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Category Archives: ~ Comps
Deckard's Photo Inspector
29 Apr 2020 by Christopher Noessel
Back to Blade Runner. I mean, the pandemic is still pandemicking, but maybe this will be a nice distraction while you shelter in place. Because you're smart, sheltering in place as much as you can, and not injecting disinfectants. And, like so many other technologies in this film, this will take a while to deconstruct, critique, and reimagine.
Doing his detective work, Deckard retrieves a set of snapshots from Leon's hotel room, and he brings them home. Something in the one pictured above catches his eye, and he wants to investigate it in greater detail. He takes the photograph and inserts it in a black device he keeps in his living room.
Note: I'll try and describe this interaction in text, but it is much easier to conceptualize after viewing it. Owing to copyright restrictions, I cannot upload this length of video with the original audio, so I have added pre-rendered closed captions to it, below. All dialogue in the clip is Deckard.
Deckard does digital forensics, looking for a lead.
He inserts the snapshot into a horizontal slit and turns the machine on. A thin, horizontal orange line glows on the left side of the front panel. A series of seemingly random-length orange lines begin to chase one another in a single-row space that stretches across the remainder of the panel and continue to do so throughout Deckard's use of it. (Imagine a news ticker, running backwards, where the "headlines" are glowing amber lines.) This seems useless and an absolutely pointless distraction for Deckard, putting high-contrast motion in his peripheral vision, which fights for attention with the actual, interesting content down below.
If this is distracting you from reading, YOU SEE MY POINT.
After a second, the screen reveals a blue grid, behind which the scan of the snapshot appears. He stares at the image in the grid for a moment, and speaks a set of instructions, "Enhance 224 to 176."
In response, three data points appear overlaying the image at the bottom of the screen. Each has a two-letter label and a four-digit number, e.g. "ZM 0000 NS 0000 EW 0000." The NS and EW—presumably North-South and East-West coordinates, respectively—immediately update to read, "ZM 0000 NS 0197 EW 0334." After updating the numbers, the screen displays a crosshairs, which target a single rectangle in the grid.
A new rectangle then zooms in from the edges to match the targeted rectangle, as the ZM number—presumably zoom, or magnification—increases. When the animated rectangle reaches the targeted rectangle, its outline blinks yellow a few times. Then the contents of the rectangle are enlarged to fill the screen, in a series of steps which are punctuated with sounds similar to a mechanical camera aperture. The enlargement is perfectly resolved. The overlay disappears until the next set of spoken commands. The system response between Deckard's issuing the command and the device's showing the final enlarged image is about 11 seconds.
Deckard studies the new image for awhile before issuing another command. This time he says, "Enhance." The image enlarges in similar clacking steps until he tells it, "Stop."
Other instructions he is heard to give include "move in, pull out, track right, center in, pull back, center, and pan right." Some include discrete instructions, such as, "Track 45 right" while others are relative commands that the system obeys until told to stop, such as "Go right."
Using such commands he isolates part of the image that reveals an important clue, and he speaks the instruction, "Give me a hard copy right there." The machine prints the image, which Deckard uses to help find the replicant pictured.
This image helps lead him to Zhora.
I'd like to point out one bit of sophistication before the critique. Deckard can issue a command with or without a parameter, and the inspector knows what to do. For example, "Track 45 right" and "Track right." Without the parameter, it will just do the thing repeatedly until told to stop. That helps Deckard issue the same basic command when he knows exactly where he wants to look and when doesn't know what exactly what he's looking for. That's a nice feature of the language design.
But still, asking him to provide step-by-step instructions in this clunky way feels like some high-tech Big Trak. (I tried to find a reference that was as old as the film.) And that's not all…
Some critiques, as it is
Can I go back and mention that amber distracto-light? Because it's distracting. And pointless. I'm not mad. I'm just disappointed.
It sure would be nice if any of the numbers on screen made sense, and had any bearing with the numbers Deckard speaks, at any time during the interaction. For instance, the initial zoom (I checked in Photoshop) is around 304%, which is neither the 224 or 176 that Deckard speaks.
It might be that each square has a number, and he simply has to name the two squares at the extents of the zoom he wants, letting the machine find the extents, but where is the labeling? Did he have to memorize an address for each pixel? How does that work at arbitrary levels of zoom?
And if he's memorized it, why show the overlay at all?
Why the seizure-inducing flashing in the transition sequences? Sure, I get that lots of technologies have unfortunate effects when constrained by mechanics, but this is digital.
Why is the printed picture so unlike the still image where he asks for a hard copy?
Gaze at the reflection in Ford's hazel, hazel eyes, and it's clear he's playing Missile Command, rather than paying attention to this interface at all. (OK, that's the filmmaker's issue, not a part of the interface, but still, come on.)
The photo inspector: My interface is up HERE, Rick.
How might it be improved for 1982?
So if 1982 Ridley Scott was telling me in post that we couldn't reshoot Harrison Ford, and we had to make it just work with what we had, here's what I'd do…
Squash the grid so the cells match the 4:3 ratio of the NTSC screen. Overlay the address of each cell, while highlighting column and row identifiers at the edges. Have the first cell's outline illuminate as he speaks it, and have the outline expand to encompass the second named cell. Then zoom, removing the cell labels during the transition. When at anything other than full view, display a map across four cells that shows the zoom visually in the context of the whole.
Rendered in glorious 4:3 NTSC dimensions.
With this interface, the structure of the existing conversation makes more sense. When Deckard said, "Enhance 203 to 608" the thing would zoom in on the mirror, and the small map would confirm.
The numbers wouldn't match up, but it's pretty obvious from the final cut that Scott didn't care about that (or, more charitably, ran out of time). Anyway I would be doing this under protest, because I would argue this interaction needs to be fixed in the script.
What's really nifty about this technology is that it's not just a photograph. Look close in the scene, and Deckard isn't just doing CSI Enhance! commands (or, to be less mocking, AI upscaling). He's using the photo inspector to look around corners and at objects that are reconstructed from the smallest reflections. So we can think of the interaction like he's controlling a drone through a 3D still life, looking for a lead to help him further the case.
With that in mind, let's talk about the display.
To redesign it, we have to decide at a foundational level how we think this works, because it will color what the display looks like. Is this all data that's captured from some crazy 3D camera and available in the image? Or is it being inferred from details in the 2 dimensional image? Let's call the first the 3D capture, and the second the 3D inference.
If we decide this is a 3-D capture, then all the data that he observes through the machine has the same degree of confidence. If, however, we decide this is a 3D inferrer, Deckard needs to treat the inferred data with more skepticism than the data the camera directly captured. The 3-D inferrer is the harder problem, and raises some issues that we must deal with in modern AI, so let's just say that's the way this speculative technology works.
The first thing the display should do it make it clear what is observed and what is inferred. How you do this is partly a matter of visual design and style, but partly a matter of diegetic logic. The first pass would be to render everything in the camera frustum photo-realistically, and then render everything outside of that in a way that signals its confidence level. The comp below illustrates one way this might be done.
Modification of a pair of images found on Evermotion
In the comp, Deckard has turned the "drone" from the "actual photo," seen off to the right, toward the inferred space on the left. The monochrome color treatment provides that first high-confidence signal.
In the scene, the primary inference would come from reading the reflections in the disco ball overhead lamp, maybe augmented with plans for the apartment that could be found online, or maybe purchase receipts for appliances, etc. Everything it can reconstruct from the reflection and high-confidence sources has solid black lines, a second-level signal.
The smaller knickknacks that are out of the reflection of the disco ball, and implied from other, less reflective surfaces, are rendered without the black lines and blurred. This provides a signal that the algorithm has a very low confidence in its inference.
This is just one (not very visually interesting) way to handle it, but should illustrate that, to be believable, the photo inspector shouldn't have a single rendering style outside the frustum. It would need something akin to these levels to help Deckard instantly recognize how much he should trust what he's seeing.
Flat screen or volumetric projection?
Modern CGI loves big volumetric projections. (e.g. it was the central novum of last year's Fritz winner, Spider-Man: Far From Home.) And it would be a wonderful juxtaposition to see Deckard in a holodeck-like recreation of Leon's apartment, with all the visual treatments described above.
Also seriously who wants a lamp embedded in a headrest?
…that would kind of spoil the mood of the scene. This isn't just about Deckard's finding a clue, we also see a little about who he is and what his life is like. We see the smoky apartment. We see the drab couch. We see the stack of old detective machines. We see the neon lights and annoying advertising lights swinging back and forth across his windows. Immersing him in a big volumetric projection would lose all this atmospheric stuff, and so I'd recommend keeping it either a small contained VP, like we saw in Minority Report, or just keep it a small flat screen.
OK, so we have an idea about how the display would (and shouldn't) look, let's move on to talk about the inputs.
To talk about inputs, then, we have to return to a favorite topic of mine, and that is the level of agency we want for the interaction. In short, we need to decide how much work the machine is doing. Is the machine just a manual tool that Deckard has to manipulate to get it to do anything? Or does it actively assist him? Or, lastly, can it even do the job while his attention is on something else—that is, can it act as an agent on his behalf? Sophisticated tools can be a blend of these modes, but for now, let's look at them individually.
Manual Tool
This is how the photo inspector works in Blade Runner. It can do things, but Deckard has to tell it exactly what to do. But we can still improve it in this mode.
We could give him well-mapped physical controls, like a remote control for this conceptual drone. Flight controls wind up being a recurring topic on this blog (and even came up already in the Blade Runner reviews with the Spinners) so I could go on about how best to do that, but I think that a handheld controller would ruin the feel of this scene, like Deckard was sitting down to play a video game rather than do off-hours detective work.
Special edition made possible by our sponsor, Tom Nook.
(I hope we can pay this loan back.)
Similarly, we could talk about a gestural interface, using some of the synecdochic techniques we've seen before in Ghost in the Shell. But again, this would spoil the feel of the scene, having him look more like John Anderton in front of a tiny-TV version of Minority Report's famous crime scrubber.
One of the things that gives this scene its emotional texture is that Deckard is drinking a glass of whiskey while doing his detective homework. It shows how low he feels. Throwing one back is clearly part of his evening routine, so much a habit that he does it despite being preoccupied about Leon's case. How can we keep him on the couch, with his hand on the lead crystal whiskey glass, and still investigating the photo? Can he use it to investigate the photo?
Here I recommend a bit of ad-hoc tangible user interface. I first backworlded this for The Star Wars Holiday Special, but I think it could work here, too. Imagine that the photo inspector has a high-resolution camera on it, and the interface allows Deckard to declare any object that he wants as a control object. After the declaration, the camera tracks the object against a surface, using the changes to that object to control the virtual camera.
In the scene, Deckard can declare the whiskey glass as his control object, and the arm of his couch as the control surface. Of course the virtual space he's in is bigger than the couch arm, but it could work like a mouse and a mousepad. He can just pick it up and set it back down again to extend motion.
This scheme takes into account all movement except vertical lift and drop. This could be a gesture or a spoken command (see below).
Going with this interaction model means Deckard can use the whiskey glass, allowing the scene to keep its texture and feel. He can still drink and get his detective on.
Tipping the virtual drone to the right.
Assistant Tool
Indirect manipulation is helpful for when Deckard doesn't know what he's looking for. He can look around, and get close to things to inspect them. But when he knows what he's looking for, he shouldn't have to go find it. He should be able to just ask for it, and have the photo inspector show it to him. This requires that we presume some AI. And even though Blade Runner clearly includes General AI, let's presume that that kind of AI has to be housed in a human-like replicant, and can't be squeezed into this device. Instead, let's just extend the capabilities of Narrow AI.
