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Mosaic Plot ¶ Mosaic plots are used to display proportions for tables that are divided into two or more conditional distributions. Here we focus on two way tables to keep things simpler. It is assumed that you are familiar with using tables in R (see the section on two way tables for more information: Two Way Tables). A simple plotting feature we need to be able to do with R is make a 2 y-axis plot. First let’s grab some data using the built-in beaver1 and beaver2 datasets within R. Go ahead and take a look at the data by typing it into R as I have below. Let us begin by combining 4 plots in 2 rows and 2 columns: Libraries, Code & Data. All the data sets used in this post can be found here and code can be downloaded from here. Let us begin by combining 4 plots in 2 rows and 2 columns. The plots will be filled by rows as we are using the mfrow function.2.2 Building a plot
Now that you have and idea of how different elements combine tocreate a plot, I’ll walk you through the steps to “layer” these elements togetherto create these two example plots.2.2.1 Reading data
First, you’ll need to bring the example data into your R session. If you followedthe steps in the “Prerequisites” section, you should have acomma-separated file88comma-separated file format. A flat file format(try opening the file in a plain text editor—unlike a binary file format likeExcel, you should be able to read all the content) where each column entry isseparated by a comma. This is a common file format for tabular data that canbe read into and written from most statistical programs (including R, Excel, andSAS). in a “data” subdirectory of the R Project you downloaded. Also, if youfollowed the steps in the “Prerequisites” section, you should have installedall the necessary R packages for this example.
While there are functions in base R that import comma-separated files, I think thefunctions in the readr package (Wickham, Hester, and Francois ⊕2018Wickham, Hadley, Jim Hester, and Romain Francois. 2018. Readr: Read Rectangular Text Data. https://CRAN.R-project.org/package=readr.), a package in the tidyverse,has some nicer defaults. To use functions in this package, you first need to loadit into your R session using the library function:
The library function must specify the name of the package you’d like to load (inthis case, “readr”). If you have forgotten to install the “readr” package before yourun this function, you’ll get the message:
If you get that message, go back and re-read the “Prerequisites” to make sure you’veinstalled all the required packages.99 There is also a small chance, especially ifyou’re using a computer for which you don’t have superuser privileges, that somethingelse is going on. Double-check that you installed the package you’re trying to load,and if loading the package still doesn’t work, talk with your IT team aboutinstalling and loading R packages on your computer. For some company- orgovernment-issued computers, the computer might have been set up to restrictinstalling new software, or to save installed software somewhere other than thedefault locations where R searches with library.
Now that you’ve loaded readr, you can use the package’s read_csv function1010 Forthis and any other R function, you can open a help file in RStudio to give youmore information about the function, usually including some examples of how touse if. Just type ? and then the function name—for this example, ?read_csv.to read in the data. The one argument this function requires is thefile path1111file path. The directions for where to find a file within yourcomputer’s directory structure. If the file you want is in your current workingdirectory, this will just be the filename of the file. If it’s not, but in a directoryclose-by, you can use a relative pathname to give the directions from the currentworking directory. Since the file you want to read in is in a subdirectory called“data” of the current working directory, the filepath here is“data/daily_fatalities.csv”.to the data file.
Don’t be alarmed by the message that’s printed out after you run the function!In data frames in R, each columns can have one of several different classes(some examples: character: “Florida”, date: 2017-09-10, integer: 17,double: 17.0). The read_csv function looks at the values in each column in thedata and tries to guess what class each column should be, and this messagetells you what it guessed, so you can check. In this case, the number offatalities will always be a whole number, so the “integer” class would havealso worked well, but there should be no problem with the column having a“double” class for the plotting we’ll be doing, so everything looks fine.
The previous code used a gets arrow1212gets arrow. The function<-, which allows you to save the output from running the code on the right-handside of the arrow to an object with the name on the left of the arrow. This is afunny kind of function called an infix function, which goes between twofunction arguments instead of putting the arguments inside parentheses. If youwant to look up the helpfile for an infix function, wrap it in backticks:?`<-`. to save the data you read in to an R object called daily_fatalities.Now, anytime you want to use this data, you can reference it with the namedaily_fatalities instead of needing to read it in again. For example, youcan print out the start of the data by calling the object name by itself:
By default, read_csv reads the data into a structure called a tibble,1313tibble.A slightly fancier dataframe, which is a tabular data format in R, where there arerows and columns, with each column having data with the same class (e.g., character,integer, date) and all columns having the same length. Values in the columns should“line up” across the rows—for example, in this case, the second value in thefatals column should be the number of fatalities for the date given by the secondvalue in the date column. Compared to a dataframe, a tibble prints out more nicelywhen you call the object name alone, among some other advantages. and youcan see that the top of the print-out notes this. It also gives the dimensions(28 rows and 4 columns) and, under each column name, the class of the column.When you start plotting this data, you’ll use the dataframe’s object name(daily_fatalities) to reference the full dataset and each column name(e.g., date for the date of the observations, fatals for the number offatalities observed on that date) to reference specific elements of the data.2.2.2 Plotting by layers
To create a data visualization using ggplot2, we’ll add up “layers” for each ofthe plot elements described earlier. In this section, I’ll step through this process.First, we’ll create a ggplot object using the ggplot call, and then we’ll addlayers to it with +. To use these functions, you’ll need to load the ggplot2package:
For the first step, create the ggplot object. When you create this object, specifythe dataframe with the data you’d like to plot using the data parameter:
Figure 2.3: Step 1 of layering a plot: Creating the ggplot object. At this point, nothing’s actually plotted, because we haven’t added any geoms yet.
Figure 2.3 shows the output with this single, initial layer. We haven’t added any geoms yet, so the plot isn’t showing anything. Since we’ve specified thedata, however, we’ll be able to add geoms where we map aesthetics to columns in thedataset. Let’s do that next, and add a layer with a line (geom_line) for the numberof fatalities per day. We’ll use the aes function inside the geom_line callto specify that we want the x-axis to show the value in the date column and they-axis to show the value in the fatals column:
Figure 2.4: Step 2 of layering a plot: Adding a line geom. In this case, the x-axis (x aesthetic) is mapped to the ‘date’ column in the data, while the y-axis (y aesthetic) is mapped to the ‘fatals’ column.
The result is in Figure 2.4. You can see that you now have a line showingthe number of fatalities per day. Next, we can add a layer on top of the line with apoint (geom_point) for each date showing the number of fatalities. Two of theaesthetics for this geom (x and y) will be the same as for the line. However, wealso want to map color to day of the week. Since day of the week is in a columncalled weekday, we can specify this aesthetic as color = weekday within the aescall. Try running the following code to add this layer:
Figure 2.5: Step 3 of layering a plot: Adding a point geom. The x and y aesthetics are the same as for the line geom, but now we’re also mapping color to the ‘weekday’ column in the data.
You should get the plot shown in Figure 2.5. You may have noticed thatthe set of colors that is used for weekdays is different than in the plot inFigure 2.1. This set of colors is actually specified by the“scale” element of the plot, so we’ll change that in a different layer.
So far, we’ve customized some of the plot aesthetics by mapping them so that theirvalues are based on observations in the data. However, sometimes you’ll wantto change an aesthetic to a constant, where the aesthetic changes for theaesthetic for all of the observations from the data, but in the same way.
For example, for this plot, we’d like the line to be dark gray for all observations,and we’d like the points to be a little bigger. To specify a constant aesthetic,move it outside of the aes call. For colors, you can set a constant value toone of the many named “R Colors”1414 See this website for examples and names(make sure you put the color name inside parentheses—otherwise, R will think you’rerefering to an R object). Constant point size values can be specified using numbers,where larger numbers will make bigger points and the default value is somewherearound 1.1515 Foran in-depth look at aesthetic specifications, seethe ggplot2 specs vignette Try numbers bigger than 1 (e.g., 1.5, 2) for bigger points and smallervalues (e.g., 0.8, 0.5) for smaller points.
