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Dog Man #1-3 Boxset
• Hardcover
• Dav Pilkey
• Illustrated by Dav Pilkey
Ways to Get your order
The howl-arious series now available in a boxset! Includes three full-colour books: Dog Man, Dog Man Unleashed (Dog Man #2) and A Tale of Two Kitties (Dog Man #3)
Product Specification
Title: Dog Man #1-3 Boxset
ISBN: 9781338230642
Mastermind number: 206008
Shipping weight (lbs): 3.95
Package dimensions (inches): 8.61 x 5.89 x 2.53
Author: Dav Pilkey
Illustrator: Dav Pilkey
Format: Hardcover
Publisher: Scholastic Inc
Series: Dog Man
What our customer are Saying |
global_05_local_5_shard_00002591_processed.jsonl/52745 | Poems by K’ojol Bal’m – Francisco Icala
Love, Love
My soul is lit by a flame
A burning fire
Whose heat melts the cold
You exist
It lights my path
I don’t stumble or slip
My heart beats
My pulse is a song
Rising to the stars, arriving at Paxil.
You exist
I see the light in the Jaguar’s eyes
The night is no longer so dark
And fear vanishes.
You exist
I caress your hands
My desire is in your dreams.
I rest beneath your gaze
You name is my song and my prayer.
You exist
Your strength is my energy
Your soul, my dream
You exist
With your thoughts and feelings
I take them and write a
love song
You exist
I write verses on your lips
I wander your body until I find love’s key,
I kidnap our love and there will be no escape, only possession.
I exist
Translated by Paul M. Worley
Loq’ laj Nan Ulew!!!
Oh, Mother Earth!!!
Your pain beats in my heart.
My eyes moisten with your tears
My feet feel your sadness
as I walk.
Watching you die is painful
As I’m dying, too.
Every night the Moon Ixmukane
Comes down to drink your tears.
Every morning Heart of Sky
Warms your womb with the light of the sun.
My heart can feel your great love
When the leaves shed their leaves, dropping
Them, carpeting you with leaves and moss
And adorning your face while the birds sing.
Your sweet charms awaken great spiritual passions,
Your majestic breasts are the volcanoes,
Like the crystalline waters that run through your veins
Like the green rebozo that you wear, across your womb,
Down to your feet, like the “Sierra Madre”
Where the Quetzal flies freely, your love enraptures me.
Let me see your wounds, let me see inside you.
Give me your hands, give me your feet.
Let Grandmother Ixmukane use marrow to heal your wounds
Made deep inside you by miners’ hands
Wake up, my mother, wake up, my mother.
I will exalt your name before the Creator,
I lift you up in my incense, I offer you the ancestral drink
That the sun’s creator pours down as light from mountain paths
Down through the vines,
While you bathe in the fog to the beat
Of the crickets singing under the full Moon.
Oh, Mother Earth, let Grandmother Ixq’anil plant the fruit
Of love in you, let Alom and K’ajolom place
The divine semen in you, the spiritual seed of sacred corn
Oh, Mother Earth, great lover of peace!!!
Oh Mother, oh Mother Earth!!!
Today I sing you, today I dance you, today I cry out for you with drums
Flutes and the guarimba, because when I give
My last breath you will envelop me as my spirit leaves
Me, going down the road to Paxil, where from on high I’ll see how you take
My body into your green, green grass, nothing more than a footprint that I left during my short life.
Translated by Paul M. Worley
The Light and the Mayan Resistance
O Resistance of the Maya!
Like those fields greener than green,
Like those high-mountain forests,
Like the silver moon above on Mayan altars,
Like the steep-banked river gorges,
Where the Xara and the quetzal sing,
Where the broad plains of my land
Bathe and wash away,
Like the crystal waters of her rivers
And like the unmatched beauty of her
soil surges the resistance of the Maya and
with it your immortal name.
Oh, resistance of my people!
How beautiful you are, how lovely!
You shine your light like a star,
Like the morning star I'c Oq'ej at dawn,
Oh, resistance of the Maya!
How wondrous are your traditions!
How deep-rooted your ways!
Your rushing waters,
Your fragrant flowers,
These are the resistance of the Maya.
Oh, resistance of the Maya!
Yours is the divine voice that said:
Let there be light,
And light came to be.
And from that moment forward,
Threads of sweet words
Like those spoken by the Indigenous people,
When they bow before the altar of Pascual Abaj
Who when they pray, pray thus:
O Mother, Mother Earth!
O Creator of the Sky!
Grant me life, grant me what I need to live,
grant me faith, grant me your blessing.
O Creator of the Sky,
Make my light shine as a song of peace,
and not of war. Oh, Creator, I thank you!
Because you keep me company on my path,
This day I bless you and I adore you.
This day I send you my prayers,
This day and evermore will I follow you.
Oh, thank you for giving us light!
Light was created, and the mountains
Trembled and came into being.
Light was created, and the darkness
Lamenting ceased. Light was created
And the Mayan people smiled.
Oh, thank you for creating the light!
Oh, thank you for creating the light!
Oh, thank you for creating the light!
Oh, thank you for creating the light! |
global_05_local_5_shard_00002591_processed.jsonl/52756 | What is the role of education programs in the prevention of Enterobacter infections?
Updated: Jun 18, 2019
• Print
Education programs for physicians and hospital personnel regarding risk reduction for transmission of Enterobacter species and other nosocomial pathogens should be implemented in every hospital. This is usually the responsibility of the Infection Prevention and Control team.
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Thank you for your feedback! |
global_05_local_5_shard_00002591_processed.jsonl/52770 | Dog Skin Care
Skin is the largest organ in the body and should not be ignored. Skin issues can lead to systemic infections and general illness for the animal. They can also be a symptom of another disease.
What are the causes, symptoms & diagnosis of bacterial skin infections?
Skin issues can be caused by allergies (food or environmental) contact irritation, immune diseases endocrine disease, fungal disease or parasites. Symptoms such as hair loss, itching, sores, and or scabbing, bad odour should be brought to the attention of your veterinarian for a complete diagnosis.
What are the causes, symptoms and treatment for ringworms?
Contact with an infected animal or environment can cause transfer of ringworm. Symptoms noticed are hair loss, itching, crusting and scabbing often in a ring shape on the skin. Treatment can consist of topical preparations and or oral medications depending on the severity of the infections.
What are the causes and treatment of allergic skin diseases?
Allergies to either food ingredients or the environment (plants, mites, fleas etc.) treatment can include antibiotics for underlying infection, antifungal if the yeast is present, and medication to inhibit itching.
What are the causes and treatment of parasitic skin diseases?
Fleas and tick (ectoparasites) can all cause skin issues. Treatment with antiparasitic can rectify the problem, but prevention is always best. Especially when living in an endemic area, especially for fleas.
What are the causes and treatment of hormonal skin diseases?
An underlying metabolic disease like thyroid can manifest as a skin issue. If the veterinarian is concerned, they can diagnosis with bloodwork and start the appropriate treatment.
Read More
See All Articles
Last updated: October 13, 2020
Dear Clients,
We are OPEN with the following hours:
- Your dedicated team at Mill Bay Veterinary Hospital |
global_05_local_5_shard_00002591_processed.jsonl/52773 | Nonprofit, nonpartisan journalism. Supported by readers.
How local journalists use Twitter
A tool for good, a tool for evil.
By David Brauer
While the microblogging service is an easy target and the butt of Doonesbury slams, it really is an effective reporting tool … in the hands of some. A few links this morning:
♦ The Strib’s Digital Community Manager, Leah Betancourt, has a nice overview of the techniques and add-on technologies smart reporters are using.
♦ A centerpiece of Betancourt’s story, WCCO ubergeek Jason DeRusha, provides an excellent (if cautionary) tale of rewriting TV scripts for the web, with a Twitter-related Fox9 script as the counter-example.
♦ As it does so well, Secrets of the City chews over the Fox9 faux pas here.
Article continues after advertisement
♦ You civic types will want to check out Minnesota Politics and Government on Twitter, which contains the handles for many politicians and journalists. |
global_05_local_5_shard_00002591_processed.jsonl/52787 |
From ModEnc
Jump to: navigation, search
In terms of modding, the engine refers to the core program and rules that the game obeys. Rules such as the method by which the display is rendered to the display, how ingame physics are modeled and the code for handling art assets. All the low level stuff is handled by the game engine. |
global_05_local_5_shard_00002591_processed.jsonl/52816 | CHAPTER 4 | Search Engines In A SEO Company
The Fundamentals of Search Engine Friendly Design & Development
Search Engines in a SEO Company
Search engines are limited in how they crawl the web and interpret content. A webpage doesn’t always look the same to you and me as it looks to a search engine. In this section, we’ll focus on specific technical aspects of building (or modifying) web pages so that they are structured for both search engines and human visitors alike. Share this part of the guide with your programmers, information architects, and designers, so that all parties involved in a site’s construction are on the same page.
Indexable Content
For web developers who want to improve the visibility of their web pages to search engines, web content should be in the HTML text format. This is the preferred option as users are more likely to favor written content, rather than images. Using the HTML text format guarantees the visibility of the contents of a web page to search engines, and, by implication, the enquiring users. However, HTML text format does not solely ensure the visibility of a web page. There are improved methods that can be instrumental to ensuring this, such as images, Java applets, and other contents that are not in the text format. Here’s a few of them:
1. Provide alt text for images. Images should be presented in gif, jpg, or png format. These are specifically useful for providing explanations to the text.
2. Supplement search boxes This can be done by using navigation and crawlable links.
1. Supplement Flash or Java plug-ins: This is also possible through texts on the pages .
2. Provide a transcript for video and audio content especially when the words used would be useful for indexation on search engines.
Seeing your site as the search engines do
One way to resolve an issue is to address it before it arises. In SEO, you as the web developer can do this by learning to think the way the search engines do. How will Google look at my website? Keeping this in mind is key to improving your site’s visibility. To help you out, tools such as are helpful to site owners. helping you learn to identify the parts of your website’s content that are visible to search engines and what parts are lacking. The actual appearance of a web page is accessible through Google cache. This allows the site constructors a view of their web pages as they’re found by search engines, and therefore, the users. Check Google’s text cache of this very page you are reading now to see the difference
“I built a huge Flash site for jumping dog Flash site but I hardly get found. What’s going on? ”
Whoa! That’s what it looks like?
As you can see, when we employ the Google cache feature, it becomes obvious that the homepage above,, is missing much of the information it originally contains. This way, search engines are unable to decipher applicability.
Hey, where did my content go?
Believe it or not, these are actually the same webpage. That beautiful image and text on the left has become an empty page on the right because there is no HTML text. Therefore, search engines can’t see it. (The text is not reaching anything in the search engines’ indexation.) It’s important to understand that it’s not just the contents of your text alone that will help a search engine find it. Without HTML format, your text will remain invisible.[Another thing to beware of: It is possible that you may start with see a well- designed web page, only find that the search engines’ view of the same web page a scattered, sparsely worded, unattractive mess.]
Now that we’ve learned what an integral tool Google cache is, make sure you’re double checking your website to make sure all your content is visible. In fact, this check, however, should not be limited to text alone. Visual contents and links should also receive attention.
Crawlable Link Structures
The visibility of your pages’ contents are not the only thing contributing to your website’s visibility as a whole. Search engines also need to be easily able to locate the structure of the link. This needs to be properly in place before you even think about your content. Crawlable link structures make it possible for crawlers to identify and graze over the trail of a website.
It is however an unpleasant fact that a lot of websites go ahead to structure their pathways in such a way that it becomes an uneasy task for search engines to access them. This is a huge misstep that makes it impossible for search engines to include the deviating web pages as part of their indexation. Thus, it should be foremost in the targets of web developers to adopt alongside a well developed web page, an easily accessible link structure.
Here is an example of what could occur:
Using the example above, Google’s crawler finds the links to pages B and E on page A. Since there are no links to pages C and D, Google has no idea that they exist. Whatever effort has been put into this page has no impact because Google cannot find it anyway.
On any web page, there’s always plenty of things to click on. These can be images, buttons, portions of texts (usually highlighted in a different color to indicate that they’re also a link), etc. These links (also known as link tags, or hyperlinks) are used specifically for navigation of the website. In a website’s hyperlink, there are four different parts:.
1. Start of a link tag. This is the first point of contact in the link.
2. Link referral location. This acts as the address of the webpage.
3. Visible/Anchor text of link. A portion of the whole write-up (can be an article, description, etc) that the search engines can locate.
4. End of link. Closes link.
Submission-Required Forms
Some websites require you to fill out a few forms before you’re able to access the contents., These pages can be a little problematic for a few reasons. Such forms discourage users from accessing these web pages because most of them would rather not fill out the forms. And of course, these pages also run the risk of not being visible to search engines.
Links in JavaScript
When using JavaScript for your links, you may run into a few problems. Often, search engines don’t find sites that use JavaScript as important (so they may not be as easily found as HTML sites), or sometimes the search engine just can’t find it at all. If you want your site to remain visible, just HTML, or HTML alongside JavaScript are your best options.
Links and Meta Robots
Sometimes website owners will use a Meta Robots tag or the robots.txt file to reduce access to their page, simply to keep rogue bits from accessing the page. However, this can also have the unintended side effect of barricading it from search engines too.
Robots don’t use search forms
As explained above, such barriers as robot-proof tests discourage the users from accessing such web pages and also makes it difficult for search engines to crawl into such websites. The presence of a search box on a site does not guarantee that it would be found by search engines. The contents of such web pages may remain unknown for a long time.
Frames or iFrames
Even though links that are in iframes and frames can be accessed by search engines, it poses a difficulty for inexperienced users. In the end, it is mostly ignored by such users.
Links in Flash, Java, and Other Plug-Ins
When links are done in Flash or Java, they become invisible to search engines. An example is the Juggling Dog page above. It doesn’t matter the volume of information on such websites, they cannot be accessed.
Too Many Links
When a page is swarmed by hundreds, or even thousands of links, many of the links on the page will not be indexed. There should be a standard number of links on a page
Rel=”nofollow” can be used this way:
<a href=”” rel=”nofollow”>Lousy Punks!</a>
Links can come in different forms and with additional information. Many of these pieces of information are not put into consideration by search engines, except rel=”no follow”. This particular addition sends a message to users that the link does not means the same thing as support for the page it links to.
This sign is often interpreted in various ways by search engines. Paramount to most of the interpretations is the fact that it reduces the credibility of the link.
Are nofollow links bad?
Not so much. Regardless of the fact that they have less weight in comparison to other links, they are still a part of many link profiles. A web page that has a lot of links will also have many inbound nofollow links. This is not a disadvantage. Moz’s Ranking Factors reported that sites with high ranking had a higher percentage of inbound nofollow links than sites with lower ranking.
Google states that in most cases, they do not use the nofollow sign. This is because, the use of the nofollow sign makes Google to remove such links from their search. Such links have no value and they are often ignored during search. However, a lot of web developers believe that a nofollow link from respected sites reflects confidence.
Bing & Yahoo!
Bing, which powers Yahoo search results, also explains that nofollow links are not listed in their link graph. That notwithstanding, some crawlers still use those links to arrive at new web pages.
Keyword Usage and Targeting
Keywords are of extreme importance to research as well as searching or surfing web pages. Search engines do not locate information by perusing all the words available in a text. This would be time consuming and unproductive. Instead, search engines only run through the different web pages using the few keywords in their indexation to locate information. Each database is allowed to have a theme, the theme then tells us which words are used as keywords. Keywords are particularly used to being ease to web crawling. It helps search engines to locate information on web pages with little or no difficulty. Here is an example:
For a page that needs to be ranked in search results for ‘cat’, the word ‘cat’ has to be part of the keywords of the document.
Keyword Domination
We use keywords to convey what we are searching to search engines. The keywords used in our search will determine the information the search engines would locate. The way the words are spelt, ordered or punctuated will help the search engines to locate the matching pages. The way keywords are used on pages also help search engines decide the relevance of a document to a search. To increase ranking, the keywords you need ranking for should be used in the title, metadata and text. Your keywords should be precise to help , reduce the number of search results.
Keyword Abuse
In an attempt to make use of specific keywords, users may be tempted to list out more words than required on search engines. But they should not. This does almost as much damage as using the wrong keywords. This is because Iit lengthens the search and makes it harder for search engines to locate related documents. Keyword abuse refers to the overloading of words into URLs, links, meta tag and texts. Using keywords demand a level of expertise and an ability to strategize. It’s better to get more of your actual target audience with fewer keywords than more visitors overall who want nothing to with you because your keyword bank was too large.
On-Page Optimization
As discussed, access to your website is based on the use of keywords. So how, then, do we use keywords? A lot of testing is done at MyCity Social to view the results of query and shifts based on keyword usage tactics.
While working on the content of your web page, we advise that you use the keyword phrase in the following places:
• The title tag should contain the keyword close to its initial point.
• The keyword should be used conspicuously close to the beginning of the page.
• The keyword phrase should be repeatedly used in the body of the text, preferably in different ways.
• The alt attribute of images should also include the keyword more than once.
• The keyword phrase should be used in the URL once.
• The keyword should appear in the meta description tag at least one time.
It should be noted that Keyword Cannibalization is possible. This occurs when keywords in anchor texts of links lead to other pages.
Keyword Density Myth
Contrary to popular belief, keyword density isn’t what it sounds like.
Let’s say that two different documents (b1 and b2) have 500 terms and repeat one of those terms 10 times (tf=10). To calculate keyword density, this will be KD = 10/500 = 1/50. or It is not the function of the keyword density to state which document should be regarded as more prominent. A density analysis also does not provide information about how far keywords are to each other within documents, the co-occurrence of terms, the subject matter of the document and the precise location of the keywords in a document.
The Conclusion:
How then should optimal page density look? Check out this example. This page uses the phrase “classy wristwatches” an optimal amount of times.
For any web page, the title tag is at the top of the browsing software. When the content is shared through social media, it becomes the title.
The use of keywords in the title tag means that search engines will bold those terms in the search results whenever a user conducts search with those terms. This helps gain a greater visibility.
Keywords should be used in the title tags because of search engines’ ranking.
Title Tags
There are two things every web page title needs to be: accurate and concise. Make sure it’s on topic, and gets to the point. This affects everything from how the search engine finds it to how the user experiences the page.
Here are some basic instructions for the best quality Title Tags:
Make it as brief as possible
It is highly recommended that you constrict your title tag to 65-75 characters, because most search engines and social media sites do not display beyond this limit, instead showing ellipses (…) to indicate that the rest has been cut off. If you target too many keywords that could increase your ranking and user experience that could not be embedded within this limit however, you may consider going longer then.
Start with the most important keywords
The closer your keywords are to the start of your Title Tag, the higher your chances of better ranking on search results. This means more users will find your content and tend to click more.
Always include your brand
It is very important to add your brand name to your content. It is even recommended that you add your brand name to the end of your title tag or your homepage at least. The more people that get familiar with your brand, the higher the click-through rate on your content.
Ensure clarity, legibility and emotionally appealing.
Your title tag must be simple, clear, direct and readable to everyone. It must also be catchy and pull your viewers in so that they keep reading your content.
Meta Tags
Meta tags are created as an index where detailed information of a website is obtained. Along with their mode of operation, some meta tags are highlighted below:
Meta Robots
The Meta Robots tag is often used to control search engine crawler activity (for major search engines). Meta Robots Tag can be used to influence how a search engine treats a page in the following ways:
• index/no index is a simple instruction for search engines to determine if the page should be kept on the search engine’s index for retrieval. Search engines often index pages naturally, but could undo this if you select “no index”.
• follow/no follow search engines crawl pages by following naturally. They “follow” pages naturally too. You can however instruct a search engine to “unfollow”.
• No archive is a simple instruction for search engines to save a cached copy of the page. Search engines often save details of indexed pages for user’s use by default. You can however choose “no archive” to unselect such options.
• No snippet is an instruction for search engines to desist from displaying a particular block of text next to the page’s title and URL in the search results.
• noodp/noydir these are coded instructions in form of tags, instructing a snippet from picking data about a page from Yahoo! Directory or the Open Directory Project (DMOZ).
The X-Robots-Tag HTTP header directive is used to achieve the same objectives as Meta Robots Tag and it is particularly used for content within non-HTML files.
Meta Description
The meta description tag is a brief description of a page’s content, and the main source for the content extract usually displayed under the title tag. The content of this section is not usually used for SEO by search engines, but it provides enough data to arouse user’s interest.
Its ultimate assignment is to attract readers and advertise your content. It is very important to create a simple, legible, catchy and interesting Meta description tag to maximize search marketing. Including Keywords can also increase the rate of click-through on your content.
Search engines cut and constrict the meta description tag to 160 characters by default, so try to stay within this limit. However, it is possible to write beyond 160 characters, since extract cuts by search engine can still be visited by users.
Where no meta description is available, search engines often auto select keywords searched from the content. This is particularly helpful for contents overflowing with multiple keywords.
Not as important meta tags
Meta Keywords: Meta descriptions are not as important as they used to appear. You may check out why meta keywords has fallen into disuse, here Meta Keywords Tag 101..
Meta Refresh, Meta Revisit-after, Meta Content-type, and others:
Besides Meta description tags, these are other useful but less important tags for SEO. You may check out the little uses they could render on Google’s Search Console Help.
URL Structures
URLs—this is the address through which user can locate your content—it is also important on search value. You can make it appear in multiple locations.
By default, search engines display URLS with search results which means they guarantee click-through to the content page. These URLs are used in ranking documents, and pages whose names and addresses include the searched keywords are considered first in ranking.
URL structure and design bear little importance to search engines, its accuracy level and pattern of design can however create a negative or enjoyable user experience.
URL Construction Guidelines
Be realistic
Assume yourself as the user going through URLS, consider how much you will enjoy the experience of guessing the content of a page by its URL. Indubitably, this makes it easier, quicker and generate more click-through. You can easily generate user floods for your page by creating URLs that gives not necessarily details but insight into your content.
Make it brief
Despite the importance of explicitness, you need to make it brief. Make it as explanatory and brief as possible to guarantee that it is easier to copy and paste in mails, blogs and so forth, it can also be seen in full in search results.
Use but don’t overuse Keywords
If you have a very specific topic in your search engine, you should include it in your URL. But you should make sure that you do not overload your URL with Keywords, because this could trigger spam filters and render your URL unusable since it will not be found.
Ensure stability
URLs such as can be transformed into a more stable and user friendly version such as using technologies like mod_rewrite for Apache and ISAPI_rewrite for Microsoft. It is recommended that you design your URLS to be as simple and human readable as possible. This makes for enjoyable user experience, therefore increasing click-through rate and overall ranking.
Use hyphens to separate words
Some search engines and web applications cannot accurately interpret signs such as plus sign (+), spaces (%20) and underscores (_) as word separators. You can assure a better experience for users and eliminate search engine constraints by using hyphen (-) instead, since it is generally recognized by all search engines. This is seen in the “google-fresh-factor” URL example above.
url istock nicozorn thumb800
Canonical and Duplicate Versions of Content
Duplicate content: Search engines have only been of help by assigning lower ranks to pages with thin or duplicate content, subsequently cracking them down.
Canonicalization is used to describe a situation where two or more duplicated versions of a webpage appear on different URLs, it is often noticed in Modern Content Management Systems. For instance, you may find a regular version of a page and a print-optimized version of a page, but be prepared, you would find duplicate contents on many more websites. This poses a big problem to search engines, “which of these websites should be displayed to users?”. You may here check out details of such problems here duplicate content.
Search engines often attempt to avoid displaying versions of the same content. They often display diverse URLs and data to provide a wide range of experience to the users. The effect of this on duplicated material is that search engines only try to decipher the genuine website and rank the others lower.
The process of safeguarding your content such that there is ONLY ONE URL to EVERY PIECE is called Canonicalization. If you leave multiple versions of your content or websites, searched engines will be faced with a problem as that stated here, which diamond is the right one?
21121If the search owner took the three pages and redirected them to one, the search engines can easily refer to the only strong and real page. When such is done, these pages would stop competing, generate more click-through since users can access the details from multiple locations. Increase your ranking on search engines and establish a stronger relevancy on the content type.
Canonical Tag to the rescue!
Canonical Tag is the perfect solution generated to eliminate content duplication. It is known as Canonical URL Tag, is another way to reduce instances of duplicate content on a single site and canonicalize to an individual URL. This is the perfect solution generated to eliminate content duplication across different websites, from URLs on a domain to a different URL on a different domain.
It is easily done by adding a canonical tag on the page with the duplicated content. This makes it link the URL of the duplicated content to the master URL.
the-inner-workings<link rel=”canonical” href=””/> This instructs search engines to treat the current page as if it were a copy of the URL and that all of the link and content metrics the engines apply should flow back to that URL.
This has maximally reduced the problem of ranking a URL and its content lower from a SEO perspective. It does not redirect users from the multiple pages to the strong page, rather it treats them as one.
You may check out more on duplicate posts in this post by Dr. Pete.
Rich Snippets
Have you seen ever wondered how some contents make 5 star rating on search engine? Well it’s most times because the information or content is supplied from rich snippets employed on the source page. Rich snippets are subtle ways to design your content and program it to search engines such that full information is supplied to the search engines and they can easily the searched keywords with your page content.
It is not necessary to use Rich Snippets before SEOs can rank your information well. But you should note that with the growing use of Rich Snippets, those who use it stand an advantage than those who don’t sometimes.
You also need to organize your information well enough to ensure that even search engines can easily identify the type of content you present. You may find instances of data that can benefit from well-organized data such as products, reviews, businesses, recipes and so forth on
Structure data are easy to find in search results, and are often use to rank contents with stars. They also provide proper information of authors. Rich snippets is a boost for SEO, and you may check out more on information at, and Google’s Rich Snippet Testing Tool.
Rich Snippets in the Wild
If you announce an SEO conference on your blog, you may have an HTML that seem like this:
SEO Conference<br/>
Learn about SEO from experts in the field.<br/>
Event date:<br/>
May 8, 7:30pm
By structuring your data using Rich Snippets, you may send precise details that are easily understood to search engines, they would like seem like this:
<div itemscope itemtype=””>
<div itemprop=”name”>SEO Conference</div>
<span itemprop=”description”>Learn about SEO from experts in the field.</span>
Event date:
<time itemprop=”startDate” datetime=”2012-05-08T19:30″>May 8, 7:30pm</time>
Defending Your Site's Honor
How scrapers steal your rankings
In the computer village the world has become today, it is quite unfortunate that many websites and organizations now depend on plagiarizing information from other domains and modifying them to suit their own desire. That act of stealing others’ content and republishing as yours is called SCRAPING, and the disheartening report is that scrapers appear to be more productive, more optimized on search engines than the original content webpages.
This is why you must update the major blogging services such as Yahoo!, Google and so forth when you publish a content in any form. Wondering how to do it? You can read up more on Pingomatic to ensure that pinging or major blogging services uploading is not only feasible but routine on every publication. Many publishing software computerize this activity and you may auto-activate this process if not built by the software.
This can safeguard your content to a great extent, and you can heighten your security against scrapers by using scraper’s laziness. How does this work? Just include links to various pages on your site and scrapers would be redirecting their users back to your site and the original information your published without noticing, since they are likely not to note the links you have attached as a result of their natural laziness. You will require outright links that consistently returns users to your page in order to achieve this. So, instead of using <a href=”../”>Home</a> to return users to your page, You would instead use:<a href=””>Home</a>.
The higher publicity and click-through your page gets, the higher the chances of scrapping, content duplication and republishing. You could try out some of these anti-scraping strategies suggested, among others. You should however note that no strategy absolutely safeguards information at the moment. It is sometimes advisable to overlook republishing and scrapping, until it poses a threat to your network, your traffic and of course your ranking. You may check out some pieces of helpful hints on this issue here, 5 Easy to Use Tools to Effectively Find and Remove Stolen Content
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global_05_local_5_shard_00002591_processed.jsonl/52826 | Image 1 of Tropic Queen Image 2 of Tropic Queen
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global_05_local_5_shard_00002591_processed.jsonl/52827 | From Learning ZoneXpress™.
Promote the best food choices to help keep older adults’ bodies healthy and strong from head to toe. Groups healthy and nutritious food choices and significant nutrients by the parts of the body they benefit most, including brain and memory, eyes, teeth, skin, heart, digestive system, muscles, joints, and bones. Features the poster on the front. The back covers the functions of important vitamins, minerals, healthy fats, protein, fiber, and good bacteria in the body. Includes a brief list of food sources for each nutrient. 50 sheets, 8-1/2 in. x 11 in..
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global_05_local_5_shard_00002591_processed.jsonl/52877 | Glomerular Filtration Rate (GFR) Study
Preparation Requirements
Total duration of study:
4 hours
Bleeding time:
2 blood samples are taken 1-2 and 3-4 hours post injection
Not contraindicated but clear clinical indication is required
Breast feeding:
Stopped for duration of study. Mothers are advised to express milk prior to study.
Recent U&E is required
Previous studies:
Some drugs can reduce renal function e.g. diuretics (frusemide), aminoglycoside antibiotics, penicillins, sulphonamides and aluminium (Blathen et al, 1978) and therefore all medications being taken should be recorded prior to the study being performed.
Patient is encouraged to drink water prior and during study
Excessive intake of drinks containing caffeine including tea, coffee and Coke should be avoided after 10 pm the night before the test because of their diuretic effect (Clomius et al, 1979). Protein load may increase GFR (Wilkinson et al, 1991) and it is recommended to avoid high protein meals before the study. Since neither carbohydrate nor fat loads affect GFR, a light meal, low in protein would optimise accuracy and reproducibility. (Levine et al, 1986). A light breakfast is recommended. If the test straddles the lunch period then a light lunch e.g. sandwiches can be taken.
Exercise has been shown to have a variable effect on GFR (Merrill et al, 1948, Kachadorian et al, 1970, Wilkinson et al, 1991). Strict bed rest is unnecessary, but some restriction of activity is necessary for good reproducibility. |
global_05_local_5_shard_00002591_processed.jsonl/52895 | Wikipedia for ever
7 March 2005
Solana is right to enthuse about Wikipedia. What it shows is the power of what can be called co-creation.
Co-creation is very different from two things that have grown fast on the web: forums and blogs.
Forums are a kind of live letters page. They contribute to an argument or debate, but often ramble off into semi-private exchanges. Sometimes brilliant, other times unreadable to anyone else, they can be very uneven and time-consuming.
Blogs are multiplying by the thousands, even millions. They are competitive and very individualistic. Even when written jointly like this one, they strive to make their voice heard, sometimes by SHOUTING or making things up (also known as lying).
Co-creation does something different. The breadth of the web makes it possible for many participants to improve and raise the level of the same shared offering.
Open source paved the way, drawing on technical specialism to protect itself.
Wiki has taken the leap and gone further to ensure unlimited public access. It is an inspiration whose lessons we want to learn and apply to openDemocracy.net.
Sign the petition: save our Freedom of Information
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global_05_local_5_shard_00002591_processed.jsonl/52899 | Life science tools are the instruments and consumables used in areas such as basic research, genetic analysis, and biopharmaceutical discovery, development, and production.
Additionally, many of the technology platforms historically used primarily for research applications are increasingly being used in clinical testing and applied markets such as food and water testing, environmental monitoring, forensics, and AgBio.
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global_05_local_5_shard_00002591_processed.jsonl/52901 | Treble vs bass
Treble and Bass controls allow you to boost or cut certain frequencies of sound from your speaker, but what does that mean?
Any natural sound is made up of an almost infinite number of ‘frequencies’ – this is the number of times air moves back and forth each second; literally vibrations in the air that are picked up by your eardrums, and interpreted as sounds that you hear.
Bass corresponds to anything up to 150Hz, or 150 oscillations per second. These are ‘low’ sounds that when loud you can feel. They are normally produced by a subwoofer in an Orbitsound speaker. The Bass control will cause your speaker to boost or cut these frequencies in what you are listening to. It’s important to realise that a bass boost is not creating new sound, but instead it is boosting the sensitivity of the speaker. If listening to music, you will hear a louder bass drum (or beat). Other sounds that are made up of lower frequencies will also be boosted.
Hint: If you want to watch TV or a film, but maybe have children asleep upstairs, try lowering the bass. This will reduce the ‘boominess’ of what you are watching. It is mainly bass frequencies that travel through walls and floors.
Treble is the opposite end of the spectrum. Treble corresponds to frequencies from 6KHz (6000 oscillations per second) upwards to the limit of hearing (approximately 20KHz). Sounds in this band are ‘bright’ or ‘sparkly’. The Treble control changes the sensitivity of the system to these higher frequencies, so turning the treble up makes things sound brighter and more detailed. Turning them down will make them sound more mellow.
The middle (mid) band, from 200Hz-5KHz is less easy to pick out as a frequency band by ear, which is why there is not normally a middle frequency control. However, these are the frequencies that cover speech intelligibility. So, whilst you can’t change the mid frequency band with a control on an Orbitsound product, it is helpful to understand it. Mid frequencies are strong for things like guitars, vocals, piano etc. You can control the mid by changing the bass and treble. Increasing the bass and treble will leave the mid frequencies reduced. Reducing the treble and bass will effectively mean the mid frequencies are boosted.
Hint: Speech for TV requires good mid frequency playback. If you are finding speech hard to hear, try turning down the treble and bass, and increasing the overall volume. This will boost speech without deafening you!
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global_05_local_5_shard_00002591_processed.jsonl/52923 | Sorry, Grim Reaper -- Families Are Forever
Death shall not destroy my comfort,
Christ shall guide me thro' the gloom;
Down He'll send some heav'nly convoy,
To escort my spirit home.
-American Folk Hymn
Joseph SmithEarly America was besieged with death. Infant mortality rates, deadly diseases, deadly weather, childbirth complications, and a host of other aggravations placed death at the doorstep for nearly every family at an alarming rate. For comfort, many turned to religion to create a culture in which dying could be better understood. It should make sense, then, that Mormonism, America's home-grown religion, offers a prime example of how antebellum Americans dealt with, reimagined, and alleviated the fear of death.
With In Heaven as It is on Earth: Joseph Smith and the Early Mormon Conquest of Death, critical care physician and assistant professor of medicine Samuel Brown presents early Mormons as "assiduous students of death" who sought to combat and overcome the threat of the grave and did so in remarkable ways. But beyond persuasively demonstrating the prominent role of death in Joseph Smith's thought, Brown argues that death culture is a potent organizational theme in which to understand early Mormon culture as a whole.
Because the term "death conquest" is central to this book's argument, it is important to capture Brown's own definition:
[Mormonism's "death conquest" is] a set of approaches to the meaning of life, a framing of aspirations for the afterlife, and controversies about the security or stability of salvation, as expressed in human struggles with mortality. When and under what circumstances life ends, how much of earthly experience will persist, and what constitutes preparation for death are problems that can be distinguished from the question of salvation per se. Framing Mormonism as an attempted conquest of death illuminates its theology and enriches the texture of the lived experience of believers.
The study of early Mormonism's response to death, then, is more than just a history of ideas. Instead, it is a microcosmic examination of Mormon life and culture in general, for it intersects with numerous tensions and issues within LDS history. Indeed, it is surprising how many disparate topics that have long interested historians—treasure seeking, seer stones, relics, temple ordinances, and polygamy, to name a few—are seamlessly weaved together into an overarching web of "death culture." Taken at its word, this book contains many lessons for numerous facets of Mormon history.
Because this "death culture" never takes place in a vacuum, In Heaven as It is on Earth spends a great deal of time on context. Throughout the book, Brown is expertly attuned to the contemporary culture that Mormonism both developed from and reacted against, noting how "Americans possessed a remarkably robust death culture with roots stretching from medieval Christianity through early modern England into the colonial churches and antebellum evangelicalism." Though Brown too rarely uses the example of Mormonism to make broader claims on American culture, instead mostly relying on the larger culture to illuminate Joseph Smith's thought, he is to be commended for his exposure to and incorporation of the dynamic and diverse religious life during the period. This sophisticated and nuanced contextualization is the hallmark of the new generation of Mormon Studies, and is on proud display in this particular volume.
Brown's book is broken up into two sections, each including five chapters. In the first, Brown fleshes out the death culture of antebellum America and how it intersected with early Mormonism. Chapters are devoted to individual topics: ritualized death scenes of "holy dying" (chapter one), the threat of putrefaction and promise of resurrection (chapter two), the living's relationship with the dead and their legacy (chapter three), early Mormon interaction with and conceptions of Native Americans (chapter four), and the potential for prophetic "seerhood" to transcend problems of death and language (chapter five). It is in these chapters that Brown demonstrates how central death was Mormon culture, and it made sense of many elements or episodes in LDS history that often appear anomalous.
I found particularly fascinating Mormonism's response to the "vanishing Indian narrative," where Joseph Smith did much more than merely "parrot his peers" by developing a complex "genealogical connection with the imperiled Natives inhabiting the early American republic." Similar sophisticated analysis is made with topics like the fear of bodily decomposition and quest for the primordial Eden family.
1/31/2012 5:00:00 AM |
global_05_local_5_shard_00002591_processed.jsonl/52985 | Hidden Structure
What Is a Particle?
It has been thought of as many things: a pointlike object, an excitation of a field, a speck of pure math that has cut into reality. But never has physicists’ conception of a particle changed more than it is changing now.
Illustration of a particle
Elementary particles are the basic stuff of the universe. They are also deeply strange.
Illustrations by Ashley Mackenzie for Quanta Magazine
Given that everything in the universe reduces to particles, a question presents itself: What are particles?
The easy answer quickly shows itself to be unsatisfying. Namely, electrons, photons, quarks and other “fundamental” particles supposedly lack substructure or physical extent. “We basically think of a particle as a pointlike object,” said Mary Gaillard, a particle theorist at the University of California, Berkeley who predicted the masses of two types of quarks in the 1970s. And yet particles have distinct traits, such as charge and mass. How can a dimensionless point bear weight?
“We say they are ‘fundamental,’” said Xiao-Gang Wen, a theoretical physicist at the Massachusetts Institute of Technology. “But that’s just a [way to say] to students, ‘Don’t ask! I don’t know the answer. It’s fundamental; don’t ask anymore.’”
With any other object, the object’s properties depend on its physical makeup — ultimately, its constituent particles. But those particles’ properties derive not from constituents of their own but from mathematical patterns. As points of contact between mathematics and reality, particles straddle both worlds with an uncertain footing.
When I recently asked a dozen particle physicists what a particle is, they gave remarkably diverse descriptions. They emphasized that their answers don’t conflict so much as capture different facets of the truth. They also described two major research thrusts in fundamental physics today that are pursuing a more satisfying, all-encompassing picture of particles.
“‘What is a particle?’ indeed is a very interesting question,” said Wen. “Nowadays there is progress in this direction. I should not say there’s a unified point of view, but there’s several different points of view, and all look interesting.”
A Particle Is a ‘Collapsed Wave Function’1
The quest to understand nature’s fundamental building blocks began with the ancient Greek philosopher Democritus’s assertion that such things exist. Two millennia later, Isaac Newton and Christiaan Huygens debated whether light is made of particles or waves. The discovery of quantum mechanics some 250 years after that proved both luminaries right: Light comes in individual packets of energy known as photons, which behave as both particles and waves.
Wave-particle duality turned out to be a symptom of a deep strangeness. Quantum mechanics revealed to its discoverers in the 1920s that photons and other quantum objects are best described not as particles or waves but by abstract “wave functions” — evolving mathematical functions that indicate a particle’s probability of having various properties. The wave function representing an electron, say, is spatially spread out, so that the electron has possible locations rather than a definite one. But somehow, strangely, when you stick a detector in the scene and measure the electron’s location, its wave function suddenly “collapses” to a point, and the particle clicks at that position in the detector.
A particle is thus a collapsed wave function. But what in the world does that mean? Why does observation cause a distended mathematical function to collapse and a concrete particle to appear? And what decides the measurement’s outcome? Nearly a century later, physicists have no idea.
A Particle Is a ‘Quantum Excitation of a Field’2
The picture soon got even stranger. In the 1930s, physicists realized that the wave functions of many individual photons collectively behave like a single wave propagating through conjoined electric and magnetic fields — exactly the classical picture of light discovered in the 19th century by James Clerk Maxwell. These researchers found that they could “quantize” classical field theory, restricting fields so that they could only oscillate in discrete amounts known as the “quanta” of the fields. In addition to photons — the quanta of light — Paul Dirac and others discovered that the idea could be extrapolated to electrons and everything else: According to quantum field theory, particles are excitations of quantum fields that fill all of space.
In positing the existence of these more fundamental fields, quantum field theory stripped particles of status, characterizing them as mere bits of energy that set fields sloshing. Yet despite the ontological baggage of omnipresent fields, quantum field theory became the lingua franca of particle physics because it allows researchers to calculate with extreme precision what happens when particles interact — particle interactions being, at base level, the way the world is put together.
As physicists discovered more of nature’s particles and their associated fields, a parallel perspective developed. The properties of these particles and fields appeared to follow numerical patterns. By extending these patterns, physicists were able to predict the existence of more particles. “Once you encode the patterns you observe into the mathematics, the mathematics is predictive; it tells you more things you might observe,” explained Helen Quinn, an emeritus particle physicist at Stanford University.
The patterns also suggested a more abstract and potentially deeper perspective on what particles actually are.
A Particle Is an ‘Irreducible
Representation of a Group’3
Mark Van Raamsdonk remembers the beginning of the first class he took on quantum field theory as a Princeton University graduate student. The professor came in, looked out at the students, and asked, “What is a particle?”
“An irreducible representation of the Poincaré group,” a precocious classmate answered.
Taking the apparently correct definition to be general knowledge, the professor skipped any explanation and launched into an inscrutable series of lectures. “That entire semester I didn’t learn a single thing from the course,” said Van Raamsdonk, who’s now a respected theoretical physicist at the University of British Columbia.
It’s the standard deep answer of people in the know: Particles are “representations” of “symmetry groups,” which are sets of transformations that can be done to objects.
Take, for example, an equilateral triangle. Rotating it by 120 or 240 degrees, or reflecting it across the line from each corner to the midpoint of the opposite side, or doing nothing, all leave the triangle looking the same as before. These six symmetries form a group. The group can be expressed as a set of mathematical matrices — arrays of numbers that, when multiplied by coordinates of an equilateral triangle, return the same coordinates. Such a set of matrices is a “representation” of the symmetry group.
Similarly, electrons, photons and other fundamental particles are objects that essentially stay the same when acted on by a certain group. Namely, particles are representations of the Poincaré group: the group of 10 ways of moving around in the space-time continuum. Objects can shift in three spatial directions or shift in time; they can also rotate in three directions or receive a boost in any of those directions. In 1939, the mathematical physicist Eugene Wigner identified particles as the simplest possible objects that can be shifted, rotated and boosted.
For an object to transform nicely under these 10 Poincaré transformations, he realized, it must have a certain minimal set of properties, and particles have these properties. One is energy. Deep down, energy is simply the property that stays the same when the object shifts in time. Momentum is the property that stays the same as the object moves through space.
A third property is needed to specify how particles change under combinations of spatial rotations and boosts (which, together, are rotations in space-time). This key property is “spin.” At the time of Wigner’s work, physicists already knew particles have spin, a kind of intrinsic angular momentum that determines many aspects of particle behavior, including whether they act like matter (as electrons do) or as a force (like photons). Wigner showed that, deep down, “spin is just a label that particles have because the world has rotations,” said Nima Arkani-Hamed, a particle physicist at the Institute for Advanced Study in Princeton, New Jersey.
Different representations of the Poincaré group are particles with different numbers of spin labels, or degrees of freedom that are affected by rotations. There are, for example, particles with three spin degrees of freedom. These particles rotate in the same way as familiar 3D objects. All matter particles, meanwhile, have two spin degrees of freedom, nicknamed “spin-up” and “spin-down,” which rotate differently. If you rotate an electron by 360 degrees, its state will be inverted, just as an arrow, when moved around a 2D Möbius strip, comes back around pointing the opposite way.
