your never too old to learn (a bit of fun )
Moderators: Soner, Dragon, PoshinDevon
- Soner
- Kibkom
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Re: your never too old to learn (a bit of fun )
It's 20. How is everyone coming up with a different figure ???
2 shoes = 10
10+10+10=30
Angry man = 5
5+5+10=20
2 cones = 4
4+4+5=13
1 shoe=5 1 cone=2
5+5x2=20
2 shoes = 10
10+10+10=30
Angry man = 5
5+5+10=20
2 cones = 4
4+4+5=13
1 shoe=5 1 cone=2
5+5x2=20
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- erol
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Re: your never too old to learn (a bit of fun )
Look closely soner. In final sum is the angry man also wearing shoes and holding cones ?
I make the final sum to be
One Shoe + One angry man holding two cones and wearing two shoes * one cone
5 + [5+4+10] * 2 = 48
I make the final sum to be
One Shoe + One angry man holding two cones and wearing two shoes * one cone
5 + [5+4+10] * 2 = 48
- Groucho
- Kibkommer
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Re: your never too old to learn (a bit of fun )
Close... Only order of arithmetic where multiply comes before addition...
The answer is therefore angry man plus cones and shoes = 19 X cone (2) + shoe (5) = 43
https://en.m.wikipedia.org/wiki/Order_of_operations
- Soner
- Kibkom
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Re: your never too old to learn (a bit of fun )
And I supposedly have 10/20 vision.
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- Kibkommer
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- erol
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Re: your never too old to learn (a bit of fun )
Well for me there was ambiguity in the order which is why I offered both options in my first try hereGroucho wrote: ↑Sun 29 Mar 2020 4:48 amClose... Only order of arithmetic where multiply comes before addition...
The answer is therefore angry man plus cones and shoes = 19 X cone (2) + shoe (5) = 43
https://en.m.wikipedia.org/wiki/Order_of_operations
viewtopic.php?p=249769#p249769
- waddo
- Kibkommer
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Re: your never too old to learn (a bit of fun )
Clever! Don’t do it on a phone, it’s to small = 28?
No matter how hard the past, you can always begin again.
- waddo
- Kibkommer
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Re: your never too old to learn (a bit of fun )
Very clever - just seen the answer! Blind as a bat and missed the shoes he was wearing. Very good, many thanks!
No matter how hard the past, you can always begin again.
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- Kibkommer
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Re: your never too old to learn (a bit of fun )
I saw the shoes he was wearing, but missed the cones he was carrying. Definitely need huge pics for my eyesight.
- erol
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Re: your never too old to learn (a bit of fun )
I did not get it until Groucho said 'look harder'
- Keithcaley
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Re: your never too old to learn (a bit of fun )
We don't know whether the miniature shoes and miniature cones should have the same value as the full sized ones.
We also don't know whether to simply add the value of these items to the value of the angry man, or whether the combination should be treated as a completely new value in its own right.
Finally the '?' symbol could be an actual value rather than a query.
So you could all be wrong!
We also don't know whether to simply add the value of these items to the value of the angry man, or whether the combination should be treated as a completely new value in its own right.
Finally the '?' symbol could be an actual value rather than a query.
So you could all be wrong!
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- Kibkommer
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- erol
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Re: your never too old to learn (a bit of fun )
We are all always wrong (and right) to some degree or other Keith Despite our strongest wishes and desires and needs, the universe simply will not bow to our need to simplify it down to binary states in opposition to each other. That is just an illusion and myth we all maintain (to some degree) as finite beings struggling to survive in an infinite universes in and within all scales and levels.
I have been up all night by the way
- Groucho
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- Brazen
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- Groucho
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- Groucho
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Re: your never too old to learn (a bit of fun )
- Keithcaley
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Re: your never too old to learn (a bit of fun )
42
Because....
Because....
- Groucho
- Kibkommer
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Re: your never too old to learn (a bit of fun )
The answer to the ultimate question of life, the universe and everything is 42
- Groucho
- Kibkommer
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Re: your never too old to learn (a bit of fun )
Picking up on an earlier post about paper folding... 80gsm copy paper folded (hence doubled) 42 times would reach the moon.
- Groucho
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Re: your never too old to learn (a bit of fun )
Or maybe from your youth you remember the type 42 vacuum tube the most popular audio output amplifiers of the 1930... ha ha.
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Re: your never too old to learn (a bit of fun )
I’ve found I’m watching a lot more movies during isolation and have taken to playing movie cliché bingo.