The following code will set the line to be dark gray and the points to be a bit larger (result in Figure 2.6):
Figure 2.6: Step 4 of layering a plot: Adding constant aesthetics. In this step, we’re making the line dark gray for all observations and the points a bit larger. Note that these aesthetics, since they’re constant, are set outside of the ‘aes’ call. Also, note that thee color is specified inside quotation marks.
We’re using the default coordinate system for this plot, so we don’t need to adda layer for the coordinate system. For plots where you need to change from thisdefault coordinate system, you’ll add a layer that starts with coord_. For example,in the “Map” section, you’ll see how to use a geographic coordinate system usingcoord_map. If you want to flip your x- and y-axis (there are a few examples wherethis is useful), you can add a layer with coord_flip.
While we’re also using the default scales for the x aesthetic, we aren’t forthe y or color aesthetic. The change to the y scale is very minimal: we’re justexpanding it to include 0. This can be done by adding the layer expand_limitswith the y parameter set to 0.
To change the color scale, you need to add a layer to specifythe alternative color scale. We’ll use a color scale called“viridis”. This is good for discrete data (like here, where we’re showing day ofthe week rather than a continuous number), it really shines when you’re plottingcontinuous values. The order of the scale is clear to those who are colorblind, andit’s also clear when printed out on a black-and-white printer.
To change the color scale to use this scale, add a layer with scale_color_viridis_d.The “d” here is for “discrete”; if you were using color to show a continuousvalue in the data (e.g., a column with an integer or double class), you’dadd a layer called scale_color_viridis_c instead. The final result of thesescale customizations is shown in Figure 2.7.
Figure 2.7: Step 5 of layering a plot: Changing the color scale. This step changes from the default color scale to the ‘viridis’ color scale.
The function for this layer has a few options for customization. For example, trychanging it to scale_color_viridis_d(option = ’A’) orscale_color_viridis_d(direction = -1). To see all its options, check itshelpfile with ?scale_color_viridis_d.
Next, we’ll change the scale labels. By default, the label for each scale is thename of the column in the data that the aesthetic was mapped to (x: “date”,y: “fatals”, color: “weekday”). You can add a labs layer to change theseto labels that are easier to understand. The otherlabeling we’d like to do is to add a title and subtitle, which we can do witha ggtitle layer (the subtitle is added with the sub parameter of this layer).The final result of adding these layers is shown in Figure 2.8.
Figure 2.8: Step 6 of layering a plot: Customizing labels. The ‘labs’ layer customizes not only the x and y axis labels, but also the legend title for the color scale. The title and subtitle are added with a ‘ggtitle’ layer.
The last layer we need to add is a theme layer. While we’re using most of theelements from the default theme (theme_gray), we do want to change the positionof the legend. For a time series plot like this, the change can be helpful, as itlets us create a plot that’s much wider than it is tall. You can move the legendusing the theme layer with an argument specified for legend.position. Withthe theme function, you can customize almost any of the background elements of aplot.1616 See the helpfile for “theme” with ?theme for a full listing.However, you’ll usually only want to do that for a few elements—if you wantto change a lot of elements, there is a set of functions that start theme_ thatwill let you change to one of several “themes” that change many elements at once(as I’ll show in the next example).If you find you’re often using theme to specify lots of elements by hand, youcan create your own theme_* function (fill in * with the name of your choice!).
Figure 2.9: Step 7 of layering a plot: Customizing the theme. Move the color legend to below the plot.
As one final detail, if you were looking very closely, you may have noticed thatthe order of the days of week are different in the original plot from our finalversion here. That’s because, by default, discrete character-class values areordered alphabetically. We can change this order, and should, to be the order thatweek days occur. To do this, we need to change the column class to afactor class1717factor class. An R class for values that take character names,but that describe categories, for which you expect values to show up more than oncein your data. In this data, the day of week is an example, since it is expressedas a character variable (“Monday”, “Tuesday”, etc.), but we expect there to bemultiple observations with, e.g., “Monday”. If you have a varible that you expectto be unique (e.g., name of study subjects, unique ID number), the column shouldbe in a character, not a factor, class.In R, each possible catogory for a factor is called a level.You can change the order of the levels of a factor, and this will change theorder they’re shown on a plot. and then change the order of that factor’s levels.
To do this, we’ll need to load a few additional R packages (you’ll also use thesein the “Tidy” section, which has much more on manipulating datasets). Theforcats package (Wickham ⊕2019Wickham, Hadley. 2019. Forcats: Tools for Working with Categorical Variables (Factors). https://CRAN.R-project.org/package=forcats.) has functions for working with factors, includinga function we can use to reorder the factor levels. The magrittr package(Bache and Wickham ⊕2014Bache, Stefan Milton, and Hadley Wickham. 2014. Magrittr: A Forward-Pipe Operator for R. https://CRAN.R-project.org/package=magrittr.) includes two infix functions we’ll use to make the codecleaner: the pipe operator (%>%) and the compound assignment pipe operator (%<>%).The dplyr package (Wickham, François, et al. ⊕2019Wickham, Hadley, Romain François, Lionel Henry, and Kirill Müller. 2019. Dplyr: A Grammar of Data Manipulation. https://CRAN.R-project.org/package=dplyr.) includes a number of simple but powerful functionsfor manipulating tibbles.
The resources listed in the “Learn More” part of the Tidy’ section go into detail for howto use all these functions. Briefly, the mutate function used twice to change thevalues in the “weekday” column:first, to convert the class of the column to a factor (as_factor) and second tochange the order of those levels (fct_relevel) by hand, to start with Monday andgo in order through Sunday. The compound assignment pipe operator (%<>%) allowsus to perform all those operations to columns inside the “daily_fatalities” tibble,and then to save the result back to the same R object (overwriting the earlierversion of the tibble).Multiple Plots In R Shiny
Now when we run the same ggplot code, you can see that the order of the days ofweek in the color legend, and the order the colors are assigned to week day, havechanged (Figure 2.10).
Slots 2 journey. Figure 2.10: Change the order of the days of week from alphabetical to temporal by transforming the data before plotting.
The second example plot we can go through much more quickly. There are twoelements I’d like to point out: the layer for faceting and the layer for the theme.The facet_wrap function separates the plot into small multiplesbased on the values in a column of the data. By default, all the scales (e.g., x-axis,y-axis) will be the same across all the small multiples, allowing for an easiercomparison across the plots. The other layers in this code should now be somewhatfamiliar to you: the ggplot call initializes a ggplot object with the“daily_fatalities” dataset, just like in the last plot, while the geom_col layeradds a column geom where the x aesthetic is mapped to the value in the “weekday”column and the y aesthetic is mapped to the value in the “fatals” column.
Figure 2.11: Adding a facet layer to a plot. The plot is now faceted by the ‘week’ column in the dataframe, with all the facets lined up vertically in a single column (‘ncol = 1’).
To change to the theme_classic, all you need to do is add a theme_classic layer(Figure 2.12).
Figure 2.12: Changing the theme. The ’theme_*’ family of functions can quickly change many of the background elements of a plot with a single layer call.
Most of the rest of the layers for the plot are very similar to the first plot.They include changing the fill1818fill aesthetic. While all geoms havea color aesthetic, some also have a fill aesthetic. These include columns,bars, polygons, and points with certain shapes. In these cases, ‘color’ will specifythe outline of the geom while ‘fill’ will specify the inside. Each geom has a set ofrequired aesthetics and a set of possible aesthetics. To find each set for a geom,go to its helpfile (e.g., ?geom_col) and scroll down to the “Aesthetics” section.of the geom by mapping it to a constant fillaesthetic (color = ’skyblue’ in t

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Recent changes:
Hello Heart of Vegas Friends! We’ve got a BRAND NEW look and even more bonuses for you! In this release we have added some of the biggest games from Aristocrat’s all star slots lineup. Also, you now can play the original LIGHTNING LINK™ games! Lightning-fast Jackpots, Free Games, and the Hold & Spin feature are sure to keep you on the edge of your seat.
