NSF has facilitated the development of more than 75 standards and protocols for sanitary food equipment, and has certified thousands of products as safe to use in restaurant and commercial kitchen settings. NSF food equipment standards include requirements for material safety, design, construction and product performance.
NSF standards and protocols can provide credibility and industry acceptance for emerging technologies, and certification from NSF, the most trusted name in food equipment, can give standing to new products and help them succeed.
NSF/ANSI 2 establishes minimum food protection and sanitation requirements for the materials, design, fabrication, construction and performance of food handling and processing equipment (such as bakery, cafeteria, kitchen and pantry units) and other food handling and processing equipment (such as tables and components, counters, hoods, shelves and sinks).
NSF/ANSI 3 establishes minimum public health and sanitation requirements for the materials, design, construction and performance of commercial dishwashing, glasswashing, and pot, pan, and utensil washing machines (such as stationary racks and conveyor machines) and their related components.
NSF/ANSI 4 establishes minimum food protection and sanitation requirements for the materials, design, construction and performance of commercial cooking, rethermalization and hot food holding and transport equipment and their related components. This includes ranges, ovens, fat/oil fryers, fat/oil filters, griddles, broilers, steam and pressure cookers, kettles, toasters, rotisseries, hot beverage makers and component water heating equipment, proofing boxes and cabinets, hot food holding and transport cabinets, rethermalization equipment, etc.
NSF/ANSI 5 establishes minimum public health and sanitation requirements for the materials, design, construction and performance of commercial water heaters, hot water supply boilers and heat recovery equipment such as automatic storage, circulating tank and instantaneous water heaters, hot water supply boilers and steam heat exchangers.
NSF/ANSI 6 establishes minimum food protection and sanitation requirements for the materials, design, construction and performance of dispensing freezers and their related components. This includes heat treatment dispensing freezers that process and dispense previously pasteurized frozen dairy products by batch or continuous feed directly into the customer's container.
NSF/ANSI 7 establishes minimum food protection and sanitation requirements for the materials, design, manufacture, construction and performance of commercial refrigerators and freezers and their related components. This includes storage refrigerators and freezers (reach-in, under counter, walk-in, roll-in); rapid pull-down refrigerators and freezers; refrigerated food transport cabinets, buffet units and food preparation units; display refrigerators; beverage coolers; and ice cream cabinets.
NSF/ANSI 12 establishes minimum food protection and sanitation requirements for the materials, design, construction and performance of automatic ice making equipment and related components that are used in the manufacturing, processing, storing, dispensing, packaging and transportation of ice intended for human consumption.
NSF/ANSI 13 establishes minimum sanitation requirements for the materials, design and construction of refuse processors and processing systems such as pulpers, disposers and compactors.
NSF/ANSI 18 establishes minimum food protection and sanitation requirements for the materials, design, construction and performance of equipment and devices that manually dispense food or beverages, in bulk or in portions, and their related components.
NSF/ANSI 20 establishes minimum food protection and sanitation requirements for the materials, design, fabrication, construction and performance of commercial bulk milk dispensers and their related components. This includes equipment designed to dispense servings of milk or milk products by manual or machine actuation.
NSF/ANSI 21 establishes minimum sanitation requirements for the materials, design and construction of new thermoplastic refuse containers intended for indoor and outdoor refuse storage.
NSF/ANSI 25 establishes minimum food protection and sanitation requirements for the materials, design, construction and performance of vending machines for food and beverages (including packaged and bulk foods) and their related components.
NSF/ANSI 29 establishes minimum public health and sanitation requirements for chemical sanitizing feeders, detergent feeders, rinse and drying agent feeders, and similar devices for commercial spray-type dishwashing machines.
NSF/ANSI 35 establishes minimum sanitation requirements for the materials and fabrication of high pressure decorative laminates used on food service equipment as work and nonwork surfaces that do not directly contact food. This includes wait stations, service counters and other counters.
NSF/ANSI 36 establishes minimum food protection and sanitation requirements for the materials, design and construction of dinnerware products intended for use in food establishments. This includes plates, bowls, saucers, cups, tumblers, compartmentalized trays, dinnerware covers and similar items from which food is consumed or served.
NSF/ANSI 37 establishes minimum sanitation and performance requirements for the materials, design, construction and performance of air curtains for entranceways in food and food service establishments (such as service and customer entries, service windows, and cooler and cold storage entries) and their related components.
NSF/ANSI 51 establishes minimum public health and sanitation requirements for materials and finishes used in the manufacture of commercial foodservice equipment (such as broilers, beverage dispensers, cutting boards and stock pots) and its components (such as tubing, sealants, gaskets and valves).
NSF/ANSI 52 establishes minimum public health and sanitation requirements for supplemental flooring for use in food preparation, dry storage and warewashing areas. This includes requirements for cleanability, durability, and resistance to the use environment, microbiological growth and vermin.
NSF/ANSI 59 establishes minimum food protection and sanitation requirements for the materials, design, fabrication, construction and performance of mobile food carts and their related components. The standard applies to carts used to prepare and serve food as well as those used only to serve prepackaged food.
NSF/ANSI 169 establishes minimum food protection and sanitation requirements for the materials, design, fabrication, construction and performance of special purpose food handling and processing equipment and devices not fully covered by other individual standards. This includes specialty equipment with complex or multiple functions such as refrigeration/heating equipment and refrigerated tumblers equipment.
NSF's food equipment standards and certification lead the market in acceptance and technical expertise. Our food industry experience and background can help your organization certify to existing standards or to develop new ones. NSF is accredited by the American National Standards Institute (ANSI) to develop American National Standards. ANSI's accreditation verifies that NSF develops standards in a manner that ensures openness and due process and allows for equity and fair play.


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Day: 16 January 2015
150-years question of the mankind: Is Mars inhabited?
16 January 2015 16 January 2015 migarium sci-fi history astronomy, books, ethnography, history, Humor, mankind, Mars, Martians, sci-fi, science fiction, Space, Writing
via posredi.ru
In Aug. 12, 1877, New York Times had asked same question: "Is Mars Inhabited?" Why New York Times had asked? The response of this is common with the subject of Russian writer Infantiev, Porphyry Pavlovich's book "On another planet: A Story, the life of the inhabitants of Mars", which was printed date 1901 in the picture.
People have always wondered:
"Is there any living creatures except us?"
"Is there any living planet except us?( "Us" in here is the ownership word to planet Earth. Actually, this planet does not belong to only human being. But, the mankind like to behave always such a master of universe:))
"Is there any natural source that we can dry up from a to z except planet Earth's sources in universe?"
Questions continue again and again…
"Is there any extra-terrestrial life on universe"question was not asked by only the scientists. This question was asked first by science fiction writers in seriously. In fact, the reason of they asked this question, was opening up the people's horizon. How they were successful is beyond doubt. If the sci-fi writers weren't, the mankind would have been remained as undeveloped species.
I have to add that, in fact, as we are the extraterrestrials, we do have big doubt that the priests of Inca civilization, which were slaughtered by the barbarian Hernán Cortés, may have been the first questioned men on Earth. However, we don't have any scientific documents about this issue, and we don't like to talk without valid data:)
Let's go back to the book, which its cover is in the picture.
Cover writing translated in English:
On another planet
THE INHABITANTS OF MARS
With detailed maps, Planet Mars
Writer_ Инфантьев, Порфирий Павлович, – Infantiev, Porphyry Pavlovich
Publishing date, 1901
I. Pavlovich (1860-1913) is a really well-known writer and ethnographer in Russia, who was author of dozens of books devoted primarily to small peoples of Siberia. However, the science fiction historians know him as the author of the book "The inhabitants of Mars". This book, "The inhabitants of Mars" was published in first edition in 1896. Some humane issues has intervened as always:) And the book was published as censored in 1901.
In the chapter of interchanging minds the between Earthman and Martian was censored, although about the social system on Mars, have not been withdrawn. As it stands it can be assumed that the book has been described socialist society with a predominant development of science and technology.
The book was really pioneering, full of interesting hypotheses. The hero who travels to Mars with changing of consciousness, through universal Martian language, has been training which is conducted in a dream (hypnopedia), pneumatic road vehicles capable of flying and swimming on the water and under water… Martians have spread across the entire planet, not only concentrated in the cities. All electrified and gasified were automated… Comestibles are produced in laboratories by industry, for Martians preserve nature in its original. All goods produced are given in need of public stores…
A map had published also with inside the book as mentioned.
Giovanni Virginio Schiaparelli who was an Italian astronomer and science historian, has made this map.
…he observed a dense network of linear structures on the surface of Mars which he called "canali" in Italian, meaning "channels" but the term was mistranslated into English as "canals."
While the term "canals" indicates an artificial construction, the term "channels" connotes that the observed features were natural configurations of the planetary surface. From the incorrect translation into the term "canals", various assumptions were made about life on Mars…
While the construction of canals was a favorite subject for the press. During the eight years prior, it started shipping in the Suez Canal, and two years before, it was decided to build the Panama Canal and this project was actively discussed.
It is clear that the newspersons of various media have trumpeted sensational news immediately:
"Italian discoverer has found evidence of the existence of an advanced civilization of Martians!"
By the way, the author of editorial New York Times in 12 August 1877, has alerted to the world in first time:
"Is Mars inhabited?"
What a big mistranslated, isn't it? Since those days, humanity has been discussing "Is there any life on Mars?" The mankind has produced special projects for Mars. The cute machine Mars Curiosity Rover was made. Everything seems like to entertainment for now. But if asking the Martians thoughts,
Of course, Mars for the Martians; not for the Earthlings 🙂
Sources of quotes:
http://ru.wikipedia.org/wiki/Инфантьев,_Порфирий_Павлович
http://fantlab.ru/autor3243
http://en.wikipedia.org/wiki/Giovanni_Schiaparelli
http://epizodsspace.airbase.ru/
map picture was taken from:
http://www.pianeta-marte.it/nasce_aerografia/schiapparelli/giovanni_virgilio_schiapparelli.htm

