I just upgraded to Windows 8 Pro 64-bit from Windows 7 Home Premium 64-bit and am having a problem launching The Walking Dead through Steam. Game functioned perfectly before in Windows 7. Now when I click the Play button, I get the "Preparing to launch The Walking Dead" prompt through Steam, but nothing happens. Prompt goes away, but the game does not launch.
Subsequent tries result in the same behavior. I also tried verifying the integrity of the game cache to no avail. Steam comes back that "all files successfully validated" and none are redownloaded.
Is The Walking Dead compatible with Windows 8 through Steam? Should I try the standalone game download instead? Any help from TellTale or others would be greatly appreciated.
UPDATE: So a little more research yields that unplugging my Xbox 360 controller will get TWD to run. I did see some workarounds online for the issue, but will TellTale be providing an official fix?
Any assistance or information would be appreciated. Thanks.
I have the standalone version, and it's the same for me. Nothing happens when I try to start the game.
EDIT: I've tried BttF, Wallace and Gromit, and Hector as well. Same thing there; absolutely nothing happens.
Right, removing the 360 controller did the trick. Perhaps I shouldn't have glanced over the last part.
Having the same issue. Neither the stand alone game or the steam version work.
Thought I'd add my experience to this list. Like a lot of people I've decided to give Windows 8 a spin and Walking Dead is an awful experience right now.
I'm using the Steam version on Windows 8 Pro 64bit, the game simply does not launch with the X-Box 360 controller installed, once the controller is unplugged the game loads up in a smallish Window with a very low resolution. Each time I make the game full screen and up the resolution, it kinda of works, but I have noticed my save files disappearing, and if I exit the game to go back to Windows next time I return all my settings are messed up again and I get the game in a tiny low res window...again.
It's an unplayable mess right now, it was working perfectly on my same laptop last week when I was playing this on Win 7 64bit. I've done a clean installation of the Steam client and then reinstalled the game from scratch but again there's no difference.
Edit: #16 says don't let the site run their scan software.
Also my Steam version of Back To The Future is affected by this same bug. It's unbelievable how Telltale games have all these bugs, save game issues etc on Windows 8 Pro 64bit, yet I can run ancient games like Tomb Raider Anniversary without messing around with anything at all (yep Steam weekend sales lol).
Being recommended to go on to sites like Topdll should not even be an option, you're potentially putting a customers computer at risk of malware, the whole point of paying for games is we get a good product backed up with decent customer service.
Yup. The dll trick didn't work anyway. Not completely anyway. It works but the left stick doesn't work. So that's only a partial fix.
Unfortunately Windows 8 is not currently a supported platform, however all games have been shown to run without a controller plugged in. The workaround listed in the other thread should be able to assist anyone who needs a controller to play any of our games.
We do want to investigate this further, so if anyone can specify whether they have Win 8 32-bit or 64-bit, that would be helpful. Thanks.
Thank you for an "official" TellTale response. Although my post-count and general forum activity certainly won't show it, I've been a fan of your games for quite awhile, starting with the Sam & Max revamp actually. Your support and interaction with the community have always been top notch and I've been a strong advocate for the way your company does business in an industry that continually eschews good support for a higher profit margin.
However, I would ask that your company please not drop the ball on the incredibly important aspect of making all your games, not just TWD, 100% feature compliant with Windows 8. In my opinion, this is an outright necessity.
As a developer (not games), I understand that there are many ways to solve the problem outlined in my OP. The first you already alluded to in that none of your games list Windows 8 as a supported OS in the system requirements. This is all fine and good, but Windows 8 isn't going away anytime in the near future. Even certified "duds" like Windows ME and Vista lasted a number of years before they were supplanted by something more widely adopted. That said, nearly all consumer class PC's from major brands such as Dell, HP, Acer, et. al. are now shipping with some variant of Windows 8 pre-installed. Taking what I would consider the lowest road (i.e.; "our games aren't compatible") would be tantamount to shooting yourselves in the foot as far as further sales of your titles go.
Of course since the games run fine on Windows 8 other than the controller support, you could simply add a line to the requirements that gamepads are not supported on the latest OS. Again, I think this would be a mistake... both for new Windows 8 PC buyers as well as upgraders like myself. Anyone who attempts to play one of your games with a controller plugged in will be greeted with absolutely nothing when attempting to run TWD, BttF, or generally any other TellTale game I'd surmise. With no error message to go on or feedback other than slogging through the event log for "hints", the user will likely be left with the feeling that their game simply "doesn't work." I'm sure that's not the impression your company wants to make. Again, Windows 8 isn't going anywhere anytime soon.
At a minimum, I feel that either a message on runtime that "controllers are not supported on Windows 8" if one is plugged in or an update that effectively removes controller support and allows the game to run would be necessary. This is one of those kinds of issues where I think you need to do something. You can't just leave the situation to chance and hope that the user reads what you've wrote and/or fully understands what you're trying to convey.
Bottom line is that I feel this problem needs to be actively addressed one way or the other. Definitely in the here and now, since Windows 8 will only become more prolific and Telltale games affected are actively sold on your website as well as other digital distribution channels. Also, what of the future with TWD season 2, Fables, and other Telltale games? The problem will need to rectified eventually. Why not do it the "right way" and put in the work to add controller support back to the games/engine for Windows 8 without workarounds that involve downloading core components from what may be questionable sources?
With that, I've effectively said my peace. Given your track record, I trust the TellTale team will do the right thing here. Thanks for hearing me out.
i have the same problem and i have windows 8 pro 64Bit.
I've bought the The Walking Dead Game from your Store and I can't launch the setup file on Windows 8. Every time I try to open the setup it doesn't do anything. So I can't even install The Walking Dead on Windows 8, 32 Bit.
Same problem here, on Windows 8 Pro 64 bits, french version.
I purchased The Walking Dead on Steam when I had Windows 7 64 bits Home Edition, played a few hours. Then I upgraded to Windows 8 Pro 64 bits and the game stopped working. I disconnected the X360 controller and could launch it again, but it opened in windowed mode, and my saved game were gone.
Even though I changed the display settings, every time I launch the game it goes back to windowed mode.
I'm waiting for a fix before I play again, don't want to lose my saved game once more.
There's a good chance Windows 8 uses a different directory for save games, but since it's not currently a supported platform, we can't speculate on this. Do a search for your prefs.prop file as it should be in your Documents\Telltale Games sub-directory. If you find a prefs file elsewhere, it's probably interfering with your older file and that's why your saves aren't loading. On Win 7 and older, you would simply need to remove this other file. It's probably the same on Windows 8.
Thanks so much for the tip. This worked for me. I am not sure about my save games yet. Fingers crossed.
I download the file dinput8.dll, introduced after the file dinput8.dll into the main folder of the game and ready.
Yep this work-around seems to get things going (W8 64). Lost the settings/progress first time round but more stable now.
This worked like charm, thank you!
2) You aren't supposed to be putting program files in the folder. Windows recommends that files, per user, be kept in "Users/<username>/AppData/Roaming/". (Though, strangely enough, there is a default folder in Documents called "Saved Games" so why the hell you are putting files in the Documents and not in there, I don't know).
If, as developers, you don't know that, then you don't really even know how Windows is supposed to work. And if you don't know that, then maybe you programmed the game wrong.
On top of that, it's been like 9 months and I still can't play the game I purchased?
Yep in Windows 8 64bit it wouldn't launch. No error message seen. But after reading others needing to disconnect controllers I also needed to disconnect the Saitek joystick launches fine now.
I don't have a controller plugged in, so I went through device manager and the only thing it's showing that's even sort of a controller (even though it's not plugged in) is my Razer Nostromo. I uninstalled that device and TWD started right up.
Unplugging my Razer Nostromo did the trick. I hope they fix this. It's not like gamers don't have gaming devices plugged in or anything.
Side note: why the hell are you putting stuff in "My Documents"? That alone is a sign that your developers don't know what they're doing or are under such tight deadlines that they simply don't care.


