For other uses, see Loom (disambiguation).
Not to be confused with knitting machine.
A foot-treadle operated Hattersley & Sons, Domestic Loom, built under licence in 1893, in Keighley, Yorkshire.
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
T'boli dream weavers using two-bar bamboo backstrap looms (legogong) to weave t'nalak cloth from abacá fiber. One bar is attached to the ceiling of the traditional T'boli longhouse, while the other is attached to the lower back.
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD. The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm's length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
A 1939 loom working at the Mueller Cloth Mill museum in Euskirchen, Germany.
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
Hand operated Jacquard looms in the Textile Department of the Strzemiński Academy of Fine Arts in Łódź, Poland.
Battening on a jacquard loom in Łódź.
A female worker changing jacquard cards in a lace machine in a Nottingham factory (1918 (First World War).
Boy next to two weaving looms with the weaving pattern on reams of paper (India).
Following the pattern, holes are punched in the appropriate places on a jacquard card.
Manual loom with double width and jacquard loom, Colegio del Arte Mayor de la Seda of Valencia.
The Jacquard cards control the healds on a loom.
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for Circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
The Loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
A Jakaltek Maya brocades a hair sash on a back strap loom.
^ "loom - Origin and meaning of loom by Online Etymology Dictionary". www.etymonline.com.
^ "warp - Search Online Etymology Dictionary". www.etymonline.com.
^ Lush, Emily. "Making of: T'nalak Weaving, Philippines". The Textile Atlas. Retrieved 3 April 2019.
^ "Abaca". White Champa. Retrieved 3 April 2019.
^ a b Broudy (1979), 124.
^ Forbes (1987), 218 & 220.
^ a b Ceccarelli, Marco; López-Cajún, Carlos (2012). Explorations in the History of Machines and Mechanisms: Proceedings of HMM2012 (History of Mechanism and Machine Science). Springer. pp. 219–220. ISBN 978-9400799448.
^ Usher, Abbott Payson (2011). A History of Mechanical Inventions. Dover Publications. p. 54. ISBN 978-0486255934.
^ Eric Hobsbawm, "The Age of Revolution", (London 1962; repr. 2008), p. 45.
^ "Fabric Glossary". Archived from the original on 2009-01-05. Retrieved 2008-11-21.
^ GESELOWITZ, MICHAEL N. "The Jacquard Loom: A Driver of the Industrial Revolution". The Institute: The IEEE news source. Retrieved 31 March 2018.
^ Tresidder, Jack (1997). The Hutchinson Dictionary of Symbols. London: Helicon Publishers. p. 127. ISBN 1-85986-059-1.
^ Rosenbaum, Brenda P. (1990). "Mayan Women, Weaving and Ethnic Identity: a Historical Essay". Guatemala: Museo Ixchel del Traje Indigena: 157–169.
Burnham, Dorothy K. (1980). Warp and Weft: A Textile Terminology. Royal Ontario Museum. ISBN 0-88854-256-9.
Collier, Ann M (1970). A Handbook of Textiles. Pergamon Press. p. 258. ISBN 0-08-018057-4.
Crowfoot, Grace (1936–1937). "Of the Warp-Weighted Loom". The Annual of the British School at Athens. 37: 36–47. doi:10.1017/s0068245400017950.
Guest, Richard (1823). The Compendious History of Cotton-Manufacture. Retrieved 2009-02-15.
Marsden, Richard (1895). Cotton Weaving: Its Development, Principles, and Practice. George Bell & Sons. p. 584.
Mass, William (1990). "The Decline of a Technology Leader:Capability, strategy and shuttleless Weaving" (PDF). Business and Economic History. ISSN 0894-6825.
Ventura, Carol (2003). Maya Hair Sashes Backstrap Woven in Jacaltenango, Guatemala, Cintas Mayas tejidas con el telar de cintura en Jacaltenango, Guatemala. Carol Ventura. ISBN 0-9721253-1-0.
Look up loom in Wiktionary, the free dictionary.
Wikimedia Commons has media related to Looms.
"The Art and History of Weaving"
The Medieval Technology Pages: "The Horizontal Loom"


Adapting Stephen King doesn't always pan out. For every SHAWSHANK REDEMPTION, STAND BY ME, and THE SHINING (though the renowned author would disagree), there's a DREAMCATCHER or DARK TOWER that get in the way.
Fortunately, filmmakers this year have aimed small and missed small. While the poorly constructed DARK TOWER, starring Matthew McConaughey and Idris Elba, misread its fortune in King's game of success, the new set of cards dealt with last month's IT and this month's Netflix original films should have fans in a frenzy.
Netflix premiered two films based on King's works at Fantastic Fest this past week: 1922 and GERALD'S GAME. Both were well received at the Austin-based film festival, but audiences were most eager to play GERALD'S GAME.
Stars Bruce Greenwood and Carla Gugino walk the carpet at Fantastic Fest on Sept. 24, 2017 at the Alamo Drafthouse Cinema – South Lamar in Austin, TX. Courtesy of Getty Events for Netflix.
Directed by Mike Flanagan (HUSH, OUIJA: ORIGIN OF EVIL), GERALD'S GAME discovers the secret to unlocking King's world by deepening the humanity within his narratives.
