthusiasts feel that their ethnic clothing is not understood well enough by others, and showing the rest of the world their clothing is a true mission.
Hanfu enthusiasts have found themselves in online quarrellings about what can be defined as Hanfu, and what cannot be defined as Hanfu. It is worth noting that some scholars have disputed the existence of a uniform Hanfu throughout Chinese history.5 Instead, Hanfu is seen to have been popularised by students through the internet, without strong knowledge of Han Chinese clothing traditions.6 This makes it difficult to assess what does and what does not count as Hanfu.
Online quarrelings have therefore become part of the Hanfu Movement. In November 2020, for instance, Chinese netizens found themselves in an online discussion with their Korean neighbours. That month, Chinese actor Xu Kai (许凯) posted a photo of himself in traditional costume from the set of the Chinese drama titled Royal Feast (尚食), which is set in the Ming Dynasty.
A controversial selfie.
After South Korean web users pointed out that the traditional costume worn by Xu resembled Korean traditional clothing named Hanbok, the drama's producer Yu Zheng (于正) posted a response on social media in which he firmly stated that this clothing was not Hanbok but Hanfu, adding that Korea was a vassal state of China at the time and that only "uncivilized people" would call it 'Hanbok.'
A Nationalist Movement?
These kinds of discussions also show another side of the Hanfu Movement. For some Hanfu enthusiasts, Hanfu is more than a mission to let others understand Han ethnic culture; instead, it is a way to construct a purified Han Chinese identity, free from foreign influence.7
Girl dressed in Hanfu while visiting the Forbidden City. Photo by Manya Koetse.
This foreign influence is often linked back to the Manchus once again. 'Uncivilised practices' in contemporary Chinese society are attributed to the Manchus. This rhetoric reinforces the belief of Han supremacy, which has existed long before the invention of the internet, where the 'civilized' Han Chinese believe themselves to be superior to the 'uncivilized' barbarians, such as the Manchus.
This rise in Han Chinese nationalism started in the past few decades.8 The Hanfu Movement thus has followers who are a part of this new turn, where Han Chinese want to restore the glory of their past and turn away from Western and Manchu influences.9
These hardcore Han nationalists are but a small part of the movement. The Hanfu Movement encompasses a large and diverse group of people, who all share a certain belief that Hanfu should gain more appreciation in China and abroad. These are, for instance, some of the comments under Xu Jiao's video:
– "(…) Xu Jiao speaks for Hanfu!!" (@怪物与约翰)
– "Do not be afraid to doubt, never forget the original intention, Hanfu is a style, it's a mission, it's culture, and it's an attitude." (@打翻废纸篓)
– "I am so thankful we have you! I really like your work and your attitude towards Hanfu!" (@小瓦肯Shail)
What connects most Hanfu enthusiasts then? Hanfu enthusiasts take pride in wearing Hanfu, and they wear Hanfu simply because they like wearing it. Moreover, they believe it to be important to make others, both in and outside China, gain a deeper understanding of Han Chinese ethnic culture. Hanfu is more than a fad. It is a subculture, it is a style, and for Xu Jiao and many others, it is their mission.
By Koen van der Lijn
Koen van der Lijn (China Studies, BA) is a ResMa student Asian Studies at Leiden University focused on Chinese history and its international relations. He is a student ambassador at Things That Talk.
This story was made in collaboration with ThingsThatTalk.net – exploring humanities through the life of objects. Things That Talk is an educational digital project where staff and students produce narratives and metadata about objects in Leiden collections and beyond. A story focused on the background of the Hanfu Movement and objects associated with this movement has previously been published on Things that Talk, go check it out!
Notes (other sources hyperlinked within the article)
1 Buckley, Chris, and Katrina Northrop. 2018. "A Retro Fashion Statement in 1,000-Year-Old Gowns, With Nationalist Fringe." New York Times, Nov 22 https://www.nytimes.com/2018/11/22/world/asia/china-hanfu-gowns-clothing.html [Jan 16 2021].
2 Zhou Xing 周兴. 2020. "Report: Hanfu turnover on Taobao platform exceeded 2 billion yuan in 2019 [报告:2019年淘宝平台上汉服成交金额突破20亿元]." Dianshangbao, August 2 2020 https://www.dsb.cn/124836.html [Jan 16 2021].
3 Cui Chentao 崔晨涛. 2016. "Han Costume Movement and National Culture Rejuvenation [汉服运动"与民族文化复兴的诉求]." Journal of Yunyang Teachers College 36(5): 19-24.
5 Carrico, Kevin. 2017. The Great Han: Race, Nationalism, and Tradition in China Today. Oakland, California: University of California Press.
6 Zhang Xian 张跣. 2009. "'Hanfu Movement': Ethnic Nationalism in the Internet Age ["汉服运动":互联网时代的种族性民族主义]." Journal of China Youth University for Political Sciences (4): 65-71.
7 Carrico, Kevin. 2017. "Imaginary Communities: Fantasy and Failure in Nationalist Identification," in The Great Han: Race, Nationalism, and Tradition in China Today, chapter 1. Oakland, California: University of California Press.
8 Dikötter, Frank. 2001. "Nationalist Myth-making: The Construction of the Chinese Race." Human Rights in China, 27 April https://www.hrichina.org/en/content/4573 [16 Jan 2021].
Featured image: Photo by zhang kaiyv on Unsplash
Public sentiments on Jack Ma have shifted, but the fans still defend their idol.
Chinese tech superhero Jack Ma has become a hot topic on international social media this month since he has been missing in action for weeks, while Alibaba is facing an anti-monopoly investigation. Ma seems to have fallen out of favor, not just with authorities but also with many Chinese web users.
This month, the alleged 'disappearance' of Alibaba founder Jack Ma made headlines in various English-language media, from Reuters to CNN and the Financial Times.
The direct reason for speculation about Jack Ma's whereabouts was his absence at Africa's Business Heroes, a talent show he helped create in which Ma was part of the finale judge panel. According to FT.com, the final – which won't be broadcasted until spring – took place in November.
Although an Alibaba spokesperson explained Ma's absence from the show as a "schedule conflict" that made it impossible for the tech tycoon to participate, many Twitter users directly tied his 'suspected missing' to a critical speech he gave at the Shanghai Bund Finance Summit on October 24 of 2020.
In this speech, Ma made critical remarks on how China's financial market is regulated and supervised. Kevin Xu at Interconnected provides an English translation of this speech here.
On November 3rd, two days before Alibaba's fintech subsidiary Ant Group was set to raise around $37 billion with the biggest initial public offering of all time, Chinese regulators abruptly suspended the process. A report by the Wall Street Journal claimed that Chinese President Xi Jinping personally made the decision to halt the IPO of Ant Group after years of rising tensions between Ma and the government.
Pressure on Jack Ma and Alibaba further increased in December when Chinese regulators launched an anti-monopoly investigation into Alibaba and the Ant Group.
Alibaba announced the investigation of its company on its official Weibo channel on December 25 of 2020.
On December 25, People's Daily also reported the anti-monopoly investigation. The state newspaper hosted a hashtag page about the matter on Sina Weibo (#人民日报再评阿里巴巴被调查#) which garnered over 240 million views. They wrote:
"Large Internet platform companies should take the lead in strengthening industry self-discipline, in further enhancing their sense of social responsibility, and in safeguarding a favorable Internet economic ecosystem. The Internet industry has never been, and should never become, a place that is outside the law for anti-monopoly. Regarding platform economy, reinforcing anti-monopoly regulations is never a "winter" for the industry – it is just a new starting point for better and healthier development."
Although Chinese official media have since not reported much on the issue, and have not published about Ma's alleged 'disappearance', Ma's whereabouts and his situation has become a much-discussed topic on various Chinese social media platforms.
Jack Ma in Short
Being among the top 20 richest people in the world, Jack Ma is world-famous as the founder of Alibaba, a multinational tech company specializing in e-commerce that was founded in 1999.
Jack Ma, whose Chinese name is Ma Yun 马云, was born in Hangzhou in 1964 to a family of low status. His life story has been retold in many books. Ma was bullied at school, had poor math skills, and flunked the entrance exam twice before he was accepted into the Hangzhou Teacher's Institute, where he graduated in 1988 with a Bachelor of Arts in English.
Ma had been interested in English since he was a young boy. He would cycle to the main hotel in his city to connect with foreign tourists, acting as their local tour guide in return for English classes. The name 'Jack' was given to him by one of the tourist friends he made at that time.
image via kknews.cc
Ma went on to become an English teacher and barely even touched a keyboard before he traveled to the US in 1995 as an interpreter. It was during this trip that he was first introduced to the internet, after which he became inspired to set up his own commercial web site in China – a web site named 'China Pages' for Chinese businesses.
Although that business flopped, Jack Ma founded Alibaba in 1999, which would turn into an internet giant influencing virtually all corners of China's digital world. The Alibaba Group now operates numerous businesses, including Taobao, TMall, AliExpress, and the Ant Group.
Ma's success is a source of inspiration to many, and his 'crazy Jack' energetic behavior and willingness to make fun of himself has only made him and his story all the more captivating.
A younger Ma in one of his fun song-and-dance appearances – as Snow White.
Ma officially stepped down as Alibaba's CEO in 2019 but is still the company's largest individual shareholder.
"What's up with Ma Yun?"
Until recently, Jack Ma was one of the more popular Chinese celebrities on social media. Jack Ma quotes, memes, videos, or stories would frequently go viral.
As one of the most respected and powerful entrepreneurs of China, bookstores have entire sections dedicated to Jack Ma and his role as a business magnate, the richest man of China, and also as a welldoer and an inspiring influential.
Books about Jack Ma.
Whatever Ma would say or do would go trending, with many people praising what he did, what he said, or where he went.
In 2017, the meeting between US President Trump and Alibaba's Ma was a big topic of discussion, with many Chinese web users taking pride in Ma's meeting with Trump, calling him the perfect ambassador to China in their dealings with Trump. "Ma Yun [Jack Ma] for president!" was a much recurring phrase.
It is a phrase you won't read as much, if at all, on Chinese social media these days anymore. The silence surrounding Jack Ma recently has led to speculation and reflections on his current situation.
On Chinese search engine Baidu, the search prediction reflects web users' confusion over his whereabouts; upon searching for 'Ma Yun' in the first week of January, the first five automatic predictions are the following:
– Jack Ma fled abroad
– Did Jack Ma really flee abroad?
– Jack Ma sentenced to prison
– Jack Ma disappeared
– Jack Ma Shanghai Bund speech
On Douyin (the Chinese TikTok), the first sentence to come up when searching for Ma Yun, is "What's up with Ma Yun?"
On Weibo, where Jack Ma has over 26.4 million followers on his official account, there have not been any new posts since October 17. But Ma's last post, which talks about an educational event, is still attracting new comments every few minutes.
"Daddy Ma, come on, ok? We're rooting for you," one commenter writes.
"We haven't seen you in a long time, Brother Ma," some write: "When will you come back into the public arena?", with others saying: "Teacher Ma, what happened?"
But besides the messages from those who seem concerned about the well-being of the tech tycoon, there are many angry ones.
Some blame Ma for praising the '996' work system (working from 9am-9pm, 6 days a week). In 2019, Ma called the 12-hour working day a "blessing," causing much controversy online. Because the death of a young employee at Pinduoduo was also linked to her long working hours, the '996' work system is a hot topic this week, with many condemning how Chinese tech companies are exploiting their employees and revisiting Ma's 2019 comments.
Others also turn to Jack Ma's Weibo page to complain about the shutdown of Alibaba's music streaming app Xiami. Although Xiami only holds a small percentage of China's music streaming market – apps such as QQ Music and KuGou are more popular – there are still many people who have been using the app for years and hate to see it go: "Why can't you give it another chance, why can't you take care of our Xiami!?"
And then there are those commenters who, in light of the recent developments and anti-monopoly investigations, call Ma a "greedy capitalist" and a "bloodsucker." "Maybe he'll be punished," one person writes: "Is that a 'blessing' too?" "I went from being a fan to a hater," another commenter writes, with others calling him an opportunist.
Changing Sentiments on Social Media
Jack Ma used to be an idol for many young people in China, but now it seems they have started to oppose him. On the Chinese video sharing site Bilibili, mainly used by younger generations, comments appearing in some videos featuring Ma are filled with anger and scolding.
This shift in Ma's popularity among young people was recently also explained by young Chinese vlogger Yu He in this video, who argues that young people do not adore Jack Ma in the same way older Chinese people do.
Ma's vision of working really hard, praising the '996' work culture, and "everybody can be successful if you really try hard" was an inspiration to previous generations, but many post-90s people in China today – who are struggling in a highly competitive job market – do not have a lot of faith in Ma's work philosophy when their everyday lives are not about working to live, but about living to work. To them, Ma's ideas about working around the clock to get further in life do not make sense, as some feel they are working themselves to death while others get rich.
There is also anger over consumer lending platform Huabei, a product of Alibaba's Ant Group. Huabei previously encouraged users to spend more money in its ads, and its platform makes it very easy to spend money first and pay it back later – even for those who might not oversee the long-term consequences of excessive debt.
The question of why Jack Ma seems to have fallen out of favor with many Chinese people is also a topic of discussion on question-and-answer platform Zhihu.com.
One popular analysis by the e-commerce account Zhiser claims that Jack Ma used to be supported by the ordinary people because he made it possible for so many of them to make money through the Taobao marketplace platform, which started in 2003. Alibaba's Alipay online payment platform made it possible for common people to conveniently transfer money without extra fees.
But over recent years, Zhiser argues, Alibaba's business strategies have changed in such a way that its own profits are maximized and small sellers are negatively impacted.
With the arrival and growth of Alibaba's Tmall, where only brand owners or authorized dealers can open an online store & where transaction commissions are much higher, the traffic of small sellers on the Taobao marketplace has been reduced. Alibaba's activities are increasingly focused on benefiting the bigger companies – and itself -, while small entrepreneurs are increasingly struggling to be noticed and make money.
Without the means to open their own Tmall shop, without the capital to afford advertisement and paid promotions for their shops, the small sellers are watching helplessly how the big boys dominate the platform algorithms and take the money, Zhiser explains.
Alibaba is now also increasingly focusing on the fruit & vegetable market. There's Alibaba's Hema Fresh supermarket brand, for example, with big plans to open hundreds of stores nationwide in the upcoming years. The rise of Alibaba's fresh food businesses directly impacts the livelihood of ten thousands of ordinary Chinese who have their own small vegetable shops or street stalls – exactly those people who are already in vulnerable social groups.
Although the rise of Alibaba was once a great opportunity for common people, the changing business strategies have now resulted in Jack Ma getting more enemies, including small entrepreneurs, small sellers and buyers, offline shops, offline vendors, etc.
For them, the 'Alibaba dream' of using the power of the Internet and technological advancement to enable small businesses and young people to share the benefits of free trade has lost credibility.
"These years, Jack Ma has played the role of the destroyer rather than the savior," the author writes. His article received over 10,500 endorsements.
Zhiser's article reflects a perspective that surfaces in many places. "We believed him, that he really was making things better for us," another blogger writes.
Others think that Jack Ma was true about his intentions and dreams when he was a teacher and then started his business, but changed when he became surrounded by money-driven big investors, causing him to become alienated from his former ideas and philosophies, losing touch with China's younger generation, the small shop owners he promised to serve and the ordinary people.
"He changed China, he changed the world"
Despite the recent criticism of Ma, many people still defend and support him. There are even those who criticize him but still express their admiration for him.
Regarding the criticism coming from post-90s generations, one Chinese web user commented:
"You have no idea what it was like before Jack Ma came around. You're too young to know. If you want to go back [in that time], I suggest you go live on the moon."
Discussing the changing sentiments regarding Ma, Zhihu author Qing Rui writes:
"Jack Ma is a great entrepreneur of this era. He changed China, he changed the world. A lot of nonsensical people scold him for damaging China's real economy, while he's actually worked hard to improve the efficiency of the business sector, which has not only greatly boosted the real economy, but also greatly improved the living standards of the Chinese people."
It is a sentiment shared by many, who express that they think the recent shift in views on Ma is uncalled for, or reminding people of the positive effect Ma and his businesses have had on China's development.
"Those who scold Jack Ma are brainless idiots," some write.
"How is it possible for the public opinion on Daddy Ma shifting 180 degrees? It's like throwing stones at someone who fell down," one Weibo user from Shenyang writes.
Although perhaps less crowded than before, online 'Ma Yun Fanclubs' are still active. One Weibo fan writes: "Let's all hope our favorite idol Ma Yun will smoothly sail through this crisis!"
As for the 'disappearance' of Jack Ma that has previously been reported – although Ma has not been out in public, it is highly unlikely that he is actually missing.
CNBC reported on January 5 that the Chinese billionaire is lying low, according to a person familiar with the matter.
When famous Chinese actress Fan Bingbing got caught up in a tax evasion scandal in 2018, her 'disappearance' also made headlines in international media. After months of silence and wild rumors, the actress returned to social media with a public apology. She was ordered to pay taxes and fines worth hundreds of millions of yuan.
Meanwhile, Jack Ma's Weibo page is still receiving dozens of new messages. In between the "evil capitalist" scoldings, there are some who really hope Ma will come back to public life soon: "We'll support you, teacher Ma, don't give up!"


