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A Blockbuster trade went down on Day 2 of the 2017 NFL Free Agency Period which includes the New England Patriots and New Orleans Saints.
A Blockbuster trade went down on Day 2 of the 2017 NFL Free Agency Period which includes the New England Patriots trading for wide receiver Brandin Cooks, former New Orleans Saint.
"The Patriots trade their 1st round pick (#32) & 3rd round pick (#103) to the Saints for wide receiver Brandin Cooks & their 4th round pick (#118) per sources" via ESPN reporter Dianna Russini.
Also, another trade that could go down with both teams in the coming days during NFL Free Agency is the trade for cornerback Malcolm Butler, a 1st round tendered player. A high pick or additional picks will most likely be needed for the Saints to pull off the trade for Butler.
The New England Patriots are well-known for trading. But this offseason they have been very active in free agency and the trade market. The Patriots trading for Cooks and giving up a 1st round pick shows they are all in for 2017. Their offense just got better with a consistent target. Cooks has home-run threat ability as a burner in his game. Cooks can be the speed option to Edelman and Mitchell in the slot and can complement bigger receivers like Hogan. Surpassing over 1,000 yards in 2015 and 2016, Cooks was a productive receiver in the Saints offense. Cooks can be the same or even better with Tom Brady and the Patriots offense. Here are the following scenarios I could see on the Draft Day for the Saints.
Cleveland Browns: Moneyball, The Process... and Sashi Ball? | {'timestamp': '2019-04-22T13:07:06Z', 'url': 'https://theinscribermag.com/brandin-cooks-affects-2017-nfl-draft/', 'language': 'en', 'source': 'c4'} |
Q:
Prolog - Finding object with shortest inner List in a List
I have a large list BIGLIST that consists solely of any number of smaller lists SMALLLIST, which themselves contain another list INNERLIST in their first index. I need to design a predicate that can find the SMALLLIST with the shortest INNERLIST. No INNERLIST has a length greater than 9. For example:
BIGLIST = [
[[1,2,3],3824],
[[4,5],89],
[[6],283],
[[2],14],
]
The SMALLLIST with the shortest INNERLIST here is [[6],283], despite the existence of [[2],14] (they are the same length). I've written a predicate shortest/2 like the following, but the desired SMALLLIST never gets bound to Shortest:
shortest(BIGLIST,Shortest) :-
Num = 10,
get_shortest(BIGLIST,Shortest,Num).
get_shortest([],_,_). %list is empty, stop
get_shortest([SMALLLIST|Tail],Shortest,ShortLen) :- %better SMALLLIST found
nth0(0,SMALLLIST,INNERLIST), %get INNERLIST
length(INNERLIST,Len),
Len < ShortLen,
NShortest = SMALLLIST,
NShortLen = Len,
get_shortest(Tail,NShortest,NShortLen),
Shortest = NShortest.
get_shortest([_|T],Shortest,ShortLen) :- %skip head if it is not a better value
get_shortest(T,Shortest,ShortLen).
Thanks for the help.
A:
In such cases keysort/2 comes in handy. For example:
biglist_smallest(Bs, E) :-
maplist(element_with_length, Bs, LEs),
keysort(LEs, [_-E|_]).
element_with_length(Elem, L-Elem) :-
Elem = [Inner|_],
length(Inner, L).
With your data:
biglist([[[1,2,3],3824],
[[4,5],89],
[[6],283],
[[2],14]
]).
we get:
?- biglist(Ls), biglist_smallest(Ls, E).
Ls = [[[1, 2, 3], 3824], [[4, 5], 89], [[6], 283], [[2], 14]],
E = [[6], 283]. | {'pile_set_name': 'StackExchange'} |
or get found by them?
Having new customers come to you with interest in your business's products and services is key. Inbound Marketing brings customers to you, through the blended technique of effective website Conversion Optimization, Email Marketing, and Content Creation. When these tactics are combined and effectively synchronized, the result for businesses is reduced acquisition costs, increased sales, and improved ROI.
By maximizing results via the use of Web Development, Website Experiments, and A/B Testing; we are able to provide the best user experience on your website. We test your website performance and optimize pages for better conversion, thus increasing the opportunity for more sales. Your customers are then navigating your improved website and staying on it longer, leading to a more informed purchase decision.
Email marketing and planning starts with understanding your customer demographic and needs. We develop a custom strategy to effectively reach your end consumer through targeted email blasts and newsletters. Your customers are interacting with your brand through special offers, opt-ins for free downloads, or upcoming events information. In turn, email marketing helps to increase your brand visibility and retention.
The core focus of Inbound Marketing is content creation. With strategic copy, we attract customers through blog writing, offers, and whitepapers created on your website. The content that we create is targeted to your ideal customer, with offers that they would be most interested in redeeming. This brings new leads to your business and more potential for sales.
Inbound Marketing is included in our Integrated Marketing Packages or it can be quoted individually. | {'timestamp': '2019-04-24T04:03:08Z', 'url': 'http://www.alcantaramedia.com/inbound-marketing/', 'language': 'en', 'source': 'c4'} |
The starting point guard of the Pitt women's basketball team, who currently ranks fifth on the school's all-time scoring list with 1,893 points, has rarely had this issue of draining baskets over her past four seasons leading the Panthers. But these circumstances were different.
During the mid-1990s, Kiesel's father, Steve, her older sister, Ona, and she would play at Addison Miller Park in their hometown of Utica, N.Y. They'd run and shoot around together after their father had played pickup there.
Steve can't remember exactly when his youngest child started turning those misses into makes, but when she did so just a year or two later, he wasn't surprised.
"She always kept trying to get better and better. She kept working and working at it," he said.
That drive, first displayed on an outdoor court back home, has stayed with the 5-foot-7 senior and contributed to her exploits as much as any physical skill, which she possess in spades.
Since arriving in Oakland, the small but lightning-quick guard only missed one game of a possible 121, starting all the rest.
Her infectious attitude has also motivated her mostly young teammates to follow her lead, according to senior teammate Cora McManus. Together, Kiesel and company have brought Pitt (19-11, 9-7 ACC) to the verge of its first postseason appearance in five years and first NCAA berth in six.
Keith Danzy didn't need very long to see just how high a caliber player Kiesel was.
The director of the girls' program for Albany, N.Y.-based Amateur Athletic Union organization City Rocks, Danzy first met Kiesel when he went to scout her at a varsity game during her freshman year of high school. He'd stay for just a few minutes of the actual game and knew she'd fit into his program, which draws from all over the state of New York.
Danzy had seen enough and, before leaving, let Steve know that Brianna had a spot on his team.
Similarly powerful first impressions continued. McManus first met her when they came on their official visit to campus together in October 2010. Playing pickup with varsity players while in town, McManus was struck by her peer's energy.
"You could tell her work ethic from the jump," she said.
The first two seasons featured little success, with the team unable to win a conference game in either. Ashlee Anderson, who played three seasons with Kiesel, said the losing took its toll on her ultra-competitive backcourt mate.
After the team showed little progress from the first to second losing campaign, the University firedhead coach Agnus Berenato April 1, 2013.
"My mind was all over the place definitely between struggling and not knowing what was going to happen," Kiesel said.
Pitt hired Suzie McConnell-Serio a week and a half later. In the following months, McConnell-Serio and her staff worked hard to keep Kiesel around, having seen what the rising junior was capable of from coaching against her with Duquesne the previous two seasons.
Both happened. Kiesel received her bachelor's degree in the administration of justice last spring and is now working to complete a second BA in legal studies with a communications certificate. The team made noticeable progress with her that year, finishing the season with three conference victories.
Kiesel has the highest scoring average of her career, 16.8, and continues to lead the team in minutes, just as she has each of her four years. The rest of the country has taken notice. Kiesel was named one of 15 finalists for the Nancy Lieberman Award, given annually to the nation's top point guard, and to First-Team All-ACC and the conference's All-Defensive team.
Time and again in the last part of the regular season, as she continued to move up the all-time scoring chart to her current position, Kiesel has deflected any questions about what that or any other individual achievements mean to her. | {'timestamp': '2019-04-22T10:04:20Z', 'url': 'https://pittnews.com/article/1437/sports/kiesel-fuel-senior-guards-four-year-career-culminates-in-ncaa-berth/', 'language': 'en', 'source': 'c4'} |
With Radi, publishing moving images using modern web standards is suddenly incredibly easy.
Designed for HTML5
Heard about HTML5 yet? It's the new standard for the web.
Apple loves it. Microsoft fully supports it. Google says it rocks. And Radi lets you enjoy it without learning to code. Radi is designed from the ground up to help you create content that will take full advantage of HTML5 features.
Easy vector graphics
Smartphones and tablets have ushered an era where web content needs to scale from the tiniest screen all the way to 30" desktop monitors.
Resolution-independent vector graphics are a great solution to this problem. They are scalable and can be rendered at any size.
Radi works great with scalable graphics. It supports the <canvas> web graphics standard directly. Any content can be rendered into a canvas, so you can freely mix vector graphics with bitmaps as needed.
Effortless web video
Publishing video in HTML5 is difficult because browsers don't support the same video formats. You effectively need to create separate video files
to support Firefox and Safari, for example. For someone not versed in esoteric video formats and conversion tools, this has been a daunting task.
Radi has automatic multi-format support for all the common browsers. Upon publishing, your video content is automatically converted into as many formats as needed. You don't need to know anything about the details. (All the latest video formats are supported: H.264, WebM / VP8 and Ogg Theora.)
Smooth animations
It's easy to animate a layer: just click a frame on the timeline and change the layer's properties such as position or opacity. Keyframes are automatically created.
For more precise control over animation timing, Radi has a floating Curve Editor window where any animated parameter's values can be tweaked over time with extremely precise control.
Visual effects: batteries included
There is an entire professional-quality visual effects system in Radi, just one click away. Radi includes the Conduit effect system that's also available in Lacquer's other products, Conduit Live and the Conduit Suite plugins. It's directly compatible with these professional applications.
Fun graphics programming
The Canvas API in HTML5 is a fun way to create interactive graphics. JavaScript is easy to learn and surprisingly flexible. It's also the world's most popular programming language. With all these new features available on the web, there's never been a better time to learn JavaScript.
Get the free beta
Radi is available for free as a beta version. Take part in shaping the future of HTML5 content creation and send your feedback!
You can download the free beta at the dedicated Radi website: RadiApp.com | {'pile_set_name': 'Pile-CC'} |
The Timelessness of Margaret's Fine Consignments
Nov 18, 2019 | Past Sponsored
Margaret Schneider, owner of Louisville consignment shop Margaret's Fine Consignments, doesn't let fear have the final say. For 25 years, she worked as a barber but yearned to have her own business in the fashion retail industry. At age 50 and newly divorced, Margaret didn't have the financial resources to open a business, but she took the risk. "Sometimes, the scariest thing you ever do in your life is the best thing to do. I love clothes, I love to decorate, and I love people so it just came natural to me," she says.
For the first five years, she moonlighted at the barber shop and her store to support herself. "I stayed focused, because I knew I had to make it. I never had any doubts. I knew I was going to do it." Now, 29 years later, Margaret's Fine Consignments has become a fixture in Louisville's Clifton Heights neighborhood. The store sells a wide range of gently used clothing including vintage pieces from Armani, St. John, and Chanel.
Margaret and co-owner Cara Aldridge are working together to ensure that their boutique maintains its solid reputation, which has been the driving force behind its success. Its popularity in the community, Margaret says, comes from the personable atmosphere she and Cara have created. "We have established a very good, dependable, honest name, and most people who know me, know how much my heart is in it and what it means to me. We get to know our clients and they are more like friends and family," Margaret says.
Adding an air of sophistication and class to a customer's shopping experience is an important part of the boutique's image. They are discriminating about the merchandise they accept and sticklers for keeping their space clean and organized. Staying one step ahead of their competition is about anticipating and exceeding the needs of their customers. "We try to go that extra mile," Margaret says.
Margaret and Cara are also known for their philanthropic efforts in the community. They have provided clothing for multiple fashion shows to benefit the American Stroke Association and Dress for Success, and they donate clothing to United Metro Ministries. "Charity work is my hobby," Margaret says.
Nancy Hayes on November 18, 2019 at 3:17 pm
Cara, so proud of you!
Kathy Travis on November 19, 2019 at 10:30 pm
I love your store
Tiffany White
"I want women to know that their worth is not ti
"Life is about balance and effort, and life moves
🚫GIVEAWAY CLOSED🚫 🎉 GIVEAWAY 🎉 @shred4 | {'pred_label': '__label__cc', 'pred_label_prob': 0.6362914443016052, 'wiki_prob': 0.3637085556983948, 'source': 'cc/2021-04/en_head_0053.json.gz/line563484'} |
12.3MP Nikon D3 challenges Canon EOS 1DS
By Magazine Team (Digital Camera ) 2007-09-25T23:00:00.267Z
Nikon's first full-frame DSLR has plenty going for it
There's been a rumour going round for a year or two now that Nikon would make a full-frame DSLR. And here it is... finally.
A DSLR with a full-frame - or FX - sensor means the imaging area is roughly the same size as a frame of 35mm film. This means there's no crop so, for example, a 28mm lens will act like a 28mm lens instead of having its centre cropped and angle of view reduced.
The Nikon D3 can shoot at 9 frames per second in Burst mode and up to 11 frames per second when shooting the reduced resolution of 5MP when working with DX-type lenses.
Nikon CMOS
The Nikon-designed CMOS sensor at the heart of the D3 is a 12.3MP model. And although this is a lower resolution than the 21MP offered by Canon's EOS 1Ds Mark III, it's probably enough for most pro photographers' needs.
A benefit of having fewer megapixels is the increase in space available for each pixel on the sensor. Each light well can collect much more light which should translate into much better low-light performance.
To counter Canon's DiGIC processing chip, Nikon has created a brand new high-speed image processing chip, which it calls Expeed. In addition to this new processor, the D3 boasts no fewer than 51 autofocus points.
The D3 is PS2,600 less than Canon's 1Ds Mark III and will appeal to many pro Nikon users who may have been thinking of switching to Canon. The D3 will be available in late November at the earliest. Nikon still has to ramp up production and finalise the firmware. We'll bring you an in-depth test of this beast just as soon as it's ready.
Those buying the D3 will be pleased to note that Nikon will be selling an AF-S NIKKOR 14-24mm f/2.8G ED and a AF-S NIKKOR 24-70mm f/2.8G ED. Prices to be announced soon.
1,005 RGB sensor: Autofocus and exposure are controlled by Nikon's 1,005-pixel RGB sensor that sits in the D3's pentaprism. The chip has been completely overhauled and provides interpretation of scenes.
CMOS 12.1MP: Nikon has designed its own CMOS FX sensor for the D3. By restricting the resolution to 12.1MP, it's enabled an increase in the chip's pixel pitch which should provide low noise levels across the ISO range of 200 - 6400.
Price: PS3,399
Sensor: CMOS 12.1MP
Focal length conversion: 1 no crop factor
Lens mount: Nikon F mount
Continuous shooting: 9 frames per second
Shutter speeds: 30 to 1/8000 + Bulb
Storage: Dual Compact Flash slots
Image processor: Nikon Expeed
Dimensions: 60 x 157 x 88mm
Weight: 1240g (excl battery)
Contact : Nikon 0871 2001964, <URL>
See more Cameras news
Movie Maker Online review
Fujifilm X-T200 fully leaks along with its XC35mm f/2 sidekick lens
The best 4K Ultra HD Blu-ray players you can buy right now
Star Wars: The Clone Wars season 7 now has an official release date and a trailer
HP Elite Dragonfly review | {'pred_label': '__label__wiki', 'pred_label_prob': 0.7715509533882141, 'wiki_prob': 0.7715509533882141, 'source': 'cc/2020-05/en_middle_0120.json.gz/line491817'} |
package client
import (
"strings"
"github.com/pkg/errors"
"gopkg.in/yaml.v2"
)
func splitMutlidocYAMLIntoCRDsAndOthers(multidoc []byte) ([]byte, []byte, error) {
crds := []string{}
other := []string{}
docs := strings.Split(string(multidoc), "
---
")
for _, doc := range docs {
if IsCRD([]byte(doc)) {
crds = append(crds, doc)
} else {
other = append(other, doc)
}
}
// if there were no crds, don't return the touched docs, keep the original
if len(crds) == 0 {
return nil, multidoc, nil
}
return []byte(strings.Join(crds, "
---
")), []byte(strings.Join(other, "
---
")), nil
}
func docsByNamespace(multidoc []byte, defaultNamespace string) (map[string][]byte, error) {
byNamespace := map[string][]string{}
docs := strings.Split(string(multidoc), "
---
")
for _, doc := range docs {
o := OverlySimpleGVKWithName{}
if err := yaml.Unmarshal([]byte(doc), &o); err != nil {
return nil, errors.Wrap(err, "failed to unmarshal doc to look for namespace")
}
namespace := o.Metadata.Namespace
if namespace == "" {
namespace = defaultNamespace
}
_, ok := byNamespace[namespace]
if ok {
byNamespace[namespace] = append(byNamespace[namespace], doc)
} else {
byNamespace[namespace] = []string{doc}
}
}
result := map[string][]byte{}
for k, v := range byNamespace {
result[k] = []byte(strings.Join(v, "
---
"))
}
return result, nil
} | {'pile_set_name': 'Github'} |
There are various panels and frames that Hart Seed has offered over the years but due to cost, design problems, or supply issues, many have been retired. Some of our customers still have these displays, preferring them to the newer models (often due to the antique look). Listed here are the ones that we still have records of offering in the past.
3R having 3 rows. 21 pockets total.
3B having 3 rows like the 3R but with hooks on the front meant to hold plastic bags of peas, beans and corn. 21 pockets total.
2R having 2 rows. 14 pockets total.
AR being the regular version.
AS having slanted pockets that are slightly shallower to hold fewer packets.
R7 having one row of 7 pockets and one of 6 pockets. 52 pockets total.
R6 having one row of 6 pockets and one of 5 pockets. 44 pockets total.
C4R: A spinning display specially built to hold 4, 1/2 C Panels, it came stock with a stationary base but could be utilized with our more modern R frame base to give it casters.
H3: A set of legs that holds 3 H Baskets. Some displays had 2R Baskets in place of some or all of the H Baskets. Some legs had casters for added mobility.
H4: A set of legs that holds 4 H Baskets. Some displays had 2R Baskets in place of some or all of the H Baskets. Some legs had casters for added mobility.
SM: Same as an H4 except with a bottom shelf that was designed to display a box of bulk seed.
A2: A set of legs that holds 2 A Baskets and a bottom shelf that was designed to display 2 boxes of bulk seed. Some legs had casters for added mobility.
A3: A set of legs that holds 3 A Baskets and a bottom shelf that was designed to display 2 boxes of bulk seed. Some legs had casters for added mobility.
A4: A set of legs that holds 4 A Baskets. Some legs had casters for added mobility.
LM: Same as an A4 except with a bottom shelf that was designed to display 2 boxes of bulk seed.
R4: A base with casters and pole that held 4 R Baskets. These displays often had a mix of R7 and R6 Baskets, occasionally having a small ring at the top to display bulk seed packages.
Wood Panel: 8 rows of 5 pockets, folded in half for storage and shipping, had an empty row down at the bottom that could be used as a 9th row or for placing bulk seed. Very old with the newest having been made in the 1950's.
Wood Counter-top: 6 rows of 9 pockets, collapsible down to a small size for storage and shipping, this "counter-top" was quite large when on display. Very old with the newest having been made in the 1950's. | {'timestamp': '2019-04-21T02:26:33Z', 'url': 'http://hartseed.com/retired-displays/', 'language': 'en', 'source': 'c4'} |
Q:
MvvmCross Bindable MonoTouch.Dialog RadioElement
I am attempting to create a bindable RadioElement to use in a MonoTouch.Dialog implementation in MvvmCross, and following the pattern in <URL> (as suggested in MvvmCross Monotouch.Dialog binding data to a table), I created the following class:
public class MvxBindableRadioElement : RadioElement, IBindableElement
{
public IMvxBindingContext BindingContext { get; set; }
public MvxBindableRadioElement ()
{
this.CreateBindingContext();
this.DelayBind(() => {
var set = this.CreateBindingSet<MvxBindableRadioElement, PropertyCategory>();
set.Bind().For(me => me.Caption).To(p => p.Id);
set.Bind().For(me => me.Value).To(p => p.Value);
set.Apply();
});
}
protected override void Dispose(bool disposing)
{
if (disposing) {
BindingContext.ClearAllBindings();
}
base.Dispose(disposing);
}
public virtual object DataContext
{
get { return BindingContext.DataContext; }
set { BindingContext.DataContext = value; }
}
}
PropertyCategory is a basic Model:
public class PropertyCategory
{
public int Id { get; set; }
public string Value { get; set; }
}
This is used as follows:
new Section {
new RootElement ("Category", new RadioGroup ()) {
new BindableSection<MvxBindableRadioElement> ().Bind(bindings, e => e.ItemsSource, vm => vm.PropertyCategories)
}.Bind (bindings, e => e.RadioSelected, vm => vm.PropertyCategory) as Element
}
where BindableSection is taken from the MvvmCross repo mentioned above.
Debugging I am able to verify that the newElements variable of MvxBindableSection is correctly populated with MvxBindableRadioElements, but the following error occurs when the TableView.ReloadData() line is executed: MvxBind:Error: 12.12 Problem seen during binding execution for binding ItemsSource for PropertyCategories - problem TargetInvocationException: Exception has been thrown by the target of an invocation.
at System.Reflection.MonoMethod.Invoke (System.Object obj, BindingFlags invokeAttr, System.Reflection.Binder binder, System.Object[] parameters, System.Globalization.CultureInfo culture) [0x0005c] in /Developer/MonoTouch/Source/mono/mcs/class/corlib/System.Reflection/MonoMethod.cs:238 at System.Reflection.MethodBase.Invoke (System.Object obj, System.Object[] parameters) [0x00000] in /Developer/MonoTouch/Source/mono/mcs/class/corlib/System.Reflection/MethodBase.cs:114 at Cirrious.MvvmCross.Binding.Bindings.Target.MvxPropertyInfoTargetBinding.SetValueImpl (System.Object target, System.Object value) [0x00000] in <filename unknown>:0 at Cirrious.MvvmCross.Binding.Bindings.Target.MvxConvertingTargetBinding.SetValue (System.Object value) [0x00000] in <filename unknown>:0 at Cirrious.MvvmCross.Binding.Bindings.MvxFullBinding.UpdateTargetFromSource (System.Object value) [0x00000] in <filename unknown>:0 InnerException was NullReferenceException: Object reference not set to an instance of an object
at <redacted>.iOS.Views.MvxBindableSection'1[<redacted>.Views.MvxBindableRadioElement].NotifyDataSetChanged () [0x000b9] in <redacted>/MonoTouch.Dialog/MvxBindableSection.cs:87 at <redacted>.iOS.Views.MvxBindableSection'1[<redacted>.Views.MvxBindableRadioElement].SetItemsSource (IEnumerable value) [0x00094] in <redacted>/MonoTouch.Dialog/MvxBindableSection.cs:56 at <redacted>.iOS.Views.MvxBindableSection'1[<redacted>.Views.MvxBindableRadioElement].set_ItemsSource (IEnumerable value) [0x00003] in <redacted>/MonoTouch.Dialog/MvxBindableSection.cs:30 at (wrapper managed-to-native) System.Reflection.MonoMethod:InternalInvoke (System.Reflection.MonoMethod,object,object[],System.Exception&)
at System.Reflection.MonoMethod.Invoke (System.Object obj, BindingFlags invokeAttr, System.Reflection.Binder binder, System.Object[] parameters, System.Globalization.CultureInfo culture) [0x00044] in /Developer/MonoTouch/Source/mono/mcs/class/corlib/System.Reflection/MonoMethod.cs:230
Troubleshooting this, I replaced the MvxBindableRadioElement with CustomStringElement from the MvvmCross repo mentioned above:
new MvxBindableSection<CustomStringElement>().Bind(bindings, element => element.ItemsSource, vm => vm.PropertyCategories)
This works like a charm. Why does the CustomStringElement work, but not theMvxBindableRadioElement? Do I have to create a bindable RadioGroup that wraps the MvxBindableRadioElements?
EDIT:
Here is the Inner Exception (NullReferenceException):
at CrossUI.Touch.Dialog.Elements.RadioElement.SubscribeToRoot () [0x00000] in <filename unknown>:0 at CrossUI.Touch.Dialog.Elements.RadioElement.GetCellImpl (MonoTouch.UIKit.UITableView tv) [0x00000] in <filename unknown>:0 at CrossUI.Touch.Dialog.Elements.Element.GetCell (MonoTouch.UIKit.UITableView tv) [0x00000] in <filename unknown>:0 at CrossUI.Touch.Dialog.DialogViewController+Source.GetCell (MonoTouch.UIKit.UITableView tableView, MonoTouch.Foundation.NSIndexPath indexPath) [0x00000] in <filename unknown>:0 at (wrapper managed-to-native) MonoTouch.UIKit.UIApplication:UIApplicationMain (int,string[],intptr,intptr)
at MonoTouch.UIKit.UIApplication.Main (System.String[] args, System.String principalClassName, System.String delegateClassName) [0x0004c] in /Developer/MonoTouch/Source/monotouch/src/UIKit/UIApplication.cs:38 at PGPCapture.iOS.Application.Main (System.String[] args) [0x00008] in <redacted>/Main.cs:21 A:
OK so the issue was with the implementation of BindableSection (taken from MvvmCross-Tutorials / DialogExamples):
the Section element's Parent is not set (i.e. is null) unless you add the elements using AddAll(). This issue actually occurs in the bowels of MT.Dialog itself.
The updated MvxBindableSection is available here. | {'pile_set_name': 'StackExchange'} |
In Pester 4.5.0 a new detailed code coverage analysis file can be created which unlocks some nice features both for CI and development. In this post we are going to look at using coverage gutters to get insight in to which lines of code are covered by pester tests.
Being able to have coverage gutters for PowerShell in VSCode has been an issue in the vscode-powershell repo back since February 2017. Thanks to the coverage gutters extension and the new detailed coverage analysis report, this is now possible.
Setting up your environment
To be able to use coverage gutters, you first need to install the Coverage Gutters extension and make sure you are have at least Pester 4.5.0 installed.
code --install-extension ryanluker.vscode-coverage-gutters Install-Module pester -SkipPublisherCheck -Scope CurrentUser -Force -MinimumVersion 4.5.0
Creating the coverage report
Before we proceed, a caveat to using the coverage markers is that files that you want to get coverage markers for need to exists in a subdirectory to the root of your workspace. This is due to how the coverage xml files are built and how paths to coverage files are derived. I.e having a workspace that looks like this won't work:
+---workspaceroot script.ps1
However, this would work:
+---workspaceroot +---source script.ps1
Hopefully this will be fixed in a future version of Coverage Gutters.
Now to generate your coverage report, you need to create an array of file paths that you want to be included in your coverage report, then run Invoke-Pester specifying cov.xml as the name of the code coverage report.
From your workspace root:
$coverageFiles = Get-ChildItem -path .\Source\ * .ps1 | Select-Object -ExpandProperty FullName Invoke-Pester -CodeCoverage $coverageFiles -CodeCoverageOutputFile cov.xml
Once the tests have run, and the report is generated, click the "Watch" button in the VSCode status bar:
Now, you should have markers next to each line of code in your source files, with green showing lines which have been hit by tests and red showing lines which have been missed.
Automating report creation with VSCode tasks
I have put all the following code, along with dummy module, into a github repo here. Go ahead and clone it to get a live demonstation.
When writing code, manually running testing tasks everytime you make a change is cumbersome. But thankfully using tasks in vscode in combination with a build script makes it simple. When I develop modules I have seperate folders under the workspace root for the source code and the pester tests. Each function then get's its own ps1 file along with a test file, so it looks like this:
workspaceroot +---source | | MyModule.psd1 | | MyModule.psm1 | | | +---private | | _doInternalThing.ps1 | | | +---public | New-Thing.ps1 | +---tests New-Thing.tests.ps1 _doInternalThing.tests.ps1
In this example, for simplification, I'm running a vanilla PowerShell script to generate the coverage report, however, it's recommended to make this a task of your build script using something like Invoke-Build or PSake.
Create a file in your workspace root named "Test-SingleFile.ps1" with the following contents:
param ( [ Parameter ( Mandatory = $true )] [ string ] $FileToTest ) $FileToTest = Resolve-Path $FileToTest $fileName = Split-Path $FileToTest -leaf if ( $FileName -like "*.tests.ps1" ) { $filename = $fileName -replace "tests\.ps1$" , "ps1" $sourceDir = Join-Path $PSScriptRoot "Source" $functionFile = Get-ChildItem $sourceDir -Filter $fileName -Recurse | Select-Object -First 1 -ExpandProperty FullName $testFile = $FileToTest } else { $fileName = $fileName -replace ".ps1$" , ".tests.ps1" $testFile = ( Join-Path $PSScriptRoot "/Tests/ $fileName " ) $functionFile = $FileToTest } Invoke-Pester -Script $testFile -CodeCoverage $functionFile -CodeCoverageOutputFile " $PSScriptRoot \cov.xml"
Now, create a file called .vscode asks.json with the following contents:
{ // See <URL> // for the documentation about the tasks.json format "version" : "2.0.0" , "windows" : { "options" : { "shell" : { "executable" : "C: \ Program Files \ PowerShell \ 6 \ pwsh.exe" , "args" : [ "-NoProfile" , "-ExecutionPolicy" , "Bypass" , "-Command" ] } } }, "linux" : { "options" : { "shell" : { "executable" : "/usr/bin/pwsh" , "args" : [ "-NoProfile" , "-Command" ] } } }, "osx" : { "options" : { "shell" : { "executable" : "/usr/local/bin/pwsh" , "args" : [ "-NoProfile" , "-Command" ] } } }, "tasks" : [ { "label" : "Test" , "type" : "shell" , "command" : "./Test-SingleFile.ps1 -FileToTest ${file}" , "group" : { "kind" : "test" , "isDefault" : true }, "problemMatcher" : [ "$pester" ] }, ] }
Now when you run the test task in VSCode, it will only run the tests for the active file. This makes it much easier for quick feedback during development.
The coverage report created will only contain the coverage for the active file, so if you switch to a different file/function, you will need to re-run the test task to generate the coverage gutters.
Happy testing! | {'pile_set_name': 'OpenWebText2'} |
Gigabyte and Biostar Also Announce Overclocking on H87 and B85 Motherboards
By Niels Broekhuijsen published 12 July 13
Gigabyte and Biostar have announced overclocking features on non-Z series motherboards.
Earlier we reported that both ASRock and ECS had announced the possibility to overclock Intel K-series CPUs on non-Z series motherboards, and now, unsurprisingly, it appears that more manufacturers are also announcing the feature. Both Gigabyte and Biostar have announced the possibility of overclocking 4th Generation Intel Core K-series processors on H87 and B85 motherboards.
Previously, in order to overclock Intel CPUs through using the multiplier, there were two core requirements (beyond cooling and power). The two requirements were that you needed an Intel K-series CPU, as well as a Z-series motherboard. Now, while the former is still required, it is no longer necessary to have a Z-series motherboard in order to overclock your K-series CPU through using the multiplier.
Gigabyte users will have to download a new BIOS, which is still in the beta phase. Biostar hasn't announced how to get the feature beyond saying that users simply need to adjust the CPU ratio in the BIOS settings, though it is very possible that previously bought H87, B85 and H81 motherboards might need a BIOS update.
Niels Broekhuijsen
Niels Broekhuijsen is a Contributing Writer for Tom's Hardware US. He reviews cases, water cooling and pc builds.
Intel CEO Gelsinger Says AMD Is "In the Rear-View Mirror" After Alder Lake
Ryzen 7 5800X3D Surfaces In MilkyWay@Home Database
Raspberry Pi Detects Shockwave From Tonga Volcano Eruption
MSI RTX 3090 Ti Allegedly Has 480W TDP, Needs 1000W Power Supply
Intel Alder Lake Celeron G6900 Easily Achieves 57% Overclock | {'pred_label': '__label__wiki', 'pred_label_prob': 0.7481078505516052, 'wiki_prob': 0.7481078505516052, 'source': 'cc/2022-05/en_middle_0029.json.gz/line758412'} |
Dewa listing set to revive IPOs market
Salik and Tecom seen as possible next candidates to launch IPOs in coming months
Dewa supports the Dubai Net Zero Carbon Emissions Strategy 2050 and is well-aligned to the Dubai Clean Energy Strategy 2050, which aims to provide 100 per cent of Dubai's energy production capacity from clean energy sources by 2050. -- Supplied photo
Muzaffar Rizvi
Published: Tue 15 Mar 2022, 5:09 PM
Dubai Electricity & Water Authority (Dewa) on Tuesday announced plans to launch initial public offering (IPO) and list the company's shares at Dubai Financial Market as part of the government plan to boost the emirate's stock market to Dh3 trillion.
In a statement, Dewa said it would offer 3.25 billion shares on the stock market, which it put as equivalent to 6.5 per cent of its overall worth. It did not provide an initial price for the shares.
The power utility, which is expected to start trading on the DFM by April 12, said it will aim to pay an annual dividend of Dh6.2 billion for the next five years.
Addressing a press conference in Dubai, managing director and CEO of Dewa Saeed Mohammed Al Tayer said demand for water and electricity in Dubai will sustain an upward trend as the population is expected to grow from around 3.5 million people today to 5.8 million people by 2040.
"Energy demand increased by 11 per cent in 2021, almost triple Dewa's expectation," he said.
The power utility senior officials such as Waleed bin Salman, executive vice-president (EVP) for business development and excellence; Khawla Al Mehairi, EVP for strategy and government communication; and Yousef Jebril, EVP for power and water planning; and Thomas Varghese, chief financial officer, were also present on the occasion.
Dewa leads IPO series
The power utility's decision to go public comes as Dubai seeks to revive interest in its capital markets by listing as many as 10 state-owned entities this year.
Analysts and market experts said road toll system Salik and business park operator Tecom earmarked as possible next candidates to launch IPOs in coming months. They also hinted that businesses within Emirates Group, including dnata and loyalty program Skywards, as well as Dubai airport's Duty Free, are among the potential brands being considered for public offer.
Sheikh Maktoum bin Mohammed bin Rashid Al Maktoum, Deputy Ruler of Dubai, Deputy Prime Minister and Minister of Finance, announced in November that the government will list 10 state-owned companies on the DFM to increase the size of the stock market in the Emirate to Dh3 trillion, raise the competitiveness of bourses and encourage IPOs.
"Today represents a significant moment in the history of Dewa and is an important step towards achieving our vision for capital markets in Dubai. As a central component of the Dubai economy, Dewa has a critical role to play in supporting the future growth of the Emirate and its transition to a net zero economy by 2050," Sheikh Maktoum said.
Reshaping Dubai's future
Devesh Mamtani, chief market strategist at Century Financial, said the Dewa listing will be the first of the upcoming 10 big listings on the DFM.
"Dewa has a proactive role in shaping the future of Dubai with a keen focus on energy and climate change. The listing of the leading giant will be a trailblazing event for the trading activity on DFM and is likely to receive an overwhelming response on the IPO day," Mamtani said.
He said the listing plan aims to help the Dubai stock market compete more effectively with bigger exchanges in the region, such as those in Saudi Arabia and neighbouring Abu Dhabi.
"The growth of DFM is long due and the listing of Dewa will open doors to a flurry of IPO on the exchange, such as the road toll operator Salik, to enhance trading volumes and improve retail interaction. The emirate has strategized the revival of the local stock exchange with stellar offerings in the pipeline and is inaugurating the trail with a dominating behemoth," he said.
Historical moment
Al Tayer said Dewa has a very attractive financial profile and high visibility over cash flow generation and shareholder returns.
While describing IPO plan a historical moment for Dewa as the first government entity in Dubai to go public, he said Dubai's fast paced development has resulted in a rapid increase in the demand for electricity and water.
"We have recorded 11 per cent growth in power demand last year despite the pandemic and slowdown in global economy. The utility has a firm future plans to sustain this growth and it will be playing a key role in Dubai's green energy transition process," Al Tayer said.
He said the company won't need to raise debt over the next five years and capital expenditure for this year will be ranging between Dh8 billion to Dh9 billion.
Citigroup, Emirates NBD Bank and HSBC Holdings are managing the share sale while First Abu Dhabi Bank and Goldman Sachs Group involved as bookrunners.
Strong balance sheet
Dewa and its subsidiaries, which caters to the emirate's 3.4 million people, has assets worth up to Dh190 billion ($52 billion). It recorded Dh23.8 billion revenues in 2021, reflecting a compound annual growth rate of two per cent during the period of 2019-21.
The power utility reported Dh12.1 billion adjusted earnings before interest, taxes, depreciation, and amortisation in 2021 while net income stood firm at Dh6.6 billion. It has a strong balance sheet with low net debt of just Dh17.6 billion last year.
The utility company, which serves over one million customers in Dubai, has a generation capacity of 13.4 gigawatts of electricity as well as 490 million imperial gallons of desalinated water each day. It has a 70 per cent stake in Empower, the world's largest district cooling services provider by connected capacity, with a total contracted capacity of approximately 1.6 million refrigeration tonnes.
"We've seen a very enthusiastic response from all over the world. There are some misevents in Europe but by and large we don't see it affecting adversely our program," Thomas Varghese told journalists at the event.
Clean energy top priority
"Dewa has a world-class governance system and continuous record of good governance across all its operations. It is ready to meet the increasing demand for electricity and water in the emirate, as the population is expected to grow from around 3.5 million people today to 5.8 million people by 2040," Al Tayer said.
He said Dewa supports the Dubai Net Zero Carbon Emissions Strategy 2050 and is well-aligned to the Dubai Clean Energy Strategy 2050, which aims to provide 100 per cent of Dubai's energy production capacity from clean energy sources by 2050.
"Looking ahead, Dewa will support the UAE's strategic growth ambitions by providing Dubai's millions of residents and visitors with world-class services and innovative energy solutions. And that in turn will enrich lives while ensuring the happiness and wellbeing of all our stakeholders," he said.
-- <EMAIL>
<EMAIL> | {'pred_label': '__label__wiki', 'pred_label_prob': 0.945598304271698, 'wiki_prob': 0.945598304271698, 'source': 'cc/2023-06/en_head_0001.json.gz/line1401248'} |
Via Rail's business case for a multibillion-dollar high-frequency-rail project between Toronto and Quebec City would receive a boost if it ditched the stretch from Montreal to Quebec City, internal federal documents say.
The document, labelled "secret,'' was obtained by The Canadian Press under access-to-information law.
The memo's release comes as Via looks for financial support to build dedicated rail lines that will increase the frequency of trips, cut travel times and ensure its trains will no longer have to work around freight schedules on borrowed tracks.
An assessment conducted for Transport Canada warned the inclusion of the Montreal-Quebec City section of the proposed rail service would eat into the plan's profitability, according to a briefing document prepared earlier this year for Canada's deputy minister of finance, Paul Rochon.
The study, delivered last fall by the firm EY, recommended the Quebec route undergo further review "given its high capital costs and poor performance on an operational basis,'' the federal document said.
A key to the project's eventual realization is finding a way to make the plan attractive to private-sector investors, whose support would build on public dollars.
The document explained how Via put forward an optimistic business argument for the high-frequency proposal.
"Via predicts that the project will recover the capital costs and generate a net surplus along Via's (Toronto-Quebec City) network due to a substantial increase in ridership and revenues,'' said the January briefing note to Rochon.
It estimated the capital costs of the project to total $4.4 billion, a tally that includes $1.14 billion for the leg between Montreal and Quebec City. Via might seek private investment to pull it off -- and will need to show potential investors that they'll make their money back and then some.
Asked about the contents of the briefing note, a spokeswoman for Via said in an email that the studies cited in the memo seem to refer to the original high-frequency proposal that it submitted to the government in 2016.
Marie-Anna Murat added that the research was not conducted on behalf of Via.
Covering billions of dollars' worth of construction costs and turning a profit besides would be a significant financial turnaround for Via, which is a Crown corporation.
For example, Via's 2018 annual report said its Montreal-Ottawa-Toronto service lost nearly $93 million after moving, on average, about 49,000 passengers a week.
The Quebec City-Montreal-Ottawa service ran a deficit of nearly $24 million last year after an average of about 17,000 people rode its trains along that route each week.
Extensive academic research has shown high-frequency and high-speed rail lines around the world rarely, if ever, recover their capital and operating costs, said Matti Siemiatycki, a transportation policy expert at the University of Toronto.
"If you look at the annual reports for Via, all of those lines are losing money and are heavily subsidized.... These are huge numbers to make up,'' Siemiatycki said in an interview.
"In general, that is a highly optimistic business case.''
He added that Via is in a "tough spot'' and he credited the Crown corporation for trying to find a way to make the project work.
Siemiatycki said there are likely good arguments to be made for the project on environmental or social-connectivity grounds, but framing it as a good revenue-generating opportunity is harder.
"It will be interesting to see if they can find investors to come to the table who are really going to risk their own private capital on what seems like a fairly high-risk proposal,'' he said.
The federal briefing document also cited a separate, earlier analysis that found the high-frequency project could reduce Via's dependency on government funding in the corridor, especially if only the Toronto-Ottawa-Montreal portion were completed.
In recent months, efforts have been made to make the high-frequency project more enticing for private investors.
A few weeks ago, the government announced it would give Via $71 million in federal cash to help make a better business case for the proposal. Some of the funding will come from a financing agency known as the Canada Infrastructure Bank, which provides public money as a way to attract funding from private sources.
The money from Ottawa will support planning work to ensure Via trains would be able to seamlessly move between any new dedicated tracks and local transit systems in Montreal and Toronto.
At the time, Pierre Lavallee, chief executive of the infrastructure bank, insisted the project had attracted "strong interest'' from private investors.
Murat said the joint project between Via and the Canada Infrastructure Bank is being created "to further explore the possibility of high-frequency rail in the Quebec City-Toronto corridor.'' | {'pile_set_name': 'OpenWebText2'} |
Application of CRISPR/Cas9 technologies combined with iPSCs in the study and treatment of retinal degenerative diseases.
Retinal degeneration diseases, such as age-related macular degeneration and retinitis pigmentosa, affect millions of people worldwide and are major causes of irreversible blindness. Effective treatments for retinal degeneration, including drug therapy, gene augmentation or transplantation approaches, have been widely investigated. Nevertheless, more research should be dedicated to therapeutic methods to improve future clinical treatments. Recently, with the rapid development of genome-editing technology, gene therapy has become a potentially effective treatment for retinal degeneration diseases. A clustered regularly interspaced short palindromic repeats (CRISPR)/CRISPR-associated protein 9 (Cas9) system has been developed as a powerful genome-editing tool in ophthalmic studies. The CRISPR/Cas9 system has been widely applied in basic research to develop animal models and gene therapies in vivo. With the ability to self-renew and the potential to differentiate into different types of cells, induced pluripotent stem cells (iPSCs) have already been used as a promising tool for understanding disease pathophysiology and evaluating the effect of drug and gene therapeutics. iPSCs are also a cell source for autologous transplantation. In this review, we compared genome-editing strategies and highlighted the advantages and concerns of the CRISPR/Cas9 system. Moreover, the latest progress and applications of the CRISPR/Cas9 system and its combination with iPSCs for the treatment of retinal degenerative diseases are summarized. | {'pile_set_name': 'PubMed Abstracts'} |
Sen. Jeff Merkley (D-OR) has prepared 120 amendments to Senate Republicans' health care bill to force the GOP to take wildly unpopular votes if they want to advance their plan to repeal Obamacare.
Merkley's office shared the amendments with Vox before their release; they can be read in full below.
On their own, Senate Democrats don't have the votes to stop or even slow down the GOP bill. Their amendments are sure to be rejected by the Republican caucus. Still, Democrats will use that opportunity to get Republicans on record as opposing popular health care provisions.
Merkley's list of amendments to the bill include:
A proposal to prevent the Republican health bill's Medicaid cuts from hurting veterans of the Vietnam War
A proposal to prevent the Republican health bill's Medicaid cuts from hurting children with cancer
A proposal to prevent the Republican health bill from increasing premium costs for people with ovarian cancer
A proposal to prevent the Republican health bill's Medicaid cuts from hurting pregnant women
These amendments call for the bill to be sent back to the Finance Committee, which would then be tasked with aligning the amendment with the new bill. This won't happen because, again, Republicans aren't going to accept any of these amendments -- but it will allow Merkley and other Senate Democrats to get Republicans on the record.
Read Merkley's amendments in full here:
Merkley Health Care Amendments 3 by Jeffrey Stein on Scribd
Merkley Health Care Amendments 2 by Jeffrey Stein on Scribd
Merkley Health Care Amendments 2 by Jeffrey Stein on Scribd
Merkley 3 by Jeffrey Stein on Scribd | {'pile_set_name': 'OpenWebText2'} |
The Tradition Continues
Written By Pat Covert
Photos By R. Jones/The ImageSmith, LLC
Ontario Knife Company Forges Onward For A New Generation!
Dozier Strike (top) and Carter Trinity (bottom) Folders
Acutlery company doesn't get to be over 125 years old by sitting on its laurels unless they make a great product, and even then they must change with the times. The early years of the Ontario Knife Company are somewhat murky, but we do know it dates back to three gentlemen -- William B. Ensworth, Charles Albert Brace and William Maudsley. These three formed a cutlery concern in Naples, New York, in 1889. The Ontario Knife Company name is derived from Ontario County where the Naples factory was located.
Ontario's very first knives were handmade on a water-powered grindstone and sold off of pushcarts throughout the area. Business was good and the founders soon relocated production to a sawmill in nearby Cadiz on Ischua Creek. By 1902 the company had moved to an even bigger location in Franklinville, New York and around 10 years later built a new factory there, which remains the headquarters of the company to this day.
Cerberus Fixed Blade
Forged By Fire
The Ontario Knife Company's star took off in World War II, supplying American military forces with edged steel, and they have continued to do so since. Beginning in 1942, the company was awarded government contracts for military knives including the U.S. Air Force Survival Knife, the M1942 Machete and the Navy MK3 MOD 0 diving/survival knife. Ontario has also supplied a host of bayonets to the U.S. Military including the M7, M9 and most recently the U.S. Marine Corps OKC-3S. All are proudly manufactured here in the United States at the Franklinville facility. The manufacturer's more recent Spec Plus Series is the new generation of Ontario military knives, blending the past with new designs for today's warrior.
"We are best known among active and former military members who like to use our knives, with their experience making them confident in how rugged and useful the knife is," Andrew Yates, Ontario's vice president of sales and marketing, informs American Handgunner. "Our knives are also favored by heavy knife users and other working people as they are purpose driven and overbuilt. The purpose of carrying an Ontario knife is to make you more likely to get your job done and get home safely."
"Our most popular knife remains the 499 Pilot's Survival Knife," Andrew adds. "The knife is well known for its leather sheath and handle and versatile, utilitarian design. Ontario is also well known for the Spec Plus line of military knives and has recently won multiple awards for Bushcraft knives," he continued.
The manufacturing of all of Ontario's military knives has followed a tried-and-true formula using 1074 or 1095 high carbon tool steel with a black coating. High carbon steel is widely used in military, tactical and sporting knives because, unlike many of its modern stainless brethren, it can be easily sharpened in the field -- even with a rock if no whet stone is available.
SPEC PLUS Alpha Combat Fixed Blade
Experts' Choice
The Ontario Knife Company struck gold again in 2002 when it introduced the RAT Series of outdoor knives. Developed in conjunction with outdoor expert Jeff Randall and Mike Perrin of Randall Adventure Training (hence RAT), these knives are a group of fixed-blades hellbent for hard duty. They range in size from the 7.9" RAT 3 with a 3" blade to the giant killer RTAK II, which stretches out to a whopping 16.6" -- 10.3" of that in the blade. The RAT 5 and 7 fall in between and there are three folders in the series: the RAT 1, RAT 1A Assisted Opener and RAT II. All of the fixed-blade knives are U.S.-made with high carbon steel with Micarta scales. The folders have AUS-8 stainless steel blades and are produced offshore.
The RAT fixed-blade knives have become legendary as tough and affordable outdoor knives. As luck would have it, this series entered the market just a couple of years before the modern Bushcraft movement that revolves around the fixed-blade knife as its central base. Ontario's sturdy RAT fixers stood at the ready and are currently widely used by Bushcrafters and survivalist users alike.
A note on blade steels is in order here. "While Ontario Knife Company is able to produce knives in a wide array of steels, the most common ones are high carbon spring steels as well as a variety of stainless steels," Andrew states. "Most importantly, Ontario Knife Company tailors the knife to fit a purpose or variety of purposes, and the steel is selected to best meet that purpose. Ontario Knife Company is best known for fixed blade knives but also has many popular folders, mostly featuring frame-locks or liner-locks."
RAT-3 Fixed Blade
Tomorrow Is Today
In the past two years the Ontario Knife Company has been making a ruckus with their new generation of fixed-blades and folders. "We have worked with several custom knifemakers and well-known knife designers, such as Robert Carter, Joe Pardue and Bob Dozier," Yates informs. "Their design expertise brings great value, and the added variety of interests and opinions helps us keep our line varied and versatile."
The big noise is coming from the company's collaborations with Robert Carter, grandson of Blade Hall of Fame custom knifemaker Mel Pardue and son of Joe Pardue, a well-known custom maker in his own right. Robert's customs are in hot demand and Ontario bet more affordable factory versions of his folders would be as well. It was a "bingo" of mammoth proportions. When the first entree, the Carter Prime, was served up it was an instant hit. A second course, the 2quared, soon followed. The newest is the Carter Trinity, pictured on page 56. All three folders feature Robert's trademark aggressive styling and beefy, overbuilt construction.
Collaborations with popular Arkansas custom knifemaker Bob Dozier have also spiced up the line. First out of the chute was Dozier's dagger-esque Arrow folder. The newest is the Strike model, a send-up of Bob's best-selling Folding Hunter in a lockback design. Dozier has a waiting list of several years for his custom folders, but the Ontario Knife Company has sweet factory versions available now at an affordable price.
Ontario hasn't forgotten to dance with what brung 'em. Modern fixed-blades are also part of the new generation of knives. The sleek-yet-dutiful Cerberus clip point is 10.2" of stealthy, all-black heaven. Sculpted G10 handle scales and black oxide coated D2 steel bring the Ceberus up to modern tactical standards. For the outdoorsman, the Hunt Plus Series will fill the bill. Available in both drop point and skinner styles, these 9.19" fixers feature deep grinds -- just like hunters like them -- and grippy rubberized hidden tang handles for excellent comfort and purchase. In addition to these new entrees, Ontario has a host of other fixed blades for any need imaginable.
Hunt Plus Camp Knife Fixed Blade
There aren't a lot of century-old cutlery companies left in our country. Most have fallen by the wayside or shuttered their doors and licensed their names to companies who specialize in offshore manufacturing. The Ontario Knife Company proudly makes the overwhelming majority of their knives right here in the U.S., just as they have for generations. Considering Ontario Knife Company's successful history, they'll be doing it for generations to come.
OKC Ph:
For more info: <URL>
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Rim 26" 100mm Alloy Silver
Ideal to let your dog make artistic jumps and sometimes people even use it to build wheels for their bikes. These double walled 26" rims with 100mm width are the finest quality you can find. The matte silver finish is ideal to colour them in any new fashion style you feel at the moment. As we deliver them without spokes, you can get them spoked with any kinds of spokes in any colour. | {'pile_set_name': 'Pile-CC'} |
This is Plate 14 of the 1896 Main Line Atlas. The map has been quartered
and enlarged. To view the map at four times this size, click on any part
of the map (each corner links you to a different quarter)
[Note: All images of the 1896 Main Line Atlas were obtained from Bryn Mawr College, Canaday Library.] | {'pile_set_name': 'Pile-CC'} |
Stewie on Family Guy may be the gayest character on television, which is particularly interesting given the fact that he's one year old.
For more than 300 episodes of the Fox animated series, the youngest Griffin has been not-so-subtly "coded gay," a phrase used to describe characters who exhibit traits that hint at being homosexual, without explicitly acknowledging it.
"Explicitly acknowledging" is relative in the case of Stewie and Family Guy, however. This is a show that has had the smarmy toddler leering at men showering through a peephole, speaking at least once an episode in homoerotic innuendo, crushing on male celebrities, fangirling over musical theatre, and even self-referencing being "possibly homosexual."
Here's a compilation video of just some of those moments, for reference:
But on Sunday night, in a landmark episode airing without a commercial break (and guest starring Sir Ian McKellen, to boot), Stewie's sexuality is finally "explicitly acknowledged." Does he come out? Well, sort of. The result of the episode, ambiguous as it may be, is nonetheless fascinating. It's not only one of the best episodes of Family Guy in a very long time, but also one of the most nuanced and edgy coming out episodes of a TV show we've seen.
Again, all centering around a 1-year-old.
Of course, Stewie's age is part of the whole joke, and why his sexuality has been one of the riskier--and in payoff, funnier--running gags of the show. Here's this toddler from a New England family who speaks in a British accent, with a heightened intelligence and bon vivant's understanding of the world and culture, but who is, you know, still a toddler: petulant, vulnerable, and emotionally unevolved.
The episode, titled "Send in Stewie, Please," takes place almost entirely in a therapy session necessitated after Stewie pushes a boy at school, Tyler, down the stairs. McKellen plays the therapist, Dr. Cecil Pritchfield, both the perfect foil for Stewie but also a catalyst for projection: the older gay British doctor with a younger boyfriend might just be who Stewie, if not necessarily aspires to be, eventually settles for becoming when he's older.
Tuning into the episode knowing it is the Big One that addresses Stewie's sexuality makes it all the more enjoyable. A ticker-tape of gay references and stereotypes fly by, and you're more likely to catch them all.
Stewie breezes into the session, wishing the secretary, Barbara, luck on trying to secure Adele tickets: "You deserve them." He channels his nerves through idle chit-chat about the office decor: "This is charming. It reminds of the therapist office Bethenny Frankel goes to on the Real Housewives of New York City. I hate her. She looks like a wooden doll you'd find in an Eastern European toy shop. [Hands on hips] Oh don't act like you don't know who she is. That doesn't impress me. We live in the world. We all know who Bethenny Frankel is, like it or not."
The conceit is telegraphed quickly: We're about to hear a lot of super gay stuff from Stewie, before the big question is discussed. I mean, who has Stewie been all these years if not a bitchy queen?
This manifests itself especially when, after spotting a photo of Dr. Pritchfield and his younger partner, Stewie dissects every single detail about their relationship dynamic. He analyzes the pressure and insecurities thrust on them by gay elitism and shaming culture, and reduces them to every stereotype in a way that would be offensive if it weren't all so painstakingly true and recognizable (at least to this gay viewer), down to the Ralph Lauren Purple Label dress shirts they bought at the outlet store to feign wealth while at a gay vacation destination.
It's eviscerating, and revealing of the kind of judgment that can only come from within the gay community. Each new hyper-specific detail is a harsher truth than the one before. To keep up with this piece's hyperbole, it is one of the gayest monologues we've seen on television--and thus one of the most satisfying. (Will any of what Stewie says in it mean anything to those outside the community?) Seth MacFarlane, it must be said, delivers a bravura voice acting performance.
" If anything I'm less gay than I used to be...But do I think that Grant Gustin and I would make the most adorable Instagram couple? Yes, I do. "
But this is barely half the episode. We're only on the verge of a breakthrough.
"You seem like a very lonely little boy," Dr. Pritchfield says in response to the dressing down.
"Oh my god I am!" Stewie wails. "I'm so lonely!" For all the comedy derived from Stewie's thinly veiled homosexuality over the years, it's easy to forget him for what he is: ultimately, a tragic character.
Dr. Pritchfield attempts to get at the heart of the incident that brought Stewie to his office in the first place. Why did he push Tyler down the stairs? "It was an accident. Haven't you ever seen Showgirls?" Stewie (fabulously) deflects. He did it, he explains, because he likes him.
And then, the doth-protest-too-much defensiveness: "And not like him, like him. I'm not gay. This whole thing isn't because I'm gay. So calm down. I can already see you licking your chomps...If anything I'm less gay than I used to be...But do I think that Grant Gustin and I would make the most adorable Instagram couple? Yes, I do."
He mentions fluidity. He says he's confident in his heterosexuality. He mentions the anxiety he feels every day trying to fit in with other kids who don't share his interests. He begins rapping from Hamilton, a musical he characterizes as "like Gilbert, but for Hispanics." It's a lot of rambling, leading to one major revelation.
Stewie comes out, yes. But not in the way you would expect.
At first, he feels freed. Then, exposed. "I want to remain what I've always been. Superior. Brilliant. Special...Nobody will ever know the real me."
There's a dance between child angst and the torture that comes from being afraid, not only of others knowing the real you, but of knowing yourself. It's honestly more progressive than if Stewie had just come out.
The tragedy continues, sort of: Stewie goes back to a life of repression, still closeted, still performing a version of himself that he feels others will more readily accept than who he really is. But also...he's a child! And this is a journey. The monumental moment here isn't that Family Guy made a definitive statement about Stewie's sexuality (it didn't), but that it acknowledged that journey. And this is Family Guy! Who would have predicted this nuance, this meaningfulness?
Way back in 2009, MacFarlane revealed that the show had considered an episode in which Stewie comes out, essentially confirming that Stewie is indeed gay. "But we decided it's better to keep it vague, which makes more sense because he's a 1-year-old," he told Playboy. "Ultimately, Stewie will be gay or a very unhappy repressed heterosexual. It also explains why he's so hellbent on killing [his mother, Lois] and taking over the world: He has a lot of aggression, which comes from confusion and uncertainty about his orientation."
The episode's last image of Stewie hints at less confusion, and a little bit of pain and fear. It's not played for laughs, either. Stewie, it gets better.
"Send in Stewie, Please" airs March 18 at 9 pm ET/PT on FOX. | {'pile_set_name': 'OpenWebText2'} |
Q:
Proving or disproving uniform continuity of various real functions
Okay before anyone does anything, I don't want any of you guys to just write out proofs for all of these, that's asking a bit much :P
Maybe just do one, and make it detailed because I really need to see how a problem like this is done. I need a lot of exposure and practice to how to write a proof like this..
also, if anyone can clarify this for me, i'd really appreciate it: I fail to see how $\epsilon$ and $\delta$ relate in the definition of uniform continuity. How does the $\delta$ (unique if the function actually is uniform continuous) actually impose anything on $\epsilon$? this is actually even less clear in "regular" continuity.
A:
We say that $a_n$ and $b_n$ are equivalent if $a_n-b_n o 0$. If $f$ is uniformly continuous then maps equivalent sequences to equivalent sequences.
1) Consider the sequences $a_n =(1/n)$ and $b_n=(1/2n)$ both are equivalent in $(0,1]$. But $f(a_n)$, $f(b_n)$ are not equivalent. So $f$ is not uniformly continuous in $(0,1]$. [Alternatively you can show that if $f$ is uniformly continuous then maps Cauchy sequences to Cauchy sequences, and in particular for this case, $(1/n)$ is a Cauchy sequence in $(0,1]$, but $f(1/n)$ is not a Cauchy sequence].
2) You can show that uniformly continuous using $arepsilon$-$\delta$ definition is logically equivalent to say that $f$ maps equivalent sequences to equivalent sequences, i.e., $f(a_n)-f(b_n) o 0$ whenever $a_n -b_n o 0$. Using this second definition: Given $(a_n), (b_n) \subset [1, \infty)$ and $a_n-b_n o 0$. We shall show that $f(a_n)-f(b_n) o 0$. Let $arepsilon>0$ be arbitrary and choose $n_0>0$ such that $|a_n-b_n|<arepsilon$ for all $n\ge n_0$. Thus
$$|f(a_n)-f(b_n)|= igg| rac{1}{a_n}- rac{1}{b_n} igg|= rac{|a_n-b_n|}{a_n b_n}\le |a_n-b_n|< arepsilon$$
This is possible since $1\le a_n, b_n$. Hence $f(a_n)-f(b_n) o 0$.
3) Consider the sequences $a_n = n$ and $b_n = n+1/n$ both are equivalent sequences in $[0,\infty)$. But $f(b_n)=n^2+2+1/n^2=f(a_n)+2+1/n^2$, so $f(b_n)-f(a_n)\ge2$. Thus we can conclude that is not uniformly continuous. 4) Since $f$ is continuous on $[0,1]$ then must be uniformly continuous (why?). Let $(0,1) \hookrightarrow [0,1]$. We claim that is uniformly continuous, let $x_n-y_n o 0$ and $(x_n),(y_n) \subset (0,1)$, so $i(x_n)-i(y_n) = x_n -y_n o 0$, since the sequences are arbitrary it holds for all equivalent sequences and so $i$ is uniformly continuous. We claim that $f\circ i$ is uniformly continuous. We shall show that maps equivalent sequences to equivalent sequences. Since $i(x_n)-i(y_n) o 0$ and $f$ is uniformly continuous then $ f(i(x_n))-f(i(y_n))=(f\circ i)(x_n)-(f \circ i)(y_n) o 0$. Hence $f\circ i$ is uniformly continuous. But $f\circ i=f estriction _{(0,1)} $ which is just the square root function define on $(0,1)$.
5) Suppose that $(a_n),(b_n) \subset [1,\infty)$ and $a_n-b_n o 0$. We shall show that $a_n^{1/2}-b_n^{1/2} o 0$. Given $arepsilon>0$, choose $n_0$ such that $|a_n-b_n|< arepsilon$ for all $n\ge n_0$. Thus $$|f(a_n)-f(b_n)|=|\sqrt{a_n}-\sqrt{b_n}|= igg| rac{a_n-b_n}{\sqrt{a_n}+\sqrt{b_n}} igg|= rac{|a_n-b_n|}{\sqrt{a_n}+\sqrt{b_n}}\le rac{|a_n-b_n|}{2}< arepsilon$$
Since $1\le a_n, b_n$. | {'pile_set_name': 'StackExchange'} |
Sunday, February 28, 2010
I'm a liberal. I support liberal candidates and ideals. I think this nation (and this world) are far better off because of the influence of liberals.
That does not mean, however, that I blindly support all liberal causes. Because I don't. Specifically, I do not support the excessive restrictions on private gun ownership. Yes, I agree that there is a need for appropriate checks and balances. For example, I don't think a felon convicted of weapons-related charges should ever be able to own a gun again. And I believe that people considered mentally unstable should not be able to own firearms, either.
But those people are exceptions. When it comes to Mister and Missus America, I believe that we all have the right to own weapons. And we should have the right to carry those weapons on our persons in a safe manner.
The big arguments right now are about people bringing weapons into national parks and onto college campuses. Arguments are being made that allowing these weapons will put everyone present in danger. Respectfully, I say bullshit. The only people who obey these gun bans are law-abiding citizens, the very people who should be allowed to carry a weapon. The people that disregard the laws banning weapons are the same criminals already carrying illegal weapons.
If I'm camping in a remote area of Yosemite, and someone who means to do me harm approaches my campsite with a gun, it isn't going to be enough for me to say "stop, you aren't allowed to have that gun in here." And there isn't going to be a ranger or other law enforcement agent close enough to help me. It's going to be me against the bad guy. And quite candidly, I would prefer to be armed in that situation. Likewise for a campus scenario. A crazy person determined to kill fellow students will not care one bit about the law that forbids concealed carry on campus. They will bring their gun, anyway, and they will use it to murder as many people as they can. Personally, if I am on campus and a bad guy begins shooting, I would rather have my own handgun to take him out.
Look, it's not some street vigilante scenario run amok. It's just that no matter what the law says about weapons, the bad guys are going to continue to buy, sell and trade them. They are also going to continue to use them in the commission of crimes against the rest of us. As a law-abiding citizen, I feel I should be able to have a chance to defend myself against such attacks. And, let us not forget, the Second Amendment specifically gives me that right.
Yes, I'm a liberal. But I'm also a gun owner. And I should not have my right to own and carry a weapon infringed upon because others cannot distinguish between criminal and legal weapon related activity.
I've long been a fan of Eric Himan, both as a solo artist and now as a member of the trio, Eric and The Adams. And next January, I'll be sailing along the Mexican Riviera on a cruise with the band and a hundred or more of my closest friends. Check out the event page on Facebook for more information.
And if you need a little encouragement, I give you a few clips to enjoy.
Eric Himan - Little Boy Blue
Eric Himan - There's Gotta Be Something
Eric and The Adams - Every Move
Eric and The Adams - Have Me (live)
and finally, a crazy mash-up of Use Somebody and Poker Face. What's not to love?
My Sunday mornings always start with a visit to the PostSecret site. And from time to time, I read a submission that could have come from me. This is one of those times.
[caption id="attachment_1327" width="531" caption="The one thing that saved my life is keeping me from the one thing I want to do with it."][/caption]
I honestly believe that the Marine Corps saved my life. Before I joined, I was just going through the motions, checking days off of a mental calendar. A part of me knew that I was not long for this world and that, inevitably, I would take myself out of it. Then along came SSgt Rick Blevins and a chance to join the Corps. And finally, I found an opportunity to shine. And I did. But it was also the Marine Corps that prevented me from doing the one thing that I really wanted to do with my life, which was to find the man that I was meant to be with. I desperately wanted to find a partner and live my life as it was meant to be lived, with love and passion. But the Marine Corps was not the place for a gay man to love another man openly and honestly.
As we all know, ultimately, I did find what I was looking for. But it came nearly a decade after leaving the Corps. I wouldn't change my past, because I love who I am and the life I have. But my buttons are still pushed when I see a Post Secret like this one.
A discussion on Facebook today has inspired this blog post. (And in true circle-of-life fashion, when it posts, a copy will be automatically sent back to Facebook and further discussion will likely take place.)
My long-time friend, in response to an ongoing thread, posted this:
I concur about John--I've always thought he was much more thoughtful than almost anyone our age--even when we were all way younger. Not afraid to stand for himself and others when most other people would not have done so. Not afraid to care about others. Way more caring than most people our age. John is a person people remember no matter how much time has passed. He will definitely leave this world a better place than he found it. And we're all better for having known him.
What an amazing thing to read about myself. It isn't often that we get such direct and heartfelt praise from others. And even when we do, we either dismiss it or (too quickly) forget all about it. I suppose it is our nature to hang on to insults and criticism, their caustic words clinging to us like barnacles on a ship. But the good stuff? It's too soon gone. But it doesn't have to be that way. Because of that thread, I posted this:
John Hulsey is inspired by my friends Cj McKercher Fillmore and Jeremy Ward, so I'm passing this idea along. Whatever the format, create a "when I feel down" file and fill it with the compliments and kind words of others. In dark moments, it will remind you of your own worth and value.
Obviously, CJ's words are going in my file. And there are many others, like this message sent to me last month by another friend.
Today I am thankful for you. I think you are wonderful. And I am lucky to have you as a friend. Not just in the FB world or even just online. I really value you, John, and I hope we will have the chance to actually meet - and hug like crazy - in real life one day. I know this is a random message, but it is from the heart. Just saw you online tonight and wanted to send you some love. You deserve it!
I've edited out only the identifying information, since it was a message sent privately. But it was such an unexpected kindness that it made me feel good for days. And yet, a month later, I had almost forgotten about it. Now, as a second entry in my "When I'm Down" file, I won't ever forget it again. And when I'm feeling like the world is kicking me in the teeth, and my all-too-human nature is seeing only the bad, I'll have my ready-made mood enhancer set to go.
And one last thing. As I'm writing this, I wonder if it will come across as boastful or even arrogant. I mean, I am posting the words of two people praising me. But then I realize, so what if it sounds like I'm bragging? I am. And I have every reason to. Two friends believe that I am worthy of their compliments and kind words, and who am I to disagree with them?
It is no coincidence that good people are surrounded by good people. It's how we all survive a world that is, too often, not good at all.
(Edited to add: And thanks to a bit of feedback from my friend Charish, I'm amending the name of this entry and the file. Instead of a "when I'm down" file, it will be my "happy" file. A slight change, perhaps, but words have meaning and power. So why start by presuming a negative?)
Speaker Nancy Pelosi - Rep. Charlie Rangel's most prominent defender - backed the troubled Democrat again on Friday morning, the day after news broke that the House ethics committee was planning to admonish Rangel.
"I think that every member is entitled to have his day before the ethics committee," she said. "They have said he did not knowingly violate the rules. And, again, if this were the end of it, that would be one thing. But there's obviously more to come and we'll see what happens with that. But every member has that right."
Pelosi said, "All I saw was the press release where it said he didn't violate the rules of the House." She noted that the report said Rangel didn't know he was violating rules that applied to a lobbyist-funded trip to the Caribbean.
Pelosi also pointed out that the ethics committee found that Rangel's staffers knew corporate money was paying for trips -- even though Rangel didn't.
"I think it's quite a statement to hold members accountable for what their staffs knew," she said. "I'll be interested to see how that reverberates."
Pelosi didn't say one way or another whether Rangel should stay on as chairman of the Ways and Means Committee.
"Obviously they have other issues to deal with," she said. "We'll just see what happens next and what comes out of the ethics committee."
There are details on the Rangel story here at Politifact, and none of it looks good. And if Rangel had an ounce of shame or decency, he would resign and slither away. But my focus here is on Pelosi's stupidity. She sounds incredulous that a member of Congress can be held accountable for something that his staff members know. She acts as if Rangel has no responsibility here at all.
Bullshit. Rangel took vacations and now pretends he didn't know that corporations paid for them. First, his staff members sent him two emails and one letter telling him that taking the vacations would be a violation of House ethics. So they did what they needed to do and he failed to respond. Second, even if they didn't advise him of such, Rangel had a responsibility of his own to learn where the money was coming from. Did he do anything at all to identify the source of the funding? No, he didn't. So it's his own fault that his actions violated House rules.
Finally, and my big issue, is that Pelosi seems shocked that Rangel can be held accountable. Well, no kidding. Welcome to the real world, where CEO's and company officers are held directly responsible for the actions of their staff members. If my bookkeeper knows that we have not made a required tax payment but fails to share that information with me as the Corporate Controller, our company is still liable for fees and penalties for non-payment. And if my salesman misrepresents our services, my company can be held liable for damages.
Yes, Madame Speaker, it's called accountability and responsibility. If you are in charge of a team, you are the one called on the carpet when any team member fails to perform as required. It's what being a leader means. And Pelosi's inability to understand that explains much about her own failures.
Tuesday, February 23, 2010
I realize that times are tough. And I understand that even celebrities fall on tough times. But how desperate has Tom Selleck become that he would agree to take part in an Anthony Robbins' infomercial? I was at the bank today (shout-out to Torrey Pines!) and they were airing some awful extended commercial for The Ultimate Edge. And there on screen, looking handsome as ever, was Tom Selleck. Granted, he also looked a bit stoic, as if he didn't trust himself to show a single true emotion lest he break down in shame right there in front of Robbins.
Here is a better (bitter?) review from infomercial-hell.com:
Probably no personality dominated TV infomercials in the 1990's more than Anthony Robbins. But his once-ubiquitous infomercials abruptly disappeared from the air, probably because of market saturation.
Now Tony Robbins has returned to the airwaves with an infomercial for his Ultimate Edge program. This latest Tony Robbins infomercial sells a "coaching" package of his usual rah-rah motivational bullcrap. And as in his infomercials of olde, lots of Hollywood celebrities and sports stars appear to declare that Anthony Robbins caused all their success and their own talent and hard work had nothing to do with it.
This infomercial declares that Robbins "has become famous for his big smile and larger than life energy"--which is a nice way of saying he has the physique of Lurch and the hyperactivity of Matthew Lesko.
With his Ceaser haircut and wispy goatee, Robbins looks like a haggard middle-aged man desperately trying to appear hip and youthful.
Oh, Tom. Why would you do this? What's next, the Tom Selleck Make Your Own Aloha Shirt Machine? The Magnum PI Mustache Manager? This just makes my 80's heart hurt.
HBO's show HUNG has now made its New Zealand debut on TVNZ's Channel One.
Auckland-based ad agency Colenso BBDO was retained to promote the show and to generate some buzz. They have definitely created a buzz with their risque billboard, recently erected on Victoria Street in central Auckland. Whether you like the billboard or not, and whether it draws you to watch the show or not, you must admit that the old, tried-and-true subjects - well-endowed female and male bodies - never seem to fail to draw attention.
Established in 1969, Colenso BBDO is consistently one of New Zealand's highest-ranked ad agencies. Campaign Brief has also named Colenso BBDO Agency of the Decade. - Bill Tikos
On Thursday, Virginia State Delegate Bob Marshall (R) spoke at a press conference against state funding for Planned Parenthood. He blasted the organization for supporting a women's right to choose, saying that God punishes women who have had abortions by giving them disabled children:
"The number of children who are born subsequent to a first abortion with handicaps has increased dramatically.Why? Because when you abort the first born of any, nature takes its vengeance on the subsequent children," said Marshall, a Republican.
"In the Old Testament, the first born of every being, animal and man, was dedicated to the Lord. There's a special punishment Christians would suggest."
I'm curious, Mr. Marshall. Were you born an asshole or have you worked hard at it all your life?
Sunday, February 21, 2010
Eight uninterrupted minutes of news reporting on the Marines in Marjah. That's what I heard this morning on the way to the office. Obviously, I wasn't listening to any of the local news shows. And I wasn't listening to CNN or Fox. I was listening to National Public Radio's Morning Edition. And I heard detailed reporting about the situation faced by our Marines. I learned that they are extremely concerned about their impact on the civilians in the town, to the point of allowing Taliban fighters to flee to the surrounding hills rather than risk killing civilians. I learned that they are struggling with extremely restrictive fire orders. I heard that our Marines from India Company discovered more than twenty IEDs in the first moments of the battle, some hidden just on the other side of a wall next to where our Marines had bunked down for the night.
I learned all of this and more, because NPR still produces news. Real news. And they give it to me in large enough segments that I can understand not only the top stories but also the smaller, less reported information that provides the context.
I just caught up on all three of these movies on Blu-Ray, and I'm still impressed. The action is non-stop, the chase scenes are breathtaking, and the storyline holds together through all three films. If you haven't seen them, you should. If you have, you should see them again. The trilogy is worth a second (or third) look.
Saturday, February 20, 2010
Reign of Fire? Reign of Hotties is more like it. What's not to love about a movie with Christian Bale, Matthew McConaughey, and Gerard Butler? It's all action, all testosterone, and all shirt-torn-fighting-sweating-rolling-about goodness. Yeah, it's the perfect combination of guy movie (all action, no one dies of natural causes) and gay movie (hot, sweaty beefcake). And yes, it looks even better in Blu-Ray.
