Understand the operation of typical op amp circuits.
• Summing Amplifier: (DC level control, weighted resistor DAC, audio mixer).
• Active filters: (low pass, high pass, band pass).
Op amps are extremely versatile and have become the amplifier of choice for very many applications. The advantages of integration also allow op amps to be included in many application specific integrated circuits (ASICs) where, combined with other circuit elements, a chip can be designed to carry out a specific function, which for example, can vary from a dedicated tone control or a programmable filter network to a complete audio or communications system.
This section introduces some basic variations on the voltage amplifiers described in Module 6.3 that are commonly used in many circuits.
In the voltage follower circuit however, both Rin and Rf are replace by simple conductors, and so both these values in the above formula will be extremely small, therefore the gain is 1. The voltage follower does not therefore, act as an amplifier, the output voltage 'follows' the input voltage, but the circuit does have some very useful properties.
Module 3.2 described how negative feedback can be used to increase the input impedance, and reduce the output impedance of an amplifier. The voltage follower uses 100% negative feedback that is effectively voltage derived and series fed, so the effect of the feedback on impedance is dramatic. The input impedance of the circuit is increased to typically many megohms (106 Ω) or even teraohms (1012 Ω) while the output impedance of the op amp remains very low, in the range of ohms to hundreds of ohms. As with any other negative feedback (NFB) amplifier noise and distortion are also reduced.
The voltage follower is therefore very useful as a buffer amplifier, that will reduce the loading effect on previous circuits and, because of its low output impedance will deliver more current to any following circuit.
Fig. 6.6.2 shows a differential amplifier with a single output. This operating mode is a combination of both the inverting and the non-inverting amplifier. In this mode the output will be the difference between the two inputs, multiplied by the closed loop gain.
Setting the value of closed loop gain is normally achieved by choosing the ratio of the feedback and input resistors. In both the inverting and non-inverting amplifiers only one input was used, the other input being connected to ground.
In the differential amplifier however, both inputs are in use so two pairs of resistors are needed to control the gain, one pair for each input. It is important that the gains from both inputs are equal, otherwise the output would be equal to the voltage difference and the difference in gain.
Therefore in Fig. 6.6.2 for equal gain at each input R1 should equal R2 and R3 should equal R4.
One problem with the circuit in Fig. 6.6.2 is that, compared with the single input op amp mode, the input impedance is quite low. Another problem, especially where a gain greater than 1 is required, is that it becomes difficult to match the two gains accurately enough, even with close tolerance resistors because of unequal input currents, and the very small differences in input voltages that may be amplified to produce larger errors at the output.
Both of the problems mentioned in the previous paragraph, relating to input impedance and resistor matching, can be remedied by using a slightly more complex design, the Instrumentation Amplifier, shown in Fig. 6.6.3.
This circuit addresses the problem of low input impedance by using two non-inverting buffer amplifiers at the inputs to increase input impedance, and are designed with feedback resistors that give a closed loop gain of more than 1.
The problem of unmatched gains of the input buffer amplifiers is solved by the use of a shared input resistor (R2) so that the gain of both input amplifiers is set by just a single resistor.
The output amplifier can now have a gain of 1 and R4, R5, R6 and R7 can be all the same value. The problem of producing amplifiers and resistors with close tolerances and identical temperature coefficients is made easier if they are produced on a single wafer of silicon within an integrated circuit. Integrated circuit instrumentation amplifiers such as the INA114 from Texas Instruments are produced, looking very much like a single op amp but using a single resistor to set its gain.
By applying an AC signal to one of the summing amplifier inputs, and a DC voltage to the other, the DC voltage is added to the AC signal, changing the DC level of the AC wave. An example application of this could be the Y shift control on an analogue oscilloscope changing the vertical position of the waveform.
The simplest type of Digital to Analogue Converter (DAC) uses a Summing Amplifier and a weighted resistor network as shown in Fig. 6.6.5 where resistors having values in the ratio 1, 2, 4 and 8 are fed from a stable reference voltage and can be individually switched into the input circuit of the summing op amp. The amplifier output will have 16 different voltage levels, depending on the 4 bit digital code applied to the inputs DO to D3. Supposing that Vref is 5volts, the output voltages for any possible input code would be as shown in the table in Fig 6.6.5.
The audio mixer shown in Fig. 6.6.6 uses a Summing Amplifier made from an inverting op amp with multiple input resistors (R1, R2 and R3), which together with the feedback resistor R5, add the individual signal input voltages at the inverting input of the op amp. In audio mixers R1 R2 and R3 will usually be the same value.
Because the summing amplifier used in stage one is based on an inverting amplifier, the signal at the output of stage one will be in anti-phase to the input signal, so to restore the signal to its original phase a second inverting amplifier is used. With R1 to R8 all of equal value, the gain of each stage, and therefore the overall gain, will be 1.
Adding an op amp to the passive wave shaping and filter circuits described in AC Theory Module 8 overcomes the problem that the gain of passive circuits is always less than 1, the output is always less than the input. This may be acceptable where only first order circuits (having only a single wave shaping or filter element) are used, but because the efficiency of the circuit is generally improved by using multiple circuit elements, for example using a low pass filter and a high pass filter in combination to make a band pass filter, second or even fourth order filters are often needed. In such cases the attenuation caused by the extra passive filter can cause an unacceptable reduction in signal amplitude.
With active filters and wave shaping circuits, op amps are used to overcome the losses due to passive components, making multiple (2nd, 3rd, 4th...etc. order) filters possible that have superior performance such as sharper cut off and a higher Q factor.
When op amps are used in wave shaping circuits, the operation of the circuit uses the characteristics of the amplifier together with the properties of resistors and capacitors to obtain changes to the wave shape.
The circuit in Fig. 6.6.7 uses a CR time constant of C1 x R2 (10exp-9 x 470exp3) = 470µs to convert a square wave with a periodic time of 1/100Hz = 10ms, to positive and negative pulses. The time constant of a differentiator is shorter than the periodic time of the wave.
The circuit illustrated in Fig. 6.6.7 is basically that of an inverting amplifier, but with the addition of a capacitor at the inverting input. If a steady voltage is applied to the left hand plate of C1 there will a voltage across C1 as the right hand plate is held at 0V (virtual ground) by the action of the op amp keeping the inverting input at the same voltage as the non-inverting input, which is connected to 0V. While the input voltage (a square wave) remains at a constant level, there will be no current flowing through C1 and therefore no current through R2. The output voltage will also be constant.
When the input voltage suddenly changes, there will be a sudden pulse of current into the capacitor as it quickly charges (due to the short CR time constant) to the new level. Supposing the input voltage has gone more positive, the op amp output will go negative to keep the inverting input at 0V. Notice that the active circuit produces a pulse in the opposite phase to that expected from a passive differentiator circuit due to the action of the inverting amplifier.
The op amp differentiator has produced good (though inverted) differentiation at low frequency, and the amplitude of the pulses depends on the rate of change of the input wave and also on the gain of the op amp. The gain will in turn depend on the ratio of R2 to the capacitive reactance (XC) of C1. However reactance reduces as frequency increases and so the gain of the op amp will increase with frequency. At some high frequency the reactance of C1 will have reduced to practically 0Ω and the gain of the op amp will be almost infinitely high. This will cause serious problems of high levels of noise together with instability. The circuit will start to oscillate uncontrollably. The purpose of R1 is to help prevent this instability, as the reactance of C1 reduces it will at some frequency fall below the resistance value of R1, and as C1 and R1 are in series the low value of XC becomes irrelevant and the ratio controlling the maximum gain will now be R2/R1.
With both passive and active circuits the differentiator wave shaping circuit shown in Fig. 6.6.7 also acts as a high pass filter when the input is a sine wave. However with active versions of the circuit there is a significant difference to the passive circuit. Because the gain of the op amp falls off at some frequency due to its power bandwidth and slew rate limitations. This can affect its high frequency operation so that an active high pass filter will also behave to some extent as a band pass filter, with attenuation both below and above a central pass band as shown in Fig. 6.6.8. This can be a problem, but also an advantage if the frequencies at which the low and high corner frequencies are managed by the choice of appropriate component values.
In the op amp integrator circuit the capacitor is inserted in the feedback loop and creates a CR time constant with R1 at the inverting input. This point is held at virtual ground by the action of the op amp. As long as the input is at 0V there will be no current through the resistor R1, as the inverting input of the LM324 is at virtual ground.
C will be in a discharged state because of the presence of R2, which prevents C1 holding some charge from a previous state. If this were to happen the output (connected to the right hand plate of C1) could easily be driven to either +VS or −VS causing the op amp to 'lock up' and be unable to restore a normal output voltage.
If a square wave applied to Vin now enters its positive half cycle and produces a steady positive DC voltage at Vin a current will flow through R1 and begin to charge C1. Because the voltage at the junction of R1 and C1 (the inverting input of the LM324) is held at virtual ground, the voltage at the op amp output, (connected to the right hand plate of C1), will begin to fall at a rate controlled by the CR time constant. The output voltage will continue falling, trying to reach a negative voltage, equal and opposite to Vin This action causes a relatively linear negative going ramp at the output until (well before the end of one time constant), the input square wave suddenly changes polarity.
Changing the voltage at Vin back to its lower level at the start of the negative going half cycle of the input square wave will cause C1 to begin to discharge, and to keep the inverting input at 0V, the voltage at the op amp output will begin to increase in a linear manner. This continues until the input suddenly goes positive once more at the start of the next cycle.
Fig. 6.6.10 shows a 2nd order Sallen-Key low pass filter with a double CR low pass filter network. Such filters are normally designed using graphs and tables of component values for particular frequencies, as the design of multi order filter networks using mathematics is extremely complex and time consuming. An alternative is to use multi stage programmable filters, which contain several active filters in a single integrated circuit. These are of two main designs, either switched capacitor or analogue filters. Fig 6.6.11 illustrates a typical analogue example, the UAF42 from Texas Instruments It contains four separate analogue active filters that can be digitally programmed to create any combination of the four main filter types.