In the story, Jessie (Carla Gugino) is handcuffed to a bed by her husband Gerald (Bruce Greenwood) as a way to loosen their rather wooden marriage. It's evident early on that Jessie is hiding some traumatic baggage in her closet. As horrifying as it is when her husband croaks mid-tryst, the act forces Jessie to fight off her demons in order to free herself from the cuffs that have her bound.
Much of GERALD'S GAME hinges on the secret from Jessie's past. Not to spoil too much of the mystery of the film, we discover that Jessie has repressed memories of her father (distressingly played by E.T.'s Henry Thomas) and how he violated her innocence and ability to grow. It's a visceral element that's difficult to get through, but is boldly portrayed and captured.
Flanagan and producer Trevor Macy, who's worked on a few of Flanagan's projects, described this devastating detail as the "beating heart of King's book." To take a moment so scary from Jessie's past, all that vulnerability, fear and abuse, and mold it into strength is a testament to the filmmakers' ability to capture the spirit of King's story. They all so easily could have turned this into a standard feature about someone who tries to free themselves from a pair of handcuffs, but like Danny Boyle's 127 HOURS, this is a story with more value.
L-R: Producer Trevor Macy, star Chiara Aurelia ("Young Jessie"), Bruce Greenwood ("Gerald"), Carla Gugino ("Jessie") and director/co-writer Mike Flanagan. Courtesy of Getty Events for Netflix.
Throughout the film, we see Greenwood and Gugino also portray projections of Jessie's cerebral landscape. Gerald awakes from his death to help and shake Jessie's confidence, while an alternate version of Jessie appears to represent the calmer side of her character — a component that could have proven goofy in the hands of an incapable filmmaker.
"I credit [Gugino and Greenwood] with a lot of the success of that. To not sell that and make that the center of the story, the whole enterprise could have collapsed," Flanagan added.
As the renewed wave of interest in King continues to attack the block, we can only hope that future filmmakers, talent and adaptations will be so congruous.
Stream GERALD'S GAME on Netflix today.


Changsha Xinkang Advanced Materials Co.,Ltd (XK) is established by several doctors and postgraduates who studied Material Science Major at Central South University. As a high technology company integrating production, R&D, as well as sales of PVD coating materials, XK is specilized in producing high quality metallic sputtering targets, ceramic sputtering targets, arc cathodes / targets, evaporation materials, optical coating materials and coating Accessories, for the field of semiconductor, electromagnetic shielding, solar photovoltaic coating, flat panel display, surface decoration and precision optics.
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Firstly the Erde 142 trailer has internal dimensions of Length 1.45m (4ft 9) x Width 1m (3ft 3) x Depth 0.35m (1'1″), and can carry approx 500kg. Secondly this is a medium sized lightweight trailer, ideal for carrying goods, gardening and camping. The trailer comes complete with ABS lockable cover that gives extra height and increases security. Consequently this also allows for more to be loaded. Finally other Erde accessories which are included are; a jockey wheel, spare wheel and triplelock coupling. These are to ensure safety and ease of use for you, the customer.


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New York Academy of Medicine, Carte de Visite Collection
The Carte de Visite Collection consists of 223 late 19th and early 20th century photographs of national and international figures in medicine and public health. Many are from the New York area.
Learn More About the Collection
Carte de Visite, A.S. Ball
Carte-de-visite of A.S. Ball, taken by photographic studio Rockwood and Co.
Carte de Visite, Abraham Jacobi by Brady's National Photographic Portrait Gallery
Carte-de-visite of Abraham Jacobi (1830-1919), German-born pioneer of pediatrics who opened the first children's clinic in the United States. Photograph by Brady's National Photographic Portrait Gallery. Photographic company had offices in New York and Washington D.C.
Carte de Visite, Abraham Jacobi by C.H. Reutlinger
Carte-de-visite of Abraham Jacobi (1830-1919), German-born pioneer of pediatrics who opened the first children's clinic in the United States. Photograph by C.H. Reutlinger.
Carte de Visite, Abram Alex Smith
Carte-de-visite of Abram Alex Smith (1847-1915). Photograph by Jose Maria Mora.
Carte de Visite, Adam Politzer
Carte-de-viste of Adam Politzer (1835-1920), Hungarian physician and a pioneer and founder of the field of otology. Photograph by F. Schultz.
Carte de Visite, Adam Politzer, facing forward
Carte-de-viste of Adam Politzer (1835-1920), Hungarian physician and a pioneer and founder of the field of otology. Photograph by J. Lowy.
Carte de Visite, Adolph Kussmaul
Carte-de-viste of Adolph Kussmaul (1822-1902), German physician. Photograph by F.X. Rambach.
Carte de Visite, Albert Ritter von Mosetig-Moorhof
Carte-de-visite of Albert Ritter von Mosetig-Moorhof (1838-1907). Photograph by Julius Gertinger.
Carte de Visite, Alexander Brown Mott
Carte-de-visite of Alexander Brown Mott (1826-1889), American physician and surgeon. Photograph by Benjamin J. Falk.
Carte de Visite, Alexander Ecker
Carte-de-vsite of Alexander Ecker (1816-1887), German anthropologist and anatomist. Photograph by Ruf & Dilger.
