Category Archives: People

Deeper, Hidden Meanings and Themes in Alice in Wonderland | Owlcation

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The events in the story correlate with the steps in a child’s growth and progression through childhood and adolescence. According to editors Charles Frey and John Griffin, “Alice is engaged in a romance quest for her own identity and growth, for some understanding of logic, rules, the games people play, authority, time, and death.” When you approach the book with this idea in mind, it offers interesting and meaningful interpretations of the events and characters in the story.

read the complete article at Source: Deeper, Hidden Meanings and Themes in Alice in Wonderland | Owlcation

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A Deep Dive on End-to-End Encryption: How Do Public Key Encryption Systems Work? | Surveillance Self-Defense

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In Review: Using Public Key Cryptography

Let’s review. Public key cryptography lets you encrypt and send messages safely to anyone whose public key you know.

If others know your public key:

  • They can send you secret messages that only you can decode using your matching private key and,
  • You can sign your messages with your private key so that the recipients know the messages could only have come from you.

And if you know someone else’s public key:

  • You can decode a message signed by them and know that it only came from them.

It should be clear by now that public key cryptography becomes more useful when more people know your public key. The public key is shareable, in that it’s a file that you can treat like an address in a phone book: it’s public, people know to find you there, you can share it widely, and people know to encrypt messages to you there. You can share your public key with anyone who wants to communicate with you; it doesn’t matter who sees it.

The public key comes paired with a file called a private key. You can think of the private key like an actual key that you have to protect and keep safe. Your private key is used to encrypt and decrypt messages.

Source: A Deep Dive on End-to-End Encryption: How Do Public Key Encryption Systems Work? | Surveillance Self-Defense

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Inside NBA Superfan James Goldstein’s Wild L.A. Party Mansion | Hollywood Reporter

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Obviously someone with a lot to prove, this guy feeds on the poor just like a good Trumpian daddy might.Dates the younger girls and worships only himself. Except for the architecture portion of this article, this would have been dismissed. But I love architecture and how building learn. When day this building will learn him what he needs to know. Kind of creepy…

James Goldstein, the city’s most unapologetic 80-year-old bon  vivant (and Lakers fixture), throws parties with models and Leonardo DiCaprio as he rushes to finish his architectural legacy: “The villains always live in the modern houses.”

A thousand people raged until 4 a.m. at 80-year-old James Goldstein’s Halloween party last year. Two days later, the singular host — who straddles the spheres of entertainment, style, sports, art and architecture like no one else in Los Angeles — bumped into Leonardo DiCaprio at LACMA’s Art + Film Gala.

“I said, ‘I wanted to invite you, but I didn’t have your number,’ ” Goldstein recalls. “He says, ‘I was there, wearing a mask.’ It turns out Jamie Foxx was there too, in some unrecognizable costume.” Conspicuously not in attendance was Goldstein’s Beverly Crest neighbor Sandra Bullock, whom he had invited. Based on the history of their relationship, Goldstein theorizes she may have been responsible for calling the cops with a noise complaint, though, “I can’t say with any proof.”

Frizzy-haired and springy-stepped, in head-to-toe designer leather — or, when at home, brightly contrasting tennis gear — Goldstein is the poster octogenarian of a certain kind of man, one whom some find admirable and others repellent. A real-estate investor, he puts his net worth “in the ballpark” of $100 million. More consequential is what that fortune allows: the freedom to cultivate what once would’ve been referred to as insouciance, and is now, among the young and fashionable crowd he surrounds himself with, an IDGAF philosophy. Case in point, he spends most nights courtside at the Staples Center in his trademark peacocking attire, often with a date young enough to be his granddaughter.

It’s a weekday and, as he has since the ’70s in what may just be the city’s longest-running act of property-tinkering, he tends to his world-famous dwelling, the Sheats-Goldstein Residence, designed by heralded midcentury architect John Lautner and considered a modernist masterpiece (though most famous for its appearance in 1998’s The Big Lebowski). There are, as ever, contractors to hound and blueprints to review, especially as he seeks to finally complete an adjacent Lautner-esque entertaining complex he began about 15 years ago. To do so, Goldstein knocked down an actual Lautner that stood on the lot. Preservationists blanched. Goldstein says the architect, who died in 1994, gave him his blessing.