text:
Richard Allen "Rick" Stengel (born May 1955) is an American editor, journalist and author. He was Time magazine's 16th managing editor. He has written a number of books including a collaboration with Nelson Mandela on Mandela's autobiography. Prior to taking up his role as managing editor of Time in 2006, Stengel was the president and chief executive officer of the National Constitution Center.
On September 12, 2013 Stengel announced that he would be stepping down from his role as Time's managing editor in order to serve as Under Secretary of State for Public Diplomacy and Public Affairs.
Stengel was born and brought up in New York. He attended Princeton University and played on the Princeton Tigers basketball team as part of the 1975 National Invitation Tournament. He graduated magna cum laude in 1977. After college, he won a Rhodes Scholarship and studied English and history at Christ Church, Oxford.
Stengel joined Time in 1981 and contributed to the magazine through the early and mid-1980s, including articles on South Africa, which he also covered for Rolling Stone magazine. He became a senior writer and essayist for Time, covering both the 1988 and 1996 presidential campaigns.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Richard_Stengel
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redpajama_set_name: RedPajamaCommonCrawl


text:
Philosophy and design principles of anyconfig
==============================================

Philosophy behind anyconfig
-----------------------------

The reason I made anyconfig is aimed to eliminate the need of manual edit of
configuration files, which application developers provide in the applications
orginally, by uesrs. It enables that application developers provide the default
configuration *and* allow users to customize configuration without direct
modification of these configuration files at the same time [#]_ .