Elementary particles with one and five spin labels also appear in nature. Only a representation of the Poincaré group with four spin labels seems to be missing.
The correspondence between elementary particles and representations is so neat that some physicists — like Van Raamsdonk’s professor — equate them. Others see this as a conflation. “The representation is not the particle; the representation is a way of describing certain properties of the particle,” said Sheldon Glashow, a Nobel Prize-winning particle theorist and professor emeritus at Harvard University and Boston University. “Let us not confuse the two.”
‘Particles Have So Many Layers’4
Whether there’s a distinction or not, the relationship between particle physics and group theory grew both richer and more complicated over the course of the 20th century. The discoveries showed that elementary particles don’t just have the minimum set of labels needed to navigate space-time; they have extra, somewhat superfluous labels as well.
Particles with the same energy, momentum and spin behave identically under the 10 Poincaré transformations, but they can differ in other ways. For instance, they can carry different amounts of electric charge. As “the whole particle zoo” (as Quinn put it) was discovered in the mid-20th century, additional distinctions between particles were revealed, necessitating new labels dubbed “color” and “flavor.”
Just as particles are representations of the Poincaré group, theorists came to understand that their extra properties reflect additional ways they can be transformed. But instead of shifting objects in space-time, these new transformations are more abstract; they change particles’ “internal” states, for lack of a better word.
Take the property known as color: In the 1960s, physicists ascertained that quarks, the elementary constituents of atomic nuclei, exist in a probabilistic combination of three possible states, which they nicknamed “red,” “green” and “blue.” These states have nothing to do with actual color or any other perceivable property. It’s the number of labels that matters: Quarks, with their three labels, are representations of a group of transformations called SU(3) consisting of the infinitely many ways of mathematically mixing the three labels.
While particles with color are representations of the symmetry group SU(3), particles with the internal properties of flavor and electric charge are representations of the symmetry groups SU(2) and U(1), respectively. Thus, the Standard Model of particle physics — the quantum field theory of all known elementary particles and their interactions — is often said to represent the symmetry group SU(3) × SU(2) × U(1), consisting of all combinations of the symmetry operations in the three subgroups. (That particles also transform under the Poincaré group is apparently too obvious to even mention.)
The Standard Model reigns half a century after its development. Yet it’s an incomplete description of the universe. Crucially, it’s missing the force of gravity, which quantum field theory can’t fully handle. Albert Einstein’s general theory of relativity separately describes gravity as curves in the space-time fabric. Moreover, the Standard Model’s three-part SU(3) × SU(2) × U(1) structure raises questions. To wit: “Where the hell did all this come from?” as Dimitri Nanopoulos put it. “OK, suppose it works,” continued Nanopoulos, a particle physicist at Texas A&M University who was active during the Standard Model’s early days. “But what is this thing? It cannot be three groups there; I mean, ‘God’ is better than this — God in quotation marks.”
Particles ‘Might Be Vibrating Strings’5
In the 1970s, Glashow, Nanopoulos and others tried fitting the SU(3), SU(2) and U(1) symmetries inside a single, larger group of transformations, the idea being that particles were representations of a single symmetry group at the beginning of the universe. (As symmetries broke, complications set in.) The most natural candidate for such a “grand unified theory” was a symmetry group called SU(5), but experiments soon ruled out that option. Other, less appealing possibilities remain in play.
Researchers placed even higher hopes in string theory: the idea that if you zoomed in enough on particles, you would see not points but one-dimensional vibrating strings. You would also see six extra spatial dimensions, which string theory says are curled up at every point in our familiar 4D space-time fabric. The geometry of the small dimensions determines the properties of strings and thus the macroscopic world. “Internal” symmetries of particles, like the SU(3) operations that transform quarks’ color, obtain physical meaning: These operations map, in the string picture, onto rotations in the small spatial dimensions, just as spin reflects rotations in the large dimensions. “Geometry gives you symmetry gives you particles, and all of this goes together,” Nanopoulos said.
However, if any strings or extra dimensions exist, they’re too small to be detected experimentally. In their absence, other ideas have blossomed. Over the past decade, two approaches in particular have attracted the brightest minds in contemporary fundamental physics. Both approaches refresh the picture of particles yet again.
A Particle Is a ‘Deformation of the Qubit Ocean’6
The first of these research efforts goes by the slogan “it-from-qubit,” which expresses the hypothesis that everything in the universe — all particles, as well as the space-time fabric those particles stud like blueberries in a muffin — arises out of quantum bits of information, or qubits. Qubits are probabilistic combinations of two states, labeled 0 and 1. (Qubits can be stored in physical systems just as bits can be stored in transistors, but you can think of them more abstractly, as information itself.) When there are multiple qubits, their possible states can get tangled up, so that each one’s state depends on the states of all the others. Through these contingencies, a small number of entangled qubits can encode a huge amount of information.
In the it-from-qubit conception of the universe, if you want to understand what particles are, you first have to understand space-time. In 2010, Van Raamsdonk, a member of the it-from-qubit camp, wrote an influential essay boldly declaring what various calculations suggested. He argued that entangled qubits might stitch together the space-time fabric.
Calculations, thought experiments and toy examples going back decades suggest that space-time has “holographic” properties: It’s possible to encode all information about a region of space-time in degrees of freedom in one fewer dimension — often on the region’s surface. “In the last 10 years, we’ve learned a lot more about how this encoding works,” Van Raamsdonk said.
What’s most surprising and fascinating to physicists about this holographic relationship is that space-time is bendy because it includes gravity. But the lower-dimensional system that encodes information about that bendy space-time is a purely quantum system that lacks any sense of curvature, gravity or even geometry. It can be thought of as a system of entangled qubits.
Under the it-from-qubit hypothesis, the properties of space-time — its robustness, its symmetries — essentially come from the way 0s and 1s are braided together. The long-standing quest for a quantum description of gravity becomes a matter of identifying the qubit entanglement pattern that encodes the particular kind of space-time fabric found in the actual universe.
So far, researchers know much more about how this all works in toy universes that have negatively curved, saddle-shaped space-time — mostly because they’re relatively easy to work with. Our universe, by contrast, is positively curved. But researchers have found, to their surprise, that anytime negatively curved space-time pops up like a hologram, particles come along for the ride. That is, whenever a system of qubits holographically encodes a region of space-time, there are always qubit entanglement patterns that correspond to localized bits of energy floating in the higher-dimensional world.
Importantly, algebraic operations on the qubits, when translated in terms of space-time, “behave just like rotations acting on the particles,” Van Raamsdonk said. “You realize there’s this picture being encoded by this nongravitational quantum system. And somehow in that code, if you can decode it, it’s telling you that there are particles in some other space.”
The fact that holographic space-time always has these particle states is “actually one of the most important things that distinguishes these holographic systems from other quantum systems,” he said. “I think nobody really understands the reason why holographic models have this property.”
It’s tempting to picture qubits having some sort of spatial arrangement that creates the holographic universe, just as familiar holograms project from spatial patterns. But in fact, the qubits’ relationships and interdependencies might be far more abstract, with no real physical arrangement at all. “You don’t need to talk about these 0s and 1s living in a particular space,” said Netta Engelhardt, a physicist at MIT who recently won a New Horizons in Physics Prize for calculating the quantum information content of black holes. “You can talk about the abstract existence of 0s and 1s, and how an operator might act on 0s and 1s, and these are all much more abstract mathematical relations.”
There’s clearly more to understand. But if the it-from-qubit picture is right, then particles are holograms, just like space-time. Their truest definition is in terms of qubits.
‘Particles Are What We Measure in Detectors’7
Another camp of researchers who call themselves “amplitudeologists” seeks to return the spotlight to the particles themselves.
These researchers argue that quantum field theory, the current lingua franca of particle physics, tells far too convoluted a story. Physicists use quantum field theory to calculate essential formulas called scattering amplitudes, some of the most basic calculable features of reality. When particles collide, amplitudes indicate how the particles might morph or scatter. Particle interactions make the world, so the way physicists test their description of the world is to compare their scattering amplitude formulas to the outcomes of particle collisions in experiments such as Europe’s Large Hadron Collider.
Nima Arkani-Hamed investigates the relationship between particle behavior and geometric objects.
Béatrice de Géa for Quanta Magazine
Normally, to calculate amplitudes, physicists systematically account for all possible ways colliding ripples might reverberate through the quantum fields that pervade the universe before they produce stable particles that fly away from the crash site. Strangely, calculations involving hundreds of pages of algebra often yield, in the end, a one-line formula. Amplitudeologists argue that the field picture is obscuring simpler mathematical patterns. Arkani-Hamed, a leader of the effort, called quantum fields “a convenient fiction.” “In physics very often we slip into a mistake of reifying a formalism,” he said. “We start slipping into the language of saying that it’s the quantum fields that are real, and particles are excitations. We talk about virtual particles, all this stuff — but it doesn’t go click, click, click in anyone’s detector.”
Amplitudeologists believe that a mathematically simpler and truer picture of particle interactions exists.
In some cases, they’re finding that Wigner’s group theory perspective on particles can be extended to describe interactions as well, without any of the usual rigmarole of quantum fields.
Lance Dixon, a prominent amplitudeologist at the SLAC National Accelerator Laboratory, explained that researchers have used the Poincaré rotations studied by Wigner to directly deduce the “three-point amplitude” — a formula describing one particle splitting into two. They’ve also shown that three-point amplitudes serve as the building blocks of four- and higher-point amplitudes involving more and more particles. These dynamical interactions seemingly build from the ground up out of basic symmetries.
“The coolest thing,” according to Dixon, is that scattering amplitudes involving gravitons, the putative carriers of gravity, turn out to be the square of amplitudes involving gluons, the particles that glue together quarks. We associate gravity with the fabric of space-time itself, while gluons move around in space-time. Yet gravitons and gluons seemingly spring from the same symmetries. “That’s very weird and of course not really understood in quantitative detail because the pictures are so different,” Dixon said.
Arkani-Hamed and his collaborators, meanwhile, have found entirely new mathematical apparatuses that jump straight to the answer, such as the amplituhedron — a geometric object that encodes particle scattering amplitudes in its volume. Gone is the picture of particles colliding in space-time and setting off chain reactions of cause and effect. “We’re trying to find these objects out there in the Platonic world of ideas that give us [causal] properties automatically,” Arkani-Hamed said. “Then we can say, ‘Aha, now I can see why this picture can be interpreted as evolution.’”
It-from-qubit and amplitudeology approach the big questions so differently that it’s hard to say whether the two pictures complement or contradict each other. “At the end of the day, quantum gravity has some mathematical structure, and we’re all chipping away at it,” Engelhardt said. She added that a quantum theory of gravity and space-time will ultimately be needed to answer the question, “What are the fundamental building blocks of the universe on its most fundamental scales?” — a more sophisticated phrasing of my question, “What is a particle?”
In the meantime, Engelhardt said, “‘We don’t know’ is the short answer.”
1: “At the moment that I detect it, it collapses the wave and becomes a particle. … [The particle is] the collapsed wave function.”
—Dimitri Nanopoulos (back to article)
2: “What is a particle from a physicist’s point of view? It’s a quantum excitation of a field. We write particle physics in a math called quantum field theory. In that, there are a bunch of different fields; each field has different properties and excitations, and they are different depending on the properties, and those excitations we can think of as a particle.”
—Helen Quinn (back to article)
3: “Particles are at a very minimum described by irreducible representations of the Poincaré group.”
— Sheldon Glashow
“Ever since the fundamental paper of Wigner on the irreducible representations of the Poincaré group, it has been a (perhaps implicit) definition in physics that an elementary particle ‘is’ an irreducible representation of the group, G, of ‘symmetries of nature.’”
Yuval Ne’eman and Shlomo Sternberg (back to article)
4: “Particles have so many layers.”
—Xiao-Gang Wen (back to article)
5: “What we think of as elementary particles, instead they might be vibrating strings.”
—Mary Gaillard (back to article)
6: “Every particle is a quantized wave. The wave is a deformation of the qubit ocean.”
—Xiao-Gang Wen (back to article)
7: “Particles are what we measure in detectors. … We start slipping into the language of saying that it’s the quantum fields that are real, and particles are excitations. We talk about virtual particles, all this stuff — but it doesn’t go click, click, click in anyone’s detector.”
—Nima Arkani-Hamed (back to article)
Editor’s note: Mark Van Raamsdonk receives funding from the Simons Foundation, which also funds this editorially independent magazine. Simons Foundation funding decisions have no influence on our coverage. More details are available here.
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global_05_local_5_shard_00002591_processed.jsonl/52995 | Disk Cataloging Made Easy – CD Sync Portable
Disk Cataloging Made Easy – CD Sync Portable
Those who maintain a huge collection of CDs/DVDs know what a pain it becomes to find something from that collection. You have to insert each and every disk into your drive and then search for the desired item in each of them. CD Sync is designed to solve this problem. It is a disk cataloger which allows you to catalog all your disks so that you can search and browse the contents of your disks even without inserting them. The interface of the program closely resembles Windows explorer. Here’s a screenshot of the main window.
CD Sync Portable. Click for full-size image.
As you can see from the screenshot, the interface is exactly the same as Windows explorer. The list on the left site contains all the catalogs you have created. The catalogs are categorized into proper categories. Several categories come pre-installed with the program, and you can also create new ones, as and when you desire. When you select a catalog, its contents are displayed in the browser, just like in Windows explorer. Here you can browse the catalog simply by double clicking the files and folders. If the source disk of the catalog is available, you can simply click on an image / video / audio file and the built in previewer will give you a preview of the file’s contents.
CD Sync provides extremely powerful searching features. You can search for a single file or multiple files in any number of catalogs simultaneously. To begin a search, click the Search button on the toolbar or press F3. When you do that, you’ll see a new window ‘Search Results’ as shown below.
Click for full-size image.
The search window acts both as a starting point and the ending point of a search. Two buttons are available on the toolbar namely ‘Basic’ and ‘Advanced’ allowing you to perform basic and advanced searches through your catalogs. The basic search function lets you specify a filename and select the catalogs in which you want to search. The advanced search feature enables you to perform more advanced and content specific searches. For example, you can search your music catalogs for songs by a particular artist. When you perform a search, the result will be displayed in the Search Results window. Here also, if the source of the catalog is online, you’ll be able to preview the contents of the file.
Some of the other features of the program are:
• Integration into Windows explorer: Simply right click any folder/disk/network drive and there you have the option to catalog your disk.
• Portability: Just extract the portable version of the program into a usb thumb drive and start using it. No installation is necessary. Your catalogs go with you wherever you go.
• Interoperability: The portable and non-portable versions of the program are interoperatble. Meaning, you can export your catalogs from one version and import them in the other.
• Stores disks’ and folders’ file structure as it is, to allow you to browse and search them even when they’re not available.
• Stores extended properties about each file. CD Sync can store above 25 types of properties about each file. This includes:
• Standard file properties, like name, size, and date(s) etc.
• Music properties, like artist name, album title, album year, and song title etc.
• Document properties, like company, subject, and category etc.
• Video and image properties, like width and height.
• File icons for .ico, .exe, .scr, .cur files.
• Incorporates powerful searching features that allow you to search any number of images at a time. It also features content specific search capability (for ex. You can search your music collection for all songs by ‘Linkin Park’.)
• Allows you to export your images, in case you’re migrating to new PC and don’t want to create all those images again. This feature also comes in handy in case of data loss; you can always restore your images from the backup copy.
• Several image categories (like Games, music movies etc.) are provided, so that you can categorize your images. You can also create new categories.
• Allows you to export the file-list for an Image in XML format. From there, it can be read and interpreted by any other program.
• If the source media of an Image is available, the built-in previewer allows you to preview almost all major types of audio, video, and image files contained in the image. The built-in previewer can also be configured to automatically play audio and video files as you select them in the file browser.
• Features a clean and friendly Windows Explorer like interface. So that not too much of your time is wasted recalling where a particular command was located.
• Allows you to set custom description for each and every file/folder in your image.
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global_05_local_5_shard_00002591_processed.jsonl/53006 | Tag: rumors of war
Real patient experiences
Rumors of war
In the fog of war that we know as the CNN/ESPN news cycle, American’s have abrogated their responsibility for waging war to professionals in the military/intelligence wing of our national interest. Constitutionally speaking, the act of declaring war is the sole power of the congress, which has abrogated that solemn responsibility to the executive branch since WWII.
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global_05_local_5_shard_00002591_processed.jsonl/53023 | TY - JOUR AU - Nóbrega, Daniela Gomes de Araújo PY - 2012/09/24 Y2 - 2020/12/04 TI - Students’ spontaneous smile in efl classroom JF - Signótica JA - Signótica VL - 24 IS - 2 SE - Artigo DO - 10.5216/sig.v24i2.17248 UR - https://www.revistas.ufg.br/sig/article/view/17248 SP - 449-467 AB - This article discusses the importance of the students’ spontaneous smile in EFL classroom interaction, and its implication to their oral production. Findings proved that the students’ spontaneous smile served as a fundamental interactive nonverbal sign for it not only favors a closer relation among students, but also helps them in the co-construction of oral activities in group works. In sum, the students’ spontaneous smile appeared to be a nonverbal indicative of proximity and of increasing oral interaction among them. ER - |
global_05_local_5_shard_00002591_processed.jsonl/53031 | Hell Yeah the Durango SRT Does a Four-Wheel Burnout
... when it's chained to an immovable object.
Dodge just rocked the three-row SUV world with its latest V8-powered muscle-freak: The 2018 Durango SRT, with 475 horsepower and a 0-60 time of 4.4 seconds.
It's got the same 6.4-liter Hemi V8 engine and heat-extractor hood as the Dodge Challenger SRT and Charger SRT. It's quicker to 60 mph than the bonkers Mercedes-AMG G63. It trips the lights in the quarter-mile in 12.9 seconds. (Satisfied grunting noise.)
Will it do a burnout? Hell yeah it'll do a burnout—provided it's strapped to something immovable. It's got full-time all-wheel-drive, after all.
Watch Dodge revel in its own Hemi fever with an outrageous celebratory four-wheel tire fire in the brand-new Durango SRT. Yes, this is kind of a stunt. No, there's no car in the world that's powerful enough to roast all four tires while standing completely still, unless it's on a frozen lake somewhere. (Note to self: procure all-wheel-drive vehicle, locate frozen lake. Bring GoPro.)
We don't care. Neither will you. A family hauler that does 0-60 in Mustang GT time? That's our kind of hell-yeah raditutde. See for yourself:
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global_05_local_5_shard_00002591_processed.jsonl/53038 | Live at the almost legendary 'Tuesday Night Music Club'
You can download a Digital Image suitable for Facebook/Private use for a very small fee (The site is not free to run, so they do want some pennies) …Or if you need a bigger file or even an actual print, there are various options for that too
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global_05_local_5_shard_00002591_processed.jsonl/53043 | Big Coal Trashed the Climate and Got Away With It - Rolling Stone
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Big Coal Trashed the Climate and Got Away With It
It wasn’t just Big Oil that misled the public for decades
The coal-fired Plant Scherer, one of the nation's top carbon dioxide emitters, stands in the distance in Juliette, Ga., Saturday, June, 3, 2017. U.S. President Donald Trump declared Thursday he was pulling the U.S. from the landmark Paris climate agreement, striking a major blow to worldwide efforts to combat global warming and distancing the country from its closest allies abroadTrump Climate Georgia, Juliette, USA - 03 Jun 2017
We have wasted so much time. Despite decades of urgent warnings from scientists about a looming climate crisis, global carbon emissions have continued to climb year after year, amplifying and compounding the challenge the world faces to avert catastrophe. A new UN report reveals that global temperatures are now on track to rise by 3.9 degrees Celsius (7 degrees Fahrenheit) by the end of the century. To avert climate chaos, the report suggests, global emissions need to fall by 7.6 percent each year beginning in 2020. That is to say, by next year, carbon pollution needs to start falling five times faster than it has been rising. Possible? Yes. But about as likely as reversing gravity.
Why have we waited so long to deal with this crisis? Lots of reasons, from the sheer scale and inertia of our energy systems to the psychology of denial. But the fossil fuel mafia played a big part in it. Thanks in part to Pulitzer Prize-winning investigative reporting a few years ago by InsideClimate News, we now know that ExxonMobil and Shell and other Big Oil companies knowingly misled the public and their shareholders about the risk that climate change poses to their assets, as well as to the habitability of the planet. In internal memos dating back to the 1970s, Exxon predicted that the effects of fossil fuel pollution could “indeed be catastrophic (at least for a substantial fraction of the world’s population).” In 1982, it estimated that the atmosphere would contain 415 parts per million of carbon dioxide in 2019 – a stunningly accurate prediction. As a recent New York Times editorial pointed out, “The parade of horribles foreseen by the company — sea level rise, more intense rain and snow, inundation, hotter temperatures, desertification, agricultural disruption — are now regular features of the nightly news. And it will only get worse.”
But rather than warn the public, Exxon spent over $30 million on climate-denying think tanks and shady researchers to confuse people about the risks of climate change, while doubling down on its mission to pump as much oil out of the ground as quickly as it could. The New York Attorney General sued Exxon Mobil for securities fraud; if the company is found guilty, it could be on the hook for $1.6 billion in damages (closing arguments concluded a few weeks ago). Other lawsuits are piling up, including one by Massachusetts Attorney General Maura Healey accusing Exxon Mobil of “systematically and intentionally” misleading “Massachusetts investors and consumers about climate change.” Again, billions of dollars in damages are on the line.
But it wasn’t just Big Oil who understood the risks of climate change to its business. Big Coal knew too. Last week, Huffington Post published a story citing an article in a coal industry trade publication from 1966 that proved that climate change was no secret to people in the coal industry either. “There is evidence that the amount of carbon dioxide in the earth’s atmosphere is increasing rapidly as a result of the combustion of fossil fuels,” wrote a coal industry executive named James R. Garvey. “If the future rate of increase continues as it is at the present, it has been predicted that, because the CO2 envelope reduces radiation, the temperature of the earth’s atmosphere will increase and that vast changes in the climates of the earth will result.
This is, of course, just the view of one coal industry executive, and there is still a lot to learn about exactly what other players in the coal industry understood about the risks of climate change 50 years ago.
But it’s already clear that in the early days of the climate wars, nobody was a bigger player than Big Coal. The industry had decades of experience undermining, subverting, and obfuscating science in their battles over air pollution laws, water pollution laws at mining sites, and safety regulations for deep miners (the recent outbreak of black lung disease among coal miners – a terrifying disease that should have been eliminated in the 1920s – is further evidence of Big Coal’s indifference to the health and welfare of workers).
In the early 1990s, when the information war over the climate began, Big Coal’s most aggressive front group was the Western Fuels Association, a group of coal-burning electric utilities and cooperatives. Western Fuels began a “mystification campaign” to undermine the science of climate change. In many respects, it was the same strategy the tobacco industry had used to fight the connection between smoking and lung cancer, and which Big Coal had used to question the health impacts of air pollution: Hire a small group of shady scientists whose views contradicted the world’s experts and promote their views to a gullible public.
Western Fuels also funded the Greening Earth Society, a non-profit that argued that carbon dioxide made for a healthier, happier planet. Among other things, the group made a hilarious, earnest video that was widely circulated in the early 1990s, arguing that higher levels of CO2 were going to lead to a warmer, more productive future for mankind. Looking at it now, it’s astonishing to think that anyone took this pseudo-science seriously. But there are some kooks in President Trump’s orbit still claiming it, including William Happer, a 79-year-old physicist who until recently served on Trump’s National Security team.
Both Western Fuels and Greening Earth Society was headed by a man named Fred Palmer, who was executive vice president of Peabody Energy, which was once the largest coal company in the world (last year, Peabody declared bankruptcy, although it continues to limp along). In the early 1990s, Palmer was one of the most outspoken advocates of Big Coal’s idea that more CO2 in the atmosphere was a good thing. For Palmer, coal was quite literally, a gift from God. “It’s easy to conclude that, under a preordained plan, coal and oil lay in wait for exploitation by humans to permit our creation of an environment on Earth conductive to the spectacular success of our species,” Palmer told an international coal conference in 1996. He argued that the 1992 United Nations Framework Convention on Climate Change, which is the treaty that eventually led to the Paris Climate agreement in 2015, was based on a vision of “apocalypse, scarcity, drought, famine, and pestilence” and that the agreement was designed “to limit the material progress of the human community based on a moral view of the present and future that by definition rejects the pro-human vision of all the world’s great religions.”
To Palmer, taking action on global warming was not so much a question of science as it was a question of faith. Why would the world have so much coal if we weren’t meant to burn it?
In 2009, just after I published Big Coal: The Dirty Secret Behind America’s Energy Future, I debated Palmer about the future of coal at a forum in Lexington, Kentucky. Palmer was no Appalachian country boy – he wore a nicely tailored suit, and big gold rings on his fingers. He exuded Beltway power and confidence. When I challenged him on climate change, pointing out that burning coal was increasing the risks of climate chaos, from melting ice sheets to epic droughts, he waved off my comments like they had come from a fly buzzing around in the room. All he wanted to talk about was the moral imperative of burning coal, and how electricity from coal would lift millions of people out of poverty. When I suggested there were other, less destructive ways to generate electricity than burning coal, he scoffed and cited fake numbers about the extreme costs of renewable power. In the tone of a Baptist preacher, he argued that restraining the burning of coal would condemn millions to lives of suffering and hardship.
It’s hard to know how sincere Palmer was in all this. He was a slick dude, and I’d guess he was using the rhetoric of the Religious Right to give moral justification to the industry’s desire to fatten its bottom line.
There’s still lots to learn about Big Coal’s tactics to deny and subvert climate science. But in the end, Big Coal and Big Oil have been able to delay and subvert action on climate change not because (or not only because) they were greedy, dishonest, and manipulative, but because it was all too easy for them to use their money and their cunning to subvert and undercut the political system that was supposed to be looking out for the larger public good. And a stable climate is the Mother of all public good.
As for holding Big Coal accountable for decades of denial and obfuscation – well, good luck. The industry is racing toward extinction, done in by cheap natural gas, cheap renewable power, and a growing awareness that coal is a 19th century fuel ill-suited to 21st century life. Eight U.S. coal companies declared bankruptcy in 2019 — including Murray Energy, headed by Trump’s pal and campaign contributor Robert Murray (“a geriatric Dr. Evil,” John Oliver famously called him, prompting a now-dropped lawsuit from the 79-year-old coal baron). In just the past month or so, two big coal burners, Bruce Mansfield power plant in Pennsylvania and Navajo Generating Station in Arizona, shut down. Globally, electricity production from coal is on track to fall 3 percent in 2019, the biggest drop on record. Big Oil is still rich and may yet have to pay for their role in knowingly trashing the Earth’s climate for profit. But Big Coal is broken and bankrupt. It stole our future, and will get away with it.
In This Article: Climate Change, Coal
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global_05_local_5_shard_00002591_processed.jsonl/53052 |
Tsunami victims in India still waiting for compensation
More than five years after the notorious Asian tsunami, with thousands of people displaced in India alone, signs of the destruction may have washed away, but so have some of the government's promises of help.
Rejecting foreign aid, the Indian government vowed to pay for the reconstruction itself.
However, not all the money has ended up in the right hands, while many people still remain homeless.
When the tsunami in December 2004 hit eastern India, the town of Nagapattinam was the worst affected, with over 6,000 people killed and many more thousands displaced.
Five years later, the destruction seems like a distant memory. There is a new bridge in the town, and it seems the money that poured in has been spent on infrastructure and on rebuilding homes.
But scratch the surface and you find lives have not yet recovered. The biggest livelihood here is fishing, but the government has not yet provided loans to all local fishermen to replace the boats they lost in the disaster.
“My boat was destroyed in the tsunami. I need thousands of dollars to buy a new one, but after promising us a loan, the government has given only a few people money to buy new boats,” shared fisherman Vittri. “Without a boat, I am nothing. From a boat owner, I have been reduced to working as a laborer.”
Practically everywhere there are residents who have not received their promised compensation.
Pushpavali lost her husband and her house in the disaster, and is bringing up her two children by herself. Despite the government promising to rebuild all houses destroyed by the tsunami, her request for a new house has been turned down.
“I asked the village elders and government officials for a replacement house, but they say, ‘you are a single mother, those families who have no male breadwinner will not be allotted a house.’ What do I do?” questions Pushpavali.
Five years ago there were whole families whose lives were washed away by the tsunami and today all that remains are the foundation of their houses, still not reconstructed and waiting to be rebuilt for somebody.
RT approached the local government administration in Nagapattinam, but despite our repeated requests, the district collector refused to speak to our journalist. |
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global_05_local_5_shard_00002591_processed.jsonl/53117 | Skip to Main Content
The Long Way Home
Illustrated by Daniel Duncan
Henry Whiskers and his cousin, Jeremy, must find their way back home—Queen Mary’s dollhouse—and to Windsor Castle with the help of a mysterious treasure map in this fun, fast-paced follow up to The Adventures of Henry Whiskers.
Little Henry Whiskers is thrilled when he discovers an old, crinkly map, complete with a giant X marking a spot, full of treasure—at least, that’s what Henry thinks. All he knows is that this map is something BIG—he can feel it right down to the tip of his tail.
But before he can share his exciting find with his cousin and best friend, Jeremy, they find themselves in the danger zone: The Windsor Castle Kitchen. And after being unceremoniously caught and thrown out of the castle, with nothing but the map, the two little mice realize they have bigger problems than being caught in the kitchen! How will they get back to the dollhouse?
With the help of his cousin, Jeremy and a fellow field mouse named Wisely, the cousins battle a hungry falcon, an endless and stormy lake, and the maze of landmarks on the Windsor Castle Grounds as they try to find his way back home—and discover the mysterious map is more connected to the Whiskers family than either of them could have ever imagined.
The Long Way Home
HENRY WHISKERS SUCKED IN HIS breath and clamped a paw over his mouth. His rounded ears flicked back and forth, listening for any sign of trouble. Certain it was safe to continue, he raised the crumpled wad of paper to his nose and sniffed its musty nooks and crannies, then gently uncrinkled it and spread it out on the desk. His whiskers twitched with anticipation as he smoothed away its wrinkles. His heart ticked faster. This was big! He could feel it! Right down to the tip of his tail.
A milky-white moon hung in the sky above Windsor Castle. Visitors and tour guides had long since gone home, including Warden, the tour guide in the exhibit room of the world’s most famous dollhouse. Sitting on its base, raised to eye level for visitors to view, Queen Mary’s Dollhouse glowed like a jewel in the middle of the dimly lit room. Standing five feet tall, eight feet long, and four feet wide, it made the perfect place for a family of mice to call home.
The night belonged to Henry! It was the only time Mother Mouse allowed him to roam the dollhouse and now he was convinced that he was onto something!
Only moments ago, he had been reading, sprawled across his favorite leather armchair in the library, when something had caught his eye. It was the shiny brass pulls on the desk drawers nearby. He had an idea. He lassoed the book with his tail, hopped out of the chair, and stuffed the book back into place on the bookshelf. On the desk there was a collection of fountain pens, leather-bound boxes, silver boxes, smoking pipes, and stationery. Nothing can look out of place, he reminded himself while his paws itched to touch each one of them.
Henry swung his tail out from under his charcoal-gray body and sat in the desk chair. He ran a forepaw across the smooth walnut-colored wood surface of the desk and noticed that the pens, letter openers, and a crystal bottle filled with blue ink were embossed with the queen’s crown, just like the life-size versions that Her Royal Highness used. Photographs of people stood framed in sterling silver, smiling back at him. It feels like they are watching me, he thought as he clasped a shiny drawer pull and gave it a little tug. The drawer glided halfway out and got stuck. Upon inspection, Henry spied a piece of crumpled paper jammed in the back. Careful not to rip it, he eased it out. Flattened in front of him, he saw several scratchy paw-drawn images connected by lines and dots. Instantly he recognized the Copper Horse and the paved path leading up to it called the Long Walk. He’d seen them a hundred times from the castle’s front windows. There were other things he didn’t recognize, but they had words like Totem Pole and Gardens written next to them. To the left of all of the images, near the ragged edge, Henry noticed a large mysterious .
Henry’s heart thumped faster as he studied the map more closely. It nearly stopped when he spotted some small initials scratched on the lower right corner.
He slapped a paw over his mouth again. He could hardly contain himself. A flood of questions swirled through his mind. How could he have . . . ? When did he . . . ? I wonder if . . . ? Does Mother . . . ? Then it struck him. He had to show Jeremy. Now!
Henry swiftly rolled up the map and wound his tail around it. He slammed the desk drawer shut, leaped out of the chair, and shoved it back in its place. He gave the desk and the room one final inspection, then dashed off to find his best friend.
He’s probably in the castle kitchens, Henry guessed, picturing Jeremy—who was also his distant cousin—nibbling away on crumbs from the queen’s dinner much earlier that night. Henry hopped out of the dollhouse and onto the exhibit room floor. Navigating his way through the castle, he took all the shortcuts he knew, racing through the heating ducts until he reached Lantern Lobby just outside the biggest kitchen of them all. He poked his head out of a grate in the wall to check for Titus, the steely-eyed tabby cat who roamed around as if he owned the place. When Henry was certain that the coast was clear, he hopped out of the grate and darted across the floor toward the kitchen.
Twenty mouse lengths away from the kitchen door he planned to slip under, Henry heard a clack-clack-clacking. It was the unmistakable sound of cat claws on the hard stone floor. Henry crouched, frozen to the spot, not daring to look or twitch a whisker. When he heard the clacking gather speed, he knew Titus had spotted him. Henry held his breath and made a run for it, slipping under the kitchen door just in time, leaving the nasty old fur ball hissing on the other side.
Henry sprang up onto all four paws as fast as he could and sprinted for cover under one of the massive, black iron ovens. He huffed and puffed until he caught his breath, then surveyed the enormous kitchen in search of Jeremy.
The floor was bathed in moonlight that poured through the windows high above. Its gleam bounced off copper pots and kettles that lined the wall shelves and ringed the giant room. The very edges of the kitchen offered safe cover in the shadows cast by ovens, stoves, and worktables.
“Henry!” hollered Jeremy. “Over here!”
Henry turned toward the sound and eagerly waved the map for Jeremy to see, but Jeremy had turned away. Sitting in the middle of the open floor, spotlighted by moonglow, Jeremy looked like he didn’t have a care in the world as he nibbled away on some whisker-wetting prize clutched in his oversized paws.
“Jeremy!” Henry yelled. “Look what I found!” He scampered out from cover and stopped to reconsider.
“Come on!” Jeremy was signaling for Henry to join him, but Henry shook his head. He was anxious to show Jeremy the map, but something told him to stay in the shadows.
Henry curled his tail around the map and made his way closer to Jeremy by hugging the wall under the ovens and stoves. When he was midway along, he cocked his ears and fixed his eyes on Jeremy. Something didn’t feel right. “Jeremy,” he shouted, but it was no use. Jeremy zigged and zagged back and forth across the floor following his nose in search of more crumbs. Henry shook his head, then all of a sudden, with no warning at all, the entire kitchen was flooded with bright fluorescent light.
Two cooks wearing white aprons, black-and-white checkered pants, and dark rubber-soled clogs marched in carrying cases that reminded Henry of suitcases from the dollhouse, just a whole lot bigger. Henry’s heart leaped into his throat. He looked back and forth between the cooks and Jeremy, who had tucked himself into a tight ball below a table, just a few tail lengths away from one of the cook’s feet. In the middle of the kitchen, there was nowhere to run without being seen. No wall to hug. No vent to hop into. No drain to duck down. No stove or refrigerator to hide under. Henry could hardly breathe. Look at me, look at me, he willed Jeremy, but at that very moment the black clog shifted and kicked Jeremy.
Jeremy shot out from under the table. The lady cook screeched and dropped her case, which crashed to the floor. An assortment of shiny, sharp kitchen knives—large and small—sprayed into the air and showered down all around Jeremy. He stopped still in his tracks.
Henry jumped out from under the stove. “Run, Jeremy. Run!”
Henry attempted to back up into the shadows again, but his legs felt heavy and wouldn’t obey. The room began to swirl in front of his eyes as Jeremy stayed glued to the same spot, surrounded by knives.
Thwap! Whop! Whap! The familiar sound of a broom came close to Henry’s head, blowing his whiskers back. Jeremy sprang in and out of Henry’s view as he scampered, hopped, and skittered away from the attacking broom.
“Stop, you’ll kill ’im,” Henry heard the woman shriek.
“That’s the idea, m’lady,” the man shouted.
“Don’t kill ’em, poor things. Let’s trap ’em, and I’ll trot ’em off tuh the park to set ’em free.”
Henry’s pulse pumped through his paws and pounded in his ears. Too stunned to move, he watched the lady cook lower a large metal mixing bowl over him. It all happened so fast, and yet it felt like slow motion. CLANG! The metal echoed as it hit the hard stone floor. Everything went dark except a thin ring of light that peeked under the rim.
Gigi Priebe is the mother of three, the founder of Stepping Stones, an award-winning children’s museum in Norwalk, Connecticut and the author of The Adventures of Henry Whiskers, the first in her middle grade series. When she is not writing¾or rewriting¾she is a philanthropic advisor and community volunteer in Fairfield County, Connecticut, where she lives with her husband, a cat named Tigger, a dog named Clover, and probably some mice.
Daniel Duncan is an illustrator living in the UK who creates most of his work in an old stable turned studio. His work takes inspiration from cinema, old photos, and sports. Duncan graduated from Middlesex University with First Class Honours, and a bachelor’s degree in illustration. He was highly commended by Macmillan for the 2013 Children’s Book Competition, as well as being shortlisted for the 2014 AOI awards for the Children’s Books New Talent category.
More books from this author: Gigi Priebe
More books from this illustrator: Daniel Duncan
More books in this series: The Adventures of Henry Whiskers |
global_05_local_5_shard_00002591_processed.jsonl/53122 | Samantha Lee
Claims Director
Charles Taylor plc
Chan Leng Sun, S.C.
Baker & McKenzie, Wong & Leow
In the October 2009 offshore special edition of the Standard Bulletin, we reviewed one vehicle for settling disputes in Singapore, namely the Singapore Chamber of Maritime Arbitration (SCMA).
In this article, we review the developments that have helped to position Singapore as a regional leader in arbitration. A developed legal infrastructure, modern facilities and focused support from all branches of the government and arbitration practitioners (local and foreign) are some of the key factors in Singapore becoming a regional arbitration centre.
The international arbitration regime in Singapore is governed by the International Arbitration Act (IAA), which gives the force of law to the UNCITRAL Model Law on International Commercial Arbitration (the Model Law) with some modifications. The IAA also gives effect to the New York Convention on the Recognition and Enforcement of Foreign Arbitral Awards 1958 (New York Convention).
The domestic arbitration regime is governed by the Arbitration Act (AA). The AA was revised in 2002 so as to harmonise the laws on domestic and international arbitrations. The AA operates as the default regime if an arbitration in Singapore falls outside the reach of the IAA or parties opt out of the IAA. One difference between the IAA and the AA is that the AA permits referral of a question of law to be determined by the courts instead of the tribunal in the course of the arbitration.
• The Standard Bulletin by The Standard Club
The Standard Club is a specialist marine and energy insurer and member of the International Group of Protection and Indemnity clubs owned by its shipowner members and controlled by a board of directors drawn from the membership.
For details, please visit
Media Contacts |
global_05_local_5_shard_00002591_processed.jsonl/53125 | This is how I'm feeling every morning now that school has started!
This is me in the morning now that school has started, gone are the lazy days of summer, sleeping until you wake up or until your child wakes you up! My daughter is in kindergarten this year so now we are up early every morning doing the mad rush to get out the door so we don't miss the bus, only 12 more school years to go WOO HOO (I'm trying to trick myself into being excited). She better be getting herself up by the time she goes to college or there's something wrong.
My daughter when she was almost 2, I love it! |
global_05_local_5_shard_00002591_processed.jsonl/53129 | Sketch & Watercolor Kids Characters Using Photo Inspiration | Stephanie Corfee | Skillshare
Sketch & Watercolor Kids Characters Using Photo Inspiration
Stephanie Corfee, Artist + Author
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9 Lessons (2h 9m)
• 1. Teacher Introduction + About This Class
• 2. Class Materials
• 3. Choosing A Great Source Photo
• 4. Gesture Drawings
• 5. Simplifying Faces
• 6. Finalizing Your Sketch
• 7. Adding Watercolor
• 8. Wrap Up
• 9. ** Extra Tips: Shading & Coloring Jeans
About This Class
In this class i will teach the basics of sketching "characters", or simplified portraits of kids using photos as inspiration for pose, style and expression.
