text:
Q: CONSTRAINT CHECK in Oracle SQL (white case) i have table of cars and i need to put constraint,
if car.speed<1200 then price<=90000
I try this:
ALTER TABLE CARS ADD CONSTRAINT price_speed_chk CHECK(
CASE WHEN speed <1200  THEN price<=90000 );

it's doesn't work.
who can help ?
thanks!

A: You are using CASE completely a wrong way.
If you need a check with that logic, you can simply use some boolean operators:
ALTER TABLE CARS ADD CONSTRAINT price_speed_chk CHECK(speed >= 1200  OR price<=90000 );

redpajama_set_name: RedPajamaStackExchange


In one sense all visual art exhibitions are about looking back, which is the literal meaning of retrospective. Once work is done, it's installed in a gallery space and is literally in the artist's past, out of the artist's hands and beyond her/his control. Usually, however, an artist doesn't think about exhibiting art work that way. And so when I was asked to mount a retrospective exhibition for the Hillmer Gallery I was a little surprised. Was I that old that I could be in the category of artists who qualify for a retrospective? Yet, as an artist/teacher, of course, it made a lot of sense to me that such a showing of my work could provide an excellent opportunity for art students to see, in person, how an artist has developed over a 21 year time span versus through the typical slide lecture.
The logistics of figuring out what to cull out of scores of paintings and drawings I've done over the years was the first task. Another consideration was the size of the space. In addition I had the thought that the work in the exhibition would not have been shown in Omaha.
The more difficult task has been to consider what it's all been about. My own belief as an artist is that much of what I do (the art making part, that is) happens in a kind of trance, or mental zone. There is a notion that it is through the channel of a person that creativity flows and significant art making happens. In that regard, it is much like art choosing the person rather than the person choosing to be an artist. Indeed, I don't really remember ever making the decision to become a painter, I found myself being one. Another symptom, if you will, of this phenomenon can be illustrated by the many times over the years I've looked at a piece I've made and thought to myself, 'I can't remember doing that.' Of course it's not a black out kind of not remembering. It is, however, not being able to recollect being in the mental state of focus and engagement, the intensity of which can only be lived through. One remembers only traces of what happened. In that sense one main function of the art work is that it is an artifact of that process.
Of course, what I just described is only one facet of the enterprise. For an art work to have further purpose beyond the artist's experience of having made it, it must go out into the world. This is where it really becomes tricky because, as much as artists wish to have their works stand on their own, quite often some explanation is needed . . . and expected in the professional world. And so from the earliest part of a contemporary artist's activities, she/he is writing artist's statements as much to explain one's work to one's self as to the outside world periodically through the course of one's career.
So here is the question I asked myself for this exhibition in particular, because I am retracing where I have been and what I have done. Can I sum up in a few sentences what I have been about as an artist and, therefore, say something significant about all the works in this exhibition? What follows is a section from the artist's statement I have used the past couple years that I think does that.
My art works are about mediating the chaos of our culture and being a witness of this time. More and more I find myself to be at odds with contemporary life on a planet that is getting smaller and more violent by the day. For me, I work in an attempt to find centeredness and resolution in this precariously balanced world. My works are meditations on the hope that this is possible.
Meanings of my works have their sources in symbolic systems that deal with notions of intercession, healing and regeneration . . . My art works suggests narrative, but of a non-linear kind. I mean them to function as metaphors.
This exhibition has been an interesting exercise in coming to terms with what I have done as an artist. But I think the most important thing for me as I write this is that it is showing me how much more I still have to do.
Additional statements are posted around the gallery in which I discuss what I was thinking about during various periods of time.
1985 marks the beginning of the time when I began thinking of myself as a professional. It also marks the beginning of a strategy for pictorial development that has remained with me in one form or other to the present. That strategy consists of working from multiple photo sources using what could be characterized as a conceptual collage process.
In the 80's I collected photos from a many sources, primarily, but not exclusively from newspapers and news magazines. Then, as now, I did not often have an idea of what I was going to do. I started working by looking at photos, then selecting a small group from which to begin sketching. After familiarizing myself with the imagery, then, as now, I typically find a key image around which to construct the pictorial space. For The Late Beloved Progress, Daily Exercise in South Africa, the key image was that of the running figures that take up the left side of the drawing. It was a tiny photo from Newsweek about a riot in apartheid South Africa. During the 80's apartheid was an ongoing international crisis, regularly reported in the news. The other end of this piece has a Western looking man, smiling and looking out in the opposite direction from the running figures. Vertically below him, is a boy who looks as if he's in pain, eyes closed but facing back into the pictorial space.
The title of this piece, as in most of my pieces up to the late 1990s, is constructed from phrase fragments associated with the photographs from which I made the painting or drawing. That process also is a kind of collaging. I would write down the fragments in list form and a title would be suggested that I thought, in an interesting and usually oblique way, referenced a meaning for the piece.
The title of the 1989 painting, I Know Youre Going to Produce More Conflicting Assessments is, admittedly, odd and opaque. Which of the figures is the 'I' in the title? What is being assessed? Is conflict the subject? Is the subject of the painting giving up in the face of conflict, as the central figure in military fatigues seems to be doing with his tired affect? Why is there a figure upside down at the upper right? These are questions I pose to the audience. All my work functions this way. I am not interested in telling specific stories, though the suggestion of narrative exisits in all my work. I am interested in meaning and metaphor being revealed through contemplation.
The paintings and drawings from this time period were heavily invested in my feeling powerfully affected by the political violence in the world. I felt, and continue to feel that we are all, collectively, in some way, victims of this global violence. But why that over all else to make art work about? It was not a conscious choice; I found that this was the imagery that preoccupied me the most and with which I felt compelled to work. I began to understand what I was doing as exploring the world and my connection to it through these documentary photo fragments, detritus from the culture, and piecing together some sense of it through my art making.
Shifts in the way an artist thinks and feels occur without one being aware of it. I found myself gradually moving away from (but not abandoning) documentary news source material and incorporating photo fragments from other sources, the imagery of nature, art photography and film stills. At the same time I began to critique my own work in terms of formal issues. I wanted to make very specific changes in how I worked with the picture plane. This began a whole new exploration and awareness of how pictorial space is part of the vehicle for meaning. So, for example, in Young Men from Dissidence Illuminate Compromise, I deliberately opened up the space in the center and have 2 heads upside down more or less, to create a feeling of air, formally and metaphorically. Interestingly, this piece is specifically a response to the collapse of the Soviet Union and the Eastern block countries of Europe. The large head at the lower left is of Vaclev Havel, then the new president of the Czech Republic.
I also became very interested beginning in the late 1980's with psychology and mythology, specifically of the ancient classical world, an interest that continues to the present. The title, A Man in a Woman Speaks Through Her Mouth refers to the Jungian notion that the anima and animus (male and female) aspects are present in all human beings. They Cannot Wash Out the Stain is about the oldest of humanity's problems, having commited the indefensible and maybe even the unforgiveable, how do we wash out the stain, how does one deal with guilt, individual or corporate? Maybe there is forgiveness, but there is always the shadow of stain. Physically it cannot be escaped. The pictorial space in this painting is a metaphor for that. There is no visual resting area in the piece. Probing Love and Hate, on the other hand, holds out greater hope for forgiveness and the healing power of love. The embracing figures show that, as does the prostrate praying figure at the bottom of the painting.
Crying Girl and Pleading Man is a painting that took two years to finish. I was at a crossroads in my life in many ways. I had worked consistently for a long time but found myself unable to move. This painting very overtly is about that. The crying girl and the pleading man in the piece are looking away from each other. The imagery above them is from a Holy Thursday reenactment rite of the washing of the feet of the apostles at the Last Supper. The angel figure behind the girl is from a tomb sculpture. Both of those suggest hope amid the chaos of emotion as does the foliage in the central space of the painting. With the darkness of mind I was feeling at that time, there was a quiet promise of regeneration.
Another shift the early 90's brought was in how I wanted to work with light in the pictorial space. That difference can be seen by comparing I know You're Going to Produce More Conflicting Results or Probing Love and Hate and They Cannot Wash Out the Stain. In the latter painting the attention is to what seems to be light from actual sources rather than the more ambient treatment of light in the former two.
I also became increasingly interested in the natural world, not as subject, but as setting, or background. It can be found in many of the pieces from this time frame; Narcissus and Echo, Burning the Solar King's Surrogate, Bartered Solicitude and Fresh Supplications. I also experimented quite a lot with deliberately eccentric pictorial spaces.
It is appropriate here to address the question of what concerns me as an artist more, the idea or the means? For me the answer starts with another significant question: where does idea stop and means begin? Does one come first? For that matter, why painting and drawing? Why not installation work, why not sculpture? Why not video art? All of those interest me deeply. (In fact I have another body of work,digital photography, not included in this exhibition). But I think the question of means at some point has to do with how one is wired, so to speak. I am wired primarily for two dimensional work and I am wired to work intensely with amorphous materials. Learning to master paint and drawing media has given me profound satisfaction. I enjoy that they are ancient materials that have been around for thousands of years in one form or another. I am continually intrigued by their alchemical possiblities. They are nothing on their own. They reference nothing and to make something out of nothing is a challenge. To make something out of this nothing material that has such a huge history, moreover, can be very intimidating. To this day when I start a piece I often feel as if I am starting from square one.
And so I return to the question: what have I been concerned with more, means or ideas? I will straddle the fence and say in all honesty that in my mind they are so integrated that I cannot separate them. To make an idea happen in a painting or drawing involves a totally integrative process, at least in the way I have developed. The situation mentioned above concerning light in my work, for example, was addressed by changing the way I handled paint and altering my color palette. I reconsidered how I juxtaposed imagery along with the opening of pictorial spaces. All of these were formal considerations but at the same time they had conceptual ramifications and were carriers of meaning.


