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Courageous (Movie Review)
· February 3, 2012
Reviewed by Matthew Lee Anderson –
The real story of Courageous, the third movie from the good folks at Sherwood Baptist Church in Albany, Georgia, isn't the story that's portrayed in Courageous. Rather, it's that this is the third movie by Sherwood Baptist Church. Their first offering, Facing the Giants, says enough in the title about their plucky approach to disrupting the Hollywood establishment. Turns out that if you make it family friendly, they will come.
It's hard to be critical of such earnestness, and if ever a film was in earnest, this is it. It is full of the good-hearted sincerity and frank speech that makes evangelicalism (at it's best) quirky and humorously belligerent. There's no "use words if necessary" mentality about the Gospel here: the film overflows with so many Gospel proclamations and "come-to-Jesus" moments that at points they felt hilariously awkward.
The film follows the stories of four fathers who take vows of intentional fatherhood after one of them loses a child. Yet by the end of the film, the plot feels secondary: it's more a sermon packaged as a character study that ends with an actual sermon.
Oddly, it kind of works. But only kind of. Chesterton sometimes treated his plots as simply opportunities for other characters to make Chestertonian speeches, but Courageous (alas) has no Chesterton. Many of the lines are simply clichés, and the lack of subtlety makes the sermonizing worse. Perhaps not surprisingly, the writing gets best when they drop the guise and simply give the sermon at the end. But that isn't quite good filmmaking.
The absence of subtlety gives the film a slightly overbaked feeling. Or perhaps a really overbaked feeling, depending on how you like your dough. Consider the central grieving scene: it's a delicate thing, grieving, to show on film but they pull it off surprisingly well. At least for a while. At the precise moment I was impressed with how well they showed the parents heartache, they kept it going another five minutes. Yet that extra five minutes gave it a saccharine schmaltziness that undid the previous work.
The film is by no means bad. It has some scenes that are excellently acted and one that was downright hilarious. However, it simply has no sense of limits, no awareness of when the Gospel proclamations pass from genuine to browbeating and where the acting morphs from stirring into schlock. For an evening at the theater or with the DVD, you could certainly do worse (and many Hollywood productions do, in fact, do worse). But the upstart church could also do better, and with the success of this and their other ventures, there's hope that they yet will.
Matthew Lee Anderson is the author of author of Earthen Vessels and a writer at Mere Orthodoxy.
This review was taken from the January issue of Credo Magazine, "In Christ Alone." Read other reviews like it today!
To view the magazine as a PDF Click Here
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The new Apple TV is on sale now, direct from Apple, with shipping dates ranging from October 30 to November 4. In early November you'll be able to find it in retail outlets and online at other stores, too.
The new Apple TV looks very similar to the old Apple TV, except it includes a much faster and more graphically powerful processor — Apple's A8 chip. Incidentally, the latest iPhones and upcoming iPad Pro sport even newer processors. The processor runs Apple's new tvOS operating system, which is based on Apple's iOS that's used in iPhones and iPads.
The new Apple TV comes in two new price points: 32GB for $149 or 64GB for $199.
The core elements of interest around the new Apple TV can be hammered down to three: the new Siri Remote, App Store, and Games, and once you understand the apps and the games, you'll be able to figure out which version you should get.
The new Siri Remote combines a glass touch surface with a built-in microphone, accelerometer, and gyroscope — along with a few old-school buttons — to create a tool that will let you more easily select, scroll, and navigate content. And what about the Siri part? You can use your voice to search for movies and TV shows.
There is more, though. Siri will let you handle some navigation with your voice. So what about the motion sensors? Those turn the little remote into a remote control that can be used to control games.
Speaking of games, the Apple is launching a whole new App Store for the Apple TV, and while it will feature games, it also will be what Apple hopes will become the foundation for the new TV living room experience — apps. In Apple's vision, content providers will build new apps that will enhance and simplify the way we watch — and interact with — TV.
Initially, you might just start consuming news, weather, or sports via cool apps, but there is potential for much more, including apps for home automation.
Back to games. The iPhone and App Store created a whole new world for casual gaming — from grandmothers to kids and everywhere in between. The new Apple TV is also a new gaming platform. While casual games will no doubt work well, Apple's A8 processor has some impressive graphical capabilities, and along with other Apple app dev tools, game developers can produce some luscious games that start creeping toward the experience of dedicated consoles like the Xbox One and PlayStation 4.
Apple hasn't produced its own dedicated game controller yet, but it supports third-party controllers like the SteelSeries Nimbus Wireless Controller.
So, 32GB or 64GB? If you or your household plays a lot of games — and might appreciate big world graphically rich games — go with the 64GB model.
All-in-all, if you're an iPhone, iPad, or Mac owner already interested in the Apple ecosystem, the Apple TV is your next must-make purchase. If not, check it out. You might be pleasantly surprised.


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Ariston (Ἀρίστων Arístōn, auch Ariston von Athen oder Ariston von Kollytos genannt; * vermutlich um 470/460 v. Chr.; † um 424 v. Chr.) war der Vater des Philosophen Platon.

Herkunft und Familienverhältnisse

Ariston stammte aus einer vornehmen, wohlhabenden Familie Athens. Er betrachtete sich als Nachkomme des Kodros, eines mythischen Königs von Athen. Sein Vater hieß Aristokles; einer seiner Vorfahren, der ebenfalls den Namen Aristokles trug, war schon 605/604 v. Chr. eponymer Archon gewesen, hatte also das höchste Staatsamt bekleidet. Ariston selbst scheint jedoch in der athenischen Politik seiner Zeit keine Rolle gespielt zu haben.

Um 432 heiratete Ariston Periktione, die ebenfalls einer vornehmen Familie Athens entstammte. Zu ihren Vorfahren zählten die eponymen Archonten Dropides (I.), der 645/644 amtierte, und Dropides (II.), der das Amt wohl 593/592 ausübte.

Der Philosophiehistoriker Diogenes Laertios berichtet in seiner Beschreibung von Platons Leben mit Berufung auf Favorinos, Ariston habe zu den athenischen Kleruchen (Siedlern) gehört, die auf die südlich von Attika gelegene Insel Aigina entsandt wurden. Dieser Überlieferung zufolge wurde Platon auf Aigina geboren. Später seien die Kleruchen jedoch von den Spartanern von dort vertrieben worden, und so sei Ariston nach Athen zurückgekehrt. Auch die Prolegomena zur Philosophie Platons, ein anonym überliefertes spätantikes Werk, dessen unbekannter Autor zur Schulrichtung Olympiodoros' des Jüngeren zählt, berichten von der angeblichen Geburt auf Aigina. Tatsächlich haben die Athener im Jahr 431 die Bewohner Aiginas zur Auswanderung gezwungen und dort Kleruchen angesiedelt. Zu einer Vertreibung der athenischen Siedler durch die Spartaner ist es aber zu Aristons Lebzeiten nicht gekommen; sie erfolgte erst 411. Somit ist der Bericht zumindest hinsichtlich der Vertreibung unzutreffend. Außerdem war Ariston wohlhabend; eine Auswanderung nach Aigina ist nur im Falle einer vorübergehenden Verarmung plausibel. Die Glaubwürdigkeit der Nachricht ist somit zweifelhaft. Allerdings ist nicht auszuschließen, dass Ariston zeitweilig auf Aigina lebte. Sicher ist nur, dass Platon in Athen aufwuchs. Der dortige Wohnsitz der Familie befand sich im zentral gelegenen Stadtteil Kollytos westlich und südlich der Akropolis.

Aus der Ehe von Ariston und Periktione gingen neben Platon die Söhne Adeimantos und Glaukon sowie eine Tochter namens Potone hervor. Potones Sohn Speusippos wurde Platons Nachfolger als Scholarch (Leiter) der Platonischen Akademie.

Ariston starb bereits um 424, als Platon noch ein etwa vierjähriges Kind war. Seine Witwe Periktione schloss bald danach eine zweite Ehe mit dem ebenfalls verwitweten Pyrilampes, der damit zum Stiefvater der Kinder Aristons wurde. Diese lebten nun mit ihrem älteren Stiefbruder Demos zusammen, einem Sohn des Pyrilampes aus erster Ehe, und wuchsen mit ihrem Halbbruder Antiphon auf, dem Sohn des Pyrilampes und der Periktione.

Legende

Nach einer in der Antike verbreiteten Legende, die schon bald nach Platons Tod erzählt wurde, war Platon nur scheinbar Aristons Sohn; es hieß, in Wirklichkeit habe ihn der Gott Apollon gezeugt. Nach den unterschiedlichen Versionen der Legende hat Apollon Ariston zeitweilig am geschlechtlichen Umgang mit Periktione gehindert und ihm diesen für den betreffenden Zeitraum ausdrücklich untersagt, oder Ariston hat aus einer Erscheinung des Gottes eine entsprechende Folgerung gezogen. Diogenes Laertios nennt drei Autoren, darunter Speusippos, welche die Legende in ihren heute verlorenen Werken erwähnten. Er behauptet aber nicht, diese Autoren hätten sich für die buchstäbliche Wahrheit der Behauptung verbürgt; besonders dem gut informierten Speusippos, der ältesten Quelle, ist ein allegorisches Verständnis der Legende zu unterstellen (Betonung eines lebenslangen besonderen Verhältnisses Platons zu Apollon).