Carte de Visite, Alexander Hosack
Carte-de-visite of Alexander Hosack (1805-1871), American surgeon. Photograph by Silli. Photographic company had offices in Nice and Vichy, France.
Carte de Visite, Alexander Russell Simpson
Carte-de-visite of Alexander Russell Simpson (1835-1916), Scottish obstetrician. Photograph by J. G. Tunny.
Carte de Visite, Alfred Lebbeus Loomis
Carte-de-visite of Alfred Lebbeus Loomis (1831-1895), American physician and president of Association of American Physicians. Photograph by Rockwood & Co.
Carte de Visite, Alfred Willett
Carte-de-visite of Alfred Willett (1837-1913), English surgeon. Photograph by Barraud & Jerrard.
Carte de Visite, Alice Vickery
Carte-de-visite of Alice Vickery (1844-1929), English physician, the first British woman to qualify as a chemist and druggist and campaigner for women's rights. Photograph by Bradshaw & Sons.
Carte de Visite, Andrew Rose Robinson
Carte-de-visite of Andrew Rose Robinson (1845-1924), Canadian-born dermatologist. Photograph by William Kurtz.
Carte de Visite, Antoine Joseph Jobert de Lamballe
Carte-de-visite of Antoine Joseph Jobert de Lamballe (1799-1867), French surgeon. Photograph by W.W. Hoyt.
Carte de Visite, Armand Trousseau
Carte-de-visite of Armand Trousseau (1801-1867), French internist. Photograph by Carjat & Co.
Carte de Visite, August Breisky
Carte-de-visite of August Breisky (1832-1889), Austrian obstetrician and gynecologist. Photograph by H. Fiedler.
Carte de Visite, August Friedrich Leopold Weismann
Carte-de-visite of August Freidrich Leopold Weismann (1834-1914), German evolutionary biologist. Photograph by G. Th. Hase & Sohn.
Carte de Visite, August Wilhelm Hofmann
Carte-de-visite of August Wilhelm von Hofmann (1818-1892), German chemist. Photograph by Loescher & Petsch.
Carte de Visite, Auguste Nelaton
Carte-de-visite of Auguste Nealton (1807-1873), French physician and surgeon. Photograph by Carjat & Co..
Carte de Visite, Austin Flint
Carte-de-visite of Austin Flint (1812-1886), American physician. Photograph by Benjamin J. Falk
Carte de Visite, Austin Flint, by photographer Falk
Carte-de-visite of Austin Flint (1836-1915), American physician. Photograph by Benjamin J. Falk.
Carte de Visite, Austin Flint, by photographer Mora
Carte-de-visite of Austin Flint (1836-1915), American physician. Photograph by Jose Maria Mora.
Carte de Visite, Austin Flint, facing right with goatee beard
Carte-de-visite of Austin Flint (1836-1915), American physician.
Carte de Visite, Austin Flint, standing
Carte de Visite, Austin Flint, with goatee beard
Carte de Visite, Austin Flint, with spectacles
Carte-de-visite of Austin Flint (1812-1886), American physician and a founder of Buffalo Medical College, precursor to The State University of New York. Photograph by Jose Maria Mora.
Carte de Visite, Benj. Fordyce Barker
Carte-de-visite of Benjamin Fordyce Barker (1819-1891), American physician and obstetrician.
Carte de Visite, Benjamin William McCready
Carte-de-visite of Benjamin William McCready (1813-1892), American physician. Photograph by Benjamin. J. Falk.
Carte de Visite, Benjamin William McCready by Benjamin J. Falk
Carte de Visite, Bernhard Rudolf Konrad von Langenbeck
Carte-de-visite of Bernhard Rudolf Konrad von Langenbeck (1810-1887), German surgeon. Photographer unknown.
Carte de Visite, Bernhard Rudolf Konrad von Langenbeck, full-body portrait
Carte-de-visite of Bernhard Rudolf Konrad von Langenbeck (1810-1887), German surgeon. Photograph by H. Lehmann & Co.
Carte de Visite, Carl Ludwig
Carte-de-visite of Carl Ludwig (1816-1895), German physician and physiologist. Photograph by Gebr. & Siebe.
Carte de Visite, Carl Ritter von Fernwald Braun
Carte-de-visite of Carl Ritter von Fernwald Braun (1822-1891), Austrian obstetrician. Photograph by F. Schultz.
Carte de Visite, Carl Thiersch
Carte-de-visite of Carl Thiersch (1822-1895), German surgeon. Photograph by Georg Brokesch.
Carte de Visite, Carl Wilhelm Hermann Nothnagel, left facing
Carte-de-visite of Carl Wilhelm Hermann Nothnagel (1841-1905), German internist. Photograph by Hermann Mathaus.
Carte de Visite, Carl Wilhelm Hermann Nothnagel, right facing
Carte-de-visite of Carl Wilhelm Hermann Nothnagel (1841-1905), German internist. Photograph by Carl Braunlich.
Carte de Visite, Carl von Noorden
Carte-de-visite of Carl von Noorden (1858-1944), German internist and pathologist. Photograph by Georg Brokesch.