Some of this will be navigational and specific, "Zoom to that mirror in the background," for instance, or, "Reset the orientation." Some will more abstract and content-specific, e.g. "Head to the kitchen" or "Get close to that red thing." If it had gaze detection, he could even indicate a location by looking at it. "Get close to that red thing there," for example, while looking at the red thing. Given the 3D inferrer nature of this speculative device, he might also want to trace the provenance of an inference, as in, "How do we know this chair is here?" This implies natural language generation as well as understanding.
There's nothing from stopping him using the same general commands heard in the movie, but I doubt anyone would want to use those when they have commands like this and the object-on-hand controller available.
Ideally Deckard would have some general search capabilities as well, to ask questions and test ideas. "Where were these things purchased?" or subsequently, "Is there video footage from the stores where he purchased them?" or even, "What does that look like to you?" (The correct answer would be, "Well that looks like the mirror from the Arnolfini portrait, Ridley…I mean…Rick*") It can do pattern recognition and provide as much extra information as it has access to, just like Google Lens or IBM Watson image recognition does.
*Left: The convex mirror in Leon's 21st century apartment.
Right: The convex mirror in Arnolfini's 15th century apartment
Finally, he should be able to ask after simple facts to see if the inspector knows or can find it. For example, "How many people are in the scene?"
All of this still requires that Deckard initiate the action, and we can augment it further with a little agentive thinking.
Agentive Tool
To think in terms of agents is to ask, "What can the system do for the user, but not requiring the user's attention?" (I wrote a book about it if you want to know more.) Here, the AI should be working alongside Deckard. Not just building the inferences and cataloguing observations, but doing anomaly detection on the whole scene as it goes. Some of it is going to be pointless, like "Be aware the butter knife is from IKEA, while the rest of the flatware is Christofle Lagerfeld. Something's not right, here." But some of it Deckard will find useful. It would probably be up to Deckard to review summaries and decide which were worth further investigation.
It should also be able to help him with his goals. For example, the police had Zhora's picture on file. (And her portrait even rotates in the dossier we see at the beginning, so it knows what she looks like in 3D for very sophisticated pattern matching.) The moment the agent—while it was reverse ray tracing the scene and reconstructing the inferred space—detects any faces, it should run the face through a most wanted list, and specifically Deckard's case files. It shouldn't wait for him to find it. That again poses some challenges to the script. How do we keep Deckard the hero when the tech can and should have found Zhora seconds after being shown the image? It's a new challenge for writers, but it's becoming increasingly important for believability.
Though I've never figured out why she has a snake tattoo here (and it seems really important to the plot) but then when Deckard finally meets her, it has disappeared.
Interior. Deckard's apartment. Night.
Deckard grabs a bottle of whiskey, a glass, and the photo from Leon's apartment. He sits on his couch and places the photo on the coffee table.
Photo inspector.
The machine on top of a cluttered end table comes to life.
Let's look at this.
He points to the photo. A thin line of light sweeps across the image. The scanned image appears on the screen, pulled in a bit from the edges. A label reads, "Extending scene," and we see wireframe representations of the apartment outside the frame begin to take shape. A small list of anomalies begins to appear to the left. Deckard pours a few fingers of whiskey into the glass. He takes a drink before putting the glass on the arm of his couch. Small projected graphics appear on the arm facing the inspector.
OK. Anyone hiding? Moving?
Photo inspector
No and no.
Zoom to that arm and pin to the face.
He turns the glass on the couch arm counterclockwise, and the "drone" revolves around to show Leon's face, with the shadowy parts rendered in blue.
What's the confidence?
On the side of the screen the inspector overlays Leon's police profile.
Unpin.
Deckard lifts his glass to take a drink. He moves from the couch to the floor to stare more intently and places his drink on the coffee table.
New surface.
He turns the glass clockwise. The camera turns and he sees into a bedroom.
How do we have this much inference?
The convex mirror in the hall…
Wait. Is that a foot? You said no one was hiding.
The individual is not hiding. They appear to be sleeping.
Deckard rolls his eyes.
Zoom to the face and pin.
The view zooms to the face, but the camera is level with her chin, making it hard to make out the face. Deckard tips the glass forward and the camera rises up to focus on a blue, wireframed face.
That look like Zhora to you?
The inspector overlays her police file.
63% of it does.
Why didn't you say so?
My threshold is set to 66%.
Give me a hard copy right there.
He raises his glass and finishes his drink.
This scene keeps the texture and tone of the original, and camps on the limitations of Narrow AI to let Deckard be the hero. And doesn't have him programming a virtual Big Trak.
Posted in Blade Runner (1982), ~ Comps, ~ scifianimatedgifs.	Tagged agent, agentive, AI, art history, artificial intelligence, assistant, computer supported collaborative work, computer vision, crt, cyan, detective work, drone, inference, inspection, levels of agency, narrow AI, natural language understanding, natural user interface, object recognition, tangible UI, voice command, voice control
The Court of Idiots
31 Oct 2018 by Christopher Noessel
It's Halloween, as if the news of the past week were not scary enough. Pipe bombs to Democratic leaders. The largest massacre of Jewish people in on American soil in history. The murder of two black senior citizens by a white supremacist in Kentucky. Now let's add to it with this nightmare scene from Idiocracy. Full disclosure: We're covering technology as old as civilization here, so there won't be any screen interfaces.
Joe is wheeled into the courtroom in a cage. There is a large gallery there, all of whom are booing him. One throws his milkshake at the accused. Others throw trash. The narrator says, "Joe was arrested for not paying his hospital bill and not having his IPP tattoo. He would soon discover that in the future, Justice was not only blind, but had become rather retarded as well."
Joe is let out of his cage. The judge, identified by his name plate as The Honorable Hector "The Hangman," stands at his bench in a spotlight in front of a wall of logos, grinning in anticipation at a new victim. He slams a massive gavel and shouts at the booing crowd, "Listen up! Now. I'm fixin' to commensurate this trial here. [All of this is sic.] We gon' see if we can't come up with a verdict up in here. Now. Since y'all say y'ain't got no money, we have proprietarily obtained you one of them court-appointed lawyers. So, put your hands together to give it up for Frito Pendejo!"
Frito, wearing a long-sleeve t-shirt with "ATTORNEY AT LAW" running down the sleeve, sits and looks at a paper on the counsel table, saying "Says here you, uh, robbed a hospital?! Why'd you do that?" Joe says, "But I'm not guilty!" Frito replies, "That's not what the other lawyer said."
When the trial officially starts, the judge says, "Shut up. Shut up! Now, prosecutor. Why you think he done it?" The prosecutor stands up and says, "K. Number one, your honor. Just look at him." Most everyone in the courtroom, including, Frito, laughs at this. Frito stands up and says, "He talks like a fag, too!" When more laughter dies down, the prospector continues, saying, "We've got all this, like, evidence, of how, like, this guy didn't even pay at the hospital and I heard that he doesn't even have his tattoo." There are collective gasps. He continues, "I know! And I'm all, 'You gotta be shitting me.' But check this out, man, judge should be like, 'Guilty!' Peace." The gallery erupts with applause and cheers. There is one guy wearing a helmet with a camera mounted to the top and he takes it all in dumbly.
When Frito stands to raise an objection, he says, "Your honor, I object…that this guy, also broke my apartment and shit." There are gasps from the gallery, and Frito feels emboldened. "Yeah! And you know what else, I object that he's not going to have any money to pay me after he pays back all the money he stole from the hospital!" This last bit is addressed to the gallery. They shout in anger. Frito finishes, saying, "And I object. I OBJECT that he interrupted me while I was watching, OW, MY BALLS! THAT IS NOT OK! I REST MY CASE."
Joe stands and says, "Your Honor, I'm pretty sure we have a mistrial, here, sir." Hector looks confused at this statement. Frito gets hostile and says, "I'm going to mistrial my foot up your ass if you don't shut up!"
Joe ignores him and says, "Please listen!" The prosecuting attorney simply mocks him, "Please listen!" Hector laughs. The lawyers high five each other.
The narrator says, "Joe stated his case, logically and passionately. But his perceived effeminate voice only drew big gales of stupid laughter. Without adequate legal representation, Joe was given a stiff sentence."
So…this nightmare
For most Americans, the drafting and adjudication of laws feels like something that happens "out there." But upholding the law is something that, through jury duty or being part of a court case, is something most citizens directly experience some time in their lives. So it may seem like familiar, everyday stuff.
Wait. I know this.
But take that less trodden path to ask why it is the way it is, and you'll eventually find yourself at the foundations of civilization and in the throes of philosophy. A key premise and promise of civilized society is having a fair and rational place for citizens to air grievances, and institutions that make and enforce just laws. In practice it's far from perfect, but I'd bet most folks agree it's better than the alternatives of lawlessness, personal violence, revenge, tribal feuds, and vigilantism.
Laws and courts are institutions that are so old and foundational, it's hard to remember that:
They were, in fact, invented. There was a time before them.
There were reasons for the way they were designed.
Their design, like all designs, aren't perfect, and involve some trade offs.
They evolve over time.
There are alternate designs to consider.
Idiocracy illustrates how important its norms are, and how tragic it can be when those norms are lost, and everyone involved is a fucking idiot. It's not exactly monster rampage, body horror, or torture porn, but this scene is as scary a thing as you could ask for Halloween.
Violence as a means
Frito threatens violence a lot. So do a lot of the people in Idiocracy. I'm not even sure if they mean it, but they think that threatening or beating or shooting someone into silence is a fine way to disagree. One of the key promises of civilization is to undo that might-makes-right bullshit that kept generations of peasants suffering while an aristocracy lived the high life peeing in hallways, flubbing courtly love, and stuffng birds into each other like meaty nesting-dolls. We've moved on.
Have we, though?
It's funny-terrifying that the case made against Joe is so stupid. There are crass appeals to emotion. Prosecution says that there's "all this, like, evidence" but does not actually share any, like, evidence. Frito riles the Gallery up with insults "he talks like a fag" and personal grievances that aren't germane to the case. (Ow My Balls! should not be evidence in, well, anything.) It's emotional theater and the audience eats it up, because what they're there for is hits to the amygdala bong: The emotional highs and lows that you might get from a sports show. People screaming in cheers when their confirmation bias is rewarded, or fury when there's a bit of cognitive dissonance. There's probably nothing like a Fair Witness left on the planet, and if it weren't for Joe's intelligence that gets him out of jail, he would wind up suffering in prison for no reason at all. The lack of skepticism, of applying doubt to all things—especially the things that thrill you emotionally—causes unnecessary suffering. Sure, it's an unjust universe, but civilization was invented to try and hold a little light against that darkness. The citizenry of Idiocracy are gullible and blithely self-serving to a cruel fault.
Impartiality
The system that pits prosecution against defense and presumes is called "adversarial," since each counsel will present opposing cases to an impartial judge or jury, who is presumed competent to sort through the competing claims to come to the truth. It's contrasted with an inquisitorial (or nonadversarial) system where the judges run the line of inquiry. Congressional hearings, for example, are much more of an inquisitorial system. Congresspeople ask the questions, rather than the lawyers.
The adversarial system depends on the impartiality of the judge and jury. If they presume guilt or innocence from the start, why have the trial at all? (This is sometimes called a kangaroo court, where procedure and ethics are ignored, and the outcome is a foregone conclusion.) Only dispassionate, neutral participants can look past their feelers to find a fair and impartial truth. You need people capable of impartial, critical thinking to look past the tricks and their own cognitive biases. That's out the window in Idiocracy.
Joe is presumed guilty by literally everyone involved. It's not wholly their fault. Joe is brought in wearing prison fatigues. He is wheeled in a cage. On the surface, he looks guilty. Humans have an availability bias, wherein easily recalled information is believed to be true and representative, and for very stupid people, that can be strictly what they see. And Joe looks guilty. Everyone around me is shouting that he's guilty. So, the idiot thinks, he must be guilty.
Posers, surface evidence, and meaning
One of the worst things about the scene—and this plays out in the movie generally—is how people's status is based on stupid, surface markers. For instance: Why do they accept that the judge is smart? Well, he uses fancy, "faggy" words like "commensurate" (It's a malaprop. He means commence. But the Idiocrats are too stupid to know this.) and "proprietarily." (I think he means "properly," but it's marvelously hard to tell.) Investigating this moves us very quickly into the semiosis treadmill, whereby a sign comes slowly to become the signified, even when it stupidly contradicts the original thing that was signified.
How do courts protect against idiocy?