Literatur

 Debra Nails: The People of Plato. A Prosopography of Plato and Other Socratics. Hackett, Indianapolis 2002, ISBN 0-87220-564-9, S. 53f. (und Stammtafel S. 244)
 John S. Traill: Persons of Ancient Athens, Band 3: Ar- to Aulōn. Athenians, Toronto 1995, ISBN 0-9692686-4-5, S. 131f. (Nr. 201000; Zusammenstellung der Belege)

Anmerkungen

Grieche (Antike)
Platon
Geboren im 5. Jahrhundert v. Chr.
Gestorben im 5. Jahrhundert v. Chr.
Mann

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Tiger's early Match Play exit baffling
Planet Golf — 22 February 2012 by Bob Sherwin
How do you figure Tiger Woods? That's as much of a conundrum as to how the golf world now views Tiger Woods.
Quite uncharacteristic for the 14-time major champion, Woods was eliminated in the second round of WGC Accenture Match Play Championship in Tucson. He actually eliminated himself when he missed a 5 ½ foot putt on the 18th hole that would have tied his match with Nick Watney.
"We all know Tiger makes those…it's definitely a little bit of a shock," a stunned Watney told the Golf Channel just afterward. Watney's a quality qolfer but not at the same talent level as Woods – or as Woods once was.
Woods has just landed his 184-yard approach shot inside a six-foot range that, for him, used to be 'gimme' the trophy. Now he's missing the short ones with consistency. Four holes earlier he made another sensational tight approach then pushed the putt.
He had plenty of chances to put Watney away but couldn't roll the ball. Shocking for a guy who once was considered the best match-play player ever. In this tournament – in which he has won three times – Woods has 33 match-play victories. The next closest is David Toms with 24.
His new Sean Foley-designed swing doesn't appear to be the problem, although he is straying the ball a little more than with his former swing. It's his putting that's so painful.
Woods, winless last year in PGA-sanctioned events, is not only re-emerging with his new swing but also year removed from his old life of lurid tabloid-headline exploits. That plays into the current Tiger dynamics. He has been human-ized by his self-induced ordeal. He's searching for the guy he once was and his competitors don't seem to shrink anymore in his presence. He already has lost twice this year when leading (or sharing) the lead after the third round. He had been 48 of 52 in that situation.
His first-round opponent, Gonzalo Fernandez-Castano, had no problem riling him up by saying Woods was 'beatable.' Freakin' Gonzalo Fernandez-Castano. Trash talking. Woods beat him 1-up – but only after a late rally. Now they're both beatable.
Woods seems to have enormous fan reaction whenever he delivers a dazzling shot but the audience is still mixed. We've all heard the reactions from people who hope he never wins again and that he never breaks Jack Nicklaus' majors record of 18. They won't forgive, as if it's their prerogative, but clearly the number of people pulling against him has grown relative to the number who pull for him.
Don't count the Golf Channel or NBC, which owns the broadcast rights to the Accenture, among those in the dislike column. Neither networks relishes seeing him gone by the weekend. He dominated the coverage and the post-match reaction even in a loss. Whether you like him or hate him, either way he's a ratings generator.
He's at the point where his game – as well as fan acceptance – is a work in progress.
Who's No. 1? It's wide open.
For years, the conversation over who's No. 1 in the world never really came up. Tiger Woods was the No. 1 for more than five years, from June 12, 2005 until Oct. 31, 2010. That was a record 281 straight weeks – and a record 623 weeks overall. Since then three players have shared the top spot, Lee Westwood, Martin Kaymer and Luke Donald.
Defending Accenture champion Donald, who finished in a tie for 56th in his first PGA Tour event a week ago, was bounced from the tournament in the first round Wednesday.
It means that the No. 1 spot again is open. It could come down to either Westwood or Rory McIlroy taking over. If one of those two guys wins this tournament, he would supplant Donald.
Donald would only hang on if someone else wins it. But the way he's playing, his grasp is tentative.
There are more Americans advancing to the round of 16 than anytime since 2006. The tournament began with 22 Americans and 42 international players from 14 countries. After round two, that gap has narrowed to nearly equal. There are now nine international players and seven Americans, Watney, Steve Stricker, Dustin Johnson, Matt Kuchar, Brandt Snedeker, Hunter Mahan and Mark Wilson.
There will be at least two Americans moving on to the 'elite eight' because two matches feature a head-to-head American matchup, Stricker against Mahan and Johnson against Wilson.
February Lunacy?
Unlike the the NCAA Tournament where a No. 16 seed never has beaten a No. 1 seed, longshot upsets are commonplace in the Accenture (case in point – Donald). One reason is the seeds are pretty much arbitrary. The top players are given seeds commiserate with their wins and reputation but there is such a small gap between 1 and 64.
Anything can happen when you mix in the vagaries of the weather, the course, motivation and momentum. Look at 48-year-old Miguel A. Jimenez, the No. 52 seed. He knocked off Keegan Bradley – last week's Northern Trust winner – 2 and 1.
Three 50-plus (seeded players) have won this thing, No. 62 Kevin Sutherland in 2002, No. 55 Steve Stricker in 2001 and No. 52 Geoff Ogilvy in 2006.
Kaymer, Jimenez, Westwood, John Senden, Matt Kuchar and Peter Hanson have not trailed this week.
For only the third time in the tournament's history, three of four No. 1 seeds advanced to the third round, McIlroy (No. 2), Westwood (No. 3) and Kaymer (No. 1). Donald was No. 1 overall.
The youngest winner ever was Woods at 27 years, two months, two days. Final 16 competitors McIlroy, South Korea's Sang-Moon Bae and Kaymer are all younger.
Steve Stricker, who turned 45 Thursday, could be the oldest. Or maybe Jimenez at 48. David Toms is the oldest winner when he won in 2005 at 38 years, one month and 23 days.
In 11 previous Accenture appearances, Westwood never advanced past the second round. This year he has not trailed in his two matches. He plays Watney.
There has been plenty of grumbling by the players over the severity of the greens at the Jack Nicklaus-designed Dove Mountain course. This has prompted whispers that the tournament could be moved to San Francisco's Harding Park next year.
Bob Sherwin
Bob grew up in Cleveland, an underdog city with perennial underdog teams, and that gave him an appreciation and an affinity for the grinders in golf, guys such as Rocco Mediate, Jhonattan Vegas and star-crossed John Daly. This is the 49th year for Bob as a sportswriter, the first 34 working for newspapers throughout the west, Tucson (Daily Star), San Francisco (Examiner) and Seattle (Times), and the past 15 years as a freelancer. He has covered just about every sport, including golf tournaments, Tucson Open, Bing Crosby/AT&T Pro-Am, the 1998 PGA Championship, the 2010 U.S. Senior Open, the 2010 U.S. Amateur the 2015 U.S. Open and the annual Champions Tour Boeing Classic. He also writes articles for golf magazines. For most of his 20 years at the Seattle Times his primary beat was the Mariners. He then picked up Washington men's basketball in the winter. He also was the beat writer for the Sonics, including 1996 when they played the Bulls for the NBA title. After a lifetime hacking on public courses, he finally gave in and joined a country club in 2011, the Members Club of Aldarra near Seattle. Despite (or perhaps because) of his 14 handicap, he won the 'Super Senior'' (65 and older) championship in 2017. He has a pair of aces – 37 years apart – and in 2009 came agonizingly close to his ultimate golf goal of scoring in the 70s when he finished with an even 80. He lives in Seattle, and spends part of his winters in Marco Island, Fla.
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What's happening Tuesday in the north valley
By Chico Er |
Chico Seed Orchard: 7 a.m.-7 p.m. Pedestrian gate open daily. Drive-thru gate open 7 a.m. to 3 p.m. Monday through Friday. One-mile self-guiding nature trail through botanical area in Edgar Slough. Pet owners keep dogs on leash. Search for Chico Seed Orchard online for more information. 2741 Cramer Lane, Chico.
Gray Lodge Wildlife Area: Sunrise to sunset. 9,100 acres of fields, riparian areas, ponds, waterways; shelter for 300+ species of resident and migrant birds and mammals. Self-guided trail, fishing, exhibits. 3207 Rutherford Road, Gridley. 846-7500.
Healing Art Gallery: 10 a.m. to 6 p.m. Photography art by Antonio Ramirez displayed in Enloe Cancer Center as part of feature of Northern California artists whose lives are touched by cancer. Begins Friday, open through July 19. 10 a.m. – 6 p.m. 265 Cohasset Road. For more information, email rebecca.senoglu@enloe.org or call 332-3856.
SCORE: 9 a.m.-4 p.m. Free face-to-face counseling for startup and existing businesses. Service Corps of Retired Executives, 1324 Mangrove Ave., Suite 114. Chico Chamber, 891-5556, to schedule appointments. www.greaterchicoarea.score.org. Monday-Saturday.
Seniors Feeding Seniors/Gleaners of Chico: 9-10 a.m. Food distribution for ages 50+ in need of food assistance. Monthly membership fee $40. Also contribute approximately 3 hours per week to help collect, process or distribute food. 1436 Nord Ave. Information, 895-3006, between 8-11 a.m. any day. Weekly.
Chico Library: 10 and 11 a.m. Preschool storytime. Chico library, 1108 Sherman Ave. 891-2762. Weekly.
Blood drive: 11 a.m.-6 p.m. Also plasma donations, 11:45 a.m.-4:30 p.m.; platelet donations, 10:45 a.m.-4:45 p.m. Vitalant, 555 Rio Lindo Ave. 893-5433. Weekly.
Valene L. Smith Anthropology Museum: 11 a.m.-3 p.m. "Remarkable Lives; The Intertwined World of Birds and Humans." Exhibit in partnership with the Altacal Audubon Society. Free, donations welcome. 898-5397. Tuesday-Thursday. Exhibit through July 25.
Temporary restraining order help: Daily by appointment. 330 Wall St. Suite 50. 343-7711. For victims of domestic violence. Free. Sponsor, Catalyst Domestic Violence Services. 800-895-8476. Weekdays.
Chico Heritage Association: Noon-3 p.m. Volunteers help on history of area, businesses, homes, individuals; research library. Donations appreciated. Garden Walk, 225 Main St. 345-7522. www.chicoheritage.net. Weekly.
Graphic Design: 1-5 p.m. Free help with design projects; logos, digitizing images, social media images, posters, business cards, etc. Ask for Max. Sign-up or drop-in. Chico library, 1108 Sherman Ave. chicobclibrary@buttecounty.net, tiny.cc/freedesign or 891-2736.
Domestic violence support group: 1-2 p.m. RSVP. Chico Drop-In Center, 330 Wall St. Suite 50. RSVP. Catalyst Domestic Violence Services, 800-895-8476; catalystdvservices.org. Weekly.
Refresher/Beginning Band Class, Chico Community Concert Band: 5:15-6:30 p.m. Chico Junior High School band room. Refresh skills or learn to play an ir played an instrument. Must provide instruments, purchase instruction book. 520-5461. Weekly.
Chico Peace & Justice Center: 5:30 p.m. Beginning Spanish class. 526 Broadway. Free. RSVP not required. 893-9078. Weekly.
Chico City Council: 6:30 p.m. City Council Chambers, 421 Main St. First, third Tuesdays.
Fancy Feet Dance: 6:30-10 p.m. Cottonwood; swing, waltz, fox trot, polka. Age 16+. $7. Community Center, 545 Vallombrosa Ave. Third Tuesday.
Chico Community Concert Band: 7-9 p.m. No auditions. Wind and percussion ensemble. Band formed before World War II. Ages 13+. Chico Junior High School band room No. 503. 342-6873. Performance schedule: www.chicorec.com. Weekly.
Drop-in chess: 7-11 p.m. Naked Lounge, 118 W. Second St. 895-0676. Weekly.
Paradise/Chico Chapter of LeTip International: 7-8 a.m. Meets at Farmer's Skillet, 690 Rio Lindo Ave., Chico. All business owners/representatives are welcome to attend this networking group of local businesses. Professional networking. 891-7900. Weekly.
Orland Kiwanis: 7 a.m. I-5 Cafe, 1165 Hoff Way. Fred R. Perez, 865-9301. First, third Tuesdays.
Chico Breakfast Lions: 7-8 a.m. IHOP restaurant, 2040 Business Lane. Linda Dunning, 570-7888. Weekly.
California Retired Teachers Association, Division 32 Butte County: 11:30 a.m.-1:30 p.m. Lunch ($13) and speaker. Shelley's Creative Catering. 2565 Zanella Way #A, Chico. RSVP by Friday before. Reservations, 342-4577. Third Tuesday.
Chico Noon Exchange Club: 12:15 p.m. Canyon Oaks Country Club, 999 Yosemite Drive. www.chicoexchange.com. Weekly.
Duplicate Bridge: 12:30 p.m. One limited game, one regular game open to all. Bidwell Bridge Studio, Native Daughters of the Golden West Hall, 965 Salem St. 966-4096. Weekly.
Active 20-30 Club of Chico, No. 100: 5:30 p.m. The Lab Bar and Grill, 250 Cohasset Rd., Suite 10. www.chico2030.org. First, third Tuesdays.
Chico Table Tennis Club: 6-10 p.m. Free first-time; then $5 per night or $35 for 10. Tables, balls, loaner paddles provided; all ages, skills. Durham Veterans Memorial Hall, 9319 Midway. 354-8285. Weekly.
Sons of the American Revolution: 6:30 p.m. Dinner. Italian Cottage, 2234 The Esplanade. 343-7000. Third Tuesday.
High Sierra Model Railroad Club: 6:30-10 p.m. 3650 Morrow Lane, Chico. Joe Clark, 342-4305. Weekly. Also Thursdays.
North Valley Chapter of California Women for Agriculture: 6:30 p.m. Meets at alternating restaurants or member homes. email northvalleycwa@gmail.com. Third Tuesday.
Huntington's Disease Support Group: 6:30 p.m. Help, sharing, education. Enloe Regional Cancer Center library, 265 Cohasset Road. Lori, 896-9257 or lorirollin@gmail.com and write HDSA in subject line. Third Tuesday.
Health, emotional support
Alcoholics Anonymous: 893-3336. Times, locations or to talk to a recovering alcoholic, 342-5756. www.aabutte-glenn.org.
Iversen Wellness & Recovery Center and Med Clinic: 9:15 a.m. 12-Step; 10 a.m. Hope Group and 12×12 Group; 11 a.m. Grief & Loss; Noon, Stress Awareness; 1 p.m. Meditation; 1:30 p.m. Arts & Crafts). Computer lab open 10:30 a.m.-4 p.m. 492 Rio Lindo Ave. Wellness, 879-3311; Med Clinic, 879-3974. nvcss.org/programs/iversen. Weekly.
Widowed Friends: 10 a.m. Breakfast. Cornucopia, 515 Montgomery St., Oroville. Sponsor, Scheer Memorial Chapel. Weekly.
Narcotics Anonymous: Noon, Chico NA at 255 E. 20th St., Unit C: 6 p.m. Bidwell Group at 1095 East Ave.; 7 p.m. Chico NA Speaker Meeting at 255 E. 20th St.
Chico Bidwell Group, 1184 East Ave.; 7 p.m. Open, speaker, 2234 Park Ave. Information, 24-hour hotline, 877-669-1669. Weekly.
Victims of Domestic Violence Support Group: 1 p.m. 330 Wall St. Suite 50, Chico. Sponsor, Catalyst Domestic Violence Services. 876-0397. 24-hour crisis line 800-895-8476. Weekly.
Pills Anonymous "Chico's Got Hope": 5:30-6:30 p.m. Big Book study/speaker. Discussions based on 12-step recovery program, prescription drug addiction. Newcomers, loved ones and those addicted to other substances also. Meets at 2341 Floral Ave. Call/text 624-0094. Weekly.
Depression and Bipolar Support Alliance: 6-8 p.m. Meetings for those affected by depression, bipolar disorder and other mental illnesses. August meetings at First Christian Church, 295 E. Washington Ave., Chico. 566-4380. Tuesdays.
Huntington's Disease Support Group, Chico Chapter: 6:30-8 p.m. Enloe Regional Cancer Center Library, 265 Cohasset Road. Lori Rollin, 896-0257 or lorirollin@gmail.com; write HDSA in subject line. Third Tuesday every other month.
Overeaters Anonymous: 7-8 p.m. St. John Episcopal Church, 2341 Floral Ave. Walter, 343-1029 or George, 949-5914. Weekly.
Disease Society of America's Northern California Narcotics Anonymous: 7 p.m. Life on Life's Terms of NA. 1341 W. Fourth St. 877-669-1669. Weekly. Also Thursdays.
ARP Addiction Recovery Program: 7-8:30 p.m. General addiction meeting. The Church of Jesus Christ of Latter-day Saints, 167 Table Mountain Blvd. at Nelson Ave. Enter back/west entrance. Weekly.
Codependents Anonymous: 7-8:30 p.m. 12-step fellowship; develop healthy, fulfilling relationships. Free. Youth hall, Unitarian-Universalist Fellowship, 1289 Filbert Ave., Chico. 893-4940, 228-5481. Weekly.
Head Injury Support Group: 7-9 p.m. Information about head injuries and support. Enloe Conference Center, 1528 The Esplanade. Brain Injury Coalition, 518-0256. First, third Tuesdays.
Al-Anon: 7:15-8:15 p.m. Together We Can Make It; Alateen. 2341 Floral Ave., Teen Room, St. John the Evangelist Episcopal Church. Weekly.
Submit calendar listings, corrections or updates by email calendar@chicoer.com, fax 342-3617 or mail Enterprise-Record, P.O. Box 9, Chico, CA, 95927.
Chico Er
Local group working to recruit, support physicians to Butte, Glenn counties
Pets of the Week
Horoscopes: July 18, 2019
What's happening Thursday in the North Valley