Carte de Visite, Carl von Voit
Carte-de-visite of Carl von Voit (1831-1908), German physiologist and dietician. Photograph by Friedrich Muller.
Carte de Visite, Carroll Dunham
Carte-de-visite of Carroll Dunham (1828-1877), American physician and homeopath. Photograph by Rockwood & Co.
Carte de Visite, Charles Carroll Lee
Carte-de-visite of Charles Carroll Lee (1839-1893), American physician and surgeon. Photograph by W. Kurtz.
Carte de Visite, Charles Clay
Carte-de-visite of Charles Clay (1801-1893), English surgeon. Photograph by Alfred Brothers.
Carte de Visite, Charles Marie Edme Pajot
Carte-de-visite of Charles Marie Edme Pajot (1816-1896), French obstetrician and gynecologist. Photograph by Pierre Petit.
Carte de Visite, Charles Robert Darwin
Carte-de-visite of Charles Robert Darwin (1809-1882), English naturalist and geologist. Photograph by the London Stereoscopic & Photographic Co.
Carte de Visite, Charles Stedman Bull
Carte-de-visite of Charles Stedman Bull (1846-1911), American ophthalmologist. Photograph by William Kurtz.
Carte de Visite, Christian Albert Th. Billroth
Carte-de-visite of Christian Albert Theodor Billroth (1829-1894), Prussian-born Austrian surgeon.
Carte de Visite, Christian Gottfried Heinrich Baumler
Carte-de-visite of Christian Gottfried Heinrich Baumler (1836-1933). Photograph by C. Ruf.
Carte de Visite, Christopher Heath
Carte-de-visite of Christopher Heath (1835-1905), English anatomist and surgeon. Photograph by Barraud & Jerrard.
Digital Culture of Metropolitan New York is a service of the Metropolitan New York Library Council
Metro.org

redpajama_set_name: RedPajamaCommonCrawl


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Prost! Carlsberg Malaysia's Own Authentic Beer Festival Of The Year
Kuala Lumpur, 28th September 2011 – Grab your lederhosen and get ready to party because Carlsberg Malaysia, for the first time ever, has recreated the perfect setting to celebrate the world renowned Bavarian national festival, the famous Oktoberfest.
Brought to you in grand style and splendour, the "Malaysia's Own Oktoberfest 2011" features the most preferred beer brand of Malaysia, Carlsberg, imported popular German brews, namely, Erdinger Weissbier, Franziskaner Weissbier and Löwenbräu as well as authentic German cuisine by a master chef, traditional live performances and loads of fun to encapsulate the event.
The festival, modeled after the Munich Oktoberfest, runs from 21st September to 30th October at over 25 participating outlets and 18 market squares throughout Kuala Lumpur, Selangor, Penang, Seremban and Johor.
To mark this widely-celebrated festival, Carlsberg Malaysia boasts a month-long extravaganza filled with roaring days of exciting parties, music, authentic gastronomic experiences to whet the appetite and barrels of Carlsberg, Erdinger Weissbier, Franziskaner Weissbier and Löwenbräu to be downed.
Being a dynamic brewery that offers a wide portfolio of international brands, Carlsberg Malaysia sets the bar high in its inaugural celebration in Malaysia this year, offering its customers a mind blowing experience to remember.
Through this promotion, Carlsberg Malaysia aims to bring the people together to savour the refreshing taste of Carlsberg and other German beers in a responsible manner as well as to enjoy the entertaining traditional live performances of the Oompah music. Carlsberg Malaysia officiated its "Malaysia's Own Oktoberfest 2011" promotion at Berjaya Times Square Hotel, Kuala Lumpur on September 28, at 7pm, in the midst of over 900 beer enthusiasts. Beer lovers also had a great time enjoying the traditional band performance of the ompah music and indulged in the authentic German cuisine prepared by German Chef Jochern Kern from Berjaya University College who is certified as a global master chef by the World Association of Chefs' Societies (WACS).
The launch is a joint collaboration with Berjaya University College of Hospitality and will showcase Carlsberg Malaysia as a local master brewer, besides offering other imported beers from Germany.Beer aficionadoes will also stand a chance to win "The Ultimate Beer Tour" to Munich, Germany and Copenhagen, Denmark, with two friends by participating in the facebook contest.
To support this fantastic month-long opportunity presented to you by Carlsberg Malaysia where Oompah is at its best, log onto facebook and 'like' "Malaysia's Own Oktoberfest 2011" at its page. Also, visit www.carlsbergmalaysia.com.my for more information.
About Carlsberg Malaysia Carlsberg Malaysia presents "Malaysia's Own Oktoberfest 2011" by featuring Malaysia's No.1 beer brand Carlsberg and three Bavarian imported beers from Germany by its subsidiary Luen Heng F&B Sdn. Bhd.
Carlsberg (5% ABV), a lager beer founded by J.C. Jacobsen in 1847, is brewed with a pure yeast strain named Saccharomyces Carlsbergensis and perfected by the Danish art of brewing. It is an international brand that is available in more than 140 markets worldwide. Carlsberg is the most preferred beer brand in Malaysia according to the Millward Brown Peninsular Malaysia 2010/2011 (Global Research Agency).