text:
The Girl With The Dragon Tattoo gets an eight-minute trailer
By Matt Maytum 2011-12-03T21:05:00.336Z
Extended promo online…
David Fincher's The Girl With The Dragon Tattoo has just gotten itself another trailer: and it clocks in at a whopping eight minutes long.
The marketing team seem to have as much respect for 'the rules' as Lisbeth Salander does, and it's paying off in dividends.
In contrast with the punchy, punky teaser trailer that was unleashed several months ago, this latest offering gives a measured insight into what you can actually expect from the movie.
There's time for several characters to make a mark (stand up Nils Bjurman), and a key flashback (lit with a hyperreal golden sheen) is revealed in detail.
That said, if you're spoiler-cautious, and you haven't read the book or seen the Swedish film, you might want to give this a wide berth. Everyone else should head over to iTunes now to watch the full-length trailer.
The Girl With The Dragon Tattoo opens on 26 December 2011. We're rather looking forward to it.
the girl with the dragon tattoo 2011

redpajama_set_name: RedPajamaCommonCrawl


Since its establishment in 2016, Betway has become one of the world's most popular sportsbook providing a wide array of betting markets on different sports. You may have got used to traditional games like football because the company sponsors English Premier League club, West Ham United, but, your knowledge about its activities will deepen after taking a dive into the Betway eSports review. The question is, "Are Betway's bonuses unbeatable, and if so, what are the terms and conditions attached?" It would also interest you to find out that the betting giant also provides players with promo codes, and it is not just for new sign-ups. Keep reading to discover more.
With eSports fever growing by the day, lovers of different tournaments and games involved are always looking for sportsbooks that provide the best odd lines and betting markets, not to mention occasional promotions and offers. Thus, you would, of course, want to find out if Betway is worth a thrilling experience for eSports players, watchers and bettors. Well, apart from having its tentacles spread all over the world, the company houses legitimate cyber sports rooms from which you can choose a favorite event.
ESEA North America and Australia and others.
The number of maps played in an event.
Specials such as games to feature in 2013 Olympics.
One of the most important considerations bettors should make when it comes to choosing a suitable sportsbook for eSports betting is the available odd lines, promo codes, offers and bonuses. And for players, good pay to after every tournament is everything. Thus, the question is whether Betway fits the bill or not.
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A new product notice from Australia shows the No Limit Tank coming in Black and Grape (the one pictured is Black/Oasis). I would have liked to have seen this come out with a non black Circle Mesh version. Maybe Aruba and Beachy Green? Something different from what we've seen at least.
"Lululemon Stocks Are Up Up UP!"