There are still many applications force users to edit configuration files
directly if any customization was needed. Sometimes application provides
special configuration tool to hide this fact from users but most tools try to
modify configuration files directly in the end [#]_ .

With using anyconfig or similar library can merge configuraiton files, users of
applications can customize the behavior of applications by just creation of new
configuration files to override the default and there is no need to modify the
default ones.

.. [#] One of examples accomplishing this is systemd; systemd allows users to customize the default provided by unit definitions under /usr/lib/systemd/ by putting unit files under /etc/systemd/. Other examples are sysctl (/etc/sysctl.d/) and sudo (/etc/sudoers.d/).
.. [#] I saw openstack provides such tool, openstack-config; IMHO, the problem should be resolved not by such tools but application design itself, that is, openstack should provide the way to override the default by some configuration files users created newly.

Design principle of anyconfig
-------------------------------

I try to make anyconfig as thin as possible, that is , it works as a thin
wrapper for the backends acutally does configuration load and dump. Thus,
anyconfig does not try to catch any exceptions such as IOError (ex. it failed
to open configuration files) and OSError (ex. you're not allowed to open
configuration files) during load and dump of configuration files. You have to
process these exceptions as needed.

And sometimes backend has specific options for load and dump functions,
therefore, I make anyconfig to pass these options filtered but un-touched.
Filters are statically defined in each backend implementation and maybe lack of
some options. Please feel free to report if you find such backend specific
options not supported in anyconfig's corresponding backend implementation and
I'll make them supported.

.. vim:sw=2:ts=2:et:

redpajama_set_name: RedPajamaGithub


text:
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The Girl on the Train is an enjoyable psychological thriller. This is mostly due to the talents and presence of Emily Blunt, whose performance holds the film together, despite the somewhat limiting writing and disappointing direction. The narrative's essence, however, still manages to impress by creating a genuine sense of mystery and intrigue – though some fans of the novel may be disappointed with the changes made to Paula Hawkin's bestseller in the transition from page to screen.
The story follows Rachel (Blunt), who is reeling from the breakdown of her marriage to Tom (Justin Theroux) after he left her for another woman. Rachel adheres to a routine of taking the train to London every day, and while trying to avoid seeing her ex-husband and his new partner, fixates on a neighbouring house with a seemingly blissful life. From this point the film unravels itself, as a theme of the unknown and a feeling of edge penetrate the film's plot, adding mystery and tension. Both the pristine cinematography and the emotive score keep things interesting on a sensory level, while the still and bleak colour palette generates a feeling of suspense. If you enjoy a 'what's next?' story, and can appreciate a film for the visuals and score, then The Girl on the Train is worth a watch.
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VACHERON & CONSTANTIN . Stainless Steel Wrisrwatch.
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text: Q: Who are Rey's parents? Almost everything about Rey is purposefully left a mystery. The film strongly hints that she's related to one of our main characters—but since we get very little indication from Leia, most people think she's related to Luke. That's bolstered by the fact when Kylo Ren reads her mind, he sees an island with water. This is a huge clue. Is he seeing Rey's future, from the end of the film, or her past, when she was with Luke before?