Erdinger Weissbier (5.3% ABV), pioneered in the 70's, was the first German wheat beer to be distributed nationwide. Today, Erdinger is synonymous with German wheat beer and is sold in more than 70 countries. Erdinger is brewed according to traditional recipes and has no preservatives, additives and pasteurization, complying with the Bavarian Purity Law 1516.
Franziskaner Weissbier (5% ABV), a traditional Bavarian wheat beer with more than 600 years of history, is refreshing and aromatic in character. This Bavarian beer is naturally cloudy and copper-coloured and enhanced with a sweet malt taste with a smooth creamy texture for finish.
Löwenbräu (in 5.2% ABV), an original "German Munich Beer", is famous at Oktoberfests. It is a lager beer that is refreshing with a taste of malt and mild hop bitterness. The beer is light to the taste, bright golden-yellow in colour, and truly complements the Bavarian drinking experience.
Ezra Low
Tel 03-5522 6431 Email Ezra.YY.Low@carlsberg.asia
Jolly Shandy


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Thulo Khairatawa – gaun wikas samiti w zachodniej części Nepalu w strefie Lumbini w dystrykcie Nawalparasi. Według nepalskiego spisu powszechnego z 2001 roku liczył on 632 gospodarstw domowych i 4155 mieszkańców (1971 kobiet i 2184 mężczyzn).

Przypisy

Thulo Khairatawa

redpajama_set_name: RedPajamaWikipedia


Careful, well thought-out siting takes advantage of panoramic views. PHOTO David J Swift, Courtesy of Agrostis, Inc.
You walk out on the land. The breeze feels good in your hair, and the mountain view is breathtaking. You imagine the home that you'll build on this site, and where you'll bask in the late afternoon sun sipping a cocktail on your expansive deck. You turn around and gaze upon an area, imagining where your dining room will be and where you'll share moments with your family after a long day of skiing, fishing, biking or hiking. You think of the many friends you'll invite during extended summer and winter breaks, which will add up to years of enjoying your home and its location. You want to define this sense of place and your visual and physical sanctuary. You can't wait to start.
Conceptual siting begins in two dimensions as a hand drawn sketch. PHOTO Agrostis, Inc.
In the Mountain West, we cherish our sunrises and sunsets, our ski-in and ski-out access, our panoramic views, and our proximity to nature. We thrive in the mountains because our longing is ultimately to engage and experience all four seasons in the surrounding environment. But what if you realize after building your home that your bedroom's view missed that summer sunrise? Or that the winter wind blew snow straight into your mudroom's back door? Or that the spring run-off changed the water drainage and killed your much-loved grove of mature trees?
These and other scenarios are reasons to enlist experts to help site your home and accompanying structures (barns and stables), farms and gardens, and water features (pools, lakes, and ponds); professionals in the field can help plan for all of the above as well as other environmental conditions like soil stability, drought, and fire.
The expense, time, and energy necessary to alleviate these concerns—and to capitalize on the reasons you want to build a home on that property—can be well worth the initial investment of a surveyor, landscape architect, and engineer.
Siting involves understanding topography, access points and boundaries, setbacks, roadways, restrictions, building envelopes, utilities, other structures, and climate. But first, let's define what it means to site your home.
Siting, by definition, is placing or positioning a structure on a specific location. After purchasing your land, your primary consideration will be your site's "building envelope," (the separation of a conditioned and unconditioned environment, which includes the resistance to air, water, heat, light, and noise). The location of your setbacks and utilities will affect where you'll be able to build your home as well. If you've purchased an existing home and want to remodel, or if you plan on landscaping a new backyard entertainment area, noticing the views and sounds, and walking your neighborhood, understanding how you can change your home to best "fit" the space, will help you achieve what you've been dreaming about.
Y2 Consultants oversaw the redevelopment and rehabilitation of The Rustic Inn property in Jackson. The project included stabilization of the unstable soils that covered the entire site and the restoration of approximately 1,000 linear feet of Flat Creek, where historic dumping and excessive sediment deposition had damaged the creek. PHOTO ©Robert Miller, used with permission of the Rustic Inn at Jackson Hole.
Perhaps you plan on building in a subdivision or in a planned community; your design review board and zoning (CC&Rs) will most likely have bearing on your building process, and you might not require a survey. However, as a landowner who wants to build a home nestled into a steep hillside or along a river, your first phone call may be to a surveyor who can identify topography, restricted areas, easements, and can review any areas in question with regards to the history and use of the land. The collaborative part of building is what often excites people most, and depending on the areas involved in siting, you might discover that you're learning about your home in new ways, even before it is built, through this process. Let's begin with the weather and the climate zone. The weather patterns and seasons can easily define where your home will be placed. Prevailing wind directions, precipitation, the sun's angle in all seasons are questions you'll be answering with regards to wind and snow loads, rain and drainage patterns, and where windows are placed for maximum heating and cooling in both winter and summer seasons. Shielding your windows from the summer heat can reduce cooling costs, yet those same windows can allow maximum heat in the winter, which can reduce your heating bills. The placement of windows, rooflines, permanent awnings are then all considered. And, what about placing your home in the middle of the property where it could be heavily treed? These are just a few examples of why you'll want to consider the principles of site planning—and all too often, these considerations remain undiscovered and undetermined until it's too late.