It doesn't always. But generally, there are lots of checks against incompetence. Anyone can request a mistrial if it's shown that counsel, a judge, or a jury is incompetent, prejudiced, or doesn't follow the rules. Lawyers can be reviewed and disbarred. Remedy for judges varies by state, but judges can be impeached, or undergo judicial review and be removed from their office. Their cases can be overturned by higher courts. (Yes, even that one.)
But notably all these presume that the incompetence is abnormal, and that others are competent to review and judge their competence. When everyone either gets so stupid or so corrupt that they have no interest in checking each other for fairness, the system just collapses.
Can design do anything?
This blog is primarily targeted at people who work in technology and love sci-fi. (Like I do.) A natural question is: Can design do anything to help inoculate courts against Idiocracy? And normally, I try to offer some hopeful answer to these questions, but this one has me stumped. What design interventions could we impose to increase skepticism? Impartiality? Critical thinking? Understanding? Seriously, if you have something, I'd love to hear it, because as of right now, I've got nothing.
How's that for a Halloween scare?
Any Trump acolyte who has gleefully shouted "Lock her up! Lock her up!" at one of their farrowing-crate rallies, despite Clinton's exoneration by the FBI, despite Trump's own ongoing litany of scandals (including that ongoing issue of security), is guilty of this same kind of mob mentality as these morons in Idiocracy. It is all raw hate without reason. Hits from the tribalism bong. It's not just that the mob hasn't heard reason, it's not interested in reason, only in justification. Only in thinking of political conversations as hobo fights. Did our guy land a hit? Insult? Hur dur, yarp.
Yes, you, redhat.
It's pretty soul crushing. So let's have some spooky, escapist fun tonight for self-care. But as of tomorrow we'll have 6 days and we should hit it hard.
Posted in Idiocracy (2006), ~ Comps.	Tagged advertisements, court, natural language, natural language understanding, video camera
Snitch phone
23 Jan 2018 by Christopher Noessel
If you're reading these chronologically, let me note here that I had to skip Bea Arthur's marvelous turn as Ackmena, as she tends the bar and rebuffs the amorous petitions of the lovelorn, hole-in-the-head Krelman, before singing her frustrated patrons out of the bar when a curfew is announced. To find the next interface of note, we have to forward to when…
Han and Chewie arrive, only to find a Stormtrooper menacing Lumpy. Han knocks the blaster out of his hand, and when the Stormtrooper dives to retrieve it, he falls through the bannister of the tree house and to his death.
Why aren't these in any way affiiiiixxxxxxeeeeeeddddddd?
Han enters the home and wishes everyone a Happy Life Day. Then he bugs out.
But I still have to return for the insane closing number. Hold me.
Then Saun Dann returns to the home just before a general alert comes over the family Imperial Issue Media Console.
Posted in Star Wars, Star Wars Holiday Special, ~ Comps.	Tagged authentication, call, identification, informant, screen, video, video call, videoconferencing, videophone
The Hong Kong Mode (4 of 5)
12 Sep 2017 by Christopher Noessel
In the prior three posts, I've discussed the goods-and-bads of the Eye of Agamotto in the Tibet mode. (I thought I could squeeze the Hong Kong and the Dark Dimension modes into one post, but turns out this one was just too long. keep reading. You'll see.) In this post we examine a mode that looks like the Tibet mode, but is actually quite different.
Hong Kong mode
Near the film's climax, Strange uses the Eye to reverse Kaecilius' destruction of the Hong Kong Sanctum Sanctorum (and much of the surrounding cityscape). In this scene, Kaecilius leaps at Strange, and Strange "freezes" Kaecilius in midair with the saucer. It's done more quickly, but similarly to how he "freezes" the apple into a controlled-time mode in Tibet.
But then we see something different, and it complicates everything. As Strange twists the saucer counterclockwise, the cityscape around him—not just Kaecilius—begins to reverse slowly. (And unlike in Tibet, the saucer keeps spinning clockwise underneath his hand.) Then the rate of reversal accelerates, and even continues in its reversal after Strange drops his gesture and engages in a fight with Kaecilius, who somehow escapes the reversing time stream to join Strange and Mordo in the "observer" time stream.
So in this mode, the saucer is working much more like a shuttle wheel with no snap-back feature.
A shuttle wheel, as you'll recall from the first post, doesn't specify an absolute value along a range like a jog dial does. A shuttle wheel indicates a direction and rate of change. A little to the left is slow reverse. Far to the left is fast reverse. Nearly all of the shuttle wheels we use in the real world have snap-back features, because if you were just going to leave it reversing and pay attention to something else, you might as well use another control to get to the absolute beginning, like a jog dial. But, since Strange is scrubbing an endless "video stream," (that is, time), and he can pull people and things out of the manipulated-stream and into the observer-stream and do stuff, not having a snap-back makes sense.
For the Tibet mode I argued for a chapter ring to provide some context and information about the range of values he's scrubbing. So for shuttling along the past in the Hong Kong mode, I don't think a chapter ring or content overview makes sense, but it would help to know the following.
The rate of change
Direction of change
Shifted datetime
Timedate difference from when he started
In the scene that information is kind of obvious from the environment, so I can see the argument for not having it. But if he was in some largely-unchanging environment, like a panic room or an underground cave or a Sanctum Sanctorum, knowing that information would save him from letting the shuttle go too far and finding himself in the Ordovician. A "home" button might also help to quickly recover from mistakes. Adding these signals would also help distinguish the two modes. They work differently, so they should look different. As it stands, they look identical.
He still (probably) needs future branches
Can Strange scrub the future this way? We don't see it in the movie. But if so, we have many of the same questions as the Tibet mode future scrubber: Which timeline are we viewing & how probable is it? What other probabilities exist and how does he compare them? This argues for the addition of the future branches from that design.
Selecting the mode
So how does Strange specify the jog dial or shuttle wheel mode?
One cop-out answer is a mental command from Strange. It's a cop-out because if the Eye responds to mental commands, this whole design exercise is moot, and we're here to critique, practice, and learn. Not only that, but physical interfaces are more cinegenic, so better to make a concrete interaction for the film.
You might think we could modify the opening finger-tut (see the animated gif, below). But it turns out we need that for another reason: specifying the center and radius-of-effect.
Center and radius-of-effect
In Tibet, the Eye appears to affect just an apple and a tome. But since we see it affecting a whole area in Hong Kong, let's presume the Eye affects time in a sphere. For the apple and tome, it was affecting a small sphere that included the table, too, it's just that table didn't change in the spans of time we see. So if it works in spheres, how is the center and the radius of the sphere set?
Let's say the Eye does some simple gaze monitoring to find the salient object at his locus of attention. Then it can center the effect on the thing and automatically set the radius of effect to the thing's size across likely-to-be scrubbed extents. In Tibet, it's easy. Apple? Check. Tome? Check. In Hong Kong, he's focusing on the Sanctum, and its image recognition is smart enough to understand the concept of "this building."
But the Hong Kong radius stretches out beyond his line of sight, affecting something with a very vague visual and even conceptual definition, that is, "the wrecked neighborhood." So auto-setting these variables wouldn't work without reconceiving the Eye as a general artificial intelligence. That would have some massive repercussions throughout the diegesis, so let's avoid that.
If it's a manual control, how does he do it? Watch the animated gif above carefully and see he's got two steps to the "turn Eye on" tut: opening the eye by making an eye shape, and after the aperture opens, spreading his hands apart, or kind of expanding the Eye. In Tibet that spreading motion is slow and close. In Hong it's faster and farther. That's enough evidence to say the spread*speed determines the radius. We run into the scales problem of apple-versus-neighborhood that we had in determining the time extents, but make it logarithmic and add some visual feedback and he should be able to pick arbitrary sizes with precision.
So…back to mode selection
So if we're committing the "turn on" gesture to specifying the center-and-radius, the only other gesture left is the saucer creation. For a quick reminder, here's how it works in Tibet.
Since the circle works pretty well for a jog dial, let's leave this for Tibet mode. A contrasting but related gesture would be to have Strange hold his right hand flat, in a sagittal plane, with the palm facing to his left. (See an illustration, below.) Then he can tilt his hand inside the saucer to reverse or fast forward time, and withdraw his hand from the saucer graphic to leave time moving at the adjusted rate. Let the speed of the saucer indicate speed of change. To map to a clock, tilting to the left would reverse time, and tilting to the right would advance it.
How the datetime could be shown is an exercise for the reader.
The yank out
There's one more function we see twice in the Hong Kong scene. Strange is able to pull Mordo and Wong from the reversing time stream by thrusting the saucer toward them. This is a goofy choice of a gesture that makes no semantic sense. It would make much more sense for Strange to keep his saucer hand extended, and use his left hand to pull them from the reversing stream.
Whew.
So one of the nice things about this movie interface, is that while it doesn't hold up under the close scrutiny of this blog, the interface to the Eye of Agamotto works while watching the film. Audience sees the apple happen, and gets that gestures + glowing green circle = adjusting time. For that, it works.
That said, we can see improvements that would not affect the script, would not require much more of the actors, and not add too much to post. It could be more consistent and believable.
But we're not done yet. There's one other function shown by the Eye of Agamotto when Strange takes it into the Dark Dimension, which is the final mode of the Eye, up next.
Posted in Doctor Strange (2016), ~ Comps, ~ scifianimatedgifs.	Tagged best of, Eye of Agamotto, gestural, gestural synecdoche, magic, mode selection, NUI, shuttle, shuttle wheel, synecdoche, time, time control
Tibet Mode Analysis: Representing the future (3 of 5)
5 Sep 2017 by Christopher Noessel
A major problem with the use of the Eye is that it treats the past and the future similarly. But they're not the same. The past is a long chain of arguably-knowable causes and effects. So, sure, we can imagine that as a movie to be scrubbed.
But the future? Not so much. Which brings us, briefly, to this dude.
If we knew everything, Pierre-Simon Laplace argued in 1814, down to the state of every molecule, and we had a processor capable, we would be able to predict with perfect precision the events of the future. (You might think he's talking about a computer or an AI, but in 1814 they used demons for their thought experiments.) In the two centuries since, there have been several major repudiations of Laplace's demon. So let's stick to the near-term, where there's not one known future waiting to happen, but a set of probabilities. That means we have to rethink what the Eye shows when it lets Strange scrub the future.
Note that in the film, the "future" of the apple shown to Strange was just a likelihood, not a fact. The Eye shows it being eaten. In the actual events of the film, after the apple is set aside:
Strange repairs the tome
Mordo and Wong interrupt Strange
They take him into the next room for some exposition
The Hong Kong sanctum portal swings open
Kaecilius murders a redshirt
Kaecilius explodes Strange into the New York sanctum
Then for the next 50 minutes, The Masters of Mysticism are scrambling to save the world. I doubt any of them have time to while away in a library, there to discover an abandoned apple with a bite taken out of it, and decide—staphylococcus aureus be damned—a snack's a snack. No, it's safe to say the apple does not get eaten.
So the Eye gets the apple wrong, but it showed Strange that future as if it were a certainty. That's a problem. Sure, when asked about the future, it ought to show something, but better would be to…
Indicate somewhere that what is being displayed is one of a set of possibilities
Provide options to understand the probability distribution among the set
Explore the alternates
Be notified when new data shifts the probability distribution or inserts new important possibilities
So how to display probabilities? There are lots of ways, but I am most fond of probability tree diagrams. In nerd parlance, this is a unidirectional graph where the nodes are states and the lines are labeled for probabilities. In regular language they look like sideways two-dimensional trees. See an example below from mathisfun.com. These diagrams seem to me a quick way to understand branching possibilities. (I couldn't find any studies giving me more to work on than "seem to me".)
In addition to being easy to understand, they afford visual manipulation. You can work branching lines around an existing design.
Now if we were actually working out a future-probabilities gestural scrubber attached to the Eye of Agamotto saucer, we'd have a whole host of things to get into next, like designing…
A compact but informative display that signals the relative probabilities of each timeline
The mechanism for opening that display so probabilities can be seen rather than read
Labels so Strange wouldn't have to hunt through all of them for the thing of interest (or some means of search)
A selection process for picking the new timeline
A comparison mode
A means of collapsing the display to return to scrub mode
A you-are-here signal in the display to indicate the current timeline
Which is a big set of design tasks for a hobbyist website. Fortunately for us, Strange only deals with a simple, probable (but wrong) scenario of the apple's future as an illustration for the audience of what the Eye can do; and he only deals with the past of the tome. So while we could get into all of the above, it's most expedient just to resolve the first one for the scene and tidy up the interface as it helps illustrate a well-thought-out and usable world.