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Posts Tagged 'Rich'
If Swedish producer and singer MAYKA's sultry voice sounds familiar, it's probably due to the fact that the musician's role in electro-pop duo Dream Team, whom we've featured numerous times on IHM. She goes huge anthemic pop on her solo debut, Rich, a sensationally enthralling listen with vivacious beats and huge brass bursts that feels like Mr Little Jeans on euphoria inducing steroids. Rich was produced alongside LIOHN, who was also behind Axwell & Ingrosso's smash hits like More Than You Know and Renegade. Before Death Team, Mayka first rose to prominence in the dance music scene as a DJ and producer at parties across the US and Asia. She also ran her own show on Swedish Radio P3. It's clear the adroit artist is ready to take on the world with her new solo project. Keep uo with MAYKA on Facebook, here, and Twitter, here.
Tags:Death Team, debut, debut single, electro, electro pop, electronic pop, electropop, indie, indie electro, indie music, indie pop, MAYKA, music, pop, Rich, song
Rich in feels I truly am while I'm lost in the wealth of dusky shuddering bass and lithe coiling synths of LAOISE's sensual haunting, moody simmering new single. The Dublin based singer songwriter presents us with shadowy electro pop and silky R&B pop on Rich, her first new release since the release of her debut EP Halfway. Rich is our first taste of her next EP, due out next year. Its minimalist soundscape, gossamer vocals, and glossy swells are reminiscent of James Blake but with the more luxuriant and lavish consistency like that of BANKS. Rich can also be streamed via Spotify, here.
Tags:dark electropop, dark pop, electro pop, electro R&B, electro RnB, electronic, electronic pop, electronic R&B, electronic RnB, electronica, electropop, LAOISE, minimalist electronica, minimalist electropop, minimalist r&b, minimlaist R&B pop, music, R&B pop, Rich, RnB pop, song
https://api.soundcloud.com/tracks/190808143/stream?client_id=3cQaPshpEeLqMsNFAUw1Q?plead=please-dont-download-this-or-our-lawyers-wont-let-us-host-audio
UK singer songwriter and multi-instrumentalist Cosmo Sheldrake is another one of those versatile, unique artists who has solidly captured my attention with his avant-garde music over the past year. New offering Rich, which features Anndreyah Vargas, is an utterly bewitching song, mixing folk, soul, blues, and pop. Anndreyah's flittery vocals and Cosmo Sheldrake's brilliant composition full of orchestral elements, including plenty of magical horns, take me to a world and time far removed from my mundane Monday morning. I find the song reminding me of my visit to New Orleans years ago, where everything carries haunting, sacred, and ancient qualities. A vibe reminiscent of a mix of Alex Winston and My Brightest Diamond also arises as I lose myself in the infectious, spellbinding song. Cosmo Sheldrake's new EP, Pelicans We, will be out April 6th.
Tags:alt, alternative, Anndreyah Vargas, art pop, avant-garde, blues, Cosmo Sheldrake, folk, folk pop, indie, indie music, indie pop, jazz, music, orchestral pop, Rich, song, soul


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Westworld es una serie de televisión de ciencia ficción distópica creada por Jonathan Nolan y Lisa Joy. Producida por HBO, se basa en la película del mismo nombre de 1973 (escrita y dirigida por Michael Crichton) y, en menor medida, en la secuela de 1976 de la película, Futureworld. La historia comienza en Westworld, un parque de atracciones ficticio y tecnológicamente avanzado con temática del Viejo Oeste poblado por androides «anfitriones». El parque atiende a «invitados» que pagan mucho dinero (40.000$ al día) y que pueden satisfacer sus fantasías más salvajes dentro del parque sin temor a represalias de los anfitriones, a quienes su programación les impide dañar a los humanos. Más tarde, la trama de la serie se expande al mundo real, a mediados del siglo XXI, donde las vidas de las personas son llevadas y controladas por una poderosa inteligencia artificial llamada Roboam (Rehoboam).

Nolan y Joy sirven como productores ejecutivos, junto con J. J. Abrams, Jerry Weintraub y Bryan Burk. La primera temporada se emitió entre el 2 de octubre y el 4 de diciembre de 2016; comprendió diez episodios. En noviembre de 2016, HBO renovó la serie para una segunda temporada de diez episodios, que se emitió del 22 de abril al 24 de junio de 2018. El estreno de Westworld en HBO tuvo las calificaciones de audiencia más altas de la red para un estreno desde el primer episodio de True Detective en 2014. Además, la serie se ubica como la primera temporada más vista de cualquier serie original de HBO. Una tercera temporada de ocho episodios se estrenó el 15 de marzo de 2020. En abril de 2020, HBO renovó la serie para una cuarta temporada, también de ocho episodios, que se estrenó el 26 de junio de 2022. En noviembre de 2022, HBO canceló la serie tras cuatro temporadas.

La serie ha recibido críticas en gran parte positivas de los críticos, con un elogio particular por su cinematografía, historia y actuación.

Sinopsis
En un futuro no especificado, Westworld, uno de los seis parques temáticos poseído y operados por Delos Inc., permite a los visitantes experimentar el Viejo Oeste en un entorno poblado por «anfitriones», androides programados para satisfacer todos los deseos de los visitantes.

Los anfitriones siguen un conjunto predefinido de narrativas entrelazadas, pero tienen la capacidad de desviarse de estas narrativas en función de las interacciones que tienen con los visitantes.

Los anfitriones repiten su narrativa de nuevo cada día—habiendo borrado sus recuerdos del día anterior—hasta que son reutilizados o guardados para su uso en otras narraciones. Para la seguridad de los visitantes, los anfitriones no pueden dañar ninguna forma de vida; esto les permite a los visitantes una libertad casi ilimitada para participar sin recibir castigo en cualquier actividad que elijan con los anfitriones, incluida la violación y el asesinato. El personal está ubicado en un centro de control llamado «La Mesa», conectado al parque a través de vastas instalaciones subterráneas, supervisa las operaciones diarias, desarrolla nuevas narrativas y repara a los anfitriones según sea necesario.

Elenco y personajes

 Evan Rachel Wood como Dolores Abernathy / Wyatt, la anfitriona más antigua que todavía trabaja en el parque. Al asumir inicialmente el papel de la hija de un ranchero, descubre que toda su vida es una mentira elaborada.
 Thandie Newton como Maeve Millay, una anfitriona, que actúa como la madam de Sweetwater, pero sus recuerdos no reconciliados de un papel anterior la llevaron a ser consciente de sí misma.
 Jeffrey Wright como Bernard Lowe, jefe de la División de Programación de Westworld, y programador de software para personas artificiales. Wright también interpreta a Arnold Weber, cofundador de Westworld.
 James Marsden como Teddy Flood, un anfitrión. Es un pistolero que regresa a Sweetwater para encontrar a Dolores, con la esperanza de reavivar su relación.
 Ingrid Bolsø Berdal como Armistice, una anfitriona. Ella es una bandida brutal y despiadada, y es miembro de la pandilla de Héctor Escaton.
 Luke Hemsworth como Ashley Stubbs, jefe de seguridad de Westworld, encargado de monitorear las interacciones entre humanos y anfitriones y garantizar la seguridad de los huéspedes.
 Sidse Babett Knudsen como Theresa Cullen, responsable de control de calidad de Westworld, es responsable de evitar que el parque se desorganice.
 Simon Quarterman como Lee Sizemore, el director narrativo de Westworld, cuyo temperamento artístico agrava a sus compañeros de trabajo.
 Rodrigo Santoro como Héctor Escaton, un anfitrión. Es el líder de una pandilla buscado por robar el Hotel Mariposa en Sweetwater.
 Angela Sarafyan como Clementine Pennyfeather, una anfitrión. Ella trabaja como prostituta para Maeve y es una de las atracciones más populares de Westworld. Lili Simmons retrata a otro anfitrión que cumple el mismo rol cuando se retira la Clementine original.
 Shannon Woodward como Elsie Hughes, una estrella en ascenso en la División de Programación encargada de remediar el comportamiento extraño en los anfitriones del parque.
 Ed Harris como el Hombre de Negro, un sádico invitado veterano que busca descubrir los secretos más íntimos de Westworld.
 Anthony Hopkins como Robert Ford, cofundador y director de Westworld.
 Ben Barnes como Logan Delos, un invitado habitual que presenta a William en el parque.
 Clifton Collins Jr. como Lawrence / El Lazo, un anfitrión. Es un delincuente encantador pero peligroso con una habilidad especial para maniobrar y negociar con los diversos elementos criminales de Westworld.
 Jimmi Simpson como William, un visitante renuente por primera vez en Westworld, uniéndose a su futuro cuñado, Logan. Inicialmente desdeñoso de las atracciones más lascivas del parque, poco a poco descubre un significado más profundo de la narrativa del parque.
 Tessa Thompson como Charlotte Hale, directora ejecutiva de Delos Destinations Board, que supervisa Westworld y otros parques.
 Fares Fares como Antoine Costa, miembro del equipo de seguridad de Karl Strand.
 Louis Herthum como Peter Abernathy, el padre de Dolores. Bradford Tatum también retrató a Peter Abernathy en la primera temporada, después de que fuera dado de baja.
 Talulah Riley como Angela, un anfitrión que da la bienvenida a los recién llegados al parque.
 Gustaf Skarsgård como Karl Strand, el jefe de operaciones de Delos, que lidera los intentos de Delos de recuperar Westworld de los anfitriones deshonestos.
 Katja Herbers como Emily, una invitada en el parque Raj que escapa a Westworld durante el levantamiento de los anfitriones.
 Aaron Paul como Caleb, un trabajador de la construcción.