Gnarls Barkley's Danger Mouse is producing Beck's new album.
Danger Mouse will collaborate with Beck on his new album, reports Harp magazine.
The producer, real name Brian Burton, has already started work on the follow-up to Beck's 2006 album The Information.
Burton, one half of Gnarls Barkley, has previously produced for acts such as Sparklehorse, The Rapture, Gorillaz and Martina Topley Bird.
Gnarls Barkley's second album The Odd Couple will be released on April 8.
The video for the group's latest single 'Run' was blocked from airing on MTV due to strobe lighting effects.


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How to Get Your Grass Through Summer
Alyssa Ruane,
NATALIE ANDREWSON
NORTH CAROLINIANS TAKE grass seriously.
We want to cultivate a lush lawn. We seed and water and fertilize and mow and edge and watch. We hope the grass is always greener on our side. But Charlotte summers are hot and relentless—and there's a chance you're fertilizing, watering, and mowing all wrong.
Barry Deal is a mowing specialist at James River Equipment in Matthews—he's been there for 11 years, and before that, he spent 17 years as part-owner of a golf course in Indian Trail, where he managed the turf. When it comes to keeping your lawn lust-worthy in the summer, Deal says there are a few factors you should consider.
Cool- or Warm-Season Grass?
"We are in a transition zone in North Carolina, where both grasses can grow, but neither one is perfectly suited for the climate," Deal explains. Common cool-season grasses, such as fescue and ryegrass, thrive in lower temperatures. Fescue turns deep green in the spring, but as summer rolls around, it goes somewhat dormant. Bermuda, zoysia, and centipede grass are warm-season types, which love the sun and are naturally resistant to drought, disease, and traffic.
Fertilize Fescue Sparingly
Once it starts to go dormant in the summer, untreated fescue tends to fade. "It's not a good idea to force the hand of nature," Deal says. "For a little color, you can spray some liquid iron, but it will never be as deep green and lush (as it is in spring)." Don't overfertilize—doing so during the summer, while the grass is semi-dormant, can burn the roots and kill your grass. And once it dies, Deal says, cool-season grass doesn't revive until fall, when you have to re-seed your lawn.
What's Your Watering System?
For cool-season grasses, Deal says irrigation is key: "A lot of people who don't have irrigation have fescue lawns, and (irrigation is) almost essential." Warm-season grasses need much less water to survive, so these varieties are typically less expensive to maintain. For both types, Deal suggests you water early in the day. "To me, the best time to water is around 5 a.m., so it benefits the root system," he says. The frequency depends on your grass variety.
Mow High and Dry
Deal advises you ensure the lawn isn't wet and "mow as high as possible," trimming only the top third of your grass. Doing so will allow you to mulch, spreading the clippings on the lawn, which releases some fertilizer and nutrients back into the ground. Also, use sharp lawn mower blades. If they're dull—Deal says this offense is common—you're ripping out your grass instead of cutting it. He says two-to-three blades should be enough to get you through the summer. "Get them sharpened," Deal says. "It's an investment that pays off."
This article appears in the June 2017 issue of Charlotte magazine.

redpajama_set_name: RedPajamaCommonCrawl


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Apr 15 REVIEW: "Così fan tutte" at the Met Opera
Review, Opera
In a fun bit of theatrical trading places, opera diva Renée Fleming is currently starring on Broadway in a terrific new production of Rodgers and Hammerstein's "Carousel", while Broadway star Kelli O'Hara is diva-ing it up in The Metropolitan Opera's terrific new production of Mozart's "Così fan tutte".
While Ms. Fleming's voice is impeccable, her grand acting style is a little out of place at the Imperial. However, Ms. O'Hara seamlessly slides onto the stage at the Met Opera; if it didn't know her musical theatre career, I'd swear she's a member of the company.
Phelim McDermott oversees the first new production of "Così" for the Met Opera since 1996, cleverly transposing Mozart's comedic romp from 18th Century Naples to 1950s Coney Island. Sometimes such setting concepts can be forced or hokey. Not so here. Indeed, one of the great delights of this "Così" is the constant reminder of just how well the concept works, proving the universality of Lorenzo Da Ponte's 1790 libretto about faithfulness, forgiveness, and the arbitrary nature of love.
In "Così", cynical bachelor Don Alfonso (Christopher Maltman) challenges army officers Fernando (Ben Bliss) and Guglielmo's (Adam Plachetka) contention that their respective fiancées, the sisters Dorabella (Serena Malfi) and Fiordiligi (Amanda Majeski), are faithful to them. With the aid of mischievous motel maid Despina (Kelli O'Hara), Don Alfonso constructs a playful ruse to prove his theory that the women will be unfaithful (the title of the opera roughly translates to "all women are like that"), sending Fernando and Guglielmo "off to battle" and having Despina re-introduce them, in suave 1950s-Brooklyn disguise, to Fiordiligi and Dorabella. At first, the women rebuff these strangers' advances, but eventually they succumb—to each other's fiancé! In the end, after much farce, identities are revealed and amends made.
The vivid design by Tom Pye (sets), Laura Hopkins (costumes), and Paule Constable (lights), perfectly summons the festive carnival atmosphere of mid-century Coney Island. And a specially hired troupe of side show carnies completes the picture: a bearded-lady, little people, sword swallowers, contortionists, and a strongman. The closing of act one finds the lovers on Luna Park's famous tea cups, while Fiordiligi's soaring act two aria literally takes flight as she rides Deno's Wonder Wheel. The mise-en-scène is sublimely fun and evocative throughout, and it is a joy to hear Mozart's music so beautifully sung.
The characters of "Così" are well-sketched—particularly the women. Despite the title, which becomes a laugh line, the opera is no more a condemnation of women than it is of men, or more simply: blind love. Beneath the farce and romp is a very serious and contemporary exploration of what love is and means, and how it is in a constant state of change, both arbitrary and enduring. For those looking for it, "Così" gives great texture to these ideas. For those who just want to sit back and enjoy a gorgeous score and a light comedic opera expertly executed, "Così fan tutte" is a wonderful offering.
30 Lincoln Center Plaza
Running Time: 3 hours, 20 minutes (one intermission)
Opening Night: March 15, 2018
Final Performance: April 19, 2018
Remaining Performances:
April 16th at 7:30 pm
Met Opera, Così fan tutte, Mozart, Phelim McDermott, Renée Fleming, Kelli O'Hara, Christopher Maltman, Adam Plachetka, Serena Malfi, Amanda Majeski, Ben Bliss, Tom Pye, Laura Hopkins, Paule Constable
Apr 13 REVIEW: Rodgers and Hammerstein's "Carousel"