Below I've drafted up an extension of my earlier conceptual diagram. I've added a tree to the future part of the chapter ring, using some dots to indicate the comparative likelihood of each branch. This could be made more compact, and might be good to put on a second z-axis layer to distinguish it from the saucer, but again: conceptual diagram.
If this were implemented in the film, we would want to make sure that the probability tree begins to flicker right before Wong and Mordo shut him down, as a nod to the events happening off screen with Kaecilius that are changing those futures. This would give a clue that the Eye is smartly keeping track of real-world events and adjusting its predictions appropriately.
These changes would make the Eye more usable for Strange and smart as a model for us.
Twist ending: This is a real problem we will have to solve
I skipped those design tasks for this comp, but we may not be able to avoid those problems forever. As it turns out, this is not (just) an idle, sci-fi problem. One of the promises of assistive AI is that it will be giving its humans advice, based on predictive algorithms, which will be a set of probabilistic scenarios. There may be an overwhelmingly likely next scenario, but there may also be several alternatives that users will need to explore and understand before deciding the best strategy. So, yeah, an exercise for the reader.
Wrapping up the Tibet Mode
So three posts is not the longest analysis I've done, bit it was a lot. In recap: Gestural time scrubbing seems like a natural interaction mapped well to analog clocks. The Eye's saucer display is cool, but insufficient. We can help Strange much more by adding an events-based chapter ring detailing the facts of the past and the probabilities of the future.
Alas. We're not done yet. As you'll recall from the intro post, there are two other modes: The Hong Kong and Dark Dimension modes. Let's next talk the Hong Kong mode, which is like the Tibet mode, but different.
Posted in Doctor Strange (2016), ~ Comps.	Tagged advice, assistive AI, branching, Eye of Agamotto, future, philosophy, prediction, predictive, time
Tibet mode: Display for interestingness (2 of 5)
29 Aug 2017 by Christopher Noessel
Without a display, the Eye asks Strange to do all the work of exploring the range of values available through it to discover what is of interest. (I am constantly surprised at how many interfaces in the real world repeat this mistake.) We can help by doing a bit of "pre-processing" of the information and provide Strange a key to what he will find, and where, and ways to recover exactly where interesting things happen.
The watch from the film, for reasons that will shortly become clear.
To do this, we'll add a ring outside the saucer that will stay fixed relative to the saucer's rotation and contain this display. Since we need to call this ring something, and we're in the domain of time, let's crib some vocabulary from clocks. The fixed ring of a clock that contains the numbers and minute graduations is called a chapter ring. So we'll use that for our ring, too.
What chapter ring content would most help Strange?
Good: A time-focused chapter ring
Both the controlled-extents and the auto-extents shown in the prior post presume a smooth display of time. But the tome and the speculative meteorite simply don't change much over the course of their existence. I mean, of course they do, with the book being pulled on and off shelves and pages flipped, and the meteorite arcing around the sun in the cold vacuum of space for countless millennia, but the Eye only displays the material changes to an object, not position. So as far as the Eye is concerned, the meteoroid formed, then it stays the same for most of its existence, then it has a lot of activity as it hits Earth's atmosphere and slams into the planet.
A continuous display of the book shows little of interest for most of its existence, with a few key moments of change interspersed. To illustrate this, lets make up some change events for the tome.
Now let's place those along an imaginary timeline. Given the Doctor Strange storyline, Page Torn would more likely be right next to Now, but making this change helps us explore a common boredom problem, see below. OK. Placing those events along a timeline…
And then, wrapping that timeline around the saucer. Much more art direction would have to happen to make this look thematically like the rest of the MCU magic geometries, but following is a conceptual diagram of how it might look.
With time flowing smoothly, though at different speeds for the past and the future.
On the outside of the saucer is the chapter ring with the salient moments of change called out with icons (and labels). At a glance Strange would know where the fruitful moments of change occur. He can see he only has to turn his hand about 5° to the left to get to the spot where the page was ripped out.
Already easier on him, right? Some things to note.
The chapter ring must stay fixed relative to the saucer to work as a reference. Imagine how useless a clock would be if its chapter ring spun in concert with any of its hands. The center can still move with his palm as the saucer does.
The graduations to the left and right of "now" are of a different density, helping Strange to understand that past and future are mapped differently to accommodate the limits of his wrist and the differing time frames described.
When several events occur close together in time, they could be stacked.
Having the graduations evenly spaced across the range helps answer roughly when each change happened relative to the whole.
The tome in front of him should automatically flip to spreads where scrubbed changes occur, so Strange doesn't have to hunt for them. Without this feature, if Strange was trying to figure out what changed, he would have to flip through the whole book with each degree of twist to see if anything unknown had changed.
Better: A changes-focused chapter ring
If, as in this scene, the primary task of using the Eye is to look for changes, a smooth display of time on the chapter ring is less optimal than a smooth display of change. (Strange doesn't really care when the pages were torn. He just wants to see the state of the tome before that moment.) Distribute the changes evenly around the chapter ring, and you get something like the following.
This display optimizes for easy access to the major states of the book. The now point is problematic since the even distribution puts it at the three o'clock point rather than the noon, but what we buy in exchange is that the exact same precision is required to access any of the changes and compare them. There's no extra precision needed to scrub between the book made and the first stuff added moments. The act of comparison is made simpler. Additionally, the logarithmic time graduations help him scrub detail near known changes and quickly bypass the great stretches of time when nothing happens. By orienting our display around the changes, the interesting bits are made more easy to explore, and the boring bits are more easy to bypass.
In my comp, more white areas equal more time. Unfortunately, this visual design kind of draws attention to the empty stretches of time rather than the moments of change, so would need more attention; see the note above about needing a visual designer involved.
So…the smooth time and the distributed events display each has its advantages over the other, but for the Tibet scene, in which he's looking to restore the lost pages of the tome, the events-focused chapter ring gets Strange to the interesting parts more confidently.
Note that all the events Strange might be scrubbing through are in the past, but that's not all the Eye can do in the Tibet mode. So next up, let's talk a little about the future.
Posted in Doctor Strange (2016), ~ Comps.	Tagged best of, change, chapter rings, content overview, dial, display, Eye of Agamotto, jog wheel, logarithmic, time
Ford Explorer Status
1 Jul 2015 by claytonbeese
One computer in the control room is dedicated to showing the status of the Jeeps out on tour, and where they currently are on the island.
Next to the vehicle outline, we see the words "Vehicle Type: Ford Explorer" (thank you, product placement) along with "EXP" 4–7. EXP 4 & 5 look unselected, but have green dots next to them, while EXP 6 & 7 look selected with red dots next to them. No characters interact with this screen. Mr. Arnold does tap on it with a pen (to make a point though, not to interact with it).
On the right hand side of the screen also see a top-down view of the car with the electric track shown underneath, and little red arrows pointing forward. Below the graphic are the words "13 mph". The most visible and obvious indicator on the screen is the headlights. A large "Headlights On" indicator is at the top of the screen, with highlighted cones coming out of the Jeep where the headlights are on the car. Continue reading →
Posted in Jurassic Park (1993), ~ Comps.	Tagged attention management, gray, information work, labeling, map, missing information, monitoring, plan view, product placement, remote drivers, status, tabs, trendlines, windows, wireframe
Scav dual-monoculars
7 Apr 2015 by Christopher Noessel
As Jack searches early in the film for Drone 172, he parks his bike next to a sinkhole in the desert and cautiously peers into it. As he does so, he is being observed from afar by a sinister looking Scav through a set of asymmetrical…well, it's not exactly right to call them binoculars.
They look kind of binocular, but that term technically refers to a machine that displays two slighty-offset images shown independently to each eye such that the user perceives stereopsis, or a single field in 3D. But a quick shot from the Scav's perspective shows that this is not what is shown at all. Continue reading →
Posted in Oblivion (2013), ~ Comps.	Tagged asymmetrical, asymmetry, augmentation at the periphery, binoculars, blue, handheld, infrared, magnification, narrative interface
TETVision
10 Mar 2015 by Aleatha Singleton
The TETVision display is the only display Vika is shown interacting with directly—using gestures and controls—whereas the other screens on the desktop seem to be informational only. This screen is broken up into three main sections:
The left side panel
The main map area
The right side panel
The communications status is at the top of the left side panel and shows Vika the status of whether the desktop is online or offline with the TET as it orbits the Earth. Directly underneath this is the video communications feed for Sally.
Beneath Sally's video feed is the map legend section, which serves the dual purposes of providing data transfer to the TET and to the Bubbleship as well as a simple legend for the icons used on the map.
The communications controls, which are at the bottom of the left side panel, allow Vika to toggle the audio communications with Jack and with Sally. Continue reading →
Posted in Oblivion (2013), ~ Comps, ~ scifianimatedgifs.	Tagged blue, communications, desktop, gestural interface, legend, red, video, video feed
Vika's Desktop
19 Jan 2015 by Aleatha Singleton
As Jack begins his preflight check in the Bubbleship, Vika touches the center of the glass surface to power up the desktop that keeps her in contact with Sally on the TET and allows her to assist and monitor Jack as he repairs the drones on the ground.
The interface components
Posted in Oblivion (2013), ~ Comps, ~ scifianimatedgifs.	Tagged display, map, multitouch, power-up, remote support, status, touchscreen, weather, white, wind
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Friday, September 4, 2020 - 11:48am
I was talking to a good friend recently who lost his job during the pandemic crisis happening in the US, and with a mortgage and a new baby was remotely looking for new work. While a challenging time for many, searching for a new job and interviewing remotely over video to join a team is …
Thursday, August 20, 2020 - 8:19am
The state of venture is changing and AngelList has been at the forefront of this movement for awhile. The recent announcement of "open ended funds" got me thinking about the evolution of venture fund structures themselves. Software has been eating venture funds by simplifying syndicates, managing SPVs, and even traditional fund management. The devil is …
Small Things, Big Effects
COVID19 is top of mind. Right now the world watches as what feels like a dystopians novel unfolds before our eyes. Many are scared and figuring out what to do. Like most things, this started small. Now it's a tidal wave cresting across the globe. When in turmoil and stress I always advise people take …
Building The Machine Podcast Episode 3: Evan Walden CEO of Monday.vc
Tuesday, March 10, 2020 - 10:36am
My latest interview is with Evan Walden the CEO and co-founder of Monday.VC who has been building since 2016. From first selling pesticides to taking on the mission of helping people find more meaning in their work, Evan shares the entire origin story and details of what the team has built. This is a fun …
Building The Machine Podcast Episode 2: Alex MacCaw, CEO of Clearbit
Tuesday, February 25, 2020 - 11:38am
Last year I had the pleasure of meeting Alex MacCaw, CEO of Clearbit who has been building one of the more interesting data companies, and is definitely a Quiet Giant. We sat down for an interview about Building The Machine and I am excited to share it below. They call themselves a "marketing data engine …
Building The Machine Podcast Episode 1: Nick Patrick, CEO of Radar
Tuesday, February 11, 2020 - 12:37pm
I am excited to launch the first episode of the Building The Machine Podcast with my friend Nick Patrick who is the CEO and co-founder of Radar.io a location data infrastructure company. We go deep into the flywheel he has built, and go back to the beginning. The goal of this show is to dive …
Some years ago the advice was to try join a rocket ship at all costs. Get on, hang on, and the success of the company will lift you to new heights. Perhaps this best encompasses the past decade of startup lore – get off the treadmill of corporate work you are on and step aboard …
About Eric Friedman
Eric Friedman is Director of Sales and Revenue Operations at foursquare. Eric was formerly at Union Square Ventures, a venture capital firm focussed on early stage web services and technology companies. He also spent three years working at Reprise Media, a full service SEM, SEO, and social media agency startup that was acquired by IPG in 2007.
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redpajama_set_name: RedPajamaCommonCrawl