Built in phases, the top floor of the complex features a tennis court with an infinity edge. Below is a European-style discotheque he’s dubbed Club James. Its first bash was a surprise birthday he hosted for Rihanna in 2015. On the ground floor is a soon-to-be-completed ultra-narrow lap pool. “When I had this pool designed, the style wasn’t very common,” he sighs. “By the time I’m finished, all these $30 million spec houses had them.”

 

Source: Inside NBA Superfan James Goldstein’s Wild L.A. Party Mansion | Hollywood Reporter

The Clockwork Condition | The New Yorker

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A photo of a shark from below. Everything not all as it seems.

Evil is always evil, and it may be thought of, perhaps, as essentially destructive, a willed and deliberate negation of organic life. It is always evil to kill another human being, even though it is sometimes right to do so. It is probably evil to kill any organism, even the bullocks and sheep we need for our nutriment. To be a carnivore is neither right nor wrong, at least in Western society: it is a thing of neutral significance. Hinduism feels so strongly about the sanctity of all life that it opposes the killing of anything, for food or even, at times, for self-protection. It is permissible to use a mosquito net but not to swat the insects. I have seen Hindu workmen holding up great constructive enterprises in order to look after the welfare of the crawling life dug up with the spade or shovel. East and West meet in principle on the sanctity of life, but the West is more pragmatic about it. By a kind of metaphorical extension, the West will go farther than the East in regarding as evil (not just wrong) the destruction of an artifact, especially if that artifact is a work of art. A work of art is somehow organic, and to slash a painting or smash a statue is not just an offense against property but an offense against life.

Source: The Clockwork Condition | The New Yorker

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Edgar Allan Poe and the Economy of Horror | The New Yorker

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I know how it feels to starve for your art. Not intending to die for it though…

This year marks the two-hundredth anniversary of Poe’s birth and the publication of two collections of gothic tales produced by the Mystery Writers of America. “On a Raven’s Wing: New Tales in Honor of Edgar Allan Poe” (Harper; $14.99) contains stories by twenty mystery writers, including Mary Higgins Clark. “In the Shadow of the Master: Classic Tales by Edgar Allan Poe” (William Morrow; $25.99) pairs Poe’s best-known stories with modern commentaries; Stephen King muses on “The Genius of ‘The Tell-Tale Heart.’ ” There’s also a sensitive and haunting brief biography, Peter Ackroyd’s “Poe: A Life Cut Short” (Doubleday; $21.95), that offers a fitting tribute to Poe’s begin-at-the-end philosophy by opening with his horrible and mysterious death, in October of 1849. Poe, drunk and delirious, seems to have been dragged around Baltimore to cast votes, precinct after precinct, in one of that city’s infamously corrupt congressional elections, until he finally collapsed. From Ryan’s tavern, a polling place in the Fourth Ward, Poe was carried, like a corpse, to a hospital. He died four days later. He was forty years old.

“My whole existence has been the merest Romance,” Poe wrote, the year before his death, “in the sense of the most utter unworldliness.” This is Byronic bunk. Poe’s life was tragic, but he was about as unworldly as a bale of cotton. Poe’s world was Andrew Jackson’s America, a world of banking collapse, financial panic, and grinding depression that had a particularly devastating effect on the publishing industry, where Poe sought a perch. His biography really is a series of unfortunate events. But two of those events were transatlantic financial crises: the Panic of 1819 and the Panic of 1837, the pit and the pendulum of the antebellum economy. Poe died at the end of a decade known, in Europe, as “the Hungry Forties,” and he wasn’t the only American to fall face down in the gutter during a seven-year-long depression brought on by a credit collapse. He did not live out of time. He lived in hard times, dark times, up-and-down times. Indigence cast a shadow over everything he attempted. Poverty was his raven, tapping at the door, and it was Poe, not the bird, who uttered, helplessly, another rhyme for “Nevermore.” “I send you an original tale,” Poe once began a letter, and, at its end, added one line more: “P.S. I am poor.”

Source: Edgar Allan Poe and the Economy of Horror | The New Yorker

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