Dreamchild is a 1985 British drama film written by Dennis Potter, directed by Gavin Millar and produced by Rick McCallum and Kenith Trodd. It stars Coral Browne, Ian Holm, Peter Gallagher, Nicola Cowper and Amelia Shankley and is a fictionalised account of Alice Liddell, the child who inspired Lewis Carroll's Alice's Adventures in Wonderland; the story is told from the point of view of the elderly Alice as she travels to the United States from England to receive an honorary degree from Columbia University celebrating the centenary of Lewis Carroll's birth. It shares common themes with Potter's television play Alice; the film evolves from the factual to the hallucinatory as Alice revisits her memories of the Reverend Charles Dodgson, in Victorian-era Oxford to her immediate present in Depression-era New York. Accompanied by a shy young orphan named Lucy, old Alice must make her way through the modern world of tabloid journalism and commercial exploitation while attempting to come to peace with her conflicted childhood with the Oxford don.
The film begins on the ship bearing Lucy from England to New York City. As she and Lucy disembark, they are set upon by several journalists, all trying to get a story or quote from her. Bewildered by all the excitement, she is befriended by an ex-reporter, Jack Dolan, who helps her and Lucy through the legions of the press. Dolan becomes her agent and finds endorsement opportunities for her. Throughout it all, a romance develops between Lucy. Alice, being advanced in age, needs Lucy, of whom she can be demanding, to be her constant companion; when left alone in their hotel room, she begins to hallucinate and sees Mr. Dodgson in their room, later, the Mad Hatter and the March Hare. Joining them for their insane tea party, she is berated for being so forgetful, she remembers the lazy boating party of 4 July 1862, when the young Reverend Charles Dodgson, had attempted to entertain her and her sisters by spinning the nonsense tale that grew to be Alice's Adventures in Wonderland. Via flashbacks, it is insinuated.
Alice is troubled by her recollections of Dodgson. The parameters of her relationship with him were somewhat tortured. Dodgson was unwaveringly adoring of Alice, while she was kind, she could sometimes be cruel and mocking of him of his occasional stutter – as on the day of the boating party when she was on the verge of her teens and trying to impress a couple of young students. Alice tries to rectify her feelings and past relationship with the author in her mind. By the time she delivers her acceptance speech at Columbia University, she comes to terms with Dodgson and the way she treated him. In another fantasy sequence with the Mock Turtle, the viewers see them reconciled together in a way that can be interpreted as all-encompassing, as both mutual apology and forgiveness. Potter based his script on a real incident where Alice went to New York to collect an honorary degree, he decided to do it as a feature, but after unhappy experiences writing Pennies from Heaven and Gorky Park he did it through his own company and worked as executive producer.
He used the director of his successful TV production, Cream in My Coffee. The film was part of a slate of movies greenlit by Verity Lambert at EMI Films. Others included Salyground, Morons from Outer Space, Comfort and Joy. "EMI back with four feature films" - Peter Fiddick. The Guardian 16 Nov 1983: 2. There was no US money in the film but Universal had first right of refusal to distribute. Potter said the movie "was perilously close to an art film but I'm sick of films made for teeny tots or adults who never grew up." And "It's alleged that when you repress things you know are doubtful, that's supposed to be harmful to you as a person, but great art can come out of discipline. Dodgson was heroic man than we think. I'm utterly convinced he never made any questionable physical contact with Alice, but he had what in these post-Freudian days would be called a sexual longing." Makeup and creature effects for the film were created by Jim Henson's Creature Shop. Six complexly detailed creatures, rather malformed, as they are in the book, were made.