text:
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SHINING LOTUS™ METAPHYSICAL BOOKSTORE
The Original Metaphysical Bookstore, since 1972
2178 South Colorado Blvd, Denver Colorado 80222
SATURN IN SCORPIO: In Search of Buried Treasure with Shawn Nygaard
APRIL ASTROLOGICAL UPDATE by Marci McCaffery
EXPOSING THE GREAT LIAR, SATAN by Bruce Johnson
HOT NEW PRODUCTS FOR MARCH: XOÇAI: The Healthy Chocolate, REMEMBER WHO YOU ARE by David Icke, THE MAGIC by Rhonda Byrne, WISHES FULFILLED by Wayne Dyer
SATURN IN SCORPIO
"IN SEARCH OF BURIED TREASURE"
Wednesday, April 4, 2012 — 7pm – 9pm — $20.
On October 5, 2012, the planet Saturn enters the sign of Scorpio for the next two and a half years. What does this mean? How might it affect our lives?
Join Shawn Nygaard in this in-depth and engaging presentation of what Saturn's move into Scorpio brings with it. You won't want to miss this!
Shawn Nygaard has been an astrologer for over 10 years, after 12 years of being a peer counselor. In addition to private readings through the 12Listen site, Shawn does private readings in-person in Minneapolis, and creates and teaches a number of astrology classes and webinars in the Twin Cities and online, focusing particularly on the in-depth archetypal meaning of the astrological symbols and what they reveal about our lives. He is a graduate of the CMED Institute in Chicago, where he studied archetypes and symbolism with Caroline Myss.
APRIL ASTROLOGICAL UPDATE
by Marci McCaffery
Astrologer Marci McCaffery
Key phrase: I AM
ARIES (March 21-April 20)
It's spring!! The familiar signs of young seedlings begin to emerge signaling new cycles of growth. Similarly, in the cosmic realm, new beginnings are indicated as we welcome Aries, the first and most personal of the fire signs. Aries, symbolized by the Ram, is a creature that batters its head against anything in its way. Mars, its natural ruler and the co ruler of Scorpio, represents (the ancient god of War). Some call Aries the "me first" sign, because its basic energies are self-focused. Aries natives pursue their own interests with idealism and enthusiasm. They seldom realize the impact it may have on others. Their lesson is to cultivate patience. This Martian energy is forceful, assertive, impulsive, competitive, courageous, and constantly active. Those born under this sign are noted for their fine leadership qualities and take-charge manner.
Aries by Josephine Wall
March 22nd, marks the Spring Equinox (New Moon) and the "Real New Year." The Aries Sun makes a compatible alignment with the Aries New Moon, creating a harmonious interaction between the inner self (Moon) and the outer self (Sun). We can use this dynamic influence to initiate new beginnings. As a reminder, however, it would be best to wait until Mars turns direct on April 14th, as the energies are more favorable to initiate action. The intentions we seed during this time manifest over the course of the year.
Communication oriented, Mercury ends its retrograde journey on April 4th. The next three weeks provide an opportunity to clear up any miscommunications or impulsive missteps that might have occurred when Mercury was retrograde in fiery Aries.
On April 17th, the Libra Full Moon highlights diplomacy. The Sun (consciousness) and the Moon (instincts) are at opposite poles, offering greater awareness. We can stand back and be more objective in reaching a greater sense of balance and harmony in our relationships.
Sociably diplomatic, Venus passes into Gemini on April 25th for an extended four month period. Communication in relationships takes on a light-hearted, playful charm. Creativity seeks expression through color, the written word, and visual impact.
Transformative Pluto makes a retrograde shift through ambitious Capricorn from April 11th until Sept 18th. Our inner conflicts with authority, our careers, and our goals are purged. We are challenged to push beyond our limits, to claim our greater potential through hard work. Saturn, the natural ruler of Capricorn, is still retrograde as it transits back over the late degrees of Libra until June 25th. When Saturn is retrograde our ability to restructure more solid systems is deepened in both our inner and outer worlds. We are asked to rely on our own inner authority to facilitate a conscious change out in the world. Saturn retrograde in Libra, commands a deeper sense of awareness, responsibility and compassion for how we relate with one another as well as with ourselves.
Marcia McCaffery is an NCGR certified astrological counselor specializing in life purpose, career and relationship readings. She is also a Reiki master teacher, a spiritual advisor, and an accredited Conscious Change coach with a private practice in the Denver area. She has a lifelong involvement with meditation, spiritual studies and the healing arts. She is a featured astrological consultant at Shining Lotus™ Metaphysical Bookstore
To learn how these changes impact you personally, contact Marci at stardirection@comcast.net
For free, valuable resources visit her web site at http://www.stardirectionastrology.com/
EXPOSING THAT GREAT LIAR, SATAN
by Bruce Johnson
The Bible teaches that Satan, as the adversary of good, is identical to the Serpent in the Garden, the tempter of Jesus, and the horned red Dragon in the Book of Revelation. Orthodox Judaism and Christianity teach in the existence of a personal Devil who is the enemy of a personal God. Examining the history of Satan shows him to be an anthropomorphic caricature that is rooted in pagan theology.
Samael or Satan is modeled after the red- colored Typhon or Set-an of Egypt, and the Zoroastrian Ahriman, both of whom represented the principle of evil. To the Egyptians and Persians, Set-an and Ahriman were symbolic of that force that is antagonistic to, and a shadow of, the light. This is partially shown in the Kabalistic axiom- Evil is good reversed.
The ancient mystery schools didn't teach in the existence of a personal God or Devil, but of two great principles in nature. The first was a force of spirit, life, and goodness, the second a balancing force of matter, death, and evil. These two universal forces represented as paths were seen to be everywhere in the world. Great or small examples of individuals following either path could be seen in both the physical and spiritual worlds. The ancients, like us today, certainly recognized the existence of evil beings, but didn't make an imaginary Devil their leader. The blind opposing force inherent in matter was transformed by early church leaders into the entity called Satan.
Many of our of our modern ideas of the Devil, or "Father of Lies", are founded on a literal interpretation of the Bible, and allegorical tales like the famous drama Faust, and the poem Paradise Lost. Although Paradise Lost was written as fiction, its' Lucifer meshed with the biblical Satan and was believed by Puritan Protestants and many people today to be a true depiction of Satan.
Satan traditionally lives in Hell, or the lowest plane of the astral world, even though no Adept has ever seen the mythical Satan on any plane of life except as a thought- form created by human minds. Satan's slaves are those individuals who have aligned themselves with the negative principle in nature. Symbolic examples of these tragic souls can be seen in the Beasts of Earth and Water of Revelation, the fallen Angels, and those chained in The Devil tarot card.
If one would avoid deep personal tragedy, steer well clear of any group in or out of Denver involved in Satanism.
Bruce Johnson has over 30 years of study in the fields of Ancient Wisdom and occultism. He has taught classes on a wide range of topics, from Atlantis to mediums to Zoroaster. He is also a spiritualist minister, with a background in spiritual astrology. He lives in Colorado with his wife and their cat.
HOT NEW PRODUCTS FOR SPRING
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X Power Squares
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The Secret is in the Special Processing Method
All chocolate is not created equal. Most companies process cocoa beans using a method called Dutching. The Dutching process adds alkali-potash to the cocoa beans before roasting. Roasting cocoa beans destroys many of the antioxidants, while Dutching adds chemicals. Such a process makes chocolate cheap and affordable, but it pretty much neutralizes any of the potential health benefits of chocolate. And to add insult to injury, to make the resulting chocolate more palatable, sugar, fat and other ingredients are added, further decreasing the potential health benefits.
Not so with XOÇAI™ healthy chocolate. The unique cold-press process preserves the healthy nutrients and antioxidants in Ivory Coast chocolate while creating a delicious rich dark chocolate flavor you'll love. It's the BEST of both possible worlds, healthy nutrients and tasty treats, in one special chocolate.
XOÇAI™ Packs Super Food Ingredients In Every Bite
Once known only to the native people of South America, the tiny acai berry packs a powerful antioxidant punch. The benefits of acai berries include anti-inflammatory and antioxidant properties. Combined with the power of rich dark chocolate in its natural, unprocessed state, the result is a chocolate treat packed with as many antioxidants as a basket of fresh fruits and vegetables. Now that's a healthy chocolate!
Dear Fellow Chocolate Lover,
Are you tired of every nutrition guru under the sun scolding you because you love a good chocolate bar?
How many times have you reached for your favorite chocolate bar only to feel a wash of guilt come over you – "I shouldn't be eating this" – ?
Wouldn't you love to bite into a rich square of luscious smooth, dark chocolate without the guilt, without the worry, without the fear?
There's a better way to have your chocolate and enjoy it, too. The secret is XOÇAI™ healthy chocolate, and here's why choosing XOÇAI™ is the smart choice for chocaholics worldwide.
Xoçai™ is a unique chocolate. Using a special cold-press processing method, the antioxidants and nutrients are preserved in the freshly harvested Ivory Coast cocoa beans. No fillers or stabilizers, sugars or fats are added to the chocolate. It's pure, it's rich, and it's heavenly.
But that's not all, special ingredients are used, including the acai berry superfood. Once known only to the native peoples of South America, these dark purple berries pack a potent antioxidant punch.
Xoçai™ chocolate tastes wonderful and it feeds you body and soul. Each bite adds antixoidants to your diet, perhaps as many as a basketful of fresh fruits and vegetables.
So here's to your health, and here's to your secret stash of chocolate. Make it XOÇAI™ healthy chocolate, and boost your health with every bite.
There is No Such Thing As Healthy Chocolate. Really?
Do you remember the news headlines of a few years ago when the studies first came out touting the health benefits of chocolate? Well, the studies left out one important fact:
The typical processing method used by most chocolate bar producers DESTROYS most of the antioxidant benefits of chocolate! Choose the one, the only chocolate bar that's filled with antioxidants preserved through a unique cold-press method and boosted with the incredible antioxidant power of the acai berry. Choose the healthy chocolate that people are talking about from coast to coast. Choose XOÇAI™.
REMEMBER WHO YOU ARE by David Icke
Remember Who You Are may help transform the way vast numbers of people see themselves and the world – and it could not have been published at a more pivotal moment in known human history. We live in extraordinary times, and we face the most enormous challenge to our individual and collective freedom.
David Icke has been a trailblazer for more than two decades, warning of the coming global difficulties that are now unfolding on the television news and in our daily experience. He was subjected to mass ridicule and called a madman – but events have proved him right, and continue to do so. David has exposed the global network of families behind Big Banking, Big Biotech, Big Food, Big Government, Big Media and Big Pharma in book after book as his awareness has expanded – and he takes this on to still new levels of exposure in Remember Who You Are. But David goes far deeper down the rabbit hole than merely our daily experience of the 'five senses'. He reveals the true nature of our reality where there is no 'solidity' or 'physical' – only vibrational, electrical, digital and holographic information fields that we decode into what appears to be a 'physical world'. David calls this the 'Cosmic Internet', and in this amazing work he explains how a malevolent force has 'hacked' into the cosmic information source via the 'Saturn–Moon Matrix' to feed us a false reality very similar in theme to the illusory world portrayed in the Matrix movie series.
Remember Who You Are breaks massive new ground as David connects the dots between apparently unconnected people, subjects and world events like never before. Suddenly, a world of apparent complexity, mystery and bewilderment makes sense. The key is in the title. We are enslaved because we identity 'self' with our body and our name, when these are only vehicles and symbols for what we really are – Infinite Awareness, Infinite Consciousness. We are imprisoned in the realms of the five senses and 'little me' when we are All That Is, All That Has Been and All That Ever Can Be. To breach the perceptual walls of the Saturn–Moon Matrix and bring an end to mass human enslavement, we need to awaken to our true identity. Everything, but everything, comes from this. Remember Who You Are. Remember 'where' you are and where you 'come' from. Remember…
THE MAGIC by Rhonda Byrne
To help you make 2012 the most magical year of your life, Rhonda has written a very exciting new book. In The Magic, Rhonda reveals ancient knowledge that has been misunderstood for over two thousand years. Then, on an incredible 28-day journey, she will teach you how to apply this knowledge in your everyday life.
For more than twenty centuries, words within a sacred text have mystified, confused, and been misunderstood by almost all who read them. Only a very few people through history have realized that the words are a riddle, and that once you solve the riddle – once you uncover the mystery – a new world will appear before your eyes.
In The Magic, Rhonda Byrne reveals this life-changing knowledge to the world. Then, on an incredible 28-day journey, she teaches you how to apply this knowledge in your everyday life.
No matter who you are, no matter where you are, no matter what your current circumstances, The Magic is going to change your entire life!
WISHES FULFILLED by Wayne Dyer
Wishes Fulfilled is designed to take you on a voyage of discovery, wherein you can begin to tap into the amazing manifesting powers that you possess within you and create a life in which all that you imagine for yourself becomes a present fact.
Dr. Wayne W. Dyer explores, for the first time, the region of your highest self; and definitively shows you how you can truly change your concept of yourself, embark upon a God-realized way of living, and fulfill the spiritual truth that with God all things are possible—and "all things" means that nothing is left out.
Shining Lotus 2020 - The Denver Book Company
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How can I switch the activity of the content of a tab in Tabhost I have created a TabHost and in 1 of the tab, I have added the content using
 mTabHost.addTab(mTabHost.newTabSpec("tab1")
                .setIndicator(getString(R.string.dialerIconLabel),
                        getResources().getDrawable(R.drawable.ic_tab_dialer))
                .setContent(intent));