redpajama_set_name: RedPajamaCommonCrawl


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gregladen
The Problem Republicans Have With Science
By gregladen on October 11, 2012.
The juxtaposition of Nobel Prize season and the revelation of High Octane Crazy in the Republican Party in regards to science is examined by Rachel Maddow:
Visit NBCNews.com for breaking news, world news, and news about the economy
Denialism
"Scientific smartness?" How 'bout, "Scientific acumen." On the other hand, "high octane crazy," is accurately descriptive of the given speaker.
By Mike Olson (not verified) on 11 Oct 2012 #permalink
A free people get the government they deserve. I think this is, unfortunately, true.
By Jim Thomerson (not verified) on 12 Oct 2012 #permalink
Or, one could say that even a dog deserves better than this.
By gregladen on 12 Oct 2012 #permalink
The world is complex enough and subtle enough to challenge the greatest minds since the renaissance to spend a large portion of their lives attempting to understand it and inevitably failing to do more than push back the darkness of ignorance a small amount. These apocalypse loving self serving whores want to turn out the lights and bring on a new dark age that will last forever.
By Charles Smarr (not verified) on 12 Oct 2012 #permalink
stupid rethuglycans!
By big bubba (not verified) on 16 Oct 2012 #permalink
This is my last post at Scienceblogs.com. In the future I will be blogging at Greg Laden's blog, located at its original home at gregladen.com. I have a feeling that Scienceblogs will not last long without me. What do you think? :) But seriously, I'll be talking about the story of the current…
Hacking Voting Machines
In every area of life, but especially in the overlapping realms of technology, science, and health, misunderstanding how things work can be widespread, and that misunderstanding can lead to problems. In the area of voting, the main problem seems to be the expenditure of great amounts of outrage and…
On that chilling law suit against the environmental groups
... which I've posted on before ... there are new developments, summarized at Inside Climate News: Invoking the Racketeer Influenced and Corrupt Organizations Act, or RICO, a federal conspiracy law devised to ensnare mobsters, the suit accuses the organizations, as well as several green campaigners…
One response to the Las Vegas Shooting
from a major non profit, click through the the X Blog to read the press release.
Watch Jeff Merkley Wipe Floor With Trump's William Wehrum
William Wehrum is a lawyer and once, apparently, worked for the EPA. Trump is trying to appoint him to be assistant administrator for air and radiation. This is a reasonably important job that concerns many aspects of the environment. Watch: https://twitter.com/SenJeffMerkley/status/…
The Universe is Biased!
"Fortunately for serious minds, a bias recognized is a bias sterilized." -Benjamin Haydon You might look up at the night sky, at the vast canopy of stars we can see, and ask, exactly, what we're seeing? Image credit: Jim at Pictures Of My Universe. Thousands upon thousands of stars, of course, even with just your naked eye. These stars come in all sorts of different sizes, temperatures, and…
How three storm chasers died, and what to do about it
UPDATE (March 2017): At the time that Samaras, his son, and his colleague, were crushed to death inside their tornado-chasing car, which was apparently rolled by the force of 200-300 mile an hour winds over a distance of a half mile or so, it was said by numerous news sources that this car had been trapped by a traffic jam caused by looky-loos who wanted to see the tornado and/or people sent out…
Mars: Back through the Looking Glass
By Dr. Janice Bishop; Carl Sagan Center for the Study of Life in the Universe, SETI Institute, and Gail Jacobs Dr. Janice Bishop is a chemist and planetary scientist who explores the planet Mars using spectroscopy. Her investigations of CRISM data of Mars are revealing clays and sulfates in the ancient rocks that provide information about the geochemical environment at that time. Dr. Bishop…


GENERAL DESCRIPTION A highly-detailed scale model of a low-temperature separator system designed for training purposes, which facilitates training in this basic technology for the separation of water from gas in oilfield processing. The model includes all primary components including liquid knockout, heat exchangers, choke, separators, as well as connecting piping. This model reflects common designs by well-known US manufacturers. The complete process can be easily visualized through color coding and indication of liquid levels.
The product supports operations and maintenance training programs relating to the oil & gas industry.
• Exact, "to-scale" construction throughout.
• Components include; liquid knockout drum, heat exchangers, choke, separators and connecting piping.
• Indication of liquid levels using translucent graphic technique.
• Indication of primary process Instrumentation using symbolic component labels, descriptive tags, and physical model components.
• Indication of basic process using flow arrows, and primary process connection identification labels.