Episodios

Producción

Concepción y desarrollo

Warner Bros. había estado considerando una nueva versión de Westworld desde principios de la década de 1990 y luego de la partida de la ejecutiva del estudio, Jessica Goodman en 2011, el proyecto fue nuevamente considerado. Jerry Weintraub había estado presionando por un remake durante años y, después de su éxito con Behind the Candelabra de HBO, convenció a la cadena para que diese luz verde a un piloto. Se llevó el proyecto a Jonathan Nolan y la coescritora Lisa Joy, quienes vieron el potencial en el concepto de hacer algo mucho más ambicioso que la película original.

El 31 de agosto de 2013, HBO anunció que habían ordenado un piloto para una posible serie de televisión, con Nolan, Joy, J. J. Abrams, Jerry Weintraub y Bryan Burk como productores ejecutivos. Ed Brubaker desempeñó en el equipo de redacción como productor supervisor, coescribiendo el cuarto episodio con Nolan. HBO más tarde anunció que Westworld había sido aceptado y que se estrenaría en 2015. En agosto de 2015, HBO lanzó el primer teaser, que reveló que la serie se estrenaría en 2016.

Abrams sugirió que la serie se cuente con la perspectiva de los "anfitriones" en mente. Nolan se inspiró en videojuegos como BioShock Infinite, Red Dead Redemption y The Elder Scrolls V: Skyrim para lidiar con el componente moral de la narración en un espectro. Durante la investigación, las películas de Sergio Leone proporcionaron puntos de referencia para los personajes y visuales; las novelas de Philip K. Dick les informaron sobre los dilemas relativos a la inteligencia artificial, y para la construcción del mundo y la narrativa entrelazada, consultaron los juegos de Grand Theft Auto. La película de 1973 también incluyó un Mundo Romano y un Mundo Medieval, pero Nolan no las incluyó. Nolan explicó que la serie explorará, a través de sus personajes invitados, sobre por qué "la violencia está en la mayoría de las historias que nos gusta mirar, pero no es parte de lo que nos gusta hacer". La serie explora ideas sobre la mente bicameral por el psicólogo Julian Jaynes, quien abogó por la existencia de dos mentes separadas—una que da instrucciones y otra que las realiza. Jaynes discutió cómo la conciencia proviene de romper el muro entre ellos al exponer al individuo a nuevos estímulos.

Los guionistas y productores han planeado que la historia dure hasta cinco temporadas.

Financiación
Según los informes, los diez episodios de la primera temporada se produjeron con un presupuesto de aproximadamente de $100 millones, con presupuestos por episodio de entre $8 millones y $10 millones, y el episodio piloto solo costando de $25 millones para producir. HBO y Warner Bros. Television compartieron el costo de producción de la serie; según los informes, HBO también pagó una tarifa de licencia no revelada a Warner Bros. Television por los derechos de transmisión.

Casting
Después de que se transmitió el último episodio de la primera temporada, Nolan y Joy revelaron que habían operado con una estricta base de "necesidad de saber" con la mayoría de los actores, con el fin de "mantener la historia tan fresca y presente para ellos como sea posible." Por ejemplo, en el caso de Wood, le dieron direcciones de actuación extrañas sin explicar por qué, y le tomó un tiempo a Wood inferir que en realidad estaba interpretando cinco personajes distintos dentro del mismo anfitrión: cuatro modos de comportamiento diferentes para Dolores, más Wyatt. Por el contrario, Hopkins se dio cuenta de la historia general de Ford desde el principio (en el momento en que le dieron el papel) para asegurarse de que podía transmitir la complejidad del personaje en su actuación. Sin embargo, incluso con ese conocimiento, inicialmente Hopkins recibió libretos muy censurados, y tuvo que insistir en el acceso a los libretos completos.

Filmación
Al principio se decidió que la serie se filmaría en una película de 35 mm con ayuda de tomas HD, a pesar de las crecientes dificultades para adquirir rollos. Para una apariencia más suave, los cineastas utilizaron las lentes originales Arri Zeiss con sus capas removidas. La serie se filmó principalmente en Kodak, que fue procesada por FotoKem en Burbank y escaneada por Encore Hollywood para crear intermedios digitales de todas las tomas adecuadas para su uso como periódicos. El corte final fue entregado a HBO en un formato JPEG digital en 2K para su transmisión y a Warner Bros. Television como un corte negativo para fines de archivo.

Dado que gran parte de la serie se ve desde el punto de vista de los anfitriones, los Steadicams se utilizaron para filmar toda la primera temporada, a excepción de un par de escenas en el último episodio, donde se usó una cámara portátil como metáfora de que los anfitriones se liberan de su programación y ahora actúan por su propia voluntad.

El rodaje del episodio piloto se realizó durante 22 días en agosto de 2014 en Los Ángeles y sus alrededores así como Moab, en Utah.

Lugares de rodaje en California incluye varios estudios de sonido, backlot en Universal Studios & Warner Bros., Paramount Ranch en Agoura, California, El Melody Ranch en Santa Clarita, California, y el Pacific Design Center en West Hollywood, California. El Melody Ranch usado para la ciudad de Sweetwater había sido utilizado previamente para muchas películas, tales como Django Unchained y The Magnificent Seven, pero fue significativamente mejorado para Westworld por el diseñador de producción Zack Grobler para retratar una versión idealizada de la frontera estadounidense. Pantallas de croma verde fueron usadas alrededor de los juegos de California para bloquear objetos modernos como estacionamientos, para que las tomas de California pudieran ser más tarde composición digital fusionada con fotos exteriores de Utah.

Para la apariencia exterior a gran escala del espectáculo, los productores se inspiraron en el trabajo de John Ford, quien filmó sus últimas cuatro películas en Castle Valley, al este de Moab. En la primavera de 2014, Nolan visitó el sur de Utah con miembros clave del equipo y un explorador de locaciones para explorar la posibilidad de filmar allí y rápidamente se enamoró del lugar. Las tomas de la localización para el episodio piloto ocurrió más adelante sobre cinco días en Utah meridional, incluyendo Castle Valley. La mayoría de las ubicaciones de Utah, como Dead Horse Point State Park, eran "walk-in" áreas donde tanto el elenco y el personal estaban obligados a caminar dentro y fuera con todo su equipo. Se rodaron escenas de cabalgatas en un rancho privado, donde los cineastas no estaban sujetos a tantas restricciones como cuando trabajaban en terrenos públicos. Para combinar perfectamente los escenarios de California con el escenario de Utah, las paredes fijadas fueron enviadas a Utah para que pudieran usarse para filmar ángulos inversos de escenas originalmente filmadas en California. Por ejemplo, las conversaciones en el balcón exterior del centro de operaciones de Westworld fueron filmadas en un balcón en el Centro de Diseño del Pacífico mirando hacia el centro, luego los ángulos inversos sobre los hombros de los miembros del reparto fueron disparados a Dead Horse Point, el centro de operaciones estaba situado en la cima de los acantilados escarpados del parque estatal. Las escenas del interior del tren fueron creadas montando el conjunto entero del coche del tren en la parte posteriora de un carro plano y conduciendo el carro hacia adelante y hacia atrás adelante Utah State Route 128.

La impresión 3D de los anfitriones se realizó utilizando casi todos los efectos prácticos, algunos de los cuales fueron mejorados por el equipo de efectos visuales. La serie usó armas reales, aunque por lo general fueron descargadas. Por respeto a los actores y extras involucrados, la filmación de desnudos se realizó en un set cerrado, y para escenas de sexo, se utilizó un consultor sexual.

Secuencia de los créditos de apertura
La secuencia de los créditos de apertura de la serie fue creada por Elastic, el mismo estudio de producción que creó las secuencias de títulos para otras tres series de HBO: Rome, Carnivàle y Game of Thrones. Patrick Clair actuó como director creativo de los créditos de apertura, que tardó alrededor de cinco semanas para conceptualizar.

Clair se reunió con Nolan y Joy en febrero de 2016 para discutir su desarrollo. Estaba interesado en su decisión de abordar el punto de vista de la serie desde el de los anfitriones, considerando el resultado como un estudio psicológico inherente. Desde su inicio, la secuencia traduciría los elementos presentes en la serie a través de diseño asistido por computadora. Por ejemplo, una vez que Clair recibió imágenes del compositor Ramin Djawadi de una pianola en movimiento, su contraparte actual, situada en la oficina de producción de Westworld, fue fotografiada y luego reconstruida en imágenes generadas por computadora. Nolan también aplicó el instrumento de autoaprendizaje en referencia a la primera novela de Kurt Vonnegut Player Piano. Estaba destinado a representar la primera Máquina de Rube Goldberg para evocar el movimiento humano. Clair vio la metáfora detrás de la pianola —"una forma primitiva de robot"— como una exploración de la disparidad entre el hombre y la máquina "que se está creando para ser redundante." Los anfitriones que estaban bañados en líquido blanco golpearon a Clair como una yuxtaposición de la arena y el grano del género Western con su base en la ciencia ficción. Los motivos de Leonardo da Vinci en Vitruvian Man surgió de la voluntad de Clair para transmitir la representación de Westworld del cuerpo humano desnudo. La secuencia también hace referencia al video musical de Chris Cunningham de 1999 para la canción de Björk "All Is Full of Love", de una manera que Clair llamó "un poco desvergonzada (…) porque adoro a Chris Cunningham y (…) me pareció el lugar perfecto para hacerlo porque estaba tratando con todos los temas correctos y con la estética correcta."