Is it possible for me to switch the content's activity programatically after I called 'addTab of TabHost'?
Thank you.

A: You cannot readily change what View is the content of the tab. However, that View could be a ViewFlipper, or a FrameLayout with only one visible child, which can give you a similar visual effect.


The official Niagara Falls Fallscam and Rainbow Bridge Bridgecam sit high atop the 23 storey Sheraton on the Falls Hotel. Enjoy the view of the Falls or check the traffic conditions on the Rainbow Bridge from the comfort of your home or office space.
Witness one of the most famous getaway destinations any time of year. Let these two cameras preview what could be your next vacation!
Enjoy the best Falls view 24 hours a day 7 days a week. This immaculate view can be experienced from a Fallsview room at the Sheraton Hotel.
The Rainbow Bridge provides the most direct path from the United States to Niagara Falls. Preview traffic flow of the Rainbow Bridge before you arrive in Niagara for your next vacation.


Exclusively for adults outside school holidays, Youcanski is the first all-inclusive offer for ski beginners. Youcanski is the good track to start easy! You will be able to discover the wonderful snowy scenery in the heart of the fabulous "Portes du Soleil". Two tailored packages are available to experience the pleasures of skiing. This offer is only available for pre-sale online!
Please note that online sale stops 10 days before the arrival date.


