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REVIEW: Ghostbusters: The Video Game Remastered
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by The Schmaltzy Cynic13 November 201923 min readAdd comment
As a remaster, this game more often feels like a re-release, yet Ghostbusters: The Video Game still succeeds the most at making bustin' still feel good. Just be sure to call Epic for trouble.
Released: Epic Games
Type: Single-player,
Multiplayer (Soon)
Genre: Action, 3rd Person Shooter
Developer: Saber Interactive
& Terminal Reality
Publisher: Mad Dog Games
Release date: 04 October, 2019
Ghostbusters has gone through a series of various highs and lows for what is essentially a comedy about pest control for the paranormal. Whether this brand has involved films or videogames, there has always been many behind-the-scenes complications and a few missteps with the franchise. Of these infamous obstacles, the pursuit of the next official film installment, Ghostbusters 3, has long been thought of as an impossibility due to the whims of fate, especially with the passing of Harold Ramis. For many avid fans, however, including the developers at Saber Interactive and Terminal Reality, Ghostbusters the Videogame has long been declared as the official Ghostbusters 3.
This touch was in the old version, but it's still appreciated much like all the other Easter eggs.
Although all this information may not appear relevant for the remastered release, the story behind the development of Ghostbusters the Videogame is one almost as strenuous as the development for the Ghostbusters 3 film. Instead of regurgitating that information, you would have a greater appreciation if you read this article by Venture Beat about the remaster's development. This information doesn't change how the game looks or plays, nor does it excuse its many faults, but it does give you a better understanding for the affection behind what remains a rather simplistic game.
After finally completing the game for myself, I am more inclined to echo the previous sentiments by referring to this game as Ghostbusters 3. Not only does this title avoid mixing up this game with the last Ghostbusters videogame—which the press kits have hilarious mixed up—but it also avoids any confusion with the Ghostbusters movie reboot. More importantly, this game embodies that closure with the original in one last adventure with the cast—for the better and for the worse. It's unfortunate, however, that the Epic Store almost ruined it all for me.
I Ain't Afraid of No Ghost–I Am Afraid of the Epic Store
Before you think this section is all going to be, "Epic Store bad," let me start by saying that I went into this game wanting to make bygones be Egons if the game would function properly. Even with that simple goal, there were so many issues playing this game on two computers that it resulted in me having to replay the remaster two more times from the beginning. Technically, I had played the first two hours of the game four times in all because I also wanted to compare the remaster to the original version, which you can still buy and play from the Amazon "DRM-Free" storefront. (The description is a lie because that version has SecuROM.) Overall, the curse with Ghostbusters also seemed to have haunted me that it almost resulted in my rage quit from this game.
Having said all of this information, I do want to point out that I have watched other people share their thoughts on the game and no one else seems to have had similar issues. The situation could be that I had really, really awful luck with this game, but by the third time I had lost my progress I had almost given up any hope—and some of these faults were the result of the Epic Store's lacking feature set. If these issues were merely the result of user error or my low-end system, then I would be willing to accept these issues; however, even on a computer running the game at 4K, the game crashed again and I lost my previously saved data. Needless to say, especially with the omission of an official game forum to find this kind of feedback, you should run this game at your own risk.
Who ya gonna call? Epic Support apparently.
Before we continue onwards, it would be helpful to illustrate in chronological order what exactly happened. The first time I played the game resulted into a game-breaking bug for the Library stage that wouldn't load the next level. There were technical issues beforehand such as the cutscenes not syncing up properly as well as the intro cinematics not having any audio, which last time I had checked was a problem only recently addressed for console versions, but none impeded my ability to play the game. The error message was about "D3D11 failed to allocate texture" and the bottom message stated, "This is an unofficial build for October 10, 2019" (I was playing the game on October 16.)
To be fair, when I tried playing the old version on the first computer, I had a similar issue, which I believe is the result of having to load so many individual textures because that stage has more modeled debris than the others. The second error message, however, led me to believe that I somehow downloaded the wrong build. After failing to improve the matter with in-game options, I had to search online through Steam and elsewhere for any similar problems, and I came across a Reddit post with an email from the developers and a Google Drive link to what was stated to be a more stable build. The file itself was simply an older .EXE file with the same name, and when I launched the game there were no immediate problems until I had loaded the level.
An apt photo of the game files themselves versus me.
Instead of crashing to the desktop, the game was playing in the background, yet the entire screen was pitch black. This result led me to believe the problem had more to do with the computer I was playing on, but when I tried relaunching the game, I had another issue. Now the Epic Games launcher itself wouldn't start the game; the error message, LS-0013, stated that the application couldn't start, but this error code doesn't exist on the Epic Support forums. The likely culprit is the fact that I replaced the .EXE file, which is what the developers in that Reddit post suggested, and you would think that removing that file and verifying the installation would solve it. However, there was nothing I could think of outside of reinstalling the game—which I did do, and no, the game still doesn't launch on this computer—that would address the matter without launching the Epic Store on another computer.
Schrödinger's bug, a problem that doesn't even exist.
Even with this migration solution, there were still problems affiliated with the Epic Store. Knowing that cloud saves were not available for every game on the platform, I expected that I would lose my entire progress. If I could have found my save files, then I would have made things easier for myself, but I couldn't find where those files were located after checking My Documents, the Epic Games folders and the AppData locations. Sure enough, after reinstalling the game on the second computer, the game ran fine and all my progress was lost; at least I could now run the game at 4K rather than 720p, so I considered this a lesson of expecting the worse. Then the game crashed again much later into the Library level, and unlike a simple game crash this caused my computer to lock up and require a BIOS reboot because Windows Startup Repair wouldn't work.
After spending an afternoon looking up how to resolve the matter, I was greeted with the fact that all my saved data was lost, so I had to replay the entire game again—this time I stayed at 720p because I wouldn't take more risks with this game—and everything just worked. All of this mess was something I had to resolve on my own because I had reached out to Epic and the Ghostbusters the Videogame's Twitter pages, but after nearly two weeks I have received no response. If I knew this problem was more so for Epic, then I would have submitted a support ticket instead.
…or not. You know, waiting for weeks is all right too.
The short summary of this whole situation: Am I happy I was able to finish the game? Yes. Are some of these problems my own fault? Yes. Does the game still not start-up on my first computer after completely wiping everything off of it? Yes. Would I have avoided so much needless trouble and lost time had I played this game on Steam? Absolutely.
Remastered? More like Re-released in 2019
You might expect after such an awful experience that the remaster wouldn't be worth all the effort, but, after playing the original, I am happy to say the rest of the experience was an improvement. While calling this game a remaster is somewhat of a misnomer, there are obvious quality of life benefits most people will likely appreciate. (Also, why is this game being touted as an HD remake when the older game had an HD Gaming logo at the beginning?) Whether those changes are worth the higher price tag is something I will leave up to you.
Tell me if you can spot the immediate differences.
First off, the most immediate change is that the game, overall, runs significantly better than before. Even on my low-end hardware, the game not only had a higher framerate compared to the original game, but it was also a much more stable experience. The only new menu option is the addition of anti-aliasing options, FXAA, which does make the game appear more blurry, and the only new environmental effects include some real-time reflections and additional bloom for lights. There is also the removal of a color filter during cutscenes, which can sometimes make the original look much better. Finally, you can increase the resolution quality to 4K whereas the old game limited you to 1080p; however, many models and textures throughout are of significantly low quality, even for the Xbox 360. Most of these textures are things meant to be in the background you're not meant to notice, but the paper mache coffee cups and the triangular water effects will stand out if you stop to appreciate the environments. The result makes for an interesting mishmash of old and new technology.
4K textures next to a poorly layered 2D image. Amazing.
However, those eye-candy effects are second to the many former troublesome technical problems. For Windows users, you won't have to enable any compatibility settings and you won't have to disconnect your controller in fear of crashing the program at the start. There are still numerous former bugs intact from before, especially with the AI scripts getting in your way, but those matters are likely the result of a second developer having to touch up the game as best as they can. Granted, there are new bugs like the audio cutting out for the logos at the start, but nothing that will significantly impact the experience. Finally, and what will be more important to long-time fans, there will be the addition of local and online cooperative multiplayer in the future, but I doubt recreating a horde mode from scratch is going to keep people playing this game for any significant amount of time. In spite of that outlook, it's an admirable goal for Saber Interactive to preserve as much of this game as possible.
Views like these reminds me why the game still looks appealing to this day.
Despite these many blemishes, visual or technical, Ghostbusters 3 can still appear impressive at times thanks to how much the environments stand out by their art design and the overall usage of various colors. It's no wonder why so many people hold this game in such high regard as a movie adaptation, but the gameplay itself is a firm reminder how much movie-tie-ins have changed over the years.
Just Because a Calendar Will Be Dated Doesn't Mean It's Always Wrong
Some people may take issue with the general statement that Ghostbusters 3 feels dated, but that sentiment is more so an observation than a pejorative description. Startropics on the NES is also a game that may appear dated to many modern gamers because the gameplay itself uses tank-controls for a top-down view, but the gameplay was designed around that limitation in mind to make the challenge fair. For a more apt comparison to movie adaptations, Alien: Isolation still remains one of the best modern film adaptations for games because it not only expands on its source material, but it also enhances previous Alien games by focusing on its unique AI. The AI there isn't perfect nor prone to abuse by the player, but the execution makes the gameplay experience feel totally original and accurate to its film counterparts. That conclusion can be felt while playing Ghostbusters 3, but the difference here is that it's all imitation rather than innovation.
We have bloody red slime borders, black slime enemies, and green slime weapons. Slime for everyone!
For those of you who haven't played the original release, Ghostbusters 3 is a third-person shooter wearing the Ghostbusters outfits and Proton Packs—and that statement is meant to be as praiseworthy as it is criticism. There are many genre conventions that Ghostbusters 3 tries to incorporate as seamlessly as possible with slight alterations to the standard four weapon categories (a main gun, a shotgun, a machine gun and a spray gun) and a stronger focus on squad-based gameplay when trapping ghosts. Thankfully, you will not always capture ghosts because the process of trapping them can become tedious (and destructive) over time; you will also fight various poltergeist manifestations that are weaker to other weapons. Overall, the gameplay itself is fairly linear, repetitive and simplistic—none of which are negatives on their own—but none of these factors keep this game from being a good time when you can get into it, which is one of the strongest qualities of this game.
Don't ask me how you can slam ghosts against physical objects unless the streams capture the electromagnetic forces of ghosts to make them resilient to solid matter—I'm thinking too much about this problem, aren't I?
While the original cast of Ghostbusters have always been nerds who are obsessive over minor details, the attention to detail throughout the gameplay makes an otherwise simple game feel more genuine. It wouldn't surprise me if Dead Space was a source of inspiration behind the development of Ghostbusters 3 as the game tries to be as diegetic as possible. Now this term isn't one I pulled out of my ass to sound smart; it's a commonly accepted description of making in-game elements, particularly the UI, appear real to the player and to the in-game characters. Various gizmos, meters and animations of the Proton Pack give vital information to the player including health, energy levels and reload animations. When you combine these little details with the in-game usage of the PK-meter and the Ghostbusters' other tools, the in-game blinders do a much better job of hiding how scripted of an experience this game can be.
Very well made blinders, might I add.
However, as good as the illusion can appear to be at times, there are many flaws with the core gameplay that deserve scrutiny. The most obvious, especially on PC, is the mouse control itself. If you have played the original version, then the remaster does not address that issue from before, which is kind of difficult to ascertain as to why the controls feel sluggish. The Proton stream is unwieldy, destructive and difficult to not cross the streams, and I'm willing to equally blame the mouse acceleration as much as the likelihood that the developers stuck too much to the source material. The second major problem is the repetition of trapping ghosts, which involves a lengthy process of firing your weapon to weaken the target (and switching back to the Proton stream,) then slamming the ghost against the walls to weaken them before deploying a trap and holding them to finally capture them. Third, the dodging animation is very rigid and the environments are often too close together to properly avoid attacks. Finally, the biggest culprit of frustration is how many times the AI will get you killed during the boss fights, especially the last section of the game where a tornado will knock down two or three Ghostbusters in a fight that requires all of you to attack the same target.
During the later boss fights, you'll see this screen a lot more than you should.
If you are tolerant enough to withstand these many little problems that build up over time, then you can perhaps enjoy this game as the sequel we always wanted rather than the perfect game we always dreamed to play. For an adventure that lasts nearly six to seven hours, you will certainly get your mileage out of the campaign because Ghostbusters 3 sticks fairly close to the source material in terms of its gameplay and in its storytelling. That adherence is so integral to the experience that you might begin to realize why, if there was a more official release of Ghostbusters 3, the film wouldn't stand up to modern expectations.
The Real, Underappreciated Fifth Ghostbuster, the Cameraman
Before we further discuss the story itself, it would be important to point out that I have watched the original Ghostbusters several times, but I've never watched the entirety of Ghostbusters 2. The simple reason was that everyone told me the sequel was okay by comparison. After watching the first film once, the film never wowed me much like other films; it was a solid comedy about a group of mundane people that mostly didn't like one another solving extraordinary matters. Not exactly the greatest set-up for the best film of all time, but a decent enough foundation to make more enjoyable films if I ever wanted to watch a high-quality B-movie with some humor grounded in realism. Ghostbusters 3 will fulfill that goal alone if that is all you want out of the story, but that is all the plot will accomplish.
Moments like this are genuinely funny as well as faithful such as when Winston asks, "What are we? The FDA?"
Even with my limited knowledge about the series, Ghostbusters 3 often feels too much like it requires the foundation of its previous entries in order to hold itself up. Now the story does account for the fact that scenes from previous films are mentioned—and sometimes replayed verbatim—in order to elicit some nostalgic callbacks. These include moments like fighting off the Stay Puff Marshmallow Man and other characters reliving or revisiting set pieces from both films. The most likely explanation harkens back to Terminal Reality having so much trouble getting this game off the ground, so they fell back on what was safe to ensure that the game would be successful. Again, none of these instances are bad nor are they out of place. If it wasn't for the few instances of new witty banter or the many interesting paranormal designs, then this game would come across as less of an adaptation and more so a regurgitation of the films.
The biggest problem with Ghostbuster 3's story, however, is one aspect that doesn't translate so well into videogames: the humor. You might expect I am referring to hearing the same one-liners over and over again, especially if you die and you have to reload a checkpoint. You might also point out the fact that the run-time of each film is under two hours whereas the game is three times as long. Or you could bring up the fact that the scenes are as funny the second time around. Each of these issues could be easily fixed with some extra care or voice-overs, but there is one problem you wouldn't normally consider in a comedies that doesn't have as simple of a solution, the camera itself.
There's staying true to the source material, and then there is rehashing the same scenes.
Many jokes from the films work so well because the camera accentuates the one-liners, and the editor plays a more important role in putting each scene together. In a videogame, however, players are in control of the camera, and they can oftentimes be distracted by the smallest details. For one example, if you compare the "He Slimed Me" scene from the movie to the videogame, the latter doesn't carry that same comedic reaction because you are simply running to Venkman who is left all slimed up on the ground rather than seeing his reaction at Slimer running towards him. There is also the simple fact that because the camera is not being focused on a particular person or situation, the player is not giving it the same attention as if it was a cutscene. Perhaps this explanation may illustrate why many of the cutscenes made me chuckle more so than constant banter between the Ghostbusters, but if you have too many cutscenes then you may bore players who would rather play than watch. There's not one simple solution to this problem without some catch, so perhaps this explanation can illustrate how the dry, realistic comedy lost its luster with me over time.
Don't worry; we're professionals.
In the game's defense, there are sequences that do manage to give control to the player, which does accentuate the comedy on display. One such example is when the player destroys the Bar Mitzvah while trying to capture Slimer. If you compare this sequence from the game to the film, the player is still recreating the exact scene from the film, but because the player is causing the destruction, which is reflected in the in-game cinematic, the banter comes across much stronger. Perhaps if future Ghostbusters games incorporated more of the in-game mechanics into the comedy itself, then more of these sequences would better execute the punchlines much like the cameraman during post-production.
That's all pure speculation at this point, but that aspect would definitely make the game more of a proper adaptation of the films. What is undeniable is that if you simply want more Ghostbusters, then Ghostbusters 3 will be more than satisfactory in giving you what you desire. When the adventure is over, however, it still will leave you wanting something more, which is what I would hope may happen after giving this game a second chance to find a wider audience.
Verdict: Something Strange, Something Good; Who Are You Going to Call?
As easy as it is to understand why so many people enjoyed this game, if you haven't already played Ghostbusters 3 until now, then the hype and the expectations set by others may exceed the merits of what remains a relatively simple game. After completing this game, you can clearly tell that everyone involved enjoyed making this game despite whatever setbacks may have resulted from this project. Even amongst the few movie-tie-ins that remain, Ghostbusters 3 is something special that rarely ever gets created nowadays much like when it was first released. Hopefully, if the opportunity for another game arises out of its former grave, then Saber Interactive will be the first to get the call.
Well, I can't argue with that logic. So "conglatulations," I guess Ghostbusters 3 is a good game.
Tagged asEpic Games Store, ghostbusters, ghosts, movie tie-in, PAUSE, remastered, shooter, the Videogame, third person
The Schmaltzy Cynic
Having grown up with video-games, there are two types of gamers: those who play with friends and those who play with imaginary friends. I am of the latter camp.
In the real-world, my interests lie with teaching children English to speak their mind, to question what they know, and to have fun while learning even if the lesson sounds really lame. (I also have a real-life "pun"-ishment jar just for those students who need to crack a smile.)
P.S. Sorry to disappoint y'all, but I am not Canadian.
Physical GameSave
REVIEW: Things from the Flood (Physical game)
27 December 2021by Fnord