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Anna Boden and Ryan Fleck
Film Directing, Editing & Screenwriting Team, Known for "Captain Marvel"
Arts & Humanities, Creativity Speakers, Entertainers, Producers and Directors
Anna Boden and Ryan Fleck Biography
Anna Boden and Ryan K. Fleck are a team of American film directors, editors, and screenwriters best known for their collaborations on Half Nelson, Sugar, It's Kind of a Funny Story, Mississippi Grind and Captain Marvel.
Together they made the short documentaries Have You Seen This Man? and Young Rebels before they wrote and he directed the short film Gowanus, Brooklyn, a sample feature aiming to attract potential financiers to their undeveloped script, Half Nelson.
The short won a prize at the 2004 Sundance Film Festival and Boden and Fleck were subsequently invited to the Sundance Writer's Lab to receive professional feedback on the Half Nelson screenplay. The film did not receive adequate financing for years, and while trying to initiate the project, Fleck explains: "We were trying to get it off the ground so we had plenty of time to keep writing and rewriting. I think the time was valuable because I think we made it as good as we could."
In spite of the effort in making the script "as good as we could" prior to filming, Fleck encouraged Half Nelson's actors to ad lib and improvise, although he and lead actor Ryan Gosling compromised many scenes in the rehearsal process as Fleck thought that Gosling's ideas were too different from the script in some cases. He also had several disagreements with Boden while writing; though he claims their "back and forth" system of rewriting each other's work has always worked well. Half Nelson was well received by critics and got nominated for an Academy Award for Best Actor for Ryan Gosling. Many other nominations went to Ryan Gosling for his role as Dan Dunne.
Boden and Fleck have since co-written and co-directed the 2008 film Sugar, which premiered at the 2008 Sundance Film Festival, about a 19-year-old Dominican who immigrates to the United States to play minor league baseball. The two wrote the screenplay after researching about many Dominican immigrants who arrive in America to play in minor league towns, saying: "The stories we heard were so fascinating that it became what we were writing before we'd even decided it was our next project". They also collaborated on a screen adaptation of Ned Vizzini's young adult novel It's Kind of a Funny Story, which was released on October 8, 2010.
In 2012, the duo began work on a gambling movie called Mississippi Grind. The idea for the film came when they would visit riverboat casinos in Iowa. By this point in their career, Boden and Fleck had fully committed to each other, "In the early days of our partnership we had to navigate a lot of issues concerning trust and ego. Nowadays, those issues are almost entirely gone. Having a creative partner who you can wholly trust is a wonderful asset."
In April 2017, Boden and Fleck were hired to direct the upcoming Marvel Studios film Captain Marvel.
They were previously considered to direct Guardians of the Galaxy. Producer Kevin Feige said of them, "We met with lots and lots of people...and Anna and Ryan just had an amazing way of talking about Carol Danvers and talking about her journey...We want filmmakers that can help us focus on and elevate the character journey so it doesn't get lost amongst the spectacle."
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Booking fees for Anna Boden and Ryan Fleck, or any other speakers and celebrities, are determined based on a number of factors and may change without notice. Pricing often varies between live and virtual events. Other factors that can affect speaker fees include the talent's schedule, market conditions, length of presentation, and the location of the event. The live and virtual event speaking fees listed on this website are intended to serve as a guideline only. In some cases, the actual quote may be above or below the stated range. For the most current fee to hire Anna Boden and Ryan Fleck, please fill out the booking request form or call our office at 1.800.698.2536 to speak with an experienced booking agent.
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All American Speakers is a "buyers agent" and exclusively represents talent buyers, meeting planners and event professionals, who are looking to secure celebrities and speakers for personal appearances, speaking engagements, corporate entertainment, public relations campaigns, commercials, or endorsements. We do not exclusively represent Anna Boden and Ryan Fleck or claim ourselves as the exclusive booking agency, business manager, publicist, speakers bureau or management for Anna Boden and Ryan Fleck or any other speaker or celebrity on this website. For more information on how we work and what makes us unique, please read the AAE Advantage.
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Anna Boden and Ryan Fleck is a keynote speaker and industry expert who speaks on a wide range of topics . The estimated speaking fee range to book Anna Boden and Ryan Fleck for your event is available upon request. Anna Boden and Ryan Fleck generally travels from and can be booked for (private) corporate events, personal appearances, keynote speeches, or other performances. Similar motivational celebrity speakers are Hannah Beachler, Andrea Berloff, Taylor Sheridan, Rick Famuyiwa and Brian Koppelman. Contact All American Speakers for ratings, reviews, videos and information on scheduling Anna Boden and Ryan Fleck for an upcoming live or virtual event.
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At Agora, our combined knowledge, experience, and versatility allows us to manufacture high quality parts, mechanical components, fixtures, and devices using CAD and CAM Related Software as design aids in conjunction with the equipment in our machine shop.
Machining Centers & Milling Machines
The term "machining center" describes CNC milling and drilling machines that include an automatic tool-changer and a table clamp that holds the work in place. The machining center tool rotates, but the work does not. The orientation of the spindle is the defining characteristic of this tool. Although there are exceptions, vertical machining centers favor precision, while horizontal machining centers favor production. Another common type is the five-axis machining center, which is used to pivot the tool and/or part for milling and drilling at various orientations.
EDM Equipment
In Electrical Discharge Machining or EDM, electricity performs the material removal. EDM is capable of machining complex shapes and hard metals, as it removes metals at a slower rate. Molds and die makers, along with jet engine components rely on EDM. The process submerges an electrode and the workpiece in a dielectric fluid. Current flows between the workpiece and electrode to create patches of plasma zones heated at about 10,000 degrees C that produce instantaneous localized melting of the material. Although seemingly violent, EDM is precisely controlled.
EDM takes many forms to include Wire EDM machines which use a thin wire to cut with electricity. Ram EDM machines, also known as "die sinkers", utilize electrodes that are custom machined into 3D shapes. EDM produces a cavity in the form of a "female" to match the "male" electrode from opposite it. With the small-hole EDM machine or "hole popper", the electrode acts as a cylinder to machine a hole in the workpiece. Small-hole EDM machines are used to make starter holes for wire EDM along with finished holes in materials too difficult to drill.
"Turning" defines the work that is traditionally done on a lathe. Lathes have grown in sophistication through the years, and "turning centers" describe these sophisticated capabilities related to secondary spindles and/or rotating tools for milling and drilling. Turn-mill Machines are capable of milling and drilling parts as well as turning. In turning, unlike in milling or drilling, the workpiece spins while the cutting tool does not. The cutting tool feeds along the length or diameter of the rotating part. The workpiece in turning can be held in a chuck or collet (to name two of the more common workholding methods).
Turning machines may also contain spindles for cutting tools and non-turning operations. Milling and drilling to produce non-turned, non-rounded parts may be accomplished with the extensive capabilities of this machine. These machines commonly contain horizontal spindles. Vertical Turret Lathes or VTL refer to machines in which the workpiece rests on a table driven by a vertical spindle. Inverted Vertical Lathes hold the workpiece from above from a vertical spindle.
Grinding is a machining process that makes a very light "cut" using abrasive media — typically an abrasive grinding wheel. Grinding wheels with different grit sizes achieve rougher or finer grinding passes. When precise accuracy and/or surface finish are required, grinding is often used as a finishing process after other metalworking operations.
Grinding is also an effective process for machining workpiece materials that are too hard for milling or turning. Some grinders machine round parts. These machines include cylindrical grinders and centerless grinders. Surface grinders finish flat surfaces. Form grinders move the work and/or the wheel in various axes to grind precisely contoured surfaces. Other grinders are dedicated to machining the hard materials necessary to produce cutting tools for other types of machining operations. These are referred to as tool grinders or cutter grinders.
Turn/Mill & Multitasking Machines
Turn/Mill Machines are machines capable of both rotating-workpiece operations (turning) and rotating-tool operations (milling and drilling). In general, these machines are based on lathes. The machine is typically recognizable as a horizontal or vertical lathe with spindles for milling and drilling available at some or all of the tool positions.
With this machine, parts requiring a variety of operations can be machined in one setup, particularly if the sub-spindles allow the parts to be passed from one spindle to another during machining. More recent turn/mill machines depart from the lathe design into something much more like a hybrid machine — combining a lathe's chucks and spindles with the travels and milling power of a machining center.
A significant issue of this machine is determining which parts to run on each type. Many shops have discovered that, even though these machines developed from lathes, they are not necessarily limited to round parts. Various non-round parts can be machined on the same platform as efficiently, if not more efficiently, than on a machining center.
Inspection & Measuring Equipment
Inspection and Measuring Equipment includes all of the tools and devices that are used to verify that a part's dimensions conform to the tolerances required by the part's design. Included are various hand-held gages such as calipers and micrometers, along with simpler gage blocks or plug gages. However, inspection and measurement in most shops also goes beyond hand-held gages to include coordinate measuring machines or CMMs (the measurement machine tools able to execute programmed measurement routines). Also included in this category are devices such as profilometers that measure the finish of machined surfaces.
CNC & Machine Controls
The CNC (computer numerical control) system of a machine tool includes the control unit itself and the less visible parts of the motion-control system, such as the servomotors, drives and axis positioning devices. These components are part of any CNC machine tool, but they may be bought separately and retrofitted later on older machines that are upgraded or refurbished.
Also part of the control system are sensors that allow you to control and make certain real-time decisions during unattended or lightly attended machining processes. These can include probes for measuring the position of the part or machined features, along with monitoring systems for detecting the presence of the tool, and/or observing the force that is being exerted in the cut.
CAD, CAM and Related Software
CAM Software is used to generate machining programs that correspond to parts designs. Short for "computer-aided manufacturing," CAM creates these programs for CNC machine tools including machining centers, lathes and EDM machines. Sometimes, machining programs can be written and input manually, right at the machine's control. However, if the workpiece geometry is at all complex, or if the machined features are numerous, then generally CAM software is essential for generating the program both accurately and quickly.
In general, CAM development has proceeded along two different tracks. Geometry-based CAM systems used in die/mold machining and other applications that focus on complex milled geometries. Algorithms provide specific and efficient ways for machining complex geometries with both high precision and long tool life. In contrast, feature-based CAM systems are generally used in the production machining of geometrically simpler components. These latter CAM systems are often engineered to automate otherwise repetitive programming tasks such as assigning similar tools to similar features.
The broad category of "cutting tools" includes all of the consumable tooling involved in milling, drilling, turning, and other lathe and machining center operations. Drills, end mills, taps, reamers, and inserts are all included here. Consumable tooling used on certain other types of machine tools are also included, along with toolholders and closely related accessories such as angle heads.
Workholding refers to devices used to a secure a work-piece and hold it in place against the forces of machining. The most basic work-holding device is a simple clamp screwed into place on a machining center table. Workholding can also involve complex fixtures that are custom-built for particular parts. Other common work-holding devices include vises and chucks along with indexers or rotary tables that change the part's position while held in order to reach various features of the part without modifying the setup.
In most machining applications, workholding also locates the part. In turning, a chuck not only holds the part securely but also holds it precisely on the centerline of the spindle, while on a machining center, the vise or fixture that holds the part may also hold it in the precise position and orientation where the machining program expects to find it. For this reason, components such as locating pins and work-stops that make it easy to place piece after piece in the same location are also common workholding components.