The Gryphon and the sorrowful Mock Turtle live among ledges of rock on a darkling seashore. The March Hare has broken yellowish teeth and soiled looking whiskers and he seems to be chewing while he is speaking. He, the Mad Hatter, the Dormouse, the Caterpillar too,' converse in the same matter of fact, egalitarian manner that the visiting Alice does.' The puppets were based on the original Tenniel drawings, although Potter wanted them interpreted towards the dark side. Puppet movement and choreography was developed by choreographer Gates McFadden. Due to a problem with work visas, McFadden was unable to receive full credit in this film; the Chinese costume sequence in the film depicting Dodgson taking Alice's portrait at Oxford is based on actual photographs he took of her and her sisters. Dodgson, an early pioneer of photography, was considered one of the world's first portrait photographers. Dennis Potter's use of pop entertainment of the 1930s in his works is present in this film. "I Only Have Eyes for You" is sung at a tea dance at the Waldorf Astoria and Mrs. Hargreaves has a scene at a radio station that includes a crooner's rendition of "Confessin'".
The Depression-era setting of the film is in 1932, when Alice turned 80, two year
Giuntini Project is an Italian heavy metal band, started in 1988 by guitarist Aldo Giuntini as a solo project. To date, the band have released four albums. Beginning his career playing in Leghorn-based progressive rock band Cryin' Earth, Italian guitarist Aldo Giuntini left in 1984 in order to pursue a solo career. After meeting fellow guitarist and sound engineer Dario Mollo in 1988, Giuntini began working in earnest on an album under the name Giuntini Project; the next two years were spent writing and rehearsing material, during which time he was approached by English producer Kit Woolven, impressed by early demos and produced the album along with Mollo. It was another two years before Charles Bowyer was enlisted into the band as a singer and the band's first, self-titled album was released in 1993. In 1995, work commenced on a follow-up album, with former Black Sabbath singer Tony Martin taking over vocal duties. Giuntini Project II was released in 1999, again produced by Mollo, it was during the recording of this album that Martin and Mollo began work on their own project, The CageSeven years Giuntini and Martin reunited to record Giuntini Project III, once again produced by Mollo and released on 28 April 2006.
A fourth album, Giuntini Project IV, was released on May 2013. Giuntini Project Giuntini Project II Giuntini Project III Giuntini Project IV Current membersAldo Giuntini – guitar Tony Martin – vocals Fulvio Gaslini – bass Ezio Secomandi – drums Dario Patti – keyboardsFormer membersCharles Bowyer – vocals
Energy recovery ventilation is the energy recovery process of exchanging the energy contained in exhausted building or space air and using it to treat the incoming outdoor ventilation air in residential and commercial HVAC systems. During the warmer seasons, the system pre-cools and dehumidifies while humidifying and pre-heating in the cooler seasons; the benefit of using energy recovery is the ability to meet the ASHRAE ventilation & energy standards, while improving indoor air quality and reducing total HVAC equipment capacity. This technology has not only demonstrated an effective means of reducing energy cost and heating and cooling loads, but has allowed for the scaling down of equipment. Additionally, this system will allow for the indoor environment to maintain a relative humidity of 40% to 50%; this range can be maintained under all conditions. The only energy penalty is the power needed for the blower to overcome the pressure drop in the system. Nearly half of global energy is used in buildings, half of heating/cooling cost is caused by ventilation when it is done by the "open window" method according to the regulations.
Secondly, energy generation and grid is made to meet the peak demand of power. To use proper ventilation. An energy recovery ventilator is a type of air-to-air heat exchanger that not only transfers sensible heat but latent heat; because both temperature and moisture are transferred, ERVs can be considered total enthalpic devices. On the other hand, a heat recovery ventilator can only transfer sensible heat. HRVs can be considered sensible only devices. In other words, whereas all ERVs are HRVs, not all HRVs are ERVs, but many people use the terms HRV, AAHX, ERV interchangeably. Throughout the cooling season, the system works to dehumidify the incoming, outside air; this is accomplished by the system taking the rejected heat and sending it into the exhaust airstream. Subsequently, this air cools the condenser coil at a lower temperature than if the rejected heat had not entered the exhaust airstream. During the heating seasons, the system works in reverse. Instead of discharging the heat into the exhaust airstream, the system draws heat from the exhaust airstream in order to pre-heat the incoming air.