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Високе Середньовіччя  Золота доба ісламу  Реконкіста   Київська Русь

Геополітична ситуація

Візантію очолює Олексій I Комнін. Генріх IV є імператором Священної Римської імперії, а  Філіп I — королем Франції.

Апеннінський півострів розділений між численними державами: північ належить Священній Римській імперії,  середню частину займає Папська область, південна частина півострова окупована норманами. Деякі міста півночі: Венеція,  Піза, Генуя, мають статус міст-республік.

Південь Піренейського півострова захопили  Альморавіди. Північну частину півострова займають християнські Кастилія, Леон (Астурія, Галісія), Наварра, Арагон та Барселона. Королем Англії є Вільгельм II Рудий. Олаф III є королем  Норвегії, а Олаф I королем Данії.

У Київській Русі княжить Всеволод Ярославич, а у Польщі Владислав I Герман.  На чолі королівства Угорщина стоїть Ласло I.

Аббасидський халіфат очолює аль-Муктаді під патронатом сельджуків, які окупували Персію та Малу Азію, в Єгипті владу утримують Фатіміди, у Магрибі панують Альморавіди, у Середній Азії правлять Караханіди, Газневіди втримують частину Індії. У Китаї продовжується правління династії Сун. На півдні Індії домінує Чола. В Японії триває період Хей'ан.

Події
 Похід імператора Генріха IV до Італії з метою втрутитися в боротьбу між антипапою Климентом III і папою Урбаном II. Війська імператора увійшли в Рим. Папа Урбан II втік у Капую, потім у Салерно.
 Рожер I Сицилійський захопив Мальту.
 Альморавіди захопили  Гранаду та Малагу, взявши під свій контроль мусульманські емірати півдня Іспанії.
 Константинополь опинився у важкому становищі. На нього продовжують насуватися печеніги, з моря нападає ефір Смірни Чака, з Малої Азії Румський султанат.
 Нізарит Хасан ібн Саббах започаткував у фортеці  Аламут організацію асасинів.

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Список керівників держав 1090 року
1090-ті


Years ago I bought some of the commercially available cork paddles but found they lacked good handles and were only available with rounded edges, so I began making my own. I discovered there were economies in buying giant cork slabs and making a dozen at a time so I could have whatever sizes I wanted and I could sell the extras to other glassblowers. Selling them generated some questions about their proper use from buyers who hadn't used corks before.
Before using a brand new set I burn them in by lightly charring the surface in front of either the glory hole, open furnace door or with a fluffy torch--this gives them a thin layer of black carbon. This carbon layer will touch the glass and help them slide nicely rather than stick (kind of like a block).
Some people like to wet the corks before using them, but I use mine totally dry. I'm sure wet corks will last a bit longer, but there's a risk of scarring the glass wet cork and it will have a greater cooling effect when in contact with the glass. Using them dry, I run no risk of scarring the glass and the glass still moves nicely while you're using them since dry cork isn't a heat sink. I think people who use them wet feel like they won't burn up as fast, but I generally get 3-4 years out of a set (and I flatten almost everything), so I'm not concerned about longevity.
I generally start flattening vessels while my assistant is capping the pipe--this maintains the air volume and prevents the piece from denting or caving in. To start, my assistant will first take a strong, even heat. Once he's back at the bench, I'll have him stop turning where I want the edget to be. The instant he stops turning and just before the glass begin to sag on the pipe, I rub the bubble between the paddles in a circular motion. Since the glass is sagging, I can only rub for about a second before my assistant needs to flip the piece and I flatten again. We keep doing this--cap and flatten, flip, cap and flatten, etc. until it's as flat as I desire. If it's really tough to flatten a piece, get it hotter. If it's getting too wide or if I want it extra flat, I'll have my assistant uncap for a second--this will let the vessel flatten quickly under the corks without internal pressure pushing back. Uncapping gets things flatter quickly but the glass will usually dent, so either uncap only very briefly or give it a quick puff to re-inflate and re-flatten. I move quickly and firmly on the glass with the corks and keep them moving constantly, this prevents the cork from sticking and imparting texture to the glass. It probably helps them live a long life as well. The paddles always smoke and occasionally flame if I take too long. They don't seem to mind. I usually get the flatness I desire in one heat, ocassionally two. If you find your glass sagging at the neck too much during this process, hit the neckline briefly with some compressed air for a second or two while turning just before flattening.
The corks eventually will begin to burn out--usually in the center. This will create a dished effect on your corks; when this dishing gets deep enough to become a problem, I'll sand them down on a belt sander to re-flatten them, then re-char them. However, some people prefer this dished shape and look forward to their corks burning out a bit. If I find the corks feeling a little 'tacky' (usually after 2 years or so) I'll also sand them a bit remove a layer of carbon. To preserve the life of the corks, right after using them I generally put them down flat on the floor to extinguish them. I've seen people put them down in a cookie sheet with a layer of water to extinguish them, but the water seems to make some of the carbon flake, so I'm not confident this really extends their life.
Permalink Submitted by Bob on Tue, 12/22/2015 - 12:17pm.
Permalink Submitted by davepatchen on Tue, 12/22/2015 - 12:18pm.