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SOM Foundation
Collecting oral histories related to the SOM Foundation is an ongoing initiative as we look back and celebrate the first forty years of awards. The oral histories below include reflections from former SOM Foundation leadership and jurors on the early years of the awards program and how it has changed over time. More importantly, they also represent the experience of SOM Foundation Fellows and the lasting impact of the awards.
"Volume: Bringing Surface into Question," 2011 SOM Prize for Architecture, Design, and Urban Design. © Brandon Clifford.
Reflections from Former SOM Foundation Leadership and Jurors
SOM Foundation Chair (1979–1989)
The start of the SOM Foundation was very simple. In 1979 SOM was doing very well, and we thought that schools of architecture needed some assistance at the student level. From the beginning I had the help of a number of individuals in the firm who were willing to commit their time and money to the effort. In the early days of the Foundation this included Bill Hartmann, John Merrill, Marc Goldstein, Tom Eyerman, and others. We started with a select number of schools and then opened it up when we found that many of the best people we were getting in the office were not from the most famous schools.
I always felt that my job was to help make the thing work, but as far as the actual competitions went, I stayed out of the way. I usually didn't serve on juries, but I did make sure that we got the best jurors and directors that we could. For example I knew Vartan Gregorian very well, first when he was a Provost at my alma mater, Penn, and later when he was the head of the New York Public Library. I was friendly with the Kennedys, especially Bobby Kennedy, and brought Mr. (Stephen) Smith on board and Patrick Moynihan as well who was always interested in education. These were all remarkable men. The non-architects brought a certain amount of perspective to the Foundation. Architects love to meet and talk with other architects, and they think of what they do as an expression of themselves. This is silly, of course, because architecture is always an expression of its time. The self-aggrandizement of the architect never lasts. It always dies with the architect. As Mies once said, the architect should express himself in bed, not in the architecture.
I was the head of the Foundation until I retired. I have not had much connection with it since then, but it remains for me a good experience.
I have been involved with several juries. One, I remember, was with David Childs, Stanley Tigerman, and Charles Moore (in 1982). Another was with Stanley and Charles Moore again (in 1987). Another was with Ralph Johnson, Larry Booth, and Stuart Cohen (in 1990). One of the things I find more interesting is how the jury acts. Usually, it seems, one person takes charge. I remember [Edward] Chuck Bassett taking charge. Stanley Tigerman did the same. Stanley was a marvel. He would choose instantly, but we would all come around to similar conclusions eventually.
Given the number of SOM partners in the jury over the years, you might have expected the awards to reflect the kind of work that SOM was doing at any given point. Actually, I don't think this happened very much. In the early 1980s, for example Post-Modernism was strong in the schools but not at SOM. Later on it was just the other way around. It is probably that the jurors, especially the SOM jurors, have usually been more conservative in their office work than the students, but I think most of the jurors have seen their role as trying to find the best work no matter what the style. I think many of the jurors relished the chance to deal with work that was much less conservative than work they did for their own clients. I think most of the SOM partners thought of it more like the PA awards than like the AIA awards. For them it was exhilarating to see fresh work, the more avant-garde the better.
Craig W. Hartman
I served on an SOM Foundation jury for the first time in New York in 1986, and subsequently chaired juries in San Francisco in 1990 and 1996. In 1995, I succeeded Adrian Smith as chair of the Foundation. For me, the most rewarding part of my involvement with the Foundation has been the process of selecting the fellowship winners and then seeing the results of this process in the final reports of the winners. Their accounts are personal, sometimes poetic, and often beautifully illustrated with drawings or photographs, and occasionally punctuated with revealing insights.
I find the portfolio review to be the most provocative aspect of the selection process. The freshness and energy of the best student work is always stimulating, and so is the debate of the finalists. When the final voting takes place, there is always a great deal of speculation—generally wrong—about which school sponsored which finalists.
The finalist interviews take a week later. It is not uncommon for the jury's opinions about the strengths of the candidates to be reversed as a result of these discussions. Not surprisingly, directness, clarity, and evidence of a mind that is open to exploration tend to prevail over dense theoretical constructs or evidence of a narrow range of interests.
The Foundation has evolved considerably since 1979. In the mid-1980s, outside directors were invited to join the Foundation's board. This led to the creation of the Chicago Institute for Architecture and Urbanism (CIAU), funded primarily by the SOM Foundation. The Charnley House was then purchased and renovated by the Foundation to house CIAU. When CIAU proved to be too costly to keep going, it was wound down, the house was sold, and the proceeds reverted to the Foundation. The return of these assets to the Foundation has allowed us to expand its activities significantly while continuing to reinvest and build the capital base of the endowment.
In 1992, Craig Hartman invited me to join the SOM Foundation awards jury. Seeing the high level of student submissions and efforts by an earnest jury committed to identifying and awarding the best candidates impressed me as something important for SOM. Later, as the chair of the Foundation from 2002–2005, I was able to experience firsthand the impact the awards have had on the academy and profession.
During that time, SOM partners questioned the finances and structure of the Foundation. This self-reflection was important as fluctuations in the financial markets, various initiative expenses, and increasing administrative costs threatened its resources. At the same time, we saw other new prizes and awards being introduced with impressive payouts.
Happily, we were able to stabilize the endowment, reduce administrative costs, diversify awards, and increase award amounts. More importantly, the Foundation was able to reach out to many architecture school deans and chairs, as well as past awardees, to survey them about their thoughts on the SOM Foundation awards. The response was overwhelmingly positive and heartening.
We increased the number and award amount of now combined awards for architecture, urban design, and interiors to complement engineering awards and reflect the interdisciplinary nature of design in our own practice. Toshiko Mori, then chair at Harvard, and other school leaders offered that the $15,000 was plenty for a student. They thought it was important to increase the number of awards to cover more schools and qualified students.
At the time, we were able to hold finalist interviews after a first round of juried portfolio reviews. While this added administrative costs to the process, we found those opportunities enlightening to see and hear the candidates personally describe their plans and goals. Many aspirations mirrored traditional "Grand Tours," others sought to discover sometimes obscure or esoteric design gems in far off destinations, and a few brought creative and unexpected proposals—like using a RV to visit and study the design and sociology of Walmart parking lots across in US.
Perhaps most surprising was learning some students hadn't ever been out of the country. As Liz Plater-Zyberk, then dean at the University of Miami, said, many of the middle-class constituency at her school never had the privilege of travel and needed the award to see the world. Of course, the Internet has increased access to architectural discovery, but there was universal agreement that independent travel, without any strings attached, that could benefit as many of the top students across the country as possible was very important to the schools.
This idea of the SOM Foundation Traveling Fellowship as the contemporary Prix de Rome felt limiting if it remained only a prize for Americans. In addition to the UK Award, we initiated the China Prize as a gesture to the firm's increasing work and connections to the schools in that country. In a sense, this evolution of the Foundation's reach is true to the mission, now global, of benefiting the design education process and future of the profession.
As chair, I strongly encouraged SOM partners to support the Foundation and awards. The impact was illustrated one day when I received a note and $10,000 check from Santiago Calatrava (1988 Fazlur Khan International Fellowship) who wanted to give back and foster the Foundation's goals that benefited him. When asked, Marion Weiss (1982 Master of Architecture) said it was life transforming, adding, the ability to go alone was important as a way of finding yourself and essential to understanding architecture and design.
Stanley Tigerman
SOM Foundation Board Member
I was not involved with the creation of the SOM Foundation or the very first discussions about the traveling fellowships. All of that was Bruce Graham. He was really the force behind the Foundation. But I did get involved very soon afterwards, at the funeral service for Fazlur Kahn, in fact. At the service Bruce and I made our peace. It was the beginning of a truce between us. I advised Bruce on bringing in a number of other architects both for the Foundation juries and for other projects. That led to the Chicago World's fair charettes, to the King's Cross (London) scheme, to the Chicago Central Area Plan, and it led eventually to the Chicago Institute for Architecture and Urbanism.
The jury process works very much like the Rome Prize. The jurors come together to cull through the portfolios and then invite a certain number of people to interview. It was always very well done, and it is just as prestigious as the Rome Prize. In fact, in my view, the SOM Fellowship is harder to win than the Rome Prize. I have been on two SOM Fellowship juries, three Rome Prize juries, and AIA and PA juries. They are all quite similar in some ways. There may be one curmudgeon who wants to argue about one or another of the entries or someone who has a stylistic point of view to push, but, at the end of the day, most jurors will pick quality, and there is usually a consensus. Once the finalists are chosen they are brought to New York, or wherever the interviews are held, and they either select or destroy themselves. They are products of their temperaments, their education, and their mentoring, and it is apparent almost immediately what their level of maturity is, who would be able to handle a piece of money.
The idea for a foundation was discussed on and off since about 1975. The partners finally agreed to it in the late 1970s. The idea was to consolidate the various donations made by the local offices. During the first discussions about the Foundation one of the themes we kept coming back to was the idea of improving architectural education. So we worked on the idea of fellowships. Bruce Graham was the driving force. Much of the work setting it up was done by a small group that included Bruce, myself, and Chuck Bassett. Other people who were extremely important in developing the Fellowship program were Tom Beeby, Harry Cobb, and Stanley Tigerman. The model for the fellowships was in part the Rome Prize (for study at the American Academy in Rome). I have been on the board of the Academy and realized how important it was. Chuck Bassett spent time there and so did Stanley Tigerman. The jury process, for example, where we invite Foundation directors and outsiders we took over directly from the Academy. Another element was Harry Cobb's interest in reinstating the thesis at Harvard. He wanted some tangible product at the end of each student's last year in architecture school, and he thought of the fellowship travel in the summer before the final year as the perfect kind of thesis research.
One of the interesting early debates was about the location for the Foundation. I had wanted it to be in New York. There was also some thought that it should be in Washington DC. But at a meeting we had at the Century Club in New York Harry Cobb won the group over by his arguments for Chicago. He convinced everyone that Chicago was in the heart of America, was a city identified with great architecture and was the city most closely identified with SOM.
Thomas Beeby
I was invited into discussions about the traveling fellowship program during the first years it was in operation. There was some feeling that the Foundation should only deal with the best schools. I was an advocate for opening it up. We wanted the best students and who knows where the best students are?
Oddly enough, one of the problems in the early years was how to have people take it seriously. You would think that if you are giving away money everyone would be clamoring to get in, but it didn't always work that way. In fact a lot of the professors were somewhat suspicious of SOM and they conveyed that to the students. One of the earliest decisions was to ask the deans or department heads to nominate the students. This was a good move since this way the schools themselves would be involved and someone there would always know about the Foundation and what was going on.
Sonia Cooke
SOM Foundation Administrative Director (1985–1992)
I was Bruce Graham's secretary starting in 1972. Then I worked for the Foundation. From 1985 until I left in 1992 I was full time at the Foundation, first at the SOM offices and later, when the program moved over to the Charnley House, over there. I was around at the beginning of the Foundation, but I was not directly involved with it except in so far as it related to Mr. Graham. You have to remember that by this time Mr. Graham was thinking ahead, maybe looking forward to the time he would retire. He was at a point where he could relax a little about his architectural career and think more about what else he wanted to do with his life. A lot of people know Bruce Graham as a businessman, as a corporate architect, but he was more than that. He was conscious of civilization. When he was talking about his plans for the Foundation, I heard him repeatedly say to people, "I'm not talking about five years from now. I'm talking about 50 years from now." I think he wanted to experience architecture in different ways. I've seen his enthusiasm and admiration for Gehry, Cobb, Moore and others. And he always thought globally, not locally. I think that may have been because he was not born in America. He has experienced and seen much more.
I was involved with the fellowship program in several ways. During the years when a partner in the Chicago office organized the fellowship process I was the one who corresponded with the candidates. I also needed to keep track of them while they were traveling. The vast majority of the students were extremely conscientious in sending back cards and keeping us informed and then in sending in their final reports. After they finished their travel we would still try to maintain some contact as they have continued their career. So I've gotten to know a number of them fairly well that way and have followed their careers, although usually at some distance. That has been a good experience for me.
I was also the one who organized the juries. The jurors met twice. During the first round they narrowed down the number of portfolios to a manageable number. At this stage of the process I took the portfolios and removed the identification before the jurors met. Then I sat in on the portfolio review. That part of the process could be an endurance test. You have to remember that there could be 100 portfolios that every juror had to look at. I would go around the room trying to see who had seen what. Each juror was given a work sheet. It was a process of elimination on the first round. When we got to the finalists there was more discussion. That was extremely interesting because I was the only one who knew who the candidates were. I was always curious to see if they could tell which ones were done by women, for example. The jurors usually referred to the candidate as "he," but it was obviously a generic "he" because they knew that many of the portfolios were from women, and it never surprised them when it was a woman, but I don't think they could ever tell. Of course I had my own ideas on the portfolios, too, so I was curious to see whether the jurors agreed with my ideas. I was always impressed by the juries. You have to remember that there were some enormous egos in the room, but I don't think that the egos got in the way. When that started to happen the jurors would keep each other in check. The jurors always rose to the occasion and put away their own agendas. They sometimes made quips about overwrought portfolio presentations, but generally they were very serious and admiring of the student work.