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News Space 08 September 2016
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Milky Way 'fossil relic' is one of a kind
Some 19,000 light-years from Earth is Terzan 5 – a globular cluster with two stellar growth spurts billions of years apart. Belinda Smith reports.
Peering through the thick dust clouds of the galactic bulge, aastronomers revealed the unusual mix of stars in the stellar cluster known as Terzan 5, which appears to be one of the bulge's primordial building blocks.
HUBBLE / F. FERRARO
A "galactic fossil" has been found containing stars almost as old as the universe alongside counterparts some seven billion years younger.
Contents of the Terzan 5 globular cluster, which lies just 19,000 light-years from Earth and could give astronomers a way to examine how galaxies such as ours evolved, was reported in The Astrophysical Journal by astronomers in Italy, the Netherlands and the US.
"Back in 2009 we discovered that Terzan 5 harboured two sub-populations of stars with different chemical abundances: after seven years of research we finally succeeded in dating these populations," says lead author Francesco Ferraro from the University of Bologna in Italy.
Globular clusters, large spherical densely packed collections of ancient stars, aren't terribly rare – we know of roughly 150 in the Milky Way. But they're interesting to astronomers because they contain some of a galaxy's first stars.
Ancient stars whiz haphazardly around Milky Way bulge
Discovered four decades ago, Terzan 5 is – in this regard – no exception. Ferraro and his team peered at the globular cluster through the eyes of the Hubble Space Telescope, Keck Observatory on Mauna Kea in Hawaii and the European Southern Observatory's Very Large Telescope in Chile.
And sure enough, they found ancient stars – around 12 billion years old.
But alongside were much younger stars – only around five billion years old – making the Terzan 5 globular cluster unlike any other.
This means star formation in Terzan 5 didn't burble along continuously over billions of years, but spurted in two distinct bursts.
"This requires the Terzan 5 ancestor to have large amounts of gas for a second generation of stars and to be quite massive," says study co-author and Italian National Institute of Astrophysics' Davide Massari, "at least 100 million times the mass of the sun."
So how did Terzan 5 stay locked in stasis – and what triggered its second burst of star formation?
The team's trying to find out. But despite its weirdness, Terzan 5 is quite similar in composition to the Milky Way's galactic bulge, the mass of stars in the centre of the galaxy.
"Terzan 5 could represent an intriguing link between the local and the distant universe, a survived witness of the galactic bulge assembly process," Ferraro says.
Explore #space #Milky Way #Hubble Space Telescope
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Belinda Smith is a science and technology journalist in Melbourne, Australia.
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http://iopscience.iop.org/article/10.3847/0004-637X/828/2/75/pdf
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DC-XML and the DCMI Abstract Model
Pete Johnston
http://www.ukoln.ac.uk/metadata/dcmi/dc-xml-issues/2005-09-11/
Is Replaced By:
http://www.ukoln.ac.uk/metadata/dcmi/dc-xml-issues/
Status of Document:
This is a working document which has no status within DCMI.
Description of Document: This document analyses the current XML binding for Dublin Core metadata with reference to the DCMI Abstract Model. It highlights that the current binding has several shortcomings because the model on which it is based is more limited than the DCAM, and suggests that a binding which implements more features of the DCAM is required.
The Dublin Core metadata standard is not defined in terms of a single data format. Rather, DCMI distinguishes between, on the one hand, a "conceptual model" of what constitutes a Dublin Core metadata "description set", and, on the other, a set of specifications of how instances of that model may be encoded or serialised in various different data formats.
The articulation of a conceptual model for Dublin Core metadata is a process which has taken place over an extended period of time. Over that period of time, various models and frameworks have been discussed and indeed used: those various models and frameworks have exhibited different approaches and sometimes include different, incompatible concepts; perhaps most confusingly for the reader sometimes the same or similar labels have been applied over time to name concepts which, on closer examination, are different, to some greater or lesser degree.
However, DCMI has recently taken a significant step to address this with the approval of the DCMI Abstract Model [DCAM] as a DCMI Recommendation. The DCAM provides a description of a conceptual model for Dublin Core metadata, with the intent that this description serves as a reference model to which other specifications (created by DCMI and by other agencies) can refer.
According to the DCAM:
The abstract model of DCMI metadata descriptions is as follows:
A description is made up of one or more statements (about one, and only one, resource) and zero or one resource URI (a URI reference that identifies the resource being described).
Each statement instantiates a property/value pair and is made up of a property URI (a URI reference that identifies a property), zero or one value URI (a URI reference that identifies a value of the property), zero or one vocabulary encoding scheme URI (a URI reference that identifies the class of the value) and zero or more value representations of the value.
The value representation may take the form of a value string or a rich representation.
Each value string is a simple, human-readable string that is a representation of the resource that is the value of the property.
Each value string may have an associated syntax encoding scheme URI that identifies a syntax encoding scheme.
Each value string may have an associated value string language that is an ISO language tag (e.g. en-GB).
Each rich representation is some marked-up text, an image, a video, some audio, etc. or some combination thereof that is a representation of the resource that is the value of the property.
Each value may be the subject of a separate related description.
A description set is a set of one or more descriptions about one or more resources.
A DCMI metadata record is a description set that is instantiated according to one of the DCMI encoding guidelines (XHTML meta tags, XML, RDF/XML, etc.)
The specifications of how instances of that conceptual model are to be encoded are sometimes referred to as "bindings". Each such binding provides a "mapping" between the constructs in the conceptual model and the components and structures used in a data format (or maybe some abstraction of those components and structures, such as the XML InfoSet for XML). For an "encoding" application generating a record, it provides the information that enables the application to determine what syntactic components to use to represent entities and relationships in the conceptual model; and conversely, for a "decoding" application, it specifies how the syntactic components in the data format should be interpreted in terms of the conceptual model.
A binding for Dublin Core metadata may implement the full DCMI Abstract Model or it may implement some subset of that model - i.e. some bindings may not support all the features of the model - but for whatever set of features are implemented, it should provide an unambiguous mapping between the conceptual model and the syntax.
Currently, DCMI provides four "encoding guidelines" specifications which describe formats for representing Dublin Core metadata descriptions:
using HTML/XHTML meta and link elements [DC-XHTML]
using RDF/XML [DCS-RDF, DCQ-RDF]
using XML [DC-XML-2003]
All of the above specifications pre-date the DCMI Abstract Model. In addition to these DCMI-provided bindings, DC metadata implementers have developed other bindings for DC metadata descriptions (See e.g. IPTC News Metadata Framework)
The current DCMI-recommended convention for representing Dublin Core metadata in XML is specified by the Guidelines for implementing Dublin Core in XML [DC-XML-2003].DC-XML-2003 document, and it is that specification with which this the first part of this document is concerned. For convenience, this document will use the label "DC-XML-2003" to refer specifically to that specification, as distinct from the general notion of an XML binding for Dublin Core metadata, or to other such bindings, current or proposed.
The DC-XML-2003 Abstract Models and the DCMI Abstract Model
In keeping with the general approach outlined above, the DC-XML-2003 document first describes "abstract models" for two types of Dublin Core "record" and then specifies how records conforming to those two models should be represented in XML.
It is important to note that the DC-XML-2003 specification preceded the development of the DCMI Abstract Model: as a consequence, the models for DC metadata described in the DC-XML-2003 specification differ from the model described by the DCAM.
Appendix C of the DCAM attempts to describe which features of the DCAM are implemented by the DC-XML-2003 specification. It does this by examining examples of XML instances constructed according to the DC-XML-2003 binding. However, that approach is problematic in that it fails to acknowledge the fact that the DC-XML-2003 specification does not purport to provide a binding for the conceptual model of a DC description specified by the DCAM: the DCAM did not exist at that point. Rather, the DC-XML-2003 specification provides a binding for the models specified in the DC-XML-2003 specification itself. To understand the limitations of the DC-XML-2003 binding it is necessary to examine, not examples of XML instances, but the models which it states that it supports, and to compare the features of those models with the features of the DCAM.
The model for "Simple Dublin Core" in DC-XML-2003 is described as:
A simple DC record is made up of one or more properties and their associated values.
Each property is an attribute of the resource being described.
Each property must be one of the 15 DCMES [DCMES] elements.
Properties may be repeated.
Each value is a literal string.
Each literal string value may have an associated language (e.g. en-GB).
Note that there is no formal linkage between a simple DC record and the resource being described. Such a linkage may be made by encoding the URI of the resource as the value of the DC Identifier element, however this is not mandatory.
Note that while the value of a property may be a URI, there is nothing in the simple DC model that indicates this is the case. At their own risk, implementations may choose to guess which values are URIs and which are not.
The model for "Qualified Dublin Core" in DC-XML-2003 is described as:
A qualified DC record is made up of one or more properties and their associated values.
Each property must be either:
one of the 15 DC elements,
