1 Nigerian Naira = 3.1277 South Korean Won

1 Nigerian Naira = 0.009 Israeli New Sheqel

1 Nigerian Naira = 0.0025 Swiss Franc

1 Nigerian Naira = 0.0311 Botswana Pula

1 Czech Republic Koruna = 206.4848 Zambian Kwacha

1 Czech Republic Koruna = 1.1879 New Taiwan Dollar

1 Czech Republic Koruna = 0.3888 Swedish Krona

1 Czech Republic Koruna = 0.1365 Papua New Guinean Kina

1 Czech Republic Koruna = 0.0648 New Zealand Dollar

1 Czech Republic Koruna = 0.4065 Norwegian Krone

1 Czech Republic Koruna = 0.0123 Kuwaiti Dinar

1 Czech Republic Koruna = 48.5346 South Korean Won

1 Czech Republic Koruna = 0.1395 Israeli New Sheqel

1 Czech Republic Koruna = 0.0386 Swiss Franc

1 Czech Republic Koruna = 0.4832 Botswana Pula

1 Bolivian Boliviano = 752.5726 Zambian Kwacha

1 Bolivian Boliviano = 4.3295 New Taiwan Dollar

1 Bolivian Boliviano = 1.4171 Swedish Krona

1 Bolivian Boliviano = 0.4975 Papua New Guinean Kina

1 Bolivian Boliviano = 0.2363 New Zealand Dollar

1 Bolivian Boliviano = 1.4817 Norwegian Krone

1 Bolivian Boliviano = 0.0449 Kuwaiti Dinar

1 Bolivian Boliviano = 176.8934 South Korean Won

1 Bolivian Boliviano = 0.5085 Israeli New Sheqel

1 Bolivian Boliviano = 0.1408 Swiss Franc

1 Bolivian Boliviano = 1.7611 Botswana Pula

1 Japanese Yen = 48.6473 Zambian Kwacha

1 Japanese Yen = 0.2799 New Taiwan Dollar

1 Japanese Yen = 0.0916 Swedish Krona

1 Japanese Yen = 0.0322 Papua New Guinean Kina

1 Japanese Yen = 0.0153 New Zealand Dollar

1 Japanese Yen = 0.0958 Norwegian Krone

1 Japanese Yen = 0.0029 Kuwaiti Dinar

1 Japanese Yen = 11.4346 South Korean Won

1 Japanese Yen = 0.0329 Israeli New Sheqel

1 Japanese Yen = 0.0091 Swiss Franc

1 Japanese Yen = 0.1138 Botswana Pula

In the book “The World of _____” by Bennett Alan Weinberg and Bonnie K Bealer, there is a photograph of a label from a jar of pharmaceutical-grade crystals. It reads:

“WARNING: MAY BE HARMFUL IF INHALED OR SWALLOWED. HAS CAUSED MUTAGENIC AND REPRODUCTIVE EFFECTS IN LABORATORY ANIMALS. INHALATION CAUSES RAPID HEART RATE, EXCITEMENT, DIZZINESS, PAIN, COLLAPSE, HYPOTENSION, FEVER, SHORTNESS OF BREATH. MAY CAUSE HEADACHE, INSOMNIA, VOMITING, STOMACH PAIN, COLLAPSE AND CONVULSIONS.”

Fill in the blank.

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Dick Cavett talks to Cheever & Updike - Oct 14, 1981. (Earlier post.)

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.. his collection of “vintage knick-knacks, fab furnishings, collectible art, one-of-a-kind porn, and plastic food” and LOTS of books!

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Elisabeth Rosenthal has some good Swine-Flu advice. (Via Griff.)

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The buzz about showing and paying for value in EDA has been building over the past few years. People have complained about the high cost of tools and EDA vendors have complained about not getting enough value from the technology that can then be re-invested in the next generation tools. The same complaints can be heard from the foundries regarding their wafer pricing

Companies have tried royalty-based models before in the past (e.g., $/wafer or even profit sharing). But it hasn't been sticky. Is the industry ready for a new model?  I think sharing in the upside and potential downside of a particular design from inception to volume is fair. But it also would mean that EDA companies and foundries would have to participate even earlier (and later) in the product lifecycle - from design spec/marketing through product introduction.