After the first round we would bring in a number of the candidates for their interviews. This was a most interesting time watching the pleasure and sometimes surprise when the jury connected up the portfolios they had seen with a real person. Sometimes the portfolios were wonderful, but the student just didn't have much to say about the work. Other times, though, and this was so gratifying, the student would just shine at the interview. I think the architects were always impressed by the non-architects on the jury, people like Elmer Johnson who had been at General Motors, and William Randolph HearstJr., and the others. It was interesting that between architects and non-architects there was always a lot of meeting of the minds. It was also interesting to me that there was not really a lot of discussion about the specific style of the portfolios. They were looking for quality. These juries were for me, and I am sure they were also for many of the jurors and the students, some of the most cherished moments of my professional life. I am really one of the converted when it comes to the traveling fellowships. It shows what can be done when you do a good job setting the stage.
Lisa Westerfield
I got involved with the fellowship program about 1989. At the time I was working for Mr. (Adrian) Smith. The CIAU was just splitting off from the SOM Foundation, and Mr. Smith was taking over the chairmanship of the Foundation. I have been doing the administration of the fellowship program since then.
Much of what I do involves contact with the students and the schools. Getting to know the students has been extremely enjoyable. They are the nicest people you can imagine. Of course, no matter how carefully you organize things there are sometimes problems. Last year when we had our jury in London, despite all of our warnings to the schools, we found out at the last minute that one of the students still didn't have a passport. Everyone went rushing around to see how we could get him one in the shortest possible time. I remember he had to fly to Chicago, take a taxi into town to a Fed Ex office, pick up his passport and then take a taxi back to the airport to catch his plane for London. We have had calls from students who are traveling. Sometimes when they get into a fix they call us. We had one student who had his luggage stolen, and we tried to do what we could from here to help him out.
Then there are the problems with the portfolios. Once we had a portfolio come in that was made up of many small Plexiglas pieces that were supposed to fit together almost like a puzzle. The trouble is the pieces had all come apart in the shipping. I did the best I could to reassemble everything with rubber bands to hold it together. We have had other Plexiglas projects that were fine, of course. Then there was the student who hand-delivered a portfolio one year. He (she?) had made it with steel plates and had packed them in a redwood box. It must have weighed 60 pounds. It was a wonderful piece of work, but how did he expect jurors to react when they have to pass around over 100 portfolios? Actually I think the jurors are just as likely to be impressed by a portfolio that arrives in plain black folder than a very elaborate one. They tend to concentrate on the work more than the packaging.
Sometimes there is also a tendency on the part of some students—many of them come, after all, from artistic backgrounds—to try to be creative with our rules and regulations. For example we say 12 sheets, no bigger than 11 X 17. One year one of the students submitted a portfolio with sheets 8 1/2 by 11, which is OK of course, but one of his sheets was an entire sheet of slides. The result was that he had many more projects represented than anyone else. I am not sure what we did, but I think we disqualified that one. Other times we have let students bend the rules a little bit, for example when they have 12 sheets but they have some overlays for text. When things like this happen, we have to make a judgment call, but then for the next year we fine-tune our rules. We sometimes face the problem of how lenient to be. We don't like disqualifying anyone, but we want to make sure that the process is fair for everybody.
One thing that we are not very sympathetic with is when schools don't give their students a fair chance. I had one director of a school tell me that he wasn't going to submit any student's names because they would have such a small chance of winning. That is really unfair to his students. Why shouldn't students at every school be given a chance to compete? Another time we had a director who insisted that he was going to send in three students' work rather than two. We kept telling him that our rules were that it could only be two. He ended up sending in three anyway. What were we going to do? We couldn't just accept all three because that is not fair to everyone else, but, on the other hand, we didn't want to disqualify all three students over something that was not their fault. In the end we asked one of our partners to be an impartial judge. He picked two out of the three, and those are the ones we gave to the jury.
Usually, though, everything goes well, and the students are such a joy to work with. When they are traveling we ask them to send back postcards keeping us informed about their trips. It is so interesting to hear where they have been and what they have seen. Some of them have been so creative with their time and money. A few of them been able to stay away much longer because they found out how to supplement their fellowship with a temporary job. We had a student who worked for Ando in Japan, for example. Of course, we wouldn't want a student who just went somewhere and worked, but we try to be very flexible in letting them work out their own arrangements. We send them off with letters of introduction. Several of the students have found these very helpful in opening doors. We had one student who used the letters to get into the cave at Lascaux after they had closed it to the general public. Many other students have met architects they always dreamed of meeting that way. Rebecca Dudley, who is getting ready to leave on her trip, has told me that the letters of introduction seem to work wonderfully in Japan.
Fellow Experience and Impact of the Awards
Marion Weiss
1982 Master of Architecture
Perhaps the most important impact of the SOM Foundation fellowship was the opportunity to experience firsthand the architecture that remained locked in my mind as ideals or icons, but only in printed form, or, at best, enlarged in a slide lecture. Dislocated from site, time, locale, texture, and culture, they held the imperious allure and aloofness that distinguishes the image of architecture from Architecture.
The tactile reality of this experience led me to a keener focus on materials, the art of tectonics, and the compelling will of site. To say this has directly affected my practice today is an understatement. Perhaps even more important than the observations above is a more personal one. As a practicing architect and professor of architecture, the Fellowship intensified an awareness that a passion for architecture is, in fact, a companion to the passion to explore, travel, observe, reflect, and invent.
The trip I took to Europe in 1983 exposed me not only to my "pilgrimage" site but also to unplanned wonders, just as browsing in the library inevitably reveals a wonderful unknown text. The Alhambra in Granada was just such a text. The juxtaposition of the dry landscape of Granada with the lush oasis of the Generalife Gardens and the sound of water next to the crush of gravel beneath the feet, overwhelmed my expectations. A half day "checklist" visit became a week's stay. The experience radically expanded my horizon of what architecture includes, and my practice today is committed to this broader definition of what the site of architecture is.
Robert McCarter
Even though I was already a licensed architect and had been to Europe, my year there with the SOM Foundation Fellowship was the most significant year in my life as an architect. I tried to do everything. I wanted to travel as much as I could to the point where exhaustion set in. Even though I scaled back, I still saw an enormous amount. I went from northern Finland to Egypt by way of Russia. I saw so much that was really interesting. In Finland I was astonished by how close Aalto's work was to barn buildings and other local vernacular structures, something that most historians and critics never seem to pick up on. Egypt, on the other hand, is the ultimate measure of architecture. You know, standing there, whether you want to be an architect. The fellowship gives you the luxury of time. You need time to sit there and draw in a sketchbook. You need to be able to wake up for the fourth morning in Athens and say "I think I'll spend another day sketching some particular building." Meanwhile the tour buses are just whizzing by with people who have one afternoon to see the Acropolis.
I think that the timing of the fellowship is perfect. When a student is about ready to finish school he or she is probably more open to influences than at any other time. I also think that Americans in general don't have a high opinion of the role of architecture as a framework for everyday life. Most architects here don't believe that an architect can really play an important role. In Europe, on the other hand, architecture is really part of everyday life. You can observe its influence just by walking around the city or by sitting at a cafe. I think taking a year and just observing is one of the most important things any architect can do. It is about regenerating ourselves. It reminds us why we wanted to be an architect in the first place.
Kit Krankel
1985 Bachelor of Architecture
My travels made possible by the Fellowship did what travel is supposed to do—it opened up for me new worlds and new ways of thinking about architecture. I went to Europe to study building ornament, but I found myself intrigued and excited by the other end of the scale—the context of the architecture and architecture as context.
In meeting and talking with European architects, particularly in Berlin and the Ticino, I found that they held an attitude very different from that of their American counterparts. The did not design buildings per se, but saw themselves as making contributions to a larger, communal built work—the city. As young architecture students, this notion of the city as design was a revelation to me, one that eventually steered me toward the path my career is currently taking.
Upon my return from Europe, I sought an internship with Andres Duany and Elizabeth Plater-Zyberk. I was fortunate to work at a number of their new towns, where I was able to study firsthand the nexus between architecture and context. I have since returned to my hometown of Austin, Texas, currently one of the fastest growing cities in the country, where I am able to fully participate in the important act of city building. I work for an architecture firm [Black + Vernooy] that specializes in urban design, and I am currently directing an ambitious project to restore Guadeloupe Street, an important, historic commercial street bordering the University of Texas campus. I can only hope to give back a small portion of what I gained from the SOM Foundation Fellowship.
Alex Krieger
1988 Architectural Educator Fellowship
As I reread my 1988 proposal today, midway through 2021, I am amazed how much of my career proceeded from that bit of chutzpa written nearly half-a-lifetime ago. It took quite a while for the book, then promised, to reach publication. But multiple "drafts," involving courses and design studios, symposia and seminars, professional assignments, travel, and several prior books, were all instrumental in making good on the promise made in the proposal: "Under the auspices of the SOM Foundation Fellowship I would advance a long-standing objective to prepare material for a book on the evolution of the American city."
Now, something perhaps I shouldn't admit; I used a portion of the award to partially subsidize the then barely-budding practice of Chan Krieger, in partnership with my GSD classmate Lawrence A. Chan. A career combining practice and teaching, almost in equal measure ensued. Though at times requiring more stamina than likely helpful to one's health, I would recommend embarking on such a dual career to many.
I thought then that among the objectives in the creation of the SOM Foundation must have been to further advance how the realms of professional practice and the education of future practitioners might interact. On the one hand, bringing the aspirational and speculative aspects so critical to the studio experience back to the office, where the pragmatics of client needs and budgets tend to govern. While at the same time, enabling the academy to better appreciate the efforts and the delight involved in carrying a design concept to physical realization. Regularly seeking out overlaps between practice and teaching surely improved both my teaching and practice, and my writing, I believe, too.
I would once more like to sincerely thank the SOM Foundation for enabling me to pursue youthful ambitions across by now a lengthy and rewarding career.
Timothy Johnson
My receipt of the SOM Foundation Fellowship in 1992, which focused on the turbulence of the restructuring identity of the former Eastern Bloc countries through modern architecture, Communist housing, and nuclear power stations, has allowed me to greater understanding of the extent to which "modernity" has effected (both positively and negatively) the human condition.
Today, as the Design Director of our [Ellerbe Becket] Asia Pacific market, I am responsible for a wide range of designs from masterplans to high-rise mixed-use development and everything in between. Everyone that is working in these hyperdeveloping countries like Indonesia, Vietnam, Thailand, Malaysia, etc. knows how important the process of design will be for the long-term investments of these countries. My foundation for the understanding of this context in many ways has been formulated within my studies at Columbia University with the William Kinne Fellowship and from the real-world exploration during my SOM Foundation Fellowship.
David Callan
1999 Mechanical / Electrical Building Systems
The opportunity afforded to me by the SOM Foundation was invaluable. During my travels, I attended outstanding international CIBSE/ASHRAE conferences on sustainability and engineering design. I visited fourteen individual buildings at various stages of completion, took over 550 digital images, and met with several members of the consulting engineering community to share experiences and dialogue. The paper here includes only a fraction of the experience due to its varied nature. Most importantly, I achieved all the goals I set out for. I now better understand UK design practices and subsequently US practices, and I have made friendships and acquaintanceships that should last throughout my career. My most sincere thanks goes out to all those who made this possible.
The fellowship was an extremely important transition from graduate school to the profession. The knowledge that I gained through traveling continues to inform my research, teaching, and practice.
Catie Newell
2006 SOM Prize for Architecture, Design, and Urban Design
When I look at the calendar and reflect on my career path thus far, my travels for the SOM Prize feel rather far away in years. And yet, when I consider the experience and the ideas that sparked the work and evolved over the journey, I am certain that time is still with me.
The true brilliance and joy of the SOM Prize for Architecture, Design, and Urban Design is the time and space to literally chase an idea around the world. For me, that chase was a very real pursuit of storm chasing and how the weather and geography play into our built world in a joyful and productive manner. This occurred alongside natural disasters that understandably were causing great fear and fortification against the threats of the atmosphere. Conditions and thoughts that will always be there. Hovering around this for me was also a keen sense for how the weather, shifts of day and night, and the seasons, are so key to the experience of any built space. It was here that I began to understand that these more fleeting moments in a way complete any architectural space and greatly impact our relationship to the environment. This can be read in all of the material and built work that I have made since.
Not only do I continue to work with these ideas that drove my time as a SOM Foundation fellow, but the dedication to sites, travel, and experiencing the atmosphere elsewhere has continued to be my most productive form of research and inspiration. The model of physically and optically experiencing new locations as seen through architectural thinking remains key to my practice.
I am forever grateful for the insight of the SOM Foundation to support the travel and ideas of young architects. The SOM Prize signals a commitment to timely and impactful inquiry that undoubtedly shapes the future both in method and content. My heart expands for everyone who takes up this journey knowing that it is lasting.
Amanda Hallberg
2007 SOM Prize in Architecture, Design, and Urban Design
Without the generosity, support, and trust of the SOM Foundation, this research would not have been possible. Because of their munificent gift, I was able to document not only some of the most notable works of American modernism, but also more than 200 lesser-known buildings and residences that may someday only exist in this document. As members of the profession of architecture, we become stewards of the profession. We strive to achieve new ideals and we capture the knowledge of those whose previous contributions lay the foundation for the future. I owe a debt of gratitude to the SOM Foundation for extending me this award. Their genuine effort to promote the emerging members of the profession is unmatched and embodies not only sincere philanthropy, but also the motive to put change in action, to bestow a greater conscientiousness on the emerging and to thereby improve the design fields through unconventional intellectual pursuits. This progress has influenced my entire future, with my beginnings bound up in a sense of social responsibility that I will strive to embody. Thank you.
©2022 SOM Foundation