text:
Spotlight On: The Mona Lisa
Its 100 years since the Mona Lisa was stolen from the Louvre in Paris so we thought we would take a closer look at the painting that has made such a huge impression on the public and artists over the years.
On 21 August 1911 Louis Béroud, a painter, walked into the Louvre and went to the Salon Carré where the Mona Lisa had been on display and discovered it was missing. The gallery was closed for a week as the investigation got under way and even Pablo Picasso was brought in for questioning over the disappearance of the painting.
It was two years before the painting was recovered and the thief a Louvre employee Vincenzo Peruggia was uncovered. He had hidden in a broom cupboard while the museum was open and then taken the painting after hours hidden it in his coat and, after being let out by a plumber working there walked out. Peruggia was Italian and was motivated by the belief the painting should be on show in Italy rather than France. He was caught when he tried to sell the painting to the Uffizi Gallery in Florence. As a result of the theft the painting did go on a tour of Italy before being returned to the Louvre in 1913.
Over the years the painting has survived various other attacks including being doused with acid having a rock thrown at it, having paint thrown at it on a visit to Tokyo and having a mug thrown at it. Fortunately during the last two of these attacks the painting was behind its new bullet proof glass and was unharmed.
Due to its iconic status the image of the Mona Lisa has also been used by other artists. Surrealist Marcel Duchamp was one of the first to use the image and adorned a cheap reproduction with a moustache and a goatee. After the Mona Lisa's visit to America in 1963 Andy Warhol created a series of silkscreen reproductions of her similar to his works with other iconic images such as the Campbell's soup can and Marilyn Monroe. In more recent years graffiti artists such as Banksy, RYCA, Dolk and Mr Brainwash have all used the Mona Lisa in their woks both on the street and as limited editions.
Leonardo da Vinci began painting the Mona Lisa around 1503 in Florence, Italy and continued to working on it over the years and is thought to have finished it in 1519 shortly before his death. Leonardo bought the painting to France when he went there at the invitation of King François I in 1516. After Leonardo's death the King bought the painting and it has remained in France ever since.
Mona Lisa was not well known until the mid-19th century when the emerging Symbolist art movement began to appreciate it, and associated it with their ideas about feminine mystique. Since then her enigmatic smile has held the public's imagination captive and it is now perhaps the most famous painting in the world.


Puohala and Hau'ula elementary schools both have scheduled Aloha Aina community recycling drives in the near future. Hauula's is from 9 a.m. to noon Feb. 28, and Puohala is open the same hours on March 7.
They welcome all contributions from the public, in partnership with Schnitzer Steel and Kokua Hawaii Foundation's 3Rs School Recycling Program. Accepted are scrap metal, bicycles, appliances, computers, laptops, printers, cartridges and other e-waste products.
Also needed: batteries, TV sets, used cooking oil, paper, corrugated cardboard, reusable clothing and household items (for Goodwill), HI-5 containers and plastics (No. 1 and 2 containers).
Proceeds from recycler payments go to the schools. Email 3rs@kokuahawaiifoundation.org.


On the face of it 8th place in this season's climax, The National Championships at Derby may seem a disappointment, especially having reached the dizzy heights of 3rd last year. But as soon as I heard the event was to be held at Derby I knew that it would be an uphill struggle. My skills had improved hugely this year but the sticky mud and technical course was not ideal for my lanky frame.
Two weeks beforehand I was in great form in the mud at Todmorden and the beautiful Ripley Castle. Spurred on by incredible venues and tough courses I was flying but a slight bug picked up a few days before the National had drained my power and I just had to salvage all I could from the day.
Things got a bit desperate 2 hours before the race. While warming up on the course my shifter broke, rendering the bike useless. I knew that it would be all over with only the spare bike, luckily Mark from Beeline Cycles was on hand. I'd only really met him once beforehand but he happily got to work. You can tell a great mechanic not just by their ability to solve a problem but by their keenness to solve a problem. He soon had the shifter replaced with a spare, I mean who carries a spare shifter around? What a star, he saved my day.
I had seen the grassland turn to mush on the seven recce laps of the course the day before and the overnight rain and the hundreds of riders lapping throughout the day meant that by the 2pm start the course was a true quagmire.
Through 30 races in the last 17 weeks I raced on many different courses and I've strayed to lots of different leagues- Eastern, Western, Central, Notts & Derby, Yorkshire and North East. It's been such a fun season, especially a 10 day/4 race trip to Yorkshire over Christmas and New Year. We based ourselves halfway up Cragg Vale in a secluded hillside retreat, just training and racing. Although it was blowing a gale the whole time and all training was either up or down it was a fun, relaxing week and I finally got to race at Todmorden with the cobble climb which I'd heard about a few years back.
Not all races this season went to plan, but I've learnt that there's no point being upset when things go wrong in races, I was on for a flyer at the National Trophy Round 4 at Milton Keynes but major mechanical disasters with both bikes left me struggling to finish. At one point I walked off the course but knowing finishing whatever state or position is essential, I continued, and after a comical fall in the pits left me on my bum while swapping one broken bike for another broken bike I saw the funny side. The season has not been short of funny incidents and much to Davina's amusement, she was asked at the Southern Championships whether I was her dad!
So as I float sideways down a bank on the last lap at Derby in the last race of the season, seemingly out of control waiting for my Challenge Limus tyres to take grip before the bike slides from under me (and they did, what amazing tyres), and as I spit another clump of mud from my mouth, I'm sad that it will be another 8 months before these pleasures will be upon me again........ I Love Cross.


welcome from harrison township, mi. a little bit north of detroit off I-94.
i agree the road star is to low to start with but the rear shock is a weak link itself. far to weak for the job. i would look into a roadwing shock (modified gl1800 shock that i can provide if you wish) or a progressive shock. the whole shock not just a spring swap.
I have not had the adjustable links but would think that they would be able to adjust to the stock length. If you need that length I am not sure if the 1600 and your 1700 are the same. If someone has a stock link to measure you would only have to change yours once. Good luck.
Also from Southern MI. Roadwing is indeed the way to go. Along with Racetech springs and emulators in the front forks. Makes a big old pig handle as well as a big old pig is capable of handling (which really isn't too bad-just not compared to your CBR).
Where in southern MI are ya?
with a lowered look, stock ground clearances and a roadwing, it's been the best setup for me and others I know.
The Roadwing is not going to fix this lowering problem he wrote about... He either needs to adjust the dogbones to the stock length, or replace those adjustable ones with stock ones.
from Northwestern Illinois. Lots of great knowledgeable guys here to lift your bike up. Post often and ride safe.
There are the solid type arms and they are not adjustable. like the ones from Pacific Coast, if you have those type you will need to replace them with stock (oem) arms.
I have had 8 or 9 sport bikes and probablly 6 or 7 cruisers so I understand the speed at handling for sure. I also have a Honda F6B and 2 roadstars (01 & 04). Roadwing with a RAP was definitely the best upgrade for me. Have fun with it but respect it for what it is. It's not a cbr 1000 but you can still have a great time on the roadstar for sure!
...Get a Roadwing and stock dogbones. End of story.
...but no thanks. Heaven and you, are the only ones who know where it's been.
If it has adjustables, just adjust them to pick it back up. A couple of 3/4 inch wrenches and you're in business.


Most materials used in Brazilian research are written in Portuguese, but you do not need to speak or read Portuguese to do research in Brazilian records. However, you will need to know some key words and phrases to understand the records.
Because of the importance of the Roman Catholic Church to Brazil's history, you may find several other languages in Brazilian records. These include Latin, German, Italian, Polish, and other languages of European ethnic immigrants. Also, some records may be in Japanese.
Portuguese grammar may affect the way names appear in genealogical records. For help in understanding name variations, see Brazil Names, Personal.
The FamilySearch Wiki has genealogical word lists for Portuguese, German, Latin, Polish), and Spanish. There is also a Portuguese Letter-writing Guide to help write to Brazil.
The following books and English-Portuguese dictionaries can also aid you in your research. You can find these and similar material at many research libraries.
Vieyra, Anthony. Dictionary of Portuguese and English languages. London: 1827. FHL 1181694 item 5 The Family History Library has only part two, English- Portuguese.
Additional language aids, including dictionaries of various dialects and time periods, are listed in the FamilySearch Catalog in the "Subjects" search for BRAZIL- LANGUAGE AND LANGUAGES or PORTUGUESE LANGUAGE- DICTIONARIES.
This page was last modified on 9 March 2018, at 21:44.