Here is a selection from the film critic Roger Ebert. Generally based on action films or thrillers and excluding films such as based on King Lear or Sense and Sensibility it would be a good game if anyone could find a film that includes the most or the least of these.
If the hero is imprisoned prisoned in a building owned by the villains, there will inevitably be an air vent cover that is not screwed in and is easily removed. The passageway will be large enough to accommodate any size person. The escape route will pass over the room where the bad guys are discussing the details tails of their diabolical plan, which the hero will now be able to foil.
Film characters are invariably unable to see a person crouched in the backseat of a car when, in the real world, it is an impossible place for a person to hide.
In every scene which includes a person carrying a bag of groceries, the bag will invariably contain a long, skinny, French baguette loaf, and exactly 8.5 inches of it will be exposed.
All movie bartenders, when first seen, are wiping the inside of a glass with a cloth.
Any scene involving the good guy burgling an office at night will inevitably include a semi competent night watchman, whose sole purpose is to inject an element of danger into an otherwise boring event. Actions performed by the watchman usually include shining a flashlight through the window, rattling doorknobs, watching security monitors, etc., all done in a manner that allows the good guy to continue undetected until just after he discovers the needed information or object.
In the movies, hackers who type for upward of ten hours a day are unable to put text on their screens any faster than the average six year old can read along.
Never share a foxhole with a character who carries a photo of his sweetheart.
Any character whose wife and/or kids are introduced more than an hour into the movie and who hugs and kisses any or all of them will be dead within the next twenty minutes.
Where the hero only has a few more days until he is free, his tour is over, or he can retire with full pension. Whenever such a character makes the mistake of mentioning his remaining time ("Three days and I'm outta here!") he will die before the end of that time.
Any car in a chase approaching a wall of stacked boxes will not only invariably run into it, but will find that the boxes are empty and scatter impressively (which certainly wouldn't happen pen if boxes labeled, say, "Air Conditioner" were actually full).
In a similar vein be ready to shout "Fruit Cart!" An expletive used by knowledgeable film buffs during any chase scene involving a foreign or ethnic locale, reflecting ing their certainty that a fruit cart will be overturned during the chase, and an angry peddler will run into the middle of the street to shake his fist at the hero's departing parting vehicle
The characters always know whether the crashed and smoldering vehicle they are in will explode. If they don't get out and run, it won't explode. If they do, it does.
Bad guy keeps good guy alive to witness the great evil he will commit, allowing good guy to prevent it.
The villain wants to kill the hero. He has him cornered at gunpoint. All he has to do is pull the trigger. But he always talks first. He explains plains the hero's mistakes to him. Jeers. Laughs. And gives the hero time to think his way out of the situation, or be rescued by his buddy.
In any situation where the hero is alone, surrounded by dozens of bad guys, they will always obligingly attack one at a time.
If the film's top villain places his hand on a henchman's shoulder (very important) and tells him not to worry about having screwed up, the henchman will be dead in less than a minute of screen time.
The main character in a movie centering around the military or prison never has the same severe crew cut that the other characters have, even though there is usually the obligatory haircut cut scene.
Movie characters who have an amazing ability to turn on the TV precisely at the moment when a newscaster begins a report on something directly relating to them.
Or the hero comes in the door of his apartment/house to a ringing phone. Answering it, he hears his partner say something thing like, "You'd better turn on channel 3 right now! The hero does so, only to see a news report just beginning that brings a crucial development or clue to the plot. Since the news report is just beginning, how did the partner know about it?
Whenever a sharp object is even remotely hinted at on the screen, someone will be impaled on it.
In thrillers where the hero is befuddled by an assortment of completely unrelated suspects and victims, the scene in which he suddenly discovers a vacation photo of all of them in a big group pose.
Nobody is ever taught anything in a movie that they are not later called upon to use.
When a character needs a parking space, even on the busiest streets in the busiest cities, one is quickly found.
Newborn babies in movies instantly look about seven months old, and weigh about twenty-five pounds. The mother seems perfectly refreshed, made-up, and comfortable despite the gargantuan child she's just given birth to.
Unless the point is to establish poverty, the apartments occupied by movie characters always look much larger and more expensive than anyone on their salary could afford.
Any stolen clothing or shoes will perfectly fit any male character whether they were stolen from a clothesline or removed from a Nazi guard, police officer, lookout, etc., who was overpowered and whose identity the clothing thief has now assumed.