Beginners & Intermediate artists will learn a lot but may need lots of practice. Experienced artists may pick up a few bits, or at the very least see how another artist works : )
Lessons will include tips on:
- choosing a good source photo for inspiration
- making super-quick gesture drawings to establish the basic form and structure of your figure
- simplifying facial features to stylize the face
- cleaning up your gesture drawing to make a finalized sketch
- adding loose watercolor to your illustration, and even splashes & spatter to create a bit of life and flair
1. Teacher Introduction + About This Class: Hi, everyone. I'm 70 core fee. I am an artist in the Philadelphia area. I work here in my home studio, which is pretty convenient because I have three little boys always running around that I can easily keep an eye on. I dabble in all sorts of creative things I love to, so I love to paint abstract acrylics on canvas. I like to teach art lessons to kids on licence, my art for products like greeting cards and Home to core and Wall Art. And I published books in the art instructional space on topics from doodling to fashion design to painting with your kids. But the topic of this skill share class is one of my very favorite things close to my heart . And that is drawing adorable little kids character sketches based on a photo inspiration. Now, if you follow me on social media, I'm sure you've already seen a 1,000,000 examples of this exact kind of thing. But I'm gonna teach you my tricks. I'm gonna teach you exactly how I approach drawing like this, and I'm gonna teach you in the same exact way that I would teach my six year old son who often likes to sit by my side and draw people, even if you're intimidated by drawing people. I think that these tips and steps will help you to see a huge improvement from your first attempt to maybe you're fit. 6 10 12 attempt. It's all about practice and kind of getting in a rhythm. So I hope you're excited, and I'm gonna get started with a short list of materials and next video. 2. Class Materials: everyone. I'm gonna talk to you real quick about basic materials that you will need to do the character sketch glass. Since it's a sketching class, you will need paper and pencils. You can go from basic to a little more advanced to artists quality. And I'm just gonna tell you that on the regular basis, copy paper or typing paper, whatever people call it nowadays is just fine. It's great for practice, inexpensive. You won't feel too bad if you scribble a few pages out and toss it, so that's fine. It doesn't work for the watercolor part of the end, but for practice, it's great. If you want to get a little bit fancier, you can go with either watercolor paper or just an artist sketch book that has some heavier weight. John paper In it, you can see kind of the weight of this. This is a can sahn drawing a notebook that I just got a craft store and you can see. But it takes the watercolor pretty well, so I wouldn't hesitate to use this in your practice. It's also pretty portable for watercolor paper. You can get a small, inexpensive tablet like this that's made by cans on. I recommend cold press paper, which has a nice to the texture to it. And I think is a lot more forgiving, uh, for beginning water, Polaris and even for me, who has been with her coloring for years. I don't have much success with the smoother hot press papers. I like the cold press and one of the really nice papers if you're doing a gift or something , is this Arches paper. It has such a nice feel to it. It's made out of cotton. It's heavyweight and just really lovely. So if you wanted to step it up once you've got this in the bag, Okay, So for pencils, you can use a basic mechanical pencil that you would just get in any office supply store. I use mechanical pencils like they're going out of style. I love that. I don't have to sharpen them. I have them in every drawer there, candy and, um, I always use I never used this eraser. I always use a needed gray eraser so that I don't tear apart my paper when I'm racing all my straight lines, this just sort of grabs the extra graphite and pulls it up off the paper without destroying the page, which is great when you come back later and do watercolor because you won't have this scrubby no be texture on your paper. I won't use artists pencils. I would suggest using a harder lead. So the pencils range from four H 26 b in this particular set, and the B pencils are soft lead and the ages air hard. You're gonna when you use the hard, because it doesn't lay down as much black graphite on the page That will just muddy up your watercolor later. So use a hard, um, lead in a lighter touch for your sketching so that paper and pencils and really you could stop there. But if you want to go on and do the fun part with the watercolor that I have some recommendations, Um, as far as watercolors go, there are so many sets that you can buy, so I don't even wanna point you necessarily in one direction or another. You can get a really cheap set, just experiment with the craft store, and that's fine. I use those two. But these are the steps I use on a regular basis, and people ask me a lot of questions about because the colors are very vibrant, so I want to share the names with you. This is a well upset but not expensive. It's, um, Angora watercolor set 36 pants, and I think the company is royal talents, and you can get it on black dot com. I like it because of the jewel tones, not so many primaries. That's kind of more interesting colors. And then this set, which is more expensive, is a mission gold tube set. So instead of dry pans of color, these come in a tube wet. You can, you know, kind of pick the colors you like the best and make your own palette mixing in the middle. And even when they're dry, you can react to beat them with water. And then, lastly, the one that I take with me when im sketching in the car on the go at the Kids Practices or gosh, in the coffee shop, you want people watching to your character. Sketching is this little portfolio made myself with Nicholson's peerless watercolors. These watercolors are pigment that's dried onto card stock, and when you get it, it's just these big, long cards, and then you can cut it up and make your own little portfolio of colors. You can google this. A 1,000,000 artists have made cool ones probably cooler than mine. Um, and see about making your own palette. The best thing is, it's such an easy way to travel with your art supplies, the same paper towel that you'll need to block your brushes. You stick between the layers. Some people use acetate, but I'm just like, no way, man. Put the paper towels in there, tie it up with this tiny little driwater color palette and grab the next thing. I'll tell you that, which is my pen. Tell backwash water brush. It has water in the handle so you don't need to bring a reservoir with you. You squeeze it to get water to come out into the bristles, and then, if you have your brush loaded with color is, squeeze it again and kind of rents off on your paper towel until it runs clear. So if you have a water bottle in your bag and you can just keep refilling it, this will work forever and ever take it with me everywhere. So if you have these little doodads just this little bit you can pick, maybe the pencil, right. Go to the park and people watch and sketch there. So if you want to use traditional brushes, which is fine and I actually will use a little bit of those in the class, I would just recommend some around rushes in a medium medium to small sizes. The tapers nice. It doesn't matter if they're expensive, then for the puddles and little atmosphere that will get behind our characters. I like to make puddles with one of these, like more mop brushes that can hold a lot of liquid and a lot of paints. We could make puddles and then any kind of brush that you can flick dried up mangled brushes that had dried, painting them anything that has the type of bristle that you conflict. It's good for flicking watercolors. Weaken makes fatter will be great. That's definitely all you would ever need. But I do have a few little fun things that, if you wanted to add to your collection, would be nice. Um, when I do clothing, which is my really love doing the clothing on the characters. I don't ever try to paint polka dots. I don't usually try to paint polka dots or stripes. I will often just add them with the gel pen at the end so you can use a white gel pen. Or you can use white ink, an opaque white ink like this one. Um, sometimes it's easier than trying to, like, paint around all the negative space. And then finally, this really super metallic brilliant gold wash for like, earrings or studs on a little purse. Or who knows, shoes. Whatever is a nice little accent at the end, and that's it. 3. Choosing A Great Source Photo: So when I make these kind of character sketches for clients, they will often ask me what kind of picture I need to work from. And for the purposes of this kind of sketch, I usually tell them full length, like I'd like a head to toe kind of picture with nothing cropped off toe work from. But I also tell them to try and think about their kids personality. So I always say, Try to capture a moment. Don't give me a mug shot so you don't want your kids school picture where they're just standing at attention and looking straight forward, You want something that has some joy, some character that gives you a sense of time and place and is really like a memory. So this sweet brother and sister at the beach is a great memory, and you can see if you look back on it, they'll remember that point in time. The sweet little bathing suit could not be any cuter, and it's nice how they're facing each other and interacting. So to me, that's a moment and the same thing with this one over here. They sent a CB atoned photograph, and I did the sketch and see Peotone, to which kind of gives it a timeless quality. And she's got this classic Chuck Taylor sneaker going on with her little two to style dress , and she just looks so joyful with her head thrown back. So to me, um, it's not about what color her eyes are. What shape are they? It's about capturing this moment of joy in this moment of interaction. So if you look for photos that give you that sense of, um, kind of, ah, emotion and feeling, then those will be great subjects for your sketches. So the next tip is to look for great shapes and an angle you can handle. And what I mean by that is that you should pick more of, like, kind of a head on angle, where there's not a lot of distortion because the photo is taken from above or from underneath. Unless you feel like you can handle that. If you're an accomplished artist and foreshortening doesn't bother you, then go for it. But for beginners, I would often just recommend that you take ah full on front angle, where the proportions are all more correct when I say look for a great shape. It's really about the pose. Like, what's the overall outline? This one is so symmetrical and balanced. Um, you can see the shape of his legs are the same on either side. The ball balances everything. It's kind of a really nice, proportional, kind of tight shape overall footprint of the image. And then here she's got so much personality, these little bunny ear kind of headband going on and her little leg off to the side and angled little arm angled as well. All these things make for a really balanced composition and something that looks like it can stand alone. It doesn't need the background around. It's nice and strong. Now, on the other side of the coin, you have these two photos, which I would say are more challenging angles. This one, taken from the lower part of the hill as the kids air sledding and looking upward, is showing you the bottoms of feet and a foreshortened kind of proportion to the body. There's legs and arms everywhere, and it's just a more challenging angle toe work from. So if you're a beginner, maybe don't tackle that one. And if you're a little more advanced. Hey, go for it. Um, again, Same thing with this one on Adult took this picture, obviously, which I think is adorable, but it's taken from a downward angle, so her legs air really shortened in her feet, are a little smaller proportionally than they would be compared to her head. And if you feel confident in looking at the source photo and just translating those proportions and getting that angle, then great go for it. But if you're a beginner, maybe don't pick this angle because it might end up looking a little wonky. Proportion wise, the next tip is to appreciate clothing, accessories and props with personality. So what do I mean by that? You're trying to capture the essence of a character. It's not really about capturing their exact facial features or, you know, their exact likeness. It's more about creating a character that recalls their personality, their essence as it were. So you wanna pick photos that really represent the child. So this mom had sent me a picture of her son, who is a hockey player, and even though this is some might say, it's a mug shot because it is opposed picture. There's so much personality that comes through at this point in time. His age, the way his hair is kind of like swirled onto his head, probably probably had his helmet on. Who knows the hockey stick? The team he played for. This captures a moment time. So I think it kind of isn't so much a mug shot. And I do think that it will recall a memory. It's all about his accessories, his clothing and that character that comes through there. The number on his jersey will remember that the team that he was on represented by the logo so that that clothing choices just really strong and the same with this little boy. He's got a cool accessory. Who knows? Maybe that was his favorite dump truck at this age. Maybe those were his favorite kicks. I don't know. My son loves thes sneakers every time he sees the sketch. He's enamored of the plum colored high tops and even this really character filled little neckerchief that he has. It has little dinosaurs on it, and I could have just skipped that and made it any pattern. But, um, I really did draw the dinosaurs because it's gonna capture that moment in time. Remember when Remember that? Remember that dump truck that used to carry around everywhere you went? That captures kind of a moment, and it's kind of a hook for the image, even if your face doesn't come out looking exactly like the photo. This character overall is gonna recall this child because of all these little details that were adding in. Now here's the girl's version of that same idea, paying attention to the clothing, accessories and props. So this little girl, who clearly loves riding horses and whatnot, has her cowgirl hat on. She has her leopard print, turquoise trimmed cowgirl boots, and she's carrying a bucket with I don't know if that speed or hey or whatever it is in there. But clearly all of these accessories and little bits and pieces to her apparel and her accessories and her props are telling a story about who she is, at least who she is at this age. So that's really strong and will recall a memory and again, even if the faces an identical if you don't get that identical, which is not really the point. This is gonna capture the essence of this character. And then this little girl also seemed thing. I mean, this dress is one of a kind, so it has horses all around him. Line she's got her Fedor on Just got some attitude, great pose and these purple Navy boots. It's It's so specific that it brings the character to life and really kind of will give you an idea of who it is. Even if you never saw the face, you probably know if this persons in your family, you'd say, Oh, that so and so with her fashion sense. So that's a really strong example, too, of a great voter to choose. And then the last tip, which you may or may not want to pay attention to, depending on your level of skill. If you're a beginner, if you're more advanced is to pay attention to the hands, feet and the exact kind of facial expression or features in the picture that you choose. If you're not good at hands or feet, look how you can cheat. I mean, this picture really has that's barely a hand. These feet are buried in the sand thes air buried in a sleeve. There's plenty of opportunities where a hand is in someone's pocket or behind their back, and you can just kind of avoid it. If that's not your strong suit. Now it's good to practice, and I encourage you to practice, um, and get good at drawing hands and feet. But if that's not something that you feel like doing today, then you can kind of put it off and just look for some good pictures where you're not gonna be challenged too much. And then in this example over here. And I feel like eyes air, often the most difficult for people because it's hard to represent an eye with minimal lines. And so if you feel like you're always over drawing the eye or under drawing it, it's just a dot. And that's not something. You're happy with this smiling expression with a little kind of slit shaped eyes. It's a way to cheat the system. So, um, the same thing happens with smiles. Sometimes, if you have a close lipped smile, you can just draw. It is a curve, and you can kind of cheat that way, too. So, um actually, like drawing eyes. But this picture was a good example. This is my little boy and I love when he laughs like this with his eyes, all squinty. But that is definitely awaited. Cheat. Get a real real smiley picture. We've just got the little the little rainbow eyes. So those are all really helpful tips in choosing a photo That's gonna help ensure success when you're trying to do your character sketch. But really, the question you should just ask yourself is, does it make you smile? Does this image make me excited to sketch it? And if that's true, ignore everything else and just dive in headfirst in the next section. We're gonna do some gesture drawing so you can do just that, see in a minute. 4. Gesture Drawings: So this section is all about gesture, drawing what is a gesture drawing People do them all different sorts of ways, but essentially they're drawing this done quickly and is mainly used Teoh map in the form and the pose of character in a figural drawing, so I tend it probably be a little more exacting when I do mind, some people really, really scribble on. There's a lot of black carbon on the paper by the time they're done, they're getting kind of an outer shape and form etcetera, and I do a little bit more detail, but I think the principles air just the same. You want to get a quick framework before you concentrate too much on any one area of your drawing. This'll helps you to work more evenly across the entire image and gives you a nice, strong framework that you can then carve out and detail as you like to get a great finished result. Now I want to do some live gesture drawing and then described you my process and what I'm thinking as I go and how I'm kind of, uh, moving through the drawing by looking at spatial relationships between different parts of the body and that sort of thing. So I have four to show you and two boys two girls. So let's get started. These are supposed to be quick. In fact, try and look at it as though you only have two minutes to do it, and that's it. And you want to get an idea of the suppose that your subject is in and specific proportions , things like that. But try not to labour everything too long. I always start with the head, and a lot of times instead of drawing an oval or circle, Um, I'll draw this sides, I'll draw it almost has a square. So I'm really examining. What's this angle right here of the side of the face? Kind of. Put that in first and then move across to the opposite side of the face. Figure out where the chin is. Figure out where the top of the head is, and then kind of connect the dots, and this is all gonna get refines later. And then one thing that people usually do is drawing neck coming out. If you're really looking at the drawing, you'll see that his shoulders air coming out of his face out of his head's down. So you're proportion is actually here, and then I'll just get the hand. That kind of comes across at a right angle. Maybe I'll refine. This looks like it needs to drop down. The point is, you scribble a lot checking yourself as you go. The hand is kind of under the year. Here's the ear. So straight down, here's the hand, and I just dropped blocking a hand as a kind of geometric shape. Sometimes it's a triangle. Here's this little neckerchief. See this? And I'm looking at How much space is there between that and a little bit of best that you see a tiny little bit of space? Um, and then we have a dump truck. I'm just gonna put the whole truck, has a square. There's only a little bit kind of tucked under his hand wheels, some that sticks out here. It's very basic. His best comes straight down outside of his farm, so that's here. It's very boxy. It's a little bit below the wheels of the truck and see, right now, I feel like this is too long, so I probably don't. I probably have the truck too big, so you can kind of correct as you go. I'm gonna move that up. I'm gonna move his vest up and probably there we go. That's a little better. Also, at this point, you can kind of put in the grid for the face. I always find that midline that goes right down the nose into the chin and draw that in, and you instantly have a sense of direction and where the face is looking. And then if a subject is looking up, you're gonna have an upward arc for the eyes. And if they're looking down, you're gonna have a downward one. So where is that I line? That's a map for you. To a lot of times, I will map in the hair. Um, just the basic shapes that you're getting. Um, he has more volume on top of this head, so I can add that. Keep referring back to the picture and seeing where you look off. I also like to move around the drawing a lot so that you don't focus on one spot so long that you can't see it objectively anymore. So now we're down to his legs. I almost always do the legs as, like Little Stems like little sticks. And, um, then I'll draw the base of the feet almost before I draw anything else, and sometimes they're not in the right spot. Sometimes they are. But I like that baseline and then connecting the dots through so visually, halfway down the leg, Here's the knee, so always right. Draw a little line for the shadow under the knee, and then it's all kind of connecting the dots from that point. He's got these cute high tops. They're very chunky, kind of triangular, and that's it. So there are things I can already see that I want to fix. I've made his shoulder broader than it really is. When I do my actual drawing, I'll shave that down. And that makes him a little thinner, too, that sort of thing. But that's the gesture drawing. You wanna limit yourself in time and you want to scribble, go quickly. Don't give yourself too much time to labor the point or Teoh get inside your own head, so let's move on to the next one. Okay, so I picked this next one because it's an interesting composition. This might be challenging if you're a beginner, but still the process of drawing the gesture, sketch gesture drawing is the seem. And so I went ahead and chose a challenging one. Doesn't matter if you look closely at it before even begin. Everything you know about human proportions looks out of whack because her heads a little forward, so it's larger, aspires the cameras concerned. It's a little larger, her shoulders air coming out of almost the top third of her head because she's really leaning over. So in this picture, it's really important to draw what you see and using the's spatial clues, so I'll show you what I mean by that. So if I draw her face and again, here's my little Here's the chin on paying attention to this angle of the lower part of her face and see how it opens up here. It's not a right angle. Little things like that will really help you. Teoh. Draw what you see and not what you think is there. Her mouth is right down into her chins will just throw a little line there. Her nose is just a tiny smidge. Sometimes I'll draw that little that little distance in to give myself a marker, and I'm not gonna draw the entire news. I'm just gonna draw the angle. Looks like a cat right now. Um, Q t pie. And then her eyes are kind of like look at the distance here, look at the distance here kind of market. And then I'll do this curve because one thing is people will do eyes and they won't be on the same plane and they won't be on the scene. Kind of, I guess that's more like a meridian. Um, you don't really see the one I under her hat. However, we need to know that we can kind of see a little lashes, and that's a marker for her hat. Her hat sweeps up like this. So having that line, the grid lines for the face is really helpful. It helps you keep both eyes on that same cross hatched a line, and it helps you with other kind of geographical references if I'm looking at everything in the picture and trying to relate it to something else, so that's a little more in depth, and I usually get for a gesture drawing. But I had to have had to discuss it since it was there. Okay, so that's it. So now she has, um, her ear its way up higher than her. I that's it's not really like that in real life. It's just the angle that we're seeing. And then the shoulder comes out of the year. Arm comes straight down. Well, not straight on an angle, but it's her arm is not flexed. And then I'm just gonna draw this random Nothing for her hand. It looks like a shoe kind of, but doesn't matter. And then over here, out of her cheek comes a strap. And then there's a diagonal line that cuts just by her chin for her out for her little top . Um, this is how I just keep going back to the picture and looking at collectivity. Where is where things connected? Um, from her ear and upward is the band of her hat, and then it kind of mushrooms out. And then the brim of the hat and this proof at the top of the hat kind of hit the same spot . So we'll do this. And then that poof is there. She's got some hair here. We'll just indicated by a squiggle. And there's that strap from her dress. She has a little dip down, and then the other arm. It's now if you look at the two arms. If you were to draw a line between her inner elbow here and this elbow, you're getting this strong line this way, and that can help you to see where the bend in her arm needs to happen. Also, the hands one hands here, and this one is just slightly lower where it's leaning. Here's a crayon again. These angles seems so wrong because see how short her forearm is. It's because she's reaching forward on its foreshortened, this tiny little short bit and this really long upper arm. It looks wrong to your eye, but it'll look right in context to the drawing once you have all the details flushed in and then her knee kind of comes out where her elbow is like this got a bunch of lines in here for her legs and whatever. They're doing. A little bit of shirt action. This is pretty much a vertical, so we'll just draw that straight down. And then this scoop in here of her shirt tells me where the Legace. So that, like kind of comes up here and back down again. You really see any feet? Everything's kind of tucked in, but let's draw the book because that's kind of cool. So this is here. And then she's got this straight section, the book she's drawing in my angle. Check your angles. My cram is not slanted enough. Here's the thumb. And then here's a little ruffle for her shirt, her hair over here kind of covering and then a little bit that kicks up there. So now if you go back in to clean this up, some of the things I see immediately or that I want to soften the lines through her face so she looks more child like it's a little wider and rounder, and you can finesse all that stuff as you get further into the drawing. But that's the gesture. That's the proportion that's, um, the pose. And it's kind of like the framework for your sketch and you'll get really good at thes. Some days I feel like I'm really good at it in Sunday's Unlike man, all my gesture joints, they were terrible on that will happen. So no worries. Um, sometimes you're in the zone, and sometimes you're not. But this is a great practice to do from life or if you're somewhere and you're not comfortable drawing from life um, unnecessarily taking pictures of strangers but can take a picture of your kids doing whatever they're doing so that when they run off and leave pose, you'll have it on your phone. Or you can have it on your iPad and work from that reference. Um, digital photography is awesome for that. Okay, so the next one IHS um, my son. OK, so, ups, turn it one. Okay, so here's another one I wanted to do to that were crossed like it cause this one's taken downward and that one was taken up for So I think our well, her head's down. But, um, I think this is interesting to see a similar pose A boy, a girl in different angles. So this one you've seen before in the course and the examples, But I love him. What can I say? So again, I'm gonna look at this line for his face now in orientation to the picture. It's vertical right through the middle. He's slanted, but you can start with this vertical line. I think it's so important to have something to start with. And sometimes I do an action line, which is like the mainline through a figure. If someone's bending over arching their back or something, you might drown action line right through the center. But for this, when I'm starting with the face, I'm always looking at chin and then the relationship of the sides of their face. Are they narrow? Are they acute angles? Are they up to see this one's further than 90 degrees So his little face comes out like this and then kind of right in this spot right here. It kind of opens up a little bit. It's getting wider near the top, so basic shape. Here's his ear. His haircut, that's the other thing here isn't on the head here is always usually touching the ear and has more volume than the actual top of the skull. So, um, if you look at the face here, what I'm seeing as a sketch is this I line matching up to about the middle of his ear. If you're looking at him straight on, most people's eyes line up with the top of their ear. So right about in the middle of the year will be his eye line. I feel like that almost makes you see the face right away here. This thing I can I use this all the time where his part is. Draw the part. It almost builds the hairstyle for you. It shows you how far out into the face the hairline comes when I drop things I must always drop up from the bottom. Spiky bits on the boy's hair, not smooth curves usually helps it to look a little more masculine. Um, so that I'm just going to find the center So you see much more of this side of his face than this side. So I'll mark that right through here. And don't you feel like you can kind of already see his face? I feel like this island, a little high school. Adjust it and then he's got, like, the little squinty smiley eyes going on. And then I usually will come up from the chin. Um, special relationship between on dsi here. I am not really doing the gesture drawing. I'm getting into the face, but I'll move on to the body in a second. If you would go up from the chin and find that sweet spot where the bottom lip is, I think you already got the eye line. If you have the bottom lip, it's much easier to figure out where the nose goes. His top lip is kind of ST on Mouth is the most important thing is how much black space you see in the corners, because that kind of defines their teeth and how wide their smile is. And then it's usually just a shadow for under their nose. All right, anyway, onto the gesture drunk. So you see under his ear. His ear lobe is where his shoulders come out, and on the other side, it's out of the full, full part of his cheek That helps you build that. And then also the neckline, the necklines. Not here under the middle, the necklines coming also from under his ear and comes back up into his chin. So you find these map points and it's easier to make the drawing. Now. I'm just gonna kind of get his hands. Kind of just balls for hands is fine. General shapes. If you have short sleeves here. The short sleeve got words here Not gonna draw them right now. Here's where the shirt kind of comes in. How much wider than his elbow and like his head is this knee I would say about here and then on this side, you're almost making a triangle from his head down to his knee. Here it is, So then that will help. You kind of sketch that in this knee. If you look at it like it's a circle, it's catching like that. It will help you find the spot where, um the the thickness, the fullness this bottom edge of Shin is, and everything in the middle is kind of shadow, his one foot scrapped off. I have drawn this one, and I just from what I know of feet, I just kind of filled it in. So I encourage you guys to get pictures where you can see the whole form. But this is the basic kind of gestural structural drawing for this. I can see some things that I need to fix already. This lines not is a little off, but just go quick and scribble. It gives you less time to get frustrated over proportions. Okay, we have one more a girl. It's a standing posed this time, and I've started with just the basic outline of the face in the grid lines, looking at the distance between her chin and her neckline and seeing that it's pretty similar to the height of her face, or at least to wear, her eyes come in. So that's one of the visual cues and then also the side of her face and where her neck comes in or kind of the same, too. And since you can see a little bit of the turn into her shoulder, you know that the neckline has to come there. This is just I'm just trying to verbalize like what goes through my head when im sketching . Some people are like, How do you get the proportions? Correct. And, um, you know, it's it's Ah, it's a train of thought that you don't necessarily, um, talk to people about because you're just doing it. It's just your habit. So but I do. I'll come up from the chin, find the bottom lip and then come up from the top lip and find the bottom of the news on And that's after I've already drawn in the grid line. So I just got a big flower on her head, which is really cute. I draw the part. I do draw the part, usually in hair. Um, when I draw hair, I try and just look at the overall shape of the hair and not the individual strands of hair . So there's that, and she has kind of this big front on her shirt sold sketch that in basics, because mostly I'm drawing the the parts of the clothes that I'm drawing or because they're good part of the road map of the drawing. So, however deep this little buttoned placket is is similar, a little smaller than where her hem line hits and headlines a little bit on angle. So her shoulders are coming, her shoulders or a lot easier to see so you can see that a little bit of her shoulder peeks out of her hair a little bit on kids. You have to be careful not to make their shoulders too broad. It doesn't look like a grown up hands are just usually like a real roughed in shape. I'll be looking at the picture and just kind of drawing in a blind curve of what I see for their hands. So hers kind of looks like this if you see the hand comes and comes up with set of fingers . So that's kind of the overall shape that might help me later, because I might just fill in the fingers this way. I mean, not so chunky like that. But, um, it's a roll shape of her hand. This hands a little different. It's more like a triangle and the, um, fingers fan out, it's going more an upward angle to I wouldn't put this in the gesture, drawing per se, but that's something nice to know when you're blocking in the shape and you're just a drawing to try and make it kind of mimic the sheep you see in the picture. Some people just always draw, um, circles or squares or parallelogram hands for, um, hands and feet. And that's fine, too, when I do arms. I'm really looking at this negative space in here because I'm not drawing her arm. I'm drawing her sweater. Her arm would be up here somewhere, but her sweater is here. So again, the same thing over here. Only a tiny little triangle shows that's helpful. And then this curvature on her sweater matches the outside of this little U shaped bib, and then, when he hits, her hand comes outward. So these are all the things that I'm seeing. Obviously you want the hem of the sweater toe mostly match on this side. This skirt comes right from the edge of the sweater and out on this side. It's on the inner side, in the edge of the sweater. And then here I will do in action line. So she's standing pretty straight, but you could tell that she has on her hip, kind of popped out to one side. It's popped out over there. She's kind of like this, and so her legs are gonna one's gonna bow out like this, and the other one's kind of just it's more street. So when you're seeing a foot from the front, it can be tough. You're really seeing the circles of the front of the toe. You're not seeing the length of the toe so just dropped that way, and then her her pan. Such a stroke out of the line where the pants stop so it matches on both sides, then my work my way up because there's three rows of ruffles, right? So and then her skirt. Where does it come? It's below her knee needs About half way down. Here is the knee, so we'll put her skirt right about there and again. The skirt has several layers here. Ruffles. So we'll get those in the final drawing and not worry about it now. We'll just kind of mark. Where health, How wide are they? Are they all the same with and just kind of map that in one and up here she has a drop waist on her on her skirt, and it comes almost to the bottom of the sweater? Not quite. There's a little difference there. Um, I wouldn't normally do this in a gesture drawing, but here's those kind of gathers you see and her skirt, and then it's just connecting the dots. Here's her little cute pants ankles, and if you draw the baseline of the foot like you're seeing the front of her flip flop, it'll be easier to kind of figure out where her foot goes. That's the gesture drawing I would use for this. See up here, you can find your mistakes. If you draw the whole thing and then come back to the top, you'll see where your mistakes are. Her face is a little bit too long. Um, her neck isn't long enough, so that's good, because I can kind of crop it off here in the same time, I'm making her face a little less long. Her neck will get longer, Um, and if you feel like you're getting too much black line on the page, by all means a race, but for the gesture, drawing ideas kind of not to erase just to scribble in the scribble in the action and move on. And so that's it. So your assignment for this section is to choose, Ah, photo that you think you can handle the pose in and show us your gesture, drawing what you came out with or show us a page of gesture drawings, failed attempts, successful attempts. Um, I think if everyone shows a few on, then others can kind of see, you know, not everyone gets it right. We're perfect the first time. Then that's great. So do that, and I'll see in the next section 5. Simplifying Faces: in this section on simplifying faces. I'm gonna show you how to look at a photographic reference and interpret the facial features that you see into their simpler form. We'll do a little bit of face mapping so that we can get proper positioning of the facial features. And then we'll look at the photo and decide how to simply represent the eyes, nose and mouth with minimal lines and a lot of personality. It's not that hard. Once you get the hang of it, it just takes a little bit of practice. Be sure to choose photos that you really love and that make you smile so that will truly enjoy the process. And most of all, have tons of fun. Okay, now I'm going to show you some real time sketches of simplified faces. You can actually, um, see and hear my thought process. While I'm going through the motions, I'm going to use my iPad pro because I want to show you a little bit of, um, base mapping. That mate might help you to see the actual structure of the face a little better if actually draw right on the photo and then kind of show you how you translate that to paper . So and this image of this little boy, I think the tendency might be to draw an oval head and then set into drawing. The features kind of centered on that oval. But if we look at it skilled back a bit and we really examine the proportions, let's see what's actually there. So here's the oval of the head. Roughly his hairline comes in here. His eye line comes in here, and I kind of missed the chin a bit there. But and then his entire facial features fit in this lower. It's a little bit less than half its not quite 1/3 but this lower portion of the face. So if you ignore that and ignored the hair on just started drawing, you might have the eyes way up here. So it's important for you to kind of see the overall shape first and then kind of start mapping in the different features. Um, the reason you see so much of top of his head because he has his chin tip down. But let's see how this translates when I draw it in pencil. Okay, so we've got an oval and like I said, I don't often draw. No. Why? I just tried to draw Noble. Usually I'll do the two sidelines, find the chin and then start connecting from there. So if that's the overall shape of this face, then I know that the hair is probably coming in right about here. And with that said, he has a little bit space for forehead. So look in my mind, I'm seeing this distance. Okay? So I'm gonna put the eye line here on the midline is pretty straight on in this picture. So that's here. Me race the arrow, and then I'm gonna come up from the chin. As I said, he has a pretty pronounced chin. There's a pretty good distance there. And you might want to in your character sketch, not exaggerated too much. But make sure that that's present, because that's gonna be one of the defining features of his face that makes it look a little bit more like him. Or call him Like I said, this isn't a true portrait, but we're trying to capture personality and the basics of someone's face. That's one of them. Usually when I look at noses, I think of Is the nose turned up or turned down? Are you seeing the nostrils? Are you seeing more of this downward kind of point? And you make that decision on, um, every drawing that you dio Because if you labor the nose and draw it too precisely, it's going to start to look like a portrait. And this is meant to be, you know, more of a whimsical style sketch. So his nose is just gonna get that much kind of detail. Just that part right there. I'm not gonna draw the bridge or anything like that. And then look at the space of his eyes. So some kids have really far speak far set wide set eyes, and some are a little more evenly spaced somewhere really close to the midline. So I would say his ERT maybe a little bit toward the center. But they're pretty much in the in a in a proportional space. So I'm just going to draw circles. He has kind of smiling eyes, but I almost always start with a circle, and then I could kind of chop into it. So if they've got the squinty kind of smiling eyes, find that angle Are they flat? Is it slightly angled up to the side whips? Sorry, I've had sensitive. Are they slightly up to the sides and decide on that? And then mark that in and you can see that I'm cropping into that circle of it. When we come back in to kind of finalize the face, we can get rid of that bit below the cheek, and you can see how it makes him look like he's smiling again. There's no there's no top lid. I'm not drawing this in a portrait style. It's just a circle. And then I try to keep it to, like, just the circle of the eye and then maybe a lash line or one of these kind of smiley, kind of, um, smushed up cheek kind of lines. Try to keep it as minimal as possible so that you're drawing won't start to look to Portrait E. I always say that the most important parts of the mouth are these corners because it tells you how much teeth east, how much how wide their smile is. So look at that. Define that, and then some kids, if they smile with their with their teeth like kind of a Colgate smile perfectly pressed together, you could indicate that with a little line in the middle, see what a difference that makes. And then, lastly, especially with kids. Sometimes they have these little cheek lines. They have all this motion, their cheeks so it gets up into their eyes and it gets at the sides of their mouth more than adult would. So you can put these little lines. Everyone's drawn, those little lines on, you know, yellow smiley faces in their day, I'm sure. And then for the lower lip, I usually just do a shadow eyebrows. I must always do those more in an expressive way. I don't follow the picture unless they really have eyebrows that are defining feature, because I find that if for kids, if you draw the eyebrows, just is there in the picture, it looks a little too grown up. Eyebrows. It doesn't really look a kid version or grown up version of eyebrows, but I find if you draw them just like the picture, you don't get the expressive quality in the face that innocence. So I almost always will tip the eyebrows up a little bit in the center because it gives that wide eyed look which is, you know, very characteristic of Children. So I'm just gonna use my gum Aries or my kneaded eraser to get some of these grid lines out . We can kind of see what we're working with. Just clean it up. Gonna talk to you about the hair. Next. All right? So he has, you see a lot of the top of his head. You don't want to draw all these little bits of hair in for hair. I usually focus on the outline, so his is pretty close to his head. Um, if we map in his ears, it will help us find. See, over here, there's actually quite a bit of with up into the ear for the hair and on this side, you see a little bit less, but it's still there. So you have those little sections sideburns, and he has a pretty close cropped hair cut. So it does kind of follow the contour of his head with boys. I try not to connect the lines or draw too much of a curve. A little choppy kind of feathered instead of strokes in a few places and broken lines helps it till not look too feminine. But you still get a little texture. And then here, basically, you just want a few directional lines to show that some of the hair sweeps this way and some of the hair sweeps this way. You don't really need to show anything other than that Always leave a little glint of light in the eyes. And as a character sketch goes, even though there's a little cleaning up still yet to dio, I'd probably leave it about their or reference back a little bit. I can see here that I've made it a little too wide. Sometimes you might need to walk away from it and come back, and you can immediately see where your mistakes are. Here. The fullness needs to come down a little bit lower, but again, this isn't exact portrait either. So try to stop yourself shy of, you know, getting super involved in the specific measurements and details. If it represents the photo that you're looking at, that's that's pretty much the goal. Okay, let's switch to the next one. So we'll go turn this guy off and we've got this one. Okay, This little girl has a lot of cool, defining features and something that's often hard to deal with with kids, which is missing teeth, because you can make them really look like a jack o lantern or kind of make their mouths too much of a focal point if you try to get the teeth to exact, so I'm gonna show you how I would handle it. Okay, so let's look at the basics of her face. If I look at the sides, they kind of angle outward. If I find her chin, it's somewhat wide flat. Connect these lines and then it's kind of a little more broad at the top, right? Her face is centered, so that's there. Um, and her eyes are fairly high in her face. She has kind of like an elongated face. So here's the eye line. And then if we come up from the chin, here's the lower lip. So translating that to our paper, I think this will actually really help you to see if you can even turn off the picture for seconds. You can see her face is kind of divided in half by her eyes. There might be a little tiny bit more space at the bottom, but it's pretty evenly spaced. So when you're drawing your, um, kind of map of the face, we've got these outward angles flat, shin connected and a little broader at the top. It's getting the basic shapes, like when people draw a caricature. Character artists, they will accentuate base sheep so they might have her with really a teardrop shaped head. In reality, it's only slightly wider at the top. But exaggerating something like that is kind of a hook that will get people t really see right away who the drawing is. And like we said, the island is about halfway. People have a tendency to put the eyes in the top of the head on the top of the oval if they're not used to sketching faces. So this is a good exercise. And then we came up and found the bottom lip. So those kind of match. So let's see how we go. If we turn it back on, turn off this grid and we actually sketch the rest of the space. Oops, there we go. All right, so eyes and a lot of times I will. You're kind of drawing the eyeball here. So the child has really what large eyes than these circles can be bigger. She has pretty big eyes, and if they have smaller eyes, then you can make them smaller. Kids generally have bigger eyes, and it's just a cuter thank, cuter way of drawing them. Anyway. It's now her nose. Her nose turns up a bit, if you can see nostrils the nuts, usually a time when I would choose. It's almost like this little triangle How I show the nose. Um And actually, um, I wanna erase this midline first rate in that area. So, um and then we had This is her lower lip and her top lip is here. Defining features of her mouth from eight are that it turns up at the corner here. See those little lines. That's a huge defining feature for her. Smile is that it turns up right here. And then she has these little triangles as we talked about where you can see how wide or not her smile is little line indicate her lower lip now the missing teeth. So this can be tricky, and you might have to try it a few times till you get the one that looks just right. But really, I would just Even though she has one missing there and one missing there. And you see this gap over here? I'm just gonna pick this front one that's missing because that's gonna give the indication of a child who's missing a tooth and just move on. I'm not gonna labor the point. I'm not going to darken it. I'm not gonna make it black. That's gonna give enough indication. Okay, now her eyes. You might have a tendency to want to draw all this stuff in these little kind of ridges under her eyes, These little pockets and you can see her top lid creases. Well, it's too much for this kind of a portrait. All I want to show is that her topple, it is heavy and kind of comes down over the side with her lashes. And she has a smiling face. So we're going to do the smiley lines and then we're gonna do a heavy lash here with eyelashes. Let me get some of these lines out of here. Anything that ever starts to get heavy. I like to kind of keep it more feathery in the in the sketch, especially if you're gonna come back in with watercolor. So okay, and then her hair. So and she's got heavy eyebrows I'm gonna do is in a second, but I would put the hair and first So just basic, she has this little curve here. I'm just going to go basic. Whenever you can simplify something, do it because that's gonna help keep the drawing more graphic and stylized unless portrait like, Here's your little headband and her eyebrows so they're heavy, their thick. That's a defining feature for her. So and they do tip up in the middle, and you can exaggerate that a little bit. Then we'll come back in and dark in them up. She has really dark eyes, so that's something to focus on. Two. And then, since I cut through her eyes for that little smile, line my little eraser and make sure that the I doesn't go below that. She's got her smiley cheeks. I actually think that I made her nose a little too low. It's a little more in the middle of her face, and that's OK. And then her ears, we can see that they're kind of lined up at the top of her eye. Now I cropped. Her is longer because the ponytails air so defining here, and I wanted to show you how I handle that. Um, I would probably just draw in action line for the clientele like it's their here and this one kind of ultra on her neck a little so weekend kind of get a sense of how they're laying on her shoulders. So and then this one. It's coming this way. Okay, so you have the length determined here. There's the bottom of the pony, and this one's a little wispy market where the rubber bands are cause these air kind of long tails, then worry about kind of the volume of her pigtails for braids. I always just kind of just do a couple scallops on either side just to indicate it. You don't have to be exacting, and she's got a little bit of hair here, and that's pretty much it darkened up your favorite lines and kind of chisel away at that. But there you go. So it's a simplified version. This is definitely a cartoon, not a true portrait. We're not relying on shading for many of her facial features, although when we come back in with our water color, we can indicate with, like, little strokes of watercolor under each eye, that little bit of shadowing she's got there on that little bit of scrunching, and that's good. That's something to know when your minds that you can put in later with the water color so you don't have to put everything in in pencil line. All right, so let's do another one. Okay, here's a little boy. Here's our little boy with the dump truck Will work on his face. His face is so round. So that's a defining characteristic. Learning to see these overall shapes is, um, a tool in your arsenal. Um, try not to just see a face try to see ahead as a whole, so his head is so around. I mean, it's a little bit egg shaped, but his head's go. It's pretty round, as opposed to elongated and because his head is down her, his eye line is gonna be quite low and on a little bit of a curve to see that it makes his chin almost non existent. Because you're looking at this downward angle So we'll put his bottom lip here, which is so close to the chin and then the little line of his smile. And he's got a downturned nose. So and the airlines. And remember I told you about that magical part. That's kind of like the whole kit and caboodle right there. So let's turn this off and go back to the image and sketch it. This line right here in this line right here are angled away from each other, and it's pretty round through the bottom of his face. He does have a, uh, a little bit of a flat spot, the bottom of his chin. But mostly he's rounded because he's a toddler. He's super young. He's not gonna have a lot of angles going on. Okay? And like we said, the mouth it's so low down and the eye line is here. Find the part that leads right into his ear. And then we've got his cute, adorable little swoosh of hair. You can see there's a little bit of with and squareness at the top, so you can just add a little bit. See that I just made it a little wider at the top and it makes all the difference. Sometimes when you put the hairline intellect, you know, give you a visual reference to see if you're, um, I line is a little higher low. Here's a little shadow under his nose. His little cheek indentations are kind of more angled downward, and that's he's kind of furrowing his brow. So that's kind of an important thing for his, uh, now it's all little subtleties in the mouth. Um, you can just draw smile. And if you're just using this photo is inspiration. You could changes expression completely, and we could just give him a big toothy grin. But if we're trying to use a reference and captured this moment, I don't know what he was concentrating on. He was obviously looking at something pretty intently, so we'll do those little downward lines, and that captures that expression. Same thing with his eyes there lowered their kind of the opposite of the happy, smiling eyes. They're kind of like a you shape. You're mostly, um, just seeing darkness. There's no there's no light because his eyes were down and the lights not catching there. So you're not seeing that little reflection. So for the purposes of character sketch. That's probably all you're going to see. He does have kind of cool eyebrows going on, so maybe we would use them cause they're part of this expression. He's concentrating. So he gets this little kind of curved shape, the angles down in the middle for his eyebrows and again for his hair. Let me race thes smooth lines so I can show you how it would dio um, just a little bit of feathery lines that aren't necessarily connected for his hair because it helps it to look more rugged. It just gives a little bit of, ah, male vibe. And here again, it's a little wispy hair going on. You can see his other ear over here. He has a little dividend, his chin. I will often do that with a little squiggle and the little dimple on the chin, but you can ignore it. Do it, however you want. Men's just refining. I think I need to come down a little further on this side. I need to race out the lines that you didn't want. You get the just maybe raised this through the middle of his heists. You can get a better sense of how it looks. So that's the general gist of that one. All right, one more. The reason I'm showing you so many is because I do think that this practice is a visual thing. I could explain to you or diagram a 1,000,000 ways to Sunday how I map in faces and sketch characters and simplify features. But it's easier to show you want to say, See this picture? This is what I see. This is how I'm translating that notice. See this picture? Here's how I'm translating this little toothy or toothless grin. And in this picture, here's how I'm indicating the you know, the little frowny face and dimpled chin. I just think it's easier, Um, for this sort of thing to be a visual learner and watch someone. Okay, so she's super symmetrical. These lines are almost parallel. They tip out a little bit from each other, and she has a very angular jaw. So for now we won't even try to soften it up. We'll just keep it very angular. Tip this out. See, my first line was wrong, but I can just adjust it as I go, because if you're constantly darting her eyes back and forth between the rial on the sketch at this very loose stage. So much easier to see what you've done wrong. If you like, sat here and focused on an eyeball for 20 minutes and then you realize, Oh, well, it's in the wrong spot on the face That's no good to you. So sketching it and I think her hair is gonna run into him. She's got this boo font here, dio Sorry. Um, so I think keeping it loose entirely at the front end is a way better strategy Since, um, anything we need to fix is easily fixed. Since you have light strokes that come up easily And, um okay, so I've got her chin a little squared off chin and I'm coming up and I want to find that bottom lip. Now she has a very kind of Ah, a tight lipped smile, and it's pretty broad, so you can almost exaggerated and make it a little wider than it is. And she just a lot of times instead of that little line at the corners, you'll just end up with a few extra little ball little dot It gives the indication of fullness there in the cheek, but it's not that full on baby cheek. A lot of times, I'll just shaved the top lip instead of like drawing an outline for it. The top lip is usually in shadow, cause light usually hits downward, and so your top lip tips tips in towards the crease toward the opening. And so the top lips almost always in shadow unless someone's looking up to find the light. So I'll put a little shadow here and then shade the top lip so will come up and find the bottom of her nose. You're probably gonna predict, since I told you before, she has a very