The title text is a reference to torrents, which are a more resilient peer-to-peer file-sharing method, due to the decentralized BitTorrent protocol, where the more people there are downloading a file, the more available it is. The name is a play on the file naming convention of release groups who name their files (typically for films or television shows) containing data on the file; source (CAM = Camera capture), language (SwEsUb = Swedish subtitles), source (DVDRip = Ripped from DVD), encoding (XviD = XviD codec) and group name (aXXo = aXXo, a well known DVD movie release group). Given that the filename is loaded with keywords that are irrelevant for a still image file, it is unlikely that this torrent will contain the expected pictures.
Curiosity Torrent
The presence of video-related data in the filename of an image (jpg) suggests it's a screenshot of a video. That, along with the Swedish subtitles, does seem to suggest that it is not in fact the mars lander "curiosity" but is perhaps an alternative "rear camera" that has been made available for people's "curiosity". --Mbread (talk) 14:21, 6 August 2012 (UTC)
I've been using the theory wiki as my guide. I've built up a library of classes for handling BEncoding, which I'm quite confident in; basically because the sanity check is to regenerate the original .torrent file from my internal representation immediately after parsing, then hash and compare.
There are open-source PHP-based torrent trackers out there. They are incredibly inefficient (I know, I wrote a caching mechanism for one back in the day), but you could set up your own local tracker and modify the PHP code to help debug your client as it communicates with the tracker. Having a local client-server setup would make troubleshooting a lot easier.
I drove on, but I didn't want to. I was welling with a combination of curiosity and charity. The pressure of the traffic pushed me on, but I found myself instinctively looking for a place to turn or stop. I wanted to go back - to see if this boy was as homeless as he looked. To see if I could be of help.
I recall standing on a street corner, waiting with a gathering crowd for an opening in the torrent of vehicles that heed neither traffic light nor policeman. In the distance, a mariachi band filled the night with a brassy cadence, providing a rhythm to which I and the Mexicans around me surged and receded as we probed for openings in the stream of cars.
COVER FEATURE UM^^^^^H ^^^^^^^^^^^^^^^^^^^^^^^^^^^^H ^^^^^^^^^^^3 October 2010theNational Science Foundation sponsored a conference attheGraduateCenter oftheCityUniversity ofNew Yorkcalled "Communicating Scienceto the Public Through thePerforming Arts." Gathered among preeminent artistic andscientific minds, GraemeGillis,director of theEnsembleStudioTheatre 's SloanProject (EST/Sloan Project) heraldedan "emerging genre"of American theater - playsaboutscience. Through commissioning , developing, producing, andchampioningnewAmerican playsaboutscience, ESTand other well-respected institutions liketheAlfred P. Sloan Foundation, theUniversity of Santa Barbara, theKennedy Center, and Manhattan Theatre Club havebrought scienceplaysinto vogue, andthis begssomeimportant questions. Whyhastheater become thechosen artform to examine science (seeinset onpage 52)?What constitutes a successful playaboutscience? What are theramifications ofthecreation ofa system in which oneclassofcitizens (scientists) patronizes another classofcitizens (artists)? Whydo scientists needartists toexplain science andscientists totherest oftheworld? ^D 1959C. P. Snow,theEnglishphysicistcum -novelist, gavea famous RedeLecture at Cambridge called"TheTwoCultures" inwhich he lamented whathe saw as a growing gulf between twocampsin theEnglish intellectual community. Thespeechhas becomea partof theintellectual canon, buttosummarize Snow: smart peoplewhoknowa lotaboutscience and smart peoplewhoknowa lotaboutthehumanitiesarefinding itincreasingly difficult to talk tooneanother. Thisisbad becausetheEnglish educational system privileges the humanities overthesciences tothedetriment ofanincreasingly scientific world. Needlessto say,thisspeechhas sparked generations of debate, fence-mending, and basic hissy-fitting thatpersiststoday.However ,regardless ofwhichsideoftheargument one fallson, it's hard to arguethatSnow's generalizations aren'tresilient. The recently knighted James Dysonofvacuum-cleaner fame and "unofficial technology Czarofthe[British] Conservative government" proclaimed in the NewYorker that "artandTVandthelikearenot necessarily industries, becausetheydon'tmake anything" (Sept. 20,2010). There's alwaystheexception where thetail wags thegiantbluespacecreature and James Cameron makesa film thatcommissions innovationsin 3Dcameraconstruction or deep-sea exploration, butdon'tmostofus, likeDyson, harbor thebelief that it'sthescientists whocreateempirical knowledge andmakethings? Isn't it the scientists who spawn innovations and create wealth that's capableofdoingthings like spurring