text:
ES PT
Portrait of Manuelita Rosas (Retrato de Manuelita Rosas)
Pueyrredón, Prilidiano
(Argentina,Buenos Aires, 1823 - Argentina, Buenos Aires, 1870)
Geographic location:
Museo Historico Nacional
Date/era:
Arte Siglo XIX (1800-1910)
Argentina S.XIX
Object Type / Material:
199 x 166 cm. - Frame: 222,5 x 186,5 x 7 cm.
More informationabout the work
Accession Number 3188
Exhibited work
Commentary on Portrait of Manuelita Rosas (Retrato de Manuelita Rosas)
Prilidiano Pueyrredón returned from Europe in 1851, after having left Buenos Aires in 1835. His father, Juan Martín de Pueyrredón, ex-Director Supremo de las Provincias Unidas del Río de la Plata, a central figure in the revolution for independence, had opted for exile in the advent of the faculties granted to Juan Manuel de Rosas under the Suma de Poder Público. This decision enabled Prilidiano to obtain a European education, in addition to his knowledge of the artistic manifestations of the Imperial court in Brazil, acquired during a stay there between 1841 and 1843. The family returned in 1849 due to his father's illness, who died in March of the following year. Shortly after finishing the portrait of Manuelita, Pueyrredón traveled to Spain. He settled definitively in Buenos Aires in 1854. The only works known from his first stay in the city as an artist are this portrait of Manuelita Rosas and another, unfinished one of his unrequited love Magdalena Costa, and probably the beginnings of a portrait of his father. It is a group marked by affection, if we consider the version that describes an old childhood friendship between the artist and the woman portrayed. It is plausible that his father's death would have permitted young Pueyrredón to receive the commission for the portrait of Manuelita, due to his insistence before an ad hoc committee that included Juan Nepomuceno Terrero, Luis Dorrego and Gervasio Ortiz de Rozas. This committee defined the color of her dress and the pose, "more analogous with morality and rank" to be used (1). Her dress, then, should necessarily be the "red of the federal fatherland" and she should be portrayed "with a cheerful expression", in the "act of placing a request addressed to her daddy on the table in his study. The young woman's kindness would thus be represented in her smile; and her occupation as intermediary between the people and the Supreme Chief, in the request she places on the table". In this large formal portrait, different variations of red are used to paint the majority of the objects represented, from the velvet dress in the latest style, the rug, the curtains, the chair and even the little bouquet in the Elizabethan vase. The 34 year-old woman portrayed is shown full-figure, angled slightly to the right with a marked contrast against the greenish background. The white lace in the skirt, discussed between the artist and the committee in order to improve the painting's visual effect, adds luminosity to the uniform chromatic structure. One surprising detail is the punctual note of white in her silk slipper. She dons an outstanding set of diamond jewelry: a diadem worn with a bandeau hairstyle that accompanies a rebellious, bright red bow, a necklace that stands out against the open space above the "bertha" neckline (2), earrings and a brooch, in addition to gold bracelets with precious stones and rings worn on both hands.The objective of the commission was to show the painting at the gala ball held in her honor, organized by the committee formed by Baldomero García, Eustaquio José Torres and Juan Manuel de Larrazábal, the plan for which also included distributing lithographs of the portrait among those present. A sketch, with a few minor variants of her dress, may have been submitted by the artist for approval. The model followed was that of European portraits of royalty, in the same style used by Federico de Madrazo and Carlos Luis de Ribera in Spain (3).Following the Pronuncement against Rosas in May of 1851, federal party supporters in Buenos Aires were obliged to reinforce their usual "federal expressions" in the regime's functions (4). Although it pertains to the universe of these political practices, the portrait of Manuelita nevertheless expresses a change in the use of images, primarily occupied until then by the omnipresent effigy of Rosas. The image of Manuelita—someone who even the Unitarians held in esteem—was postulated as an intermediary between the people and the government; in other words, it was a gesture auguring increased openness toward a greater level of consensus. In a subtle way, Pueyrredón incorporated the presence of Rosas not only in the request that Manuelita leaves on the table in her father's study, but also in the Luis XV style chair: the initial "R" is embroidered in gold on the red tapestry. This portrait is the affirmation of Manuelita as a federal example of filial love and mercy - private virtues that in the case of becoming public were never as necessary as in the face of the regime's impending demise.
by Roberto Amigo
1— José Mármol, La semana, Montevideo, October 6, 1851 in: Burlando de Meyer, 1971.
2— Regarding the details of the dress, cf. Marino, 2007.
3— There is a notorious similarity between this and the portrait of Isabel de Borbón, in terms of the pose and clothing; however, it is highly improbable that Pueyrredón would have been familiar with it, even more so in light of the fact that Ribera executed it in 1850.
4— Ricardo Salvatore, "Expresiones federales: formas políticas del federalismo rosista" in: Noemí Goldman and Ricardo Salvatore (comp.), Caudillismos rioplatenses: nuevas miradas a un viejo problema. Buenos Aires, Eudeba, 1998, p. 189.
1907. SALDÍAS, Adolfo, Papeles de Rosas. La Plata, t. 2, p. 160-171.
1918. SIBELIUS, Marco, "Orígenes de la pintura argentina", Augusta. Revista de arte, Buenos Aires, vol. 1, nº 2, julio, p. 58.
1933. SCHIAFFINO, Eduardo, La pintura y la escultura en la Argentina. Buenos Aires, edición del autor, p. 156, reprod. p. 155.
1937. PAGANO, José León, El arte de los argentinos. Buenos Aires, edición del autor, vol. 1, p. 203-204, il. 6.
1939. PRINS, Enrique, Fine Arts in Argentina. Buenos Aires, Argentina committee, New York World's Fair and Golden Gate Exposition, il. 14.
1940. DELLEPIANE, Antonio, "Manuelita y su pintor" en: Arte e historia. Buenos Aires, Imp. Porter. — ROMERO BREST, Jorge, Prilidiano Pueyrredón. Buenos Aires, Losada, p. 7, 20, il. 4.
1944. D'ONOFRIO, Arminda, La época y el arte de Prilidiano Pueyrredón. Buenos Aires, Sudamericana, p. 16, il. 3.
1945. PAGANO, José León, Prilidiano Pueyrredón. Buenos Aires, Academia Nacional de Bellas Artes, p. 16, 33-39, 67, reprod. color nº 66.
1954. PRANDO, Alberto, "Un siglo de pintura en la Argentina", ARS. Revista de arte, Buenos Aires, a. 13, nº 65, reprod. [s.p.].
1960. PAGANO, José León, "La pintura en el sesquicentenario de la independencia", ARS. Revista de arte, Buenos Aires, a. 20, nº 89, reprod. [s.p.].
1961. LANUZA, José Luis, Pintores del viejo Buenos Aires. Buenos Aires, Ediciones Culturales Argentinas, p. 50-51.
1965. BRUGHETTI, Romualdo, Historia del arte en la Argentina. México DF, Pormaca, p. 29, reprod. [s.p.].
1966. ROMERO BREST, Jorge, "Prilidiano Pueyrredón" en: AA.VV., Argentina en el arte. Buenos Aires, Viscontea, p. 22, reprod. color p. 23. — OLIVER, Samuel, "El retrato en el siglo XIX" en: AA.VV., Argentina en el arte. Buenos Aires, Viscontea, p. 43-44, reprod. color p. 41.
1968. GESUALDO, Vicente, Enciclopedia del arte en América. Buenos Aires, Bibliográfica Omeba, t. 1 y t. 5, p. 72, reprod. p. 57.
1971. BURLANDO DE MEYER, María Elvira, "El Manuelita Rosas de Prilidiano Pueyrredón", La Prensa, sección ilustrada de los domingos, Buenos Aires, 24 de enero.
1977. EDER, Rita, "La pintura del siglo XIX en Latinoamérica: en torno a una visión americana", Anales del Instituto de Investigaciones Estéticas, México, UNAM, vol. 13, nº 47, p. 37-43, reprod. byn nº 2.
1982. RIBERA, Adolfo Luis, El retrato en Buenos Aires 1580-1870. Buenos Aires, UBA, p. 335-336, reprod. [s.p.].
1984. RIBERA, Adolfo Luis, "La pintura" en: AA.VV., Historia general del arte en la Argentina. Buenos Aires, Academia Nacional de Bellas Artes, vol. 3, p. 314-318, reprod. color p. 316-317.
1985. ZERDA, Jorge A., "Manuela de Rosas y Ezcurra de Prilidiano Pueyrredón", Boletín del Instituto de Historia del Arte Argentino y Americano, La Plata, a. 9, nº 7, octubre, p. 83-92, reprod. p. 85.
1991. BRUGHETTI, Romualdo, Nueva historia de la pintura y la escultura en la Argentina. Buenos Aires, Gaglianone, p. 37.
1999. LUNA, Félix; Roberto Amigo y Patricia Laura Giunta, Prilidiano Pueyrredón. Buenos Aires, Banco Velox, p. 31-85, reprod. color p. 87. — MUNILLA LACASA, María Lía, "Siglo XIX: 1810-1870" en: José Emilio Burucúa (dir.), Nueva historia argentina. Arte, sociedad y política. Buenos Aires, Sudamericana, vol. 1, p. 144-145, reprod. color p. 144.
2001. DUJOVNE ORTIZ, Alicia, "En busca de la intimidad" en: AA.VV., Pintura argentina. Panorama del período 1810-2000. Buenos Aires, Banco Velox, vol. 2, p. 6, reprod. color p. 4.
2005. LÓPEZ ANAYA, Jorge, Arte argentino. Cuatro siglos de historia (1600-2000). Buenos Aires, Emecé, p. 68.
2007. MARINO, Marcelo, "Manuela Rosas. Su apariencia entre un daguerrotipo y una pintura" en: Imágenes perdidas: censura, olvido, descuido. IV Congreso Internacional de Teoría e Historia del Arte/XII Jornadas de CAIA. Buenos Aires, CAIA, p. 461-471.
Works and related visit itineraries
A stop in the countryside (Un alto en el campo)
Pueyrredón, Prilidiano. 1861
The maid awakens (Le lever de la bonne)
Sívori, Eduardo. 1887
After the Battle of Curupaytí (Después de la Batalla de Curupaytí)
López, Cándido. 1893
Woman of the sea (Femme a la mer)
Gauguin, Paul. 1892
Without Bread and Without Work (Sin pan y sin trabajo)
Cárcova, Ernesto de la. 1894
Joven oriental
Romani, Juana. ca. 1888-1895
A walk through the Museum
A Proposed itinerary for those who visit the Museum for the first time, where it is suggested to visit the masterpieces of ...
Access exclusive benefits prepared for you to enjoy and share your passion for art
Browse the collection ›
Argentinian art
A vast panorama of Argentinean art, including works by its greatest representatives
Browse collection ›
Get to know the great works on exhibit, and more
Tuesday: from 11 a.m. to 8 p.m.
Wednesday: from 11 a.m. to 8 p.m.
Thursday: from 11 a.m. to 8 p.m.
Friday: from 11 a.m. to 8 p.m.
Saturday: from 10 a.m. to 8 p.m.
Sunday: from 10 a.m. to 8 p.m.
Other museums to visit


text:
Q: How to find a breakdown of db size to identify the high space consumer - postgresql I am trying to find the size of my database
I tried the below codes
option 1
select t1.datname AS db_name,
       pg_size_pretty(pg_database_size(t1.datname)) as db_size
from pg_database t1
order by pg_database_size(t1.datname) desc;