Oh, yeah. There's also something about dragons and fighting and end-of-mankind stuff. But really, does the plot matter?
Yes, sure, I realize that the Olympics are the last pure sporting event on the planet. I respect that these sports stars train all their lives for their moment on the world stage. And I agree that the competition is amazing to watch.
But honestly, how can I watch the Olympics and not think "Guy Candy"? Come on, these athletes are unbelievably sexy. So, here's a shout-out to the hotties of the Vancouver Winter Olympic Games. Bonne chance, gentilshommes.
As the major NATO offensive entered its seventh day, about two dozen Marines were inserted before dawn into an area where skilled Taliban marksmen are known to operate, an officer said, speaking on condition of anonymity because of security concerns.
Other squads of Marines and Afghans, marching south in a bid to link up with Marine outposts there and expand their territory, came under sniper fire and rocket attacks by midday. The rattle of machine-gun fire and the thud of mortars echoed nearby.
The Marjah offensive is the biggest since the 2001 U.S.-led invasion of Afghanistan and a test of President Barack Obama's strategy for reversing the rise of the Taliban while protecting civilians.
A NATO statement said troops were still meeting "some resistance" from insurgents who engage them in firefights, but homemade bombs remain the key threat to allied and Afghan forces.
At a London briefing, Maj. Gen. Gordon Messenger said the militant holdouts don't threaten the overall offensive but will take time to clear out."The levels of resistance in these areas has increased but not beyond expectation. We expected after the enemy had time to catch its breath, they would up the level of resistance, and that's happened," he said.
Marine spokesman Lt. Josh Diddams reported that overall resistance was lighter Friday, but a few companies still engaged in firefights that lasted a few hours.
NATO said one service member died Friday in a small-arms fire attack. Six coalition troops were killed Thursday, NATO said, making it the deadliest day since the offensive began. The death toll so far is 12 NATO troops and one Afghan soldier. Britain's Defense Ministry said two British soldiers were among those killed Thursday.
No precise figures on Taliban deaths have been released, but senior Marine officers say intelligence reports suggest more than 120 have died.The officers spoke on condition of anonymity because they were not authorized to release the information.
So let's take a closer look. First, this piece:
As the major NATO offensive entered its seventh day, about two dozen Marines were inserted before dawn into an area where skilled Taliban marksmen are known to operate, an officer said, speaking on condition of anonymity because of security concerns.
Security concerns? Bullshit. It doesn't matter at all if this officer is Joe Smith or Jack Brown. Revealing his identity does not jeopardize security. What jeopardizes security is releasing this information at all. So if this officer was truly concerned with security, he would shut his mouth and not release information unless specifically authorized and instructed to do so.
No precise figures on Taliban deaths have been released, but senior Marine officers say intelligence reports suggest more than 120 have died. The officers spoke on condition of anonymity because they were not authorized to release the information.
Not authorized to release the information? Then shut up. I expect senior Marine officers to know better than to discuss intelligence reports with the media just because they feel like it. They acknowledge they are not authorized to release that information, yet do it anyway. What the hell is their problem?
So again, I share my opinion that these folks need to shut their fucking mouths and stop chattering like magpies. Is it too much to ask that those entrusted with national security demonstrate a simple respect for it?
Saturday, February 13, 2010
I woke up on time, and my gym bag was packed and ready to go. But I weighed my need for a morning workout against my desire to stay in bed just a bit longer. It's Saturday, I told myself, and another bit of sleep is my reward for another great week.
So I slept in. Not too long, as I had to be here at the office by 7am. But it still felt good to lounge and relax.
Now, though, I'm done at the office and heading home... after my stop at the gym. I can't use sleeping in as an excuse all day, right?
Friday, February 12, 2010
Me, Christmas 2009. Sitting there, weighing as much as I ever have in my life, I felt completely uncomfortable. I didn't want to take pictures, I didn't want to dress up and go out, I didn't want to do anything but hide out. And that is no way to live.
So, here I am almost two months later, feeling like a whole new person. And this? Oh, yes. THIS is a way to live.
Tuesday, February 9, 2010
My friend posted this recently as his Facebook status, and it really resonated with me. I think many of us wander through life with this ridiculous notion that someone, or some thing, is going to save us. We play the "if only" game until it paralyzes us.
If only I was 50 pounds lighter, I would like my body.
If only I didn't have a mortgage, I could afford what I wanted.
If only I had a better job, I'd enjoy working.
If only I could meet the right person, I'd be happy.
And on and on it goes. But the truth is, I could work harder to lose that 50 pounds. I could pay more towards my mortgage. I could learn new skills and fight for a better job. And years ago, I could have worked more on making myself a better person instead of wishing for someone to come along and make me happy. But it's easier to wait for someone or something else to make it happen for me.
Ultimately, there is no one else coming to save me. If I am to enjoy this life, to truly live and love and accomplish and create and every other wonderful thing I hope to do, I need to hold myself responsible for making it happen. Sure, I'll likely find others along the way that will help me, but I cannot hold them accountable for what happens to me. My life is about my choices and my actions, and the sooner I accept and embrace that, the sooner I can truly get to living.
My friend, Jeremy, posted this recently as his Facebook status, and it really resonated with me. I think many of us wander through life with this ridiculous notion that someone, or some thing, is going to save us. We play the "if only" game until it paralyzes us.
* If only I was 50 pounds lighter, I would like my body. * If only I didn't have a mortgage, I could afford what I wanted. * If only I had a better job, I'd enjoy working. * If only I could meet the right person, I'd be happy.
And on and on it goes. But the truth is, I could work harder to lose that 50 pounds. I could pay more towards my mortgage. I could learn new skills and fight for a better job. And years ago, I could have worked more on making myself a better person instead of wishing for someone to come along and make me happy. But it's easier to wait for someone or something else to make it happen for me.
Ultimately, there is no one else coming to save me. If I am to enjoy this life, to truly live and love and accomplish and create and every other wonderful thing I hope to do, I need to hold myself responsible for making it happen. Sure, I'll likely find others along the way that will help me, but I cannot hold them accountable for what happens to me. My life is about my choices and my actions, and the sooner I accept and embrace that, the sooner I can truly get to living.
Monday, February 8, 2010
That's me today. I went to bed at 10pm and was still wide awake at 4am. By 5am, I was at the gym and all business. I did 2 minute intervals on the treadmill, alternating between 3.6 mph walking and 6.0 mph jogging. I managed to do that for a full hour, logging 4.65 miles.
After that and since I was already at the gym and feeling great, I hopped on the recumbent bike. I rode for another hour, logging 21.65 miles.
I'm feeling all kinds of fabulous today.
Okay, maybe not quite THAT fabulous, but I'm still feeling pretty darn good. So, how is everyone else today?
Sunday, February 7, 2010
I just wrote on Thursday that I was happy with my progress, despite the fact that I had not lost a single pound over the entire last week. I told myself to have faith that making better eating choices, sticking with my workouts, and getting and giving support here at Spark People would work. Turns out, I was right.
Yes, I know I said I was only going to weigh myself once a week, but I woke up this morning and decided to take a quick peek. Hello, success. I weighed in at 209.5 pounds this morning, which means I dropped 3.5 pounds since Thursday.
What does that tell me? It tells me that the numbers on the scale are going to do tricky things. They are going to sit stubbornly for days, even weeks at a time, despite all my best efforts. And then, almost inexplicably, they are going to drop in dramatic fashion.
So, today I'll celebrate the big drop. I'm doing the work and I deserve to enjoy the rewards. But I will do so with the knowledge that every weigh-in will not be like this, and even when the numbers flatline, I'm still confident I am doing the right things for longterm health and fitness.
Thursday, February 4, 2010
I weigh in every Thursday morning. This week, like last week, I weighed 213 pounds. And that should bother me, right? Wrong.
I'm not unhappy right now. In fact, I'm feeling pretty good. And I'll tell you why.
One, I know that my eating habits last week were not that great. Sure, I ate relatively healthy breakfasts and lunches. But my dinners included quite a few indulgence items. And those calories add up. And portion control? Forget it. I wasn't all that concerned with that. So, I made unhealthy eating decisions and ate too much. Both of those things are fully within my power to change in this upcoming week. So I'm happy.
Two, my overall goal is to lose (in a healthy and sensible manner) one pound per week. I have already lost seven in three weeks, so I am double my plan. And if my body slows down a bit for a week or two, no problem. I'm still moving in the right direction. So I'm happy.
Three, scale be damned, I feel better. I have worn my polo shirts tucked in each day this week, and I haven't done that in quite a while. My jeans fit a bit looser, my belt has to be pulled a bit tighter, and people tell me I look like I am losing weight. So I'm happy.
And four, I made a conscious decision to not let the weigh-in bother me. Instead, I chose to seek out message threads on the "Panic! Button for Immediate Help" forum. I decided to focus my energy today on cheering people up and encouraging others rather than wallow in some faux-problem of my own. And as it turns out, writing messages of support to other people can't help but impact my own mood. So I'm happy.
I don't know who all might read this blog entry. And I don't know where any of you may be on your own journeys. But I can tell you that just being here is enough to motivate and inspire me to do more, to be more. I read our stories and connect with different pieces of each of them. I am glad to be a part of this group and proud to be on this path with so many of you.
I'm copying this from a political website. It was my response to a question about gays being allowed to serve in the military.
I've wasted the last bit of energy I intend to discussing this issue with those who oppose it. It's always the same circular reasoning (it's different because it isn't the same!), the same prejudices (I don't want to be with those people!), and the same denial and ignorance (gays flaunt it, but straight people don't).
Attempting any more dialog is a futile endeavor, and ultimately, a pointless one. Laws and policies that deny equal treatment to all Americans will one day be tossed into the rubbish bins of history, and those who support such discrimination will scratch their heads and wonder what on earth happened. Meanwhile, the rest of us will go on with our lives and never look back.
I'm posting it here because it really is my last argument on the subject. If you agree with me, good. If you don't, that's okay, too. But understand that I don't care to hear any more discussion about it. More specifically, I will not be engaging in any further discussions about it. There is nothing new to be said, no just-discovered truth that will somehow sway opinions. The arguments are what they are, and people either support it, oppose it, or don't care about it. No matter which of those you feel, there is no point in me challenging your views.
Wednesday, February 3, 2010
I go to the gym each morning. I get on the treadmill, or the bike, or the elliptical, and I exercise for an hour. I can't help but see myself in the mirror, and I see a fat guy that is breathing heavy and sweating like crazy. I see a man in terrible shape, short and chubby and a big blob. And I think, "what on earth are these other people thinking when they see me?"
Here's the answer. They don't see me. Oh, sure, they see that I am a guy on a treadmill. Beyond that, though, I'm invisible. I could be anyone and it wouldn't matter. Why? Because they don't care about me. They are too busy thinking about their own bodies, their own routines, their own struggles and successes and to-do lists, etc, to spend any time bothering with me. They are not worrying about me or thinking that my legs are short or my belly is big or whatever crazy self-criticism I have at the moment.
So no one is criticizing me. No one is judging me. No one is expending energy to attack me. In fact, no one cares. And that's a good thing.
Tuesday, February 2, 2010
My long-term goal is to lose 60 pounds. And that sounds like a lot. How can I possibly manage 60 pounds?
And then I realized something. I am already managing 60 pounds. Each day, when I walk up the steps to the office, I am managing to carry an extra 60 pounds. When I mow the lawn, or walk the aisles of the grocery store, or stand in line at the theater, I am managing to carry an extra 60 pounds. Every moment of every day, every place I go and everything I do, I'm weighed down with this extra 60 pounds.
And what I am taking away from this newfound realization? If I can manage to carry 60 pounds for so many years, I can surely manage to carry it to the gym and on to the bike and for long walks and jogs and runs. I can carry it through my workouts until, pound by pound, it goes away.
I know that working out makes me feel better. So I make the time. I get up early and work out before I head into the office. That way, nothing distracts me and I can enjoy the day with that "post-workout smugness."
But there are other ways that I need to take care of myself, and they are just as important. I need to make the time to be alone, to relax and unwind, to transition from busy, busy, busy workday to calm, comfortable at-home time.
I need to make the time. There will always be things that need to get done, and work that can't wait, and a million other demands. But ultimately, the only way I can be the person I need to be for everyone else is to make sure that I am doing what I need to do for myself.
So you're in a bad mood. You know, the sort of mood where everything makes you mad. When it seems as if everyone in the world is going out of their way to make sure your day is as bad as it can possibly be. And yes, you are in such a funk that you feel as if a dark cloud is following you and the sun may never shine again.
When I hit that sort of funk, there is one thing I can always do to snap me right out of it. I take a few minutes to sit down and write something positive and encouraging to someone in my life that I know is struggling. Maybe it's something serious, like an illness, or maybe it's something minor, like a quarrel with another friend or a bad day at work. Whatever they are going through, I find that my writing a note to help lift them up helps me put my own problems into perspective.
There is no shortage of sorrow and struggle out there. So many people I know are going through a rough time of one kind or another. And if my little note is a bright spot in their day, and writing it helps me adjust my own attitude, then we both come out winners.
So go ahead, let that bad mood find you. And you can even wallow in it for a bit if you think that's what you need to do. But before you let it swallow you up, take a look around you. Odds are, you have friends or family that are struggling just as much, if not more. And it's completely within your power to give them a bright spot in their otherwise painful day.
So, what's going to be? Burn another hour of your day with a pity party or make a difference for someone else? It's your decision. | {'pile_set_name': 'Pile-CC'} |
Vegetables Color Measurement Testing Instruments by Testronix Inc.
Vegetables are the source of our every meal. It's not only healthy but also enhances the taste of our food. Most of all the colors it exhibits give our cuisines the look we desire. The colors of vegetables is a result of pigments in their cells and signify a lot more information then taste. The pigment sources contain healthy nutrients and therefore the extent of the color and its intensity defines the quality of that particular veggie. Since a long time, scientists have been using vegetable color measurement to determine the quality of the product. More, the red the tomato is, more it will be healthy and juicy and will be purchased at its maximum extent.
Why are the color of vegetables so important?
The visual aspect of vegetables plays a huge role in shaping our perception of it. If it doesn't appeal to vision, we are less likely to try it. This poses a challenge for food producers. For instance, a tomato sauce manufacturer will buy the best tomatoes for its production and how he is going to choose them, based on the taste, smell and of cores its bright, shiny red skin. When it comes to appearance, color plays a key role in a food's appeal. After that he would want all of the tomatoes he purchased must be of the same quality, now how will be checking the consistency. Well, one of the easiest procedure would be color measurement techniques. Measuring color with a color assessment tool at each step of a vegetable's journey from harvest to the retailer can help a food producer maintain the quality consistency. Doesn't matter which vegetable or from which continent you buy it from, a good quality vegetable will exhibit the same standard color measurements. For this purpose, one can use highly advanced and technical devices to assure accuracy in the results. | {'timestamp': '2019-04-26T00:44:05Z', 'url': 'http://www.testronixinstruments.com/application/vegetables-color-measurement/', 'language': 'en', 'source': 'c4'} |
my last blog I talked about my hope that a couple or three people may want to buy our surplus eggs rather than them going to waste. On Wednesday I put a small item on our local community page on Facebook asking whether anyone would be interested in buying some of our eggs. InI talked about my hope that a couple or three people may want to buy our surplus eggs rather than them going to waste.
Well a few minutes after I posed my question on the community page something amazing started to happen. Someone responded and then someone else and then quite a few more and then it became a rapid stream of people saying that they'd be interested in buying our eggs.
As I type there are in excess of 230 responses! It seems that I won't need to do a delivery service, folks are more than happy to travel to collect them from us.
I spent Wednesday evening feeling more than a little overwhelmed, the positive response was a delight and they have kept on coming steadily ever since.
As a way to communicate with quite so many potential egg purchasers at once, I set up a Facebook page for the smallholding. And
I've amended the original post to say that I've set up a farm page, but still the comments from people interested keep appearing.
plain egg boxes from eBay (this is an affiliate link) and will spend a while designing a suitable label that I can stick on top of the box. Anyway, I ordered some(this is an affiliate link) and will spend a while designing a suitable label that I can stick on top of the box.
Thursday the first of the local residents arrived to buy some eggs. It was very nice to know that the girls' eggs were going to be appreciated by someone else and not assigned to the food recycling bin. Since then several more boxes of eggs have been sold and although I will never become rich (or even make a profit) from farmgate egg sales, the few pounds each week will help towards the cost of the chicken and duck feed for at least part of the year.
The response was so good, that I feel it would be worth having some more chickens, but only if they are good layers and are dual purpose birds that can be used for the table when either they stop laying in the winter or slow down with age. Having additional birds here that cost us money to feed throughout the winter, purely so I can sell their eggs in spring and summer would be pointless. Even I know that it wouldn't make economic sense to do that!
I spotted an advert in our local farmer's store for a trio of Light Sussex birds for PS20 and when I texted to see if they were still available, I was told that there were only two left but that they were free to a good home. Well, I consider us to be a good home and so delightfully, we will be picking up the new birds this evening.
There's another positive to this, one that is less obvious, but in some ways more important. And this is that I have met almost more local people in seventy-two hours than I have in the sixteen months since we moved here! It's not that folks here are unfriendly, just like everywhere, they are mostly lovely, it's just that I don't really go anywhere to meet anyone. I am more than happy pottering around on our smallholding and most of the time don't feel the need to venture further afield. I don't go to cafes, pubs or other places that I might bump into people and start chatting and I don't go to the local shop regularly as Mr J does the local shopping. So the lack of socialising is entirely of my own doing and while I am very happy in my own company, it has been jolly nice to meet some new people.
met up for a barbecue at the home of one smallholder. We had planned to have another meet up in November, but the Avian Flu Prevention Zone meant that it was unwise for smallholders, all of whom are poultry keepers, to go trekking across the country to meet up, so we delayed the gathering. I have however made lots of friends via social media. A group of smallholders chat to each other regularly and at the end of summer last year some of usat the home of one smallholder. We had planned to have another meet up in November, but the Avian Flu Prevention Zone meant that it was unwise for smallholders, all of whom are poultry keepers, to go trekking across the country to meet up, so we delayed the gathering.
Now that the Prevention Zone measures are relaxed a little, we decided that the next week or two was a good moment to meet up. We can't wait too much longer as lambing will begin for many of the smallholders, so next weekend a few friends are coming to our smallholding for a bite to eat and a bit of socialising. Not only is it nice to be able to see other's smallholdings, but it's great to be able to pick a few brains about ideas for our smallholding. It certainly won't take people very long to walk around it, but the compact size of our land means that we have to make every inch count and work well for us.
As spring has arrived, Mr J and I have started to tidy up after the cold winter months prevented us from tackling too many tasks outside. Of all the maintenance jobs that there are, picking the weeds out of the gravel in the yard is one of our least favourites. So on Saturday, I grabbed a padded kneeler (block of foam) and got down on my hands and knees to work on a particularly weedy and grassy corner. It doesn't take too long to clear a patch, it's just rough on the hands and knees!
And as another growing season is starting my thoughts have turned to the greenhouse and planting seeds. I spent one morning a week or so ago planting seeds into module trays and am pleased to see that some of them have already germinated. Next week I hope to continue with sowing seeds to fill the greenhouse with small plants that are strong and healthy before the end of May when it is safe to plant out the more tender of the plants.
Back to today, before we collect the new birds this evening, we need to clean and prepare the isolation house for the new birds so that they can have a few days in there before joining the rest of the flock. We do this to give the birds a little time to acclimatise to their new surroundings and get used to us and for us to be sure that they don't have any illnesses that they could then pass on to the rest of our birds.
But before I prepare the isolation house, I think there's just time for a cuppa!
- - - - -
YouTube channel here. I also post vlogs daily (almost). You can find my
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Ask HN: Location Poll - jbrun
I remember that we did a "where are you living?" poll a while back, but I cannot find. Trying to meet-up with Paris based hackers. Can someone point me in the right direction please.
======
epi0Bauqu
Valley Forge, PA. Our Philly meetup group:
<<URL>
~~~
wmblaettler
Lancaster here. I just did. Thanks!
------
niyazpk
<<URL>
~~~
jbrun
Thanks!
------
vorador
By the way, I'm parisian. Maybe we should create a meet-up thread ?
------
shrnky
About an hour and half outside of New Orleans, LA. | {'pile_set_name': 'HackerNews'} |
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For Search feature please
to enable JavaScript or to put this site in Trusted Sites zone
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protect your kids from accessing porn by simply using your browser's
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All models appearing on this site are 18 years or older.
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We do not produce pornographic content ourselves. Reproduction of
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Etomidate has no effect on hypoxia reoxygenation and hypoxic preconditioning in isolated human right atrial myocardium.
We examined the effects of etomidate on recovery of contractile function after hypoxia reoxygenation and hypoxic preconditioning in vitro using isolated human myocardium. Human right atrial myocardium were obtained at the time of cardiac surgery from 38 adults patients. We recorded isometric force of contraction (FoC) of atrial trabeculae suspended in an oxygenated Tyrode's solution (34 degrees C, stimulation frequency 1 Hz). In all groups, a 30-min hypoxic period was followed by 60 min of reoxygenation (HR). In separate groups, muscles were exposed to etomidate (10(-7), 10(-6), 10(-5) M) 10 min before and throughout the HR periods. Hypoxic preconditioning was induced by 4-min hypoxia followed by 7-min reoxygenation applied before HR periods. Etomidate 10(-5) M was administered before, throughout, and after the hypoxic preconditioning stimulus. Recovery of FoC (expressed as % of baseline value) at the end of HR was compared among groups. Compared with the control group (FoC: 52%+/-10%), etomidate 10(-7) M (FoC: 57%+/-9%; P=0.24), 10(-6) M (FoC: 61%+/-11%; P=0.10), and 10(-5) M (FoC: 54%+/-9%; P=0.29) did not modify the recovery of FoC after HR. Hypoxic preconditioning-induced increase in the recovery of FoC (87%+/-5%; P<0.001 vs control group) was not modified in the presence of etomidate 10(-5) M (FoC: 86%+/-7%; P=0.74 vs hypoxic preconditioning group). Etomidate did not modify the in vitro FoC of human myocardium exposed to HR. Furthermore, etomidate did not modify the protective effect of hypoxic preconditioning. | {'pile_set_name': 'PubMed Abstracts'} |
Asko Antero Autio (ur. 21 kwietnia 1952 w Ylivieska) - finski biegacz narciarski, zawodnik klubu Turun Urheiluliitto.
Kariera W Pucharze Swiata zadebiutowal 27 lutego 1982 roku w Holmenkollen, zajmujac piate miejsce w biegu na 50 km. Tym samym juz w swoim debiucie zdobyl pierwsze pucharowe punkty. Na podium zawodow tego cyklu pierwszy raz stanal 4 marca 1983 roku w Lahti, konczac rywalizacje w biegu na 15 km stylem dowolnym na trzeciej pozycji. W zawodach tych wyprzedzili go jedynie Aleksandr Zawjalow z ZSRR oraz Norweg Pal Gunnar Mikkelsplass. W kolejnych startach jeszcze jeden raz uplasowal sie w czolowej trojce: 12 marca 1983 roku w Holmenkollen byl najlepszy w biegu na 15 km. W klasyfikacji generalnej sezonu 1982/1983 zajal ostatecznie dwunaste miejsce.
W 1980 roku wzial udzial w igrzyskach olimpijskich w Lake Placid, gdzie byl dziewiaty na dystansie 50 km. Podczas rozgrywanych dwa lata pozniej mistrzostwach swiata w Oslo w tej samej konkurencji byl piaty.
Osiagniecia
Igrzyska olimpijskie
Mistrzostwa swiata
Puchar Swiata
Miejsca w klasyfikacji generalnej sezon 1981/1982: 27.
sezon 1982/1983: 12.
sezon 1983/1984: 62.
Miejsca na podium
Linki zewnetrzne Profil na stronie FIS Finscy biegacze narciarscy
Finscy olimpijczycy
Uczestnicy Zimowych Igrzysk Olimpijskich 1980
Urodzeni w 1952 | {'title': 'Asko Autio', 'url': 'https://pl.wikipedia.org/wiki/Asko%20Autio', 'language': 'pl', 'timestamp': '20230320'} |
Are you a Teacher? A Student? A Tourist? A Birdwatcher? A Scientist? A Professional? A Photographer? It doesn't matter. We want you to come and see the Priolo and to learn about the work that has been done in the context of the LIFE Priolo Project. Contact us, we are waiting for you and it will be a pleasure for us to guide you! | {'timestamp': '2019-04-18T12:56:06Z', 'url': 'http://life-priolo.spea.pt/en/the-project/visiting-priolo/', 'language': 'en', 'source': 'c4'} |
President's Advisor: Stepashin To View Tatarstan As An Ally
Rafail Khakimov, the state advisor to Tatar President Mintimer Shaimiev, said Russian First Deputy Prime Minister Sergei Stepashin will not attempt to downgrade the status of Russia's ethnic republics. Khakimov made his comments in an interview with Tatar-inform on 28 April after Stepashin's appointment as first deputy prime minister in charge of nationalities' policy, particularly the north Caucasus as well as on relations between Russia's regions and CIS countries. In Khakimov's opinion, Stepashin will see Tatarstan as an ally, not an adversary. Khakimov said Stepashin, who used to work in the North Caucasus and is well acquainted with the situation there, is well suited to pursue a reasonable and balanced policy in the region. Khakimov said that there will not be order in Russia until the Chechen problem is solved. Khakimov said that Stepahsin will not suggest a solution involving the use of force in Chechnya because he "went through Chechnya" and would never use methods that haven't worked.
Tatar Parliament Holds Session
Tatarstan's permanent parliament held a session on 28 April, Tatar radio reported. A package of draft laws was included in the agenda of the next plenary session of the State Council -- to be held on 26 May -- among them draft laws on charitable activities, on the Kama Alany off-shore zone, on freedom of conscience, and religious associations. The deputies passed laws on Tatarstan's international treaties, on administrative responsibility for infringements in production and trade of alcohol, on state support for young families in gaining housing, on a water code, ecological matters, on the Alabuga off-shore zone, and on a referendum to be held in the Republic of Tatarstan.
UNESCO Conference Held In Kazan
A scientific conference called "Russia on the Border of Centuries: From Confrontation to a Culture of Peace" was held in Kazan on 26-28 April under the aegis of UNESCO, Tatar radio and television reported. The program the Culture of Peace that UNESCO has developed is aimed at preventing ethnic and religious conflicts. A national Russian project within the framework of the Culture of Peace program was considered at the conference. Valerii Sakharov, the national coordinator of the Russian project, said in an interview with Tatar radio that Tatarstan can be an effective and objective model for Russia's Culture of Peace project. He said UNESCO, as well as Russia, promote solutions used in Tatarstan in avoiding ethnic and religious strife.
Otechestvo Interested In Chistai Watches
More than 1,000 watches were bought from the Chistai watch plant in Vostok for delegates to the second Otechestvo congress held in Yaroslavl, Tatar-inform reported. Otechestvo leader and Moscow Mayor Yurii Luzhkov met on 28 April with the general director of the Chistai plant, Vladislav Tsivilin, and the prospect of setting up an association of Russian watchmakers was discussed. The Vostok factory currently cooperates with the First Moscow watch factory. | {'pred_label': '__label__wiki', 'pred_label_prob': 0.8772662878036499, 'wiki_prob': 0.8772662878036499, 'source': 'cc/2021-04/en_middle_0046.json.gz/line945596'} |
Q:
Problema s funktsiei, oshibka "string is not function"
Problema v tom, chto esli stroka mass_child[j].style.display = option_display
nakhoditsia vyshe (function(i){
setTimeout(function(){
mass_child[i].style.opacity = option_opacity
},100)
}(j))
to togda poiavliaetsia oshibka string is not function. Pochemu?
for(var j = 0; j < mass_child.length; ++j){
name = mass_child[j].className
if(name == undefined) {
continue
}else{
if(name == mass_class_name[0] || name == mass_class_name[1] || name == mass_class_name[2]){ (function(i){
setTimeout(function(){
mass_child[i].style.opacity = option_opacity
},100)
}(j)) mass_child[j].style.display = option_display
}
}
}
A:
Blin, skol'ko raz govorit': vsegda stav'te tochku s zapiatoi posle vyrazheniia!
U vas poluchaetsia:
mass_child[j].style.display = option_display (function(i){.... | {'pile_set_name': 'StackExchange'} |
Q:
Implement licensing in SpFx?
I have created 4 web parts using SPFX. Now I want implement licensing.
If the user has purchase license then can access web part else user is redirected to license.
What is the best approach to fulfilling this requirement? Should I create license component in each web part?
Thanks
A:
I won't recommend you to keep your license on the client side. Since the SPFx is completely client side module, anyone can easily go through the code and find all the details, how you are using licensing in you web part.
To your problem, I can recommend using Azure Functions. They are very powerful when it's come to serverless computing (as quoted my Microsoft). Follow the URL to know more about them. <URL> | {'pile_set_name': 'StackExchange'} |
Well, the festival opened on Thursday with another controversial choice. I love Berlin and I love the festival but I find the programming somewhat baffling and, for a journalist, it's a pretty difficult event to turn a profit on it, quite frankly. When Dieter Kosslick took over, I really thought it would make the festival much younger and more exciting than it had been under Moritz De Hadeln, but it seems more excitement spills out from the market and the Talent Campus than the festival itself. Many people don't understand why I enjoy Sundance so much, but, even when the films are bad (and they often are) there's a genuine sense of enthusiasm; most of the people you meet (even the LA types) are usually either coming from a movie or heading to (at least) one, and there's a lot of curiosity about the films you have and haven't seen. With Berlin, though, there's often a sense of dread that pervades the journalistic contingent, and this year's choice of Tom Tykwer's The International (above), starring Clive Owen and Naomi Watts, as the opening film does not bode well. I haven't seen it myself, but the reviews have been scathing. Ian Nathan gave it two stars in this month's Empire, and you can see from Shane Danielsen's review from IndieWire, Mark Rabinowitz's review from The Rabbi Repor, Stephen Dalton'sreviewin The Times, and Finn Halligan's review in Screen International that the press are not impressed...
In the meantime, the wheels are still turning on Quentin Tarantino's film Inglourious Basterds, which is shooting in and around Berlin. Sebastian Haselbeck from Tarantino Archives has written a nice account here of his set visit. It should keep you entertained until I finally write mine!
punchdrunkPosted on Saturday February 21, 2009, 20:58
I saw a trailer for "the International" today, I have to say I haven't laughed so much at a trailer for age's not since 'The Skulls' "When you kill people they die" line. They could redo it a bit and make it a spoof saying it was meant to be a cheesy cliche ridden flick :P | {'pile_set_name': 'Pile-CC'} |
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Q:
Ajax vs. Web sockets vs. Web Workers
What is the difference between all three? They seem to do the exact same thing. Why and when would you choose to use one method over the other?
A:
AJAX and websockets do similar tasks -- they both establish a communication channel to a server. Web workers have nothing to do with either of them, they are just separate threads of JS execution.
AJAX is more mature than websockets -- it has been around much longer and has a much wider browser support. AJAX is request-oriented -- you make a request to the server, the server responds, and the connection is closed. Websockets on the other hand establish a persistent connection to the server, over which you exchange multiple messages in both directions.
Webworkers are useful if you want to perform a processor intensive task without blocking the browser interface.
A:
They are not same. But one can use them together to build advanced application.
Ajax: As abbrevation States is asynchronous javascript and xml.. is used to load the content dynamically from the server upon called.
Websockets : Websockets is the feature defined in HTML5 . As wikipedia states "WebSocket is a protocol providing full-duplex communications channels over a single TCP connection." so this is mainly used for real time communication such as video call, live chat etc..
WebWorkers : this feature is also defined in HTML5. This is basically used to make bring multi threading feature in Javascript. Since javascript is a single threaded programming language , it breaks or pause whenever i.e heavy calculation tasks are done using it. to overcome this breakage , Webworkers are added to javascript.
You can perform Ajax and Websockets inside Webworkers . however you cannot manipulate DOM using webworkers due to security reasons.
A:
They are not the same.
Ajax: It is a way of interacting with a web server asynchronously from a UI renderer
Web Sockets: An HTML5 feature using which you can interact with any Socket server extending the reach of the browser
Web Workers : Another HTML5 feature that helps you do multi-threaded programming from a web browser using Java Script | {'pile_set_name': 'StackExchange'} |
"Okay, you ready for this?" "As ever." "Let's do it." "Let's play Who Wants To Be A Millionaire?" "Who wrote the phrase "No man is an island"?" "John Donne?" "John Milton?" "John F. Kennedy?" "Jon Bon Jovi?" "Jon Bon Jovi." "Too easy." "And, if I may say so, a complete load of bollocks." "In my opinion, all men are islands." "And what's more, now's the time to be one." "This is an island age." "A hundred years ago, you had to depend on other people." "No one had TV or CDs or DVDs or videos or home espresso makers." "Actually, they didn't have anything cool." "Whereas now, you see you can make yourself a little island paradise." "With the right supplies and the right attitude you can be sun-drenched, tropical, a magnet for young Swedish tourists." "Hi, it's Kristina." "I haven't heard from you." "I had a great time last weekend." "So give me a call, okay?" "'Bye." "And I like to think that perhaps I am that kind of island." "I like to think I'm pretty cool." "I like to think I'm Ibiza." "There were people who had a good time in life." "I was beginning to realize I wasn't one of them." "I just didn't fit." "I didn't fit at my old school." "I definitely didn't fit at my new one." "I heard that some kids got taught by their parents at home." "Mum couldn't do that, unless I paid her to teach me." "Because it was just her and me." "And she went to work." "She made 400 pounds a week." "Where was I gonna get that kind of money from?" "Maybe if I was like that movie kid, Haley Joel Osment I could pay her that much." "But if that meant being good at drama, forget it." "I was crap at drama." "'Cause I hated standing up in front of people." "So, basically, I had to go to school." "The sad fact is that, like any island dweller from time to time I had to visit the mainland." "This is Imogene." "You can hold her if you like." "That's..." "Well, okay." "Yeah." "Got her." "Lovely." "Yeah, she's delightful, isn't she?" "I know." "Isn't she?" "To tell the truth, I'm being crap with her." "You better take her back." "She could've been yours if you got your act together." "Just think of that, yeah." "So, the place is looking really nice." "Barney, Barney, Barney." "Say hello to Will, Barney." "Here we go." "It's the Antichrist." "Hello, Barney." "How are you?" " He's lovely." " Yeah." "And what about you, Will?" "Any desire for a family of your own yet?" "I'd rather eat Barney's nappies." "Not really." "I'm sort of all right as I am." "Please, Will." "What does that mean? "Please" what?" "Look at yourself." "You're 38 and you've never had a job or a relationship that lasted longer than two months." "I wouldn't exactly say you were okay." "I mean, I would say you were a disaster." "I mean, what is the point of your life?" "Bloody hell." "You're right." "There's probably no point to my life but thank you for bringing it up." "The reason we wanted you to come here today was we wanted to ask you how would you like to be Imogene's godfather?" "Seriously?" "Seriously." "Listen, I'm really, really touched." "But you must be joking." "I couldn't possibly think of a worse godfather for Imogene." "You know me." "I'll drop her at her christening." "I'll forget her birthdays until her 18th, when I'll take her out and get her drunk and possibly, let's face it, you know, try and shag her." "I mean, seriously, it's a very, very bad choice." "We know, I just thought you had hidden depths." "No." "No." "You've always had that wrong." "I really am this shallow." "Here we are." "You know you don't have to walk me to school anymore now, Mum." "I know the way now." "But what if I like walking you to school?" "Right." "Who are you?" "I'm me." "And what are you not?" "A sheep." "Right." "And what does a sheep go?" "Marcus?" "I love you." "Look." "I love you, too." ""I love you, Marcus!"" ""Love you!"" "Look at him!" "While I couldn't accept the offer to become their child's godfather I did allow them to set me up with Angie, a rather beautiful coworker of Christine's." "They had, however, being them, neglected to tell me one thing." "There's something you don't know about me." "Yeah?" "Something exciting?" "I think so, yes." "I have a 3-year-old boy." "I wanted to throw the napkin on the floor, push over the table and run." "Brilliant." "I love kids." "Yeah." "I like messing about with them." "Doing kid things." "I'd have been disappointed if you didn't have a child." "Why do you say that?" "God knows." "Mainly because it sounded smooth and winning." "Because I love kids so much." "They're so lovely." "What in God's name are you saying, you idiot?" "She can't be buying this rubbish." "But she did buy my rubbish." "And for the next few weeks I was suddenly Will the Good Guy." "Her kid took to me, mainly because on our first meeting I took him to the zoo and held him upside down by his ankles." "I wish relationships with proper humans were that easy." "You know, you are brilliant." "I came to realize that with single mums particularly ones who'd been badly treated and eventually abandoned by the father of their children, you became by comparison..." "You are a wonderful person." "No, I'm not." "But it was hard to be wonderful all the time." "Eventually I began to wonder whether Angie was exactly what I was looking for." "For instance, she was late for the new IMAX movie because the babysitter hadn't turned up." "I'm so sorry." "It's all right." "That pissed me off." " You okay?" " Yes." "And there were deeper problems." "She couldn't stay at my place, and she didn't have a DVD, or satellite or cable." "So we were always stuck watching some crap made-for-TV movie about a kid with leukemia." "I'm afraid there's nothing we can do." "God!" "No!" "Please, please, no!" "I was going to have to end it." "But having been Will the Good Guy I didn't relish going back to my role of Will the Unreliable, Emotionally-stunted Asshole." "I'm sorry?" "You're breaking up with me?" "You self-centered bastard." "I can't believe I've wasted all this time with you!" "You useless, superficial loser." "Will..." "Then something magical happened." "I'm sorry." "I'm not sure this is working out." "It's not you." "You've been great." "It's me." "Well, my situation with Louie and his dad." "I'm not ready to launch into a relationship with anybody new." "Yeah." "I'm so sorry." "I think I understand." "You're a wonderful man, Will." "I'd never watched a woman cry without feeling responsible before." "She even wanted me to forgive her." "It felt amazing." "Listen, you don't have anything to feel sorry about." "Really." "So that was the end of Angie, but the beginning of a whole new thing." "Single mums." "Why hadn't anyone told me about them before?" "Passionate sex, a lot of ego massage and a guilt-free parting." "There must be thousands, just waiting for a nice guy to sleep with and break up with." "Fabulous, sexy, gorgeous single mums." "Can I have Cocoa Puffs?" "No, it's not Sunday." "The crying had started again." "And it scared me 'cause now it was in the mornings." "She'd never done that before." "I couldn't figure it out." "Nobody was dead." "She had a job as a music therapist, which is kind of a teacher for sick kids." "So there was enough money for food and everything." "Should I get my own breakfast?" "No, I'm doing it." "So, you looking forward to school today?" "Today, you'll need to effect the decimal point when you multiply it by 10 100 and 1000." ""Nothing to do but frown" ""Rainy days and Mondays always get me down"" "Thank you very much, Marcus." "Hi, Nicky." "Hi, Mark." " Are you going to Computer Club later?" " I don't know." "Marcus..." "Madonna!" "Go on, give us a song!" "You'd like that, wouldn't you?" "Spice Girls or something." "Three of them." "Yeah." "Hey, Spice Girls." "You made me lose my football." "Marcus, we don't really want you hanging around with us anymore." " Why not?" " Well, it's because of them." " They've got nothing to do with me." " Yes, they do." "We never had trouble with them before we started hanging out with you." "Now we get it every single day." "Besides, everyone thinks you're weird." "Only a bit, though." "Okay." "'Bye." "There you have it." "I was having a shit time at home and a shit time at school." "It was fine deciding single mums were the future but the frustrating truth was I didn't have their numbers." " Hi, Dad." " Hey." "Where did they hang out?" "I'm a single father, I have a 2-year-old boy." "I'm a single father, I have a 2-year-old boy." "I'm a single father, I have a 2-year-old boy." "SPAT." "This was exciting." "A potential gold mine of single mums." "I could see the beautiful creatures now, getting roaring drunk forgetting their troubles, ready to rock and roll." "That was when I was 7 months pregnant." "By the time I had the baby, he was in Majorca with another woman." "Not even the one he cheated on me with the first time." "Well, with me, it was the week before the birth." "He said I'd got too fat." "Mine was shagging his secretary." "Such a cliche." "I'll tell you one thing:" "Men are bastards." "After about 10 minutes I wanted to cut my own penis off with a kitchen knife." "Me." "Yes." "I have a 2-year-old." "Ned." "He's got blue eyes and sort of sandy-colored hair and he's about 2'3"." "And his mum left." " Really?" " Yeah." "Yeah, I mean, obviously it was a very big shock because we were so happy, you know?" "Sandra's neurology practice was just up and running and then one day her bags were packed, and my best friend was waiting outside in his Ferrari." "Yeah." "You know, the Modena?" "The one with the supercharged engine, where you can see it through the back window?" " You got dumped then?" " Yeah." "May I ask, does your ex see Ned at all?" "Sorry, I didn't catch your name." "Suzie." "Suzie." "She doesn't see much of him, no." "How does he cope with that?" "He's a very good little boy." "Very, very brave." "They've got amazing resources, don't they?" "Just the other day I was thinking about my ex." "He came crawling up, put his little pudgy arms around my neck, and he said:" ""You hang in there, Dad. "" "God, that's amazing for a 2-year-old!" "Is it?" "Yeah, he's very special." "Very, very special." "Sometimes I think, you know, he's the one taking care of me." "Teaching me the ways of the world." "Sorry." "Thank you." "My God, what a performancel I was even fooling myself." "There you go." "You okay?" "Yeah." "Perfect, thanks." " Trust me?" " Of course." "By the end of the evening, I had a date lined up." "Single parents alone together!" "Single parents alone togetherl All for one and one for alll" "The problem was I also had an imaginary 2-year-old son." "The date was a SPAT picnic in Regent's Park, with everyone bringing their kids." "Sadly, Ned couldn't be there." "His mum had come and picked him up at the last second." " What a shame." " Yeah." "I'm sorry." " Got it." " This is Megan, by the way." "Hello, Megan." "Yeah." "A friend of mine from SPAT isn't feeling so great so I said that we'd take her kid to the picnic, too." " Is that all right?" " Yeah." "The more the merrier." "Right." "Come on, slowcoach!" "I hated that SPAT-lot." "Mum's friend Suzie was fine, but now there was that wally who wanted to get off with her." "Marcus, Will." "Will, Marcus." "Hi there." "Right." "Pile in, everyone." "Look what a mess Ned made of the car seat." "What a shame he can't come." "So, what do you do?" "Me?" "There were too many lies to keep track of so I told the truth." " Nothing." " Well, before then." " What do you mean, before I did nothing?" " Yeah." "I did nothing." "You've never worked?" "I've done the odd day here and there, but, no." "Crazy, isn't it?" "It's..." "Brilliant." "My God, I was going to have to tell her." "What happened, in fact, was that my dad wrote a song in 1958, and it's quite a famous song and I basically live off the royalties of that." "You know Michael Jackson?" "He makes a PS1,000,000 a minute." "That's PS60,000,000 an hour." "I don't make a PS1,000,000 a minute." " Nothing like, sadly." " How much then?" "Marcus!" "I was beginning to wonder if we'd be stuck with this weird kid all day." "So, what's this song then?" "If you can live off it, we must've heard of it." "It's Santa's Super Sleigh." "God, please don't sing it." ""Look who's coming round the bend It's Santa and his reindeer friends" ""With a ho, ho, ho and a hey, hey, hey, It's Santa's super sleigh"" "I expect people do that all the time." "No, I think you two are the first." "Sorry." "I don't understand." "How does that make you money?" "Do carol singers have to pay you 10 percent?" "They should, but you can't always catch the little bastards." "So, how often do you look after him?" "Marcus." "Every once in a while." "His mum's a little off-color sometimes." "You call it off-color, I call it nuts." "She's not nuts, Marcus." "She just needs a weekend taking it easy." "We'll have a nice picnic, and when you get home, she'll be all rested up." "My God!" "What the hell is that?" "My mum's homemade bread." "It looks pretty good." "No, it isn't." "It's healthy." "You miss him, don't you?" "Who?" "Ned!" "Yeah." "Yeah, very much." "He'd have loved this." "I think I killed a duck." "I was only trying to feed it." "What's that floating in the water next to it?" "Is that your mum's bread?" "You didn't have to throw the whole loaf." "That would've killed me." "You the one who was throwing bloody great loaves at the ducks?" "Yeah, he was, but I've stopped him now." "You know, boys will be boys, and all that." "So he killed it." "No." "Sorry, I misunderstood you." "The duck was dead already." "He was throwing bread to try and sink the body because Megan here was getting upset." "Marcus wouldn't kill a duck." "Would you, Marcus?" "No." "I love ducks." "They're my second favorite animal after dolphins." "They can kill sharks with their noses." "I'll have to wade in and get it." "Listen, I hope it's not some sort of epidemic." "I think we beat the rap there, mate." "Yeah." "Well." "Marcus?" "Mum." "That day, the Dead Duck Day, was when it all began." "That bloke Will just followed us in and I didn't tell him not to." "Afterwards, I realized that there was no way I could have been nervous just then because just then I didn't know there was anything to be nervous about." "But then I put the key in the lock, opened the door..." "Are you decent?" "And a new part of my life started." "Bangl" "Jesus Christ." "Oh, my God." " Will, call an ambulance." " Marcus, where's the phone?" "Where's the phone, mate?" "It was horrible." "Horrible." "But driving fast behind the ambulance was fantastic." "She's conscious." "She was okay in the ambulance." "She was asking after you, Marcus." "That's nice of her." "Listen, you know this has nothing to do with you, don't you?" "I mean, you're not the reason that she..." "You're not the reason that she's here." "Isn't that right, Will?" "Yeah, that's right." "I'll go get you some water." " I can get that." " No, it's okay." "Your mum's going to be okay." "Yeah, I suppose." "That's not the point, though, is it?" "Right, you mean you're afraid she might try again?" "Just shut up, all right?" "There you go, warm and flat." "Are you with Fiona Brewer?" "Yes, I'm her friend Suzie." "This is Marcus and Will." "She's recovering well, but we'll keep her overnight." "I'm going to get a consent form for Ms. Brewer so the boy can stay with you two tonight." "Right." "So, my place or yours?" "Sorry." "Okay." " I should get back to Ned, I think." " I'll take that." "All right." "All in all, this was very interesting." "So I'll call." "But I wouldn't want to do it every night." "See you soon." "The thing is, a person's life is like a TV show." "I was the star of The Will Show." "And The Will Show wasn't an ensemble drama." "Guests came and went, but I was the regular." "It came down to me, and me alone." "If Marcus' mum couldn't manage her own show if her ratings were falling, it was sad, but that was her problem." "Ultimately, the whole single-mum plot line was a bit complicated for me." "I got the letter." "Thanks." "Oh, my God." "I'd forgotten." "You forgot?" "You forgot a suicide letter?" "I didn't think I'd have to remember it, did I?" "Did you read the part where I said I'd always love you?" "It's a bit hard for you to love me when you're dead, isn't it?" "I'm sorry." "I can understand why you're angry, Marcus." "I don't feel the same as I did yesterday, if that's any help." "What?" "It's all just gone away?" "All that?" "No, but at the moment, I feel better." ""At the moment" is no good to me." "I can see you feel better at the moment." "You just put the kettle on." "But what happens when you finish your tea?" "What happens when I go back to school?" " I can't be here to watch you all the time." " I know." "We have to look after each other." "The two of us." "Suddenly I realized two people isn't enough." "You need a backup." "If you're only two people, and someone drops off the edge then you're on your own." "Two isn't a large enough number." "You need three, at least." " Three what?" " Nothing." "But I'd had a great idea." "The important thing in island living is to be your own activities director." "I find the key is to think of a day as units of time each unit consisting of no more than 30 minutes." "Full hours can be a little bit intimidating and most activities take about half an hour." "Taking a bath:" "One unit." "Watching Countdown:" "Okay..." "One unit." "Web-based research:" "Two units." "Exercising:" "Three units." "Having my hair carefully disheveled:" "Four units." "It's amazing how the day fills up." "I often wonder, to be absolutely honest if I'd ever really have time for a job." "How do people cram them in?" "Yeah, Will here." "It's Marcus." "Pardon?" "It's Marcus." "Marcus?" "Marcus." "Hi." "How'd you get my number?" "From Suzie." "I thought you'd like to take me out for the day on Saturday." "And why did you think that, Marcus?" "Suzie said we hit it off." "Did she?" "Yeah." " And you said, "See you soon. "" " I said what?" ""See you soon."" "The night you dropped us off." "Remember?" "You said, "See you soon. "" "This is soon, all right, Marcus." "The thing is, mate, my life is kind of hectic at the moment." "Why?" "I thought you did nothing." "I've got Ned and stuff to look after." "Matter of fact, I should be on the way to preschool right now." "What's that noise?" "That's a lawn mower." "So, you know, just time-wise it's not..." "Tell you what, just hold the line one sec." "Hold on, one sec." "Thanks." "But then I thought, "Why not?"" "Why shouldn't I take the poor little sod out for a meal?" "I could be Uncle Will." "Cool Uncle Will, King of the Kids." "Okay, Marcus." "You're on." "I'll come if you take my mum, too." "She has no money, so we'll have to go somewhere cheap or you'll have to treat us." "Listen, don't beat about the bush, Marcus." "Why should I?" "We're poor." "You're rich." "You pay." "Bring your little boy, I don't mind." "That's really big of you." "Fine." "Come round at 12:30 or something." "Remember where we live?" "Flat 2, 31 Craysfield Road, Islington, London, N12SF." "England, the world, the universe." "Yeah." "Marcus?" "So, Fiona, how are you?" " I mean, how are you feeling?" " My stomach's fine." "Great." "I must still be a bit barmy, though." "This kind of thing doesn't go away overnight, does it?" "No." "If Mum was going to get Will to marry her, she'd have to quit making jokes." "At least she looked good." "I had her put on that nice hairy jumper and the earrings she got from her friend that went to Zimbabwe." "The kid seemed to think this was a date." "As for his mum, she was clearly insane and appeared to be wearing some kind of Yeti costume." "This had better be quick." "We were definitely not ordering starters." "I'll start with the artichoke, please." "Then I'll have a mushroom omelet with fries and a Coke." " I'll have the vegetable platter." " We're vegetarians." "I'd never have guessed." "Steak sandwich, please, mate." "Thanks." "This was going really well." "I wondered if we were going to move into Will's place or move into someplace new." ""I heard he sang a good song" ""I heard he had a style"" "I knew, of course, the song couldn't last forever that I'd soon be at home, tucked up in bed." "I knew it, but I couldn't feel it." ""And there he was, this young boy"" "I must've been insane." "All I'd wanted was a date with Suzie." "This was my punishment." ""Strumming my pain with his fingers"" "The worst part was when they closed their eyes." ""Killing me softly with his song" ""Killing me softly"" "Come sing with us, Will." "I should really get going." "Thanks." "That's the problem with charity." "You must mean it." "You have to mean things to help people." "Like the time I volunteered to help out at a soup kitchen and very nearly made it." "Or the time at Amnesty International." "Did you know in Burma you get seven years in prison for telling jokes?" "Next time you laugh, think of Pa Pa Lay, the Burmese standup comedian." "We're at a crucial stage in our struggle for human rights which have been grossly abused by the ruling junta." "We need your support more than ever." "Together we can make a difference..." "You're kidding." "And what's your boyfriend say about that?" "Wait a minute." "You say you haven't got a boyfriend?" "Talk about human rights violations." "Is that right?" "You're in the bath now?" "You have to mean things to help people." "Fiona meant Killing Me Softly." "Killing Me Softly meant something to her and look where she ended up." "Me, I didn't mean anything, about anything, to anyone." "I knew that guaranteed me a long, depression-free life." "Yet over the next few days, I did have a strange feeling." "Like a presence lurking at the back of my mind." "And I didn't like it." "You don't have a kid, do you?" "What?" "You don't have a kid, do you?" "Of course I do!" "What are you on about?" "No, you don't." "I've been watching you, and you don't have a kid." "What is it to you, anyway?" "Nothing." "Except you've been lying to me, my mum and my mum's friend." " Can I come in?" " No." "Why?" "'Cause I'm busy." " What are you doing?" " I'm watching TV." "I could watch it with you, if you like." "That's very nice of you but I usually manage on my own, thanks." "Don't you have homework to do, or something?" " Want to help?" " No, that's not what I meant." "I meant, why don't you go home and do your homework?" "I'll do you a deal." "I won't tell anyone you don't have a kid if you go out with my mum." "You'd want your mum to go out with someone like me?" "You're not too bad." "I mean, you told lies, but apart from that you seem okay." "And she's sad." "I think she'd like a boyfriend." "I can't just go out with someone because you want me to." "I'd have to like the person, as well." " What's wrong with her?" " Nothing's wrong with her, it's just the system." "That's how it..." "I'm not talking about this with you." "Just go." "Okay." "But I'll be back." "I'm really scared!" "That's the best I could come up with, "I'm scared."" "But as a matter of fact, I was." "Okay, that's it." "Tim, goodbye." " Jill, goodbye." "Carol, goodbye." " Goodbye." "And from me, arrivederci." "Bye-bye." "Thanks." "See you." "Hello, everybody." "Welcome to the game of Countdown." "You remember yesterday, Carol, I revealed to a grateful nation that our guest, Tom O'Connell" "Yes." "He, like all of us, changes for each show." "But he is such a" "Is that right?" "Yeah." "Another term for Hosta, I think." "Yes, well." "Named after Heinrich Christian Funck, who also invented disco dancing." "Yes." "I've got all his audios." "Mum, did you always know I was going to be a vegetarian?" "Yeah, of course I did." "I didn't decide on the spur of the moment 'cause we ran out of sausages." "Did you ask me if I wanted to be a vegetarian?" "What, when you were born?" "I do the cooking and I don't want to cook meat." "You have to eat what I eat." "But you don't let me go to McDonald's, either." "Is this premature teenage rebellion?" "I can't stop you from going to McDonald's." "I'd just be disappointed if you did." "Don't worry, Mum." "I won't go to McDonald's." "After a few visits, Will seemed to think he had to ask me serious questions." "But I knew he really wanted to watch Warrior Princess." "So, how's it going at home then?" " You mean my mum?" " Yeah." "She's all right, thanks." "I mean, you know, she's..." "Yeah, I know." "No, nothing like that." "Does it still bother you, then?" "Does it bother me?" "Are you decent?" "Every single day." "That's why I come here, instead of going home." "A bit." "When I think about it." "Fucking hell." "I don't know why he swore like that, but it made me feel better." "It made me feel like I wasn't being pathetic to get so scared." "I wouldn't make the mistake of asking about Fiona again." "Marcus was clearly screwed up about it and unfortunately I couldn't think of anything to say that'd be of any value." "Next time he could talk to Suzie, or a counselor or anybody capable of something more than an obscenity." "Shit!" "It can't be." "November-the-sodding-19." "Six weeks before Christmas and already they were playing the bloody thing." "Dad?" "What was your dad like?" "A bit sad, really." "You know, he wrote one crap song that turned out to be a massive hit and then spent the rest of his life trying to write a better one." "Do you ever want to write songs like him?" "Is that what the guitar's for?" "No." "So, that's just there to look cool." "Yeah." "I like Santa's Super Sleigh." "Madonna!" "Come here!" "We've got something." "He's getting away, look!" "Hurry up!" "On Pet Rescue today, the clever stoat keeps everyone on their toes in Somerset." "Hey!" "What are you doing?" "Who are you?" "Who am I?" "Bugger off, that's who I am!" "Go on, piss off!" "Who were they, then?" "Who?" "What do you mean, "Who?"" "The ones trying to embed sweets into your skull." "Oh, them." "They're just a couple of older kids." "They started following me after school." "Does this happen often?" "They never chucked sweets before, they just thought of that." "I'm not talking about the sweets." "The kids trying to kill you." "Yeah, they give me a hard time." "You know, about my hair, and my clothes and singing and stuff." "And what?" "And singing?" "Sometimes I sing out loud without noticing." "That's not a brilliant idea, is it?" "I said I did it without noticing, didn't I?" "It just happens!" "I'm not going to do it on purpose, am I?" "I'm not stupid, you know." "My advice is to keep out of people's way." "Try to make yourself invisible." "How can I be invisible?" "One machine in your kitchen is an invisible machine?" "I don't think so." "I just try not to think of it, that's all." "It happens, and I wish it didn't, but that's life, isn't it?" "There's nothing I can do about it." "No." "There is something we can do about it, Marcus." "You're coming with me." "I was worried he was going to take me to the headmistress' office." "But instead he took me shopping." "I don't get it." "We're starting with your feet." "I can't make you invisible, but I can make you blend in with the crowd." "I don't know how to tie them." "They've got these funny strappy things." "It's called Velcro." "It's a revolutionary new technology." "For Christ's sake." "It's not hard." "All right, wait a minute, it is a bit hard." " Everything all right?" " Yeah, thanks." "Pretty trendy, your old man, isn't he?" "There." "You think you look cool, don't you?" "Don't know." " Do you think I look cool?" " Yeah, Marcus." " I think you look cool." " Yeah." "That's it, you got the walk." "That's really cool." "Brilliant." "High five." "Yeah." "I was suddenly hit by an extraordinary rush of well-being." "So this is what people meant by a natural high." "And it only cost PS60." "I had made an unhappy boy temporarily happy." "And there wasn't anything in it for me at all." "I didn't even want to shag his mum." "Marcus!" "What happened to your shoes?" "They stole them." "Why would anyone want to steal your shoes?" "I could see I had to tell the truth." "The problem was, the truth would lead to a lot more questions." "They were nice ones." "They were just ordinary brown lace-ups." "No, they weren't." "They were cool new trainers." "Where did you get cool new trainers?" "She had loads more questions." "Will bought them for me." "Will?" " The guy who took us to lunch?" " Yeah." "He's sort of become my friend." "He's sort of become your friend?" "She kept repeating the last thing I said." "Except she shouted it." "I go round to his place after school." "You go round to his place after school!" " You see, he doesn't really have a kid." " He doesn't really have a kid?" "Can I play computer games now?" "Where does he live?" "He's not there at the moment." "He's out to dinner." "Christine had asked me to dinner for a pep talk." "You will end up childless and alone." "Both fingers crossed, yeah." "You must have a lot of courage." "Why is that, Christine?" "Most people need something in their lives to keep them afloat and you have absolutely nothing." "Doesn't that scare you?" "Do you know what you want?" "Yes, I do." "I'll have the steak" "What the hell are these little after-school tea parties about?" "Hi." "Sorry?" "What did you say?" "I was just wondering why a single, childless man would want to hang out with a 12-year-old boy every day?" "You didn't tell your mum that you've been coming round?" " I think I forgot." " Tell me what?" "What are you doing with my son?" "Wait a minute." "What are you suggesting here?" " I'm not suggesting anything." " I think you are." "You were suggesting that I've been interfering with your son." "I'm simply asking you why you entertain 12-year-olds in your flat." " My God!" " Oh, my God!" "What do you have to say for yourself?" "Well?" "Don't "well" me!" "Don't "well" me about this!" "He comes over uninvited every night!" "Do you know why?" "He's having the shit bullied out of him at school!" "And you haven't got a clue." "You send him out like a lamb to the slaughter!" "He's been taken to pieces every day of the week, you daft, fucking hippie!" "I think you're being a bit melodramatic." "Marcus is fine." "Strange." "Will had it right, Mum didn't." "It should be the other way around." "You haven't had much contact with kids." "I used to be a bloody kid!" "I went to a bloody school." "I know when kids can't settle down and when kids are miserable!" "Look at him, for Christ's sake!" "Don't accuse me of being melodramatic." " This coming from a woman who tried to" " Cowabunga!" " What's the matter with you?" " Nothing." "I just felt like a shout." "Jesus, what a family." "Will, you're disturbing the other customers." "It's fine." "I'm sorry." "I'm done." " Okay, so, you're not..." " What?" "No, I'm not!" "No, I'm not." "Listen, don't worry about it." "I won't open the door to Marcus again, okay?" "I'll be glad to be rid of the pair of you, frankly." "Go on." "Bugger off." "Sorry." "So that's it, is it?" "You're just out of his life, like that." "Excuse me?" "Let's say you're right and I'm wrong." "Let's say there's this whole world that I don't understand, and somehow, miraculously, you do." "What are you going to do about it?" "I'm not going to do anything." "He's none of my business." " You're a selfish bastard." " That's what I tell him." " He always puts himself first." " But I'm on my own." "It's just me." "I'm not putting myself first." "There's nobody else." "Yes, there is!" "There's Marcus." "You're involved now." "He keeps coming around your bloody house." "You've come into his life for a reason." "You can't just shut him out." "You can't shut life out. "No man is an island. "" " She's right, you know." " Yeah, she is." "No, she's not!" "She's wrong!" "Some men are islands." "I'm a bloody island!" "I'm bloody Ibiza!" "What are you talking about?" "Do you want to come over for Christmas?" "No, Marcus, I do not want to come over for bloody Christmas." "I do not want to spend Christmas with Miss Granola Suicide and her spawn." "I'd always thought what you did with Christmas was sort of a statement about where you stood in life." "I was going to spend this Christmas the way I usually did." "Watching videos and getting drunk and stoned." "Before you came, I was all alone." "It is bad to be alone." "Alone, bad." "Friend, good." "Friend, goodl" "Now come here." "The good news was it wasn't just me and Fiona and Marcus." "The bad news was, well..." "So, you're Marcus' dad." "Yeah, I guess so." "And this is my girlfriend, Lindsey." "And Lindsey's mum." "Hi there." " Thanks, Dad." " That's okay." "I had to hand it to the kid." "He could be enthusiastic about some truly crap present." "Wow, a tambourine!" "Thanks, Mum." "Isn't that cool, Will?" "Yeah, that'll come in handy." "I saw it and I thought, "This'll be perfect. "" "Maybe you can perform at that school concert." "Get a pop group together." "Make some friends." "Maybe, Mum." "When you sing, it brings sunshine and happiness into my heart." "Thanks, Mum." "This one's from me." "Brilliant!" "What is it?" "It's a CD, Marcus." "By Mystikal." "They're cool." "You'll like them." "And what kind of music is Mystikal?" "It's sort of world music." ""Shake Ya Ass."" "Slash rap type thing." "Shake Ya Ass?" "Is he Moroccan?" "I'm afraid we haven't got a CD player." "It's great anyway." "I know you haven't got a CD player, so, I got you one of them as well." "What a lucky boy." "Look, Mum." " Open yours, Will." " All right." "Thanks a lot." " Marcus, is this a joke?" " Yeah." "It's not bad." "Hi." "Sorry, I'm dead late!" " Have I missed anything?" " No, come on in." " Merry Christmas." " Merry Christmas!" "Hey!" "Long time no see." "Where's Megan?" "At her dad's." "Where's Ned?" "At his mum's for Christmas?" "Yeah." "No." "I should probably go, shouldn't I?" "You could go pose as Santa, try and shag some carol singers." "Are you a professional Santa?" "How lovely!" "Right." "That's it." "I'm off." "Thank you very much." "It was great." "Suzie has every right to express her anger." "Yes, and she's expressed it." "Now I have a right to bugger off." "Thanks a lot. 'Bye." "Wait!" "He's my friend." "I invited him." "I should be able to tell him when to go home." "I haven't told Will to go, Marcus." "Suzie's angry and has every right to be, and she's telling him so." "She's right, Marcus." "Just leave it, okay?" "All he did was make up a kid for a couple weeks." "God, that's nothing." "So what?" "Who cares?" "Kids at school do worse than that every day!" "The point is, Marcus, Will left school a long time ago." "He should've grown out of making people up by now." " That's for sure." " It's not fair to gang up on him." "He's been better behaved since then." "He bought me trainers, he lets me go round to his house and he knows what kids need." "What?" "Expensive footwear and obscene music?" "If there's something you really need then we can talk about it." "No, we can't." "It's not a discussion, it's an argument, and you always win." " Why not just tell me what to do?" " I want you to think for yourself!" "I'm thinking for myself!" "And I want Will to stay!" "He's not the only one who ever did anything wrong!" "Remember how we met?" "Remember why?" "Because you" "Because you threw a loaf of bread at a duck's head and killed it, basically." "Excuse me?" "What's this about a duck?" "Are we having duck?" "Delicious!" "Of course we were not having duck." "Instead we had nut loaf with parsnip gravy." "As I sat there, I had a strange feeling." "I was enjoying myself." "I'd never really enjoyed Christmas before." "My mother used to make me sing Santa's Super Sleigh in front of my inebriated uncles and aunts just to get at my dad, I think." "But Christmas at Marcus', I'm ashamed to say it, gave me a warm, fuzzy feeling." "I held that feeling responsible for the strange events that followed." "First of all, Marcus got a crush on a girl." "Hello." "Piss off." "And then, even stranger, so did I." "It was all Marcus' fault, really because once you open your door to one person, anyone can come in." "On New Year's Eve, I met Rachel." "She was interesting, smart and attractive." "And for about five minutes, I had her convinced that I was, too." "...things like political events." "Okay." "You in television?" "Am I in television?" "No." " Everyone else is in television." " Yeah." "I watch television." "Right, right." "So you're more in front of it than in it." " In it, yeah." " Yes, I get it, yeah." "It was torture." "For five minutes I realized what life would be like if I were, in any way, interesting." "If I had anything to say for myself, if I did anything." "But I didn't do anything." "And in about 30 seconds she'd know and she'd be gone like a shot." "So what do you do?" "I'm sort of taking a bit of time off at the moment." " Sounds good, yeah." " Yeah." "Time off from what?" "To be absolutely honest, time off from time off, in fact." "The interesting thing about me is I don't actually do anything." " You don't do anything?" " Actually, no." " Nothing." " Nope." "Wow." "That's..." "Now, Rachel, darling." "East Coast or West Coast rap?" "I have absolutely no..." "There." "She was gone." "There was no more to say." "All rap music sounds exactly the same to me." "Or was there?" "I tell you what." "I know a 12-year-old who'd kill you for saying that." " Really?" " Yes." " So do I, come to that." " Yeah?" " Yeah." "What's yours called?" " Mine?" "He's called Marcus." "Mine's Ali." "Alistair." "And there it was." "It wasn't a lie." "It was 100 percent her assumption." "Well, 50 percent, at the very least." "I was in fantasyland again." "But this time it was different." "SPAT was for fun." "This was serious." "I acted in self-defense." "We arranged to get our lads together." "Which means we arranged for us to get together." "Single parents, alone together." "Happy New Year!" "I was in deep trouble." "And there was only one person who could help me out." ""Shake ya ass, but watch ya self Shake ya ass, show me what you workin' with" ""Shake ya ass, watch ya self" " "Show me what you workin' with"" " What did you just say to me?" "You heard me, squitty little shitty snot-nosed bastard!" "Sorry." "I was singing along to this song by Mystikal." "It's a rap." "You like rap?" "A little." "It's by black people, mostly." "They're angry most of the time." "But sometimes they just want to have sex." "You taking a piss?" "'Cause if you are, you'll get a slap." "I'm not taking a piss." "I don't even know how to take a piss." " What's your name?" " Marcus." "I'm Ellie." "Hi, Ellie." "Nice to meet you." "Not so fast." "I'm not ready for physical contact." "Next thing you know, we'll be having sex." "And where will that get us?" "And stop telling strangers to shake their ass." "Okay, Ellie." "See you!" "Hello, mate." "Listen, I need your help." "Why did you tell this lady I was your son?" "No, I didn't tell her." "I told you, she just got the wrong end of the stick." "So just tell her." " No." "Can't do that." " Why not?" "We're really going around in circles here." "Just accept the facts, okay?" "You're my son." "I'll tell her, if you like." "I don't mind." "That's very kind of you, Marcus, but no." " Why not?" " For Christ's sake!" "She's got a rare disease and if she believes something that's not right then hears the truth, her brain will boil in her head and she'll die, okay?" "That's a load of shit." "I'm really interested in this woman." "What do you mean, interested?" "What's so interesting about her?" "Okay, Marcus, here." "Here's my last scrap of dignity." "Enjoy it." "I want to go out with her." "Okay?" "I'd like her to be my girlfriend." "There, I said it." "Brilliant!" "Why didn't you just say that?" "I don't know." "I was embarrassed or something, 'cause this is a bit new for me." "I just met her, her name's Rachel." "She's sort of" "There's this girl at school." "Ellie." "I kind of want her to be my girlfriend." "I'm not exactly sure." "I've been meaning to ask you." "What's the difference between a girl who's your friend and a girlfriend?" "Well, I don't know." "Do you want to touch her?" "Is that so important?" "Yeah, you've heard about sex, right?" "It is kind of a big deal." "I know." "I'm not stupid." "I just can't believe there's nothing more to it." "I mean, like, I want to be with her more." "I want to be with her all the time." "And I want to tell her things I don't even tell you or Mum." "And I don't want her to have another boyfriend." "If I could have all those things I wouldn't really mind if I touched her or not." "Well, you'll learn, Marcus." "You won't feel like that forever." "Okay, how do I look?" "Good." "How do I look?" "Just be as normal as you can, okay?" "Good advice for Marcus." "I wish I could have followed it." "I'm sorry it's such a mess." "That's where I work." "My mouth was dry and my palms sweating." "I didn't know what the hell was happening to me." "...manage to tidy up." "Ali?" "All I could do was stand there, grinning like an idiot." " Should we just go upstairs?" " Sure." "Okay." "Ali." "Marcus." "Marcus." "Ali." "You're in my year at school." "Really?" "Yeah, I think I've seen you around." "Great!" "Then you guys'll have a lot to talk about." "Will, this is Ali." "Ali, this is Will." " All right." " All right." "Do you guys want to hang up here for a while?" " Yeah, sounds good, right?" " Yeah." "Okay." "For a moment, I loved him." "Really loved him." "You can show him your new computer games." "Good." "Okay, catch you later." "Let's leave them to it." "If your dad goes out with my mum, then you're dead." "Really dead." " Don't worry." "He's all right." " I don't care if he's all right!" "I don't want him going out with my mum!" "I don't want to see him or you around here ever again, okay?" "I'm not really sure it's up to me." "Well, it better be!" "Or you're going to die." "I was getting the feeling that maybe this kid Ali was a serial killer." "Can I have a go on your computer?" "What games you got?" "Are you listening to me?" "Yeah, it's just that I can't really do much at the moment, can I?" "I mean, Will, that's my dad he likes your mum, and I think she's keen on him." "She's not keen on him!" "She's only keen on me!" "One amazing thing about Rachel was that I wanted to kiss her every time she said something interesting." "Which was all the time." "It was sexy." "It was weird." "I use Bristol boards, India ink and..." "Am I boring you?" "No, no." "No." " Why?" " Nothing." "It's just you looked like Marcus just then." "Did I?" "I think it's sweet how much he seems to take after you and the way he dresses like you, as well." "I don't think I dress like Marcus, really." "Marcus?" "Wait!" "Hang on." "Hang on." "Come on, we're going back." " He's off his head." " No, he's not." "He said he'd cut me up into little pieces and hide me under the floorboards." " He did?" " No." "But I'm sure he's capable of it." "It'll be different." "You'll like it, I promise." "Marcus, Ali has something to say to you." "Doesn't he?" "Sorry, Marcus." "I didn't mean to say those things." "It's okay, Ali." "Ali finds all this very difficult." "Yeah, so does Marcus." "Don't you, mate?" "You know, I mean, divorced parents and not knowing how to feel about new people." "Yes." "Absolutely." "Absolutely the way I feel." "Ali didn't get along with the last bloke I went out with." " He was a liar!" " All right, darling." "He wasn't 100 percent good news." " I'm not saying that you and I are." " That's okay." "He fancies you." "He told me." " Thanks a lot, mate." " Oh, dear." "Cheers, mate." "Don't look so worried, sweetheart." "Ellie!" " Marcus?" "What, are you stalking me?" " No." "Too bad." "Made me feel like a celebrity." "Yeah, but I didn't know that then, did I, sexy?" "All I'm saying is, you know, watch out." "It just looks a bit more like owner and pet than boyfriend and girlfriend." "At least I'm honest." "What does that mean?" "It's just that you and Rachel..." "What?" "What does that mean?" "I don't know, I think there's a problem with you and Rachel." "I mean, like, you want to be with her but she thinks you have a son." "And you don't." "If you're going to be with someone shouldn't you tell them things like that?" "No." "I mean, you know, like the truth." "What's wrong with you?" "But later that night, when I was on my own I remembered the deal Marcus was prepared to strike." "Yes, I wanted to touch Rachel." "But at this moment, if I had the choice I'd settle for the less and the more that Marcus wanted." "Jesus, was I turning into Marcus?" "Would he be buying me shoes soon?" "I took his advice and told Rachel the truth." "Or very nearly the truth." "That I wasn't Marcus' natural father." "And that is not natural seaweed." "The problem was, once I told the truth, I knew there'd be more questions." "I don't get it." "If you're not his natural father and you don't live with him, then how is he your son?" "Yeah, I see." "It must look very confusing from the outside." "Tell me how it is on the inside." "It's just one of those long, boring stories." "Look, do you want to move on to wine?" "You want some Chinese rice wine, miss?" "You would like to try, I suspect, the Panang Paneng." "Yeah?" "No." "Tell me about your relationship with Ali." " Is that as complicated as mine and Marcus'?" " No." "I slept with his father, and then nine months later I gave birth." "Pretty straight forward." "Yeah." "I envy you that." "I'm really sorry to harp on about this but I haven't got it all worked out yet." "You are Marcus' stepfather, but you don't live with him or with his mother." "No, you see, wait." "I never said he was my son." "Did I?" "The words "I have a son called Marcus," never escaped my lips." "It's what you chose to believe." "Yeah." "Right." "It's me that's the fantasist." "I wanted to believe that you had a son, so I let my imagination run riot." "Obviously I played a part, I can see that." "No!" "Not at all." "I met you and I thought, "Cute guy." ""God, if only he had a son." "A geeky, teenage kid, if possible. "" "Then you turned up at my house with Marcus, and bingo!" "Now I made this crazy link 'cause of some deep psychological need in me." "You shouldn't beat yourself up about it." "It could have happened to anyone." "The first time I met you I thought you were a bit blank." "But then you changed my mind." "Maybe I was right." " Rachel, listen." " Yes?" "I'm sorry, you're right." "I am a blank." "I'm really nothing." "I don't know what the hell I was thinking of, I'm sorry." "'Bye, Ellie." "Marcus!" "My man!" "Bye, Marcus!" "See you, Marcus!" "Mum?" "So, if z = 17, does x 2?" "Marcus?" "I didn't know what the answer was." "I didn't know what "x" equaled." "And I didn't know how to help my mum." "And then I realized." "There was something she said I could do for her." " I'm thinking of singing at the school concert." " You?" "At the rock concert?" "I don't think that would be a very good idea, Marcus." "Will you accompany me?" "All I've got is a tambourine." "No, I'm sorry." "It's suicide." "I mean, they'll crucify you." "Mum's at it again." " At what?" "Sorry." " What do you mean, what?" "The crying." "She sits in the house all day, crying." "She does it in the mornings, too." "It's as bad now as it was before the Dead Duck Day." "Marcus, I'm sorry, mate I'm a bit busy at the moment." "You're busy?" "Doing what?" " Didn't you hear me?" " I heard you." " What do you want me to do about it?" " I don't know." " You could talk to her." " Yeah?" "And what would I say?" " I don't know!" " Why would she listen to me?" "Who am I to her?" " I'm nobody." " You're not nobody." " You're" " Who?" "Who do you think I am?" "Who do you think you are?" "You come here uninvited, you disrupt my life, you screw things up." "What do you want from me?" "This isn't my problem." "I'm not your family, mate." "I'm not." "I'm not your uncle." "I'm not your big brother." "We've established pretty firmly that I'm not your father, either, am I?" "But..." "I'll tell you what I am." "I'm the guy who's really good at choosing trainers or records, okay?" "That's it." "I can't help you with real things." "I can't help you with anything that means anything." "You could try." "You're right." "You can't help me." "How could you?" "You're a stupid person who watches TV all day and buys things." "You don't give a shit about anybody, and nobody gives a shit about you!" "Mum said my singing brought sunshine and happiness into her life." "So I'd do it, even if it meant mine was over." "Look, Mum." "My life is made up of units of time." "Buying CDs:" "Two units." "Eating lunch:" "Three units." "Exercising:" "Two units." "All in all, I had a very full life." "It's just that it didn't mean anything." ""Look who's coming round the bend"" "The fact was there was only one thing that meant something to me:" "Marcus." "He was the only thing that meant something to me." "And Fiona was the only thing that meant something to him." "And she was about to fall off the edge." "Single parents alone together!" "Single parents alone together!" "All for one and one for all!" " Fiona!" " Will, we haven't seen you for a while." "How's Ned?" "Who?" "He's a load of crap." "He doesn't exist." "Yeah, I made him up." " You made him up?" " Yeah." " To meet women." " You're sick." " Fiona, I've got to talk to you." " Go ahead." "No, you know, properly talk to you, privately." "No, this is a circle of truth." "Whatever you have to say, you can say it in front of everybody." "Okay." "Please don't try and commit suicide again." "I can't believe you just said that." "That is my private experience." "Yeah, well, that's the thing, isn't it?" "It's not." "Marcus is worried about you." "I'm worried because he's worried about you." "Will, I don't have plans to commit suicide." "You don't?" "Not at the moment, no." "Great." "Great!" "Good." "You know I'm not attracted to you, right?" "What are you on about?" "No." "What are you, nuts?" "Right." "Wrong word completely." "But that's something that we should, you know, talk about a bit." "The crying in the morning thing, the depression." "Let's get that fixed." "That's what men think, isn't it?" "What?" "That unless you've got the answer, unless you can say:" ""I know a bloke in the Essex Road who can fix that," then there's no point bothering." "No." "Well, yeah, okay." "I would." "I'd love to know the name of the bloke in the Essex Road because I've got a feeling I'd be useless." "Will, you're not useless." "You're here." "And that matters." "Right." " Now, can we..." "Do you mind?" " What?" " Marcus is singing at the school concert." " Marcus is singing?" " Yeah, singing." " At school?" "It's a pop concert." "He's so excited." " I want to get there on time." " Wait, wait." "What's he singing?" ""Killing me softly with his song" ""Telling my whole life"" " What time does this thing start?" " What have you got against Marcus singing?" "You know the dream where you're at school without your trousers on and everyone laughs?" " What's the connection?" " That will be Marcus, but for real." "If he sings that song in front of those kids you can just write him off until university." "If he reaches university, 'cause he's going to get torn to shreds." "You cannot stop someone from expressing themselves." "He's not expressing himself!" "He's expressing you, okay?" "Oh, God." "What?" "Jesus Christ." "You're right." "Will, am I a bad mother?" "No, you're not a bad mother." "You're just a barking lunatic." "No, I am." "I am a bad mother." "I've let things slide and I haven't been noticing properly." "He's a special, very special boy." "And he's got a special soul, and I've wounded it!" "Please, just shut up." "You're wounding my soul." "Okay, you park it." "What?" "Hi." "What are you doing here?" "That's Ali up there." "He's talented." "Now that was the Def Penalty Kru with Murder Fo' Life." "Our next big act is Marcus Brewer singing Roberta Flack's beloved Killing Me Softly." "He'll be accompanied by Simon Cosgrove on the recorder." "Marcus, I can't do this." " That lot's going to shit all over us." " But you said..." "I'm sorry." "Here's your 5 back." "Any moment now." "Come on, Marcus, you wally!" "Wait!" "Wait!" "Excuse me." "What is going on here?" "Nothing." "Everything's under control." "I'm just his voice coach." "What are you doing here?" "I heard you were about to commit social suicide, so I dropped by." " My accompanist left!" " Brilliant." " You don't have to do it." " I can't do that." "Yeah, you can." "Just tell them:" "Artistic differences." "You can't work without him." "He had a drug problem." "My mum wants me to sing it." "It'll make her happy." "Look, mate, nothing you do can make your mum happy, all right?" "Not in the long term." "She has to do that for herself." " Get over here right now!" " Just bugger off, will you!" "What I'm saying is, the important thing is to make yourself feel happy." "I've tried just making myself happy." "She's tried making herself happy." "It doesn't work." "You need other people to make you happy." "But that's just it." "If other people can make you happy then they can also make you unhappy." "What, you think those people out there are going to make you happy?" "Hang on." "Wait." "Marcus, don't." "Marcus!" "Bollocks." "Come on, Britney!" "Yeah, give us a song, then." "This is for my mum." ""I heard he sang a good song" ""I heard he had a style" ""And so I came to see him" ""to listen for a while" ""And there he was this young boy" ""a stranger to my eyes"" "You're rubbish, mate!" ""Strumming my pain with his fingers" ""Singing my life with his words" ""Killing me softly with his song" ""Killing me softly"" "Who the hell is that?" ""Telling my whole life with his words" ""Killing me softly with his song" ""I felt all flushed with fever" ""embarrassed by the crowd" ""I felt he found my letters and read each one out loud" ""I prayed that he would finish" ""but he just kept right on" ""Strumming my pain with his fingers" ""Singing my life with his words" ""Killing me softly"" "Give it a rest." ""Killing me softly with his song" ""Telling my whole life with his words Killing me softly" ""With his song" ""He sang as if he knew me"" "Will." ""In all my dark despair"" "We're finished." ""And then he looked right through me as if I wasn't there"" "Will, come on." "Will, we're finished." "So there I was, killing them softly with my song." "Or rather, being killed." "And not that softly, either." "I was singing with my eyes closed." "Was I frightened?" "I was petrified." "This was definitely not island living." ""Killing me softly" ""With his song"" "Thank you, Finsbury." "I'd like to introduce one or two members of the band." "Marcus Brewer on vocals and tambourine." "And that's about it." "Let's get off quick." "Get off." "Marcus, thank you." "For the song." "You were terrific." " You think so?" " Yeah." "As a matter of fact, I think we should celebrate." "Okay." "How about McDonald's?" " McDonald's?" " Yeah." "Thanks, Mum, but it's okay." "No, really." "I want to go to McDonald's." "You know, I'm not really hungry." "Come on." "Are you telling me you couldn't murder a Big Mac?" "Mum!" "Okay, another time." "Any time." "I'll be around a while, you know." "By the following Christmas things were back to normal." "Before you came" "Every man is an island." "And I stand by that." "But clearly, some men are part of island chains." "Below the surface of the ocean they're actually connected." "So you're going to marry my mum, then?" "Don't know." "Why?" "You think she's up for it?" " I used to want him to marry my mum." " You serious?" "Yeah." "But that was when she was depressed and I was desperate." "Thanks, mate." "Cheers." "How do you use this blender-thing?" "You don't." "I used to think two wasn't enough." "Christ." "Now there were loads of people." "And that was great." "Mostly." "Are you two lazy bastards gonna get up and help, or what?" "So how do you know Will?" "We volunteered together at Amnesty International a couple years ago." "Yeah, that's right." "How is the Burmese situation, Tom?" "Better?" "I mean good?" "Yeah, and he called me up out of the blue for Christmas lunch." "So, here I am." "Really?" "So, listen, what's the deal with you and Ellie now?" "Is she your girlfriend?" "Are you insane?" "Where did you get those trainers?" " Why?" "What's wrong with them?" " Nothing." "What?" "By the way, I do think you and Rachel have a shot." " I mean, if you don't screw it up." " Thank you." "I'd created a monster." "Or maybe he created me." "I don't know what Will was so upset about." "All I meant was I don't think couples are the future." "You need more than that." "You need backup." "The way I saw it, Will and I both had backup now." "It's like that thing he told me Jon Bon Jovi said:" ""No man is an island."" | {'pile_set_name': 'OpenSubtitles'} |
I just love the clever title of this romantic comedy by Lois Winston, Talk Gertie To Me. And you will never guess who Gertie is! Read on....