text:
"South Park" Gets Another 3 Seasons
The addition pushes the show into at least 2016 — its twentieth season
By Sam Schulz	• Published at 4:34 am on November 17, 2011
We may not know who who will run for president in 2016 — but whoever does, we know "South Park" will still have something to say about it.
Creators Matt Stone and Trey Parker are in for another three seasons on top of what was already planned, Comedy Central announced Wednesday.
That means the long-running animated sit-com will be running into 2016, its 20th season.
"Comedy Central has been our home for 15 years and we love working there," Parker and Stone said. "'South Park' is a blast, and we can't wait to make more."
The news came just as the last show of this season, the 15th, was set to air Wednesday.
Until now, the future of the show beyond 2013 had been somewhat up in the air, what with the other projects — notably the smash hit Broadway show "The Book of Mormon," which swept this year's Tonys — creators Matt Stone and Trey Parker have undertaken recently.
Twenty years of a show whose trademark is potty humor crossed with crackpot social commentary? How old are those fourth-graders, anyway?
Selected Reading: New York Times, Entertainment Weekly, The Atlantic


A durable pickup truck seating as many as 5 occupants with ease! Toyota prioritized practicality, efficiency, and style by including: a trip computer, a tonneau cover, and cruise control. It features a standard transmission, 4-wheel drive, and a 3.5 liter 6 cylinder engine.