one of the other elements recommended by the DCMI (e.g. audience) [DCTERMS],
one of the element refinements listed in the DCMI Metadata Terms recommendation [DCTERMS].
Each value may have an associated encoding scheme.
Each encoding scheme has a name.
The principal differences between the DC-XML-2003 conceptual models and the DCMI Abstract Model are as follows:
Description Sets, Descriptions and Records
The DCAM takes the approach that the conceptual entity which is encoded is a description set, made up of one or more descriptions, and the result of that encoding process is a record. In DC-XML-2003, the term record is used for the conceptual entity which is encoded, and a record describes a single resource. i.e. DC-XML-2003 uses the term record for what the DCAM calls a description, and DC-XML-2003 does not include the concept of a description set.
Resource URI
Both the DCAM and DC-XML-2003 take the approach that a description (record in DC-XML-2003) describes a single subject resource. In the DCAM, a description may include a resource URI which identifies that subject resource; DC-XML-2003 does not include the notion of a resource URI.
The DCAM has the explicit concept of a statement representing a "property/value pair". DC-XML-2003 makes no explicit reference to a statement though it is perhaps implicit in the description of a record as "made up of one or more properties and their associated values".
In the DCAM, a property is a conceptual resource. A property is referenced in a statement (using a property URI) but the property itself is not part of the description; in DC-XML-2003, the "property" is described as being part of the "record".
In the DCAM, a value is a resource. A value may be referenced in a statement (using a value URI) or represented in a statement (using a value string or rich representation), or the value may be the subject of a second ("related") description, or all three. But the value itself does not appear in the statement.
In contrast, DC-XML-2003 uses the term "value" to refer to a string which forms part of the record i.e. "values" in DC-XML-2003 are strings which represent resources: DC-XML-2003 uses the term "value" for what the DCAM calls a value string.
Value URIs
In the DCAM, a value may be referenced in a statement using a value URI, which identifies that value; DC-XML-2003 does not include the notion of a value URI.
Value Representations
In the DCAM, a value may be represented in a statement using a value string or rich representation. DC-XML-2003 does not include the notion of a rich representation.
DC-XML-2003 does include the concept of what the DCAM calls a value string, though it uses the term "value" to refer to it. It includes the concept that the "value" may be associated with a language tag.
Indeed, the DCAM supports the notion that a statement may provide multiple value representations, or no representation at all; in DC-XML-2003, exactly one "value" (a value string in DCAM terms) is always present in a "property-value pair".
Vocabulary and Syntax Encoding Schemes
The DCAM distinguishes between a vocabulary encoding scheme (a class of which the value is an instance) and a syntax encoding scheme (a datatype associated with a value string). A statement may contain zero or one references to a vocabulary encoding scheme (using a vocabulary encoding scheme URI). A value string may be associated with a syntax encoding scheme (using a syntax encoding scheme URI).
The DC-XML-2003 model for "Qualified Dublin Core" specifies that a "value" (a value string in DCAM terms) may be associated with an "encoding scheme", but it does not distinguish between a vocabulary encoding scheme and a syntax encoding scheme (nor, of course, the fact that one the former is associated with the value and the latter is associated with a value string).
In the DCAM, a value may be the subject of a second ("related") description. DC-XML-2003 does not include the concept of a related description.
Types of Record/Description
By explicitly distinguishing "Simple DC Records" and "Qualified DC Records" DC-XML-2003 introduces the idea that there are types or classes of DC metadata description, categorised according to the terms which are referenced in those descriptions and/or the features of the Abstract Model which are deployed in the descriptions.
The abstract models used in the DC-XML-2003 specification differ from the DCMI Abstract Model. In some cases the difference is only that a different label is used for the same (or a very similar) concept.
DC-XML-2003 "record" = DCAM description
DC-XML-2003 "property and its associated value" = DCAM statement
DC-XML-2003 "value" = DCAM value string
However, several features of the DCAM are absent from the DC-XML-2003 models, specifically:
resource URIs
multiple value representations
rich representations
description sets/related descriptions
As we shall see below, some of these omissions have significant consequences for implementers.
Finally, in one important aspect the DC-XML-2003 models conflate two features which the DCAM treats as distinct:
DC-XML-2003 "encoding scheme" v DCAM vocabulary encoding schemes and syntax encoding schemes.
The DC-XML-2003 Abstract Models and the DC-XML-2003 Binding
There is one area in which the DC-XML-2003 specification presents a significant problem even with respect to its own conceptual models.
Mixing metadata schemas
In section 6, "Mixing metadata schemas", the DC-XML-2003 departs from its approach of describing a conceptual model and then describing a mapping of that model to the XML syntax. This section includes two examples where fragments of well-formed XML, structured according to the rules of externally defined XML formats are embedded as "sibling" XML elements of XML elements which represent "property value pairs"/statements.
Consider the origins of those XML fragments. They are constructed according to the rules of another XML format. It is highly unlikely that that XML format is designed to represent "property-value pairs"/statements as defined in the DC-XML-2003 models. Instead the format is designed to represent some data which is structured according to the rules of that particular XML format. And conversely the interpretation of that XML fragment is defined by the rules of that external XML format.
However, the example is to be interpreted according to the rules of the DC-XML-2003 binding, and following those rules, the "root" XML element of the fragment should be interpreted as representing a "property-value pair"/statement. The DC-XML-2003 binding specifies that:
the name of the XML element should be mapped to the URI of a property
the XML element content represents the "value" (value string), a literal
While the decoding application can interpret the name of the "root" element as representing the URI of a property, its content is an ordered list of child XML elements. It can not interpret that list of XML elements as a "value" (value string).
Clearly it is not possible to interpret the XML fragment according to the rules of the DC-XML-2003 binding: it can not be mapped to the DC-XML-2003 abstract models (nor to the DCMI Abstract Model).
The very purpose of the DC-XML-2003 document is to describe a binding for DC metadata descriptions: to provide a mapping from the conceptual models described to components within the XML syntax. The examples in section 6 fail to meet this requirement and this suggests that their inclusion represents an error in the specification.
Discussion: Limitations of the DC-XML-2003 Models
This section examines the implications of the differences and omissions identified in the previous section.
Resource URIs and Value URIs
The absence of the concepts of a resource URI or a value URI from the DC-XML-2003 models means that it is not possible to specify the URI of the subject resource or the URI of the value resource. These are fundamental requirements for DC metadata applications but the DC-XML-2003 binding does not support them.
Typically, metadata creators seek to compensate for this omission by trying to adopt conventions involving the use of an "encoding scheme" http://purl.org/dc/terms/URI with a value string. However, the lack of clarity in the DC-XML-2003 models about what an encoding scheme is, and the absence of a distinction between vocabulary and syntax encoding schemes renders this approach problematic, as the following examples illustrate.
Interpreting "Encoding Scheme" as Vocabulary Encoding Scheme?
Consider the "resource URI" case first i.e. the intent is to provide a URI to identify the subject resource. Suppose the encoded data is:
<dc:identifier xsi:type="dcterms:URI">http://example.org/subject</dc:identifier>
The only interpretation of this fragment supported by the DC-XML-2003 model is
Statement:
Property URI: http://purl.org/dc/elements/1.1/identifier
Encoding Scheme URI: http://purl.org/dc/terms/URI
Value String: http://example.org/subject
If http://purl.org/dc/terms/URI is interpreted as an indicator of the type of the value i.e. as what the DCAM calls a vocabulary encoding scheme URI, then it conveys the information that the value, the identifier, is a URI (which is what the author wishes to convey).
Now consider the "value URI" case i.e. the intent is to provide a URI to identify the value resource. Suppose the encoded data is:
<dc:relation xsi:type="dcterms:URI">http://example.org/value</dc:relation>
As above, the only interpretation of this fragment supported by the DC-XML-2003 model is
Property URI: http://purl.org/dc/elements/1.1/relation
Value String: http://example.org/value
Now in this case an interpretation which presents http://purl.org/dc/terms/URI as an indicator of the type of the value - a vocabulary encoding scheme URI - contradicts the author's intent. Such an interpretation states that the value resource is a URI, but in this second case that is not the author's intent. The value resource is not itself a URI. It is a resource of some other type, identified by a URI.
Further, there may be examples of this second case where the dc:identifier property is used. The definition of dc:identifier permits any resource to act as an identifier of the subject resource, including a second resource which is itself identified by a URI. Again, in this case the value is not a URI but a resource of some other type, identified by a URI
In short, if the DC-XML-2003 "encoding scheme" mechanism is interpreted as an indicator of the type of the value - as a vocabulary encoding scheme - , the device of using the http://purl.org/dc/terms/URI scheme can not be used to represent value URIs.
Interpreting "Encoding Scheme" as Syntax Encoding Scheme?
Again consider the "resource URI" case first i.e. the intent is to provide a URI to identify the subject resource. Suppose the encoded data is:
If http://purl.org/dc/terms/URI is interpreted as the URI of a literal datatype, as what the DCAM calls a syntax encoding scheme URI, then this indicates that the URI http://example.org/subject "represents" the value resource. It does not say explicitly that the value resource itself is a resource of type URI (which is what the author intends). Although it does not result in a contradiction, it does not satisfy the author's intent of saying that the value is a URI, a resource of type URI.