Any time the hero, on the run, stops at a phone booth to call for help, he inevitably reaches the person trying to kill him. The villain tells the hero to stay right there, then sends killers to finish him off. The hero wanders away and an unsuspecting extra enters the phone booth, where he's the one machine-gunned instead.
Situations where the good guy disables the first of many bad guys and when given the choice to take the bad guy's guns and ammo, doesn't do so. Also applies to water, radios, flare guns, car keys etc
The bad guys are always lousy shots in the movies. Three villains with Uzis will go after the hero, spraying thousands of rounds which miss him, after which he picks them off with a handgun.
The lethality of a weapon varies, depending on the situation. A single arrow will drop a stampeding bison in its tracks, but it takes five or six to kill an important character. A single bullet will always kill an extra on the spot, but it takes dozens to bring down the hero.
Any character introduced as a recovering alcoholic who's been off the bottle for an extended period will go back to drinking sometime during the film.
When hero is one of a group of people, he goes off to the toilet or other secluded room just as the villains attack. Glimpsing the action from the bathroom, he is unknown to the bad guys and thus still free to respond.
A character is given a close-up in a scene where there seems to be no reason for it. This is an infallible tip-off off that this character is more significant than at first appears, and is most likely the killer.
Whenever a man and woman are on the run, the woman inevitably falls and sprains her ankle. As a result, the man must drag or carry her and their progress is slowed, stalled, or halted.
In modern police movies, the commanding officer exists solely for the purpose of taking the hero off the case, calling him on the carpet, issuing dire warnings, asking him to hand over his badge and gun, etc.
In many thrillers, the hero crashes his car or truck through the window or wall of a building at the precise time and place to allow him to rescue a victim or kill the bad guys. How can he see through the walls to know exactly where his car will emerge? Why doesn't he ever drive into a load-bearing beam?
Here is a selection from the film critic Roger Ebert. Generally based on action films or thrillers and excluding films such as based on King Lear or Sense and Sensibility it would be a good game if anyone could find a film that includes the most or the least of these.
If the hero is imprisoned prisoned in a building owned by the villains, there will inevitably be an air vent cover that is not screwed in and is easily removed. The passageway will be large enough to accommodate any size person. The escape route will pass over the room where the bad guys are discussing the details tails of their diabolical plan, which the hero will now be able to foil.
Film characters are invariably unable to see a person crouched in the backseat of a car when, in the real world, it is an impossible place for a person to hide.
In every scene which includes a person carrying a bag of groceries, the bag will invariably contain a long, skinny, French baguette loaf, and exactly 8.5 inches of it will be exposed.
All movie bartenders, when first seen, are wiping the inside of a glass with a cloth.
Any scene involving the good guy burgling an office at night will inevitably include a semi competent night watchman, whose sole purpose is to inject an element of danger into an otherwise boring event. Actions performed by the watchman usually include shining a flashlight through the window, rattling doorknobs, watching security monitors, etc., all done in a manner that allows the good guy to continue undetected until just after he discovers the needed information or object.
In the movies, hackers who type for upward of ten hours a day are unable to put text on their screens any faster than the average six year old can read along.
Never share a foxhole with a character who carries a photo of his sweetheart.
Any character whose wife and/or kids are introduced more than an hour into the movie and who hugs and kisses any or all of them will be dead within the next twenty minutes.
Where the hero only has a few more days until he is free, his tour is over, or he can retire with full pension. Whenever such a character makes the mistake of mentioning his remaining time ("Three days and I'm outta here!") he will die before the end of that time.
Any car in a chase approaching a wall of stacked boxes will not only invariably run into it, but will find that the boxes are empty and scatter impressively (which certainly wouldn't happen pen if boxes labeled, say, "Air Conditioner" were actually full).
In a similar vein be ready to shout "Fruit Cart!" An expletive used by knowledgeable film buffs during any chase scene involving a foreign or ethnic locale, reflecting ing their certainty that a fruit cart will be overturned during the chase, and an angry peddler will run into the middle of the street to shake his fist at the hero's departing parting vehicle
The characters always know whether the crashed and smoldering vehicle they are in will explode. If they don't get out and run, it won't explode. If they do, it does.
Bad guy keeps good guy alive to witness the great evil he will commit, allowing good guy to prevent it.
The villain wants to kill the hero. He has him cornered at gunpoint. All he has to do is pull the trigger. But he always talks first. He explains plains the hero's mistakes to him. Jeers. Laughs. And gives the hero time to think his way out of the situation, or be rescued by his buddy.