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It's not till you look back at pics after not seeing a car in one piece for a while you realise how much you like it.


Nodes participate in the network and secure transactions by enforcing the rules of the network. Nodes download the entire blockchain to know what transactions have taken place. Nodes assist the network by relaying transactions to other nodes on the network. Nodes may also choose to contribute to the network by participating in crafting blocks (this is called mining).
Personally, I have been mining at two different AEON pools and I can recommend both of them highly. Aeon-Pool and SupportAEON.com. I have had no issues with payouts and the pools haven't had any downtime.


The Child Pink Punk Fairy Costume is a fantastic outfit for any young girl who wants an outfit with a difference this Halloween.
Our Child Pink Punk Fairy Costume comes with a dress that has black sleeves, pink bodice with white bone design, and a tattered pink and black tartan skirt with a black net underskirt.
Also included are a pair of pink and black striped footless tights with rips in for a real punk look, as well as black sleevelets with pink laces to match.
Completing the outfit is a pair of pink and black tartan wings, which makes it a unique an memorable costume for Halloween.


text:
Q: Opening a program and loading a file into the program I am looking for a way to create a Powershell script that will allow me to open DB Browser for SQLite ("C:\Program Files\DB Browser for SQLite\DB Browser for SQLite.exe") and upon opening, load a file (C:\Users\XXXXX\AppData\Roaming\AirHauler2XP\Company\Atlas Airlines25045 PM.db) in order for me to edit.  Any help would be great (if possible).

A: Please see the documentation: https://github.com/sqlitebrowser/sqlitebrowser/wiki/Command-Line-Interface#examples
According to that, it should be:
"C:\Program Files\DB Browser for SQLite\sqlitebrowser" "C:\Users\XXXXX\AppData\Roaming\AirHauler2XP\Company\Atlas Airlines25045 PM.db"

A: @ChristianBaumann is OK, and it will work from command prompt. But for powershell this will fail. You need to use & to run it:
& "C:\Program Files\DB Browser for SQLite\sqlitebrowser.exe" "C:\Users\XXXXX\AppData\Roaming\AirHauler2XP\Company\Atlas Airlines25045 PM.db"

A: I would add it to the path one way or another.
$env:path += ';C:\Program Files\DB Browser for SQLite'
cd AppData\Roaming\AirHauler2XP\Company
sqlitebrowser '.\Atlas Airlines25045 PM.db'   # tab completion on the filename

redpajama_set_name: RedPajamaStackExchange


text:
GBETU TV > Politics > 2023 Presidency: Tinubu declares interest in contesting, informs Buhari
2023 Presidency: Tinubu declares interest in contesting, informs Buhari
2023: North should be on its knees begging for an Igbo President – Ohanaeze
Former Lagos State governor and a national leader of the All Progressives Congress (APC), Asiwaju Bola Tinubu on Monday declared his intention to contest the office of the president in the 2023 election.
"I've informed the President of my ambition," Tinubu told newsmen after meeting Buhari on Monday in Abuja. "It's been my life-long ambition. There's nowhere in the world where a kingmaker cannot himself be king."
Speaking with newsmen after he emerged from a closed-door meeting with President Muhammadu Buhari in the Presidential Villa, Abuja, Tinubu said he plans to actualise his ambition under the platform of the ruling APC.
He also shrugged the question of a potential race for the APC ticket between him and Vice President Yemi Osinbajo, whose support groups have since begun mobilizing for his candidacy.
Tinubu said that his ambition to be president of Nigeria had been life-long, noting that with what he did in Lagos in his time as governor, he has the capacity to lead Nigeria.
Why Tinubu will support my Presidential ambition -…
President Buhari and Tinubu have not met in the last…
2023 Presidency: There Is Serious Gang-Up Against…
List of Nigerians, groups mobilising for Tinubu…
2023 Presidency: Kano Ulamas, Juma'at Imams Endorse…
2023 Presidential election campaign opened in Osun state
On Osinbajo's potential ambition, the APC national leader maintained that he would not be drawn into any discussion on any individuals.
Asked why he would not remain a kingmaker rather than seeking to be the king, he said there is nothing that stops a kingmaker from becoming the king unless he has committed murder.
"I answer that with a categorical yes. I've informed the President of my intention but I have not informed Nigerians yet. I'm still consulting. And I have no problem consulting. And I've noticed that a parameter of limitation to the extent of how many people will I consult," he said.
"You will soon hear. All you want to hear is the categorical declaration. You've gotten that truth from me that I have informed Mr. President of my ambition," he said.
Osinbajo has always insisted that the APC leader has never told him he wanted to contest the 2023 election. This is in reference to the rumoured presidential ambition of the VP.
When contacted as to whether Tinubu and Osinbajo had spoken about the former's ambition, Mr. Tunde Rahman, Media Adviser to the former Lagos governor refused to volunteer any comment. He said he would reach out to our correspondent shortly, but he was yet to do so as at the time of filing this report.
Reacting to the development, Mr. Laolu Akande, the Special Adviser to the Vice President, said he was not aware of such discussions.
Tags: All Progressives Congress (APC) Asiwaju Bola Tinubu Laolu Akande Tunde Rahman
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Govs May Abuse State Police, Regional Security Outfits – Ekweremadu
APC govs' forum DG, Salihu Lukman, resigns; as caretaker committee set to announce convention date
2023: Ohanaeze Sets Aside N10bn Support Fund For Igbo Presidency, Seeks North's Support