option 2
\l+

Both the option return an output of ~2500 GB for db1. But the fact is our data (for db1) is only around 50 GB.
This size of 2500 gb seems impossible (based on my knowledge).
Can you guys help me understand whether table definitions, index setup etc and all can take up so much space?
Is there anyway to find out which one is causing/consuming a such huge space? I would like to know the breakdown of db1. So, I can find out which part of db1 is consuming so much space. Ideally the data for db1 is only 40-50 gb.
option 1 output
"db1"   "2533 GB"
"dreAm" "23 GB"
"db2"   "23 GB"
"db3"   "20 MB"
"postgres"  "7481 kB"
"template1" "7481 kB"
"template0" "7473 kB"

option 2 output
  Name    |    Owner    | Encoding |  Collate   |   Ctype    |      Access privileges      |  Size   | Tablespace |                Description
-----------+-------------+----------+------------+------------+-----------------------------+---------+------------+--------------------------------------------
 db2       | test2       | UTF8     | en_US.utf8 | en_US.utf8 | =Tc/dc                     +| 23 GB   | pg_default |
           |             |          |            |            | dc=CTc/dc                  +|         |            |
           |             |          |            |            | webapi_sa=c/dc              |         |            |
 db3       | dream       | UTF8     | en_US.utf8 | en_US.utf8 |                             | 23 GB   | pg_default |
 db1       | test1       | UTF8     | en_US.utf8 | en_US.utf8 | =Tc/kt                     +| 2533 GB | pg_default |
           |             |          |            |            | ktph=CTc/kt                +|         |            |
           |             |          |            |            | webapi_sa=c/ktph           +|         |            |
           |             |          |            |            | za=c/kt                     |         |            |
 test      | test_admin  | UTF8     | en_US.utf8 | en_US.utf8 | =Tc/test_admin             +| 20 MB   | pg_default | test database
           |             |          |            |            | test_admin=CTc/test_admin+  |         |            |
           |             |          |            |            | test_app=Tc/test_admin      |         |            |
 postgres  | postgres    | UTF8     | en_US.utf8 | en_US.utf8 |                             | 7481 kB | pg_default | default administrative connection database
 template0 | postgres    | UTF8     | en_US.utf8 | en_US.utf8 | =c/postgres                +| 7473 kB | pg_default | unmodifiable empty database
           |             |          |            |            | postgres=CTc/postgres       |         |            |
 template1 | postgres    | UTF8     | en_US.utf8 | en_US.utf8 | =c/postgres                +| 7481 kB | pg_default | default template for new databases

While I found the schema under which occupies the largest memory, I am not able to list the size of tables under that schema using below code
select table_name, pg_size_pretty(pg_total_relation_size(quote_ident(table_name)))
from information_schema.tables
where table_schema = 'results'
order by pg_total_relation_size(quote_ident(table_name));

When I do the above, I get an error message ERROR:  relation "metadata" does not exist SQL state: 42P01
But we do have metadata table in our database. However, it is empty. May I know why does this happen? Is there any other way to find the size of tables under each schema?

A: One or more of your tables are bloated.
Connect to the database and find your largest objects:
SELECT oid::regclass,
       pg_table_size(oid) AS size
FROM pg_class
ORDER BY size DESC;

This includes the TOAST table size.
Once you have found your candidate, use pgstattuple to confirm bloat:
CREATE EXTENSION pgstattuple;
\x
SELECT * FROM pgstattuple_approx('bloated_table');

Fix the problem with VACUUM (FULL) and investigate and fix the cause.

redpajama_set_name: RedPajamaStackExchange


The Master in Design Engineering (MDE) program prepares the next generation of leaders to create transformative solutions that positively improve society. The integrated fields of design and engineering are uniquely positioned to address the world's toughest challenges.
Our world faces increasingly complex, often unpredictable dilemmas of consequence to human lives and living environments, including rapid urbanization, climate change, and resource scarcity. These and other problems demand a deep and systems-level understanding of the underlying problem architecture, which in turn enables innovative, multi-faceted solutions that transcend disciplines and scales. The MDE program prepares innovators who operate both creatively and analytically, think strategically, and collaborate broadly. MDE graduates lead change and advance novel, real-world solutions.
To learn more about the curriculum, admissions criteria, resources, student life, and more, visit the Master in Design Engineering website.


text:
<?php
// +---------------------------------------------------------------------
// | ThinkCMF [ WE CAN DO IT MORE SIMPLE ]
// +---------------------------------------------------------------------
// | Copyright (c) 2013-2014 http://www.thinkcmf.com All rights reserved.
// +---------------------------------------------------------------------
// | Licensed ( http://www.apache.org/licenses/LICENSE-2.0 )
// +---------------------------------------------------------------------
// | Author: Dean <zxxjjforever@163.com>
// +---------------------------------------------------------------------
namespace cmf\lib;

use think\exception\TemplateNotFoundException;
use think\Lang;
use think\Loader;
use think\Request;
use think\View;
use think\Config;
use think\Db;

/**
 * 插件类
 */
abstract class Plugin
{
    /**
     * 视图实例对象
     * @var view
     * @access protected
     */
    private $view = null;

    /**
     * $info = array(
     *  'name'=>'Helloworld',
     *  'title'=>'Helloworld',
     *  'description'=>'Helloworld',
     *  'status'=>1,
     *  'author'=>'thinkcmf',
     *  'version'=>'1.0'
     *  )
     */
    public $info = [];
    private $pluginPath = '';
    private $name = '';
    private $configFilePath = '';
    private $themeRoot = "";

    public function __construct()
    {

        $request = Request::instance();

        $engineConfig = Config::get('template');

        $this->name = $this->getName();

        $nameCStyle = Loader::parseName($this->name);

        $this->pluginPath     = PLUGINS_PATH . $nameCStyle . '/';
        $this->configFilePath = $this->pluginPath . 'config.php';

        $config = $this->getConfig();

        $theme = isset($config['theme']) ? $config['theme'] : '';

        $depr = "/";

        $root = cmf_get_root();

        $themeDir = empty($theme) ? "" : '/' . $theme;

        $themePath = 'view' . $themeDir;

        $this->themeRoot = $this->pluginPath . $themePath . '/';

        $engineConfig['view_base'] = $this->themeRoot;

        $pluginRoot = $root . "/plugins/{$nameCStyle}";

        $cmfAdminThemePath    = config('cmf_admin_theme_path');
        $cmfAdminDefaultTheme = config('cmf_admin_default_theme');

        $adminThemePath = "{$cmfAdminThemePath}{$cmfAdminDefaultTheme}";

        //使cdn设置生效
        $cdnSettings = cmf_get_option('cdn_settings');
        if (empty($cdnSettings['cdn_static_root'])) {
            $replaceConfig = [
                '__PLUGIN_TMPL__' => $pluginRoot . '/' . $themePath,
                '__PLUGIN_ROOT__' => $pluginRoot,
                '__ADMIN_TMPL__'  => "{$root}/{$adminThemePath}",
                '__STATIC__'      => "{$root}/static",
                '__WEB_ROOT__'    => $root
            ];
        } else {
            $cdnStaticRoot = rtrim($cdnSettings['cdn_static_root'], '/');
            $replaceConfig = [
                '__PLUGIN_TMPL__' => $cdnStaticRoot . '/' . $pluginRoot . '/' . $themePath,
                '__PLUGIN_ROOT__' => $cdnStaticRoot . '/' . $pluginRoot,
                '__ADMIN_TMPL__'  => "{$cdnStaticRoot}/{$adminThemePath}",
                '__STATIC__'      => "{$cdnStaticRoot}/static",
                '__WEB_ROOT__'    => $cdnStaticRoot
            ];
        }

        $this->view = new View($engineConfig, $replaceConfig);

        //加载多语言
        $langSet   = $request->langset();
        $lang_file = $this->pluginPath . "lang/" . $langSet . ".php";
        Lang::load($lang_file);

    }

    /**
     * 加载模板输出
     * @access protected
     * @param string $template 模板文件名
     * @return mixed
     */
    final protected function fetch($template)
    {
        if (!is_file($template)) {
            $engineConfig = Config::get('template');
            $template     = $this->themeRoot . $template . '.' . $engineConfig['view_suffix'];
        }

        // 模板不存在 抛出异常
        if (!is_file($template)) {
            throw new TemplateNotFoundException('template not exists:' . $template, $template);
        }

        return $this->view->fetch($template);
    }

    /**
     * 渲染内容输出
     * @access protected
     * @param string $content 模板内容
     * @return mixed
     */
    final protected function display($content = '')
    {
        return $this->view->display($content);
    }

    /**
     * 模板变量赋值
     * @access protected
     * @param mixed $name 要显示的模板变量
     * @param mixed $value 变量的值
     * @return void
     */
    final protected function assign($name, $value = '')
    {
        $this->view->assign($name, $value);
    }

    /**
     * 获取插件名
     * @return string
     */
    final public function getName()
    {
        if (empty($this->name)) {
            $class = get_class($this);

            $this->name = substr($class, strrpos($class, '\\') + 1, -6);
        }

        return $this->name;

    }

    /**
     * 检查插件信息完整性
     * @return bool
     */
    final public function checkInfo()
    {
        $infoCheckKeys = ['name', 'title', 'description', 'status', 'author', 'version'];
        foreach ($infoCheckKeys as $value) {
            if (!array_key_exists($value, $this->info))
                return false;
        }
        return true;
    }

    /**
     * 获取插件根目录绝对路径
     * @return string
     */
    final public function getPluginPath()
    {

        return $this->pluginPath;
    }

    /**
     * 获取插件配置文件绝对路径
     * @return string
     */
    final public function getConfigFilePath()
    {
        return $this->configFilePath;
    }

    /**
     *
     * @return string
     */
    final public function getThemeRoot()
    {
        return $this->themeRoot;
    }

    /**
     * @return View
     */
    public function getView()
    {
        return $this->view;
    }

    /**
     * 获取插件的配置数组
     * @return array
     */
    final public function getConfig()
    {
        static $_config = [];
        $name = $this->getName();
        if (isset($_config[$name])) {
            return $_config[$name];
        }

        $config = Db::name('plugin')->where('name', $name)->value('config');

        if (!empty($config) && $config != "null") {
            $config = json_decode($config, true);
        } else {
            $config = $this->getDefaultConfig();

        }
        $_config[$name] = $config;
        return $config;
    }

    /**
     * 获取插件的配置数组
     * @return array
     */
    final public function getDefaultConfig()
    {
        $config = [];
        if (file_exists($this->configFilePath)) {
            $tempArr = include $this->configFilePath;
            if (!empty($tempArr)) {
                foreach ($tempArr as $key => $value) {
                    if ($value['type'] == 'group') {
                        foreach ($value['options'] as $gkey => $gvalue) {
                            foreach ($gvalue['options'] as $ikey => $ivalue) {
                                $config[$ikey] = $ivalue['value'];
                            }
                        }
                    } else {
                        $config[$key] = $tempArr[$key]['value'];
                    }
                }
            }
        }

        return $config;
    }

    //必须实现安装
    abstract public function install();