At Agrostis, Inc., where Jason Snider and Heath Kuszak focus their sights (and sites!) on client relationships, they understand the importance of problem solving. Their expertise in site selection and planning, as well as visualizing a client's vision, allows them to translate dreams into reality. As landscape architects, they are noted for their due diligence, conceptual plans, and project management skills.
Strategic orientation takes advantage of natural morning light. PHOTO David J Swift, Courtesy of Agrostis, Inc.
Building a bridge between the sensible and the sensory is a matter of integrating a solid design, aesthetics, and the client's lifestyle. Landscape architects concur that no one should settle on their home design until they have settled on a site design. The best outcomes are about creating opportunities for a functional outdoor experience that complements our outdoor lives. "It's an inventory of natural resources first. It's inherent in our process to take all of that into account because when you think about the site inventory in a sustainable way, it often results in the best design for the homeowner because it decreases the site disturbance. With site planning, we are always thinking about long-term impacts, how it's going to be maintained, and how it will be serviced, and most importantly, does our design result in a timeless feel for the property and the house. We are known for our process," remarks Snider.
Land is personal. And, so is our relationship to it. Because 97% of Teton County is federally owned or state managed, in the mid-1990s Teton County developed a Natural Resources Overlay and a Scenic Resources Overlay. These overlays protect the natural resources and fish and wildlife, which is abundant and critical to the character of Grand Teton National Park, as well as the surrounding environment and community. Often the development of a property lies within a migration route or range, and provisions must be made to protect wildlife and wetlands.
A glimpse of The Rustic Inn plans.
Both landscape architects and environmental engineers require extensive knowledge notably within the areas involved in siting. Between design, construction, and ecology, those lines on paper which equate to your view, lifestyle, and monthly maintenance fees must be approved by agencies, built to code, within budget, buildable by contractors, sustainable, and aesthetically pleasing.
So, the next time you walk out on your land, dreaming of the home you'll live in, and how you'll interact with your family, that view, and nature, take a moment to consider investing in your site planning team—architect, landscape architect, engineer, and interior designer—and be prepared to enjoy the process and the outcome.


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Ghana Oil Company Limited (Goil) now IOS certified
Ghana Oil Company Limited (GOIL) has been presented with a certificate as evidence of being ISO/79001:2008 certified with the International Organisation for Standardisation (ISO).
The certificate was presented by Mrs Gauri Bhagwat, a Lead Auditor and Trainer for Quality/Environmental and Occupational Health and Safety Management Systems for International Register of Certificated Auditors, UK (IRCA- UK), at a ceremony held at the GOIL Executive Centre, Cantonments in Accra.
It was received by the Managing Director of GOIL, Mr Patrick Akorli.
Mrs Bhagwat applauded GOIL for having maintained quality practices in every facet of the business, adding that organisations that established and maintained internationally recognised management systems could be independently audited by certification bodies.
In his comments, Mr Akorli said, "The ISO programme started in 2008 with a two-week intensive awareness training for all staff from management to junior level. Within the four-year period, GOIL had to review our processes, procedures and forms, following which there was internal audit for two months."
He added that the final external audit was conducted before certification in December, 2014 and the certification was approved in January, 2015.
He said GOIL was now poised to venture onto the international platform to compete with multinational companies in the oil marketing industry.
Mr Akorli thanked management and staff and other stakeholders who in diverse ways played significant roles in making the certification possible.
Source: Daily Graphic


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From: Katgal95@aol.com (11/21/96)
Adults will definitely idenitfy their favorite food as candy - only they call it chocolate. This is more comon among adult women than men, I believe. And is often related to hormone cycles. I passed the clown test (not a clown), despite losing points for taping a soap. However, I usually don't time-shift; I watch it when it's on.
From: mcody@ucla.edu (11/23/96)
11/21 reminds me of David Letterman some years ago, having an Asian woman on his show, demonstrating exotic foods: Woman: ....oh, and this is interesting.. have you ever had the hump of a camel? [general audience snickering] David Letterman: No, I've never had the hump of a camel. [pause.] But when I was younger, I was pretty good! Oh, and I think you should post a picture of you as the Halloween octopus. And please, please tell the story that you referred to of when you sat among your students and asked what the professor was like. MWC
Regarding your 12/8 "confession" ("Hairdresser to the Homeless"): You state that "above we have an example of language which has meaning on only the level of syntax." I don't think this is quite accurate, although determining whether or not it is accurate raises difficult questions about the meaning of the word "meaning" and whether the meaning of any artistic expression (such as your fable) resides in the work itself, in the mind of the person who reads it, or in some combination of the two. About a year ago I was offered the opportunity to exercise my programming skills by enhancing the code in our product that supports CD ROMs. I'm a pretty good programmer by some standards, but I have little experience deciphering the meaning of isolated pieces of code extracted from tens of thousands of lines of surrounding context. I studied the existing CD ROM code, and I understood it perfectly at the syntactic level: I knew exactly what the combinations of symbols meant syntactically. I had no idea, however, how the code related to the larger context or how the elegant manipulations of programming symbols translated into user-visible phenomena. The only meaning in the code that I discovered at a level higher than syntax was that I was unqualified to work on this particular project. I doubt this was the meaning the person who wrote the original code intended to convey.