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Chortkov (Hebreeuws: חסידות צ'ורטקוב), ook Tchortkow, is een chassidische dynastie die is ontstaan in de stad Chortkov, Oekraïne in de tweede helft van de 19de eeuw. Voor de Tweede Wereldoorlog kende die een grote groep aanhangers, waarvan het grootste deel omkwam in de holocaust.

Geschiedenis

Dovid Moshe Friedman
De eerste Rebbe van Chortkov was Rabbi Dovid Moshe Friedman, zoon van Rabbi Yisroel Friedman van Ruzhin. Dovid Moshe werd geboren in het jaar 1827. Zijn eerste vrouw was de dochter van Rabbi Aaron Twerski van Tsjernobyl.
In 1867 verhuisde hij van Ruzhin naar Chortkov en bouwde daar een gemeenschap op. Zijn volgers (duizenden mensen) waren een van de grootste chassidische groepen in Galicië.

Hij leefde een afgezonderd leven en hield zich bezig met bidden en Thora-leren. Hij verkoos om afstand te houden van de wereldlijke zaken, maar toch werd hij gezien als een van Centraal-Europa's grootste leiders. Bijvoorbeeld; hij ging akkoord om te vergaderen met Theodor Herzl, hoofd van de Zionistische beweging.

Hij stierf in 1903 en werd opgevolgd door zijn zoon.
Zijn ideeën werden gepubliceerd in de boeken Divrei Dovid(woorden van David), Beis Yisroel(het huis van Israël) en Knesset Yisroel(de verzameling van Israël).

Yisroël Friedman en zijn zonen
Rabbi Yisroël was de tweede Rebbe van Chortkov. Hij volgde zijn vader op in 1903 en stierf in 1934. Na zijn dood volgden zijn twee zonen hem op; eerst Rabbi Dov Ber tot aan zijn dood in 1936 en later Rabbi Nochum. Rabbi Nochum vluchtte in 1939 naar Jeruzalem en stierf in 1946. Zijn zoon Rabbi Shlomo werd de leider van de Chortkove chassidische groep tot aan zijn dood in 1959.

Chortkov vandaag
Vandaag zijn het grootste deel Chortkove chasidim geconcentreerd in Antwerpen, België en Manchester, Engeland. Rabbi Yisroël Friedman van Manchester en Rabbi Dov Ber Friedman van Antwerpen zijn beide kleinzonen van de derde Chortkove Rebbe, Rabbi Dov Ber. Beiden hebben de titel van Chortkove Rebbe afgestemd en daarom is er op dit moment geen echte Chortkove Rebbe. De Chortkove Chassidim vragen daarom raad aan een van de Rebbes die afstammen van dezelfde Ruzhine Dynastie.
De Chortkove synagoge in Antwerpen werd gesticht vóór de Tweede Wereldoorlog, en was gelegen aan de Wipstraat. In 1952 verhuisde het naar de Van Leriusstraat 28, in 1966 naar de Van Leriusstraat 37, waar het zich tot op heden bevindt.

Afbeeldingen

Chassidisch jodendom

redpajama_set_name: RedPajamaWikipedia


text:
package resource // import "github.com/docker/infrakit/pkg/controller/resource"

import (
	"context"
	"sync"
)

type watchers []chan<- struct{}

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func (w watchers) Notify() {
	for _, ch := range w {
		close(ch)
	}
}

// Watch manages a collection of watchers by name
type Watch struct {
	watchers map[string]watchers

	lock sync.RWMutex
}

// Add adds a watcher by name
func (w *Watch) Add(name string, watcher chan<- struct{}) {
	w.lock.Lock()
	defer w.lock.Unlock()

	if w.watchers == nil {
		w.watchers = map[string]watchers{}
	}
	w.watchers[name] = append(w.watchers[name], watcher)
}

// Notify notifies all the watchers.  This is one time only.  The entry will be cleared afterwards.
func (w *Watch) Notify(name string) {
	w.notify(name)
	w.clear(name)
}

func (w *Watch) notify(name string) {
	w.lock.RLock()
	defer w.lock.RUnlock()

	watchers, has := w.watchers[name]

	if !has || len(watchers) == 0 {
		return
	}
	log.Debug("Notify", "name", name, "watchers", watchers, "V", debugV)
	watchers.Notify()
}

func (w *Watch) clear(name string) {
	w.lock.Lock()
	defer w.lock.Unlock()
	delete(w.watchers, name)
}

// Watchers is a slice of receiver channels
type Watchers []<-chan struct{}

// FanIn merges all the watchers into a single signal.  The channel is closed only when every watcher is signaled.
func (watchers Watchers) FanIn(ctx context.Context) <-chan struct{} {
	var wg sync.WaitGroup
	out := make(chan struct{})

	wg.Add(len(watchers))
	for _, ch := range watchers {
		go func(c <-chan struct{}) {
			defer wg.Done()
			select {
			case <-c:
			case <-ctx.Done():
			}
		}(ch)
	}

	go func() {
		wg.Wait()
		close(out)
	}()
	return out
}

redpajama_set_name: RedPajamaGithub


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West Health Policy Center Expands Team, Boosting Commitment to Lowering Healthcare and Prescription Drug Costs
WASHINGTON, DC – June 26, 2019 – The West Health Policy Center has appointed Sean Dickson, JD, MPH as a director of health policy. Dickson, formerly of The Pew Charitable Trusts, will lead West Health's efforts supporting policies and programs to lower skyrocketing drug prices.
According to a recent West Health-Gallup poll, 48 million people can't afford their prescriptions, 1 in 4 skip a medical treatment due to costs, and Americans collectively borrowed an estimated $88 million in the past year to cover healthcare costs.
"Every day, U.S. families make gut-wrenching choices to afford healthcare and life-saving medicines. It shouldn't be this way in our great nation," said Tim Lash, president of the West Health Policy Center. "Sean is a valuable addition to our team whose pharmaceutical and policy expertise will advance West Health's common-sense solutions to change the trajectory of rising drug prices and restore access to vital medicines for millions of Americans."
Dickson's career has focused on increasing access to healthcare, with specific attention to reducing prescription drug costs. He is a nationally recognized technical expert on the American drug system, including the full market lifecycle of pharmaceuticals, and previously led policy and research activities under Pew's Drug Spending Research Initiative. Dickson's research and analyses are often cited in government reports and by media, and he frequently advises state and federal policymakers on the technical aspects of proposals to reduce drug spending.
Prior to his work in domestic health policy, Dickson worked in international development, focusing on HIV and maternal health policies in East Asia, East Africa and the Caribbean. In 2016, he was recognized as one of 30 Top Thinkers under 30 by Pacific Standard Magazine. Dickson completed his graduate studies at the University of Michigan, preceded by undergraduate studies at the University of Chicago.
Nonpartisan, nonprofit West Health is focused on lowering healthcare costs to enable seniors to age in place. According to www.healthcostcrisis.org, an interactive West Health website and crisis clock that tracks and forecasts healthcare spending in America in real time, the U.S. currently spends more than $420 million per hour on healthcare, and the nation's total healthcare spending will top $12 trillion by 2040.
West Health supports measures to eliminate fee-for-service practices and accelerate the move to value-based care; empower Medicare to directly negotiate drug pricing, which it is currently prohibited from doing; and create true price transparency for patients, businesses and the government.
About the West Health Policy Center and West Health
Solely funded by philanthropists Gary and Mary West, West Health is a family of nonprofit and nonpartisan organizations including the Gary and Mary West Foundation and Gary and Mary West Health Institute in San Diego, and the Gary and Mary West Health Policy Center in Washington, D.C. West Health is dedicated to lowering healthcare costs to enable seniors to successfully age in place with access to high-quality, affordable health and support services that preserve and protect their dignity, quality of life and independence. Learn more at westhealth.org and follow @westhealth.
Sofia Kosmetatos
skosmetatos@westhealth.org
Tim Ingersoll
tpingersoll@westhealth.org