economies, endingenergy crises, and paying playwrights towrite plays? Don'twriters andthelikeexist toexplain empirical knowledge toeveryone else?Therefore, isn'ttheir time best spent focused onverisimilitude andgetting scienceandscientists correct? first blush,itseemsstrange thattheater, theleastliterary ofthelanguagehumaniJanuary -February2011 151 ties(meaning itdoesn'tneedtobe readtobe consumed), hasbecomeuseful fordepictions of science becausetheater isvery badatexplaining complex, highly technical concepts. A playis a bewildering torrent of spectacle and informationthattravels against itsownparticular and unyielding clock. Playwriting 101saysthatifa concept or plot-point is important, it mustbe statedno less thanthree timesin orderto be understood through all thenoise.In general, audience members cannot askquestions during a performance. They cannot halta production and "rewind" forfurther review. Theycannot take notes. They donothaveaccesstoreference materials , oratleastit'squitefrowned uponifthey access them during aperformance. Alltold, a play isnotthe best waytoprepare a student for a pop quizonthefiner intricacies ofquantum physics. Moreover, a theater piece in whichthe audience is moreengagedwithan explanation ofa science concept thanthedramatic conflict that's happening between thecharacters ismost probably a blandandboring pieceoftheater. All theater ultimately traffics inemotions. Aristotle isright inhiscontention that plays, attheir best, exist tomakeusfeel. Theinduction ofemotions inanaudience isno smallfeat andcanonlybe accomplished ifevery secondofa playis spent inservice ofdeveloping character orconflict. Wefeel sadorangry orjoyful whenwesee a playbecausewe havenatural proclivities for empathy andsympathy thataredeeplyrooted in ourpsychology and neurology. Regardless whether a playissetina Danishroyal court, an Austrian abbey,or an Italianobservatory, the dramatist's job is to use herskillsto drawon these proclivities toelicit anemotional, cathartic response intheaudience members. Inso doing, she engagesour mostbasic,albeitimperfect, toolsfor divining morality. (Moreonthat later.) Is a platform designed to elicit emotions a goodplatform onwhich tothen explain science? Onewouldn't study physics ina biology lab.Isn't studying science in a theater akinto shattering Plutonium-239 in a petridish?* Perhaps, butI wouldcontend that science andtheater aresowell metbecause theater istheartform that canmost plausibly shatter plutonium ina petri dish! Truly, thestage isa poorlectern, butthat's notreally the point, isit? Thepoint isthat the theater hasproved a very hospitable placefor scientific ideas. Why? I elaborate, I think it'simportant to notethat"science and thearts"organizations havebeenattracted totheater as a means fordisseminating hardscience forsomepretty straightforward reasons.Firstofall,theater is usefulforencouraging curiosity aboutscience. Yes,allelements ofa playneedtoservecharacterdevelopment and conflict, butthere's nothingthat saysthat thesetting ortheideaswhich * Granted, some mayarguethatGalileoand Platobothuseddialoguetoengageinimportant andcomplexideas,butthere isa big difference betweendialecticand theater. PutGalileo'sDialogue Concerning theTwoChief World Systems on stage,and see how quickly thepiecebecomeslessaboutCopernicus vs.Ptolemy and moreaboutSalviati vs.Simplicio. Abolit th Through a partnership with theAlfred P.SloanFoundation, EST hasspentthepasttwelveyearscommissioning, developU I 'n9'Proc*ucing, anc'championing newAmerican playsaboutscienceandtechnology. Inthistime, nearly a million dollars Cl 13d I iLMcr ^as keenSpentcommissioning dozensofnewtheater works. Theseplayshavebeenproduced throughout theworld, and StlldiO Tll63tr6 / theorganizations thathavepartnered...
The New York Times has an article about how evil IRC is.New York TimesStill, I.R.C. perhaps most closely resembles the cantina scene in "Star Wars'': a louche hangout of digital smugglers, pirates, curiosity seekers and the people who love them (or hunt them). There seem to be I.R.C. channels dedicated to every sexual fetish, and I.R.C. users speculate that terrorists also use the networks to communicate in relative obscurity. Dvorak's ragging on chat and IM too.
The meeting was large and animated. It was a Saturday night, and the workers attended with their wives and children. Everybody drank. I was surrounded by a group, offered refreshments, and asked questions. How did I happen to come into the movement? Was I German? What was I doing for a living? The petty curiosity of people supposed to be interested in the most advanced ideas reminded me of the Rochester grilling on the day of my arrival in America. It made me thoroughly angry.
My words rushed on like a torrent, the brush pounding the floor with all the hatred and scorn I felt for my father. The terrible scene ended with my hysterical screams. My brothers carried me up and put me to bed. The next morning I left the house. I did not see Father again before I went to New York. 2ff7e9595c