That's a pretty big change that goes beyond just the business model. But maybe at 32nm and below, where designs cost upwards of $75M to bring to market, this type of collaboration and risk/reward model is required and desired

It was a sunny, Sunday afternoon in Anaheim (across from Disneyland). That combination of weather and entertainment didn't sway a group of 35 engineers from participating in the DFMC (Design for Manufacturability Coalition) Workshop at DAC 2010. On...(read more)

What is the meaning of this error?

I used already two ports (PORT1 and PORT2 for input and output, respectively.

-------------------------------------------------------------------------------------------------------------------------

Also when I apply the PSP analysis for S-parameter the value of maximum S21 value (4.75 dB) is much lower than the maximum power gain (17.6 dB).

while the same circuit is designed using  ADS program the two values are approximately the same around (17.1 dB).

Once while eating dinner in Montreal, our friendly, intoxicated waitress plopped herself in my lap and proceeded to tell us about how obsessed she was with the CD that was playing - singing out the lyrics at an ungodly volume and flinging her arms about. Wow, I thought to myself, people who listen to Morcheeba sure seem to have a lot of fun, and promised to check them out.

Several CDs later, they are firmly one of my favorites. And their trip hop meditation, 2003’s Charango remains one of my most played CDs.

Morcheeba (Mor = more, Cheeba = pot) are brothers Ross and Paul Godfrey with singer Skye Edwards (who has since been replaced). Part trance, part ambience, Charango is full of smooth, snogworthy jams. And just as you surrender to its seductive groove, Slick Rick shows up with a rap called “Women Lose Weight”.

Lamenting his wife putting on weight after having kids and stalled by his mistress who wants a clean break before she shacks up with him, he decides the easiest way out of it all is to kill the spouse. Considering different ways to do the deed, he finally rams his car into her Chevy over a long lunch break one fine day. It is an unexpected, stunning, tongue-in-cheek social commentary that makes it a CD you won’t forget easily.

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A couple of evenings ago, my cousin Debika and I were discussing how we’d react if we were told we had just a few months to live. She said she would try and do everything she liked in that time, and surround herself with her family. I said that I’d be inclined to save people I cared for the pain of watching me die—whatever that took. Ironically and unexpectedly, shortly after this conversation, we found ourselves watching François Ozon’s remarkable film Time to Leave.

The film begins with its protagonist, Romain, discovering that he is terminally ill with cancer, and deciding not to bother with treatment. He does not tell his friends or family of his condition. He is rude to his sister, and drives her to tears. He tells his lover, Sasha, that he does not love him, and drives him to move out of their house. This is a transparent lie, but though we see it, Sasha doesn’t. He confides to his grandmother—marvellously played by Jeanne Moreau—because she is like him, and “will die soon.” But even in this winding up, complications ensue.

Melvil Poupaud plays Romain, and is magnificent – understated, yet effortlessly expressive. But it is Ozon’s storytelling that makes this film memorable. It is spare, focussing only on the essential, and revealing its essence. There is not a frame out of place in this heartbreaking film that ends, like Romain, too soon and in great beauty.

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I’m coming to the party late—last weekend, for the first but not the last time, I watched Manish Acharya’s comedy, Loins of Punjab Presents. Behan____, what a film! 

I will not rehearse the synopsis or plot, partly because of the lateness of the hour, but also because it is available here. Instead, let me note quickly that the comedy keeps ticking, and the attention to detail in all matters, from the plot to the casting, makes this film a pleasure to watch.

Let me use one scene to make a point about where the film is coming from. Ishitta Sharma, playing a demure, Gujju girl called Preeti Patel, is one of the competitors in the Desi Idol competition in New Jersey. We have watched her sing beautifully, and we have watched her stay silent, eyes downcast, as her family-members make fools of themselves. But there’s a moment later in the film, when an older, wily competitor, played with classy ease by Shabana Azmi, tries to manipulate her. And suddenly, in the blink of an eye, Preeti Patel turns upon the Shabana character. It’s as if she always had a dagger hiding in her hand.