On the worst day of Nori Stedworth's life, she first discovers her BFF naked in the Jacuzzi with her two-timing louse of a boyfriend. Then she finds her mother, along with several suitcases, camped on her doorstep. Finally, she learns she's lost her job. With her imaginary friend Gertie in tow, Nori escapes to a neighborhood coffeehouse to lick her wounds over a cup of latte she can no longer afford.
I yanked open the door of Bean Around the Block and headed for my favorite table. It was taken. By a young couple making goo-goo eyes at each other over steaming cups of cappuccino. "Figures," I muttered, searching the room for another seat and finding not an empty table in the place. The normally quiet cafe was filled with chattering strangers who nearly drowned out the Wynton Marsalis piece playing in the background.
But I headed for the hunk's table and planted myself in front of him. Okay, so Gertie knew cute. I couldn't fault her on that. But then again, under the circumstances, wouldn't Gertie define cute in the same terms I did? "Do you mind?" I asked Cute Guy, AKA Tall-and-Lanky-with-a-Shaggy-Crop-of-Chestnut-Hair-that-Fell-Over-One-Eye-Guy.
"Hmm." He dropped his gaze back to his computer screen. End of conversation.
I sat down and deposited my laptop on the table opposite his, flipped it open, and powered it up. "Cute but uninterested," I told Gertie.
I signaled Amber, one of the two regular evening waitresses.
She paused for effect but didn't stop hopping up and down on the balls of her purple Nike-clad feet or flapping her arms like some deranged canary. She held her breath, waiting for me to respond.
"There goes the neighborhood," muttered my table mate.
He grunted his lack of enthusiasm over the idea and went back to typing.
"Clever," muttered the Cute Guy, AKA Mr. Randolph, although I was beginning to think of him as Grouchy Cute Guy.
"With a C, not a K," he added in deadpan, not bothering to look up.
"Right." Grouchy Cute Guy shook his head and chuckled as Amber stuck her tongue out once more before heading toward the coffee bar.
I started typing out my frustrations, listing all the wrongs that had been visited upon me over the past eight hours and trying my damnedest to put a positive spin on the events. Wallowing in self-pity wasn't going to get me anywhere.
How will Nori and Gertie get Grouchy Cute Guy's attention? Visit Lois Winston's websites and click on her buy links below to learn more about her and her characters. | {'timestamp': '2019-04-22T10:30:16Z', 'url': 'http://www.jillhughey.com/2013/01', 'language': 'en', 'source': 'c4'} |
'use strict';
const utils = require('./utils');
// ==========================
// exports
// ==========================
let dockable = {
/**
* @property isDockable
*/
get isDockable () {
return true;
},
/**
* @property noCollapse
*/
get noCollapse () {
return this.getAttribute('no-collapse') !== null;
},
set noCollapse (val) {
if (val) {
this.setAttribute('no-collapse', '');
} else {
this.removeAttribute('no-collapse');
}
},
_dockable () {
// init preferred size
// NOTE: when preferred size is auto, it will be calculated by children,
// otherwise it will use the size user setted.
this._preferredWidth = 'auto';
this._preferredHeight = 'auto';
// init computed min size
this._computedMinWidth = 0;
this._computedMinHeight = 0;
},
_initDockable () {
// init styles
this.style.minWidth = 'auto';
this.style.minHeight = 'auto';
this.style.maxWidth = 'auto';
this.style.maxHeight = 'auto';
// init events
this.addEventListener('dragover', event => {
// NOTE: do not event.stopPropagation();
event.preventDefault();
utils.dragoverDockArea( this );
});
},
_notifyResize () {
for ( let i = 0; i < this.children.length; ++i ) {
let childEL = this.children[i];
if ( childEL.isDockable ) {
childEL._notifyResize();
}
}
},
_collapse () {
if ( this.noCollapse ) {
return false;
}
let parentEL = this.parentNode;
// if we don't have any element in this panel
if ( this.children.length === 0 ) {
if ( parentEL.isDockable ) {
parentEL.removeDock(this);
} else {
parentEL.removeChild(this);
}
return true;
}
// if we only have one element in this panel
if ( this.children.length === 1 ) {
let childEL = this.children[0];
childEL.style.flex = this.style.flex;
childEL._preferredWidth = this._preferredWidth;
childEL._preferredHeight = this._preferredHeight;
parentEL.insertBefore( childEL, this );
parentEL.removeChild(this);
if ( childEL.isDockable ) {
childEL._collapse();
}
return true;
}
// if the parent dock direction is same as this panel
if ( parentEL.isDockable && parentEL.row === this.row ) {
while ( this.children.length > 0 ) {
parentEL.insertBefore( this.children[0], this );
}
parentEL.removeChild(this);
return true;
}
return false;
},
_makeRoomForNewComer ( position, incomingEL ) {
if ( position === 'left' || position === 'right' ) {
let newWidth = this._preferredWidth - incomingEL._preferredWidth - utils.resizerSpace;
if ( newWidth > 0 ) {
this._preferredWidth = newWidth;
} else {
newWidth = Math.floor((this._preferredWidth - utils.resizerSpace) * 0.5);
this._preferredWidth = newWidth;
incomingEL._preferredWidth = newWidth;
}
} else {
let newHeight = this._preferredHeight - incomingEL._preferredHeight - utils.resizerSpace;
if ( newHeight > 0 ) {
this._preferredHeight = newHeight;
} else {
newHeight = Math.floor((this._preferredHeight - utils.resizerSpace) * 0.5);
this._preferredHeight = newHeight;
incomingEL._preferredHeight = newHeight;
}
}
},
// position: left, right, top, bottom
addDock ( position, incomingEL, hasSameParentBefore ) {
if ( incomingEL.isDockable === false ) {
console.warn('Dock element at position ${position} must be dockable');
return;
}
let needNewDock = false;
let parentEL = this.parentNode;
let newDock, newResizer, nextEL;
if ( parentEL.isDockable ) {
// check if need to create new Dock element
if ( position === 'left' || position === 'right' ) {
if ( !parentEL.row ) {
needNewDock = true;
}
} else {
if ( parentEL.row ) {
needNewDock = true;
}
}
// process dock
if ( needNewDock ) {
// new <ui-dock-area>
newDock = document.createElement('ui-dock-area');
if ( position === 'left' || position === 'right' ) {
newDock.setAttribute('row', '');
}
// NOTE: since we appendChild(this) after, we need to get nextElementSibling as reference element
let refEL = this.nextElementSibling;
//
if ( position === 'left' || position === 'top' ) {
newDock.appendChild(incomingEL);
newDock.appendChild(this);
} else {
newDock.appendChild(this);
newDock.appendChild(incomingEL);
}
//
parentEL.insertBefore(newDock, refEL);
// finalize
newDock._finalizePreferredSize();
newDock.style.flex = this.style.flex;
newDock._preferredWidth = this._preferredWidth;
newDock._preferredHeight = this._preferredHeight;
// NOTE:
// if the incoming element has the same parent before and the docking direction doesn't change afterward,
// do not re-destribute the space
// re-destribute the space for thisEL and incomingEL
this._makeRoomForNewComer ( position, incomingEL );
} else {
// new resizer
newResizer = null;
newResizer = document.createElement('ui-dock-resizer');
if ( parentEL.row ) {
newResizer.setAttribute('vertical', '');
}
//
if ( position === 'left' || position === 'top' ) {
parentEL.insertBefore(incomingEL, this);
parentEL.insertBefore(newResizer, this);
} else {
// insert after
nextEL = this.nextElementSibling;
if ( nextEL === null ) {
parentEL.appendChild(newResizer);
parentEL.appendChild(incomingEL);
} else {
parentEL.insertBefore(newResizer, nextEL);
parentEL.insertBefore(incomingEL, nextEL);
}
}
// NOTE:
// if the incoming element has the same parent before and the docking direction doesn't change afterward,
// do not re-destribute the space
// re-destribute the space for thisEL and incomingEL
if ( !hasSameParentBefore ) {
this._makeRoomForNewComer ( position, incomingEL );
}
}
}
// if this is root panel
else {
if ( position === 'left' || position === 'right' ) {
if ( !this.row ) {
needNewDock = true;
}
} else {
if ( this.row ) {
needNewDock = true;
}
}
// process dock
if ( needNewDock ) {
// create a new <ui-dock-area> and move all children (including resizers) in this dock-area to it.
newDock = document.createElement('ui-dock-area');
newDock._resizerInited = true;
if ( this.row ) {
newDock.setAttribute('row', '');
}
while ( this.children.length > 0 ) {
let childEL = this.children[0];
newDock.appendChild(childEL);
}
//
if ( position === 'left' || position === 'right' ) {
this.row = true;
} else {
this.row = false;
}
// re-add elements in this dock
if ( position === 'left' || position === 'top' ) {
this.appendChild(incomingEL);
this.appendChild(newDock);
} else {
this.appendChild(newDock);
this.appendChild(incomingEL);
}
this._initResizers(true);
// finalize
newDock._finalizePreferredSize();
newDock.style.flex = this.style.flex;
newDock._preferredWidth = this._preferredWidth;
newDock._preferredHeight = this._preferredHeight;
// NOTE:
// if the incoming element has the same parent before and the docking direction doesn't change afterward,
// do not re-destribute the space
// re-destribute the space for thisEL and incomingEL
this._makeRoomForNewComer ( position, incomingEL );
} else {
// new resizer
newResizer = null;
newResizer = document.createElement('ui-dock-resizer');
if ( this.row ) {
newResizer.setAttribute('vertical', '');
}
//
if ( position === 'left' || position === 'top' ) {
this.insertBefore(incomingEL, this.firstElementChild);
this.insertBefore(newResizer, this.firstElementChild);
} else {
// insert after
nextEL = this.nextElementSibling;
if ( nextEL === null ) {
this.appendChild(newResizer);
this.appendChild(incomingEL);
} else {
this.insertBefore(newResizer, nextEL);
this.insertBefore(incomingEL, nextEL);
}
}
// NOTE:
// if the incoming element has the same parent before and the docking direction doesn't change afterward,
// do not re-destribute the space
// re-destribute the space for thisEL and incomingEL
if ( !hasSameParentBefore ) {
this._makeRoomForNewComer ( position, incomingEL );
}
}
}
},
removeDock ( childEL ) {
let contains = false;
for ( let i = 0; i < this.children.length; ++i ) {
if ( this.children[i] === childEL ) {
contains = true;
break;
}
}
if ( !contains ) {
return false;
}
if ( this.children[0] === childEL ) {
if ( childEL.nextElementSibling && utils.isDockResizer(childEL.nextElementSibling) ) {
this.removeChild(childEL.nextElementSibling);
}
} else {
if ( childEL.previousElementSibling && utils.isDockResizer(childEL.previousElementSibling) ) {
this.removeChild(childEL.previousElementSibling);
}
}
this.removeChild(childEL);
// return if dock can be collapsed
return this._collapse();
},
};
module.exports = dockable; | {'content_hash': '6c674304a8294e11aa564080312ca880', 'timestamp': '', 'source': 'github', 'line_count': 353, 'max_line_length': 113, 'avg_line_length': 28.424929178470254, 'alnum_prop': 0.5679689057205501, 'repo_name': 'electron-utils/electron-dockable', 'id': '404b395b81c14635d97fa1ccfaaca7d193453720', 'size': '10034', 'binary': False, 'copies': '1', 'ref': 'refs/heads/master', 'path': 'lib/renderer/dockable.js', 'mode': '33188', 'license': 'mit', 'language': [{'name': 'JavaScript', 'bytes': '92563'}]} |
To receive additional information regarding our membership options including pricing, please fill out the form below.
To apply for membership with the Huron River Hunting & Fishing Club, please download and complete the following membership application. After you have completed the membership application, please mail it to the address below. | {'timestamp': '2019-04-19T16:16:10Z', 'url': 'http://huronriverclub.com/regular-memberships/', 'language': 'en', 'source': 'c4'} |
43-year-old woman sanitation worker found dead in lift at St Georges Hospital
Mirror Online / Updated: May 27, 2020, 21:30 IST
Mumbai: The body of a 43-year-old woman sanitation staffer at the St George's Hospital near the Chhatrapati Shivaji Maharaj Railway Terminus was found in a lift at the hospital under mysterious circumstances on Wednesday morning.
The deceased has been identified as Geeta Praveen Baghela, a resident of a residential housing complex in Mira Road (east).
Deputy Commissioner of Police (DCP), Zone 1, Sangramsingh Nishandar said that an accidental death report has been filed at the MRA Marg police station following the discovery of the body and further investigations are on.
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An official at the MRA Marg police station said that Geeta, who is a Class IV employee at the hospital, took an old lift in the hospital to reach the third floor at around 10.30 am. A ply in the walls of the lift has been broken since long. Police said that the accident might have occurred when Geeta tried to peep through the wall opening. She was hit by an iron plank in the upward travelling lift, causing serious head injuries. She was declared dead at around 11.15 am by a doctor at the hospital.
Nishandar said that the body has been sent to the JJ Hospital for postmortem in order to ascertain the exact cause of death.
Three-year-old boy slips into borewell in Telangana village as rescue efforts continue
A three-year- old boy fell into a just made 150-feet-deep borewell in Medak district of Telangana on Wednesday evening. Efforts are on to rescue the child.
Non-agricultural tax to be levied based... Non-agricultural tax to be levied based on new formula
Ask The Sexpert: From masturbation to e... Ask The Sexpert: From masturbation to erectile dysfunction, Dr Mahinder Watsa answers all sex-related queries
Expose: Candidate gets fake EWS certifi... Expose: Candidate gets fake EWS certificate in 2 weeks for Rs 1,000 | {'pred_label': '__label__wiki', 'pred_label_prob': 0.9040300250053406, 'wiki_prob': 0.9040300250053406, 'source': 'cc/2022-05/en_middle_0093.json.gz/line382758'} |
The new federal budget the House of Representatives announced this week may jolt Caltrain's imperiled plan to replace its aged diesel trains with electric coaches and tracks back to life with a $100 million charge.
Previously, Transportation Secretary Elaine Chao derailed a $647 million federal grant that Caltrain had been counting on. Fourteen Republican lawmakers from California asked that funds be held up, in an apparent bid to halt the related but separate high-speed rail plan.
"I have never supported a dollar of state funding going for this project, and would never support a dollar of federal funding," Congressman Tom McClintock told the San Jose Mercury News, referencing high-speed rail in response to a question about the electrification project.
In February, Caltrain appealed directly to the president via a White House petition citing the economic benefits of the construction, writing:
You have said infrastructure and jobs will be a keystone of your administration. When you spoke with Silicon Valley leaders you praised their innovation and said "anything we can do to help this go along, we're going to be there for you."
That petition garnered fewer than 16,000 signatures of its goal of 100,000 and thus never received an official response.
But now the 1,000-plus page, $1.1 trillion-plus Omnibus Appropriations bill that the House of Representatives Appropriations Committee released Monday offers the potential for relief.
Fed Transportation bill includes $100M for Electrification. We could put 9,600 people to work if @USDOT signs grant (FFGA) by 6/30. #Omnibus pic.twitter.com/xavrPGxJTj -- Caltrain (@Caltrain) May 1, 2017
The transportation/housing and urban development section of bill includes $100 million for "San Carlos Peninsula Corridor Electrification Project." A fraction of the previous sum, but enough to get things rolling.
"We could put 9,600 people to work" if the deal goes through, Caltrain said via Twitter.
The track to future monies still runs through Chao and budget proposals for 2018 that have yet to be released. But the president has vowed to sign the current 2017 budget deal--Caltrain money and all--if it passes both houses of congress.
Via a press release, Caltrain Executive Director Jim Hartnett says, "We are cautiously optimistic that bipartisan approval of the budget will be a signal that the Administration plans to follow through with a commitment to invest [in] Caltrain electrification." | {'pile_set_name': 'OpenWebText2'} |
Cory Booker announces Senate candidacy Saturday
CNN's Political Editor Paul Steinhauser
(CNN) - Newark, New Jersey Mayor Cory Booker on Saturday declared his candidacy for the Senate in this year's special election to fill the seat of the late Democratic Sen. Frank Lautenberg.
Booker's campaign sent out an email release the day before stating that the mayor would make an announcement regarding his candidacy at the event in Newark, followed by a similar event a few hours later in the southern part of the Garden State.
At Saturday's news conference, Booker cited a track record of compromise as Mayor of Newark as an example of how he can help change gridlock in Washington.
"I am here because I believe that people who care, can find solutions to even the most difficult problems. I am here because when we work together, I know from experience that there is no problem we can't solve," Booker said.
Lautenberg died Monday at age 89 and was buried on Friday at Arlington National Cemetery. On Tuesday New Jersey Gov. Chris Christie announced plans to hold a special Senate election this year, with the Democratic and Republican primaries on August 13 and the general election on October 16. The winner would serve the final 14 1/2 months of Lautenberg's term. An election to a full six-year term will be in November 2014.
CNN reported Thursday that Booker had begun collecting signatures to run in the special election. Candidates hoping to run in the race must hand in 1,000 signatures by 4 p.m. ET on Monday.
Booker, considered a rising star in the Democratic Party, earlier this year announced he was exploring a run for Senate in 2014. He made the news before Lautenberg announced he would not run for re-election.
Booker will become the second Democrat to formally jump into the race. Rep. Rush Holt, who's in his eight term representing New Jersey's 12th Congressional District, said in a statement that on Thursday that, "I ask for your support as I seek to serve as your Senator in that seat. The reason is simple: I believe I am the best candidate to continue the passionate advocacy for progressive values that Sen. Lautenberg exemplified."
Rep. Frank Pallone, who's also considered likely to make a bid, has not made any announcements. A Democratic source with knowledge of Pallone's thinking told CNN "an announcement will be forthcoming" but added that it would come after the late senator's funeral process is over, "out of respect to Lautenberg, who was a close friend to the congressman."
Pallone has the biggest war chest of the three Democrats, with approximately $3 million cash on hand. Booker, who is seen as the favorite in the Democratic nomination battle and who has the potential to raise a large sum of money thanks to his star power and national connections, currently has a smaller war chest than Pallone, with Holt having around $700,000 in the bank.
On the GOP side, former Bogota, New Jersey, Mayor Steve Lonegan says he'll run. Other possible candidates include Lt. Gov. Kim Guadagno, Rep. Jon Runyan, and biotech executive John Crowley. State senators Joe Kyrillos and Tom Kean Jr., who have both run for the Senate in the past, seem to be leaning against making another bid this time around. Assembly Minority Leader Jon Bramnic has said he won't run.
Christie on Thursday appointed state Attorney General Jeffrey Chiesa, a fellow Republican, to serve as interim senator until the October election but Chiesa said he won't run.
As for Booker, he challenged critics Saturday who say Washington can't be fixed, a sure campaign theme of his going forward.
"We in New Jersey know a thing or two about toughness, about resiliency and strength. I know this and I've seen it over and over at every point in my career as an elected official. I know the truth of who we are when we are together and I know beyond a shadow of a doubt, especially here in New Jersey, that there is nothing we can't do together," Booker said.
-CNN's Greg Clary contributed to this report
Filed under: Cory Booker * New Jersey
Skarphace
Oooh .. Booker vs Christie 2016. Now that would be interesting.
June 8, 2013 10:51 pm at 10:51 pm |
So being mayor of one of the most disgusting cities in the USA qualifies you to be a Senator?
Corey Booker endorsed the corrupt Mayor Healy in Jersey City and did not object to Christie wasting $12 million on a special election because it benefits Booker too. Booker is better than the average politician, but he is far from a saint.
June 9, 2013 12:21 am at 12:21 am |
I hope you win.
I liked Cory Booker in the beginning.
But it seems he's become a lapdog for the faction that the President answers to.
June 9, 2013 01:04 am at 1:04 am |
Lizard Lance
Why is it that just by the nature of someone electing to run for public office we automatically figure he/she is a dirtbag? Does that say more about politics, or about the people who are prone to running? Cory Booker seems like a decent man, but the fact he's running at all makes me thing he will be revealed to be a lowlife just like all the other senators.
tedz
he has to coz people in newark hate him. he abused his power in over turing a nominated councillor, coz that person was son of former mayor who lost to him in the previous election. he created hispanic vs black environment. non of the year that he has been mayor had newark balanced its budget. gov christie has been helping him, in terms of getting newark's payroll, and improving its educational system.
i don't hate him. he is a good guy, a brave guy, and perhaps will do a good job in senate, but he is no great leader, like gov christie.
Booker for Prez 2018!
Andrew - Scranton, PA
I had the privilege to meet Mayor Booker in Scranton during the campaign season late last year. He is a man of great character and his actions prove thus. He has a promising future and I wish him the best of luck.
Fsjunkie
I think Booker is genuinely a good guy...very smart. It sounds like he's incredibly naive though. If he goes on to getting the Senate seat, and if it is to turn out good for him, he will have to morph into a politician just like all of the rest of the useless bodies in Congress. He's joining a gang, and he will get "jumped in" sooner or later.
MollyBee
Cory Booker, one of the GOP/Tea Partys' worst nightmares.
liberal disease
I remember when Obama shut him up after he defended Romney on private capital. Would of told Barry to shove it but Booker played nice party lib and folded to Barry's heavy hand..He is just another partisan hack politico, how about getting successful business people to take these seats instead of more of the same!
Some stats about Newark under the control of Mayor Booker: 51st Most Dangerous City in America, 8th highest unemployment rate in NJ, one of the worst performing school districts in NJ (despite being an Abbot District), 31% of residents below the poverty line (state avg. 12.%%). Lets hope Mr. Booker brings that formula for success to the US Senate.
Chief of Journalists Union: Syria Believes in Resistance as Strategic Choice
Later, Chairman of the Journalists Union, Elias Murad, held a meeting with the Egyptian delegation during when he stressed that Syria "is paying the price for its defense of just Arab causes and the resistance."
He highlighted the great role media can play in reviving the nationalist awareness and focusing on the main and crucial causes of the Arabs and Zionist schemes targeting the Arab nation.
Murad affirmed that Syria believes in the culture of resistance and the necessity of supporting it on all levels "as a strategic choice to secure the dignity of the Arab nation and restore its usurped rights."
He referred to the continued attempts of killing and abduction that are targeting the journalists in Syria at the hands of the armed terrorist groups in revenge for their role in exposing the terrorists' crimes against the citizens.
In this context, Murad reiterated condemnation of the Arab League's decision to halt the broadcast of the Syrian TV channels on satellite, saying this decision came because the Syrian channels worked on revealing the truth about the conspiracy targeting Syria that is led by Arabic-speaking channels that are known for their allegiance to the West.
Member of the visiting delegation, deputy editor-in-chief of the Egyptian al-Jumhouria newspaper, Amin al-Rifaei, underscored that the visit came to closely inspect the reality of the situation on the ground in Syria and to convey an honest image what is taking place in it to the Egyptian public opinion.
Al-Rifaei affirmed that life is normal in Damascus contrary to what tools of the Western media promote, referring particularly to the Qatar-based al-Jazeera channel.
Delegation members went on to condemn the stances of the Arab League as a violation of its Charter, saying that the League has turned into a puppet in the hands of corrupt Western organizations that seeks to subdue the Arab nation and control its resources.
The mutual statement affirmed that Syria will come out of its crisis stronger thanks to the awareness of the Syrian people who realize the reality of the conspiracy being hatched against their homeland..
Ana excellent choice. after all, Newark is such a vibrant, vital economic powerhouse now, isn't it? Newark is a toilet and about ten minutes behind Detroit. If the people of NJ are such dim bulbs as to elect another liberal democrat, they deserve what they get
The world would sure be a better place if their were more Cory Booker's in the world.
Kudos to Mayor Booker AND Gov. Christie, who decided to have a special election instead of appointing another GOP hack to the job. Good for them both. Take that GOP nasties!
Politicians who run for another office while still in one betray their trust. The people elect them to do a job, not pursue career objectives while work goes un done.
"John
So being mayor of one of the most disgusting cities in the USA qualifies you to be a Senator?"
No, being elected by the citizens of that state qualifies him to be a Senator. Perhaps we should leave it up to the citizens that he will be representing to determine whether he is qualified to be their Senator.
MaryM
Get over yourself all you GOP haters. Mayor Booker has a right to run for Senator of NJ if he wants. And you know what, he will win. And you will see Mayor Booker running for POTUS in 2018.
If you are a Democrat (Obama lover) then the only solution you are interested in is absolute control !!
Smart guy; Good luck Sir!
I've seen more than 5 posts about somebody running for president in 2018...if that's what you think, please don't ever vote again.
Booker would be the norm as a Democrat US Senator, a complete disaster for the country.
June 9, 2013 06:11 pm at 6:11 pm |
boungiorno
June 10, 2013 12:46 am at 12:46 am | | {'pred_label': '__label__wiki', 'pred_label_prob': 0.8470913171768188, 'wiki_prob': 0.8470913171768188, 'source': 'cc/2022-05/en_middle_0055.json.gz/line804433'} |
The present invention relates to a method of producing a chassis control arm for use in a vehicle.
The following discussion of related art is provided to assist the reader in understanding the advantages of the invention, and is not to be construed as an admission that this related art is prior art to this invention.
A chassis control arm, also referred to as transverse link or simply control arm, finds application in the automotive industry as part of the wheel suspension to connect the wheel with the vehicle body and to ensure a guiding of the wheel with certain degrees of freedom. The control arm is provided with a bearing for swingable securement of the control arm to the body or to a wheel carrier. Control arms of this type may be made from blanks of formed steel sheets or formed extrusion profiles and are provided with bearing openings for receiving a bearing, for example a rubber-metal bearing, via which the control arm is connected to a wheel carrier or body or subframe of a vehicle.
It would be desirable and advantageous to provide an improved method of producing a chassis control arm and to provide a chassis control arm to obviate prior art shortcomings and to ensure a lastingly firm seat of the bearing. | {'pile_set_name': 'USPTO Backgrounds'} |
My poor friend Ryan is long overdue a haircut, and following many polite requests I have decided that this is definitely the best way to achieve my goal. Only 10,000 signatures are required to induce a response from the government which I expect will threaten jail time if no haircut is received.
Owen Sage needs your help with "Owen Sage: Get Ryan Braier-Lorimer a haircut". Join Owen and 17 supporters today. | {'timestamp': '2019-04-23T14:44:50Z', 'url': 'https://www.change.org/p/owen-sage-get-ryan-braier-lorimer-a-haircut', 'language': 'en', 'source': 'c4'} |
In my previous post, as in the one before that, I criticized faith, as I always do. Someone always tries to rebut me, either by trying to say that faith isn't really what it has always been consistently proven to be, or by projecting their greatest fault onto me by pretending that scientists are just as bad as believers; as if science is were a matter of faith too. I call it a game of equivocation and projection. It's an attempt to paint the illusion that science and religion are somehow comparable, even when everyone involved knows they are not. The game is usually played by a creationist pretending to be objective while projecting all of their own logical fallacies onto the science-minded, who of course do not share any of those flaws. Typically that game has the creationist telling some or all of the following lies:
* that evolution is a religion.
* that science relies on faith just like religion does.
* that science is biased just like religion is.
* that there is no evidence for evolution/big bang/abiogenesis, etc.
* that there is evidence for creation/the flood/God/etc.
* that religion is reasonable just like science is.
* that religion can be confirmed empirically and experimentally too.
* that creationism is scientific.
That's what I usually get. I should add that presuppositionalists like to accuse me of presuppositions too. They're shocked when I object, when I say that the specific things they accuse me of were all examined and considered rather than presupposed. The worst of it is when I explain to some apologist how we know that the flood story, the tower of Babel, the Exodus, or the garden of Eden never really happened as described in their favorite folklore. We know those old tales are false because we can show that they are. Likewise I can show how evolution is an inescapable fact of population genetics, fossils, and phylogeny. The typical response to all of that is that we can't really know if anything is true or false because we can't really know anything, because we can't even be sure if we even exist.
My impression of this sophistry is that their position is so weak that the only defense they have is to question reality itself, because the only way they can be right is if reality is wrong. If we know anything at all, we know how faith is misleading. So of course defenders of the faith insist that we can't know anything at all. That's the most annoying aspect of philosophy, and it's the only application of it that I ever see. Consequently, I have developed a near complete lack of interest in the subject. So if I ever I talk about philosophy, I usually don't make it any further than what is immediately relevant to my own empirical skepticism:
This time however, a self-described skeptic came to defense of faith, using the same arguments as apologists, trying to project his own presuppostions onto me. Spencer Hawkins posted the following message to me on facebook:
""
I told him that when I say that, it simply is true, and is even demonstrably correct, as I will show in the post; both because all my own convictions are certainly supported, or I wouldn't hold them, and that by comparison, faith is an unsupported conviction even by the admission of believers. I thought even philosophers agreed with me on this point, that there is a notion of what is real and true, and that faith doesn't have that where apistevists do.
This example illustrates my point about gnosticism, asserting one's beliefs as if they were the same thing as knowledge. Knowledge is typically defined as justified belief, meaning that it can tested and demonstrated with measurable accuracy. Religious beliefs obviously aren't that way. If you cannot demonstrate your accuracy to any degree at all by any means whatsoever, then it is a fact that you cannot actually know what you think you know. Obviously this should be treated in accordance to Sagan's comment on the scale of mundane to extraordinary claims. This is why I say "if you can't show it, you don't know it". Hawkins says that I don't understand what that means. I asked Mr Hawkins how he came to this conclusion, but he just asserted another unwarranted assumption:
What? As if there is anything inherently wrong with being identified by others as a logical positivist. If that is applicable, it certainly isn't a position that is vulnerable to apologists, I can tell you that with considerable experience! Quite the opposite in fact, it's about the most defensible position there is against religious dogmatism. That's probably why despite having these arguments continuously for decades, I have never been attacked for that by anyone; not until now. I've never even been accused of that before.
Just for the sake of this conversation, I had to look up what logical positivism even is. Now that I have, I'm think OK with that label, because it seems to fit for the most part, although I still consider myself more of a rationalist. Despite Mr Hawkins' insinuation, none of the references I checked gave any hint that logical positivism, or the associated empiricism or verificationism are in any way out-dated or discredited, nor that it "died" as he says it did. In fact each source I saw implied quite the opposite specifically in the application of science. Among the tenets of logical positivism/empiricism/verificationism are that knowledge must be justified, which I obviously agree with. It also holds that there are some other aspects within philosophy which are essentially meaningless, particularly in metaphysics, and Mr Hawkins is now demonstrating that for me.
Hawkins (and like-minded apologists) say that I'm making philosophical assumptions which they also think I'm ignoring, among them that:
None of these is an unsupported conviction! I admit, I am convinced of these things. I'll even admit that I assume all of them at least to some degree. I have to, because collectively the only option is literally insanity; but that assumption is certainly warranted in each case. None of these notions can be proven by way of evidence, but only because the very question eliminates the possibility of evidence by conditional fiat. Otherwise there is evidence for each one individually, and even if there wasn't, they're all still supported by reason!
It's not like there is any real possibility that the reality we perceive might only be a huge and hugely complicated eternally and intricately detailed and functionally consistent hallucination generated within our own imaginations -despite our utter insanity otherwise. The very concept is a contradiction of itself, and yes I know that the principle of non-contradiction is also supposed to be assumed in the same way. This is what I hate about philosophy, navel-gazing metaphysics attempting to reduce reality into gibberish without any benefit that could possibly come from that. As if there is any reason to seriously consider that that whole of reality only exists within your own mind, all except you, because you're out of your mind; as if you're the only thing that is out of your mind. So it is a complete reversal of our only apparent reality with no point or purpose or potential truth to that postulation. Such hard solipsism, rendering the meaning of meaning meaningless is as meaningless as anything ever could be.
Take the notion of truth. Truth is typically defined as "that which is concordant with reality". That means that reality itself is not truth, but statements about reality can be, but only if they're true. So as I understand it, if we have to show that a statement is true before we can call it 'truth', then truth is whatever statement about reality can be shown to be true. Mr Hawkins implies that nothing can be shown to be true, which makes his position absolutely pointless. Even he has to agree that he thinks what he says is true and that he is trying to convince someone standing outside his own mind. There are REASONS why he has to make this assumption, as I do. He just doesn't have any good reason to postulate such things or pursue the argument.
Spencer Hawkins as well as presuppositional apologists say that it is a circular argument, and thus fallacious to assume anything that is actually consistently and objectively apparent. However, accurate information has practical application, and that is certainly born out in each of these instances. Science works through experimental hypotheses and functional models. They don't have to be perfect, absolute, or proven either. For example, we know that some models of the atom are flawed, each in their own respect; they're not entirely realistic, but we still teach them because they're accurate enough that they each work in specific applications where no other model does. The same situation applies to the rejection of solipsism.
The reliability of our senses, induction, and especially memory should be suspect, and subject to objective confirmation or correction. However that requires that we assume there are other minds out there; as if I might have imagined everyone else and the entirety of the cosmos along with them. That assumption is NOT supported by reason, but my assumption certainly is. I merely assume that what is apparently real is apparently real; because how could I have conjured such a elaborate matrix if I have to take college classes so that other products of my imagination can explain to me things that I couldn't understand otherwise? The only other option appears to be a matrix-level conspiracy intended to fool us all. This is not a supported assumption either, because it doesn't comply with Occam's Razor, but my assumption still is and does.
I tried to explain the complete irrelevance of his criticism, by pointing out that even you're just a brain in a vat, or if all that you perceive as reality is really a construct of the matrix or a dream of Brahma, that reality is still your reality, and it imposes certain rules just as any real reality would. Hawkins dismissed my explanation of his irrelevance as irrelevant, and repeated another of his "unsupported convictions", that the future will be like the past.
This is exactly the same thing that presuppositional apologists do when they say, "How do you know the laws of physics won't change five seconds from now?". Is there any reason to believe they will? Or that they even could? Despite being raised in an environment of gullible wanna-believers and critics of skepticism, I do not assume that "anything is possible" as so many other people readily do. Sure the laws of physics MIGHT change, and it is just as likely that monkeys MIGHT fly out of my ass. The latter has an equally insignificant probability, and there are several reasons why that is impossible. In either case, it is not only beneath serious consideration, there is no reason to consider it. I know this means something different to philosophers than it does to scientists, but if it is neither possible nor in any way indicated, then it isn't logical to assume it either.
If we're talking about philosophy, then my philosophy holds that we cannot even determine whether something is possible without some precedent or parallel indicating that possibility, or at least some occurrence of that particular phenomenon which can be confirmed but not yet explained. I said to Mr Hawkins, "" He didn't answer that, and I don't see how he could have without conceding an error in his criticism.
Many other people in that thread also tried to reason with him, with little or no success. Some even said that he actually agrees with me, but that he doesn't realize it because he doesn't understand what I actually said or meant. That's what I think too. He should have asked for clarification, like I do.
It was then that Hawkins wrote his blog post. There he imagines that I could have constantly debated against apologists for decades and even share a stage with philosophers like Boghossian and Dennett, and that I could still somehow be unaware of Dennett's comments about philosophical baggage. My friend, Matt Dillahunty is a big David Hume fan too, and we've talked about all that, only he has a different and shorter list of things we must assume because that is the only assumption that works in any application. So even his list is supported by reason.
Hawkins assumes that I'm confused about things I hadn't confused, and he thinks that I 'conflate' metaphysics with epistemology. He has no reason to assume these things, and it is ironic that he doesn't question his own assumptions while criticizing me when he assumes that I don't question my assumptions either. He also overtly conflated apistevism with logical positivism. There is no justification for that either, but it shows that he doesn't understand at least one of these concepts, and perhaps neither one.
He is correct about one thing though, that I treat physics like mathematics, but anyone who has taken physics understands that it is taught as a branch of calculus. So I'm justified in that too.
Conclusion: Spencer Hawkins' criticism of what he thinks are my unsupported convictions, as well as my alleged philosophical confusions and misunderstandings is based on his own misunderstandings brought about by a series of his own false assumptions which he has failed to question himself. He didn't question me about them either. So he couldn't consider my perspective. He just jumped to conclusion as if his own assumptions could never be wrong. | {'pile_set_name': 'OpenWebText2'} |
The women who have accused GOP contender Herman Cain of sexual harassment have agreed to hold a joint news conference to air their stories, one of their attorneys said Wednesday, a move that could fuel a controversy that has dogged the businessman's campaign for more than a week.
Joel P. Bennett, who represents federal employee Karen Kraushaar, 55, said in an interview that he was planning the news conference with Gloria Allred, who represents Chicago homemaker Sharon Bialek, 50. Details of the joint appearance have not yet been worked out, Bennett said.
Kraushaar's name became public Tuesday but she has not described the details of the alleged harassment at the National Restaurant Association, where she worked more than a decade ago. Bialek held a news conference Monday in which she accused Cain of groping her in a car after the two dined together in Washington in 1997. She was seeking job advice from Cain, then chairman of the association.
Cain has forcefully denied the sexual harassment allegations by Kraushaar, Bialek and two other, unnamed women, saying he did not recall even meeting Bialek. He vowed in a news conference Tuesday to remain in the presidential race.
Polls have shown Cain effectively tied for the lead in the GOP primary race with former Massachusetts governor Mitt Romney.
Bennett said Wednesday that "my client has decided to hold a joint news conference with as many of the women who complained of sexual harassment by Herman Cain as will participate."
Kraushaar, in a statement released by Bennett, said she had not yet heard from any women other than Bialek's attorney about allegations of sexual harassment by Cain.Bennett said Kraushaar had left telephone messages for two other women.
"We are still hopeful that they will have the courage to come forward, but we completely understand if they choose not to," she said. "Anyone should be able to report allegations of sexual harassment without fear that their lives and careers will be put on public display and laid open to public scrutiny."
Bennett's comments came as GOP activists and leaders said they remain concerned about the allegations and the political fallout for Cain, with some saying his candidacy may not recover.
"My sense is that his candidacy is going to evaporate," said Ed Rollins, a longtime Republican strategist who until recently served as campaign manager for Rep. Michele Bachmann (Minn.). "At the end of the day, what people are going to say is he can't win" against President Obama in the general election.
Steve Scheffler, an Iowa conservative activist, said Cain "needs to deal with it and get it out of the way or maybe consider some other options. . . . It's becoming a huge distraction, and we ought to be about the business of beating Barack Obama."
The chairwoman of the Democratic National Committee, Rep. Debbie Wasserman Schultz (Fla.), denied Cain's assertion that Democrats are behind the allegations.
She said Cain "should step up and go beyond just his flat denials because they stretch credulity. . . . It's hard to imagine four completely different women, who have no previous connection to each other, would come forward separately, coincidentally."
Kraushaar left the restaurant association as part of a settlement after her harassment complaint, Bennett has said. She went on to work in communications for the federal government -- first for the Immigration and Naturalization Service, and most recently in the Treasury Department's office of the inspector general for tax administration.
On Wednesday, Kraushaar confirmed a report by the Associated Press that she also filed a workplace complaint at INS. The complaint asserted that she had not been allowed to work from home after a serious car accident. She also accused a manager of circulating an e-mail with a sexual joke.
Kraushaar told the AP that she considered her employment complaint "relatively minor" and she later dropped it.
"The concern was that there may have been discrimination on the job and that I was being treated unfairly," she said.
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1. Field of the Invention
The present invention relates to electronic card game devices and methods that incorporate progressive jackpot operations controlled by a central server computer.
2. Description of the Background Art
Electronic card game devices exist in many forms and are known to those skilled in the art. For example, eTables are multiplayer electronic gaming machines that enable one or more players to play a card game. An example is a multiplayer electronic table game that in operation utilizes a common display for view of all game activity and is marketed under the brand name TABLEMAX. This product and features thereof are disclosed in U.S. Pat. Nos. 5,688,174, 6,921,337, 7,201,661 and 7,575,512, as well as US Published Patent Application 20090253480, each of which is hereby incorporated herein by reference and each includes the inventor of the claimed subject invention as the sole or a joint inventor. These patents and application disclose various features of multiplayer card gaming devices including touch screen panels at player stations and server based gaming aspects, for example.
Another form of electronic table card game is disclosed in US Published Patent Application 20110177854, which is also incorporated herein by reference and is to the inventor of the subject invention. This application describes an electronic table device product marketed under the brand name BARMAX in which a system of multiple bar top gaming terminal devices and a common display are employed to facilitate the play of multiplayer electronic table card games using the common display to display game play and the outcome of the multiplayer games. Each of the bar top terminal devices can either be used as a standalone single player gaming terminal or as a player station in the multiplayer game. In addition, the terminals can be configured to play single player and multiple player games simultaneously.
U.S. Pat. No. 6,474,649, which names the same inventor of the subject invention as a joint inventor, is also incorporated by reference herein. This patent discloses a modified version of the play for utilization with card games in which unique symbols which are different from the standard markings on the otherwise conventional playing cards are provided on a select number of the playing cards. The unique symbols may be associated to a player by providing a respective unique symbol at each player station of a card game table, and each player being assigned a player station. Each player optionally places a bet upon a chance that predetermined event will occur. Cards are dealt to the players and to a dealer according to a set of rules. If a predetermined event occurs wherein one or more of the player's cards and the dealer's cards having a playing card with a unique symbol corresponding with the player's associated unique symbol, that player is paid a return amount.
U.S. Pat. No. 7,980,933, which is also incorporated by reference herein and names the same inventor as that of the subject invention, discloses methods of electronic card game play involving certain progressive gaming functionality which is incorporated into a commercial progressive system brand named MAXLINK. More particularly, the '933 patent discloses methods of electronic card game play wherein during play of a first card game, an outcome of a second game of chance is displayed as an attribute of an electronic card used in play of the first card game. Examples include generation of one or more game outcomes of an independent game of chance, such as a dice game, a lottery, or another card game, and assignment of a graphical depiction of the second game outcome on one or more of the cards played in the first card game.
U.S. Pat. Nos. 4,861,041 and 5,087,405 (both to Jones et al.) disclose methods and apparatus for progressive jackpot gaming, respectively. The former patent discloses that a player may make an additional wager at the beginning of a hand, the outcome of the additional wager being determined by of a predetermined arrangement of cards in the player's hand.
One known form of progressive jackpot gaming employs what is referred to as a wide area progressive system (WAN) in which a plurality of electronic gaming machines each share in the progressive contribution to and potential award payout from a common jackpot. A specific form of WAN known as a central determination wide area progressive system (CDWAP) employs a central server computer in operative communication with one or more gaming devices to conduct a progressive jackpot. These are progressive systems employed with slot machines, such as MEGABUCKS from IGT, wherein the determination of the wide area jackpot award is performed by a calculation upon the central server computer connected to one or more slot machines. Typically, a single controller in the central server computer awards the jackpot and communicates this information to a client slot machine in operative communication with the central server computer for display to the player upon a selected device.
In one illustrative example, each client gaming device enables play of a game with a progressive feature. The central server computer maintains a progressive jackpot amount. Before the commencement of play upon said client gaming devices, each device communicates with the central server computer and submits a request to determine if the next play of the device is a progressive jackpot winner. If the request response is negative, the client gaming device conducts the next play of the device and does not award said progressive jackpot feature. Alternatively, if the request response is positive, the client device will award the progressive jackpot amount upon the next play of the device.
Numerous variations of slot machine CDWAPs exist. Client devices that gather multiple progressive outcome decisions per communication with a CDWAP and then queue them for future iterations of play into the future are known. Also, in the case of internet based games, conducting a function call to a CDWAP and responding accordingly thereafter to said response before each play of a game is common.
In the use of the aforementioned MEGABUCKS brand slot machines marketed by IGT, players play slot machines and have a chance to win a large progressive jackpot. Typically the jackpot starts at $10,000,000 and winners are paid with annuities. These jackpots attract players and the payment of the jackpot amount in the form of an annuity is a profitable activity for IGT.
In addition to CDWAPs, many known gaming devices operate with the client devices determining if a player wins a progressive jackpot award. Often in single location casinos, local lower value progressive amounts are aggregated and awarded by banks of gaming machines. A common example would be ten or twenty video poker devices, such as those marketed by IGT under the brand name BONUS POKER, that accumulate progressive values and award a smaller jackpot to the first player to obtain a predetermined hand such as a Royal Flush. In this embodiment each of the client devices can generate and award the progressive value that is shared amongst the devices.
Although these configurations are quite popular, typically they are offered with lower value progressives. A number of reasons exist for this including the criteria upon which card games can possibly award a jackpot value and also the architecture that relies upon many individual video poker devices calculating and awarding the progressive jackpot independently. Machine malfunctions are known and are a material consideration in operation of wide area systems. Thus, the more devices that are relied upon to calculate and award a progressive jackpot, the more likely it is that a malfunction will occur during game play that could interfere with each payer's satisfaction in playing the game.
Live table systems utilize a similar technology whereby a common computer or server will simply accumulate a progressive jackpot amount and this said server is in operative communication with one or more client live tables typically with electronic displays. When a live dealer deals a certain predetermined hand to a player, the progressive jackpot is awarded to said player. These systems are common in live card games wherein a dealer will deal and verify a jackpot award to a player.
Although slot machine CDWAPs are well known and quite a mature technology, a fundamental problem exists in the gaming industry in regards to operating electronic card games in a WAP mode of operation offering large wide area progressive jackpots. Currently, eTables such as TABLEMAX operate progressive card games utilizing the aforementioned system of progressive operation wherein a WAP server computer accumulates a jackpot amount. However, the individual gaming application upon each eTable performs the determination and awarding step of the jackpot award amount. This configuration is similar to the IGT Bonus Poker configurations detailed above and inherently has the same stated limitations. | {'pile_set_name': 'USPTO Backgrounds'} |
SALES CHARTS
Acrossing the Miles
DC Round-Up
Drokking Scrotnig
HiX-Men Moment of the Week
Kibbles 'n' Bits
Making Comics
Matt Chats
Queerness In Comics
The Internet's Strangest Superhero Songs
The Marvel Rundown
The Retailer's View
There's Blood On My Comics!
AllAcrossing the MilesBox OfficeDC Round-UpDrokking ScrotnigGet a GripHiX-Men Moment of the WeekIndie ViewKibbles 'n' BitsMaking ComicsMatt ChatsMint ConditionQueerness In ComicsThe Internet's Strangest Superhero SongsThe Marvel RundownThe Retailer's ViewThere's Blood On My Comics!Tilting at Windmills
FANDOM FLAMES #2: Back in time with nostalgic fandom
The Marvel Rundown: A new team of THUNDERBOLTS takes on the...
DC ROUND-UP: The Future State Week 2 Roundtable talks JUSTICE LEAGUE,...
Kibbles 'n' Bits 1/11/21: Please consider helping artist Steve Lightle's family
Home Publishers Marvel Marvel Month-to-Month sales: June 2013
Marvel Month-to-Month sales: June 2013
Heidi MacDonald
by Paul O'Brien
The focus this time round is on the conclusion of AGE OF ULTRON; Marvel had nothing else competing with it for your attention. There's a new creative team on SAVAGE WOLVERINE, and a new Daredevil miniseries (DARK NIGHTS), but honestly, that's about it. Or it would have been, but for the first issue of KICK-ASS 3 - which was actually due out in May, but slipped into the following month.
With DC having a rather busier time, the companies' shares of the direct market are rather close than normal, but with Marvel still comfortably ahead of DC. Marvel led by 38% to 33% in unit terms, and 33% to 30% in dollars.
Thanks as always to ICV2.com for permission to use these figures.
4,5,16. AGE OF ULTRON
03/13 Age of Ultron #1 of 10 - 174,952
03/13 Age of Ultron #2 of 10 - 109,383 (-37.5%)
03/13 Age of Ultron #3 of 10 - 105,505 ( -3.5%)
04/13 Age of Ultron #5 of 10 - 97,982 ( -3.0%)
06/13 Age of Ultron #10 of 10 - 110,947 (+16.9%)
06/13 Age of Ultron #10AI - 73,616 (-33.6%)
The final two issues of the crossover, plus the "A.I." epilogue (by a different creative team) which leads into next month's AVENGERS A.I. series (by another different creative team). The final issue of the series proper sees a big spike in sales, either in the expectation that Something Important Would Happen, or because of genuine interest in seeing what Marvel do with Angela.
7,8. SUPERIOR SPIDER-MAN
06/03 ---
06/08 Amazing #563 - 70,792
06/12 Amazing #687 - 62,680 ( +7.4%)
06/12 Amazing #688 - 60,409 ( -3.6%)
08/12 Amazing #692 - 91,071 ( +49.9%)
09/12 Amazing #693 - 59,772 ( -34.4%)
12/12 Amazing #.1 - 71,344 ( -10.9%)
12/12 Amazing #700 - 273,305 (+283.1%)
01/13 Superior #1 - 209,944 ( -23.2%)
02/13 Superior #4 - 95,892 ( -5.8%)
03/13 S. S-M #6AU - 85,807 ( -0.9%)
04/13 Superior #7 - 87,945 ( +2.5%)
05/13 Superior #10 - 85,346 ( -8.9%)
6 mnth ( +2.9%)
1 year ( +36.3%)
10 year ( --- )
There's a very gentle downward trend in evidence, but that's to be expected with virtually every ongoing series. More significant is that the book is continuing to see real and sustained gains from the current storyline, which is giving it some of its best sales of the last few years, even six months into the arc.
9,11. ALL-NEW X-MEN
11/12 All-New X-Men #1 - 181,693
11/12 All-New X-Men #2 - 100,983 (-44.4%)
12/12 All-New X-Men #3 - 90,161 (-10.7%)
12/12 All-New X-Men #4 - 90,946 ( +0.9%)
01/13 All-New X-Men #5 - 86,301 ( -5.1%)
04/13 All-New X-Men #10 - 84,760 ( +3.8%)
05/13 All-New X-Men #11 - 80,582 ( -4.9%)
6 mnth (-14.6%)
Issue #12 has a variant cover. Filter out the spikes and there's a noticeable slide here, but it's still comfortably leading the X-franchise. The "Battle of the Atom" crossover is due in issue #16.
10. KICK-ASS 3 [Icon]
06/13 Kick-Ass 3 #1 of 8 - 78,035
However he does it, Mark Millar continues to buck the industry trends. The first KICK-ASS mini, in February 2008, opened with estimated first-month sales of 47,841. The second, in October 2010, opened with 65,279. This one launches at over 78K. He's created a series which is actually growing from mini to mini. Many publishers would kill to know the trick.
12,21. GUARDIANS OF THE GALAXY
06/08 Guardians v2 #2 - 32,967
06/09 Guardians v2 #15 - 26,808
02/13 Guardians #0.1 - 80,344
03/13 Guardians v3 #1 - 217,993 (+171.3%)
04/13 Guardians v3 #2 - 88,184 ( -59.5%)
06/13 Guardians v3 #4 - 71,575 ( -5.4%)
4 year (+167.0%)
Thanks to issue #3 slipping from its May release date (not something we see anywhere near as often as we used to), we have two issues this month. While sales are dropping, the flip side is that those drops are getting noticeably smaller, so the book is on the way to levelling out. It remains miles ahead of the book's previous incarnation, and no doubt the upcoming Angela appearance will give it a further boost.
14,22. AVENGERS
06/03 Avengers v3 #68 - 57,587
06/10 Avengers v4 #2 - 98,788
06/12 Avengers v4 #27 - 68,885 ( +1.7%)
07/12 Avengers v4 #28 - 63,169 ( -8.3%)
10/12 Avengers v4 #32 - 56,204 ( -10.1%)
12/12 Avengers v5 #1 - 192,952 (+236.7%)
12/12 Avengers v5 #2 - 99,028 ( -48.7%)
01/13 Avengers v5 #3 - 92,165 ( -6.9%)
02/13 Avengers v5 #6 - 84,868 ( +2.9%)
6 mnth ( -24.4%)
1 year ( +8.7%)
3 year ( -24.2%)
10 year ( +30.0%)
Issue #14 has a variant cover, as if you needed told. In fact, issues #8, #11 and #13 are the only ones so far NOT to have a variant cover, which suggests that the overall picture is reasonably stable here. The Infinity crossover, in which this is a major title, starts with issue #18.
15. UNCANNY X-MEN
06/03 Uncanny X-Men #425 - 91,547
06/12 Uncanny X-Men v2 #13 - 70,521 ( +1.8%)
06/12 Uncanny X-Men v2 #14 - 67,793 ( -3.9%)
10/12 Uncanny X-Men v2 #20 - 65,981 ( +11.3%)
02/13 Uncanny X-Men v3 #1 - 177,463 (+169.0%)
02/13 Uncanny X-Men v3 #2 - 94,615 ( -46.7%)
03/13 Uncanny X-Men v3 #3 - 85,775 ( -9.3%)
06/13 Uncanny X-Men v3 #7 - 73,719 ( +0.1%)
6 mnth ( --- )
3 year ( -3.1%)
10 year ( -19.5%)
The trends here are a little harder to read. The May issue was the first without a variant cover, so it's a little surprising not to see a more noticeably increase this time round. The "Battle for the Atom" crossover starts with issue #12.
17. X-MEN
06/11 X-Men v3 #12 - 45,786
06/12 X-Men v3 #30 - 37,690 ( +6.2%)
06/12 X-Men v3 #31 - 35,789 ( -5.0%)
02/13 X-Men v3 #41 - 32,488 ( +13.9%)
05/13 X-Men v4 #1 - 183,297 (+464.2%)
06/13 X-Men v4 #2 - 73,542 ( -59.9%)
6 mnth (+150.8%)
A steep second issue drop, but then the first issue did have multiple variant covers. And these numbers are still in a different league from the book's previous incarnation, coming in only just behind UNCANNY. The "Battle for the Atom" crossover starts with issue #5, and while I'm not normally a fan of having crossovers so early in a book's run, this may be a case where the advantages of reinforcing the message that the book "counts" outweigh the disadvantages.
Issue #1 picks up reorders of 5,664, which are added into the numbers above.
19. UNCANNY AVENGERS
10/12 Uncanny Avengers #1 - 303,722
11/12 Uncanny Avengers #2 - 114,257 (-62.4%)
01/13 Uncanny Avengers #3 - 92,165 (-19.3%)
02/13 Uncanny Avengers #4 - 87,539 ( -5.0%)
05/13 Uncanny Av. #8AU - 72,514 ( -4.2%)
6 mnth ( --- )
Might be levelling out, but it's never a good idea to read too much into a single month's sales.
25. NEW AVENGERS
06/08 New Avengers #42 - 108,495
06/09 New Avengers #54 - 93,878
06/10 New Avengers v2 #1 - 129,084
06/11 New Avengers v2 #13 - 57,682
06/12 New Avengers v2 #27 - 64,927 ( +0.9%)
07/12 New Avengers v2 #28 - 62,739 ( -3.4%)
01/13 New Avengers v3 #1 - 116,280 (+115.9%)
01/13 New Avengers v3 #2 - 79,433 ( -31.7%)
02/13 New Avengers v3 #3 - 72,110 ( -9.2%)
06/13 New Avengers v3 #7 - 60,138 ( +1.3%)
The May issue was the first to lack a variant cover, but it returns this month. So the uptick has to be seen in that context.
The "Infinity" crossover begins in issue #9, and again, this can be expected to play a major role.
26. SAVAGE WOLVERINE
01/13 Savage Wolverine #1 - 102,530
02/13 Savage Wolverine #2 - 58,254 (-43.2%)
04/13 Savage Wolverine #4 - 45,933 ( -8.7%)
06/13 Savage Wolverine #6 - 59,410 (+40.4%)
This is the first part of a storyline by Zeb Wells and Joe Madureira (apparently originally intended for AVENGING SPIDER-MAN), and it's also supported by multiple variant covers. The sales increase is enough to suggest that the pull of the creators is a major factor.
27. THANOS RISING
04/13 Thanos Rising #1 of 5 - 114,720
05/13 Thanos Rising #2 of 5 - 67,262 (-41.4%)
Holding up pretty well for an origin mini.
28,32. DEADPOOL
06/09 Deadpool v3 #11 - 55,343
06/12 Deadpool v3 #56 - 29,513 ( +1.7%)
07/12 Deadpool v3 #57 - 29,155 ( -1.2%)
11/12 Deadpool v4 #1 - 127,977 (+340.6%)
11/12 Deadpool v4 #2 - 76,445 ( -40.3%)
02/13 Deadpool v4 #5 - 57,312 ( +0.4%)
03/13 Deadpool v4 #6 - 57,095 ( -0.4%)
06/13 Deadpool v4 #12 - 48,315 ( -10.7%)
Issue #11 has a variant cover, issue #12 does not. Overall, there's the usual gentle downward trend in evidence here. But even after twelve issues of that, the book is still delivering some of its best sales of recent years.
29. INDESTRUCTIBLE HULK
06/03 Incredible v3 #56 - 68,529
06/08 Hulk #4 - 90,600
06/10 Incredible Hulk #610 - 46,461
06/11 Incredible Hulks #630 - 28,028
06/12 Incredible v4 #9 - 40,467 ( -3.8%)
06/12 Incredible v4 #10 - 38,122 ( -5.8%)
08/12 Incredible v4 #12 - 36,860 ( +0.3%)
11/12 Indestructible #1 - 118,200 (+227.5%)
12/12 Indestructible #2 - 63,653 ( -46.1%)
01/13 Indestructible #3 - 59,431 ( -6.6%)
04/13 Indestructible #6 - 55,470 ( +0.9%)
4 year ( --- )
Issues #7-8 didn't have variant covers, but issue #9 does. That explains the sales rise, though if anything it's slightly surprising it wasn't bigger.
30. THOR: GOD OF THUNDER
06/03 Thor v2 #65 - 33,450
06/09 Thor #602 - 69,568
06/11 Thor v4 #3 - 48,114
06/12 Thor v4 #15 - 33,674 ( +3.5%)
06/12 Thor v4 #16 - 31,798 ( -5.6%)
08/12 Thor v4 #18 - 35,392 ( +14.6%)
09/12 Thor v4 #19 - 30,289 ( -14.4%)
11/12 Thor v5 #1 - 110,443 (+212.6%)
11/12 Thor v5 #2 - 65,533 ( -40.7%)
01/13 Thor v5 #4 - 50,478 ( -9.1%)
02/13 Thor v5 #5 - 51,861 ( +2.7%)
Variant cover. For comparisons, the only issues to date without a variant were #6 and #8 - so there's a degree of erosion in evidence, but nothing alarming.
06/03 Wolverine v3 #2 - 99,867
06/08 Wolverine v3 #66 - 98,026
06/09 W: Weapon X #3 - 51,076
06/10 W: Weapon X #14 - 30,035
06/12 Wolverine #308 - 35,142 ( +1.9%)
07/12 Wolverine #309 - 33,148 ( -5.7%)
07/12 Wolverine #310 - 60,880 ( +83.7%)
08/12 Wolverine #311 - 42,404 ( -30.3%)
03/13 Wolverine v5 #1 - 117,669 (+242.4%)
04/13 Wolverine v5 #2 - 57,165 ( -51.4%)
06/13 Wolverine v5 #4 - 46,784 ( -5.7%)
6 mnth ( +36.1%)
Levelling out, though maybe not quite as quickly as Marvel might have hoped for. Even so, it remains comfortably ahead of the previous volume's typical sales.
06/03 Iron Man v3 #69 - 31,976
06/08 Iron Man v5 #2 - 69,021
06/11 Iron Man #505 - 42,327
06/12 Iron Man #518 - 32,553 ( -3.2%)
07/12 Iron Man #520 - 32,765 ( +0.8%)
10/12 Iron Man #526 - 35,934 ( +16.3%)
11/12 Iron Man v6 #1 - 116,529 (+215.1%)
11/12 Iron Man v6 #2 - 72,902 ( -37.4%)
12/12 Iron Man v6 #4 - 56,708 ( -4.0%)
05/13 Iron Man v6 #9 - 78,006 ( +77.4%)
05/13 Iron Man v6 #10 - 45,424 ( -41.8%)
06/13 Iron Man v6 #11 - 44,409 ( -2.2%)
Screen out the massive sales spike on issue #9 (which was movie-related) and this has been pretty stable over the last four months.
41. CAPTAIN AMERICA
06/03 Captain America v3 #14 - 45,639
06/09 Captain America #600 - 112,287
06/10 Captain America #607 - 52,989
06/12 Captain America v7 #13 - 39,456 ( +1.7%)
07/12 Captain America v7 #14 - 36,812 ( -6.7%)
10/12 Captain America v7 #18 - 38,318 ( +11.8%)
11/12 Captain America v8 #1 - 123,667 (+207.6%)
12/12 Captain America v8 #2 - 64,377 ( -47.9%)
01/13 Captain America v8 #3 - 59,836 ( -7.1%)
10 year ( -4.0%)
The May issue was the only one to date to lack a variant cover, so the actual trend is rather smoother than it looks here.
47,51. UNCANNY X-FORCE
06/09 X-Force v3 #16 - 58,818
06/12 X-Force v4 #26 - 47,522 ( -6.0%)
07/12 X-Force v4 #28 - 46,367 ( +0.1%)
01/13 X-Force v5 #1 - 86,187 (+80.5%)
02/13 X-Force v5 #2 - 56,713 (-34.2%)
03/13 X-Force v5 #3 - 51,721 ( -8.8%)
1 year (-15.0%)
3 year ( --- )
This is the first issue without a variant cover, so the appearance of a steady downward trend may be deceptive. There's little doubt that this book is not set to match the performance of the previous run - though with less high profile creators attached, it's unlikely that Marvel ever seriously expected it to do so.
49,53. WOLVERINE & THE X-MEN
06/12 Wolverine/X-Men #12 - 64,838 ( -0.2%)
01/13 Wolverine/X-Men #24 - 44,716 ( +1.7%)
04/13 Wolv & X-Men #27AU - 47,055 (+12.1%)
Issue #31 had a variant cover, hence the slight spike there. This book is now some way adrift of the other three X-Men titles, but it should help when the "Battle of the Atom" crossover hits with issue #36.
50. HAWKEYE
08/12 Hawkeye v4 #1 - 48,346
09/12 Hawkeye v4 #2 - 33,563 (-30.6%)
10/12 Hawkeye v4 #3 - 35,403 ( +5.5%)
11/12 Hawkeye v4 #4 - 34,208 ( -3.4%)
01/13 Hawkeye v4 #7 - 37,000 (+10.6%)
05/13 Hawkeye v4 #10 - 42,090 ( +6.1%)
06/13 Hawkeye v4 #11 - 40,510 ( -3.8%)
6 mnth (+21.1%)
HAWKEYE may not have carried on climbing this moth, but bear in mind that issue #10 had a variant cover. The book has achieved the very unusual feat of rebounding from its initial sales level and sustaining that increase, without gimmicks.
56,61. CABLE & X-FORCE
12/12 Cable & X-Force #1 - 90,334
12/12 Cable & X-Force #2 - 57,719 (-36.1%)
03/13 Cable & X-Force #5 - 44,680 ( -3.1%)
06/13 Cable & X-Force #10 - 36,104 ( -6.0%)
Issue #10 is the first to lack a variant cover, which would explain the slightly jerky drop. It may be closer to levelling out than it first appears.
58. FANTASTIC FOUR
06/03 Fantast. Four v3 #70 - 53,066
06/08 Fantastic Four #558 - 61,003
06/11 FF #5 - 58,925
06/12 Fantastic Four #607 - 40,453 ( +1.4%)
07/12 Fantastic Four #608 - 37,776 ( -6.6%)
10/12 Fantastic Four #611 - 45,322 ( +28.1%)
11/12 Fantastic Four v5 #1 - 114,532 (+152.7%)
12/12 Fantastic Four v5 #2 - 58,421 ( -49.0%)
03/13 Fantastic Four v5 #5 - 42,590 ( -5.4%)
03/13 Fantastic Four #5AU - 45,756 ( +7.4%)
The opposite applies here - issue #9 has a variant cover, for the first time since issue #6, so the appearance of levelling out is likely to be misleading.
60. NOVA
06/08 Nova v4 #14 - 28,892
02/13 Nova v5 #1 - 80,857
03/13 Nova v5 #2 - 46,725 (-42.2%)
05/13 Nova v5 #4 - 38,151 ( -5.9%)
4 year (+30.0%)
Still yet to level out, despite the big name creative team attached. An "Infinity" crossover is scheduled to start with issue #8.
63. DAREDEVIL
06/03 Daredevil v2 #48 - 59,869
06/08 Daredevil v2 #108 - 39,557
06/10 Daredevil #507 - 34,744
06/12 Daredevil v3 #14 - 43,865 (+12.3%)
07/12 Daredevil v3 #15 - 38,469 (-12.3%)
08/12 Daredevil v3 #16 - 37,804 ( -1.7%)
08/12 Daredevil v3 #17 - 38,149 ( +0.9%)
6 mnth ( -0.0%)
3 year ( +3.1%)
5 year ( -9.4%)
10 year (-40.1%)
The previous two issues had variant covers, so the drop is unsurprising. Overall, DAREDEVIL remains remarkably steady.