At this stage, the air passes through a primary unit and into a space. With this type of system, it is normal, during the cooling seasons, for the exhaust air to be cooler than the ventilation air and, during the heating seasons, warmer than the ventilation air, it is for this reason the system works efficiently and effectively. The coefficient of performance will increase; the efficiency of an ERV system is the ratio of energy transferred between the two air streams compared with the total energy transported through the heat exchanger. With the variety of products on the market, efficiency will vary as well; some of these systems have been known to have heat exchange efficiencies as high as 70-80% while others have as low as 50%. Though this lower figure is preferable to the basic HVAC system, it is not up to par with the rest of its class. Studies are being done to increase the heat transfer efficiency to 90%; the use of modern low-cost gas-phase heat exchanger technology will allow for significant improvements in efficiency.
The use of high conductivity porous material is believed to produce an exchange effectiveness in excess of 90%. By exceeding a 90% effective rate, an improvement of up to five factors in energy loss can be seen; the Home Ventilating Institute has developed a standard test for any and all units manufactured within the United States. Regardless, not all have been tested, it is imperative to investigate efficiency claims, comparing data produced by HVI as well as that produced by the manufacturer.. **Total energy exchange only available on hygroscopic units and condensate return units The rotating wheel heat exchanger is composed of a rotating cylinder filled with an air permeable material resulting in a large surface area. The surface area is the medium for the sensible energy transfer; as the wheel rotates between the supply and exhaust air streams it picks up heat energy and releases it into the colder air stream. The driving force behind the exchange is the difference in temperatures between the opposing air streams, called the thermal gradient.
Typical media used consists of polymer and synthetic fiber. The enthalpy exchange is accomplished through the use of desiccants. Desiccants transfer moisture through the process of adsorption, predominately driven by the difference in the partial pressure of vapor within the opposing air-streams. Typical desiccants consist of silica gel, molecular sieves. Enthalpy wheels are the most effective devices to transfer both latent and sensible energy but there are many different types of construction that dictate the wheel's durability; the most common materials used in the construction of the rotor are polymer and fiberglass. When using rotary energy recovery devices the two air streams must be adjacent to one another to allow for the local transfer of energy. There should be special considerations paid in colder climates to avoid wheel frosting. Systems can avoid frosting by modulating wheel speed, preheating the air, or stop/j
Feersum Endjinn is a science fiction novel by Scottish writer Iain M. Banks, first published in 1994, it won a British Science Fiction Association Award in 1994. The novel is sometimes referred to as Banks' second science fiction novel not set within the Culture universe, the first being Against a Dark Background; the book is set on a far future Earth where the uploading of mindstates into a world-spanning computer network is commonplace, allowing the dead to be reincarnated, a set number of times, first physically and virtually within the crypt. The crypt has become chaotic, causing much concern within society. Much of the story takes place within a giant, decaying megastructure known as the "Fastness" or "Serehfa" built to resemble a medieval castle, in which each "room" spans several kilometers horizontally and vertically, the king's palace occupies one room's chandelier; the structure used to be a space elevator, left behind by the ancestors of those who remained on earth, with the circuitry of the crypt built into its structure.
The world is in crisis as the solar system is drifting into an interstellar molecular cloud, which will dim and destroy the Sun, ending life on Earth. The narrative switches between four main characters. Count Sessine is a high-ranking member of the court, assassinated, ending his last life. Reborn inside the crypt he comes under repeated attack and is permanently killed. On his last virtual life, he makes contact with a copy of himself, he spends many subjective years wandering the wider reaches of the crypt before being contacted by its representative who requests his aid in relation to the encroachment. Gadfium, the Chief Scientist of the ruling class, is engaged in a conspiracy with like-minded nobles who believe that the elite are not acting in the best interests of the population, who question the real motive of the ongoing war with the rival clan of Engineers, she learns of a message sent from the fast tower, the highest and inaccessible part of the castle, which stresses the danger of the Encroachment and tells of an attempt by the crypt to activate a long forgotten sub system which may prevent disaster.