text:
Mobile/
Verizon announces its nationwide 5G network
Reaching over 200 million people
By Chaim Gartenberg / @cgartenberg
Oct 13, 2020, 5:19 PM UTC |
Verizon is making a big expansion of its 5G network: the carrier is now rolling out nationwide support for the new networking standard, which will reach more than 200 million people.
Until now, Verizon's 5G has been almost exclusively focused on the mmWave band, which offers the fastest speeds but suffers from extremely poor range. That fact has meant that while AT&T and T-Mobile have been able to boast about broad 5G coverage for the entire country, Verizon has been limited to a few street corners of a small number of cities.
Verizon now offers 5G in a lot more places
The reliance on mmWave has also meant that Verizon has had to work with device manufacturers to create bespoke mmWave versions of phones specifically for the carrier. The new DSS 5G network means that Verizon can now support sub-6GHz 5G and offer phones that only support that version of the networking standard.
Of course, Verizon didn't just suddenly reverse its 5G strategy overnight or come up with a way to dramatically improve the range of its existing mmWave 5G. The new nationwide network is actually just sharing the existing spectrum and networking infrastructure that Verizon already uses for its LTE network, using new "dynamic spectrum sharing" (DSS) technology that lets the carrier run LTE and 5G networks side by side. (AT&T is also using the technology for parts of its 5G rollout.)
The upside of DSS is that it allows for Verizon to quickly expand its low-band 5G offerings. That gives it the same nationwide 5G footprint as AT&T's and T-Mobile's low-band networks without requiring that Verizon buy the spectrum and build out an entirely new network or cut down on its LTE offerings to allocate that space for 5G.
The new DSS-based Verizon 5G will be held back by the same limitations as its low-band competitors in exchange for that boosted range. Namely, due to the nature of the spectrum, speeds will be slower than the ultra-fast mmWave 5G that Verizon has been currently offering — although they should still offer an improvement over existing LTE speeds.
Verizon still says that mmWave will be the best experience for 5G and announced that it'll be expanding its coverage for those areas — including in sports stadiums, landmarks, and parks. The company says it'll be doubling coverage in cities like New York and San Fransisco, along with rolling it out in even more cities.
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Italian Artists Illustrating Boys' Fashions
Figure 1.--This unnamed youth was painted by Lorenzo di Credi. The painting is variously dated at 1490. He looks striking modern. His long hair looks like the hair commonly worn by American and European boys in the 1970s. Note the entirely secular content of the portrait. One clear sign of the Renaisance is the emmergence of art that was entirely sectular. This arrogant upper-class boy clearly has no indication of religios piety whatsoever.
No country is more important in art histiry than Italy. Mostv young European artists aspired to go to Italy to study the great masters. Italy during the Renaisance was the birth place of modern European art. Many of the greatest artists of all time are Italian, men like Leonardo, Micelangelo, Rafael, and Titian. There work ranks as some of the finest art of all time. Most date from the Renaissance. We have not yet cross indexed them here, but plan to do so soon. Interestingly, however, is the rather limited number of modern art work we have been able to find from Italy. It interesting that Italy which played such an important role in the history of Western art has produced so few modern artists of stature. It is also interesting to note that Italy does play a major role in the fashion industry. Often art and fashion go together.
Anguissola, Sofonisba (Italy, 1535-1625)
Anguissola is one of the few know Renaissance women painters. Unlike most girls of her era, shev was encouraged by her unusually enlightened father. She was trained as a painter when most well-born young women of Renaissance Italy were expectedf to sit closed up in their palazzos and persue needle work. Her accomplishments led to a life of drama and romance on a grand scale. She became a celebrated portrait painter at the court of Spanish King Philip II. She lived to a hearty old age, an became an international celebrity who was praised by no less an artist than Michelangelo and lauded by artists throughout Europe.
Bechi, Luigi (Italy, 1830-1919)
Luigi Bechi was born in Florence (1830). Italy at the time did not exist. The peninsula was divided into different states and much of the north as still in Austrian hands. As a young man fired with patriotic fervor, he joined in the war for independence. He joined up as a private soldier to fight in tge Second war of Independence (1859). He served in the artillery. Later in the Third War of Indepndence he fought with Garibaldi in the Trentino (1866). He was wounded and captured at the Battle of Bezzecca. He trained as an artist under Giuseppe Bezzuoli and Enrico Pollastrini in Florence. Between the wars he developed as a member of the 'Macchiaioli'--the Italian artistic movement committed Plein-air realism. His mentors helped him secure a post as professor at the Royal Academy of Fine Arts in Florence (1870). He worked in several areas, historical and biblicl paintings, landscapes, pastoral scenes, and genre. We notice serious historical scenes, including images of the wars of independence. He also did a range of genre paitings, inclusing charming even humerous scenes. He like several other Italian artists was especially inteested in peasant life. Quite a number of his genre works are peasant scenes. often of children or including children. We are not positive that the peaaant childten depicted look like how the children may have dressed at the time he painted. They look to us more like children in the 18th and early-19th centuries rather like the late-19th century. Perhaps our Italian readers will have a better fix on this.
Boldini, Giovanni (Italy, 1845-1931)
Italian genre and portrait painter. He was born in Ferrara and educated at the Academy of Florence. He achieved success at a young age painting portraits in London, but he moved to Paris in 1872. He was a good friend of the American painter Whistler.
Botticelli, Sandro (Italy, 1445-1510)
Sandro Botticelli is one of the leading artists of the Italian Renaissance. His painting the "Birth of Venus" is considered one of the masterpices of the Floretinr Renaissance. He was born as Alessandro di Mariano Filipepi in Florence. He was the son of a tanner, a very low status trade. Botticello meaning "little barrel" was a nickname, but the name that he is widely known for today. Sandro was first appreticed to a goldsmith and later to the painter Fra Filippo Lippi. He also worked with the engraver Antonio del Pollaiuolo. He painted both Biblical and classical scenes as well as the increasingly popular portrait. Interestingly in sharp contrast to his his equisite lines and reaistic depictions, Botticelli clothed his subjects in contemporary Italian Renaissance clothing.
Brennan, Michael George (Ireland/Italy, 1839-71)
Michael George Brennan was born on September 28, 1839 in Castlebar, County Mayo, Ireland. His father operated a hardware store. He was educated at Castlebar. And while still a youth tought himself shiorthand and earned money selling reports to newspapers, includung a Dublin paper. He had inate artistic skills before any training. He began to acquire a reputation as a cracturist at school and in Castlebar. Some local personages took an interest in the boy. They sent hom to Dublin at the age of 15 years to study at Dubkin Society's School in the Royal Hibernian Academy. He then went to London and entered the Royal Academny's School. He earned money by submitting drawings to Fun. a Punch rival, but quit as a staunch Iriush Cathokic when ordered to caricature the Pope. It is at this time he contarcted typhoid. He went home, but was advised to move to a warmer climate. He chose Italy and settled in Rome. He spent much of the rest of his life in Italy. As a result, although Irish born and educated. He few works he painted in his short life were Italian, not Irish images.
Brunias, Agostino (Italy, c1730-96)
Brunias is a rare Italian artists who did not paint Italy and Italian scenes. Instead he painted The East Indies at a time thar slavery was in full boom, the late-18th century. We know of no other artists that provided so many paintings and drawings on the West Indies and enslaved people that he actually observed. We knew next to nothing of his early life. We do not even have a confirmed birth date, but it was in Rome, probably about 1730. Most of his work depicted the West Infies, many including enslaved people. After graduating from the Accademia di San Luca, he begn painting in ome. We know nothing of his early works. He befriended prominent Scottish architect Robert Adam and went with him to Britain. It was there he met Antiguan-born Sir William Young. Prime Minister George Grenville had Young appointed o be President of the Commission for the Sale of Lands in the Ceded Islands--Caribben sugar islands. The islands included Grenada, Tobago, Dominica, and St Vincent, that had been acquired from France as a result of the 1763 Peace of Paris ending the Seven Years War. (France kept Guadalupe and Martinique in exchange foe ceding Canada.) Young commissioned Brunias to record his activities. Brunias left for the British West Indies to pursue. Although he was primarily commissioned to paint Yiung and tge wealthy planter families and their plantations. He painted many scenes depicting free people of colour and cultural life including the skaves. We are not sure who he uintended selling these paintings to. We cn't imagine plabter families would be interested. He appears to have brought his pintings back to England where he sold them. We are not sure how they were received or what prices they commanded. Brunias spent most of his time in the West Indian career on the island of Dominica, where he would die (1796). He also spent time in St. Vincent, but visited other islands, includung Haiti. Historians differ on their assessments. Sme praised his subversive depiction of West Indian culture. One cintemprary adnirer was Haitian revolutionary keader, Toussaint Louverture, Others criticised, especially abolitiinists leaders. Hisworks are nothing like those abolituiiniusts distributed. They were bothered because Brunias seems to romaticize slavery and captures none of the harshness and brutality of the slave system. We are sure that the relentlessly woke among us would agree and actually this also occurred to us. Brunias does for the most part does not show slaves at work and never being punished. But his images do something the Abolitionists never do, it depicted people of color, both slaves and free, in a dignified way, people that were fully human as cultured and capable as the white planter class. As far as we know, Brunias did not hold racist views--unusual at the time. He married a free multto woman and had two children.
Cabras, Cesare (Italy, 1886-1968)
Cesare Cabras was an Italian painter. He was born in Monserrato southern Sardinia from a land owning family of modest means (1886). The family had mosest fields, almond groves, and vineyards close to Cagliari. As a boy, he worked in the fields with his family. As a result, unlike many artistrs he was persomally involved in the scenes he chose to depict in artistic career. He was was familar wit every aspect of rural life from having experienced it personally. At age 19 years he began an apprentice in the workshop of the craftsman Giuseppe Conci (1905). This was an older age than appreciship usually began, but Conci was a noted Art Nouveau decorator, catering to the Cagliari upper class. It was an oportunity to begin a comfortable career a part of the urban middle class. Conci noriced some specual about Cabras. He convincd hus father to have Cabras train as an artist (1907). As a result, he enered the Academy of Fine Arts in Rome where he graduated in at the 26 years of age (1912). The Rome artistic environment was an eye-opening experienvde for Cabras whose life up to that point was largely confined to rural Sadinia. He mixed in the dynamic artistic mileau. He was most influence, however by verismo art -- not the many modern movemnts of the day. Verismo was a pictorial movement of the Italian 19th century. Cabras was not unterested in the many modern abstract movements. After finishing his atistic career, he began working in the studio of Pietro Gaudenzi in Genoa. He also enrolled in the the nude evening school of the English Academy. The association with Gaudenzi continues for some time. After the outbreak of World War I, Cabras returned home to help with family agrcultural operations. His briothers were conscripted for military service and help was needed in the fields. Because of a congenital problem, he was exempted. He was able to continue painting. His works are realistic, often with rural, peasant subjects. A good example of his work is 'Famiglia Campidanese', family from the Campidano plane, the plane in southern Sardinia.