65. ULTIMATE COMICS SPIDER-MAN
06/03 Spider-Man #42 - 100,151
06/08 Spider-Man #123 - 57,187
06/10 Spider-Man v2 #11 - 39,149
06/12 Spider-Man v3 #11 - 42,549 ( +0.5%)
07/12 Spider-Man v3 #12 - 42,050 ( -1.2%)
10/12 Spider-Man v3 #.1 - 38,321 ( -3.4%)
By far the most commercially successful of the Ultimate titles, but let's be honest, that's not saying much these days - and Brian Bendis himself is getting better sales on his Marvel Universe books. Even so, it would not be a surprise if this book were, in one way or another, to wind up as the sole survivor of the Ultimate imprint.
67,71. THUNDERBOLTS
06/03 Thunderbolts #80 - 18,766
06/08 Thunderbolts #121 - 37,693
12/12 Thunderbolts v2 #1 - 83,396
12/12 Thunderbolts v2 #2 - 50,897 (-39.0%)
02/13 Thunderbolts v2 #4 - 43,287 ( -2.2%)
06/13 Thunderbolts v2 #10 - 32,682 ( -0.5%)
10 year (+63.2%)
Issue #10 has a variant cover (as did #8), which would explain the jerky sales we're seeing here. The overall trend is plainly downhill, but an "Infinity" crossover storyline starts with issue #14.
69. SECRET AVENGERS
06/11 Secret Avengers #2 - 77,933
06/12 Secret Avengers #28 - 51,572 ( +3.5%)
07/12 Secret Avengers #29 - 41,653 ( -19.2%)
08/12 Secret Avengers #30 - 38,243 ( -8.2%)
02/13 Secret Avengers v2 #1 - 85,267 (+196.4%)
03/13 Secret Avengers v2 #2 - 46,419 ( -45.6%)
06/13 Secret Avengers v2 #5 - 31,437 ( -6.0%)
6 mnth ( -2.2%)
All the issues to date have had a 1:50 variant cover, but this one has an additional 1:20 variant as part of this month's "Wolverine Through the Ages" theme. So while the drops have been getting smaller, it's still some way distant from finding its level. An "Infinity" crossover starts with issue #10.
70. YOUNG AVENGERS
06/08 YA Presents #6 of 6 - 28,476
01/13 Young Avengers v2 #1 - 76,144
02/13 Young Avengers v2 #2 - 43,559 (-42.8%)
05/13 Young Avengers v2 #5 - 32,159 ( -6.5%)
Similarly, this one's slowly starting to level out, but it's not there yet.
72. FF
06/11 FF #5 - 58,925
06/12 FF #19 - 34,260 ( -0.9%)
10/12 FF #23 - 30,844 ( +3.3%)
11/12 FF v2 #1 - 80,701 (+161.6%)
12/12 FF v2 #2 - 46,096 ( -42.9%)
03/13 FF v2 #5 - 34,601 ( -3.4%)
Issues #7-8 were the first to lack variant covers, so this is actually looking a little more stable than it first seems.
06/12 Avengers Assemble #4 - 43,022 ( -2.0%)
09/12 Avengers Assemble #7 - 36,259 ( +0.4%)
11/12 Avengers Assemble #9 - 42,088 (+15.5%)
12/12 Avengers Assemble #10 - 34,035 (-19.1%)
01/13 Avengers Assemble #11 - 31,027 ( -8.8%)
04/13 Av. Assemble #14AU - 35,985 (+26.6%)
05/13 Av. Assemble #15AU - 33,183 ( -7.8%)
This book is now firmly relying on crossovers to help it out, with "Age of Ultron" in issues #14-15, "Enemy Within" (a crossover with CAPTAIN MARVEL) in #16-17, and "Infinity" scheduled to start with #18.
80. AVENGING SPIDER-MAN
06/12 Avenging Spider-Man #8 - 39,861 ( +4.9%)
07/12 Avenging Spider-Man #9 - 37,134 ( -6.8%)
08/12 Avenging Spider-Man #10 - 34,537 ( -7.0%)
09/12 Avenging Spider-Man #12 - 35,462 ( +4.9%)
12/12 Avenging Spider-Man #.1 - 41,504 (+47.0%)
01/13 Avenging Spider-Man #16 - 29,032 (-30.1%)
Relaunches next month as SUPERIOR SPIDER-MAN TEAM-UP (and dives into an "Infinity" crossover with issue #3).
82,87. DAREDEVIL MINISERIES
10/12 End of Days #1 of 8 - 40,911
11/12 End of Days #2 of 8 - 32,072 (-21.6%)
12/12 End of Days #3 of 8 - 29,273 ( -8.7%)
06/13 End of Days #8 of 8 - 26,239 ( +2.6%)
06/13 Dark Nights #1 of 8 - 25,736 ( -1.9%)
END OF DAYS did so well that right on its heels we've got another Daredevil mini, DARK NIGHTS. It pretty much matches the sales of its predecessor, though I'd still expect the usual second issue drop.
86. A+X
06/12 Versus #3 of 6 - 94,528 ( -4.3%)
10/12 A+X #1 - 105,420 (+40.0%)
11/12 A+X #2 - 64,606 (-38.7%)
03/13 A+X #6 - 34,434 ( -7.6%)
Still bleeding. A format change is upcoming, with a serial set to run in the lead slot.
89,93. AVENGERS ARENA
12/12 Avengers Arena #1 - 64,626
12/12 Avengers Arena #2 - 43,014 (-33.4%)
02/13 Avengers Arena #5 - 32,548 ( -3.2%)
06/13 Avengers Arena #10 - 25,277 ( -5.9%)
Drifting down, but it'll have no difficulty reaching the end of its current story arc, after which there'll be a natural opportunity for relaunches.
95. X-MEN LEGACY
06/03 New X-Men #142 - 97,897
06/08 X-Men Legacy #213 - 71,893
06/12 X-Men Legacy #268 - 49,163 ( +6.2%)
06/12 X-Men Legacy #269 - 46,923 ( -4.6%)
08/12 X-Men Legacy #271 - 37,206 ( -17.2%)
10/12 X-Men Legacy #275 - 38,726 ( +10.1%)
11/12 X-Men Legacy v2 #1 - 87,081 (+124.9%)
11/12 X-Men Legacy v2 #2 - 58,037 ( -33.4%)
01/13 X-Men Legacy v2 #5 - 34,823 ( -7.6%)
04/13 X-Men Legacy v2 #9 - 28,405 ( +0.8%)
05/13 X-Men Legacy v2 #10 - 25,911 ( -8.8%)
Still shedding readers. At this rate the book will be in dangerous territory before too much longer.
97. ASTONISHING X-MEN
06/09 Astonishing X-Men #30 - 64,408
06/12 Astonishing X-Men #51 - 82,654 (+33.6%)
07/12 Astonishing X-Men #52 - 35,766 (-56.7%)
08/12 Astonishing X-Men #53 - 32,268 ( -9.8%)
Relaunching as AMAZING X-MEN in November. So we're not in true cancellation territory just yet.
99. SCARLET SPIDER
06/12 Scarlet Spider #6 - 30,722 ( -0.7%)
10/12 Scarlet Spider #10 - 31,786 (+17.1%)
11/12 Scarlet Spider #11 - 32,287 ( +1.6%)
12/12 Scarlet Spider #12 - 26,652 (-17.5%)
12/12 Scarlet Spider #.1 - 25,771 ( -3.3%)
02/13 Scarlet Spider #14 - 24,388 ( -5.9%)
Issues #16 and #17 both had variants, so this is another one that's more stable than it might first seem.
103,108. ULTIMATES
06/08 Ultimates v3 #4 - 95,688
06/12 Ultimates v5 #12 - 30,845 ( -1.6%)
07/12 Ultimates v5 #13 - 32,380 ( +5.0%)
12/12 Ultimates v5 #.1 - 27,659 ( -4.9%)
Steady decline. The 20K mark looms. Of course, total sales when other channels are included will be significantly greater than that - but at the moment it does seem to be a pretty good marker of when a Marvel Universe book might be in trouble.
104. VENOM
06/11 Venom v2 #4 - 38,946
06/12 Venom v2 #19 - 28,702 ( +1.4%)
07/12 Venom v2 #20 - 26,941 ( -6.1%)
09/12 Venom v2 #24 - 30,080 (+12.0%)
09/12 Venom v2 #25 - 25,242 (-16.1%)
11/12 Venom v2 #.1 - 25,727 (-17.3%)
Again, slow but steady erosion.
And now, the march of the doomed begins.
110,112. X-FACTOR
06/08 X-Factor v3 #32 - 45,104
06/10 X-Factor #206 - 40,981
06/12 X-Factor #237 - 24,854 ( +3.4%)
06/12 X-Factor #238 - 23,607 ( -5.0%)
Cancelled with issue #262.
111. FEARLESS DEFENDERS
06/08 Last D. #4 of 6 - 21,544
06/12 Defenders v4 #7 - 23,574 ( -7.6%)
09/12 Defenders v4 #10 - 20,220 ( -6.0%)
02/13 Defenders v5 #1 - 53,688 (+188.8%)
03/13 Defenders v5 #2 - 28,244 ( -47.4%)
05/13 Defenders #4AU - 24,984 ( +20.9%)
Begins an "Infinity" crossover with issue #10, so Marvel aren't giving up on this one quite yet.
113. CAPTAIN MARVEL
06/08 Ms Marvel v2 #28 - 42,194
07/12 Captain Marvel v6 #1 - 41,582
08/12 Captain Marvel v6 #2 - 28,434 (-31.6%)
08/12 Captain Marvel v6 #3 - 27,649 ( -2.8%)
10/12 Captain Marvel v6 #5 - 28,619 (+15.4%)
02/13 Captain Marvel v6 #10 - 18,359 ( -4.1%)
04/13 Captain Marvel v6 #12 - 18,344 ( +3.4%)
05/13 Enemy Within - 34,205 (+86.5%)
06/13 Captain Marvel v6 #13 - 19,673 (-42.5%)
Part of the "Enemy Within" crossover with AVENGERS ASSEMBLE, after which the book will be going straight into the "Infinity" crossover.
115,116. ULTIMATE COMICS X-MEN
06/03 X-Men #34 - 110,753
06/08 X-Men #95 - 48,137
06/10 Ult X #3 - 44,568
06/12 X-Men v2 #13 - 29,159 ( +1.1%)
08/12 X-Men v2 #15 - 27,847 ( -6.8%)
11/12 X-Men v2 #.1 - 25,425 ( -3.4%)
No obvious explanation for the slight uptick here, as far as I'm aware. It could be levelling out but it's not that unusual for this to happen and for a book to then resume its decline the next month.
119. GAMBIT
08/12 Gambit v5 #1 - 40,418
08/12 Gambit v5 #2 - 32,336 (-20.0%)
10/12 Gambit v5 #4 - 27,828 ( -2.5%)
03/13 Gambit v5 #10 - 20,187 ( -3.2%)
Cancelled with issue #17.
125. WINTER SOLDIER
05/12 Winter Soldier #5 - 30,646 ( -8.6%)
09/12 Winter Soldier #10 - 25,811 ( -1.7%)
Final issue.
126. WOLVERINE MAX
10/12 Wolverine: Max #1 - 37,509
11/12 Wolverine: Max #2 - 27,217 (-27.4%)
02/13 Wolverine: Max #4 - 22,072 ( -8.3%)
For whatever reason, normal sales rules do not seem to apply to the Max imprint, so the fact that the book is selling at this level doesn't automatically indicate that it's in danger. The fact that it's consistently losing 5-6% of its audience every month, however, is another matter.
131. JOURNEY INTO MYSTERY
06/11 J/into Mystery #624 - 35,834
06/12 J/into Mystery #639 - 21,914 ( -7.8%)
08/12 J/into Mystery #642 - 22,336 (+12.5%)
10/12 J/into Mystery #645 - 20,705 ( +0.6%)
146. MORBIUS: THE LIVING VAMPIRE
01/13 Morbius v2 #1 - 43,883
02/13 Morbius v2 #2 - 25,735 (-41.4%)
06/13 Morbius v2 #6 - 14,584 ( -3.0%)
Cancelled with issue #9.
155. RED SHE-HULK
06/08 Hulk #4 - 90,600
06/10 Hulk #23 - 50,724
06/12 Hulk #53 - 22,386 ( +2.3%)
06/12 Hulk #54 - 22,070 ( -1.4%)
10/12 Red She-Hulk #58 - 31,136 (+44.5%)
11/12 Red She-Hulk #59 - 20,668 (-33.6%)
12/12 Red She-Hulk #60 - 20,798 ( +0.6%)
01/13 Red She-Hulk #61 - 18,815 ( -9.5%)
163. THOR: DARK WORLD PRELUDE
06/13 Dark World Prelude #1 of 2 - 12,528
Movie tie-in. These books are never aimed principally at the direct market, so their sales here aren't a big deal.
165. FURY MAX
06/12 Fury Max #3 - 17,152 ( -9.8%)
03/13 Fury Max #10 - 13,096 ( -1.4%)
173. DARK TOWER: GUNSLINGER - EVIL GROUND
06/08 Long Road Home #4 - 79,270
06/09 Fall of Gilead #2 - 39,978
06/10 Gunslinger #2 - 24,024
06/11 Tull #1 - 17,667
06/12 Man in Black #1 - 14,672 ( +6.1%)
07/12 #2 of 5 - 13,831 ( -5.7%)
10/12 #5 of 5 - 13,310 ( +0.5%)
01/13 Sheemie's #1 of 2 - 12,985 ( -2.4%)
04/13 Evil Ground #1 of 2 - 12,473 ( -2.0%)
There's another one-shot in July, and then that seems to be your lot.
179. POWERS: THE BUREAU [Icon]
06/03 Powers #32 - 26,774
06/10 Powers v2 #5 - 16,019
08/12 Powers v3 #11 - 11,939 ( -4.4%)
02/13 Bureau #1 - 14,698 (+23.1%)
03/13 Bureau #2 - 12,966 (-11.8%)
03/13 Bureau #3 - 11,705 ( -9.7%)
Hanging in there. The Icon imprint is another one that isn't expected to generate the same sales as Marvel Universe titles.
207. ALPHA: BIG TIME
01/13 Alpha: Big Time #0.1 - 8,534
02/13 Alpha: Big Time #1 of 5 - 22,778 (+166.9%)
03/13 Alpha: Big Time #2 of 5 - 16,305 ( -28.4%)
06/13 Alpha: Big TIme #5 of 5 - 9,278 ( -11.0%)
Let's just pretend this didn't happen, mmm?
Number 211 is the MARVEL BACKLIST READING CHRONOLOGY, with 8,837 copies.
And finally, the two all-ages books:
276. MARVEL UNIVERSE ULTIMATE SPIDER-MAN
06/12 MUU Spider-Man #3 - 6,756 (-10.9%)
07/12 MUU Spider-Man #4 - 6,447 ( -4.6%)
01/13 MUU Spider-Man #10 - 5,077 ( -3.0%)
02/13 MUU Spider-Man #11 - 5,086 ( +0.1%)
288. MARVEL UNIVERSE AVENGERS
06/12 MU Avengers #3 - 6,345 ( -5.8%)
07/12 MU Avengers #4 - 6,421 ( +1.2%)
01/13 MU Avengers #10 - 4,951 ( -4.9%)
03/13 MU Avengers #12 - 4,960 ( +0.4%)
05/13 MU Avengers #14 - ?,??? ( ??? )
06/13 MU Avengers #15 - 4,744 ( ??? )
6 month comparisons
+150.8% - X-Men
+ 36.1% - Wolverine
+ 21.1% - Hawkeye
+ 2.9% - Superior Spider-Man
- 0.0% - Daredevil
- 1.5% - Captain Marvel
- 2.2% - Secret Avengers
- 3.5% - MUU Spider-Man
- 5.0% - X-Factor
- 5.1% - Avenging Spider-Man
- 7.9% - Ultimate Comics Spider-Man
- 8.9% - MU Avengers
- 11.2% - Astonishing X-Men
- 11.6% - Thor
- 12.9% - Wolverine and the X-Men
- 13.4% - Fury Max
- 14.6% - All-New X-Men
- 14.6% - Scarlet Spider
- 15.4% - Uncanny X-Force
- 16.8% - Venom
- 19.2% - Avengers Assemble
- 21.7% - Iron Man
- 21.7% - Ultimate Comics X-Men
- 22.9% - Ultimates
- 22.3% - Hulk
- 22.9% - X-Men Legacy
- 24.4% - Avengers
- 24.8% - Gambit
- 25.2% - Deadpool
- 27.4% - Journey into Mystery
- 27.9% - Winter Soldier
- 32.0% - Captain America
- 34.8% - FF
- 35.6% - Red She-Hulk
- 36.5% - Fantastic Four
- 37.4% - Cable & X-Force
- 39.8% - Thunderbolts
- 43.1% - Avengers Arena
- 54.5% - A+X
1 year comparisons
+ 63.7% - Deadpool
+ 45.9% - Thor
+ 36.4% - Iron Man
+ 36.3% - Superior Spider-Man
+ 22.1% - Hulk
+ 11.0% - Captain America
+ 8.7% - Avengers
+ 4.5% - Uncanny X-Men
- 7.4% - New Avengers
- 8.4% - Fantastic Four
- 14.4% - Defenders
- 18.3% - Daredevil
- 18.9% - X-Factor
- 19.0% - Dark Tower
- 20.1% - Ultimate Comics Spider-Man
- 25.2% - MUU Spider-Man
- 25.2% - MU Avengers
- 32.8% - Avenging Spider-Man
- 39.0% - Secret Avengers
+ 60.6% - X-Men
+ 38.3% - Uncanny X-Men
+ 16.8% - Avengers
+ 9.6% - Wolverine
+ 7.7% - Thunderbolts
+ 4.9% - Iron Man
+ 4.3% - New Avengers
+ 2.1% - Thor
- 2.2% - Captain America
+ 6.4% - Hulk
+ 3.1% - Daredevil
+ 1.3% - Fantastic Four
- 3.1% - Uncanny X-Men
- 4.3% - Thunderbolts
- 30.8% - Powers
- 53.4% - New Avengers
+167.0% - Guardians of the Galaxy
+ 30.0% - Nova
- 8.4% - Wolverine
- 22.0% - Captain Marvel
+ 8.2% - Young Avengers
- 6.4% - Defenders
- 52.3% - Wolverine
10 year comparisons
+ 63.2% - Thunderbolts
- 19.5% - Uncanny X-Men
Previous articleSean Howe talks to Chris Claremont about The Wolverine movie
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Heidi MacDonald is an award-winning editor/journalist with 20 years. An editor at Disney and DC Comics, she edited such titles as The Lion King, Scooby Doo, Swamp Thing, and Y: The Last Man. She cohosts Publishers Weekly's graphic novel podcast More to Come.
INTERVIEW: Javicia Leslie on becoming BATWOMAN and the power of representation
There will be no Arrowverse crossover in 2021 due to COVID-19
A Tom Taylor BATMAN title, GREEN LANTERN, and more in the DC Comics April 2021 Solicitations
Steve 07/29/2013 2:25 pm At 2:25 pm
06/13 Defenders v5 #5 - 20,168 ( -19.3%)
and, yet, Marvel thinks it's a good idea to bump this to $3.99 with issue #8.
Somebody explain the logic to me (other than to get it cancelled before #12...) -- #7 will be my last issue.
Henry Barajas 07/29/2013 2:41 pm At 2:41 pm
Lot of good content but it's hard to keep the readers.
comicsatemybrain 07/29/2013 3:06 pm At 3:06 pm
Ultimate Comics X-Men: "No obvious explanation for the slight uptick here, as far as I'm aware. It could be levelling out but it's not that unusual for this to happen and for a book to then resume its decline the next month."
In other words, statistical noise. Given the method by which these numbers are arrived at, it should be expected that there is some imprecision in them.
Which could also be an explanation for the perceived 98 copy increase for Uncanny X-Men, by the way.
Glenn Simpson 07/29/2013 5:44 pm At 5:44 pm
I thought Age of Ultron 10AI had the same artist as Avengers AI #1?
Leo McGovern 07/30/2013 12:55 am At 12:55 am
Hawkeye's karma stems from #7 being a Hurricane Sandy benefit issue. It looks like, going into issue 6, most retailers had decided what they were going to order on the book, sellouts be damned. I think its relative steadiness says retailers saw good sell-through on issue 1 but overrated the attrition-unlike most books, once the people who decided they either just didn't like Hawkeye or would wait for the trade disappeared, the folks who wanted to stick with it outnumbered what retailers thought they could sell of issue 6. I kicked orders up by 5 copies every issue from #3 on and couldn't keep up-it kept defying my expectations of growth. But back to #7-I felt a few of our customers would support a hurricane benefit issue, so, why not-I ordered double of #1. We still sold through and ordered second-prints as well. Hawkeye broke the retailer habit of expecting sales to keep dropping, once it "proved" it could sell copies past what most retailers believed was its ceiling. Good for Matt Fraction and all the artists involved-they helped some people and a worthy series made retailers believe. There's hope for the world yet.
Torsten Adair 07/30/2013 12:46 pm At 12:46 pm
Is Ms./Captain Marvel a lamprey title, latching on to whatever Avengers event is happening at any given time?
(6-8 =Civil Wars, 13-17 = The Initiative, 25-30 = Secret Invasion, 34-46 = Dark Reign)
Here's my pitch to Marvel:
Create a character similar to Spider-Man's personality.
Zelig this character. (Or "Rick Jones" him.)
Channel Gail Simone's sense of humor (Deadpool, Secret Six).
Every issue is a tie-in/crossover with whatever event is happening.
Chris Rice 07/30/2013 1:15 pm At 1:15 pm
Old Man - obvious troll is obvious.
Thorsten - that seems like a slightly odd comment? By that logic, Hulk, Mighty Avengers, Deadpool, and most Marvel books would be lamprey books. I think Captain Marvel appears in so many Avengers crossovers because she's, well, an Avenger...
Shawn Kane 08/04/2013 9:49 am At 9:49 am
Fantastic Four's numbers are terrible. I know that Marvel seems to think that doing the book the way that Stan and Jack did is passe but those numbers don't really justify keeping "Fan Favorite" Matt Fraction as writer and even though I'm a Mark Bagley fan, he doesn't seem to be catching on with this book. Maybe it's time to give it to some old school pros and see if a retro feel would work.
Shawn Hill 08/09/2013 3:53 pm At 3:53 pm
FF, however, is great! I'm loving it more every month. Maybe it helps that it's so frankly hipster, while Fantastic Four ... isn't it supposed to be the Stan/Jack-style alternative already?
rob e 08/10/2013 12:22 pm At 12:22 pm
Any word on when the DC June sales charts will be printed? Or is the truth too painful for certain DC "higher-ups"?
the4thpip 08/12/2013 7:56 am At 7:56 am
There is a better explanation why Iron Man #9 sold better than the others than the movie. When have movies caused sales bumps in recent years?
It was the first issue not drawn, er, assembled by Greg Land. It had an actual artist.
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National Cannabis Prevention and Information Centre
The National Cannabis Prevention and Information Centre (NCPIC) was established in 2008 in response to data published in the Pfizer Australia Health Report. NDARC and NCPIC have collaborated with Pfizer Australia to assist with educating the public about cannabis. Many in the Australian community are concerned that this collaboration and NCPIC involvement with GW Pharmaceutical and SATIVEX places NDARC and NCPIC in a position of conflicted interests. In 2016 it was announced that the Australian government would cut funding to the NCPIC at year's end.
While prevalence rates have markedly reduced over the past decade, cannabis is still widely used by young people, and the impacts on adolescent development remain an important issue.
The key goals of the Centre are:
providing the Australian community with cannabis information resources about cannabis supporting service providers to respond to those experiencing problems related to cannabis specifically engaging young people to reduce and prevent cannabis uptake
Rationale
The National Cannabis Prevention and Information Centre was established in response to data published in the Pfizer Australia Health Report. NDARC and NCPIC have collaborated with Pfizer Australia to assist with educating the public about cannabis. Many in the Australian community are concerned that this collaboration and NCPIC involvement with GW Pharmaceutical and SATIVEX places NDARC and NCPIC in a position of conflicted interests.
The NCPIC mission is to reduce the use of cannabis in Australia by preventing uptake and providing the community with evidence-based information and interventions. Despite this mission, NCPIC has been seen to publish fabricated and misleading cannabis information in the past.
The Centre closed its doors after losing Commonwealth funding in December 2016.
References
External links
National Cannabis Prevention and Information Centre
National Drug and Alcohol Research Centre
Category:Cannabis research
Category:2008 establishments in Australia
Category:Cannabis in Australia
category:2008 in cannabis | {'pile_set_name': 'Wikipedia (en)'} |
Church of the Ascension, Susat
The Church of the Ascension of the Lord () -- is a Russian Orthodox church in Susat village, Semikarakorsky District, Rostov Oblast, Russia. It belongs to Semikarakorsky Deanery of Volgodonsk and Salsk Diocese of Moscow Patriarchate. It was built in 1914 in Russian Revival architecture style.
History It is known that before the Church of the Ascension was built, there had already been two churches in the settlement: the wooden Church of the Ascension of the Lord, which was completed in 1863, and the second one that was erected in 1891 at its place. When eventually it also became decayed, it was decided to erect a new church, this time a stone one. The Church of the Ascension in the village of Susat was founded in 1906, and construction works continued until 1914.
Two chapels of the church were consecrated in honor of the Kazan Icon of the Mother of God and Feast of the Cross.
In 1929 the church was closed, and its premises were used for a local recreation centre, and then for the granary and warehouse of the shopping center.
In 1989 the church was handed over to the Russian Orthodox Church, and in the following year the liturgy was held there again. Soon after the building was repaired and interior decoration were also restored.
Exterior The church was built in Neo-Russian style. The building is cross-shaped in plan, it is adjoined by a three-tiered bell tower. On the roff there are small stained-glass windows. In front of the church building there is a memorial dedicated to the villagers who were killed during Great Patriotic War.
References Category:Churches in Rostov Oblast
Category:Russian Revival architecture
Category:Churches completed in 1914 | {'pile_set_name': 'Wikipedia (en)'} |
The Gustavus Department of Scandinavian Studies recently hosted Anna Serner, CEO of the Swedish Film Institute (SFI), for an on-campus lecture on gender equality in the film industry.
Senior Travis Sigafoos has been named a winner of the Fulbright English Teacher Assistant (ETA) grant to Mexico for the 2016-2017 academic year.
President Rebecca M. Bergman announced Tuesday morning that Thomas J. Rooney, MBA, CTP, has accepted the position of Vice President for Finance and Treasurer at Gustavus Adolphus College. He will begin in the role on July 1, 2016.
Titled "Divestment & Reinvestment: Making Money Count," the 36th MAYDAY! Peace Conference will examine past divestment initiatives and current strategies, investigate the impact of power structures, and explore the complexity and commitments surrounding the ongoing debates.
Feminist legal scholar and critical race theorist Kimberle Crenshaw will give a free public lecture at Gustavus Adolphus College on Friday, April 22 at 7:30 p.m.
Senior Joey Wiley has been named a winner of the Fulbright English Teacher Assistant (ETA) grant to Malaysia for the 2016-2017 academic year.
Gustavus senior Caroline David was recently named the 2016 winner of the Donald G. Paterson Award in Psychology by the Minnesota Psychological Association.
Gustavus recently announced that Hayley Nemmers '16, Abby Nistler '16, Angelique Dwyer, and Jane Timmerman '75 are the College's winners of the 2016 Minnesota Campus Compact (MNCC) Presidents' Awards for Civic Engagement.
Three recent alumnae were named winners of the National Science Foundation's (NSF) Graduate Research Fellowships (GRF), which strive to foster and promote excellence in U.S. science, technology, engineering, and mathematics. Another Gustie received an honorable mention for the fellowship.
Gustavus Adolphus College will host its annual Author Tea on Tuesday, April 12 from 3:30 to 5 p.m. in the Book Mark. Located on the lower level of the Jackson Campus Center, the event is free and open to the public. | {'timestamp': '2019-04-22T01:00:20Z', 'url': 'https://news.blog.gustavus.edu/2016/04', 'language': 'en', 'source': 'c4'} |
Q:
Match content before optional string
Given the following string, I would like to produce: A-2010:
/Space/w_00123/A-2010/u_23
/Space/w_00123/A-2010 (The /u_23 from above is optional, so missing here)
So the text between 3 and 4th / (if present, or until end of string) is what I really need.
I tried:
select
regexp_substr('/Space/w_00123/A-2010/u_23', '/Space/w_.+/(.*?)(?:/.+|$)', 1, 1, null, 1) r
from dual; -- this results in u_23 as opposed to A-2010
What's the right matcher expression here?
A:
Using regexp_substr with 3rd appearance as the 4th argument gives what you need
with t(str) as
(
select '/Space/w_00123/A-2010/u_23' from dual union all
select '/Space/w_00123/A-2010' from dual
)
select regexp_substr(str,'([^/]+)',1,3) as "Result Strings"
from t;
Result Strings
--------------
A-2010
A-2010
Demo | {'pile_set_name': 'StackExchange'} |
Metropolitan (UA)
Scheduled Castes
Scheduled Tribes
House Assets
House Less
Fertility Ratio
State Census 2011
District List
Aurad
Mukhed - Bidar
Mukhed Population - Bidar, Karnataka
Mukhed is a medium size village located in Aurad Taluka of Bidar district, Karnataka with total 145 families residing. The Mukhed village has population of 749 of which 403 are males while 346 are females as per Population Census 2011.
In Mukhed village population of children with age 0-6 is 93 which makes up 12.42 % of total population of village. Average Sex Ratio of Mukhed village is 859 which is lower than Karnataka state average of 973. Child Sex Ratio for the Mukhed as per census is 632, lower than Karnataka average of 948.
Mukhed village has higher literacy rate compared to Karnataka. In 2011, literacy rate of Mukhed village was 76.22 % compared to 75.36 % of Karnataka. In Mukhed Male literacy stands at 83.53 % while female literacy rate was 68.06 %.
As per constitution of India and Panchyati Raaj Act, Mukhed village is administrated by Sarpanch (Head of Village) who is elected representative of village. Our website, don't have information about schools and hospital in Mukhed village.
Mukhed Data
Total No. of Houses 145 - -
Population 749 403 346
Child (0-6) 93 57 36
Schedule Caste 92 52 40
Schedule Tribe 105 52 53
Literacy 76.22 % 83.53 % 68.06 %
Total Workers 352 231 121
Main Worker 308 - -
Marginal Worker 44 6 38
Caste Factor
Schedule Tribe (ST) constitutes 14.02 % while Schedule Caste (SC) were 12.28 % of total population in Mukhed village.
In Mukhed village out of total population, 352 were engaged in work activities. 87.50 % of workers describe their work as Main Work (Employment or Earning more than 6 Months) while 12.50 % were involved in Marginal activity providing livelihood for less than 6 months. Of 352 workers engaged in Main Work, 98 were cultivators (owner or co-owner) while 81 were Agricultural labourer.
High Density State
Density / Km2
1 Delhi 11,320
2 Chandigarh 9,258
3 Puducherry 2,547
4 Daman and Diu 2,191
5 Lakshadweep 2,149
India @ Glance
District Related
State Related
Copyright Census Population 2020 Data | {'pred_label': '__label__wiki', 'pred_label_prob': 0.9719597101211548, 'wiki_prob': 0.9719597101211548, 'source': 'cc/2020-05/en_head_0024.json.gz/line1356889'} |
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Tag: bias
My inherent issue with Facebook solidarity
So I didn't change my Facebook profile picture for Paris. Or Beirut, or Syria, or Kenya, or anywhere else. Nor do I have strong feelings about what people should or should not do after a tragedy, as long as it's not rooted in bigotry. For me, I have an issue because I know Facebook solidarity is incomplete, and that my friends only focus on certain types of events.
First, as people have pointed out before, there are many places on Earth in perpetual crisis. Syria recently, but also the Rohingya refugee crisis that extends from Burma into Bangladesh and various surrounding territories. Central Africa has been in a series of ongoing conflicts where rape is a major weapon of war. Billions of people are in varying degrees of poverty, most of which is long-standing. There is something ethically troubling about showing visible solidarity with other people when there is an acute incident. Haiti has never recovered from the earthquake several years back- we had a brief period of solidarity, money was raised, and much of the humanitarian crisis was not solved. It still hasn't been, but our Haiti Facebook pictures have long since been taken down.
Second, since I am an American (along with my race, class, sex . . ) I have a bias towards places and people I can directly relate to. I've been to Paris, I've never been to Beirut or Nigeria. The entire way I receive information about the world is skewed, and even with wonderful outlets like Al Jazeera English, the lack of coverage of Africa, south Asia, etc. creates an unconscious tendency to think that even when atrocities are reported from there, they aren't as important as events of a similar magnitude in the developed world.
Which is a long way to say that I feel not changing my profile picture is not a signal that I don't care about terrorism and imperialism. Rather, it's an acceptance that the world is immensely fucked up all the time, and only recognizing a tiny portion of the new evils introduced to the world seems somehow wrong. It goes without saying that ultimately fighting global problems on an individual level is about donating money, donating time, and standing against imperialism and exploitation. But don't lose the past when the unpleasant present roars into view. Because the Haiti crisis is still here, and they don't get their flag on social media anymore.
Author Andrew MackayPosted on November 20, 2015 November 20, 2015 Categories Conflict, Justice, PovertyTags Al Jazeera English, Beirut, bias, DRC, facebook, Haiti, humanitarianism, imperialism, ISIS, Kenya, Paris, Rohingya, solidarity, syriaLeave a comment on My inherent issue with Facebook solidarity
General Assembly: Why wasn't there a second banner?
This will be the first of several posts written in the aftermath of Unitarian Universalist General Assembly 2015, held in Portland, OR from June 24-28.
A workshop I wandered into on Friday was "Class Diversity: Exploring Our Past, Building Our Theologies", which was an interesting take on why class-diverse Unitarian congregations are rare exceptions- the socioeconomic strata of membership being very similar to what it was in the 19th century.
This was on the day that the Supreme Court announced same-sex marriage was a right under the 14th Amendment. Right outside the room this workshop was being held in, a massive rainbow banner had been constructed and signed by hundreds upon hundreds of people.
[Credit: Wong/Getty Images]
A woman came up during question-answer and gave an emotional statement that I think really dug at the heart of how Unitarian Universalism can have clear biases with regards to class. I don't know how many people ever thought of the day as an exercise in classism, but her remark made it clear to me that there was a double-standard in play at Assembly.
Her question is this post's title. While the court ruling about marriage equality is landmark and an important victory in the 21st century civil rights movement, it was not the only important ruling that week. The day before, the court upheld a key portion of the Affordable Care Act, which threw a lifeline to millions of poor Americans:
The latest filings show that about 10.2 million people had signed up and paid their insurance premiums through the exchanges as of March, and 6.4 million were receiving subsidies to help afford coverage in the 34 states that had not set up their own marketplaces.
Those consumers stood to lose their subsidies, worth about $1.7 billion a month, if the justices had agreed with the challenge.
These two rulings affected several million people directly. Being unable to marry who you love and being unable to pay for live-saving medical care are both serious social problems which were addressed to some degree this week. But there wasn't a banner out in the convention center hall celebrating that 6.4 million people could keep their health insurance.
Detroit's racial segregation. Blue is black, pink is white.
[<URL>]
And I think if a banner was appropriate to celebrate a civil rights victory, a third banner should have sat there as well. The same day as the ACA ruling (Thursday afternoon), and the day before the marriage equality ruling, the Supreme Court enacted a significant change in how the law deals with discrimination cases. It allowed for a new type of argument in cases of housing discrimination. Previously you had to prove intent in a very strong standard- basically a smoking gun saying "I'm denying housing to this community based on race". Obviously it was hard for those affected to successfully sue; now something called disparate-impact theory can be used- if evidence shows that a law statistically promotes housing segregation, that can be enough. If this is to spread to other places- disparate-impact is used for hiring in some circumstances, but not many other places with potential for discrimination, it will be just as important as the marriage equality and ACA cases.
So why only one banner? The housing case is also a discrimination issue, and both are part of the modern civil rights movement. The ACA ruling in terms of dollars is a big win for the working class. I don't know why there was only one banner, though I'll offer this potential theory:
What makes marriage equality different from healthcare subsidies and housing discrimination is that marriage equality is a civil rights issue that affects everyone regardless of race or class. In a faith that skews white and upper-middle class, the presence of one banner (and one banner for that particular case) is evidence of implicit bias. I agree with the woman who spoke up, she added a concrete sense of what classism is that the workshop really needed to be worthwhile.
The next post will tackle how the Black Lives Matter movement caused tension and strife, both across racial lines but also generational ones. Certainly if Black Lives Matter, a step towards ending racial discrimination in housing (with its ties to the ghetto and redlining) should be celebrated. How does Unitarian Universalism grapple with its own diversity questions, the balance between support and paternalism, and being a leading force for change versus being earnest and strong followers?
Author Andrew MackayPosted on June 30, 2015 Categories UncategorizedTags 2015, aca, activism, bias, Black Lives Matter, civil rights, class, discrimination, General Assembly, LGBT, marriage equality, Obamacare, portland, race, supreme court, unitarian universalism, UU, UU Planet, UU World, UUA, uuaga2 Comments on General Assembly: Why wasn't there a second banner?
Stopping stigma early
Mental illness as a topic is something society just has no idea how to handle. I've written about how mental illness is misused to score political points (usually by creating the illusion that a mental disorder is a prerequisite for horrendous crimes). Thankfully I stumbled across a compact guide, written by Margarita Tartakovsky, that tackles myths about mental illness and treatment. If you need to educate in a hurray, highly recommended.
The best section deals with the fact that children's content is stigmatizing in a way that we don't often consider. It's not just murder-mystery hour-long dramas on CBS, the process of misrepresentation begins early:
Adult programs aren't the only ones that portray mental illness negatively and inaccurately. "Children's programs have a surprising amount of stigmatizing content," Olson said. For instance, Gaston in Beauty and the Beast attempts to prove that Belle's father is crazy and should be locked up, she said.
When Wahl and colleagues examined the content of children's TV programs (Wahl, Hanrahan, Karl, Lasher & Swaye, 2007), they found that many used slang or disparaging language (e.g., "crazy," "nuts," "mad"). Characters with mental illness were typically depicted "as aggressive and threatening" and other characters feared, disrespected or avoided them. His earlier research also showed that children view mental illness as less desirable than other health conditions (Wahl, 2002).
Author Andrew MackayPosted on February 26, 2015 Categories Healthcare, Media, Mental healthTags bias, crazy, crime, insane, Margarita Tartakovsky, media, mental health, mental illness, scapegoating, stigmaLeave a comment on Stopping stigma early
Moving beyond "don't judge"
I don't particularly like the idea that we shouldn't judge other people. It's a maxim taught to children, and the Golden Rule refers to the dangers of judgement.
Yet that's not really the problem, or a reasonable solution. Humans instinctively judge and categorize new things, places, and people. To truly live up to the idea that we shouldn't judge others, we would need to rewire significant parts of the brain. Judging others has no good or bad value attached to it.
The two aspects that I think are most important, and should be part of a more detailed lesson to youth, are the dangers of warped judgements, and the emphasis that we put on judgements.
Said plain, the core is judgements that are influenced by racism, sexism, homophobia, or other ideologies that devalue humans and make them lesser individuals. Additionally, if we value personal judgements over other facts, we run the risk of placing a person under a very skewed spotlight. This is much like the difference between prejudice and discrimination- one can have prejudicial views but do not believe they are important enough or appropriate to turn into action.
This may seem like splitting hairs, but I think it's important to explore why judgement can be a dangerous thing. The simplicity of "we shouldn't judge people" masks an important lesson about devaluing people and using a warped view of the world.
Author Andrew MackayPosted on January 27, 2015 Categories PsychologyTags bias, golden rule, homophobia, judgement, racism, sexism, worldview2 Comments on Moving beyond "don't judge"
All my thinking lays on fragile ground
Credit: Gregory Koop // paper: <URL>
This diagram depicts how people come to make a decision- YES means a utilitarian (greater good) response. Personal means the crisis affects you.
I've started watching the recorded lectures of Michael Sandel's "Justice" course, a philosophy series (that feels like a rock concert), that is one of the most popular in modern Harvard history. The first episode focused on the nature of murder and how it can be ethical or unethical, depending on the situation and what emphasis you give the actions.
What I think is interesting is something that happens in philosophy but also in social science, my field of study. He begins with two scenarios, each with two forms. In the first one, most of the audience agree in the first forms that it's morally right to sacrifice one to save five others. In the second form it's the opposite- most people oppose the sacrifice.
The shift in focus changes how people defend their choice. The first forms have people thinking in terms of consequences, while the second creates an unpleasant twist that makes people think in terms of the action- to most of us, some things are just wrong to do.
This ties into how opinions are solicited on political and economic issues. The answer you get is influenced heavily by the language used to ask the question. Just like these moral questions of sacrifice, it's pretty easy to make a question about same-sex marriage garner heavy approval and heavy disapproval. The above picture, one of those online "polls" that's actually an ad, is shoving the viewer towards a "no" vote. The objective isn't to gauge opinion, but rather tie the obvious answer to opposing the president.
It ultimately creates a bit of chaos, at least in my mind. How much of our political and moral opinions exist because we haven't been asked enough challenging questions? Take an online political quiz- the results are frequently used as a shorthand for our worldview. The World's Smallest Political Quiz wants to push participants into a libertarian mindset. Political Compass has a clear socialist and, most noticeably, anti-corporate flavor. Am I a socialist? The latter seems to think so. Am I a small-government libertarian? The former wants to make the case. In each context the result makes sense, but if I want to think of myself as a single person with a single morality, it's not coming out so well.
In the kind of moral philosophy Sandel teaches, the single morality is something that is valued. To a pollster, morality can be pushed around to meet certain goals. In fact, one of the most exhausting endeavors in all of science (social or otherwise) is to make a survey that's representative, comprehensive, and doesn't have a certain goal besides getting "honest" information.
There's no big conclusion to this piece (this is more thinking out loud). I was part of Sandel's majority in his examples- in one case thought killing one person was clearly justified, in the other it was far more difficult. The mental feeling of that shift is...powerful. It's strange to think how fragile our opinions could be.
Author Andrew MackayPosted on March 1, 2014 Categories JusticeTags bentham, bias, justice, kant, opinion, philosophy, polls, utilitarianismLeave a comment on All my thinking lays on fragile ground | {'pred_label': '__label__cc', 'pred_label_prob': 0.5363883972167969, 'wiki_prob': 0.4636116027832031, 'source': 'cc/2019-30/en_head_0022.json.gz/line1644006'} |
Nude Girl In Stockings Smoking PicsSmoke City contains beautiful smoking fetish models tightly clothed in panties sexy white and black stockings, spandex bikinis, pantyhose, nice lingerie, tight clothes like spandex catsuits, sexy jeans, short skirts, long dresses, hot pants as well as topless and complete nude women with big tits, sexy tiny tits or perfect breasts. Members have access to real hardcore smoking sex sets and blowjob smoking porn videos also including our models masturbating with their cigarettes. We regularly update our members area with customer requests. Smoke City has been operating since 8 years and we are delighted and proud to still have so many of our original members. In the members area you will find lots of different models who update their own sites which is all inclusive with your personal members acess. This site featuring various smoking styles like single , lesbian smoking, hot sex, blowjobs, great in- and exhaling the smoke, dangles, deep drags, snaps, multiple drags, rings, open mouth dangles, nose and combined exhales, foot , hand ashing, dominated smoking, girls smoking cigars, pussy smoking, masturbating and all other thinkable styles. Our smoking models enjoy all kinds of smokes including all whites, black,coloured, marlboro's, 100's, 120's, long browns as well as multiples, holders and cigars. Come and check them out smoking and playing, toy won't be disappointed. We working with the hot european models in various ages (18+). Each set has a large collection of the very finest smoking photos and our members area contains hundreds of galleries and all clips are fully downloadable so NO STREAMING here unlike other sites with several updates a week. Over the past years our members area is increased to enormous size with total about 200GB of content. We have regular smoking model, girl to girl and boy - girl content as well as exclusive candid smokers filmed and shooted at streets, parties and beaches.See more Smoke City pictures here
Blonde Smoking Fetish Angel
Hey guys, it's Anna. Thanks for stopping by my smoking fetish site! I started smoking when I was 17 and I figured since I have a site already, I might as well share my smoking experience with you guys who want to watch. I started this site basically when I just started smoking! You guys get to watch me learn how to inhale, so it's pretty cool. Since then I have a ton of pics in over 100 galleries. I usually smoke almost a pack a day, and my favorite cigarette is of course after sex I update the site every week with something new, video or picture gallery. If you have a smoking fetish, you'll definitely enjoy my site. Or, if you just want to see more pics of me So cum have a cigarette with me inside. You're allowed to smoke in here See more Smokin Hottie pictures here
Kim Kennedy Smoking His PoleKim Kennedy is the type of girl you would see skipping school just to go smoke a cigarette. A 5-year smoker Kim knows how to make exhaling look sexy. Watch as Kim Kennedy smokes her cigarette and opens her mouth to shove a dick in it while she lets the smoke surround his dick as she exhales. She stares in to the camera as she blows smoke all over the camera, his dick, and face. Kim sucks his cock till she demands his cum.See more Smoking Hot Diablos pictures here
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Nude Beach Smoking
Hey guys, it's Anna. Thanks for stopping by my smoking fetish site! I started smoking when I was 17 and I figured since I have a site already, I might as well share my smoking experience with you guys who want to watch. I started this site basically when I just started smoking! You guys get to watch me learn how to inhale, so it's pretty cool. Since then I have a ton of pics in over 100 galleries. I usually smoke almost a pack a day, and my favorite cigarette is of course after sex I update the site every week with something new, video or picture gallery. If you have a smoking fetish, you'll definitely enjoy my site. Or, if you just want to see more pics of me So cum have a cigarette with me inside. You're allowed to smoke in here See more Smokin Hottie pictures here
Hailey Young in the Ally Smoking DevilHailey is a tall slender sexpot that loves to suck dick. We wanted to take it to the next level, so we had Hailey Young smoke a cigarette while she sucked some dick. Hailey gives an awesome blowjob and is not afraid to shove a dick down her throat. Hailey takes a drag off the cigarette as she shoves his cock deep down her throat then exhales the smoke out her mouth and nose. If you love seeing girls deep throat cock and think it's sexy when they smoke!See more Smoking Hot Diablos pictures here
Sexy Smoker White Cigarettes PicturesSmoke City contains beautiful smoking fetish models tightly clothed in panties sexy white and black stockings, spandex bikinis, pantyhose, nice lingerie, tight clothes like spandex catsuits, sexy jeans, short skirts, long dresses, hot pants as well as topless and complete nude women with big tits, sexy tiny tits or perfect breasts. Members have access to real hardcore smoking sex sets and blowjob smoking porn videos also including our models masturbating with their cigarettes. We regularly update our members area with customer requests. Smoke City has been operating since 8 years and we are delighted and proud to still have so many of our original members. In the members area you will find lots of different models who update their own sites which is all inclusive with your personal members acess. This site featuring various smoking styles like single , lesbian smoking, hot sex, blowjobs, great in- and exhaling the smoke, dangles, deep drags, snaps, multiple drags, rings, open mouth dangles, nose and combined exhales, foot , hand ashing, dominated smoking, girls smoking cigars, pussy smoking, masturbating and all other thinkable styles. Our smoking models enjoy all kinds of smokes including all whites, black,coloured, marlboro's, 100's, 120's, long browns as well as multiples, holders and cigars. Come and check them out smoking and playing, toy won't be disappointed. We working with the hot european models in various ages (18+). Each set has a large collection of the very finest smoking photos and our members area contains hundreds of galleries and all clips are fully downloadable so NO STREAMING here unlike other sites with several updates a week. Over the past years our members area is increased to enormous size with total about 200GB of content. We have regular smoking model, girl to girl and boy - girl content as well as exclusive candid smokers filmed and shooted at streets, parties and beaches.See more Smoke City pictures here
Smokin Hottie White Cigarettes
Hey guys, it's Anna. Thanks for stopping by my smoking fetish site! I started smoking when I was 17 and I figured since I have a site already, I might as well share my smoking experience with you guys who want to watch. I started this site basically when I just started smoking! You guys get to watch me learn how to inhale, so it's pretty cool. Since then I have a ton of pics in over 100 galleries. I usually smoke almost a pack a day, and my favorite cigarette is of course after sex I update the site every week with something new, video or picture gallery. If you have a smoking fetish, you'll definitely enjoy my site. Or, if you just want to see more pics of me So cum have a cigarette with me inside. You're allowed to smoke in here See more Smokin Hottie pictures here
Michelle Heat Burning Down The Heat Smoking DevilMichelle doesn't like to smoke cigarettes; she says they are for girls. She likes to smoke blunts. Watch as Michelle Heat sucks smoke out of the blunt then sucks on a hard cock. This sexy Latina knows how to make smoking blunts look sexy. She puts the hard cock in her mouth then exhales the smoke out of her nose and mouth. She lets smoke escape her mouth as it goes up around his cock and into the camera all while staring right into your eyes.See more Smoking Hot Diablos pictures here
Hottie Smoking Girl PicturesSmoke City contains beautiful smoking fetish models tightly clothed in panties sexy white and black stockings, spandex bikinis, pantyhose, nice lingerie, tight clothes like spandex catsuits, sexy jeans, short skirts, long dresses, hot pants as well as topless and complete nude women with big tits, sexy tiny tits or perfect breasts. Members have access to real hardcore smoking sex sets and blowjob smoking porn videos also including our models masturbating with their cigarettes. We regularly update our members area with customer requests. Smoke City has been operating since 8 years and we are delighted and proud to still have so many of our original members. In the members area you will find lots of different models who update their own sites which is all inclusive with your personal members acess. This site featuring various smoking styles like single , lesbian smoking, hot sex, blowjobs, great in- and exhaling the smoke, dangles, deep drags, snaps, multiple drags, rings, open mouth dangles, nose and combined exhales, foot , hand ashing, dominated smoking, girls smoking cigars, pussy smoking, masturbating and all other thinkable styles. Our smoking models enjoy all kinds of smokes including all whites, black,coloured, marlboro's, 100's, 120's, long browns as well as multiples, holders and cigars. Come and check them out smoking and playing, toy won't be disappointed. We working with the hot european models in various ages (18+). Each set has a large collection of the very finest smoking photos and our members area contains hundreds of galleries and all clips are fully downloadable so NO STREAMING here unlike other sites with several updates a week. Over the past years our members area is increased to enormous size with total about 200GB of content. We have regular smoking model, girl to girl and boy - girl content as well as exclusive candid smokers filmed and shooted at streets, parties and beaches.See more Smoke City pictures here
Yummy Smoking Hottie Nude
Hey guys, it's Anna. Thanks for stopping by my smoking fetish site! I started smoking when I was 17 and I figured since I have a site already, I might as well share my smoking experience with you guys who want to watch. I started this site basically when I just started smoking! You guys get to watch me learn how to inhale, so it's pretty cool. Since then I have a ton of pics in over 100 galleries. I usually smoke almost a pack a day, and my favorite cigarette is of course after sex I update the site every week with something new, video or picture gallery. If you have a smoking fetish, you'll definitely enjoy my site. Or, if you just want to see more pics of me So cum have a cigarette with me inside. You're allowed to smoke in here See more Smokin Hottie pictures here
Smoking Girl Rio A Smoke-A-HolicToday we meet a true smoke-a-holic, Rio Nash is a bad ass and has been smoking since the age of 13. She explains to us that her older boyfriend got her into smoking at a young age and has yet to quit. Rio tell us about a fetish she has, "i want a hard dick in my mouth as i smoke", she tells the camera. We are glad to fulfill her fantasy providing her with a nice hookah to smoke and a hard cock for her to exhale on....See more Smoking Hot Diablos pictures here
Girl In Hotpants Like To SmokeWe offer 100% exclusive high quality smoking fetish photo and video content shot in private photo studio. Our smoking shots contain natural amateur girls, who are really fond of smoking. The given sexy tousled smoking girls are very hot and exciting - they will make you crazy with theirs young nude bodies while they are poofing the smoke right in the camera. They make deep inhales of grey smoke and hot exhales to have the real unlimited pleasure of smoking process. 'Smoking Bitch' puts big attention on making real smoking fetish photo and video - you'll see clearly all smoking details: visible smoke, deep inhales, exhale, a lot of cigarettes, ash-trays, cigars, hookahs and much more.All content is displayed in high quality (photos in 1536*1024 resolution, video is 640x480 DivX - 1.5Mbit/sec and HDV 1440*1080 - 4.0Mbit/sec). All photos are taken from digital photo camera and divided into sets, each set is approximately 100 consecutive selected photos. We don't display similar or broken photos, and photos captured from video. Our professional photographers work only with amateur models and tries to do something new with each site update. The shooting is made from different angels and let you have the best view of created mixture of hot smoke, sexy dressed girls and perfect nude bodies. Our girls are smoking cigarettes white, brown and long 120's, some of them prefer cigars or hookah. They are not only put the cigarettes close to the lips, but make real deep inhales getting the smoke inside and then poof the smoke out of theirs sexy mouths. 'Smoking Bitch' is proud to be the SMOKING FETISH ONLY site - 100% of content is related with smoking fetish.See more Smoking Bitch pictures here
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Hey guys, it's Anna. Thanks for stopping by my smoking fetish site! I started smoking when I was 17 and I figured since I have a site already, I might as well share my smoking experience with you guys who want to watch. I started this site basically when I just started smoking! You guys get to watch me learn how to inhale, so it's pretty cool. Since then I have a ton of pics in over 100 galleries. I usually smoke almost a pack a day, and my favorite cigarette is of course after sex I update the site every week with something new, video or picture gallery. If you have a smoking fetish, you'll definitely enjoy my site. Or, if you just want to see more pics of me So cum have a cigarette with me inside. You're allowed to smoke in here See more Smokin Hottie pictures here
Vyxen Steel shows us how a French Canadian broad smokes a HookahWe had a special visitor from our neighbors to the north. Vyxen Steel is a product of Canada. She tells us she started smoking when she was 14; she used to take cigarettes from her mom to smoke with the cool kids at school. Vyxen couldn't wait till she grew up, and had her own house, so she can fuck and smoke at the same time...See more Smoking Hot Diablos pictures here
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Cute Teen Smoking PicturesSmoke City contains beautiful smoking fetish models tightly clothed in panties sexy white and black stockings, spandex bikinis, pantyhose, nice lingerie, tight clothes like spandex catsuits, sexy jeans, short skirts, long dresses, hot pants as well as topless and complete nude women with big tits, sexy tiny tits or perfect breasts. Members have access to real hardcore smoking sex sets and blowjob smoking porn videos also including our models masturbating with their cigarettes. We regularly update our members area with customer requests. Smoke City has been operating since 8 years and we are delighted and proud to still have so many of our original members. In the members area you will find lots of different models who update their own sites which is all inclusive with your personal members acess. This site featuring various smoking styles like single , lesbian smoking, hot sex, blowjobs, great in- and exhaling the smoke, dangles, deep drags, snaps, multiple drags, rings, open mouth dangles, nose and combined exhales, foot , hand ashing, dominated smoking, girls smoking cigars, pussy smoking, masturbating and all other thinkable styles. Our smoking models enjoy all kinds of smokes including all whites, black,coloured, marlboro's, 100's, 120's, long browns as well as multiples, holders and cigars. Come and check them out smoking and playing, toy won't be disappointed. We working with the hot european models in various ages (18+). Each set has a large collection of the very finest smoking photos and our members area contains hundreds of galleries and all clips are fully downloadable so NO STREAMING here unlike other sites with several updates a week. Over the past years our members area is increased to enormous size with total about 200GB of content. We have regular smoking model, girl to girl and boy - girl content as well as exclusive candid smokers filmed and shooted at streets, parties and beaches.See more Smoke City pictures here
Nude Smokin Hottie Bathing In Pool
Hey guys, it's Anna. Thanks for stopping by my smoking fetish site! I started smoking when I was 17 and I figured since I have a site already, I might as well share my smoking experience with you guys who want to watch. I started this site basically when I just started smoking! You guys get to watch me learn how to inhale, so it's pretty cool. Since then I have a ton of pics in over 100 galleries. I usually smoke almost a pack a day, and my favorite cigarette is of course after sex I update the site every week with something new, video or picture gallery. If you have a smoking fetish, you'll definitely enjoy my site. Or, if you just want to see more pics of me So cum have a cigarette with me inside. You're allowed to smoke in here See more Smokin Hottie pictures here
Hookah Smoking With Hayley HanesHayley is a southern bell that loves to smoke. She told us she has been smoking since the age of 14 when she would steal cigarettes out of her mom's purse. Today we let her suck on our brand new Hookah fresh from the local head shop. Hayley was no newbie to the hookah and instantly got it burning and pumping smoke. After sucking on it for a good minute we introduce her to AL-B and his cock & balls.See more Smoking Hot Diablos pictures here
Kelly Fox BIG Cigar BIG Rubber CockOur aim is to bring you the sexiest smoking fetish babes for your erotic pleasure! At SmokingHeaven we share your kink, we love to see a hot lady taking a long slow drag of a cigarette and exhale the creamy white smoke over a large erect cock, as she gives it a smoky bj, or a busty beauty sucking her all white cig doing sensual french inhales as she masturbates with a sex toy. We understand how much of a turn on it is to watch horny women smoking a cigar wearing a big strapon wanking her way to orgasm....See more Smoking Heaven Preview here | {'pile_set_name': 'Pile-CC'} |
1. FIELD OF THE INVENTION
The invention relates to signalling circuit failure when the variable sensed generates its minimum signal in its normal range. More specifically, in a level detection circuit responding to radiation, the invention relates to low-level detection and signal of circuit failure during the period of normal level.
2. DESCRIPTION OF THE PRIOR ART
Circuits which actuate a relay when responding to a specified condition have several problems in providing a fail-safe mode of operation. It is well to consider level detection as an example. Further, those level detection circuits built to utilize radiation give a more specific example.
The more simple of the examples is that where a source of radiation is directed across a container of liquid in line with a detector of the radiation. When the level of the liquid lowers to where the radiation passes above the body of the liquid and is received at the detector, the circuit of the detector is activated to throw a relay in signal of the low level. Simple.
The problem of the prior art is that with the normal mode of operation, when the level is above the line of sight between the source and detector, the detector circuit is passive. The circuit is receiving the minimum normal input, or no input. Then the question descends. How is a failure of the circuit signalled?The circuit is passive during the normal level of the liquid. How are we to tell when it fails during this period? The prior art had no answer I was able to find. | {'pile_set_name': 'USPTO Backgrounds'} |
5 - 272772*z/5 + 3100190166/5.
6*(z - 22731)**2/5
Factor -2*a**2/13 + 7772*a/13 - 918416/13.
-2*(a - 3764)*(a - 122)/13
Solve 2*p**2/19 - 113284*p/19 + 226560/19 = 0 for p.
2, 56640
Find i such that -3*i**3 + 198030*i**2 + 792183*i - 990210 = 0.
-5, 1, 66014
Factor -2*p**2/15 - 287036*p/15 - 10298708162/15.
-2*(p + 71759)**2/15
Factor 3*l**5/5 + 1323*l**4/5 + 7626*l**3.
3*l**3*(l + 31)*(l + 410)/5
Suppose -24*t**5 + 292*t**4 + 15648*t**3 + 27816*t**2 + 9976*t - 2508 = 0. What is t?
-19, -1, 1/6, 33
Factor d**5/3 - 76*d**4/3 + 518*d**3 - 4216*d**2/3 + 4069*d/3 - 444.
(d - 37)*(d - 36)*(d - 1)**3/3
Solve 16*q**4/3 + 856*q**3/3 + 4883*q**2 + 68401*q/3 - 202502/3 = 0 for q.
-19, -73/4, 2
Factor -5*i**2 + 79420*i.
-5*i*(i - 15884)
Determine n so that -3*n**2 + 4162944*n - 1444175228928 = 0.
693824
Factor 3*r**2 - 143100*r - 143103.
3*(r - 47701)*(r + 1)
Determine i so that 2*i**3 - 14312*i**2 - 2*i + 14312 = 0.
-1, 1, 7156
Suppose -2*q**5 + 156*q**4 - 2670*q**3 + 16180*q**2 - 24768*q - 43776 = 0. What is q?
-1, 6, 8, 57
Let -48*i**5 - 13072*i**4 - 43068*i**3 - 7464*i**2 + 18316*i + 6456 = 0. Calculate i.
-269, -3, -1/2, 2/3
Factor -126*l**3/17 - 7316*l**2/17 - 464*l/17.
-2*l*(l + 58)*(63*l + 4)/17
Factor 2*n**4/23 + 676*n**3/23 + 6610*n**2/23 + 16400*n/23.
2*n*(n + 5)**2*(n + 328)/23
Find g such that 5*g**2/2 + 195*g/2 - 55675 = 0.
-170, 131
Factor -t**4/4 + 191*t**3/4 - 140*t**2 - 188*t.
-t*(t - 188)*(t - 4)*(t + 1)/4
What is t in -10*t**5/3 - 454*t**4/3 + 6692*t**3 - 53460*t**2 - 26550*t + 33750 = 0?
-75, -1, 3/5, 15
Find c such that -2*c**3 - 1224*c**2 - 7290*c - 10908 = 0.
-606, -3
Determine n, given that 3*n**5/2 + 1218*n**4 - 14697*n**3/2 + 11043*n**2 = 0.
-818, 0, 3
Suppose -3*f**2 - 50529*f - 151560 = 0. Calculate f.
-16840, -3
Let f**3/7 + 169*f**2/7 + 2476*f/7 + 612 = 0. What is f?
-153, -14, -2
Factor 4*x**3 - 1008*x**2 + 8604*x + 34992.
4*(x - 243)*(x - 12)*(x + 3)
Suppose 2*g**4/11 - 388*g**3/11 - 12982*g**2/11 + 3084600*g/11 + 126405000/11 = 0. What is g?
-53, 150
Find p, given that 3*p**4 - 21249*p**3 + 37616040*p**2 + 37637292*p = 0.
-1, 0, 3542
Determine n so that -3*n**4/5 + 58*n**3/5 + 1092*n**2/5 - 31752*n/5 + 186592/5 = 0.
-68/3, 14
Factor t**4/4 + 333*t**3/2 - 2675*t**2/4 + 837*t - 335.
(t - 2)*(t - 1)**2*(t + 670)/4
Find k, given that -k**3/2 + 437*k**2/2 + 2649*k/2 + 3987/2 = 0.
-3, 443
Factor 52*a**2 + 1324*a + 1272.
4*(a + 1)*(13*a + 318)
Determine z so that -z**2/3 - 541*z/3 - 180 = 0.
-540, -1
Solve -l**5 + 42*l**4 - 608*l**3 + 2882*l**2 + 6897*l - 69212 = 0 for l.
-4, 11, 13
What is c in 2*c**2 - 4780*c + 122928 = 0?
26, 2364
Find u such that -u**4/8 - 1237*u**3/8 - 409955*u**2/8 - 16639175*u/8 = 0.
-595, -47, 0
Solve 3*x**2 - 965839*x - 643894 = 0.
-2/3, 321947
Solve 4*p**2/5 + 285008*p/5 + 114000 = 0.
-71250, -2
Suppose -2*r**2/9 - 23428*r/9 - 68608898/9 = 0. What is r?
-5857
Factor 3*m**4/7 - 4656*m**3/7.
3*m**3*(m - 1552)/7
Solve 5*y**3/4 + 965*y**2/2 - 32245*y/4 - 17085/2 = 0.
-402, -1, 17
Let o**4 + 686*o**3 + 13319*o**2 - 686*o - 13320 = 0. What is o?
-666, -20, -1, 1
Factor -3*g**3 + 1497*g**2 + 51180*g - 108324.
-3*(g - 531)*(g - 2)*(g + 34)
Find n such that -2*n**4/7 + 88*n**3/7 - 1128*n**2/7 + 1728*n/7 + 31104/7 = 0.
-4, 12, 18
Let -j**3/3 + 7*j**2/3 + 521*j/3 + 171 = 0. Calculate j.
-19, -1, 27
Let -5*g**2 + 865*g + 45150 = 0. What is g?
-42, 215
Find q such that -q**4/6 + 71*q**2/6 + 45*q + 100/3 = 0.
-5, -4, -1, 10
Factor -4*t**4/3 - 7288*t**3/3 - 3469204*t**2/3 - 45404240*t - 465754800.
-4*(t + 21)**2*(t + 890)**2/3
Factor 540*p**3 + 205*p**2 - 540*p - 205.
5*(p - 1)*(p + 1)*(108*p + 41)
Factor 3*j**4/8 - 2559*j**3/8 + 79323*j**2 - 9051507*j/2.
3*j*(j - 386)**2*(j - 81)/8
Determine w so that 3*w**3 - 3138*w**2 - 28515*w + 31650 = 0.
-10, 1, 1055
Find c such that 3*c**5 + 81*c**4 - 2577*c**3 + 11151*c**2 - 12690*c = 0.
-47, 0, 2, 3, 15
Suppose -2*c**2/13 - 5002100*c/13 - 3127625551250/13 = 0. What is c?
-1250525
Factor -7*l**4 + 243*l**3 - 2057*l**2 + 3933*l.
-l*(l - 23)*(l - 9)*(7*l - 19)
Suppose -3*g**5 - 78*g**4 + 732*g**3 + 5118*g**2 + 3735*g - 9504 = 0. What is g?
-32, -3, 1, 11
Determine m so that 5*m**2 - 26880*m + 3179275 = 0.
121, 5255
Suppose -1839267*j**2/2 + 75168*j - 1536 = 0. Calculate j.
32/783
Suppose -d**3 + 10*d**2 + 1103*d + 1092 = 0. What is d?
-28, -1, 39
Factor 312050*p**2/7 - 12640*p/7 + 128/7.
2*(395*p - 8)**2/7
Factor -3*s**2 - 1964364*s - 321560493708.
-3*(s + 327394)**2
Factor -3*o**2 - 76770*o + 153552.
-3*(o - 2)*(o + 25592)
Solve -7*w**4/2 - 1534*w**3 - 178518*w**2 - 6278080*w - 1779200 = 0.
-278, -80, -2/7
Solve m**5 - 1375*m**4 + 4110*m**3 + 8260*m**2 - 38440*m + 32928 = 0.
-3, 2, 1372
What is d in 5*d**3/4 - 59395*d**2/4 + 44089650*d + 44104500 = 0?
-1, 5940
Suppose -2*d**2 - 25202*d - 50396 = 0. Calculate d.
-12599, -2
Let -3*h**5/7 - 524*h**4/7 - 24565*h**3/7 - 147356*h**2/7 - 37776*h - 20160 = 0. Calculate h.
-84, -4, -5/3, -1
Suppose -j**2/3 + 87038*j/3 - 1893903361/3 = 0. Calculate j.
43519
Solve -46*o**3/5 + 454*o**2/5 - 1424*o/5 + 1376/5 = 0 for o.
43/23, 4
Let -5*h**3 - 1815*h**2 + 47730*h - 298760 = 0. What is h?
-388, 11, 14
Factor 3*y**2 + 7641*y + 15270.
3*(y + 2)*(y + 2545)
Factor -32*s**2 - 7092*s.
-4*s*(8*s + 1773)
Suppose 69*k**2/10 - 1247*k/10 + 9 = 0. What is k?
5/69, 18
Factor 2*r**4/3 + 589*r**3/3 - 593*r**2 + 1783*r/3 - 595/3.
(r - 1)**3*(2*r + 595)/3
Factor -2*z**2 - 63162*z - 189468.
-2*(z + 3)*(z + 31578)
Factor -2*m**4/7 + 2316*m**3/7 - 859034*m**2/7 + 15595944*m - 634854584.
-2*(m - 481)**2*(m - 98)**2/7
Find h such that -2*h**4/3 - 452*h**3 + 45208*h**2/3 - 54832*h + 159040/3 = 0.
-710, 2, 28
Factor 3*q**2 - 2127*q + 4242.
3*(q - 707)*(q - 2)
Factor 15*o**2 + 205*o.
5*o*(3*o + 41)
Factor -3*c**2 - 3606*c - 10791.
-3*(c + 3)*(c + 1199)
Determine x, given that -6*x**4 - 232*x**3 + 3922*x**2 - 12572*x - 10192 = 0.
-52, -2/3, 7
Find w, given that 2*w**5/13 + 204*w**4/13 + 1390*w**3/13 - 10516*w**2/13 + 18696*w/13 - 752 = 0.
-94, -13, 1, 2
Suppose 5*q**2 + 760*q - 765 = 0. Calculate q.
-153, 1
Factor 98*u**5/13 - 16618*u**4/13 + 679190*u**3/13 + 2138258*u**2/13 + 2171984*u/13 + 729632/13.
2*(u + 1)**3*(7*u - 604)**2/13
Find k such that -k**2/3 - 13459*k = 0.
-40377, 0
Suppose -111*f**2/2 - 557*f/2 - 5 = 0. Calculate f.
-5, -2/111
Determine b, given that -51*b**4 + 1121*b**3/2 + 13883*b**2/2 + 15572*b + 152 = 0.
-4, -1/102, 19
Factor 484*o**3 - 27060*o**2 + 75648*o - 54272.
4*(o - 53)*(11*o - 16)**2
What is q in q**5 - 66*q**4 + 960*q**3 - 4718*q**2 + 5055*q + 10800 = 0?
-1, 5, 9, 48
Factor -2*q**2/11 + 889412*q/11 - 98881713218/11.
-2*(q - 222353)**2/11
Factor 3*c**4/7 - 228*c**3/7 + 207*c**2.
3*c**2*(c - 69)*(c - 7)/7
Factor 4*w**3/7 - 288*w**2/7 + 1556*w/7 + 264.
4*(w - 66)*(w - 7)*(w + 1)/7
Factor r**2/2 - 151*r/2 - 76.
(r - 152)*(r + 1)/2
Suppose -f**2/6 - 3835*f/6 + 1918/3 = 0. What is f?
-3836, 1
Determine k, given that -5*k**2 + 68625*k - 137230 = 0.
2, 13723
Factor -2*q**2/3 + 840*q - 2514.
-2*(q - 1257)*(q - 3)/3
Factor 206116*t**3 + 144372*t**2 - 57120*t + 4624.
4*(t + 1)*(227*t - 34)**2
Factor -2*c**2/9 - 37108*c/9 - 24736/3.
-2*(c + 2)*(c + 18552)/9
Let 2*f**5/11 - 1466*f**4/11 + 282228*f**3/11 - 4984596*f**2/11 + 25350570*f/11 - 20646738/11 = 0. Calculate f.
1, 9, 357
Factor t**4 - 17955*t**3 - 359400*t**2 - 1797500*t.
t*(t - 17975)*(t + 10)**2
Let -4*x**2 + 60*x + 175336 = 0. What is x?
-202, 217
Solve 5*s**4 + 406550*s**3 + 8262518685*s**2 - 66126171240*s = 0.
-40659, 0, 8
Find k such that -k**2 - 13422*k - 45037521 = 0.
-6711
Let 2*c**3/7 + 520*c**2/7 - 4288*c/7 = 0. What is c?
-268, 0, 8
Determine j so that 84*j**5 - 27632*j**4 + 2312888*j**3 - 6668736*j**2 + 6508916*j - 2125520 = 0.
20/21, 1, 163
Determine m so that -4*m**5 + 1421*m**4 - 52503*m**3 + 566545*m**2 - 1048097*m + 227430 = 0.
1/4, 2, 19, 315
Let n**3/2 - 11*n**2 - 883*n/2 - 430 = 0. Calculate n.
-20, -1, 43
Factor -5*s**4 - 74255*s**3 + 445650*s**2 - 891380*s + 594280.
-5*(s - 2)**3*(s + 14857)
Factor -g**4/9 + 4940*g**3/3 - 54922918*g**2/9 + 36600460*g/3 - 54893281/9.
-(g - 7409)**2*(g - 1)**2/9
Factor b**2/8 - 33337*b/2 + 1111355569/2.
(b - 66674)**2/8
Factor -2*q**3 - 8030*q**2 - 8088144*q - 56224224.
-2*(q + 7)*(q + 2004)**2
Factor -4*m**2 - 432168*m - 11673073764 | {'pile_set_name': 'DM Mathematics'} |
Shijo-Omiya Station
is a tram stop in Shimogyo-ku, Kyoto, Japan. The station is the eastern terminus of the Randen Arashiyama Line, which continues west through Ukyo-ku, and terminates at .
Station layout The station consists of two double-bay platforms at ground level, with a concourse. Both service trams heading to .
Adjacent stations
References
External links
Category:Stations of Keifuku Electric Railroad
Category:Railway stations opened in 1910
Category:1910 establishments in Japan | {'pile_set_name': 'Wikipedia (en)'} |
Katy Goodman's La Sera put out a solid record previously. Hour of the Dawn, was a cool blast of garage pop-punk that had these wonderful explosions of guitar grunge flourishes all over the place. This album rambled along nicely throughout. The Vivian Girls never put out anything this interesting and coming from the bass player and all, it was a nice progression for Katy.
Speed ahead to Music for Listening to Music to and Katy has married the guitarist, collaborated with him on the songs, recruited Ryan Adams to spend a week producing, and what do you get? A spare, alt-country collection of unmemorable songs that do indeed equal music to listen to music to.
It's not to say Katy's new album is a collection of bad songs, but the alt-country genre is a tough one and her nasally, rather flat voice, combined with the instantly forgettable alt-country ramble of the songs, and the fact that Ryan Adams is an over-rated Jeff Tweedy wannabe, well, she's not Jenny Lewis, her husband's faux-Bob Dylan duets aren't exactly Conor Oberst and Gillian Welch, and yes, I don't care for this album.
I love Lucinda though. I'd marry her in a parallel universe. | {'timestamp': '2019-04-23T19:06:36Z', 'url': 'https://soundblab.com/reviews/albums/9047-la-sera-music-for-listening-to-music-to', 'language': 'en', 'source': 'c4'} |
Aerocom
Aerocom was an airline based in Chisinau, Moldova. It was suspected to be involved in illegal weapons trade, which ultimately led to the airline being shut down in 2004.
History
Aerocom was founded in 1998 and operated chartered passenger and cargo services out of Chisinau International Airport.
In 2004 the United Kingdom Department for International Development was criticised for having hired Aerocom to fly humanitarian aid missions to Morocco following the earthquake there, because in a 2003 United Nations report Aerocom was accused of breaking international sanctions by having transporting huge quantities of arms to Liberia in 2002. Subsequently, special permission from the United Kingdom Civil Aviation Authority was needed to allow Aerocom's Moldova-registered Ilyushin Il-76 aircraft to land in Britain, including an exemption from noise restrictions.