Things Be Blowin' Around is an eclectic radio show of music covering all time periods and genres including rock, country, bluegrass, rap, soul, and more.This weeks show is dedicated to Cathy DeWitt and Bob McPeek for all they do for the Gainesville, Florida music scene. Both Cathy and Bob are part of the annual Vets For Peace show. Bob has recorded everyone, Cathy included. Their music heals and inspires many people. Thank you from my heart.


text:
Northern Pride returns to Newcastle in July for three days of what can only be described as high-jinx. And the cost to you? Absolutely nothing. Still.
There has been plenty of hoo-hah this year about the cost of tickets for Manchester Pride with people having to fork out upwards of 65 quid to see a bunch of has-beens like Ariana Grande, Years & Years and Kim Petras. I will give them some credit though, because they've had the foresight to stick the brilliant Liberty X on. But why tramp all the way down to Manc to see Michelle Heaton and co. when you can see them in Newcastle for absolutely nothing. Zip. Zap all. The band formed on the talent show 'Popstars' and went on to enjoy a string of hits including 'Thinking It Over', 'Just a Little' and 'Got To Have Your Love'. And no doubt they'll be wheeling out all their biggies when they play this year's festival, which will run from Friday 19-Sunday 21 July.
The party is so huge that this year it's spreading itself luxuriously over two parks: the historic Town Moor (which is where you'll find the Pride Festival Arena, which will be home to the main stage, food & drink and fairground) and Exhibition Park (which will house the Community Village, home to the Family & Youth Zone, Health & Wellbeing Zone, Rainbow Village stalls and some added extras).
Liberty X are all set to go through their paces on the Sunday but taking headliner duties on Saturday will be Fleur East. She's the lass who rose to fame on the X-Factor, reaching the final, and secured a number one single on iTunes with her knockout version of 'Uptown Funk' before the song was officially released. She went on to enjoy worldwide success with her debut single 'Sax'.
More X-Factor royalty will arrive in the shape of Saara Aalto. The singer-songwriter established herself as one to watch in her home country of Finland after finishing runner-up on shows The Voice and Finland's Got Talent (and voicing Princess Anna in the Finnish version of Disney's Frozen). She then rose to fame in the UK when she reached the finals of The X-Factor and represented Finland at last year's Eurovision.
Other acts of note appearing on the main stage will be Janice Robinson (from Liv'in Joy), Jaymi Hensley (from Union J), Lorraine Crosby (who duetted with Meatloaf on 'I Would Do Anything For Love'), Michael Rice (who had the distinction, ahem, of representing the UK in this year's Eurovision). Add in the likes of Sonia, Baby D, Katherine Ellis, Danni Dee, Marcella Woods, Northern Proud Voices, Choriza May (Drag Idol 2019 winner), Khalysis, Felix Shepherd and host Miss Rory, and you're in clover.
As mentioned above, it's all free, but if you would like to pay for a cheeky Platinum Pass then that will give you access to a private bar, Platinum Garden (whatever that is), better view of the main stage, and posh toilets (and who doesn't love a posh piss?).
Northern Pride 2019, Friday 19-Sunday 21 July, Town Moor & Exhibition Park, Newcastle. Free. northern-pride.com