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text:
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All Groups Barnes Review/Foundation for Economic Liberty, Inc. (1) Federation for American Immigration Reform (1) Fundamentalist Church of Jesus Christ of Latter-Day Saints (1) VDARE (1) Vinlanders Social Club (1)
All Intelligence Report Issues Identity Unmasked (9) Rage Against Change (10) Confronting Hate (10) 2018 - Spring - The Year in Hate and Extremism (10) 2017 - Fall - We Never Sleep (16) 2017 - Spring - The Year in Hate in Extremism (24) 2016 - Summer - 'Line in the Sand' (20) 2016 - Spring - The Year in Hate and Extremism (18) 2015 - Winter - Margins to the Mainstream (20) 2015 - Summer - In the Crosshairs (24) 2015 - Spring - The Year in Hate and Extremism 2015 (33) 2014 - Winter - Back to the Border (23) 2014 - Fall - War in the West (20) 2014 - Summer - White Homicide Worldwide (22) 2014 - Spring - The Year in Hate and Extremism 2013 (24) 2013 - Winter - The End of Volksfront? (22) Fear Rising (20) 2013 - Summer - A Better Way (21) 2013 - Spring - The Year in Hate and Extremism 2012 (25) 2012 - Winter - Massacre in Wisconsin (23) 2012 - Fall - Death in the Desert (20) 2012 - Summer - 30 to Watch (18) 2012 - Spring - The Year in Hate and Extremism 2011 (28) 2011 - Winter - A Gathering of Eagles (26) 2011 - Fall - Ten Years After (24) 2011 - Summer - Jihad Against Islam (21) 2011 - Spring - The Year in Hate & Extremism 2010 (25) Under Attack (23) 2010 - Fall - 'Sovereign' Citizen Kane (23) 2010 - Summer - Meet the 'Patriots' (17) 2010 - Spring - Rage on the Right (21) 2009 - Winter - A Decade of Defiance (24) 2009 - Fall - Return of the Militias (30) 2009 - Summer - Into the Wild (31) 2009 - Spring - The Year in Hate 2008 (38) 2008 - Winter - The Tanton Files (33) 2008 - Fall - Ready for War (32) 2008 - Summer - State of Denial (28) 2008 - Spring - The Year in Hate 2007 (32) 2007 - Winter - Immigration Backlash (34) 2007 - Fall - The Latvian Connection (33) 2007 - Summer - Southern Gothic (30) 2007 - Spring - The Year in Hate 2006 (34) 2006 - Winter - L.A. Blackout (35) 2006 - Fall - Motley Crews (36) 2006 - Summer - A Few Bad Men (29) 2006 - Spring - The Year in Hate 2005 (29) 2005 - Winter - Prairie Fire (28) 2005 - Fall - End of Watch (18) 2005 - Summer - Ten Years of Terror (18) 2005 - Spring - Holy War (22) 2004 - Winter - 'Easy Prey' (18) 2004 - Fall - Running Right (19) 2004 - Summer - Age of Rage (21) 2004 - Spring - The Year in Hate 2003 (21) 2003 - Winter - Why Did Stephanie Thomas Have to Die? (17) 2003 - Fall - Faces of the Future (18) 2003 - Summer - Marching Toward the Mainstream (23) 2003 - Spring - Hate Takes a Hit (23) 2002 - Winter - The Belly of the Beast (22) 2002 - Fall - The Next American Führer? (16) 2002 - Summer - The Puppeteer (20) 2002 - Spring - The Year in Hate 2001 (23) 2001 - Winter - The Hate Crimes Statistics Act: Ten Years Later, the Numbers Don't Add Up (23) 2001 - Fall - Dangerous Liaisons (24) 2001 - Summer - Memories of 'Patriotism' (20) 2001 - Spring - Blood on the Border (28) 2000 - Fall - Who Is This Convicted Child-Murderer and Why Is William Pierce So Interested? (18) 2000 - Summer - Rebels With a Cause (19) 2000 - Spring - Hate Goes to School (20) 2000 - Winter - The Decade in Review (18) 1999 - Fall - Youth at the Edge (20) 1999 - Summer - Steven Barry: Behind the Special Forces Underground (20) 1999 - Spring - Patriots for Profit (19) 1999 - Winter - Hate Groups Top 500 (23) 1998 - Fall - Y2KAOS (20) 1998 - Summer - Wrath of 'Angels' (22) 1998 - Spring - Patriot Games (21) 1998 - Winter - 474 Hate Groups Blanket America (21)
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text:
Teacher Guide:
Dear Teachers,
We are delighted to welcome you to the Whitney Biennial 2017 exhibition, on view at the Museum through June 11, 2017. This is the first Biennial to be held in the Whitney's home in the Meatpacking District.
Established in 1932, the Biennial often generates critical discussions about contemporary art, while providing an opportunity for deep thinking and reflection on the broader cultural concerns of a given historical moment. Bringing together mostly new or recent work by both emerging and established artists, the Whitney Biennial 2017 exhibition continues this tradition.
This teacher guide provides a framework for preparing you and your students for a visit to the exhibition and provides suggestions for follow up classroom reflection and lessons. The discussions and activities introduce some of the exhibition's key themes and concepts.
We look forward to welcoming you and your students at the Museum.
The School and Educator Programs team at the Whitney
The Whitney Biennial 2017 is the seventy-eighth iteration of the longest running survey of contemporary American art. The exhibition features painting, sculpture, drawing, installation, film, video, photography, activism, performance, music, and video-game design by sixty-three individuals and collectives.
This Biennial arrives at a time rife with racial tensions, economic inequities, and polarizing politics, and many works in the exhibition challenge us to consider how these realities affect our senses of self and community. Throughout the exhibition, artists test the limits of timeworn structures and protocols, claim space for direct experience and personal agency, and create alternate zones or worlds. Some spotlight particular social issues, such as financial debt, violence, or access to equal opportunities, while others model imaginative ways of relating to history and place, or represent the importance of reverence for the land. Still others embolden the pleasures of slow contemplation or formal abstraction, inviting us to pause and pose questions in a tumultuous world.
Curated by the Whitney's Nancy and Fred Poses Associate Curator Christopher Y. Lew and independent curator Mia Locks, the Whitney Biennial 2017 spans the lower level, first, third, fifth, and sixth floors, and the outdoor galleries. The Biennial film program presents weekend screenings in the theater on the third floor. The film program is organized by Christopher Y. Lew, Mia Locks, and Aily Nash.
Find the film program schedule and more information about the exhibition here: /Exhibitions/2017Biennial
PRE-VISIT ACTIVITIES
Before visiting the Whitney, we recommend that you and your students explore and discuss some of the ideas and themes in the exhibition. We have included selected images from the exhibition, along with relevant information that you may want to use before or after your Museum visit. You can print out the images or project them in your classroom.
Invite students to think about expanded definitions of art.
Help students explore and make sense of recent events.
Introduce students to topics and themes they may encounter in the exhibition.
Introduce students to selected works by Biennial 2017 artists.
ARTIST AS EXPERIMENTER
IS IT ART?
The Biennial 2017 exhibition features the work of contemporary artists who explore different ways of experiencing and interpreting the world around them. Some artists experiment with materials and approaches, other artists draw our attention to important social and political issues, others ask us to pause and reflect, and many challenge our ideas about what art can be.
a. What makes something a work of art? What characteristics does a work of art have? Who decides? Ask your students to spend time thinking and writing about their personal definitions of art. Share and discuss students' writing and ask them to save it for further discussion after their Biennial visit.
ARTIST AS STORYTELLER
Many of the artists in the Biennial 2017 exhibition refer to recent tumultuous events, such as mass migration, climate change, police violence, and political turmoil. Some artists focus on specific events and the transformations that have occurred as a result, while others address broader themes.
a. Ask your students to think of a recent event that they consider important. The event can be national, global, local, or personal. Have students research and use post-its to take notes about these events. Use different color post-its for different types of events (eg green for global, blue for national, red for local, yellow for personal).