La secuencia comienza con la caja torácica de un caballo, junto con un conjunto de anfitriones fabricados por robots industriales. El caballo esquelético se muestra a mitad de galope para subvertir la iconografía de tal representación. En cuanto a los esfuerzos de Clair para exponer los paisajes Western en relación con un mundo de robótica, pensó que era sensato que se hiciera dentro de un solo ojo; los cráteres y los valles se forman como el simulacro de un iris.

La segunda temporada introduce una nueva secuencia de los créditos de apertura. Se cambian varios elementos de la secuencia original de los créditos, incluidas las imágenes de un caballo que ahora se sustituyen por un bisonte. Otras nuevas imágenes en los créditos incluyen el sombrero negro del Hombre de Negro, una madre acunando a su hijo (que evoca a Maeve) y el cabello de una mujer rubia siendo peinado mecánicamente (representando a Dolores). El score de Ramin Djawadi permanece igual, con las imágenes de la pianola intactas.

Música

La música está compuesta por Ramin Djawadi, quien también trabajó con el showrunner Nolan en la serie Person of Interest. El tema principal combina el uso de notas de bajo, arpegios de luz y melodía, todo lo cual complementa la idea de un parque de atracciones. La banda sonora de la primera temporada se lanzó el 5 de diciembre de 2016.

Djawadi habló sobre las canciones modernas utilizadas en el show, y dijo: "El show tiene un sentido anacrónico, es un parque temático y, sin embargo, tiene robots, ¿por qué no tener canciones modernas? Y esa es una metáfora en sí misma, envuelto en el tema general del show", pero le dio crédito a Nolan por haber tenido la idea.

Las interpretaciones de piano y cuerdas presentadas en Westworld incluyen "No Surprises" de Radiohead, "Fake Plastic Trees", "Motion Picture Soundtrack" y "Exit Music (For a Film)", "Black Hole Sun" de Soundgarden, "Paint It Black" de The Rolling Stones, "Pine Apple Rag" de Scott Joplin y "Peacherine Rag", "Reverie L.68" de Claude Debussy, "A Forest" de The Cure, la versión de The Animals "The House of the Rising Sun", "Back to Black" de Amy Winehouse y "Something I Can Never Have" de Nine Inch Nails. Los costos de licencia oscilaron entre $15,000 a $55,000.

Lanzamiento

Transmisión
La serie estrenó su primera temporada de diez episodios el 2 de octubre de 2016 en Norteamérica y Australia, y el 4 de octubre de 2016 en el Reino Unido e Irlanda. La serie se transmite en HBO en los Estados Unidos, en HBO Canadá en Canadá, en HBO en América Latina, en Australia en Showcase, y en el Reino Unido e Irlanda en Sky Atlantic.

El segundo episodio fue lanzado en HBO en los Estados Unidos el 7 de octubre, dos días antes de la fecha de emisión del episodio, para evitar competir con el segundo debate presidencial de los Estados Unidos de 2016.

Mercadotecnia
Antes de la transmisión de Westworld, HBO realizó exhibiciones de realidad virtual en los eventos de San Diego Comic-Con y Techcrunch Disrupt dedicados a Westworld: A Delos Destination. A los asistentes se les permitió navegar por el proceso por el cual los invitados ingresarían a Westworld e interactuarían con el entorno 3D. Hecho para funcionar con el casco de realidad virtual HTC Vive, la pieza fue concebida por los showrunners Nolan y Joy. Fue diseñado usando Unreal Engine 4, combinando contenido generado por computadora y video de acción en vivo de 360 grados. Los usuarios recibieron un código binario, que permite el acceso al sitio web DiscoverWestworld.com como parte de una campaña de marketing viral. A los visitantes se les mostró un avance de un sitio de viajes ficticio, lo que los llevó a pedir un viaje a Westworld. Un chatbot presentado en el sitio web, llamado Aeden, está disponible como una acción del Asistente de Google en el altavoz inteligente Google Home.

Distribución doméstica
La primera temporada de Westworld (subtitulada El laberinto) fue lanzada en Blu-ray, DVD, y 4K Ultra HD Blu-ray el 7 de noviembre de 2017. Es la primera serie de televisión con guion lanzada en 4K Blu-ray en los Estados Unidos.

Recepción

Respuesta crítica

Temporada 1
La recepción de la serie ha sido en gran parte positiva, con elogios especiales por sus imágenes visuales, la historia y las actuaciones. En Rotten Tomatoes, la primera temporada tiene una calificación de aprobación del 88% en base a 80 reseñas, con una calificación promedio de 8.13/10. El consenso del sitio dice, "Con un impresionante nivel de calidad que hace honor a su material de origen, el brillante y adictivo Westworld equilibra el drama inteligente y apasionante contra la locura absoluta." En Metacritic, la primera temporada tiene un puntaje de 74 sobre 100, basado en 43 críticas, lo que indica "reseñas generalmente favorables".

Los editores de TV Guide colocaron a Westworld en el quinto lugar entre las diez mejores elecciones para los shows más esperados de la temporada 2016–17. En opinión general del escritor, Tim Surette, señala el concepto perfecto de la mezcla de la premisa occidental en un escenario futurista, diciendo, "Bueno, Westworld tiene tanto, asegurando que será una mezcla emocionante de géneros que va a interrumpir un panorama de la televisión que por lo general dice que solo podemos tener uno o el otro." También añadió, "El aspecto de la serie y su excelente diseño abren las puertas del salón, pero el verdadero placer será la discusión inteligente sobre si los robots eventualmente nos matarán a todos. Afortunadamente, el creador Jonathan Nolan ya nos mostró que él es el chico de la Inteligencia Artificial con Person of Interest." Mary McNamara de Los Angeles Times escribió en una crítica con elogios: "No se trata solo de una gran serie, es una serie vívida y estimulante que entretiene incluso cuando examina el lado más oscuro del entretenimiento." Para el San Francisco Chronicle, David Wiegand escribió, "Westworld no es fácil de entender al principio, pero sin embargo te engancharás con una narración inusualmente inteligente, efectos visuales poderosos y actuaciones excepcionalmente matizadas." De Time, Daniel D'Addario escribió, "Sus detalles cuidadosamente elegidos se suman a un pulp espectacular que es más reflexivo que cualquier otro de los nuevos dramas de este otoño."

Jeff Jensen de Entertainment Weekly también elogió la serie y dijo: "La profundidad de Westworld no radica en hacer preguntas sobre la memoria, el libre albedrío y lo que nos hace humanos, sino en si podemos ser más humanos de lo que nos permitimos ser, si nuestras historias pueden ser más ricas y más significativas de lo que permite la cultura."

Temporada 2
La segunda temporada también recibió reseñas positivas de parte de los críticos. En Rotten Tomatoes, la temporada tiene una calificación de aprobación del 94% sobre la base de 57 reseñas, con una calificación promedio de 8.03/10. El consenso del sitio es que "Westworld se basa en su primera temporada experimental, sumergiéndose más profundamente en el lado humano de la inteligencia artificial sin perder nada de su gloria elegante y sangrienta." En Metacritic, la temporada tiene un puntaje de 76 sobre 100, con base en 29 reseñas, lo que indica "reseñas generalmente favorables".

En abril de 2018, después del estreno de la segunda temporada, Variety publicó un artículo sobre la narrativa complicada de la serie. Andrew Wallenstein escribió, "Westworld parece tener demasiados fieles espectadores que estarán dispuestos a absorber tramas que puedan bordear lo incomprensible." También comentó sobre el posible éxito futuro de la serie, diciendo, "Habrá una base de admiradores central muy vocal dispuestos a hacer la tarea de unir los misterios de la serie, pero esa no es una base lo suficientemente amplia como para ser el tipo de serie emblemática que HBO quiere."

Índices de audiencia
El estreno de la serie tuvo números de audiencia ligeramente menores que los de True Detective, pero mucho mejor que Vinyl, eso significaba que se veía como "…un comienzo relativamente prometedor…" Mandy Adams, de iTechPost notó que, "Las interacciones en Twitter se estimaron en un 545 por ciento más en comparación con el debut de Vinyl y 326 por ciento más que la última temporada The Leftovers." El estreno de la serie atrajo a 1.96 millones de espectadores, con 0.8 millones en el codiciado grupo demográfico de 18 a 49 años de edad, anunciado por los anunciantes. El primer episodio recibió 3.3 millones de espectadores por sus tres transmisiones de los domingos por la noche, así como en las plataformas de transmisión de HBO. El final de la temporada uno recibió 2.2 millones de espectadores en su emisión inicial, y aumentó a 3.5 millones, incluyendo repeticiones y visualización a pedido. La primera temporada tuvo una audiencia promedio acumulada de 12 millones de espectadores, por lo que es la primera temporada más vista de una serie de HBO, y TorrentFreak calificó a Westworld como el tercer programa televisivo más celebrado de 2016.

Reconocimientos
Westworld ha sido nominado para 43 Emmy Awards, 3 Golden Globe Awards, 2 Satellite Awards, 4 Critics' Choice Television Awards, y 2 Writers Guild of America Awards.