Penguins and Glaciers and Wind, Oh My! | So Many Exciting and Beautiful Places!
The sea was calm this morning, and even into the afternoon. When the sun came out, it was truly stunning.
At noon, there was a brunch in the atrium, accompanied by some light jazz. The music was lovely, the food presentation almost as much, and the food itself was, as always, very good. I keep saying that I'm going to cut back, but then I see something I can't resist – like macaroons.
When we ventured out this afternoon to see the numerous glaciers and waterfalls that we've been sailing by, we were nearly blown off deck. I finally got to use my down jacket and other cold weather gear. The water in these channels is almost turquoise in color – very beautiful. The glaciers that we saw today do not flow to the water, so we didn't get to see any calving. I really have no complaints, though.
At Amalia Glacier, the ship turned around, affording some wonderful views to our fellow passengers on the starboard side. Amalia Glacier, also called Skua Glacier, is located in the Bernardo O'Higgins National Park. It originates in the Southern Patagonia Ice Field, and covers 61 square miles in the Magellanes and Antarctica region of Chile. We have seen a very small portion of it.
Later in the afternoon, we sailed by Italia Glacier, a tidewater glacier located in Alberto de Agostini National Park, terminating in the Beagle Channel. No calving today, though.
This entry was posted in Chile, Crystal Cruises, Patagonia, South America Travel and tagged Amalia Glacier, Glaciers, Italia Glacier, Penguins. Bookmark the permalink.