text:
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Tag: mythology
Father Time: Chronos and Kronos
13 February 2013 / David Auerbach / 5 Comments
Classic Kronos: The Mutilation of Uranus by Saturn (Kronos)
It is easy to confuse the Greek god of time, Chronos (Χρόνος), with Zeus' Titan father, Kronos (Κρόνος). So easy, in fact, that the conflation has been made for over two thousand years. The Greeks conflated them regularly, at least according to Plutarch. The Romans then coopted Kronos into the form of Saturn, who later became known as Father Time and the god of time.
To make things even more confusing, sometime in the late Roman Empire, Saturn was then conflated with the Greek concept of kairos, which designates a pregnant or opportune "special" time. Kairos is somewhat opposed to chronos, which signifies day-to-day time in general. Chronos is the quotidian, the recurrent, the passing of the years, while kairos is the moment, the event, the suspension of the normal. But both were piled onto Saturn over the centuries.
Time is always a messy concept, in mythology and otherwise. I haven't found a good overview of the nooks and crannies of these nominal twins; this is my attempt.
The Greek origins are frustratingly fuzzy, as usual. Chronos doesn't appear in Hesiod's Theogony, which tells the usual story of Kronos eating his children and then being tricked by his wife Rheia into regurgitating them, then being defeated by them (as well as Zeus, who Rheia hid).
But Chronos does appear in the cosmogony of the sixth century BCE writer Pherekydes of Syros. Pherekydes posits three primordial deities: Chronos, proto-Zeus figure Zas, and proto-Gaia figure Chthonie. Zas marries Chtonie and gives her the earth and sea as a wedding present, turning Chthonie into her present Ge, the earth. The gifts are partly created, however, by Chronos himself:
Zas always existed, and Chronos and Chthonie, as the three first principles.. .and Chronos made out of his own seed fire and wind [or breath] and water… from which, when they were disposed in five recesses, were composed numerous other offspring of gods, what is called 'of the five recesses', which is perhaps the same as saying 'of five worlds'.
Fragment 52, Kirk, Raven, Schofield, The Presocratic Philosophers
Then there is a big gap in our knowledge, and the next thing we have from Pherekydes is Kronos (not Chronos) fighting with Ophioneus over who should hold the heavens. Kronos wins. Apart from the oddness of Kronos allying with Zas, there are all sorts of other questions:
Scholars have generally assumed that at some point Chronos becomes Kronos, and Zas Zeus, and perhaps Ge Rheia. Such an assumption seems likely to be right, but poses some problems for our understanding of the relationship between Zeus and Kronos: do they clash as in Hesiod after the fall of Ophioeus, or are they allies in that battle and subsequently, with Zeus simply assuming a more prominent role toward the end of the poem? … There still remains the fact that Zeus (as Zas) and Kronos (as Chronos) have both existed forever, in contrast to Ophioneus, and there seems no good reason why either of them should suddenly engage in conflict with the other….
On the whole, then, I think it best to assume that Zas and Chronos work together in harmony from beginning (of which there is none) to end, and that the battle with Ophioneus (from his name clearly a Typhoeus counterpart) and his brood is the only conflict which Pherekydes envisioned.
Timothy Gantz, Early Greek Myth
Kirk and Raven say that Pherekydes was clearly "addicted to etymologies," and so perhaps did the joining of similarly named gods, turning Time into a creator and Zeus and Kronos into allies.
Onto the post-classical Hellenistic world. In his book on the Orphic poems, M.L. West tells of Clement quoting from a hymn to a god that is both father and son to Zeus: "The god is probably Kronos (Chronos), called Zeus' son because of the story in the Rhapsodic Theogony that Zeus swallowed the older gods and brought them forth again. Cf. Hymn 8.13" This leaves us with the perplexing loop of Kronos killing both his father and children, only to have his surviving son become his father.
And the ourobourus is doubly appropriate because one of Chronos' early forms was a winged serpent, which developed into a three-headed serpent in Orphic cosmogony:
The serpent form of Chronos may have its origins in Egyptian fantasy, but in Orphic poetry it took on a symbolic significance which justified its retention and elaboration. Chronos was represented, we are told, as a winged serpent with additional heads of a bull and a lion, and between them the face of a god. How is this to be imagined? The detail that the wings were `on his shoulders' suggests that the whole upper part of his body was of human shape apart from the wings and extra heads. This is also indicated by the fact that his consort, who was `of the same nature', had arms. If the couple are mainly anthropomorphic above the waist and snakelike below, they are reminiscent of Echidna (Hes. Th. 298-9, Hdt. 4.9.1), and even more of her consort Typhoeus as he is represented on a well-known Chalcidian hydria in Munich.
M.L. West, The Orphic Poems
Zeus and Typhoeus (akin to the Orphic Chronos–minus two heads)
West sees a common Indo-European origin to these myths shared by Indian, Egyptian, and Greek sources. He speculates:
The snake was an ancient and natural symbol of eternity because of its habit of sloughing its skin off and so renewing its youth. It may also be relevant that the serpent with human head and arms is the regular shape of river-gods. The idea of Time as a river is present in at least one passage of tragedy (Critias 43 F 3.1-3 `Tireless Time with his ever-flowing stream runs full, reborn from himself'); and it would be assisted by the fact that Oceanus is usually the father of rivers, if in the Orphic poem Chronos was represented as born to Oceanus. River-gods are not usually fitted with wings, of course, and would have no use for them. But they are a natural adjunct for a cosmic serpent with no earth to glide upon. We may compare the wings of Pherecydes' world tree, and in art the wings of the sun's horses. In a wider context, wings are freely bestowed by archaic artists upon all manner of divine beings, and fabulous monsters such as sphinxes and griffins are also winged; the type of the winged Typhoeus has its place with them. That Time should be winged is something in which it is easy to find symbolic meaning.
As an anthropomorphic god, however, Chronos fades out while Kronos retains his standard position as Zeus' father, parricide, and filicide in classical Greek sources.
Plutarch, though, continues to speak of a more figurative allegory known in the Orphic cults and to the Greeks in general:
And they are those that tell us that, as the Greeks are used to allegorize Kronos (or Saturn) into chronos (time), and Hera (or Juno) into aer (air) and also to resolve the generation of Vulcan into the change of air into fire, so also among the Egyptians, Osiris is the river Nile, who accompanies with Isis, which is the earth; and Typhon is the sea, into which the Nile falling is thereby destroyed and scattered, excepting only that part of it which the earth receives and drinks up, by means whereof she becomes prolific.
Plutarch, "Of Isis and Osiris"
Kronos was not the only one to be allegorized into chronos, however. There are bits of evidence of hero-demigod Herakles/Hercules also being equated with the winged serpent.
Athenagoras and Damascius both record that the winged serpent Chronos was also called Heracles. Why? What was there about Heracles that enabled him to be identified with a creature of such physical monstrosity and such cosmic importance? Only one plausible answer has so far been suggested. In the legendary cycle of twelve labours, in the course of which Heracles overcame a lion, a bull, and various other dangerous fauna, some allegorical interpreters saw the victorious march of the sun through the twelve signs of the zodiac. Time is measured by the sun and the solar year. It is thus that Heracles-Helios can be addressed by the author of the Orphic Hymns as `father of Time' (12.3), and by Nonnus as `thou who revolvest the son of Time, the twelve-month year' (D. 40.372). By the same token, it may be argued, the Orphic Chronos, Time himself, might be identified with Heracles, the indomitable animal-tamer of the zodiac.
However, there is another possibility. For Plato, time is defined by the complex movements of the sun, moon, and planets; and when they have played through all their permutations and returned to the same relative positions, the `perfect year' and the `perfect number of time' are complete. The early Stoics derived from this their doctrine of the Great Year, at the end of which the cosmos is totally dissolved into fire. They defined time as the dimension of cosmic movement. Time was therefore coextensive with the Great Year, and could be considered to pause in the ecpyrosis. Now we find in Seneca, after a thoroughly Stoic exposition of the identity of God, the author of the world, with Nature and Fate, the argument that he may be equated with (among other divinities) Hercules, `because his force is invincible, and when it is wearied by the promulgation of works, it will retire into fire'. The allusion is on the one hand to the Stoic ecpyrosis, on the other to the pyre on the summit of Mount Oeta in which Heracles was cremated and achieved apotheosis after completing his labours. In this Stoic allegorization of the Heracles myth, then, the cycle of labours corresponds to the totality of divine activity in the course of the Great Year. Since divine activity is coextensive with the cosmos, that means that Heracles' labours represent everything that happens in cosmic time.
This is admittedly rather speculative. It is noteworthy, however, because it links Chronos to one of two Greek cults that thrived heavily under Rome, those of Herakles and Dionysus.
The movement from the literal to the figurative is not the only direction. The process works in reverse as well. What subsequently happens is a combining and recombining in which incompatible features are freely merged and tossed away. Here the best single guide is Ernst Panofsky's article "Father Time."