b. Discuss the events that students selected. Why are they important? What social, political, or cultural impact did these events have nationally? Globally? Locally? On their own lives? How did these events transform them on a personal level? In their community?
c. Have students create a post-it wall of their events. Ask them first to arrange the post-its into global, national, local, and personal categories. Next, have them look for connections between events and the stories they tell. Do global, national, local, or personal events overlap? How? Ask students to rearrange the post-its to reflect the connections they find. When you visit the Museum, have your students look for connections between the events they discussed and the art on view in the exhibition.
Frame This
In her paintings, Shara Hughes includes various framing devices to give the viewer a sense that s/he is looking at the image from a specific vantage point. Framing describes the boundary around an image and the way that the image is cropped, calling attention to what is and is not included in the image. Framing reveals the artist's decisions about how an image is constructed and the meaning the artist wants to convey.
a. A viewfinder is a useful device for framing a composition. It allows you to crop and frame a scene within a specific area. You can look through a viewfinder and move it around to find the most engaging composition. Ask your students to create a viewfinder out of card stock to use as a framing device. Students can make a viewfinder by cutting or tearing paper. A traditional viewfinder has a rectangular opening, but encourage your students to experiment with creating an interesting shape for their viewfinders. Fold the card in half. Draw a shape in the center of the card and cut or tear out the shape. Leave a border all the way around the edges of the card. Older students could use an object they find in the classroom as a viewfinder. For example, the handle of a pair of scissors or the view through the opening of a stapler.
b. Ask students to frame a scene in their classroom with their viewfinder and draw what they see through it. Have them use the shape of their viewfinder as a "frame" for their drawing. Have students make three changes to the scene so that it becomes more surprising. Have them use crayons, colored pencils, or markers to add color to their scene.
c. View and discuss students' drawings. How does the framing change their experience of looking? What changes did they make to the scene so that it became more surprising?
d. Older students could discuss composition and why an artist might use an actual frame on a painting.
Example of a viewfinder
Shara Hughes, In The Clear, 2016. Oil and dye on canvas, 68 x 60 in. (172.7 x 152.4 cm). Collection of the artist; courtesy the artist and Rachel Uffner, New York
a. View and discuss Aliza Nisenbaum's painting with your students. Ask them to describe what they see in this work—especially the details of the figures' surroundings. Can they identify any of the objects in the painting?
b. Ask students to find a partner and interview each other using the following questions based on Nisenbaum's painting. Have them make notes about their partner's answers.
How do you spend your Sunday morning?
Where do you like to hang out?
Who do you enjoy hanging out with?
What is your favorite thing to wear?
What do you like to read?
Ask students to come up with additional questions for their interview.
c. Ask students to draw a portrait of their partner and include information from their interview.
d. Display and discuss students' portraits. In what ways are their portraits similar? How are they different? Ask students to identify something new that they learned about their classmates by looking at their portraits.
Aliza Nisenbaum, La Talaverita, Sunday Morning NY Times, 2016. Oil on linen, 68 x 88 in. (172.7 x 223.5 cm). Collection of the artist; courtesy T293 Gallery, Rome and Mary Mary, Glasgow
ARTIST AS OBSERVER
SEEING THE EVERYDAY ANEW
a. Oto Gillen deftly exploits photography's capacity to crop, focus, and reassemble in order to render the ordinary unfamiliar and new. As an assignment, ask students to use the camera on a smartphone to take a photograph outdoors. The picture could be taken either during the day or at night. It could be taken on their way to or from school. Ask them to focus on a detail close up or an unusual view of their surroundings. Have them think about cropping, framing, zooming in, and composition.
b. Ask students to email the photographs so that you can collect and print them out.
c. Have students divide into small groups. Ask each group to arrange or "curate" their images in a sequence on a table or classroom wall. Oto Gillen sequenced his images from day to night. How will they sequence theirs? Ask students to consider content, color, location, time of day, or another type of sequence. Think about the shape of their image arrangement. Will the images be placed in a line, a random cluster, a square, a circle, or another configuration?
d. Ask students to discuss the arrangement and sequence of their photographs. What choices did they make? What view of their surroundings did students create collectively? Why did they choose to sequence their images in that order? In sequencing their photographs, did students see their surroundings in a different way? How?
Oto Gillen, New York, 2015–ongoing. High-definition video, color, silent; 106 min. Courtesy the artist
ARTIST AS CRITIC
SIGNS, PLAQUES, MARKERS
a. Ask your class to discuss where you have signage in your school. Is this signage helpful? Is it valued? Is any signage missing that would highlight things that are important to students? Where? What signs would students make to address things that go unnoticed?
b. Ask students to think of something in their neighborhood that is important to them, but maybe not valued by everyone in their community. Ask them to create signs for this site. What did they come up with? Why did they choose that place?
c. The road signs that McArthur produced are the ones that communicate historical and cultural information. Ask your students to imagine that sometime in the future, an historical or cultural plaque will be installed on their classroom seat in their honor, recognizing their accomplishments and contributions to society.
d. Have each student imagine themselves in the future. What is their greatest accomplishment? What would their plaque commemorate? For example, are they a famous musician, artist, or athelete? The first woman to land on Mars? Have they cured a disease? Discovered a new element on the periodic table? Ask students to invent their own future history and create an historical or cultural plaque for themselves. Have them clearly indicate the historical or cultural significance it is meant to highlight. Have students look in their neighborhood for cultural medallions. New York City teachers can use the resource below.
http://www.hlpcculturalmedallions.org/browse-cultural-medallions/borough.php
Listing of cultural medallions on buildings in New York City boroughs.
POST-VISIT ACTIVITIES
Enable students to reflect upon and discuss selected ideas and themes from the 2017 Biennial exhibition and revisit their definitions of art.
Have students further explore some of the artists' approaches through discussion and art-making activities.
MUSEUM VISIT REFLECTION
We recommend that you do this activity the day after your Museum visit. Ask students to take a few minutes to write about their experience. What new ideas did the exhibition give them? What other questions do they have? Did the exhibition challenge or expand students' definition of art? Did the work on view connect to any of the events that students chose for pre-visit activity 2 (Post-It)? How? Ask students to share their thoughts with the class.
a. Discuss how Jon Kessler uses objects and technology to draw attention to the ways in which global warming and climate change affect people and the planet.