Also in 2004, the Air Operator's Certificate of Aerocom was revoked, possibly due to connections between the airline and suspected weapons smuggler Viktor Bout. Nevertheless, the airline flew 99 tonnes of small arms out of a United States air base at Tuzla, Bosnia and Herzegovina later that year, before finally being shut down.
Fleet
The Aerocom fleet consisted of the following aircraft:
1 Antonov An-12
3 Antonov An-24RV
1 Antonov An-26
External links
Connected: Aerocom, Jet Line and Air Mero
Doug Farah on Aerocom
References
Category:Defunct airlines of Moldova
Category:Airlines established in 1998
Category:Airlines disestablished in 2004
Category:Cargo airlines of Moldova | {'pile_set_name': 'Wikipedia (en)'} |
Ranking Websites in Real-time with Apache Kafka's Streams API
Hunter Kelly October 19, 2017
This article is by Hunter Kelly, Technical Architect at Zalando. Hunter enjoys using technology, and in particular machine learning, to solve difficult problems. He's a graduate of the University of California at Berkeley. Before joining Zalando in 2015, he spent years in the trenches working at companies such as Pixar and Google.
The Fashion Web
Zalando, Europe's largest online fashion retailer, cares deeply about fashion. Our mission statement is to "Reimagine fashion for the good of all." To reimagine something, first you need to understand it. The Dublin Fashion Insight Centre was created to understand the "Fashion Web"--what is happening in the fashion world beyond the borders of what's happening within Zalando's stores.
We continually gather data from fashion-related sites. We bootstrapped this process with a list of relevant sites from our fashion experts, but as we scale our coverage, and add support for multiple languages (spoken, not programming!), we need to know what are the next "best" sites.
Conceptual view of some top sites of the Fashion Web
Rather than relying on human knowledge and intuition, we needed an automated, data-driven methodology to do this. We settled on a modified version of Jon Kleinberg's HITS algorithm. HITS (Hyperlink Induced Topic Search) is also sometimes known as Hubs and Authorities, which are the main outputs of the algorithm. We use a modified version of the algorithm, where we flatten to the domain level (e.g., Vogue.com) rather than on the original per-document level (e.g, <URL>).
HITS in a Nutshell
The core concept in HITS is that of Hubs and Authorities. Basically, a Hub is an entity that points to lots of other "good" entities. An Authority is the complement; an entity pointed to by lots of other "good" entities. The entities here, for our purposes, are web sites represented by their domains such as Vogue.com or ELLE.com. Domains have both Hub and Authority scores, and they are separate (this turns out to be important, which we'll explain later).
These Hub and Authority scores are computed using an adjacency matrix. For every domain, we mark the other domains that it has links to. This is a directed graph, with the direction being who links to whom.
(Image courtesy of <URL>)
Once you have the adjacency matrix, you perform some straightforward matrix calculations to calculate a vector of Hub scores and a vector of Authority scores as follows:
Sum across the columns and normalize, this becomes your Hub vector
Multiply the Hub vector element-wise across the adjacency matrix
Sum down the rows and normalize, this becomes your Authority vector
Multiply the Authority vector element-wise down the the adjacency matrix
An important thing to note is that the algorithm is iterative: you perform the steps above until eventually you reach convergence--that is, the vectors stop changing--and you're done. For our purposes, we just pick a set number of iterations, execute them, and then accept the results from that point. We're mostly interested in the top entries, and those tend to stabilize pretty quickly.
So why not just use the raw counts from the adjacency matrix? The beauty of the HITS algorithm is that Hubs and Authorities are mutually supporting--the better the sites that something points at, the better a Hub it is; similarly, the better the sites that point to something, the better an Authority it is. That is why the iteration is necessary: it bubbles the good stuff up to the top.
(Technically, you don't have to iterate. There's some fancy matrix math you can do instead with calculating the eigenvectors. In practice, we found that when working with large, sparse matrices, the results didn't turn out the way we expected, so we stuck with the iterative, straightforward method.)
What about non-fashion domains? Don't they clog things up?
Yes, in fact, on the first run of the algorithm, sites like Facebook, Twitter, Instagram, et. al. were right up at the top of the list. Our Fashion Librarians then curated that list to get a nice list of fashion-relevant sites to work with.
Why not PageRank?
PageRank, when you're Google and have nearly complete information about the web, is great. We are not Google. We only have outgoing link data on the domains that are already in our working list. We need an algorithm that is robust in the face of partial information.
This is where the power of the separate Hub and Authority scores comes in. Given the information for our seeds, they become our list of Hubs. We can then calculate the Authorities, filter out our seeds, and have a ranked list of stuff we don't have. Voila! Problem solved, even in the face of partial knowledge.
But wait, you said Kafka Streams?
Kafka was already part of our solution, so it made sense to try to leverage that infrastructure and our experience using it. Here's some of the thinking behind why we chose to go with Apache Kafka's®️ Streams API to perform such real-time ranking of domains as described above:
It has all the primitives necessary for MapReduce-style computation: the "Map" step can be done with groupBy & groupByKey, the "Reduce" step can be done with reduce & aggregate.
Streaming allows us to have real-time, up-to-date data.
The focus stays on the data. We're not thinking about distributed computing machinery.
It fits in naturally with the functional style of the rest of our application.
You may wonder at this point, "Why not use MapReduce? And why not use tools like Apache Hadoop or Apache Spark that provide implementations of MapReduce?" Given that MapReduce was invented originally to solve this type of ranking problem, why not use it for the very similar type computation we have here? There are a few reasons we didn't go with it:
We're a small team, with no previous Hadoop experience, which rules Hadoop out.
While we do run Spark jobs occasionally in batch mode, it is a high infrastructure cost to run full-time if you're not using it for anything else.
Initial experience with Spark Streaming, snapshotting, and recovery didn't go smoothly.
For the rest of this article we are going to assume at least a basic familiarity with the Kafka Streams API and its two core abstractions, KStream and KTable. If not, there are plenty of tutorials, blog posts and examples available.
The real-time ranking is performed by a set of Scala components (groups of related functionality) that use the Kafka Streams API. We deploy them via containers in AWS, where they interact with our Kafka clusters. The Kafka Streams API allows us to run each component, or group of components, in a distributed fashion across multiple containers depending on our scalability needs.
At a conceptual level, there are three main components of the application. The first two, the Domain Link Extractor and the Domain Reducer, are deployed together in a single JVM. The third component, the HITS Calculator and its associated API front end, is deployed as a separate JVM. In the diagram below, the curved bounding boxes represent deployment units; the rectangles represent the components.
Data, in the form of s3 URLs to stored web documents, comes into the system on an input topic. The Domain Link Extractor loads the document, extracts the links, and outputs a mapping from domain to associated domains, for that document. We'll drill into this a little bit more below. At a high level, we use the flatMap KStream operation. We use flatMap rather than map to simplify the error handling--we're not overly concerned with errors, so for each document we either emit one new stream element on success, or zero if there is an error. Using flatMap makes that straightforward.
These mappings then go to the Domain Reducer, where we use groupByKey and reduce to create a KTable. The key is the domain, and the value in the table is the union of all the domains that the key domain has linked to, across all the documents in that domain. From the KTable, we use toStream to convert back to a KStream and from there to an output topic, which is log-compacted.
The final piece of the puzzle is the HITS Calculator. It reads in the updates to domains, keeps the mappings in a local cache, uses these mappings to create the adjacency matrix, then perform the actual HITS calculation using the process described above. The ranked Hubs and Authorities are then made available via a REST API.
The flexibility of Kafka's Streams API
Let's dive into the Domain Link Extractor for a second, not to focus on the implementation, but as a means of exploring the flexibility that Kafka Streams gives.
The current implementation of the Domain Link Extractor component is a function that calls four more-focused functions, tying everything together with a Scala for comprehension. This all happens in a KStream flatMap call. Interestingly enough, the monadic style of the for comprehension fits in very naturally with the flatMap KStream call.
One of the nice things about working with Kafka Streams is the flexibility that it gives us. For example, if we wanted to add information to the extracted external links, it is very straightforward to capture the intermediate output and further process that data, without interfering with the existing calculation (shown below).
For us, Apache Kafka is useful for much more than just collecting and sharing data in real-time--we use it to solve important problems in our business domain by building applications on top. Specifically, Kafka's Streams API enables us to build real-time Scala applications that are easy to implement, elastically scalable, and that fit well into our existing, AWS-based deployment setup.
The programming style fits in very naturally with our already existing functional approach, allowing us to quickly and easily tackle problems with a natural decomposition of the problem into flexible and scalable microservices.
Given that much of what we're doing is manipulating and transforming data, we get to stay close to the data. Kafka Streams doesn't force us to work at too abstract a level or distract us with unnecessary infrastructure concerns.
It's for these reasons we use Apache Kafka's Streams API in the Dublin Fashion Insight Centre as one of our go-to tools in building up our understanding of the Fashion Web.
Get started with the Kafka Streams API to build your own real-time applications and microservices.
Walk through our Confluent tutorial for the Kafka Streams API with Docker and play with our Confluent demo applications. | {'pred_label': '__label__cc', 'pred_label_prob': 0.711892306804657, 'wiki_prob': 0.288107693195343, 'source': 'cc/2020-05/en_middle_0049.json.gz/line342510'} |
Abdul Samad Alias
Tan Sri Abdul Samad bin Alias is one of the key figures that had contributed to the development of the accountancy profession in Malaysia. He recently completed his term as the Vice-President of the Malaysian Institute of Accountants and served as the 4th President in 2000 until 2005. He is the first Malaysian who served the International Federation of Accountants (IFAC) board from 2005 to 2007.
In addition to his involvement in the accountancy profession, Datuk Abdul Samad also serves a number of government links corporations in various capacities. Presently, he chairs the boards of Bank Pembangunan Malaysia Berhad, Malaysia Venture Capital Management Berhad and Malaysia Debt Ventures Berhad.
He was awarded with Panglima Jasa Negara by the Yang di-Pertuan Agong of Malaysia in 2003 and the ACCA Achievement Award 2006 for Asia by the Association of Chartered Certified Accountants (ACCA) in recognition for his contribution to the accountancy profession in Malaysia and the region.
Honours
Honours of Malaysia
: Commander of the Order of Meritorious Service (P.J.N.) (2003)
: Commander of the Order of Loyalty to the Crown of Malaysia (P.S.M.) (2011)
References
External links The official website of the Malaysian Institute of Accountants
Category:Malaysian accountants
Category:Living people
Category:Commanders of the Order of Loyalty to the Crown of Malaysia
Category:Commanders of the Order of Meritorious Service
Category:Year of birth missing (living people) | {'pile_set_name': 'Wikipedia (en)'} |
NEW DELHI: Strategic convergence was the buzzword during the first India-US '2+2' dialogue as the two sides signed important defence agreements breaking down historical barriers, committing New Delhi and Washington to work together on the open seas, critical technology, counter-terrorism and Indo-Pacific, even as trade and economic disputes remain unresolved.The tone for the talks was set by the special gesture of Sushma Swaraj and Nirmala Sitharaman receiving their respective counterparts Mike Pompeo and James Mattis at the airport Wednesday evening. As the discussions were underway, it was clear, according to sources, that neither side wanted to engage in a combative negotiation on a laundry list of issues. Sources said the four leaders set the broad direction, describing the talks as "positive and constructive". Both sides were willing to listen, "we didn't want to make an issue out of the issues." After the dialogue, Pompeo and Mattis called on the prime minister Narendra Modi, a meeting that went on for almost an hour.The most important takeaway was the signature of COMCASA, 'Communications, Compatibility, Security Agreement' which "will facilitate access to advanced defense systems and enable India to optimally utilize its existing U.S.-origin platforms" as a joint statement said. This "foundational" pact, long under negotiations, would help services of both countries to advance interoperability efforts, as the US becomes one of India's closest defence partners in the world. COMCASA comes into effect immediately, and is actually an enabling agreement, with terms that apply to all US-origin platforms that India has already bought or plans to buy, with distinct India-specific features -- no disruption in supplies, no sharing of data generated by this agreement and national security concerns to be respected.In the discussions on Iran sanctions, the US were clear that they would expect to see sharp reductions by India, but did not get into numbers. Swaraj insisted India was an energy-reliant economy. But it appears the two sides may get to a carve-out for Chahbahar port, which had existed in the previous sanctions legislation too. In a press conference later, Pompeo said they understood countries like India would "take time to unwind" and work with them. "We have told the Indians consistently that on November 4th the sanctions with respect to Iranian crude oil will be enforced, and that we will consider waivers where appropriate, but that it is our expectation that the purchases of Iranian crude oil will go to zero from every country, or sanctions will be imposed."Indian officials said they did not raise CAATSA and Russian sanctions during the 2+2 dialogue, but the Indians were assured by Mattis that "legacy platforms" would be respected. They clarified that new purchases and the S-400 falls within this, might come under sanctions. In his press conference, Pompeo said, "With respect to the S-400, no decision has been made. We are working to impose CAATSA Section 231 in a way that is appropriate and lawful and to exercise that waiver authority only where it makes sense."The joint statement "welcomed the inclusion of India by the United States among the top tier of countries entitled to license-free exports, re-exports, and transfers under License Exception Strategic Trade Authorization (STA-1) and also committed to explore other means to support further expansion in two-way trade in defense items and defense manufacturing supply chain linkages. They welcomed the signing of a Communications Compatibility and Security Agreement (COMCASA) that will facilitate access to advanced defense systems and enable India to optimally utilize its existing U.S.-origin platforms. The Ministers also announced their readiness to begin negotiations on an Industrial Security Annex (ISA) that would support closer defense industry cooperation and collaboration."As expected the 'Indo-Pacific' took up most of the time during the dialogue. In his opening remarks, Pompeo said, "India and the United States have a natural starting point for advancing a free and open Indo-Pacific. We should continue to ensure the freedom of the seas and the skies; uphold the peaceful resolution of territorial maritime disputes; promote market-based economics; support good governance, fundamental rights, and liberties; and prevent external economic coercion." The time taken on this issue signalled its importance for both countries as they aim to build a counter-narrative to China's aggressiveness in this region.Pompeo briefed the Indian side about his conversations with the new leadership in Pakistan . Sources present at the meeting said the US stressed there was no change in their South Asia strategy, though there were some "positive" indications from the new Pakistani leadership. The US said more action was needed on the ground by Pakistan. The new US special envoy, Zalmay Khalilzad accompanied Pompeo to Islamabad, but interestingly, did not come to Delhi, mindful of Indian concerns.Pompeo also reminded Indians that 10 years ago on this day, "intense" lobbying by the US had resulted in India getting a unique nuclear waiver by the Nuclear Suppliers Group. In her remarks, Swaraj asked the US to continue helping India to get membership into the NSG, hoping to keep up the momentum, even though its China that is blocking India's entry. She said, "The recent decision by the US to put India in the list of countries eligible for Strategic Trade Authorization Tier-I License Exemption reflects India's robust and responsible export control policies. we also agreed to work together to secure India's membership of the Nuclear Suppliers Group at the earliest." | {'pile_set_name': 'OpenWebText2'} |
Image copyright PA Image caption Andy Hill is charged with 11 counts of manslaughter
The pilot of a jet which crashed during the Shoreham Airshow has appeared in court charged with killing 11 men.
Andy Hill, 54, of Sandon, Hertfordshire was performing aerobatics when the Hawker Hunter jet crashed on the A27 in Sussex in August 2015.
Mr Hill appeared at Westminster Magistrates' Court charged with 11 counts of manslaughter and one count of endangering an aircraft.
He indicated he would be pleading not guilty.
Mr Hill was given bail and is due to appear at the Old Bailey on 17 May.
Image copyright PA Image caption The Hawker Hunter jet plummeted on to the A27 on 22 August 2015
Prosecutor Simon Ringrose confirmed the charges were brought following the fatal crash, which occurred when the vintage jet crashed into traffic on the dual carriageway while trying to execute a loop-the-loop manoeuvre.
Mr Hill was thrown clear of the plane.
He suffered "very serious injuries" as a result, Mr Ringrose said.
Image copyright BBC/Sussex Police/Facebook Image caption (Top row, left to right) Matt Jones, Matthew Grimstone, Jacob Schilt, Maurice Abrahams, Richard Smith. (Bottom row, left to right) Mark Reeves, Tony Brightwell, Mark Trussler, Daniele Polito, Dylan Archer, Graham Mallinson
The victims | {'pile_set_name': 'OpenWebText2'} |
VIETNAM BUSINESS INFORMATION
Hoa Lac Hi-tech Park promotes key products
(VEN) - The Hoa Lac Hi-tech Park has been engaging the interest of domestic and foreign technology giants, aiming to become a center of high-tech product chains in Vietnam.
Minister of Science and Technology Huynh Thanh Dat visits the Hoa Lac Hi-tech Park
Technology giants increase presence
Located in Hanoi's Thach That and Quoc Oai districts, the 1,586ha Hoa Lac Hi-tech Park includes eight functional areas - Education and Training Zone, Research and Development Area, Software Park, Hi-tech Industrial Park, Mixed Zone, Central Area, Recreation and Sports Zone, and Housing Area.
Tran Dac Trung, deputy head of the Hoa Lac Hi-tech Park Management Board, said the park has attracted 100 investment projects with total registered capital of about VND94.76 trillion, including 86 domestic projects (accounting for 86 percent of the total) and 14 foreign ones. Of the total, 33 projects are engaged in information technology and electronics, 19 in automation, 13 in new materials, nine in biotechnology, and 26 in technical and social infrastructure development.
Many leading domestic corporations have investment projects in the park, such as the Viettel Military Industry and Telecoms Group (Viettel) with five projects worth VND3.7 trillion, the Vingroup Joint Stock Company (Vingroup) with three projects worth VND9.02 trillion, the FPT Corporation with four projects worth VND5.43 trillion, and the Vietnam Posts and Telecommunications Group (VNPT) with two projects worth VND3.765 trillion. Large foreign companies also operate in the park, such as two projects of Japan's Nidec Group on research, development, production and sales of high-performance thermal modules, and development and production of brushless DC motors; and a Korean Hanwha Aerospace project manufacturing parts and components for aircraft engines and industrial turbine gas engines.
Some projects are supported by foreign governments and businesses, such as the Vietnam-Korea Institute of Science and Technology (V-KIST), the National Innovation Center (NIC), the Vietnam Space Center, the Vietnam-Japan University, and the Vietnam-France University, among others.
Strengthening linkages
Trung said the Hoa Lac Hi-tech Park has created jobs for 14,500 workers, with foreign workers accounting for less than one percent of the total. Many Vietnamese firms have been able to receive technology transfers from foreign organizations. In particular, businesses in the park have strengthened linkages to develop high-tech products. For example, the DT&C Vina Joint Stock Company, A&A Green Phoenix Group Joint Stock Company, Viettel and Vinsmart have formed a chain in electromagnetic compatibility (EMC) testing for electrical, electronic and ICT products. Most high-tech products produced in the Hoa Lac Hi-tech Park have high added value, replacing imports and joining the world market.
Investment projects in the park have focused on research and development activities, mastering and decoding technologies, and conducting experiments to create new high-tech products.
The Hoa Lac Hi-tech Park is now home to 9,500 students and 14,500 workers, more than half of them university graduates.
Quynh Nga
Source: VEN
Proptech set for strong growth in Vietnam
Many provinces and cities ask for 5G coverage
Paving the way for Vietnamese goods to reach the global market
Centralised IT zone to be set up in Can Tho
AI app helps push mask wearing on public transport
Vietnam, Russia should cooperate in IT development: insider
Tiki, Vietnam's Amazon equivalent, offers all things to all customers
GoStream receives second VinaCapital investment
Sacombank Mastercard cards get more protection features
Local social network Gapo launches working platform for businesses
VIETNAM INVESTMENT PROMOTION AND ASSOCIATES
Address: Room 605, 6th Floor, Toyota My Dinh Building
15 Pham Hung Street, Nam Tu Liem Dist, Hanoi, Vietnam
Telephone: +84-24-2238-9898 | +84-83-555-3388
Licence No.4455/GP-TTDT dated 22/12/2020
Responsibility for contents: Nguyen Dinh Nam
Ad Contact Price Lists
Online: 164 ©️ 2022 IPAVIETNAM. All rights reserved. | {'pred_label': '__label__cc', 'pred_label_prob': 0.6167316436767578, 'wiki_prob': 0.3832683563232422, 'source': 'cc/2023-06/en_middle_0085.json.gz/line1785020'} |
In the local Corvette car show circuit, Dixie Rose can be seen charming adults, dashing about with kids and schmoozing with contestants.
But to at least one neighbor living on her suburban Flower Mound Street, the diminutive, floppy-eared beagle is a menace.
Dixie has twice been ticketed for excessive barking by the Flower Mound Animal Services department, which was acting on anonymous complaints. A manager said the department has no choice but to investigate the complaints.
But the 4-year-old beagle's owners, David and Cheryl Deleranko, say overzealous officers are singling them out, based on what the couple believes are the harassments of a neighbor they've had run-ins with. The couple said they're taking their case to trial.
"We could pay the ticket, but we'll get a ticket every other week," said Mrs. Deleranko, a member with her husband in the Lone Star Corvette Club in Denton. "It's extremely frustrating. I feel that I'm a target."
Animal Services officers have parked outside the Delerankos' house numerous times, listening for barking. The first ticket was issued in April 2003. It was dismissed a year later under terms of a plea deal, court records show.
Animal Services manager Christina Howard said that when her department gets a complaint, her officers go to the address and listen for about five minutes. A few barks are not enough to warrant a warning or ticket, she said. The dog must be barking continuously for several minutes.
"We sit, we listen. If we don't hear anything, we leave," she said.
Tickets are not normally given out for first offenses, she said.
Ms. Howard said there is no set limit on how often officers may go to a house before determining whether a complaint is valid. She said complaints about the Delerankos' dog date back to 2001. Since that time, 18 complaints have been called in, she said.
"We will continue to go out there as long as we keep getting complaints," she said.
The December Corvette club newsletter said Dixie "provides entertainment running around some of the shows" and "helps bring in the 'cute' votes." But back home, the normally hyper hound is indoors for most of the day and is forced to wear a special collar while outside that emits an electric shock whenever she barks.
Still, that didn't prevent the family from being cited a second time in October.
The Delerankos said an Animal Services officer had been staking them out for days, waiting 10 different times in front of their house on Rose Bluff Terrace to catch Dixie barking. When she went outside late one afternoon, Dixie began barking at a squirrel or bird. Daughter Lori, 14, said she got Dixie back indoors after chasing her and bribing her with food.
It wasn't soon enough.
"She just literally sat out there and waited for this dog to bark," Mr. Deleranko said about the officer. " Our dog was just let out to go to the bathroom."
Ms. Howard said her officer heard Dixie barking the entire time she was there.
Beagles were bred as hunting dogs. Dixie loves to chase and bark at squirrels and birds in the family's back yard, Mrs. Deleranko said. The dog also howls from time to time. But Mrs. Deleranko said other dogs on the street also bark.
"The only one they're targeting is Dixie," she said. "She's the one suffering." Christy Bennett, who has lived next door to the Delerankos off Morriss Road, south of FM1171, for about four years, said Dixie is a good neighbor.
"It's a little bitty thing. She's never bothered us," Ms. Bennett said. "I'm home often, and
I never hear that dog."
The couple suspects a disgruntled neighbor has been calling in the complaints as payback for the Delerankos' earlier complaint against him on an unrelated matter.
No date has been set for trial. The couple has hired a lawyer but say their dispute is not with the $137 ticket, a Class C misdemeanor.
"They've been trying to catch this dog barking for months," said Mr. Deleranko, 51, a federal contracting agent. "It's unconscionable that they've held our dog to this standard and not others. It's an abuse of authority."
How much do you know about dogs?
Apparently, without any awareness of how their behavior is impacting their dog, the owners are doing something that is sure to increase the animal's rate of barking. The tip-off is there in the news article. Now that you've read the story, can you figure out what it is they are doing that is increasing their dog's frequency of barking? Click here for the answer. | {'pile_set_name': 'Pile-CC'} |
Q:
Why does this conditional operator evaluate to int?
I stumbled across a strange (for me) behavior. Here is my code:
struct A {
operator unsigned long long() const { return 1ull << 32; }
};
A a1;
unsigned long long a2 = 1ull << 32;
bool b = rand() % 2;
auto c1 = b ? a1 : 0;
auto c2 = b ? a2 : 0;
Why is c1 of type int and not unsigned long long like c2? And why is there no conversion warning generated (VC++)?
It took me a day to figure out what's wrong with my application.
A:
This seems compliant with the C++ standard.
C++17 standard
From the C++17 draft standard, section 8.16:
If either the second or the third operand has type void, [...]
Otherwise, if the second and third operand are glvalue bit-fields of the same value category, [...]
Otherwise, if the second and third operand have different types and either has (possibly cv-qualified) class type, [...] an attempt is made to form an implicit conversion sequence (16.3.3.1) from each of those operands to the type of the other. [...] Attempts are made to form an implicit conversion sequence from an operand expression E1 of type T1 to a target type related to the type T2 of the operand expression E2 as follows
If E2 is an lvalue, the target type is "lvalue reference to T2", subject to the constraint that in the conversion the reference must bind directly to an lvalue
If E2 is an xvalue, [...]
If E2 is a prvalue or if neither of the conversion sequences above can be formed and at least one of the operands has (possibly cv-qualified) class type
If T1 and T2 are the same class type (ignoring cv-qualification), [...]
otherwise, the target type is the type that E2 would have after applying the lvalue-to-rvalue,array-to-pointer, and function-to-pointer standard conversions.
Using this process, it is determined whether an implicit conversion sequence can be formed from the second operand to the target type determined for the third operand, and vice versa. If both sequences can be formed, or one can be formed but it is the ambiguous conversion sequence, the program is ill-formed. If no conversion sequence can be formed, the operands are left unchanged and further checking is performed as described below. Otherwise, if exactly one conversion sequence can be formed, that conversion is applied to the chosen operand and the converted operand is used in place of the original operand for the remainder of this section.
If the second and third operands are glvalues of the same value category and have the same type, [...]
Otherwise, the result is a prvalue. If the second and third operands do not have the same type, and either has (possibly cv-qualified) class type, [...]
Lvalue-to-rvalue (7.1), array-to-pointer (7.2), and function-to-pointer (7.3) standard conversions are performed on the second and third operands. After those conversions, one of the following shall hold:
The second and third operands have the same type; [...]
The second and third operands have arithmetic or enumeration type; the usual arithmetic conversions are performed to bring them to a common type, and the result is of that type
[...]
First case:
A a1;
auto c1 = b ? a1 : 0;
0 is an prvalue of type int
a1 is an lvalue of type A
Rule 4 applies:
E1=0 to E2=a1: Attempt to apply rule 4.1. The target type is A&. However there is no implicit conversion from int to an lvalue A&.
E1=a1 to E2=0: rule 4.3.2 applies. The target type is int. There is an implicit conversion, using A::operator unsigned long long().
Therefore following rule 4, the return type of this conditional expression is int.
Second case:
unsigned long long a2 = 1ull << 32;
auto c2 = b ? a2 : 0;
0 is an prvalue of type int
a2 is an lvalue of type unsigned long long
Rule 7.2 applies: the return type of the conditional operator is determined by the arithmetic conversions rules of the two expressions. Here it is unsigned long long.
About compiler warnings
Both clang (demo) and g++ (demo) will raise a warning with the option -Wconversion. I've no experience of MSVC, but it also seems to have warnings for dangerous arithmetic conversions: C4242, C4365. Check that you have them enabled. | {'pile_set_name': 'StackExchange'} |
CHICAGO -- An energetic Mick Jagger skipped, spun, sprinted and pranced Friday night as the Rolling Stones launched their North American tour at Chicago's Soldier Field.
The 75-year-old showed no sign of ill health three months after the tour was postponed because a doctor said he required medical treatment.
By all visible indications: Jagger was Jagger.
Before a sold-out crowd of around 60,000 at the Chicago Bears home stadium, the band's finger-wagging frontman opened with "Street Fighting Man," running from the stage in the end zone area and down a narrow stage jutting into the crowd on what is normally the 30-yard line of the football field.
He didn't say he was speaking about his health, but could have been as Jagger looked out at the audience and shouted, "It feels pretty good!"
A cross-section of fans, from ages 18 to 80, swayed and bobbed as they roared the lyrics in unison to the finale of one of the over 50-year-old band's favorites, singing, "Let's Spend the Night Together."
Jagger sang for more than two hours on a massive stage, with the city's skyline as his backdrop, and seemed no worse for the wear. As he bowed, fireworks exploded overhead.
The No Filter Tour was slated to start April 20 in Miami before doctors told Jagger in late March he required treatment, reportedly for a heart valve issue.
Jagger went out of his way Friday to pay homage to Chicago, a home of the blues and long considered an artistic inspiration by the band. He tipped a hat to the Chicago blues with the edgy "Midnight Rambler," which featured Jagger himself on harmonica.
"We love Chicago so much we decided to start the tour here instead of Miami," Jagger said, to cheers from the crowd. He also gave a shout out to the new mayor of Chicago, Lori Lightfoot.
The band stuck almost entirely to playing old classics, the set including "Let's Spend the Night Together," ''Gimme Shelter," ''Brown Sugar," ''Sympathy for the Devil" and "You Can't Always Get What You Want."
All the Stones are now in their 70s. Guitarist Keith Richards is also 75. Ronnie Wood, who plays guitar as well, is 72. Drummer Charlie Watts is the senior member at 78. And they seemed as enthusiastic as Jagger, and also showed no indication of slowing as the show stretched beyond two hours.
All the cities on the tour that were previously postponed are locked in, and there's a new date in New Orleans. A second show at Soldier Field, the home stadium of the Chicago Bears, is scheduled for Tuesday.
The coast-to-coast tour, which the Stones have said will feature classic hits, will include stops in Florida, Texas, Arizona, California, Washington, Colorado, Pennsylvania, Massachusetts, New Jersey and Washington, D.C. Tickets sold for the original dates are being honored, but those who couldn't attend were able to get refunds by accessing their Ticketmaster accounts. | {'pile_set_name': 'OpenWebText2'} |
"Face Off" New Aircraft Carriers, 26 March 1987
Sound recording of the radio program "Face Off." Senator Edward M. "Ted" Kennedy of Massachusetts and Senator Robert J. "Bob" Dole of Kansas debate the U.S. Navy's request for money to build two new $7 billion aircraft carriers. The episode aired on Thursday, March 26, 1987, on the Mutual Broadcasting System.
"Face Off" Attack on USS Stark in the Persian Gulf, 26 May 1987
Sound recording of the radio program "Face Off." Senator Edward M. "Ted" Kennedy of Massachusetts and Senator Robert J. "Bob" Dole of Kansas discuss the attack on the USS Stark in the Persian Gulf that left 37 U.S. Navy personnel dead. The episode aired on Tuesday, May 26, 1987, on the Mutual Broadcasting System.
"Face Off" Murder of Navy Seal / Extradition of Terrorist, 7 July 1987
Sound recording of the radio program "Face Off." Senator Edward M. "Ted" Kennedy of Massachusetts and Senator Robert J. "Bob" Dole of Kansas debate West Germany's response to a U.S. request for extradition of the top suspect in the killing of U.S. Navy Seal Robert Stethem. Stethem was murdered by terrorists who hijacked a commercial airliner. The episode aired on Tuesday, July 7, 1987, on the Mutual Broadcasting System.
(-)United States. Navy (3)
United States. Navy. SEALs (1)
(-)Dole, Robert J., 1923- (3) | {'pred_label': '__label__wiki', 'pred_label_prob': 0.6565777063369751, 'wiki_prob': 0.6565777063369751, 'source': 'cc/2019-30/en_head_0021.json.gz/line433441'} |
The Fact About vehicle service That No One Is Suggesting
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The Fact About vehicle service That No One Is Suggesting
Get Yokohama tyres and accumulate approximately 3x Tesco Clubcard points - as well as you may be in with a chance to gain a weekend in London which include a pair of tickets to watch Chelsea within the Premier League
Bought to the airport and was informed by the motive force he does not consider playing cards, after I informed the dispatcher I was spending using a card. Had to connect with the corporate again.
Try to remember- the examination certificate relates only towards the condition with the testable items at time on the take a look at and shouldn't be regarded as proof of their ailment at almost every other time; nor must it be approved as proof of the general mechanical affliction of your vehicle.
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Then Probably the bell would jam or a brake are unsuccessful to act over a hill; or the seat-pillar would get free, and also the saddle drop 3 or four inches by using a disconcerting bump; or perhaps the unfastened and rattling chain would leap the cogs of your chain-wheel as the machine ran downhill, and so convey the mechanism to an abrupt and disastrous end without the need of concurrently arresting the forward momentum with the rider; or perhaps a tyre would bang, or sigh quietly, and provides up the battle for performance.
Be inform to unofficial Internet sites offering a Northern Ireland MOT on the web reserving facility.You don't have to make use of them. Book listed here safely and securely with no paying out any further price.
If additional diagnostic time is required to verify the problem, the mechanic will quote you this additional diagnostic time after the fifteen mins is complete. The repair connect with out charge doesn't use to get more info services or repairs accompanying a service. | {'pile_set_name': 'Pile-CC'} |
Service providers (e.g., wireless, cellular, Internet, content, social network, etc.) and device manufacturers are continually challenged to deliver value and convenience to consumers by, for example, offering information relevant to personal interest, preferences, etc. One area of interest has been the development of services and technologies for customizing location-based information that is specifically relevant to a user (e.g., data that are customized and presented for personal needs considering user life style). However, the existing methods for automatically determining places of interest, such as geometry-based and fingerprint-based methods, generally are based on searching in pre-existing databases and/or geo-coordinate mappings of such places. Accordingly, service providers and device manufacturers are challenged to develop new mechanisms for effectively and efficiently determining geographical locations relevant to a particular user's daily life and utilizing those geographical locations of interest and related information.
Some Example Embodiments
Therefore, there is a need for an approach for determining and utilizing geographical locations contextually relevant to a user.
According to one embodiment, a method comprises determining location-based data associated with a user, at least one device associated with the user, or a combination thereof. The method also comprises determining a plurality of stationary points based, at least in part, on the location-based data. The method further comprises determining context data associated with the plurality of stationary points. The method further comprises determining at least one location anchor based, at least in part, on the plurality of stationary points and the associated context data, wherein the at least one location anchor represents a bounded geographical area of contextual relevance to the user.
According to another embodiment, an apparatus comprises at least one processor, and at least one memory including computer program code, the at least one memory and the computer program code configured to, with the at least one processor, cause, at least in part, the apparatus to determine location-based data associated with a user, at least one device associated with the user, or a combination thereof. The apparatus is also caused to determine a plurality of stationary points based, at least in part, on the location-based data. The apparatus is further caused to determine context data associated with the plurality of stationary points. The apparatus is further caused to determine at least one location anchor based, at least in part, on the plurality of stationary points and the associated context data, wherein the at least one location anchor represents a bounded geographical area of contextual relevance to the user.
According to another embodiment, a computer-readable storage medium carries one or more sequences of one or more instructions which, when executed by one or more processors, cause, at least in part, an apparatus to determine location-based data associated with a user, at least one device associated with the user, or a combination thereof. The apparatus is also caused to determine a plurality of stationary points based, at least in part, on the location-based data. The apparatus is further caused to determine context data associated with the plurality of stationary points. The apparatus is further caused to determine at least one location anchor based, at least in part, on the plurality of stationary points and the associated context data, wherein the at least one location anchor represents a bounded geographical area of contextual relevance to the user.
According to another embodiment, an apparatus comprises means for determining location-based data associated with a user, at least one device associated with the user, or a combination thereof. The apparatus also comprises means for determining a plurality of stationary points based, at least in part, on the location-based data. The apparatus further comprises means for determining context data associated with the plurality of stationary points. The apparatus further comprises means for determining at least one location anchor based, at least in part, on the plurality of stationary points and the associated context data, wherein the at least one location anchor represents a bounded geographical area of contextual relevance to the user.
In addition, for various example embodiments of the invention, the following is applicable: a method comprising facilitating a processing of and/or processing (1) data and/or (2) information and/or (3) at least one signal, the (1) data and/or (2) information and/or (3) at least one signal based, at least in part, on (or derived at least in part from) any one or any combination of methods (or processes) disclosed in this application as relevant to any embodiment of the invention.
For various example embodiments of the invention, the following is also applicable: a method comprising facilitating access to at least one interface configured to allow access to at least one service, the at least one service configured to perform any one or any combination of network or service provider methods (or processes) disclosed in this application.
For various example embodiments of the invention, the following is also applicable: a method comprising facilitating creating and/or facilitating modifying (1) at least one device user interface element and/or (2) at least one device user interface functionality, the (1) at least one device user interface element and/or (2) at least one device user interface functionality based, at least in part, on data and/or information resulting from one or any combination of methods or processes disclosed in this application as relevant to any embodiment of the invention, and/or at least one signal resulting from one or any combination of methods (or processes) disclosed in this application as relevant to any embodiment of the invention.
For various example embodiments of the invention, the following is also applicable: a method comprising creating and/or modifying (1) at least one device user interface element and/or (2) at least one device user interface functionality, the (1) at least one device user interface element and/or (2) at least one device user interface functionality based at least in part on data and/or information resulting from one or any combination of methods (or processes) disclosed in this application as relevant to any embodiment of the invention, and/or at least one signal resulting from one or any combination of methods (or processes) disclosed in this application as relevant to any embodiment of the invention.
In various example embodiments, the methods (or processes) can be accomplished on the service provider side or on the mobile device side or in any shared way between service provider and mobile device with actions being performed on both sides.
Still other aspects, features, and advantages of the invention are readily apparent from the following detailed description, simply by illustrating a number of particular embodiments and implementations, including the best mode contemplated for carrying out the invention. The invention is also capable of other and different embodiments, and its several details can be modified in various obvious respects, all without departing from the spirit and scope of the invention. Accordingly, the drawings and description are to be regarded as illustrative in nature, and not as restrictive. | {'pile_set_name': 'USPTO Backgrounds'} |
Q:
Uncheck a checkbox in webpage through WebBrowser control
Is there a way to uncheck/check a checkbox within a webpage that is loaded within a webbrowser control? Thank you.
Update: (This is what I originally tried with no luck)
HtmlDocument rememberme = this.webBrowser1.Document;
rememberme.GetElementById("remBox").SetAttribute("checked", "false");
A:
You can use:
webBrowser.Document.InvokeScript
see:
InvokeScript
This way you can call JS function that will do what you want to the page.
Another way is to use mshtml API, like this:
( ( HTMLInputElement )this.webBrowser1.Document.GetElementById( "test" ).DomElement ).@checked = false; | {'pile_set_name': 'StackExchange'} |
# Copyright 2015-2016 Yelp Inc.
#
# Licensed under the Apache License, Version 2.0 (the "License");
# you may not use this file except in compliance with the License.
# You may obtain a copy of the License at
#
# <URL>
#
# Unless required by applicable law or agreed to in writing, software
# distributed under the License is distributed on an "AS IS" BASIS,
# WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
# See the License for the specific language governing permissions and
# limitations under the License.
from mock import MagicMock
from mock import patch
from paasta_tools.cli.cmds import get_latest_deployment
def test_get_latest_deployment(capfd):
mock_args = MagicMock(service="", deploy_group="", soa_dir="")
with patch(
"paasta_tools.cli.cmds.get_latest_deployment.get_currently_deployed_sha",
return_value="FAKE_SHA",
autospec=True,
), patch(
"paasta_tools.cli.cmds.get_latest_deployment.validate_service_name",
autospec=True,
):
assert get_latest_deployment.paasta_get_latest_deployment(mock_args) == 0
assert "FAKE_SHA" in capfd.readouterr()[0]
def test_get_latest_deployment_no_deployment_tag(capfd):
mock_args = MagicMock(
service="fake_service", deploy_group="fake_deploy_group", soa_dir=""
)
with patch(
"paasta_tools.cli.cmds.get_latest_deployment.get_currently_deployed_sha",
return_value=None,
autospec=True,
), patch(
"paasta_tools.cli.cmds.get_latest_deployment.validate_service_name",
autospec=True,
):
assert get_latest_deployment.paasta_get_latest_deployment(mock_args) == 1
assert (
"A deployment could not be found for fake_deploy_group in fake_service"
in capfd.readouterr()[1]
) | {'pile_set_name': 'Github'} |
News
Former SAIC Dean of Faculty Carol Becker discusses SAIC's role in Chicago's political and civic discourse.
June
26,
2013
The Artist as Intellectual
On June 22 Truth-out.org writers Alexandra Epp and Grace Pollockinterviewed former SAIC Dean of Faculty Carol Becker, who recently gave a talk in Hamilton, Canada, on artists who identify as public intellectuals. In the interview, she discussed the role of public and private institutions in creating civic dialogue; comparisons between public intellectuals in New York City and Chicago; and her work as an educator. "I think the next generation is fantastic--they're looking at the whole global picture in its complexity, and they're inheriting a very complicated world. They're going to need every imaginable tool to solve the problems they are inheriting: From the environment to war, to immigration, to leadership and governance, to education," Becker says. "So we need another generation of leaders to take the world's problems on fearlessly. All change and growth starts with a very small step and requires taking on each problem fearlessly and not backing down."
Stay Connected
Quicklinks
SAIC News on Twitter
A leader in educating artists, designers, and scholars since 1866, the School of the Art Institute of Chicago (SAIC) offers nationally accredited undergraduate and graduate degrees and post-baccalaureate programs to 3,500 students from around the globe. Located in the heart of Chicago, SAIC has an educational philosophy built upon an interdisciplinary approach to art and design, giving students unparalleled opportunities to develop their creative and critical abilities, while working with faculty who are the leading practitioners in their fields. | {'pile_set_name': 'Pile-CC'} |
Carbon Neutral Web Hosting
A green internet service provider and web host that does it's best for the environment with 100% carbon neutrality
Providing green web hosting and ISP services - doing everything we can to protect the environment within an industry which consumes a massive amount of power is important to everyone at WebMate. So as well as recycling, reducing our power usage and participating in environmental, initiatives, both locally and worldwide, we offset 100% of the electricity and gas we use in our offices and datacenters - certified 19.32 tonnes of Co2 in 2018-2019. We're constantly looking at new ways to be green.
Carbon Offsetting
Planting Trees
Trees are essential to maintaining our climate and biodiversity. Trees contribute to the global environment by improving air quality, conserving water, preserving soil, and supporting wildlife. We support international tree-planting projects - discover where here
Carbon reduction projects
We support a range of carbon reduction products from improving cooking stove efficiency in poorer countries to green energy initiatives throughout the world. Read about case studies.
Investing in Green Energy
We're proud to help support green energy projects throughout the world from hydro-electric to wind turbines. Discover some of them here.
Our Internal Carbon Reduction initiatives
The internet consumes a massive amount of electricity for servers, switches and air-conditioning to keep the servers cool. To off-set the energy that we have to use that's not from renewable sources, we buy carbon-credits to do our bit elsewhere.
As well as helping to fund projects around the world to achieve carbon-neutrality from the large amounts of electricity our servers burn, we do what we can in our offices and datacenters to limit our impact on the environment. So much so that our own carbon consumption has been reduced by over 50% over the last 2 years. These include:
Choosing greener energy suppliers where possible, to run datacenters on renewable power wherever possible (currently around 30% of the electricity we use is from renewable sources - and were increasing this all the time).
Electric Pool Car
We don't do a great deal of driving, but with our main datacenter a 500 mile round-trip away, using an electric car for these trips, as well as many short trips as we can, saves us a whopping 3.5 tonnes of carbon each year.
LED lights
We've not got grand offices but replacing filament and fluorescent lights with LED lights, which not only use 8 times less energy, but the fittings last a lot longer too - up to 5 times longer - so require less energy and carbon to produce in the long term. LED lighting and our heat exchanger save 4.42 tonnes of carbon per year!
SSD + more efficient
servers in Datacenters
SSD drives consume significantly less energy (about 4x active, almost zero idle) than traditional spinning drives. On average they are about 5.4 times more energy efficient, and we have hundreds of them! Together with more energy efficient CPU's and servers, so far we've saved a whopping 11.47 tonnes of carbon!
WebMate Environmental Policy Mission
Whilst we can't actually run our hundreds of servers and switches on vegetable oil for practical reasons (although we're still hoping), by carbon-offsetting and following our environmental mission policy, we can sleep better knowing we're doing what we can to help the planet.
To reduce Carbon footprint in real terms as much as we can.
Offset remainder of carbon usage with genuine programs in the UK, US and worldwide so that we offset 100% of our electricity and gas usage for our offices, datacenters and electric pool vehicles.
Invest in Energy Saving technology where possible in office and datacenters.
Partner with suppliers who share our green commitments and values where possible.
Purchase 100% renewal energy where possible, including vehicle charging at base and remotely.
Recycle office waste as much as possible - including plastics, metals, paper and card.
Compost bio-waste where possible, include coffee and teabags.
Avoid printing and use digital communications and record-keeping where possible.
Encourage a culture within WebMate of environmental awareness and consideration for our planet at all times. | {'pile_set_name': 'Pile-CC'} |
Modern and Classical Languages and Literatures
Program: B.A., Spanish
Spanish, B.A.
The Spanish major--consisting of four options: I. Literature, II. Language and Culture, III. Hispanic Linguistics, and IV. Translation and Interpretation--is designed for students who wish to prepare for a career in secondary, college or university teaching, or who intend to pursue other careers where a strong background in Spanish is essential. Students should seek advisement from Spanish faculty advisors concerning the option best suited to their goals.
Note that the Spanish major requires a capstone paper to be written in a 400-level course of the student's choice.
Students with some knowledge of Spanish who want to take lower division courses should consult with an advisor in the Spanish section before registration to establish which would be the appropriate course for them.
Students with advanced placement cannot receive credit for courses below the level at which they are placed. However, 200-level classes may be waived or replaced by appropriate classes. Students should consult with an advisor.
Students interested in teaching Spanish in the secondary schools should seek advisement as soon as possible. The Spanish program currently offers a Subject Matter Program that has been approved by the California Commission on Teacher Credentialing (CTC) and that meets the Subject Matter Competency requirement for a Single Subject Credential waiver. Students who have successfully completed the program will have demonstrated subject matter competency in Spanish and, thus, will not be required to take the California Subject Exam for Teachers (CSET) in Spanish. Students completing the program are encouraged to apply to a teaching credential program. Students who want to teach Spanish must choose the Language and Culture option of the major, which has the same requirements as the Subject Matter Program for the Single Subject Credential waiver. For details on the Single Subject Credential program, see the Credential and Department of Secondary Education sections in this Catalog. See also the disclosure statement regarding Programs Leading to Licensure and Credentialing.
This is the option with the same requirements for the Single Subject Credential waiver.
1. Core Courses Common to All Options (24 units)
Take all of the following courses (18 units):
SPAN 220A Intermediate Spanish I (3)
SPAN 220B Intermediate Spanish II (3)
SPAN 304 Advanced Grammar and Composition (3)
SPAN 306 Advanced Composition (3)
SPAN 307 Introduction to the Analysis of Hispanic Literature (3)
Choose one course from the following (3 units):
SPAN 315A Literature of Spain I (3)
SPAN 315B Literature of Spain II (3)
SPAN 363 Literature of Latin America I (3)
SPAN 364 Literature of Latin America II (3)
2. Language and Culture Option Courses (18 units)
SPAN 300 Advanced Conversational Spanish (3)
SPAN 310 Language and Contemporary Hispanic Life (3)
Choose three courses from the following (9 units):
SPAN 380 Latin American Civilization (3)
SPAN 381 Spanish Civilization (3)
SPAN 382 Literature and Society in Latin America (3)
SPAN 383 Literature and Society in Spain (3)
Take the following course (3 units):
6 units are satisfied by the following courses in the major: SPAN 220A and SPAN 220B satisfy F Comparative Cultural Studies.
Total Units in the Major/Option: 42
Department of Modern and Classical Languages and Literatures
Chair: Adrian Perez-Boluda
Prepare students for careers in teaching (secondary, community college, university), among others in legal, medical, administrative and journalistic fields, translation and interpretation, etc., which require advanced-level (ACTFL Guidelines) abilities in both oral and written skills.
Provide students with techniques, strategies, methodologies and skills to carry out independent research that supports career choices.
Establish a solid foundation for lifelong learning, service and participation in the Hispanic, Latino and global communities.
Carry out research and apply critical theories in analysis of Hispanic linguistics, literatures, civilizations and cultures.
Communicate at the advanced level using a variety of rhetorical modes in both oral and written discourse.
Achieve subject matter competency (as stated in the Standards of the California Commission on Teacher Credentialing) to enter a credential or a graduate program in Spanish at any U.S. university.
Spanish Bachelor of Arts/Language and Culture Option - 2022
Spanish/Language and Culture Option - AA-T in Global Studies - 2022
Spanish/Language and Culture Option - AA-T in Social Justice Studies - 2022
Spanish/Language and Culture Option - AA-T in Spanish - 2022 | {'pred_label': '__label__cc', 'pred_label_prob': 0.6284282803535461, 'wiki_prob': 0.37157171964645386, 'source': 'cc/2023-06/en_middle_0007.json.gz/line262496'} |
History of Thorndon
Katherine Mansfield Birthplace Society
Guided Tours & Education
Make a Donation or Bequest
KM23 Centenary
Inspired by KM
Mansfield Short Story Competition
Resources for Writers & Educators
SOME VERY SPECIAL OBJECTS
Cherie Jacobson
Te Whare Waiutuutu Kate Sheppard House in Otautahi Christchurch was officially opened by Prime Minister Jacinda Ardern on 15 December 2020. Katherine Mansfield House & Garden Director Cherie Jacobson attended the opening and explains a special connection between the two heritage properties.
View of Te Whare Waiutuutu Kate Sheppard House from across the tennis court.
It's hard to believe I have been intending to write this blog post for over a year! Time definitely flies when you're managing a heritage property in the midst of a global pandemic. However, a year on, it's lovely to reflect on a special day in December 2020 and some wonderful objects that were previously part of Katherine Mansfield House & Garden's collection until they found their way back home to Christchurch.
This story starts with a deaccession project begun by Katherine Mansfield House & Garden (KMHG) in 2019. While KMHG is a collecting institution, we have very limited storage space and our collection policy has been refined since the early days of the collection, meaning some collection objects are no longer a good fit. We have been following best practice to carry out this deaccession process, which has many steps, but essentially once an object has been identified for deaccession and approved by our Board, we try to locate the object's original donor or their next of kin and seek agreement on the best future for the object.
Four objects that were identified early in the project were framed watercolour paintings by Kate Beath (later McDougall). Three are rural landscapes (with one depicting Mount Peel in Canterbury), while one is the interior of a glasshouse at Leslieville, her family's home in Riccarton. The paintings have no direct connection to Katherine Mansfield, the Beauchamp family, or the house at 25 Tinakori Road, and had been in storage for some time.
Three of the four paintings by Kate Beath now on display at Te Whare Waiutuutu Kate Sheppard House.
Luckily, our collection records noted that Kate Beath was the niece of famed suffragist, social reformer and writer Kate Sheppard (nee Malcolm). Knowing that Te Whare Waiutuutu Kate Sheppard House had recently been purchased by the New Zealand Government and was to be opened to the public under the care of Heritage New Zealand Pouhere Taonga (HNZPT), I contacted HNZPT to see if they might be interested in the paintings. Unsurprisingly, they were!
Katherine (known as Kate) Christian Beath (1882-1979) was the daughter of Kate Sheppard's older sister, Marie Beath (nee Malcolm). Kate Beath was an impressive woman in her own right, being one of Aotearoa New Zealand's earliest trained female architects.
Kate studied at the Canterbury School of Art and, from 1904, trained as an architect with leading Christchurch architect Samuel Hurst Seager. Kate's progressive, educated and artistic family obviously supported her ambitions as her father was co-signatory of her unpaid contract with Seager. She completed her training in 1908 and travelled to London with her aunt Kate Sheppard. Over the next two years she visited many places in the United Kingdom and Europe and continued to correspond with Seager who encouraged her to learn from the buildings she saw. She returned to Christchurch in 1910 and in 1915 married pharmacist Colin McDougall. The couple moved to Wellington and had two children. Kate exhibited with the New Zealand Academy of Fine Arts, but does not appear to have continued her architectural career after her marriage.
Delving further into our collection records, we found there were other objects that had connections to Kate Sheppard and her family: a rosewood sewing box with a mother of pearl inlay inscribed 'Kate Malcom' (Kate Sheppard's maiden name) on the lid; a tortoiseshell and pearl card case with 'Kate' inscribed in silver on a small plaque along the top; and a watercolour paint set (like her niece Kate Beath, Kate Sheppard was known to be a talented artist). Kate Sheppard didn't have a daughter, so it made sense that some of her items, particularly ones with the name 'Kate' on them, had been passed down to her niece with the same first name.
Rosewood sewing box on display
'Kate Malcolm' inscribed in mother of pearl on lid of sewing box
Tortoiseshell and pearl card case on display
Inscription on card case
Watercolour paint set on display
Painting by Kate Beath on display next to the watercolour paint set
The paintings and objects had been donated to Katherine Mansfield House & Garden by Kate Beath's children in the 1990s. Sadly, both had since passed away. However, our Collections Assistant, Hannah Thompson, managed to find the widow of one of the donors and get her blessing for our plan to gift the paintings and objects to HNZPT for display at Te Whare Waiutuutu Kate Sheppard House. It made much more sense for the paintings and objects to return to Christchurch, given their direct link to Kate Sheppard and her family, and given the paintings depicted scenes from the South Island. It was also wonderful for us to know that the paintings and objects would be displayed and enjoyed by visitors, rather than kept in storage.
We don't know exactly why Kate Beath's children chose to gift these items to KMHG, but Te Whare Waiutuutu Kate Sheppard House was in private ownership when they did. They may have felt an historic house celebrating another prominent New Zealand woman named Katherine was an appropriate place. In a way, it worked out very well - KMHG was able to care for the items until they were ready to return home.
Not only was it a privilege for me to attend to the opening of Te Whare Waiutuutu Kate Sheppard House, it was a thrill to see the paintings and the objects that Hannah and I had carefully packaged up and sent on their way after the work involved in the deaccession process, now on display.
Next time you're in Christchurch, I highly recommend visiting Te Whare Waiutuutu Kate Sheppard House. The experience has been cleverly designed to tell the story of Kate Sheppard and those she worked alongside campaigning for women's right to vote. It also celebrates women's achievements in New Zealand since then. The original part of the house was completed in 1888 - the same year as the house at KMHG!
Interpretation in Te Whare Waiutuutu Kate Sheppard House.
The beautiful garden is where Kate received the telegram on 19 September 1893 informing her that Lord Glasgow had signed the new Electoral Act into law.
A peek at the beautiful garden from inside the house.
Te Whare Waiutuutu Kate Sheppard House is open Wednesday to Sunday, 10am-4pm, you can find more information on the website. While you're there, make sure you say hi to those collection items for us!
With thanks to Helen Osborne from Heritage New Zealand Pouhere Taonga. Biographical information about Kate Beath from Elizabeth Cox and a Special Research Project by Elaine Wheldon for Jenny Grenfell. All photos by the author except photos of the card case, which were supplied by Te Whare Waiutuutu Kate Sheppard House.
Katherine Mansfield House & Garden
25 Tinakori Road
Thorndon
©️ Copyright 2023 Katherine Mansfield House & Garden. Powered by Airsquare. | {'pred_label': '__label__wiki', 'pred_label_prob': 0.5469080209732056, 'wiki_prob': 0.5469080209732056, 'source': 'cc/2023-06/en_middle_0073.json.gz/line882805'} |
24 Hrs Locksmiths Milford Mill MD provides top quality locksmith services for your home car and office 24 hours a day every day including 24 hour locksmith 24hr locksmith auto key auto locksmith car key car key locksmith car key replacement car keys car keys locked in car car keys lost car locksmith car replacement keys car spare keys change a lock change lock cylinder lock deadbolt deadbolt locks door key emergency locksmith ignition key ignition key stuck key auto key car key cutting key fob key ignition key in ignition key in the ignition key is stuck in ignition key locked in car key locksmith key remote key replacement key sticks in ignition key stuck ignition key stuck in ignition key stuck in the ignition key transponder keyed switches keyless entry keyless entry remotes keyless remotes keys car keys locked in car lock and key lock change lock cylinder lock ignition lock keys in car lock out lock picking lock repair lock replacement locked car keys locked car keys in car locked keys in car locked keys in the car locks rekey locks rekeyed locksmith locksmith car locksmith key locksmith service locksmith services locksmithing locksmiths lost car keys lost keys lost keys to car master key mobile locksmith rekey re-key rekey locks rekeying locks rekeys remote key remote key entry replace car keys replacement car key replacement car keys replacement key replacement keys replacement keys car replacing car keys security locks spare key stuck ignition key stuck key in ignition transponder key transponder keys 24 Hrs residential locksmith services are available morning noon and night time for rental properties apartments mobile homes trailers and homes including the following deadbolts door knobs home lock rekey change door locks new residental locks broken key removal and more. 24 Hrs Locksmiths Milford Mill MD services the entire state of Maryland. Our 24 Hrs Car Locksmith services is available for the following makes and models of vehicles Acura Aston Martin Audi Bentley BMW Buick Cadillac Chevrolet Chrysler Dodge Ferrari Ford GMC Honda Hummer Hyundai Infiniti Isuzu Jaguar Jeep Kia Lamborghini Land Rover Lexus Milford Mill Lotus Maserati Mayback Mazda Mercedes Benz Mercury Mini Mitsubishi Nissan Milford Mill Porsche Rolls Royce Saab Saturn Scion Smart Car Subaru Suzuki Tesla Toyota Volkswagen and Volvo. Our 24 Hrs Emergency Locksmith service include lost car keys broken car key removal cheap car key replacement lock repair. Call 24 Hrs Locksmiths Milford Mill MD.
2011 ©️ 24 Hrs Locksmiths Milford Mill MD. All Rights Reserved. | {'timestamp': '2019-04-22T12:47:55Z', 'url': 'http://24hrslocksmiths.com/maryland/milford-mill-24hrs-locksmiths.html', 'language': 'en', 'source': 'c4'} |
A structure-distribution-relationship approach leading to the development of Tc-99m mebrofenin: an improved cholescintigraphic agent.
Thirty-three HIDA (hepatobiliary IDA) derivatives were tested and correlations drawn between physicochemical parameters, structural effects, and in vivo characteristics. Capacity factors of the ligands on reverse-phase HPLC were used as a measure of lipophilicity, and to predict protein binding and in vivo distribution of the complexes. Fragmentary pi values were used to derive theoretical lipophilicities, which showed that ortho substituents have reduced lipophilic activity, probably because of self-shielding. Ortho substitution was found to affect hepatocellular transit times. Various combinations of substituents with the desired overall lipophilicity were tested. The best compound, Tc-3-bromo-2,4,6-trimethyl HIDA, possessed high hepatic specificity, and rapid hepatocellular transit; it was also resistant to competition for hepatobiliary excretion from bilirubin. | {'pile_set_name': 'PubMed Abstracts'} |
package sagemaker
import (
"bytes"
"encoding/json"
"fmt"
"github.com/awslabs/goformation/v4/cloudformation/policies"
"github.com/awslabs/goformation/v4/cloudformation/tags"
)
// EndpointConfig AWS CloudFormation Resource (AWS::SageMaker::EndpointConfig)
// See: <URL>
type EndpointConfig struct {
// DataCaptureConfig AWS CloudFormation Property
// Required: false
// See: <URL>
DataCaptureConfig *EndpointConfig_DataCaptureConfig 'json:"DataCaptureConfig,omitempty"'
// EndpointConfigName AWS CloudFormation Property
// Required: false
// See: <URL>
EndpointConfigName string 'json:"EndpointConfigName,omitempty"'
// KmsKeyId AWS CloudFormation Property
// Required: false
// See: <URL>
KmsKeyId string 'json:"KmsKeyId,omitempty"'
// ProductionVariants AWS CloudFormation Property
// Required: true
// See: <URL>
ProductionVariants []EndpointConfig_ProductionVariant 'json:"ProductionVariants,omitempty"'
// Tags AWS CloudFormation Property
// Required: false
// See: <URL>
Tags []tags.Tag 'json:"Tags,omitempty"'
// AWSCloudFormationDeletionPolicy represents a CloudFormation DeletionPolicy
AWSCloudFormationDeletionPolicy policies.DeletionPolicy 'json:"-"'
// AWSCloudFormationUpdateReplacePolicy represents a CloudFormation UpdateReplacePolicy
AWSCloudFormationUpdateReplacePolicy policies.UpdateReplacePolicy 'json:"-"'
// AWSCloudFormationDependsOn stores the logical ID of the resources to be created before this resource
AWSCloudFormationDependsOn []string 'json:"-"'
// AWSCloudFormationMetadata stores structured data associated with this resource
AWSCloudFormationMetadata map[string]interface{} 'json:"-"'
// AWSCloudFormationCondition stores the logical ID of the condition that must be satisfied for this resource to be created
AWSCloudFormationCondition string 'json:"-"'
}
// AWSCloudFormationType returns the AWS CloudFormation resource type
func (r *EndpointConfig) AWSCloudFormationType() string {
return "AWS::SageMaker::EndpointConfig"
}
// MarshalJSON is a custom JSON marshalling hook that embeds this object into
// an AWS CloudFormation JSON resource's 'Properties' field and adds a 'Type'.
func (r EndpointConfig) MarshalJSON() ([]byte, error) {
type Properties EndpointConfig
return json.Marshal(&struct {
Type string
Properties Properties
DependsOn []string 'json:"DependsOn,omitempty"'
Metadata map[string]interface{} 'json:"Metadata,omitempty"'
DeletionPolicy policies.DeletionPolicy 'json:"DeletionPolicy,omitempty"'
UpdateReplacePolicy policies.UpdateReplacePolicy 'json:"UpdateReplacePolicy,omitempty"'
Condition string 'json:"Condition,omitempty"'
}{
Type: r.AWSCloudFormationType(),
Properties: (Properties)(r),
DependsOn: r.AWSCloudFormationDependsOn,
Metadata: r.AWSCloudFormationMetadata,
DeletionPolicy: r.AWSCloudFormationDeletionPolicy,
UpdateReplacePolicy: r.AWSCloudFormationUpdateReplacePolicy,
Condition: r.AWSCloudFormationCondition,
})
}
// UnmarshalJSON is a custom JSON unmarshalling hook that strips the outer
// AWS CloudFormation resource object, and just keeps the 'Properties' field.
func (r *EndpointConfig) UnmarshalJSON(b []byte) error {
type Properties EndpointConfig
res := &struct {
Type string
Properties *Properties
DependsOn []string
Metadata map[string]interface{}
DeletionPolicy string
UpdateReplacePolicy string
Condition string
}{}
dec := json.NewDecoder(bytes.NewReader(b))
dec.DisallowUnknownFields() // Force error if unknown field is found
if err := dec.Decode(&res); err != nil {
fmt.Printf("ERROR: %s
", err)
return err
}
// If the resource has no Properties set, it could be nil
if res.Properties != nil {
*r = EndpointConfig(*res.Properties)
}
if res.DependsOn != nil {
r.AWSCloudFormationDependsOn = res.DependsOn
}
if res.Metadata != nil {
r.AWSCloudFormationMetadata = res.Metadata
}
if res.DeletionPolicy != "" {
r.AWSCloudFormationDeletionPolicy = policies.DeletionPolicy(res.DeletionPolicy)
}
if res.UpdateReplacePolicy != "" {
r.AWSCloudFormationUpdateReplacePolicy = policies.UpdateReplacePolicy(res.UpdateReplacePolicy)
}
if res.Condition != "" {
r.AWSCloudFormationCondition = res.Condition
}
return nil
} | {'pile_set_name': 'Github'} |
Q:
Prove you can place binary words in a circle
A binary word of length $n$ is the series of $n$ elements that each one of them is $0$ or $1$.
Let $A$ be the set of all the binary words of length $n$. Prove you can place all the elements of $A$ in a circle such that two consecutive words have a difference of only ONE $1$ or ONE $0$ For example, $n=3$ :
I tried thinking of a recursive-like algorithm to do so but it did not work. I thought by starting at $000$ then $001$ however we cannot put $010$ because it is different from the previous by 2 digits number (0 changed to 1 and 1 changes to 0 from 001 -> 010) so we move to $011$ and so on...
This is not a proof and it does not work either (the algorithm) I even tried to start proving by induction, but it sounds ridiculous because I can't think of how to prove that you can "draw a circle using n=k+1" using the assumption that you can draw it using words of length $n=k$ Edit something interesting I found:
if you draw $n=2$ then you get: Then add $0$ to the left of each word, you get: You get the beginning of the first image.. but I am not sure how to make it rigorous... I would appreciate your help! Thank you!
A:
Hint Prove the statement by induction.
Here is the inductive step $P(n) \Rightarrow P(n+1)$.
You know that you can place all the binary workds of length $n$ in a circle $x_1-x_2-x_3-...-x_{2^n}-x_1$.
Now, show that the following works
$$x_10-x_20-...-x_{2^n}0-x_{2^n}1-x_{2^n-1}1-...x_11-x_10$$
where $x_k0$ and $x_k1$ are the binary words made by $x_k$ followed by 0 or 1.
In other words: add a zero at the end of each word, go around the circle without closing it, and come back around the circle, this time adding a 1 at the end. | {'pile_set_name': 'StackExchange'} |
package rpc
import (
"strings"
)
func makeMethodName(prot string, method string) string {
if prot == "" {
return method
}
return prot + "." + method
}
func splitMethodName(n string) (string, string) {
i := strings.LastIndex(n, ".")
if i == -1 {
return "", n
}
return n[:i], n[i+1:]
}
func runInBg(f func() error) chan error {
done := make(chan error)
go func() {
done <- f()
}()
return done
}
func wrapError(f WrapErrorFunc, e error) interface{} {
if f != nil {
return f(e)
}
if e == nil {
return nil
}
return e.Error()
} | {'pile_set_name': 'Github'} |
Share this story
Tesla on Tuesday escalated its media battle with the family of Apple engineer Walter Huang. Huang died in Silicon Valley last month when his Model X vehicle crashed into a concrete lane divider at high speed. Tesla's Autopilot driver assistance system was engaged at the time. Tesla made its clearest statement yet that Huang--not Tesla--bore responsibility for his death on a Mountain View freeway.
Huang's family has hired an attorney to sue Tesla. In an on-camera interview with local television station ABC 7, Huang's wife, Sevonne, said that prior to his death, Huang had complained to her that the car had a tendency to drive toward the exact traffic barrier that ultimately killed him.
But in a statement to ABC 7 on Tuesday evening, Tesla turned this argument around.
"We are very sorry for the family's loss," Tesla wrote. "According to the family, Huang was well aware that Autopilot was not perfect and, specifically, he told them it was not reliable in that exact location, yet he nonetheless engaged Autopilot at that location."
Tesla didn't stop there.
"The crash happened on a clear day with several hundred feet of visibility ahead, which means that the only way for this accident to have occurred is if Mr. Huang was not paying attention to the road, despite the car providing multiple warnings to do so."
Especially since the 2016 death of Tesla owner Joshua Brown, Tesla has emphasized that Autopilot is a driver-assistance system rather than a full self-driving system. Drivers are warned to keep their hands on the wheel while Autopilot is engaged.
Unsurprisingly, Huang's family hasn't been happy with Tesla's combative response to his death. "It appears that Tesla has tried to blame the victim," the family's lawyer said to ABC 7 on Tuesday.
Tesla's response is an unorthodox one for a manufacturer facing a fatality involving one of its products. Most companies in Tesla's position would have just stopped at "we are very sorry for the family's loss"--perhaps citing the ongoing government investigation or likely litigation as reasons not to comment further. Engaging in a long-running argument with a grieving widow seems unlikely to improve Tesla's image. And federal investigators have already complained about Tesla talking publicly about the crash before the official investigation has concluded.
But Tesla argues that, despite occasional deaths, Autopilot actually saves lives overall. If people get the mistaken impression that Autopilot is unsafe, Tesla says, there's a danger that fewer people will use it--which could lead to more people dying on the roads overall.
"The reason that other families are not on TV is because their loved ones are still alive," Tesla wrote.
There is some evidence for Tesla's argument that Autopilot makes driving safer. A 2017 study by the National Highway Transportation Safety Administration (NHTSA) found that the rate of accidents for Autopilot-enabled Tesla cars dropped by 40 percent after the activation of the technology. But NHTSA didn't break down the severity of these crashes, or tease out which specific function of its system were responsible for the decrease--for example automatic emergency braking versus lane keeping--leaving open the possibility that Autopilot prevents a lot of minor crashes but is less effective at preventing deadly collisions like the one that killed Huang.
532 Reader Comments
So at the end of the day, the driver is still responsible with what happens with the car--not too surprising. The lawsuit and decision in this case will have far reaching answers that insurance companies and the legal system have been looking for in terms of 'who's fault is it' in cases of accidents involving automated or assisted driving. Very unfortunate for the family that he continued to test the system when he knew it could fail.
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
I'd wager if you're incapable of paying attention while the car is mostly driving itself that's a YOU problem and not a car problem.
Nobody forces you to engage autopilot.....
Not trying to shill for Tesla here but I put these up there with spraying Windex in your eyes and eating Tide pods. There are warnings in place telling you to keep your hands on the wheel and pay attention, if you choose to ignore them, what more can the manufacturer do at that point?
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
Marketing aside autopilot at its core is adaptive cruise control and lane keeping (autosteer). It also has some other minor systems like blind spot detection, and auto parallel park but at its core it is combining those two existing systems.
Is a car with adaptive cruise control safe?Is a car with lane keeping safe?Does it becomes unsafe when you combine the two?
This is a question that goes beyond just Tesla. Pretty much every major brand now has or will soon have Level 2 driver assist technology. It also won't remain at the luxury segment for long just like airbags didn't.
If you treat Autopilot like it is a level 5 self driving car it will eventually kill you. You might luck out for a while but eventually it will kill you. Of course that is true of any level 2 driver assist tech.
It is a driving tool, however their is a issue with the latest version of autopilot with centering.The last update has introduced a issue with left hand exits, something called barrier lustHeres a link to video of the Barrier Lust in a teslahttps://www.reddit.com/r/teslamotors/co ... st_201812/You can see what happens is that it tries to center itself, and due to the left exit it thinks the lane is widening and converges to the center. And it follows it untill it hits the barrier.TLDRLatest update has a issue, however autopilot is NOT autonomous, so still drivers fault. Update should be fixed though.
In an on-camera interview with local television station ABC 7, Huang's wife, Sevonne, said that prior to his death, Huang had complained to her that the car had a tendency to drive toward the exact traffic barrier that ultimately killed him.
Quote:
"It appears that Tesla has tried to blame the victim," the family's lawyer said to ABC 7 on Tuesday.
No, his wife did that, on camera. She's making him sound FarCry 3 insane.
The sample size for determining overall safety of the autopilot versus human drivers is still pretty small, particularly in regards to serious incidents. Of course that will not stop conclusion-jumping on either side. Sigh. And condolences to the family involved in any case.
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
I'd wager if you're incapable of paying attention while the car is mostly driving itself that's a YOU problem and not a car problem.
Nobody forces you to engage autopilot.....
Not trying to shill for Tesla here but I put these up there with spraying Windex in your eyes and eating Tide pods. There are warnings in place telling you to keep your hands on the wheel and pay attention, if you choose to ignore them, what more can the manufacturer do at that point?
Liability aside, designing a system for human use, that doesn't take into account human tendencies, is a design failure.
"Huang's wife, Sevonne, said that prior to his death, Huang had complained to her that the car had a tendency to drive toward the exact traffic barrier that ultimately killed him."
And yet.. they Sue.. apparently, Huang's family feel that you do not bare "personal responsibility" for your actions. if you know the tech was faulty in that area.. and you choose to use it anyways.. how is that Tesla's fault. ? Add to that, you were not paying attention in that area, knowing that area was a problem.
We have become a society of money grabbing apes.. and i mean no disrespect to apes. we do not want to bare personal responsibility for our actions and the first thing we do is go for money.
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
One crashed near where I live in Wliiiston and once again Tesla blamed the driver.
"Huang's wife, Sevonne, said that prior to his death, Huang had complained to her that the car had a tendency to drive toward the exact traffic barrier that ultimately killed him."
And yet.. they Sue.. apparently, Huang's family feel that you do not bare "personal responsibility" for your actions. if you know the tech was faulty in that area.. and you choose to use it anyways.. how is that Tesla's fault. ? Add to that, you were not paying attention in that area, knowing that area was a problem.
We have become a society of money grabbing apes.. and i mean no disrespect to apes. we do not want to bare personal responsibility for our actions and the first thing we do is go for money.
I understand it. They lost their son. They are grieving and grieving people very often want someone to blame someone. It isn't always just a cash grab. They want the world to see (through a court victory) that Tesla 'killed' their son and they want Tesla to pay for it.
I've seen Tesla do this before; this is their standard MO, to get aggressive, blame the victim, and use every scrap of info in the car they can to discredit the driver. The fact that this is the best they can come up with, in this case, is probably a pretty strong sign that their autopilot fucked up bad.
I'm not sure why Tesla always gets a pass from the tech crowd. They don't seem too friendly to me.
I feel like at this point the only reason they don't change the name from "autopilot" is because it would be admission of guilt on Tesla's part.
And while I don't get why Tesla chooses to comment on the incident, instead of staying quiet, I do agree that a person who seemed to be smart enough to work for Apple, should know not to rely on autopilot when he knew it wasn't very good. That's the strangest part about this. Was he overworked and sleeping at the wheel, was he trying to commit suicide? It's just crazy to me that he relied on autopilot at that point.
I personally feel like any Driver Assistance that will drive for periods of time and require your attention is potentially lulling you into complacency.
If I had a Tesla and could choose how the AI assists me I would never engage the full driving capabilities and instead set it to engage whenever I may rear end someone or shift lanes inadvertently (as an accident prevent system I guess).
Seems lame to do that even to me, but I don't trust my mind to pay attention if I'm not engaged in the activity.
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
Marketing aside autopilot at its core is adaptive cruise control and lane keeping (autosteer). It also has some other minor systems like blind spot detection, and auto parallel park but at its core it is combining those two existing systems.