From my point of view, the CD ROM code was indistinguishable from any syntactically correct but otherwise meaningless and arbitrary code. The semantic meaninglessness, from my point of view, was complete. Your fable, however, seems to have more semantic meaning. It has a recognizable shape -- a story with a beginning, a middle, and an end. And even though the details are odd by most dramatic standards, there appears to be a pattern or principle that guides the sequence of events. The principle is to alter the natural relationships between things and events so that the reader's expectations are continually subverted. By the end of the first paragraph, the reader begins to expect the unexpected, so one aspect of the meaning of your fable is that the sequence of unexpected, paradoxical, or oxymoronic juxtapositions becomes, in its own way, logical and expected.
In one of my high school English classes, the teacher touched on the theater of the absurd, and I spent an hour or two studying "The Bald Soprano." I now have only the vaguest memory of the play. At the time I thought it had no meaning at all. The teacher had the students write an essay on the play. She told us to write anything about the play that we wanted. I thought the only sensible thing to do was not to write anything because the play was meaningless. Since I wanted to pass the class, and I didn't think a one-sentence essay ("This play is meaningless") would earn a passing grade, I wrote an essay asserting that the play had meaning and that it was simply an exaggerated representation of the absurdity of ordinary, real life. Being a pathologically honest student, I ended the essay with a disclaimer stating that I didn't really believe what I had written. The teacher thought the essay was pretty good up to the disclaimer.
27 years later and better informed about the ways of the world (although not necessarily wiser), I think I might have disclaimed a valid point in my essay. Nevertheless, if my memory of the play is accurate, it has little or no obvious meaning. Most of the meaning must be supplied by the audience, and the audience is entitled to divergent opinions. The audience can also legitimately decide that the play is meaningless and warrants no analytic effort.
Your fable has syntactic meaning, and it uses meaningful techniques (consistent reversal of expectations). It may also have one or more encoded semantic meanings. Readers can reverse each of the unexpected twists, replacing them with more natural things and events, thereby producing a plausible and more realistic story. Of course the encoding is not uniquely reversible because there is no deciphering key or rule that governs the transformation of each "unexpected" event into a more natural event. It's also more than likely that you as the author of the fable were not consciously encrypting a specific realistic story to turn it into the intriguingly unrealistic fable. I believe, however, that readers can sense not only the consistency of the technique (the subversion of the expected) but also the logic of the underlying structure to which the technique is applied.
Although the fable has semantic meaning, its real point seems to be the technique of constantly pulling the rug out from under the reader. That is, the content and organization are of secondary importance to the application of one specific technique -- namely the technique of frustrating readers' expectations. This is a reversal of the more common order of means and ends where syntax and technique are the means by which a story is told rather than ends themselves. Your fable uses what seems to be a fairly arbitrary sequence of events as a scaffold to support the premise that repeated frustration of expectation can in itself be interesting.
There are analogies to this technique in music and other arts. There are obvious music examples where listeners' expectations are frustrated -- the loud chords in Haydn's Surprise Symphony for instance. In many cases, these technical tricks are overlayed on material that's rich in other meanings. I haven't listened to Haydn's Surprise Symphony lately, but if I recall correctly, the materials and organization of the symphony are not compromised in the service of the "surprise."
Offhand, I can't think of well-known examples of music written primarily to frustrate listeners' expectations (i.e., music that makes no pretense of having meaningful content, form, or semantics beyond the scaffolding required to support a specific technical trick), although it probably exists. In my first composition class I wrote such a piece. The teacher (the self-made misfit himself) had recently acquired toy wooden flutes made in Taiwan. He assigned the students two projects to compose: a solo piece for Taiwan flute and a duet for two Taiwan flutes. My solo piece was an uninspired attempt to write something in sonata form. My duet was somewhat more successful because I abandoned all hope of producing a composition that was interesting for any reason other than superficial syntactic tricks. (I composed some simple-minded tonal counterpoint with a series of cadences that consistently resolved against expectation.) In retrospect, both of my Taiwan flute compositions appear to be early evidence that I was not born to be a composer, although the syntactically interesting duet at least got a few laughs.
The quote from Lewis Carroll's Through the Looking-Glass that you append to your fable obviously frustrates readers' expectations in a way that's analogous to your fable, but the effect is different. Instead of presenting a continuous stream of paradoxes, the quotation describes a world that is entirely consistent until the last word. (In contrast, the first word of your fable, "naturally," is disingenuous.) The effect of Carroll's writing might be different when read in the context of the entire book. Standing alone, however, the quotation has a pretty powerful effect; it builds up the reader's trust in the consistency and meaningfulness of the world that it describes, and then, in a single, final word tells the reader that his trust was misplaced.
This structure reminds me of the movie "The Usual Suspects." The movie tells its story from the point of view of a character (a narrator) who clearly has reasons to distort the truth. But it's not until the very end of the movie that the audience finds out he has fabricated the entire story based on random associations to artifacts he sees in the police department office where he is interviewed. Roger Ebert considered this ploy a dramatic cop-out and objected to the entire movie because of its use. I liked the movie, but I admit it's hard to answer questions like "What does the movie mean?" or "What's the moral?"
