๐ฌ๐ง ์๊ตญ ยท "RAZED" ยท ์ด 4๊ฑด
ํํฐ ๋ณด๊ธฐํ์ฌ ์ง์
50.0
0 = ๋ถ์ ์ฐ์ธ
50 = ์ค๋ฆฝ
100 = ๊ธ์ ์ฐ์ธ
์ต๊ทผ 7์ผ ๊ธฐ์ค 4,084๊ฑด์ ๋ถ์ํ ๊ฒฐ๊ณผ, ๋ด์ค ์ฌ๋ฆฌ์ง์๋ 50.0(๊ท ํ)์ ๋๋ค. ๊ธ์ 1๊ฑด(0.0%)ยท์ค๋ฆฝ 4,082๊ฑด(100.0%)ยท๋ถ์ 1๊ฑด(0.0%)์ด๋ฉฐ, ์ค๋ฆฝ ๋น์ค์ด ๋๋ ทํ๊ฒ ๋์ต๋๋ค. ์ฑํฅ ์ง์๋ ์ข ํฉ 1.8(์ค๋ ๊ท ํ)์ ๋๋ค.
A former inmate at the Ohio Reformatory for Women, told the Daily Mail that she was deeply disturbed by her time with Shirilla in jail after the teenage killer was locked up for double murder.
The roots of AI in rightwing ideology is examined in Valerie Veatchโs enjoyable doc, including an array of colourful, often crazed, figures Director Valerie Veatch made her name with documentaries such as Love Child (about an online gaming-addicted couple whose child died of malnutrition) and Me at the Zoo (about American vlogger Cara Cunningham), films that explore the intersection of real-world subcultures and internet communities. Her latest continues in this vein, although its self-set remit is a bit broader, more urgent and germane to everyone right now: the pursuit of artificial intelligence, its dark history in eugenics and highly debatable utility today (despite the stock-market bubble pushing the value of a half-dozen companies towards the stratosphere). The thrust of the film is largely polemic, guiding the viewer towards AI-sceptical conclusions one persuasive soundbite at a time. Nevertheless, it also serves as a very useful, straightforward primer on AI history, touching on a dazzling array of colourful, often crazed figures, including Victorian British eugenicist Francis Galton, Silicon Valley founding father and overt racist William Shockley and current-day jillionaire jerk Elon Musk. Sadly, the film is not so up-to-date that it covers Musk and former friend-turned-foe Sam Altmanโs recent courtroom brawl, but that doesnโt detract from the thrust of Veatch and her intervieweesโ arguments. Continue reading...
Lawrence Elliott, 78, died on Wednesday after he was allegedly beaten with a metal pole in North Isis Queensland during an hour-long violent rampage across the Fraser Coast.
(MPL/Capitol) From nostalgic returns to his Liverpool childhood to a crazed Glastonbury fantasia, these are songs written with real purpose and a masterโs finesse The rock legend in the autumn of their years who chooses to release a new album is well advised to get themselves an angle. If the music that made you legendary was written and recorded long ago โ and is highly unlikely to be displaced in the publicโs affections by anything you do now โ itโs good to have something that suggests a sense of purpose, beyond just adding to an already vast back catalogue for the sake of it. Weโve recently seen it with Bob Dylanโs Rough and Rowdy Ways, rooted in its jawdropping 17-minute survey of American political history, Murder Most Foul; and with Bruce Springsteenโs Only the Strong Survive, with its canny covers of soul and R&B classics. And an angle is clearly something that has occurred to Paul McCartney, too. From its title referencing a road in the suburb of Liverpool where McCartney spent his early childhood, to the circumstances of its launch โ the first single Days We Left Behind was premiered not on YouTube or Spotify but BBC Radio Merseyside โ his 27th studio album has been presented as a nostalgic look back at what you might call his pre-Fab years. Continue reading...