Caravaggio, Michelangelo Merisi da (Italy, 1571-1610)
Michelangelo Merisi da Caravaggio (1571-1610) was one of the most important painters of his time. Although seen as the bad boy of late Italian Renaissabce art, both because of his ababndinment of established iconography (seen as indecorum) and his stormy personal life, incluing carousing brs and fuighting. He was born in 1571, althugh some recent scholaship suggests 1573. he was apprenticed for 4 years to Simone Peterzano a Bergamasque artist who insisted that he had been a pupil of Titian (1584). After his apprenticeship he seems to have gone to Rime, although vurtually no information is available on this period of his life. He eventually appears working for Cavaliere d'Arpino. His first works were uncontroversial still-life subjects. He also painted small rather dramatized self-portraits showing a northern, perhaps Venetian style. From an early point his work exhibited strong chiaroscuro and detailed realism. Cardinal del Monte employed him to paint genre scenes (1590s). The Church was still the source of major commissins. And presumably through the cardinal he obtained a commission to decorate a chapel in S. Luigi dei Francesi (the French church in Rome) with three scenes from the life of St. Matthew. This his first public work was finished only after many difficulties Difficulties with Church authorities continued throughout his life.
Di Credi, Lorenzo (Italy, 1459-1537)
Lorenzo di Credi was a Florantine painter of the Florentine school. A gifted, but unspectacular Renaissance style. He painted many nativity scenes or other scenes with the Madonna and Child as well as other religious works. More interesting were his deeply personal portraits, including some children showing hair styles and fashions. A long-haired youth painted in 1490 could have come out of any American junior high school in the 1970s. His early work are considered to be somewhat similar to Leonardo's youthful style. He reportedly came to regret doing these secular portraits for which he was undoubtedly well paid. The artist in his later years attemopted to destroy all of his secular paintings which are the ones of greatest interest to HBC.
Da Vinci, Leonardo (Italy)
No list of Italian artists would be complete without Lonardo Da Vinci, although he did not paint many works illustrating boys clothing that would be useful for HBC. We include him primarily because of his importance in Italian art history. We have archived a children's book about eonardo in our children's literature section. It is useful because of its discussion on his childhood.
Fontana, Lavinia (Italy, 1552-1614)
Lavinia Fontana is the most noted and prolific woman artist of the Renaissance. Lavinia was born in Bologna, a city that was noted for encouraging the academic and artistic abilities of women--unusual at the time. Women were educated at the University of Bologna when they were not allowed at other European universities. Bolognese painters chose Caterina dei Vigri (Saint Catherine of Bologna). Fontana is not only the most important woman artist of the Renaissance. She is believed to be the first woman painter known to history to hve had a successful career. As so often is the case in such instances, her father was a paiter. When he died. Fontana supported the family with her poainting. She painted in many genre, but among her religious and secular works showing the clothes worn by the children of Bologna. Many but not all are portraits of the children of wealthy families.
Franz, Ettore Roesler (Italy, 1845-1907)
Ettore Roesler Franz was an important Italian painter. He was born, lived, worked and died in Rome, although his grandfather came from Germany. He painted many watercolors representing the places and the people of Rome. He had his inspiration from the everyday life. To prepare his pictures, he took also some photos of street scenes and some studio portrait of simple people of Rome.
Giorgione (Italy, c1477-1510)
Venetian artist Giorgione is one of the great masters of the High Renaisance. He was not only a master draugthsman, but also a leading figures in the artistic revolution sweeping Europe. He was one of the first painters to paint people in a landscape setting. Giorgione was born in Castelfranco Veneto near Venice (c1477). At the time before the discovery of the Americas and rounding the Cape of Good Hope, Venice was at the center of the trade with the East. And the wealth created was part of what generated the Italian Renaissance. Virtually nothing is known about his childhood which most art historians see as suggesting humble origins. He is believed to have shown artistic talent from an early age. Giorgione was apprenticed to Giovanni Bellini--one of leading figures of the Renaissance (1490). Only incredibably talented boys would have been accepted as aprrentices. And in Belini's studio he was tutored in how to depicr lighting, atmosphere, color and mood. And the result wa virtually immeiate. While still a teenager, Giorgione produced his first two major works: 'Trial of Moses' and 'Judgment of Solomon' (1495-1500). Some after he painted 'The three ages of man' (1500-01), a brilliant dpiction of age. His most recognized work is 'The Tempest' (1505). About the same time he painted He painted many half-length portraits. Tragically has only a short career. He died at only 33 years of age, struck down by Venice dening us many master works (c1510).
Giotto, Mario Bucci (Italy, 1276-1337)
We have little information on Giotto's childhood. We note that French artist Léon Bonnat depicted him as a sheppard boy. Giotto is very important in the history of art. He is widely comdidered the most important Italian painter of the 14th century, which means the important painter in the world at the time. His work were a an early hint of the innovations of the Renaissance that would begin a century later. Most artbhistorians see him as the father of European painting and the first of the great Italian masters that would lead art into modernity. He played a major role in revolutionizing Western art. Which is why we include him on our Italian list. Before Giotto, Italian art art was flat and strongly influenced by Byzantine forms. Giotto brought realism, depth, and individuality to his painting. The people in his paintings are depicted in the long robes commonly worn in medieval Europe for centuries. We notice few children in his paintings that we can use to illustrate how children dressed at the time. The subjects of Giotto, like virually all art at the time are religious. Jesus as a baby is always depicted wearing a tunic. In St. Francis' 'Renunciation of Worldly Goods', a fresco in Assisi basilica, we can see two girls about the same age. St. Francis took off all his garments returning them to his father. Giotto put two girls in this scene. Giotto saw no need to hide the event from their eyes.
Gordigiani, Michele (Italy, 1835-1909)
Michele Gordigiani was born in Florence (1835). His father was a well-known Florentine musician. He was interested in art froim an early age. He studied at the Academy in Florence under Giuseppe Bezzuoli. He also sdtudied under Luigi Norcini and Silvestro Lega. He worked in the studios of Luigi Mussini and Adolph Sturler. He and his brother Anatolio socilaized in the Caffè Michelangiolo (1855). It was herethey came in contact with the Macchiaioli painters, an Itlaian art movement rejcting rigid vacademic convntions, somewhat similar to the French imppresioinists. His work deviated from the Macchiaiolists. He attempted costume genre work, but these paintings were not well received. His portaits, however attracted attebtiion. A friend, Virginia Oldoini, Countess of Castiglione invited g=hum to loaris (1860). Hevquicjkly sevelpedva substantial reputation. He painted several imprtant portraits, includiung King Vittorio Emanuele II, his daughter-in-law Queen Margherita, and the Count of Cavour. This was at the time that Vuctior Enanauel and Cavour had suceeded in uniting Italy. In London he painted portraits of Queen Victoria and Prince Albert jist before Albert's death. Another important English work was Elizabeth and Robert Browning. While in London, he participated at the exhibition of the Royal Society of Arts. One of the best was a portrait of Cornelia Ward Hall, wife of businessman John H. Hall, with their four children, we think painted in America (1880). Late in his career he submitted works to the Florentine Exhibition of Art and Flowers and at the Second Venice Biennale. He died in Florence (1909).
Guttuso, Renato (Italy, 1911-87)
Renato Guttuso was a modern Italian artist. He was born in Bagheria, close to Palermo, Sicily (1911). He nobed to Rome (1937) and largely worked there. He engaged in a range of artistic acticities. He did sets and costumes for Histoire du Soldat (1940) and llustrations for books. His illustratiins for Elizabeth David's Italian Food (1954) introduced him outside of Italy. Guttuso was a fervent anti-Fascist. He joined the Communist party (1940) which was banned by Italy's Fascist Government. He become an active participant in the partisan struggle which rise up after the Allied invasion (1943). After World War II, Guttuso created the Italian Communist Party's official logo. We note a painting bond to his homeland (1953). It shows the workers in the Ma href="/country/it/act/work/area/iawa-mine.html">Sicilian sulfur mines. In the same year a press report on the Sicilian mines showed that there were still boys working there. One art historian describes Gurrusp as developing 'out of Expressionism and the harsh light of his native land to paint landscapes and social commentary.' [Hamilton] We have always wondered hoe an artist can be a Communist given that artists in Communist countries are not free to create freely. And they have to conform to the dictates of the Party in subject matter, depivtion, and style. Is that really acceptable to artists like Guttuso? It is notable that Communist countries have produced relatively little great art. An important part of art is social commentary like the suloher mine, yet Communist countries do not permit seriius citicism of their society.
Mainardi, Bastiano (Italy, 1460-1513)
Bastiano Mainardi (14601513) was an Italian Renaissance artist born in San Gimignano (1460). He is not one of the better known Renaissance artists. Besides his paintings, most of what is known about his life comes from the writings of Giorgio Vasari. Domenico Ghirlandaio was his brother-in-law and master. He was working in San Marco, Florence under the supervision of Ghirlandaio (1485). Mainardi is believed to have contributed to the frescoes in the Abbey of Passignano in Val di Pesa, near Florence. He is nest known for a series of Madonna with Child and of female portraits. Ar critics debate as to whethr some were done by Ghirlandaio. Even the religious paintings are of some value in a study of fashion, bcaus Renaissance artists tendedto paint Biblical figures in contemprary fashions. Mainardi died in Florence (1513).
Mantegna, Andrea (Italy, 1431?-1506)
Andrea Mantegna was a noted Italian painter and engraver of the High Renaisance. Mantegna was noted for his depictions of heroic figures. He is especially known for his foreshortening technique to give dramatic perspective in wall paintings that were viewed from below. He was adopted by an art teacher, but broke with him at age 17 to open his own work shop. His career is associated with the Gonzaga family in Mantua where he worked as court painter. Some of his work provides fascinating glimses of Renaissance court life.