The message warns that this will be opposed by those in power as it will threaten their interests. She and her fellow conspirators are considering how to respond when the security forces attempt to arrest them, although Gadfium manages to escape into the depths of the castle. Bascule the Teller is a young man who contacts the dead personalities within the crypt on behalf of their relatives or other interested parties. Whilst searching for a lost friend, he attracts the attention of the Security forces and takes refuge with various chimeric animals whose implants have taken on personalities from the within the crypt, he is tasked with ascending the central shaft of the highest tower in a vacuum balloon in order to reach its control room. Asura is a young woman, she is compelled to travel towards the castle gathering knowledge about the world before being captured by the security forces. She is interrogated within the crypt, but is able to resist the questioning, becoming stronger at understanding and manipulating her virtual environments.
As she escapes her virtual prison, she is physically freed by Gadfium, assisted by the copy of Count Sessine who guided her to Asura's location. Asura broadcasts to the world the truth regarding the encroachment and the attempts of the monarchy to prevent the activation of the crypt sub-systems, she explains her origin, being an emissary of the crypt, combined with the mind of Count Sessine who sacrificed himself in the process. She was created by the crypt because the relevant systems were kept separate by their designers to prevent infection by chaos; the so-called chaotic elements of the crypt are a burgeoning ecology of Artificial Intelligences. Asura states that chaos will have to learn to live with each other. Asura and Gadfium depart, reaching an elevator, activated for them by Bascule after reaching the control room at the summit of the tower. Asura is able to activate the "Fearsome Engine" of the title, which begins the slow process of relocating the solar system out of reach of the cloud.
A quarter of the book is told by Bascule the Teller and is written phonetically in the first person using phonetic transcription and shorthand. No dialect words are used; the fourth chapter of the book's Part One opens with: Woak up. Got dresd. Had brekfast. Spoke wif Ergates thi ant who sed itz juss been wurk wurk wurk 4 u master Bascule, Y dont u ½ a holiday? & I agreed & that woz how we decided we otter go 2 c Mr Zoliparia in thi I-ball ov thi gargoyle Rosbrith. Feersum Endjinn was well-received, the completeness of the plot and the detailed description of the mega-architecture and the crypt were praised by critics. Literary critic and historian Ian Duncan has argued that Banks's ‘fearsome engine’, like his bridge, “is another allegory of the state, except that this apparatus is not just sublime in its dissociation from human accountability – it is omniscient and organic.” Kirkus Reviews described it as "Dazzling stuff: a shame it doesn't add up." Simulated reality Banks, Iain M.. Feersum Endjinn.
Loser is a 2000 American teen romantic comedy film starring Jason Biggs, Mena Suvari, Greg Kinnear. Paul Tannek, a small-town, intelligent kid from the Midwest is accepted into New York University on an academic scholarship. Trying to follow the advice of his father he tries to gain friends by trying to be polite and interested in others, his attempts are noticed by his new roommates Chris and Noah, three rich, obnoxious city boys who consider his polite behavior, working class background and determination for education lame and brand him a loser. To salvage their reputation, the trio concoct a false story to the housing administration about Paul’s attitude and have him thrown out of the dorm. Paul takes residence in a veterinary hospital. Chris meets Paul and again concocts another story about how they were trying to help him as a ploy for Paul to let them use the hospital to throw parties since a resident at the dorm fell into sickness due to excessive alcohol, forbidding them to hold any parties thereon.