b. Ask your students to draw a human who has evolved to cope with climate change. Have students consider how they could alter parts of the person's body. What devices and tools will they need to survive? What will their surroundings look like? Encourage your students to fill the whole sheet of paper.
c. Students could bring in found objects and materials to create a three-dimensional work based on their drawings. You could give your students the choice of working on their own or collaborating in small groups or pairs.
Jon Kessler, Evolution, 2016. Mixed media with motors, surveillance camera, iPhone, and LCD screens, 96 × 75 ½ × 63 in. (243.8 × 191.8 × 160 cm). Collection of the artist; courtesy the artist and Salon 94, New York. Photograph Bill Orcutt
MUSEUM AS CLASSROOM, CLASSROOM AS MUSEUM
a. Discuss students' experience of seeing Chemi Rosado-Seijo's Salón-Sala-Salón. What were their reactions and responses? Ask students to think of one new thing they learned about their peers, their teacher, or themselves.
b. Discuss the characteristics of classrooms and museums with your students. What are the special features of a classroom? A museum? What makes these places function? How are they safe? Interesting? Provocative? What features of classrooms and museums would students like to change? Why would they change these features?
c. Ask students to work in small groups to design their ideal classroom. Have them consider how their classroom is arranged and how the arrangement affects the ways in which they use the space. Have each group create a list or plan of what they would need in their ideal classroom. Have them take notes about what the items would be used for. Students could also construct a model of their ideal classroom using cardboard, paper, or recycled materials.
d. Ask student groups to present and discuss their proposals and models with the class. What changes did they make to their learning environment? Which special features did students include in their ideal classrooms?
Chemi Rosado Seijo, Salón-Sala-Salón ( Classroom/Gallery/Classroom), 2017. (Installation view March 13, 2017). Educational collaboration with the Lower Manhattan Arts Academy and instructor Julie Roinos. Courtesy Embajada, San Juan. Photograph Bill O
A VERY LONG LINE
a. Review and discuss A Very Long Line with your students. View a short video here: http://postcommodity.com/AVeryLongLine.html
What associations do students have with the phrase "a very long line?" Discuss the presence and purpose of borders and why they exist. Who enforces them?
b. Have students use the following resources to read about and discuss the Mexican border.
http://www.warscapes.com/retrospectives/uncertain-borders/excerpts-borderlandsla-frontera
Excerpts from Borderlands/ La Frontera: The New Mestiza, (1987, 2012) and by Gloria Anzaldúa.
Why do they think the artists decided to focus on this border? Talk about why the artists might have chosen to surround the viewer with visual representations of the US Mexico border and titled their work A Very Long Line. What multiple meanings might the title convey?
c. Ask students to divide into small groups. Have each group use the resources below to research historical and contemporary walls around the world and report back to the class. Each group can research why the wall was built, what they are made of, and whether (or not) the wall was pulled down.
http://origins.osu.edu/connecting-history/top-ten-origins-walls
https://www.washingtonpost.com/news/worldviews/wp/2014/11/11/these-14-walls-continue-to-separate-the-world/?utm_term=.cc6764f79a8c
https://www.kcet.org/shows/artbound/a-brief-history-of-border-walls
http://www.history.com/news/history-lists/7-famous-border-walls
http://www.wonderslist.com/10-most-famous-walls-in-the-world/
Postcommodity, still from A Very Long Line, 2016. Four-channel digital video, color, sound; looped. Courtesy the artists
A NARRATIVE DIMENSION
a. Connect this activity to your literature studies and curriculum. With your students, discuss the experience of seeing Samara Golden's work. Watch a video about her work here: /WatchAndListen/Exhibitions?play_id=1711
b. Think about Golden's installation as the setting for a story, play, or movie. Ask students what story they imagine unfolding in this environment.
c. With your students, generate a list of storytelling genres, for example: mystery, romance, horror, science fiction, etc. Ask students to divide into small groups. Ask each student group to choose a genre and write a collaborative story. The story should include some third person narrative and some dialogue. Be sure to develop the characters in the story. Each story should have a conflict and a resolution. Include at least three concrete objects or details that students remember about the installation. Present and discuss students' stories. Are there similarities and differences?
Samara Golden, The Meat Grinder's Iron Clothes, 2017. (Installation- 5th floor West Gallery). Insulation foamboard, extruded polystryrene, epoxy resin, carpet, vinyl, fabric, acrylic paint, spray paint, nail polish, plastic, altered found objects and
IMAGES AND RELATED INFORMATION
IN THE CLEAR, 2016
The lush medleys of color, pattern, and texture within Shara Hughes's landscape paintings are products of both her imagination and her painterly process. Referencing painting's traditional role of offering a window onto another world, Hughes's work often presents framed views of hallucinatory realms. Hughes frequently begins a composition by altering the canvas surface in ways that she then has to improvise against. She might cover part of the canvas in a gesso¾a thick, gluelike substance that lends the surface a solid feeling—or she might spray paint the canvas from behind, making marks that emerge murkily from beneath the weave. These opening moves serve as the artist's challenge to herself, concrete realities that she must respond to in her creation of psychological scenes that are part landscape, part abstraction.
ALIZA NISENBAUM
LA TALAVERITA, SUNDAY MORNING NY TIMES, 2016
Aliza Nisenbaum's portraits make use of bold color and pattern in order to frame modest, intimate scenes. She often depicts undocumented immigrants, many of whom Nisenbaum first met while she was teaching a class called "English through Art History." Nisenbaum works with live models and thinks of the encounter between artist and sitter as an ethical one in which the two parties come to trust and know each other well. Her images personalize the immigrant experience and give visibility to the normally invisible.
OTO GILLEN
NEW YORK, 2015–ONGOING
Oto Gillen's New York is at once familiar and strange, mundane and futuristic, as if glimpsed, in the artist's words, "through a door slightly ajar." A New Yorker since birth, he spent more than a year walking the city's streets to create this work. The gradual rise of a tower at the World Trade Center complex and the seasonal changes of New York's ubiquitous honey locust trees mark the passage of time in his ever-shifting portrait of the city. Views of passersby and close-ups of objects record the intimate, fleeting encounters of daily life at street level, while images of looming skyscrapers convey the city's vast scale and evolving skyline. Gillen's photographs capture individual residents but also allude to the larger economic, political, and social forces that entangle them.
ANOTHER WORD FOR MEMORY IS LIFE, 2017
Park McArthur produced this work following federal specifications for signs designating cultural points of interest such as museums, national parks, and battlefields. As directed by the Manual of Unified Traffic Control Devices, she had the signs manufactured in .125 aluminum with rounded radius edges, using Pantone color Brown 469. McArthur's signs differ from those produced by the government, however, in that they are blank.
The Whitney Museum itself is an almost textbook example of the kind of cultural site that official roadside signs would typically designate. But in their openness, McArthur's works also maintain the possibly of gesturing toward points of interest that fall outside of traditional histories, including those that have been radically transformed by—even lost to—the gentrifying city, such as the Meatpacking District, or the West Side piers that were once sites of a thriving shipping industry and centers of gay art, sex, and life.