메모리 변조하는 방법에 대해서 일부 개발자만 동작원리와 개발하는 방법을 알고있다. 오늘 메모리 변조에 대한 기본 지식, 메모리 함수, 변조 방법까지 정리 할 예정이다.
우리는 HelloWorld.c 컴파일을 하면 HelloWorld.exe을 실행 파일을 생성 수 있다. iOS/OSX는 실행 가능한 파일들이 모두 실행에 필요한 데이터와 명령어가 포함된 March-O 포맷으로 되어있다. 운영체제에서 해당 실행파일을 실행하면 우리는 그걸 프로세스라고 불른다. 사실 실행파일과 프로세스는 데이터와 명령어의 집합이 다른 상태의 같은 오브젝트(객체)이다. 실행 파일은 정적, 프로세스는 동적이라고 볼 수있다. 실행 파일은 하드 디스크에 저장되어있고 프로세스는 메모리 내 저장된다.
운영체제에서 실행파일을 실행할경우, 운영체제는 실행파일을 디스크에서 메모리로 로드한다. 이 프로세스는 메모리 어디에 위치할까? ATM은 매우 복잡한 절차이며, 만일 꼭 알아야할 개념은 모든 프로세스는 별도의 메모리 공간을 차지한다는 것이다. 메모리 가상화를 통하여 프로세스 A와 프로세스 B는 다른 메모리 공간에 있다. 대부분의 메모리 작동은 가상 메모리를 기반한다. 그리고 ARMv7과 같은 32bit 프로세서의 경우 각 프로세스의 가상 메모리 사이즈는 2^32 = 4G바이트이다. 하지만 대부분의 프로세스는 실행 시 4GB를 사용하지 않고 4GB 보다 작은 부분을 소비한다. 프로세스 사용시 메모리의 실제 사이즈는 프로세스의 가상 메모리 공간이라고 불린다, 그리고 4GB 가상 메모리 공간은 많은 다양한 페이지 분할로 분할되어있다. 가상 메모리의 contiguous 블록은 고정(4096byte on iOS/OSX)되어있다. 메모리 동작의 최소한의 단위이다. 프로세스 가상 메모리 주소 공간은 다수의 메모리 영역으로 구성되어있다. 각각의 메모리 영역은 가상 메모리 페이지의 수를 포함하고, pay attention, 메모리 영역은 연속하지 않을 수 있다. 따라서 위의 개념은 다음 scrawls에 의해 설명 될 수 있다.
기본 개념을 정확하게 이해하고 난 다음에 메모리 변조에 대한 프로그래밍 모델을 구현하여 실제 코드를 작성해 본다.
메모리 변조란 무엇인가? 메모리에 있는 데이터를 수정하는 것이다. 어떻게 해야하는걸까? 메모리에는 주소가 존재하며, 시스템 APIs를 이용하여 우리가 찾을 값을 가지고 있는 주소를 읽고 쓸수가 있다. 하지만 우리가 찾을 주소는 어디있을까? 그 위치를 어떻게 찾을 수 있을까? 우리가 알고 있듯이 기계 코드는 쉽게 읽을 수가 없는 로우 레벨 코드로 작성되어있다. 하지만 기계가 읽을 수 있는 언어이다. 그리고 모든 기계 코드는 0과 1로 작성된 바이너리 포맷으로 되어있다. 즉, 궁극적으로 명령어와 데이타 모두 0과 1로 작성되어 있으며, 가상 메모리 상의 주소 공간은 모두 0과 1로 채워진다. 만일 찾을 값이 "010101"이면 가상 메모리 상의 주소 공간은 "00000111110101010110011000…"라고 작성되어지며 가상 메모리상의 주소 공간에서 우리가 목표한 값을 찾는건은 단락 내 문자열 패턴을 검색하는 것 만큼 쉽니다.
1) 모든 가상 메모리 영역을 나열 하여 대상 프로세스에서 가상 메모리 주소 공간을 얻는다.
2) 주소 공간에서 찾고자 하는 데이터를 찾는다. 그리고 찾고자하는 데이터의 주소를 얻는다.
3) 찾고자하는 데이터가 존재하는 주소의 데이터를 변경한다.
코딩하기 전에, 빈번하게 접할 함수를 빠르게 살펴보자. 모두 mach_vm 함수들이다.
Description: Read/copy a range from one address space and return it to the caller. $map$ is the port for the task whose memory is to be read; $addr$ is the address at which to start the read; $size$ is the number of bytes to read; $data$ is a buffer to store the read bytes; $data_size$ on input, is a pointer to the maximum size of the buffer; on output, points to the size read.
Description: Write data to the specified address in the target task's address space. $map$ is the port for the task whose memory is to be written; $address$ is the address at which to start the write; $data$ is a buffer to be written; $size$ is the size of $data$.
Description: Return description of a virtual memory region. $map$ is the port for the task whose address space contains the region; $addr$ on input, is the address at which to start looking for a region; on output, returns the starting address actually used; $size$ on output is the number of bytes in the located region; $flavor$ is the type of information to be returned, should be VM_REGION_BASIC_INFO; $info$ returns region information, should be of type vm_region_basic_info_data_64_t on both 32-bit and 64-bit OSes; $count$ on input, should be VM_REGION_BASIC_INFO_COUNT_64; on output, the size of the region.
Description: Locates the first occurrence of the byte string $little$ in the byte string $big$. If it matches, a pointer to the first character of the first occurrence of $little$ is returned; else it returns NULL.
약간 소스코드를 수정하여 String을 인식할 수 있도록 변경하였다.
DVIA라는 앱의 Binary Patching의 로그인 프로세스를 이용하여 메모리 변조가 잘 되는지 확인하려고 한다.
Login Method 1의 계정과 비밀번호는 Admin/This!sA5Ecret 이다.
이때 로그인 비밀번호에 qqqqqqqqqqqqq를 입력하면 로그인이 틀리게 된다.
./memory_char_iOS -> 실행하면 아래와 같이 PID를 읽어온다.
변경하고 싶은 프로세스 PID를 입력하고 문자열을 검색한다.
이전에 qqqqqqqqqqqqq를 입력 했으므로 해당 문자열을 검색한다.
Admin/qqqqqqqqqqqqq를 입력한 상태에서 memory_char_iOS를 이용하여 문자열을 This!sA5Ecret를 입력한다.
메모리 내에서는 입력패드로 입력한 비밀번호가 qqqqqqqqqqqqq에서 This!sA5Ecret로 변경된 상태이므로 로그인이 성공하게 된다.


Butzel Long sponsors a Tiger as part of the Children's Charities Coalition "TigerTown"
DETROIT, Mich. – In support of the Children's Charities Coalition, Butzel Long is sponsoring a Tiger as part of the group's "TigerTown" fundraiser. Butzel Long's Tiger is decorated with a Buddha theme and is nicknamed "Bu Bu." Butzel Long chose a Buddha theme in celebration of the firm's growing China practice and its China Alliance. The Butzel Long Tiger is on display at the northwest corner of Merrill and Old Woodward. TigerTown features 81 fiberglass tiger sculptures displayed throughout Birmingham, Bloomfield and the metro Detroit area. An auction will take place on June 28, 2007 at The Community House. Proceeds from TigerTown will benefit the outreach programs of the members of the Children's Charities Coalition including the Child Abuse and Neglect Council of Oakland County, The Community House, Orchards Children's Services and Variety, the Children's Charity.
The TigerTown mission is to contribute to the vitality of the greater Detroit metropolitan area through supporting regional public art and culture, and to raise needed funds for the outreach activities of the four member charities.
Butzel Long was established in 1854 and is headquartered in Detroit. Butzel Long is one of Michigan's oldest and largest law firms, with 225 attorneys and offices in Detroit, Bloomfield Hills, Lansing, Ann Arbor, and Holland, Mich., New York City, Washington, D.C., Boca Raton and Palm Beach, Fla., as well as Alliance offices in Beijing and Shanghai, China. The firm represents clients from diverse industries on a regional, national and multi-national level and is the sole Michigan member of Lex Mundi, a global association of 161 independent law firms. Visit the Butzel Long website at www.butzel.com. * * * * * Media Contact: Maribeth Farkas at Caponigro Public Relations Inc., (248) 355-3200.


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text:
Congress should invest in rail safety
Amtrak's Northeastern Corridor draws out the passengers. Investments in safety will pay off
Congress should invest in rail safety Amtrak's Northeastern Corridor draws out the passengers. Investments in safety will pay off Check out this story on delawareonline.com: http://delonline.us/1HGu5wy
Published 5:57 p.m. ET May 25, 2015
In the odd way that the world works, the Amtrak train crash in Philadelphia earlier this month may actually end up making things better for many people. There is no way to equate the deaths and injuries from the crash with any future gains, but as in other tragedies, safety measures may finally come about after long delays.
The need to emphasize safety is obvious. Democratic Senators from northeastern states, including Delaware, denounced delays in installing and paying for safety measures that could have prevented the Philadelphia crash. The Democrats also rightly demanded Republicans go ahead with the funding for safety equipment that the Northeastern Corridor of Amtrak needs.
Republicans have frequently criticized funding for passenger training, saying the systems should pay for themselves. Well, the Northeastern Corridor is one stretch of track – from Washington to Boston – where that is possible.
Unlike many other lines, the Amtrak corridor has enough traffic to justify its existence and expansion. It plays an important part in the commercial life of the most populous part of the nation. It would be foolish to neglect it.
However, the Republicans have been right about certain claims for the rail system that, in truth, would be a waste of money. Talk about high-speed trains is a waste. There simply is not enough traffic or potential traffic to justify the expense.
Even in the Northeast, investment in high-speed trains would be a waste. The cost would be too high and the zoning and environmental requirements would be so onerous that the project likely would never get done.
A high-speed train on the Northeast Corridor would be a dangerous thing. Of course, proponents of the idea say, the trains would not go all that fast through populated areas. If you look at a map of the line, you can readily see the wide-open spaces are sparse. Why put the money into a system that would be limited and serve few people?
It would be far better to get back to the idea of safety.
The Northeastern Corridor needs rail and crossing updates. New safety controls on speeds would improve service and make the traveling safer. Do not divert attention from those important investments by chasing after some dream of a high-speed system that cuts the travel between here and Washington by minutes at an enormous expense.
The Democratic senators were right to push for the safety changes and the safety investments. However, they should lay off throwing rocks at the Republicans. Remember they are asking representatives of states where passenger train travel makes no economic sense to support one section of the country.
There is an important economic, environmental and safety argument in the push for investment. The American public realizes that now. Build on that.
Read or Share this story: http://delonline.us/1HGu5wy