Paul meets classmate Dora Diamond and develops an attraction to her, unaware that she is having an affair with their decorated but pretentious English professor Edward Alcott. Dora is as intelligent as Paul but doesn't have a scholarship and works shifts as a waitress in a strip club to pay for her tuition until she is unceremoniously fired. To avoid a long daily commute which she can no longer afford, Dora asks Alcott to let her live with him for a while to which he selfishly declines for fear of losing his tenure at the university if their relationship is found out. Paul and Dora bump into each other one night and Paul invites her to an Everclear concert after discovering when they met that she is a fan. Dora agrees to the date, but first goes to a job interview for a night shift in a convenience store, but is denied the position because she's a woman. Adam is at the same store buying beer and pretends to be sympathetic as a ploy to invite her to a party which she accepts, but says she will be there only for a short time so she can meet Paul.
At the party, one of the boys slips a roofie into Dora's drink and she passes out. Paul returns dejected from the concert to a huge mess and an unresponsive Dora and rushes her to the hospital. At the hospital, Paul pretends to be her boyfriend since neither he or Dora can afford to keep her there overnight, he learns that Dora listed Alcott as her case of emergency contact which he tells Chris the next morning without thinking. Alcott tells emergency officials he doesn't know her when they contact him. Paul bonds with Dora as she recovers and they start to develop feelings for one another. While Paul continues with his studies, Dora searches for a new job, she pulls Paul out of class and invites him out to celebrate receiving a spot in a medical experiment. They steal a loaf of bread from a bakery, coffee from a dispenser in the park and sneak into a Broadway show. Paul goes out to grab a pizza and a movie for both of them hoping it may lead to something further between them only to return to find Alcott with Dora and learning that Alcott has changed his mind about Dora living with him.
Alcott reveals to Dora that Chris and Adam are blackmailing him with the knowledge of their relationship in return for a passing grade on their transcript and tells her that he believes Paul is in on it. After discovering roofies were involved at the party, Paul steals Noah's supply and replaces them with placebos. Paul pays a visit to Alcott's office to ask how Dora is doing and is instead given his final exam as a take-home test by Alcott to buy his silence, Paul takes the moral high ground and refuses the test, jeopardizing his scholarship and place in the university. Dora, since living with Alcott, has become his errand-girl and overhears Paul on the phone with his father talking about how much he misses her. Alcott admits he learned that Paul had nothing to do with the blackmail, but still intends to fail him. Dora realizes that Paul is the one who loves her and terminates her affair with Alcott, beginning a relationship with Paul. Afterwards, Adam and Chris' behavior get the better of them and their lives plummet into failure, Alcott is found out and sent to prison for having an affair with a different student, underage, Paul and Dora remain happy in their relationship.
The film received negative reviews. Rotten Tomatoes gives the film a score of 24% based on reviews from 96 critics, with an average rating of 4.2/10. The site's consensus states: "In the grand tradition of teen flicks, Loser comes across as another predictable and underwritten movie with nothing new to offer."Roger Ebert gives the film two stars out of four. He enjoyed the performance of Kinnear and enjoyed the chemistry between the leads, but found it unremarkable. Film critic James Berardinelli gave the film 3.0/4.0 stars, stating that the film was one of the "pleasant surprises" of the 2000 film season. The film opened at number eight at the North American box office, making US$6,008,611 in its opening weekend; the film generated a total of US$15.6 million in the US. It failed further; the film did not break on its production costs. Loser on IMDb Loser at Box Office Mojo
In monetary policy of the United States, the term Fedspeak is what Alan Blinder called "a turgid dialect of English" used by Federal Reserve Board chairmen in making wordy and ambiguous statements. The strategy, used most prominently by Alan Greenspan, was used to prevent financial markets from overreacting to the chairman's remarks; the coinage is an intentional parallel to Newspeak of Nineteen Eighty-Four, a novel by George Orwell. Fedspeak when used by Alan Greenspan is called Greenspeak. An alternative definition of Greenspeak is "the coded and careful language employed by U. S. Federal Reserve Board Chairman Alan Greenspan."Edwin le Heron and Emmanuel Carre state that "Nowadays,'Fedspeak' means clear and extensive communication of the Fed's action." Chairman Ben Bernanke and Chairwoman Yellen have effected a major change in Fed communication policy departing from the obfuscation that characterized the previous three decades. In 2014 a new detailed level of Fed communication was dubbed Fedspeak 3.0.