Referencias

Enlaces externos

Series de televisión canceladas
Series de televisión de drama de Estados Unidos
Series de televisión de ciencia ficción de Estados Unidos
Series de televisión en inglés
Series de televisión basadas en películas
Series de televisión de HBO
Westworld

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text:
De mulieribus claris är en biografi över berömda kvinnor av Giovanni Boccaccio, först publicerad 1374. Titeln betyder ungefär Om berömda kvinnor. Texten är en parallelltext till De casibus virorum illustrium, som handlade om berömda mäns öden.

Texten beskriver 106 berömda kvinnor i syfte att ge dem ryktbarhet och inspirera andra att ta lärdom av deras liv. Texten är dedicerad till Andrea Acciaioli som var vän till Boccaccio. Kvinnorna i boken börjar med Bibelns Eva och tar upp drottningar, helgon, döttrar till politiker och även andra helt mytiska figurer som påvinnan Johanna. Camiola nämns bland annat för att hon räddade riddaren Roland av Sicilien, som dock svek henne.

Källor

Externa länkar

Litteratur under medeltiden
Verk av Giovanni Boccaccio


NVIDIA beat their midpoint guidance (average forecast determined between different analysts) on both top-line and bottom-line and is still a very well-run company with exceptional growth prospects for the future.
BUT WAIT, all this sounds great, but the market did not appreciate the results and the stock fell by 5% on Friday the 17th as the market's expectations were not met. The forecasts for Q3/19 fell below expectations, coupled with Crypto-fuelled "noise "also not helping.
This played in with my technical outlook from the first NVIDIA note "If the company's earnings do not impress, then we might see a short-term selloff" as seen in the chart below.
Getting back to the serious stuff, if we look at the chart below we can see the price action testing the trendline (red dotted) and moved higher. This move higher was because of the release of the #NVIDIAGeForce #RTX2080 graphics card on Monday, giving a signal for dip buyers to enter the market. I have adjusted my entry for a portfolio buy at $254.14 and a portfolio add around the $261.42 level.
Take note than Nvidia Corp. (NVDA) will pay a dividend of $0.15 cents per share next week, with Ex-Dividend date falling on the 29th of August, and expected dividend payment being on the 21st of September 2018.
Founded in 1993, Nvidia is a company which likes word play, symbolism and likes to invest in multiple levels of meaning. One of the key roots of the name Nvidia is the word Invidia, which is Latin for envy. Envy and vision are closely tied in mythology with the eye or the gaze being a common symbol.
Since 2014 Nvidia has since shifted to become a platform company focused on four markets – gaming, professional visualization, data centres and auto. The company also now focuses on artificial intelligence.


text:
If that sort of setup sounds famil-iar to Whatcom County high school football fans it should. It's a similar system to the one Lynden High School runs. As the Lions have proved it can be hard to defend. Pulling UMD out of its rhythm on offense and pressuring the quarter-back will be two keys for WWU.
"You know you can get pressure when you bring people," Ross said. "The key is getting pressure from a four-man rush. If you can get that and you get the quarterback to throw the ball before he wants to you can be pretty effective."
The two teams have been on a strangely similar trajectory so far this season. The Bulldogs (1-3, 0-2 North Central Conference) opened the year with an upset win against Bemidji State, but haven't won since drop-ping their first two conference games to the University of South Dakota and Central Washington.
Western (1-2, 0-2) also started the season with a big win against UC Davis before losing to No. 6 Univer-sity of Nebraska-Omaha and No. 2 North Dakota.
"There are some similarities," Ross said. "We both started well and then had some tough games. It will be interesting to see which team makes plays. The one thing about the North Central Conference is that there are no gimmees."
UMD has struggled with late-game collapses in the last two weeks. The Bulldogs led South Dakota going into the fourth quarter two weeks ago only to lose 36-22. Against the Wild-cats last week UMD gave up 16 points in six minutes in the third quarter in a game they eventually lost 43-21.
Last season the Bulldogs jumped to a 17-0 halftime lead against West-ern and then went on to win 20-10. In that game Schlafke had 329 yards, but was also roughed up and left the game limping.
This season he's thrown for 986 yards and 12 touchdowns through the Bulldogs' first four games and also leads the team in rushing with 191 yards. Schlafke ranked 7th in the nation last season in Division II in total offense.
"They do so many things," Ross said. "They do a nice job of throwing the ball and mixing a few runs in there. Their quarterback is their leading rusher. They do a lot of things to get Schlafke involved."
Of course, the Vikings have their own go-to player in sophomore running back Craig Garner. He rushed for a career-high 192 yards against the Fighting Sioux last week and has 332 yards in the last two weeks.
The defense, which was expected to be strength for this team, hasn't lived up to expectations so far. Injuries have sapped Western's depth and forced younger players into games perhaps before they are ready. The Vikings are averaging 27 points per game, but allowing 43.
"We've been giving up too many big plays," Ross said. "The first week we gave up three, the next week it was five and last week it was eight. One of our goals is to eliminate those plays and that's where we need to get too defensively. That's what we're working toward."
Notes: The Vikings might be with-out starting guard Phil Hayes for their game against UMD. Hayes hurt his ankle and Dincer Kayhan has been working at that position in practice. Ross said it was a game-time decision … The Bulldogs have 14 sacks this season, but 10 of those came in their season-opener against Bemidji State … Senior defensive end Ryan Conwell had two sacks against UMD last season.
Reach Joe Sunnen at joe.sunnen@bellinghamherald.com or 756-2862.
Where the nation's top football recruits will play this season
Former Park Hill pole vaulter holds highest vault of 2019 so far
Smart, Georgia highlight Day 2 of SEC media days
Kirby Smart and the Georgia Bulldogs are once again aiming to unseat Alabama in the Southeastern Conference.
MORE COLLEGE SPORTS
KU's Miles figures he's back where he belongs: On sideline
Mike Bianchi: Dan Mullen cards first hole-in-one, but now he needs to beat Miami and ace Year 2 at Florida
Florida's Mullen hoping for sizable leap in 2nd season
Big 12 opposites: OU at top, KU's Miles returns with ring
Doubters silenced, LSU's Orgeron pushes for SEC glory


text:
Q: Overloading operators :: HaskellNewbie I'm making a new type so I can calculate big numbers with some precision. Basically its a Double and a Integer to represent a number as Double * 10 ^ Integer. Now I began to make the program and it was going "ok" till I tried to make a instance of my new number so I could simple use + to add my new numbers up. This makes it easier for me to use in my existing programs. But I'm just getting a errors along the lines of "Could not deduce" from my code (I'll post an example below).  I somewhat understand the error, but I can seem to get around the problem. If you wish to compile the code, comment lines 4 and 5.
I'v been working on this for hours and is "killing" me.
newtype Sci f p = Sci (f ,p)  deriving (Eq,Show)

instance (Floating a,Integral b) => Num (Sci a b) where
   Sci (a,b) * Sci (c,d) = fixSci( Sci(a*c,b*d) )

mulSci :: Sci Double Integer -> Sci Double Integer -> Sci Double Integer
mulSci (Sci(a,b)) (Sci(c,d)) = fixSci (Sci(a*c,b*d))

mkSci :: Double -> Sci Double Integer
mkSci 0 = Sci(0, 0)
mkSci n = let lg = (floor ((log10 . abs) n)) in Sci((n/(10**(fromIntegral lg))), if lg > 0 then lg else 0)

fixSci :: Sci Double Integer -> Sci Double Integer
fixSci (Sci(a,b)) = let n = mkSci a in (\(Sci(c,d)) -> Sci(c,b+d)) n

fromSci (Sci(a,b)) = a*10**(fromIntegral b)

showSci (Sci(a,b)) = (show a)++"e"++(show b)

lx :: Double
lx = log 10

log10 :: Double -> Double
log10 y = log y / lx

-- ~ main = putStrLn $ showSci $ fixSci $ Sci(95,0)
main = putStrLn $ showSci $ mkSci 95

Here is an example error:
sci.hs:5:40:
   Could not deduce (a ~ Double)
   from the context (Floating a, Integral b)
     bound by the instance declaration at sci.hs:4:10-49
     `a' is a rigid type variable bound by
         the instance declaration at sci.hs:4:20
   In the first argument of `(*)', namely `a'
   In the expression: a * c
   In the first argument of `Sci', namely `(a * c, b * d)'

sci.hs:5:44:
   Could not deduce (b ~ Integer)
   from the context (Floating a, Integral b)
     bound by the instance declaration at sci.hs:4:10-49
     `b' is a rigid type variable bound by
         the instance declaration at sci.hs:4:31
   In the first argument of `(*)', namely `b'
   In the expression: b * d
   In the first argument of `Sci', namely `(a * c, b * d)'

Any help is much appreciated!

A: Admittedly, reading and understanding GHC error messages is not easy. Therefore, your question is valid.
Obviously, the messages are referring to your definition of the * operator. We can tell this from the line number mentioned in sci.hs:5:40 and from the fact that (*) is the only one you defined in your Num instance.
Remember the general type of *, it is
(*) :: Num n => n -> n -> n

which means: For all types n that have a Num instance, if you give 2 values of that type to *, you will get back another value of same type. Or simpler: (*) will work for any numeric type, as long as the factors are of the same type and the result will have the same type as the factors.
Needless to say, your implementation of * must fulfill this contract. And because your Sci type itself is polymorphic, your incarnation has the type:
(*) :: (Floating a, Integral b) => Sci a b -> Sci a b -> Sci a b

So your are claiming that your multiplication will work for type Sci a b for any types a and b, as long as a is a Floating type and b is an Intergal type. That is, it should work for Sci Float Int as well as for Sci Double Integer.
By now, you should already know what the error is: Your implementation doesn't live up to that promise. In fact, it only works for Sci Double Integer, because your helper function fixSci can only work with Sci Double Integer.
The error message tries to tell you just that, in a more technical form. It lists

*

*the type conflict a vs Double ("You promised to give me anything, but all I got was a lousy Double!")