defined nose and we could draw it exactly, but we're not going to. We're just going to give her this little kind of V shaped shadow for her nose to indicate it, which is perfect, and then her eyes. So on your little I line Meridian that you drew through, if you tryto, if you're trying Teoh, make sure the eyes are evenly spaced on either side. This mid lines helpful because you can either kind of visualize, then being the same distance from the mid line which mine or not, um, or you can vision kind of visualize centering them in this space between side of the face and center line, depending on if they have wide or narrow set eyes. Kind of adjust. But that map is is a good tool. The grid line is a really good tool. So she has huge, wide open eyes and in a character sketch, you might just choose to show them as dots and not anything else. Um, let's see what happens if we leave them like this without lashes or anything, we'll just give her. I'm gonna give her kind of an arch Tyrrell, because she does have kind of sophisticated looking this picture that's not super childlike or whimsical. So let's just leave it like that for the for a moment. Um, now her hair. So we see that it comes pretty close to her eyebrow. So we're gonna do that big sweep and just kind of put that line in there to give us an indication of where that goes. And then from over here, we'll see that in this picture. Her ear bottom heart of her years, kind of just below her eye and the rest is higher because of the angle of her head. That's not typical anatomy if you're looking head on, so that will tell us where the hairline comes in. So we'll do that there. Every little thing that you draw is a dot to dot to connect to the next thing so I can see that her headband starts a little bit above her ear. It's probably right where I drew the top of her head, so that leaves. That had been and she's got a bow over here just for pretty. I'll probably make it a flower because you can take this liberty and it's easier to draw without trying to figure out what that Bo is cause translated to a picture. You might not know what that is. So and then let's figure out the shape of this proof on the top of her head. It's actually pretty straight on the sides. It tapers up from the side of her head like this, and then it's highest in the middle. So we'll just kind of swooping in like that. I'm gonna run into a little boy's head, which was concerning me, but and then a couple direction lines may be coming from the headband to show the up do. Okay, so if we come back down here to her, I think what she needs is she needs the lashes for the glam look. So will draw her heavy. Um, lash line. I just usually do like three little eyelashes for her bangs. I don't want to draw all the hair. I just want to draw a couple lines that showed direction, like from the root outward. And that's it. And here she's got, like, these little baby hairs and that makes her look more like a kid. So these sharp points right here are making her look a little older than she is. What we can do is come back in. We can still see the lines, but soften everything up, make it curves a little chin, make it dainty. Curved lines will always make a drawing look younger and angles kind of ad age and years in real life and in drawings. You lose all that baby fat, get more angular as you get older, so you can't really see much of the year over here. But I'll just indicate it. I hope so. I did a little bit to go seeks was trying to draw anatomically into paying attention to my drawing. See, everyone makes mistakes. Let's actually just figure out the bottom. It's there and figure at the top there, that'll make it look even with the other side. When I draw years, I'll usually just draw one line like this and intersect it online like this. And then I don't kind of get into the whole working here part of the year. So there you go. So hopefully watching me and hearing my thought process and what I'm seeing in the picture and what I'm trying to translate onto the page has been helpful for you and will help you in doing your simplified faces that aren't direct portrait's but are more of like a whimsical, cartoon style interpretation off, um, character filled face of a little one. Your project for the section I'm sure you can guess is to do a side by side posting for me off a face that you choose of child and then your simplified version in pencil right next to it, so that we can kind of see the comparison and see your process. So get cracking on that and we'll see in the next section 6. Finalizing Your Sketch: Okay, so now we're gonna put it all together. I'm going. Teoh, start with the gesture drawing. I'm using watercolor paper this time cause I will take this sketch all the way through to the water color. Um, and I'm going to speed up the gestural drawing part so that we can skip through that since you've already learned it. And then I'll slow it back down to show you how I do a cleanup and a final sketch and then in the next section will move on to a little bit more close ups. You can see how I add the water color layering. That's it. Let's get started. - Okay , so I think this is pretty good for my gestural type drawing. I cleaned up some of the lines just so that wasn't so much of a mess. So I can show you how I'm gonna go in. Refine it now. So one thing that I see right away is just with her legs in the positioning of her legs. There's a little bit of space between the two legs, and I didn't have that before, so I'm going to correct that. And as I go, I'm very I'm sketching lightly and I'm picking up stray marks. You can kind of sharpen your memories her kind of and make it a narrow just by pinching it . And you can kind of make a point and get little, little, uh, sketchy bits out without wrecking your good lines. So that's I'm going to do here. Try to look at the the picture as a whole and don't focus on one area. So as I examine the proportion, I can see that her hair probably Nick, needs to be a lot longer. So I'm not a lot longer but a little bit longer. I think the proportions kind of right. But I like to exaggerate things, um, in the finish drawing. And sometimes we even put the picture away and kind of just, um, use artistic license to finish it in a way that looks great to me. I didn't draw any of the hair on the side of her face. That's because I wanted to clean up this edge. So we started with a straight line here so I could get this kind of slope right there. And now I want to go in and clean it up because of kind of. I pulled out the curve of her cheek a little bit so you can just take away your original guideline and then just put back in the clean lines. And when I put back in the clean lines, I often don't connect. Um, so the side of her face, for example, you can kind of see her cute little rounded cheek, and I don't necessarily connect that to where the chin comes down. It's OK if you let your I do a little bit of the connecting for you. Um, and then right here, I think her hairline comes out a little too far. It should be right above her eyebrow. So just little things that you can find, tune and clean up without going too crazy and again just a really light touch with hair. When we add, um, watercolor, you'll get a lot more, um, of like some light and shadow so you don't need to do it with your pencil on dso over here . I'll fill in these little wispy bits of hair, and I won't necessarily draw them exactly as they are there. I'll draw them in a way that's gonna look kind of um, more artistic has a little more flair. Two strands of hair side by side, like this is a nice way to show wispy hair, and that's good enough. And then I want to get the grid lines out of her face. A lot of times, you'll really see your drawing coming together at that point when you kind of remove all those mapping lines and you see what you have left kind of like magic, and you also will see right away. Um, if you've, if you've gotten it, if you've captured it, if you've gotten a good likeness and the thing is this is a practice, so even if you didn't, that doesn't mean that you're drawing has to be a failure. Go ahead and continue it and make a cute character, even if it doesn't really look like your source photo. That's okay. Um, in fact, sometimes it might be preferable. If you're drawing from Pinterest, you know you won't be able to sell or monetized license your work or whatever if you're drawing it from someone else's photograph. It's great for practice, but that's someone else's intellectual property. So, um, changing on purpose that way you have something unique. So I don't think I went over this when we were doing the eyes before. And actually, I should mention there's gonna be a little cheat cheat for you guys. Um, that you can print out a couple cheat sheets for things that I didn't go into into detail. Like some hand poses. You could kind of practiced some feet and some facial features. There's gonna be a print out for you attached to the class project section. I think so. I think it's all the way at the bottom. But look for it. There's some downloadable PDFs for you. Okay, so but this we've got her little ear and her hair ornament is like this crow shade kind of deal, and I'm just gonna I'm not gonna try and draw every little tidbit of that. And I'm just going to do kind of a big, lumpy blossom. And that's good enough again with hair, some little wispy bits. Two lines next to each other. Accomplished that pretty well. She has a little bit coming down in front of her year. Some details. If you don't think they're important to the character, you can just skip and then some things like I actually think this little bit of here in front of her ear. It's like this wispy baby hair. I think it's it's a big part of her, um, her look, her her age and her look, because that little baby here, you know you don't have it forever. So I included it because I think it adds something if there's a detail in the drawing that you think is just going to be clutter to the drawing and won't add anything to it and just skip it. So she has a slightly open mouth smile and there's teeth showing it everything but this size, I can't show it accurately. And I'm not gonna try because it'll just make the mouth look over complicated. So I'm not going to. I just have the black space for the slightly open mouth smile, and that's gonna be enough. Um, I'm gonna end up painting a floral onto this shirt, so I want there to be as little cluttering detail and the silhouette as possible so that it doesn't muddy up my florals that I'm gonna paint in. So for her hand, I'm really just putting in a form and all kind of indicate fingers with a few little lines , and you don't need more than that. Her hands not doing anything important. It's not holding anything. And so it's better not to labour it, um, fingers can very easily look like sausages if you outline them to death. So any time you can just kind of be a little representational with hands and toes and fingers, really, um, and just indicate the position of the fingers, then that's better. So little things here at the bottom. I had the him just come straight, but she has a little cuffed sweatshirt him, and I think that that's you know, that's that's a part of the style of her outfit. I think that's an important detail. So I don't want to leave that out, just making choices about what's gonna add to the drawing. What's gonna be a useful detail on what's just gonna be clutter? And you know you make those decisions, and as an artist, some people might simplify more than you. Some people might add more detail, so that's your choice, and that's what's gonna make your art look different than someone else's. The editing. I always end be artists who are excellent editors because I feel like I can edit. But I have a tendency to include more details. And sometimes I wish I could be a little more simplistic in my drawings a little more stylized. I kind of walk this line between portraiture and kind of cartoony illustration. All right, so, um Alright. So back to the legs. So this part right here, I can see that I need help. The needs supposed to be higher again. I think I drew the legs a little longer and then probably I should have. I have a tendency to draw leggy characters. It's just my aesthetic, I guess. Can't help. It just happens. Um, that's okay. I think anyone who looked at these two would be able to see that. You know what? The inspiration waas. And that's good enough. So now down to these boots, shoes, shoes convey really tricky. Um, I would say this is one of those times where, in the other lesson where I showed you kind of tracing on the actual photo. If you make a print out of your source photo, you're having a hard time drawing shoes because of the angle that they're drawn at because you can't seem toe force your eye to draw what you're seeing rather than what you, you know, is there, um, trace over it a couple of times printed out, like just on printer paper. Print out your source image and get some tracing paper. Or just use a marker and trace the actual outline of the shape of the shoe. It might help you come back onto your paper and draw it correctly. Sometimes people will erase a line and then just keep redrawing that same line over and over and over again because they just can't, you know, get past that mental block. So if you trace what's really there, you might have like a little epiphany so you could see very loosely. I'm giving that rubbery texture to the bottom of her boots. And I went a little too far. Here's your heel. So we'll just to race the part where I went a little, you were a little too much trid. Okay? And then she has this cute buckle detail, so I'm not I'm just gonna look at what it looks like. There's two kind of half moon kind of shit or half circle shapes and a buckle in between. And I'm not going to be real specific about it. That's enough to indicate it. And I'm not going to do the stripes on the boots at all. Um, I might indicate where this back over this top edges and where this back kind of seem is. But all those colorful lines will do in paint. So knowing when to leave out certain details that you can just kind of paint in on I mean, honestly, for me, the rule of thumb is leave the clothing patterns out, draw the structure of the clothes and leave the patterns out and do the patterns just in, Um, just in paint, okay. And we're almost done. See, I drew this boot a little bit too low at the bottom. So, um, the bottom of the boot is actually the bottom of the heel will just correct that. Okay, so that's probably all I'm going to sketch. The rest is all gonna be in paint. Um, so hopefully my little cleanup tips were helpful, but things that you can concentrate on our what details to put in what's gonna advance the drawing me get better. What details? To leave out things that are just gonna clutter it up and kind of take away from the the prettiness of the simplicity. Just leave those out. Um, make sure that you don't leave too much graphite on the page. Any place where you can thin out of line or lighten it up or disconnect lines. Um, that'll help just stylistically with your finished drawing. Check your proportions, but don't stress out if they're a little bit off. Um, some tips on how we did hair taking artistic license a little bit if you, um if you want to with the way I'm not gonna draw the, you know, the embroidery, uh, have a little needed a texture on her flower. Um, and how to do a little wistful pair. Did I miss anything? Oh, if eyes were looking to this side and this will be on the cheat sheet, which is what made me think of it before is adding this little arc to the opposite side. The eyes were looking, and that will be on the little cheat sheet you can download and take a look at. So that's gonna be it for now, and the next lesson, I'm gonna come back in a zoom in a little bit. I'm gonna show you exactly how much water color I add and how editing is really important. When you're out in the color. Your challenge for the section your project is to create your finished sketch and put it side by side in the gallery with your source photo and let us see how you took your, um gesture drawing and cleaned it up into a finished pencil sketch. 7. Adding Watercolor: Okay. Now we're really in the home stretch and ready to add water color to our sketches to bring them to life. I'm gonna demonstrate my painting Tips by water coloring are finalized. Sketch from the last lesson, I'll show you how to find the light and shadow in your reference photo and capitalize on those in your work. I'll show you how to translate texture and patterns and expressive and artistic way. And use your creative I to decide what elements to accentuate in which you might want to edit out. Finally, we will add some classic wet into wet and spatter watercolor techniques to add a pop of color, fun and flair. Tore finished illustrations. I hope that watching my demo in real time will help you to complete your own. So here we go. OK, Now is the time when we're gonna add some color. I've got out two sets of water colors. Mostly I have this one out so that you can see when I'm mixing. It has the white background on this tray. It's a little easier to see me blending colors, and I have this pallet out because it has a ready made flesh tone. Um, I mean, a basic Caucasian flesh tone, Um, and you can mix that yourself, but I'm gonna be lazy. I usually start out with a hand pallet by moistening, um, pans so that they are more activated and you can pull up more color without scrubbing at it with your brush and wrecking the bristles. I've got my trusty water brush all full in the barrel with water, and I'm ready to go. So what I usually do first is I do skin tones, and I'll usually tell you with watercolor to go a little heavier handed because watercolors drawing later than they look when they're wet. But with skin tones, I usually are. I'm a little more conservative because you don't want to muddy up the face. So for this little girl space, I'm gonna go in and get some of this peachy Beiji color. And what I'm gonna be looking for are the are the shadows are the dark tones in water color . You want to leave your highlights the white of the paper. And so you're really just painting mid tone and shadow. And specifically, I'll even tell my one student she's 12 more water coloring. Just paint the dark's so we'll look at the face over here and we'll look at the spots that look like they have more color. So it's along her, and we try to also use just singular strokes. You don't want a color in like you do with a coloring book and scrub back and forth with your brush. You wanna make deliberate strokes because those air gonna dry in a way that looks very watercolor s. Can the layering that you get with watercolor and the particular properties of how it dries work the best if your deliberate with your strokes and a little conservative, you don't want to scrub back and forth and just color in like a coloring book because that defeats the purpose. So she has a little shadow here under her hairline, and you just wanna think about it. First place one stroke and move away. She has a little bit a shadow. Usually there is shadow in the hairline. There's a little bit right here under this flower, and then it kind of comes right here along the bottom of her jaw line. She's got some shadow on this side of her face so a lot of times, what I'll do is I don't want to draw the nose in, so I will really just look at the shadow that defines that shape. So I will put a little bit of color on this cheek and that all sort of define the far side of her nose. Same thing under her lip. There's certain places on face that always have shadow, and you'll start to recognize that as you paint a little bit more under this eyebrow, she got some under this I. So it's all these singular strokes. You could tell I was touching up a little bit in here with the point, but mostly just trying to get one stroke of color. And at a time she's got this bit right here at the front of her cheek and probably a little more so this. This is where the water color comes in. So this was the first strictly painted right along here. I'm using very minimal water. You don't ever want the paper to look shiny when you're doing this type of watercolor drawing because our painting, because layers drying and then being able to paint on top of them without, um, losing that stroke is what's gonna make this look, um, water calorie, watercolor. Once it dries on the paper and then you layer another stroke will get darker. Where you over late? It If you're painting wet into wet, though, everything kind of blends together. So back where the spurs stroke was Aiken, darken it now with the same color paint without changing pain just by painting another stroke, because those two will layer together evidence. I also want to put this little bit of shadow right here. So all the areas where you've kind of painted over twice, like right here it got paint twice because I painted that shadow in. And then I painted this over top, so it's a little bit darker, so I haven't changed colors. I haven't even read IPT my brush, but you're going to get this layering effect where the 1st 1st strokes have dried. And then you put the second strokes on top. Just keep looking at her face. You want to leave the highlights behind, and then I have ah, paper towel over on the side that I couldn't fit on camera and with a completely clean brush anywhere where it looks really harsh. You can kind of blend out and soften it. This is a step that you can do. You don't have to dio, and then we're gonna leave that alone and move to any other place where you see skin. Sometimes you know the characters wearing a dress or shorts or something. There's tons of areas, and this one, it's really just her neck. The neck is always darker, especially right into the jawline, because it's in shadow. So I'll just fill that in a little darker, and we will come back to these sections and layer again. But this is the first wash through and then on her hand, as you can see over here, the colors all on the left and there's a highlight on the right hand side of her hand where that highlight ISS, we're not gonna paint at all, So we're just gonna do one stroke through here and then leave it, even though we could articulate the fingers, all that stuff for the purpose of this loose watercolor. That's all we're gonna dio. And that's all this I should do her year. Sometimes I sat tend to forget the years so her ear just the inside, Really? We'll come back to it. Shading comes kind of next layer. All right, so now we're gonna lay in the base color for all the rest of the areas on the painting as well. I usually start somewhere away from the face because any areas that are already wet, you don't want them to bleed. So if I were to do the hair right now, some of the color that I put into her hair could bleed into her face because that's the way watercolor paper works. Um, areas that are damp acts like a wick, and they'll pull the color in. So when you're painting adjacent areas and you don't want them to mix, make sure the one area is dry before you paint the second. So I'll go ahead and do her, her sweater, her sweatshirt and I'm going to put in a very pale wash of the first color, which is kind of this science blue. And I don't really have to mix it because this color in my pan is pretty much the right color. There's not a ton of highlight going on in her sweatshirt, but we know from her face and her hands and everything else that the lights coming in from this direction. So I'm were to interpret that and we'll paint everything on this side of the sweatshirt more solid. And then I'm gonna wait my brush a little, come back in and move my way toward where the light iss and get a little more color. Her arm acts like its own entity, so it will have a dark side in a late side, wipe off a little bit, and then you just have, like, a damp brush with a little bit of color, and you can kind of blend this over a little more color. Basically, what you're going for is for it to look kind of washy and almost a little scribbling and leave that highlight on the side. Now her hand would be blocking the light here. So you know that you're gonna have a dark section here. This is where, like, you have to interpret a little bit in the picture. You don't see a ton of different tone, but that's where you interpret it a bit. And that line might look a little harsh. You can take a clean brush and kind of feather it out with a really light touch. Or you could leave it harsh because honestly, as it dries, it will feather itself and it will lighten. Watercolor always looks the darkest when it's wet, so you might do a painting and think, Oh, I have great contrast going and then it dries and it looks a little dull, so don't be afraid of the color. So now you can see it looks like she's lit from the right hand side, and you don't see tons of that in the picture. But this is where you kind of like use your artists brain and know that since the lights coming this way, let's exaggerate it. We're gonna do the same thing and you can see it's not about perfection. This is a little uneven. There's a little bit of white showing their its okay, this is interpretive and a little Impressionist. So her pants or yellow. So, um, you want to get the color? You don't wanna be applying straight powdery pigment that comes off your palate. Um, so if you have a pretty empty pout like this, it's kind like you could mix it in the bottom. But if you're if you have pretty, pretty full pan, you might want to go over to your palate. If I have a spare space and kind of much the color around a little bits that you're really working from, like a watery pool of color rather than having that chalky pigment on the end of your brush , I want to do the same thing with her legs that I did with her sweatshirt. I know where the light ISS, and so even though you don't see a ton of it in this picture, you can see a little. She's got shadow and a darker kind of marigold or Toby kind of color on the side of her knee and not as much over here, but we're smart. So we're gonna interpret that, and you can tell that this color is a little more lemony. But that's OK, cause we're gonna come in and layer it. The beauty for me is never being done in the first layer with watercolor you can be That's a That's a look, Um, but I like to do at least two layers. All right, so now this is a bit of fun So for her boots, we're probably not gonna count into every single straight. But let's look at the colors in the palette for these stripes and trying to our best to get a facsimile of that. So it's like a hot magenta at the top and the bottom. And let's see, we have a little bit of this hopping make a color on your palate. This is a bit of magenta color had, and I'm putting a little more. Uh, Pinky, this is called Bright operates my favorite kind of hot pink color in this mission gold palette. And just with a light touch in the very sharpest pointy bristles of your brush got those bands in on then I'm not gonna paint this straight down the back because it'll blend with every straight that I paint, so I'll do that last and then we'll do the souls. And now, right now, while we're doing this, I'm conscious of the fact that her sweater is drying so that I can start to paint the florals on top. It's all about timing and moving around the painting to know the results you want. If she had blend the water calorie looking flowers on her sweater. I might want to paint thumb right away so that they would blend into that background blue. But she doesn't. So, um, I'm letting the blue dry so I can get more crisp florals when I do my layering. So this color is a little light, like I said, but that's because we'll come back in and add some shut shading after the fact. So she has a couple of the stripes and her boots that are the same color. Um, and this is where I mean, honestly, if there were seven stripes on these boots, I would probably pay attention more to their positioning. But there's so many stripes that we're just gonna indicate them. We're not gonna count them. We're not going to try and make it exact. I'll put these two pink ones, kind of where they belong, and then we'll just move on. Okay, so that's it for now, on that it's tedious, but it's fun. So if you guys have details like that in your reference photo that you need to spend some time on, just enjoy it. Don't try and race to the end. The end result all right, but Let's go up to the hair because at this point the face has dried and I don't have any worry about, um, bleeding from the hair color. So with dark brown hair, I tend not to go in just with dark brown color. I'll pick a mid tone, so find the lightest light in the hair. So, like the highlight here has this burnt sienna kind of color. So I'll try and find whatever color that highlight is. And, um, starting with that dark hair tends to need more than two layers I find, especially with watercolor, since every layer dries lighter than, um, you lay it down and you're really trying to achieve that contrast. So I've got this burnt sienna color, um, with a little bit of brown mixed in, and I'm gonna do the same thing as I did with the face. I'm gonna find the darks and paint those in first. That way they dry first, your ableto layer them in sooner. So this area right below the flower and use such a light touch because the points on the on on this tapered brush or your friend, you can get really tiny detail by just barely touching with those end little pointy hairs and then on areas where you can don't paint with the points, use the flat part of the brush, press on the color and really get a kind of beautiful brushstroke when you can, because otherwise the hair will look like it's scribbled in. You want to put in chunks of color, not every strand. So in areas where you need to be careful, I mean, obviously, that whole flower has to be left behind white. And she has a bit of the headband here showing, um, you could leave that, I guess, Or we could come in later with the gel pen and add it in. If it's a really fine detail, I do tend to just paint over and come back in with gel pen. Um, and instead of looking at it looking at it like a mistake, you can look at it as an opportunity to add another extra bit of mixed media. We see the glass half full. Okay, so that bit is all solid. But then, through here, stop referencing the photo. Just look at your line drawing and kind of sweep in. Press harder for thick strokes lift up to get this tapered off. Little lovely end. Just try and get some movement where you leave some whites. This part is kind of interpretive. If you try and follow the painting exactly or the reference photo exactly, you might make yourself crazy. Um, remember, it's not an exact portrait. We're trying to reference the photo, capture the personality in the essence of the character. But we're not. We're not striving for an exact, you know, photo duplicate. That would be boring unless you're doing that type of portrait, in which case go for it. And even I have to remind myself sometimes, too, not be too literal, because you can get caught up in in kind of the fun of really capturing all of the details . And I'm a detail person. But for these kind of just like I said, you want to use a little bit of your creativity and your artistic eye and the photo for reference that you have a little bit of credibility and realism, knowing where the shadows are not necessarily replicating the shadows exactly. It's like right there there's a chef shadow on the side of the flower. I'll leave it for a second. The section back here is just solid, and with watercolor, you can't have kind of like dynamic contrasts everywhere. There'd be nowhere for your ID arrest. So in areas that are solid, just let them be solid and then focus on the areas where there's light to kind of showcase the interest and your technique. Normally, on this part of a hairdo, you'd see a little bit of light. But because it's that side of her body and it's in shadow, you really don't. So there's not much going on up here. It's pretty solid, except for this little bit of extra shadow by the flower, all the cute. This is happening over here. This is where the face being dry. It's so important because you'd be having a muddy side of her face if you tried to touch this hair into it while it was wet and it would be miserable and I have done that. Gotten impatient and patients is the worst thing. If you're water coloring, a lot of people will use a hair dryer or any kind of dryer. I know they sell those, like heat guns at craft stores by their painting station to kind of hurry things along. But when I'm doing this style, I don't use a lot of water. So it drives pretty quickly if you're just moving and bouncing around the illustration and you can also see that the hair here acts like an outline for her face. We don't have ah, hard outline in these pencil type sketches. But when a dark area meets a light area and you're careful about it, you can really carve out the light by painting in the dark. Now you can really see the definition of her chin. All right, So that part's maybe one of the trickier parts would have to paint just cause we had to be careful. All right, so now her hair is actually drawing everywhere, so you can kind of just add in some strokes. They don't even have to be super meaningful. But you're gonna get layering and more darks and lights and tones, and that's pretty cool. Definitely dark in the shadow areas. And the more you touch it, the thing with watercolor is is it will pick up color, too. So if you scrub in an area, you're actually gonna lift color off the paper and then you get kind of this this whole and it's hard to fill it in. And if you feel like you're overworking a section you are If you even have that thought in your brain than just stop, come back to it when it's dry Don't say Oh, I just want to fix it But one more stroke Oh, wait, let me let me just touch that one more time cause all you're gonna dio is over work that section of paper and it's gonna be hard to recover. No. All right, so that's the base layer for her hair will come back in with almost some black in a minute , but let's move on. So the flowers on her sweater there are so many we can't possibly paint them all. So what we want to do is just concentrate on the colors and the shapes, and we'll just try and block in some of the basics so that we get an idea of what this sweatshirt looks like. They keep calling it a sweater. I guess it's a swish. Okay, so I got this hot pink color, and I'm gonna look for all the places where I see hot pink. So right here on her arm, we have one and I'm skinnies gestural. Kind of like little touchdown brushstrokes. Um, to show the pedals. It's not gonna be an exact facsimile of these flowers. I can't You wouldn't even want. I was gonna say I can't paint that well in miniature, but you wouldn't even want Teoh. It's not the point of this type of drawing, so we're just gonna touch all the places quickly, actually treated like a gesture, drawing where we see the pink and try and follow the shape and form that it's in. But don't try to paint every pedal. Okay, so now let's get some shading in. This is pretty fun. So we use this lemon yellow on her legs. Now we're gonna get don't get, like, an orange yellow because, um, basically, you want to look at the color you've got and go maybe one shade darker, one shade richer. So there's not really much orangey nous to this yellow. I get a little bit. It's kind of like a school bus yellow. So we've got a little bit of this school bus yellow, and we're going Teoh touch the places where they're shading. So always under a hem line, cast a little shadow and then this whole side of her leg. Remember, use your brush strokes. Press harder. Lighten up. This is not an exact science. It's meant to look expressive. And then we're just gonna leave that alone. Maybe we'll start doing a little bit more shading in the skin tones, so we'll come back to the face. She definitely has more of like a cocoa type complexion, so we'll find a warm color and we'll add it into the peach that we use the first time. Um, finding an empty spot on my palette to blend with get gets harder and harder. All right, so we want to accentuate those dark areas cause now everything's dried and you can tell that it's it's much less distinct. It looks a little harsh. Way first painted it, but that's as it lightens up. It starts to soften, and so we're gonna add in the dark areas again, the darkest of the dark areas. So they're sheeting along her hairline. If you feel like your color is not dark enough, remember, it's gonna dry later, so you always have to go a little more heavy handed than you think. I've learned. Teoh. Let it look a little harsh as I'm painting on the first try so I don't have to go back in 1000 times with more layers and again with faces. I'll often get all the color off and just used. I mean, it's almost a dry brush. It's damp because there's no water in the handle, but it's not dripping. It's not shiny, and then you can kind of touch the edges of the color and move it around a bit. I always say, like a little blush on the cheeks and the lips for last and faces Erhard. I mean, you'll find your flow. Don't expect it to be perfect on the first try, unless you just are super amazing and this is just your wheelhouse. Navy will just pick it up on the first try. But I mean, my kids always say Mom happen. You can paint like a face, and I cannot like, Well, I've been doing it for. Maybe I should be better actually, since I've been doing it for, like 15 years. But that's what I tell them. I'm like, well, when you're doing it for 15 years, you start to realize what things work, what things don't, and that becomes part of your skill set. So just blending out a couple of the harsh lines that I'm noticing if you notice something on a face and it's pulling your attention, drawing your eye, um, you should probably feather it out, all right. And then on her hand, I want to add a little bit of that darkness. To contrast is good and watercolor. The darker some of the tones are, the more vividly you see the light. If that makes any sense. Because if you only worked in pastel tones and didn't have any contrast than the light areas wouldn't look as light. You need the dark for comparison. Um, so this dark school bus yellow here really shows off the highlight. It really looks like the sun is shining on her more than in this picture, but that's my interpretation. So up here in her little hair flower, just because you don't want to look dull and just white paper, I'll go in with like, um, like a neutral, almost like I'll pick up some gray and maybe warm it up in some of the peachy pink. It doesn't really matter what color you pick. It's I'm just gonna put in some shadows and I'm just gonna touch it in a few spots. Maybe I'll add a little bit of yellow because there's a lot of yellow in this picture and it'll look a little bit like sunlight anyway, just just so it has some area of color and doesn't look dull and boring compared to the rest of your painting. So we're gonna dio some pinky color, so we're gonna grab, like, a little bit of, ah pinky kind of really pale, if you can see it. It's, um, like I would pick up some of my coral or something for my palate really blended out with water on the watery of the color. The, you know, the more dilute the better. And then, um so I've got a little this pinky color on here, and then I'll just kind of dab it off so it's not gonna make a puddle, and then I'll just touch a little spot on her face and I'll, um, come into her lips. Oops, I was on the palate. I touched some hot pink. And if you ever get more color than you wanted, you can kind of dab it off with your paper towel. Stakes happen. Okay, so I said I was gonna come back in and give a little more shading to her hair. You don't have to kind of stop here, but I think her hair looks a little flat. And since it is almost black, her actual color, um, you can kind of be free with brown hair. You could use a little bit of purple in your shadows to make it come more alive, which is always nice. You can use a little bit of red. It doesn't have to be straight up black. So this is kind of like a, um, plum color that I'm gonna drop into the darkest darks. And again, you have to make sure the background colors dry and not touch it. Scrub about it too much with your brush, because then you'll pull up that background color instead of laying down the top color. And that's the opposite of what you want. Because that area will get lighter, not darker. So try and touch it just like once or twice, and then get out of there right around this flower. This area of her hair or bangs is actually the darkest area, and that little bit of contrast will help. Same thing over here. Just kind of touch a few areas, had some interest, get some movement going. Only pleased to be careful is around the contours of her face because you don't want to distort that or just have it look messy. So in the areas that are broad like this, you can just kind of be free inexpressive. That's fun. But in here, like I said, be careful. I kind of find your moments in a painting like this. Some areas need to be a little tighter and a little more. I don't even want to use the word precise, but and then other areas you can definitely use artistic license. I'm gonna add a little tiny bit with an almost dry brush, and it just has a little bit of that darkish black color into her eyes on a blonde haired child or person. Whatever. Um, the pencil color is probably enough to be the darkness of the eyes, but she needs her eyes to be a little darker so that they can stand up to the darkness of her hair. So just if that makes you feel uncomfortable to use paint near the eyes because you can get blobby eyes. You can do that with, like a micron pan instead, or dark and dark in a pure pencil lines. When you go back, I'll show you a person like around 10. You could use one of the EU's and go back into the facial features you need to. Okay, so let's get well, depends a last. Okay, so now I'm gonna get my fluffy brush. My traditional brush, this one. It's real soft. It holds a lot of water, and a lot of people say, Well, this is a scary part. Here's a little cup of water and get my brush nice and juicy. And she has these rain boots on, which is kind of cute because she'll look really cute. Standing in a watercolor puddle had to decide what color we want to use, so she's got this blue sweater pink in her boots. Maybe I'll go just basic and do like an aqua colored puddle, so you want to get your brush really loaded on a triple my really loaded up in juicy with color. Um, you kind of can't have enough water for this. You can see the puddle of making in here and try not to overthink it. So you'll think for one minute because you're gonna lay in, like, hard line kind of around. You don't want it to overlap the feet a little bit around here. Try not to be too precise. Then you get some water. No more color, just moving around a little, and then you can even I just put, um, color and water on my brush. And this is important. Tap, tap, tap. Now, that was kind of magic, because none of my droplets ended up on the character, which is crazy. Oh, wait. See, there's one right here. You can lift it or if you want to like, since she's in a puddle, this is kind of representing a puddle and not just to flourish. If it was, some of the droplets landed on her, that would be okay because they would just look like they were in front. But magically, that happens sometimes over a piece of paper towel and kind of place it over the character before I splash that way I preserve anything, especially if it's for a commission. And I don't want to mess up any of the facial features Or, you know, um, I don't want to muck anything up for the person who is receiving it, but we'll just leave this like this right now. The only other thing you could dio is you can take your brush again, clean it off and for, like, just a little bit of fun. You can get a richer color or contrast in color or whatever. I'm gonna get this really deep teal and just load up your brush with it and then where the areas are really watery, touch it down and let it kind of move around a bit right now. So what I'm gonna do while the puddle is drawing, which I wouldn't necessarily recommend you do because you'll get your hands and all this wet color. But is it gonna come in with my white gel pen? I'm gonna add a little bit of fun detail. So she is this hearing this little pearl earring and so I will add it in in a nice break pop of white gel pen. Um, I might add a little bit of dot to her flower. I might see some of that with pencil. We'll add a little bit of headband in. I'm gonna add a little bit of, like, this tiny little Berries in her flowered sign and maybe some little lines to the flowers. Nothing, I think fancy. And I might have been really referencing the picture all that much, just kind of trying to make it come alive. We can see the gel pin just so easy, and then might and the vehicle then in places where you think you might need it. Like I said on a on a blonde or someone who's fair complected the pencil. The original pencil lines will be dark enough for their fates with facial features, but you might want to darken up. So with the darker complexion like this, you might want to darken up some of their facial features with your pencil just to make them pop a little more. That helps. And what's the other thing I was gonna dio on her? Oh, I was gonna outline a few of the flowers. Not a lot of outline, just to indicate that there is an outline in the design on the original. Just a little touch. I mean, I'm not even referencing the photo at this point. Just kind of doing a messy outline again. This is kind of like doing the final drawing things that you think will add to the image Adam and other things that you think will just attract you. Don't. You can tighten up any lines you want at this point. If you feel like you need a little darkness, anywhere was added in maybe the top of her boots. Oh, I know it is going to show you one more thing about cheating. The last thing I wanted to show you. Waas. If you take a kind of grade out or like blue Peri winkle kind of a color after your entire painting is done and dry, I might be pressing. Look here with mine being dry, you can add some shading on top so you can. It'll it's transparent, color, translucent, translucent, and so it'll go over everything that's already there and create shadow. If it's a neutral color light gray, you can kind of put it anywhere but a lot of time. Shadows have a blue cast so creatively speaking, you can add it anywhere. It just adds a little touch more of, um, depth. And if you think the character needs it, you can also add a little bit more rosy nous to their complexion or anywhere where the skin tone is. Ah, lot of times after everything's dry, I'll think for a cartoon type character, you know, maybe not in real life, but a cartoon type character might need a little more pronounced rosy cheek, and I'll add it, and that's it. So your assignment, this last assignment, of course, for the class is to show us you're finished illustration with little water color, totally spattered fund backdrop if you want. If not, you can just show us your character painted in okay, I can't wait to see what you make 8. Wrap Up: everyone. If you've made it this far, that means you've completed the glass. Congratulations. I hope that you've learned some interesting and useful tools and tips for sketching characters, using a photo reference and then adding some water color to really make it come to life. I cannot wait to see what you guys supposed to the gallery, so start doing that. So, Aiken, take a look. And also, if you'd like to, you confront out three pages of attachments Incredibles that I included here for you. One is a practice page so you can draw some hair styles and facial features. And I've just given you all that kind of blank American heads for that. With some good lines drawn in and the other two sheets or cheat sheets, there just some references for simplified facial features, simplified hairstyle, simplified hands and feet. In case you're having a a struggle with interpreting those from your photos, you kind of look at those and see if any of those hands, feet, facial features, whatever might work. And then you can use them in your drawing really into a teaching. And I hope you guys have enjoyed watching if you post any of your results on social media, I would love a tag on Stephanie Korpi. Artworks on Instagram and Stephanie for people artist on Facebook Catch next time. 9. ** Extra Tips: Shading & Coloring Jeans: Okay, So one of the students in the class had a question about getting realistic layering of color for jeans. So I thought I would post some of my digital drawings with the coloring portion. Slow down so you can kind of see how I put in the layers. I almost always start with kind of a more dull, grayed out kind of lighter blue color. Um, that's not very saturated. And I put in all the creases, all the wrinkles, all the darks, all the shadows. It's kind of like a tonal kind of rendering of the genes. Then I'll go in with the middle layer. That's more of a vibrant blue that you think matches that middle tone in the genes that you're trying to depict. And I'll go over those first shading areas and then some. So you're kind of filling in everything but the strongest highlights and then usually all finish with almost a blackish navy color and again layering. It's the layering of the three colors that get you those darkest darks. But I'll usually end with that blackish navy color in like the creases behind the knee and the him here, you can see up by the hem of his shirt where the character is sitting and you have, like, kind of that that weight from the underside of their leg. Um, the darkest colors will go there, but again to reiterate, start with a great out light tone, moved to a vibrant blue and then finish with adult out blackish navy. So it's the layering of the three of those is really going to give you the tonal balance. It's a lot less blue than you think. Hope this helps. |
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Topics: Adolf Hitler, Nazi Germany, Germany Pages: 4 (1115 words) Published: October 8, 1999
Why did Hitler rise to Power and why did the Weimar Republic collapse?
Hitler's rise to power was the result of many factors, but Hitler's ability to take advantage of Germany's poor leadership and economical and political conditions was the most significant factor. His ability to manipulate the media and the German public whilst taking advantage of Germany's poor leadership resulted in both the collapse of the Weimar Republic and the rise of Hitler and the nazi party. During the early 1920s, Germany was struggling with economic instability and political uncertainty. Germany, after being defeated in the Great War, was forced to sign the unforgiving treaty of Versailles, which the Weimar Republic was held responsible for. This brought forward feelings of fear, anger and insecurity towards the Weimar Republic. Hitler built on these feelings and offered the secure and promising alternative of the extremist nazi party. Although there were many factors that contributed to the rise of Hitler and the collapse of the Weimar republic, Hitler's ability to build upon people's frustrated view of the hatred of the treaty of Versailles and the circumstances it placed upon the German nation, was the fundamental reason for Hitler's rise to power and the Weimar Republic to collapse
The Treaty of Versailles, signed by the Weimar Republic at the conclusion of WW1, introduced economic insatiability and caused a profusion of hardship. The idea of resorting to an extremist group promising better alternatives became an attractive option to many Germans. The Treaty of Versailles' vindictive terms and unreasonable reparations (6,600,000,000 pounds) resulted in undesired economic circumstances. Unemployment rose to 25%, no less than fifty percent of school children were undernourished and annual meat consumption fell from 52kg to 26kg per person. In general, the German standard of living decreased dramatically. The terms of the hated treaty angered and frustrated...
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global_05_local_5_shard_00002591_processed.jsonl/53201 | Authentic Models Waikiki Surfboard
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global_05_local_5_shard_00002591_processed.jsonl/53228 | How to Develop Your Writing Style
Woman writing in notebook
••• Hero Images/Getty Images
Your writing style is the manner in which you express yourself and it evolves naturally over time. It develops from a combination of your personality, your reading choices, and conscious decisions you make while writing. So, what can you do to develop your writing style? Thinking about it too much can result in mannered, stilted prose, but you can do some basic things to help develop your style naturally.
Read voraciously, read broadly, and read the classics. Great literature can be your best teacher, but don't be afraid of contemporary or genre fiction either.
"Young or beginning writers must be urged to read widely, ceaselessly, both classics and contemporaries, for, without an immersion in the history of the craft, one is doomed to remain an amateur," Joyce Carol Oates wrote in "The Faith of a Writer."
There's no substitute for simply writing as much as you can. In the beginning, don't worry so much about publishing; that can come later. Attempt different genres. Nonfiction and especially poetry have something to teach as well. Again, don't worry about influence in the beginning and don't worry if what you're writing seems bad. Write because you love it and trust that you'll grow into your style.
Use Words That Come Naturally to You
Though you should strive to enlarge your vocabulary, stick to words you use in real life. If you're using a word only to sound impressive, you're likely to misuse it or use it awkwardly. In other words, don't allow a desire to use a particular word or phrase to drive your writing. The needs of your writing should dictate the words you choose.
Be Clear
Your goal is to communicate. Make sure each sentence is as direct and simple as possible. You want to make it easy for your readers, so they have the pleasure of getting lost in your prose. Awkward writing takes readers out of the fictional dream you're working so hard to create.
Avoid Cliches
Though it's hard to avoid cliches completely, struggle to craft original sentences, metaphors, and expressions. Think twice before going with the easiest turn of phrase unless anything else would sound unnatural.
Be Concise
Experiment with individual sentences, seeing if they can be rephrased to use fewer words. Don't say, "He walked across the sidewalk with the cracked cement to the field," when you can say, "He walked across the cracked sidewalk to the field," for instance. Or, for another example, don't say, "Make sure each sentence is composed as directly and as simply as possible," when you can say, "Write each sentence as directly and simply as possible."
Be Precise
Clear, detailed writing makes your prose come to life. Struggle to find just the right words for your descriptions. If necessary, do a little research. There's great pleasure in knowing the names for things and in using those names. Saying that "the gray-haired woman sat by the window tatting a doily," for instance, is more descriptive and more vivid than, "The old woman sat in the corner working on something." Precision is not a matter of filling a sentence with modifiers, however. It's a question of choosing the best, most accurate nouns and verbs.
Pay Attention to Word Choice
The English language has at least 250,000 words, more than "most comparable world languages," according to the folks at Oxford. Because English is such a mutt of a language, we almost always have synonyms at our disposal. Buy a good thesaurus and make the most of our rich linguistic heritage.
Use Basic Literary Devices
As a writer, you also will make choices about things like figurative language. While you're thinking about style, review some basic literary terms, such as metaphor, simile, and irony. Getting familiar with the tools at your disposal also will help you develop your style. |
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Coffee, Lighting, Action
5 things I have learned as a PA
· Advice,Film,Artists Corner
"Oh, so you're a physician's assistant? I thought you did film-stuff."
You know, there are multiple meanings for the acronym PA: physician's assistant, personal assistant, producer's assistant... and production assistant. (I'm sure there are more.)
As of right now, I am usually the last one. Being a production assistant on a film set can be hard work. you are the last rung on the totem pole, and often times there is such quick turnaround that most people forget your name by hour 10.
But working on a film set is glamorous, right?
Unless you're working on a TV show that is filmed in one studio and you have a set schedule (ha, no pun intended), you're probably pulling all kinds of weird hours doing even weirder things. (Vlog coming soon on this one!!)
Some days, I'll be getting coffee for people. Other days I might help with casting. Or paperwork. Or finding catering for a very hungry and angry crew. Other days I will stand for 5 hours straight in one place on what's known as a "lock-down". (Those can actually be fun if you have the right people around.)
But if you're getting into the film world, you gotta pay your dues. And it might not be for 15 years, it could be 5 weeks depending on your work ethic and your networking skills, and yes, some ounce of right-place-right-time.
While you're finding that magical bar, here are some of the best lessons that I have learned while being the lowest position on the film totem-pole.
1. Learning all the things you never did.
Didn't take a lighting class in college? Didn't go to college? No problem! You'll probably get thrown in with ALL the teams at some point: production (the Lions' Den), Grip+Electric (the Wild Things), Camera (the Geek Squad), and Talent (the Potential Disasters) at some point, especially if you're working on a "non-union" set with union guys working on it.
Pro tip: Usually G+E people are crazy, and they're the best ones to drink with after the day is done! You can make good friends and allies in that department... if they're not too grouchy.
2. Network like a pro.
In between doing someone's laundry, getting coffee (with skim milk, 3 pumps of vanilla, non-fat whipped cream, espresso at exactly 90 degrees Fahrenheit), locking-down a set and trying not to piss anyone off, you may have the chance to network. Absolutely do this.
I don't care if it is someone's assistant, the stand-in, or the 2nd AD, get to know people and build a relationship with them. At the end of the shoot, you may find you have a couch to crash on, a lead for your film, and maybe another paying gig!
Pro tip: If you're a PA, make sure you do your job first. It is easy for your higher-ups to think you're there to schmooze and not to work.
3. Getting it all out of your system.
I mean the green, obvious mistakes a newbie makes. Seriously, there is no vocab book for this industry's sociolect. Don't know what a C-47 is? GFL, my friend.
Pro tip: A C-47 is a clothespin. Yup. You're welcome.
4. Humility is key.
The above being said, if you find you don't know something, ask. Now is the time to learn, not when you're on set as a key grip for your buddy's first feature.
In my experience, no one has ever not called me back for asking questions. In fact, they usually respect that I am asking, as it shows I am willing to learn. While I may have certain strengths (people-skills) and experiences (acting for like, 12 years) that may propel me a little farther quicker in other fields of filmmaking, the point is that I am making an effort to better myself in general.