In 2018, Chairman Jerome Powell would begin press conferences with a summary statement in plain English, in contrast to his predecessors who would read lengthy prepared statements loaded with monetary policy jargon. The notion of fed speak originated from the fact that financial markets placed a heavy value on the statements made by Federal Reserve governors, which could in turn lead to a self-fulfilling prophecy. To prevent this, the governors developed a language, termed Fedspeak, in which ambiguous and cautious statements were made to purposefully obscure and detract meaning from the statement. Though previous "Fed" chairmen Arthur Burns and Paul Volcker were known for blowing smoke and figuratively, when appearing before Congress, Alan Greenspan is credited with making Fedspeak a "high-art", it is unclear whether the term Fedspeak was used prior to Greenspan, but with historical hindsight the modern term could be used to describe Burns's and Volcker's method. Although it was believed by some that Alan Greenspan, credited for popularizing Fedspeak, may have used such language unintentionally, he revealed in his 2007 book The Age of Turbulence, that the method of avoiding the issues directly when a clear message was not desired was indeed intentional.
Greenspan states that the confusion, which resulted in conflicting interpretations, was used to prevent unintended jolts to the markets as confusing statements were ignored. He noted that he came upon the dialect while at the Fed: "What I've learned at the Federal Reserve is a new language, called'Fed-speak'. You soon learn to mumble with great incoherence."In an interview with 60 Minutes's Lesley Stahl on September 16, 2007, Stahl stated how "In public, Greenspan was inscrutable whenever congress asked about interest rates. He resorted to an indecipherable delphic dialect known as fedspeak" to which Greenspan responded that "I would engage in some form of syntax destruction which sounded as though I were answering the question, but in fact, had not." When Stahl noted that Greenspan's responses were "impenetrably profound" and that this resulted in "two newspapers getting opposing headlines coming out of the same hearing", Greenspan responded that "I succeeded". In an interview with CNBC's Maria Bartiromo on September 17, 2007, when asked to describe Fedspeak, Greenspan described it as: It's a—a language of purposeful obfuscation to avoid certain questions coming up, which you know you can't answer, saying—'I will not answer or no comment is, in fact, an answer.'
So, you end up with when, say, a Congressman asks you a question, don't wanna say,'No comment', or'I won't answer', or something like that. So, I proceed with four or five sentences which get obscure; the Congressman thinks I goes onto the next one. In an interview with BusinessWeek in August 2012, when asked "about practicing the art of constructive ambiguity", Greenspan replied: As Fed chairman, every time I expressed a view, I added or subtracted 10 basis points from the credit market; that was not helpful. But I nonetheless had to testify before Congress. On questions that were too market-sensitive to answer,'no comment' was indeed an answer, and so you construct what we used to call Fed-speak. I would hypothetically think of a little plate in front of my eyes, the Washington Post, the following morning's headline, I would catch myself in the middle of a sentence. Instead of just stopping, I would continue on resolving the sentence in some obscure way which made it incomprehensible, but nobody was quite sure.
And that became the so-called Fed-speak. It's a self-protection mechanism... when you're in an environment where people are shooting questions at you, you've got to be careful about the nuances of what you're going to say and what you don't say. As of 2011, the Federal Reserve Bank of Dallas website still maintains a "Greenspeak" page with dozens of excerpts from Greenspan's past statements as head of the Federal Reserve Bank; each quotation has a pointer to its full context in his speech, is posted without commentary or interpretation. The members of the Board of Governors and the Reserve Bank presidents foresee an implicit strengthening of activity after the current rebalancing is over, although the central tendency of their individual forecasts for real GDP still shows a substantial slowdown, on balance, for the year as a whole. Risk takers have been encouraged by a perceived increase in economic stability to reach out to more distant time horizons, but long periods of relative stability engender unrealistic expectations of it permanence