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Your California Privacy Rights: https://www.productmadness.com/private-policy
Do Not Sell My Personal Information: https://www.productmadness.com/dnsmpi
#################
Recent changes:
Hello Heart of Vegas Friends! We’ve got a BRAND NEW look and even more bonuses for you! In this release we have added some of the biggest games from Aristocrat’s all star slots lineup. Also, you now can play the original LIGHTNING LINK™ games! Lightning-fast Jackpots, Free Games, and the Hold & Spin feature are sure to keep you on the edge of your seat.
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We don’t have enough comments to generate tag clouds.Please check back later.Download Free Hearts Of Vegas Casino SlotsGoogle Play RankingsPermissionsNo permissions foundLibrariesHeart Of Vegas Slot GamesWe haven’t collected library information for this app yet. You can use the AppBrain Ad Detector app to detect libraries in apps installed on your device.Related appsFree Slot Games Heart Of VegasMore fromProduct Madness
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Here you can see all of our free 12 paylines slots machines. As you can see from the games listed on this page, they cover a wide selection of slots categories from the love story of Romeo and Juliet to Gangsters and Boxing. There are even Pirates, Vampires, Vikings, and Leprechauns to boot.Mobile & Desktop SlotsDesktop Only Slots12 Times Pay Free Slots Real Money
Free Slots Twelve Times Pay, slot marina alta, twin arrows casino shuttle, geisha slot machine game. Free Triple Diamond slots also have low to medium volatility, which means you get to land small wins quite often during gameplay. Mobile Experience Free to play Triple Diamond slots are accessible on numerous devices, including PC, Android, tablets, iPhone, and iPad. The New Player Welcome Bonuses are only available to players who create an account and make their first deposit at Casino Cruise. To be eligible to claim the 12 Times Pay Slot Machine Jackpots New Player Welcome Bonuses, players must deposit a minimum of $10 in one instance, for each bonus.

The first 12 payline slot on our site was our Craps Slot. We created it in association with one of our sister sites freecraps4u.com. Slots journey free download. It features a bonus game that is from the craps game on that site. You will only be able to play our craps slot on any computer that has flash support as it is our only 12 payline slot that is not mobile-friendly.
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As for the sevens, they are the most profitable symbols. The blue seven rewards 50, 100, or 150 credits, while the red one pays 60, 120, or 180.
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Revealing mistake: At the beginning of the film where Robert De Niro gets into his car and it explodes, you can clearly see the cut where they have replaced him with a dummy.(00:00:50)
Revealing mistake: Near the end when Ace gets into his Cadillac, in the first shot facing the front of the car, there is a protective glass in front of Ace (the same width as the windshield) with the dashboard in between that glass and the windshield. Note the vertical edge of the glass is visible at the right side, and the rearview mirror’s sticker on the windshield casts a shadow onto the second glass. V slot aluminium extrusion india. During the stunt, the flames on the dashboard are between the glass shield and the windshield, keeping the actor safe from harm.(02:46:05)Casino Movie PicsSuper Grover
Revealing mistake: When Sharon Stone gets thrown out of Joe Pesci’s club, you can clearly see the pads on Stone’s hand’s to break the impact of the fall.
*Movie Photos(15) Movie Posters(6) Movie Cut Signatures(5) Movie Scripts(2) Movie Miscellaneous Memorabilia(1) Authentication Useful Links. Celebrity 30 items. Casino Movie Used Chip Framed Movie Poster $407.54 Regular: $428.99 Free Shipping. Horseshoe Club $100 Las Vegas Casino Chip.
*Casino Photos View All Photos (10) Movie Info. In early-1970s Las Vegas, low-level mobster Sam ’Ace’ Rothstein (Robert De Niro) gets tapped by his bosses to head the Tangiers Casino.
Casino movie clips: THE MOVIE: miss the HOTTEST NEW TRAILERS: DESCRIPTION:It is l. Melissa Prophet, Actress: Casino. You may know Melissa Prophet as an actress in Goodfellas and Casino. She was a show biz natural having grown up in the music business with her father, singer Johnny Prophet. She launched her career working for three years on Kojak with actor Telly Savalas. The former Miss Hollywood, Miss California, and runner up in Miss USA Miss World.
Continuity mistake: When Joe Pesci is beaten and then buried - look at the blood on his chest. In one shot it is all over - the next it is just a smaller patch.Casino Movie Ginger Pics
Continuity mistake: In the scene where Sharon Stone is talking to Joe Pesci about how De Niro had his guys beat up James Woods, there are 4 security monitors on the desk behind Sharon Stone. First, the top left monitor goes out. Next only the bottom right monitor is on. Then all four monitors are off. Finally, all four monitors are on again.(01:18:05 - 01:19:20)
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Entertainment | April 17, 2019
*R Lost In Space Episode
*Lost In Space S.a.r
Lost in Space is an American science fiction television series, created and produced by Irwin Allen, which originally aired between 1965 and 1968. The series was inspired by the 1812 novel The Swiss Family Robinson and a comic book published by Gold Key Comics titled Space Family Robinson. Lost in Space, was a science fiction television series produced from 1965 to 1968 by Irwin Allen. The show was about the space adventures on other worlds of the Robinson family & Dr. Space Tv Series Space Tv Shows Danger Will Robinson Male Movie Stars Logan’s Run Neil Armstrong Lost In Space Old Tv Shows My Favorite Image.
Marta Kristen and Mark Goddard of ’Lost In Space.’ Source: IMDB
For fans of the original ’Danger Will Robinson!’ show, Lost In Space, the stranded Robinson family is headed by Guy Williams and June Lockhart, and includes Marta Kristen, Bill Mumy, and Angela Cartwright (Mark Goddard and Jonathan Harris are around too). A new Lost In Space, -- the show’s fourth iteration -- debuted last year on Netflix, with an outstanding cast and special effects that gave young Millennials a taste of what the Baby Boomers hold dear. Sure, a few things have changed. Apparently, the robot has some sex appeal now. But the nuts and bolts are mostly the same. The Robinson family is still “Lost In Space” and forced to fend off strange aliens and shocking betrayal. Nevertheless, the original Lost In Space, which aired from 1965-68, holds a charm and nostalgia that even new fangled sexy robots could never match. So if you’ve ever wondered where the original crew of the Jupiter 2 ended up, read on!Marta Kristen ThenMarta Kristen and Tommy Kirk from the Walt Disney film Savage Sam.