Michaelangelo (Italy, 1475-1564)
Michelangelo Buonarroti was one of the greatest artists of all time. He had an enormous influence on the art of the Renaissance. Incredibly he felt it was not painting that was his calling, but sculpture. As a result the number of his paintings are limited, but there are numerous drawings, each a masterpiece in their own right. We note one that is a dazzling image of a Florentine boy.
Moroni, Giovanni Battista (Italy, 15??-??)
Giovanni Battista Moroni is noted for his numerous children's portraits. The children were often depicted with their father.
Luigi Mussini (1831-88)
Italian painter Luigi Mussini was born in Berlin (1831). His father Natale Mussini had a position as chapel-master in the Prussian court. As a youth he ws sent to Florence from Berlin to be educated in art art, music and literature. He was taken in by his older brother, olderr brother Cesare Mussini (1804�79) was supervised his artistic training. We do not know a great deal about Mussini yet, but do notice a range of drawn portaits as well as large scale historucal works. One is titled 'Spartan education'.
Piero della Francesca (Italy, c1415-1492)
Piero della Francesca was an important Italian painter during the early-Renaissance. His father was Benedetto de' Franceschi, a merchant. His mother was Romana di Perino da Monterchi related to the Florentine/Tuscan Franceschi noble family. Very little is know about Piero's childhhod. He was born and and worked in the town of Borgo Santo Sepolcro, modern-day Tuscany. Although not definitive, he seems to have been apprenticed to the local artist, Antonio di Giovanni d'Anghiari. He worked with Antonio during his early years (1432-38). He was respected as both a mathematician and geometer during his career. Today he is known mostly for his paintuings. As was the case for most early-Renaissance artusts, most of his work had religious themes. And was the case for others at the time, he used geometric shapes and perfected the use iof perspective. He improved the depiction of movement, but was yet able to fully capture it. In addition to his relgious works, he also painted portraits, including one of an unidentifid boy. He is best known for the cycle of frescoes 'The History of the True Cross' painted for the church of San Francesco in Arezzo, another Tuscan town.
Pinturicchio (Italy, 1454-1513)
Bernardino de Betti is better known as Pinturicchio. He was born in Perugia in 1454 at the heigth of the Italian Renaissance. He was an assistant to Pergino and assisted with the frescos in the Sistine Chappel. He worked for 8 years (1484-92) on the frescos in chapels of the Santa Maria del Popolo in Rome. He also painted the walls of what is now the Vatican library. For our purposes here, Pinturicchio's work is notable for the Renaissance fashions that appear in many of his paintings.
Pollak, Leopold (Austria, Czech, German, Italian, 1806-80)
Czech artist Leopold Pollak was born in Lodenitz (1806). This is a town in what is now the Czech Republic. At the time it was in Bohemia, part of the Austrian Empire which was under fire from Napoleon's French Empire. Leopold's father was a prosperous Jewish merchant. His talent for drawing was noted as a child. He entered the Academy of Fine Arts in Prague (1819). He studied under the Director of the Academy Joseph Bergler for 5 years. He wnt on to study in Vienna under Johann Peter Krafft. His parents helped him move to Rome so he could finish his artististic education (1831). He studied under an established German arist, Leopold Schutz. He quickly joined the circle of German-speaking artists in Rome (1832). This was a natural development as Bohemia at the time was part of the German cultural sphere. It is difficult to define his nationality. He was born in Austrian Bohemia as part of a Jewish family raised in a German cultural meliu, and painted primarily in Italy (the Roman Papal States). Pollak was a founding member of the Deutscher Kunstler Verein (Federation of German artists). Much of his work was thus done in Italy. He was particularly known for charming genre images.
Rafael (Italy, 1483-1520)
Rffaele Monti (Rafael) is one of the great figures of the Italian Renaissance. He was contemprary with Micaelangelo but his much shorter life span limited his artistic career and body of work. Both stand as towering figures of the High Renaissance. Rafael was not an innovative artist, but he perfected the innovations made by other more creative spirits. Rafael was a master draftsman to which he was able to add keen psychological insight. Much of his work was religious in nature because the Church was the major financer of art at the time. His work does include a number of masterful portraits. Pope Julius II was a particularly important patron. These commissions required Rafael to hire teams of assistants to comoplete. We have not yet found, however, images of children which we can use to learn about contemporary fashions. We notice a children's book about Rafael which is useful because it discusses his childhood.
Tiepolo, Giandomenico (1727-1808)
Giandomenico Tiepolo (1727-1808) was an Italian painter. His father was the well known painter Giambattista Tiepolo (1696-1770). We note a fresco that Giandomenico Tiepolo painted in Villa Valmarana, a mansion in the country of Vicenza, near Venice, in 1757. The fresco shows a peasant family's lunch. They are eating in open air. On the table there is the "polenta", a porridge made with corn flour. The polenta was the main food for the peasantry in northern and central Italy. It can be eaten with meat, fish, cheese, tomato sauce and many other foods. The poor, however, often ate only polenta. A pregnant woman is eating standing, a man seated on the floor and another man seated on a stool. This one has a little child on the left knee. The child don't wear any clothing. Among peasant people it was not infrequent that little children spent the hot summer days naked.
Tischbein, August Anton (Germany/Italy, 1805-after 87)
August Anton Tischbein was born in Rostock, MeckIenburg (1805). August Anton was August Albrecht's son. He worked in his father's studio and also bcame an artist. He entered the Berlin Art Academy at age 19 years. He then entered the Dresden Academy (1826). He made his first trip to Rome to study master works (1829). He made another trip to study master works and broaden his horizons, this time to the Netherlands, England, the cities on the Rhine, and Switzerland (1832). He like many of the Tischbeins travelled throughout Italy because of their interest in art. He was, however, the only Tischbein to open a studio in Italy. He lived in Trieste which at the time was part of the Austrian Empire (1838-67). He ended up in Munich to continued his studies. Munich gave him access to the Alps and he made many trips to the Bavarian Mountains, the Tyrol, and northern Italy. He painted many landscape and genre scenes set in the Alps. Thus we see German, Austrian, and Italian scenes. The other Tischbeins mostly painted Gerans and German scenrs. August Abton pained quite a number of Italian dcenes. He traveled to Rome again (1837). He subsequently taveled throughout northern and southern Italy. He finally settled in northern Italy. He married in Venice Venice and settled in Trieste.
Titian (Italy, c1485-1576)
Titian (Tiziano Vecelliois) is of course one of the great masters, the greatest painter of the Venetian school. Titian's influence on later artists has been profound: he was supreme in virtualy every aspect of painting and fundamentally changed painting with oils technique with his free and expressive brushwork. He worked on a wide range of subjects, but it his wonderfully expressive portraits that offer important information to HBC. He painted portraits for nearly 60 years provising a wonderful record of 16th century scociety. Nearly 100 portraits are known. They include the most poweful figures of the day. Others indvividuals are unknown.
Tito, Ettore (Italy, 1859-1941)
Ettore Tito was an Italian painter and sculptor. He was born in Castellammare di Stabia (near Naples) (1859). His father was Ubaldo Tito, a sea captain. Naples was Italy's mot important port. His mother, Luigia Novello Tito, was a Venetian. The familky returned to Venice when Ettore was still quite young. His talkent was recognized at an early age. He trained at the Fine Arts Accademy of Venice. He was professor in the same Accademy (1894-1927). Although born in Naples, his work is primarily associated with Venice. It was a city occupied by the Aystrians for many years. He was known for his paintings of contemporary life in and around Venice. He painted in a very realistic style leaving a wonderful record of Italian including fashions. Here we have a painting from 1898. It shows a life scene in Chioggia. This is a realistic depiction of the life in the fishermen town on the Venice Lagoon. Tuto was awarded the Grand Prize in painting at the 1915 Panama-Pacific International Exposition in San Francisco. Somewhat late in his career, he was made a member of the Royal Academy of Italy (1926). Tito died in Venice (1941).
Tomaselli, Onofrio (Italy, 1866-1956)
Onofrio Tomaselli was the inspiration for several generations of Sicilian painters. Tomaselli was born in Bagheria (1856). He grew up in Palermo. He completed appretiships under Palermo artists. The Palermo municipal government provided a scholarship to study (1884-86). He was a genre artist painting realistic scenesm, seeking to represent 'truth'. Tomaselli's major influnce was Domenico Morelli, a major figure in Sicilian art. He participatred in the 'forbidden pictorial compositions' at the Institute of Fine Arts of Naples (1886) He then married Emilia Glaudi, daughter of the Marquis of Tagliavia (1887). Some of the artists influenced by Tomaselli were Alfonso Amorelli and Renato Guttuso, another painter from Bagheria considered Tomaselli's instructiion as the inspiration for the production of 'La Zolfara' (volcanic sufur mine). An observerr writes, "It is the light-filled mountain pass of a Sicilian sulfur mine, the theater of social shame with which the humanists of one day so vainly occupied themselves; where the youngest creatures wear themselves out in a work that consumes mind and body...." Tomaselli painted 'I Carusi' an important 20th century Italian painting. Carusi was the plural for a Roman word for boy, but by the 19th century meant boy mine workers. He presented it at the Universal Exhibition in Milan (1906). He was associated with the Maison de la culture» which addressed issues of the day such as child labir. ,
Torriglia, Giovanni Battista (Italy, 1858-1937)
Giovanni Battista Torriglia was born in Genoa (1858). He studied at Language Academy (1875-1882). He destinguished himself as the winner of the Durazzo grant (1886). He also studied in Florence where he met established artist Nicolo Barabino (1832-1891) who at the time was also focused on religious paintings. Tottiglia settled in Tuscany (1901). He lkived with a friend and colleague, Tito Lessi (1858-1917). It was at this time that he began to shift from rekigious and hustorical subjects to nostalgic interiors. He became a master at creating images of Italian family life rather like Normnan Rockwell, but with more of a rural and working-class focus. His early mastery of figurative painting enabled him to create wonderful images nostalgic paintings of the italian family. The images of course include many depictions of children. He lived a long life, but most of his images seem set in the 19th century. He is known for the detailed and coloful depiction of the interiors. He also was renounced for turning each fifure in his paintings into individual character. A good example is 'The seesaw' (L'altalena). The scene is set in a fisherman's home.
Hamilton, Adrian. "Past masters of Futurism" (February 28, 2011). he Independent, review of gallery show of Alberto della Ragione's collection of Italian paintings at the Estorick collection, from the 1930s to the 1950s, p. 18 Review section
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Created: August 9, 2003
Last updated: 2:02 PM 3/21/2022