As above an interpretation which presents http://purl.org/dc/terms/URI as a literal datatype - a syntax encoding scheme URI - indicates that the URI http://example.org/value "represents" the value resource. It does not say explicitly that the value resource itself is a resource of type URI (which in this case would contradict what the author intends). Although it does not result in a contradiction, neither does it satisfy the author's intent of saying that the URI http://example.org/value identifies the value resource.
Multiple Statements
The examples above illustrate that there is no way of representing the DCAM concept of a value URI in the DC-XML-2003 binding. The resource URI case may seem slightly less clear, in so far as the interpretation of DC-XML-2003 encoding scheme as DCAM vocabulary encoding scheme does support the construction of statements using the dc:identifier property in which the value is a URI (i.e. the first example of the four above)
However, a single description may contain several such statements using the dc:identifier property. Accoding to the DCAM, a description has only a single resource URI; if multiple such statements are provided, it is impossible to determine which of the values should be treated as the resource URI.
This discussion has sought to illustrate that attempts to represent the DCAM concepts of resource URI and value URI using features of the DC-XML-2003 abstract models are problematic: the concepts are simply not part of those models and therefore the XML binding makes no provision for them.
Recommendation: Given the importance of resource URIs and value URIs in the DCAM, it is a requirement for an XML binding for DC metadata that both resource URIs and value URIs can be unambiguously encoded. This requirement is not met by the DC-XML-2003 specification.
Vocabulary Encoding Schemes and Syntax Encoding Schemes
In the DCAM, the concepts of vocabulary encoding scheme and syntax encoding scheme are clearly distinguished. They convey different pieces of information about other components of the statement. That distinction is not present in the DC-XML-2003 models, so any attempt to make such a distinction in the interpretation of an XML instance constructed according to the DC-XML-2003 specification is problematic. As the examples above illustrate, such attempts rely on ad hoc decisions by the interpreter about the intent of the author.
Furthermore, the DCAM supports the notion that a single statement may include a reference to a vocabulary encoding scheme and references to multiple value representations each of which may include a reference to a syntax encoding scheme. Even if the approach is taken to adopt a subset of the DCAM such that a statement includes only a single value represntation, a statement may reference both a vocabulary encoding scheme and a syntax encoding scheme.
Recommendation: The distinction between vocabulary encoding scheme and syntax encoding scheme is significant in the DCAM, and it is a requirement that an XML binding for DC metadata should support that distinction. This requirement is not met by the DC-XML-2003 specification.
Description Sets
Earlier discussion [DC-ARCH-2004] recommended that the XML binding for DC metadata should support the encoding of multiple descriptions (as description sets).
Binding Issues in DC-XML-2003
Encoding Schemes and XML Schema Datatypes
The DC-XML-2003 binding maps "encoding schemes" to XML Schema datatypes. It is important to note that the mapping is not simply from "encoding scheme" to the value of an XML attribute with the name xsi:type. The "semantics" of the xsi:type XML attribute are defined by the XML Schema specification (and built into the behaviour of parsers and other tools that support XML Schema).
The Simple Type Definition (§2.2.1.2) or Complex Type Definition (§2.2.1.3) used in ·validation· of an element is usually determined by reference to the appropriate schema components. An element information item in an instance may, however, explicitly assert its type using the attribute xsi:type. [W3C-XMLS-STR]
In using the xsi:type XML attribute, then, the DC-XML-2003 binding is committed to building on the semantics of XML Schema: the value of an xsi:type attribute is the name of the datatype of the XML element.
The datatyping mechanism in XML Schema [W3C-XMLS-DAT] is designed to provide datatypes for XML document content i.e. for XML element content and for XML attribute values.
The DC-XML-2003 binding maps "encoding schemes" specifically to XML Schema complex types, which are applied to the content of the XML element which represents a "property-value" pair. As already noted, the content of that XML element is what DC-XML-2003 calls the "value" - what the DCAM calls the value string, a representation of the value resource.
The DCAM highlights that in fact "encoding schemes" in Dublin Core metadata are of two distinct types, which have two distinct functions in the DCAM:
vocabulary encoding schemes define the type of the value resource
syntax encoding schemes provide a datatype for the value string. A single value resource may be represented by multiple value string/syntax encoding scheme pairs; and indeed the same value string/syntax encoding scheme pair may be deployed as a representation of two different value resources of different types
Given that in DC-XML-2003 the content of the XML element is mapped to the value string, the use of XML Schema datatypes to represent syntax encoding schemes seems consistent with the XML Schema specification. However trying to represent vocabulary encoding schemes using this construct seems more problematic.
Even for the syntax encoding scheme case, however, there is a difficulty. According to the models specified in DC-XML-2003 and in the DCAM, the use of an "encoding scheme"/syntax encoding scheme is optional: it is not required that "values" in DC-XML-2003 are associated with an "encoding scheme", and there is no "default" encoding scheme implied if none is specified in a DC metadata instance.
However for a processor which applies XML Schema validation, all XML elements are associated with a datatype: the xsi:type attribute provides a means of specifying the datatype in the XML instance but if no xsi:type attribute is provided in the instance the datatype, the processor determines the datatype by referring to the types specified by the relevant XML Schemas. It is not possible for the XML element to have no datatype - but on the other hand the DC-XML-2003 models (and the DCAM) both specify that the use of a (syntax) encoding scheme is optional.
In short, it is not clear that the DC-XML-2003 mapping of "encoding schemes" to XML Schema datatypes meets the requirements of the conceptual models it seeks to support.
A secondary issue - distinct from the mapping itself - is that the datatypes currently used in the XML Schemas provided by DCMI for DC-XML-2003 - employ a type derivation strategy which some (many?) XML Schema processors do not handle correctly (the derivation of a complex type with simple content by restriction of a complex type with complex content) [XMLS-NOTES].
Leaving aside the issue of whether this is valid or not, the reason for providing the "base" mixed content type is to enable implementers to derive types which support markup in DC-XML-2003 "values" i.e. to support rich representations. However, the DC-XML-2003 conceptual models do not include support for rich representations, only for value strings. If rich representations are to be supported then that requires a change to the conceptual models and the provision of an appropriate mapping to a syntactic construct.
Two proposals for alternate XML bindings for Dublin Core metadata have been prepared: one which implements a subset of the features of the DCAM, and one which implements the full DCAM.
(To follow)
Compatibility between the proposed bindings and DC-XML-2003
The approach taken in developing these proposals was that compatibility with the DC-XML-2003 binding was not a requirement.
Even if the decision is taken to limit the features of the DCAM supported by a new binding to some subset of the DCAM which is similar to the features of the DC-XML-2003 binding, the fact that the DC-XML-2003 models conflate in a single concept what the DCAM treats as two distinct concepts - vocabulary and syntax encoding schemes - raises fundamental problems. The DC-XML-2003 binding maps "encoding schemes" to a single syntactic construct (XML Schema complex types referenced as QName values of the xsi:type attribute). Given an XML instance constructed according to the DC-XML-2003, it is impossible to distinguish vocabulary encoding scheme URIs from syntax encoding scheme URIs. It is not possible to interpret an XML instance constructed according to the DC-XML-2003 binding in terms of conceptual features which were not part of the models on which the DC-XML-2003 binding was based. As noted above, users of the DC-XML-2003 binding have resorted to ad hoc interpretations to try to address this, but the result is inconsistency, contradiction and ambiguity.
Constructing a binding which meets the requirements of representing essential features of the DCAM and is backwards compatible with the DC-XML-2003 binding does not seem possible, because the DC-XML-2003 binding is inherently ambiguous in its treatment of features of the DCAM.
This raises the question of how to manage the existence of two incompatible bindings - the DC-XML-2003 binding and a new XML binding (DC-XML-2005) that does explicitly support the DCAM (or some subset of it) - or a transition from DC-XML-2003 to DC-XML-2005:
Possible options include:
leave DC-XML-2003 in place, acknowledge that it does not implement the DCAM, and provide no XML binding for the DCAM. (There is no DC-XML-2005 in this option).
maintain both DC-XML-2003 and DC-XML-2005 in parallel, emphasise that DC-XML-2005 implements DCAM, DC-XML-2003 implements simple model. Can map DC-XML-2005 to DC-XML-2003, but not DC-XML-2003 to DC-XML-2005
deprecate DC-XML-2003 and promote only DC-XML-2005
[DCMIAM]
DCMI Abstract Model
http://dublincore.org/documents/abstract-model/
[DC-XHTML]
Expressing Dublin Core in HTML/XHTML meta and link elements
http://dublincore.org/documents/dcq-html/
[DC-RDF]
Expressing Simple Dublin Core in RDF/XML
http://dublincore.org/documents/dcmes-xml/
[DCQ-RDF]
Expressing Qualified Dublin Core in RDF/XML
http://dublincore.org/documents/dcq-rdf-xml/
[DC-XML-2003]
Guidelines for implementing Dublin Core in XML
http://dublincore.org/documents/dc-xml-guidelines/
[XMLS-NOTES]
Notes on the W3C XML Schemas for Qualified Dublin Core
http://dublincore.org/schemas/xmls/qdc/2003/04/02/notes/
[DC-ARCH-2004]
DC Architecture WG meeting report, DC2004
http://www.jiscmail.ac.uk/cgi-bin/webadmin?A2=ind0410&L=dc-architecture&P=4565
[W3C-XMLS-STR]
XML Schema Part 1: Structures Second Edition
http://www.w3.org/TR/xmlschema-1/
[W3C-XMLS-DAT]
XML Schema Part 2: Datatypes Second Edition
[DC-XML-2]
DC-XML: An XML format for Dublin Core metadata
Changes made in this version
Initial version.