In any situation where the hero is alone, surrounded by dozens of bad guys, they will always obligingly attack one at a time.
If the film's top villain places his hand on a henchman's shoulder (very important) and tells him not to worry about having screwed up, the henchman will be dead in less than a minute of screen time.
The main character in a movie centering around the military or prison never has the same severe crew cut that the other characters have, even though there is usually the obligatory haircut cut scene.
Movie characters who have an amazing ability to turn on the TV precisely at the moment when a newscaster begins a report on something directly relating to them.
Or the hero comes in the door of his apartment/house to a ringing phone. Answering it, he hears his partner say something thing like, "You'd better turn on channel 3 right now! The hero does so, only to see a news report just beginning that brings a crucial development or clue to the plot. Since the news report is just beginning, how did the partner know about it?
Whenever a sharp object is even remotely hinted at on the screen, someone will be impaled on it.
In thrillers where the hero is befuddled by an assortment of completely unrelated suspects and victims, the scene in which he suddenly discovers a vacation photo of all of them in a big group pose.
Nobody is ever taught anything in a movie that they are not later called upon to use.
When a character needs a parking space, even on the busiest streets in the busiest cities, one is quickly found.
Newborn babies in movies instantly look about seven months old, and weigh about twenty-five pounds. The mother seems perfectly refreshed, made-up, and comfortable despite the gargantuan child she's just given birth to.
Unless the point is to establish poverty, the apartments occupied by movie characters always look much larger and more expensive than anyone on their salary could afford.
Any stolen clothing or shoes will perfectly fit any male character whether they were stolen from a clothesline or removed from a Nazi guard, police officer, lookout, etc., who was overpowered and whose identity the clothing thief has now assumed.
Any time the hero, on the run, stops at a phone booth to call for help, he inevitably reaches the person trying to kill him. The villain tells the hero to stay right there, then sends killers to finish him off. The hero wanders away and an unsuspecting extra enters the phone booth, where he's the one machine-gunned instead.
Situations where the good guy disables the first of many bad guys and when given the choice to take the bad guy's guns and ammo, doesn't do so. Also applies to water, radios, flare guns, car keys etc
The bad guys are always lousy shots in the movies. Three villains with Uzis will go after the hero, spraying thousands of rounds which miss him, after which he picks them off with a handgun.
The lethality of a weapon varies, depending on the situation. A single arrow will drop a stampeding bison in its tracks, but it takes five or six to kill an important character. A single bullet will always kill an extra on the spot, but it takes dozens to bring down the hero.
Any character introduced as a recovering alcoholic who's been off the bottle for an extended period will go back to drinking sometime during the film.
When hero is one of a group of people, he goes off to the toilet or other secluded room just as the villains attack. Glimpsing the action from the bathroom, he is unknown to the bad guys and thus still free to respond.
A character is given a close-up in a scene where there seems to be no reason for it. This is an infallible tip-off off that this character is more significant than at first appears, and is most likely the killer.
Whenever a man and woman are on the run, the woman inevitably falls and sprains her ankle. As a result, the man must drag or carry her and their progress is slowed, stalled, or halted.
In modern police movies, the commanding officer exists solely for the purpose of taking the hero off the case, calling him on the carpet, issuing dire warnings, asking him to hand over his badge and gun, etc.
In many thrillers, the hero crashes his car or truck through the window or wall of a building at the precise time and place to allow him to rescue a victim or kill the bad guys. How can he see through the walls to know exactly where his car will emerge? Why doesn't he ever drive into a load-bearing beam?
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- Kibkommer
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- erol
- Verified Member
- Posts: 3364
- Joined: Tue 01 May 2012 7:14 pm
- Groucho
- Kibkommer
- Posts: 3549
- Joined: Mon 09 Apr 2012 2:43 pm
Re: your never too old to learn (a bit of fun )
I really respected his work but those who continue under his banner are hit and miss...EnjoyingTheSun wrote: ↑Sun 29 Mar 2020 2:44 pmI’ve found I’m watching a lot more movies during isolation and have taken to playing movie cliché bingo.
Here is a selection from the film critic Roger Ebert.
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- Kibkommer
- Posts: 3692
- Joined: Fri 16 Mar 2018 4:46 pm
Re: your never too old to learn (a bit of fun )
Yes I liked him for the most part. It is difficult with film critics though especially with something like comedy films which is a real matter of personal taste. Personally I respect critics who stick to their guns no matter what. I saw so many who slagged off Shawshank Redemption for example and then had an about turn when it became obvious that the public really liked it.