When I saw that, I thought that there was a similar strength in the movie I was watching. It’s all laughs but it has a quicksilver intelligence within. It is a declaration of independence by the desi diaspora—and what is great is that it celebrates this freedom by mocking, and loving, almost everything in sight.

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Pablo Bartholomew’s beautiful photo-show “Outside In” opened in Manhattan a few evenings ago. The exhibition is being held at Bodhi Art in Chelsea. Black-and-white photographs from the seventies and the eighties—reflecting Bartholomew’s engagement with people and places in Delhi, Bombay, and Calcutta.

These are not the pictures that made Bartholomew famous. The undying image of the father brushing the dust from the face of the child he is burying—that was the iconic photograph from the Bhopal tragedy in 1984. It also won for Bartholomew, still in his twenties, the World Press Photo’s Picture of the Year Award.

The images in “Outside In” do not commemorate grim tragedies or celebrate well-publicised public events. Instead, they are documents that offer intimate recall of a period and a milieu. Please click here to look at these photographs.

People who share a context with the photographer will have their own private reading of the scenes. For me, they evoke days when happiness seemed only one chai and a Wills Navy Cut away. There is charm and candor in these scenes. And because the young believe they will live forever, there is nothing defensive or stuck-up or overly self-conscious about their faces and postures.

Even the language of the captions is true to this spirit: “Self-portrait after a trippy night…”; “Nona writing and Alok zonked out…”; “Hanging out with the Maharani Bagh gang….” The exhibition catalogue has a fine essay by Aveek Sen that has also been published in the latest issue of Biblio.

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Literate Indians should be familiar with Ashis Nandy’s remark: “Cricket is an Indian game accidentally discovered by the English.“ A Trinidadian Indian by the name of Chuck Ramkissoon, in Joseph O’Neill’s superbly inflected novel “Netherland”, is also fond of making bold pronouncements on the behalf of the game he wants to introduce to the U.S. “I’m saying that people, all people, Americans, whoever, are at their most civilized when they’re playing cricket. What’s the first thing that happens when Pakistan and India make peace? They play a cricket match…”

It’s now my turn to be bold: “Netherland” is more of an Indian novel than the recent, much feted, Indian fiction. This is not only because O’Neill’s novel feeds our national obsession with the game. Nor even its exquisite description of what transpires on the playing field: “…. where the white-clad ring of infielders, swanning figures on the vast oval, again and again converge in unison toward the batsman and again and again scatter back to their starting points, a repetition of pulmonary rhythm, as if the field breathed through its luminous visitors.” No. My pronouncement is based on the fact that the Indian characters in the book are highly individualized and yet fully global in their identity. “Netherland” is not a sociological-historical epic thesis, nor is it a shallow, cynical report on injustice in the hinterland. Rich in observation, reporting as much on the interior life as on the life outside, it is a captivating literary achievement. A masterpiece.

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I loved Nina Paley’s brilliant animated film Sita Sings the Blues. If you’re reading this, stop right now—and watch the film here.

Paley has set the story of the Ramayana to the 1920s jazz vocals of Annette Hanshaw. The epic tale is interwoven with Paley’s account of her husband’s move to India from where he dumps her by e-mail. The Ramayana is presented with the tagline: “The Greatest Break-Up Story Ever Told.”

All of this should make us curious. But there are other reasons for admiring this film:

The film returns us to the message that is made clear by every village-performance of the Ramlila: the epics are for everyone. Also, there is no authoritative narration of an epic. This film is aided by three shadow puppets who, drawing upon memory and unabashedly incomplete knowledge, boldly go where only pundits and philosophers have gone before. The result is a rendition of the epic that is gloriously a part of the everyday.

This idea is taken even further. Paley says that the work came from a shared culture, and it is to a shared culture that it must return: she has put the film on Creative Commons—viewers are invited to distribute, copy, remix the film.

Of course, such art drives the purists and fundamentalists crazy. On the Channel 13 website, “Durgadevi” and “Shridhar” rant about the evil done to Hinduism. It is as if Paley had lit her tail (tale!) and set our houses on fire!

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