Carnegie Mellon Signs Technology Deal With Portugal

October 30, 2006, 10:36 am

Carnegie Mellon University and Portugal’s Ministry of Science, Technology, and Higher Education announced plans on Friday for a long-term research and education collaboration in information and communication technologies. According to a news release issued by the university, the deal will emphasize information processing and networks as well as related areas of applied mathematics, technology, and policy. The agreement, which also will create an Information and Communication Technologies Institute, with locations in both Portugal and Pittsburgh, follows a similar collaboration, announced two weeks ago, between Portugal and the Massachusetts Institute of Technology.

This entry was posted in Research. Bookmark the permalink.

E-mail

3 Responses to Carnegie Mellon Signs Technology Deal With Portugal

dank48 - February 29, 2012 at 2:16 pm

Any reference to Morse code that doesn’t include the word “rusty” deserves to be memorialized in stone. The Hunt for Red October required Scott Glenn, as a submarine commander, to utter, “My Morse is so rusty I could be sending the measurements of the Playmate of the month.” What military officer would say this without expecting to be fragged?

dank48 - February 29, 2012 at 2:36 pm

Related non-dialog cliches: Nobody in the movies or on television ever watches television, and no television is ever on, except to advance the plot. The moment the set is turned on or the main character happens to come by a set that’s on, we get exactly the news report, weather report, or whatever the hell it is that is required to move us along toward the end of the flick.

Also, phones never ring other than in cooperation with plot advancement. Where are all the wrong numbers and telemarketing calls? The computerized calls that leave you saying, “Hello?” about five times.

Also, the notion that every American child below puberty is a computer genius needs to be retired.

darccity - February 29, 2012 at 7:41 pm

Women are only allowed to work in women’s stereotypical fields like catering and art (The Vow even changes the “based on a true story”) to make Rachel McAdams into a sculptor who in a couple years becomes a superstar, then loses her memory, tries law school, but immediately relearns sculpting. And the critics tore into The Vow because of the voice over pop-philosophy narrative by the hunk star. Yet even that movie’s writing was superior to all the CGI and sci-fi/fantasy movies that now dominate the multiplexes. Why do the the latter get a pass among critics?