The interactions between security and advanced networking are complex. Internet2 members and the entire R&E communty face the usual—and increasingly difficult—issues of security in a networked world. These challenges are compounded by the demands that advanced applications can make.
Performance requirements such as high-bandwidth, end-to-end transparency, and support of new protocols are essential for the academic mission and innovation, but are not easily accommodated in current approaches to network security.


text:
The Evolution of the Spacesuit
Latest News and Solutions
Adam Mann
Like all fashion, the spacesuit is subject to change. Early designs grew out of the pressurized suits worn by trailblazing pilots in hot air balloons and airplanes. Since then, spacesuits have grown into machines of impressive complexity, even becoming miniature spacecraft that fly independently. Spacesuits have allowed people to grab rocks from the lunar surface, make repairs on the Hubble Space Telescope, or float through the void while gazing down at the planet below. Here, Wired Science takes a look at the evolution of this sometimes underappreciated garment.
orlan-alone
They say the clothes make the man. Perhaps nowhere is that more true than on space missions, where astronauts (both male and female) are at their most iconic when donning a spacesuit. The main job of a spacesuit is to protect its wearer. During spacewalks, it must provide a breathable atmosphere, allow for easy movement and maintain steady communications with a spacecraft. The outfit has to moderate temperature extremes — the sun's rays can heat an astronaut up to 248 degrees Fahrenheit while the darkness of space can create chills of -256 degrees — and be tough enough to protect against bombardment by dangerous micrometeorites. Like all fashion, the spacesuit is subject to change. Early designs grew out of the pressurized suits worn by trailblazing pilots in hot air balloons and airplanes. Since then, spacesuits have grown into machines of impressive complexity, even becoming miniature spacecraft that fly independently. Spacesuits have allowed people to grab rocks from the lunar surface, make repairs on the Hubble Space Telescope, or float through the void while gazing down at the planet below. Here, Wired Science takes a look at the evolution of this sometimes underappreciated garment. Above: A Russian Orlan model spacesuit soars above the blue Earth. This particular spacesuit was no longer needed and so was filled up with batteries, internal sensors and a radio transmitter and released into a decaying orbit on Feb. 3, 2006. Designated SuitSat, the empty vessel burned up in the atmosphere a few weeks later. Image: NASA
The Epic Battle Behind the Apollo Spacesuit
How to Maneuver in a Space Suit Using the 'Apollo Number'
Soviet Space Propaganda: Doctored Cosmonaut Photos
Gallery: The Space Suit Makes the NASA Astronaut
For Sale: Slightly Used Spacesuit, $500K OBO
Spacesuit Thief Pleads Guilty
Adam is a Wired reporter and freelance journalist. He lives in Oakland, CA near a lake and enjoys space, physics, and other sciency things.
TopicsapolloNASAspace