From Norwegian orphan to foxy eldest space daughter, Marta Kristen easily claims the most unlikely back story of the Lost In Space cast. Unfortunately, her career in TV and movies didn’t come with the same level of intrigue as her backstory. She did work in television for years, finding bit parts in TV shows like Murphy Brown, Strange Voices, and this year in a show called The Vamps Next Door. Marta Kristen TodayMarta Kristen in 2018. Source: Wikimedia Commons
Makers of the 1998 Lost In Space movie slipped her in as reporter #1 for hardcore fans. If you’d like to meet the gracefully aging beauty, she still attends Sci-fi conventions from time to time. Today, she lives in Santa Monica, California with her two rescue dogs.June Lockhart ThenJune Lockhart with Lassie and Jon Provost in ’Lassie,’ and with Angela Cartwright and Marta Kristen in ’Lost In Space.’ Source: IMDB
The mother of the Robinson family, who had a whole ’nother TV life beforehand, in Lassie, is also the longest-running actor of the clan. Incredibly, at age 91(!) June Lockhart co-starred in an indie film called The Remake. Since the end of Lost In Space, she worked tirelessly. Seriously, her IMDB page is as long a CVS receipt. Her roles were not in small shows either.June Lockhart NowGoddard Space Flight Center Engineer Richard Nafzger, actress June Lockhart and Apollo 11 astronaut Buzz Aldrin at the 61st Primetime Emmy Engineering Awards on August 22, 2009. Source: Wikimedia Commons
Slots machine games free online. Her impressive resume includes appearances on The Drew Carey Show, Full House, Beverly Hills 90201, General Hospital, and Grey’s Anatomy! She, like Marta Kristen, made a small cameo in the 1998 Lost In Space Movie. The highlight of her career remains the Tony Award she won for her Broadway performance of For Love or Money. She also won the 1948 Associated Press citation for Woman of the Year for Drama and became an overnight Broadway sensation based off that standing ovation worthy performance.Mark Goddard ThenMarta Kristen and Mark Goddard in ’Lost In Space.’ Source: IMDB
The intrepid pilot of the Jupiter 2, Mark Goddard, likely felt the most conflicted by the original Lost In Space TV show. It took a turn from a darker, black and white sci-fi show to a goofy and light-hearted show when it changed to color. In 2015, Goddard said that he was, at the time, disappointed the show, “became campy instead of staying true to a science-fiction show, which would have been more like Star Trek. But it went the way it went. I don’t fault anyone.” Goddard was afraid the show could hurt his career, “I didn’t want the show to be a career buster, because Guy Williams told me at the time: ‘This show’s a career buster.’”Mark Goddard NowMark Goddard. Source: themarkgoddard.com
Thankfully, it appears time heals all wounds as Goddard today holds an appreciation for the show’s cultural impact and the happiness it brings to its aging fan base. In that same interview, Goddard reveled in the nostalgia: “It brings you back to a time in your life that was good for most people — and for some not so good — but they have Lost in Space to fantasize about.” His career after the show extended for many years, mostly on television. Goddard wasn’t quite as prolific as Ms. Lockhart but he too made an appearance in the Lost In Space movie, as well as General Hospital.Angela Cartwright ThenLeft: Angela Cartwright o ’Lost In Space.’ Right: Cartwright in a photo shoot for the cover of the Paul Mauriat album ’Theme From A Summer Place,’ 1972. Source: IMDB; Pinterest
Playing the precocious youth Penny Robinson, Angela Cartwright at age 13, was already well into her acting career by 1965. Her first IMDB entry is an uncredited appearance on Somebody Up There Like Me. She was three years old at the time. Her big break came on Make Room For Daddy in 1953. Angela Cartwright NowSisters Veronica and Angela Cartwright. Veronica is also an actress. Source: IMDB
As happens with many child actors, Cartwright’s acting career petered out by the early ‘80s. She, like everyone else from the TV show, made a cameo in the Lost In Space movie. Post-Lost In Space TV show, Cartwright took a few small parts in TV shows like The Love Boat, and Airwolf, but eventually transitioned into photography. Her work is on display at Studio City, Los Angeles. Bill Mumy ThenBill Mumy and Jonathan Harris of ’Lost In Space.’ Source: IMDB
While we celebrated the prolific career of June Lockhart, the tech whiz-kid of the original Lost In Space cast, Bill Mumy, produced the most work post-1968. It may be difficult to believe but the fresh-faced boy wonder turned into a Renaissance man.Bill Mumy NowActors Bill Mumy and Mark Hamill arrive for the Premiere Of Netflix’s ’Lost In Space’ Season 1. Source: (Photo by Albert L. Ortega/Getty Images)
Mumy’s acting career started before Lost In Space when he memorably played maybe the creepiest kid in Twilight Zone history. It also continued long after Lost In Space in such hits as Babylon 5, Star TrekDeep Space 9, Matlock, and many many more. He is also an accomplished musician, writer, songwriter, and composer. He is half of the musical duo Barnes and Barnes and wrote on more TV shows than you can imagine.Guy Williams, 1924-1989Guy Williams as Zorro (1957). Source: IMDB
Already famous for his pre-Lost In Space role as Zorro, Guy Williams steadily acted, leading up to his role as Prof. John Robinson. However, after Lost In Space he basically called it a career and moved to Buenos Aires, Argentina. According to a very candid interview with the Archive of American Television, Williams wasn’t particularly proud of the show and regretted his relationship with Jonathan Harris who played Dr. Smith. It appears he felt overshadowed by Harris. Williams passed away of a heart attack at age 65. Jonathan Harris, 1914-2002Jonathan Harris (center, in black sweater) with the cast of ’Lost In Space.’ Source: IMDB
The villainous doctor turned comic relief never found success as a traditional actor after Lost In Space. He did, however, have a long-running career as a voice actor. From 1978 to 2000, Harris voiced characters on 19 different shows, mostly kid shows. Many twenty-somethings would be shocked to learn that some of the voices on Paddington Bear, Darkwing Duck, Gargoyles, Mighty Ducks, Quack Pack, and Spider-Man were Jonathan Harris. Harris died in 2002.From the Web67 Colorized Photos Captured Way More Than Expected
History DailyRarely Seen Photos From The 70s for Mature Audiences Only
History DailyTags: Angela Cartwright | Bill Mumy | Cast Lists From Popular TV Shows | Guy Williams | Jonathan Harris | June Lockhart | Lost In Space | Mark Goddard | Marta Kristen | Then And NowLike it? Share with your friends!Kellar Ellsworth
WriterKellar Ellsworth was born and raised in Hawaii. He is an avid traveler, surfer and lover of NBA basketball. He wishes he could have grown up in the free love era! (Redirected from Robot B-9)RobotLost in Space characterCreated byRobert KinoshitaPortrayed byBob MayVoiced byDick TufeldIn-universe informationAliasSeries 1A-1998 Class YM-3 Model B-9 General Utility Non-Theorizing Environmental Control Robotic Bion, 1A1998YM3B-9 G.U.N.T.E.R., Class M-3 Robot, Blinky the Class YM RobotSpeciesRobot
Series 1A-1998 Class YM-3 Model B-9 General Utility Non-Theorizing Environmental Control Robotic Bion,[1] also known as simply 1A1998YM3B-9 G.U.N.T.E.R. , Class M-3 Robot or Class YM Robot, is a fictional character in the television series Lost in Space. His full designation was only occasionally mentioned on the show.[2][3]History[edit]
Although a machine endowed with superhuman strength and futuristic weaponry, he often displayed human characteristics, such as laughter, sadness, and mockery, as well as singing and playing the guitar. With his major role often being to protect the youngest member of the crew, the Robot’s catchphrases were ’It does not compute’ and ’Danger, Will Robinson!’,[4] accompanied by flailing his arms.
The Robot was performed by Bob May[5] in a prop costume built by Bob Stewart.[3] The voice was primarily dubbed by Dick Tufeld,[6] who was also the series’ narrator, and Jorge Arvizu for the Spanish dubbing. The Robot was designed by Robert Kinoshita, who also designed Forbidden Planet’s Robby the Robot.[7] Both robots appear together in Lost in Space episode #20, ’War of the Robots,’ and in episode #60, ’Condemned of Space.’ The Robot did not appear in the unaired pilot episode, but was added to the series once it had been greenlit.