Is a car with adaptive cruise control safe?Is a car with lane keeping safe?Does it becomes unsafe when you combine the two?
This is a question that goes beyond just Tesla. Pretty much every major brand now has or will soon have Level 2 driver assist technology. It also won't remain at the luxury segment for long just like airbags didn't.
If you treat Autopilot like it is a level 5 self driving car it will eventually kill you. You might luck out for a while but eventually it will kill you. Of course that is true of any level 2 driver assist tech.
The thing that frustrates me (and others) about Tesla claiming Autopilot reduced crashes by 40% is there's no way to say if that was due to AEB, which everyone agrees is a good thing, or lane keeping assist.
It is a driving tool, however their is a issue with the latest version of autopilot with centering.The last update has introduced a issue with left hand exits, something called barrier lustHeres a link to video of the Barrier Lust in a teslahttps://www.reddit.com/r/teslamotors/co ... st_201812/You can see what happens is that it tries to center itself, and due to the left exit it thinks the lane is widening and converges to the center. And it follows it untill it hits the barrier.TLDRLatest update has a issue, however autopilot is NOT autonomous, so still drivers fault. Update should be fixed though.
So the vehicle is actively trying to steer into the barrier, which the driver has to physically fight against, but it's only the driver's fault if the result is a crash? That is horse shit.
A few weeks ago I found myself in a Tesla showroom. I had made a passing remark on how distracting their large touch screens must be and a Tesla sales rep interjected by telling me that because all of their cars drive themselves with no driver input being necessary, they could afford to have such an interface.
I feel like at this point the only reason they don't change the name from "autopilot" is because it would be admission of guilt on Tesla's part.
And while I don't get why Tesla chooses to comment on the incident, instead of staying quiet, I do agree that a person who seemed to be smart enough to work for Apple, should know not to rely on autopilot when he knew it wasn't very good. That's the strangest part about this. Was he overworked and sleeping at the wheel, was he trying to commit suicide? It's just crazy to me that he relied on autopilot at that point.
I'm wondering if he actually had previous problems with that guard rail. His wife's comments smack of 'I really don't know what I'm doing, but I think this makes Tesla sound more guilty, so I'm just going to lie to establish an ongoing problem' (whether conscious or subconscious).
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
I'd wager if you're incapable of paying attention while the car is mostly driving itself that's a YOU problem and not a car problem.
Nobody forces you to engage autopilot.....
Not trying to shill for Tesla here but I put these up there with spraying Windex in your eyes and eating Tide pods. There are warnings in place telling you to keep your hands on the wheel and pay attention, if you choose to ignore them, what more can the manufacturer do at that point?
Liability aside, designing a system for human use, that doesn't take into account human tendencies, is a design failure.
As someone that gets destroyed in here for saying the same thing about autonomous car companies, no doubt, I agree.
But someone with the financial means to buy a $150,000 car should have gained enough sense in that time. There have been HIGHLY publicized accidents stemming from not paying attention while having Autopilot on. I mean, it's all good to blame the manufacturer I guess, but don't people have any sense of self preservation? The answer can't just be damn the torpedoes, let the courts sort it out.
A few weeks ago I found myself in a Tesla showroom. I had made a passing remark on how distracting their large touch screens must be and a Tesla sales rep interjected by telling me that because all of their cars drive themselves with no driver input being necessary, they could afford to have such an interface.
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
Marketing aside autopilot at its core is adaptive cruise control and lane keeping (autosteer). It also has some other minor systems like blind spot detection, and auto parallel park but at its core it is combining those two existing systems.
Is a car with adaptive cruise control safe?Is a car with lane keeping safe?Does it becomes unsafe when you combine the two?
This is a question that goes beyond just Tesla. Pretty much every major brand now has or will soon have Level 2 driver assist technology. It also won't remain at the luxury segment for long just like airbags didn't.
If you treat Autopilot like it is a level 5 self driving car it will eventually kill you. You might luck out for a while but eventually it will kill you. Of course that is true of any level 2 driver assist tech.
I personally don't use either lane keeping or adaptive cruise control on longer drives because I find it's hard to stay as alert as I would if I needed to do those things myself. I also think a big part of the problem with autopilot is how it's marketed. If Tesla changed the name to adaptive cruise control and lane assist people probably would more cautious using it, of course then they'd be admitting that their current marketing was a problem.
Whatever happened to "shut up and wait for the trial"? Both sides are damaging their cases with these public statements.
Their lawyer doesn't want a trial, it would probably just get thrown out. They probably figure they can get a settlement or something. More likely they'd get money out of California for not maintaining the road properly.
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
Marketing aside autopilot at its core is adaptive cruise control and lane keeping (autosteer). It also has some other minor systems like blind spot detection, and auto parallel park but at its core it is combining those two existing systems.
Is a car with adaptive cruise control safe?Is a car with lane keeping safe?Does it becomes unsafe when you combine the two?
This is a question that goes beyond just Tesla. Pretty much every major brand now has or will soon have Level 2 driver assist technology. It also won't remain at the luxury segment for long just like airbags didn't.
If you treat Autopilot like it is a level 5 self driving car it will eventually kill you. You might luck out for a while but eventually it will kill you. Of course that is true of any level 2 driver assist tech.
The thing that frustrates me (and others) about Tesla claiming Autopilot reduced crashes by 40% is there's no way to say if that was due to AEB, which everyone agrees is a good thing, or lane keeping assist.
If I had to hazard a guess I would say at the very least AEB makes up most of that 40% improvement. Hell it might even be something like AEB reduces it 50% and then other AP functionality is 10% worse making it net-net a 40% reduction.
On highways the most common accident is rear end collision with a car in the lane ahead and AEB can improve that a lot. It also should get even better with time as manufacturers get more comfortable with the systems and can tune them to be a bit more aggressive.
A few weeks ago I found myself in a Tesla showroom. I had made a passing remark on how distracting their large touch screens must be and a Tesla sales rep interjected by telling me that because all of their cars drive themselves with no driver input being necessary, they could afford to have such an interface.
This is not an uncommon experience. I had a sales person tell me much the same when I got a Model S 4 years ago.
IMO Tesla needs to be very careful with the marketing of 'Autopilot' and a bit more sensitive with the immediate statements whenever there is a death.
condolences to all who have been hurt by this event. we need to be sure that this sort of thing doesn't become common.
this awful experience needs to be a wake up call to the whole industry and government at large. here we have a software engineer, not a hayseed, and he knew there was a problem with the control system in this location. also that location appears to be especially problematic, and yet he apparently lost concentration and let the car handle it.
When you can rely on a technology to be correct 99.9% of the time, I don't think it is reasonable for a human to be able to pay attention the other .1%. It's in our nature to become complacent.
I completely disagree.
I have been driving for the last 4 years and 120 000 km with a car that has a so called adaptive cruisecontrol. When I'm doing 120km/h on the highway with the cruisecontrol on I feel more relaxed than if I were to be doing all the driving myself.BUTI know the system is not perfect and I can anticipate moments when the system can fail (very slow driver infront of me or a bit of a strange truck) and it triggers me to anticipate having to take over the accelerator/brake.
What is even worse in this story is that the driver had mentioned a problem with the auto pilot in that exact spot. That's darwin hard at work.
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
I'd wager if you're incapable of paying attention while the car is mostly driving itself that's a YOU problem and not a car problem.
Nobody forces you to engage autopilot.....
Not trying to shill for Tesla here but I put these up there with spraying Windex in your eyes and eating Tide pods. There are warnings in place telling you to keep your hands on the wheel and pay attention, if you choose to ignore them, what more can the manufacturer do at that point?
Liability aside, designing a system for human use, that doesn't take into account human tendencies, is a design failure.
As someone that gets destroyed in here for saying the same thing about autonomous car companies, no doubt, I agree.
But someone with the financial means to buy a $150,000 car should have gained enough sense in that time. There have been HIGHLY publicized accidents stemming from not paying attention while having Autopilot on. I mean, it's all good to blame the manufacturer I guess, but don't people have any sense of self preservation? The answer can't just be damn the torpedoes, let the courts sort it out.
I am pretty sure they do have a sense of self preservation, sure. The problem is, the system is pretty good, and as people, they have other senses, too. A sense of boredom and sleepiness, and lots of others. If it wasn't so good, the sense of self preservation would likely outweigh others. It is when it is very good that we may be lulled into a false sense of security. Does that make Tesla liable? Not in my view, but it is still a design failure.
It's a system designed for machine use and the machine isn't mature enough yet. You shouldn't ignore human tendencies when you are depending on human supervision.
If Autopilot does things like drive into concrete barriers and the backs of fire trucks I'd say it's pretty unsafe. It may only be safer (which is up for debate anyway) when a human is able to catch all of its errors. Unfortunately, paying attention while the car is mostly driving itself is not something we're wired to do.
Marketing aside autopilot at its core is adaptive cruise control and lane keeping (autosteer). It also has some other minor systems like blind spot detection, and auto parallel park but at its core it is combining those two existing systems.
Is a car with adaptive cruise control safe?Is a car with lane keeping safe?Does it becomes unsafe when you combine the two?
This is a question that goes beyond just Tesla. Pretty much every major brand now has or will soon have Level 2 driver assist technology. It also won't remain at the luxury segment for long just like airbags didn't.
If you treat Autopilot like it is a level 5 self driving car it will eventually kill you. You might luck out for a while but eventually it will kill you. Of course that is true of any level 2 driver assist tech.
The thing that frustrates me (and others) about Tesla claiming Autopilot reduced crashes by 40% is there's no way to say if that was due to AEB, which everyone agrees is a good thing, or lane keeping assist.
If I had to hazard a guess I would say at the very least AEB makes up most of that 40% improvement. Hell it might even be something like AEB reduces it 50% and then other AP functionality is 10% worse making it net-net a 40% reduction.
On highways the most common accident is rear end collision with a car in the lane ahead and AEB can improve that a lot. It also should get even better with time as manufacturers get more comfortable with the systems and can tune them to be a bit more aggressive.
It is a driving tool, however their is a issue with the latest version of autopilot with centering.The last update has introduced a issue with left hand exits, something called barrier lustHeres a link to video of the Barrier Lust in a teslahttps://www.reddit.com/r/teslamotors/co ... st_201812/You can see what happens is that it tries to center itself, and due to the left exit it thinks the lane is widening and converges to the center. And it follows it untill it hits the barrier.TLDRLatest update has a issue, however autopilot is NOT autonomous, so still drivers fault. Update should be fixed though.
So the vehicle is actively trying to steer into the barrier, which the driver has to physically fight against, but it's only the driver's fault if the result is a crash? That is horse shit.
It did steer into the barrier but there is no physically fighting the car. If you turn the wheel it disengages autopilot. It isn't like you have to muscle the car to the right as the Autopilot servos are whining and trying to force the wheel to the left. Your survival isn't dependent on your upper body strength. If your hands aren't on the wheel and you aren't watching the road though well you will crash.
Whatever happened to "shut up and wait for the trial"? Both sides are damaging their cases with these public statements.
What happened to looking at the data before coming to conclusions? My understanding is the car was so badly damaged that Tesla does not have detailed telemetries. They have no idea how hard the car turned and how much time the driver had to respond. | {'pile_set_name': 'Pile-CC'} |
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Archdiocese of Quebec
+ Catholic_Encyclopedia > Archdiocese of Quebec
(QUEBECENSIS)
The Archdiocese of Quebec, in Canada, comprises the counties of Beauce, Bellechasse, Dorchester, Kamouraska, Levis, L'Islet, Lotbiniere, Megantic, Montmagny, part of Temiscouata, Montmorency, Portneuf, and Quebec. The early missionaries, the Recollets (1615-29) and the Jesuits (1625), depended directly on the Holy See. The Jesuits having returned alone in 1632, the Archbishop of Rouen extended his jurisdiction over the country. According to the Bull of erection (1674), the See of Quebec comprehended all the possessions of France in North America: Newfoundland, Cape Breton, Acadia, Ile St. Jean, all New France from the Atlantic to the plains of the far West, the valley of the Mississippi and Louisiana, a territory much larger than Europe. After the treaty of Paris (1783), the Bishop of Quebec kept Newfoundland and what now forms the Dominion of Canada. That immense diocese was successively diminished by the erection of new sees until by the formation of Chicoutimi (1878) it was reduced to its present boundaries (see CATHOLICITY IN CANADA).
(l) Francois de Montmorency Laval (q.v.), consecrated (1658) Bishop of Petraea and Vicar Apostolic of New France, landed at Quebec (1659) and, having happily overcome the pretensions of the Archbishop of Rouen, set about the organization of his diocese. His first report to the Holy See (1660) states that there were only twenty-six priests, of whom sixteen were Jesuits; eight churches or chapels in Quebec and the neighbourhood, with three others in Montreal, Three Rivers, and Tadoussac; about 2000 inhabitants. No house, no revenue for the bishop, no cathedral, and no income for churches. Two orders of nuns applied themselves to the instruction of girls: the Ursulines (founded in 1639 by Venerable Marie de l'Incarnation, and the Congregation of Notre Dame founded by Ven. Marguerite Bourgeoys (1659) and granted approbation by Bishop Laval in 1669 and 1676. The Sisters of St. Joseph of La Fleche kept the hospital established in Montreal (1642) by Jeanne Mance, and the Quebec Hotel-Dieu (1639) was entrusted to the order of St. Augustine, the Sisters of the Mercy of Jesus. Bishop Laval founded the seminary of Quebec (1663), which became a lower seminary in 1668, but had no classes before the Conquest. The pupils attended the lectures of the Jesuit college opened in 1635, and where, on the bishop's request, classes in theology were soon added to philosophy. For its maintenance the institution was granted the tithes established in 1663; parish priests and parishes were to be served by its members; what remained of tithes was devoted to the building of churches and priests' houses. The first parish erected was that of Quebec (1664) which, suppressed by the Bull of erection of the diocese, was reestablished by the bishop in 1684 and united to the seminary; he also instituted a chapter. The parish church of Quebec, begun in 1647, consecrated in 1666 by the prelate, became and remains the cathedral. Eleven other parishes were erected in 1678. In 1683 eighteen priests of the seminary did parish work along the St. Lawrence. The Montreal parish, with Our Lady of Bon-Secours, was united to the seminary of the Sulpicians (1678). In Acadia, Port-Royal was served by the Abbe Petit, sent in 1676, and the Abbe Thury founded the Pentagoet mission in 1684. There were numerous Indian missions, some residential, some among wandering tribes, almost all in the hands of the Jesuits. Bishop Laval, in spite of material obstacles, faithfully visited his diocese and confirmed nearly 5000. The population (1683) was 10,278 in Canada, 600 Acadians, and 1512 converted Indians. The census of 1686 states that there were 44 priests, 12 students in theology, 43 Jesuits, 12 Recollets (returned in 1670), 28 Ursulines, 26 Hospitallers of the Mercy of Jesus, 16 Hospitallers of St. Joseph, and 13 Sisters of the Congregation of Notre Dame.
(2) Jean-Baptiste de la Croix Chevriere de St. Vallier, b. 1653; d. 1727, visited Canada as vicar-general of Bishop Laval (1685-6) and became his successor in 1688. A yearly grant of eight thousand francs from the king enabled him to increase the number of parish priests from twenty to thirty-six. The Jesuits were entrusted with the mission of the Illinois (1690) and other Indians of that region; the Recollets, with the Royal Island (Cape Breton), and the Seminary of Quebec with Acadia and the mission of the Tamarois on the left shore of the Mississippi, which it kept until after the Conquest. Two of its members, the Abbes St. Cosme and Foucault, fell victims there to their zeal. Parishes were rendered independent of the seminary (1692). For the improvement of science in the clergy and of church discipline, ecclesiastical conferences were organized (1700), four synods held, and a ritual with a catechism published. The General Hospital of Quebec was founded (1693), also the Ursuline convent at Three Rivers (1697) which was in the meantime a hospital and a school. He approved (1688) the Charron Brothers, founders of the General Hospital of Montreal (1694). They were Hospitallers and schoolmasters and, until their extinction, half a century later, kept schools in Montreal, Three Rivers, and a few other places. Instruction was more common at that epoch than is generally admitted by historians. The Jesuits and the Sulpicians early established primary schools, teachers went about from place to place, and mostly all parish priests were school-masters. Though a most charitable man, he was not amiable. He had hurt the feelings of many, chiefly in the separation of parishes from the seminary (1692), and complaints had reached France. His resignation was called for by the king and, upon his refusal, he was retained in Paris several years (1694-7), and again from 1709 to 1713, after having been five years a prisoner in England (1704-9). During that voyage he had gone to Rome and obtained the canonical union to the See of Quebec, chapter, and seminary, of the abbeys of Maubec, Lestrees, and Benevent, granted by the king to Bishop Laval.
(3) Louis-Francois Duplessis de Mornay, b. 1663; d. 1741, coadjutor of Bishop St. Vallier (1713), and his successor (1727-33). He never went to Canada, sending, to administer in his stead, his coadjutor, Bishop Dosquet.
(4) Pierre-Herman Dosquet (q.v.), consecrated (1725) Bishop of Samos, bishop from 1733 to 1739. His chief acts were the establishment of the sisters of the congregation of Notre Dame at Louisburg (1735) and the resignation to the king of the abbey of Benevent, more a burden than a source of revenue for the Quebec bishops. A yearly allowance of nine thousand francs was granted in return. He resigned his see in 1739, and received the abbey of Breine with an income of six thousand francs.
(5) Francois-Louis Pourroy de L'Auberiviere, b. 1711; d. 1740, consecrated in Paris (1739) by Bishop Mornay, unfortunately died a few days after landing at Quebec.
(6) Henri-Marie de Pontbriand, b. 1708; d. 1760, was consecrated in Paris (1741). A man of great science and zeal, most devoted to his pastoral duties, he visited several times his diocese, even the distant missions of the Presentation (Ogdensburg) and Detroit, occasionally taught theology in the seminary, and established yearly retreats for priests. The new order of Grey Nuns, recently founded in Montreal by Madame D'Youville and entrusted with the General Hospital, received his encouragement and approval (1755). He aided the victims of the plague in 1746, 1757, and 1758, enabled the Ursulines to rebuild their convent at Three Rivers, destroyed by fire (1752), and retrieved a similar disaster fallen upon the Quebec Hotel-Dieu (1755). In his pastoral letters, he exhorted the clergy to grant to the king for his wars a part of their tithes and encouraged Canadians to do their duty to their country, recalling the fate of the Acadians in 1755. During the siege of Quebec, broken in health by work and cares, he retired to a nearby parish and could see after the surrender, his palace and the seminary, the churches of the Jesuits and the Recollects greatly damaged by bullets and shells, half of the city houses, the church of the Lower-Town and the cathedral, which he had recently (1744-9) rebuilt on a larger scale, entirely destroyed.
(7) Jean-Olivier Briand (q. V;), bishop from 1766 to 1784. One of the vicars-general charged with the administration of the diocese during the vacancy, he ruled the district of Quebec. The Canadians, by two delegates, and the chapter, by an address, had entreated the King of England to maintain the Catholic hierarchy. More successful than the Abbe Montgolfier, rejected by England, the Abbe Briand, elected by the chapter in his place, was indirectly notified that the Government would not oppose his consecration, which took place in Paris (1766); He had to thwart the intentions of England of anglicizing her new subjects in faith and language. Circumstances besides seemed most unfavourable. The population, 42,000 in 1739, was in 1760, 60,000; of 181 priests only 138 remained. The Recollects and Jesuits were forbidden to receive novices; The chapter, prevented from filling its vacancies, soon died. Canonically notified -- or not (it may be doubted) -- of the suppression of their order, the Jesuits were left, until the death of the last, Father Casot (1800), in peaceful possession of their estates, which were afterwards forfeited to the Crown. In Louisiana they had been all banished after 1763, with the exception of Father Meurin, and their several chapels among the Illinois destroyed, while the properties of the mission of the Tamarois were sold for a farthing by the Abbe Forget-Duverger, the last priest sent by the seminary. The Recollects disappeared one by one, Father Berey, the superior, who received an annuity of 500, dying in 1800, and the last priest of the order, in 1813. The college of the Jesuits having been changed into military stores and barracks, the hope of education rested upon the seminary of Quebec, where classes opened in 1765. The loyalty of the bishop during the American War of Independence greatly contributed to obtain religious liberty for Canada. He could write in 1775: "Religion is perfectly free. I can exercise my ministry without any restriction." As a proof that he united firmness with the respect of civil authority, it may be remembered that he refused to take the Test Oath, until the formula was made acceptable to a Catholic, and once said to General Murray: "My head shall be cut off before allowing you to appoint priests to any parish." The Government granted him an annuity of 250 besides 150 for the episcopal palace that he had rebuilt and rented for public use. With three thousand francs voted by the clergy of France in 1765, it formed nearly all his revenue. Nevertheless, he found means for frequent and abundant charities. The number of parishes was about one hundred, more than twenty-five having been erected since the Conquest. A pastoral letter of 1777 contains interesting statistics: 46,323 births and 24,731 burials from 1759 to 1769, and 43,995 births with 26,127 burials from 1769 to 1777, giving a net increase of 39,460 for the whole period between 1759 and 1777. From 1767 Bishop Briand regularly visited his diocese. He ordained ninety priests. Having been allowed by Rome, for fear of a vacancy, to choose and consecrate a coadjutor with future succession, he consecrated in 1772 the Bishop of Doryln and gave him authority in 1784.
(8) Louis-Philippe Mariauchau D'Esglis (q.v.) was the first Quebec bishop born in Canada. He was pastor of Saint-Pierre-d'Orleans and kept until his death his small parish. According to the Ursuline annals, in 1782 priests were very scarce and several parishes without pastors. Vacancies were quickly filled, whereas, in 1788-90, the number of parishes being 121, the census of 1790 numbers 146 priests, of whom 142 were in office. Returning Acadians settled in several of the maritime provinces and were served by Vicar-General Bourg and the Fathers Girouard, Le Roux, and Donat, of the congregation of the Holy Ghost, while the Irish and Scotch Catholics of the same region were attended by the Abbes Phelan and Jones, who resided at Halifax.
(9) Jean-Francois Hubert (q.v.), consecrated Bishop of Almire and coadjutor of Quebec (1786), filled the see from 1788 to 1797. Every year he spent three months visiting the religious communities and a part of his diocese. In 1795 he visited Baie-des-Chaleurs. He ordained 53 priests and confirmed 45,148 people. The number of priests, in 1794, was 160 for a population of 160,000 Catholics. During the French Revolution, 34 came from France. Nine were sent to Acadia and four to Upper Canada. The seminary of Montreal, on the verge of ruin, obtained recruits, and kept possession of its estates, which, thanks to the firmness of Bishops Plessis and Panet, were declared, under Queen Victoria, its lawful property. Bishop Hubert, to please Lord Dorchester, appointed coadjutor the Abbe Bailly de Messein, parish priest of Pointe-aux-Trembles (Portneuf co.), consecrated Bishop of Capsa in 1789. A distinguished man in some regards, successful missionary in Acadia (1767- 71), professor of the seminary (1772-7), and afterwards (1778-82) private teacher of the governor's children, he favoured the establishment of the mixed university contemplated by some New England loyalists settled in Canada, and which Bishop Hubert considered and firmly opposed as an anti-Catholic agency. The coadjutor died in 1794, apologizing for his errors. Another and different coadjutor was chosen, Pierre Denault, to whom Bishop Hubert resigned his authority in 1797.
(10) Pierre Denault (q.v.) was pastor of Longueuil and kept his parish even after his consecration as Bishop of Canathe (1795). The parishes of Lower Canada numbered then about one hundred and forty, some of which he visited every year. He also visited Upper Canada in 1801 and 1802, and created, for English-speaking Catholics, the parishes of St. Andrew and St. Raphael, which he entrusted to Rev. Alex. McDonell. On his visit to the maritime provinces in 1803, he confirmed 8800 people. The primary school founded by Abbe Brassard at Nicolet he made a classical school (1803), now the seminary of Nicolet. His generous contributions to the new college of the Suplicians (1804-5) also show his devotion to education.
(11) Joseph-Octave Plessis (q.v.), consecrated Bishop of Canathe in 1801, Bishop of Quebec from 1806 to 1825. His great achievement was the organization of the Church in Canada in which he was providentially aided by the American invasion of 1812-13. After the treaty of Ghent (1814) he was for the first time officially acknowledged as Catholic Bishop of Quebec, and granted by the king an annuity of 1000. He obtained from Rome, besides the erection of the Vicariate Apostolic of Nova Scotia (1817), the appointment of bishops for Upper Canada, Montreal, New Brunswick, including Prince Edward's and the Magdalen Islands, and for the North-West, where the Abbes Provencher and Dumoulin had begun (1818) the mission of the Red River. England assented, but on the express condition that these bishops would be only auxiliaries and vicars-general of Quebec. He also obtained from the pope not to use, while the Government objected, the title of archbishop granted to him in 1819. All the new prelates were consecrated by him on his return: McDonell (1820), McEachern and Lartigue (1821), Provencher (1822). He ordained 114 priests, preserved the college of Nicolet, and encouraged St. Hyacinth College, begun by Abbe Girouard (1811). Like his predecessors, he firmly opposed the royal institution which placed education in Protestant (Protestantism) hands, and endeavoured to obtain Catholic primary schools. A more favourable law was voted in 1824. As a member of the Legislative Council from 1817, he had great influence. In 1822 he contributed to prevent the union of the Canadas intended by the English House of Commons.
(12) Bernard-Claude Panet, b. 1753; d. 1833, parish priest of Riviere-Ouelle, consecrated Bishop of Saldes and coadjutor of Quebec (1807), was bishop from 1825 to 1833. The chief events of his administration were: the building of Nicolet College (1827), to which he contributed the sum, large for the time, of $32,000; the foundation of the College of Ste-Anne-de-la-Pocatiere (1827) by the Abbe Painchaud; the educational law of 1829 which granted allowances for the creation of parish schools and the maintenance of colleges, convents, and academies already in existence; the erection in Quebec, with his help, of St. Patrick's church for the Irish; the sale to the Government of the episcopal palace built by Mgr Briand. An annual rent of 1000 was paid, which, although irredeemable, was redeemed in 1888 by the sum of $74,074, given to Cardinal Taschereau.
(13) Joseph Signay, b. 1778; d. 1850, Bishop of Fussala and coadjutor of Quebec (1827), administrator (1832), bishop (1833), archbishop from 1844 to 1850. There were epidemics of cholera in 1832, 1834, and 1849. Quebec was almost entirely destroyed by fire in 1845. In 1847 typhus visited the Irish exiles at Grosse-Ile. Among many priests deserving grateful memory must be mentioned the Abbe Felix Cazeau, then secretary to the bishop and afterwards vicar-general, who found homes for nearly five hundred Irish orphans. Important events were: the law on education (1841) which allowed the election of school commissioners having power to build new schools, to choose teachers and raise funds therefor; the erection of Quebec (1844) into a metropolis with three suffragan sees, Kingston, Montreal, and Toronto; the Oblates (1844) and the Jesuits (1849) admitted into the diocese and charged respectively with the Saguenay mission and the Sodality of the Blessed Virgin of the Upper-Town; societies for the Propagation of the Faith (1837), colonization (1838), and temperance (1843). The report of Bishop Signay to the Holy See in 1843 states that the diocese contained 200,000 Catholics, 145 churches and chapels, 4 orders of nuns, and 3 colleges or seminaries. ln the Red River mission, under Bishop Provencher, out of 5140 souls, more than 2700 were Catholics. Vicar-General Norbert Blanchet and Modeste Demers had opened (1838) the mission of British Columbia, while other missionaries worked among the Indians of Lake Abbittibi. Bishop Signay was the last to receive the annuity of 1000 granted to Mgr Plessis. In 1847 he entered the present episcopal palace.
(14) Pierre-Flavien Turgeon, b. 1787; d. 1867, elected in 1831 and consecrated in 1834 Bishop of Sydime and coadjutor of Quebec, became administrator in 1849, and bishop in 1850. That same year a meeting of the bishops at Montreal prepared the first Council of Quebec, held in 1851 under his presidency. After directions on liturgy and discipline, against social and moral dangers, its most important decree is that on Catholic universities and normal schools, which gave birth (1852) to Laval University and to Laval Normal School in 1857. Pius IX was also petitioned to form new sees. St. Hyacinth and Three Rivers were erected in 1852, while Halifax became a metropolis. A second council took place at Quebec in 1854. The foundation of the Quebec Sisters of Charity (1849) and of the Good Shepherd (1850), the reorganization of ecclesiastical conferences the publication of a new catechism and the approval of Butler's for English-speaking Catholics are the chief acts of Bishop Turgeon's administration. In 1855, owing to ill-health, he left the administration of the diocese to his coadjutor.
(15) Charles-Francois Baillargeon, as parish priest of Quebec (1831-50), procured for his parish the Brothers of the Christian Schools, and established the conferences of St. Vincent de Paul. As bishop, the great events of his administration were the third (1863) and fourth (1868) Councils of Quebec, attended by the suffragan Bishops of Montreal, Ottawa, St. Boniface, Three Rivers, St. Hyacinth, Hamilton, Sandwich (now London), Kingston, Toronto, and (in 1868) Rimouski. Besides several disciplinary decrees, the erection of the ecclesiastical provinces of Toronto and St. Boniface was decided and a petition was added for the canonization of Sister Marie de l'Incarnation, foundress of the Quebec Ursulines. Bishop Baillargeon attended the Vatican Council (1869), but was forced by ill-health to return before voting for papal infallibility, which he favoured. He died soon after. He had consecrated five bishops and ordained one hundred and ninety priests.
(16) Elzear-Alexandre Taschereau, b. 1820; d. 1898, for several years teacher of philosophy in the seminary, and was one of the founders of Laval University; he was rector (1800-6), and again, in 1869, vicar-general (1862), theologian of Archbishop Baillargeon at the Vatican Council, administrator (1870), archbishop (1871), Cardinal of the title of Santa Maria della Vittoria (1886). Among the many facts of his administration may be quoted: the foundation of the Hospital of the Sacred Heart, which he entrusted to the Sisters of the General Hospital (1873); the erection of the Chicoutimi college and see (1878); the inauguration of a classical course of studies in the Commercial College of Levis (1879); the creation of more than fifty parishes with the funds of colonization and of the Propagation of the Faith, kept since 1876 for local wants; the foundation (1892) of the now prosperous order of Our Lady of Perpetual Help, by the Abbe Brousseau; the fifth (1873), sixth (1878), and seventh (1886) Councils of Quebec. Among the decrees must be mentioned that on the improvement of theological and philosophical studies after St. Thomas's principles, according to Leo XIII's direction. Archbishop Taschereau had to deal with some perplexing cases: he was papal delegate for the division of Notre Dame parish in Montreal (1871), and the conclusion of his report was adopted by Cardinal Barnabo. In the exciting question of Catholic Liberalism, his pastoral letters of 1875 and 1877 procured for the country a lasting peace. Another cause of discord was the university question, finally settled by establishing at Montreal (1876) a branch of Laval, which, by the Decree "Jamdudum" (1896), has become nearly independent. In 1888 the long pending debate on the Jesuits' estates ended by an agreement between Prime Minister Mercier and Father Turgeon, S.J., authorized by Rome. The Government paid an indemnity of $400,000 to be divided among the Jesuits, Laval University, and the bishops for educational purposes. A share of $60,000 was granted to the Protestant (Protestantism) Board of Education. When Cardinal Taschereau handed over the administration to his coadjutor (1894), the archdiocese contained 320,000 Catholics, 392 secular priests, 33 regulars, 3 colleges or seminaries, 65 convents, 195 churches and chapels, 192 parishes and missions, although more than 50 had been cut off for the new sees of Rimouski and Chicoutimi.
(17) Louis Nazaire Begin, b. 1840, after several years of studies in Rome, where he was ordained in 1865, filled in the seminary of Quebec the successive positions of professor of theology, director of students, and prefect of studies. Principal of the Laval Normal School (1884), Bishop of Chicoutimi (1888), coadjutor of Quebec (1891) with the title of Archbishop of Cyrene, granted future succession (1892), he took possession of the see in 1898. He has written books on infallibility, the rule of faith, and the veneration of the saints. During his administration the archdiocese has greatly developed by the admission of several orders of men and women, and by the creation of many new parishes. He played a leading part in the struggle of the Canadian bishops (1896) against the unjust law of 1890, by which the Catholics of Manitoba had been deprived of their schools. After the delegation of Mgr. Merry del Val, now Secretary of State to Pius X, he received (1898) the Encyclical letter "Affari vos" (1897), in which Leo XIII, while he praised the bishops for their vindication of Catholic principles of education, advised union and charity when claiming justice. On the tercentenary of the foundation of Quebec (1908) a monument was erected to Bishop Laval. Important events are: the organization of the "Action sociale catholique", a branch of which is the paper "L'Action Sociale", edited at Quebec since 1907; the first Plenary Council of Canada (1909), attended, under the presidency of Archbishop Sbaretti, delegate Apostolic, by 7 archbishops, 26 bishops, 1 prefect Apostolic, 1 mitred abbot, and 5 episcopal proxies. At this date (April, 1911), the decrees have not yet been published. Mgr Paul-Eugene Roy, b. 1859, was consecrated auxiliary bishop in 1908. His classical course was made in Quebec; after taking in France the degree of licentiate in letters, he was professor of rhetoric and prefect of studies in the Quebec seminary, became pastor of the Canadians at Hartford, Conn., and in 1901 was first parish priest of Jacques-Cartier in Quebec. He is the chief force in the "Action Sociale".
The Archdiocese of Quebec is incorporated under the title "La Corporation Episcopale Catholique Romaine de Quebec" by XII Victoria, ch. 36, which also grants (SS 7) incorporation to all dioceses then existing or to be afterwards erected in Canada. "L'Eveque catholique de Quebec" was personally, and remains, incorporated by letters patent of Queen Victoria in 1845. Parishes receive civil incorporation after canonical erection, but possess their legal rights even without it. Church property, administered under the pastor's presidency by church-wardens elected by parishioners, cannot be legally alienated without the bishop's assent. In the ecclesiastical province of Quebec, a mutual insurance, with its seat in Quebec, covers risks on church buildings and parsonages to the amount of $7,500,000. A similar insurance exists for Catholic educational or charitable institutions. The parish church of Quebec is the cathedral. Begun in 1647, consecrated by Bishop Laval in 1666, rebuilt on a larger scale by Bishop Pontbriand (1744-9) and again, after the siege by Bishop Briand (1767-71), it was honoured in 1874 by the title of basilica. With the exception of a few students, sent every year to Europe to receive a training as professors, most of the clergy are educated in the higher seminary of Quebec. None is admitted until after satisfactory classical studies and two years of philosophy. The course of theology lasts four years. Four times a year all priests in office have to meet by groups of ten and twelve to treat of questions of theology or church history determined by the bishop, to whom report must be sent. Two retreats every year are preached in the seminary, so that all the clergy may attend one or the other. An ecclesiastical association ("La Caisse St. Joseph") grants a pension to its members out of office through sickness or old age.
Two hospitals (Hotel-Dieu) for the sick; 12 for old persons of both sexes; 7 orphanages; 3 patronages for foundlings; 1 refuge for repentant girls -- all entrusted to religious orders; several prosperous societies or conferences of St. Vincent de Paul; a Tabernacle Society and an Association for the Protection of Maid Servants.
(The asterisk shows which have in the diocese a novitiate or at least a preparatory house or postulate.) Jesuits, Franciscans*, Capuchins *, Dominicans, White Fathers, Oblates, Fathers of the Sacred Heart*, Brothers of the Christian Schools, of Christian Instruction, of St. Viateur, of the Sacred Heart, Marists*, Fathers and Brothers of St. Vincent de Paul. The Fathers of Ste Croix have a house and 9 students following the course of theology at Laval. The Franciscans have their own classes of theology with 30 students.
Ursulines*, Sisters of the Good Shepherd*, Congregation of Notre Dame, Servants of the Holy Heart of Mary*, Dominican Sisters of the Infant Jesus*, Franciscan Missionaries of Mary*, Sisters of the Mercy of Jesus*, of Charity*, of Jesus-Marie*, of the Holy Family, of Charity of St. Louis*, of St. Francis of Assisi, of the African Missions (White Sisters)*, of St. Joseph of St. Vallier*, of the Perpetual Help*, of the Holy Redeemer (Redemptoristines)*, of the Precious Blood*, of Hope, and Cistercian Sisters (Trappistines)*.
(1910): 359,000 Catholics; 510 secular and 100 regular priests; 218 parishes and 25 missions; 266 churches and chapels (only two parishes are exclusively composed of Irish or English Catholics; about fifteen are mixed, but mostly all with a much larger proportion of French-Canadians); 1 university (Laval) with 405 students, of whom 116 for theology; 3 colleges or seminaries with 1601 students; Laval Normal School, with 95 young ladies and 61 young men trained for teaching, and 174 other pupils; 49 academies and 143 high schools (ecoles modeles), with 27,579 children educated by 196 brothers, 745 sisters of different orders, 21 lay schoolmasters and 136 schoolmistresses; 1279 primary schools (ecoles elementaires), in which 14 brothers, 108 sisters, 4 schoolmasters and 1293 schoolmistresses give instruction to 43,933 children.
TETU, Les Eveques de Quebec (Quebec, 1899); Mandements des eveques de Quebec (Quebec, 1887-1910); Le palais episcopal (Quebec, 1896); Journal d'un voyage en Europe par Mgr Plessis (Quebec, 1903); Journal des visites pastorales de 1815-16, par Mgr Plessis (Quebec, 1903); Conciles de Quebec (Quebec, 1870-1888); Documents historiques sur la Nouvelle France (Quebec, 1883-5); Jesuit Relations, ed. THWAITES (Cleveland, 1896-1901); GARNEAU, Hist. du Canada (4th ed., Montreal, 1882); FERLAND, Cours d'histoire (2nd ed., Quebec, 1882); AUGUSTE GOSSELIN Vie de Mgr de Laval (Quebec, 1890); DE PONTBRIAND, Mgr de Pontbriand (Paris, Champion, 1910); Les Ursulines de Quebec (Quebec, 1863-6); CASGRAIN, Hist. de l'Hotel-Dieu; AMEDEE GOSSELIN, L'Instruction au Canada sous le regime francais (Quebec, 1911); MORICE, Dictionnaire des Canadiens et des Metis francais de l'Ouest (Quebec, 1908); IDEM, History of the Catholic Church in Western Canada (Toronto, 1910); Rapports sur les missions du diocese de Quebec (Quebec, 1839-74); Le 200e anniversaire de la fondation du Seminaire de Quebec (Quebec, 1863); Le premier concile plenier de Quebec, preparation, seances solennelles et allocutions (Quebec, 1910); Le 2e centenaire de l'erection du diocese de Quebec (Quebec, 1874); Souvenir des fetes du 21, 22 et 23 juin 1908 (Quebec, 1908); MIGNAULT, Droit paroissial (Montreal, 1893); Rapport du surintendant de l'instruction publique pour 1909-1910; Le Canada ecclesiastique (Montreal, 1911).
H. A. SCOTT.
Transcribed by Douglas J. Potter Dedicated to the Immaculate Heart of the Blessed Virgin Mary
Archdiocese of Prague
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Roman Catholic Archdiocese of Quebec -- Infobox Roman Catholic diocese Roman Catholic Diocese of=Archdiocese of Quebec Latin name of diocese=Archidioecesis Quebecensis location=Quebec City, Quebec, Canada territory=Quebec City and environs population=1,076,180 Catholics rite=Roman Rite ... Wikipedia
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Archdiocese of Saint Louis (Missouri) -- St. Louis (Missouri) + Catholic Encyclopedia > St. Louis (Missouri) (SANCTI LUDOVICI) Created a diocese 2 July, 1826; raised to the rank of an archdiocese 20 July, 1847. It comprises that portion of the State of Missouri bounded... ... Catholic encyclopedia
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Notre-Dame Basilica-Cathedral (Quebec City) -- For other uses, see Notre Dame (disambiguation). Notre Dame de Quebec Notre Dame de Quebec Basilica Cathedral ... Wikipedia | {'pred_label': '__label__wiki', 'pred_label_prob': 0.8830882906913757, 'wiki_prob': 0.8830882906913757, 'source': 'cc/2021-04/en_head_0069.json.gz/line1265988'} |
Fabryka Slow
Fabryka Slow (English: Factory of Words) is a Warsaw-based Polish publishing house. It was founded in Lublin in 2001 by Eryk Gorski and Robert Lakuta who always wanted to publish good literature they liked reading themselves. It is focused on the fantasy and science fiction genres. Fabryka Slow also publishes historical novels and journalism for example Hubal by Jacek Komuda and Polactwo by Rafal Ziemkiewicz. It owns a number of popular series, most notably: Pan Lodowego Ogrodu, Achaja, Demonic Cycle, Seria o Przygodach Jakuba Wedrowycza, Inkwizytor Mordimer. Since 2013 they have been publishing a literary series of Fabryczna Zona (post-apocalyptic S.T.A.L.K.E.R universe)
The first book published by the Fabryka Slow was Kroniki Jakuba Wedrowycza by Andrzej Pilipiuk. So far there have been more than fifteen titles in this series. Other notable Polish authors who published in Fabryka Slow are: Andrzej Ziemianski, Eugeniusz Debski, Jacek Komuda, Rafal A. Ziemkiewicz, Jaroslaw Grzedowicz, Maja Lidia Kossakowska, Jacek Piekara, Michal Golkowski, Tomasz Kolodziejczak, Magdalena Kozak, Adam Przechrzta. Fabryka Slow publishes foreign authors too, for example: Peter V.Brett, Miroslav Zamboch, Angus Watson, Brian McClellan, Patricia Briggs and Ilona Andrews.
References Category:Publishing companies of Poland
Category:2002 establishments in Poland
Category:Publishing companies established in 2002
Category:Media in Lublin
Category:Book publishing companies of Poland | {'pile_set_name': 'Wikipedia (en)'} |
Correlation between karyotypic pattern and clincopathologic features in 125 breast cancer cases.
A correlation analysis was performed on 125 cytogenetically characterized breast cancer cases to assess the relationship between the tumor karyotype and clinicopathologic features. The carcinomas of young women had a higher modal chromosome number than those of older women. The number of chromosomal aberrations and modal chromosome number were also found to correlate with the histologic type, grade and mitotic activity of the tumor. Whereas all lobular carcinomas were karyotypically normal or near-diploid, more than 3 aberrations and sometimes near-triploid or near-tetraploid karyotypes were common findings in ductal carcinomas, especially in grade-III tumors and in tumors showing high mitotic activity in vivo. Karyotypes with cytogenetically unregulated clones and unbalanced structural chromosomal rearrangements were more frequent in infiltrating than in in situ carcinomas but, at least as far as the second of these 2 characteristics is concerned, especially in infiltrating carcinomas that also had an in situ component. The presence of cytogenetic polyclonality correlated with tumor grade. Although recurrent chromosome aberrations were significantly more common in ductal than in lobular carcinomas, none of these breast cancer-associated anomalies seemed to be specific for any particular clinicopathologic parameter. The associations between modal chromosome number and mitotic activity and between cytogenetic polyclonality and tumor grade were found to be statistically significant in multivariate models. No correlations was seen between the karyotypic findings and tumor size or the presence of axillary-lymph-node metastases. | {'pile_set_name': 'PubMed Abstracts'} |
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The Sitakund waterfall is one of the another outside attraction tourist place of Simlipal Tiger reserve of Odisha. The Sitakund waterfall is located at Mayurbhanj district of Odisha and it is the part of the Simlipal National Park. This place is much more importance for Hinduism and also the natural waterfall beauty attracting the tourist. Mostly the natural beauty of this place is really amazing to visit this place. Also this place also getting popularity for best picnic spot in Odisha.
The Sitakund natural waterfall is creating beautiful surrounding and also an beautiful place of attraction. Also this place is the place of Hinduism because the name of the waterfall is sitakund that is the name of Hindu goddess maa sita devi. Sitakund waterfall is the place of scenic beauty and this place also best for natural lovers to get real experience with this place.
Best time to Visit Sitakund waterfall : Everyday 6:00 am - 5:00 pm is the best time to visit this place. | {'timestamp': '2019-04-20T16:17:40Z', 'url': 'http://www.mayurbhanjonline.com/attractions/sitakund-waterfall', 'language': 'en', 'source': 'c4'} |
[Identification of viable myocardium in ischemic heart disease with severe left ventricular contractile dysfunction: comparison of myocardial scintigraphy with 99mTc-sestamabi and with 201-thallium].
The aim of this study was to compare quantitatively uptake of 99mTc-Sestamibi at rest and that of late redistribution of 201Tl in the same patients with severe ischaemic left ventricular dysfunction, and to correlate the uptake of the tracer to regional ventricular dysfunction studied by ECG grated 99Tc-Sestamini. A double isotope myocardial scintigraphy, 201 Thallium at rest/redistribution and 99Tc-Sestamibi at rest and on exercise, was performed in 28 patients with severe postinfarction ischaemic cardiomyopathy (EF= 29 +/- 4%). Quantitative analysis for each patient and each isotope were performed with respect to the number of hits expressed in percentage of the activity of a normal zone in 17 circumferential profiles distributed in 4 zones, that is to say in 476 segments. A score allowed counting of viable and non-viable segments and evaluation of contractile function of the 17 segments with respect to wall motion and systolic thickening. Total concordance of global uptake of the two isotopes was observed in 430 of the 476 segments (90.3%) (r= 0.814, p< 0.0001), but the 99mTc-Sestamibi uptake was less than 201 Th (71 +/- 23% vs 73 +/- 21%, p= 0.0001). With respect to left ventricular wall motion, uptake of 99mTc-Sestamibi was greater than that of 201Tl in normal or hypokinetic segments but less in akinetic and dyskinetic segments. The difference between the two isotopes was most marked in segments with very severe contractile dysfunction. The authors conclude that the uptake of 99mTc-Sestamibi is correlated with that of late distribution of 201Tl when left ventricular contraction is not too poor and should no longer be considered as only a marker of perfusion but can also be useful in the investigation of myocardial viability. | {'pile_set_name': 'PubMed Abstracts'} |
Oxysterol-induced activation of macrophage NADPH-oxidase enhances cell-mediated oxidation of LDL in the atherosclerotic apolipoprotein E deficient mouse: inhibitory role for vitamin E.
In the present study we provide evidence, both direct and circumstantial, that macrophage oxysterols induce translocation of p47phox from the cytosol to the cell's plasma membrane, forming an active NADPH-oxidase complex which produces superoxide anion and facilitates cell-mediated oxidation of LDL. The study was performed on macrophages from atherosclerotic apolipoprotein E deficient (E(0)) mice, which are under oxidative stress. The oxysterol content in peritoneal macrophages (MPM) from E(0) mice was significantly higher (by 50-80%) than that observed in MPM from control (C57BL6) mice. E(0) MPM release 2-fold more superoxide anions and oxidize LDL by 2.5-fold more than control MPM. Furthermore, macrophage protein kinase C (PKC) activity and arachidonic acid (AA) release (which are both involved in NADPH-oxidase activation) were elevated by 60 and 70%, respectively, in E(0) MPM compared with control MPM. Dietary supplementation of vitamin E (40 mg/kg per day for 2 months) to E(0) mice resulted in a reduction in MPM total oxysterols content (-27%) and this effect was associated with a reduction in PKC activity (-36%), AA release (-39%), cytosolic p47phox translocation to the plasma membrane (-30%), superoxide anion release (-25%) and MPM-mediated LDL oxidation (-28%), compared with unsupplemented E(0) mice. Enrichment of MPM from control mice with the major oxysterols found in E(0) MPM (7-ketocholesterol, beta-epoxycholesterol and 7beta-hydroxycholesterol) resulted in a dose-dependent increase (60-80%) in PKC activity, AA release, p47phox translocation, superoxide anion release and cell-mediated oxidation of LDL. These data clearly demonstrate for the first time that under oxidative stress, cellular lipids are oxidized, and that macrophage enrichment with oxysterols (as exists in E(0) mice) activates the NADPH-oxidase system and enhances cell-mediated oxidation of LDL, a key event during early atherogenesis. | {'pile_set_name': 'PubMed Abstracts'} |
Fill in the online application forms, envisaged for individuals or legal entities by attaching the required documents to the application. After collection and review of the application packages, the authors of the approved programs will be invited for an interview. In the final stage, the Board of Trustees of "Stepan Gishyan" charity foundation will select the winners.
The deadline for submission of applications for grant provision is 7th March 2019.
Delayed or incomplete applications will not be accepted.
The programs meeting the conditions will be exclusively reviewed and the advantage will be given to the programs which focus upon strengthening and development of the French-Armenian relations. The maximum amount of one grant is 4.000.000 AMD. | {'timestamp': '2019-04-19T07:16:54Z', 'url': 'http://foundation-gishyan.am/en/how-to-apply', 'language': 'en', 'source': 'c4'} |
semifreelife
a blog about my new semi-free-life after 30+ years of law (travel, food, theater, and an occasional rant)
foto faves
starting in Sofia
we arrived in Sofia (much of which is paved in yellow brick as shown in the photo above) mid evening and were met by our driver Julian and guide George. They took us to the Grand Hotel Sofia and we got checked in, made a plan for the AM and headed to our extremely spacious room. The hotel room is very nice with a shower and tub in the marble bath and two large beds, along with a couch, easy chair and a big desk. We are scheduled for two nights here. We had a terrific meal on the Turkish Air flight from Istanbul to Sofia so we didn't need to dive into the fruit and cheese platter we had pre-ordered (just in case) but it looked yummy with several nice cheeses (and it turned out to be yummy as well when we ate it the following afternoon.)
Let me back-track just a bit. The Turkish Air flight to Istanbul had the aircraft changed from when our reservation was made and the new configuration had substantially fewer business class seats - so there was some anxiety around ensuring our business class tickets were honored but after we checked in at ORD and got our seat assignments, we relaxed. The flight took off on time at 10:40 PM and was probably the best flight I have ever been on. They have two chefs on board to handle the meals and it shows!
here are some photos of the flight food and menu-
the flight arrived to IST on time and the transit to the next flight was completely effortless (we were the first gate after entry to the terminal) and that flight took off on time (we were the only first class passengers so we got terrific attention and had a lovely dinner on the 75 minute flight!)
back to the hotel- we crashed fairly soon after arriving in our room- stayed awake long enough to get the computer up and running (the end of baseball season must be attended to - LOL) and shower to rid ourselves of "road" feel....
we were up in the morning - early but not too- down to breakfast which was very nice and included some local items (various pastries and a honey comb you could eat pieces from) along with the usual coffee selections from the fancy machine (latte, capuccino, cafe au lait, chocolate and coffee blend, chocolate) - so when we met up with George we were well fed and pretty well rested.
this was like Tres Leches cake- excellent!
the honeycomb-
a great variety of honey was available each morning-
the hotel has tons of original art work, although much of it would qualify in my opinion as "starving artist art sale - Holiday Inn - this weekend only!" style- below is the painting from our room- not sure what to make of it....
so off we went on a walking tour of the city of Sofia...
Sofia is the capital and largest city of Bulgaria. Sofia is the 15th largest city in the European Union with population of more than 1.2 million people. The city is located at the foot of Vitosha Mountain in the western part of the country, within less than 31 miles drive from the Serbian border. Its location in the centre of the Balkan peninsula means that it is the midway between the Black Sea and the Adriatic Sea, whereas the Aegean Sea is the closest sea to it.
Sofia has been an area of human habitation since at least 7000 BCE and is Europe's second-oldest city, having been founded 7000 years ago, hence the motto of the city is "Grows, but does not age". The city's earliest official mention was in the 7th century BCE.
Sofia is one of the most visited tourist destinations in Bulgaria. Among its highlights is the Alexander Nevsky Cathedral, one of the symbols of Bulgaria, constructed in the late 19th century. It can hold 10,000 people. The city is also known for the Boyana Church, a UNESCO World Heritage site.
Sofia holds Bulgaria's largest museum collections, which attract tourists and students for practical studies. The National Historical Museum in Boyana district has a vast collection of more than 650,000 historical items dating from Prehistory to the modern era, although only 10,000 of them are permanently displayed due to the lack of space. Smaller collections of items related mostly to the history of Sofia are in the National Archaeological Museum, a former mosque located between the edifices of the National Bank and the Presidency. (wikipedia)
We headed toward the synagogue with a few stops along the way - first at the Presidential Palace and then at St George's Rotunda and Roman ruins, along with the statue of Sofia... along the way we learned about the Thracian and Dacian tribes and the roman history of the city...
the beautifully restored synagogue-
a little known history of how Bulgaria saved its own Jews from the Nazis has come to light now that the Soviet Union has fallen-
Bulgaria's 48,000 Jews were saved from deportation to Nazi concentration camps with the help of Dimitar Peshev, leaders of the Bulgarian Church, led by Metropolitan Stefan of Sofia, Tsar Boris, and ordinary citizens. On the eve of the planned deportations, the Bulgarian government asked for a breakdown of the German plans for the destinations of the deportees, and was told that roughly one-half would be employed in agriculture in Greater Germany and one-fourth, reported to be semi-skilled laborers, would be "allowed to redeem themselves" by "volunteering to work" in the war industries of the Ruhr Valley, while the remaining one-fourth would be transported to the General Government (German-occupied Poland) for employment in "work directly connected to the war".
Hesitating to comply with German deportation requests in late 1942 and early 1943, following rumors of mistreatment of Jews transported to Poland, the Bulgarian government made use of Swiss diplomatic channels to inquire whether it was possible to deport the Jews to British-controlled Palestine by ships across the Black Sea. However, this attempt was blocked by British Foreign Minister, Anthony Eden. Following that failure, the Bulgarian authorities permitted Germany to deport the majority of non-Bulgarian Jews residing in Bulgarian-occupied parts of Greece and Yugoslavia. None of them survived.
Although Bulgaria effectively controlled these regions immediately beyond its borders, the German authorities recognized only the Bulgarian military administration and not the civil one. Bulgaria granted citizenship to all ethnic Bulgarians living in occupied territory, and also to those of other ethnicities who wished to acquire it, with the exception of the Jews. The territories of Aegean Thrace, Macedonia and other lands controlled by Bulgaria during World War II were not considered Bulgarian although they were administered by Bulgaria. Bulgarian soldiers, assisted by German soldiers, took the Jews from Komotini and Kavala and massacred them. The Bulgarians also confiscated all of the Jewish properties and possessions. In contrast with the old Bulgarian territories, where widespread protests against the deportations took place, including petitions to the government in Sofia, in Aegean Thrace and Macedonia such organized movements were lacking.
As for the Jews in the kingdom of Bulgaria itself, German requests for their deportation to concentration camps were not complied with. Later, Bulgaria was officially thanked by the government of Israel for its defiance of Nazi Germany. This story was kept secret by the Soviet Union, because the royal Bulgarian government, the King of Bulgaria and the Church were responsible for the huge public outcry at the time, causing the majority of the country to defend its Jewish population. The communist Soviet regime could not countenance credit to be given to the former authorities, the Church, or the King, as all three were considered enemies of communism. Thus, the documentation proving the saving of Bulgaria's Jews only came to light after the end of the Cold War in 1989.
The number of 48,000 Bulgarian Jews was known to Hitler, yet not one was deported or murdered by the Nazis. The Bulgarian authorities did offer protection to Jews who were not Bulgarian nationals residing in Bulgaria proper, including those who had fled there from Nazi occupied regions in other countries. (wikipedia)
After the synagogue we went to a number of churches and made a lunch stop - here are a few highlights from the photos-
my lunch- shrimp and seaweed salad-
then it was off to a nearby burb called Boyana where we saw a spectacularly intact set of thirteenth century frescoes in the church there- admission is limited to ten minutes and groups of no more than eight to help preserve this amazing work of art - no photos inside so I will see if I can find a few on the Internet - all the follow photos were taken from a google search for Boyana frescoes-
above- the church patrons-
below St Nicholas-
these are my photos from the outside -
The Boyana Church is a medieval Bulgarian Orthodox church situated on the outskirts of Sofia, the capital of Bulgaria, in the Boyana quarter. In 1979, the building was added to the UNESCO World Heritage List. The east wing of the two-storey church was originally constructed in the late 10th or early 11th century, then the central wing was added in the 13th century under the Second Bulgarian Empire, the whole building being finished with a further expansion to the west in the middle of the 19th century. A total of 89 scenes with 240 human images are depicted on the walls of the church.
Besides the first layer of 11th-12th-century frescoes, of which only fragments are preserved, and the famous second layer of murals from 1259, the church also has a smaller number of later frescoes from the 14th and 16th-17th centuries, as well as from 1882. The church owes its world fame mainly to its frescoes from 1259. They form a second layer over the paintings from earlier centuries and represent one of the most complete and well-preserved monuments of mediaeval art in the Balkans.
Eighteen scenes in the narthex depict the life of Saint Nicholas. The painter here drew certain aspects of contemporary lifestyle. In The Miracle at Sea, the ship and the sailors' hats recall the Venetian fleet. The portraits of the patrons of the church -- Sebastocrator Kaloyan and his wife Dessislava, are thought to be among the most impressive and lifelike frescoes in the church.
then we went to a terrific history museum in one of the ugliest buildings I have ever seen- a huge and horrific monstrosity of a building that was clearly built in the Soviet era -
We returned to the hotel- later went out to dinner and had a wonderful meal at a place called MOMA.
The next morning we left for another town and more interesting sights- so stay tuned for much more - this was really only day one...
Posted by TOR at 8:01 PM
Labels: #bulgaria, monasteries, plovdiv, russian orthodox church, sofia, veliko tarnovo
I live in the city - Chicago (summers) and near the beach - Sarasota/Bradenton (winters). I love to travel, have a husband and a cat, and grey hair. And I pretty much think everything can be made fun of... which sometimes gets me in trouble.
other stuff of mine
my travel photo website
strange coincidence | {'pred_label': '__label__cc', 'pred_label_prob': 0.6033591628074646, 'wiki_prob': 0.3966408371925354, 'source': 'cc/2021-04/en_head_0034.json.gz/line887864'} |
#!/usr/bin/env python3
# -*- coding: utf-8 -*-
#
# ts-flint documentation build configuration file, created by
# sphinx-quickstart on Mon Nov 21 16:51:56 2016.
#
# This file is execfile()d with the current directory set to its
# containing dir.
#
# Note that not all possible configuration values are present in this
# autogenerated file.
#
# All configuration values have a default; values that are commented out
# serve to show the default.
# If extensions (or modules to document with autodoc) are in another directory,
# add these directories to sys.path here. If the directory is relative to the
# documentation root, use os.path.abspath to make it absolute, like shown here.
#
# import os
import sys
# sys.path.insert(0, os.path.abspath('.'))
from unittest.mock import MagicMock
class Mock(MagicMock):
@classmethod
def __getattr__(cls, name):
# The MagicMixin in unittest.mock calls getattr() with
# some private member variables during Mock construction,
# and if that happens and we trap __getattr__ and
# construct a new Mock, this causes an infinite recursion.
# This way, for those getattr() calls, we delegate up to
# the parent.
if name.startswith('_mock'):
return object.__getattribute__(cls, name)
if name == 'DataFrame':
class DataFrame(object):
pass
return DataFrame
return Mock()
# Mock these to avoid import errors when running doc generation on
# readthedocs.
MOCK_MODULES = ['py4j', 'pyspark', 'pyspark.sql', 'pyspark.sql.types',
'pyspark.sql.readwriter', 'pyspark.sql.functions',
'pyspark.serializers', 'pyspark.sql.session']
sys.modules.update((mod_name, Mock()) for mod_name in MOCK_MODULES)
# -- General configuration ------------------------------------------------
# If your documentation needs a minimal Sphinx version, state it here.
#
# needs_sphinx = '1.0'
# Add any Sphinx extension module names here, as strings. They can be
# extensions coming with Sphinx (named 'sphinx.ext.*') or your custom
# ones.
extensions = [
'sphinx.ext.autodoc',
'sphinx.ext.intersphinx',
'sphinx.ext.todo',
]
# Add any paths that contain templates here, relative to this directory.
templates_path = ['_templates']
# The suffix(es) of source filenames.
# You can specify multiple suffix as a list of string:
#
# source_suffix = ['.rst', '.md']
source_suffix = '.rst'
# The encoding of source files.
#
# source_encoding = 'utf-8-sig'
# The master toctree document.
master_doc = 'index'
# General information about the project.
project = 'ts-flint'
copyright = '2017, Two Sigma Open Source, LLC.'
author = 'Two Sigma Open Source, LLC.'
# The version info for the project you're documenting, acts as replacement for
# |version| and |release|, also used in various other places throughout the
# built documents.
#
# The short X.Y version.
import ts.flint
version = '.'.join(ts.flint.__version__.split('.')[:2])
# The full version, including alpha/beta/rc tags.
release = ts.flint.__version__
# The language for content autogenerated by Sphinx. Refer to documentation
# for a list of supported languages.
#
# This is also used if you do content translation via gettext catalogs.
# Usually you set "language" from the command line for these cases.
language = None
# There are two options for replacing |today|: either, you set today to some
# non-false value, then it is used:
#
# today = ''
#
# Else, today_fmt is used as the format for a strftime call.
#
# today_fmt = '%B %d, %Y'
# List of patterns, relative to source directory, that match files and
# directories to ignore when looking for source files.
# This patterns also effect to html_static_path and html_extra_path
exclude_patterns = ['_build', 'Thumbs.db', '.DS_Store']
# The reST default role (used for this markup: 'text') to use for all
# documents.
#
# default_role = None
# If true, '()' will be appended to :func: etc. cross-reference text.
#
# add_function_parentheses = True
# If true, the current module name will be prepended to all description
# unit titles (such as .. function::).
#
# add_module_names = True
# If true, sectionauthor and moduleauthor directives will be shown in the
# output. They are ignored by default.
#
# show_authors = False
# The name of the Pygments (syntax highlighting) style to use.
pygments_style = 'sphinx'
# A list of ignored prefixes for module index sorting.
# modindex_common_prefix = []
# If true, keep warnings as "system message" paragraphs in the built documents.
# keep_warnings = False
# If true, 'todo' and 'todoList' produce output, else they produce nothing.
todo_include_todos = True
# -- Options for HTML output ----------------------------------------------
# The theme to use for HTML and HTML Help pages. See the documentation for
# a list of builtin themes.
#
html_theme = 'sphinx_rtd_theme'
# Theme options are theme-specific and customize the look and feel of a theme
# further. For a list of options available for each theme, see the
# documentation.
#
# html_theme_options = {}
# Add any paths that contain custom themes here, relative to this directory.
# html_theme_path = []
# The name for this set of Sphinx documents.
# "<project> v<release> documentation" by default.
#
# html_title = 'ts-flint v$release'
# A shorter title for the navigation bar. Default is the same as html_title.
#
# html_short_title = None
# The name of an image file (relative to this directory) to place at the top
# of the sidebar.
#
# html_logo = None
# The name of an image file (relative to this directory) to use as a favicon of
# the docs. This file should be a Windows icon file (.ico) being 16x16 or 32x32
# pixels large.
#
# html_favicon = None
# Add any paths that contain custom static files (such as style sheets) here,
# relative to this directory. They are copied after the builtin static files,
# so a file named "default.css" will overwrite the builtin "default.css".
html_static_path = ['_static']
# Add any extra paths that contain custom files (such as robots.txt or
# .htaccess) here, relative to this directory. These files are copied
# directly to the root of the documentation.
#
# html_extra_path = []
# If not None, a 'Last updated on:' timestamp is inserted at every page
# bottom, using the given strftime format.
# The empty string is equivalent to '%b %d, %Y'.
#
# html_last_updated_fmt = None
# If true, SmartyPants will be used to convert quotes and dashes to
# typographically correct entities.
#
# html_use_smartypants = True
# Custom sidebar templates, maps document names to template names.
#
# html_sidebars = {}
# Additional templates that should be rendered to pages, maps page names to
# template names.
#
# html_additional_pages = {}
# If false, no module index is generated.
#
# html_domain_indices = True
# If false, no index is generated.
#
# html_use_index = True
# If true, the index is split into individual pages for each letter.
#
# html_split_index = False
# If true, links to the reST sources are added to the pages.
#
# html_show_sourcelink = True
# If true, "Created using Sphinx" is shown in the HTML footer. Default is True.
#
# html_show_sphinx = True
# If true, "(C) Copyright ..." is shown in the HTML footer. Default is True.
#
# html_show_copyright = True
# If true, an OpenSearch description file will be output, and all pages will
# contain a <link> tag referring to it. The value of this option must be the
# base URL from which the finished HTML is served.
#
# html_use_opensearch = ''
# This is the file name suffix for HTML files (e.g. ".xhtml").
# html_file_suffix = None
# Language to be used for generating the HTML full-text search index.
# Sphinx supports the following languages:
# 'da', 'de', 'en', 'es', 'fi', 'fr', 'h', 'it', 'ja'
# 'nl', 'no', 'pt', 'ro', 'r', 'sv', 'tr', 'zh'
#
# html_search_language = 'en'
# A dictionary with options for the search language support, empty by default.
# 'ja' uses this config value.
# 'zh' user can custom change 'jieba' dictionary path.
#
# html_search_options = {'type': 'default'}
# The name of a javascript file (relative to the configuration directory) that
# implements a search results scorer. If empty, the default will be used.
#
# html_search_scorer = 'scorer.js'
# Output file base name for HTML help builder.
htmlhelp_basename = 'ts-flintdoc'
# -- Options for LaTeX output ---------------------------------------------
latex_elements = {
# The paper size ('letterpaper' or 'a4paper').
#
# 'papersize': 'letterpaper',
# The font size ('10pt', '11pt' or '12pt').
#
# 'pointsize': '10pt',
# Additional stuff for the LaTeX preamble.
#
# 'preamble': '',
# Latex figure (float) alignment
#
# 'figure_align': 'htbp',
}
# Grouping the document tree into LaTeX files. List of tuples
# (source start file, target name, title,
# author, documentclass [howto, manual, or own class]).
latex_documents = [
(master_doc, 'ts-flint.tex', 'ts-flint Documentation',
'Two Sigma Open Source, LLC.', 'manual'),
]
# The name of an image file (relative to this directory) to place at the top of
# the title page.
#
# latex_logo = None
# For "manual" documents, if this is true, then toplevel headings are parts,
# not chapters.
#
# latex_use_parts = False
# If true, show page references after internal links.
#
# latex_show_pagerefs = False
# If true, show URL addresses after external links.
#
# latex_show_urls = False
# Documents to append as an appendix to all manuals.
#
# latex_appendices = []
# It false, will not define \strong, \code, itleref, \crossref ... but only
# \sphinxstrong, ..., \sphinxtitleref, ... To help avoid clash with user added
# packages.
#
# latex_keep_old_macro_names = True
# If false, no module index is generated.
#
# latex_domain_indices = True
# -- Options for manual page output ---------------------------------------
# One entry per manual page. List of tuples
# (source start file, name, description, authors, manual section).
man_pages = [
(master_doc, 'ts-flint', 'ts-flint Documentation',
[author], 1)
]
# If true, show URL addresses after external links.
#
# man_show_urls = False
# -- Options for Texinfo output -------------------------------------------
# Grouping the document tree into Texinfo files. List of tuples
# (source start file, target name, title, author,
# dir menu entry, description, category)
texinfo_documents = [
(master_doc, 'ts-flint', 'ts-flint Documentation',
author, 'ts-flint', 'One line description of project.',
'Miscellaneous'),
]
# Documents to append as an appendix to all manuals.
#
# texinfo_appendices = []
# If false, no module index is generated.
#
# texinfo_domain_indices = True
# How to display URL addresses: 'footnote', 'no', or 'inline'.
#
# texinfo_show_urls = 'footnote'
# If true, do not generate a @detailmenu in the "Top" node's menu.
#
# texinfo_no_detailmenu = False
# We can put external documentation links here that we want to
# reference frequently. This will format them like code (using the
# replace directive) and link them where we want them to go. I'm
# working with the convention of replacing dots with underscores, I
# don't know if that's necessary.
rst_epilog = '''
.. |scala_concurrent_duration_Duration| replace:: ''scala.concurrent.duration.Duration''
.. _scala_concurrent_duration_Duration: <URL>
'''
intersphinx_mapping = {
'python': ('<URL> 'python.inv'),
'pyspark': ('<URL> 'pyspark.inv'),
'pandas': ('<URL> 'pandas.inv')
} | {'pile_set_name': 'Github'} |
First and foremost, Iran most likely will move quickly, without any restraint, to enrich uranium, the fissile material needed for nuclear weapons. The Islamic Revolutionary Guards Corps, the leading edge of Iran's nefarious actions, will declare that the West can never be trusted and will use the decision to undermine the less hard-line president, Hassan Rouhani.
The destruction of the nuclear deal will also increase the Revolutionary Guards' malign activities in the Middle East, making the challenge to Israel's security and to America's other allies even more difficult. These activities, in turn, will increase American calls for military action against Iran as the only viable option, since no Iranian will be able to enter new negotiations with the United States any time soon.
The march to military conflict will be hard to stop, especially with Mr. Bolton leading the National Security Council.
Beyond this horror show, the decision to destroy the Iran deal will also pound yet another nail into the coffin of the trans-Atlantic relationship. Mr. Trump has so far laid the task of "fixing" the deal at the feet of Britain, France and Germany, America's European partners in the nuclear negotiations. He has demanded that they agree to new language on Iran's ballistic missile development and inspections of Iranian military installations, and he has asked for a change in the timeline of the nuclear deal so that the restrictions on Iran will not expire. In essence, he has asked Europe for help changing the terms of the deal itself. | {'pile_set_name': 'OpenWebText2'} |
3-story bar, restaurant to open on State Street
A restaurant with a bar on each of its three floors is slated to open sometime next month in West Lafayette.
Owner Shane O'Malley, who also owns Chauncey Hill Apartments, couldn't comment on specific details about the restaurant but said it will most likely be named Three O Eight.
The 10,000-square-foot facility will receive $500,000 in upgrades by the time it's finished, according to a construction permit obtained by the Journal & Courier.
The restaurant will have "three different eating and drinking establishments," West Lafayette deputy building commissioner Jason Burks said Friday. "One on each floor."
Burks said an elevator will join the three floors.
Construction at 308 W. State St. began late last year as workers updated infrastructure in the building between Orange Leaf and Brothers Bar and Grill to bring it up to fire code.
It's good that a business is filling the vacant spot in West Lafayette, Burks said, but it's even better that the building is no longer a hazard.
"We feel the building was much safer than it was in the past," Burks said. | {'pile_set_name': 'OpenWebText2'} |
2015 BFD Energy Challenger
The 2015 BFD Energy Challenger was a professional tennis tournament played on clay courts. It was the first edition of the tournament which was part of the 2015 ATP Challenger Tour. It took place in Rome, Italy between 28 September and 4 October 2015.
Singles main draw entrants
Seeds
1 Rankings are as of September 21, 2015.
Other Entrants
The following players received wild cards into the singles main draw:
Giulio di Meo
Gianluca Mager
Flavio Cipolla
Matteo Berrettini
The following player received entry into the singles main draw using a protected ranking:
Javier Marti
The following player received entry into the singles main draw as a special exempt:
Miljan Zekic
The following players received entry from the qualifying draw:
Lorenzo Giustino
Alessandro Giannessi
Stefanos Tsitsipas
Riccardo Bonadio
Champions
Singles
Federico Delbonis def. Filip Krajinovic, 1-6, 6-3, 6-4.
Doubles
Tomasz Bednarek / Mateusz Kowalczyk def. Inigo Cervantes / Mark Vervoort, 6-2, 6-1.
References
2015 BFD Energy Challenger
Category:2015 in Italian sport
Category:September 2015 sports events in Europe
Category:October 2015 sports events in Europe | {'pile_set_name': 'Wikipedia (en)'} |
The texts of the Indian Dance traditions - Part Three
Continued from Part Two
Nrtta, Natya and Nrtya
As it has very often been said ; the Natyashastra is the earliest available text of Indian Dancing traditions. It combines in itself the fundamentals of the principles, practices and techniques of Dance. it thus serves as the principal text of the Dance. And, therefore, the influence exerted by it on the growth and development of all Dance-forms, has been deep and vast. The Natyashastra, an authoritative text to which the Masters and learners alike turn to , seeking instructions, guidance, and inspiration , is central to any discussion on classical Dance. And, therefore, no discussion on classical Dance is complete without referring to the concepts of the Natyashastra.
[Having said that; let me also mention that in the context of Dance , as it is practiced in the present day, besides Natyashastra , several other texts are followed. The Natyashastra provides the earliest theoretical framework; but, the practice of Dance and the techniques of dancing were molded and improved upon by many texts of the later periods. What we have today is the culmination of several textual traditions, their recommended practices, and some innovative features. We shall come to those aspects later in the series.]
Because of the position that Natyashastra occupies in the evolution of the Arts and its forms, it would help to try to understand the early concepts and their relationships to Dance. And, thereafter, we may follow the unfolding and transformation of those concepts acquiring different meanings and applications; as also the emergence of new terms and art-forms, during the later times.
In that context, we may, in particular, discuss the three terms; their derivation; their manifestation and transformation; as also the mutual relations among the three. In the process, we may also look at the related concepts; and their evolution over the centuries. The three terms that I am referring to are the Nrtta, Natya and Nrtya, which are fundamental to most of the Dance formats.
As regards the other texts that discuss the theories, practices and techniques of Dancing, there are no significant works between the period of Bharata and that of Abhinavagupta and Dhananjaya (eleventh century). Even if any were there, none has come down to us. But during this period, the dance and its concepts had changed significantly. And, the manuscript editions of the Natyashastra had also undergone alterations.
Over the different periods, the concepts of Natyashastra, along with that of its basic terms such as Nrtta, Natya etc., came to be interpreted in number of amazingly different ways, depending, largely, upon the attitudes and the approach of the authors coming from diverse backgrounds and following varied regional cultural practices. It is a labyrinth, a virtual maze, in which one can easily get lost.
It would, therefore, hopefully, make sense if we try to understand these terms in the context of each period that spans the course of the long history of Dancing in India, instead of trying to take an overall or summary view.
In the following pages, let us try to understand these terms and their applications in relation to the concepts and the techniques of dancing, as it emerged in various stages, during the three phases of Indian Art history: the period of the Natyashastra of Bharata; the theories and commentaries by the authors of the medieval period; and, dance as practiced in the present-day.
Before we get into the specifics, let's briefly talk about Dance in general, within the context of Natyashastra.