Rain, rain go away, come again another day. Monday's plus rain is a combo nobody asked for, and yet here we are. However, a great remedy to this is new music! That's what we are offering up today for your motivational Monday playlist, fresh new music to get your week started off on the right foot.
Enjoy new tracks from a variety of genres from R&B to indie and everything in between.
This new collection of music is the key to you enjoying your gloomy Monday; trust us, we know what we're talking about. As always, if you have any requests for a song or even a theme of playlist you'd like to hear email our resident music nerd chad@workhaus.ca and he will be sure to make it happens.
D.J. turn it up, tell the D.J. bring it back!


That being said, I am the worst for making regular gel mani appointments with this girl so after a particularly long stretch of no gel I finally gave Jamberry a try. You might have noticed over the past month or so I've been rocking some fancy looking nails (check above for evidence). Truthfully I had tried a Jamberry sample before but I didn't watch the proper tutorial video beforehand and kinda botched the whole thing. Lesson learned.
I gave three patterns a try and while I will admit that the application took some finesse-ing I was really pleased with the results. And because you can use them on your fingers and toes I gave them a go with a Jamberry pedi too! Above I'm rocking the Botanical Garden pattern that is so fun for summer. Below I gave the Snakeskin a try on my toes and they've held up for over a month now! I love them and can't wait to use the other half of my pack on my fingers for a perfect fall mani.
Overall I was definitely happy with my whole Jamberry experience. I'd highly recommend watching this video a few times and making sure you have enough time to do a proper application.It did take a few applications before I felt like I finally got the hang of it but with over 300 styles to choose from, I'll definitely be using Jamberry again! These striped ones below (Country Club) were by far my fave and I got SO many compliments when I had them on. And, on September 1 they have a new gel line that I cannot wait to try! Have you ever tried Jamberry before, if so let me know which styles are your fave, or if you have any other tips for the perfect application!


Perfect tool for a grape vine lopper or orchard lopper. Can't reach with the secateurs? - then use this Fiskars L76 tool. Extremely lightweight. PowerGear 11 cutting action. High carbon steel blade designed for precision clean cuts up 28mm cutting capacity in green living growth. Delightful & so easy to use.
If it's too hard or thorny to reach in with the PowerGear pruner or secateur, at 560mm (22") long, this is the tool to use. Put it this way - this product ought to have its own fan club. Lighter, stronger and more powerful than anything you've ever used. It's precision cuts in branches and stems to 28mm thick, right up to the trunk makes it a breeze for that tough pruning job. Commonly used in vineyards.
Secateur Head for precision clean cutting.
Bypass cutting action allows lopping close to the branch base.
Allows you to reach even deeper to where you can't with the secateurs.
Corrosion resistant, non-stick blade coating reduces friction to make cutting easier.
Ergonomic handles fit comfortably in your hands.
FiberComp construction-reinforced fibreglass composite materials provide strength and durability.
Cutting capacity-28mm in green living growth.
Warranty: 25 year Fiskars warranty against manufacturing defect.


Smartphones and tablets are currently in the middle of a boom. The screen sizes are just as different as the operating systems, and to do them justice, it is crucial to be flexible. PhoneGap developers are in charge of this demanding job. PhoneGap is an open source framework that allows users to create hybrid apps. The work of a PhoneGap developer can be explained as follows: an app that is created using the PhoneGap framework calls up the web browser of a smartphone platform and runs the web application within it.
PhoneGap developers are masters at flexibility.
A PhoneGap developer's work is especially valuable for their clients because they achieve remarkable device flexibility and independence. Extensive experience was able to be gathered in the development of hybrid apps thanks to the successful work of PhoneGap developers. A PhoneGap developer can nowadays develop intuitive and adaptable apps to meet different needs and requirements.
High demands are placed on PhoneGap developers. They carry huge responsibility and have to be knowledgeable in many areas. Are you on the lookout for a skilled PhoneGap developer? outsourcing4work can support you in the development of hybrid apps with PhoneGap developers from our partner companies in India. outsourcing4work will find the perfect software developer from India for European and international companies.
outsourcing4work provides its clients with knowledgeable PhoneGap developers from India – who are highly professional and affordable. All of these software developers are permanently employed at our partner companies, which completely relieves our clients of all social security and insurance matters. You will be able to concentrate on your core business and leave the software development to the specialists: these PhoneGap developers are highly skilled. All of our employees have studied computer science and have at least three years of experience in international projects. India is also the world's largest outsourcing market, many companies search here for professionals that they can hire on an hourly and project basis.
We offer you outsourcing made in germany. with the security of a company based in Europe. Your contact person to the Indian software developer will be a European project manager with whom you can discuss all the details of your project. We are always available to you during European business hourss. Do you have questions? Then get in touch with us at any time. We look forward to your call and will take care of your concerns.


text:
Q: Why does Rust not permit type inference for local constants? I understand why type inference for module-level constants is not permitted (the same reason why type inference is not permitted for functions). However, why exactly does Rust not permit type inference for local constants?
fn main() {
    const N = 1; // error: expected `:`, found `=`
    let n = 1;   // OK
}

Is there a more profound reason than consistency?

A: Insofar as I'm aware, there's no distinction between a const inside a function and one outside.  They're both the same thing, so they follow the same rules.

redpajama_set_name: RedPajamaStackExchange


- The manufacturing method (i.e. tufted, woven) and the final arrangement of fiber and backing materials as stated in its specification.
- Any kind of material placed under carpet to provide softness and adequate support when it is walked upon. Carpet cushion provides a softer feel underfoot and provides added acoustical and insulation benefits and longer wear life for the carpet. In some cases, the carpet cushion is attached to the carpet when it is manufactured. Also referred to as "padding" or "underlay," although "cushion" is the preferred term. Cushion under most residential carpet should be a thickness no greater than 7/16".
- A carpet fabric in which the face is composed of cut ends of pile yarn.
- A carpet fabric in which the face is composed of a combination of cut ends of pile yarns and loops.
- Separation of the secondary backing or attached cushion from the primary backing of the carpet.
- Refers to the amount of pile yarn in the carpet and the closeness of the tufts. In general, the denser the pile, the better the performance.
- A single continuous strand of natural or synthetic fiber.
- Pronounced "free-zay," this tightly twisted yarn gives carpet a rough, nubby appearance.
- The distance between two needle points expressed in fractions of an inch. Applies to both knitting and tufting.
- The tactile aesthetic qualities of carpet and textiles, how it feels to the hand.
- The process that sets the twist by heat or steam, enabling yarns to hold their twist over time. Important in cut pile carpet. Most nylon, olefin and polyester cut pile carpets are heat-set.
- A carpet construction in which the yarn on the face of the carpet forms a loop with both ends anchored into the carpet back. The pile loops are of substantially the same height and uncut, making a smooth, level surface.
- Carpet style having a pile surface consisting of uncut loops. May be woven or tufted. Also called "round wire" in woven carpet terminology.
- Brightness or sheen of fibers, yarns, carpet or fabrics.
- The visible surface of carpet consisting of yarn tufts in loop and/or cut configuration. Sometimes called "face" or "nap".
- Loss of pile thickness by compression and blending of tufts caused by traffic and heavy furniture. The tufts collapse into the air space between them. This may be irreversible if the yarn has inadequate resilience and/or the pile has insufficient density for the traffic load. Frequent vacuuming will lift the pile for longer carpet life.
- Luxuriously smooth-textured carpet surface in which individual tufts are only minimally visible and the overall visual effect is that of a single level of yarn ends. This finish is normally achieved only on cut-pile carpet produced from non-heat-set singles spun yarns by brushing and shearing. Sometimes called "velvet-plush.
- 1. A single-end component in a plied yarn. 2. The number that tells how many single ends have been ply-twisted together to form a plied yarn, e.g. two-ply or three-ply.
- Ability of carpet pile or cushion to recover original appearance and thickness after being subjected to compressive forces or crushing under traffic.
- A cut-pile carpet texture with twisted yarns in a relatively dense, erect configuration. The effect is well-defined tuft tips.
- A method of finishing edges of area rugs by use of heavy, colored yarn sewn around the edges in a close, overcast stitch.
- A change in the appearance of a carpet due to localized distortions in the orientation of the fibers, tufts or loops. Shading is not a change in color or hue, but a difference in light reflection.
- Originally made of vegetable fibers, the carpet industry has recently captured the look of natural sisal and jute with the gentler, more comfortable synthetic alternatives. Wool and synthetic alternatives are almost worry-free and offer a variety of interesting textures, patterns and prints.
- A chemical finish applied to fibers or carpet surfaces that inhibits attachment of soil.
- Protrusion of individual tuft or yarn ends about the pile surface. May be clipped with scissors.
- Short lengths of fiber that may be converted into spun yarns by textile yarn spinning processes. These spun yarns are also called "staple" yarns. For carpet yarns spun on the common, modified worsted systems, most staple is six to eight inches long. Staple fiber may also be converted directly into nonwoven fabrics, such as needlepunched carpet.
- Stitches per inch. Number of yarn tufts per running inch of a single tuft row in tufted carpet.
- Carpet manufactured by the insertion of tufts of yarn through a carpet-backing fabric, creating a pile surface of cut and/or loop ends.
- The winding of the yarn around itself. Should be neat and well-defined. A tighter twist provides enhanced durability.
- Carpet cushion under rugs.
- Carpet produced on a weaving loom in which the lengthwise yarns and widthwise yarns are interlaced to form the fabric, including the face and the backing.
- The number of single yarns twisted together to form a plied yarn.
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Using a field experiment in Malawi where men and women apply for future surveyor positions with a local firm, Beaman and her co-authors find that highly skilled women are systematically disadvantaged through the use of referrals. This happens both because most men recommend other men, and because women refer fewer candidates who qualify for the position. The authors document that segregated networks do not cause this behavior. They develop a theoretical model of referral choice and exploit random variation in referral contract terms to find that both men's and women's biases result from social incentives rather than expectations of performance. They also document that the screening potential of networks is maximized when men refer men, and the evidence points towards limited information about female candidates in men's networks. This paper suggests that the use of social networks in hiring is an additional channel through which women are disadvantaged in the labor market.