Initially, the bellows-covered legs were articulated, and were moved separately by the actor inside. However, the metal edges inside the suit cut actor Bob May’s legs, so changes were made. The legs were bolted together, and the robot was pulled along by a wire instead of walking as it had done before. A new lower section was constructed with the legs cut off at the knee. This was filmed either in close-up or behind something to obscure the actor’s feet protruding out the bottom; this version of the suit was informally referred to by the cast and crew as ’the Bermuda shorts.’[8][9]Features and abilities[edit]
Robot consisted, from top down, of
*A glass bubble sensor unit with moving antennae;
*A fluted, translucent ring collar (actually an arrangement of shaped ribs, through which performer Bob May could see);
*A cylindrical, rotating trunk section with extending bellows arms that terminated in red mechanical claws. The trunk section had controls, indicators, a small sliding translucent door through which data tapes, similar to punched tape, could be accessed (’The Hungry Sea’), a removable power pack and a signature chest light that illuminated in synchrony with the Robot’s speech (May had a key inside the suit that he would tap in time with his speech to illuminate the light, resulting in some scenes where one of the claws can be seen moving in time with the light);
*Bellows legs that were understood to move with some agility but which, due to real-world practical limitations, were rarely seen on camera to move separately; and
*Trapezoidal continuous track units at the bottom of each leg. These normally paired as a single locomotive device, but they also could function as individual feet. The leg and tractor sections apparently could be readily detached, allowing the Robot to be positioned in the rear of the Chariot ATV, although the actual disconnect operation was depicted only once.
According to the series
*The Robot possessed powerful computers that allowed him to make complex calculations and to deduce many facts;
*He had a variety of sensors that detected numerous phenomena and dangers;
*He was programmed with extensive knowledge on many subjects, including how to operate the Jupiter 2 spaceship;
*His construction allowed him to function in extreme environments and in the vacuum of space;
*He was extremely strong, giving him utility both in performing difficult labor and in fighting when necessary. Moreover, his claws could fire laser beams and, most frequently, a powerful ’electro-force’ that was similar to arcing electricity.
In one first season episode, Dr. Smith was seen to remove the robot’s programming tapes, which resemble a small reel of magnetic tape, from a hatch below the robot’s chest panel.After Lost in Space[edit]
Two versions of the robot were used during Lost in Space filming – a ’hero robot’ costume worn by Bob May, and a static, ’stunt robot’ prop that was used for distant or hazardous shots. Both versions fell into disrepair after the series, but these have since been discovered and restored. The ’hero’ is privately owned by TV and film producer Kevin Burns, who commissioned a replica in the early 1990s for touring and conventions. The ’stunt robot’ is in storage at the Science Fiction Museum and Hall of Fame in Seattle, Washington.
Like Robby the Robot, the B-9 Robot prop costume was re-used on at least one other show. On the Saturday morning children’s show Mystery Island, it was modified to make the primary character ’P.O.P.S.’ There it had different domes, different color scheme, and an added rectangular skirt of gold-colored tubes, covering the rubber bellows legs and base.
Full-size replicas of the robot are available commercially. Other versions have been built by hobbyists around the world,[10][11] who have built at least 15 detailed full-size replicas of the Robot.
In the 1998 film, the Robot is originally a sleeker design equipped with weapons, but its original form is destroyed during a fight on an alien ship. Will is able to download most of its consciousness before the robot’s original body is destroyed, filling in the gaps with extracts of his own neural patterns, and eventually manages to build a new body for it that bears a resemblance to its appearance in the original series.
In the 2018 Netflix series, the Robot is an alien AI within a skeletal-looking body which bears only a few resemblances with earlier versions, such as his famous line and loyalty to Will, with its combat form resembling the tank from the 1998 movie. The Robot was the cause of the colony ship Resolute’s destruction in the beginning of the series when it came to reclaim the engine and another of its kind dubbed Scarecrow, which were powering the Resolute. Its attack trapped the Robinsons and other colonists on a doomed planet, but after befriending Will Robinson and growing the equivalent to a soul, it soon sacrificed itself to protect the Robinson’s from SAR, the second Robot the Robinsons encounter.
The Resolute and the Robot soon teleported to the Robot’s home system, where it and Will are eventually reunited after SAR’s destruction. After integrating a new alien engine into the Resolute, the Robot turned on Will after saving the dying Scarecrow from being tortured, but after failing to try and hijack the ship to return to its home planet to repair Scarecrow, it helps the kids hijack a Jupiter so they can return to the planet after Hastings, a high ranking member of the crew, tried to kill them. The Robot stays behind to fight off Hastings and the guards so that Will and Ben Adler, a human they befriended, can return Scarecrow to their kind. With Ben’s sacrifice, Scarecrow is reunited with his kind.
Later, the race Robot and Scarecrow belong to attack the Resolute for revenge and to get their technology. While the Robots ultimately succeed in destroying the Resolute, Scarecrow turns on its fellows to protect the colonist children while they, the Robinson kids, and the Robot escape in a Jupiter integrated with the engine, leaving the parents and adults to fend for themselves in the Robots home system as only 97 people can survive in a single Jupiter.References[edit]R Lost In Space EpisodeWikimedia Commons has media related to Robot B-9.Lost In Space S.a.r
*^’90 Autographed Original Lost In Space Scripts’. The Irwin Allen News Network.
*^Hamilton, John (September 1, 2006). Science Fiction in the Media. Edina, Minnesota: ABDO Publishing. p. 13. ISBN9781596799943. OCLC69021016. Retrieved August 17, 2012.
*^ abMumy, Bill; Dutkiewicz, Michal; Zahler, Thomas F.; Allen, Irwin (2005). Lost in Space: Voyage to the Bottom of the Soul. Olathe, Kansas: Bubblehead Publishing. ISBN9780976543602. OCLC153921250. Retrieved August 17, 2012.
*^David Romano (March 2016). ’5. It Does Not Compute’. Make: FPGAs. Maker Media. ISBN9781457187841. Some of us remember hearing the phrase ’That does not compute’ used by the robot from the hit 1960s television series Lost in Space. When it comes to contemplating what a computer really is, I think many of us can honestly say ’It does not compute’ or even ’Danger, Will Robinson!’
*^staff (June 21, 2007). ’June Lockhart To Star At Museum Robofest’. Palm Beach Daily News. Palm Beach, Florida. Retrieved August 17, 2012.(subscription required)
*^Mansour, David (June 1, 2005). From Abba to Zoom: A Pop Culture Encyclopedia of the Late 20th Century. Kansas City, Missouri: Andrews McMeel Publishing. p. 403. ISBN9780740751189. OCLC57316726.
*^Raucci, Richard (1999). Personal Robotics: Real Robots to Construct, Program, and Explore the World. Natick, Massachusetts: A K Peters, Ltd.ISBN9781568810898. OCLC491860916. Retrieved August 17, 2012. .. Forbidden Planet (1956), designed by Robert Kinoshita, who would later create the familiar Robot (B-9) for the Lost in Space television series (1965).
*^Newman, Richard (2010). ’HighTechScience.org Lost in Space Robot’. Richard Newman. Retrieved September 6, 2010.
*^ICONS (1998). ’B-9 Robot Bob May Interview. An Interview with Robot Actor Bob May’. B9 Robot Builders Club. Retrieved September 6, 2010.
*^’B9 Robot Builders Club’. 2005. Retrieved September 6, 2010.
*^Geranios, Nicholas K. (May 23, 2002). ’Robot Hut takes visitors for a trip back in time’. The Seattle Times. Seattle, Washington: Frank A. Blethen. Retrieved August 17, 2012.Retrieved from ’https://en.wikipedia.org/w/index.php?title=Robot_(Lost_in_Space)&oldid=995464591’
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Auctions
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Find CPG sales jobs on Monster. Digital media sales. Base Salary: $170,000 to $180,000. Commissions: $130,000 to $220,000. The digital ad sales market continues to grow, while traditional print, broadcast and cable sink. 2-3-21 Online Only Auction – 1031 E. Schumaker Manor Dr. Sal, 2-10-21 Online Only Auction - 25170 Cedar Ln Seaford, 2-24-21 - Online Only -36554 Mt. Pleasant Road, Willards, MD at ALLENMARSHALLAUCTIONS.HiBid.com - Page 1 of 1. A LOT SALES AND AUCTIONS, LLC. Aztec Place Chino Valley, AZ 86323. Date(s) 1/21/2021 - 2/4/2021 1/21/2021-2/4/2021 First lots begin closing at 6pm (8pm Eastern) This estate auction runs online only. Starts Thursday, January 21. First lot will begin closing at.