*the constraints actually in scope ("You said, a was an instance of Floating) and where it was introduced.

*The expression(s) that led the compiler to infer Double
Unfortunately, the compiler stops short (for brevity, as it is known that newbies never read error messages anyway :) before the interesting part. It could have included something like
in the expression fixSci (Sci (a*c) (b*d)),
and since fixSci takes an argument of type Sci Double Integer
I concluded that Sci (a*c) (b*d) must be  Sci Double Integer
and hence (a*c) must be Double.

A: Not really related to your question, but to your code:
Should it really be mulSci (Sci(a,b)) (Sci(c,d)) = fixSci (Sci(a*c,b*d))?
Shouldn't it be b+d instead of b*d?
Why don't you just set newtype Sci = Sci Double Integer?
Then you would have
instance Num Sci where
    (Sci m1 e1) * (Sci m2 e2) = fixSci (Sci (m1*m2) (e1+e2))
    (Sci m1 e1) + (Sci m2 e2) = <some rather complicated expression>

A: Not your original question, but your showSci function bothers me:
Don't derive Show, write your own show function:
instance Show Sci where
    show (Sci (a,b)) = (show a) ++ "e" ++ (show b)

Then main becomes:
main = print $ mkSci 95

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text:
Abel Schrøder
Altarpiece (1655), Vester Egesborg Church, Næstved
Abel Schrøder, also Abel Schrøder the Younger, (c. 1602–1676) was a Danish woodcarver with a workshop in Næstved, then the centre for woodcarving in Southern Zealand. He is remembered for his many auricular altarpieces and pulpits depicting scenes from the life of Christ. Schrøder was also the organist for 42 years in St Martin's Church, Næstved.[1]
Under the sponsorship of Frederik Reedz, a lensmand or royal vassal, most of Schrøder's work was for churches in the region of Vordingborg. He created the pulpit in Undløse Church, the parish church for Reedz' manor Tygestrup, now known as Kongsdal, and probably also that in the neighbouring church of Søndersted. A stone epitaph in St Peter's Church, Næstved, provides a brief account of Schrøder's life: "Sculptor and organist in St Martin's Church for 42 years, husband of his dear wife Mette Petersdatter for 47 years with whom he was the father of nine children..." The inscription also tells us Schrøder died on 5 March 1676 and that six of his children were buried with him. Schrøder is first mentioned in the Næstved land register for 1628. Eleven works dated between 1632 and 1676 are known to be his, eight of which are initialed. The pulpit in Nestelsø Church is clearly considered to be Schrøder's as his decorative sign and the initials AAS, interpreted as Abel Abelsen Schrøder, are inscribed with the date 1632 on a limestone ashlar on the church's outer wall. Among the other works he almost certainly created is the altarpiece in Sandby Church (1642), although other craftsmen also contributed to it.[2] The pulpit in Aversi Church near Ringsted is also ascribed to his workshop. The corners are decorated with figures representing the Virtues while the panels depict Christ and the four Evangelists.[3]
The main theme of his altarpieces and pulpits is Christ's life on earth and in heaven as summarized in the Creed. Many of his altarpieces are centred on the Passion. The figures often appear to be conversing with each other in a setting framed by reliefs and decorations in the Auricular style. The works also frequently contain personifications of the Virtues or representations of the prophets, apostles and other Biblical figures. The workshop often worked with models from the Netherlands in composing reliefs as can be seen in the pulpit in Holmen Church, clearly inspired by illustrations from the Piscator Bible published by the Visscher family in Antwerp. Earlier, less well proportioned works were inspired by ornaments from the Neuws Compertament Buchlein published by Godfridt Müller in 1621.[2]
Some 60 works, large and small, have been attributed to Schrøder by the relevant literature. If this assessment is correct, his workshop was one of the most productive of the period. His works were however not as well proportioned as those of Lorentz Jørgensen of Holbæk, nor were his Auricular decorations as coherent and consistent as those of the anonymous master known as AS. But Schrøder's work excels in the narrative displayed by his vast array of Biblical scenes as well as in his imaginative decorations.[2]
Altarpieces: Vordingborg Church, Tyvelse Church, Præstø Church (1656), Tybjerg Church (1658), Holmen Church, Copenhagen (1661), St Martin's Church, Næstved (1667), Tjøme Church in Norway (1670–76, signed).
Pulpits: Nestelsø Church (1632), Undløse Church (1643), Nordrupøster Church (1664)
Altarpieces attributed to Schrøder: Everdrup Church (ca. 1633); Gunderslev Church, Sandby Church (c. 1642), Hammer Church (1642), Glumsø Church (c. 1645), Vrangstrup Church (c. 1650), Vester Egesborg Church (ca. 1655) and Vejlø Church (1669). In Norway: Nes kirke, Borre kirke (c. 1664) and Vivestad Church (1667).
Pulpit, Aversi Church (c. 1630)
Altarpiece, Vordingborg Church (1640)
Pulpit, Undløse Church (1643)
Altarpiece, Holmen Church (1661)
Pulpit, Holmen Church (1662)
↑ "Abel Schrøder d.y", Den Store Danske. (Danish) Retrieved 3 January 2013.
1 2 3 Eva de la Fuente Pedersen, "Abel den yngre Schrøder", Kunstindeks Danmark & Weilbachs kunstnerleksikon. (Danish) Retrieved 3 January 2012.
↑ "Aversi kirke", Nordens kirker. (Danish) Retrieved 3 January 2013.


text:
You Need More Than Bacteria For a Healthy Gut Microbiome
Home/Natural Health/You Need More Than Bacteria For a Healthy Gut Microbiome
In April, a deadly fungus superbug called Candida auris became the latest menace to hit hospitals, with 44 cases in New York and 17 in New Jersey.
It was especially alarming because some strains are resistant to all anti-fungal drugs.
Fungus doesn't get a good press. You might think there's nothing good to say about fungi (except maybe for edible mushrooms), but actually there are species that are beneficial, even essential to our health. . .
Just as there are distinct communities of beneficial bacteria that thrive in many areas of our bodies, so there are different species of fungus that do the same thing.
Up until 2010 they were virtually ignored by the medical community, but now their importance to good health is finally being recognized.
First There Was The Microbiome – Now There's The Mycobiome
The lower digestive tract – the colon — contains over 10,000 individual strains of bacteria. Taken together, they weigh three or four pounds. This microbiome, as it's called, has become the subject of intense research. Many people eat yogurt and take probiotic supplements to boost their good gut bacteria.
But our guts also have a mycobiome. This term refers to 184 different species of fungus that make up about two percent of the microbes or "bugs" in our guts.
If you want to school eons ago like I did, you might think living creatures are divided into two kingdoms, plant and animal. But actually there are five or six kingdoms of living creatures, and bacteria and fungi each constitute a kingdom in themselves.
The bacterial and fungal colonies in our guts interact with one another. This reveals itself when patients are on a long course of antibiotics. Killing off bacteria often encourages fungal overgrowth like Candida albicans and the many unpleasant symptoms that accompany it.
Christopher Thornton, associate professor of fungal immunology at the University of Exeter, says, "It's not just about bacteria any more — there is a shift in research which is putting greater importance on the role of fungus and bacteria together."
NIH-funded scientist Mahmood Ghannoum has spent more than three decades researching fungi. He agrees with his UK colleague.
He and his research team at Case Western Reserve University in Cleveland, Ohio discovered that both types of microbe cooperate to create digestive plaque.
This plaque lines the lower intestinal wall, protects the microbes and offers benefits to both bacteria and fungi. It's similar in nature to plaques formed on the teeth.
Need a Balance Between Good and Bad Fungi
These plaques can consist of helpful species that break down food and maintain a balance of gut organisms. In this case, the plaques are muted and modest in size.
But more usually a plaque is composed of sizable and robust fungi that grow plaque and secrete tissue-destroying enzymes. These, together with bad bacteria, can lead to digestive disorders and a weakened immune system.
Like bacteria, there are "bad" fungi that have these adverse effects and "good" fungi that act as a check on the harmful ones. You need to sustain a balance between the two or your health can be compromised.
Several studies demonstrate this.
In March, scientists from the University of Utah found that Saccharomyces cerevisiae "exacerbated intestinal disease in a mouse model of colitis and increased gut barrier permeability."
In plain English, this means this strain of fungus inflames your colon and creates holes or lesions in the colon wall that allow foreign matter to pass into your bloodstream. Not good.
In a human study, Spanish researchers found that obese people had less of a fungal genus called Mucor. This condition can be reversed if the person loses weight. The researchers concluded that "manipulation of gut mycobiome communities might be a novel target in the treatment of obesity."
How To Keep Your Gut Fungus-Friendly
The best way to avoid fungal imbalances is to follow recommendations that encourage good gut bacteria.
Eat plenty of fruit, vegetables and whole grains. Avoid refined foods, sugar, artificial ingredients (food additives and chemicals) and excessive amounts of alcohol.
Chronic stress can also substantially disrupt the myco- and microbiomes. If you suffer with stress you might like to follow Professor Ghannoum's example and practice yoga and mindful breathing every day.
Another idea is to look for probiotics that contain yeast cultures as well as bacteria. Most probiotic supplements contain only bacteria.
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5111414
https://biohmhealth.com/
By GRN|2017-05-18T09:25:36+00:00May 18th, 2017|Natural Health|0 Comments