text:
Herman Bavinck: Pastor, Churchman, Statesman, and Theologian
Publisher: P&R Publishing Company
ISBN: FGLEASROHERMANBAVINCKPASTORC9781596380806
God's Word in Servant-Form: Abraham Kuyper and Herman Bavinck on the Doctrine of Scripture
Gaffin, Richard B.
Reformed Dogmatics, 4 Volume Set
Bavinck, Herman
Our Reasonable Faith
The Christian Family
$9.09 9% OFF
Gleason, Ron
Paperback FGLEASROHERMANBAVINCKPASTORC9781596380806 $22.90
Listen to an episode of Reformed Forum entitled The Life and Thought of Herman Bavinck.
This is a much needed work on the life and theology of Dr. Herman Bavinck, an increasingly important influence on the church landscape and one of the finest and best theologians that Holland ever produced. Gleason describes Bavinck's education at Leiden University, his first and only pastoral ministry in the Friesian village of Franeker, his fruitful time in Kampen as professor of the Theological Seminary there, and his eventual transfer to the Free University.
This is a thought-provoking portrait of an influential man written by one of the leading authorities on his life and ideas. Gleason takes you on a journey with Bavinck through his whole life until the events surrounding his death in 1921.
Includes an Introduction by Roger Nicole
Dr. Ron Gleason is the pastor of Grace Presbyterian Church in Yorba Linda, CA. He holds a Drs. from the Theological Seminary of the Reformed Churches in the Netherlands and a PhD from Westminster Theological Seminary in Philadelphia. He is the Stated Clerk of South Coast Presbytery of the PCA and chairman of California Exodus.
"Finally, here is an informative, gripping biography of the great Dutch theological professor, Herman Bavinck. Ron Gleason's long-awaited work on Bavinck fills a large void in Reformed literature. Published only a few years after the completion of the English translation of Bavinck's Reformed Dogmatics (4 vols.), this biography puts a face and a personality on a great theologian's work. Gleason's description of Bavinck's decades-long relationship with Abraham Kuyper alone is worth the price of the book. For those interested in the development of Dutch Reformed history and theology, this book is a must."
Dr. Joel R. Beeke
President, Puritan Reformed Theological Seminary, Grand Rapids
"Few have been so consistently enthusiastic about Herman Bavinck than my dear friend, Ron Gleason. Having engaged in post-graduate studies in the Netherlands, Gleason has an inside-track to the Dutchman's importance for our times. With a newly translated edition of the Reformed Dogmatics an up-to-date biography has been eagerly awaited. And this volume does not disappoint. Gleason's contribution in these pages is nothing short of astounding. This is more than a biography; it is a theological and cultural analysis that aids us in grasping the significant contours of past century. A magnificent achievement!"
Derek W. H. Thomas
John E. Richards Professor of Systematic and Practical Theology, Reformed Theological Seminary; Minister of Teaching, First Presbyterian Church, Jackson, MS, Editorial Director, Alliance of Confessing Evangelicals
"Just over a century ago, B.B. Warfield observed that in [Herman Bavinck's writings] extensive learning, sound thinking, and profound religious feeling are smelted intimately together into a product of singular charm. With the recent translation of Bavinck's four-volume Reformed Dogmatics, contemporary English-speaking audiences have newfound access to this noteworthy Reformed theologian. But who is Herman Bavinck? What lessons may Christians today learn from his life, thought, and ministry? I am grateful to Ron Gleason for lifting Bavinck from biographical obscurity and presenting a living and multidimensional portrait of this remarkable man. Gleason's account is both thoroughly researched and engagingly narrated; theologically stimulating and pastorally insightful. It merits a place in the front ranks of modern Reformed biography."
Ph.D, Associate Professor of New Testament, Reformed Theological Seminary
"It is surprising that we've waited so long for a thorough and well-written account of the life and work of such a towering Reformed theologian, but it is well worth the wait!"
J. Gresham Machen Professor of Systematic Theology and Apologetics, Westminster Seminary California
"This is a superb, even definitive biography, introducing the reader to one of the greatest thinkers in the life of the Church."
Distinguished Research Professor, Gordon-Conwell Theological Seminary


text:
Gearing up for the U.S.-E.U. Trade and Technology Council's First Meeting
By Matt Heller
Sep 16 2021 |
President Joe Biden poses with President of the European Council Charles Michel and President of the European Commission Ursula von der Leyen in June at the European Council headquarters in Brussels. Photo by Adam Schultz
The inaugural gathering of the new council will be held in Pittsburgh at the end of September. There's a lot for the two sides to discuss.
This past July, President Biden and European Commission President Ursula von der Leyen announced the inaugural Trade and Technology Council between the United States and the European Union. The goal of the new council is to serve as a forum for the two allies to coordinate on issues of trade, economic issues and technology policy, as well as to mutually strengthen global democracy and stand up to autocracy.
The first meeting is scheduled to happen on Wednesday, Sept. 29 in Pittsburgh – and there is certainly a lot to discuss.
When it comes to trade, U.S.-E.U. ties have recently been strained, as ongoing issues such as Section 232 tariffs have caused political fallout. The U.S. and E.U. are working to negotiate a deal on the tariffs, which the E.U. wants to see removed. But both the United Steelworkers union and American steel companies – along with experts at organizations like the Economic Policy Institute — have warned that removing the tariffs without first resolving the ongoing problem of steel overcapacity could put the U.S. steel industry at risk.
Another major flashpoint is the E.U.'s recent proposal for border-carbon tariffs on foreign imports from countries that lack sufficient environmental protections, which stands to harm U.S. producers seeking access to the EU market. Plus, there have been ongoing disagreements between the U.S. and E.U. over how to address China, whose mercantilist, anti-democratic actions threaten the global free market system.
Ahead of this momentous first meeting, we've been reading up and preparing for what may very well amount to a critical juncture in cross-Atlantic policy. And our friends at the Information Technology and Innovation Foundation put together a brief with some key issues to consider in the run-up to the conference.
In regards to the conference itself, author Robert D. Atkinson argues that there are two major risks faced by the United States.
One is that too little will come from the conference, as the E.U. will continue to want to "have its cake and eat it too" by refusing to make major concessions — especially when it comes to addressing trade issues caused by China. Alternatively, there is also the risk that too much will come from the summit, especially if the United States concedes policies that make us innovative in order to appease European interests.
"The risk is that the United States will give up too much in order to achieve harmony, as it did this summer in abandoning $7.5 billion in tariffs it had levied on European products in response to unfair subsidies the EU has been giving the aircraft manufacturer Airbus," Atkinson writes.
Key to the success of U.S. negotiators will be to recognize that the US benefits from a superior system of innovation — largely driven by our legislators' reluctance to engage in overregulation as many on the European side so often do, Atkinson argues. The U.S. must recognize that the Europeans do not sit on any sort of moral high ground as they often try to claim in regard to their digital privacy rules and views on the role of government and corporations.
American values are in no way inferior to European ones, and especially when it comes to the issues that matter such as defending global democracy and leading the global economy, the U.S. often has better policy.
Nowhere is this more true than in U.S.-E.U. trade, Atkinson argues. There is no reason for the U.S. to import Europe's rules, or even do more to harmonize them. Instead, the two countries need to make sure that their policies are interoperable.
But what will be key is that the United States gets more European support for standing up to China's government economically, which the E.U. has thus far been reluctant to do. Both the United States and the European Union recognize the threat posed by China on many fronts.
The U.S. cannot continue to bear the brunt of economic retaliation while the E.U. continues to increase their market share with China's regime, which is causing so many of the problems endemic in today's global trade landscape.
"It would be ideal if the E.U. were to unequivocally join the U.S. to limit Chinese innovation, mercantilism, and digital authoritarianism," Atkinson writes, "but if the EU takes even limited measures toward that goal, it would be a success."
Read the full brief, Advancing US Goals in the US-EU Trade and Technology Council.
Steelworkers Like Dan Boone Benefited From Section 232 Trade Action, And So Did A Lot of Other People
Five Reasons Why the U.S. Must Maintain Section 232 Tariffs on Steel Imports
Steelworker: Lifting Section 232 Now "Would Be Devastating"


Personality by as per your number, complete numerology profile, numerological report, gets your reading.
Numerology is one of the favourite subject which deals with people. It is used to reveals the mystery of life. It is believed that numbers also impacts on our life and so some people buy lucky numbers key chain, lucky numbers mobile, perform auspicious work on lucky dates as per numerology.
Astrologer astroshree is bringing best numerology report for astrology lovers.
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Are You Ready to find out what your numbers say about you and your life?
Numbers represents every aspect of life in Numerology. Every alphabet has a number and so every person name, company name, shop name etc has a number when calculation is done properly.
Number 1 symbolizes Self respect, independency, leadership, power of administration etc.
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Number 3 is related with effective communication skill, dynamic personality intelligence, social etc.
Number 4 is related with sudden changes in life, sudden profit, sudden loss, Practical thinking etc.
Number 5 symbolizes Artistic mind, logical mind, good learner etc.
Number 6 symbolizes attractive personality, relationships, kindness, pompousness etc.
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Please Send the details to get your PERSONAL NUMEROLOGY REPORT.


text:
Recent photographs of Clan Line, taken within the last year or so
The Merchant Navy Locomotive Preservation Society is an independent organisation, registered as a charity, (No. 266801), and a company limited by guarantee, (England No. 1114826)
VAT Reg. Number: 270 6707 02
The MNLPS owns and operates the Merchant Navy class pacific steam locomotive number 35028, Clan Line. It was designed by O. V. S. Bulleid, of the Southern Railway, and still runs on the mainline railway today.
© 2015-2021 Merchant Navy Locomotive Preservation Society


text:
Bhoja Air-vlucht 213 was een binnenlandse vlucht tussen de Pakistaanse steden Karachi en Islamabad. Op 20 april 2012 stortte de Boeing 737-200 waarmee de vlucht werd uitgevoerd neer tijdens het aanvliegen op Benazir Bhutto International Airport in het Pakistaanse Islamabad. Al de 127 inzittenden kwamen om bij het ongeluk.

Vliegtuig
Het verongelukte vliegtuig was een Boeing 737-236 met serienummer 23167 en registratie AP-BKC. Het vliegtuig vloog het eerst op 13 december 1984 en begon zijn dienst bij British Airways. Later vloog het toestel ook nog voor onder meer Comair. Bhoja Air kocht het vliegtuig van Shaheen Air.

Oorzaak
De oorzaak van het ongeval is nog niet duidelijk. Wel is bekend dat het tijdens het ongeluk slecht weer was op de plaats waar het vliegtuig neergestort is. Sommige getuigen aan de grond verklaarden ook dat het vliegtuig geraakt werd door bliksem. Het toestel was 28 jaar oud en het is niet duidelijk of het vliegtuig nog wel veilig was.