AMS Auctions provide a wide range of goods, equipment and machinery to buyers around the globe. With over two decades of auction experience, AMS has established a reputation for a high-quality, reliable service for buyers and sellers alike. Trusted by the Official Receiver, Banks, JCB, Lombard and many more.
AMS offer the following types of auction:Live Public Auctions
From its 6000 Sq ft Sales Room in Cheltenham, Gloucestershire, AMS hold monthly auctions direct to the public and also provide an intelligent online bidding system that allows remote buyers to place incremental bids automatically.
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Free online bidding using AMS’s sophisticated online bidding software. This intelligent online bidding system allows remote buyers to bid live or set limits for automatic incremental bidding.
Online auctions are publicised to a huge database of regular buyers. Your assets can be supported by a full marketing campaign to reach an even larger audience if required. The benefit instant bidding feedback creates all the excitement of a live public auction without leaving the comfort of your own chair.
AMS’s online bidding system allows bidders to set the maximum price they are prepared to pay and the software will automatically bid on their behalf until they win or are outbid. Auctions can also extend the end time for another 5 minutes every time a bid is place in the closing 5 minutes – allowing the seller to get the best possible return and allowing the bidder to have another chance if they really want the item. 5 effects of the spanish american war.Sales by Tender
High value goods and specialist machinery are often sold by sealed bid. Sales are conducted from AMS’s warehouse or the client’s own premises. This means the buyer places a written bid for the amount they are prepared to pay. No one knows the value of anyone else’s bid until the end of the auction!Private & Confidential Tenders
High value goods and specialist machinery are often sold by sealed bid. Sales are conducted from AMS’s warehouse or the client’s own premises. This means the buyer places a written bid for the amount they are prepared to pay. No one knows the value of anyone else’s bid until the end of the auction!
This type of sale enables the seller to achieve maximum value for their goods as each bidder must effectively place their maximum bid from the start as they won’t be able to see how much anyone else has bid.Should you sell your goods by tender?
AMS’s highly experienced valuation staff will advise you of the most appropriate selling method for your type of goods or equipment. Where appropriate, AMS will advertise and market your tender sale to a wide audience of potential buyers.
Tender sales are used when an item appeals to a specialist market, or if it is unlikely to attract a broad spectrum of bidders, or where an asset may be worth considerably more to one specific buyer than another.
With strategic advice and an extensive global database you can be assured of a good price. It’s easy to see why so many major Financial Institutions, Insolvency Practitioners, High Street Banks, HM Revenue & Customs, and the Official Receiver put their trust in AMS.Negotiated Sales
AMS will find a buyer and negotiate a sale on your behalf. Valuation, documentation and specifications are all prepared and marketed to reach your target audience. AMS will demonstrate the goods, plant or machinery, negotiate the sale, collect the funds and ensure delivery to the buyer.
Negotiated Sale
AMS will find a buyer and negotiate a sale on your behalf. The valuation, documentation and specifications are all prepared and marketed to reach your ideal target audience. AMS will demonstrate the goods, plant or machinery, negotiate the sale, collect the funds and ensure delivery is made to the buyer.
Selling at arm’s length
There are often circumstances where a client may wish to remain anonymous until a buyer is found. If you have an individual, large or complex asset of high value, you may require this type of private treaty sale. Your assets will be offered at a pre-determined price to an interested party.
Expert negotiators, skilled in all aspects of marketing and sales will guide you through the process of selling a high value item to ensure you get the best return. With specialist knowledge of many marketplaces and extensive global databases, AMS act on behalf of many major Financial Institutions and high net-worth clients.
Once the sale has been successfully negotiated AMS can oversee any decommissioning and removal of the asset from the premises.
Negotiated Sales Typically Consist of:
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So you’re in the market for a new home, and you’re debating among a variety of different options. Aside from pricing and aesthetics, make sure you consider physical characteristics beyond the house such as the type of lot the subject property sits on.
There are a variety of different real estate lot types, and it’s important to identify and understand the pros and cons of each before purchasing a piece of property.
Aside from lot type, pay special attention to the size of a lot. A larger lot will allow you to build onto the home and make it more valuable, whereas a small lot might have no room for future growth.
Privacy is another huge factor when it comes to a real estate lot. When viewing a property, take a look around. How many neighbors can see into the backyard, the kitchen, the bedroom! Clearly the more privacy the better, and potentially more valuable the home becomes.Interior Lot
The interior lot is the most common lot type because it “fronts” on only one street. It lies between homes on the left and right side, facing the street with a yard behind the house. This is your basic, standard lot.
As such, there shouldn’t be any major pros and cons to this type of lot from a real estate perspective since its the norm. However, pay close attention to the size of the lot and how close the neighbors are. Also take note of how many homes you can see from the backyard. Lots keep getting smaller to the point where you might be able to see 6-8 other homes from the backyard. And the homes might be so close together that you can reach out and touch the neighbors.A Lot Sales & Auctions By OwnerCorner Lot
A corner lot is just how it sounds, a piece of property that lies on the corner of two intersecting streets, causing frontage on two sides of the home. Corner lots allow easier access to the rear of the home, as well as the option for two separate entrances to the home. For this reason, they can draw a premium over standard lots, though this varies depending on other factors such as size, location, and use of lot.
If the corner lot is on a very busy through street the increased traffic could hurt the value, but if it’s a less-traveled, interior street and there are no neighbors on one side of the home, it can be viewed as a positive because it may actually be quieter and more private.
Corner lots may be larger than standard lots, though this isn’t a guarantee. Another potential negative is crime, as corner lots provide easier access to criminals to get in and get out.
Commercial property on corner lots is typically always sold at a premium because of the increased visibility and the potential for easier access to and from the building.Flag Lot
No, it’s not just a home with a flag proudly flying out front, though it certainly could feature Old Glory flowing in the wind. While a “flag lot” is a more uncommon real estate design, it is still seen in many neighborhoods nationwide.
A flag lot is basically a recessed interior lot with a long extended driveway, which sits above the homes to the left and right.A Lot Sales And Auctions Llc Phoenix Az 85021
Try to picture a row of houses with one set far off from the street, with the driveway acting as the flag pole if you will.
The pros of a flag lot are privacy, and potentially a view, with the cons being a long driveway (bad for snow) and decreased visibility to the public. There may even be a shared driveway, which can get touchy at times.
It may turn off some buyers and lead to a lower sales price, though those looking for more privacy and a potential deal may favor it.
Also watch out for properties adjacent to flag lots. They might be able to see into your backyard.Cul-de-Sac Lot
A cul-de-sac lot is a lot sitting in a cul-de-sac, or a dead-end street with a curved turnaround. The lots lose some of the front yard because of the curved frontage, but enjoy larger backyards, less traffic, and more privacy.
Cul-de-sacs are typically favored because of the perceived safety of the street for children and the larger backyards, meaning you can generally fetch a higher sales price. You’ll often see this type of lot highlighted by the real estate agent as a huge positive.Key Lot
A key lot is fairly uncommon and exists when a lot has several other homes backing onto the side of the home. If you were to walk along the side of a key lot you’d be able to see two or three of the neighbors’ backyards. In addition, another home may sit directly behind the backyard of a key lot as well, giving it a landlocked feel.
This lot type is seen as a negative because of the decreased privacy and likely reduced visibility. This may hurt its value.T-Intersection Lot
A T-intersection lot sits at the end of a T-intersection, if you are facing the “T”. The increased exposure to traffic makes these lots less desirable for children and more susceptible to speeding vehicles and bright headlights.