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require 'spec_helper'

describe RakeMKV::Parser do
  let(:parse) { RakeMKV::Parser.new(RakeMKVMock.info) }
  describe '#new' do
    it 'sets the raw info' do
      parse = RakeMKV::Parser.new('anything')
      expect(parse.raw).to eq 'anything'
    end
  end

  describe '#cinfo' do
    it 'parses information for cinfo' do
      expect(parse.cinfo[:name]).to eq 'DIME_NTSC'
    end
  end

  describe '#tinfo' do
    it 'parses title information' do
      expect(parse.tinfo[0][:chapter_count]).to eq '24'
    end
  end

  describe '#sinfo' do
    it 'parses title information' do
      expect(parse.sinfo[0][1][:audio_sample_rate]).to eq '48000'
    end
  end

  describe '#messages' do
    it 'parses messages information' do
      expect(parse.messages[0]).to eq 'MakeMKV v1.8.3 linux(x64-release) started'
    end
  end

  describe '#drives' do
    it 'parses drives information' do
      drive = { accessible: true,
                drive_name: 'DVD+R-DL MATSHITA DVD-RAM UJ8C2 SB01',
                disc_name: 'DIME_NTSC',
                location: '/dev/sr0' }
      expect(parse.drives).to include(drive)
    end
  end
end

redpajama_set_name: RedPajamaGithub


Would you be available for temporary replacements?
Are you allowed to work in Canada in accordance with the Canadian Law?
I declare that the information is accurate and I understand that any misrepresentation or omission on my behalf will result in the withdrawal of my application or in the termination of my employment contract, if applicable. Signature takes the necessary precautions to protect the information collected.


If you are seeking a real estate lawyer in Brooksville or Spring Hill, Florida, The Hogan Law Firm is here to assist you. The Hogan Law Firm represents clients in all facets of their real estate holding needs. We prepare conveyance documents (Deeds), encumbrance documents (Easements, lis pendens), and loan documents.
The Hogan Law Firm is an approved attorney and authorized agent for Old Republic Title Insurance Company. Old Republic is one of the largest title insurers In the United States which operates through a national network of offices. This allows us to provide our clients real estate transfer products and services, including Owner's and Lender's Title Commitments and Title Insurance policies, and Ownership & Encumbrance Reports. We serve as Title Agent and Escrow Agent in both large and small real estate transactions.


I've been reading up a storm, but there have been some series and books that I just don't have TOO much to say about. Not that they weren't good! Especially if I read a series very quickly, I seem to forget my individual reactions to each particualr book and recall only an overall feeling of "Yay" or "Nay". Sometimes, I really just don't have that much to gab about, even if they were fan-girl scremaing worthy. To give these books/series their bit of attention, I've decided to post a number of short reviews all at once.
These Petit Reviews will give you a quick rundown on some of the things I've been read-chomping on lately, while simultaneously keeping me from having to come up with bunches of fluff when a quick splurp will do.
Presenting the initial Courtney Crumrin miniseries in a new digest-sized format. Courtney's parents have dragged her out to a high-to-do suburb to live with her creepy Great Uncle Aloysius in his spooky old house. She's not only the new kid in school, but she also discovers strange things lurking under her bed.
I found this series by absolute accident. I was visiting my local used bookstore and just browsing around (like you do). I came across "Courtney Crumrin and the Night Things" in the last row of the YA section. I picked it up, took a glance at the cover and immediately put it in my basket. I don't even think I 100% knew what it was going to be about but the cover was awesome, and if I love the art work I'm inclined to read the Graphic Novel no matter what it's about. Yeaaah, I've gotten into some pretty weird GNs because of that (which is not entirely a complaint, people).
I read V1 and was immediately infatuated. I swooped down on my library and grabbed up the next 3 volumes and purchased all the rest on kindle.
The Courtney Crumrin series falls into a number of categories that I really enjoy - dark, paranormal, almost fairytale, and meant for younger readers. I don't know why I'm so obsessed with creepy tales focused around MG and YA characters. Maybe because that was what I loved so much as a kid myself - maybe because I want to see a peculiar and creepy world where there are still SOME kind of rules and everything isn't ENTIRELY traumatizing.
Like, holy god, "Sandman" or "Saga". Awesome reads but so very, entirely disturbing in their own right.
Anyway, the concept of a young witch being so powerful that she has no problem interacting with nightmare goblins from myth (rawhead and bloddybones? Omuhgeez), and does so in a completely YOUNG way, with so much confidence and sass. Love it love it love it.
I'm a huge fan of Charlaine Harris anyway. I got lured in by the Sookie Stackhouse novels and then it snowballed from there. After Sookie I was zooming through the Aurora Teagarden mysteries, then the Harper Connelly mysteries, and finally I got my hands on "Lily Bard", but by that time the Midnight Texas series was happening.
What do I love so much about this particular series? It's a crossover of ALL OF THE OTHER SERIES SHE'S WRITTEN. There are characters from everywhere. When I started realizing that was going to be the way of things, I got more and more excited. I kept my fingers crossed for one of my favorite secondary characters from Sookie Stackhouse to show up and HE FINALLY DID! I could have fainted from joy.
The Midnight Texas series is a mix of flavors. It's mystery, it's paranormal, it's romance. It's got it all and it's flipping great.
Like most of Charlaine Harris' other series (other than Sookie Stackhouse) there are some slow parts where I feel like I'm having to slog through to get to the next happening. This explains why the majority of the books in her other series have all been rated 4/5 by me. But they're still great, I still love them, and I am REALLY LOOKING FORWARD to the next installment of MIdnight Texas to release next year (damn, a whole year away).
*silent screaming* I enjoyed these graphic novels, but they are all so graphically violent. Trying to read a GN through your fingers so you don't see anything too upsetting is really hard. Ok. Fine. I'm a wuss, alright? I love the storyline and the characters, and appreciate how the relationship between the two MCs is treated. There are also some serious cackleworthy moments.
Overall, despite the fact that this is a fantasy GN things seem very real and relatable, in both wonderful and extremely sad ways.
The basic themes are thought provoking and this is a great discussion series, in my opinion. But man... The same reason I'm very cautious about reading Adult Graphic novels is the same reason why I make my husband or friends watch "scary" movies I'm interested in first so they can tell me if it's too violent. No one warned me about "Pan's Labyrinth", so I was practically a basket case for the next couple of days even though I enjoyed the overall movie incredibly.
This entire series (or at least what has been published up until now) gets a solid 4/5, only losing a star because of my own proclivity towards squeamishness.
That's all for this first installment of Auggie's Petit Reviews! Enjoy your Friday and don't forget that the #TomeTopple read-a-thon begins this Sunday!