Pro tip: Don't ask too many questions. Do trust yourself here and there!
5. Finding what is best for you.
PAing gives you the chance to be on set, and that is awesome! It also gives you the opportunity to see if what you think you're good at or what you think you want to be when you grow up is what you actually want to do.
Specializing in the film industry is going to get you the most jobs consistently. If you're not 100% committed to one thing, that's fine. Just realize that it is going to take you a bit longer to get to the paycheck level/consistency level that you want in either field(s).
Pro tip: Once you've gotten some experience under your belt, but you still aren't sure what you want to specialize in, ask friends and colleagues who know you well to give you their input.
In the end though, this life is yours and so is the way you define yourself.
Film and entertainment is a massive industry, and there is no age limit, no gender, race or sexuality limit. The beauty of film and communication is that you could come from anywhere, any background, and make something that connects with someone somewhere.
You want to create, so do it. You don't need to have a ton of experience, connections, money or equipment to do it. Storytelling needs lots of voices and even more people:
You could think that you're a gaffer but one day find you're the best AD to someone else's director.
You could be gunning to be the best screen actor in the world but find that you are killing it being a stage manager.
You could be a producer that really is better off as a writer, or
you could be an Fortune 100 accountant who realizes that the studios really need some help in their management and you're their answer,
In all honesty, as I write this, I know that I haven't quite decided my one true path (or paths) yet. And that's okay. I'm still in my experimentation phase, and for all I know tomorrow something will push me one step closer to picking something.
But I have gotten the same advice over and over: when people put you in their phone, they're always going to remember you as John Doe - Stunt Coordinator... even if three years down the line you've directed several blockbusters.
Explore now, then choose what kind of legacy you want to leave behind when you're done on this earth, and stick to it. If life throws something else your way, go with the flow. Everything is connected, and if you stray from your plan, odds are you're gonna find out really quickly if it is really part of it.
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global_05_local_5_shard_00002591_processed.jsonl/53281 | Islamic Civilization: Timeline and Definition
The Birth and Growth of the Great Islamic Empire
Pilgrims Arrive at Medina Mosque to Begin Pilgrimage to Mecca
Pilgrims Arrive at Medina Mosque to Begin Pilgrimage to Mecca. Abid Katib / Getty Images
The Islamic Civilization is today and was in the past an amalgam of a wide variety of cultures, made up of polities and countries from North Africa to the western periphery of the Pacific Ocean, and from Central Asia to sub-Saharan Africa.
The vast and sweeping Islamic Empire was created during the 7th and 8th centuries CE, reaching a unity through a series of conquests with its neighbors. That initial unity disintegrated during the 9th and 10th centuries, but was reborn and revitalized again and again for more than a thousand years.
Throughout the period, Islamic states rose and fell in constant transformation, absorbing and embracing other cultures and peoples, building great cities and establishing and maintaining a vast trade network. At the same time, the empire ushered in great advances in philosophy, science, law, medicine, art, architecture, engineering, and technology.
A central element of the Islamic empire is the Islamic religion. Varying widely in practice and politics, each of branches and sects of the Islamic religion today espouses monotheism. In some respects, the Islamic religion could be viewed as a reform movement arising from monotheistic Judaism and Christianity. The Islamic empire reflects that rich amalgamation.
In 622 CE, the Byzantine Empire was expanding out of Constantinople (modern-day Istanbul), led by the Byzantine emperor Heraclius (d. 641). Heraclius launched several campaigns against the Sasanians, who had been occupying much of the Middle East, including Damascus and Jerusalem, for nearly a decade. Heraclius' war was nothing less than a crusade, intended to drive out the Sasanians and restore Christian rule to the Holy Land.
As Heraclius was taking power in Constantinople, a man named Muhammad bin 'Abd Allah (c. 570–632) was beginning to preach an alternative, more radical monotheism in west Arabia: Islam, which literally translates to "submission to the will of God." The founder of the Islamic Empire was a philosopher/prophet, but what we know of Muhammad comes mostly from accounts at least two or three generations after his death.
The following timeline tracks the movements of the major power center of the Islamic empire in Arabia and the Middle East. There were and are caliphates in Africa, Europe, Central Asia, and Southeast Asia that have their own separate but aligned histories that are not addressed here.
Muhammad The Prophet (570–632 CE)
Tradition says that in 610 CE, Muhammad received the first verses of the Quran from Allah from the angel Gabriel. By 615, a community of his followers was established in his hometown of Mecca in present-day Saudi Arabia.
Muhammad was a member of a middle clan of the high-prestige Western Arabic tribe of the Quraysh, However, his family was among his strongest opponents and detractors, considering him no more than a magician or soothsayer.
In 622, Muhammad was forced out of Mecca and began his hegira, moving his community of followers to Medina (also in Saudi Arabia.) There he was welcomed by the local followers, purchased a plot of land and built a modest mosque with adjoining apartments for him to live in.
The mosque became the original seat of the Islamic government, as Muhammad assumed greater political and religious authority, drawing up a constitution and establishing trade networks apart and in competition with his Quraysh cousins.
In 632, Muhammad died and was buried in his mosque at Medina, today still an important shrine in Islam.
The Four Rightly Guided Caliphs (632–661)
After Muhammad's death, the growing Islamic community was led by the al-Khulafa' al-Rashidun, the Four Rightly Guided Caliphs, who were all followers and friends of Muhammad. The four were Abu Bakr (632–634), 'Umar (634–644), 'Uthman (644–656), and 'Ali (656–661). To them, "caliph" meant successor or deputy of Muhammad.
The first caliph was Abu Bakr ibn Abi Quhafa. He was selected after some contentious debate within the community. Each of the subsequent rulers was also chosen according to merit and after strenuous debate; that selection took place after the first and subsequent caliphs were murdered.
Umayyad Dynasty (661–750 CE)
In 661, after the murder of 'Ali, the Umayyads gained control of Islam for the next several hundred years. The first of the line was Mu'awiya. He and his descendants ruled for 90 years. One of several striking differences from the Rashidun, the leaders saw themselves as the absolute leaders of Islam, subject only to God. They called themselves God's Caliph and Amir al-Mu'minin (Commander of the Faithful.)
The Umayyads ruled when the Arab Muslim conquest of former Byzantine and Sasanid territories were taking effect, and Islam emerged as the major religion and culture of the region. The new society, with its capital moved from Mecca to Damascus in Syria, had included both Islamic and Arabic identities. That dual identity developed in spite of the Umayyads, who wanted to segregate out the Arabs as the elite ruling class.
Under Umayyad control, the civilization expanded from a group of loosely and weakly-held societies in Libya and parts of eastern Iran to a centrally-controlled caliphate stretching from central Asia to the Atlantic Ocean.
'Abbasid Revolt (750–945)
In 750, the 'Abbasids seized power from the Umayyads in what they referred to as a revolution (dawla). The 'Abbasids saw the Umayyads as an elitist Arab dynasty and wanted to return the Islamic community back to the Rashidun period, seeking to govern in a universal fashion as symbols of a unified Sunni community.
To do that, they emphasized their family lineage down from Muhammad, rather than his Quraysh ancestors, and transferred the caliphate center to Mesopotamia, with the caliph 'Abbasid Al-Mansur (r. 754–775) founding Baghdad as the new capital.
The 'Abbasids began the tradition of the use of honorifics (al-) attached to their names, to denote their links to Allah. They continued the use as well, using God's Caliph and Commander of the Faithful as titles for their leaders, but also adopted the title al-Imam.
The Persian culture (political, literary, and personnel) became fully integrated into 'Abbasid society. They successfully consolidated and strengthened their control over their lands. Baghdad became the economic, cultural, and intellectual capital of the Muslim world.
Under the first two centuries of 'Abbasid rule, the Islamic empire officially became a new multicultural society, composed of Aramaic speakers, Christians and Jews, Persian-speakers, and Arabs concentrated in the cities.
Abbasid Decline and Mongol Invasion (945–1258)
By the early 10th century, however, the 'Abbasids were already in trouble and the empire was falling apart, a result of dwindling resources and inside pressure from newly independent dynasties in formerly 'Abbasid territories. These dynasties included the Samanids (819–1005) in eastern Iran, the Fatimids (909–1171) and Ayyubids (1169–1280) in Egypt and the Buyids (945–1055) in Iraq and Iran.
In 945, the 'Abbasid caliph al-Mustakfi was deposed by a Buyid caliph, and the Seljuks, a dynasty of Turkish Sunni Muslims, ruled the empire from 1055–1194, after which the empire returned to 'Abbasid control. In 1258, Mongols sacked Baghdad, putting an end to the 'Abbasid presence in the empire.
Mamluk Sultanate (1250–1517)
Next were the Mamluk Sultanate of Egypt and Syria. This family had its roots in the Ayyubid confederation founded by Saladin in 1169. The Mamluk Sultan Qutuz defeated the Mongols in 1260 and was himself assassinated by Baybars (1260–1277), the first Mamluk leader of the Islamic empire.
Baybars established himself as Sultan and ruled over the eastern Mediterranean part of the Islamic empire. Protracted struggles against the Mongols continued through the mid-14th century, but under the Mamluks, the leading cities of Damascus and Cairo became centers of learning and hubs of commerce in international trade. The Mamluks, in turn, were conquered by the Ottomans in 1517.
Ottoman Empire (1517–1923)
The Ottoman Empire emerged about 1300 CE as a small principality on former Byzantine territory. Named after the ruling dynasty, the Osman, the first ruler (1300–1324), the Ottoman empire grew throughout the next two centuries. In 1516–1517, the Ottoman emperor Selim I defeated the Mamluks, essentially doubling his empire's size and adding in Mecca and Medina. The Ottoman Empire began to lose power as the world modernized and grew closer. It officially came to an end with the close of World War I.
• Anscombe, Frederick F. "Islam and the Age of Ottoman Reform." Past & Present, Volume 208, Issue 1, August 2010, Oxford University Press, Oxford, U.K.
• Carvajal, José C. "Islamicization or Islamicizations? Expansion of Islam and Social Practice in the Vega of Granada (South-East Spain)." World Archaeology, Volume 45, Issue 1, April 2013, Routledge, Abingdon, U.K.
• Casana, Jesse. "Structural Transformations in Settlement Systems of the Northern Levant." American Journal of Archaeology, Volume 111, Issue 2, 2007, Boston.
• Insoll, Timothy "Islamic Archaeology and the Sahara." The Libyan Desert: Natural Resources and Cultural Heritage. Eds. Mattingly, David, et al. Volume 6: The Society For Libyan Studies, 2006, London.
• Larsen, Kjersti, ed. Knowledge, Renewal and Religion: Repositioning and Changing Ideological and Material Circumstances among the Swahili on the East African Coast. Uppsala: Nordiska Afrikainstitututet, 2009, Uppsala, Sweden.
• Meri, Josef Waleed, ed. Medieval Islamic Civilization: An Encyclopedia. New York: Routledge, 2006, Abingdon, U.K.
• Moaddel, Mansoor. "The Study of Islamic Culture and Politics: An Overview and Assessment." Annual Review of Sociology, Volume 28, Issue1, August 2002, Palo Alto, Calif.
• Robinson, Chase E. Islamic Civilization in Thirty Lives: The First 1,000 Years. University of California Press, 2016, Oakland, Calif.
• Soares, Benjamin. "The Historiography of Islam in West Africa: An Anthropologist's View." The Journal of African History, Volume 55, Issue1, 2014, Cambridge University Press, Cambridge, U.K. |
global_05_local_5_shard_00002591_processed.jsonl/53293 | Skip to main content
Last-Minute iPhone 8 Rumors: 5 Things You Need to Know
After months of speculation, Apple will finally take the wraps of its new iPhones at 1pm ET on Sept 12, and if you believe the latest reports, there will be three options: the iPhone 8, the iPhone 8 Plus and the iPhone X.
Credit: Marques Brownlee/YouTube
(Image credit: Marques Brownlee/YouTube)
The iPhone X will likely get most of the attention, as that's the handset that's expected to get the all-new design with a nearly edge-to-edge OLED screen. Given all the leaks, are there any surprises left? It doesn't seem like it, but there are some last-minute tidbits that are a bit surprising.
iPhone X Could Come Even Later (for One Color)
We've heard about possible production delays with the iPhone X, and it's very possible that it could ship later than the iPhone 8 and iPhone 8 Plus. But now comes word that a particular color may be the most fashionably late.
Credit: 9to5Mac
(Image credit: 9to5Mac)
A report from 9to5Mac, citing analyst firm KGI, says that the OLED iPhone isn't even hitting 10,000 units a day in terms of production, which probably means shoppers will see a later ship date than hoped or very limited availability (at least at first).
Things look even worse for the so-called "Blush Gold" model, as that seems to facing additional issues and may see a staggered release date compare to the other two hues.
A11 Chip Will Be This Mighty
Update: The first real benchmarks have leaked, and they're nuts. If you've been following Apple for the last year, you might know that it now makes the fastest mobile chips in the land, so there's no reason to expect that the new A11 chip won't smoke the competition. In fact, if early A11 benchmarks are to be believed, the Galaxy S8 doesn't stand a chance.
Based on the latest leak from famed developer Steven Troughton Smith, as reported on by CNET, the iPhone X will have 3G of RAM (more than the 2GB in the iPhone 8 and iPhone 8 Plus) and its A11 chip will have "two high-power Monsoon cores and four lower-power Mistral cores." AppleInsider has the inside scoop on the specs.
MORE: iPhone 8 Will Be a Smash Hit Even at $1,200
A New Breed of Emoji
Many people use emoji to communicate instead of words, but they're not that personal. But the leadked Animoji should change all that. According to 9to5Mac, this new feature will let you create custom 3D animated emoji based on the expressions you make into the new iPhone's camera. The handset's 3D face sensors will play a major role in making this magic happen.
iMore's Renee Ritchie believes that Animoji will simply sell more iPhones, and it's hard to argue that shoppers won't be swayed by this novel feature. We're just not sure how much they're willing to pay for it.
Camera Specs Revealed (Plus IR camera)
Just when you thought Steven Troughton Smith was done leaking iPhone info, he wasn't. He has also revealed what seem to be camera specs for the iPhone X, saying that the back camera is a 12-MP sensor that can crecord 4K at 60 frames per second and that the phone can record slow-motion 1080o footage at 240 frames per second.
Interestingly, Troughton Smith says the dedicated IR camera up front, the one that will presumably aid in rapid-fire 3D face scannng has a resolution of 1312 x 1104 pixels.
MORE: Best Camera Phone - Top-Rated Smartphone Cameras
USB-C to Replace Lightning? Really?
This one is very hard to believe but CNET also found a tweet from a user named Longhorn (@never released) that says: "usbc-fw-personality, usb-flash update and then The iPhone X might actually use a USB Type-C port."
This would be a huge departure from the Lightning port. But if Apple is going to do it, it would have to make this change for the iPhone 8, iPhone 8 Plus and iPhone X. There's no way Apple would support two different ports for all three new phones.
• rdavies494
Improved cat emojis! For itards that can no longer communicate with words, let alone to other humans directly. |
global_05_local_5_shard_00002591_processed.jsonl/53333 | What is the water flow temperature?
The water flow temperature will vary between 35-60°C, depending on the heat losses from the building. If the system operates with thermostatic mixing valves, use 45°C temperature for screeded floors and 55°C temperature for timber suspended and floating floors.
Some heat pumps will work at 35°C which means the pipe spacing needs to be c/c 150 mm.
View all questions
What is the maximum temperature differences?
What is the working life of multiplayer pipe? |
global_05_local_5_shard_00002591_processed.jsonl/53349 |
Breaking Bad in Vancouver: An evening with Vince Gilligan
"Lost" Showrunner Damon Lindelof with "Breaking Bad" creator Vince Gilligan: VIFF Film and Television Forum
'Breaking Bad' in Vancouver
"Breaking Bad" creator Vince Gilligan visited Vancouver as part of the Vancouver International Film Festival's Film and Television Forum, and he brought some Blue Sky meth and a few barrels of cash with him. VIFF presented One Last Cook, in which Vince Gilligan presented his favorite episode of "Breaking Bad", followed by a Q&A moderated by "Lost" showrunner Damon Lindelof.
The stage was adorned with barrels from Gus Fring's megalab, along with stacks of cash, bags of Blue Sky, and a now-iconic yellow hazmat suit. Everyone wanted selfies in front of those barrels.
Was there a pizza on the roof of the Centre for Performing Arts? I didn't think to ask.
For his favorite episode, Vince Gilligan selected S04E13, "Face Off"; already a fan favorite.
Seeing a"Breaking Bad" episode on the big screen just confirmed the series' cinematic aspirations: those sharp sounds and expansive landscapes really hold up when projected in a movie theatre. The 1800-strong audience laughed and cheered with every twist: nobody stands in a round-the-block queue if they're only a casual viewer.
Previously, on 'Lost'...
Following the screening, Damon Lindelof took the stage, or maybe it was the Smoke Monster pretending to be Damon Lindelof. I couldn't really be sure.
You've got questions, Vince has answers
Vince Gilligan took the stage to a standing ovation, then sat down for the Q&A, which would include questions from fans via Facebook and Twitter.
Lindelof asked, considering the whole premise of "Breaking Bad" is "Mr. Chips to Scarface", will Walter White utter the line, "Say hello to my little friend!"?
Gilligan replied, [SERIES FINALE SPOILER ALERT] "No."
Besides, Walt and his son watch "Scarface" in one episode, and Walt doesn't seem like the kind of guy to quote movies in situations of stress.
Some of the (paraphrased) questions and their answers:
What is one line or moment that sums up the series?
Gilligan: "Probably 'I am the danger', 'I am the one who knocks'." Gilligan also mentioned the scene in S01 where the bathtub comes crashing through Jesse's floor in a spectacularly gory mess.
Do you remember how or when you came up with the concept for "Breaking Bad"?
Gilligan answered that the idea came from a conversation with screenwriter Tom Schnauz, with whom he had worked on "The X-Files". In 2004, after two years of unemployment, Schnauz had suggested (jokingly, if the DEA is reading this) that they rig up a meth lab in an RV and drive across the country. From there, Gilligan got what he called "that Archimedes-in-the-bathtub moment", and began to "explore the character of "a middle-aged schlub [...] who'd break bad."
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Breaking Bad S05E16: Series finale preview
Chemistry is the study of transformation. |
global_05_local_5_shard_00002591_processed.jsonl/53351 | CBD and Hemp Oil Comparison
What Is The Difference Between Hemp and CBD oil?
The CBD oil and industrial hemp oil come from different parts of the hemp plant, that’s why their characteristics are significantly different from each other. Hemp oil comes from seeds and is used as a protein supplement, lotion or hand soap. CBD oil comes from plant flowers and leaves which is mainly used for medical purposes, such as treating inflammation, anxiety and anxiety disorder. Neither contains any significant amount of THC, they will NOT get you high.
Since both can be made in similar forms and those two concepts can be very confusing. In this article, we will dig in more about their differences, and what exactly they are used for.
Hemp Oil
Hemp oil is extracted from hemp seeds. Usually, it comes from the industrial hemp plant and contains minimal to zero amount of THC. Hemp oil can be used in many ways: it was commonly used as a substitute for olive oil for cooking because of its nutty taste and containing a great amount of protein. Hemp oil is also used in lotions or hand soap which helps to moisturize the skin. Because it is a natural moisturizer, it is also used to make certain types of soap. Some people also believe that it has anti-inflammatory and anti-aging properties treating your skins.
CBD Oil
CBD (cannabidiol) oil is extracted from the flowers and leaves of the hemp plant and contains less than 0.3% of THC. It is a naturally occurring chemical substance in cannabis and has non-psychoactive properties. CBD is commonly used for medical purposes such as address anxiety, inflammation, and chronic pain. CBD-based drugs have also been approved by the Federal Food and Drug Administration (FDA) to treat certain types of epilepsy.
Can You Buy CBD From Amazon
Can You Trust CBD Products Selling By Amazon?
If you go to the Amazon website and search for “CBD oil”, you will get hundreds of listings and they are all much cheaper than the CBD oil you can find from dispensaries or branded CBD websites. Are they true CBD oil?
You probably have figured out most of them labelled themselves as “Hemp Oil” and none of them mention anything about CBD. The fact is, Amazon is stricting with its policy regarding CBD oil or anything cannabis-related. And all the products you found under the “CBD oil” keyword are actually hemp seed oils - totally different from a true CBD oil. Since the CBD and hemp oil have completely distinctive features and functionalities, you may not want to purchase from the Amazon website if you want to receive medical treatments from cannabidiol. |
global_05_local_5_shard_00002591_processed.jsonl/53360 | FTP Backup stops at 1024bytes
I'm backing up to a FileZilla FTP server but the transfer stops at 1024bytes. The FTP servers works fine when connecting and uploading files from any FTP client so it's not a server problem. This issue only arises when trying to upload with virtualmin. It doesn't stop randomly or inconsistently but always at 1024 bytes.
Any help with regards to this will be helpful.
Howdy -- unfortunately, we weren't able to reproduce that issue.
What happens after it gets to 1024 bytes -- what message(s), if any, do you receive at that point?
We have heard reports of folks having issues similar to what you're describing which are caused by network issues between the Virtualmin server and the FTP server.
One thing you can do to test that is to see if you're able to use the "ftp" program on your Virtualmin server in order to connect to your FTP server and upload some files.
If you're using a special account on your FTP server, you may want to double-check that the account isn't over it's quota -- that's another possible cause for that issue.
Also, you may want to review the logs on your FTP server to see if it offers any input on what issue is occurring.
If the logs don't provide any details -- what you may be able to do is increase the logging verbosity on your FTP server, and then attempt the backups again.
Feel free to share the log output here, we certainly want to get it corrected if it turns out to be a Virtualmin issue.
Thanks for the prompt reply,
Virtualmin is producing the following error:
.. upload failed! Upload incomplete - file size is 19552846, but sent 16384
From the FTP server logs I get:
(000022)20/08/2013 15:41:45 - user (...)> 227 Entering Passive Mode (192,168,0,250,195,95) (000022)20/08/2013 15:41:45 - user (...)> STOR Backup_2013-08-20_14-10/backup.tar.gz (000022)20/08/2013 15:41:45 - user (...)> 150 Connection accepted (000022)20/08/2013 15:43:47 - user (...)> 426 Connection timed out, aborting transfer (000022)20/08/2013 15:43:47 - user (...)> 421 Connection timed out. (000022)20/08/2013 15:43:47 - user (...)> disconnected.
I've tried: - switch windows firewall on/off - switch router firewall on/off - ports for active/passive are forwarded to the right machine: 21/50000-51000 - testing file transfer with ftp client from various machines work perfectly - ftp account has no limits set and ample HD space (3TB)
Were you able to test the transfer from the Virtualmin machine itself?
It'd be great to rule out that there isn't a problem regarding it, or something between it and the FTP server.
That is, if you log into your Virtualmin server via SSH, and use the "ftp" command on the command line, are you ablle to transfer some decent sized files that way? |
global_05_local_5_shard_00002591_processed.jsonl/53380 | Skip to main content
Invisible Men
ISSUE: Autumn 1990
For the mile past American Steel
I breathed in my cargo of roses,
but even in that sweetness I could feel
the lung grit and chronic bloody noses
of my childhood. It was my last day
delivering flowers, and the dead man
these were meant to honor couldn’t stay
dead in the town he lived in,
where the undertakers all were white.
Like me, doing my buck-an-hour duty,
driving deep into Venice, Illinois, and its blighted
dying air with a perfect spray of American Beauty
roses, Boston fern, and baby’s breath for the casket.
What did I know? I was 19, a week
away from the army, and if you’d asked
I’d have just said “Luck, bad luck,”
and looked away, believing for the moment in flowers.
I don’t remember. Maybe I was told
it was all cosmetic, that even after hours
of trying, of dabbing at dead skin as cold
as any, no white man could make a black face
presentable. Maybe I believed that
the way I believed I’d go any place
the army sent me, that I believed what
we’d all been told—duty and honor,
fine and fitting things, the old lies.
How could I have known any different? Conned or
gullible, probably both, I honed my eyes
on beer and smoke, my ears ringing
with wild guitars. In Venice that day,
late winter, young black men gathered singing
around trash can fires, and no one looked my way.
A white boy with a job, a long hair,
I couldn’t outshine the package store lights.
I was out of focus in the noxious air,
in March, when not even clouds were white.
What is that smell in funeral homes?
formaldehyde? ammonia? chrysanthemums?
gladiolas? carnations? Or the roses I followed
held out before me and nodding like beggars,
like mourners—amen, amen, my steps
murmuring down the carpeted hall. They were
gathered in the chapel, the family I slipped
past, though I felt them watch
while I nestled the casket-piece in place.
Flag-draped and sealed, steel-cold to the touch,
the coffin held a soldier whose black face
grinned at me from an 8 × 10 portrait.
And what I don’t understand today
is how I looked back at him without
so much as a blink, how I eased away,
cool and professional, slowly, making sure
the roses were right, balanced and symmetrical,
how, until I turned toward where
the family waited, I could not tell
they were crying. Silent, emptied, they
didn’t look at me at all as I left,
but at one another, or at the plush gray
floor, or at the roses and fern and baby’s breath—
expensive, short-lived, and meagre. In that air
so full with dying, I moved like a wrist,
like sleep—impossible, invisible, there
and not there, like the people I passed
on the smoke-killed streets of Venice,
like the dead man I looked at but didn’t see,
like the nation itself imagining a menace
from across the world, while back home we
trucked our darker dead away and paid
ourselves little more than nothing to buy it:
the lie, the dazzling flag, frayed
to the edge of its true color, white on white on white.
Recommended Reading |
global_05_local_5_shard_00002591_processed.jsonl/53384 | Since I don’t know any longer what socialism is, I don’t know if I’m qualified to judge China Mieville’s list of sf/f works for socialists. It’s such a heterogeneous list that the set of books seems unnecessarily short. With such diverse reasons for inclusion as genre subversion, utopia, satire, and working class sympathies, the list could have easily been expanded. Socialism evidently contains multitudes.
So instead, here’s my own list of works for liberals: specifically, liberals of the United States of around this time. And there is one theme in particular that these books reflect, which is how myths (i.e., lies) occupy the collective mind of society. More than anything George Lakoff has to say about “frames”, the idea of collective myth is one that the Republicans have embraced with great success, while the Democrats have utterly lost the fabled images of strong workers and social welfare that once fueled them. This is less about the content of these myths than the compelling aspect of their totality.
Russell Hoban, Riddley Walker
The ultimate novel of how we forget our past and recollect it as fable and allegory.
Olaf Stapledon, The Flames
Amazing, and amazingly depressing, novella of rise and fall of an alien society around a shifting religious myth. As much a tale of the Crusades as a prediction of America’s fundamentalist near-future, it’s frightening.
Mark Geston, Lords of the Starship
Neoconservative/Straussian politics put into play in a post-apocalyptic world. Not too uncommon a theme, but Geston’s book is one of the comparatively few negative portrayals of it.
Cordwainer Smith, The Rediscovery of Man
Smith was a Kennan-esque Cold Warrior, and in between the more cutesy bits, his work has a Kissingerian sense of realpolitik, depicting a point in the future where government must intervene to alter people’s existential senses of themselves.
R.A. Lafferty, Fourth Mansions
A tall tale about secret powers at work. As a conservative Christian, Lafferty is rather good at playfully saying “Damn it all” to the world. More Hawthorne-influenced than it at first appears.
Kobo Abe, The Ark Sakura
Nuclear and survivalist paranoia from a Japanese point of view. The handful of main characters spend so much time locked in an underground cavern that they nearly create their own reality.
Carol Emshwiller, Various Stories
I’ll have to go back and pick some specific ones, but there is such a constant undercurrent of societal expectations being undermined in her work that nearly anything of hers seems to fit the bill. Probably the name I was most disappointed to see missing from Mieville’s list.
Bernard Wolfe, Limbo
Crazy Freudian dystopian novel that’s at war with itself, but so fevered that its societal hysteria is more vivid than most. |
global_05_local_5_shard_00002591_processed.jsonl/53398 |
Hello Wefugees,
It's me again. I have another question. Yesterday I went to a university to enquire about their Guest Auditor Programme. And then, while on the way home, a question appeared. Is it possible to withdraw your asylum procedure and apply for a student visa instead?
asked Jul 25, 2018 in Education by someoneingermany
Please log in or register to answer this question.
1 Answer
+1 vote
Hello @someoneingernany,
if you withdraw your asylum application and leave Germany voluntarily, it is usually possible to apply for student visa and to legally travel back to Germany. However, I'm not sure if you must leave Germany and apply for student visa from your country, or you can stay in Germany and do all the procedure here. I suggest you to contact "Refugee Law Clinic" because this is a legal issue. Here you can find the addresses in whole Germany:
I hope my answer may help you!
Besr Regards,
answered Aug 1, 2018 by BildungsberaterIn
Hallo @BildungsberaterIn ! Thank you very much for the information! I will contact them next week!
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global_05_local_5_shard_00002591_processed.jsonl/53435 | Dividend-Tax Cut Runs Risk Of Opening More Loopholes
Congress calls the tax bill it's now considering the Jobs and Growth Tax Act of 2003, but it's at risk of passing the Great Tax Shelter Act instead.
The president's plan to eliminate the tax on dividends rests on a couple of respectable principles: The tax code shouldn't push U.S. companies to rely more on borrowing and less on selling shares of stock to raise money. And if government wants more of something -- in this instance, more saving and investment -- it ought to tax it less.
Turning those principles into policy proved troublesome from the start.
The best way to change corporate behavior would be to change the taxes that companies (not shareholders) pay, perhaps by letting firms deduct dividends as they do interest payments. But after Enron Corp., no politician wanted to sell a corporate tax cut. And roughly half of all dividends go to shareholders that don't pay U.S. income taxes, such as college endowments, pension plans and foreigners. Those profits aren't taxed twice (once when earned by the company, once when paid to shareholders as dividends).
When the White House asked the Treasury to turn a slogan -- "end the double taxation of dividends" -- into tax policy, the Treasury dusted off a plan crafted in the waning days of the first Bush administration. It quickly dropped the original plan's out-of-favor notion of cutting some taxes and raising others to avoid enlarging the budget deficit.
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global_05_local_5_shard_00002591_processed.jsonl/53444 | BMW ULF Universal Charging and Handfree Module
Vehicle: BMW
Difficulty: ⚫⚫⚫⚪⚪
DIY Cost:
Est. Time: 15 - 30 min
In this guide, we take a look at how to troubleshoot BMW Universal Charging and the hands-free facility, also known as the ULF module or MULF2.
UFL is responsible for USB-Audio (USB port in the center console) and Bluetooth.
How to diagnose the BMW ULF module
For this step, you will need a diagnostic scanner that is capable of reading, clearing, and performing tests on BMW vehicles.
What you will need
1. Plugin the OBD-II scanner into the diagnostic port under the dashboard.diagnose bmw ULF fault code via obd2 port
2. Turn on the ignition, don't start the engine.turn on bmw ignition to read ULF fault codes
3. Turn on the scanner and select your BMW chassis. Next, Select the Control Units ULF control unit module reading codes
4. Select the ULF Module.
5. Once you enter the ULF module, you will be able to do the following.
• Read Codes from ULF Module
• Clear Codes from ULF Module
• Perform Adaptations, Activations, Test
If you are experiencing problems a good starting point is to read fault codes from the ULF module. If any code is showing PRESENT status the problem needs to be fixed before the code can be cleared.
By YOUCANIC Automotive Experts
Jun 2020 |
global_05_local_5_shard_00002591_processed.jsonl/53458 | DOL Releases Lifetime Income Disclosure Rule
The Department of Labor (DOL) today announced an interim final rule that prescribes how retirement plans are to provide lifetime income information to give savers a realistic illustration of how much monthly retirement income they could purchase with their account balance. Included in the rule is model language that may be used for these explanations, as well as liability relief for fiduciaries that use the model language and assumptions provided in the rule.
This guidance is in support of a provision of the Setting Every Community Up for Retirement Enhancement (SECURE) Act that requires a participant’s accrued benefit to be reflected on her benefit statement as an estimated lifetime stream of payments. It will be effective 12 months after the date of its publication in the Federal Register. |
global_05_local_5_shard_00002591_processed.jsonl/53478 | | Home
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• Customers can save or change their shipping and profile info to speed checkout.
• They also can check the status of their orders and appointments.
• As the site owner, you can grant customers and members access to private pages with sales and other promotional information.
1. Go to your GoDaddy product page.
2. Scroll down to Website Builder and select Manage next to the website you want to change.
3. Select Settings then under Connections select Membership.
4. Toggle Members Accounts on. If you change your mind, you can always come back here and toggle it off.
5. Select Accept to republish your site.
6. When the Customers Accounts page reappears, you're now able to control access to private pages.
• If you want to control access to private pages separate from the ability to create a member account, keep Only people I invite can access my private pages selected. Invited people receive an email with an Activate Account link. When clicked, they see a web page where they can create an account password separate from being a Member.
• If you want all members to have access to your private pages, select Anyone can create an account to access my private pages.
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global_05_local_5_shard_00002591_processed.jsonl/53483 | MobileSheets Forums
Full Version: Error, bulk import
as shown. Using Bulk import (of about 200 PNGs and a few PDFs in one folder) this error occurred. I tried normal Import of the same files and they imported without any problems.
I could do some tests (like deleting most of them before a bulk import) but have not had time.
The PDF might be failing if "Auto Crop" was on, as there is a known bug involving that that will be fixed in the next update. It seems like one of my error messages has a bug though - thanks for letting me know.
I couldn't find the code that caused the error you displayed in that dialog. I'm hoping the fix for the automatic cropping will address this issue though, as I no longer have issues with batch importing.
Yes I had automatic cropping ON.
Out of interest, what is the difference between the two importing methods other than the options we can set, anything? I usually use Bulk. |
global_05_local_6_shard_00002272_processed.jsonl/65 | Calorimeters measure the energy a particle loses as it passes through the detector. It is usually designed to stop entire or “absorb” most of the particles coming from a collision, forcing them to deposit all of their energy within the detector. Calorimeters typically consist of layers of “passive” or “absorbing” high-density material – for example, lead – interleaved with layers of an “active” medium such as solid lead-glass or liquid argon.
Electromagnetic calorimeters measure the energy of electrons and photons as they interact with matter. Hadronic calorimeters sample the energy of hadrons (particles that contain quarks, such as protons and neutrons) as they interact with atomic nuclei. Calorimeters can stop most known particles except muons and neutrinos.
The components of the ATLAS calorimetry system are: the Liquid Argon (LAr) Calorimeter and the Tile Hadronic Calorimeter.
ATLAS calorimeter
Tile Calorimeter (TileCal)
• Central barrel made of 64 wedges, each 5.6m long and weighing 20,000 kg
• Two extended barrels each with 64 wedges, each 2.6m long and weighing 9,600 kg
• 500,000 plastic scintillator tiles
assemblyhall,ATLAS,calorimeter,endcap,hadronic,HEC,Detector Construction,Calorimeters,Liquid Argon,detector
Liquid Argon (LAr) Calorimeter
• Barrel 6.4m long, 53cm thick, 110,000 channels.
• Works with Liquid Argon at -183ºC
• LAr endcap consists of the forward calorimeter, electromagnetic (EM) and hadronic endcaps
• EM endcaps each have thickness 0.632m and radius 2,077m
• Hadronic endcaps consist of two wheels of thickness 0.8m and 1.0m with radius 2.09m
• Forward calorimeter has three modules of radius 0.455m and thickness 0.450m each |
global_05_local_6_shard_00002272_processed.jsonl/75 |
BCmoney MobileTV
The Internet of Things – If this then what?
Posted by bcmoney on January 10, 2015 in Cloud Computing, Mobile, Web Services with No Comments
No Gravatar
English: A technology roadmap of the Internet ...
The “Internet of Things” (or IoT) is an evolution of microprocessor engineering, sensor innovations, wireless communications technologies, and of course the Internet itself. An IoT “thing” could be any natural or man-made object that can be assigned an IP address and provided with the ability to transfer data over a network. For example, inanimate objects (i.e. many cars have more built-in sensors than early NASA shuttles for doing everything from alerting the driver when tire pressure is low to regulating anti-lock breaking systems or airbag deployments during emergencies), animals (i.e. a wild animal tagged with biochip transponder to track position/population size or migration patterns) or people (i.e. an elderly person with a heart monitor device or any other implant or device which tracks health data). In all of the previous examples, “things” are provided with unique identifiers and the ability to transfer data over a network without requiring human-to-human, human-to-animal, or human-to-computer interaction. A major question of this Internet of Things is now what the “killer applications” will be. As in, what real-world problems will be solved, what efficiency improvements can be gained or which tangible benefits can be realized for the end user? By connecting more and more devices (thanks to the proliferation of IPv6 addresses, enough to give every atom on Earth’s surface a dedicated IP), we are of course creating more and more usage data, observational data and metadata about the interactions of these devices and users within the rest of the world, which has also placed even more importance on BigData. Certainly, a big part of IoT will be task automation (the absence of a user during operation of devices and their software), enabling devices to function more and more autonomously and theoretically freeing up users from manually entering commands via a command-line or clicking/tapping on controls within a user interface. Enter the service If This Then That (IFTTT), which enables you to “wire together” the capabilities of or otherwise integrate data from two disparate sources to accomplish a particular goal. Rules as Recipes
“Recipes” are the term used by IFTTT to refer to each set of IF <this> THEN <that> rules. The IFTTT team describes recipes as:
…a very handy tool to help put the Internet to work for you in various interesting ways. They have a wide range of selections that you can mix together to create technological recipes which can help cook up something along the lines of sending an email to alert you that it’s going to rain tomorrow or to download an image every time someone tags you in a photo on facebook. The possibilities are nearly endless yet very powerful in the palm of your hands.
While the Rules Engine is primitive at best, it proves that often times less is more. By simply enabling you to take one thing (i.e. a sensor event, monitored threshold, or manual control command sent by a user) and as a result do another (such as send a message, operate a device or log some data), IFTTT provides a much-needed integration service for the Internet of Things (IoT), kind of like the communication bus in your computer provides input/output between your computer’s various chips and from those chips to various peripheral devices (like monitors, printers, network routers to be sent on to other computers/networks, etc). Some examples of the communication technologies supported are the usual suspects, such as:
• HTTP (raw call to a web URL)
• FTP (file transfers, i.e. data backup/archiving/logging)
• Email
• SMS
• Mobile Notifications (iOS/Android/BlackBerry/WindowsPhone)
• Tweets
• Social Network posts (Facebook, Instagram, Tumblr, MySpace, LastFM, etc)
• Pull updates (via RSS)
• Push updates (via HTML5 WebSockets)
Events can be powered by just about anything that can be reached and/or share information via an API, including the following commonly-used configurations:
• receipt of a communication (any of the above forms, i.e. Email, SMS, etc)
• click of a button (i.e. in a Web or Mobile GUI)
• time (i.e. a certain scheduled day-of-week, time-of-day, or timer interval elapsing)
• temperature
• lighting levels
• noise levels
• geographical location
• any kind of basic threshold being reached (one specific value equal to something)
• more complex built-in sensor triggers (only those configurable on sensor-side)
Multiple Values and Complex Rules
Neither the monitoring of multiple values nor complex rule evaluation scenarios work particularly well with IFTTT yet though. For example, if you have both a Philips HUE Smart Lighting system and a NEST Smart Thermometer system, you would be able to separately tell your NEST to reduce temperature when you leave the house (using geo-location) and fire back up as you leave work, which is definitely handy. Likewise, you would be able to set your HUE to turn off the lights when you leave the house without needing to remember to flick the switch, and turn them back on when you arrive. However, what if you’re actually visiting your friend’s house next door. All that stuff will likely kick in when you might not necessarily want it to, because the geo-location APIs of devices and browsers are usually quite imprecise. What about having those systems cooperate together more closely? For example, you may want to tell IFTTT that if you’re away from home for an extended period of time but your plants need simulated ultraviolet light via your HUE system’s LED lights, then override any other settings which tell the lights not to turn on unless you are at home. Not possible with the current basic IF this THEN that rules configuration options. There is no real brain or intelligence in the service that could reason that your plants could die if kept in the dark for a certain number of days. Should you want more complex integration scenarios, you will have to program that on the edge directly (that is to say, within the individual sensors, devices, networks and services you are integrating) and then simply use IFTTT as the scaffolding to wire together the various parts of the overall system you’re building. So my point is not necessarily that IFTTT is completely lacking, on the contrary, its a great service; but it clearly leaves the door open for tons more innovation in the IoT space, whether you choose to build upon IFTTT as an integration platform or not, and whether you’re innovating at the integration/logic layer or on the edge by adding innovative new IoT devices/sensors/services. Some cool IFTTT Recipes You can do some really cool stuff with IFTTT, here are some of my favourite recipes:
IFTTT Recipe: Letting the spouse know you've left work connects ios-location to sms
IFTTT Recipe: If it rises above ___ degrees outside then turn your A/C on connects weather to wink-aros
IFTTT Recipe: Tell Siri to set #Nest to a temperature connects sms to nest-thermostat
IFTTT Recipe: Voice Command Your Lights Off connects ubi to smartthings
IFTTT Recipe: When you exit a specific area set your Nest Thermostat to ___ degrees connects ios-location to nest-thermostat
IFTTT Recipe: Leave home > Turn off Hue lights connects ios-location to philips-hue
IFTTT Recipe: Arrive home > Turn on Hue lights connects ios-location to philips-hue
IFTTT Recipe: My Plant can send email when it needs water :) connects parrot-flower-power to email
IFTTT Recipe: My plant can tweet when it needs more light ! connects parrot-flower-power to twitter
IFTTT Recipe: Call me if the liquor cabinet opens! connects smartthings to phone-call
IFTTT Recipe: If you enter an area, Turn back ON WiFi to save cellular data connects ios-location to ios-notifications
IFTTT Recipe: Log your work hours on Google Calendar connects ios-location to google-calendar
IFTTT Recipe: Turn ringtone back up when I leave work connects android-location to android-device
Here’s the first recipe I published in order to help me remember to get enough steps per day (at least 10,000) as I was in a “FitBit Challenge” at work to log our physical activity and the winner got an extra $150 Wellness Benefit for the year: IFTTT Recipe: FitBit 'stay on target' Phone Call reminder connects fitbit to phone-call I also have two others that I’ve not published as they are specific to me:
1. if the IFTTT incoming SMS # receives any SMS text from my phone number, publish the contained text (and link) to social bookmarking tool Delicious
2. remind myself to take out the trash every Friday (and if its the last Friday of the month, to pay the bills)
Here’s an excellent image from Dutch e-news service which summarizes everything you could want to know about IoT nicely in a single Infographic:
IoT – Past, Present, Future (courtesy of Emerce.NL)
The simplicity of IFTTT makes it a popular choice among IoT tinkerers, developers and early-adopters/power-users alike. At the same time, it leaves some room for further simplifications for totally non-technical users (i.e. my grandparents or even parents would likely never sit down and write their own “recipes”); and at the same time, further complexity in the expressiveness of the “rules” to allow for the creation of more fine-grained logic branches and decision trees. With IoT what we need is not necessarily just another service in the “middle of the stack” to enable the integration of devices, we can already do that with an ESB (but it certainly helps remove the need for one-off custom API implementations in the interim); what we really need though, is a form of intelligent and responsive service that cooks up just the “integration recipe” you need, precisely when you need it. This dream IoT service (yes basically the “intelligent agent” which the Semantic Web advocated for, and which we’re starting to see form through Siri, GoogleNow & Cortana), must think carefully before firing off each and every one of its messages or device control operations. It is several layers of intelligence on top of the basic integration convenience layer that IFTTT provides.