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National Register of Historic Places listings in Logan County, Illinois facts for kids
Location of Logan County in Illinois
This is a list of the National Register of Historic Places listings in Logan County, Illinois.
This is intended to be a complete list of the properties and districts on the National Register of Historic Places in Logan County, Illinois, United States. Latitude and longitude coordinates are provided for many National Register properties and districts; these locations may be seen together in a map.
There are 12 properties and districts listed on the National Register in the county.
This National Park Service list is complete through NPS recent listings posted March 31, 2017.
Name on the Register
Allen Chapel African Methodist Episcopal Church
(#04000422) 902 Broadway
40°08′41″N 89°21′33″W / 40.144722°N 89.359167°W / 40.144722; -89.359167 (Allen Chapel African Methodist Episcopal Church) Lincoln
Atlanta Public Library
(#79000852) Race and Arch Sts.
40°15′37″N 89°13′57″W / 40.260278°N 89.232500°W / 40.260278; -89.232500 (Atlanta Public Library) Atlanta
Robert Buckles Barn
(#83000326) Southeast of Mount Pulaski
39°59′08″N 89°16′25″W / 39.985556°N 89.273611°W / 39.985556; -89.273611 (Robert Buckles Barn) Mount Pulaski
Downey Building
(#04000069) 110-112 SW. Arch St.
40°15′38″N 89°13′53″W / 40.260417°N 89.231389°W / 40.260417; -89.231389 (Downey Building) Atlanta
Stephan A. Foley House
(#84001141) 427 Tremont St.
40°09′08″N 89°21′54″W / 40.152222°N 89.365000°W / 40.152222; -89.365000 (Stephan A. Foley House) Lincoln
J.H. Hawes Elevator
(#91000571) 2nd St.
40°15′39″N 89°14′02″W / 40.260833°N 89.233889°W / 40.260833; -89.233889 (J.H. Hawes Elevator) Atlanta
Hoblit House
(#07000454) 505 N. College Ave.
40°09′15″N 89°21′53″W / 40.154167°N 89.364722°W / 40.154167; -89.364722 (Hoblit House) Lincoln
Lincoln Courthouse Square Historic District
(#85003166) Roughly bounded by Sangamon, Pekin, Chicago, Delaware, Broadway, and Pulaski Sts.
40°08′46″N 89°21′45″W / 40.146111°N 89.362500°W / 40.146111; -89.362500 (Lincoln Courthouse Square Historic District) Lincoln
Lincoln Public Library
(#80001384) 725 Pekin St.
40°08′49″N 89°21′40″W / 40.146903°N 89.361063°W / 40.146903; -89.361063 (Lincoln Public Library) Lincoln
Theodore H. O. Mattfeldt House
(#96000853) 202 S. Marion St.
40°00′30″N 89°17′12″W / 40.008333°N 89.286667°W / 40.008333; -89.286667 (Theodore H. O. Mattfeldt House) Mount Pulaski
Mount Pulaski Courthouse
(#78001164) Public Sq.
40°00′33″N 89°17′04″W / 40.009028°N 89.284444°W / 40.009028; -89.284444 (Mount Pulaski Courthouse) Mount Pulaski
University Hall
(#73000711) 300 Keokuk St.
40°09′24″N 89°21′42″W / 40.156667°N 89.361667°W / 40.156667; -89.361667 (University Hall) Lincoln
National Register of Historic Places listings in Logan County, Illinois Facts for Kids. Kiddle Encyclopedia.
This page was last modified on 14 December 2021, at 02:57. Suggest an edit.