text:
Consumer IoT platform Thread unveiled, Qualcomm joins
Written by Tim Skinner
15 July 2015 @ 14:42
Thread, an IP-based wireless protocol designed for consumer IoT in the home, has been unveiled, with the organisation also confirming Qualcomm Technologies as a member of its board of directors.
The IoT protocol, according to Thread, is designed for consumers and devices in and around the home, and extends domestic M2M connections into the cloud using IP in a low-power mesh network. Having announced its formation in late 2014, Thread now comprises of more than 160 member companies. Qualcomm has also been appointed to the group's board of directors, where it will be more heavily involved in the development of Thread-compatible products, as well as the protocol itself.
Considering it's only been operational for just over nine months, the progress being made within the wider Thread group shows the rate of development within the wider IoT industry in general; a sentiment agreed with by Chris Boross, Thread Group's president.
"In the nine months since opening membership, more than 160 companies have joined the Thread Group, and now the group is launching the Thread technical specification, which has now completed extensive interoperability testing," he said. "Today's announcement means that Thread products are on the way and will be in customers' hands very shortly. I'm excited to see what kinda of products and experiences Thread developers will build."
With Qualcomm joining the board of directors, it also shows how large and influential tech firms are hedging their bets on the development of IoT, by also contributing to the AllSeen Alliance, another IoT platform development forum. Raj Talluri, Qualcomm's SVP of product management reckons the work being done at Thread will help further IoT development.
"When it comes to easily and securely connecting the smart home, the work of industry alliances like the Thread Group are essential," he said. "Collaborating with the Thread Group allows for the integration of this technology into the world's leading brands of household appliances, and to thereby speed innovation and market transformation."
Thread coming to the fore serves to illustrate how progress in various aspects of IoT connectivity is accelerating. There's a plethora of platforms all addressing separate networking considerations, from Sigfox and its cellular IoT platform, to the Wireless IoT Forum deploying low-powered wide area networks for city-wide M2M connectivity. If the variety of industry stakeholders involved are indeed intent on open collaboration and cooperation to ensure the more altruistic progression of IoT; then sooner or later one would assume a level of convergence of said platforms is inevitable.
Tags: IOT, M2M, Qualcomm, SIGFOX, Thread, Wireless IoT Forum
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text:
My WiredGov
Friday 09 Oct 2020 @ 11:33
To protect European consumers' health, especially those of children, MEPs objected to Commission proposals on food products containing titanium dioxide and acrylamide.
The first objection concerns the Commission's proposed amendment to the legislation laying down specifications for food additives as regards titanium dioxide (E 171). It was approved with 443 votes to 118 and 135 abstentions.
Parliament calls on the Commission to apply the precautionary principle and to remove E171 from the EU list of permitted food additives that are currently used mainly to colour confectionery, bakery and pastry products as well as chewing gum, candies, chocolates, and ice cream. As these products are very popular with children, MEPs are particularly concerned about them being potentially very exposed to the additive. They underline that France banned sales of food products containing titanium dioxide as of 1 January 2020 and that 85 000 citizens across Europe have signed a petition to support the French ban.
The second objection concerning the Commission's proposal to amend the rules setting maximum levels of acrylamide in certain foodstuffs for infants and young children was also approved with 469 votes to 137 and 90 abstentions.
The European Food Safety Authority (EFSA) previously confirmed that acrylamide, which is a processing contaminant that occurs naturally when some foods are heated, potentially increases the risk of developing cancer in all age groups. In the resolution, MEPs request that the Commission lower the proposed maximum level allowed for two food products often given to infants and young children, as they are the most exposed, based on their body weight. They also underline that biscuits and rusks that are not specifically produced for infants and young children, but are often given to or even marketed to them, should face the same, more stringent demands.
Original article link: https://www.europarl.europa.eu/news/en/press-room/20201002IPR88447/parliament-objects-to-legislation-on-food-products-that-might-be-harmful-to-kids
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text:
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Miracles on the Dusty Road
Copied via GoogleTranslate from NEWS.TUT.by
On Wednesday, September 19, miracles took place on the outskirts of Ivia. Right in the middle of Sovetskaya Street, families were reunited, which due to life circumstances were separated many decades ago. No pathos and red tracks - on the dusty road people were embracing, who had never been seen before, close relatives who had been looking for each other for a long time.
Left to earn extra money, stayed - forever
Just over a hundred years ago, part of the Belarusian Tatars headed in search of a better life towards America. Many were planning to just make money and return home, but it turned out differently. They thought that they were going to the ocean for a while, but remained there forever. There were among those who left their homeland, and the Iviev Tatars. In a small place, however, as in other Belarusian cities, life was difficult at that time. So migrant workers went overseas, leaving children, spouses, brothers and sisters in Belarus. People did not even think that they would see them anymore.
The First World War began, then the revolution, then - the division of Belarus into two parts, then - the reunification of the country, the Soviet government and again the war. Many remained in America. Family ties were lost in the maelstrom of events.
But the memory of the relatives who had left in Tatar families was carefully preserved, passing documents, letters and old photos from generation to generation. Some were lucky - they were somehow found by American brothers, sisters, fathers and grandfathers. Then the correspondence was fastened. But there was no opportunity to meet.
And the descendants of those who once went from Belarus to America, in September 2018 came to Ivye. A delegation of 18 people has already visited places in Poland, Lithuania and Belarus, and finally reached the "Belarusian Tatar capital".
... Even an hour before the arrival of "our Americans", Ivye people began to gather around the Tatar public house. Everyone has old photos in their hands. People worry, they talk.
- And what about we know, hto Prvydze and us? Mozha, mahi hto? "I ufatara fatagrafii," says one of the women, carefully pulling pictures from the envelope. Each of those who come believes that among the Americans will be their relatives. After all, it is unknown who exactly will come.
- ... My dziadzka on yay matsery zhanaty would be. Poty Yany unfolded. Yon have captured trapі, sweat stagnates ў Germanіі, and Yana pahala ў Ameryku. Yong tudy taxa sweat perebrabsўya. Former zhonka yes yago udzіla, - one of the women shows faded pictures. He says that relatives who settled in America corresponded with her father. They live somewhere near Cleveland.
"Dziadzka us taksam taxa." Yon pіsakў at Baranavichy, ale geta is not a mountain, but a horse. Adsyul not far away. Duc pіsmo so і hadzіla tudy-syudy, pakul yes known Tatarachak, yakіya on prose pratsavalі, not trap_la. Yana pa familі і know us.
Iv'evchane long talk about their brothers and sisters, about great-grandfathers, about aunts and uncles. Show photos. His - and those who have lost a hundred years ago.
- We are their grandchildren and great-grandchildren. Those who left for America once died, they say and add that America seems to have been somehow closer than it is now. After all, labor migrants came home before the First World War and actively maintained contact with their relatives.
"My mother was born there, in America, here is the grandmother's grave, look," another woman draws her photo, "then dad married again, and her stepmother took her, little one, here. And then she, as she said, "chalked gentleman there." I asked: "But you did not go to the heaps of heat"? And she says that the young marriage was given here. And so ended her American history.
Found in social networks and arrived in Belarus
The American Meryl wanted to come to Belarus in search of relatives . She found a group of Tatars of West Russia, Lithuania, Belarus & Poland on Facebook and wrote to the administrators. And spun.
In parallel, the Belarusian Tatars were looking for their relatives. In Ivie, for example, everything began with the search for relatives of Anna Rafalovich . A woman is a historian who works at a local school. Once I realized that she did not know anything about one of the branches. The search helped the group on Facebook.
She placed there a photograph of a great-grandfather, his two brothers and sister. It turned out that the very Meryl is her relative, and one of the men depicted in the photo is her grandfather.
Anna Rafalovich. Photo: Valery Yudin, TUT.BY
"My husband's last name is Rafalovich, the maiden name is Radkevich, my mother is Safarevich, and my grandmother is Gambitskaya," begins Anna. - The family of great-grandfather Aleja Gambitsky left for America in 1913. Parents, Jakub and Fatima, and four children. Great-grandfather was 14 years old. But when they boarded a ship in one of the Baltic ports, they did not let him in there. The boy had a fever, and the doctor decided it was typhoid. The family did not live in Ivye, but Aleev took some Iv'evchanin with them and brought them here. The teenager lived first in the barn, was hired to help the farms, then he got to his feet.
In 1921, a young man married a local girl, Mary. An invitation was sent to him from America, but he had not gone anywhere. At first, the wife did not let go, fearing that she would not return. Then came the children.
- But he corresponded with his brothers for a long time. True, he did not tell anyone about the family history, and when we wanted to know, he was no longer in the world. There was no one to ask, the woman says and adds that at first she didn't even know the names of her relatives. The search was complicated by the fact that the Gambitsky surname is very common. But perseverance works wonders.
- I went through a lot of births - but no, not relatives. And it would have been in vain if Meryl had not appeared, who had recognized her grandfather Stephen in our photo, and then posted some more pictures of relatives. At the same time, we found the card of her grandfather, which he once sent to Alej.
Now relatives of Anna live in the New York area of Brooklyn. There is also a fairly large diaspora of our Tatars - about a hundred people. Anna says that they do not forget about their roots. Here, for example, from generation to generation, they pass recipes of those dishes that their ancestors prepared in Belarus.
The Americans had two hours planned for the meeting in Ivye, but they had to stay longer - so much had to tell each other!
Here, for example, Khalil Radkevich . An elderly man tells his story, barely holding back tears. His relatives left for America before the First World War. Return failed. From his Yevyev family he was left alone: the brothers died long ago. He has, of course, a daughter, but she is seriously ill and has been bedridden since childhood. There are practically no old photos in the family - the parental house burned down. And Khalil was left with only a large portrait of his parents, who, in a hurry, saving them from the fire, were brushed off the wall.
- My mother's own sister, Amenya, left for America. She was from Aleksandrovich, and her husband, Radkevich, from Ivja. He went to Mecca and died there, but his relatives nevertheless transferred him to America and buried him there.
Today, Khalil hopes that at least one of the visitors will find out in the photo a married couple and tell about his American relatives.
Stephen and Khalil Radkevich. Photo: Valery Yudin, TUT.BY
It turned out even better. His cousin Stephen Radkevich arrived in Ivye , who immediately determined that his photographs were his uncle and aunt.
- So we are brothers, right? - Khalil still can not believe what happened, confused looks at the people around - and then firmly hugs "his American."
It is difficult to communicate - language barrier. Without a translator, Khalil, of course, tries to tell Stephen about his family and his fate. The American nods his head, although he does not understand what he is being told about - and he repeats in English that his mother Amenya and mother of Khalil Rosa are sisters. And he also searched for his relatives for a very long time, wrote requests, worked in archives.
Both Stephen and other American Tatars repeat the same thing - it's very difficult to find their roots, because Belarusian Tatars have a lot of namesakes. For example, only in Ivie dozens of Rafalovich, Bogdanovich, Shaganovich and Radkevich live.
However, this story with a happy reunion is not the only one that has happened in Ivie now.
Linda , Mirema and Yakub drove purposefully to Ivie. Here their cousins and aunt, 89-year-old Khadyzha, were already waiting for them .
"First of all, I'll wake up a svayak," says grandmother excitedly. She never saw her sister, who had left for America at a young age. And now everything can not depart from their nephews.
"They waited for two sisters, and a brother also arrived," says her daughter Aisha . And crying.
... For a long time the Americans and Ivyevchane went to town. They looked at the cemetery, showed their farms, treated them, of course, with tomatoes — and still didn't want to let each other go. At parting, they promised each other not to lose touch and meet more often than once in 100 years.
So be it.
© 2018 by M.M. Inc