JON KESSLER
EVOLUTION, 2016
Jon Kessler makes what he calls "performative sculptures," whose humor and kitsch belie their serious critique. The two works on view, Exodus and Evolution, are part of a larger in-process project, The Floating World, which addresses the social and environmental impacts of climate change. In Exodus, the series of eBay-sourced figurines that rotate around a screen in an endless march are evocative of mass migrations of people, whether from natural disasters or political situations such as the Syrian refugee crisis. Evolution focuses attention on rising sea levels; two figures in snorkel gear take pictures, apparently indifferent to or ignorant of any impending danger. The repeating image of a proposed luxury residential skyscraper by the late architect Zaha Hadid reinforces the artist's point: even as the effects of climate change displace millions in low-lying areas, those who can afford not to care are still choosing to build waterfront pleasure palaces.
Chemi Rosado Seijo, Salón-Sala-Salón (Classroom/Gallery/Classroom), 2017. (Installation view March 13, 2017). Educational collaboration with the Lower Manhattan Arts Academy and instructor Julie Roinos. Courtesy Embajada, San Juan. Photograph Jason Mandella
CHEMI ROSADO-SEIJO
SALÓN-SALA-SALÓN (CLASSROOM/GALLERY/CLASSROOM), 2017
Chemi Rosado-Seijo's contribution to the Biennial is a conceptual project with everyday implications. A gallery from the exhibition has been "moved" to the Lower Manhattan Arts Academy, a public high school on the Lower East Side, while a classroom from the school has been moved to the Whitney. Students from the school meet in the Museum for their lessons over the course of the exhibition, and works by Biennial artists Sky Hopinka and Jessi Reaves are on view in the school.
Like many of Rosado-Seijo's projects, Salón-Sala-Salón (Classroom/Gallery/Classroom) has an exploratory nature, in this case resulting from different social groups coming together for a period of time. The energy of the large group of young, curious students activates the Museum to function differently, while placing artworks at the school recontextualizes them as tools for learning.
POSTCOMMODITY
A VERY LONG LINE, 2016
Postcommodity is an artist collective whose current members are Raven Chacon, Cristóbal Martínez, and Kade L. Twist. Their video installation, A Very Long Line, focuses on the border between the United States and Mexico, an emotionally and politically charged site that has become even more contentious through the 2016 election and the beginning of the current presidential administration.
The installation is designed to disorient, with spinning video projections and out-of-sync audio evoking "genesis amnesia," or the condition of forgetting one's own origins. In this case, what has been forgotten—primarily by citizens of the United States—is the Indigenous status of peoples from the Western Hemisphere, including immigrants from Mexico and Guatemala. Forgotten, too, are the Indigenous trade and migration routes that have crisscrossed what is now the border since before European colonization. Filmed from the window of a car, A Very Long Line brings those routes into the dizzying present, one in which the border is never fully known or understood.
Samara Golden, The Meat Grinder's Iron Clothes, 2017. (Installation- 5th floor West Gallery). Insulation foamboard, extruded polystryrene, epoxy resin, carpet, vinyl, fabric, acrylic paint, spray paint, nail polish, plastic, altered found objects and mirror. 14 × 33 l/2 feet. 2017 Whitney Biennial (March 17-June 11, 2017). Whitney Museum of American Art, NY. Photograph Bill Orcutt (detail)
SAMARA GOLDEN
THE MEAT GRINDER'S IRON CLOTHES, 2017
Samara Golden addresses the idea of psychological space through disassembled interior architecture, often creating illusions with reflective surfaces and upended objects and rooms. Here, her site-specific installation adjoins the Museum's formidable west-facing windows. Golden's work incorporates these windows as well as the river and sky beyond, with mirrors placed on the ceiling and floor creating an infinite visual abyss. The structure is stratified, both spatially and socially. Using handmade sculptures of furniture and other everyday objects, she creates a series of environments seemingly in conflict with each other: a penthouse apartment, an image of aspirational wealth; a middle-class home full of art projects and plants; a drab, cluttered office; and an institutional space that the artist describes as part hospital, part prison. Viewed from an elevated platform, the installation has a disorienting effect, evoking the anxiety produced by a political climate rife with social and economic inequality.
BIBLIOGRAPHY & LINKS
Whitney Biennial 2017. New Haven, CT: Yale University Press and Whitney Museum of American Art, 2017.
/Exhibitions/2017Biennial
Information about the2017 Biennial exhibition.
/WatchAndListen/Exhibitions
2017 Biennial videos.
The Whitney's programs for teachers, teens, children, and families.
http://sharahughesart.blogspot.com/
Shara Hughes's blog with examples of her paintings.
http://alizanisenbaum.com/artist-statment.html
Aliza Nisenbaum.
https://www.facebook.com/pg/MEGA-Foundation-484131641756961/photos/?tab=album&album_id=666347836868673
A selection of New York photographs by Oto Gillen.
http://bombmagazine.org/article/1000039/park-mcarthur
Bomb Magazine interview with Park McArthur.
http://postcommodity.com/About.html
Postcommodity.
http://www.chemirosado-seijo.com/
Chemi Rosado-Seijo.
http://samaragolden.com/home.html
Samara Golden.
This Teacher Guide was prepared by Mark Joshua Epstein, Whitney Educator;Dina Helal, Manager of Education Resources; Lisa Libicki, Whitney Educator; Heather Maxson, Director of School, Youth, and Family Programs; and Jamie Rosenfeld, Coordinator of School and Educator Programs.
Education programs in the Laurie M. Tisch Education Center are supported by the Steven & Alexandra Cohen Foundation, the Dalio Foundation, The Pierre & Tana Matisse Foundation, Jack and Susan Rudin in honor of Beth Rudin DeWoody, Stavros Niarchos Foundation, Barker Welfare Foundation, public funds from the New York City Department of Cultural Affairs in
partnership with the City Council, by members of the Whitney's Education Committee, and contributions from family and friends made in memory of Jill Buttenwieser Schloss.
Endowment support is provided by the William Randolph Hearst Foundation, the Annenberg Foundation, Krystyna O. Doerfler, Lise and Michael Evans, Burton P. and Judith B. Resnick, Laurie M. Tisch, and Steve Tisch.
Free Guided Student Visits for New York City Public and Charter Schools are endowed by The Allen and Kelli Questrom Foundation.
Whitney Biennial 2017 is presented by
Major support is provided by
Major support is also provided by The Brown Foundation, Inc., of Houston and the National Committee of the Whitney Museum of American Art.
Significant support is provided by the Philip and Janice Levin Foundation.
Generous support is provided by 2017 Biennial Committee Co-Chairs: Leslie Bluhm, Beth Rudin DeWoody, Bob Gersh, and Miyoung Lee; 2017 Biennial Committee members: Ashley Leeds and Christopher Harland, Diane and Adam E. Max, Teresa Tsai, Suzanne and Bob Cochran, Rebecca and Martin Eisenberg, Amanda and Glenn Fuhrman, Barbara and Michael Gamson, Kourosh Larizadeh and Luis Pardo, and Jackson Tang; the Henry Peterson Foundation; and anonymous donors.
Additional support provided by the Austrian Federal Chancellery and Phileas – A Fund for Contemporary Art.
Funding is also provided by special Biennial endowments created by Melva Bucksbaum, Emily Fisher Landau, Leonard A. Lauder, and Fern and Lenard Tessler.
Additional endowment support is provided by The Keith Haring Foundation Exhibition Fund, Donna Perret Rosen and Benjamin M. Rosen, and the Jon and Mary Shirley Foundation.
Curatorial research and travel for this exhibition were funded by an endowment established by Rosina Lee Yue and Bert A. Lies, Jr., MD.
New York magazine is the exclusive media sponsor of Whitney Biennial 2017.