Whether IFTTT ends up being the “killer app for IoT” or not remains to be seen; but with the API wiring they’ve already done, it could serve as an excellent platform upon which to build integrated IoT services and devices, and it is well worth a closer look for any serious technologist. That said, we should also be aware of the implications of handing over all of our account credentials and/or authorizations to a single service (even though on IFTTT such is done as securely as possible via OAuth, WebFinger, SAML and similar protocols). We are essentially creating a “key to the kingdom” type of situation wherein IFTTT or your account within it being hacked, exposes data from many other devices/services. One could even think of property-damaging implications (i.e. connected sprinkler systems, humidistats/thermostats, smoke detectors, etc) or potentially even life-threatening triggers and actions which could be fired (i.e. some are hooking up connected cars, pet feeders, heart rate moniotrs & medical devices, etc) if the system were exploited.
We can minimize these risks with a little bit of common sense, only connecting those devices which offer high levels of convenience and low risks of impacts if accessed illegitimately by another party.
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global_05_local_6_shard_00002272_processed.jsonl/88 | Hebrews 1:1-3: Jesus is God
Read: Hebrews 1:1-3
Hebrews opens talking about the continuous revelation of God through fathers and prophets and in these “last days” has spoken to the world through his son. In a way, the author of Hebrews was talking about how God was revealed entirety of the Old Testament, which is called the “Tanakh” in the Hebrew language. “Tanakh” is a sort of acronym that stands for The Law, the Prophets, and the Writings. The fathers and prophets are uncovered all these portions of scripture. The Law is the first five books of the Old Testament. The Prophets includes Joshua, Judges, 1 & 2 Samuel, and 1 & 2 Kings, and Isaiah through Malachi. Lastly, the Writings include the rest of the Old Testament. The Old Testament revelation stopped with Malachi, but the author of Hebrews effectively asserts that the latest revelation on par with the Old Testament that had come into the world came through God’s Son himself, namely Jesus.
The opening verses of Hebrews also offer one of the most unequivocal statements about the deity of Jesus in all of the New Testament. Not only is God being revealed through Jesus, Jesus himself is on par with God. Hebrews asserts many things about Jesus in these verses:
• He is “heir to all things”. Ultimately, everything will belong to Jesus in the end (Ephesians 1:20-23, Philippians 2:9-11).
• Through him the “worlds” (The word is plural in the Greek) were made. This indicates not just the earth, but the entirety of the cosmos. For this to be possible, Jesus would have had to been present in Genesis 1:1 when God created the heavens and the earth. John makes a similar statement in his prologue, saying he is the originator of all things that came into being (John 1:3). Paul asserts that all things were made through Jesus too (Colossians 1:16).
• Jesus is the “radiance of his glory”. The word translated “radiance” is difficult to translate because there is not a word in English correlates with it, but a literal translation would be an “out shining” in the manner the sun radiates sunlight. In a manner of speaking Jesus radiates the glory of God.
• Jesus is “exact imprint of his nature”. The word here for imprint is a figurative form of a tool engravers used to make precise imprints on objects. Jesus is said to be an exact representation of God’s nature, substance, or essence. In classical Greek thought, earthly objects were seen as cheap copies of some sort of perfect, transcendent form. Jesus was not some sort of cheap copy, rather a perfect representation of that form. Colossians 1:15 asserts that Jesus is the very “image” of God. John says that Jesus he who has seen Jesus also sees the Father (John 14:8-11). Jesus is not merely a projection of God – he is so much more than that.
• He upholds the world by his power. Not only was Jesus at the creation of the cosmos, it through him that the world is held together. In Colossians 1, Paul also asserts that Jesus holds the cosmos together (Colossians 1:17).
• He made purification for sin. Jesus was the perfect sacrifice that satisfied the requirement of the law so that those who believe don’t have to. For man to be reunited to God, a perfect sacrifice had to be made. The only one qualified as a perfect sacrifice was God himself.
• He sat down at God’s right hand. The right hand of a God is the ultimate place of authority, and Jesus claims it. The imagery of Jesus taking the right hand is seen a number of times in the New Testament, drawing from Psalm 110:1. (Matthew 22:41-46, Mark 12:35-37, Acts 2:34-35, Hebrews 1:13, Hebrews 10:12-13) and elsewhere in Mark 16:9, Mark 14:62 (paraphrasing from Daniel 7:13-14) Acts 5:31, Acts 7:56, Romans 8:34, Ephesians 1:20, Colossians 3:1, 1 Peter 3:22, and Revelation 5:7. By taking the right hand seat, Jesus has all the same authority of God.
Jesus has all the glory, power, authority, and qualities that are recognized in God. These powerful descriptors of Jesus can only point to one thing: Jesus is God. These statements alone are enough to establish the supremacy of Christ, but the author of Hebrews does not stop there. He continues in the book to show how the Old Testament vindicates the qualities.
When God spoke through the fathers and prophets, he was pointing to what would come. When Jesus came, he was fulfilled what the fathers and prophets yearned for. As this study of Hebrews continues, this will be unfolded. But right off the bat, Jesus divinity is established to assure the reader that Jesus was not merely another prophet, rather that Jesus himself is God revealed.
Lord, what words can express glory, power, and authority revealed in Jesus? You truly are amazing!
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global_05_local_6_shard_00002272_processed.jsonl/117 | Tuesday, October 20, 2009
This SDK provides you development tools, sample code, along with tutorials and reference documents. All great resources for a developer and serves to inform and educate testers as well. We recommend that testers download and install the SDK and then use any of the example apps as their first project. That keeps the fear factor down since no code is written. And since each of the mobile device developers provide an emulator, you don't even need an actual device to learn how to compile and test applications.
Most people start out with something called the "Hello World" application that each SDK invariably offers as the starter application. And webOS is no different. In fact, there's an entire tutorial that describes how to download, compile and install their Hello World app. Once you get the Hello World app to compile and install on your emulator (again, the tutorial explains how to run the emulator), then you can set about to try some tests and learn about the tools that will help you test on actual devices.
On page 30 of the book, there's a paragraph about Testing and Debugging (yes, just a paragraph - but this is a developer book), where the author reinforces the idea of using the emulator during development and testing, and for debugging. Many of the tools described in the book and at Palm's developer website are mainly for developers, but testers should become proficient with any tool that logs information, if for nothing else than to provide a log file with each reported bug. In particular, get to know the palm-log tool. It displays log messages from an application on the emulator or USB-connected webOS device. You can also use palm-log to display the installed applications, which is useful for getting the ID of the application to log.
Here's a checklist I'd recommend for any tester wanting to learn more about webOS apps and how to test them:
1. Download the Palm webOS SDK
2. Install it on your favorite OS
3. Compile the Hello World application and run it in the emulator
4. Setup palm-log to understand how to capture log files
It's actually very straightforward and best of all, you'll be able to say you've compiled, run and tested a webOS app, as well as collected its log file, without spending any money and without even owning an actual device.
Next we'll look at how to do this for the iPhone.
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global_05_local_6_shard_00002272_processed.jsonl/120 | Fixed Cell Measurement Protocol
1. Put coverslip with adherent cells in the sample chamber and wash with PBS. This involves gently spraying the PBS on the coverslip with a pippette, and gently rocking the sample chamber back and forth. This should only require about 0.5 mL of PBS.
2. Aspirate PBS and fill chamber with 1 mL of 4% formaldehyde. Let sit for 15 minutes at room temperature (in cell prep box, covered with a chem wipe).
1. There are variances in both time and temperature (some incubate rather than using room temperature), so this is something that could be varied if desired.
3. Aspirate formaldehyde and wash twice with PBS. Aspirate PBS.
4. For measurements, fill with HBSS at 37C as is typical with live cell measurements. |
global_05_local_6_shard_00002272_processed.jsonl/122 | When you write a science fiction or fantasy novel where do you start? A good place to kick it off is with a little work on world building. Why? First there are Places, then there are Characters who come into the place, do stuff, and talk about it. Build the world first. Here’s some work we did for a science fiction class. It’s a beginning. There are books out there on world building.
You begin by writing a history of your world. Starting with present-day Earth as Top Dead Center, you identify the changes that make your world unique or different.
Your goal is to build a world and then set a story in it. You build the world before you write to keep yourself from inventing it on the fly. Inventing the story on the fly makes you want to write an information-heavy story that gets in the way of the characters and the action. The more you know about the world, the easier it will be for your characters to talk about it.
Click on this link to read this Post: World Building for the Science Fiction Novel |
global_05_local_6_shard_00002272_processed.jsonl/124 | Examine This Report on Stata Assignment Help
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global_05_local_6_shard_00002272_processed.jsonl/125 | Cord blood Calgary
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global_05_local_6_shard_00002272_processed.jsonl/151 | Tongkatali.org's Women’s trade unions
By Serge Kreutz
Like for the labor unions on docks, the primary objective is to guard own interests, and to keep unwanted competition out.
Members of women’s trade unions also concern themselves with voting rights, access to education, work and earning opportunities, or positions in politics.
But the core agenda is to protect the sexual interests of aging women by sexually restricting men and younger, and more attractive females.
The agenda is to manage men so that they will be domesticated partners in monogamous relationships. Female infidelity, on the other hand, is seen as rooted in male relationship mistakes.
From the perspective of women, this domestication is needed because men have traditionally been seeking multiple sexual relationships, and women don’t want this.
Men will be all the more willing to stay in monogamous relationships the fewer opportunities they have to stride, and the riskier striding may be.
That is why the following are core elements of the strategies of the trade unions of women:
1. Stricter sexual offense laws. In many constituencies around the world, sexual offenses against women not resulting in notable bodily injury are punished more severely than causing substantial physical injury to men, causing permanent disability.
2. Ever wider definitions of what constitutes rape. Even consensual sexual activity without any element of violence can be construed as rape if the woman later decides she did not like it.
10 days in Sweden: the full allegations against Julian Assange
The agenda of some women’s trade unions is to generate a climate where men perceive anything beyond a monogamous relationship as risky. That is why even fabricated rape charges are widely applauded. It’s not about justice, anyway. Much more, it is revenge, or even preventive revenge.
On the other hand, the aim of female solidarity organizations is to have women operate in a largely risk-free zone. All kinds of victim protection programs allow women to accuse men from behind the scene.
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How tongkat ali improves overall health
Tongkat ali and butea superba effects on health
Tongkat ali for a healthy prostate and higher testosterone levels
Tongkat ali and fertility
Tongkat ali improves male sperm quantity and quality
Spontaneous pregnancies with tongkat ali
Tongkat ali and weight-loss diets
Tongkat ali weight-loss
What is Chili? An oral sensation but not a taste
What is hunger?
What is kreutzing food?
What is the best weight-loss diet?
What is the Serge Kreutz food philosophy?
Tongkat ali, yohimbe bark and the yohimbine pharmaceutical
Yohimbe or yohimbine – which is better
Yohimbine plus Pfizer’s Blue
Yohimbe combined with bromocriptine or deprenyl
Yohimbe and sleep
Yohimbe Fuel
Review of yohimbe products
Is yohimbine a MAO inhibitor?
Tongkat ali and sirih leaves
Sirih leaves to restore virginity, not just the hymen
Tongkat ali sexual politics and sexual philosophy
The other way around in Japan
Read about divine sex with tongkat ali and butea superba
Humans and gods
Ideology is not science
How tongkat ali pervades all aspects of life, including political opinions
Tongkat ali, not just a herbal but a lifestyle philosophy
Tongkat ali enhances male sexuality, thus there is potential for conflict
Read how tongkat ali shapes moral values
IS strategy and torture
Independence, a missed opportunity for subversion
Ranking better in Third World countries
SPB energy capsules instead of energy drinks
Serge Kreutz on Cambodia
US International Marriage Broker Regulation Act of 2005
US Congress regulating international dating
US messing with sexual economics in the Third World
A dialectical view of morals
A gentle society, on practical, not moral grounds
A lesbian girlfriend
A realistic reason for fear of flying
Absolutely legitimate
Asia, Africa, or Latin America
Alpha males
American religious lunacy
An intellectual avant-garde imposing personal freedom
Animal rights and morals
Another view on morphine
Anti-child prostitution hypocrisy
Anti-sexual US agenda
Anti-sexual US foreign policy
Arbitrary moral values
Aspects of sexual market value
Attracting rich foreigners to poor countries
Avoiding trouble
Basic rules for females who want to entangle men
Best places for Chinese men
Better prepare for death
Biology of behavior
‘Born again’ cultural imperialists
Butea superba and sexual meditation
Career options
Carnitine has very little potential for sexual enhancement
Child prostitutes and paedophile verbal life-porn priests
Child torture, child murder in Africa
Chinese and Indian girls
Chocolate sessions
Choosing the right country
Christian sex priests in Southeast Asia
Circumventing law
Coffee and tea - Serge Kreutz style
Colonial mentality and sex priests
Optimal sex and a comfortable death instead of God
Competing rationally in an irrational world
Competitive advantage
Consciousness and cognition
Constitutional proposal
Constitutions and equality
Contrasts in India
Cosmetic surgery
Criminally liable judges
Dangerous sex
De Sade Justine
Death from opiates
Death, swift and painless
Deciding for cosmetic surgery and related procedures
Democracy not conducive to male sexual economics
Depressed for a reason
Destruction-preluding corruption
Destructive freedom of the press
Detesting the preference for virginity
What is the difference between tongkat ali and butea superba?
Disease and sexual morals
Dismembering the value of life
Drugs and religions
Durian for superior health
Dynamic justice
Eat chocolate and lose weight
Eating techniques
Emotional debates about feminism
Engineering a comfortable death
Engineering happiness
Engineering youth
Escape civilization
Evaluating drug
Exploiting sexual jealousy in political careers
Exploits in Cambodia
False female solidarity
False rape accusations
Female feedback
Female gene shopping
Female orgasmic fantasies
Female promiscuity
Female sexual market value in East Asia
Female sexuality in short supply
Female sexuality
Feminazi’s rape
First-hand report on Phnom Penh
Foreign investment and development
Foreign investment in Third World countries
Foreigner-bashing in Third World democracies
Gastric bypass surgery for what?
Generating envy of sexual possessions
Generating income in a Third World country
Good stories and cheap heroism
Good times
Growth hormone and the dream of an indefinite lifespan
Growth hormone
Harm's way
Health and hygiene
High sexual risk makes women monogamous
Homeopathic food
How to compete
How to drink wine and cognac
How to eat cheese
How to fabricate rape charges – A short practical guide for women
How to have a large penis?
How women achieve orgasm
Humanity will self-destruct
Humans and gods
Hunting in the Muslim world
Ideal weight forever
Imagining the destruction of the USA
Impotence or erectile dysfunction
In praise of unfaithfulness
Instrumental jealousy
Is warlordism the political model for the future?
Keeping Third World countries poor
Know your enemies, and your allies
Conflicts between genes and self-cognition
Kreutz Ideology and political systems
Sexual satisfaction as meaning of life
May Kreutz Ideology convince you to pursue sexual satisfaction above anything else
Competent information on how to achieve better sex
Sexual motivation drives your life. Work for your sexual goals.
Politically guaranteed not correct: Just be a sexual egoist
Kreutz Ideology, your personal agenda for better sex
Kreutz Metaphysic and jealousy
Kreutz Metaphysics provides hope and focus
Kreutz Metaphysics and gods or God
Kreutz Metaphysics and optimal conditions
Kreutz Metaphysics and other metaphysics
Kreutz Metaphysics and physics
Kreutz Metaphysics, science, and knowledge
Kreutz Metaphysics
Kreutz Religion and universes
Sex for pleasure, not the replication of genes
Life is reproductive behavior and its logistics
Me and my genes
Our self in the midbrain
Qualia, emotionally tagged memory
Sexual desire as essence of life
Sexual motivation in roundworms and humans
Supercomputers are not life
The human biosphere
What we are
Why do I exist?
Better alive or dead?
Freie Radikale
Knowledge of purpose
Making sense
Nature, our enemy
What to do
Language diversity protects against cultural imperialism
Language knowledge makes location-independent
Laws of proportionality
Legal systems and sexual economics
Lenient sexual morals for non-violent societies
Liberating the sexuality of women
Liberty dependeth on the Silence of the Law
Life extension with SPB, for great sex until age 100
Living in Third World countries
Looking young is being young
Love and sex in arranged marriages
Love drugs
Mainstream monotheistic religions and drugs
Major US supplement brands just selling fillers
Making conditions in Europe more favorable for men
Male solidarity instead of male competition
What is the difference between tongkat ali and butea superba?
Managing death
Manoeuvring and logistics
Mass air travel only benefits carriers
Maximizing sexual experience
Migraine? Consume more cheese!
Migration from and to Third World countries
Modulating brain chemistry
Moral-values philosophy
Morals reflect interests
Multivitamins - save your money for better purchases
Negative feedback
Neuropharmacological help
Neuropharmacology – the alternative route to happiness
NGOs undermining local culture
Offering too much sex
On what to spend your money
One woman, one donkey
Over-reporting “sexual predators”
Personal freedom and multiple citizenship
Personal freedom as potentially profitable product of Third World countries
Personal freedom, dictators, and weak government
Personal interests instead of a common good
Phantom food
Pharmacological enhancement
Plan B
Planning your life, and your death
Politics as entertainment: voting for change, anyway
Preserving the trade value of female sexuality
Priests’ dialectical sex cover
Problems with the female orgasm
Promoting sex tourism?
Protecting the interests of women
Quick change in China
Regulating the media
Reining in male sexuality
Religions and morals
Relocate with money
Restricting access to female sexuality to increase its value
Restricting American men abroad
Rules of deceit and deception
Sacred sex
Searching for excitement or protecting a successful marriage
Selling freedom in Third World countries
Sensational curries
Sex-negative feminism facilitating violent societies
Sex tourism and sexual economics
Sexual arrangements and morals
Sexual attractiveness in societies of economic need
Sexual culture can be changed quickly and easily
Sexual desires
Sexual economics and refugee migration
Sexual economics explains Anti-Americanism
Sexual economics in violent societies
Sexual exploits
Tongkat ali and the sexual exploitation of women and children
Sexual infrastructure
Sexual market value and female solidarity
Sexual market value and sexual competition
Sexual market value and sexual selection
Sexual market value in Asia
Sexual stimulation and release is what gives your life meaning
Sexual unions of economic benefit
Sexuality as principle force in life
Size matters
Solidarity is for losers
Source material: Africa
Strategy for young women in Third World cities
Structured representation instead of democracy
Subverting the USA
Taking over territory
Target of strategies
The advantages of poor societies
The amazing reason why you don't sleep well
The anti-freedom United States
The benefits of religious men
The best country in East Europe
The best trick for chatting up girls in Japan
The disadvantages of direct-vote democracy
The drugs option
The essence of Kreutz Metaphysics
The idea of a comfortable death
The importance of location
The Kreutz food philosophy is a oral aroma therapy
The meaning of life
The media
The metaphysical relevance of sexual enhancement
The necessity, and benefits, of destruction
The other “eternal” life
The poverty-sexuality connection
The psychology of better sex
The purpose of life
The pursuit of sex in primitive societies
The pursuit of sexual joy
The quality of orgasms
The Serge Kreutz diet approach
The Serge Kreutz diet guarantees optimal health
The Serge Kreutz diet in perspective
The sexual-market-value dilemma
The showbiz politics of direct presidential elections
The structure of human needs
The trickery of economic aid
The world's best cook
The world's finest sexuality enhancing herbals
Tongkat ali for a healthy prostate and higher testosterone levels
Tongkat ali strength and mildness
Trading help with social, economic, emotional, and sexual needs
Truth and lunacy
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US human rights
Vang Vieng, Laos – forget it
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Wealth first
Wealth is a golden-cage trap
What a woman needs in life
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What keeps me alive
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What produces a soul
What you find, and what not, in Thailand
Which country offers what
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Why Bin Laden has an endless supply of suicide bombers
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Women must act together
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You are looking for something better than saw palmetto
You can be an alpha male
Your life is getting worse. Improve it with Southeast Asian herbals
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global_05_local_6_shard_00002272_processed.jsonl/159 | Why Consider Owning A Bengal Kitten
When you picture a cat in your mind, you probably have a certain image in mind. Loves cat nip and scratches behind the ear, generally remains small but adorable all of its life. But what if you're looking for a new that's a little bit more adventurous? While there's nothing wrong with the traditional house cat, perhaps you might be interested in something more exotic. Here's why you might want to look into bengal kittens as a possibility for your new pet.
Exotic Animals Need Homes, Too
Obviously, the natural habitat for a bengal is in the wild. But today, there are plenty of wild animals that have long since left the wild and now need a place to live. Regardless of whether you are going the shelter route or seeking out a specific breeder of bengal kittens, you should know that there are plenty of exotic little kitties that need a home just as badly as a regular cat. Choosing to adopt an exotic animal will either pull them out of a shelter or prevent them from having to go to one in the future.
Bengal Kittens Are Quite Trainable and Loving
Have you ever wanted to teach your cat just as many tricks as your dog knows? Most house cats don't listen very well at times. It's not a matter of intelligence; it's just that house cats tend to have a mind of their own when compared to dogs. Having a bengal kitten at home, however, might give you a feline that is much more trainable than the typical aloof cat. Bengals are incredibly smart creatures, and they can put that intelligence to good use, assuming they are provided enough love and training from their owner.
Bengal Cats Can Be Raised the Same Way You Are Used To
Obviously a Bengal cat is more exotic than a typical house cat. But just because its exotic doesn't mean you can't feed, train and love it the same way you would any other house cat. For starters, a common misconception is that exotic cats need a special kind of food or maybe even live bait. This is not true. A bengal kitten will eat the same diet as any other house cat, and that's the basic cat food you can buy off the shelf at your local grocery store. Bengal kittens and cats are high energy, so you might want to give them a little extra room to run around, but other than that, it's really not that different from owning any other cat.
Talk to someone with Bengal kittens for sale today for more information. |
global_05_local_6_shard_00002272_processed.jsonl/185 | By Blake Williams
Published in Cinema Scope 72 (Fall 2017)
[Cinemas of the senses] generate worlds of mutating sounds and images that often ebb and flow between the figurative and the abstract, and where the human form, at least as a unified entity, easily loses its function as the main point of reference. One way or another, the cinema of sensation is always drawn towards the formless: where background and foreground merge and the subjective body appears to melt into matter.”—Martine Beugnet, Cinema and Sensation
Writing in 2007 on sense and the aesthetics of transgression in the so-called New French Extremity, Martine Beugnet laid out how a cinema of sensation—that is, one that privileges filmic texture, affect, and embodiment over and above narrative—could speak to a nation’s specific questions of identity and difference. “Film is, by definition, the medium of being as change,” she says, borrowing liberally from Deleuze and his notion of “becoming.” In early 2000s work by “extremists” like Philippe Grandrieux, Bertrand Bonello, Claire Denis, and Olivier Assayas, the expectation that a movie should be grounded in a “story” was abandoned, and they turned instead to the unconscious, to the interiority of dream places and non-spaces, and it was there where cinema was able to engage with more archetypal dimensions. By creating a cinematic experience that connects us to pre-objective experiences—those that operate before our desires and drives become encoded and organized by language—these filmmakers effectively enable the viewer to have first-hand, impulsive encounters with “originary worlds”: formless spaces where bodies exhibit traits both human and animal, placed in a seemingly permanent process of mutation. In this space, questions of difference become matters of fact, and the notion of the “individual” becomes essentially nonexistent. Containing multitudes, everything is an Other—even to itself.
As generative as her discussion was for this collection of French directors, Beugnet’s thesis, which participates in broader and deeper philosophical investigations into tactility and perception, has also been productively applied to other filmmakers and movements. This is especially true for national cinemas in South America and southeast Asia (namely, Argentina and Thailand), where many artists actively grapple with the casual sense of chaos, displacement, and Otherness that lingers in everyday culture, where images of life cannot be unmarked by spectres of colonization, racism, and barbarism. But there is a significant difference. The images and sensations evoked in the work of these nations’ leading art-cinema auteurs most frequently suggest abstractions in their pacing and sound design rather than visual information, and their overall sensibility tends to err toward a minimalist naturalism, cut with intimations of the supernatural. Exceptions abound, of course—French extremist Gaspar Noé does, lest we forget, originate from Buenos Aires—but the overall taste of these filmmakers has, to date, been patently placid. Theirs are movies that glide alongside landscapes, manufacturing and mining originary worlds with patience and contemplation.
Perhaps the most interesting exemplar of this tendency is also one of most important figures to have emerged from the nearly three-decades-old New Argentine Cinema wave, Lucrecia Martel (for whom Thailand’s own lead figure, Apichatpong Weerasethakul, painted two stylized portraits for this magazine’s 50th issue). This is not only because of the way she meticulously straddles the arbitrary divide between narrative and avant-garde storytelling (“Her cinema is like a dance with precarious steps,” to borrow Joe’s terms), but also how she, like fellow fest-circuit superstar Lisandro Alonso, heightens sensory reception and bodily awareness by foregrounding the absence of conventional cinematic stimuli. For both filmmakers (especially Alonso), temporal indeterminacy and perceptual lethargy are part of the game, and Martel’s playful muddling of time and sense is all the more radical, destabilizing, and affecting because her movies initially seem to be appropriating understood narrative templates and genre standards that we associate with more popular or classical modes of filmmaking—movies that we go into believing that we already know them. But as we invariably come to find in Martel, this sense of grounding is only the point from which she will lead us into the unknown.
We see this immediately in her feature debut, the Alfred Bauer Prize-winning La Ciénaga (2001), a realist sedative of a movie assembled from the shards of stale soap-opera tropes and the stink of hangover. A simple outline of the movie would colour it as a piece of practically Altman-esque portraiture that showcases two white, bourgeois households feuding and flirting their way through several recuperative days in Argentina’s damp, musty Salta province, the area where Martel grew up. The characters are copious (if predominantly ambient) and the air is rife with disaster (and lots of humidity), while ubiquitous television coverage of a local Virgin Mary sighting streams for days, and the oppressive aura of Christian immanence seeps into the mise en scène from all sides. Also on the margins: the traces of scars, old and new, mostly belonging to the potentially inbred children (crossbreeding seems to be a legitimate phobia for these people, lest they come into contact with someone who isn’t of their own kind); the neighbour’s allegedly monstrous rat-dog, fenced in but audible nonetheless; and the literally marginalized servants, all collas (or “those Indians,” as the materfamilias Mecha [Graciela Borges] insists on calling them), who are always on the verge of being fired. Bodies here are thus marked by what they aren’t: white, native, pure, legitimate, healthy, and stable.
Disappointed in the sway that appearances hold, La Ciénaga achieves its most affective abstractions in the sound design. Right in her opening-credits sequence, Martel grants primacy to listening over viewing. Beneath groaning thunderclouds, a pack of somnambulant forty- and fiftysomethings, garbed in too-tight swimsuits, arise from their poolside slumbers to reposition themselves. Despite the repeated cutaways to text on a black background, our sense of this place and the zombified individuals inhabiting it never vanishes. Whining curtain rods and clinking ice on glass punctuate what may be one of the new millennium’s most indelible soundscapes: the tireless screech of cheap metal dragged across pavement, lawn chairs being moved into the most negligible of new configurations: the noise of pure inertia. Film sound has rarely felt more pronounced, and yet this intoxicated bunch can hardly hear the cries coming out of their own mouths. It’s the stuff that a term like “haptic” was made for—sounds so palpable you can swat them.
With sound and atmosphere given the advantage, our experience of this reality becomes mediated by the beats of Argentina’s middle class and their historical myopia. Their clatter is put in competition with the rhythms of the natural world, and if sensation could be said to offer us our greatest entry point into the unthinkable regions of experience—those points where we might sense and come to know our most basic impulses, deranged by the violence of forgetfulness—then it’s the opportunity to experience the world in a more disorderly, more integrated state that is at stake. So in manufacturing a stalemate of these forces—a standstill that Martel no doubt perceives as endemic to Argentinian culture—the experience of being in front of her movie becomes one of exaggerated inactivity. Nothing moves, progression and memory are halted, and what we see is only what is put right in front of us. It is not at all coincidental, then, that the movie should finally end when its most considerate and open-minded character, Mecha’s teenage daughter, Momi (Sofia Bertolotto), proclaims, after venturing to the site of the Virgin sighting, “I didn’t see a thing.”
Martel’s follow-up, The Holy Girl (2004), picks up where Momi left off. Tracking the transition of its central protagonist, Amalia (María Alche), into both sainthood and adulthood, we’re once again subsumed into the invisible, intangible world, as well as the metamorphosis of a body and the complex desires that guide it. As in all of Martel’s first three features, passion and sexuality here are wild, queer, and wilfully confrontational to common social mores. Siblings and not-so-distant relatives flirt (and sometimes more), ostensibly straight women share heated moments, and relationships bud between individuals with conspicuous age gaps. These details are often presented so suddenly or cursorily that they might leave subtle impressions before they register as vital or dramatic, though this is not the case in The Holy Girl’s first momentous event, wherein Amalia is quietly assaulted in public by a middle-aged man named Dr. Jano (Carlos Belloso). Troubling as this scene is, it’s also brimming with sensorial disjuncture, not least attributable to the fact that the two are both watching a street demonstration of a theremin, an instrument that defies common understandings of the essential links between touch and sound. Due to their positioning (both facing forward, eyes on the performer), Dr. Jano is able to massage his crotch against Amalia while neither can see the other’s face. The ambiguity over how (dis)pleasurable this experience is for Amalia—in the moment, for the rest of her life—constitutes perhaps the film’s central mystery, and is also probably the clearest expression of the way Martel entangles sacred, profane, and erotic experiences to upend the stability of middle-class civility.
Like La Ciénaga, The Holy Girl ends with sensorial obscurity, this time with sound, smell, and even weightlessness. As in the former’s conclusion, the setting is once again a swimming pool. Amalia and her best friend Josefina (Julieta Zylberberg) take a dip, and we witness a wave of uncertainty and disturbance briefly overcome Josefina. “Do you notice that smell?” she asks, and Amalia does. “Orange blossom.” Josefina promises to take care of her like a sister would, and the two recline. Floating in the water, an unidentified woman approaches to ask them both, “Did you hear?” which ends the film. It’s a startlingly open-ended and fitting conclusion to this tale of spiritual non-awakenings—cinema as a transitory state, elongated into permanence, stagnation, and aimlessness.
Four years later, Martel doubled down on every motif and stylistic strategy that she’d deployed in her first two films for The Headless Woman (2008), a spectral and glancingly Hitchcockian anti-thriller. Sense, especially, is called into question, to the extent that even our own faith in what we’ve seen is cast in doubt. For nearly its entire duration, The Headless Woman follows Vero (María Onetto), an upper-middle-class woman with dyed blonde hair (separating her from the dark-skinned and -haired working class, while also recalling Vertigo [1958]), who spends most of the movie in a trance state after she hits something with her car. A quick glance in the rear-view mirrors suggests it was a dog, but her (and our) confidence in that image is increasingly cast into doubt by her own paranoia—an inkling that sprouts from nothing other than the possibility that she could have hit someone and ruined her own life in that moment.
As Vero’s guilt escalates and a kind of psychosis takes hold of her, family and friends rush to delegitimize her perception of reality. “Nothing happened,” “You had a fright,” “It was a dog, you killed a dog”—all resisting her attempts to transform what they perceive to be a non-event into an event, and denying the reckoning that she, or something in her body, is willing herself toward. While some have positioned the film as an allegory about the 30,000 left-wing activists, students, and journalists who disappeared during the nation’s Dirty War, Martel was careful to make the movie as loose-fitting and open as she possibly could have. Time and vision are as elliptical as they’ve ever been in her work, liquefying reality and history alike. Borders come down, and separation becomes an impossibility. “The house is full, they’re ghosts!” Vero’s aunt tells her, no longer able to distinguish between material presence and that which has been lost to the past.
In this regard, Martel may be one of our slyest genre filmmakers, in that she engineers sensations of hauntings and horror out of the fact that we can’t see what we know ought to be haunting and horrifying us. And if there was one thing that made the nine-year gap between The Headless Woman and her long-awaited new film, Zama, the most interminable, it was the prospect of her finally making a complete step into genre: first promised in the form of an adaptation of Héctor Germán Oesterheld’s alien-invasion comic book El Eternauta (1957-9), then as an original script in the fantasy genre about “real monsters” invading a garden. A taste of what might come of these impulses came in 2011 when Martel made the commercial/short film hybrid Muta (which translates, aptly, to “mutated”). Setting her film on a yacht (water, again), Martel reinvents her brand of filmmaking with this sleek, stuttering glimpse of malfunctioning women (or are they just in-progress, caught in slide between one form/gender/species and the next?) awakening and reacclimating themselves to the rhythms of a world they’ve been shelved away from for who knows how long. Their bodies don’t so much move as snap and flutter, but they appear to be synchronizing themselves in preparation for some kind of extermination—of who or what we can only guess.
Which brings us to Zama, an historical epic ambitiously based on Antonio di Benedetto’s 1956 book, what I have no trouble believing is one of the greatest Argentinian novels ever written, and which launches Martel’s filmography into new and curious terrain. Unwavering in its critique and recreation of Argentina’s colonial legacy, the story follows Don Diego de Zama, a criollo (of European ancestry, but born in Latin America) working under Spain on the Paraguay River in Asunción (the “Mother of Cities”). We meet him waiting for a letter from his wife, Marta, with whom he aims to be reunited after he advances in rank and the king finally—eventually, hopefully, maybe—responds to his request to be transferred to Lerma in Salta (one of Martel’s personal touches; in the novel it’s Buenos Aires).
On paper, the undertaking represents a number of firsts for her: the first to not at least partially draw from her personal memories and encounters with her family; the first to not be set in the ostensible present; and the first to be centred on a male protagonist rather than a woman or a group dominated by women. That Martel relocates Zama’s desired transfer point to her own hometown is only fitting, for Zama in many ways represents the material manifestation of her prior work’s negative space—an inversion of her preoccupations up to this point. These are the phantoms of her first three movies, the ones howling in the skies of La Ciénaga to the ones leaving handprints on the windshield in The Headless Woman. Zama is all they’ve been suggesting—the centuries of traumas, invasions, and patriarchal bastardry that resulted in this present—speaking back to them, just as they likewise sit in its shadows.
Indeed, Zama could rightly be viewed as a purification of her career’s preoccupations. There, by the water, “Ready to go and not going,” muddy girls and two vicious slaps. Fish, damned to spend their lives ebbing and flowing in an unrelenting current, living solely so that they can remain in place—as effortless a summation of existential putrefaction as we’ve gotten in her cinema, right there in a supporting character’s anecdote. Don Diego de Zama, of course, is that fish, waiting for the provincial Gobernador, the king of Spanish Empire, God, somebody (anybody) to transfer him. But bureaucracy intervenes, and he ends up stuck somewhere far from what he needs, killing time and his heart’s appetite for genuine intimacy. Di Benedetto, a noted admirer of Dostoyevsky, owed just as much to Kafka and Beckett, and Zama often evokes the latter’s Waiting for Godot, which premiered three years earlier: arrivals failing to appear, promises delayed and unkept, workers transformed into passive, ignorant nothings—their exasperations best pacified by mimicking this mistreatment on others. A legacy of negligence is born, and progress and love become fleeting if not entirely meaningless afterthoughts of existence.
Where di Benedetto’s Zama coasts on its pithy prose and the pitiful hubris of its protagonist’s inner thoughts, Martel’s delights in uncanny compositions and the cryptic, hollow expressions of her lead, Daniel Giménez Cacho. Stepping back from her standard mode of expressionistic realism, Martel’s direction here is pointedly characterized by decorative bodies fixed in stiff, rigid positions, their almost animatronic movements subservient to the needs of those who are lighter than them. Despite its on-location production on the Paraguay River outside of Formosa, the mise en scène (for interiors especially) is caked in colonial artifice, at times mimicking the didactic historical reconstructions seen in travelling sideshows and amusement parks, not so unlike what we see in the final passages of The New World (2005), the movie that Martel’s most superficially resembles. But unlike in Malick’s opus, Zama’s attention is firmly attuned to a character’s psychological condition, watching it dissipate until it finally disappears.
Perhaps the greatest addition Martel makes to di Benedetto’s creation is this experience of losing perception. In its presentations of place and time, Zama casts an amorphous impression not unlike a nightmare or memory. One of her most significant deviations from di Benedetto was in removing all denotations that marked the passage of time; thus, the novel’s subsections—“1790,” “1794,” “1799”—all get welded into a single march toward the 19th century, years disappearing before we’ve even sensed they arrived. Devoid of a narrative arc or sense of progress with regards to Zama’s chief goal (to get promoted), temporal placement becomes nearly impossible to gauge. Outside of time, in the realm of the senses, experience approaches a state much closer to madness—its means less evident, its effects more visceral. It’s convenient, then, that di Benedetto’s structure grants Martel the opportunity to save her most affecting and barbarous blows for the end. In a last dash to ingratiate the king, Zama departs on a treacherous expedition to capture the mythical, notoriously deadly Vicuña Porto. Without spoiling its conclusion, this is the point where violence is able to extend beyond the frame, walloping our nervous systems with blows that only worlds obsessed with difference can inflict. In these, the film’s most crucial and corporeal moments—with Otherness now camouflaged in the reds of both war paint and blood—bodies appear as though they’ve finally inverted. In every sense. |
global_05_local_6_shard_00002272_processed.jsonl/199 | BEC 1: Overview
Subpage of Steven Byrnes
The “according to him” statement is not referenced, the link is to Byrne’s own list. Is Byrne being accurate here? If Kim actually wrote that, I would chalk it up to a certain level of hyperbole, because the theory simply does not do that, unless the list of challenges is very limited. There are two challenges listed by Byrne: the Coulomb barrier, and the branching ratio, and the second one assumes d-d fusion, and Kim is not actually considering d-d fusion, but multibody fusion.
Kim popped up on my radar when I was first studying LENR, as a co-author of an early paper examining cold fusion theories: Chechin, V.A., et al., “Critical review of theoretical models for anomalous effects in deuterated metals.” Int. J. Theo. Phys., 1994. 33: p. 617. convenience copy:
From that paper, the conclusions would seem apposite to quote here. Remember, this was almost 25 years ago, but there has been no major change on the theory front. Some individual theories have been abandoned, and some theoreticians have developed their ideas in more detail. At the time this was written, helium was not widely recognized as the main nuclear product, and that affects how they view the theories. Among other things, the helium evidence strongly indicates that the reaction does not occur in the bulk, but on or very near the surface.
We conclude that in spite of considerable efforts, no theoretical formulation of CF has succeeded in quantitatively or even qualitatively describing the reported experimental results. Those models claiming to have solved this enigma appear far from having accomplished this goal. Perhaps part of the problem is that not all of the experiments are equally valid, and we do not always know which is which. We think that as the experiments become more reliable with better equipment etc., it will be possible to establish the phenomena, narrow down the contending theories, and zero in on a proper theoretical framework; or to dismiss CF. There is still a great deal of uncertainty regarding the properties and nature of CF.
Of course, the hallmark of good theory is consistency with experiment. However, at present because of the great uncertainty in the experimental results, we have been limited largely in investigating the consistency of the theories with the fundamental laws of nature and their internal self-consistency. A number of the theories do not even meet these basic criteria. Some of the models are based on such exotic assumptions that they are almost untestable, even though they may be self-consistent and not violate the known laws of physics. It is imperative that a theory be testable, if it is to be considered a physical theory.
The simplest and most natural subset of the theories are the acceleration models. They do explain a number of features of the anomalous effects in the deuterated systems. However these models seem incapable of explaining the excess energy release which appears to be uncorrelated with the emission of nuclear products; and incapable of explaining why the branching ratio t/n >>1. If these features continue to be confirmed by further experiments, we shall have to reject the acceleration mechanism also.
It is an understatement to say that the theoretical situation is turbid. We conclude that the mechanism for anomalous effects in deuterated metals is still unknown. At present there is no single consistent theory that predicts or even explains CF and its specific features from first principles.
That Kim page only lists “selected publications,” 34 out of “over 200,” and clearly not all of his work on LENR, since it does not list Chechin et al (1994). As to the NET page, it’s sketchy. It denies that Kim theory addresses Huizenga’s three miracles, with three words: No, No, and No. That’s Krivit “journalism.”
In the opposition-to-BEC-theory camp, my google search did not turn up too many resources. I found this one-paragraph argument against the theory by Ron Maimon, and this wikiversity message board discussion [link has been fixed] (especially the first paragraph), and this rationalwiki message board (there are a few insightful criticisms scattered around this long page). The criticisms echo each other, and I agree with them too. Really, all I’m planning to do is explain these arguments in more detail, so that a broader audience can follow along.
Great. Pseudoskeptics, faced with BEC theory, come up with some standard knee-jerk objections. Byrnes actually skewers one of them in another post, and here he “agrees with” some bloopers. Some objections are at least possible, and no theory is complete, so this or that defect can readily be pointed out. If it were not for the experimental evidence for nuclear activity in “cold fusion” experiments, we would not be arguing about whether it is possible or not, or about the explanation of an impossible thing. Of the first two conversations, Ron Maimon also wrote on Wikiversity, I think the “anonymous editor” was him, and those discussions were with me, and also the so-called RationalWiki discussion was also between me and a young snot, overproud of his knowledge, which was high for being maybe 16. That discussion was a relatively calm one, RationalWiki was wild back then. It still is, by ordinary standards, but is tame by comparison with what it used to be. Ron Maimon is quite intelligent, but citing RationalWiki is pulling unmentionable substances out of a very dirty pool.
Instead of pulling up the arguments then, I will assume that anything worth discussion will be mentioned again by Byrnes.
The arguments against Kim’s theory fit into two categories:
• At room temperature, the deuterons cannot condense into a BEC
Now, this could be an accident of language, but Byrnes just made himself a believer in his own analysis. Reality does not care what he believes. Let’s look at these two points:
1. Temperature. Temperature is a bulk measure, an average kinetic energy of atoms. The requirement for a BEC is not low temperature, but low relative momentum. A bulk BEC may require a low temperature, and Kim seems to be proposing a bulk phenomenon, whereas Takahashi proposes a very small BEC, starting generally with two molecules, i.e., four deuterons. BEC formation cannot be ruled out so simply.
2. Byrnes has here made a statement that is rooted in avoiding quantitative analysis. There is always a fusion rate, because of tunneling. Ordinarily, the rate is so low that it is truly undetectable, but a BEC is a “condensate,” and atoms are closer together in such, than in an ordinary state. Takahashi actually calculates the process of collapse and the distance at closest approach, and the corresponding fusion rate. I am not qualified to assess his math, but other things being equal, I prefer the studied math of a highly experienced nuclear physicist to the knee-jerk opinion of a young PhD. I suggest a little more caution.
Hopefully I’ll get a chance to make this argument as well.
This makes a gigantic assumption. It’s been a while since I looked at Kim theory, but Takahashi is not proposing D-D fusion, but 4D fusion to 8Be, which would indeed end up with two helium nuclei.
Has Byrnes read the arguments yet? If not, his confidence is discouraging. We do not, in fact, know from observation what fusion in a BEC would do. And, remember, the real mechanism of cold fusion, if explained outside of a context of clear evidence that it exists, may well look nonsensical. My sense is that the established laws of physics will not be overturned, but some very unusual conditions will be found to be responsible. But I cannot know this until we know the mechanism (or, alternatively, the artifacts behind the appearance of cold fusion). Contrary to very common opinion, there are reproducible cold fusion experiments that have been widely confirmed. They just aren’t what people thought they wanted, they are not the kind of reproducibility that was being sought.
I’d still like to know where Kim claims that his proposal “meets all the theoretical challenges of cold fusion.” I’m certainly not satisfied by it.