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Veronica Mars/Un-American Graffiti
< Veronica Mars
Un-American Graffiti
Airdate May 1, 2007
Production Number 3T5816
Written by Robert Hull
Directed by John T. Kretchmer
Papa's Cabin 3x17 →
Debasement Tapes
Veronica Mars — Season Three
Un-American Graffiti is the sixteenth episode of the third season of Veronica Mars, and the sixtieth episode overall. Veronica attempts to avoid going to Parker's birthday party by taking on a vandalism and hate crime case. While she tracks down the person who spraypainted "Terrorist" on the Arab owned restaurant, Keith cracks down on underage drinking.
Starring: Kristen Bell (Veronica Mars), Jason Dohring (Logan Echolls), Percy Daggs III (Wallace Fennel), Ryan Hansen (Richard "Dick" Casablancas), Julie Gonzalo (Parker Lee), Chris Lowell (Stosh "Piz" Piznarski), Tina Majorino (Cindy "Mac" Mackenzie), Michael Muhney (Sheriff Don Lamb) (credit only), Francis Capra (Eli "Weevil" Navarro) (credit only)
and Enrico Colantoni (Keith Mars)
Guest Starring: Anthony Azizi (Rashad Krimani), Carole Raphelle Davis (Sabirah Krimani), Tracey Needham (Kathleen Barry) (credit only), Jack McGee (Mr. Murphy), KC Clyde (Deputy Gills), Azita Ghanizada (Amira Krimani), Haaz Sleiman (Nasir Ben Hafayid), Adam Rose (Max), Cole Williams (Derrick Karr), Eric Ladin (Derrick's Brother), Fred Stoller (One-Hour-Photo Clerk)
Co-Starring: Brandon Hillock (Deputy Sacks), Monica Allgeier (Miranda Apfel), Bart Fletcher (Jimmy/Kid at Bar), Cameron Meyer (Mrs. Hillis Honors AD), Tyler Foden (Ronald), Kunal Sharma (Brett), George Griffin (Stoner), Duane Daniels (Van Clemmons), David Giuntoli (Sneed Batman Guy), Robert Sudduth (Jason Cohen), Amy Main (Hot Myspace Girl #1), Christina Ulloa (Hot Myspace Girl #2), Brian Casey (Rock-A-Billy Loser), Chet Grissom (INS Agent)
A woman looking for Keith comes into his office, apparently unaware of his new status as defacto sheriff. The middle-eastern woman is the owner of Babylon Gardens, a restaurant which Veronica and her father often frequent. In the latest act of racism against middle easterners, her business was vandalized by someone who broke out their windows and spraypainted "Terrorist" on the door. Although the Mars Investigations office is shut down for the conceivable future, Veronica decides to help her out anyway. She stakes out the restaurant and has a brief encounter with Amira, who is still unhappy about some of Veronica's high school exploits. She leaves and tells her father about Veronica, who asks her to go home so that he can take care of the business. Just as they're talking, several people dressed in black in a yellow truck drive by and shoot them all with paintball guns. Even though the license plate was removed, Veronica caught a glimpse of a bumper sticker indicating that the owner has a student at Neptune Middle School. She goes forward on the investigation.
Meanwhile, across town, an incredibly drunk man is sent packing by the bartender and is struck by a car in a hit-and-run. Keith arrives on the scene to talk with the bartender, who sold alcohol to a minor with an obvious fake ID. He implies that the bartender shares some of the blame for why the kid won't be able to walk anymore. He gets information from Veronica that all of the campus-area bars are lax on making sure they aren't serving underage drinkers and decides to crack down on them, much to the dismay of the deputies.
The next day, Veronica pays a visit to the honors class at Neptune Middle under the ruse of doing a survey for her criminology class. The poll asks students (including a particularly obnoxious one who doesn't believe a girl could be in the FBI) first if they or a family member own B.B. or pellet guns, then if someone they know owns a paintball gun. When the numbers don't narrow down to one person, she asks who has a "big yellow pick-up truck," which tips off the teacher that the poll might not be quite what she expected. Veronica follows the one hand, a young Arab boy, to his home where she finds the truck and a couple of kids playing video games. She sneaks in, grabs a gun and shoots both the TV and the boy from the classroom. She confronts him, but he says that they had nothing to do with the vandalism. He shows her a video of the night before and their assault of everyone, not just Arabs. She accepts their defense and puts them to work on cleaning up their carnage. While they clean, Veronica sets up hidden cameras at Babylon Gardens to catch the real perpetrators.
Back to the bar crawl, none of the deputies issued any citations, which Keith finds highly suspect considering the information Veronica gave him. While he's questioning them, Veronica watches the surveillance video for Babylon Gardens and finds one suspicious guy skulking about with a shirt reading "Sneed Batmen." She tries to get Mac to help her with the phrase, but winds up getting roped into agreeing to go to Parker's birthday party. She goes off to get reinforcements from Piz and Wallace, but just as they agree to be her wingmen, she spots the Sneed Batmen shirt and runs off. She gets the name "Jason Cohen" from a member of the softball team.
Jason Cohen lives at the Zeta Epsilon house, a Jewish fraternity. When Veronica pulls up, she sees a flash go off in the trees and, with the aid of her binoculars, a man in the tree next to a window. A woman screams, he stumbles out of the tree, hops on his bike and rides away. When two people open the door, Veronica finds Jason and Amira. Amira explains that the man in the tree was Nasir, a man who she was arranged to marry, but she's more interested in her Jewish boyfriend Jason. Nasir hopes to take the pictures to her father and have her disowned as retribution. There's only two one-hour photo places in town that are open so late, so Veronica goes to the closest one.
At the drug store, Veronica poses as Nasir's girlfriend to pick the photographs up before he can get them. She walks away with the full photographs, but Nasir does manage to come away with a couple of the half-developed proofs. Her father only needs half of the picture to decide that this is why they have been targeted and that the vandals must be from either the Jewish or Arab communities.
Meanwhile, across town, Wallace is trying to get Piz into the game, so to speak, by being hustled by a woman playing pool in a bar. As this is going on, Keith is in the back office of "The Brig" with a particularly hostile bartender who suggests that if the police don't back off of his customers, he's not going to buy an especially high number of police raffle tickets this year. He turns this threat into a bribe, but Keith isn't in the mood for the bartender's insinuations and finds Wallace and Piz drinking at the bar. They hand over their IDs, which were made for them by Veronica.
The next morning, Keith confronts his daughter about Wallace and Piz (even though he does give something of a backhanded compliment, saying that her fakes were leagues better than any of the others he confiscated). She broods for a moment but is called into service by Sabirah, whose restaurant has been vandalized again. Veronica caught the offender's face on camera plus he took the Arabic scroll with a tracer stitched inside, making him easier to find. She discovers the scroll in a trash can and the perpetrator driving a beat up van. He starts shouting about the restaurant being a terrorist front, but his wheelchair bound brother tries to calm him down. The source of his vitriol is a political cartoon showing soldiers going into Iraq and coming out in coffins, which was apparently being handed out by Nasir at the mall. Veronica goes back to Babylon Gardens and explains the situation; Derrick's brother was shot in Iraq and the flier set him off. Instead of pressing charges, Rashad asks to meet the vandal.
Keith isn't quite done with Wallace and Piz yet, however. He comes to their dorm room (which has been adorned with the cover of the latest Lampoon, showing a cartoon Keith yelling at two students with their faces pasted over the cartoon bodies) and hands them two obviously fake IDs, featuring Jon Bon Jovi and The Notorious B.I.G. as the pictures. He sends them to the campus bars and has them drink non-alcoholic beer at the bar when the lazy deputy from before does a random check. He barely looks at any of them, only stopping briefly at Wallace and Piz, before ending his search and leaving. In the morning, Keith fires the deputies who didn't bother to check IDs.
The Krimanis are taken by Veronica to meet Derrick at his home so that the two can engage in a dialogue instead of carting him off to prison in retaliation. Despite an impassioned speech, Derrick doesn't care what he has to say, but he decides not to report him to the police after all. He also decides that perhaps Amira can date a Jewish boy and that he doesn't need to support Nasir anymore. Because the cartoon pissed him off, he calls INS on Nasir and has him deported due to his expired student visa.
With all of the investigations at a close, Veronica has no choice but to face Parker's party. She shares an elevator with Dick and winds up trying to calm her nerves with a flask of whatever alcohol Dick had on him. She struggles with digging in and preparing for battle as a single person at the party, but winds up dismissed by both Mac and Wallace. But, Dick winds up worse for wear and gets stuck in the ice machine room by the girls he was trying to nail from MySpace. Veronica tries to use Piz as a "break glass in case of emergency" go-to guy, Wallace informs her that Piz does, in fact, have a thing for her and she needs to put him out of his misery already. She tries to break them off as "just friends" on the balcony, but he kisses her before she can get the rest out. He starts to leave and, just when she catches and kisses him, the elevator doors open and Logan sees the entire thing.
Neptune Sheriffs: Several of the Neptune deputy sheriffs are fired by Keith for disobeying his orders and not checking the obviously fake IDs that he gave Wallace and Piz. Considering that there is a special election for the new sheriff position coming up, this may damage Keith's chances for legitimate election.
1x06 - Return of the Kane: During Veronica's junior year of high school, there was a student government election in which the resident fighter for the school's less advantages, Wanda Varner, ran for president on the platform of abolishing pirate points. She argued that pirate points were a system created strictly for the rich 09ers. Eventually, she lost the race because Madison Sinclair rigged the vote so that Duncan Kane would win and preserve the status quo, but he decided to expand the system to include the rest of the school's population.
Amira: Yeah, like since my senior year when you made my pirate points worthless.
3x09 - Spit & Eggs: The fake IDs made for Piz and Wallace were rewards for helping Veronica on a case earlier in the semester. The two, plus Mac, were called into duty to help Veronica test everyone's alcohol for traces of GHB so that they could prevent another rape. Their plot ended with the discovery of Mercer and his accomplice as the rapists, who very nearly had another victim if it weren't for Veronica's involvement.
Keith: I guess I don't have to ask where you got these.
1x08 - Like a Virgin: Max described the basic elements of Mac's "mystery of the week" appearance. She set up a professional looking website which allowed people to take a sexual purity test, which bid them to describe their sexual tendencies. She then sold the results of these tests to students who requested them for $10 each. She bought a car with the profits.
Max: That's great, an online purity test.
3x11 - Poughkeepsie, Tramps and Thieves: Max's friends hired a prostitute to meet with him at a comic book convention in hopes that getting him laid would loosen him up. Although he was convinced that he was in love with her, she wound up scamming him out of most of his money, even after he bought her out of the prostitution game.
Max: Seriously, did my friends hire you?
American Graffiti: The title of this episode refers to the 1973 George Lucas directed film American Grafitti. The movie is about a group of Californian teenagers on the last night of the summer vacation which followed their high school graduation. The vignettes of the teenagers are connected by a radio show by Wolfman Jack, a popular radio DJ at the time.
Gears of War: The video game that the four boys are playing before Veronica shoots their TV with a paintball gun is "Gears of War," a third-person shooter set in a post-apocalyptic future on the XBox 360.
Towelie: Towelie is a cartoon character on South Park created by Matt Stone and Trey Parker to be the worst character imaginable. He doesn't do much of anything other than get high and give incredibly obvious, obtuse remarks, much like the young man playing video games.
Veronica: Keep up, Towelie.
Pulp Fiction: Much of the scene where Veronica threatens the boys with a paintgun is pulled directly from the film Pulp Fiction where Samuel L. Jackson pumps three boys for information by threatening at gunpoint. At one point, after Brett has said "what" several times, Jules Winnfield points his gun at him in the arm and shouts "Say 'what' again! Say 'what' I dare you! I double-dare you motherfucker!"
Veronica: Say "what" again, I dare ya!
I Know What You Did Last Summer: Mac gives the entire plot to the teen slasher film I Know What You Did Last Summer in a single sentence. The entire movie is about a group of teenagers who accidentally run over a fisherman, but speed off without helping him. One by one, they all start to die by the hand of a mysterious man with a giant hook.
Mac: We ran over that fisherman and promised to take the secret to our graves?
She's All That: The second movie reference that Mac gives to Logan is the plot for She's All That, a modernized adaptation of Pygmalion by George Bernard Shaw. The movie is about a popular soccer player whose girlfriend dumps him, leading him to bet his friends that he could turn the nerdiest girl in school, played by Rachel Leigh Cook, into a replacement for his old girlfriend. Despite the false pretenses, he winds up falling in love with the nerd.
Mac: You bet your friends you could turn me into a super-hot prom date as a joke, but you ended up falling in love with me?
The Room: Actor/producer/director/screenwriter Tommy Wiseau's cult masterpiece about three people in a terrible relationship. Piz doesn't mention the movie by name, but does reference the fact that people throw spoons at the screen whenever a stock photograph of a spoon appears in the background. The Room is widely considered to be the "successor" to Rocky Horror Picture Show on the midnight movie circuit.
Piz: It's like the new Rocky Horror, at one point people throw plastic spoons at the screen.
Yo La Tengo: Yo La Tengo is an indie rock band from New Jersey that has been performing as a band for over 20 years. The name of the band comes from a famous baseball story from 1962. The center fielder, Richie Ashburn, and shortstop, Elio Chacón, were nearly about to collide when Ashburn shouted "I've got it" in Spanish ("¡Yo la tengo!"). Chacón backed off and Ashburn positioned him for a catch, but he was mowed down by Frank Thomas, the Mets left fielder, who didn't understand Spanish.
Wallace: I thought you were going to Yo Yo Taco on Sunday?
Casablanca: The last lines of Casablanca are spoken by Humphrey Bogart as Rick Blaine, the American expatriate owner of a night club in Morocco. After allowing Ilsa Lund and her husband to escape and continue their resistance movement against the Nazis, he says to his piano player Louis, "Louis, I think this is the beginning of a beautiful friendship."
Dick: What's that line about the beginning of some kind of friendship?
The Big Lebowski: Yet another Big Lebowski reference in season three is Dick's quotation of "The Dude" from the film on his MySpace page. In the movie, Jeff Bridges can frequently be seen saying that quote and using it as the foundation for his pacifist, slacker philosophy.
Dick: "The Dude abides." I don't know about you, but I take comfort in that.
Veronica: Your fly's open.
Dick: I know. Party ritual.
Retrieved from "http://tviv.org/w/index.php?title=Veronica_Mars/Un-American_Graffiti&oldid=2757275"
Veronica Mars/Episodes
This page was last modified on 4 April 2021, at 20:34.


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