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Helge Tverberg
Norwegian mathematician
Helge Tverberg at Oberwolfach in 1981
Helge Arnulf Tverberg (March 6, 1935 – December 28, 2020) was a Norwegian mathematician. He was a professor in the Mathematics Department at the University of Bergen, his speciality being combinatorics; he retired at the mandatory age of seventy.
He was born in Bergen.[1] He took the cand.real. degree at the University of Bergen in 1958, and the dr.philos. degree in 1968. He was a lecturer from 1958 to 1971 and professor from 1971 to his retirement in 2005. He was a visiting scholar at the University of Reading in 1966 and at the Australian National University, in Canberra, from 1980 to 1981, 1987 to 1988 and in 2004.[2] He is a member of the Norwegian Academy of Science and Letters.[3]
Tverberg, in 1965, proved a result on intersection patterns of partitions of point configurations that has come to be known as Tverberg's partition theorem. It inaugurated a new branch of combinatorial geometry, with many variations and applications. An account by Günter M. Ziegler of Tverberg's work in this direction appeared in the issue of the Notices of the American Mathematical Society for April, 2011.[4]
Geometric separator
^ Meet the mathematician, Helge Tverberg, University of Bergen, November 22, 2001
^ "70 år 6. mars: Professor, dr. philos. Helge Arnulf Tverberg" (in Norwegian). Norwegian News Agency. 23 February 2005.
^ "Gruppe 1: Matematiske fag" (in Norwegian). Norwegian Academy of Science and Letters. Archived from the original on 27 September 2011. Retrieved 29 October 2009.
^ "3N Colored Points in a Plane" (PDF).
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