This means the value will likely be lower as fewer buyers will be interested. However, they can sell for a premium if the property is commercial or the owner is looking for increased visibility.
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Apple’s mapping-related acquisitions keep rolling along. Last week it was revealed that the company snapped up Embark, my favorite app for navigating NYC Subways. Lots of speculation has been swirling around these moves, as it goes for all things Apple. But a lot of it has been misdirected (bad pun intended).
*Locationary Apple Carplay
*Locationary Apple Picking
*Locationary Apple Cider Vinegar
Apple’s on a bit of a shopping spree, it seems. After having last week confirmed its acquisition of business location data firm Locationary, the company has also snapped up HopStop, the maker of. In addition to the Genius Bar for hardware repairs, you have more immediate support options. Get your questions answered by an expert via phone, chat, email, or even Twitter. From setting up your device to recovering your Apple ID to replacing the screen, Apple Support has you covered. Locationary CEO Grant Richie touched on Apple’s struggle with maps in September 2012 in an article written for Tech Crunch. “The Apple iPhone 5 has been quite a story for a while with many.
First, as background, this marks the third acquisition (not counting the Waze miss) in five weeks to strengthen Apple’s backbone in mapping and navigation. Locationary standardizes local business listings, while HopStop and Embark specialize in different flavors of navigation and public transit. These features were clearly missing in Apple Maps’ famous fail.
But moreso than the features, these post-Mapgate acquisitions are all about what’s behind the scenes in this age of big data. This goes back to what a lot of people don’t realize about Apple Maps: it’s is actually a pretty slick mapping tool. But what it has in dazzle, it lacks data; things like place listings, navigation and public transit.
For the sake of comparison, these are precisely the things Google has built by collecting mapping and routing data from hundreds of billions of queries since Google Maps launched in 2005. Any good mapping engine will iterate and apply this data to get better over time. In other words mapping is a game ultimately won on data — not flyover imagery.
I wrote as much before Apple Maps launched, when the beta was unveiled at last September’s iPhone5/iOS6 launch:Locationary Apple Carplay
However one thing Apple could underestimate is that mapping and local search are games ultimately won on function over form. In other words will it find what I’m looking for, regardless of pretty flyover images of Big Ben?
That’s governed by the local data and algorithms that deliver relevant search results. And this is new territory for Apple, which is now cobbling together a silo’d list of local content partners like Yelp and Waze.
Now realizing this, Apple’s is playing catch-up. And since it doesn’t have the time to build mapping data a la Google, it’s applying a tiny slice of its $145 billion cash reserve to buy its way out of the problem. The latest acquisitions achieve some degree of listings integrity and navigation, especially public transit directions famously lacking in Apple Maps.
While there’s been lots of agreement on most of the above, the punditry has unraveled in effectively answering the question of “why?” Apple’s intentions have been characterized by many as a play towards going deeper into ad monetization. Picture a sort of local flavor of iAd, fueled by local search queries and mapping impressions.
I don’t disagree that this will happen, but here’s the thing: it will be secondary to Apple’s true play which at all times is to sell more iThings. Because Apple is a company that makes most of its (very healthy) margins from hardware sales and carrier subsidies, most of its moves work toward making iPhones and iPads more attractive consumer purchases.
It reminds me of Google entering new areas as loss leaders to boost or establish positioning of its core search revenues (Android’s true play). With Apple, just look at the numbers: there’s a far greater economic stake in the core revenue stream of selling iThings than in entering the the competitive and challenged mobile local ad game where it has no footing.
That core business has created one of the most valuable companies on earth with 2012 revenues of $156 billion, gross margins around 37 percent and a $145 billion checking account. Meanwhile, mobile local search — though it’s dear our hearts — has annual revenues of $1.3 billion, growing to $5.6 billion by 2017 according to BIA/Kelsey projections.
The bottom line is that local search is on Apple’s radar but let’s be sure to call it what it is: a revenue diversification play. This stems from maturing iPhone sales and a stock price that reflects it. New penetration is to be had with a lower-priced “iPhone 5C” in high-growth developing markets, but Apple will need other growth areas to justify its massive valuation.
That’s where mobile local search could come into the picture, but for now it’s almost a rounding error for a company like Apple. The numbers point more towards to the need for a better mapping engine to protect sales of massively profitable iThings first and foremost. This is pressured further by an increasingly competitive SamDroid to the East.
One thing is for sure: Apple has lots of ground to cover if it’s to continue to buy the equivalent lead time of local search and navigation data that Google has amassed and put to work over the past 8 years. The company’s local search and mapping acquisition spree isn’t over: good news if you’re in the local mapping and data game.
Mike Boland is senior analyst at BIA/Kelsey, where he heads up the firm’s mobile local coverage. Previously, he was a tech journalist for Forbes, Red Herring, Business 2.0, and other outlets.Locationary Apple PickingStreet Fight Daily: Yelp-Google Rivalry Heats Up, A Hard Sell Gone South6 Tools for Targeting Brand Influencer Look-AlikesRelated
You could argue Apple Maps’ lackluster debut last year had as much to do with our tendency to focus on sexy outlier goofs, as if those alone were sufficient evidence the app was problem-riddled. There’s no science behind that position, but the sensational resonates, and it’s eye-catching to learn that an industry darling like Apple might have crafted an app that embarrassingly confused, for instance, London, Ontario with London, England, or the lofty Willis (nee Sears) Tower in Chicago — the second tallest building in the U.S. — with a comparably stubby skyscraper dwarfed by its peers. Were those errors pathological? Who could say.
Even I succumbed to the “where there’s smoke there’s fire” mindset at first, switching to Google Maps via the iOS version of Chrome, then to Google’s standalone iOS Maps app released back in December to the tech-blog equivalent of trumpets, confetti and angels singing hosannas. When an app triggered Apple Maps, I killed it. I learned to work around Apple’s hooks, manually typing addresses into Google Maps instead of Safari, sacrificing the luxury of Apple’s seamless inline app connections for what I assumed was Google Maps’ greater fidelity.
But my experience over time has veered from popular sentiment. Google Maps was getting addresses wrong and dropping the GPS pin down on the road behind a business or on the wrong side of the street. In fact I started noticing the app was getting basic locations wrong roughly as often as Apple Maps does.
5 results of the spanish american war. To be fair, neither Maps screws up most of the time: both take me from A to Z reliably, whether Z’s a business, a residence or some backwoods state park hangout. But whether Apple’s quiet refinements are paying dividends or we’ve been wrong about the app’s shortcomings (or Google Maps’ superiority) from the start — all I have is anecdotal evidence — I’ve slowly gravitated back to using Apple Maps as my primary locational tool.Locationary Apple Cider Vinegar
So when I read that Apple had snatched up Canadian data startup Locationary, it struck me as less a reactionary maneuver to shore up deficiencies in a still-ailing application than a progressive, aggregative one designed to distinguish Apple Maps from the crowd.
The mapping software industry’s holy-holy isn’t cartographical fidelity (already on offer), it’s figuring out how to fold in detailed, accurate, and — most important of all — always up-to-date information about the locations you’re searching for (or near, or topically about). The future of maps, among other whiz-bang features like three-dimensional, real-time verisimilitude, is their becoming semantically sophisticated extensions of our inquiries, not — as Apple and Google Maps both currently work — the other way around, conjuring results, then handing us off to subordinates like Yelp and the like for evaluative drill-down.
Locationary, a portmanteau of location and dictionary, touts its “Saturn” platform as a way to synthesize and refine business profiles, taking component data from multiple sources (crowd-sourced, business-provided) and restructuring it as composite information — in other words, making sure business profiles are representative and up-to-date. The company describes its platform as using “a revolutionary real-time blending technology that can merge data from multiple sources as quickly as you can download it.” Think of it as another shot at a “neutral” connection hub, like LinkedIn for contact management, say, designed to unify disparate profile-building processes.