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text:
Home > Wisconsin > Rock County
1831 Mount Zion Ave
www.janesville.k12.wi.us
Jefferson Elementary School serves 330 students in grades Prekindergarten-5.
Jefferson Elementary School placed in the bottom 50% of all schools in Wisconsin for overall test scores (math proficiency is top 50%, and reading proficiency is bottom 50%) for the 2018-19 school year.
The percentage of students achieving proficiency in math is 40-44% (which is approximately equal to the Wisconsin state average of 43%) for the 2018-19 school year. The percentage of students achieving proficiency in reading/language arts is 35-39% (which is lower than the Wisconsin state average of 41%) for the 2018-19 school year.
The student:teacher ratio of 11:1 is lower than the Wisconsin state level of 14:1.
Minority enrollment is 35% of the student body (majority Hispanic), which is higher than the Wisconsin state average of 30% (majority Hispanic).
Jefferson Elementary School ranks among the top 20% of public schools in Wisconsin for:
Percent Eligible For Free Lunch
Largest percent of students eligible for free lunch (Top 20%)
Student Attention
Lowest student:teacher ratio (Top 20%)
Jefferson Elementary School's student population of 330 students has declined by 5% over five school years.
The teacher population of 29 teachers has stayed relatively flat over five school years.
Jefferson Elementary School is ranked within the bottom 50% of all 2,025 schools in Wisconsin (based off of combined math and reading proficiency testing data) for the 2018-19 school year.
The diversity score of Jefferson Elementary School is 0.54, which is more than the diversity score at state average of 0.49. The school's diversity has stayed relatively flat over five school years.
State Level (WI)
Janesville School District
Source: 2017-2018 (latest school year available) NCES, WI Dept. of Education
The nearest high school to Jefferson Elementary School is Craig High School (1.3 miles away)
The nearest middle school is Marshall Middle School (0.9 miles away)
The nearest elementary school is Adams Elementary School (0.7 miles away)
Grades: PK-5 | 312 students 0.7 miles 1138 E Memorial Dr
Grades: 6-8 | 856 students 0.9 miles 25 S Pontiac Dr
Grades: PK-5 | 399 students 1 miles 55 S Pontiac Dr
Craig High School
Grades: 9-12 | 1,688 students 1.3 miles 401 S Randall Ave
Grades: PK-5 | 368 students 1.3 miles 316 S Ringold St
See more public schools near to Jefferson Elementary School
Review Jefferson Elementary School. Reviews should be a few sentences in length. Please include any comments on:
516 GREENWAY POINT DR
2727 N PARTRIDGE HOLLOW DR
EDGERTON, WI
(10.24 miles from school)
908 WINDFIELD CT #1
redfin.com™View Homes Near Jefferson Elementary School
: Bottom 50% in WI
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text:
Q: Confused on ARIMA's linearity assumption
The AR(I)MA model or Auto Regressive Integrated Moving Average model is one of the most popular linear models in time series forecasting. In an AR(I)MA model, the future value of a variable is assumed to be a linear function of several past observations and random errors [http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.462.3756&rep=rep1&type=pdf].

However in a lot of other papers I see have the feeling that the data is non-linear. Still they use this method and it produces good results (https://pdfs.semanticscholar.org/9672/ad02c5c7a746658441d6a82221b0420207e0.pdf)?
This (https://imgur.com/a/oXuGWA8) is an example of my own data, which I assume to be non-linear aswell, thus explaining why the ARIMA models produces bad results.
Am I misinterpreting what linear modelling is, or what am I missing here?

A: The linearity here means that your model is a linear combination of the predictors, e.g. in autoregressive model $AP(p)$:
$$
X_t = c + \sum_{i=1}^{p}\phi_i X_{t-i} + \epsilon_t
$$
Where $\phi_1,...,\phi_p$ are your model parameters, $\epsilon$ represents noise and $c$ is some constant.
That equation says that if you want to predict the value of $X_t$ you simply take a linear combination of some $p$ past $X$ values (weighted by your model parameters $\phi$). Given an initial (time series) set of $\{X_{t-p}, ... X_{t-1}\}$ there is no reason to assume that plotting $X_{t}, ...$ will give you a straight line.

A: That paper is not a good example of ARIMA models. As stated before, there should be a sum type in the right hand side of the equation, thus a linear relation between the current data point and the previous ones of that variable. That's very different from the relation between the variable and time, which of course won't be linear. If you're starting with ARIMA, beware of papers.


text:
Q: Google appengine shows zero instance hour usage, even though two instances are up I recently deployed a Node.js app in google appengine.
When I go to appengine dashboard and check resource usage, no frontend instance hour usae is shown.

But, in Instances tab, it shows that two instances are up.

Since the instances are up, and I have made several http requests to the application, I didn't expect to see zero instance hour usage. Also, according to this answer, 15 instance minutes charged for every instance spin up.
So what could be the reason for showing zero instance hour usage in my app?
(I checked the usage several times within last 24 hours, so this cannot be due to the update delay in dashboard)


text:
import logging
from time import sleep

import numpy as np

from basil.HL.RegisterHardwareLayer import RegisterHardwareLayer

class sram_fifo(RegisterHardwareLayer):
    '''SRAM FIFO controller interface for sram_fifo FPGA module.
    '''

    _registers = {'RESET': {'descr': {'addr': 0, 'size': 8, 'properties': ['writeonly']}},
                  'VERSION': {'descr': {'addr': 0, 'size': 8, 'properties': ['ro']}},
                  'ALMOST_FULL_THRESHOLD': {'descr': {'addr': 1, 'size': 8}},
                  'ALMOST_EMPTY_THRESHOLD': {'descr': {'addr': 2, 'size': 8}},
                  'READ_ERROR_COUNTER': {'descr': {'addr': 3, 'size': 8, 'properties': ['ro']}},
                  'FIFO_SIZE': {'descr': {'addr': 4, 'size': 32, 'properties': ['ro']}}}
    _require_version = "==2"

    def __init__(self, intf, conf):
        super(sram_fifo, self).__init__(intf, conf)

    def reset(self):
        self.RESET = 0
        sleep(0.01)  # wait some time for initialization

    def set_almost_full_threshold(self, value):
        self.ALMOST_FULL_THRESHOLD = value  # no get function possible

    def set_almost_empty_threshold(self, value):
        self.ALMOST_EMPTY_THRESHOLD = value  # no get function possible

    def get_fifo_size(self):
        ''' *Deprecated* Get FIFO size in units of bytes (8 bit).

        Returns
        -------
        fifo_size : int
            FIFO size in units of bytes (8 bit).
        '''
        logging.warning("Deprecated: Use get_FIFO_SIZE()")
        return self.FIFO_SIZE

    @property
    def FIFO_INT_SIZE(self):
        ''' Get FIFO size in units of integers (32 bit).

        Returns
        -------
        fifo_size : int
            FIFO size in units of integers (32 bit).
        '''
        fifo_size = self.FIFO_SIZE
        # sometimes reading of FIFO size happens during writing to SRAM, but we want to have a multiplicity of 32 bits
        return (fifo_size - (fifo_size % 4)) / 4

    def get_fifo_int_size(self):
        ''' *Deprecated* Get FIFO size in units of integers (32 bit).

        Returns
        -------
        fifo_size : int
            FIFO size in units of integers (32 bit).
        '''
        logging.warning("Deprecated: Use get_FIFO_INT_SIZE()")
        return self.FIFO_INT_SIZE

    def get_FIFO_INT_SIZE(self):
        ''' Get FIFO size in units of integers (32 bit).

        Returns
        -------
        fifo_size : int
            FIFO size in units of integers (32 bit).
        '''
        return self.FIFO_INT_SIZE

    def get_read_error_counter(self):
        ''' *Deprecated* Get read error counter.

        Returns
        -------
        fifo_size : int
            Read error counter (read attempts when SRAM is empty).
        '''
        logging.warning("Deprecated: Use get_READ_ERROR_COUNTER()")
        return self.READ_ERROR_COUNTER

    def get_data(self):
        ''' Reading data in SRAM.

        Returns
        -------
        array : numpy.ndarray
            Array of unsigned integers (32 bit).
        '''
        fifo_int_size_1 = self.FIFO_INT_SIZE
        fifo_int_size_2 = self.FIFO_INT_SIZE
        if fifo_int_size_1 > fifo_int_size_2:
            fifo_int_size = fifo_int_size_2  # use smaller chunk
            logging.warning("Reading wrong FIFO size. Expected: %d <= %d" % (fifo_int_size_1, fifo_int_size_2))
        else:
            fifo_int_size = fifo_int_size_1  # use smaller chunk
        return np.frombuffer(self._intf.read(self._conf['base_data_addr'], size=4 * fifo_int_size), dtype=np.dtype('<u4'))  # size in number of bytes

    def get_size(self):
        ''' *Deprecated*
        '''
        logging.warning("Deprecated: Use get_FIFO_SIZE()")
        return self.FIFO_SIZE

redpajama_set_name: RedPajamaGithub


Part Number, Dimension (mm). Fw, D, C. F79, 7, 11, 9. F88, 8, 12, 8. F810, 8, 12, 10. F812, 8, 12, 12. F910, 9, 13, 10. F1010, 10, 14, 10. F1210, 12, 16, 10.
NSK drawn cup needle roller bearings (caged and full-complement types) have a F. NF. —. DD. FH. —. NFH. Table 1 Bearing Codes. 2. Specification Number 4 100. 2 480. ➀. F-88. 8. 12. 8. 3 850. 2 280. ➀. F-810. 8. 12. 10. 5 000. 3 200.
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al centers around the globe, NTN Bearing Corporation is in an enviable position to .. upon request, for which "F" should be prefixed to the bearing numbers.