In none of these ancient representations do we find the hourglass, the scythe or sickle, the crutches, or any signs of a particularly advanced age. In other words, the ancient images of Time are either characterized by symbols of fleeting speed and precarious balance, or by symbols of universal power and infinite fertility, but not by symbols of decay and destruction. How, then, did these most specific attributes of Father Time come to be introduced?
The answer lies in the fact that the Greek expression for time, Chronos, was very similar to the name of Kronos (the Roman Saturn), oldest and most formidable of the gods. A patron of agriculture, he generally carried a sickle. As the senior member of the Greek and Roman Pantheon he was professionally old, and later, when the great classical divinities came to be identified with the planets, Saturn was associated with the highest and slowest of these. When religious worship gradually disintegrated and was finally supplanted by philosophical speculation, the fortuitous similarity between the words Chronos and Kronos was adduced as proof of the actual identity of the two concepts which really had some features in common. According to Plutarch, who happens to be the earliest author to state this identity in writing, Kronos means Time in the same way as Hera means Air and Hephaistos, Fire.
The Neoplatonics accepted the identification on metaphysical rather than physical grounds. They interpreted Kronos, the father of gods and men, as nous, the Cosmic Mind (while his son Zeus or Jupiter was likened to its 'emanation,' the psyche, or Cosmic Soul) and could easily merge this concept with that of Chronos, the 'father of all things,' the 'wise old builder,' as he had been called. The learned writers of the fourth and fifth centuries A.D. began to provide Kronos-Saturn with new attributes like the snake or dragon biting its tail, which were meant to emphasize his temporal significance. Also, they re-interpreted the original features of his image as symbols of time, His sickle, traditionally explained eithcr as an agricultural implement or as the instrument of castration, came to be interpreted as a symbol of tempora quae sicut falx in se recurrunt; and the mythical tale that he had devoured his own children was said to signify that Time, who had already been termed 'sharp-toothed' by Simonides and edax rerum by Ovid, devours whatever he has created.
Ernst Panofsky, "Father Time"
Note that pace Panofsky, the snake/dragon imagery of time was not new to the 4th/5th centuries CE. Neoplatonics like Proclus were aware of the Orphic cosmogonies and were resuscitating an existing, though latent, symbolism.
Nonetheless, we have some ex post facto justification here. New explanations are created that invoke anachronistic features of the deities. If Kronos devouring his children originally had nothing to do with time, now it does. Time now becomes gloomy because Saturn is gloomy. In place of Orphic "unaging" Time, we now get aged, cranky, hungry Time.
Far from being an abstraction limited to philosophy, Time seems better thought of as one of those absolute metaphors darting between concept, symbol, and personification. Time latches onto Kronos because of a lexical similarity, but it latches onto Herakles through arcane associations mostly lost to us. It infects myths like a virus.
By the age of Petrarch (1304-1374), Renaissance humanism makes for a new recombination. Petrarch's Triumphs portrays a menacing, conquering time. Saturn was readymade for the job. Saturn's castrating scythe now signifies the ravages of time. (Destruction is always an easily-reappropriated metaphor.) The scythe also links time easily to his compatriot Death, who is associated with the scythe as early as the 11th century.
Small wonder that the illustrators decided to fuse the harmless personification of 'Temps' with the sinister image of Saturn. From the former they took over the wings, from the latter the grim, decrepit appearance, the crutches, and, finally, such strictly Saturnian features as the scythe and the devouring motif. That this new image personified Time was frequently emphasized by an hourglass, which seems to make its first appearance in this new cycle of illustrations, and sometimes by the zodiac, or the dragon biting its tail.
Petrarch's Triumph of Time
And with this new conception of time, the menacing portions stick while the innocuous features–like the wings–do not, even though it was the wings that were associated with time in the first place! The serpent imagery is long-gone, overwritten by Christianity.
By this point, the idea of time devouring his children (not Zeus, but us) has taken on real metaphysical weight, and time the destroyer proceeds into the present day. It's not Goya's Saturn but Rubens' Saturn that captures this new Saturn-as-Time, white beard, decrepit body, and staff/scythe.
Petrarch, Triumph of Time
Rubens' Saturn (1638)
Your grandeur passes, and your pageantry,
Your lordships pass, your kingdoms pass; and Time
Disposes wilfully of mortal things,
And treats all men, worthy or no, alike;
And Time dissolves not only visible things,
But eloquence, and what the mind hath wrought.
And fleeing thus, it turns the world around.
Nor ever rests nor stays nor turns again
Till it has made you nought but a little dust.
Time in his avarice steals so much away:
Men call it Fame; 'tis but a second death,
And both alike are strong beyond defense.
Thus doth Time triumph over the world and Fame.
Continuity as Commodity and Fetish
8 August 2012 / David Auerbach / 0 Comments
Q: How do you keep an idiot in suspense?
A: I'll tell you part of the answer for sixty minutes each week for the next six years.
FRY: Clever things make people feel stupid, and unexpected things make them feel scared.
Futurama, "When Aliens Attack"
The First Final Problem
Sherlock Holmes is the defining case of the problem of continuity. Conan Doyle killed off Holmes because he was sick of the character, then was faced with the problem of bringing him back. It wasn't such a terrible problem, even if the solution was a little tacky. Because the stories were written by a fallible first-person observer in the form of Watson, he simply had the smarter character sneeringly assert the unreliability of the narrative:
In your picturesque account of the matter, which I read with great interest some months later, you assert that the wall was sheer. That was not literally true. A few small footholds presented themselves, and there was some indication of a ledge…A mistake would have been fatal. More than once, as tufts of grass came out in my hand or my foot slipped in the wet notches of the rock, I thought that I was gone. But I struggled upward, and at last I reached a ledge several feet deep and covered with soft green moss, where I could lie unseen, in the most perfect comfort. There I was stretched, when you, my dear Watson, and all your following were investigating in the most sympathetic and inefficient manner the circumstances of my death.
Arthur Conan Doyle, "The Adventure of the Empty House"
Hence the problem of continuity: the need for a post hoc coherence to a storyline that was never planned out in the first place.
Because of the nature of mystery fans, Conan Doyle scholarship embraces the eccentric tendency of trying to justify all discontinuities that Conan Doyle never did bother to explain:
The most curious facet of this undeniably sumptuous package lies in Klinger's decision to play the parlour game of Sherlockian scholarship. Initiated in 1911 by a Catholic priest who intended it as a spoof of scriptural exegesis, the game assumes that Sherlock Holmes actually existed, that the stories really were written by John Watson MD, and that Doyle acted only as the doctor's agent. The supposed fun lies in ensuring that the canon's numerous mistakes, implausibilities and inconsistencies are coherently explained away, no matter how tortured the logic required. Klinger fills page after page with the kind of wilfully pedantic literary mischief-making which John Sutherland has turned into an art form. How many wives had Doctor Watson? Did Holmes love the only woman ever to have outwitted him? What colour was the Baker Street dressing gown? And what really happened at the Reichenbach Falls? The whimsy of this conceit swiftly becomes grating and, in relegating the author to the role of mere go-between and front man, also seems faintly insulting to Doyle himself.
Jon Barnes, "Too Spirited for the Spooks," TLS 07 January 2005
I'm fascinated by the seemingly futile efforts of fans to render coherent what was never intended to be such. In effect, they are rationalizing God's ways to man.
When John Sutherland does it in books like Is Heathcliff a Murderer? Puzzles in Nineteenth-century Fiction or Who Betrays Elizabeth Bennet?, he does so with a wink and a nod, but the method is essentially the same, postulating clues in order to obtain solutions that aren't there. Seeing Sutherland ply his craft is instructive because he applies it to works that don't normally entertain it. He does so in the same spirit as well, coming out of an obsessive love for the world creation of Victorian novelists. Compared to Joyce or Proust, Victorian worlds never felt particularly real to me and so I have little desire to make them more real.
I am, however, easier on the fans than Barnes is. The rationale this "supposed fun" is that it in fact fun of a deep and meaningful variety, and rather than an insult to the author, it is a gesture of fanatical love for characters now elevated to the level of myth. This form of myth, unlike traditional myth, tolerates inconsistencies only inasmuch as they can be explained after the fact, giving it a strangely paradoxical character.
The results, like the results of theodicy, are almost inevitably disappointing, since the absence of a grand plan makes it impossible that such a plan will be discovered. The attribution of too great a level of reality puts both the fans and the creators in a tight spot. The near-inevitable failure of grand unifying moments occurs because the arbitrary restrictions make impossible any satisfactory unification of ex post facto continuity.
Stan Lee's Shared Rhizomes
Stan Lee was probably not the first to consciously commoditize continuity, but I believe he was the first to achieve massive success through it. The Marvel comics that were written by Lee and drawn by Jack Kirby have far more value for their visual artistry than their plot, but the plot sold the art at least as much as the other way around.