    //必须卸载插件方法
    abstract public function uninstall();
}

redpajama_set_name: RedPajamaGithub


Hotels in Claremont, California, are partnering with the town's annual Midsummer Shakespeare Festival to offer a "Room and Bard" package that includes festival tickets and gourmet treats to enjoy during the performance under the stars.
The fifth annual Midsummer Shakespeare Festival presented by Ophelia's Jump Productions runs July 12-22, 2018, Thursday to Sunday evenings at the Sontag Greek Theatre at Pomona College. This year's shows, performed in repertory, are Romeo and Juliet, performed in English and American Sign Language (July 13-15-19-21), and As You Like It (July 12-14-20-22).
The Discover Claremont "Room and Bard" package includes a comfortable guest room; two tickets to one performance; a selection of gourmet treats and a split of wine, packed in an insulated tote; and padded seats to borrow for the evening. The value of the two tickets, two chair rentals, picnic with split of wine, and take-home tote is $136.
Guests at DoubleTree will enjoy a picnic specially prepared by the hotel's chef. Packing House Wines will provide wine and picnic options for guests of Hotel Casa 425, Claremont Lodge, Knights Inn and Motel 6.
Claremont, located just 30 miles east of Los Angeles, is one of America's top college towns. Visitor attractions include Grammy-winner Ben Harper's Folk Music Center and Museum; the 86-acre Rancho Santa Ana Botanic Garden; restaurants and boutiques in the walkable Claremont Village; museums and public art at the Claremont Colleges; Candlelight Pavilion Dinner Theater; Raymond M. Alf Museum of Paleontology; and the refurbished Claremont Packing House food and entertainment center. Find specials and visitor information here on DiscoverClaremont.com.


text:
US attempt to improve wildland firefighter shelters fails
FILE - In this Nov. 9, 2018 file photo, firefighter Jose Corona sprays water as flames from the Camp Fire consume a home in Magalia, Calif. Federal officials say an effort to develop a better fire shelter following the deaths of 19 wildland firefighters in Arizona six years ago has failed. Officials at the National Interagency Fire Center in Boise in a decision on Wednesday, May 15, 2019 say the current fire shelter developed in 2002 will remain in use, saying the current shelter combines the most practical level of protection balanced against weight, bulk and durability.Noah Berger / AP
Keith Ridler
PMN News
BOISE, Idaho — An effort to develop a better fire shelter following the deaths of 19 wildland firefighters in Arizona six years ago has failed.
Officials at the National Interagency Fire Center in Boise in a decision on Wednesday said the current fire shelter developed in 2002 will remain in use.
The Arizona firefighters had deployed that same type of shelter in 2013, but still died in the blaze. Last year, however, two wildland firefighters on two separate wildfires used their fire shelters and survived without burn injuries, officials said.
The National Wildfire Coordinating Group's executive board determined the current shelter combines the most practical amount of protection balanced against weight, bulk and durability.
The U.S. "Forest Service conducted an exhaustive search of materials and designs, working with 23 different entities that produced hundreds of different materials and combinations," officials said.
Researchers were tasked to create a shelter that could repel radiant heat, which is felt standing near flames, and convective heat, felt if you put a hand into the fire.
The current 4.5-pound (2-kilogram) shelter with an aluminum foil-woven silica outer shell can withstand direct flames and 2,000 degrees (1,090 Celsius) for about a minute.
A survey among front-line firefighters at the start of the development process for a potential new fire shelter found that less than 5% wanted to carry a heavier, more protective shelter. About half wanted a lighter shelter with the same protection, and most of the rest wanted a shelter of similar weight with better protection.
Firefighters typically carry 40 or 50 pounds (18 or 23 kilograms) of gear, and officials said studies have found that carrying heavier packs could increase fatigue and lead to poor decision making in potentially dangerous and fast-changing situations.
Researchers came up with four prototypes that were sent into the field last year — two for line-going firefighters and two for equipment operators.
Officials said one of the prototypes for line-going firefighters was lighter, smaller and performed better than the current shelter but was eliminated due to failing production requirements.
Another for line-going firefighters outlasted the current shelter by 37 seconds in a direct-flame test, but was 1 pound (.5 kilograms) heavier than the current shelter and also bulkier.
A rejected prototype shelter for equipment operators was four times the size of the current shelter and 1.5 pounds (.7 kilograms) heavier.
Ultimately, officials determined the current shelter remained the best option. A factor in the decision, officials said, was a decreasing trend in the number of annual fire shelter deployments.
The current shelter was developed following the deaths of 14 firefighters on Colorado's Storm King Mountain in 1994. Federal officials hoped to replace the current fire shelter following the 2013 deaths in the Arizona wildfire.
Those two fires are among the deadliest for wildland firefighters in U.S. history and the worst since fire shelters became mandatory in 1977.