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global_05_local_6_shard_00002272_processed.jsonl/214 | Kwiki-Attachments version 0.19 ============================== NAME Kwiki::Attachments - Kwiki File Attachments Plugin SYNOPSIS 1. Install this module. 2. Run 'kwiki -add Kwiki::Attachments' DESCRIPTION This module gives a Kwiki wiki the ability to upload, store and manage file attachments on any page. Thumbnails will be created for supported file types if Imager or Image::Magick is installed. For more information, read the module POD. INSTALLATION To install this module type the following: perl Makefile.PL make make test make install DEPENDENCIES Kwiki v0.37 COPYRIGHT AND LICENCE Copyright (C) 2005-2009 by Sue Spence This module is based almost entirely on work by Eric Lowry and Brian Ingerson This library is free software; you can redistribute it and/or modify it under the same terms as Perl itself. |
global_05_local_6_shard_00002272_processed.jsonl/215 | README for PDL::EditDistance ABSTRACT PDL::EditDistance - Wagner-Fischer edit distance and alignment for PDLs. REQUIREMENTS * PDL Tested version(s) 2.4.2, 2.4.3, 2.4.7_001, 2.4.9_015. DESCRIPTION PDL::EditDistance provides methods to compute Wagner-Fischer edit distance and alignment matrices for PDLs. BUILDING Build this module as you would any perl module, by doing something akin to the following: gzip -dc distname-XX.YY.tar.gz | tar -xof - cd distname-XX.YY/ perl Makefile.PL make make test # optional make install See perlmodinstall(1) for details. AUTHOR Bryan Jurish COPYRIGHT Copyright (c) 2006 by Bryan Jurish. All rights reserved. This package is free software, and entirely without warranty. You may redistribute it and/or modify it under the same terms as Perl itself. |
global_05_local_6_shard_00002272_processed.jsonl/234 | Dermatologist in Washington, Pediatric Dermatologist WA
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global_05_local_6_shard_00002272_processed.jsonl/237 | @book {152, title = {Computer vision: models, learning, and inference}, year = {2012}, publisher = {Cambridge University Press}, organization = {Cambridge University Press}, url = {http://www.computervisionmodels.com/}, author = {Prince, Simon JD} } @proceedings {178, title = {Characterization of LQI behavior in WSN for glacier area in Patagonia Argentina}, journal = {Embedded Systems (SASE/CASE), 2013 Fourth Argentine Symposium and Conference on}, year = {2013}, month = {08/2013}, pages = {1--6}, publisher = {IEEE}, address = {Buenos Aires, Argentina}, abstract = {
One of the most important aspects before installing a Wireless Sensor Network (WSN) is a previous study of connectivity constraints that exist in the area to be covered. This study is critical to the final distribution of the sensors, with an important impact in the life of the network by reducing consumption, and on the robustness by contemplating redundancy of paths and sensors. In this paper, we present a summary of the most important aspects of a preliminary empirical study of the Link Quality Indicator (LQI), on different landscapes in the glaciers area of Patagonia Argentina. The landscapes covered varied in geographical structures with different levels of attenuation and extreme environmental conditions. Through the analysis of the Cumulative Distribution Function (CDF) of the measured LQI values, we can characterize the behavior of four different scenarios and correlate the combined effects of the environmental structure with the distance from the transmitter. The measurements performed were designed for characterizing the links at the physical layer with the purpose of defining models to estimate the Packet Error Rate (PER) for the WSN deployment stage.
}, issn = {978-1-4799-1098-4}, doi = {10.1109/SASE-CASE.2013.6636777}, url = {http://dx.doi.org/10.1109/SASE-CASE.2013.6636777}, author = {Diedrichs, Ana Laura and Robles, Mar{\'\i}a In{\'e}s and Bromberg, Facundo and Mercado, Gustavo and Dujovne, Diego} } @article {78, title = {Computer Vision: Summary and Discussion}, year = {2011}, abstract = {
Review of important concepts, Some important open problems, Feedback and course evaluation
}, keywords = {computer vision, discussion, lecture, summary}, url = {http://courses.engr.illinois.edu/cs543/sp2011/lectures/Lecture\%2029\%20-\%20Summary\%20and\%20Discussion\%20-\%20Vision_Spring2011.pdf}, author = {Derek Hoiem} } @article {209, title = {Computer Vision Approach for Low Cost, High Precision Measurement of Grapevine Trunk Diameter in Outdoor Conditions}, year = {2016}, institution = {arXiv.org}, abstract = {
Trunk diameter is a variable of agricultural interest, used mainly in the prediction of fruit trees production. It is correlated with leaf area and biomass of trees, and consequently gives a good estimate of the potential production of the plants. This work presents a low cost, high precision method for the measurement of trunk diameter of grapevines based on Computer Vision techniques. Several methods based on Computer Vision and other techniques are introduced in the literature. These methods present different advantages for crop management: they are amenable to be operated by unknowledgeable personnel, with lower operational costs; they result in lower stress levels to knowledgeable personnel, avoiding the deterioration of the measurement quality over time; and they make the measurement process amenable to be embedded in larger autonomous systems, allowing more measurements to be taken with equivalent costs. To date, all existing autonomous methods are either of low precision, or have a prohibitive cost for massive agricultural adoption, leaving the manual Vernier caliper or tape measure as the only choice in most situations. In this work we present a semi-autonomous measurement method that is susceptible to be fully automated, cost effective for mass adoption, and its precision is competitive (with slight improvements) over the caliper manual method.
}, keywords = {computer vision, Gaussian mixture model, Grapevine, Measurements, Trunk Diameter}, issn = {arXiv:1406.4845v2}, url = {http://arxiv.org/abs/1406.4845}, author = {P{\'e}rez, Diego Sebasti{\'a}n and Bromberg, Facundo and Gonzalez-Antivilo, Francisco} } @article {37, title = {Computer Vision Online}, year = {2014}, url = {http://www.computervisiononline.com/} } @article {121, title = {CV Resources}, year = {2014}, abstract = {
Computer Vision and Machine Learning resources with a focus on 3D scene understanding, parsing and reconstruction.
}, url = {http://www.cvlibs.net/links.php}, author = {Geiger, Andreas} } @article {38, title = {CVonline}, year = {2014}, url = {http://homepages.inf.ed.ac.uk/rbf/CVonline/} } @article {39, title = {CVPapers}, year = {2014}, keywords = {computer vision, link, online, papers, resources}, url = {http://www.cvpapers.com/} } |
global_05_local_6_shard_00002272_processed.jsonl/259 | Page name: Chain Messages [Logged in view] [RSS]
2012-01-23 06:16:14
Last author: kittykittykitty
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Chain Messages
Seems like some people simply can't understand that chain-messages are unwanted. Don't send them! Grow up! This is not a site for stupid kids, we expect you to behave maturely (even if you're 10).
Note: A chain-message is something like this:
It should be quite obvious that these messages will only make people irritated, and if they are allowed to spread, your message-box will very quickly be filled with that crap.
And if you think that "I didn't start it!" is a good excuse, we'll show you how the banning works. It works pretty well.
Chain messages rules
Here are some simple rules that will help you see through a message.
<img:stuff/aj/28425/book_blue_blob.png> 1) If it says that you should send something to some other people, it's a lie.
<img:stuff/aj/28425/book_blue_blob.png> 2) If it says that something good will come out of it, it's a lie.
<img:stuff/aj/28425/book_blue_blob.png> 3) If the letter clearly says that 1 and 2 does not apply to that letter, it's a lie.
<img:stuff/aj/28425/book_blue_blob.png> 4) No, there are no exceptions.
<img:stuff/aj/28425/book_blue_blob.png> 5) If there is one single letter that actually does break these rules, it's because you are fooled.
<img:stuff/aj/28425/book_blue_blob.png> 6) The risk that someone that you send the chain message to will be irritated and start to dislike you is more than 90%.
<img:stuff/aj/28425/book_blue_blob.png> 7) The risk that something bad will happen to you if you don't send copies of the message is 0%.
<img:stuff/aj/28425/book_blue_blob.png> 8) The risk that you get banned from Elfpack when refusing to stop sending them is 100%.
Gah, someone sent me a chain message!
The best response is to write a message back:
Chain messages are not wanted on Elfpack. See [Chain Messages@wiki] for more explanations. If you continue to send chain messages after receiving this warning, the [Guards@wiki] will ban you.
Then write a guard-report by pressing "send report to the guards" in the member's house. Please DON'T include the letter itself in the report, just the messagenumber will do.
Go or return to:
<img:stuff/aj/28425/book_blue_blob.png> The Council
<img:stuff/aj/28425/book_blue_blob.png> Elfpack Rules
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2005-08-10 [Panda-monium]: LMAO, that was hilarious
2005-08-10 [Amalaswinta]: added something to the bottom :)
2005-08-10 [¿thomas?]: That is fully awsome thank you ^^
2005-08-10 [Sabrina Catherine]: one of my friends should read this, she sent me a chain message.
2005-08-11 [¿thomas?]: ah yes
2005-08-11 [Kaos101]: This wiki rocks!
2005-08-11 [¿thomas?]: of course it does!
2005-08-11 [Kaos101]: I'm glad I'm not the only one who thinks chain messages should be bound in get it?
2005-08-11 [¿thomas?]: heh yepp i have a animation banner for anti chain msgs ^^
2005-08-11 [Kaos101]: awesome!!
2005-08-11 [¿thomas?]: japp
2005-08-11 [¿thomas?]: well there still out there but our job as ppl is to make sure the sender is well in trouble
2005-08-11 [lame!]: thank u im sick of thoughs
2005-08-11 [~!~GreenDay~!~]: stupid and ANOYINGS
2005-08-11 [shygurl]: oh i love chainletters
2005-08-11 [-~PrettyinPink~-]: I HATE EM!!!..there pointless
2005-08-11 [Sethius]: If you print all chain letters out and wear the product as clothes, can it be called chain mail?
2005-08-11 [So-Called Chaos]: Only if you're the guy on the motorcycle. The one who puts his girlfriend on a bike with no helmet.
2005-08-11 [herfherder]: I had a chain mail once...bloody heavy. How the hell does all that weight not break your in box??
Number of comments: 113
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Messages - Drawde
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Singleplayer and Coop / Re: Bot Navigation Tweaks
« on: 31-01-2011, 20:01:47 »
I've been finding that with the weapons files also. The whole idleling bots on Operation Cobra is due to faulty AI for the colt1911. Same goes for the idle bots on Totalize with the bhipo.
Is this a problem with FH2.3 or is it an old issue which you've fixed? Both the colt1911 and bhipo weapons seem to have their AI templates properly assigned in the 2.3 files, though I know the bhipo at least had no AI assigned pre-2.3.
Singleplayer and Coop / Re: Bot Navigation Tweaks
« on: 31-01-2011, 20:01:43 »
The easiest way would be if someone already had the info on max speeds and decided to share it with me here.
I'm fairly certain I have a database of WW2 vehicle data somewhere on my PC, if not I have quite a few books on the subject and should be able to make a list of the FH2 vehicle max speeds.
Anyone know whether the BF2 engine uses miles or kilometres per hour for the vehicle speed settings?
Fixing the AI vehicle speeds is definitely a good idea, it should definitely make a noticeable difference in the larger NA maps at least. I'm fairly certain that bots can't drive vehicles faster than their actual in-game maximum speed (e.g. the Matilda is a lot slower even when driven by bots) but I assume that they don't go faster than their AI speed setting even if the vehicle they're driving can do so.
Yes,its a bit of a mess
stationary guns given helicopter strategy types ::)
I know this was posted a while ago, but I just wanted to clear this up - stationary guns (and light vehicles, jeeps etc.) don't use the Helicopter strategy/behaviour types, they just use the Helicopter "AI armour flag". The AI armour flag (setStrType) just tells bots what type of armour a target has, so they know what weapons they can fire at it. The BF2 engine has 6 different settings for this - infantry, light armour, heavy armour, naval armour, plane and helicopter. NavalArmour and Helicopter are unused in FH2 so I used them to represent very heavily armoured tanks (Matilda, Tiger etc.) and unarmoured vehicles/guns respectively - this allows a number of improvements to AI weapon use, such as using HE shells on stationary guns and special AP shells against heavy tanks
It does look a bit odd having guns and jeeps specified as "helicopter", but it definitely doesn't make them behave like helicopters!
Singleplayer and Coop / Re: Purple Heart Lane: Testing
« on: 31-01-2011, 19:01:09 »
Is there any possibility you could post a description of exactly what you changed in the MG34/42 Lafette files to fix the CTD?
If you post details of the fix it will be easier for the SP/AI devs to fix this in the next FH2 version, also I may be able to include it in the future 2.3 version of my AI minimod.
Apologies for my long absence from the forum - after 2.3 was released I thought my AI modding work wasn't needed any more, and to be honest I'd got fairly "burned out" with FH2 after repeatedly playtesting maps to find AI issues, and decided to take a break!
However, over the last couple of weeks I've been playing some of the new maps as well as looking through the 2.3 data files and comparing them with the old 2.26 AI minimod. It looks like a lot of the AI problems in 2.3 will be a simple fix, though others I'm not sure about.
Here's a list of the issues I've found and what needs to be done to fix them (thanks to Djinn for the initial list of issues).
Hopefully some of the info here will help Remick04 and the other SP developers fix these issues for the next FH2 version; I'll probably also release a new 2.3 version of my AI minimod (much reduced in size from the 2.26 version as a lot less needs fixing!), as well as the Stuka dive siren mod as a seperate release.
Tanks not firing the right shell types: A number of tanks/AFVs don't fire HE or special AP shells as the aiTemplate for these weapons is either missing or commented out via "rem". The ones I know of are:
GB Achilles, Cromwell, M3 Grant, M3 Stuart, M4A1, Sherman V and VC
US M4A1, M4A1/76, M4A1_eu, M5 Stuart, M10, M24 Chaffee
DE Panther A, Panther G, PzIIIN France, PzIVF2, PzIVH
A number of tanks also have the misspelling "Infantery" in their file. Don't know if this actually affects the AI or not; this bug(?) dates back to the original BF1942.
The Pz.IVD and F1 also share the AI template for the PzIVH, despite having a different main gun and shell types.
M16 MGMC not firing at aircraft: This vehicle uses the AI for the M3 halftrack, the gunner AI for this has very limited rotation/elevation limits although it's capable of firing at planes. The vehicle also has the same temperature and attack/defence value as the M3 so bots aren't particularly inclined to use it. Probably the best fix is a new AI template for the M16 with 360' rotation for the gunner position and increased temperature for both crew positions.
The M51 (static quad .50 AA) uses the AI for the Flakvierling, which works fine.
Crusader AA not firing at aircraft:
This vehicle does have its own AI files in 2.3 (crusadermk3AAAI) but it doesn't use them - the aiTemplate assigned in crusadermk3_aa.tweak is that of the standard Crusader tank.
Flak88 looping fire sound: For the 3rd-person firing sound script (e.g S_flak18_barrel_Fire3P) change "ObjectTemplate.loopCount" to "0". A simple fix but needs to be done for all shell types of all 6 Flak88 variants!
Bot use of deployable MGs:
haven't looked into this yet, when I play I don't use deployables that often and don't usually leave them to bots when I do! But I'll try and have a look at this later.
Map-specific problems (other than pathfinding/AI commander issues): The British mortars in Villers Bocage are the non-AI type. Probably more map issues out there but this is the only significant one I've found so far.
Some other minor issues:
The KWK 5cm (found on Port en Bessin, not sure if it's on any other maps) has the "Fixed" rather than "FixedGun" AI setting, so bots usually bail from it before they get the chance to shoot at anything.
The Bren AA weapon (bren_std.tweak) uses the aiTemplate for the standard Bren, although it has its own aiTemplate (BrenAAGun_AI) which is only permitted to fire at aircraft (otherwise bots waste time trying to track ground targets they can't fire at)
Some tank coaxial MGs have a minimum range of 5.0 which prevents them firing at close range
Bots don't use the Geballte Ladung AT charge: the weapon has no aiTemplate assigned in the .tweak file. (should be geballteladung_AI)
Bots rarely seem to use hand grenades against infantry.
Universal Carrier AI has very low temperature settings for crew positions (so bots are less likely to use it) also passenger positions have a fairly high defensive StrategicStrength (so less likely to bail when needed elsewhere). Other transport vehicles may have similar problems (haven't checked them all yet).
The Universal Carrier with Vickers MG uses the same AI for the Vickers as for the front gun (so it can't rotate 360').
Wespe doesn't have its own AI - haven't seen this in action yet (what map(s) is it in?) so I don't know whether the standard LeFH18 AI will be adequate or not to get bots to use it correctly.
The Wasp Universal Carrier also lacks its own vehicle AI, though it does have weapon AI. (the standard UC AI still works with the Wasp, but the gunner position probably needs a higher temperature ;D and AntiAircraft=0 setting)
Also some AI issues which are unchanged from 2.26 - there are plenty more but these are a couple that come to mind:
- Bots still seem to be unable to use anti-tank rifles.
- Bots don't respond to radio commands.
I'll post any more issues here when I find them!
Definitely looking forward to seeing how the AI has improved in 2.3 - will start downloading ASAP once there's a non-torrent mirror available. Congrats to Remick04 etc for putting in the effort to get the AI tweaks and map AI support into the official release!
Odd, though, that Alam Halfa is one of the maps still with no AI support, as the AI for this map had already been partly done (can't remember who made the files but it was pre-2.26)
If another, hopefully much smaller, AI minimod is still needed (maybe some fixes didn't get in due to MP compatibility reasons) I'll definitely start anew using the 2.3 files, rather than attempting to use any of my earlier work.
I'm still here, though I've taken a break from FH2 modding lately seeing as Remick04 and the other official
devs are now doing a better job than me ;D (also definitely looking forward to FH2.3
with improved AI + SP support)
When 2.3 is out I still might work on another minimod version (much smaller, hopefully, since a lot less will need fixing) addressing any issues that 2.3 hasn't fixed (maybe due to MP compatibility issues or lack of time)
Regarding the Stuka dive siren issue, I've now modified this so the siren has a much higher activation speed (only in steep dives)
and the AI dive angle has been increased so bots will dive it steeply enough to activate the siren. I'll put this up for release in a day or so.
Bots planting mines around flags may not work very well considering friendlies can set them off as easily as enemies (unlike vBF2, IIRC), also the AI mine-planting behaviour was responsible for the infamous "satchel TKing", so I disabled it completely in my minimod. Is there any way to stop bots from thinking satchels/AT charges are mines?
And about the Commander AI
Yer, I didn't want to say it, but honestly, alot of spam bugs did result after the last of Drawde's mod. That doesn't totally solve it all though, the 2.0 maps specifically had those up the wazoo. But many only reared their head later in the battle. Howiever, I guess it all shows on the paper ie. fixed irrespective of source, so I should rest easy
Sorry about the commander spam bugs... didn't notice most of them myself as I very rarely play as part of a fireteam (partly due to the commander spam, ironically). Not sure why my added files cause commander spam, but from what Remick04 says it sounds like they're definitely the cause of the problem >:( - annoying as they're quite useful on some maps particularly when one side needs to focus on defence (e.g Siege of Tobruk). But I'll try deleting these files and seeing if the AI can still manage OK.
Going through the list I think we forgot to mention 1 important issue
* Bots not able to spot for arty
Not sure bots are able to do this - I've tried adding AI to binoculars, but bots never seem to use them. Spotter planes don't work either.
Apologies for my absence from the forum BTW, I've taken a break from FH2 modding lately! In a day or two I'll put the latest version of my Stuka files (with the modified dive angle) up for download. This is the only major addition/fix I've made since my last AI minimod release.
Singleplayer and Coop / Re: About P51DRockets
« on: 15-08-2010, 19:08:03 »
There seems to be a similar flying-off-map issue with the Stukas on Mersa Matruh. Very often I've see them drop their bombs then fly out to sea, then get a "Bot X is no more" message shortly after.
(edit) Also, regarding the 25pdr, theoretically the AI should treat both the NA and Normandy versions the same way, as they share the same object and weapon .ai files (in the NA 25pdr folder). There was a bug with the gunner viewpoint for the Normandy gun in a previous minimod version, but this is now fixed.
I did however figure out what was preventing bots from firing Arty on infantry at max range. I'll let Drawde know what I did for future use in the minimod. It makes a world of difference. On some maps the mortars never seem to stop falling from the sky.
:o How did you do this? I could never get arty bots to focus on infantry, let alone fire at things beyond their visual range. Sounds like AI artillery in the next version will genuinely be something to fear, rather than just creating impressive explosion effects ;D
You mention that you've included my new armour class for heavy tanks (using the NavalArmour class), have you also used the one for unarmoured vehicles and guns (the Helicopter class)? I found it made a big difference having bots be able to fire at jeeps etc. and at exposed gunners with small arms... the AI is sometimes better at taking out AT guns this way than with HE.
Also (I'm sure you know this) it's really important to update ALL the files to take the new classes into account, otherwise some bots will completely ignore vehicles which use them.
Are you going to include the feature where bots don't leave static weapons? (using the "FixedGun" AI class) I found the game worked much better when bots "camped" guns, especially since AA and artillery tend to be behind the frontlines. Otherwise they usually hop out and go off somewhere else leaving the guns unmanned when an enemy tank/plane finally turns up. (The only weapons I didn't give the FixedGun setting were deployables and the Bren AA)
Glad to hear that you're making such good progress with the AI. By the sounds of things, I won't need to make a new minimod once FH2.3 is out (definitely a good thing)
I apologize, Drawde, for butchering your mod to get it included, But I'm trying to avoid setting back the 2.3 release. If there are any .tweak files that you think I definitely need to add or fix let me know what they are and what changes were made. Like for instance the 50cal MGs on Allied tanks in Normandy, don't seem to be firing, but I know bots used them in your mod. So I must be missing something.
No need to apologies - any AI fixes that get included in the officlal release are a good thing.
Most of the important data is in the .ai files anyway but there are a few important changes to .tweak files, I'll send you a PM later with more info on this. One thing I should mention is that the critical part of the aircraft rocket fix is in the projectile .tweak files (change physicsType to Point rather than Mesh), not the aircraft or weapon files.
Also, a lot of vehicles now share object and weapon .ai files, all the 75mm Sherman variants for example. The AI profiles used are defined in the .tweak files, if this is unchanged then most of these vehicles will use the original, unmodded .ai files. This might be something you want to look at.
Also, since Clivewil's fix for the dive angle, I've removed the SP-only Stuka versions from the minimod... the auto Stuka siren may have to be a feature, like the raised artillery viewpoint, that's only available in the minimod. IMO the auto siren could be a good idea for MP anyway (might encourage people to dive-bomb more!) but the devs may disagree.
Announcements / Re: Forgotten Hope News Update: 27th of July
« on: 03-08-2010, 20:08:31 »
Where is that pic taken?
This particular "222" is on display in a private museum about 10 miles from where I live (in England) - it's actually a replica built on a Land Rover chassis ;D (not sure if there are any real ones in running condition?)
They also have a Stuart (a real one in this case) and a Renault UE tractor/tankette (which would be fun to see if FH2 ever gets as far France 1940... or even if it doesn't, as Germans used loads of them as tractors and even as SP gun mounts, some saw action in Normandy) as well as loads of "softskins" including a Ford GPA amphibian, a corner of which appears in Steel_Lion_FIN's pic.
Tried out Clivewil's suggested fix for the Stuka (increasing the climb angle angle) and it works great! Bots flying the Stuka will now dive steeply enough to activate the siren with the original AIX settings, so there's no need for separate SP versions of the Stuka or for setting the siren activation threshold so low that it goes off in normal flight.
Also, since the Stukas fly higher and dive steeply onto their target, they're quite a bit harder to shoot down especially with tripod + vehicle MGs, not good news for the Allies!
It makes me wonder what else could be done to improve bot piloting AI by tweaking the settings like this! Increased climb angles might be helpful for other attack planes, not just the Stuka.
Singleplayer and Coop / Re: Purple Heart Lane: Testing
« on: 01-08-2010, 13:08:36 »
If it's the mod, not the map, that's causing the problem, some suggestions for narrowing down the cause of the CTD:
- Try disabling in (add "rem " to the beginning of the line"); if this fixes the CTD, the cause is a static weapon like the Nebelwerfer or 88 (not a mortar or MG)
- Alternatively, disable, if the game no longer CTDs then the cause is either a hand weapon or a stationary mortar/MG.
If is the cause (likely) you can narrow it down further if you have any experience working with archive files: unpack the zip, remove either the Emplaced or Handheld folder (move them to a temporary folder somewhere else) and re-pack it. This will tell you if the cause is a hand weapon or stationary emplaced weapon.
You can narrow things down even more by removing individual weapon folders but this is a very slow + tedious job, only do it if you suspect a particular type of weapon (e.g grenade) is the cause.
Running FH2 in windowed mode helps a lot - this way you can start up the map and have it running in the background whilst working on something else, there's no need to actually play the game to test it unless the CTD cause involves something that bots can't do, like pickup kits or deploying weapons (doesn't seem like this is the case here)
This is more or less how I tracked down previous similar CTDs. Don't have time at the minute to do lots of testing like this or I'd do it myself, may try later this week if I have time and nobody else has made any progress.
Where is Clivewil's post on the Stuka dive angles? (can't find it on the forum for some reason). I'll definitely give this a try.
What I did for the Stukas in the current version is to make two different versions, the default version where the dive horn only activates in steep dives (as with the standard AIX settings) and a SP-only version where it activates in shallower dives. You'll need the map patch installed for the latter to show up in SP/co-op maps.
If Clivewil's suggestion works, though, the different versions won't be necessary.
I'll also try out the aircraft MG accuracy fix. One question, though, is it true that with the AI difficulty on maximum, the bots ignore "deviation" settings and are always 100% accurate? In this case, would it be better to run the game with the AI on a high but not maximum setting, like 0.8-0.9?
I'll try and get another minimod version out within a week or so... the PHL CTD is probably the biggest issue currently.
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Visual Basic .NET: Netscape Ugliness
From: Bryan Lamb 6/10/2002 5:56:53 PM
Hi all,
I'm a bit surprised that I don't see a bit more traffic on the groups about this subject... but maybe that is a prime indicator that I am doing something wrong.
I'd like to hear about others' experiences of viewing their .NET webforms apps on Netscape 6 and earlier. As far as I can see, things look pretty grim. I'm not doing anything crazy... just using the various drag/drop/configure/code server controls (text boxes, labels, datalists, datagrids) that VS .NET so graciously provides.
VS .NET subsequently adds in all sorts of non-compliant HTML attributes like MS_POSITIONING, LEFT-MARGIN, BORDER, etc... and when I try to use BG colors and borders on labels... they appear transparent when viewed on NS.
Additionally, it doesn't appear that the CSS font settings are obeyed, and text boxes tend to shrink down to a smaller width.
What gives?
I tried to set the "Target Schema" project setting to Nav 4.0 but it didn't seem to make a difference. Am I the only one having problems making a site look respectable in NS... or am I just the only one TESTING it :-)
Visual Basic .NET: Netscape Ugliness
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contact us or Call Dave Noderer: 954-418-9799 |
global_05_local_6_shard_00002272_processed.jsonl/302 | iPXE discussion forum
Full Version: Get multiple (2) dns servers from ipxe (net0.dhcp/dns:ipv4)
Is this possible to "add/modify"?
Are there any reason, iPXE only stores one of the DNS servers it receives from DHCP?
I Think its because its not generally that important with DNS redundancy during boot.
If you want disaster recovery, you can run a embedded script that says:
autoboot || goto start
Then it will try and try and try endlessly until boot does succeed
Reference URL's |
global_05_local_6_shard_00002272_processed.jsonl/304 | No announcement yet.
1E Promethean Campaign Convert to 2E?
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• 1E Promethean Campaign Convert to 2E?
Has anyone ran through the campaign given in the 1E books? Thoughts on it? Should I skip or edit some of them?
PDF - To the Flame
1st - Water of Life
2nd - A Sheltering Storm
3rd - Strangers on a Hill
4th - To the Wastes
5th - These Mortal Engines
I was going to run it in 2E though, just updating the NPC's and other numbers. And advice regarding converting the material?
Last edited by mikerand; 04-16-2017, 11:26 PM.
• #2
Couple thoughts:
• To the Flame isn't very good, IMO. There's nothing actively bad, just not much there. Consider adapting this as a side story during another section, maybe during To the Wastes.
• Water of Life introduces an alchemist as a recurring character, who now have official stats in 2E. You may want to update his stats and decide whether he has any connections to the official alchemist groups in 2E.
• A Sheltering Storm is heavily based on the way Wastelands work in 1E, namely that they form automatically whereas they can be avoided in 2E. It's not a huge issue, but maybe come up with a justification for why Papillon's camp works the way it does in 2E mechanics.
• Strangers on a Hill might invite some reconsideration of what Lighthouse's deal is. Maybe he's an Extempore and his special Bestowment automatically induces an Elpis Vision in others.
• To the Wastes features a scene where the PCs have to watch a group of humans slowly die and can't possibly save them. I've never heard of any group that enjoyed playing that scene as written. Consider altering the pacing here, depending on what level of bleak/serious your group is into.
• These Mortal Engines features a Zeka, who don't have 2E mechanics. That might be a little extra work to convert his Transmutations and Bestowment and stuff. Also, the climax features a depiction of the God-Machine that doesn't fully gel with where they ultimately took that idea in 2E, but you could take it in many different directions if you want to alter it.
• If I remember correctly, there's some recurring stuff about clones, which also don't have 2E mechanics. Decide whether you want to use the 1E idea or adapt them to something different.
2E Legacy Updates
Brotherhood of the Demon Wind
Choir of Hashmallim (plus extra Summoning content)
Storm Keepers
• #3
Clones were basically pseudo-promethean-pandoran things controlled by an alchemist in the first place. Easy enough to rig that up.
There were bits at the very end that seemed to include giant God Machine gears in Detroits' underbelly. Might need to rethink those parts, since the God Machine and Principle are utterly unrelated now. Or go into the God-Machine and hack it until qashmallim and angels become kissing cousins.
• #4
Or just say that the “arch-qashmal” was in fact an Angel of the God-Machine, and leave everything else as is.
• #5
Originally posted by Dataweaver View Post
"Hi, I am Exampiel. I'm filling in for Phil the Quashmal as part of a work exchange program."
Or swap the two. Whatever.
Yossarian: "And lo, it was optimal."
• #6
It's worth noting that the one qashmal that appeared in Saturnine Night was exceptional: for instance, he/she/it was neither Elpidim nor Lilithim. No details have been given as to what it was, though. That, and it appeared when the God-Machine Infrastructure started up. It has all the earmarks of being an Angel that was created by an Occult Matrix.
No substitutes are needed.
• #7
Eh... I feel that kind of swapping undermines the story - if you substitute the arch-qashmal (a major revelation of the Principle for Prometheans at this point) for an angel, it hurts the chronicle. I wouldn't recommend it at all, personally.
EDIT - but this is getting off topic now. Clearly, the OP is going to need to make some changes in some way to this particular story, either by ignoring the changes to the God Machine at this point, or by changing the quashmal, or something. But what those changes are is going to depend on how zer's story is unfolding, not our personal preferences here.
Last edited by MCN; 04-20-2017, 06:47 AM.
• #8
This is actually coming up in my chronicle, kinda, since I ran the Water of Life chronicle years ago and my current chronicle is finding some of the aftermath (like the camp in New Orleans).
So, for the camp, it's true that Prometheans don't automatically cause Wastelands anymore, but look at the list of things that do cause them (or cause them to Fester). Milestones can do it, spending Pyros can do it, forcing Elpis Visions can do a throng of like 4 Prometheans staying in one place for a while probably isn't going to do it. The camp, though, was a couple dozen, and that's going to escalate things, I'd think.
As for the arch-qashmal and the God-Machine, yeah, Saturnine Night was written long before Demon or even God-Machine Chronicle, so there's a little ret-conning that might have to happen. In my games there is a connection between the God-Machine and the Principle, but that's as may be. Nothing says that the arch-qashmal and the God-Machine's apparatus weren't separate phenomena, one building on the other in Detroit.
• #9
A question to ask is whether your players can distinguish between an Angel and a Quashmal without you outright telling them.
• #10
This. In Promethean, I doubt they can. And if they did notice some oddities (like if they could somehow tell if it's an Elpidim or a Lilithim and it doesn't register as either), they might chalk it up to being some weird aberration rather than a whole different class of being.
Also worth noting is that GMC appears to have used Engines of Creation as a prototype of Infrastructure and Occult Matrices; so I don't have any problem saying that it is Infrastructure and an Occult Matrix — and thus that the radiant being summoned by it is an Angel, not a qashmal.
• #11
I ran them through To the Wastes first. I figure they need to hit some milestones and cause some disquiet first. Since it is the most railroady of the games to get that one out of the way first. They did have fun in the slaughterhouse and less so in the mines. |
global_05_local_6_shard_00002272_processed.jsonl/314 | /* -*- c -*- */ /* GlossTeX, a tool for the automatic preparation of glossaries. Copyright (C) 1997 Volkan Yavuz This program is free software; you can redistribute it and/or modify it under the terms of the GNU General Public License as published by the Free Software Foundation; either version 2 of the License, or (at your option) any later version. This program is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details. You should have received a copy of the GNU General Public License along with this program; if not, write to the Free Software Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA. Volkan Yavuz, yavuzv@rumms.uni-mannheim.de */ /* $Id: glosstex.h,v 1.14 1997/12/13 16:06:55 volkan Exp $ */ #ifndef __GLOSSTEX_H #define __GLOSSTEX_H #include "config.h" #include "error.h" #include "list.h" #include #ifndef EXIT_FAILURE #define EXIT_FAILURE 1 #endif #define LINESIZE 1024 #define WORDSIZE 128 extern enum e_loglevel loglevel; extern s_list labels; extern s_list databases; extern char *inname; extern char *outname; extern char *logname; extern FILE *infile; extern FILE *outfile; extern FILE *logfile; extern char *progname; extern unsigned int count_label_parsing; extern unsigned int count_label_defined; extern unsigned int count_label_override; extern unsigned int count_label_success; extern unsigned int count_gdf_parsing; extern unsigned int count_gdf_defined; extern unsigned int count_gdf_success; #endif /* not __GLOSSTEX_H */ |
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global_05_local_6_shard_00002272_processed.jsonl/349 | Can't Do a Pull-Up? Here Are 5 Ways to Improve Your Chances
man doing pull-up
The pull-up is one of the most difficult moves in the world of fitness. It separates the men from the boys and the women from the little girls. If you can't do a pull-up and are struggling just to hang from the bar, don't worry; you aren't alone. The majority of Americans over the age of 18 aren't able to do a single pull-up and the older you get, the less likely it becomes you'll be able to do one. The exact percentages aren't known, but I've seen it estimated that only 10% to 15% of men can do a pull-up, while a paltry 1% to 3% of women are able to do one.
Pull-ups are difficult in that they require you to pull the entire weight of your body up until your chin is above the pull-up bar. They work all of the muscles in your upper body that are responsible for pulling, including the biceps, back and the forearms. If you can knock out just one pull up, consider yourself in pretty good shape. If you're able to do 10 or more in a single set, consider yourself an elite pull-up athlete.
If you're one of the many people who have stepped up to the pull-up bar with high hopes only to have them dashed while your chin stayed well below the bar, the tip that follow may be able to help. We've looked high and low and have gathered 5 tips to help you improve your chances at finally making your way to being able to do the pinnacle of exercise moves.
#1: Gravity Sucks.
Unless you're richer than Tony Stark and can afford your own space shuttle or anti-gravity machine, gravity is reality you're going to have to deal with. Gravity pulls down on your body while you're attempting to pull your chin up and over the top of the bar. In the vast majority of cases, gravity wins, leaving you huffing and panting, unable to pull yourself to the top.
There is one way you can tilt the odds in your favor when it comes to gravity and it's something most of you know you need to do regardless. If you've got extra pounds packed onto your frame, losing that extra weight could be the difference between falling short of your goals and finally being able to do a pull-up. The more weight you lose, the less weight you have to lift up and over the bar.
Look at the bright side of things. At least you aren't on Saturn. You would weigh more than twice what you do now if you were trying to do a pull-up on Saturn.
#2: Learn How to Hang First
In order to do a proper pull-up, you've got to be able to hang straight down from the bar and then pull yourself straight up. If you're one of the many people who grab onto the bar and start swinging wildly back and forth trying to gain momentum, you aren't doing yourself any favors. Getting some hang time in and learning to hang in a neutral position will build the groundwork for being able to do a pull-up. It'll also strengthen your shoulders and grip strength, which are two of the key elements required to do a pull-up.
#3: Skip the Kip
Kipping is a method used by advanced athletes in order to allow them to get more pull-ups in at the end of their set. Kipping works well as the athlete pops their hips and does a controlled swing in order to gain momentum and pop their head up over the bar. The key word in that sentence is "controlled." If you can't do a dead hang pull-up, there's no way you're strong enough to control your body while kipping. Learn how to a dead hang pull-up before you attempt the kip.
#4: The Assist
When done correctly, assisted pull-up can help you build up the strength required to do an unassisted pull-up. If you can't do a pull-up on your own, try using exercise bands or simply stand on a chair and use your feet to help push you up and over the bar. When using an assist, it's important you use the bare minimum amount of assistance you need to push that final little bit over the bar. If you're using your legs to do the entire pull-up, you aren't doing pull-ups...You're doing squats and that isn't going to help.
It's also important you maintain proper form while doing assisted pull-ups. Using bands and swinging your legs back and forth wildly may make you think you're putting in work, but all you're doing is creating bad habits and putting yourself at risk of a serious injury.
#5: Step Up Your Mental Game
If you arrive at the gym every day and tell yourself you'll never be able to do a pull-up, there's a pretty good chance you never will. You aren't likely to be willing to put in the work necessary to build up the strength required to do a pull-up if you don't think you'll ever be able to do one. You'll just be going through the motions.
Instead, show up every day planning on working your butt off toward attaining your goal. Work on your upper body, biceps, forearms, shoulders and back and keep pushing forward. Pull-ups aren't impossible, but they dang sure aren't easy. If you can't do a pull-up now, but want to be able to do one in the future, you have to be willing to put in the required work. Get off your butt and get to the gym. You aren't going to learn how to do pull-ups sitting in front of the computer. |
global_05_local_6_shard_00002272_processed.jsonl/350 | Modern Eugenics: Building a Better Person?
Leonardo DaVinci's Vitruvian Man reflects the artist's perception of the ideally proportioned man.
SiS is proud to feature the winners of the "2009 Integrated Graduate Program in the Life Sciences (IGP) Science and Society Class Distinction Award." Written as part of a course on science and society, these papers were chosen by IGP faculty to be published on SiS. This month, we present the following piece by PhD student Laura Hix.
In Aldous Huxley’s futuristic novel Brave New World (1932), human beings are selectively bred to be genetically perfect. Based on their genes, they are sorted into a caste system that defines their social hierarchy. While capturing the scientifically misguided notions of the early 20th century eugenics movement, the novel also foreshadowed developments in reproductive technology that are now coming to fruition. The consequences of these reproductive advancements and their impact on the evolution of our society are only beginning to be explored.
The term eugenics is derived from the Greek word “eu,” meaning good or well, and “genos,” meaning offspring. Conventional eugenics, or intentional selective breeding for improved genetic traits, has been performed on crops and livestock for thousands of years. The term eugenics as it pertains to humans was first coined by Sir Francis Galton in 1883. Eugenics gained popularity throughout the late 19th and early 20th centuries, as some scientists incorrectly believed that many human behaviors, like alcoholism or social dependency, were solely the product of genes, independent of environmental influences. However, as other scientists began to refute these ideas experimentally, the movement abruptly fell out of favor when its ideas were co-opted by the Nazis during World War II to justify genocide.
Recent advances in genetics and reproductive technology have opened the door to a new form of eugenics, termed “modern eugenics,” or “human genetic engineering,” that is focused on repairing faulty genes associated with disease or other health conditions. Human genetic engineering is the science of manipulating an individual’s genetic makeup, or genotype, with the intention of altering his or her observable traits, or phenotype. Human genetic engineering can be divided into two categories—negative engineering, referring to the correction of genetic disorders and deficiencies; and positive engineering, referring to the enhancement of an individual’s genetic make-up.
Negative genetic engineering involves modifying or removing genes to prevent or treat genetic disease. Genetic engineering of non-reproductive, or somatic, cells in order to correct genetic deficiencies is known as gene therapy, or somatic cell gene transfer (SCGT). Gene therapy harnesses the powerful technology of recombinant DNA to correct disease genes in a patient’s cells, which are then reintroduced back into the patient to replace the diseased cells.
However, in order for all of the diseased cells to be replaced, self-renewing stem cells, or specialized cells that continuously divide to replenish all the cells within a specific cell type, are required. For example, bone marrow contains cells that continuously regenerate to replenish all the white and red blood cells of the body, known as hematopoietic stem cells. Unfortunately, not all cell types in the body, like nerve cells, have this ability to self-renew. Researchers hope to utilize embryonic stems cells, which have the potential to become any cell type in the body, to someday overcome this hurdle. Learn more about the potential of stem cells.
While the potential of gene therapy is exciting, clinical trials are in the early stages and many challenges remain. Delivering the corrected genes to their destination remains one of the greatest challenges. Many studies use certain kinds of viruses to transport the new genetic information. This presents a number of problems, including a patient’s immune response to the virus. In 1999, clinical trial patient Jesse Gelsinger died of multiple organ failure, which doctors believe was a result of a severe immunological response to the virus carrying the corrected gene.
However, there have been notable successes. In 1990, four-year old Ashanthi DeSilva, a child with SCIDS (Severe Combined Immune Deficiency Syndrome), became the first patient to be successfully treated using gene therapy as part of a clinical trial at the National Institutes of Health. As of early 2007, she remained in good health and was attending college. Researchers are now working on several promising studies that use gene therapy to combat blindness, cancer and bone marrow syndromes.
Negative genetic engineering is currently being used to detect genetic disease either prior to or during pregnancy. Prenatal diagnosis, such as amniocentesis (sampling of the embryonic fluid), has been traditionally used to detect abnormalities in fetuses during the first trimester of pregnancy. Another option for parents undergoing in vitro fertilization (IVF) is preimplantation genetic diagnosis (PGD). During IVF, doctors test each embryo for genetic abnormalities, allowing parents to choose the healthiest embryos for implantation.
Both of these procedures have their own ethical implications. After a prenatal diagnosis, parents must make difficult decisions if their fetus is found to have a life-altering genetic disorder. Following PGD, embryos that were not selected for implantation are usually discarded. Even the ability to select embryos for implantation based on their genetic profile brings its own range of ethical questions— should embryos with medical conditions that can be effectively managed by medical intervention be discarded? What distinguishes a true genetic “disease” from other unwanted genetic characteristics? What about selecting for traits, like sex or even eye color?
The combination of reproductive and genetic technologies raises the possibility of someday genetically modifying embryos and even their future progeny. For example, gene therapy techniques could theoretically be performed on a newly-fertilized embryo’s DNA during IVF, prior to implantation. Corrections to DNA at this stage of development would not only affect all non-reproductive cells in the developing fetus, but also the gametes (sperm or eggs). Termed “inheritable genetic modification” (IGM), this would allow transmission of the corrected genes to all future progeny.
Genetic modification has great promise to treat, and perhaps someday even permanently cure genetic disease. However, genetic changes could also be made in order to improve an individual in ways that may or may not serve a medical purpose. Genetic modification with the intention of enhancing an individual or their progeny is known as “positive genetic engineering.” For example, the use of gene therapy techniques for the purpose of enhancement has given rise to the term “gene doping,” defined in 2008 by the World Anti-Doping Agency (WADA) as the “nontherapeutic use of cells, genes, genetic elements, or modulation of gene expression having the capacity to enhance performance.”