In the 1960s, Lee's titles fostered fan involvement by printing fan addresses in the letters columns, so that the more involved fans could contact one another. (I thought that Lee invented this gambit, but it turns out to have been originated by DC's Julius Schwartz. See this excellent Wikipedia article.) But more significantly for our purposes here, Lee loaded up stories with cross-references to previous issues and other titles, putting asterisks in dialogue balloons that pointed to footnotes reading "As seen in Fantastic Four #42! -Ed." (Lee did not invent this device either, but he put it to far more work.)
Lee, far more than anyone before him, created a tight network of "hyperlinked" content that, naturally, encouraged fans to make sure they bought every single issue of every title, so as not to miss out on part of the continuity. This has come to be known as a "shared universe," but this term is something of an insult to genuinely fleshed-out universes. It is a network of gaps and contradictions claiming the illusion of coherence. At least call it a "shared rhizome" or something like that.
Yet the embrace of continuity worked, and fans bought into a concept that inherently guaranteed disappointment. The claim of writers like Lee to possess the hidden gnosis of the entire "universe," to be revealed in dribs and drabs, went mostly unquestioned even when patently false, even when acknowledged to be false.
So one can only attribute fan dissatisfaction to real cognitive dissonance, as here:
One such tool is retconning, short for "retroactive continuity", where later adjustments result in the invalidation of previously-written material. The most severe form of retcon involves a wholesale rewrite of the groundwork for the entire setting. These reboots, most closely associated with DC Comics, are not always effective at resolving underlying problems and may meet with a negative reaction from fans.
Shared Universe
This in turn fosters an attitude of contempt from many writers, who see themselves as absurdly boxed in and know that there is no way to please the fans. In effect, the reaction is: "How can you hold our titles to their false promises of coherence when those promises were so blatantly ridiculous?" You can see the dynamic on display as Lost scribe Damien Lindelof squirms under interrogation from Josh Horowitz, half-embarrassed and half-condescending. Hence Fry's quote at the beginning of this essay. (Lindelof had acted in especially bad faith by earlier claiming that the show had been planned out from the start.)
Doctoring the Doctor
When fans become part of the creative apparatus, this contempt becomes internalized, and the simultaneous effort to worship continuity while knowing it is a lie can come to resemble the internal workings of religious bureaucracies.
The posts at the Tardis Eruditorum hypothesize a particularly nasty form of this self-immolation occurring in the 1980s with Doctor Who, which became both nastier and more incoherent as it incorporated fandom and fan feedback into its creative process, under the diabolical show-runner John Nathan-Turner.
There, in the context of discussing the killing off of a character no one liked anyway, Philip Sandifer writes, "The problem is that so much of fandom seems unaware of the 'guilty' part of guilty pleasures." I think it's more epistemological than that, at least for the more fanatical of fans. It's a matter of cognitive dissonance. The pleasure of buying into a world of continuity, and the suspense of having it revealed slowly, requires an ongoing suspension of disbelief that is impossible to sustain in the face of growing evidence that nothing is in fact being revealed.
Doctor Who, sheerly by dint of being on continuously for longer than any other such continuity-based program short of a soap opera (where large-scale continuity isn't an issue since characters can simply be abandoned), probably faced this problem first, a point which I'm grateful to Sandifer for pointing out. That the results were frankly disastrous bears repeating. Sandifer puts the logic succinctly in talking about the 1983 twentieth (!) anniversary special The Five Doctors, in which the five actors to have played the part to that point (one a ringer for a dead actor, another appearing only through leftover old footage) had to be worked into a single story:
On the one hand, Nathan-Turner is obsessed with strip-mining the program's history. On the other, Nathan-Turner remains obsessed with distinguishing himself and glorifying his tenure as producer. And so the program is increasingly obsessed with referencing its past for the sole purpose of trying to show how much better it is than the very past that it sees itself as primarily existing to reference.
Terence Dicks has said that his strategy in writing The Five Doctors was to just put everything in and trust that nobody was going to look too hard at the glue. This is, again, essentially correct. The story proceeds not according to narrative logic but according to a paratextual logic. It is driven by a need to shove in every signifier of Doctor Who it can find, and more to the point, its audience knows it. It works not according to plot logic but according to the logic of nostalgia.
The Dalek is the point where this is most blatantly signposted. It appears, gets one scene, and is abandoned, having served its purpose. The audience, upon seeing this, knows exactly what sort of story this is.
Not all of the audience. For a substantial number of fans, frequently the most vocal ones, the story remains one more set of jigsaw pieces to assemble into a puzzle that does not in fact fit together. And so continuity purposes and creative purposes become an ever-more-quickly-spinning ourobouros.
This intolerable self-loathing seems to have resulted in what Sandifer terms the nadir of the series, "The Twin Dilemma," a rewriting of the Doctor mythos so horrendous as to be indefensible. I will let Sandifer, whose sense of betrayal is palpable, tell it, since his passion conveys more of the sheer hatred at the heart of the story than a rote plot summary would:
Colin Baker's Doctor isn't just unlikable here. He's intolerable. He's an overtly bad person who any reasonable audience should actively dislike and want to see get his comeuppance. Whereas the series still visibly thinks he's the hero. It's not just that Baker's Doctor is prickly and hard to like, it's that he's a bad guy.
…The Doctor attempts to choke his heavily sexualized female companion. He physically and violently assaults her in a manner that is chillingly familiar as a real-world phenomenon that happens to women at the hands of their male partners. Then he drags her against her will to what he says could be an entire life in which "it shall be your humble privilege to minister unto my needs." She readily forgives him and grins stupidly at his charms. It's not Nicola Bryant's fault – she plays the material as well as it can be played. Nor is it Baker's fault. They try to make the scenes watchable, but nobody could possibly make this work. Peri is violently assaulted by a man who overtly sees her only purpose as being to serve him, and chooses happily to stay with him. The show treats this man as its hero and expects the audience to tune in nine months later to watch his continuing adventures.
Of course they declined to. Baker's Doctor is completely poisoned here. There's nothing whatsoever that can be done to make this character watchable to anyone who has seen this. And I speak from experience here. This is the story that killed my parents' interest in Doctor Who. To this day my mother refuses to accept the possibility that Baker might be good on the audios simply because of how much this story made her hate him. That's how bad this played to people. That's how you kill Doctor Who in under a hundred minutes. You make it about a battered woman idolizing her abuser.
Yeah, OK. I take it back. This is the worst fucking story ever.
Tommy Westphal's Head
These days the embrace of continuity is done with simultaneous irony and fanaticism, sort of a post-Nietzschean "God is dead but can we pretend he's alive?" approach. It's prima facie absurd to try to figure out all the television characters who were only in Tommy Westphal's mind on St. Elsewhere by tracing crossovers, but then again, someone did it. There doesn't even need to be the stated intent of continuity to practice this game.
This is ultimately because the problem of continuity is unavoidable. As long as you are recycling the same characters or other pieces of a creative franchise, there has to be some addressing, even unintentionally, of the relation of this particular version to other versions. There is only one actual explanation, which is that the decisions are made pragmatically and haphazardly on a case by case basis with more or less respect for the past. The best writers simply pick and choose the bits that work best for them, weaving a particular version into the fabric.
But the shared, commoditized myth of continuity mandates that the appeal of such work be in its continuity linkages, and so there is a tension between the big picture fandom appeal and any desire to make art. This is analogous to the more general trend of genre-conformity vs. individual artistic achievement, played out in the more restricted context of actual characters and plot rather than in the context of mere archetypes. Instead of "revenge tragedies" or "knight-errant novels," we get "Dragonlance novels" or "Star Trek movies." Such franchises become their own sub-genres.
Assorted sleights-of-hand have been established: the dreaded reboot is the one in common parlance, while alternate universes remain a semantically more acceptable method of changing established rules arbitrarily. Ignoring or finessing continuity will only result in fans trying to solve the problems themselves, as with Sherlock Holmes. Foisting this work off onto fans is probably the best approach anyway, so as to free the writers from plotting and character constraints that make crap art almost inevitable, but creators can't be seen to say this explicitly, so instead it is sublimated into contempt for their audience. The altar of continuity is a shrine to a false god.
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Q: how to convert a song as time varying wave in python and add noise to it and play it again? I am trying to extract a feature from a song in python and plot it as a signal, then add random noise to it and play it back as a noisy signal. How can I do this?
I can do the following to extract the input_data from the song. What's the best way to proceed from here?
from scipy.io.wavfile import read
import matplotlib.pyplot as plt
input_data = read("Sample.wav")