Mapping software is already complex enough without branching into far trickier services that intermingle locational and contextual information. We’re vectoring toward the sort of eerie moment you see in a movie like Minority Report, when Tom Cruise walks by those marketplace displays that react to him uniquely, hawking this or that service based on his profile in some aggregative system, but it’ll take a paradigm shift in profile administration to get us there.
The actual future is probably more private, of course: tiny screens that fit in our pockets and hands or that perch above our eyes, Google Glass-style. As Locationary CEO Grant Ritchie put it to The Globe and Mail a year ago: “In 10 years from now, our mobile phones are going to know everything being sold around us — what’s on sale and where, how much it costs, what’s available in stock and where.”
But to get there, you have to do far better than manually phoning businesses to verify their information (as Ritchie claims Google’s been doing with Google Maps). If Locationary lives up to its claims then, and Apple’s at some point able to launch a version of Apple Maps that offers accurate, comprehensive, contextually meaningful locational information, it may indeed have something unprecedented to crow about.
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One cause of the Spanish-American War: the United States wanted an empire. The United States needed coaling stations in the Pacific in order for its ships to reach the rich markets of China. Spanish-American War, (1898), conflict between the United States and Spain that ended Spanish colonial rule in the Americas and resulted in U.S. Acquisition of territories in the western Pacific and Latin America. Roosevelt, Theodore; Rough Riders.
Peace was arranged by the Treaty of Paris signed Dec. 10, 1898 (ratified by the U.S. Senate, Feb. 6, 1899). The Spanish Empire was practically dissolved. Cuba was freed, but under U.S. tutelage by terms of the Platt Amendment (see under Platt, Orville), with Spain assuming the Cuban debt. Puerto Rico and Guam were ceded to the United States as indemnity, and the Philippines were surrendered to the United States for a payment of $20 million. The United States emerged from the war with new international power. In both Latin America and East Asia it had established an imperial foothold. The war tied the United States more closely to the course of events in those areas.The Spanish American War Quizlet
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved.Spanish American War In The Philippines
See more Encyclopedia articles on: U.S. History
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*V Slot Aluminium Profile
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*V Slot Aluminium Profile for 3d printers are extruded by an high quality extrusion process. We are having a stock of high-quality aluminium 6063 T6 mill finished, black anodized aluminium extruded profiles with different sizes like 2020, 2040, 4040 in our novo3d shop at an affordable cost.
*V Slot Extruded Aluminum is a new concept aluminum extrusion, it can be used as linear motion rail on most mechanical projects. This Vslot extrusion have 6 v groove rails on all 4 sides, the v groove linear rails allow V wheels sliding smoothly.
Additionally, Fusion3 uses aluminum extrusion wheels (can’t say if they’re V-slot for sure, since I can just see the extrusions themselves, but it’s a slot and wheel system of some kind), and their machines cost even more. Again, I’ve never met a dissatisfied customer from them.T-Slot / V-Slot
T-Slot has been around for many years. It has matured to a solid building system using in industry and by hobby engineers to build everything from machine enclosures to CNC machines, 3D printers and robots! It is strong enough to withstand many industrial stresses and modular enough allow for universal designs.
The T-slot system consists of extruded aluminum of various sizes with a “T” shaped slot on one or more of its sides. The shapes, sizes and designs may be different, but the “T” slot is common to all. The “T” slot allows of a variety of hardware to be connected to the extrusion so that complex structures can be constructed.Types of T-Slot
There are many types of T-Slot available on the market. Some of the most common for small scale engineering include:
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*MicoRax
As show above, these 4 type range from 10mm to 20mm square profile. Each profile has its unique features, but all share the “T” slot function.
The profiles are not limited to square. V-slot, for example, comes in 4 sizes 20x80mm, 20x60mm, 20x40mm and 20x20mm :
Some manufactures produce larger square and other shaped profiles:
MakerBeam can fit a screw into its T-slot:
MicroRax is small, light and uses t-nuts and screws:
OpenBeam can fit a standard nut into its t-slot:
V-Slot uses t-nuts and is different from the other profiles because has “V” grooves that fit special “V” wheels and allow for easy linear motion:
Above are four different approaches to T-slot, there are in fact many more.V Slot Aluminium ProfileAluminium Extrusions System created for engineers by engineers.Valuframe is the t-slotted aluminium profile system designed for economical frame building. It’s purpose is to replace welded steel fabrications and the more established, more expensive aluminium extrusion systems and aluminium profile systems available in the UK.
Our range of t-slot aluminium extrusions is called Valuframe to emphasise the focus on value for money. It’s designed to be an aluminium extrusion system that’s a prudent choice for cost conscious engineers and machine builders. Since introduction to the UK aluminium profile systems market Valuframe has successfully helped engineers all over the UK and Europe design and build economical aluminium frameworks. We retain our valued customers because we work harder to keep costs down and our service and availability levels high.
The aluminium profiles and connecting elements in the Valuframe system will seamlessly combine with many of the the more established and expensive aluminium extrusion based machine building systems available. Our aluminium profile system has the same manufacturing tolerances, the same quality finish and the same options in connections and fittings as many of thesemore expensive aluminium extrusion framework systems. There are no minimum quantities to buy with Valuframe. We will not make you buy 100 slot nuts when you need only 4. The unit of sale for the vast majority of our parts is 1. Changing to Valuframe is easy, talk to us about compatibility if you need to change from another aluminium extrusion system to Valuframe, we will give you a straight answer.Key features of the Valuframe t-slot aluminium profile system.Low cost standard connectorNo-Drill connector for fast connection - no machining Universal connector for versatile strength Angle connection for strength and simplicity Corner block connection is aesthetically pleasing All profile holes can be directly tapped Wire mesh in the profile slot for guarding panels Panel material held in with plastic blocks Panel material held in slot with plastic filler strip Slot fillers and flat faced profiles for clean areasOur aluminium extrusion series.Series 5 profilesAre generally based on 20mm core dimensions, with a 5mm slot that allows a maximum slot nut thread of M5, these aluminium extrusions are used for small, light applications such as sensor supports, small doors, frames and enclosures.Series 6 profilesAre generally based on 30mm core dimensions, with a 6mm slot that allows a maximum slot nut thread of M6, these profiles are used for larger applications such as furniture, table top frames and enclosures.Series 8X30 profilesSeries 8X30 profiles are versatile profiles offering the economy of 30mm dimensions with the flexibility of an 8mm slot for a wide range of connecting elements. Used for a wide range of applications from frame building to jigs and fixtures.Series 8 profilesAre the most popular, based on 40mm core dimensions, with an 8mm slot that allows a maximum slot nut thread of M8, these profiles are used for a vast range of applications from machine frame building to guarding, from special enclosures to vehicle structures.
What can I make with an aluminium extrusion system?Valuframe aluminium profile systems and t-slot aluminium extrusions have a huge array of uses, not all industrial. In fact it’s versatility is limited only by your imagination, but if you need a little help, then visit our photo gallery for inspiration. Why would I use an aluminium profile system?
As a raw material, aluminium extrusions are still more expensive than steel, so why do so many people move over to using aluminium profiles?
No welded joints; so you can move the aluminium extrusions if needed.V Slot Aluminium Extrusion Bangalore
No painting or priming; the aluminium is finished with a clean, attractive and modern looking bright anodised finish.
Assembly is an unskilled job; with none of the health and safety issues associated with welding, dressing, painting and other engineering operations.2020 V Slot Extruded Aluminum
Speed of assembly; panels and frames can be put together in next to no time.
Adaptability; those slot nuts and many other connecting elements are small but versatile and will help make your frame building life easier.
Recyclable; you can always use the profiles somewhere else if your assembly is temporary.
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