Bharata's Natyashastra represents the first known stage of Indian Art-history where the diverse elements of arts, literature, music, dance, stage management and cosmetics etc., combined harmoniously, to fruitfully produce an enjoyable play.
It is quite possible that the authors prior to the time of Bharata did speak of Dance; its forms and practices. But, it was, primarily, Bharata who recognized the communicative power of Dance; and, laid down its concepts.
Bharata described what he considered to be the most cultivated dance styles, which formed the core of the dominant art-practice (prayoga) in his time, the Drama.
The framework within which Bharata describes Dance is, largely, related to Drama. And, his primary interest seemed to be to explore the ways to enhance the beauty of a dramatic presentation. Thus, Dance in association with music was treated as an ornamental overlay upon Drama. As Nandikesvara said, the Dance should have songs (gitam). And, the song must be sung, displaying (pradarshayet) the meaning (Artha) and emotions (Bhavam) of the lyrics through the gestures of the hands (hastenatha); shown through the eyes (chakshuryo darshaved); and, in tune with rhythm and corresponding foot-work (padabhyam talam-achareth).
Asyena alambaved gitam, hastena artha pradarshayet/chakshuryo darshaved bhavam, padabhyam talam-achareth (Ab.Da.36)
Dance, at that stage, was an ancillary part (Anga) or one of the ingredients that lent elegance and grace to theatrical performance; and, it was not yet an independent art-form, by itself. Bharata , at that stage, is credited with devising a more creative Dance-form , which was adorned with elegant, evocative and graceful body-movements; performed in unison with attractive rhythm and enthralling music; in order to effectively interpret and illustrate the lyrics of a song; and, also to depict the emotional content of a dramatic sequence.But, he had not assigned it a name.
It was only in the later times, when the concepts and descriptions provided by Bharata were adopted and improved upon, that Dance gained the status of a self-regulating, independent specialized form of art, as Nrtya.
The scholars opine that in the evolution of Dance, first comes Nrtta; then Natya; and, later Nrtya appeared. Here, Nrtta is said to be pure dance; while Nrtya emerged when Abhinayas of four types (Angika; Vachika; Sattvika; and Aharya) were combined with Nrtta. And, Natya included both these (Nrtta and Nrtya), even while the speech and the songs remained prominent. Thus, Natya comprises all the three features - Dance, music and speech (song) - which are very essential for the production and enactment of Drama.
To put the entire series of developments, in the context of Natyashastra, in a summary form:
Nrtta, as described in Natyashastra, had been in practice even during the very ancient times. The Nrtta, according to Bharata, was a dance form created by Shiva; and, which, he taught to his disciple Tandu. It seems to have been older than Natya
Natya too goes back to the very distant past. Even by the time of Bharata, say by about the fourth to second century BCE, Natya was already a highly developed and accomplished Art. It was regarded as the best; and, also as the culmination of all Art forms (Gitam, Vadyam, Nrttam trayam natya dharmica).
Though Nrtta was older, Natya was not derived from it. Both the Nrtta and the Natya had independent origins; and, developed independent of each other. And, in the later times too, the two have been distinct; and, run on parallel lines.
It was during Bharata's time that Nrtta was integrated into Natya. Even though the two came together, they never merged into each other. And, up to the present-day they have retained their identity; and, run parallel in ways peculiar to them. (Even in a Bharatanatya performance the treatment and presentation of the Nrtta is different from that of the rest.)
By combining Nrtta, the pure Dance, with the Abhinaya of Natya, a new form of Dance viz., the Nrtya came into being. Bharata is credited with this creative, innovative act of bringing together two of the most enjoyable Art forms (Bhartopajanaka). But, it developed to its full extant only after the time of Bharata.
But, at the time of Bharata, that resultant new-art was not assigned a separate name; nor was it then classified into Tandava and Lasya types. In fact, the terms Nrtya and Lasya do not appear either in the Natyashastra or in its early commentaries. It was only during the later times that Nrtya gained an independent recognition as an expressive, eloquent representational Art, which projects human experiences, with amazing fluidity and grace.
Nrtya, a blend of two well studied, well developed and well codified Art forms - the dance of Nrtta and Abhinayas of Natya - over a period, advanced vibrantly, imbibing on its way numerous novel features; and, soon became hugely popular among all classes of the society. It gained recognition as the most delightful Art-form; and in particular, as the most admired phrase or form of Dance.
With this general backdrop, let's go further.
A. Nrtta in Natyasahastra
Nrtta
Initially, Bharata, in the fourth Chapter of the Natyashastra, titled Tandava Lakshanam, deals with the Dance. The term that he used to denote Dance was Nrtta (pure dancing or limb movements, not associated with any particular emotion, Bhava).
The Nrtta comprised two varieties of Dances (Nrtta-prayoga) : The Tandava and Sukumara. The Tandava was not necessarily aggressive; nor danced only by men. And, the gentler, graceful form of dance was Sukumara-prayoga.
And, in the context of Drama, both of these were said to refer to the physical structure of dance movements. And, both were performed during the preliminaries ,i.e., before the commencement of the play - Purvaranga - while offering prayers to the deities, Deva-stuti ; and, not in the drama per se.
Mayapidam smrtam nrttam sandhyakalesu Nrttta / nana karana samyuktai ranga harair vibhusitam // 4.13 // Purva-ranga-vidha avasmimstvaya samyak prayojyatam / vardhamana kayogesu gitesvasaritesu ca // 4.14 // The Dance performed during the Purvaranga was accompanied by vocal and instrumental music. It is said; the songs that were sung during the Purvaranga were of the Marga class- sacred, somber and well regulated (Niyata). Such Marga songs were in praise of Shiva (Shiva-stuti). Bharata explains Marga or Gandharva as the Music dear to gods (atyartham istam devanam), giving great pleasure to Gandharvas; and, therefore it is called Gandharva.
Atyartham istam devanam tatha priti-karam punah | gandharvanam ca yasmad dhi tasmad gandharvam ucyate - NS Ch. 28, 9
Almost the entire Chapter Four of Natyashastra is devoted to Nrtta. That is because, the term that Bharata generally used to symbolize Dance, was Nrtta. And, the Nrtta, Bharata said, was created to give expression to beauty and grace
- sobham prajanayediti Nrttam pravartitam (NS.4.264).
The Nrtta is visual art. The term Nrtta, in the context of the Natyashastra, is explained by Abhinavagupta as (Angavikshepa), the graceful composition of the limbs - gatram vilasena kshepaha.
The Nrtta stands for pure, abstract and beautiful dance, performed in tune with the rhythm and tempo, to the accompaniment of vocal and instrumental music.
The Nrtta performed during the Purvaranga was not as an auxiliary to Natya. And, therefore, Nrtta was considered to be independent and complete by itself.
Nrtta is described in terms of the motion of the limbs; the beauty of its form; the balanced geometrical structure; creative use of space; and rhythm (time). It gives form to the formless. Here, the body speaks its own language; an expression of the self. It delights the eye with its posture, rhythm and synchronized movements of the dancer's body.
Nrtta is the spontaneous rhythmic movement of different parts of the body (Angas, Upangas and Pratyangas). Nrtta is also associated with the surrounding nature and its beauty. For instance; Shiva does his Nrtta in the evening, before sun set, (Sandhyayam nrtyaha Shamboh) surrounded by the salubrious shining snow peaks of the Himalayas, while he is in the company of Devi Parvathi and his Ganas.
It is said; the sense of Nrtta is ingrained in the nature. For instance; the peacocks burst into simple rhythmic movements at the sight of rain-bearing clouds; and, the waves in the sea swing in ebb and flow as the full moon rises up in a clear cloudless night.
Nrtta is a kind of architecture. It is an Art-form whose life is the beauty of its form. But, Nrtta was not meant for giving forth meaningful expressions. It did not look for a purpose; not even of narrating a theme.
Thus, Nrtta could be understood as a metaphor of Dance made of coordinated movement of hands and feet (Cari and Karana or dance units or postures), in a single graceful flow. Nrtta is useful for its beautiful visual appeal; as that which pleases the eye (Shobha hetuvena).
Tandava
And, Tandava is said to be the Nrtta that Shiva taught to his disciple Tandu (Tando rayam Tandavah). It was composed by combining the circular movement of a limb (Recaka) and the sequence of dance movements (Karanas, Angaharas) . It is not clear how these movements were utilized.
The term Tandava could also be understood as Bharata's term for Nrtta , the Dance (Nrtta-prayoga)
- Nrtta-prayogah srsto yah sa Tandava iti smrtah. NS.4.261.
And, Tandava is often used as a synonym for Nrtta.
[ Abhinavagupta, in his typical style, provides a totally different sort of explanation to the term Tandava. According to him, the term Tandava is derived from the sounds like 'Tando; tam-tam', produced by the accompanying Damaru shaped drums. It follows the manner, in Grammar (vyakarana), of naming an object, based on the sound it produces - sabda-anukrti.
For instance; Yaska, in his Nirukta (3. 18) had mentioned that a kaka- kaak- (crow) is so called, because of the sound it makes - kaka, iti Sabda, anukrtis, tad idam, sakunisu bahulam; and the battle-drum which makes loud Dun-Dun sounds is named Dundubhi (dundubhi)
-dundubhir.iti.sabda.anukaranam (Nir.9.12)
And, Panini following the principle of avyakta-anukarana-syata itau pata (PS. 6.1.98) derives certain words like Phata-phata, Khata-khata and Mara-mara etc., by imitation of indistinct sounds they are associated with.
Abhinavagupta also mentions that the Bhandam (percussion instruments), which produce sounds like 'Bhan, Than' etc., are important for the performance of the Nrtta.]
And, in regard to the Drama, the Tandava, a form of Nrtta, is performed before the commencement of the play, as a prayer-offering to gods (Deva stuti). It is a dance that creates beauty of form; and, is submitted to gods, just as one offers flowers (pushpanjali).
The Fourth Chapter of the Natyashastra is termed as "The Definition of the Vigorous Dance" (Tandava-laksanam)
The Tandava, at this stage, did not necessarily mean a violent dance; nor was it performed only by men.
According to Bharata, the Tandava Nrtta, during Purvaranga, is performed to accompaniment of appropriate songs and drums. And, it is composed of Recakas, Angaharas and the Pindibandhas; (NS. 4. 259-61).
Recaka Angaharasca Pindibandha tasthaiva ca // 4.259 // srstva bhagavata dattas Tandave munaye tada / tenapi hi tatah samyag-gana-bhanda-samanvitah // 4.260 // Nrtta-prayogah srsto yah sa Tandava iti smrtah // 4.261 // [Please also check this link
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Sukumara
And , Sukumara Prayoga is the tender and graceful type of dance performed by the Devi Parvathi.
It is said; Shiva's Tandava dance comprising Angaharas and Recakas inspired Devi Parvathi to perform her own type of dance, adorned with graceful and delicate movements (sukumara-prayoga) - (Sukumara-prayogena Nrttam caiva Parvatim -NS.4.250).
Recakair-angaharais ca Nrtyantam viksya Sankaram // 249 // Sukumara-prayogena Nrtyantim caiva Parvatim / (NS. 4. 249-50)
Parvathi 's dance was also adorned with graceful gestures - Recakas and Angaharas. But, her dance cannot be construed as s counterpart to Tandava. It was her own form of Dance.
Abhinavagupta explains; the Angaharas of Parvathi's Dance was rich in loveliness and subtle beauty (Lalitha Angahara); celebrating the erotic sentiment, Srngara, the love that binds male and female - (Sukumara-prayogasca srngara-rasa-sambhavah - NS.4.269). Her Dance was bedecked with emotion; and, was full of meaning (Abhinaya praptyartham arthanam tajjnair abhinayah krtah - NS.4. 261).
Yattu srngara sambaddham ganam stri purusa asrayam / Devi krtair angaharair lalitais tat prayojayet // NS.4. 312 // Abhinavagupta says; the fruit (phala) of the gentle dance is that it pleases the Goddess (Devi); and that of Tandava is that it pleases Shiva who is with Soma. He also mentions that while performing the dance-gestures (abhinaya) for Pushpanjali, the dancer's looks must not be diverted towards the audience. That is because; that dance-offering is not addressed to the spectators. Therefore, it must be performed looking into one's own soul.
[ We need to remember that the Tandava and the Sukumara, the pure types of Dances, were discussed by Bharata in the context of the purvaranga, not in that of drama proper (yascayam purva-rangastu tvaya suddhah prayojitah - NS.4. 15). And, such a Purvaranga was called Chitra (Citro nama bhavisyati); Chitra meant diagrams/formations. These dances , at that stage , were not associated with expression of emotions.
However, Abhinavagupta, in his commentary, at many places, interprets Natyashastra in the light of contemporary concepts and practices. He also introduces certain ideas and terms that were not present during the time of Bharata.
For instance; during the time of Bharata, there was no clear theoretical division of Dance into Tandava and Sukumara. And, the term Lasya, which in the later period meant gentle, delicate and graceful, does not also appear in Natyashastra. But, the concept of the element of grace and beauty did exist; and, was named as Sukumara-prayoga.
The Tandava as described in the Natyashastra was Nrtta (pure dance); and, it was not necessarily aggressive; though Abhinavagupta interpreted Tandava as Uddhata (vigorous). But, in the Natyashastra, Tandava does not convey the sense of Uddhata.
Similarly, though Tandava is mentioned as Nrtta; it, in no way, refers to, or is related to furious dance, which in the present-day goes by the name Tandava-nrtta
Abhinavagupta states that Lasya (which term he uses to substitute Sukumara-prayoga), the graceful dance with delicate, graceful movements , performed by Devi Parvathi was in contrast to Shiva's forceful (Uddhata Angaharas) and fast paced Tandava Nrtta. But, nether term Lasya, nor such distinctions or contrasts are mentioned in the Natyashastra.
Both Tandava and Sukumara come under Nrtta - the pure Dance, devoid of meaning and emotion. But, Abhinavagupta describes the Sukumara of Devi as being 'bedecked with emotion and full of meaning'.
Abhinavagupta also brings in the notion of relating Tandava and Sukumara to male (Purusha) and female (Stri) dances. But, such gender-based associations were not mentioned in the Natyashastra.]
Recaka, Karana and Angahara
As mentioned earlier, according to Bharata, the Tandava Nrtta, performed to the accompaniment of appropriate songs and drum-beats, is composed of Recakas, Angaharas and the Pindibandhas - (Recaka Angaharasca Pindibandha tasthaiva ca - NS. 4. 259-61). The Tandava, at this stage, as said earlier, did not necessarily mean a violent dance; nor was it performed only by men.
Recaka
Here, Recaka (derived from Recita, relating to limbs) is understood as the extending movements of the feet (pada), waist (kati), hands (hasta) and neck (griva or kanta): pada-recaka ekah syat dvitiya kati-recaka kararecakas tritiyas tu caturtah kantha-recakah (NS.4. 248). The Recakas are said to be separate movements; and, are not parts of Karanas or Cari.
Movement of the feet from one side to the other with faltering or unsteady gaits as also of other types of feet movement is called Pada-recaka. Rising up, stretching up and turning round the waist as well as drawing it back characterize the Kati-recaka. Throwing up,putting forward, throwing sideways, swinging round and drawing back of the hands are called Hasta-recaka. Raising up, lowering, and bending the neck sideways to left and right or such other movements form the Kanta-recaka.
In each of the four varieties of major joint movements, the limb is moved or turned from one position to another. These four basic oscillating movements, which lend grace and elegance to the postures, are regarded as fundamental to dancing.
Abhinavagupta also says; it is through the Recakas that the Karanas and the Angaharas derive their beauty and grace. He gives some guidelines to be observed while performing a Recaka of the foot (Pada-recaka) , neck (Griva-recaka) and the hands (Hastha-recaka) .
According to him; while performing the Recaka of the foot one should pay attention to the movements of the big toe; in the Recaka of the hands one should perform Hamsa-paksha Hastha in quick circular movements; and, in the Recaka of the neck one should execute it with slow graceful movements.
Padayoreva chalanam na cha parnir bhutayor antar bahisha sannatam namanonna manavyamsitam gamanam Angustasya cha /Hasthareva chalanam Hamsapakshayo paryayena dhruta bramanam/ Grivayastu Recitatvam vidhuta brantata//
It is said; on entering the stage, with flowers in her hands (puspanjali-dhara bhutva pravised ranga-mantapam), the female dancer should be in vaisakha sthana (posture) - (vaishaakh): the two feet three Talas and a half apart; and, the thighs without motion; besides this, the two feet to be obliquely placed pointing sideways ; and , perform all the four Recakas (those of feet, waist, hands and neck) - vaisakha-sthana-keneha sarva-recaka-carini // 274 // And, only then , she should go round the stage scattering flowers , in submission to gods. After bowing to gods, she should perform her Abhinaya .
puspanjalim visrjyatha rangapitham paritya ca // 275 // pranamya devatabhyas ca tato abhinayam-acaret // 276 // [As mentioned earlier, Abhinavagupta instructs that while performing the dance-gestures (abhinaya) for Pushpanjali, the dancer's looks must not be diverted towards the audience. That is because; that dance-offering is not addressed to the spectators. Therefore, it must be performed looking into one's own soul.]
Abhinavagupta also says, the Recakas are basically related to tender graceful movements, where music is prominent (Sukumara-Samgita-Vadya pradanene cha prayoga esham)
Somehow, there is not much discussion about Recaka in the major texts. Kallinatha, the commentator, merely states that Recakas form part of the Angaharas; and, is useful in adjusting the Taala (time units).
Karanas
According to the Natyashastra, the Nrtta is Angahara, which is made of Karanas - Nana Karana samyuktair Angaharair vibhusitam (NS.4.13)
And, Karana is defined by Bharata as the perfect combination of the hands and feet - Hasta-pada samyoga Nrttasya Karanam bhavet (NS.4.30). The Karanas are classified under Nrtta.
And, the Karanas are themselves made up of Sthanas (static postures), Caris and Nrtta-hastas (movement of the feet and the hands). It involves both the aspects: movement and position.
Abhinavagupta also explains; Karana is indeed the harmonious combination (sam-militam) of Gati (movement of feet), Sthanaka (stance), Cari (foot position) and Nrtta-hastha (hand-gestures)
Gatau tu Caryah / purvakaye tu Gatau Nrttahastha drusta-yashcha / sthithau pathakadyaha tena Gati-Sthithi - sam-militam Karanam
According to him, the Sthanaka, Cari and Nrtta-hastha can be compared to subject (kartru-pada), object (Karma-pada) and verb (Kriya-pada) in a meaningful sentence.
Thus, Karana is not a mere pose, a stance or a posture that is isolated and frozen in time. Karana is the stylized synthesis of Sthiti (a fixed position-static) and Gati (motion-dynamic). That is to say; a Karana made of Sthanas, Caris and Nrtttahastas is a dynamic process. It is an aesthetically appealing, well coordinated movement of the hands and feet, capturing an image of beauty and grace .
A Karana functions as a fundamental unit of dance. It is a technical component, which helps to provide a structural framework, on which dance movements and formations are built and developed,
Bharata enumerates 108 types of Karanas in the Fourth Chapter of the Natyashastra. He devotes a two-line verse (Karika) to each of the Karanas, mentioning the associated hand gestures (hastas), foot movements (Caris), and body positions (Mandalas).
Abhinavagupta explains Karana as action (Kriya Karanam); and, as the very life (jivitam) of Nrtta. It is a Kriya, an act which starts from a given place and terminates after reaching the proper one. It involves both the static and dynamic aspects: pose (Sthiti) and movement (Gati). And that is why, he says, Karana is called as 'Nrtta Karana'.
In the Karanas, the balance, equipoise, the ease, is the key. The movement of each limb must be in relation with that of the other, which is either following it in the same direction or is playing as the counterpart in the other direction. The flow must be fluid and harmonious. Every Karana is well thought out; and, is complete by itself.
Nrtta is the art that solely depends on the form. Its purpose is to achieve beauty in forms. That is the reason; Karana is defined as the perfect composition of the entire body. Unless each and every Karana is individually illustrated, it might not be possible to point out whether it is perfect; and whether all the elements that are required for that Karana are present.
Abhinavagupta explains; Karana is different from the actions of normal life (Lokadharmi). And, it is not a mere placement, replacement or displacement. Such throws (ksepa) of the limbs must be guided by a sense of beauty and grace (vilasa-ksepasya). Hence, Karana is a free movement of limbs in a pleasing, unbroken flow (eka kriya). That is why, though the Karana is defined 'kriya karanam', Abhinavagupta says: a Karana has to be intellectually and spiritually satisfying. The word nrttasya in Bharata's definition is meant to emphasize this aspect of dance.
Purva-ksetre samyoga-tyagena samucita ksetrantara-prapti-paryantataya eka kriya tattaranmityamartha
As said earlier; Karana was defined by Bharata as 'hasta-pada-samyogah nrttasya karanam bhavet' (BhN_4.30); meaning that the combination of hand and foot movements in dance (Nrtta) are called Karana.
Abhinavagupta explains that 'hasta' and 'pada', here, do not denote merely the hand and foot. But, hasta implies all actions pertaining to the upper part (Purva-kaya) of the body (Anga); and, it's Shakha-anga (branches, the various movements of the hands - Kara varhana), and Upanga (subsidiaries like the eyebrows, the nose, the lower lip, the cheeks and the chin etc).
Similarly, pada stands for all actions of the lower limbs of the body (Apara-kaya); such as sides, waist, thighs, trunk and feet.
Thus, Karana involves the movement of the feet (pada karmani); shifting of a single foot (Cari) and postures of the legs (Sthana), along with hand gestures (hastas- single as also combined Nrtta gestures).
And, all the actions of the hands and feet must be suitably and coherently combined with those of the waist, sides, thighs, chest and back - Hasta, pada samyogaha Nrtta Karanam bhavet.
That is to say; when the Anga moves, the Pratyanga and Upanga also move accordingly. The flow of the movement (gatravikshepa) should be such that the entire body is involved in the curves and bends.
hastau siras-sannatam ca gangavataranam tviti / yani sthanani yascaryo vyayame kathitani tu // BhN_4.169 // adapracarastvesam tu karananamayam bhavet / ye capi nrtta hastastu gadita nrttakarmani // BhN_4.170 //
There is an elaborate discussion on two important features of a Karana execution:
(1) Sausthava (keeping different limbs in their proper position) - about which Bharata says that the whole beauty of Nrtta rests on the Sausthava , so the performer never shines unless he pays attention to this - Shobha sarvaiva nityam hi Sausthavam; and,
(2) Chaturasrya (square composition of the body, mainly in relation to the chest) - about which Abhinavagupta remarks that the very vital principle (jivitam) of the body, in dance, is based on its square position (Chaturasrya-mulam Nrttena angasya jivitam), and adds that the very object of Sausthava is to attain a perfect Chaturasrya ,
This again emphasizes that Nrtta rests on the notion of formal-beauty, which is achieved through the perfect composition of the whole body. This involves not merely the geometrical values, but also the balance and harmony among the body parts.
While commenting on the Karanas, Abhinavagupta says that such static elements within the dynamics of the Karanas are useful in dance, not only as factors that beautify the presentation , but also as mediums of expression for communicating the meaning of the lyrics through vakya-artha-abhinaya (actions interpreting the meanings of its sentences). According to him, the Karanas are not mere physical actions; they can give form to ideas and thoughts. He opines that Nrtta can produce Bhavas. And, Nrtta, in reality, is Art par excellence.
While commenting on the fifteenth Karana (the Svastika), Abhinavagupta asserts that every Karana is capable of conveying a certain idea (Artha) or a thought, at least in a very subtle way. (But, such notions of associating Karanas with representation are not found in the Natyashastra.)
Sarangadeva in his Sangitaratnakara (Chapter 7, Nrttakarana, verses 548-49) also defines the Nrtta Karana as a beautiful (vilasena) combination of the actions (kriya) of the hands (Kara), feet (pada) etc., appropriate to the Rasa it intends to evoke.
Thus, while many of the 108-karanas are primarily associated with stylized movements, some Nrtta Karanas are used, also, to express various emotions; going beyond the conventional Nrtta format. And, the depiction of such Karanas is a dynamic process. There is scope for innovation and experimentation.
For instance; while explaining the 10th Karana - the Ardha-nikuttaka karana (placing one hand on the shoulder; striking it with outstretched fingers; and then striking the ground with one of the heels) - which employs ancita (curve) of the hands, Abhinavagupta mentions that Sankuka's description was different from that of Bharata; and, cannot be accepted. Further, he says; this Karana can be performed in two or more different ways; and, therefore, concludes that the performer has some degree of freedom in interpreting a Karana.
He mentions that a Karana can be performed both in the sitting posture and by moving about on a stage by employing Nrtta-hastas (hand postures) and Drsti (glances)
- Tatravastane karakayopayogi sthanakam. Gatau tu caryah; purvakaye to gatanau Nrtta-hasta Drstaya ca
And, again, along with his explanation of the 66th Karana (Atikranta - moving forward with each foot treading alternatively with a flourish and swing), he states that wherever the use of the Karana is not specifically stated, it is left to the imagination of the performer.
[In the later times, Karanas came to be described as the means to convey a meaning (Artha) or a pattern, such as: svastikarcita or mandala-svastika. But, in the Natyashastra, the Nrtta or the Karanas are not associated with such representations.]
And, in the later times, the idioms and phrases (Karanas and Angahara) of these dances, as also the ways of expressing the intent and meaning (Abhinaya) of a situation or of a lyric, were adopted into the play-proper, as also into various Dance forms; thus , enhancing the quality of those art-forms.
It is said; even during the course of the play , one should adopt the physical movements - Uddhata Angaharas of Tandava, created by Shiva, while depicting action in fighting scenes. And, for rendering love-scenes, one should adopt the Sukumara Angaharas created by the Devi.
Since the Karanas epitomize the beauty of form; and, symbolize the concept of aesthetics, they served as models for the artist; and, inspired them to create sculptures of lasting beauty. The sculptors (Shilpis) regarded the Karanas as the vital breath (Prana) of their Art. The much admired Indian sculptures are, indeed, the frozen forms of Karanas. The linear measurements or the deviation from the vertical median (Brahma Sutra); the stances; and, iconometry of the Indian sculptures are all rooted in the Karanas of the Nrtta, the idiom of visual delight. These wondrous sculptures, poems in stone, continue to fascinate and do evoke admiration and pleasure (Rasa) in the hearts of the viewers.
[Please do not fail to read the Doctoral thesis on the Dance imagery in south Indian temples : study of the 108-karana sculptures, prepared by Dr. Bindu S. Shankar]
And, in the present-day dance curriculum, the Karanas are used as the phrases or the basic units of the dance structure. Nrtta is taught as a combination of basic dance motions called Adavus for which there is a corresponding pattern of phonetic syllables. The Adavus of Bharatanatya are based in limb movements, postures, hand gestures and geometry as in the Karanas; though the Adavus might differ from Karanas, in their execution.
Adavus are regarded as the building blocks of Bharatanatya. Different combinations of Adavus create varieties of body movements.
[The Adavus (smallest units of dance patterns) are composed as dance-modulations (Nrtta), where all the movements relate to the vertical median (Brahma-sutra) on the one hand; and to the stable equipoise, fixed position of one-half of the dancer's body, on the other. The Adavus are, thus, primary units of movements, where the position of the feet (Sthana), posture of our standing (Mandala), walking movements (Cari), gestures of the hands (Nrtta hasthas) and other limbs of the body together form a precise dance pattern. It is said; there are about ten or more basic types of Adavus (Dasha-vidha); and, more number of variations could be formed de pending on the School of Dancing (Bani).]
Angahara
Nrtta in Natyashastra is of Angaharas, which are made of Karanas - Nana Karana samyuktair Angaharair vibhusitam (NS.4.13)
Abhinavagupta explains Angahara as the process of 'sending the limbs of the body from a given position to the other proper one (Angavikshepa). It could also be taken to mean, twisting and bending of the limbs in a graceful manner.
And, such Angavikshepa is said to be a dominant feature of the Nrtta. And, as mentioned earlier, that term stands for graceful composition of limbs (gatram vilasena kshepaha). Thus, the Angaharas, basically, are Nrtta movements, the Angika-abhinaya, involving six Angas or segments of the body.
Dr . Padma Subrahmanyam explains :
Angika-abhinaya or physical expression is threefold, namely Shakha, Ankura and Nrtta.
Shakha literally means branch. It is the term used for the various movements of the hands (kara-varhana). All the gestures and movements of the hands are Shakha.
Ankura, which literally means a sprout, is the movement of the hand that supplements an idea just represented.
The third element of Angika-abhinaya is Nrtta, which is made up of Karanas and Angaharas. The Nrtta employs all the Angas and Upangas.
Angas are the major limbs of the body which include the head, chest, sides, waist, hands and feet. Upangas are the minor limbs, which include the neck, elbows, knees, toes and heels. The Upangas of the face include eyes, eyebrows, nose, lower lip and chin.
Therefore, according to Abhinavagupta, the terms Hasta and Pada imply practically all the Angas and Upangas of the body.
Therefore, the performance of the Karana demands a mastery over all the exercises prescribed for the major and minor limbs. Bharata says that all the exercises of the feet prescribed for the Shanas and Caris apply to the karanas. He also states that the use of the actions of the hands and feet must be suitably and coherently combined with those of the waist, sides, thighs, chest and back. It thus, signifies that the flow of the movement should be such that the entire body is involved in the curves and bends. It is not the isolated action of the specified limb alone. All actions are harmoniously interrelated.
Abhinavagupta relates Angavikshepa to the Angaharas; and says, they could be taken, almost, as synonyms . But, they are not the same.
The Angaharas along with Recakas and Karanas constitute the essential aspects of the Nrtta; especially in the in the Purvaranga, and at times on the stage, as a part of the prelude (Naandi), by female dancers dressed as goddesses - niskrantasu ca sarvasu nartakisu tatah param - 5. 156. Bharata lists 32 Angaharas in verses 19 to 26 of Chapter Four.
Abhinavagupta observes that the Angaharas could perhaps be as many as 108 or more. But, of these, only 64 are important in providing rhythm and graceful movements (Gati). But, he lists only 32 Angaharas.
[Towards the end of his comments on the 32 Angaharas, Abhinavagupta mentions that these could be produced in separate two sets of 16 each. One set of sixteen could be performed as a part of the Purvanga; and, the other set of sixteen after lifting the curtain, in full view of the spectators. While on the stage, four female dancers could perform four Angaharas each. Eight of them could be in Trisra Taala and the other eight in Chatursra Taala (Trysratalakah sodasa Esam; caturasra sryastav avantaratah).]
A Karana, as said earlier, is a basic unit of dance, constructed of well coordinated static postures and dynamic movements. The Nrtta technique consists in constructing a series of short compositions, by using the Karanas.
The Natyashastra mentions that a unit of two Karanas makes one Matrka; three Karanas makes one Kalapaka; four Karanas make a Sandaka; and, five Karanas make one Samghataka. Thus, it says, The Angaharas consist of six, seven, eight or nine Karanas. The Matrkas and Angaharas are used in the Pindibandhas (Group-dances).
A meaningful combination of six to nine Karanas is said to constitute an Angahara, which could be called as a basic dance sequence -
(sadbhirva saptabhirvapi astabhir navabhis tatha / karanairiha samyukta angaharah prakirtah - NS.4.33).
It is said; the Angahara is like a garland where the selected Karanas (like flowers) are strung together, weaving a delightful pattern. It is basically a visual delight (prekshaniya).
Angahara is, thus, a dance sequence composed of uninterrupted series of Karanas. Such combination of Karanas cannot be done randomly; but, it should follow a method. That is because; the nature of an Angahara is defined by the appropriate arrangement (yojana) or the order of the occurrence of its constituent Karanas. Out of the 108, say, six to nine suitable Karanas are, therefore, selected and strung together in various permutations to form a meaningful Angahara sequences or a Dance segment. Chapter Four (verses 31 to 55) of the Natyashastra describes 32 selected Angaharas, to choose from.
[Pundarika Vittala, the author of Nartana -nirnaya , mentions that by his time, the sixteenth century, the 108 Karanas had , in effect , been reduced to sixteen.]
Abhinavagupta, while explaining the fourth Angahara (the Apaviddha) remarks that even the best of the theoreticians (Lakshnakaro) cannot rationally and adequately explain the sequence of Karanas that should occur in an Angahara. Hence, whatever sequence is given by authorities should not be taken as final. The performers should go by their experience and intuition. The choreographer / performer, therefore, enjoys a certain degree of freedom in composing an Angahara sequence.
Nahi susiksitopi lakshnakaro vakyanam pratipadam laksanam keutum saknoti / Asya pascadidam prayojyamiti jnapitena kincid atmaano yojana ca samhita karya / Niyeimanamagre vak ityuktam /
Though Angaharas and Karanas have much in common, the two are not said to be the same. The Angaharas are not merely the sum or totality of Karanas. Each possesses a distinctive character of its own. The Angaharas are distinct from Karanas. That is the reason, Bharata says: Nana karana samyuktan vyakhyasyami sarecakan (NS.4.19)
The Angaharas, though mainly made up of Karanas, also need Recakas, which are the stylized movements of four limbs: neck (griva), hands (hasta), waist (kati) and feet (carana). The Recakas fulfill two purposes. One, it provides beauty and grace to the presentation; and, two, it ensures a smooth and seamless movement in such a way as to adjust the entire Angahara to the given Tala.
Thus, in short, the Dance choreography of Nrtta is the series of body-movements, composed of Angaharas. The Angaharas in turn, are made of appropriate Karanas. And, the Karanas are themselves made up of Caris, Nrtta-hastas and Sthanas.
Nrtta, as articulated by Bharata, is of the Marga class. And, according to Abhinavagupta, it is capable of evoking Rasa, although it is non-representational.
Which is the basic unit of Nrtta..?
Now, we have in sequence Caris; Nrtta-hastas; Sthanas; Karanas and Angaharas.
And, Abhinavagupta questions, which of these should be considered as the basic unit of Nrtta. He says the combination of two karanas, called Nrtta-matrka (Nrtta alphabet) is the basic unit of Nrtta; because, until the two Karanas are performed, you will not get the sense that you are dancing (Nrttyati).
But, that view was disputed by the later scholars. They counter questioned why only two Karanas; why not three or four or more.
They point out that the components of a Karana; like Caris; Nrtta-hastas; Sthanas, by themselves, individually cannot convey the sense of the Nrtta. They argued that Karana is, indeed, the factor, that characterizes Nrtta, which is built up by the clever arrangement of its patterns, just as in architecture. That form of beauty is achieved through the perfect geometrical qualities and harmonious composition of various body-parts. The sense of balance, ease and poise is the key. Therefore, a well thought out Karana, which is complete by itself, is regarded as the basic unit of Nrtta.
Bharatanatya
Eventually, the Karanas, Angaharas and Nrtta, all, form part of Nrtya, the expressive dance. And, a Dance form like Bharatanatya is not complete without adaptation of the Nrtta techniques.
Bharatanatya is a composite Dance form, which brings together Nrtta, Nrtya and Natya formats. It draws its references (apart from Natyashastra) from various other texts of regional nature. Besides, it has developed its own specialized forms.
The Indian classical dance of today (Bharatanatya) has, over a period, evolved its own Grammar; and, has constructed its own devices. Its Nrtta element too has changed greatly from what it meant during the days of Bharata. Its structure and style is based in different units of movements, postures, and hand gestures such as Adavus etc., which are the combination of steps and gestures artistically woven into Nrtta sequences.
The basic Nrtta items in the Bharatanatya repertoire are the Alarippu (invocation); Jatiswaram (perhaps a successor of Yati Nrtta, where the Jati patterns are interspersed with appropriate Svara); and , Tillana (brisk, short rhythmic passages presented towards the close of the performance
Such Nrtta items in a Bharatanatya performance are dominated by the technique of the Angikabhinaya, which is defined as acting by means of body movements.
[ Alarippu
Alarippu is a dance invocation, which , at the same time, executes a series of pure Dance movements (Nrtta) following rhythmic patterns. It is an ideal introduction or prologue to a Dance performance. It commences with perfect repose, a well balanced poise (Sama-bhanga). Then, the individual movements of the neck, the shoulders, and the arms follow. And, next is the Ardha-mandali (the flexed position of the knees) and the full Mandali. Thus, the Alarippu introduces the movements of the major limbs (Anga) and the minor limbs (Upanga) , in their simple formations. The dancer, thus, is able to check on her limb-movements; attaining positions of perfect balance; and, the ease of her performance. The Alarippu sets the Dancer and the Dance performance to take off with eloquence and composure.
Jatisvaram
The Jatisvaram, which follows the Alarippu, is also a dance form of the Nrtta class. It properly introduces the music element into the dance. The Jatisvaram follows the rules of the Svara-jati , in its musical structure. And, it consists three movements: the Pallavi, the Anu-pallavi and the Charanam. The music of the Jatisvaram is distinguished from the musical composition called Gita (song) ; as also from the Varnam , which is a complex composition. In the Jatisvaram, the music is not composed of meaningful words. But, here, the series of sol-fa passages (Svaras) are very highly important. A Jatisvaram composition is set to five Jatis (time-units) of metrical - cyclic patterns (Taala) - say, of 3,4,5,7,9. The basic Taala cycle guides the dancer; and she weaves different types of rhythmic patterns, in terms of the primary units of the dance (the Adavus).
The execution of Jatisvaram is based on the principle of repetition of the musical notes (Svara) of the melody, set to a given Taala. Following that principle, the dancer weaves a variety of dance-patterns.
Thus, what is pure Svara in music becomes pure dance (Nrtta) modulation in the Jatisvaram. The dancer and the musician may begin together on the first note of the melody; and, synchronize to return to the first beat of the Taala cycle; or, the dancer may begin the dance-pattern on the third beat, and yet may synchronize at the end of the phrase of the melodic line. But, the variety of punctuations and combinations within the Jatisvaram format are truly countless. It is up to the ingenuity, the skill and imagination of the dancer to weave as many complex patterns as she is capable of.
Tillana
Tillana is a rhythmic dance that is generally performed towards the end of a concert. A Tillana uses Taala-like phrases in the Pallavi and Anupallavi, and lyrics in the Charanam. It is predominantly a rhythmic composition.
The Varnam is a highly interesting and complex composition in the Karnataka Samgita. And, when adopted into Dance-form, Varnam is transformed into the richest composition in Bharatanatya. The Varnam, either in music or dance, is a finely crafted exquisite works of art; and, it gives full scope to the musician and also to the dancer to display ones knowledge, skill and expertise.
And , in Dance , its alternating passages of Sahitya (lyrics) and Svaras (notes of the melody) gives scope to the dancer to perform both the Nrtya (dance with Abhinaya) and Nrtta (pure dance movements) aspects. In its performance, a Varnam employs all the three tempos. The movement of a Varnam, which is crisp and tightly knit, is strictly controlled; and, it's rendering demands discipline and skill. It also calls for complete understanding between the singer and the dancer; and also for the dancer's ability to interpret not only the words (Sahitya) but also the musical notes (Svaras) as per the requisite time units (Taala). The dancer presents, in varied ways, through Angika-abhinaya the dance elements, which the singer brings forth through the rendering of the Svaras.
A typical concert repertoire follows:
Allaripu: devotion to Lord Nataraja, God of dance
Ranga puja: (worship of the stage)
Pushpanjali: (offering of flowers)
Jatisvaram: : rhythmic pattern exploration
Shabdam: literal miming of lyrical musical content
Varnam: evoking abhinaya; Sthayibhava (dominant state) ; Sancharibhava (transitory state)
Padam: interpretation of lyrical passage set to music- content usually that of a woman in a state of expectancy or separation/union with a lover- allegorical content of union with divinity/ lover
Tillana: introduction of technical floor choreography - movement along lines, triangles, diagonals, circles
Sloka: invocation of God in a peaceful mood ; and
Mangala: concluding with prayer for the wellbeing and happiness of all in the three worlds ]
The Abhinaya Darpana of Nandikeshvara is widely used by the teachers and learners of Bharatanatya. The text is concerned mainly with the descriptions and applications of Angikabhinaya in dance. These are body movements composed by combining the movements of body parts; such as: Angas (major limbs); Upangas (minor limbs), and Pratayangas (smaller parts like fingers, etc).
[The Abhinaya Darpana (Chapter 8, Angika Abhinaya Pages: 47 to71) lists, in great detail, the following kinds of body movements under Angika-abhinaya. And, these are followed by the students and the teachers of Bharatanatya.
Shirobheda (movements of the head);
Dristibheda (movements of the eyes);
Grivabheda (movements of the neck);
Asamyukta-hasta (gestures of one hand);
Samyukta-hasta (gestures by both hands together);
Padabheda (standing postures with Hasta);
Sthanaka (Simple standing posture);
Utplavana (jumps);
Chari-s (different ways of walking, or moving of feet/soles); and,
Gati-s (different ways of walking)
In addition, there are other kinds of movements and activities of various parts of the body that are important to Nrtta.]
[The following well known verses said to be of the Abhinaya Darpana are very often quoted
Khantaanyat Lambayat Geetam; Hastena Artha Pradakshayat; Chakshubhyam Darshayat Bhavom; Padabhyam Tala Acherait
Keep your throat full of song; Let your hands bring out the meaning; May your glance be full of expression, While your feet maintain the rhythm
Yato Hasta tato Drushti; Yato Drushti tato Manaha; Yato Manaha tato Bhavaha; Yato Bhava tato Rasaha
Where the hand goes, there the eyes should follow; Where the eyes are, there the mind should follow; Where the mind is, there the expression should be brought out; Where there is expression , there the Rasa will manifest.]
Pindlbandhas
Pindlbandhas (Pindi = cluster or lump) are basically group dances that constitute a distinct phase of the preliminaries (purvaranga) to a play. According to Bharata, the Pindlbandhas were patterned after the dance performed by Shiva along with his Ganas and disciples such as Nandi and Bhadramukha. The purpose of performing the Pindlbandhas, before the commencement of the play proper, was to please the gods; and, to invoke their blessings.
After the exit of the dancer who performed the Pushpanjali (flower offering to gods), The Pindis are danced , by another set of women, to the accompaniment of songs and instrumental music
- anyasca anukramenatha pindim badhnanti yah striyah- // 279 // While describing the physical structure and composition of the Pindibandhas; and the various types of clusters and patterns formed by its dancers, Bharata mentions four types of Pindibandhas that were performed during his time: Pindi (Gulma-lump-like formation); Latha (entwined creeper or net like formation, where dancers put their arms around each other); Srinkhalika (chain like formation by holding each other's hands); and, Bhedyaka (where the dancers break away from the group and perform individual numbers).
pindi srnkhalika caiva latabandho'tha bhedyakah / pindibandhastu pindatvadgulmah srnkhalika bhavet // 288 // In short; the Pindibandha is the technique of group formations; and, weaving patterns. Abhinavagupta describes it as 'pindi adhara angadi sanghatah,'- a collection of all those basic elements which make a composite whole. It is called Pindibandha, because it draws in all other aspects; and, ties them together. He also states that Angaharas form the core of the Pindibandhas.
It is said; each variation of a cluster-formation (Pindi) was dedicated to and named after a god or a goddess, who was denoted by the weapons, vehicles, insignia or emblems associated with that deity; and, her/his glory was celebrated through the formation created by the dancers.
Abhinavagupta also explains Pindibandha as the term which refers to the insignia or weapon etc; and, which reminds one of the divinity or concept associated with it.
Pindi adhara-angadi sanghatah; taya badhyate buddhau pravesyate tanu-bhavena sakalaya va vyoma-adaviti pindibandha akrti-visesah
(For instance: Isvara pindi for Isvara; Simhavahini for Candika; Sikhi pindi for Kumar and so on).
Isvara pindi for Isvara Pattasi, i.e. Suelam pindi for Nandi Simhavahini for Candika Tarksya (Garuda) for Visnu Padma pindi for Brahma Airavati for Indra Jasa (Fish) pindi for Manmatha Sikhi pindi (Peacock) for Kumara) Padma for Sri (Laksmi) Dhara (drops of water) for Jahnavya (Ganga) Pasa pindi for Yama Nadi (River) for Varuna Yaksi for Kubera Hala (Plough) for Balarama Sarpa for Bhogis (Nagas) Mahapindi for Ganesvari, for breaking Daksa's sacrifice Trisulakrti for Rudra who annihilated Andhakasura.
chakruste naama pind'eenaam bandhamaasaam salakshanam/ eeshvarasyeshvaree pind'ee nandinashchaapi pat't'asee/253..
chand'ikaayaa bhavetpind'ee tathaa vai simhavaahinee / taarkshyapind'ee bhavedvishnoh' padmapind'ee svayambhuvah/254..
shakrasyairaavatee pind'ee jhashapind'ee tu maanmathee /shikhipind'ee kumaarasya roopapind'ee bhavechchhriyah' /255..
dhaaraapind'ee cha jaahnavyaah' paashapind'ee yamasya cha /vaarunee cha nadeepind'ee yaakshee syaaddhanadasya tu 256..
halapind'ee balasyaapi sarpapind'ee tu bhoginaam / gaaneshvaree mahaapind'ee dakshayajnyavimardinee/257
trishoolaakri'tisamsthaanaa raudree syaadandhakadvishah'/evamanyaasvapi tathaa devataasu yathaakramam /258
dhvajabhootaah' prayoktavyaah' pind'eebandhaah'suchihnitaah/rechakaa angahaaraashcha pind'eebandhaatasthaiva cha259
Abhinavagupta explains that in the Pindibandha, the dancers coming together, can combine in two ways : as Sajatiya , in which the two dancers would appear as two lotuses from a common stalk; or as Vijatiya, in which one dancer will remain in one pose like the swan and the other will be in a different pose to give the effect of lotus with stalk, held by the swan-lady. And, in the gulma-srnkhalika formation, three women would combine; and in the Latha, creeper like formation, four women would combine.
Bharata provides a list of such Pindis in verses 253-258 of Chapter Four. Bharata states that in order to be able to create such auspicious diagrams/formations (citra), in an appropriate manner, the dancers need to undergo systematic training (siksayogas tatha caiva prayoktavyah prayoktrbhih - NS.4.291)
The presentation of the preliminaries seemed to be quite an elaborate affair, with the participation of singers, drummers, and groups of dancers.
The most celebrated type of the Pindibandha Nrtta is, of course, is the Rasalila that Sri Krishna performed with the Goips amidst the mango and Kadamba groves along the banks of the gentle flowing Yamuna under resplendent full moon of the Sharad-ritu.
Srimamad Bhagavatha sings the glory and joy of Rasa-Lila with love and divine ecstasy, in five Chapters from 29 to 33 of the Tenth Canto (Dashama-skanda) titled as 'Rasa-panca-adhyayi'. (Harivamsa also describes this dance; but, calls it as Hallisaka)
"That night beautified by the autumnal moon (sharad indu), the almighty Lord having seen the night rendered delightful with the blooming of autumnal jasmines sported with the Gopis, while he played on his flute melodious tunes and songs captivating the hearts of the Gopis.
Then having stationed himself between every two of these damsels the Lord of all Yoga, commenced in that circle of the Gopis the festive dance known as Rasa-Lila. Then that ring of dancers was filled with the sounds of bracelets, bangles and the kinkinis of the damsels. While they sang sweet and melodious songs filled with love, the Gopis gesticulated with their hands to express various Bhavas of the Srngara-rasa.
With their measured steps, with the movements of their hands, with their smiles, with the graceful and amorous contraction of their eyebrows, with their dancing bodies, their moving locks of hair covering their foreheads with drops of perspiration trickling down tneir gentle cheeks and with the knots of their hair loosened, Gopis began to sing. The music of their song filled the Universe."
The Raasa Dance of today is the re-enactment of Krishna's celestial Rasa-Lila. It is a Pindibandha type of dance performed by a well coordinated group of eight, sixteen or thirty two men and women , alternatively positioned, holding each other's hands; forming a circle (Mandala); going round in rhythmic steps , singing songs of love made of soft and sweet sounding words; clapping each other's hands rhythmically; and, throwing gentle looks at each other (bhrubhanga vikasita). Laya and Taala in combination with vocal and instrumental music play an important role in the Rasa dance.
The direct descendants of the Rasa-Lila Pindibandhas described in the Puranas are the many types of folk and other types of group in many parts of India : Raslila, Dandaras, Kummi, Perani, Kolattam and similar other dances.
The most famous of them all is the Maha-Rasa of Manipur, performed with the singing of the verses of Srimad Bhagavata.
[When you take an overview, you can see that during the time of Bharata, Nrtta meant a Marga class of dance. And, Tandava and Sukumara were also of the Nrtta type. Though the connotation of those terms has since changed vastly, their underlying principles are relevant even to this day.
In the textual tradition, the framework devised by Bharata continued to be followed by the later authors, in principle, for classification and descriptions of several of dance forms - (even though Nrtta and Nrtya were no longer confined to Drama -Natya). The norms laid down by Bharata were treated as the standard or the criterion (Marga, Nibaddha), in comparison with regional (Desi) other types of improvised (Anibaddha) dance forms, in their discussions. The regional dance-forms , despite their specialized formats, were primarily based in the basic principles of Natyashastra.
This amazing continuity in the tradition of the Natyashastra is preserved in all the Indian classical Dance forms.]
In the next Part we will talk about Nrtta, Natya and Nritya as they were understood, interpreted and commented upon in the Post-Bharata period, i.e., the medieval times and in the present-day .
References and sources
1.Natya Nrtta and Nrtya - their meaning and relations by Prof.KM Varma
2.http://www.svabhinava.org/abhinava/PadmaSubrahmanyam/PadmaSub.pdf
3.https://etd.ohiolink.edu/!etd.send_file%3Faccession%3Dosu1079459926%26disposition%3Dinline
4. <URL>
5. <URL>
6.http://shodhganga.inflibnet.ac.in/bitstream/10603/71949/8/08_chapter%203.pdf
7.The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition by Dr. Mandakranta Bose
8.http://shodhganga.inflibnet.ac.in/handle/10603/164285
9 <URL>
All images are from the Internet
Posted by sreenivasaraos on September 28, 2018 in Art, Natya
Tags: Abhinavagupta, Adavu, Anga, Angahara, Art, Bharata, Bharatanatya, Caris, Dance, Desi, Devi, Karana, Lasya, Marga, Natya, Natya shastra, Nrtta, Nrtya, Pindibandha, Pratyanga, Recaka, Shiva, Sukumara, Sukumara prayoga, Tandava, Upanga
The texts of the Indian Dance traditions - Part Two
Continued from Part One
Let me digress here for a while
Before we get to the texts that are devoted to the discussion on the Theories (Lakshana) and practice (Lakshya) of Dance and its various forms, let us talk, in general on the issues related to Art, Art-form, Dance and Dance-forms.
Art and Art-form
When we talk of a particular type of dance we call it a Dance form. And, when we talk of Dance, in general, we call it an Art form. What does this form mean? What is the relationship between Art and Dance? And, how is that formed?
Further, it appears there is a sort of genealogical relation that spans Art, Dance and Dance-form: Art ->Art form ->Dance ->Dance form.
A form could be taken to mean as that which is formed. It suggests that something has gone through the process of formation; and, that has resulted in a distinctly cognizable 'form'.
Mahidasa Aitareya (one among the earliest philosophers, revered as a sage who showed the way to other thinkers that succeeded him), in his Aitareya Aranyaka, while elucidating his views on evolution of matter, explains that the evolution has a unity of its own; and , that unity implies identity and continuity, with change, of a common substratum. He says: matter (Pradanam) is that out of which a thing becomes; and, that matter is the ground of all plurality of forms, just as speech is the ground for all plurality of names.
And, a form is that which emerges out of a common substratum. A form (Murti) is that which is manifested. And, it is related to its principal or origin; just as a shoot (Tula) is to its root (Mula) - (AA.2.1.8.1- please check page 107).
Mahidasa did not look upon changes that take place from one stage of matter to another as unrelated or isolated events. It is a progression or a purposeful order, he said, where something that is nebulous and unstructured evolves into its next stage, which is more cognizable and better structured; developing its own individual features. According to Mahidasa, the more evolved an entity is, the more manifest or recognizable or better defined it becomes.
The same principle applies to Art and Art-forms.
There are various references to Art in the ancient texts, at different levels.
Abhinavagupta (10th-11th century), says; the Art, indeed, has no beginning (Anadi). The origin of Art cannot, truly, be traced. Even when Shiva taught his disciples, he recollected and renewed the ancient art (Vijnana); and, passed it on. According to Abhinavagupta, what matters, therefore, is not the debate about the origin of Art at a certain point of time. But, our concern should be about its uninterrupted flow; and, its genius to create beauty of lasting value.
He explains the term Datta, as one who is inspired by his own creative brilliance; who independently creates verities of expressions of uncommon nature; and, gives (Datta) to this world a fresh perspective of beauty. The Datta, verily, is the creator, the artist, who is blessed with such clear perception, Vijnana.
Vijnana (a special type of knowledge) was the term that was used, in much a earlier period, to refer to what we call Art. Banabhatta in his Harshacharita regards painting and sculpture as branches of Vijnana. And, he calls those artists as Vijnani-s (visva-karma-mandiram iti vijnanibhih).
And, such special knowledge (vijnanam) was admired as a gift of god. It said; Shiva taught the art of Dance to his disciple Tandu. And, Narayana , who was engaged in penance, created the art of painting (Chitram), for the welfare of the world; and, taught it to Visvakarma, to spread its knowledge in the world
(Narayanena munina lokanam hita-kamyaya; kritva chitram lakshana samyuktam - Vishnudharmottara. 3.35.2-5)
The Mahabharata attributes all forms of arts to Vishnu (vijnanam etat sarvam janardanat)
Yogo jnanam tatha samkhyam vidyah silpani karma ca vedah sastrani vijnanam etat sarvam janardanat - MBh. 13.135.139
What is Art, kalaa -klaa ..?
Since, Dance and Dance-forms are regarded as forms of Art, let's start with the question: what does this concept of Art signify?
The most common term that is used to signify Art, is kalaa -klaa. And, in the Indian traditions, it is said; Kala (Art) is that which delights (kam anandam lathi iti kalah). It stands for various modes of aesthetic expressions that enchant, gladden the hearts (hrudaya-ranjaka); and, that which requires some knowledge as also skill or felicity in expressing its creative impulse - kaushala. Bharata, in his Natyashastra, according to some scholars, uses the term Kala to suggest fine (Charu) arts, as also the dexterity, skill in art-creation. (Na sa vidya na sa kala - NS. 1.116)
The Paramara king, Raja Bhoja of Dhara (1000-1055 AD), in his Samarangana -sutradhara, remarks that the best artists combine the knowledge of the theory of Art with proficiency in its practice
(Bhudyante kepi shastranam kechid karmani kurvate: Samarangana-sutradhara -74)
Thus, Kala (Art) stands not only for what is ultimately expressed; but also for the process of expressing it. The Art can, therefore, be understood in two ways. One: art is that which is expressed as an art-form (objective); and, two, the manner in which that is expressed - the process, the skill (subjective).
There was a belief that an object of art, say a painting, is basically subjective; and, it, usually, takes after the nature and merits of the artist; just as a literary work mirrors the intellect of the poet.
(Yadrisas chitrakaras tadrisi chitra-karma-rupa-rekha; yadrisah kavis tadrisis kavya-bandha-chhaya iti- Viddhasalabhajika-1).
That is to say; the effort and the process of creating a poem or a painting, brings one face-to-face with one's own personality with all its limitations as also its potentials.
As per Grammar, it is said, the basic meaning of Kala (klaa) is 'a part', especially 'sixteenth part of the moon'- Chandra-kala (e.g. Brhadaranyakopanisad 1.5.14). The moon waxes and wanes in periods of fifteen days; each day it gains or losses one kala. The sixteenth kala is the amrtakala, abiding digit, which never fades away, even at the dark of the moon (Bh.Up.1.5.17). Thus, kala is the symbolic expression of number sixteen.
But, there is also another interpretation, which is more significant.
It said; the etymological meaning of the term Kala (klaa) is derived from its root Kal, meaning to count or compute. In the broader sense, it also suggests the meaning of: to do; to make; or, to calculate. The term Kala, thus, covers larger set of factors, apart from sheer abstract notions.
Artists are makers or creators. Any artistic activity involves creative perception to visualize; and, the intellect to estimate and to compute, in order to articulate and give a form to ones vision and to ones inner experience.
This etymological meaning of the word Kala, led to further exposition and development of mathematical and quantitative standards for artistic practices in India, especially in creative and performing arts. Most of the Indian Schools of thought, right from the Samkhya, adopted the analytical method of Anveshiki to enumerate categories of existence and experiences. The texts on technical subjects like Nyaya, Ayurveda etc., also followed the Anveshiki method of listing, in order to bring clarity into the analytical investigation of issues.
The texts on performing arts also followed the similar method of enumeration.
There is an interesting argument which binds mathematics and art together. Both try to transport an abstract concept into the real world of structures and forms. And, both search for beauty and aesthetics, in the structural harmony of their creations.
Following that premise, the Art theoreticians of ancient India attempted to quantify artistic activities; and, also the process of manifesting or articulating creative experiences. They developed a complex system of measures and proportions, which defies rigid definitions. It is called Talamana paddathi, iconometry, included under Prathima-lakshanam, the discussion on the features and nature of images to be created.
In the field of painting and sculpture, elaborate and precise tables of aesthetic measurements and proportions (Taala and Maana) were drawn up for ensuring a harmonious creation, endowed with well proportioned physical features (lakshana) - for each class and each type of images. It was meant to achieve a meaningful correlation between the nature, the content and the form of the subject.
This systematic process of specifying measures and proportions became an essential tool in visual arts; such as, painting and image-making. And, such conceptual standards of aesthetics were followed by all the regional and religious Schools of Arts in India.
Such mathematical standards and regulations served as the medium, in the process to translate abstract concepts into postures, structures that are, at once, beautiful, illustrative and meaningful. They helped to bridge the artistic quantification and aesthetic presentation.
For instance; the Vishnudharmottara, while detailing how a painter should go about his task, mentions: "the painter should think of the proportionate size of the thing to be painted; and think of it as having been put on a wall. Then calculating its size in his mind, he should draw the outline marking the limbs. It should be bright in prominent places and dark in depressed places. It may be drawn in a single colour, where comparative distinction is required. If depressed places are required to be bright, jet black should be used. "
The Taala-Maana system was also extended to the field of Music, dance and theatre, where the units of measurement were interpreted in terms of the units of time (Taala, rhythmic cycles; and Laya, tempo).
In Music , the Sruti, Laya and Gati ; as also the Taala follow their own abstract rhythmic patterns. These are manifested into cognizable forms through certain actions (Kriyas) that can be measured, though not precisely.
And, in Dance, the number of hand spans between feet in a particular posture (Karana); or the length of the step that should be taken, in harmony with the units of rhythmic cycles (Taala), is also regulated by a similar system of measures and proportions. In a way; the Taala could said to be the calculus of aesthetics, which allows the artist to explore the forms of beauty and their variations. This Grammar is followed by the artists, intrusively.
Prof. Vinod Viawans, in his very learned article Expressing with grey cells: Indian perspectives on new media arts, observes:
There is an important dimension of Art that has not been due consideration so far: 'art as computation'. There appears to be a tendency among the artists to treat Art as anti-analytical. They, however, can learn from the Indian traditions, which have made some valuable advances in this direction. They have demonstrated that calculation and quantification can be an integral part of artistic practices. This aspect is all the more relevant in the modern days. The artists, in the new age, need to be taught how the abstract constructs and the spaces could be created in virtual reality environment, with the use of mathematical values.
Art expressions
At another level, Art-expressions are regarded as fundamental to human nature
According to Gargyayana, a sage-king who appears in the Kausitiki Upanishad (and, is said to be one of the teachers of Uddalaka Aruni), Art (Chitram) is how the human mind, essentially, conceives and experiences the nature and the surrounding life (maanasi pratirupa chaksusi); how it expresses that experience in its own way; and, how it imposes its own forms and interpretations on nature.
Centuries later, the Buddha amplifying Gargyayana's view of art, regarded Art as a product of human experience and imagination; a representation of ideas that take birth in human mind, in relation to diverse forms of life and human experiences - (caranam cittam citten eva cintitam - Samyukta Nikaya, 5.8 , quoted in the Atthasalini-204.)
Though there is no universally accepted definition of Art, it could, broadly, be understood as an act of creating, expressing or making. Art could said to be a means to present or represent ideas, thoughts, feelings and experiences by skillful, meaningful, and imaginative devises, through a chosen medium, employing its own appropriate instruments. It is both the means (Upaya) and the end (Upeya).
Artistic encounter arises from the ways and manners how the humans react to the world around them. And, it is also a mode of sharing ones experience, feelings and thoughts with the society at large, through ones creative expressions.
The performing artist, endowed with creative imagination and the requisite skills, ingeniously creates an imaginary world, by use of artistic devises such as: language adorned with poetic phrases or enchanting sounds (Vachica); beautiful hand gestures and body postures (Angica), costumes (Aharya); and through what is seen (Drshya) etc.
Idealistic view of life
The Indian theories of aesthetics (Alamkara) adopted the concepts and idioms of philosophical schools, like Samkhya and Vedanta. According to Prof. M. Hiriyanna (Art experience; 1954), the Samkhya takes a realistic view; while the Vedanta prefers an idealistic vision of the world which lies beyond the phenomenal one of appearance.
Following the Samkhya way, one could say that the Art is the mode of representing the reality. And, the Vedanta way is one of deflection from the reality.
However, the Indian theories of aesthetics went along independently, synthesizing all shades of views and opinions. But, it agreed upon the universal character of Art; and, its purpose as that of providing a unique aesthetic experience (Rasa). And, it, generally, moved away from mere realistic presentation; and, positively leaned towards idealism in its representations.
According to such idealistic view of life, the ultimate objective of any artistic creation is to evoke Rasa; and, to transport the viewer or the listener to an imaginative ideal world (Aloukika).
The artist, in his endeavor, can use various devises of art, such as: words, sounds, rhythm, balance, aesthetic proportions, etc., to help to derive such out-of-the world, virtual experience.
For instance; in the theater, as Abhinavagupta puts it, the audience witnessing a theatrical/dance performance reside in the physical space; and, they are aware of it. But, at the same time, they can leap into the simulated world. In a way of speaking, an engrossed spectator enjoys the best of the both the worlds.
Abhinavagupta suggests that Art is not absence of life; but, it is an extension of life - every element of life appears in one or the other forms of Art. And, the aesthetic experience derived from Art is free from mundane passions and its limitations; it is generalized (Sadharanikarana); and, it is indeed a Wondrous-experience, Chamatkara.
The Art-creation in India has, therefore, been a process of life. The creation of the beauty of form, for the painter or the sculptor, was said to be a joyous rediscovery of the glory and beauty of the whole of creation.
The Vishnudharmottara (a text of about the sixth century) states: The purpose of Art is to show one, the grace that underlies all of creation, to help one on the path towards reintegration with that which pervades the Universe
Further, the Vishnudharmottara asserts that the images which are made with the understanding of the harmony of life are immensely beneficial for the viewer. Thus, it states: Art is the greatest treasure of mankind, far more valuable than gold or jewels.
It is said; the artist employs matter and techniques to embody an idea, a vision. Such created art-object is not only a source of beauty; but, is also an invitation to explore and enjoy the meaning (Artha) of that beauty. The Artha, in the context of Art, is, thus, not merely the objective property of art-work; but, it is also a deep subjective aesthetic experience.
In other words; Art-creation is about the experience of a person; and, his own interpretation of it. And, that calls for her/ his unique creative genius, imagination, enterprise and individuality as an artist. It is not about how the world appears to one and all; but. it is how the artist experiences and visualizes it.
The Chitrasutra says; the concern of the artist should not be to just faithfully reproduce the forms around him. It suggests that the artist should try to look beyond the tangible world, the beauty of form that meets the eye. He should lift that veil and look within. The artist's vision should reach beyond "the phenomenal world of separated beings and objects that blind the reality beyond".
What is expressed need not be a replica of the day-to-day objects and experiences. It should be aesthetically beautiful, in its own way; and, it should be able to communicate with the receptive connoisseur. Abhinavagupta remarked that a creation in art is the expression of a feeling that is freed from localized distinctions; it is the generalization (Sadharanikarana) of a particular feeling. It comes into being through the creative genius (prathibha) of the artist.
This is particularly true in the case of Dance (Natya-dharmi- stylized movements and expressions) and painting (Bhava - techniques to draw out the inner world of the subject).
Even in the case of Drama, it is said, 'Theater is a practice of artistic expression and communication'. Abhinavagupta makes a distinction between the world of drama (Natyadharmi) and the real but ordinary life (Lokadharmi). The daily experiences are different from the aesthetic experiences. The relation between the actor and the audience during a performance is out of the ordinary.
Art - forms
The Chitrasutra says, "Anything be it beautiful or ugly, dignified or despicable, dreadful or of a pleasing appearance, deep or deformed, object or non-object, whatever it be, could be transformed in to Rasa, by an artist's imagination and skill".
Such transformation of a concept or an idea into cognizable well structured forms could be called Art or Art-expression. The varied shapes it assumes, depending upon the medium that it employs, gives rise to different Art-forms. Following the principle stated by sage Mahidasa; the more evolved such a form is, the more manifest or recognizable or better defined it becomes. That is how, each Art-form branches out into well cultivated individualized sub-forms; each with its own characteristic modes of presentation, ethos and appeal.
The Art and its concepts are, rather, amorphous (Amurta); not having a specified concrete form (Murti). It, therefore, needs a medium through which it can emerge. It might assume different forms depending upon its medium of expression.
For instance; sounds are the medium of songs and music; so are the lines and colors for painting. And, for the art of dancing, the body-movements, the gestures and facial expressions are the essential instruments.
Such mediums of expressions also define the ways or 'forms' in which the artist's emotions, imagination and excellence could be displayed. Had there been no variety in these mediums of expression, there would not have been varieties of Art-forms.
As said earlier, an artist in the Indian tradition is considered as the creator. He is regarded as an earthly representation of Vishvakarman; the deity of the creative power; the supreme artist who brought all things into existence.
An artist, on earth, creates Art by transforming a given object of the world into a thing of beauty. The voice is given; and, melody is created. The language is given; and, poetry is created. The lines and colors are given; and, forms are created. And, so on. Thus, transformations are taking place, all the time, in the creation of newer modes of Art forms.
Thus, an artist is one who strives to express through her/his chosen form of art. The medium of expression that the artist chooses would also decide and regulate the skill or the faculty of expression that she/he would need to possess, develop and hone it to, almost, near-perfection. That would, consequently, enable the artist to possess the corresponding bodily efficiency, the knowledge and the proficiency to express his/her feelings and thoughts.
If the medium of expression is sound, the artist may use voice and express her/his art in the form of music. Such an artist is then called as a singer. Apart from learning the theoretical knowledge (Lakshana), imbibing the practical skill (Lakshya), the singer would also have to work on improving the voice-culture; and through the varied modes of presentation in melodious ways (Ragas), intricate rhythmic patterns (Taala) and speeds (Gati).
And, for the same medium of sound, another artist might, instead, use her/his palms and fingers. or breath or whatever, to play on a musical instrument. The artist is then known as an instrumentalist. The instrumentalist, according to the demands of the chosen instrument, needs to develop a certain level of competence and skill in playing it.
For any artist, either as a musician or a painter or poet, there is an inexhaustible richness and diversity in the world we live in. And, there is also abundant freedom to experience and to express in countless innovative ways. And, that freedom is not something that is given to him by someone else; it is his own inborn genius.
Every notion can be expressed in infinite number of forms. One has access to the largest possible number of variations. The virtue of freedom , here, lies in choosing and employing the most appropriate of them all. That again , calls for the mastery over ones medium of expression - be it language , sounds or lines and colors.
As regards poetry; it is also considered as a distinct art expression - Kavya kala. Poetry is a unique form of knowledge (Vidya), an art or a skill. It combines in itself, the virtues of countless variations in the wonders of speech (ukti-vaichitrya), delighting the heart of a responsive listener (sahrudaya-hrdaya-ranjana), It also reveals the ceaseless mysteries of varieties of experiences (anubhuti) and thought processes (vichara-vividyata).
Abhinavagupta muses: what is this ukti-vaichitryam (kimidam-uktivaicitryam?); and; responds by saying: it is the ever renewing (nava-navonvesha) wonder in speech that arises not only from the novelty of descriptions, but also, indeed, from the novelty of the object of utterance as well -
uktirhi vacya-visesa-pratipadi vacanam / tad vaicitrye katham na vacya vaicitryam
Hemachandra Suri (late 11th century), a Jain scholar and author of Kavya-anushasana, a work on poetics, says: a poet endowed with the power of creative imagination (Pratibha), rearranges his world according to his wish. He has a vision. And, that vision is the power of unraveling, intuitively, both the reality and the idealism underlying the manifold material world and its aspects.
The painter and the poet have much in common. Conventionally the painter deals with forms, moods and their representations in lines and colors . And, the poet is more immersed in the world of concepts, ideas, doubts and queries often tending to be philosophical. Both symbolize their emotions, sensations and ideas through concrete images and words; each in his own manner.
Bhartrhari compares the communication through language (by use of sentences) to creation of a painting. Bhartrhari describes the painter as going through three stages when he paints a picture : " when an artist wishes to paint a figure of a man, he first visualizes the object and its spirit as a composite unit ; then , as of a figure having parts; and, thereafter, gradually, in a sequence , he paints it on the surface of a cloth or whatever".
That is to say; a painter conceives a picture in his mind; and, thereafter gives its parts a substance on the canvass by using variety of strokes, different colors, varying shades etc. Which means; an artist paints the picture in parts though he visualizes it as a single image. The viewer of the painting, rightly, also takes in, absorbs the picture and its spirit as a whole, as an integral unit; and , he does not look for individual strokes, shades etc or the permutation of such details that went into making the picture.
The same could be said of a poem and its individual words.The poetry and painting have much in common, It is said; poetry is picture in words; and, painting is poetry with form.
But , at the same time , the two Art-forms have their individual characteristics. Painting is a static object in space in front of us, allowing our eyes to roam over it at our will, in any manner. The poem, on the other hand, is an ordered sequence. It unfolds progressively in time and space. And, at the same time, the poem is also an illustration. The painting and poem are, thus, complementary; but, not in identical terms.
According to the Vishnudharmottara, the Shilpa (sculpture) and Chitra (painting) are closely related to Nritya (dance) They all are based on a system of medians (sutras), measures (maanas), postures of symmetry (bhangas) and asymmetry (abhanga, dvibhanga and tribhanga) ; and on the sthanas (positions of standing, sitting, and reclining). The concept of perfect symmetry is present in Shilpa and Chitra as in Nritya; and that is indicated by the term Sama, equipoise.
But, making a sculpture is infinitely harder than making a painting. That is because; painting as a two-dimensional form, can communicate; and, can articulate space, distance, time and the more complex ideas in way that is easier than in sculpture.
The inconvenient realities of the three dimensional existence restrict the fluidity and eloquence of the sculpture. It is almost not possible to depict, directly, in a sculptural panel the time of the day or night - darkness, evening, twilight or bright light etc.. That difficulty also applies to depiction of colors (color, in fact, is not a medium directly compatible with sculpting). And, it is also not easy to bring out the differences between a dead body and a sleeping person, particularly if the two are placed side by side. The sculptor-artist (shilpi) will have to resort to some other clever modes of suggestions to bring out the differences. That depends on the ingenuity of the artist.
When we come to Dance and its forms, the medium of expression is the dancer's body. The precise movements of hands, face, eyes, feet and body positions; the gestures; and, aesthetic expressions that are put forth, are indeed, the modes its art-expression. There is a complete physical, mental harmony and emotional involvement with the dancer's performance.
Thus, for a dancer, her/his body is the instrument. The knowledge and skill that the dancer gained through the long years of hard work, pursued with discipline and devotion, are manifested through the rhythmic body-movements, meaningful and expressive gestures.
As said earlier, Art (Kala) stands not only for what is ultimately expressed; but also for the way it is expressed. The same is the case with dance also. What is presented through body-movements, gestures and expressions is called Dance. Similarly, the 'processes' and the 'manners' in which it is expressed are also called as Dance. The former meaning refers to a dance-item or a dance-production. However, it is the latter meaning that has gradually given birth to various dance-forms.
In other words; just as other Art forms, the Dance also has two aspects: what is expressed; and, the second, the way or the process it is expressed. The 'outer' form of art is the means to approach the beauty and purpose of its inner meaning. Accordingly, the various artistic processes by which dance-items are created by the artists; as also, the varied manners in which those dance-items are presented, has , over a period, led to the birth of several dance-forms.
At a given level, a particular dance-form could be described as an entity, which has its own unique characteristics that are intrinsic to it. This is what distinguishes one Dance-form from the other; and, lends its special appeal.
Such varieties of Dance-forms might have come about due to factors and influences, such as: historical, social and cultural etc. However, what, truly, makes a Dance-form exclusive, lending it a distinct character and charm; and, that which sets it apart from other forms, is the dedication of the generations of artists - teachers and learners alike - who have striven to nurture its vitality, safeguard its purity and to enhance its creative ingenuity .
And, once a well developed Dance-form establishes its identity, it acquires an eminent status within the art- community; and, also enjoys a long-lasting relationship with the society, at large.
Convergence of Art-forms
In the Vishnudharmottara , the sage Markandeya explains to King Vajra, the interdependence of various art-forms ; and, takes him , step by step, from learning to make sculptures, the art of image-making ; to painting; to Dance; to instrumental music; to vocal music; composing, songs, poetry and prose; to literature , languages, grammar , logic, figures of speech; to aesthetic experience ; to theatrical arts etc.
That emphasized the convergence of all types of art-forms. And, asserts that, Dance, music, painting, sculpture, linguistics, and grammar etc., are not isolated and mutually exclusive.
In any case, be it music, painting, poetry or dance, the person; her/his knowledge; and physical-artistic skills, in a way, all turn into the 'instruments' of expression of Art and an Art-form. But, while the Art or Art-form might be objective; the forms of its expressions are highly subjective.
That is to say; there are countless varieties and modes of expression, as each artist brings in to play her/his own ingenuity and creative genius. Hence, the expression of the same Art-form - both, in its process and in the manner of expressing it, as well as in its outcome - differs from artist to artist.
That is how, for example, a song rendered by one singer might appeal differently than the same song sung by another singer. Similarly, the same theme, when it is choreographed and performed by different theater-artists, has differing degrees of success and appeal.