A: Something like this should work
import librosa
import numpy as np
from IPython.display import Audio

song, sr = librosa.load('Song.mp3')

mu = 0;
sigma = 0.1 #you'll want to adjust sigma to adjust the noise level
noise = np.random.normal(mu,sigma,len(song))

distorted_song = song + noise
Audio(distorted_song, rate = sr)

redpajama_set_name: RedPajamaStackExchange


Chinese New Year Notice - 10th February - 1st MarchWe will be closed during CNY from the 10th till 31th of the month. During this period, the whole of China stops production and workers return to their hometown. We will attempt to fufill as many orders as we can but we seek your understanding if it is still pending on the 10th. Once we return we will resume shipping ASAP. Thank you for your support!


LifeHistory is a multistate CA rule supported by Golly and LifeViewer, equivalent to two-state B3/S23 Life but with several additional states intended for annotation purposes. A "history" state records whether an off cell has ever turned on in the past, and other states allow on and off cells to be permanently or temporarily marked, without affecting the evolution of the pattern.
LifeViewer also supports [R]History which has the same additional states for any Life-like rule.
State 0: dead, as in Conway's Game of Life.
State 1: alive, as in Conway's Game of Life.
LifeHistory patterns can be saved in extended RLE format.
This page was last modified on 4 April 2019, at 23:08.


It's no secret that Independence Day: Resurgence, the blockbuster sequel that was two decades in the making, persevered through its fair share of trials and tribulations during the early stages of development.
Remember ID Forever Part I and ID Forever Part II? Director Roland Emmerich evidently had big plans for his sci-fi franchise in the build up to Resurgence, but after hashing out a screenplay with Dean Devlin and co-writer Carter Blanchard circa 2014, 20th Century Fox commissioned a single sequel to the cult classic, leaving the future of the franchise up in the air.
Even after the release of Independence Day: Resurgence, questions continue to linger, and that's even when you factor in the sequel's cliffhanger ending. Alas, negative reviews and lowly box office returns look to have painted Fox's larger-than-life series into a corner, and despite Emmerich initially expressing a desire to craft an "intergalactic journey" with the third film, the future of the franchise seems grim.
While speaking with LRM to promote his new film Bad Samaritan, Devlin was asked if we can still expect another outing in his sci-fi series, and though he didn't outright shoot such a thing down, it's certainly not sounding too promising.
Again, this doesn't mean that we'll never see a third installment, but we don't imagine it's a priority for anyone involved. After all, Resurgence currently sits at 30% on Rotten Tomatoes, with some pretty nasty reviews. True, its $390 million box office haul isn't exactly horrible, but it's hard to get too excited about that when you remember that its predecessor made $817 million back in 1996.
Not that anyone expected the sequel to reach the same heights as the original, but still, those kind of numbers won't have the studio running to make another Independence Day movie. And frankly, that might be for the best. After all, some franchises are just better left alone and this might be one of them.


text:
Expanding an unprecedented level of style and comfort
Source: RTM Jun/Jul 17
At the end of May, Eurostar introduced its new e320 train on the London-Brussels route. Rob Haycocks talks to RTM about what passengers can expect from the new units and how they differ from the company's original fleet.
Our state-of-the-art new e320 trains revolutionise short-haul travel in Europe. Designed by the world-famous Italian design house, Pininfarina, renowned for its iconic car designs, the Siemens-built e320 boasts 20% more capacity than the original Eurostar trains.
With a bold new design, chic interiors as well as wi-fi connectivity and over 300 hours of on-board entertainment streamed to customers' personal devices, the new trains provide an unprecedented level of style and comfort.
Since the first e320 was introduced on the Paris route in November 2015, they have performed successfully, proving very popular with business and leisure customers alike, who appreciate the enhanced features and technology.
Now that they are on the Brussels route, we're happy to give more of our customers the opportunity to experience them. The e320 trains are interoperable, which means they can operate across the European high-speed network, including crucially to Rotterdam and Amsterdam, so they are a key part of our plan to operate that route.
The arrival of the new trains on the Brussels service is part of a £1bn programme of investment in Eurostar's fleet, stations and service which included the purchase of 17 new e320 trains and the refurbishment of its original trains.
With regards to the existing fleet, Eurostar has three of its completely refurbished e300s in service. They are fitted out with a new livery, and the same Pininfarina-designed interior as the e320s. The fourth e300 will be in service over the coming weeks, and they are coming through around every six months.
At the moment, Eurostar is going through a major investment programme to transform the customer experience. Passengers on the new fleet benefit from more space, wi-fi and access to on-board entertainment. Beyond that, we are also investing heavily in our stations, with a new Business Lounge in Paris, and we recently unveiled improvements to the check-in area at Brussels.
The introduction of the e320 on the London-Brussels service also follows an extensive renovation of the Eurostar terminal in Brussels Midi. This has created an expanded departure area and a more efficient check-in space, which will be further enhanced by the introduction of facial recognition e-passport gate technology for the peak summer holiday period.
Eurostar is also in the final stages of preparation for the launch of its new direct service to Rotterdam and Amsterdam, and it plans on introducing an inaugural service by the end of the year. The focus will then be on gearing up to the peak Easter getaway period.
W: www.eurostar.com
Gman 21/07/2017 at 11:39
the original Alstom trains are better
Foaming Stoat 08/08/2017 at 12:31
Thanks, Gman - that well argued and persuasive point was most illuminating. Anyway, how are Squirrel and the 24-hour Party People these days?
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