text:
Do Video Games Inspire Violent Behavior?
Conventional wisdom suggests violent media is harming kids. But sometimes a game is just a game
By Greg Toppo on July 1, 2015
Credit: Illustration by ELEVENDY
Fast but Not So Furious
Children who observe an adult acting violently tend to follow suit when they are frustrated.
Violent games appear to be effective teachers of aggressive attitudes.
Research has failed to show a causal relation between playing violent games and perpetrating violent acts.
The fighting that kids engage in with video games is more akin to play than violence.
On the morning of August 12, 2013, nearly eight months after 20-year-old Adam Lanza shot his way into Sandy Hook Elementary School in Newtown, Conn., and killed 26 people, Michael Mudry, an investigator with the Connecticut State Police, drove to nearby Danbury to try to solve a little mystery. Police had found a Garmin GPS unit in Lanza's house, and its records showed that the gunman had driven to the same spot nine times in April, May and June 2012, arriving around midnight each time and staying for hours.
The GPS readout took Mudry to the vast parking lot of a suburban shopping center, about 14 miles west of Lanza's home. Workers at a movie theater there immediately recognized Lanza from a photograph. He was at the theater constantly, they told Mudry, but never to see movies. He came to the lobby to play an arcade game, the same one, over and over again, sometimes for eight to 10 hours a night. Witnesses said he would whip himself into a frenzy, and on occasion the theater manager had to unplug the game to get him to leave.
Police had been scouring Lanza's home since the shootings, and on his computer hard drive they found information on weapons magazine capacities, images of Columbine killers Eric Harris and Dylan Klebold, copies of the violent movies Bloody Wednesday and Rampage, and a list of ingredients for TNT. And like many teenaged boys, Lanza owned the typical first-person shooter, fighting and action games: Call of Duty, Dead or Alive, Grand Theft Auto.
But those weren't the games that possessed Lanza at the movie theater. The title that so consumed the Sandy Hook shooter? Dance Dance Revolution—an arcade staple that has players dance on colored squares to the rhythm of Asian techno-pop. That discovery not only surprised investigators, it also was at odds with overheated speculation in the media and around dinner tables that violent video games had helped turn Lanza into a killer.
Yet no one knows how any of these games—Dance Dance Revolution included—might have affected a kid who was clearly struggling. The truth is that decades of research have turned up no reliable causal link between playing violent video games and perpetrating actual violence. This is not to say that games have no effect. They're built to have an effect. It's just not necessarily the one that most people think.
A tradition of worry
The implicit connection between violent media and violent behavior is so old that, like a barnacle clinging to a hull, it's not easily dislodged. The notion dates at least to the Victorian era, when educators, tastemakers and clergymen began criticizing what was then a fairly raucous popular culture. Violent, sex-soaked dime novels and penny-dreadful magazines were immensely popular, and upstanding publications such as Harper's and the Atlantic Monthly took delight in denouncing them. Author and critic Harold Schechter, whose 2005 book Savage Pastimes lays out a social history of violent entertainment, notes that the trend divided the literati of the time. Ralph Waldo Emerson complained about his countrymen "reading all day murders & railroad accidents," but Nathaniel Hawthorne loved the scandal sheets so much that he had a friend ship stacks of them to Liverpool, England, while he lived abroad as a U.S. consul. The belle of Amherst herself, Emily Dickinson, relished stories of "those funny accidents where railroads meet each other, and gentlemen in factories get their heads cut off quite informally."
The 20th century saw criticism grow more robust. In 1936 Catholic scholar John K. Ryan laid out what he called the "mental food of American children," as seen through the media they consumed. It was a long menu, one that included "sadism, cannibalism, bestiality. Crude eroticism. Torturing, killing, kidnapping." He was talking about daily newspaper comic strips. In 1947 critic and actor John Houseman lodged similar complaints about cartoons on television. They "run red with horrible savagery," he wrote.
Into this fray entered Stanford University psychologist Albert Bandura, now 89, whose experimental studies in the early 1960s established the theoretical basis for limiting kids' access to violent media. In a 1961 study, Bandura and his colleagues gathered 72 preschoolers. Laboratory assistants led the kids, one at a time, into a playroom, where they sat at a small table and received instruction on how to make potato-print pictures. Soon another adult entered the room and settled into the opposite corner with a Tinkertoy set, a mallet and a five-foot, inflated Bobo clown doll, the kind that rights itself if knocked over. The adult then either quietly assembled the Tinkertoys, ignoring Bobo, or turned to the doll and began "aggressing toward it"—punching it, sitting on it, kicking it around the room, all the while saying things such as "Sock him in the nose!" and "Pow!"
After 10 minutes, each child was led into another room and invited to play with some "relatively attractive toys," such as a fire engine, a spinning top and a doll set. But after two minutes, a lab assistant announced that these were "her very best toys" and that she'd decided to reserve them for other children. The kids were swept into a third room that held more toys, both "aggressive and nonaggressive": a tea set, crayons, dart guns, a mallet … and a three-foot Bobo doll. You see where this is going.
Faced with the frustration of having nice new toys suddenly snatched away, the preschoolers who had watched Bobo get mistreated were more likely than the others to take out their aggression on the mini Bobo. Bandura repeated the experiment in 1963, using film and cartoon depictions of Bobo's mistreatment, with similar results. The conclusions seemed clear: watching unchecked aggression in real life, on film or in cartoons makes us more aggressive because it provides us with "social scripts" to guide our behavior. Bandura's conclusions opened a floodgate of "media effects" research that continues today.
The problem is that many of the findings, especially when applied to children's media and play, are misleading at best. Critic Gerard Jones, whose 2003 book Killing Monsters makes a case for giving kids access to "make-believe violence," writes: "There is no evidence to suggest that punching an inflatable clown has any connection to real-life violence." In many cases, he and others say, researchers mistake natural competitiveness or the effects of discomfort for aggression or mislabel the subjects' temporary aggression as behavior that holds the potential for violence. In an often quoted 1976 study led by Brian Coates at Washington State University, researchers found that preschoolers who watched the famously mild Mister Rogers' Neighborhood were three times more aggressive afterward. Jones suggests that the experiment itself may have made kids anxious or even angry by compelling them to "sit in a hard plastic chair in a strange room" and watch TV on cue.
It was the 1999 Columbine High School shootings that got many Americans thinking about violent video games. After the attacks, victims' families sued more than two dozen game makers, saying titles such as Doom, a first-person shooter that the two teen gunmen played, desensitized them to violence. A judge dismissed the lawsuits, but the post-Columbine uproar led more researchers to begin dissecting games, much as Bandura did for TV, in search of the roots of aggression.
Deciphering the data
A few studies tried to draw distinctions between good and bad games. In a 2010 experiment, Tobias Greitemeyer, then at the University of Sussex in England, and Silvia Osswald of Ludwig Maximilian University in Germany asked subjects to play one of three video games—either a "prosocial" game, an "aggressive" game or the "neutral" game Tetris. After eight minutes, an experimenter reached for a stack of questionnaires but "accidentally" knocked a cup of pencils off the table and onto the floor. Participants who had played the prosocial game were twice as likely to help pick up the pencils as those who played the neutral or aggressive game.
Others have tried to tease out the aftereffects of playing violent games. In a 2012 study, Andr Melzer of the University of Luxembourg, along with Mario Gollwitzer of Philipps University Marburg in Germany, found that inexperienced players felt a need to "cleanse" themselves after playing a violent video game (the so-called Macbeth effect: "Out, damned spot!"). Researchers asked subjects to play either a driving game or the mayhem-heavy Grand Theft Auto for 15 minutes, then pick gifts from an assortment, half "hygienic" (shower gel, deodorant, toothpaste) and half nonhygienic (gummy bears, Post-it notes, a box of tea). Inexperienced players who played Grand Theft Auto were more likely to pick out hygienic products than were experienced players or inexperienced players who had played the driving game.
But neither of those studies make the case that these games lead to real-word violence. Although drawing conclusions about small population subgroups—such as kids at risk of violence—from broad population trends can be dicey, it is still worth noting that as violent video games proliferated in recent years, the number of violent youthful offenders fell—by more than half between 1994 and 2010, according to the U.S. Department of Justice. This trend is not what you would expect if these games had the power to make good boys go bad. Indeed, in a 2011 analysis of game sales from 2004 to 2008, A. Scott Cunningham of Baylor University, Benjamin Engelsttter of the Center for European Economic Research in Mannheim, Germany, and Michael R. Ward of the University of Texas at Arlington found that higher rates of violent game sales actually coincided with a drop in crimes, especially violent crimes. They concluded that any negative behavioral effects playing violent games might have are more than offset because violent people are drawn to such games, and the more they play, the less time they have for crime.
Even if violent video games are not turning people into killers, we might still wonder if they are harming our kids in subtler ways. As psychologist Douglas A. Gentile of Iowa State University puts it, whatever we practice repeatedly affects the brain. If we practice aggressive ways of thinking, feeling and reacting, he writes, "then we will get better at those." In a 2008 survey on the gaming habits of about 2,500 young people, Gentile and his father, psychologist J. Ronald Gentile, found that children and adolescents who played more violent games were likelier to report "aggressive cognitions and behaviors." They concluded that violent video games "appear to be exemplary teachers of aggression." They also found that eighth and ninth graders who played violent games more frequently displayed greater "hostile attribution bias" (being vigilant for enemies) and got into more arguments with teachers.
The greatest worry is the impact on children who are already at risk. "Media is most powerful in our lives when it reinforces our existing values," media scholar Henry Jenkins, now at the University of Southern California, said in a 2003 episode of Religion & Ethics Newsweekly. Indeed, Jenkins argued in an essay for PBS, a child who responds to a video game the same way he or she does to a real-world trauma could be showing symptoms of an emotional disturbance. So used in the right setting, a violent game could actually serve as a diagnostic tool.
But beyond such special circumstances, media effects research, with its Bobo dolls as markers of real-world aggression, is problematic. The fighting kids do in physical games and video games alike is just a simulation. In other words, it is play. It looks like fighting, wrote Brian Sutton-Smith, the late renowned play theorist, in his book The Ambiguity of Play, "but it is also the opposite of fighting … carried on by those who are not enemies and who do not intend to harm each other."
In a way, we are pointing fingers at the wrong people. When we worry that a violent game is going to turn our kids into killers, aren't we the ones who can't tell fantasy from reality? Kids already know the difference.
Adapted from The Game Believes in You: How Digital Play Can Make Our Kids Smarter, with permission from Palgrave Macmillan, a division of St. Martin's Press. Copyright 2015.
This article was originally published with the title "How Violent Video Games Really Affect Kids" in SA Mind 26, 4, 40-45 (July 2015)
doi:10.1038/scientificamericanmind0715-40
The Ambiguity of Play. Brian Sutton-Smith. Harvard University Press, 1997.
Killing Monsters: Why Children Need Fantasy, Super Heroes, and Make-Believe Violence. Gerard Jones. Basic Books, 2002.
Savage Pastimes: A Cultural History of Violent Entertainment. Harold Schechter. St. Martin's Press, 2005.
Violent Video Games as Exemplary Teachers: A Conceptual Analysis. Douglas A. Gentile and J. Ronald Gentile in Journal of Youth and Adolescence, Vol. 37, No. 2, pages 127–141; February 2008.
Brains on Video Games. Daphne Bavelier et al. in Nature Reviews Neuroscience, Vol. 12, pages 763–768; December 2011.
From Our Archives
Brain-Changing Games. Lydia Denworth; January/February 2013.
GREG TOPPO is the national education and demographics reporter for USA Today.
How Video Games Change the Brain
January 1, 2013 — Lydia Denworth
Scientific American Mind Volume 26, Issue 4
From Genius to Madness
Discover new insights into neuroscience, human behavior and mental health with Scientific American Mind.


Not long ago, I found myself in Rome for a couple of days. As is the case when I'm on my own in a foreign city, I set about finding the best possible place to eat. I scoured the internet, consulted guidebooks, canvassed friends for tips. Such quests, I've found, have a habit of ending in disappointment. Constraints of time and money get in the way; fêted restaurants turn out to be mediocre; and even the discovery of a really good place brings with it the nagging feeling that there may be an even better one just round the corner.
This time, however, there was no such let-down. I found what I truly believe is the best place to have lunch in Rome. In fact I'd go further. The meal I had at Sora Margherita—a one room spit-and-sawdust place in the Jewish quarter—was among the three or four best I have ever had.
The experience was all the more satisfying for initially seeming so unlikely. I can't quite claim to have stumbled upon Sora Margherita, since I found it in a guidebook (where it had a complimentary, though hardly ecstatic, write-up). Nonetheless, the process that resulted in my eating there was far from smooth. The restaurant is located in a small square—the piazza delle Cinque Scole—in a particularly maze-like portion of the city. There is no window, no sign, nothing to suggest from the outside that an eating establishment exists. The first time I tried to visit, the place was closed. The guidebook had stated, erroneously, that it was open in the evening. When I got to the piazza, not only could I not see a restaurant, I couldn't see the possibility of one ever having existed. The place must have closed down some time ago, I told myself—the guidebook was a few years old—but, just in case, I asked a couple who were strolling by with a baby. Their faces lit up. "Ah, Sora Margherita," they said, pointing to a previously overlooked barricaded doorway. It was, they said, an excellent restaurant, but it was only open for lunch.
Returning the next day, I found the doorway open. Inside, a man with a clipboard told me that in order to eat, I first had to put my name down and become a member of the associazione. There was no joining fee. Having submitted to this strange piece of bureaucracy, I was told to come back in 40 minutes. Returning, I was seated at the back of a crowded narrow space—more galley than dining room—with Formica tables and old maps on the wall. I shared my table with another solitary diner, an Italian man in a suit who said he worked nearby and often came here for lunch. The other tables were all full. My companion was eating his antipasti: a single deep-fried artichoke. It looked good, so I ordered one too. Having consulted him on the rest of the menu, I also ordered, to follow, a pasta dish with ricotta and then polpette alla Romana, or meatballs in tomato sauce.
My artichoke was the crispiest, lightest, tastiest fried object I have ever encountered. It didn't bear any trace of grease. The next course was even better. The pasta—made on the premises, and of a thickish, irregular variety that I didn't recognise—was accompanied by a sauce made only from ricotta, butter, pasta cooking water and salt and pepper. Such a description doesn't begin to do it justice, for this pasta was of a sensational purity and deliciousness. Each element of the sauce was incredibly pronounced, and the ingredients melded together with the ease of old friends. It was the kind of dish that, although you know exactly what's in it, would be impossible to recreate at home.
By now I was in a state of some excitement. My next course arrived. The meatballs were impeccable, the sauce less overpowering than Roman sauces can be. Yet the dish was a disappointment, if only because it was less exceptional than what had come before. Dessert was looming, but I had no wish to bring proceedings to a halt. Recklessly, I asked one of the waitresses to bring me another dish. An insalata caprese made its way to my table. It consisted of an oversized, trembling globe of mozzarella, around which were ranged a few cherry tomato halves. A bottle of olive oil appeared as well. If the mozzarella had been less than superlative, this would have been an unappetising salad. But it was the best mozzarella I have ever tasted. The only problem was finding enough space in my stomach for it.
Finally, I polished the salad off, and found just enough room for dessert: a slice of cream tart with pine nuts on top, again very simple, but incredibly delicious. I paid the bill—it was less than €50 (£42)—said my goodbyes and, a little uncertain on my feet (I'd drunk a carafe of wine), staggered out into the sunshine. There was just one nagging doubt. The man at my table had told me about another place a few streets away, which, he said, served the best fried food in Rome. Might it be even better than Sora Margherita? I had to leave the city that afternoon so I didn't have time to find out, but I know where I'll be heading when next in Rome.
Dear Sir, thanks for your tasty article, this is my favourite place in Rome. Please, try artichoke alla romana next time! You will not be disappointed.
Matters of taste: Is the sandwich dead?


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