In this way, this dynamic relation that binds the Art, the Art-form and the Artist together, holds true in the case of all Art-forms across the world and all artists across all times.
In the artistic process, where presentations are made with the aid of various kinds of dramatic features such as Abhinayas and synthetic creations , we are moving from the gross and un-stylized movements of daily life (Lokadharmi) towards more subtle forms of expressions and experiences (Natyadharmi); we move from individualized experiences to general representations; and from multiplicity to unity.
Its object is to elicit an emotional response, the viewer's experience. And, it finds its fulfillment in the heart of the viewer, who derives Ananda the joy of aesthetic experience, the Rasa.
A work of art is not a mere inert object; but, it is so rich in meaning that it is capable of evoking manifold emotions and transforming the aesthete. A true aesthetic object, Abhinavagupta declares, not merely stimulates the senses but also ignites the imagination of the viewer. It can communicate through suggestions; and, evoke layers of meanings and emotion. Such artistic pleasure must not, however, bind the viewer; but, must liberate him from his limited confines of place, time and ego (self). Thus, he says, art experience is not mundane; it is alaukika, beyond the ordinary.
Thus, an Art-experience is a dynamic process that bridges the art-object and the connoisseur.
Art is One
The Natya of Natyashastra encompasses drama, dance and music. At the time the Natyashastra was compiled, the arts of poetry, dance, music and drama; and even painting, and sculpture were not viewed as separate and individualized streams of art forms.
For instance; the 'Music' that the Natyashastra talks about is, indeed, the Samgita. The term Samgita, here, is a composite art-form, comprising vocal (Gitam) and instrumental (Vadyam) music; as also Nrtyam the dance movements or dance (Gitam, Vadyam, tatha Nrtyam trayam Samgitam uccyate). The last one, Nrtyam, the dance, is composed of all those three elements.
It was only later that each of these developed into specialized Art-forms. And, even the components of the Drama of the Natyashastra-times later evolved and grew apart, assuming independent identities, such as: Opera, Poetic-drama, realistic plays and so on.
Thus, the Natyashastra presents an integral vision of art, which blossomed in multiplicity. All art expressions were viewed as vehicles of beauty providing both pleasure and education, through refinement of senses and sense perceptions.
The Vishnudharmottara also observes: One who does not know the laws of painting (Chitra) can never understand the laws of image-making (Shilpa); and, it is difficult to understand the laws of painting (Chitra) without any knowledge of the technique of dancing (Nrtya); and, that, in turn, is difficult to understand Nrtya without a thorough knowledge of the laws of instrumental music (vadya); But, the laws of instrumental music cannot be learnt without a deep knowledge of the art of vocal music (gana).
That is to say; the arts of Music->Dance->painting->sculpture are inter related.
Thus, in these texts, Art, essentially, is One. It is the common substratum. As it evolved, grew rich in content; and, with the passage of time, the Art branched into numerous Art-forms. And, each of those Art-forms, in turn, developed into specialized streams of art-creations.
That underlines the fact that Art has a fundamental unity of its own; and, that unity implies continuity, with change, while retaining its essential identity. The developments that take place during the course of its evolution; and, the varied forms it acquires, in the process, are neither unrelated nor isolated events. They all spring from a common substratum.
The principle that is involved here is based in the dictum that diversity essentially pre-supposes an underlying unity (abedha-purvaka hi bhedah). In other words, it says, where there is difference or division, there must be a fundamental identity underneath it; else, each cannot relate to the other; and, each object in the world would be independent of, or remain unconnected to every other thing in existence.
This concept provides the foundation for treating all forms of Art as emanating from a single source. The various forms and levels of art, from the most subtle to the tangible, are, therefore, treated as different facets of a unitary art-system.
The entire process of the evolution of Art resembles the imagery of the ancient mythical inverted tree - which the earlier Indian texts refer to so often - hanging down, with its roots in the air and with its branches spread downward (urdhva-mulam, adah-shakham). Its roots are ancient; but, its growing shoots, leaves, buds, flowers and fruits are ever green, tender and fresh. The roots of our art are in the very distant past. Though those roots are no longer visible to us, the branches and extensions of those roots in vivid forms that have come down to us, are very alive; and, its fruits are within our experience.
In other words; what we call as Art is essentially One. But, depending upon the mediums and instruments chosen for expression, this essential Art gets molded into various forms. These Art -forms, born from that single essence, are patterned into numerous distinct expressions, according to the artists who work with varying mediums and Art-forms.
Therefore, growth, change and adaptation are essential aspects of a living organism, called Art. It is distinguished by continuity with change; as also by its diversity and creativity. That is the genius of the Indian traditions.
Lalita Kala and Upayogi kala
The earlier Indian texts, such as Kama Sutra, make a mention of sixty-four types of Kalas (Chatus-shasti Kala). These include:
: - arts such as singing (Gayakatvam), dancing (Nrtyam), painting (Chitra-kriya), drama (Natya), poetry (Kavya-kala) etc;
: - branches of knowledge such as: Grammar (Vyakarana); meter (Chhandas); logic (Nyaya); metals (Dhatuvada) or skillful management of state affairs (Rajyabhara);
: - practical arts (bahya-kala) such as: personal makeup (Vishesha-Kacchedya), costumes (Aharya); applying cosmetics, perfumes (Gandhavaadam); cooking (Suuda-karma) etc;
: - secret arts (abhyantara-kala) like erotic devices and knowledge of sexual arts (Kama kala) ;
: - crafts such as : as pottery (Mrutt-kriya), carpentry (Daaru-kriya), weaving (Ambara-Kriya), jewelry-making (mani-karma), garland-making or flower-arrangement (Pushpastaran), and so on; and,
: - dexterous skills such as swordsmanship (Khadga-vidya), horse riding (Asva-Kausalam) , riding chariots (Ratha-vidya) or even thievery (chora karma) etc.
All these and such other arts, crafts and skills are regarded as art expressions. But, these are classified under two broad heads: Lalita-kala or Charu-kala (fine arts); and, Upayogi kala (crafts and skills of utility).
Many of the art-forms are categorized as Upayogi, because they serve a purpose; fulfill a certain need; and, are of practical utility. Take for instance; the crafts such as carpentry, fashion-designing, flower-arrangement and such others, which serve the consumers' needs and the demands of the society. And, the diversity of such works also generates consumption patterns. And, in many cases, these utilities are practical necessities in the day-to-day living of the common people. And, the producers of these articles depend on their art/craft, as a means of their livelihood. The Upayogi kala is thus a part of the dynamics of life and living.
Another dimension of the issue is the status-image of the consumers that these objects tend to project; and, define her/his relationship with the society. For instance, the wearer of a piece of jewelry or a designer-costume makes a certain statement about herself; her taste, her economic capability; her social status; and, how she desires to be looked upon by those around her. It is, in a way, a natural extension of her identity; or defining who she is. And, that also helps the wearer to construct a certain relationship with the society.
Similarly, the tasteful furniture, elegant crockery and classy accessories etc., do project an impressive image of the user's sense of aesthetics, social class and economic power.
The Lalita-kala, on the other hand, has a more subtle relationship with the society. The term Lalita suggests something that is playful, delicate and graceful. Thus, Lalita-Kala is one that delights; and, ushers in a sense of beauty (Charu) and grace into life.
Lalita Kala is said to be distinct from the Upayogi kala, inasmuch as it is non-utilitarian, in a limited sense; and, it does not provide material objects or articles of daily necessities. It is, mostly, a matter of individual taste, choice, and attitude to life. It, therefore, enjoys a greater degree of the freedom of expression.
Ideally, an artist should be under no obligation to please anyone, but himself. In a Utopian world, the artists who pursue these fine-art-forms need not be bound by the requirements, norms and demands of the society. In an ideal world, the acceptance or otherwise of her/his creation, could, plausibly, be left, with some disdain, to the whim of the onlookers. And, whatever be that, it should, normally, not greatly affect the artist. But, that very rarely happens.
Unlike Upayogi-kala, the Lalita-kala might not produce tangible, common place objects of day-to-day use. But, the fine-arts do bring in its own unique adorable values that render life more meaningful and enjoyable. For instance; the soulful music brings along a certain tranquil joy, beauty and loveliness into ones heart and mind. And, Dance, which reflects the charm, delight, rhythm and harmony in all this existence, does enliven one to the splendor that surrounds us. As for painting, each one relates to an expressive, innovative , well-crafted soulful painting that touches ones heart and mind, in her/his own special manner.
Apart from bringing joy, beauty and harmony to an individual's life, the fine arts and performing arts also help in binding the society together in a common aesthetic experience.
Further, an Art-form forges relationships between the artists who create and develop it, and the common people of the society who, ultimately, receive it. This applies both to the Lalita-kala (fine arts) and to the Upayogi-kala (utilitarian) arts. Depending upon a particular art-form and the function it performs, its relation with the society also varies; and, such relation is categorized according to each ones' perception of it.
Having said that; let me also mention that the line separating these two categories - Lalita and Upayogi - is rather very thin. And, these two, often, overlap. The differentiating Art from craft is rather recent; and, it is rather futile.
For instance; an artist who paints should necessarily have some knowledge of the use of brushes, colors, as also the skill to apply them. And, on the other side; a jewel-smith, who develops and uses tools that mold and give a variety of shapes to metals, should be gifted with refined artistic sensibility, to produce delicate, attractive and brilliant pieces of jewelry. He should be able to imagine various aesthetic designs; and, visualize the beauty solidified in the form of jewelry, say a necklace or a bangle etc.
Thus, be it an art-form or an artifact ; it , essentially, is an artistic invention , inspired out of human ingenuity and creative genius; and, is intimately related to human nature , behavior and aspirations.
Effects of Time and Technology
With the passage of time; and, with numerous artists exploring various dimensions of wide-ranging art-forms, these forms have grown and expanded into newer and more sophisticated art-creations.
In the present day, the individual artists have the liberty and privilege to choose their theoretical positions. They can twist, bend and wield their newly acquired medium of expression in any manner they love to do. They can carry forward their tradition; or innovate and leap on to modern or post-modern technology as a tool for their art expressions. They might even attempt to fuse the two together. Sometimes, their creations might have unpredictable impact on the viewers or listeners.
In the process, the content or the repertoire of each Art-form has grown in terms of quantity, quality, as well as in their elegance. Consequently, they have become part of the ongoing tradition (parampara); and, gained acceptability both among the connoisseurs and the art-lovers, at large. And, each well nurtured Art-form has become an intimate part of a society's culture.
Further, each generation of Visual artists, musicians, writers and performers, in their creative pursuits, deem it their responsibility to preserve the integrity of the Art they inherited; and, hand it over to the next generation, in its purity. Thus, the formation, growth and development of an Art-form is not an event or an incident; but, is a gradual process spread across generations of artists ; and , of enlightened teachers and ardent students.
In the very ancient days, for the gentlemen of leisure, fine arts like music, dance painting and sculpture were the source of one's own pleasure and amusement (vaiharika-silpa or vinodasthana). It is said; Nagarakas (city-dwellers), connoisseurs of art, accomplished courtesans, painters, and sculptors among others studied standard texts on painting. Such widespread studies naturally brought forth principles of art criticisms as in alankara-shastra
But, there were also several professionals who practiced these arts and art-forms as a craft, the main stay of their life. Kautilya deemed it a responsibility of the State to support all such art-masters, who spread knowledge among youngsters.
Another very telling effect of the passage of time; and, the effects it has brought upon some of the Art-forms is that those who purse arts as a leisure-activity are far less in number than those who have turned their art-pursuit into professions.
For instance; singing, dancing, painting, song-writing, acting or even sculpting etc., are now careers. And, those practicing such art-forms are known as professional- artists. With the change of times; and, with the growing social demands and economic pressures, a distinct class of such professional-artists has crystallized into recognizable groups, each with its own ethos and attitudes.
Whatever might be the past, one should recognize that these dedicated artists, in their own right, are well trained, qualified specialists in their discipline. And, they do constitute an important and a legitimate dimension of the cultural life of the society. There is absolutely no justification in taking a dim view on their professional tag; they indeed are Artists, in essence.
Their unique talents are utilized by various other trades and services (say, films, promotions, decorations of various sorts etc.) They render their expert service to the society; and, their professional achievements are recognized and appreciated by conferring awards and accolades. The thin line separating Lalita-kala and Upayogi kala has almost completely faded out. And, that has to be accepted as one of the characteristics of the times we live in (yuga-dharma).
The relation between Art and technology has always been complex. And, at the same time, there is an affinity between the two.
Technology, broadly, is a human endeavor to shape, re-shape its physical environment to solve certain problems; or even to go beyond. And, Art is an act of beautifully making and shaping. At every stage in human life, available materials, tools and knowledge were put to use, to search for innovative applications. The degree of sophistication, in each age, went with the advancement in science and technology, at that stage.
The advent of technology and its innovations, it is needless to mention, has exerted a tremendous impact on all forms of art-expressions; and, have brought about transformation in the realm of fine-arts. Technology has also given rise to altogether new art-forms. In some cases, the association of technology with certain fine-art-forms has become highly essential; and is, in fact, inseparable.
One such art-form is photography, whose medium of expression is similar to that of the art of drawing and painting. Their concepts of form, shades and depth are alike. Here, the camera became the indispensable, principle medium of expression (in place of the brush), guided by the photographer's intelligent understanding of the picture-composition; and, his creative skill in manipulating light, shades and focus.
In its initial stages, photography replaced portrait painting, which only the wealthy could afford. With the spread of the habit of 'taking photos', even the common people started going to the studios to get themselves photographed; or, hire photographers to take pictures of the auspicious and cultural events in their homes. In due course, photography came to be regarded as a credible Art-form, a pastime as also a craft. Thus, photography is at once a fine art as also a utility-based professional career.
The impact of technology on the visual media is awesome. With the advent of improved technologies, photography has taken astounding strides since its birth during the nineteenth century. In the recent times, the techno-artistic improvisations, in combination with the computer technology has elevated its art-craft and technique to an altogether different level.
Photography, in turn, has given rise to yet another art-form, which is Cinematography. It has brought along with it few more techno-artistic domains such as editing, art-direction, sound-engineering and so on. Further, the computer generated animation movies, in which images or objects are manipulated to appear as moving images, has emerged as the most astounding dynamic medium. It is the most amazing art-form, created with elan and superb artistry, which could not even be thought of in the earlier days.
[There is also a flip side to this. With the invasion of mobile phones, photo-video-graph is either for fun or for recording events; most of it being trivial. The persons who record these, as also the Selfies, for sharing on social networks, do not, basically, regard themselves as artists. It is, at best, an upayogi tool.]
In a way of speaking, the movies* are the present-day equivalents of the Natya (Drama) of the Bharatha's days; attempting to engage and entertain the audience as best as they can. Various specialized domains of Art are converging into this media (just as it happened in era of Natyashastra). Their theatrical performances combine, in themselves, all the elements of the Drama; and, even more.
And, here too, as in the ancient days, its Sangita, indeed, is the skillful unison of drama, song, music and dance. It also signifies the Unit's intense engagement with various forms of craft and art-forms, along with their related technologies in crafting and presenting . At the same time, the business of movie-making has the compulsion to pay serious attention to the commercial aspects of production and marketing.
[*BTW, the term Films, itself, seems to have become redundant; since, in this digital age, the carbon films are no longer used for recording the actions or the stills. But, still the movies are continued to be called' Films'.
This could be taken as an illustration of the principle in Vyakarana (Grammar),which asserts that through the efflux of time , a word might have lost its original meaning ; but, it will manage to acquire a new meaning to suit the present times. Thus , a word is eternal (Nitya)]
Now, with the arrival of the digital age, new vistas have opened up.
New media technology offers enormous scope, in terms of self-generating and self-modifying images, texts and sounds etc. Digital world is not bound by the limitations of the material world. You can get all the colors the human eye can see; you can change their vividness and brightness; you can mix and erase them without a trace.
Although digital art is not bound by the rules of traditional art, it often simulates the real; and, renders the whole process more intuitive. It facilitates the artistic quest for a newer form of beauty and aesthetic experience. It transforms the abstract constructs into completely novel and beautiful reality. And, the entire process of developing the algorithms, by itself, is highly imaginative; and, that too is Art, as per the ancient sages of India.
Art has always been a presentation, representation or reflection of the contemporary ethos. Artworks are objects of interpretation; and, they are also subjective. Today artists have many more options to give expression to their thoughts, feelings, fantasies, ambitions etc. With the arrival of new technology, Art might become more cerebral in its manifestation; yet, it cannot lose its sensitivity. At the end, it is, essentially, tied to human reaction towards it.
Thus, even in the digital age of new technologies, with all its possibilities of convergence, interactive flows etc., the Art, in essence, still retains its Universal character.
As mentioned earlier, all such Art-forms are Lalita and Upayogi-Kalas, at the same time. The fusion of art, craft and technology is so intimate and inseparable, complimenting one another, as to make it next to impossible to view each as distinct element in the composition of the final product. Perhaps, these could be called as 'technology-based-art-forms'.
As you can see from the above, the world of Art is a highly complex entity, not only in terms of its multiplicity of forms and types; but, also in terms of its historical, cultural and technological roots. Yet; though the modes of presentation and the instruments of its execution, over the centuries, have varied greatly, the principle of Art - expression of ideas and emotions that take birth in human mind; and , its effective communication - have remained the same.
All this again suggests that Art is essentially One; though it has countless forms. It is both the end and the means.
In the next part let's talk about Dance and, Dance-forms, before we come to the texts dealing with the theory and practice of Dance
1.A Brief History of Indian Painting
2. <URL> by Ojasi Sukhatankar
3.Educating Artists for the Future: Learning at the Intersections of Art ... by Melvin L. Alexenberg
4. <URL>
5. <URL>
6. <URL>
All images are from Internet
Posted by sreenivasaraos on September 24, 2018 in Art, Nyaya
Tags: Abhinavagupta, All Art is One, Art, Art and technology, Art creation, Art experience, Art expressions, Art form, Art in Digital age, Chatus-shasti Kala, Chitrasutra, Convergence of art-forms, Dance, Dance form, Effect of technology on Art, Effect of time on Art, Fine arts, Indian Art an idealistic view of life, Kala, kalaa -klaa ..?, Lalita Kala, Painting and sculpture, Poetry and painting, Upayogi Kala, Vishnudharmottara, What is Art
The texts of the Indian Dance traditions - Part One
Lakshana-granthas - texts concerning the Performing Arts of India
Some time back - as a part of the series on the Music of India - I had posted brief profiles of some of the well known texts on Samgita-shastra (Musicology), which established a sound theoretical basis (Lakshana) for the structural framework of the classical Music traditions; and, their practice (Lakshya). Those texts, produced over a long period of time, described, in precise terms, the concepts of Music; its concerns; how it should be taught, learnt and performed; and, how it should be experienced and enjoyed. It was an evolutionary process cascading towards greater sophistication.
Those Lakshana-granthas projected their vision of how the Music should develop and prosper in future, at the same time taking care to ensure retaining the pristine purity of the time-honored tradition. In the process, those texts, produced over the centuries, defined and protected the principles; as also, guided and regulated the performance of the chaste Music of India.
Some friends and readers inquired whether I could write, on similar lines, about the texts concerning the evolution of the principles and techniques of the performing arts of India; and, particularly , about Dance , which is the most enchanting form of them all; rich in elegance and beauty ; comprehensive; and highly challenging.
Various thinkers and writers of the Lakshana granthas, over a long period, have put forward several theories based on their concept of the essential core, the heart or the soul of the art of Dance (Natyasya Atma).
In the series of articles that are to follow, I have attempted to trace the unfolding of the principles and practice of the performing arts of India, as discussed in various texts spread over several centuries.
In the present installment of the series, let's take an overview of the texts of the Indian Dancing traditions. In the subsequent parts, we may discuss each of the selected texts, in fair detail.
This may also be treated as a sort of General Introduction to the theories of Indian Dancing.
The Natyashastra
It is customary to commence with Natyashastra, when it comes to any discussion related to the art-forms of India. To start with, we shall, briefly, talk about the text of the Natyashastra, in general; and, then move on to Natyashastra in the context of Dance.
The Natyashastra of Bharata is regarded as the seminal and the earliest text extant text, represents the first stage of Indian arts where the diverse elements of arts, literature, music, dance, stage management and cosmetics etc., combined harmoniously in order to produce an enjoyable play. It is the source book for all art forms of India. The Natyasastra, surely, is a work of great antiquity. Yet; the scholars opine that looking at the way the text has been compiled and structured; it appears to be based on earlier works.
It is said that the text which we know as Natya-Shastra was based on an earlier text that was much larger. That seems very likely; because, the Natyasastra, as we know, which has about 6,000 karikas (verses), is also known as Sat-sahasri. The later authors and commentators (Dhanika, Abhinavagupta and Sarada-tanaya) refer to the text as Sat-sahari; and, its author as Sat-sahasri-kara. But, the text having 6,000 verses is said to be a condensed version of an earlier and larger text having about 12,000 verses (dwadasha-sahasri). It is said; the larger version was known as Natya- agama and the shorter as Natya-shastra.
And, again, According to Prof. KM Varma, there were three types of works which preceded the Natyashastra that we know: (1) Sutra - a work on Natya; (2) Bhashya - a commentary on it; and (3) Anuvamsya - a collection of verses , from which Bharata often quotes.
He also points out that Bharata mentions in the Samgraha (the table of contents to Natyashastra) that the subjects to be discussed in the text have reference to what is stated in the Sutra and the Bhashya. That leads to the conclusion that a comprehensive theory of Natya existed much before the time of Bharata; and that he incorporated some of that into his work - the Natyashastra.
Further, from what Panini suggests, it appears there were texts on Natya even prior to his time; which means such texts were in existence much before the Natyashastra.
Panini (Ca.500 BCE) the great Grammarian, in his Astadhyayi (4.3.110-11), mentions two ancient Schools - of Krsava and Silalin - that were in existence during his time
-Parasarya Silalibhyam bhikshu nata-sutreyoh (4.3.110); karmanda krushas shvadinihi (4.3.111).
It appears that Parasara, Silalin, karmanda and Krsava were the authors of Bhikshu Sutras and Nata Sutras. Of these, Silalin and Krsava were said to have prepared the Sutras (codes) for the Nata (actors or dancers).
At times, Natyashastra refers to the performers (Nata) as Sailalaka-s. The assumption is that the Silalin-school, at one time, might have been a prominent theatrical tradition. Some scholars opine that the Nata-sutras of Silalin (coming under the Amnaya tradition) might have influenced the preliminary part (Purvanga) of the Natyashastra, with its elements of worship (Puja).
However, in the preface to his great work Natya-shastra of Bharatamuni (Volume I, Second Edition, 1956) Pundit M. Ramakrishna Kavi mentions that in the Natyavarga of Amara-kosha (2.8.1419-20) there is reference to three schools of Nata-sutra-kara: Silalin; Krasava; and, Bharata.
Sailalinas tu sailusa jayajivah krsasvinah bharata ityapi natas caranas tu kusilavah
It appears that in the later times, the former two Schools (Silali and Krasava) , which flourished earlier to Bharata , went out of existence or merged with the School of Bharata; and, nothing much has come down to us about these older Schools. And, it is also said, the Bharata himself was preceded by Adi-Bharata, the originator and Vriddha (senior) Bharata. And, all the actors, of whatever earlier Schools, later came to be known as Bharata-s.
All these suggest that there were texts on Natya even before the time of Bharata; and, by his time Natya was already a well established Art.
[The ancient texts such as Ramayana, Mahabharata and Satapatha Brahmana, use the term Sailusa (shailuuss) - (silusasya apatyam) to refer to an actor, dancer or a performer
- avapya sailusa ivaisa bhumikam (avaapy shailuuss ivaiss bhuumikaam)]
The Natyasastra, that we know, is dated around about the second century BCE . The scholars surmise that the text was in circulation for a very long period of time, in its oral form; and, it was reduced to writing several centuries after it was articulated. Until then, the text was preserved and transmitted in oral form.
The written text facilitated its reach to different parts of the country; and, to the neighboring states as well. In the process, each region, where the text became popular, produced its own version of Natyasastra; in its own script.
For instance, Natyasastra spread to Nepal, Almora to Ujjain, Darbhanga and also to the Southern states. The earliest known manuscripts which come from Nepal were in Newari script. The text also became available in many other scripts - Devanagari, Grantha, and several regional languages. It became rather difficult for the later-day scholars, to evolve criteria for determining the authenticity and purity of the text, particularly with grammatical mistakes and scribes errors that crept in during the protracted process of transliterations.
Therefore, written texts as they have come down to us through manuscripts , merely represent the residual record or an approximation to the original; but, not the exact communication of the oral tradition that originated from Bharata.
It is the general contention that the text of the Natyashastra, as it is available today, was not written at one point of time. Its form, as it has come down to us, includes several additions and alterations. It is also said; many views presented in Natya-Shastra might possibly have been adopted from the works of other scholars. That seems quite likely; because, there are frequent references to other writers and other views; there are repetitions; there are contradictory passages; there are technical terms, which are not supported by the tradition.
And, in regard to Dance, in particular, the Chapter Four (Tandava-lakshanam) is the most important portion, as it details the dance-techniques. The editor of Natya Sastra, Sri. Ramaswami Sastri, however remarks that 'this section of Natya Sastra dealing with Karanas, being of a highly technical nature, was less understood and was rendered more difficult by numerous errors committed by the scribes as well as by the omissions of large portions in the manuscripts'.
Though such additions, deletions and alterations have not been pinpointed precisely, some scholars, particularly Prof. KM Varma, surmise that the verses of a long portion of the Fourth Chapter beginning from Sloka number 274 and ending with the chapter seem to be interpolated. These verses do not also fit into the context. Abhinavagupta also admits the possibility of their insertions.
Further, Prof. KM Varma also mentions that the portion from the Samanya-abhinaya chapter (Chapter 22) to the beginning of the chapter on Siddhi; as also the portions beginning after the chapter on Avanaddha to the end of the present text, are the later additions.
And, by about the tenth century, two recessions of the Natyasastra were in circulation. One was the longer version; and, the other the shorter. There have been long drawn out debates arguing which of the two is the authentic version. Abhinavagupta in his commentary of the Natyasastra used the shorter recession as the basis of his work; while some authors of the medieval period like Raja Bhoja used the longer version.
However, Pandit Ramakrishna Kavi, who examined as many as about forty Manuscripts of the text, opined that the longer recession seemed to be ancient, although it contains some interpolation. But, in any case, now, both the versions are treated as 'authentic'; and, are used depending upon the choice of the commentator.
( For a note on the Life and Works of Manavalli Ramakrishna Kavi, please click here.)
Natyashastra in the context of Dance
Natyashastra was mainly concerned with successful play-production. And, the role of Music and Dance, in conjunction with other components, was primarily to beautify and to heighten the dramatic effects of the acts and scenes in the play. These were treated as enchanting artistic devices that articulate the moods of various theatrical situations in the Drama. The Dance, at that stage, was an ancillary part (Anga) or one of the ingredients that lent elegance and grace to theatrical performance. That is to say; though Music and Dance were very essential to Drama, neither of the two, at that stage, was considered as an independent Art-form.
Further, for a considerable length of time, say up to the middle period, both music and dance were covered by a single term Samgita. The term Samgita in the early Indian context meant a composite art-form comprising Gita (vocal singing), Vadya (instrumental accompaniments) and Nrtta the limb movement or dance (Gitam, Vadyam, Nrttam Samgita-mucchyate). The third component of Samgita, viz., Nrtta, involved the use of other two components (Gita and Vadya).
Thus, the term Samgita combined in itself all the different phases of music, including dance. For Dance (Nrtta), just as in the case of vocal (Gita) and instrumental (Vadya) music, the rhythm (Laya) is very vital. The Dance too was regarded as a kind of music. This is analogous to human body where its different limbs function in harmony with the body's rhythm.
It was said; all the three elements should, ideally, coordinate and perform harmoniously - supporting and strengthening each other with great relish. And, the three Kutapa-s, in combination should suggest a seamless movement like a circle of fire (Alaata chakra); and, should brighten (Ujjvalayati) the stage.
Thus, till about the middle periods, Dance was regarded as a supporting decorative factor; but, not an independent Art form.
Coming back to Natyashastra, the Dance that it deals in fair detail is, indeed, Nrtta, the pure dance movements - with its Tandava and Sukumara variations - that carry no particular meaning. The Nrtta was described as pure dancing or limb movements (angaviksepa), not associated with any particular emotion, Bhava. And, it was performed during the preliminaries (Purvaranga), before the commencement of the play proper. The Nrtta was meant as a praise offering (Deva-stuti) to the gods.
And, later Bharata did try to combine the pure dance movements of Nrtta (involving poses, gestures, foot-work etc.) with Abhinaya (lit., to bring near, to present before the eyes), to create an expressive dance-form that was adorned with elegant, evocative and graceful body-movements, performed in unison with attractive rhythm and enthralling music, in order to effectively interpret and illustrate the lyrics of a song; and, also to depict the emotional content of a dramatic sequence.
But, for some reason, Bharata did not see the need to assign a name or a title to this newly created amalgam of Nrtta and Abhinaya. (This art-form in the later period came to be celebrated as Nrtya).
Even at this stage, Dance was not an independent art-form; and, it continued to be treated as one of the beautifying factors of the Drama.
Bharata had not discussed, in detail, about Dance; nor had he put forward any theories to explain his concepts about Dance. The reason for that might be, as the scholars explain, Bharata had left that task to his disciple Kohala; asking him to come up with a treatise on dancing, explaining whatever details he could not mention in the Natyashastra. In fact, Bharata, towards the end of his work says: 'the rest will be done by Kohala through a supplementary treatise'
- sesam-uttara-tantrena kohalastu karisyati - (NS.37.18.)
But, unfortunately, that work of Kohala did not survive for long. And, by the time of Abhinavagupta (10-11th century), it was already lost.
Texts concerning dance
When it comes to the texts concerning dance , there are certain issues or limiting factors.
There is reason to believe that many works on dancing were written during the period following that of Bharata. But most of those works were lost.
For instance; the ancient writers such as Dattila or Dantila (perhaps belonging to the period just after that of Bharata) and Matanga or Matanga Muni (sixth or the seventh century) who wrote authoritatively on Music, it appears, had also commented on Dance. But again, the verses pertaining to Dance in their works, have not come down to us entirely. Some of those verses have survived as fragments quoted by the commentators of the later periods; say , for example, the references pertaining to Taala and Dance from the Brihaddeshi of Matanga .
Similarly, between the time of Natyashastra (Ca. 200 BCE) and the Abhinavabharati of Abhinavagupta (10-11th century), several commentaries were said to have been produced on the subject of Drama, Music, Dance and related subjects. Some of such ancient authorities mentioned by Abhinavagupta are:
Kohala, Nandi, Rahula, Dattila, Narada, Matanga, Shandilya, Kirtidhara, Matrigupta, Udbhata, Sri Sanuka, Lottata, Bhattanayaka and his Guru Bhatta Tauta and others.
But, sadly the works of those Masters are lost to us; and, they survive in fragments as cited by the later authors.
Abhinavagupta, states that much of the older traditions had faded out of practice. And he says that one of the reasons, which prompted him to write his work, was to save the tradition from further erosion.
Texts on Music etc., which also dealt with Dance
There are not many ancient texts that are particularly devoted to discussions on Dance, its theories and techniques.
In the earlier texts on Dance, the techniques of Dancing are seldom discussed in isolation. It invariably is discussed along with music and literature (Kavya). Similarly, the treatise on sculpture (Shilpa) , Drama(Natya), music (Gitam) and painting (Chitra) , do devote a portion , either to Dance itself or to discuss certain technical elements of these art forms in terms of the technique of Dance (Nrtya or Nrtta).
For instance; the treatises on painting discuss the Rasa-drsti in terms of the glances (Drsti) of the Natyashastra; and, the treatises on sculpture enumerate in great detail the Nrtta-murti (dancing aspects) of the various gods and goddesses(prathima-lakshanam) , and discuss the symbolism of the hasta-mudra in terms of the hasta-abhinaya of the Natyashastra.
The Vishnudharmottara emphasizes the inter relation between the various art forms. Sage Markandeya instructs : One who does not know the laws of painting (Chitra) can never understand the laws of image-making (Shilpa); and, it is difficult to understand the laws of painting (Chitra) without any knowledge of the technique of dancing (Nrtya); and, that, in turn, is difficult to understand without a thorough knowledge of the laws of instrumental music (vadya); But, the laws of instrumental music cannot be learnt without a deep knowledge of the art of vocal music (gana).
Therefore, most of the texts and treatise which dealt with Music, primarily, also talked about dance, in comparatively briefly manner, towards the end. For instance:
[Here, in this portion, I have followed Dr. Mandakranta Bose, as in her very well researched paper (The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition ) . I gratefully acknowledge her help and guidance.]
(1) Visnudharmottara Purana (Ca. fifth or sixth century) a text encyclopedic in nature. Apart from painting, image-making, Dancing and dramaturgy, it also deals with varied subjects such as astronomy, astrology, politics, war strategies, treatment of diseases etc. The text, which is divided into three khandas (parts), has in all 570 Adhyayas (chapters). It deals with dance, in its third segment - chapters twenty to thirty-four.
The author follows the Natyasastra in describing the abstract dance form, Nrtta; and, in defining its function as one of beautifying a dramatic presentation. The focus of the text is on Nrtta, defining its vital elements such as Karanas, Cari etc., required in dancing. In addition, the author briefly touches upon the Pindibandhas or group dances mentioned by Bharata; and, goes on to describe Vrtti, Pravrtti and Siddhi; that is - the style, the means of application and the nature of competence.
(2) The Abhinavabharati of Abhinavagupta (11th century) though famed as a commentary on Bharata's Natyasastra, is, for all purposes, an independent treatise on aesthetics in Indian dance, music, poetry, poetics (alankara-shastra), art , Tantra, Pratyabhijnana School of Shaiva Siddanta etc. Abhinavabharati is considered a landmark work; and is regarded important for the study of Natyasastra.
Abhinavabharati is the oldest commentary available on Natyasastra. All the other previous commentaries are now totally lost. The fact such commentaries once existed came to light only because Abhinavagupta referred to them in his work; and, discussed their views. Further, Abhinavagupta also brought to light and breathed life into ancient and forgotten scholarship of fine rhetoricians Bhamaha, Dandin and Rajashekhara.
Abhinavagupta also drew upon the later authors to explain the application of the rules and principles of Dance. As Prof. Mandakranta Bose observes : One of the most illuminating features of Abhinavagupta's work is his practice of citing and drawing upon the older authorities critically , presenting their views to elucidate Bharata's views ; and , often rejecting their views , putting forth his own observations to provide evidence to the contrary.
Abhinavagupta, thus, not only expands on Bharata's cryptic statements and concepts; but also interprets them in the light of his own experience and knowledge, in the context of the contemporary practices. And, therefore, the importance of Abhinavagupta's work can hardly be overstated.
He also discusses, in detail, the Rasa-sutra of Bharata in the light of theories Dhvani (aesthetic suggestion) and Abhivyakti (expression). And, Dance is one of the subjects that Abhinavabharati deals with. As regards Dance, Abhinavabharati is particularly known for the explanations it offers on Angikabhinaya and Karanas. The later authors and commentators followed the lead given by Abhinavagupta.
(3) The Dasarupaka of Dhananjaya (10-11th century), is a work on dramaturgy; and, basically is a summary or compilation of rules concerning Drama (Rupaka), extracted from the Natyashastra of Bharata. As regards Dance, Dhananjaya, in Book One of his work, which provides lists of definitions, mentions the broad categories of Dance-forms as: the Marga (the pure or pristine); and, the Desi (the regional or improvised). And, under each class, he makes a two-fold division: Lasya, the graceful, gentle and fluid pleasing dance; and, Tandava, the vigorous, energetic and brisk invigorating movements (lasya-tandava-rupena natakad-dyupakarakam) . The rest of his work is devoted to discussion on ten forms of Drama (Dasarupaka)
(4) The Srngaraprakasa of Raja Bhoja (10-11th century) is again a work; spread over thirty-six chapters, which deal principally with poetics (Alamkara shastra) and dramaturgy. In so far as Dance is concerned, it is relevant for the discussion carried out in its Eleventh Chapter on minor types of plays (Uparupakas) or musical Dance-dramas.
(5) The Natya-darpana of Ramacandra and Gunacandra (twelfth century) is also a treatise, having four chapters, devoted mainly to dramaturgy; discussing characteristics of Drama.
The Natyadarpana by Ramachandra and Gunachandra, two Jain authors, is an important work in the field of Sanskrit dramaturgy, the science of Drama. The text presents a clear picture of the chief principles of dramaturgy, its critical points and problems.
The Natyadarpana is composed in two segments: (1) Karika-s (verses); and, (2) Vritti-s (prose).
(1) The Karika-s, in the form of Sutras set to Anustubh Chhandas; give an outline of the topics to be dealt with in the text; and, also define the important principles in a nutshell.
The Karika-s, 207 in number, are spread over Four Chapters (Viveka-s).
The First Chapter, titled Nataka-nirnaya, discusses the nature and the form of Nataka, the most important form of Drama (Rupaka). It enumerates and defines the structures of the Nataka: Plot (Vastu); the five stages (Avastha) of its depiction: Arambha, Yatna, Praptyasa, Niyatapti and Phalagama. It also details the five alternate stages of plot development - Arthaprakrti (Bija, Bindu etc).Then; it goes on to mention the five junctures - Sandhi-s (Mukha, Prathimukha, Garbha, Avamarsa and Nirvahana); five Arthopakshepa-s; ( five ways of suggesting to the spectators the scenes and incidents yet to come); and 64 Sandhyanga elements.
The Second Chapter Prakarana-adya-ekadasa-rupa-nirnaya) discusses the nature and structure of other types of Dramas (Rupakas): Prakarana, Vyayoga, Samavakara, Bhana, Prahasana, Dhima, Utsrstikanka, Ihamrga, and Vithi. In addition, it also discusses the other minor forms of Drama: the Natika and Praranika. Thus, the forms of Drama mentioned here are twelve (as compared to ten enumerated by Dhananjaya).
The Third Chapter (Vrtti-Rasa-Bhava-Abhinaya-Vicara) discusses the details of Theatrical presentations; such as: styles of acting and speaking; portrayal of sentiments; exhibiting the states of being; and, gesticulations (Abhinaya).
The Fourth Chapter (Sarva-Rupaka-Sadharana-Lakshana-Nirnaya) covers general topics and miscellaneous elements of a Theatrical production. These cover topics that are common to all the twelve types of Dramas. These cover issues such as : the desired qualities of the hero and heroine ( of all types) and other characters ; the rules regarding the language and dialogue delivery suitable to each type of character; and the , details of the preliminaries , such as Naandi ( prayers) , Prarochana ( introductions) etc.
(2) The Vrtti-s (or the Gloss) commenting, in detail, on the subjects briefly covered in the Karika-s, form the most important part of the Text. Apart from commenting on the various issues covered by the Karika-s, the authors also provide the views of other theoreticians, along with illustrations, examples etc. Here, they often criticize the opposing views,
Of the Four Chapters (Viveka-s), the commentary on the First is most elaborate; and, it forms almost half the size of the whole text.
The text is useful to Dance, because in its third chapter while discussing Anigikabhinaya, it lists the names of the movements of the different parts of the body, as well as extended sequences and compositions. The text enumerates 13 types of head movements(Shiro-bedha); 36 types of eye-glances (Dristi-bedha); 7 types of eye-brow movements; many types of eye-lid movements; 6 types of nose -movements; 6 types of cheek movements; 6 types of movements of the lower-lip; many types of chin-movements; and nine types of neck-movements.
(6) Another text of great interest from the twelfth century is the Manasollasa ( also called Abhjilashitarta Chintamani) ascribed to the Kalyana Chalukya King Someshwara III (1127-1139 AD). It is an encyclopedic work, divided into one hundred chapters, clustered under five sections, covering a wide variety of subjects, ranging from the means of acquiring a kingdom, methods of establishing it, to medicine, magic, veterinary science, valuation of precious stones, fortifications, painting , art, games , amusements , culinary art and so on .
As regards Dance, the Manasollasa deals with the subject in the sixteenth chapter, having in 457 verses, titled Nrtya-vinoda, coming under the Fourth Section of the text - the Vinoda vimsathi- dealing with types of amusements.
Manasollasa is also the earliest extant work having a thorough and sustained discussion on dancing. It is also the earliest work, which laid emphasis on the Desi aspect for which later writers on this subject are indebted. Another important contribution of Nrtya Vinoda is that it serves as a source material for reconstruction of the dance styles that were prevalent in medieval India. For these and other reasons, the Nrtya Vinoda of Manasollasa, occupies a significant place in the body of dance literature.
Someshwara introduces the subject of dancing by saying that dances should be performed at every festive occasion, to celebrate conquests, success in competitions and examinations as well as occasions of joy, passion, pleasure and renouncement. He names six varieties of dancing and six types of Nartakas. The term Nartaka, here, stands for performers in general; and, includes Nartaki (danseuse), Nata (actor), Nartaka (dancer), Vaitalika (bard), Carana (wandering performer) and kollatika (acrobat).
Manasollasa is also significant to the theory of Dance, because it classified the whole of dancing into two major classes: the Marga (that which adheres to codified rules) and Desi (types of unregulated dance forms with their regional variations). Manasollasa also introduced four-fold categories of dance forms: Nrtya, Lasya, Marga and Desi.
At another place, Someshwara uses the term Nartana to denote Dancing, in general, covering six types: Natya (dance), Lasya (delicate), Tandava (vigorous), Visama (acrobatic), Vikata (comical) and Laghu (light and graceful).
The other authors, such as Sarangadeva, Pundarika Vittala and others followed the classifications given Manasollasa.
In regard to Dance-movements, Someshwara classifies them into six Angas, eight Upangas and six Pratyangas. The last mentioned sub-division viz. Pratyanga is an introduction made by Someshwara into Natya terminology; the Natyashastra had not mentioned this minor sub-category.
The other important contribution of Someshwara is the introduction of eighteen Desi karanas, (dance poses) that were not mentioned in other texts.
(7) A work from this period, but not dated with certainty, which deal with drama is the Nataka-laksana-ratna-kosa of Sagaranandin. The text, as the name suggests, discusses, in detail, the nature and characteristics of Nataka as well as other varieties of drama. This work is of interest to Dance insofar as it lists and describes ten types of Lasyanga that are used in the Lasya variety of dance.
(8) The Bhavaprakasana of Saradatanaya (1175 -1250 A.D.) containing ten Adhikaras or chapters, is a compendium of poetics and dramaturgy based on the critical works written right from the period of Natyashastra. Its relevance to dance is in its discussions on glances that express Bhavas, as given at the end of the fifth chapter. And, the tenth and final chapter explains the distinction between Nrtta and Nrtya; and, between Marga and Desi.
He contradicts Dhananjaya; and, asserts that Nrtta, the pure dance, is rooted in Rasa (Nrttam rasa-ahrayam). Saradatanaya's definition meant that Nrtta not only beautifies a presentation, but is also capable of generating Rasa. This, during his time, was, indeed, a novel view.
(9) The Sangita Samayasara of Parsvadeva ( a Jain Acharya of 12th or early 13thcentury) is an important work, which is devoted to musicology. It is its seventh chapter that is of interest to Dance. It is not until the Sangita Samayasara that we find any description of a complete dance.
The Sangita Samayasara, though it deals, mainly, with Music, is of great relevance to Dance. The Seventh Chapter is devoted entirely to Desi dance (referred to as Nrtta); its definition; and, the Angas or body movements (Angika), the features of Desi dances (Desiya-Angani).
This text not only describes specific Nrtta dance pieces (such as: Perana, Pekkhana, Gundali and Dandarasa), but also adds a number of new movements of the Cari, the Sthanas and the Karanas of the Desi variety, all of which involving complicated leaping movements. Here, Parsvadeva describes the utplatti-karanas, needed for the Desi dances; eleven Desi karanas with different Desi-sthanas; and, five Bhramaris.
Towards the end of the Seventh Chapter, Parsvadeva describes the requirements of a good dancer; her physical appearance; and, the way she should be dressed etc.
(10) By about the 13th century, dance had gained its own existence; and, was no longer an ancillary to drama, as it was during the time of Natyashastra. The concept of Nrtta was still present; Nritya as a delightful art form was fully established; and, the two forms retained their individual identity. And, both were discussed along with Natya. This is reflected in the appearance of numerous works on the art of Music, Dance and Drama, the most significant of which was the Samgita Ratnakara of Sarangadeva
The Sarangadeva's Sangita-ratnakara (first half of 13th century) is one of the most influential works on music and dance. The Sangita-ratnakara is a great compilation, not an original work, which ably brings together various strands of the past music traditions found in earlier works like Natyashastra, Dattilam, Brhaddesi, and Sarasvati-hrdayalankara-hara. It is greatly influenced by Abhinavagupta's Abhinavabharati. But for Samgita-ratnakara, it might have been more difficult to understand Natyasastra, Brhaddesi and other ancient texts. But, while dealing with Desi class of Dance, Sarangadeva follows Manasollasa of Someshwara.
The text of Sangita-ratnakara has 1678 verses spread over seven chapters (Saptaadhyayi) covering the aspects of Gita, Vadya and Nrtta: Svaragat-adhyaya; Ragavivek-adhyaya; Prakirnaka-adhyaya; Prabandh-adhyaya, Taala-adhyaya; Vadya-adhyaya and Nartana-adhyaya. The first six chapters deal with various facets of music and music-instruments; and, the last chapter deals with Dance. Sangita-ratnakara's contribution to dance is very significant.
Chapter Seven- Nartana: The seventh and the last chapter, is in two parts; the first one deals with Nartana. Sarangadeva, following Someshwara, uses a common term Nartana to denote the arts of Nrtta, Nrtya and Natya. In describing the Marga tradition of Dance, Sarangadeva follows Natyashastra. As regards the Desi class of Dance he improves upon the explanations offered in Manasollasa of King Someshwara and Sangita Samayasara of Parsvadeva.
According to Sarangadeva, the Nrtya covers rhythmic limb movements (Nrtta) as also eloquent gestures expressing emotions through Abhinaya. It is a harmonious combination of facial expressions, various glances, poses and meaningful movements of the hands, fingers and feet. Nrtyam, the dance, delightfully brings together and presents in a very highly expressive, attractive visual and auditory form, the import of the lyrics (sahitya), the nuances of its emotional content to the accompaniment of soulful music and rhythmic patterns (tala-laya).
Although he follows Bharata in describing the movements of the body, he differs from Bharata in dividing the limbs into three categories, Anga, Upanga and Pratyanga.
He also differs from Natyashastra which identifies Tandava as Shiva's dance and Sukumara (Lasya) as Parvati's. According to Sarangadeva, Tandava requires Uddhata (forceful) and Lasya requires Lalita (delicate) movements.
Sarangadeva's description of Cari, Sthana, Karana and Angaharas of the Marga type are the same as in the Natyashastra. But the Desi Caris, Sthanas and Utputi-karanas are according to Manasollasa of Someshwara.
Sarangadeva explains the importance of aesthetic beauty; and also lays down the rules of exercise. He also describes the qualities and faults of a performer (including a description of her make-up and costume); and, those of the teacher and the group of supporting performers. Then he describes the sequential process of a performance, including the musical accompaniment, in the pure mode or suddha-paddhati.
(11) The Sangita Upanishad Saroddhara is a treatise on music and dance written in the fourteenth century (1350 A.D.) by the Jaina writer Sudhakalasa. The work is in six chapters, the first four of which are on Gita (vocal music), Vadya (musical instruments) and on Taala (rhythm). The fifth and the sixth chapters are related to dancing.
The term he uses to denote dance is Nrtya. His understanding of the terms Nrtta, Nrtya and Natya varied from that of his predecessors. According to him, Nrtta is danced by men, Nrtya by women, while Natya is Nataka, performed by both men and women.
And, his treatment of the movements of the feet (pada-karmas) and the postures (Sthanas and Sthanakas) differs from that of other texts. According to him, Sthanas are postures meant for women; while, Sthanakas are postures meant for men. Karanas, according to Sudhakalasa, are components of Lasyangas and Nrtya. Obviously, he was recording the contemporary practice, without specific reference to the earlier texts and traditions.
(12) The Sangitacandra is a work containing 2168 verses by Suklapandita, also known as Vipradasa (Ca. fourteenth century). He explains the procedures of the Purvaranga; and classifies its dance Nrtta into three categories: Visama (heavy), Vikata (deviated) and Laghu (light). Such classification of Nrtta and such terms to describe Nrtta had not been used earlier by any author.
He then, initially, divides Nrtya, the dance, into two classes: Marga-nrtya which expresses Rasa; and, Natya-nrtya, which expresses Bhava. And, then, brings in the third variety of Nrtya, the Desiya Nrtya, the regional types. Thereafter, he divides each of the three varieties of Nrtya into Tandava and Lasya.
Again, Vipradasa's understanding of the terms and concepts of Dance and their treatment; and, emphasis on the Desi dances, reflect the contemporary practices of the medieval period.
(13) A major work of the medieval period is the Sangita-damodara by Subhankara (ca. Fifteenth century). Although the Sangita-damodara is principally a work on music and dance, it includes substantial discussions on drama as well. Of its Five Chapters, the Fourth one relates to Dance. Here, dancing is discussed under two broad heads: Angahara (Angaviksepa, movements of the body) and Nrtya (the dance proper).
Under Angahara, the author includes Angikabhinaya, as related to Drama, because it means acting by using the movements of the limbs. As regards Nrtya, he treats it, mostly, as Desi Nrtya, the regional dances. Nrtya is divided into two types: Tandava, the Purusha-nrtya, danced by men; and, Lasya, the Stri-nrtya, danced by women.
Under Natya, Subhankara includes twenty-seven major type of Dramas (Rupaka) and minor types of Drama (Uparupaka). He classifies them under the heading Nrtye naksatramala, the garland of stars in Nrtya.
Thus, by then , the concept of dance in terms of its male and female forms and movements had crept in. Further, the Dance-drama, based in music, was treated as a form of Nrtya. The Nrtya was generally understood as Desi Nrtya.
(14) Another important work from this period is the Nrtyadhyaya of Asokamalla (Ca. fourteenth century). The Nrtyadhyaya consisting of 1611 verses follows the Desi tradition of dance, as in Sangita-ratnakara and the Nrtta-ratna-vali.
The text describes, in detail, the hand gestures followed by the movements of the major and minor limbs, that is, Anga, Upanga and Pratyanga.
It also describes Vicitra-abhinaya (various ways of acting), dividing it into elements of Bhava-abhinaya (expressions displaying emotions); and, Indriya-abhinaya (gestures through use of limbs), resembling the Samanya-abhinaya and Citra-abhinaya, as in Natyashastra. The author also describes one hundred and eight Karanas of Bharata. The text ends with descriptions of Kalasas, generally understood as dance movements with which a performance concludes.
(15) The Rasakaumudi of Srlkantha (a contemporary and student of Pundarika Vitthala - 16th-17th century) is again a work of general nature that deals with vocal music (Gana), instrumental music (Vadya), Dance (Natya) , Drama (Rupaka) and aesthetics (Rasa) etc. The text is of interest to Dance, mainly because of the contemporary scene of dancing it portrays. It mentions ten divisions of Natya as: Natya, Nrtya, Nrtta, Tandava, Lasya, Visama, Vikata, Laghu, Perani and Gaundali. But, he calls only the first variety Natya as being authentic.
But, the main contribution of Rasakaumudi is the introduction of the concept of 'Prana' or the essential elements of the performance; the summation of what a dancer should aim at, while performing. The ten Pranas listed are : the line (Rekha); the steadiness (Sthirata); the swiftness (Vega); the pirouettes (Bhramari), the glance (Dristi); the desirous smile (Smita); the pleasing appearance (Priti); the intellect (Medha); the speech (Vachya); and , the song (Gitam) - RK. 5. 162.
(16) The Sangltadarpana of Chatura Damodara (a poet at Jahangir's court, which places him in the seventeenth century) is, again, a work on music and dance. Its seventh, the final chapter, is related to dancing; and, it generally follows Nartananirnaya of Pundarika Vittala. It also adopts Nartana as the general name for dancing; and, mentions Nrtta, Nrtya, Natya, Tandava and Lasya as the types of Nartana. It then divides Nrtya into five sub-divisions: Visama, Vikata, Laghu, Perani and Gaundali, all of which are Desi forms.
There is greater emphasis on Desi forms, in its discussions. And, the authors of this period followed and adopted the views of the Nartananirnaya; and, there was a steady drift taking the discussions away from the concepts and terminologies of the Natyashastra.
(17) Sangitanarayana by Purusottama Misra, a poet at the court of Gajapati Narayanadeva of Orissa (seventeenth century), in its four chapters deals with music and dance. For a greater part, it reproduces the concepts and terms of dancing as in the other texts, particularly Nartananirnaya. The new information it provides relates to the enumeration of the names of twelve varieties of Desi-Nrttas; five varieties of Prakara-Natya of the Desi type; eleven varieties of Marga Natyas and sixteen varieties of Desi Natyas - dramatic presentations ; and, names of thirty-two Kalasa-karanas
(18) The Sangita-makaranda of Vedasuri (early seventeenth century) follows Nartananirnaya of Pundarika Vitthala. The new information it provides is with regard to the Gatis. He treats each Gati like a dance sequence; and, describes each Gati with all its components of movements. For instance; while describing the Marga-gati, the author gives all the movements necessary for its presentation, such as the appropriate Karana, Sthanas, Cari, the hand-gestures, the head movements and glances.
He seems to have been interested mainly in the structure of dance compositions as combinations of smaller movements. He describes these movements step by step; and, includes with each movement the appropriate rhythm and tempo that it should go with.
Texts dealing mainly with the theory and practice of Dance
There were also texts and treatise, which were wholly devoted to the discussions on the theory, practice and techniques of Dance. The numbers of such texts are not many; but, are relevant to the contemporary Dance training and learning. The following are the more significant ones, among them:
(1) The date of the Abhinaya Darpana of Nandikeshvara is rather uncertain. The scholars tend to place it in or close to the medieval period; because, it divides dance into three branches: Natya, Nrtta and Nrtya. But, such distinctions did not come about until the time of Sangita-ratnakara (13th century). Also, the Abhinaya Darpana views Tandava and Lasya as forms of masculine and feminine dancing, which again was an approach adopted during the medieval times.
Abhinaya Darpana deals predominantly with the Angikabhinaya (body movements) of the Nrtta class; and, is a text that is used extensively by the Bharatanatya dancers. It describes Angikabhinaya, composed by the combination of the movements of Angas (major limbs- the head, neck, torso and the waist), Upangas (minor limbs - the eyes, the eyebrows, the nose, the lower lip, the cheeks and the chin), Pratayangas (neck, stomach, thighs, knees back and shoulders, etc) and the expressions on the countenance. When the Anga moves, Pratyanga and Upanga also move accordingly. The text also specifies how such movements and expressions should be put to use in a dance sequence.
According to the text, the perfect posture that is, Anga-sausthava, which helps in balancing the inter relationship between the body and the mind, is the central component for dance; and, is most important for ease in the execution and carriage. For instance; the Anga-sausthava awareness demands that the performer hold her head steady; look straight ahead with a level gaze; with shoulders pushed back (not raised artificially); and, to open out the chest so that back is erect. The arms are spread out parallel to the ground; and, the stomach with the pelvic bone is pushed in.
The techniques of dance, body movements, postures etc. described in this text, is a part of the curriculum of the present-day performing arts.
The emphasis on Angikabhinaya in Nrtta requires the dancer to be in a fit physical condition, in order to be able to execute all the dance movements with grace and agility, especially during the sparkling Nrtta items according to the Laya (tempo) and Taala (beat).
[Another text Bharatarnava is often discussed along with the Abhinavadarpana. There is a School of thought, which holds the view that the two texts relating to the practice of Dancing - Abhinaya Darpana and Bharatarnava - were both composed by Nandikesvara. It also asserts that the Abhinaya Darpana is, in fact, an abridged edition or a summary of the Bharatarnava; literally, the Ocean of Bharata's Art. But, identity of Nandikesvara who is said to have authored the Abhinaya Darpana is not clearly established
But the authorship and the Date of the Bharatarnava is much disputed. Now, it is generally taken that the two texts -Abhinaya Darpana and Bharatarnava - were composed by two different authors, who lived during different periods.]
(2) Closely following upon the Sangita-ratnakara, the Nrtta-ratnavali by Jaya Senapati was written in the thirteenth century A.D. This is the only work of that period, which deals exclusively with dance, in such detail. Nrtta-ratnavali devotes all its eight chapters to dance; and, discusses vocal or instrumental music only in the context of dance.
The first four chapters of the text discuss the Marga tradition, following the Natyashastra; and, the other four discuss the Desi.
The Marga, according to Jaya Senapati, is that which is faithful to the tradition of Bharata; and, is precise and systematic. While dealing with the Marga, although he broadly follows the Bharata, Jaya Senapati provides specific details of the execution of the Karanas and Caris. He also quotes the views of earlier writers, in order to trace the evolution of Dance and its forms.
The First Chapter describes the four modes of Abhinaya, i.e., Angika, Vachika, Aharya and Sattvika; as also the six forms of dancing - Nrtta, Nrtya, Marga, Desi, Tandava and Lasya. The Chapter Two deals with Abhinaya, describing in detail the movements of the major and minor limbs: six Angas, six Pratyangas and six Upangas. The Third Chapter is on Caris (movements of one leg); Sthanas (postures); Nyaya (rules of performance); Vyayama (exercise); Sausthava (grace); more Sthanas and Mandalas (combinations of Caris). The Fourth Chapter describes Karanas (dance-units) and Angaharas (sequences of dance-units); and, ends with Recakas (extending movements of the neck, the hands, the waist and the feet) mainly following their descriptions as given in the Natyasastra.
The second half of the text is devoted to the Desi tradition. The more significant contribution of Nrttaratnavali is in its detailed descriptions of the Desi Karanas, Angaharas and Desi Caris. And, of particular interest is its enumeration and description of Desi dance pieces.
The Fifth Chapter defines the term Desi; and, goes on to describe the Desi sthanas, Utpati-karanas (Desi karanas) and Bhramaris (spin and turns). The sixth chapter deals with movements of the feet, Desi Caris. Jaya Senapati then describes forty-six varieties of Desi Lasyangas, which include the Desi Angas, following the Sangita-samaya-sara. The Gatis or gaits are described next. The Seventh Chapter mainly deals with individual Desi dance pieces, Desi-nrtta. These include Perani, Pekkhana, Suda, Rasaka, Carcari, Natyarasaka, Sivapriya, Cintu, Kanduka, Bhandika, Ghatisani, Carana, Bahurupa, Kollata and Gaundali.
The Eighth and Final Chapter , provides information regarding presentation in general, the recital, the appropriate time for its presentation, the arrival of the chief guest and the welcome accorded the king, other members of the audience, the qualities required in a dancer, her costume, the orchestra, the sitting arrangements, the entrance of a dancer, the use of three curtains on the stage and their removal. The Chapter ends with advice on honoring the dancer, the musicians and the poet.
(3) The Nrtya-ratna-kosa of Maharana Kumbha (a scholar king of the fifteenth century), is part of a larger work, the Sangita-raja, which closely follows the Sangita-ratnakara of Sarangadeva. It is the Fourth Chapter of Sangita-raja; and, deals with Nrtya. The Nrtya-ratna-kosa is divided into four ullasas or parts; each consisting of four pariksanas or sections. It is mostly a compilation of the concepts, definitions, theories and practices concerning Dance - both Marga and Desi- culled out from earlier texts, particularly from Sangita-ratnakara. While describing various types of dance-movements, the emphasis is more on the Desi types.
The first section of the first part describes the origin of the theories of Natya (shastra); the rules of building the performance-hall; the qualifications of the person presiding; and, of the audience. It also offers definitions of certain fundamental terms.
Raja Kumbha defines the terms Nrtta, Nrtya and Natya. According to him, Nrtta is made up of combination of Karanas and Angaharas (Karanam angaharani caiva Nrttam); Nrtya is Rasa (Nrtya sabdena ca Rasam punaha); and, Natya is Abhinaya (Natyena abhinayam).
The Nrtya is classified as Marga; and, Nrtta as Desi. The Pindibandhas or group dances, performed by sixteen female dancers as part of the preliminaries are included under Nrtta.
The rest of the verses are devoted to Angikabhinaya or the movements of the body. The text discusses, in detail, about limb movements like Pratyangas, Upangas etc.; and, also about Aharya-bhinaya or costume, make-up and stage properties.
There are also descriptions of Marga and Desi Caris, Shanakas or postures, meant for men and women, for sitting and reclining. Similarly, the Karanas are classified as Shuddha karanas (pure) of the Marga class; and, as Desi Karanas.
That is followed description of four Vrttis or styles and six kalasas (dance movements with which a performance concludes), with its twenty-two sub-varieties.
Towards the end, it enumerates the qualities and faults of a performer. It discusses make-up; different schools of performing artists; their qualities and faults; the Shuddha-paddhati or the pure way of presentation; and, states the ways of imparting instructions to performers.
(4) The Nartana-nirnaya of Pundarika Vitthala (16th-17th centuries) is a very significant work in the history of Indian Dancing. Till about the time of Raja Kumbha, the Dance was discussed mainly in terms of Marga and Desi. Pundarika Vitthala introduces a novel feature (hitherto not tried by anyone else), which is the principles of Bhaddha (structured) and Anibhaddha (neither bound nor structured) for stratifying the dance forms into two separate classes. Even though the later texts on dancing generally followed the Sangita-ratnakara, they did take into consideration Nartana-nirnaya's classification of Bhaddha and Anibaddha, as a part of their conceptual framework. His classification of Dance forms into Baddha and Anibaddha was a significant theoretical development.
The Nartana-nirnaya was written in the sixteenth century, while Pundarika Vitthala (or Pandari Vitthala) was in the service of the Mughal Court. It comes about five hundred years after Sangitaratnakara. This period between these two texts was marked by several interesting and rather radical changes and transformations that were taking place in India , in the field of Arts.
The Nartananirnaya was composed in an altogether different ambiance. The courts of Raja Man Singh, Raja Madhav Singh and Akbar provided the forum for interaction between the North and South Indian traditions on one hand; and between Indian and Persian practices on the other. This was an interesting period when diverse streams of Art came together.
Pundarika Vittala mentions that he wrote the Nartananirnaya, concerning music and dance, at the suggestion of Akbar, to cater to his taste - Akbara-nrupa rucyartham
The subject matter central to Nartana-nirnaya is dancing. The technical details of dance as detailed in the Nartananirnaya are an important source for reconstructing the history of Indian music and dance during the middle period. This was also the time when the old practices were fading out and new concepts were stepping in. For instance, by the time of Pundarika Vittala, the 108 Karanas were reduced to sixteen. At the same time , dance formats such as Jakkini, Raasa nrtya were finding place among traditional type of Dances.
In his work, Pundarika Vitthala does not confine only to the traditional dances of India and Persia; but, he also describes the various dance traditions of the different regions of India that were practiced during his time. The information he provides on regional dance forms is quite specific, in the sense that he points to the part/s of India from where the particular style originated, the language of the accompanying songs and the modes its presentation. The Nartana-nirnaya is, therefore, an invaluable treasure house on the state of regional dance forms as they existed in the sixteenth century India. Thus, Nartana-nirnaya serves as a bridge between the older and present-day traditions of classical Indian dancing.
The chapter titled Nartana-prakarana, dealing with Nrtta and Nartana, is relevant to Dancing. The Nrtta deals with the abstract aesthetic movements and configuration of various body parts. And, Nartana is about the representational art of dancing, giving expression to emotions through Abhinaya. The Nartana employs the Nrtta as a communicative instrument to give a form to its expressions.
Another chapter, Nrttadhikarana is virtually about the Grammar of Dance. It describes the Nrtta element of Dancing with reference to the special configuration of the static and moving elements of the Dance, such as: Sthanaka, Karana, Angahara, Cari, Hasta, Angri, Recaka, Vartana etc.
Then the text goes on to enumerate the items of the dance recital: entry of the dancer (Mukhacali, including Pushpanjali); Nanadi Slokas invoking the blessings of the gods; the kinds of Urupa, Dhavada, Kvada, Laga and Bhramari. It also mentions the dance forms originating from various regions: Sabda, Svarabhinaya, Svaramantha, Gita, Cindu, Dharu, Dhruvapada, Jakkadi and Raasa.
Some of these are classified under Bandhanrtta, the group dances with complex configurations and formations. These are also of the Anibaddha type, the graceful, simple dances, not restricted by the regimen of the rules etc.
The Nartana-nirnaya is indeed a major work that throws light on the origins of some of the dance forms - particularly Kathak and Odissi - that are prevalent today
[We shall discuss many of the texts enumerated above, individually and in fair detail, later in the series.]
All the texts enumerated above deal with the subject of dance in some detail; exclusively or along with music, drama and poetics.
When you take an over view, you will notice that three texts stand out as landmarks, defining the nature and treatment of dance in the corresponding period. These three are: Natyashastra of Bharata (Ca. 200 BCE); Abhinavabharati of Abhinavagupta (10-11th century) and Sangita-ratnakara of Sarangadeva (13th century).
Natyashastra is, of course, the seminal text that not only enunciated the principles of Dancing, but also brought them into practice. Though the emphasis of Natyashastra was on the production and presentation of the play, it successfully brought together the arts of poetry, music, dance and other decorative elements, all of which contributed to the elegance of the theater.
The Dance that Bharata specifically refers to is Nrtta, pure dance, which was primarily performed before the commencement of the play proper (Purvaranga) as a prayer offered to gods. The elements of the Nrtta were also brought into Drama by fusing it with Abhinnaya. Though the resultant art-form was not assigned a name by Bharata, its essence was very much a part of the theatrical performance. And, this delightful art form came to be celebrated as Nrtya, during the later periods. And, in its early stages, Dance was not considered as an independent Art-form.
Several commentaries on the Natyashastra that were produced between the period of Bharata and Abhinavagupta are lost. And, the Abhinavabhatarati is the earliest available commentary on the Natyashastra; and, is, therefore, highly valuable. Abhinavagupta followed Bharata, in general; and, adhered to his terminologies. For instance, while discussing on Dance, Abhinava consistently uses the term Nrtta; and, avoids the term Nrtya (perhaps because it does not appear in Natyashastra). During his time, dance, music and dramatics were continued to be treated as integral to each other, as in the times of Natyashastra.
Yet; Abhinavagupta, brought in fresh perspective to the Natyashastra; and, interpreted it in the light of his own experience and knowledge. His commentary, therefore, presents the dynamic and evolving state of the art of his time, rather than a description of Dancing as was frozen in Bharata's time. As it has often been said; Abhinavabharati is a bridge between the world of the ancient and forgotten wisdom and the scholarship of the succeeding generations.
Abhinavagupta's influence has been profound and pervasive. Succeeding generations of writers on Natya were guided by his concepts and theories of Rasa, Bhava, aesthetics and dramaturgy. No writer or commentator of a later period could afford to ignore Abhinavagupta.
The commentaries written during the period following that of Abhinavagupta continued to employ the terminologies of the Natyashastra. But, the treatment of its basic terms such as, Nrtta, Natya, Tandava and Lasya was highly inconsistent. These terms were interpreted variously, in any number of ways, depending upon the understanding and disposition of the author; as also according to contemporary usage of those terms and the application of their concepts. Standardisation was conspicuous by its absence.
A significant development during this period was assigning greater importance to the regional types of Dances. Though based on the Natyashastra, these texts recognized and paid greater attention to the dance forms that were popular among the people of different geographic regions and of different cultural groups. In the process, the concepts of Marga, which signified the chaste, traditional form of Dance as per the rules of Natyashastra, came to be distinguished from the regional, popular, free flowing types of Dance, termed as Desi.
By about the 13th century, dance came into its own; and, was no longer an ancillary to drama, as was the case during the time of Natyashastra. Yet; the Dance, in this period, continued to be discussed along with the main subjects such as Music and Drama.
The concept of Nrtta continued to exist and Nritya was established; each with its own individual identity. The term Natya which signified the combination of Nrtta (pure dance) and Abhinaya (meaningful expressions) had come into wide use.
The Sangita-ratnakara of Sarangadeva marks the beginning of the period when Dance began to be discussed in its own right, rather than as an adjunct to Drama. It was during this period, the Desi types of Dance along with its individual forms were discussed in detail. And, the other significant development was the fusing of the special techniques of Angikabhinayas of both the Nrtta and the Desi types into the graceful Natya form. And, new trends in Dance were recognized.
Though the ancient terms Nrtta, Tandava, Lasya and Natya continued to be interpreted in various ways, the term Nartana came to be accepted as the general class name of Dance, comprising its three sub-divisions: Natya, Nrtya and Nrtta.
In the period beginning with the sixteenth century, Pundarika Vittala introduced the new concept of classifying dance forms into two separate classes, as the Bhaddha (structured) and Anibhaddha (neither bound nor structured). The later texts, while discussing Dance, apart from following Marga and Desi classification, also took into consideration Nartana-nirnaya's classification of Bhaddha and Anibaddha, as a part of their conceptual framework.
It was during this period, the Persian influence, through the Mughal Court , entered into Indian dancing, giving rise to a new style of Dance form, the Kathak. This period was also marked by the emergence of the Dance forms that were not specifically mentioned in the Natyashastra - the Uparupakas. This genre of musical dance dramas not only came to be admitted into the mainstream of dancing, but eventually became the dominant type of performing art, giving rise dance forms such as Odissi, Kuchipudi etc.
The emphasis of the later texts shifted away from the Marga of the Natyashastra; but, leaned towards the newer forms of Desi Dances with their improvised techniques and structural principles. Apart from increase in the varieties of regional dance forms, a number of manuals in regional languages began to appear. These regional texts provide a glimpse of the state of Dance as was practiced in different regions.
Dr. Mandakranta Bose observes:
Bharata's account represented only a small part of the total body of dance styles of the time. When new styles became prominent in the medieval period they had to be included in the descriptions of dancing. Such a widening of frontiers meant a great increment of technical description in the texts.
The distinction between the Natyashastra and the later texts is not merely one of detail. Of greater significance is the fact that unlike the Natyashastra, the later texts recognize different styles. These are distinct from the one described by Bharata, the main path or Marga tradition of dancing. The later texts concern themselves more and more with other styles, known, generically, as Desi, whose technique and structural principles are sufficiently different from the style described by Bharata..
Further, the principle of Anibaddha allowed the dancer a considerable degree of freedom, encouraging her to search far and to create, through her ingenuity, novel aesthetic expressions. This was a major departure from the regimen that required the dancer to rigorously follow the prescriptions of the texts. The opportunities to come up with artistic innovations, within the framework of the tradition, helped to infuse enterprise and vitality into dance performances. The dance became more alive.
At the same time, the Natyashastra continues to be the authoritative source book, which lays down the basic principles of the performing arts; and, identifies the range of body movements that constitute dancing.
The Bharatanatya of today represents such a dynamic phase of the traditional Indian Dancing. It does not, specifically, have a text of its own; its roots are in the principles, practices and techniques that are detailed in Natyashastra, Abhinava Darpana and such other ancient texts. Though it is basically ingrained in the principles of Natyashastra, it delightfully combines in itself the Angikabhinaya of the Nrtta; the four Abhinayas of the Natya (Angika, Vachika, Aharya and Sattvika); the interpretative musical narrative element of the Uparupakas, for enacting a theme; and the improved techniques of the later times.
Besides, the Bharatanatya developed its own Grammar through Dance idioms such as: Adavus (combination of postures - Sthana, foot movement - Chari, and hand gestures-Hasta); Jati (feet movement in tune with the Sollakattu syllables); Tirmanam (brilliant bursts of complicated dance rhythms towards the 'end' section of the dance). Besides, the Bharatanatya, in the context of its time, enriched its repertoire of the Nrtta by items such as Alaripu, Jatiswara and Tillana.
Thus, the evolution of Indian Dance system is a dynamic process that absorbed new elements and techniques without compromising its basic tenets. It, thus, demonstrates the time-honored Indian principle of growth: continuity along with change.
Before we discuss Dance and its forms, let's take a look at the Art and Art-forms, in general.
1.Movements and Mimesis: The Idea of Dance in the Sanskritic Tradition by Dr.Mandakranta Bose
2 . Literature used in Dance/ Dance Sahitva
3. Natyashastra
The images are from Internet
Tags: Abhinavagupta, Abhinaya, Aharya, Angika, Angikabhinaya, Anibaddha, Art forms, Bharata, Bharatanatya, Dance, Dance forms, Desi, Lakshana grantha, Lasya, Manasollasa, Marga, Nartana, Nartananirnaya, Natya, Natyashastra, Nibaddha, Nrtta, Nrtya, Samgita, Sangitaratnakara, Sarangadeva, Sattvika, Sukumara prayoga, Tandava, Texts on Indian Dancing, Vachika | {'pred_label': '__label__wiki', 'pred_label_prob': 0.6882656216621399, 'wiki_prob': 0.6882656216621399, 'source': 'cc/2023-06/en_middle_0049.json.gz/line1744935'} |
Detection of pesticide residues using an immunodevice based on negative dielectrophoresis.
The detection of atrazine using a novel optical immunosensing technique based on negative dielectrophoresis (n-DEP) in microfluidic channels is described. Atrazine is a toxic triazine herbicide within the most frequently used. Polystyrene microparticles (6 microm diameters) modified with bovine serum albumin conjugated with atrazine (atrazine-BSA) were manipulated and captured when subjected to intense n-DEP electric fields. Specifically, particles were trapped when AC voltages with amplitudes of 10 V(peak) and frequencies over 1 MHz were applied to the electrodes. The immunological reaction occurring on the particles for detecting atrazine is based on an indirect competitive assay using a secondary anti-mouse immunogloburin G (IgG) antibody labeled with fluorescein isothiocyanate. The microfluidic device, with three-dimensional microelectrodes, was fabricated comprising two caged areas, allowing two simultaneous measurements inside the same microfluidic channel. The performance of this n-DEP immunosensing technique was evaluated using wine samples. The immunodevice showed a limit of detection for atrazine in buffer samples of 0.11 microgL(-1) and in pre-treated wine samples of 6.8 microg L(-1); these detection limits are lower than the maximum residue level (MRL) established by the European Community for residues of this herbicide in wine (50 microg L(-1)). This methodology offers great promise for rapid, simple, cost effective, and on-site analysis of biological, foods and beverages, and environmental samples. | {'pile_set_name': 'PubMed Abstracts'} |