While actual cases of gene doping have yet to be documented scientifically, several recent animal studies have raised the possibility that use in humans is not far behind, if not already illicitly occurring. In 2002, researchers reported that inserting the insulin-like growth factor 1 (IGF-1) gene into the muscle cells of mice led to enlarged muscles and the creation of so-called “Schwarzenegger Mice.” Another group reported that injecting mice with the gene for the fat-burning protein PPAR-δ enabled them to run twice as fast.
The intense pressure on professional athletes to perform has already led to the illicit use of steroids, highlighted by recent scandals involving professional baseball players. Gene doping could potentially offer a novel way to enhance performance, and would likely require complete sequencing of the athlete’s genome to detect the change. This raises the question of whether non-therapeutic gene therapy will eventually be medically sanctioned and regulated, similar to other therapeutic gene therapy, and if so, where will the limits be drawn?
With the advent of revolutionary reproductive and genetic technologies, humans have begun to acquire the ability to directly, and perhaps permanently, shape our evolutionary destiny. There are many arguments that can be made in favor of the ability to permanently cure genetic disease in future progeny. Fewer arguments can be made in favor of permanently “improving” the genetic traits of future progeny, but a small yet influential group of scientists does advocate for them. In 1994, Sir Walter Bodmer, former president of the Europe-based Human Genome Organization famously proclaimed, “Would it really be so bad, if we added genes for height to small people, or for hair to the bald, or good eyesight to the myopic? Probably not.” But in response to whether we should add genes for intelligence or athleticism? “Just where we get off the slippery slope is therefore a matter for society to choose…we have plenty of time to debate the issues and resolve them.”
As scientists move closer to making the possibilities of human genetic engineering a reality, open debate on the subject becomes increasingly crucial. We must raise public awareness of emerging technologies and foster an open and honest dialogue between scientists and the public about their potential uses and ramifications. If we are to learn from past mistakes, we should all be actively engaged in how these technologies are deployed.
while it is important to
while it is important to watch for disease causing genes, it may also be a good idea to breed for intelligence. since this is a more complex trait than a single disease gene, the best way to approach this might be to pay sperm donors who test well on intelligence tests. this is assuming that those potential donors do not carry genes for debilitating medical conditions.
Since first seeing' 'Khan
Since first seeing' 'Khan Noonien Singh'' on the old star trek program, i've wondered if eugenics is possible to that degree in humans. Strength, stamina, intelligence. Or with Steve Rogers beginning as the skinny soldier and beefing up to a super-soldier ;) Khan seems more feasible.
This is a very helpful
This is a very helpful article and really changed my perspective on modern eugenics. I hope you continue to make more articles, because your work is great. I hope you never stop writing.
I disagree with selective
I disagree with selective breeding.I think we selectively breed on our on bases on attracting traits.I do not think selective breeding should not be done and we should continue to have our own choice.
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global_05_local_6_shard_00002272_processed.jsonl/351 | All tokens distributed by Ambisafe Software are based on a smart contract that allows dividends distribution with Ether.
Here are the steps you need to take to implement this process:
1. Provide a token symbol, the number of blocks for snapshot (blocks must be already mined), the amount, and the distribution formula
2. We generate the snapshot of token balances for that block and export it to a spreadsheet
3. You open the snapshot in Google Sheets
4. Fill out the column with the amount for every row
5. Fill out the column with the dividend script for every row
6. Optional: deduct the commission for a transaction from the payment amount
7. Send the dividends to be distributed to the wallet address, provided by us
8. We launch the distribution
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global_05_local_6_shard_00002272_processed.jsonl/370 | About ME: My name is Tiffany, 20 years old from Palm Springs: My favorite movie "Sheesha (2005 film)" and favorite book about sex "Adultery (novel)". I have a great imagination. ;) I want it from a man - massage after sex keeps the flow of the feel-good hormone oxytocin so she’ll orgasm easier again and again. Dancing, dining out, cooking, hiking, outdoor activities. I'm all natural with a sexy attitude. I am a ebony petite woman looking for a handsome tall guy to start a friendship with & maybe more.
The love match of a Scorpio male and a Pisces female is one of the most beautiful associations which grows and flourishes with their love, devotion and loyalty. They are a very understanding and supportive match which...
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global_05_local_6_shard_00002272_processed.jsonl/372 | Saturday, June 23, 2007
Pop! Goes my Heart
Last night I hung out with a really fun (and crazy) group of people. Carolyn and I got invited to a BBQ by our friend Austin, and hey, we like random things, so we went. It was a blast! The guys who live with Austin are insane. We sat around, talking about random stuff, jamming out, listening to Boston, playing Guitar Hero and then eventually we decided to watch The Phantom of the Opera. I couldn't believe it when all these guys started suggesting that movie! I was a little impressed, to say the least. I thought most guys hated girly movies (especially girly movies that are musicals). But they all loved the songs and we had a wonderful time analyzing it. What a fun group of people.
Sometimes I wish that my life was a musical. If people just burst into song all the sudden in real life, things would be so much more fun! I am tempted to start dancing sometimes, as I listen to my iPod when I'm walking across campus. It's too bad stuff like that isn't normal.
I've been listening to some funny music today. I think this song/video is hilarious:
It's from the movie Music and Lyrics, which is not an amazing movie, but the music is pretty good. Hugh Grant makes me laugh, a lot.
Carolyn and I went antiqueing (sp?) today. We didn't find anything.
Well, I should probably go do something productive.
Peace out.
Sarah said...
Pop! *wachow* Goes my heart.
haha. that was a funny song.
Ashley said...
haha hugh grant is amazing. |
global_05_local_6_shard_00002272_processed.jsonl/373 | Some Helpful Ways To Select The Best Electric Cigarettes
An digital cigarette starter kit arrives with a number of elements which, when brought with each other, give you the e-vapor. In the Fifty One Trio variety, the Trio electronic cigs have reusable cartridges which can be taken care of for a long time with five minutes each thirty day period.
Further more. A consultant from Hangsen was on a Uk discussion board and he was open to questions from fellow vapers as they needed to be reassured as to the content material of the thc e liquid they use if it is from Hangsen. A big query that is always becoming asked by most vapers is about the DEG Dyetheline glycol also commonly known as antifreeze content material in e-liquids which is classed as poison. Individuals in general do not like to be inhaling even a little amount of DEG and a lot of vapors tend to stay away from PG primarily based ejuices and stay with VG purely for the fact that PG might include traces of DEG.
Say you’re a condiment lover. You love to slather mayonnaise on your sandwiches. 1 of many small modifications that can conserve you hundreds of calories over time is to merely use mustard rather of mayo on your next sandwich. Depending on how a lot mayo you used to use, you could conserve up to 100 energy from that simple swap.
The atomizer too is a truly a joy to use. It provides a lot of vapour and a extremely good throat strike as well. In my viewpoint, the elips is a much much better improve to the 510. We can evaluate it to the 510 as it is on par size sensible. The elips battery is two times as a lot as a Joye 510 yet the overall length of the ecig is less than a 510 at 112mm. The elips at 103mm.
To me, the inconvenience of getting to place a small piece of cellophane or blu tack to get a correctly practical good size digital cigarette is miles better than getting to deal with all the quirks of the standard digital cigarette (cartridge / atomizer) system.
Finally, include two drops of the liquid as a primer into the atomizer and then wax liquidizer connect the cartridge and atomizer and then fasten the atomizer to the battery.
If a brand name has a powerful sufficient strength, it will do the trick. You gained’t miss a defeat. If the brand name isn’t powerful sufficient, you will miss your normal smokes. It’s that simple. I hope you check out this item and uncover for yourself what power fits you. I urge you to read and do research prior to buying just any brand name. If you don’t, you will find your self wanting something stronger.
There are approximately twenty five drops for each ml of fluid, permitting 8-10 cartridges per ml and 40-60 puffs per cartridge. There are roughly fifteen puffs for each traditional tobacco cigarettes.
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global_05_local_6_shard_00002272_processed.jsonl/377 | Triply Ambiguous Object
2018 First prize
Kokichi Sugihara: “Triply Ambiguous Object”. Japan
The object generates three different interpretations when it is seen from three special viewpoints. Most of existing ambiguous pictures/objects, such as Necker cube and Schroeder staircase, generate only two interpretations.
The present object consists of a 2D picture of a rectangular structure and a pole with a flag. The picture is placed on a horizontal surface and it is seen in slanted directions so that one group of parallel lines appears to be vertical. Then we perceive three different structures because they are compressed in different directions. The pole with a flag represents the direction of the gravity, which strengthens the illusion.
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global_05_local_6_shard_00002272_processed.jsonl/401 | Horses & Courses
The horse appears to have been so dear to the Aryan and such an important part of his life that often the men’s names included the word horse, eg Lohrasb (the owner of a fast horse), Goshtasb (the owner of a war horse)… On the metal and pottery utensils such as cups and vases that remain from historic times, the horse is often depicted. It is often said that it was the Aryans who first tamed the horse.
تاریخ ریاضیات در ایران
برگرفته از ایرانبوم.....ماهنامه چیستا (وهیشتا)، شماره یکم، پاییز 1383 خورشیدی، صفحه 21 تا 24
شادروان استاد پرویز شهریاری |
global_05_local_6_shard_00002272_processed.jsonl/466 | Modern Family
Tonight’s Modern Family episode on ABC TV made incredibly inappropriate references to Blackhawk Down & Apollo 13. Brave men lost their lives while others were exposed to extreme risk in both a tragedy and a near tragedy. This distasteful insensitivity and lack of respect for the sacredness of human life is disgusting, especially from a major network. |
global_05_local_6_shard_00002272_processed.jsonl/491 | High Rise
In this visionary tale based on J.G. Ballard’s classic novel, human society slips into violent reverse as once-peaceful residents, driven by primal urges, re-create a world ruled by the laws of the jungle.
Date de sortie
Langue originale: English
Genre: Action, Adventure, Drama, Sci-Fi
Durée: 119 min.
Année: 2015
Sienna Miller
Tom Hiddleston
Jeremy Irons
Elisabeth Moss
Luke Evans
Un film de
Ben Wheatley |
global_05_local_6_shard_00002272_processed.jsonl/517 | MURAL - Maynooth University Research Archive Library
Browse by Thesis author
Up a level
Jump to: PhD
Number of items: 1.
Doyle, Patricia (2009) A Sociological Study of Addiction: Power and Social Change from the "rock bottom up". PhD thesis, National University of Ireland Maynooth.
This list was generated on Sat Aug 17 22:26:14 2019 UTC. |
global_05_local_6_shard_00002272_processed.jsonl/528 | 10 Exciting Ideas of 2018 in NLP
By Sebastian Ruder, Aylien.
This post gathers 10 ideas that I found exciting and impactful this year—and that well likely see more of in the future.
Most of these (with some exceptions) are not trends (but I suspect that some might become more trendy in 2019).
There were two unsupervised MT papers at ICLR 2018.
My highlight:Toy illustration of the three principles of unsupervised MT.
A) Two monolingual datasets.
B) Initialization.
C) Language modelling.
D) Back-translation (Lample et al.
, 2018).
Using pretrained language models is probably the most significant NLP trendthis year, so I wont spend much time on it here.
, 2018).
SWAG was solved unexpectedly quickly.
My highlight:VCR: Given an image, a list of regions, and a question, a model must answer the question and provide a rationale explaining why its answer is right (Zellers et al.
, 2018).
Meta-learning has seen much use in few-shot learning, reinforcement learning, and robotics—the most prominent example: model-agnostic meta-learning (MAML)—but successful applications in NLP have been rare.
Meta-learning is most useful for problems with a limited number of training examples.
My highlight:The difference between transfer learning multilingual transfer learning, and meta-learning.
Solid lines: learning of the initialization.
Dashed lines: Path of fine-tuning (Gu et al.
, 2018).
This year, we and others have observed that unsupervised cross-lingual word embedding methods break down when languages are dissimilar.
This is a common phenomenon in transfer learning where a discrepancy between source and target settings (e.
domains in domain adaptation, tasks in continual learning and multi-task learning) leads to deterioration or failure of the model.
Making models more robust to such changes is thus important.
My highlight:The similarity distributions of three words.
Equivalent translations (two and due) have more similar distributions than non-related words (two and cane—meaning dog; Artexte et al.
, 2018).
There have been a lot of efforts in better understanding representations.
In particular, diagnostic classifiers (tasks that aim to measure if learned representations can predict certain attributes) have become quite common.
My highlight:Per-layer performance of BiLSTM and Transformer pretrained representations on (from left to right) POS tagging, constituency parsing, and unsupervised coreference resolution (Peters et al.
, 2018).
In many settings, we have seen an increasing usage of multi-task learning with carefully chosen auxiliary tasks.
For a good auxiliary task, data must be easily accessible.
One of the most prominent examples is BERT, which uses next-sentence prediction (that has been used in Skip-thoughts and more recently in Quick-thoughts) to great effect.
My highlights:Syntactic, PropBank and coreference annotations from OntoNotes.
, 2018).
My highlight:Inputs seen by auxiliary prediction modules: Auxiliary 1: They traveled to __________________.
Auxiliary 2: They traveled to Washington _______.
Auxiliary 3: _____________ Washington by plane.
Auxiliary 4: ________________________ by plane (Clark et al.
, 2018).
My highlight:Comparison of QA datasets (Kočiský et al.
, 2018).
My highlights:10 years of PropBank semantic role labeling.
, 2018).
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global_05_local_6_shard_00002272_processed.jsonl/535 | How to Develop an App — Step by Step through the whole process: Part 1
Nov. 28, 2016
How to develop an app? As mobiles and tablets become popular, more and more people started to wondering about this. Designing and building your very first mobile app can be quite challenging. To help give you a general overview of the process, |
global_05_local_6_shard_00002272_processed.jsonl/545 | S4E08 – The One About Why We Back Kickstarters
Ric and a mildly sick Ryan are here to chat about games! This week we talk about Buy the Rights, Raptor, Wisdom of Solomon and Habitats. In the topic of the show, we ask the question “To Back or Not to Back?”. We talk about what helps us consider backing a new game on Kickstarter. Plus we talk about the things that absolutely detract from backing a game on this crowdfunding platform.
Timestamps for this episode:
[05:00] What We’ve Been Playing
[31:15] “To Back or Not to Back?”
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global_05_local_6_shard_00002272_processed.jsonl/548 | Monday, November 17, 2014
What is Mean by Sharding?
Sharding is a type of database partitioning that separates very large databases into smaller, faster, more easily managed parts called data shards and can be spread across multiple servers. The word shard means a small part of a whole.
Database Size Grow Year By Year
The governing concept behind sharding is based on the idea that as the size of a database and the number of transactions per unit of time made on the database increase linearly, the response time for querying the database increases exponentially.
Additionally, the costs of creating and maintaining a very large database in one place can increase exponentially because the database will require high-end computers. In contrast, data shards can be distributed across a number of much less expensive commodity servers. Data shards have comparatively little restriction as far as hardware and software requirements are concerned.
Database Sharding Challenges:-
• Reliability
• Distributed queries
• Avoidance of cross-shard joins
• Auto-increment key management
• Support for multiple Shard Schemes
The basic concept of Database Sharding is very straightforward take a large database and divide into a number of smaller databases across servers. The concept is illustrated in the following diagram:
Historically, sharding a database required manually coding data distribution policies directly into your applications. Application developers would write code that stipulates directly where specific data should be placed and found. In essence developers were creating work-around code to solve a database scalability problem so their applications could handle more users, more transactions and more data.
In some cases, database sharding can be done fairly simply. One common example is splitting a customer database geographically. Customers located on the East Coast can be placed on one server, while customers on the West Coast can be placed on a second server. Assuming there are no customers with multiple locations, the split is easy to maintain and build rules around.
Fig 2. Separate Database table based on each location
Using an example can help explain MySQL sharding more clearly, so let’s take the following table:
This is a small table containing a list of customers. Any modern database can handle such a table. But happens if instead the table has to store seven million rows instead of just seven rows?
Theoretically, this should not be a problem. But usually there are lots of operations on such a large table – for example we may have many read and write operations on this table every second.In practice, a very large customer table can become a database bottleneck. Why? Because it doesn’t fit in the database server cache anymore, because of database isolation management, and for other reasons that cause the database to crawl under load.
How does sharding solve MySQL Scalability?
If we take the customers table, and split it into four different databases, each database will contain 1.80 million rows. That’s still a lot, but less than 8 million rows. This will result in improved database performance. In fact the following diagram shows how such a table can be split:
MySQL Data Distribution Database
Data distribution Database
Every database will get some of the rows. In old-fashioned do-it-yourself sharding, it was the developer’s responsibility to create an efficient, application-specific data distribution policy that efficiently stipulated exactly where each row should be stored and found for each table. Nowadays, that work is simplified and automated using Mysql Clustering.
Saturday, November 15, 2014
What is ElasticSearch?
Elasticsearch is a search server based on Lucene. It provides a distributed, multitenant-capable full-text search engine with a Restful web interface and schema-free JSON documents. Elasticsearch is developed in Java and is released as open source under the terms of the Apache License.
It provides scalable search, has near real-time search, and supports multitenancy. ElasticSearch is distributed, which means that indices can be divided into shards and each shard can have zero or more replicas. Each node hosts one or more shards, and acts as a coordinator to delegate operations to the correct shards. Rebalancing and routing are done automatically.
It uses Lucene and tries to make all features of it available through the JSON and Java API. It supports facetting, highlights, suggesters and percolating, Percolating which can be useful for notifying if new documents match for registered queries.
Another feature is called "gateway" and handles the long term persistence of the index, for example, an index can be recovered from the gateway in a case of a server crash. Elasticsearch supports real-time GET requests, which makes it suitable as a NoSQL solution, but it lacks distributed transactions.
ElasticSearch can scale out to hundreds of servers and petabytes of data.
Figure 1
Elasticsearch is much more than just Lucene and much more than “just” full text search. It is also:
ElasticSearch Requirements:-
You can download the latest version of Elasticsearch from
curl -L -O
unzip elasticsearch-$
cd elasticsearch-$VERSION
Test it out by opening another terminal window and running:
You should see a response like this:
"status": 200,
"name": "Shrunken Bones",
"version": {
"number": "1.4.0",
"lucene_version": "4.10"
"tagline": "You Know, for Search"
You should change the default to something appropriate to you, like your own name, to stop your nodes from trying to join another cluster on the same network with the same name!
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global_05_local_6_shard_00002272_processed.jsonl/569 | Saturday, May 04, 2019
Why Does Light Bend When It Enters Glass?
Don Lincoln tackles another "everyday" phenomenon. This time, he tries to give you an "explanation" on why light changes direction when it goes from one medium to another, and why some of the more popular explanation that have been given may be either incomplete, or wrong.
Certainly, any undergraduate physics student would have already dealt with the boundary conditions using Maxwell's equations, so this should be entirely new. However, he skipped rather quickly something that I thought was not handled thoroughly.
The continuity of the parallel component of E to the boundary is fine. However, Lincoln argued that the reason why the perpendicular component of the F field is shorter in glass is due to the polarization of the material, and thus, the sum of the light's E-field and the E-field from the polarization will cause the net, resultant E-field to be shorter.
But if the material's polarization can affect the perpendicular component, why doesn't it also affect the parallel component? After all, we assume that the material is isotropic. This, he left out, and at least to me, made it sound that the parallel component is not affected. If this is so, why?
1 comment:
Douglas Natelson said...
I agree that this particular point could have been presented more clearly. So, it's really the discontinuity in the polarization that actually matters, right? That is, what sets the difference in the surface-normal component of the electric field is the difference in (normally directed) polarization response between the two materials at the interface. That's not what happens for the in-plane part of the electric field. If I remember correctly without digging out my copy of vol 2 of the Feynman lectures, Feyman talks a bit about this, sort of a combination of the polarization picture and the Huygens picture, where the total electric field in a dielectric is a superposition of the propagating incident wave plus the radiation field generated by the oscillating charges of the medium (including an oscillating surface charge at the interface due to this discontinuity in the polarization). |
global_05_local_6_shard_00002272_processed.jsonl/570 | Snake fucks a female erotic
When he reached his release it was the most intense and powerful pleasure the snake had ever felt, he could hardly stand it, his whole body shuddering as his sexes pulsed and spasmed inside the hot embraces of the female animal. Scott gasped at the sight, his own prick nearly exploding. Patty had already orgasmed once already, but did again as she felt the snakes cool cum pour into her sex, and gasped as the large swollen hemipene slid from her sensitive pussy with an audible wet pop, then squealed as she felt his other penis slide into her. Something clicked, the authorities had been baffled for years by the disappearance of people in the area with no trace, and she realized she'd found the reason. However, this caused Sam's other length to enter Jessy's other hole by accident, causing them both to groan at the contact. Scott slowly penetrated her with his fist.
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The feelings of pleasure traveled up and down his body…boy had he been missing out. Stone held the animal firm, watching the pain turn to pleasure in Susie's eyes, the snake thrashing now, only held by the head in her hands. As she walked through the door into her home, Jessy looked and smiled weakly at the form of her lone Pokemon dozing on the couch. How did you keep your story intact when switching from the idea of filming a documentary to horror? I've always found Patricia weird as well. There was nothing human about the two long thick organs, but there was no mistaking them for penises.
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Scott smiled, slowly removing his fist from her womb, making Mila cry out. I'm not letting a fucking snake fuck me. Jessy couldn't help but giggle. And the great reptile was insatiable as he fucked her first with one, then his other hemipene, switching between the two as soon as one had ejaculated. Crimson Dragon 8 years ago 1. However, Jessy did something he didn't expect.
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His brother had a girlfriend years ago who would regularly fuck one of their horses. She moaned as her large breasts followed her shoulders into the mouth of her 'lover', and down his throat as he kept pulling her in, slowly but surely, no escape possible at this point. The Oldest Temptation On Earth. She moaned as he vigorously twirled his tongue around her hard clit, then slid his tongue down further to delve between her pussylips. She gently caressed his body, and he gave a soft hiss of pleasure enjoying the warm touch. Reaching down in her shorts she started to masturbate, grunting in pleasure as she stroked her labial lips, and then slid her fingers inside and finger fucked herself.
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global_05_local_6_shard_00002272_processed.jsonl/575 | PKMN.NET :: Caption Contest
Caption Contest | Clever tagline here
I'll take that for lunch.
Submitted by Spinda
1. Pikachu: I'm MELTING!!!! by Captain Jigglypuff
2. Magnemite: Guys! I've got the Barbeque on the go! by
3. It's offical: if you remove thier shading, Pokemon will die. by laironlover77
4. Worst prom date ever: Pikachu got drunk and passed out, and Magnemite had to take a cab home. by laironlover77
5. We all knew it was a bad idea when the TCG artists were hired to animate the show, but we never knew it would be this bad. by
6. When tans go too far. by laironlover77
7. Magnemite: ...what's this gloomy corpse doing in my bright'lit area? Pikachu: /_\ by Powerforce
8. What are Magnemite and Pikachu doing in the Sacred Fire of Ho oh, we do not know... but the one thing we know for sure is... Pikachu did not survive. by Powerforce
9. Pikachu used 'Rest' Magnemite used 'DEEP FRY!!!' by Utack and Swampy
10. Magnemite: heh, that sue was a powerful Hyper Beam, wasn't it Pikachu?... Pikachu? by laironlover77
11. Ever since Pikachu got hooked on Carbos, all we do is sit here. Thats all we can do. by The Macintosh Ninja: SOH CAH TOA
12. Magnemite: I told you to use sun screen... by Angelic Lapras King
13. Magnemite knows how contagious Brockeyetis is. by Objection
14. Picasso's version of a Magnemite beating a Piakchu in battle. by Shaymin
15. The new Magnemite microwave, heats up Pikachu in just 5 minutes. by lugia95
16. This is what happens when you break the three word rule. by lugia95
17. I think Palkia messed around with his powers again... by lugia95
18. It's the newest craze! Microwavable Pokemon! by laironlover77
19. Okay, and where's the brown on Pikachu's tail? EFF MINUS. by Bluffy
20. Pikachu: ..Help... I'm sick... Magnemite: Wow, those stink lines are drawn nicely. Pikachu: /_\ by Powerforce |
global_05_local_6_shard_00002272_processed.jsonl/576 | Archive for 60s
Why Have Trustful Parenting and Children’s Freedom Declined in Recent Decades?
Why is trustful parenting so much more difficult than in decades past? Why are today's children afforded less freedom than we were when we were children? In this essay I suggest the following reasons: (1) the decline of neighborhoods; (2) the decline in adults' firsthand knowledge of child development and the worldwide sharing of fears; (3) the increased uncertainty about the future; (4) the increased intrusiveness of school systems into children's and families' lives; and (5) the rise of a pedagogical model of child development that has its origins in the increased power of schools.
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global_05_local_6_shard_00002272_processed.jsonl/591 | From Project Mailer
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“Norman Mailer—Ego, Movies and the Moon.” Article-interview (part 2) by Digby Diehl. Los Angeles Times Calendar, 21 February, 12. Contains Mailer’s explanation of the epistemological problems of using his own persona as a narrative lens: “In the most ghastly terms possible: how much of yourself should ‘go public,’ like a stock?” Also includes comment on 71.1 and moviemaking. See 71.6. |
global_05_local_6_shard_00002272_processed.jsonl/595 | Preferred Title of Missouri
What is a title?
A title is the foundation of property ownership. It is the owner’s right to possess and use the property.
Because land is permanent and can have many owners over the years, various rights in land (such as mineral, air or utility rights) may have been acquired by others by the time you come in possession of it, even if the land has never before been built upon. So in order to transfer a clear title to a piece of land, it is first necessary to determine whether any rights are outstanding.
What is a title search?
What kinds of problems can a title search reveal?
Are there any problems that a title search cannot reveal?
What is title insurance?
Title insurance is your policy of protection against loss if any of these problems – even a “hidden hazard” – results in a claim against your ownership.
That depends on the claim. In an extreme case, you could lose your entire home and property – and still be liable to pay off the balance of your mortgage. Most claims aren’t that dramatic, but even the smallest claim can cost you time, money and aggravation, and you may have to pay costs for a legal defense.
Wouldn’t an abstract show property limitations and restrictions?
Maybe – and maybe not. An abstract is a history of the property title as revealed by the public records. Abstracts may contain errors and do not disclose “hidden hazards” that can threaten your property title if you do no have a title insurance policy.
What about an attorney’s opinion?
An attorney’s opinion is based on a search of the public records. So, once again, even the most exhaustive search of these records may not reveal everything. Unlike a title insurance company, an attorney is not liable if you should suffer loss because of “hidden hazards” in the title.
The owner of the property I want to purchase has lived in the home for only six months. He had a title search done six months ago. Why do I need another one?
Because the owner could, in a very short time, do many things to encumber the title. For example, he could grant easements or construct improvements that encroach on adjacent property. It is necessary to conduct an up-to-date title search to uncover any such problems.
Are there different types of title insurance policies?
Yes. Basically there are two different types of policies – a loan policy and an owner’s policy. The loan policy protects the lender’s interest in the property as security for the outstanding balance under the buyer’s investment or equity in the property up to the face amount of the policy.
How much does title insurance cost?
Probably a lot less than you think. And unlike other insurance premiums, which must be paid annually, a title insurance premium is paid one time only, usually at settlement. Premium charges vary with the amount of the policy, please contact our office for a quote.
How long does coverage last?
For a long as you or your heirs retain an interest in the property and, in some cases, even beyond. |
global_05_local_6_shard_00002272_processed.jsonl/596 | Edge of Tomorrow
[4.5 stars] [IMDb Link] [Amazon Link]
I'm sure a bunch of people did this already, but I will compare this movie to the classic Groundhog Day:
• Both movies involve the hero living the same time period over and over. (The hero's name here is "William Cage", and he's played by Tom Cruise.)
• He remembers what he did in previous time iterations, but everyone else is living the day for the first time.
• The other main character is a female named "Rita". (Vrataski, played by Emily Blunt).
• Cage starts out unlikeable and cynical, but his character improves throughout the film.
• And Cage's only hope of escaping the time loop is to somehow learn from his past mistakes, go back and try again.
There are differences, of course. Mainly because it's a cross between Groundhog Day and (the good parts of) Starship Troopers.
Instead of simply falling asleep at the end of the day, Cage gets killed, in invariably nasty (but PG-13) ways: his death snaps him back to the start of the loop. He's in a war against alien invaders, and he gradually discovers he's humanity's only hope against certain doom. So he's got that going for him.
It's a lot of fun. Special effects are super-impressive, but (like Godzilla) too many of them take place in the dark. (I think that's how they save money on special effects.) Tom Cruise, no matter how nuts he might be in real life, remains a very fine actor. Emily Blunt… well, wow. Just wow.
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global_05_local_6_shard_00002272_processed.jsonl/625 | Chance of getting a date
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global_05_local_6_shard_00002272_processed.jsonl/635 | By registering, you agree to abide by these rules:
1. Registered users agree to keep the court secure by only sharing the code with their own household, and locking the court after use.
2. Registered users agree to be contacted upon registration and annually thereafter for a contribution towards the running costs of the court at the amount that the committee has agreed. Currently £20.
3. Registered users agree to be contacted from time to time by email with news about Sandy Point Tennis.
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2. Only suitable non-marking footwear shall be worn on the court.
3. The net tension is regularly maintained; Do not attempt to adjust the tension.
4. The court shall be used in a manner to minimize nuisance to our neighbours:
1. Minimize noise - no shouting, or playing music.
2. Do not attempt to retrieve balls from gardens.
3. Do not leave any rubbish behind on the court.
5. If others are waiting, play shall be limited to the shorter of:
1. The remainder of the current set.
2. Half an hour.
3. If appropriate play doubles.
6. When leaving the court please
1. Close the gate, and lock it.
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global_05_local_6_shard_00002272_processed.jsonl/641 | under the skin
An alien that’s taken the form of a beautiful woman (played by Scarlett Johansson) roves Scotland in a white van. She picks up various men, seduces them, and then kidnaps them. They are put into some kind of preservative fluid and their interiors removed until they are horrifyingly hollow skins. The alien watches humanity with a disinterested lack of comprehension. She goes about her grisly duty while paying no heed to the wailing of an abandoned young child. But one encounter jars loose her worldview, and suddenly the alien begins changing. She looks at herself in the mirror and contemplates what she sees. She experiences emotion for the first time, and experiments with genuine human connection. All of which earns the disapproval of her handler, a fellow alien in the guise of a motorcyclist, and which is also taking her down an irrevocable path towards destruction.
Whatever image you have in your head when reading the description of Under the Skin‘s plot is likely quite removed from what the movie itself actually is. This is one of those films where the story takes a back seat to the experience. As in, if this movie were a limo, the experience would be in the driver’s seat, and the story would be running behind the car, trying to catch up. In fact, much of what this review describes is not readily apparent for much of the running time, leaving the unprepared viewer at a near-total loss as to what might be going on. But that doesn’t matter at all, since the feeling that the film works over the audience is what’s important.
The best way to describe Under the Skin is that it truly works to seem as though one is watching the world through the eyes of an alien. The Scottish accents are nigh-on impossible, making communication difficult. Sounds are processed through a muffling effect. Shadows drench so much of the frame. When the alien draws in her prey, the film switches to a symbolic point of view, depicting the men heedlessly trudging into deeper and deeper black liquid while the alien, always backing away from them, stands Christlike on the surface. When the alien begins to get in touch with humanity, there’s a shift from cold observation to sharper confusion.
All of this is channeled into Johansson’s superb performance. She is unearthly, poised like a lure on the end of an anglerfish. Men cannot help but be drawn in. As she looks at one and turns her legs inward shyly, a vulnerable look, it’s clearly a studied gesture, like a human testing an animal mating ritual. But it works every time, because every man can only follow his groin. Sex is one of the foremost things on the movie’s mind, though it’s erotic in an entirely intellectual way most of the time. The nudity is explicit but as matter-of-fact as the aliens going about their work. But when things start to change, Johansson introduces hesitancy, uncertainties, and curiosity into her body language. While saying very little, she conveys endless complexities.
Director Jonathan Glazer, known for commercial and music video work, has commanded a production that has laser-like precision in every artistic element. Every shot is exact, every cut in the edit has purpose. The sound work is unbelievable. One sequence uses the popping of a blank record as the sound of a submerged man having the last of his innards drawn out of him. Nigel Albermaniche, Steve Browell and their crew have done exemplary work. The score, by British musician Mica Levi, is terrifying all on its own and hugely evocative when stitched into the film. Harsh strings imbue every scene with palpable danger. Everything about this film is Kubrickian in its devising, and I don’t just make that comparison because the opening is a riff of sorts on the star gate scene from 2001.
Under the Skin is one of the best movies of the year, though it’s likely to go unappreciated by most. It is strange, scary, beautiful, and intriguing, just like its enigmatic main character. It is not for anyone seeking a conventional narrative. But if you’re in the mood to probe the idea of the human body as a mass of sensory riddles (that may or may not have answers), then look no further. |
global_05_local_6_shard_00002272_processed.jsonl/647 | Somewhere between our role models for manhood—like basketball stars who cross dress, baseball players addicted to drugs, and college football players who beat up females in dorm rooms—and our contorted view of manhood as seen on TV shows—where Dad is pictured as a harmless idiot who must be guided by either his wiser children or more sophisticated feminist wife—we’ve become more than a little confused.
Now, how does that bother me? It bothers me as a father of a son because I don’t want my boy to think that those role models in this present evil age represent what a man really is. Further, as a minister and a historian, I know that when people face tough times, there must arise strong men to point them to the way out. In a word, the continuation of a civilized society always hangs—humanly speaking—on strong men who will stand in the gap. The honor of our women, the nurture of our children, and the desperate need to seriously address the problems that face us all call for a right view of manhood.
So where do we go to find these men? We start by laying down the truth about what true manhood is, and we begin teaching it and living it and modeling it for our sons and daughters. And you knew I was going to say this—we turn to see what God has to say.
For the Lord, indeed, has shown us in His Word what true manhood is all about.
There are four passages that I want to go to today—certainly not an exhaustive study of the subject—but these four passages contain four clear calls to certain aspects of true Biblical manhood which are essential for us to get right.
1 Corinthians 16.3—What Does ‘Quit Ye’ Mean?
Now, in the first place, I want to ask you to turn to 1 Cor. 16.13. At the very end of the Apostle Paul’s first epistle to the Corinthians, Paul, like a great general, gives a series of quick little charges to seal his more detailed concerns in the letter. Verse 16 is given to the leaders of the church, and I want to read the King James Version of that verse again:
“Watch ye, stand fast in the faith, quit you like men.”
Now that sounds archaic to us. What does it mean to “quit ye like men?”
I read, then, the NIV:
Paul is calling the leaders of the church to do something in the face of the problems of their day. He uses the Greek word, andrizesthe, which is the only occurrence of that word in the Bible. It literally means, “Be a man.” I had a friend who in situations like that would say, “Son, stand up on your hind legs and act like a man!” That is the meaning. So, the King James in saying “Quit ye like men” that is “Take a stand like a man, like the strong model of a man which God intended” is the idea here.
Now the context is the church—the context is the community of faith. These leaders had to act like men and stand in the gap. Manhood is not measured by titles or appearances; true Biblical manhood is measured by a man laying hold of the God-given prerogatives of male headship and applying the wisdom of God’s Word at the exact time when it is most needed.
So, this is a call to be a man of faith in the community. God is saying to us that Biblical manhood requires us to “Quit ye like men in the church and in the community.”
In Proverbs 31, a chapter most noted for its treatment of the virtuous women and most preached on days like Mother’s Day; there is mention of something that interests us at this point in verse 23. That verse says: “Her husband is respected at the city gate, where he takes his seat among the elders of the land.”
This is showing not only that a godly woman will influence a godly man, but in doing so shows us the model of a man: it’s a man taking his stand in the community.
Our nation, our city, our church always needs men who will sit in the gates, take leadership, pick up the slack, get involved and “be a man” in the community.
Too often, men have backed off in the church and said, “I’m too busy with other things, let the women do it.” And many a man has said this and women, thankfully, have stood in the gaps, like Deborah’s of old, to do what no man would do. But, according to the Bible, this is a sign of judgment on a society. Biblical manhood requires us to be there, to take the lead, to stand in the gap. A real man is a man who is working in his church, advancing the gospel of Christ in every relationship he has, standing up for the Lord at his work and bringing the Gospel to bear in all his pursuits.
Quit ye like a man; God is saying in this passage, and stand up for the faith. Be courageous, be strong, don’t waver on your faith in Christ.
Now there is a second aspect of Biblical manhood and a second call to it. I lead you to the first Epistle of St. Peter.
1 Peter 3.7—Quit Ye Like Men with Women
There the Apostle Peter, having called women to their right roles, calls men to theirs.
What is this saying? Peter is giving God’s call to Biblical manhood in marriage, and the Lord is surely saying to us, “Quit ye like men with your wives!”
To be a man, according to this passage, is to value marriage. We should encourage it as an ideal for our boys and young men. We should model it to them with strong, healthy marriages in which men submit to the roles God has given them. This role has demands and a rationale and a caution. The whole of this Scripture is well grounded when we consider the companion passage in Ephesians 5.25: “Husbands love your wives just a Christ loved the Church and gave Himself up for her…” We are to die to self and live for our wives. This requires the study of our wives. Peter says, Be Considerate. Consider her needs, consider her value and worth to you before making any decision. It means to be intentional and thoughtful as we relate to them. Moreover, we are taught to give respect to her. There are some men who like to read the admonition to wives to be submissive to their husbands, but who miss this. God is calling you, man, to respect your wife. How? As the weaker vessel. What does that mean? Peter is admitting the obvious in nature: that the female is, in general, not as physically strong as a male. Thus, you are to harness your maleness—your physical strength—to nurture her, respect her and protect her, never to intimidate her. That is a sin. It may even be persuasively argued that to habitually use one’s maleness to terrorize one’s wife is a violation of the covenant of marriage. To do otherwise, according to this passage, is to get disconnected from God. Your very prayers are hindered if you are not living out God’s call for Biblical manhood in the marriage.
A real man, then—to coin that often-used expression—is one who honors marriage, and treats his wife with dignity, honor, and esteem. Wimps use brutal strength to batter their will into others. Men of honor love and cherish and nurture others and lead through servant-leadership.
It may be time for you to ask your wife to forgive you. Maybe even better, it is time to live the renewed life of a man of God; time to recommit to God’s standard for husbands. “Quit ye like men” in your marriage.
Ephesians 6.4—Quit Ye Like Men as Dads
The third aspect of Biblical manhood and the third call from God’s Word this morning comes from Ephesians 6.4. The force of the passage is this:
“Quit ye like men” in your roles as dads. The passage reads: “Fathers, do not exasperate your children; instead, bring them up in the training and instruction of the Lord.” There is a negative and a positive to this verse. The negative is to caution men against the tendency to provoke or exasperate or frustrate our children. Men, how do we do that?
One, by requiring our children to do something that we don’t do ourselves. The man who tells his children to read the Bible and yet never does, so himself is provoking his children. You see, in God’s universe, children find it very difficult and usually impossible to grow beyond the model of their parents. Words alone without the benefit of example will not do. Many a child has been accused of being a rebel from the church when he or she was rebelling against a father—and sometimes a mother—who demanded of them what they might have been committed to publicly, but not privately.
Two, we can provoke or exasperate our little ones by expecting them to do more than they can. It is good to push. Growth always comes through resistance. But, don’t be foolish in pushing children. Too many dads have been guilty of expecting little children to be adults or expecting teenagers to move through adolescence in a few months, rather than the several years of transition which God provided.
I was trained by the U.S. Navy Security Services to spy on the Albanians during the Cold War. Over a decade after I graduated from the Defense Language Institute in Albanian, I found myself preaching through that former Communist nation. While in Albania, one of the funniest things I saw was a smoking pipe on wheels. It looked like a pipe at the mouth, but its stem was four or five feet long, and the bowl of the pipe had wheels. Only one person smoked that pipe: the old grandfather. And all the children would gather around to play with the old man. The Albanians used this to bridge the gap between the old man and the little children.
God’s Word, “do not provoke your children” is something like this. It is an admonishment to bridge the gap between the fast-paced, ambitious, and strong man who makes things happen and the vulnerable little child. Be careful, men, lest in your ambition to provide for your family you stop cultivating a strong relationship with them.
Now the positive is this: Train your children. I think this is speaking of the father’s God-ordained role to lead his family in home worship, or family worship.
I love the poetry of the great Scottish poet, Robert Burns. I have a favorite. The poem, The Cotter’s Saturday Night, described the scene in the home of “cotters”—those humble folks living in their cottage—on the eve of the Lord’s Day. Burns painted a word picture of a father after what Burns called “a cheerful supper” calling his family to worship. The father opened the Bible and read the Word of God to his family and then prayed.
Burns put it like this: “The priest-like father reads the sacred page…” Burns, then, shows in many verses how the father carefully exposes his children over the years on Saturday night to the stories, the characters, and the acts of Almighty God. Burns said there was nothing that could compare to the power of that scene in forming a godly man or woman and I would add forming a godly nation.
The great Bobby Burns had it exactly right when he concluded:
“Compared with this, how poor religion’s pride, in all the pomp of method and of art, when men displayed to congregations wide, Devotions every grace, except the heart.”
Ah, but it is the heart that is revealed in family worship, and it is the duty of every head of household—be ye, father or single mother—to gather your household to the Family Altar and break the bread of life to them.
If the landscape of our nation, on Saturday nights, were to look like the Cotter family in Burn’s poem, we would have revival in this land, and many of the problems of our society would melt before the heat of such devotion to Jesus Christ.
Father, that begins today with you. “Quit ye like men” and resolve today to lead your family to the throne of grace in Bible reading and prayer.
Finally, we cannot understand true Biblical manhood unless we consider the very model of man.
1 Tim. 2.5—Quit Ye Like Men Before the Lord
I draw your attention 1, Tim. 2.5. Here Paul commends his readers to consider the One he calls, “…the Man Christ Jesus” as the only Mediator between God and man. Here, our Lord who was and is God is at the same time altogether man. And his humanity is shown as necessary for the redemption of sinful man.
In this, I would have you to consider how the Man Christ Jesus stood up before the apostate Jewish community of that day and declared the truth of the Word of God despite persecution. When we look at Christ, we are looking at a man like no other.
The Man Christ Jesus, though he did not marry, showed tenderness and gentility as he dealt with the woman caught in adultery, or as he studied the heart of a broken Samaritan woman at the well.
This is the Man Christ Jesus, though he hung on a cruel cross, bravely ministered to his earthly family as he looked out for his mother’s temporal welfare and declared, “Woman, behold thy son, Man behold thy mother.”
This Man Christ Jesus also took infants into his arms and blessed them; this man was loved by little children and took them into his arms when others shunned them.
What man is like unto the Man Christ Jesus? What man would give his life for those who cursed him? What man, though he created the world and all that is in it, would yield Himself up to death by the evil hands of his own creation to redeem them from sin and hell? Show me such a man? There is no such man except the Man Christ Jesus.
“Quit ye like men” and yield your life to the Man Christ Jesus.
The bravest man, the noblest man, is the man who recognizes his weakness due to sin and casts himself on the mercy and grace of God in Christ and turns to Him and says,
“Oh, Lord save me, even me, a sinner. I trust in Thee and long now to turn from my sin and follow Thee all my life. I will, by your example and your grace, O Lord, take my stand in this world for Thee and for hearth and home. I will speak your Name before others. I will rear my family of the Word of God.”
Some of you today need to repent. Some need to confess Christ for the first time. Some of you need to take a stand and become accountable by becoming a member of this church. Some of you need to submit anew to God’s standards and let go of the culture’s expectations.
“Quit ye like men,”—all of you, men and women—and be the People of God amid this old world and it just may be that your light will so shine that others will be moved to glorify God.
We have never needed that light more than we need it now. We have never needed fathers who will, indeed, “Quit Ye Like Men” as we need them—as we need you—today.
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