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text:
Q: C# workaround for tuple with names I want immutable anonymous types with named members that can be passed around, compared and recognized -- a merging of Tuples and anonymous types. This doesn't exist, and I realize that.
So the question is: What is a good idiomatic substitute for this using C#4 or 5?
The use case is fluid LINQ data processing from heterogeneous data sources. In a word, ETL in C#. I do some pretty complex analysis and data comes from multiple platforms and sources. It's not an option to "just put it all on the same platform and use Entity Framework". I want to able to fluidly pass around what are essentially arbitrary records -- immutable named sets of read only properties.
The only thing I can come up with short of creating a custom immutable POCO for every single otherwise-anonymous type is to use attributes to add compiled annotations to methods which return Tuples. Certainly it wouldn't be hard to write a code-generator for spitting out the immutable POCOs, but I hate how that clutters up the object model of a project. Using dynamic completely erases all the performance and design-time usefulness of static typing, especially if composing further queries from the results of other methods, so I don't consider it a viable solution.
// My idea: Adding a attribute to methods to at least record the names
// of the "columns" of a Tuple at a method level
public class NamedTupleAttribute : Attribute {
    public string[] Names { get; private set; }
    public NamedTupleAttribute(string[] Names) { this.Names = Names; }
}

// Using NamedTuple attribute to note meaning of members of Tuple
[NamedTuple(new[] { "StoreNumber", "Gross", "Cost", "Tax" })]
public IEnumerable<Tuple<int, decimal, decimal, decimal>> GetSales { ... }

What I want (Imaginary MSDN documentaion for C# 6):
duck (C# reference)
The duck keyword allows anonymous types to be used in all the statically-typed features of C#. Like normal anonymous types, the compiler will treat anonymous types with the same number, names, and types of properties as having the     same type. However, the duck keyword also allows these types to be used in member declarations and as type parameters for generic types.
1. duck type instances
Like anonymous types, instances of duck type objects can only be created using an object initializer
without a type name. The syntax is the same as for a normal anonymous type except that the keyword
duck is added after the new operator:
var record = new duck { StoreNumber=1204,
                        Transaction=410,
                        Date=new DateTime(2012, 12, 13),
                        Gross=135.12m,
                        Cost=97.80m,
                        Tax=12.11m };

2. duck type references
Duck types can be referenced using a duck type literal, a duck type alias, or implicitly when the return type of a property or method can be inferred.
2.1 duck type literals
A duck type can be expressed with a type literal, which can be used in the place of any type reference. Duck type literals consist of the keyword duck followed by a list of name - type identifier pairs just as in a parameter list of a method, except enclosed in curly braces:
// A duck type literal:
duck { int StoreNumber, int Transaction, DateTime Date, decimal Gross, decimal Cost, decimal Tax }

// In a member declaration:
public duck { int StoreNumber, int Transaction, DateTime Date,
              decimal Gross, decimal Cost, decimal Tax } GetTransaction(...) { ... }

// As a type parameter:
var transactions = new List<duck { int StoreNumber, int Transaction, DateTime Date,
                                   decimal Gross, decimal Cost, decimal Tax }>();

2.2 duck type aliases
You can assign an alias to a duck type with a using directive immediately after the namespace using directives in a C# code file or namespace. The alias may then be used in the place of any type reference.
// Namespace directives:
using System;
using Odbc = System.Data.Odbc;

// duck type aliases:
using TransTotal = duck { int StoreNumber, int Transaction, DateTime Date,
                           decimal Gross, decimal Cost, decimal Tax };

// Member declaration:
public TransTotal GetTransaction(...) { ... }

// As a type parameter:
var transactions = new List<TransTotal>();

2.3 Inferred duck types
If the return type of a property or method can be inferred, the body of a duck type literal may be omitted in a member declaration:
// Long form:
public duck { int StoreNumber, int Transaction, DateTime Date,
              decimal Gross, decimal Cost, decimal Tax } GetDummyTransaction() {
    return new duck { ... };
}

// Short form:
public duck GetDummyTransaction() {
    return new duck { ... };
}

// Short form as a type parameter:
public IEnumerabe<duck> GetTransactions(...) {
    return
        from record in someProvider.GetDetails(...)
        where ((DateTime)record["Date"]).Date == someDate
        group record by new {
            StoreNumber = (int)record["Number"],
            Transaction = (int)record["TransNum"],
            Date = (DateTime)record["Date"]
        } into transTotal
        select new duck {
            transTotal.Key.StoreNumber,
            transTotal.Key.Transaction,
            transTotal.Key.Date,
            Gross = transTotal.Sum(x => (decimal)x["Gross"]),
            Cost = transTotal.Sum(x => (decimal)x["Cost"]),
            Tax = transTotal.Sum(x => (decimal)x["Tax"]),
        };
}

A: ExpandoObject may be of interest to you.

A: Seems like you'd want to implement your own IDynamicObjectProvider:
http://msdn.microsoft.com/en-us/library/system.dynamic.idynamicmetaobjectprovider.aspx
Example implementation:
http://msdn.microsoft.com/en-us/vstudio/ff800651.aspx
You seem to want to access a structure like List> where String is the name, Type is the value type and Object is the value.
BUT that seems like a big hassle and probably wouldn't offer very good performance. You should probably just implement all the proper classes you need. For the sanity of whoever has to maintain the code after you, defining interfaces for each input just seems rationale.

A: You may want to have a look at this approach:
public IEnumerable<T> GetTransactions<T>(...,
    Func<int, int, DateTime, decimal, decimal, decimal, T> resultor) {
    return
        from record in someProvider.GetDetails(...)
        where ((DateTime)record["Date"]).Date == someDate
        group record by new {
            StoreNumber = (int)record["Number"],
            Transaction = (int)record["TransNum"],
            Date = (DateTime)record["Date"]
        } into transTotal
        select resultor(
            transTotal.Key.StoreNumber,
            transTotal.Key.Transaction,
            transTotal.Key.Date,
            transTotal.Sum(x => (decimal)x["Gross"]),
            transTotal.Sum(x => (decimal)x["Cost"]),
            transTotal.Sum(x => (decimal)x["Tax"])
        );
}

the resultor Func is mapped to the layout of your concrete duck, taking as many parameters as it does, with matching types, and it returns a T. This T gets inferred when you call you method ad supply your concrete Func, for example like this:
GetTransactions(..., (sn, t, d, g, c, tx) => return new {
    StoreNumber = sn,
    Transaction = t,
    Date        = d,
    Gross       = g,
    Cost        = c,
    Tax         = tx
});

This way the generated types are available outside of the called method, because you give the responsibility of defining it to the caller. No POCO DTOs, no dynamic, immutability, equality out of the box. Check it out.

A: Are you SURE Dynamic is too slow? I've done performance tests on dynamic operations versus direct invocations and was actually surprised by how little impact dynamic invocation adds. I don't have my numbers with me, but found this little blog post that shows only about a ten-fold increase in operation length. His example shows 2 million invocations taking 85 milliseconds versus the 7 milliseconds for a static invoke.
It does add up. A six second operation would take a minute but it's FAR less than dealing with pure reflection.

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