Luchtvaartincident of vliegramp in 2012
Luchtvaartincident of vliegramp in Pakistan

redpajama_set_name: RedPajamaWikipedia


text:
Q: Cannot create hot stream from Queue I have the following rest controller, which receives requests, transforms them into JSON strings and puts them into a concurrent queue.
I would like to make a Flux out of this queue and subscribe to it.
Unfortunately, it doesn't work.
What am I doing wrong here?
@RestController
public class EventController {
    private final ObjectMapper mapper = new ObjectMapper();
    private final FirehosePutService firehosePutService;
    private ConcurrentLinkedQueue<String> events = new ConcurrentLinkedQueue<>();
    private int batchSize = 10;

    @Autowired
    public EventController(FirehosePutService firehosePutService) {
        this.firehosePutService = firehosePutService;

        Flux<String> eventFlux = Flux.create((FluxSink<String> sink) -> {
            String next;
            while (( next = events.poll()) != null) {
                sink.next(next);
            }
        });

        eventFlux.publish().autoConnect().subscribe(new BaseSubscriber<String>() {
            int consumed;
            List<String> batchOfEvents = new ArrayList<>(batchSize);

            @Override
            protected void hookOnSubscribe(Subscription subscription) {
                request(batchSize);
            }

            @Override
            protected void hookOnNext(String value) {
                batchOfEvents.add(value);
                consumed++;

                if (consumed == batchSize) {
                    batchOfEvents.addAll(events);
                    log.info("Consume {} elements. Size of batchOfEvents={}", consumed, batchOfEvents.size());
                    firehosePutService.saveBulk(batchOfEvents);
                    consumed = 0;
                    batchOfEvents.clear();
                    events.clear();

                    request(batchSize);
                }
            }

        });
    }

    @GetMapping(value = "/saveMany", produces = "text/html")
    public ResponseEntity<Void> saveMany(@RequestParam MultiValueMap<String, String> allRequestParams) throws JsonProcessingException {
        Map<String, String> paramValues = allRequestParams.toSingleValueMap();
        String reignnEvent = mapper.writeValueAsString(paramValues);
        events.add(reignnEvent);

        return new ResponseEntity<>(HttpStatus.OK);
    }
}

A: First of all, you use poll method. It is not blocking and returns null if queue is empty. You loop collection until first null (i.e. while (next != null), so your code exits loop almost immediately because queue is empty on start. You must replace poll with take which is blocking and will wait until element is available.
Secondly, hookOnNext is invoked when the event is removed from the queue. However, you are trying to read events again using batchOfEvents.addAll(events);. Moreover, you also clear all pending events events.clear();
I advise you to remove all direct access to events collection from hookOnNext method.

Why do you use Flux here at all? Seems overcomplicated. You can use plain thread here
@Autowired
public EventController(FirehosePutService firehosePutService) {
    this.firehosePutService = firehosePutService;

    Thread persister = new Thread(() -> {
        List<String> batchOfEvents = new ArrayList<>(batchSize);

        String next;
        while (( next = events.take()) != null) {
            batchOfEvents.add(value);

            if (batchOfEvents.size() == batchSize) {
                log.info("Consume {} elements. Size of batchOfEvents={}", consumed, batchOfEvents.size());
                firehosePutService.saveBulk(batchOfEvents);
                batchOfEvents.clear();
            }
        }
    });
    persister.start();

}


What is 'the Sipson Shroud'?
The Sipson Shroud was initiated at the Big No protest on May 31st, 2008, against the proposal for a third runway and 6th Terminal at London's Heathrow airport.
It is a petition on cloth.
It grows whenever it is displayed and is therefore described as a 'living petition'.
It is a visual snapshot of public opinion on this matter.
We the undersigned call upon the British Government to abandon its proposed programme of airport expansion.
Do not kill Sipson village.
Put into practice a policy of carbon emission reduction to enable our planet to recover from human induced global warming.
Work towards retention of diversity of life and a sustainable future for people and planet.
A shroud is described as a burial cloth or wrap, but also as a protective guard.
Its significance here is to attempt to act as the latter rather than the former. It is highly visual and conveys a more meaningful message than simple signatures in its presentation.
The concept is inspired by the Aids Quilt in the USA, although not as artistic, its visual impact is large.
The 'Sipson Shroud' has the potential to become the largest visual protest against an unpopular policy proposal of all time.
The Shroud is very simple in concept, easy to add to, visual and involves active participation beyond simple signature taking.
Sipson is the name of the village that the Government plans to bulldoze along with parts of Harmondsworth and Harlington to make way for a third runway and 6th Terminal at London Heathrow. If you disagree with this development please sign to help protect the villages and our environment.
Of those that stop to enquire over 90% sign, which is more than were reportedly against the Iraq war.
The Sipson Shroud was initiated by someone from over 100 miles away from the villages concerned, highlighting the fact that it is not only the villagers lives that are going to be adversely affected by this 3rd runway proposal. This affects us all.
At a moment in time when we should be reining in our CO2 emissions this proposal 'flies in the face' of sanity!
Please help protect the future of every one of us.
Please help protect our planet in its moment of need, for we are a 'planet in peril'!


Recognising the diversity of applications and requirements within industry, Cornerstone Asset Technologies has three distinct product groups: Mechanical Reliability, Machine Support and Electrical Reliability.
Cornerstone Asset Technologie's Mechanical Reliability product group offers a range of services including vibration monitoring, machine diagnostics and CM solutions for rotating plant.
At Cornerstone Asset Technologies, we have a steadfast commitment to identifying and servicing the needs of our clients. This dedication has been rewarded with long-term partnerships between both our clients and our principal suppliers. These partnerships have enabled us to make significant and continual contributions to the effectiveness of our customers' operations. It is typical of the Cornerstone Asset Technologies approach: one in which we seek to be the primary conduit for industry to access world class solutions.
Vibration sensor technology and monitoring solutions for machine condition monitoring and protection.
Comprehensive portable and fixed installation vibration data collection, analysis and reporting for Reliability Centered Maintenance programs.


text:
package org.guvnor.rest.client;

import org.jboss.errai.common.client.api.annotations.Portable;

@Portable
public class ProjectResponse extends ProjectRequest {

}

redpajama_set_name: RedPajamaGithub


text:
Home RANKING The Best Colleges In California 2019
Jessica Brice
So why do so many non-California residents and international students want to study in California? Quite simply, California has it all! California boasts one of the largest economies in the world and is an international epicenter for the entertainment, information, education, and technology industries.
Nationally, California is a significant contributor in the agricultural, aerospace, and manufacturing sectors, which is why many universities have created high quality and affordable programs that focus on Engineering and Technology.
The Best Colleges in California 2019 ranking is based on rigorous analysis of academic, admissions, financial, and student life data from the U.S. Department of Education along with millions of reviews from students and alumni. The ranking compares more than 1,000 top colleges and universities in the U.S. Read more on how this ranking was calculated.
10.Pitzer College
Pitzer College is a private residential liberal arts college located in Claremont, California, United States. One of the Claremont Colleges, the college has a curricular emphasis on the social sciences, behavioral sciences, international programs, and media studies.
Acceptance Rate: 14%
Avg cost after aid: $25,521
SAT Score Range: 1300 -1450
ACT Score Range: 29- 32
9.University of California – Santa Barbara
The University of California, Santa Barbara is a public research university and one of the 10 campuses of the University of California system. The main campus is located on a 1,022-acre site near Isla Vista, California, United States, 8 miles from Santa Barbara and 100 miles northwest of Los Angeles
Avg cost after aid: $ 15,149
SAT Score Range: 1120- 1390
8.Harvey Mudd College
Campus Life style at
Harvey Mudd College is a private residential undergraduate science and engineering college in Claremont, California. It is one of the institutions of the contiguous Claremont Colleges which share adjoining campus grounds.
ACT Score Range: 32 – 35
7.Claremont McKenna College
Claremont McKenna College is a coeducational, private liberal arts college in Claremont, California, United States, with a curricular emphasis on economics, finance, international relations, government, and public affairs. CMC is a member of the Claremont Colleges consortium
Acceptance Rate: 9%
6.University of California – Berkeley
The University of California, Berkeley is a top-ranked public research university in the United States. Located in the city of Berkeley, it was founded in 1868 and serves as the flagship institution of the ten research universities affiliated with the University of California system.
5.University of California – Los Angeles
The University of California, Los Angeles, is a public research university in the Westwood district of Los Angeles, United States. It became the Southern Branch of the University of California in 1919, making it the second-oldest undergraduate campus of the ten-campus University of California system.
4.University of Southern California
The University of Southern California is a private research university in Los Angeles, California. Founded in 1880, it is the oldest private research university in California. USC has historically educated a large number of the nation's business leaders and professionals
3.Pomona College
Pomona College is a private, nonsectarian, coeducational, liberal arts college in Claremont, California, United States. It was founded in 1887 by a group of Congregationalists who wanted to recreate a "college of the New England type" on the West Coast.
2.California Institute of Technology
The California Institute of Technology is a private doctorate-granting research university located in Pasadena, California, United States. Known for its strength in natural science and engineering, Caltech is often ranked as one of the world's top-ten universities
1.Stanford University
Stanford University is a private research university in Stanford, California. Stanford is known for its academic strength, wealth, proximity to Silicon Valley, and ranking as one of the world's top universities.
Read more on Niche on The Best Colleges In California 2019
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Jessica Brice is MSU Student, studying marketing and business and She loves Coffee and Hope to become VP Of Marketing at Google or Apple
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Within the last year, multiple states have moved to limit or even abolish the use of long-term solitary confinement in prison, the federal government has piloted programs to restore Pell grants to prisoners to provide financial support for education, and Congress passed the First Step Act to reform federal sentencing laws. What motivated these reforms, what do they actually mean for people in prison, and, most importantly, how will they affect us as citizens, neighbors, and taxpayers?
Join the Social Ecology ChangeMakers and Professor Keramet Reiter as she discusses prison reform in the United States, and California especially.