Which brings me to your request: "If this fable has a significant moral, you should send me your conclusions, which I will be sure to misunderstand." It seems to me that the discovery of a meaning, theme, or moral in literature or drama is not very relevant when the main purpose of the work in question is to draw the reader's attention to technical tricks. I can think of only one moral that applies to your fable, my Taiwan flute duet, "The Bald Soprano," "The Usual Suspects," and other works of art that deal in illusions (Escher comes to mind): Things are not what they seem. This doesn't strike me as a terribly interesting moral, but it doesn't matter. Fiction, drama, music, and art can be worthwhile, perhaps even profound, in ways that do not require a moral. Maybe that's the real moral. Steve Haas
Bravo, Steve.
Indeed, cavemen on parade have been sited in the Southern California city of Claremont during Pomona College's annual fall convocation and spring commencement ceremonies. It is still uclear as to the position of these creatures on the evolutionary ladder or whether there is anything to substantiate them as being anything but pre-historic. This phenomenon was well documented in a cartoon that appeared in "The New Yorker" circa 1973 entitled "Academia On Parade." The cartoon depicts a chain of portly individuals wearing mortarboards and walking on all fours with each scholar's nose to the other's derri�re. David B. Goodman, Dec. 12, 1996.
From: George Girton.
There was a little boy, who was extremely very very bad and naughty, who loved Belgian waffles and had made quite a bit, vast quantities, trunks and trunks full. "Why do you have so much Belgian waffles," his friend asked? "Well," the boy explained, "I'm so terribly bad, if I die St. Peter won't let me into Heaven, so I'm going to have a v. prepossessing armload of Belgian waffles with me when I die, and I'll give them to St. Peter and he'll let me in." "That's the stupidest thing I ever heard," said his friend, "and an incredibly naughty thing to think of St. Peter," and stalked off in a huff. But it worked! Because as chance would have it, the very next thing that happened was that the little boy died. And he appeared at the Pearly Gates and said to St. Peter, "I'd like to get into Heaven," and St. Peter said "No way. You've been wayyyyy too bad." "Well," said the little boy, "I've got a v. prepossessing armload of Belgian waffles here, and I'd just like to come into Heaven for one hour, and pass the Belgian waffles around to all the children there, so they can try it, and I can see what Heaven's like, so I'll know what I'm missing, and then you can send me to the Other Place." St. Peter says, "That's not a very usual request. Let me check with The Management." And he goes and relays this request to God. God says, "Sure. That's fine, let him in. This is no problem. But make sure you get it in writing that it's for just one hour." And St. Peter does. So, the little boy brings his Belgian waffles into Heaven, takes it around to all the children, they just love the Belgian waffles and everyone is very appreciative and happy. Then St. Peter says, "Little boy, your hour's up, now it's time for you to go." And the little boy says "Won't." St. Peter is completely nonplussed. He says, "you have to, you signed this thing, it's in writing that your visit is only for one hour. You have to go now, and leave Heaven." The little boy says "WON'T!" Well, this is completely beyond St. Peter, so he goes back to God and tells him what happened. God says, "well that's too bad. You will just have to evict him." "How do I do that," St. Peter says? "Well," says God, "You just have to get a lawyer, and evict him." So, St. Peter went back and he looked high and low and near and far, but he just couldn't find a lawyer anywhere.
January 1, 1997.
Some thoughts in response to "What is your favorite color?" (Selfmade Misfit, 1/23/97): Were you really unaware that you had a favorite color until you thought about it? I don't think much about colors, but I have always answered "blue" whenever anyone wanted to know my favorite. My answer is always pretty mechanical though, and not necessarily very meaningful. "Favorite in what context?" I always wonder. I have lots of blue clothes that I like, but I'm not crazy about people with blue hair, and I shy away from blue aperitifs. I think you're right that color preferences could derive from a number of different influences. I suspect one reason for my own preference is that blue is a stereotypical masculine color. (If someone is having a baby, you get a blue gift for a boy, a pink gift for a girl, and a yellow gift if you're not sure what the sex will be.) My 5-year-old goddaughter is nuts about pink, probably for similar reasons. Preferences can be influenced somewhat by personal physical characteristics too. Because of my skin, hair, and eye colors, I think cool-toned, dark clothes look better on me than pastels or warm colors. Transitory deviations in preference can be induced by other people if you're susceptible to their opinions. A woman I once admired told me I looked good wearing black. For a long time after that I often wore a black shirt or black pants, though rarely at the same time. Once when I did wear all black, the family dog didn't recognize me and started barking hysterically, apparently convinced I was a threat to the house and its occupants. The comedian Steven Wright had his own idiosyncratic approach to color: When an acquaintance pointed out to him that his socks didn't match, he responded (in his usual deadpan voice) "Yes they do.... I don't go by color.... I go by thickness." Steve Haas
Updated: January 1, 1997.


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Anexo:Países por PIB puede hacer referencia a los siguientes anexos en Wikipedia:
Países por PIB (nominal), lista de países ordenados por PIB nominal en moneda corriente (expresados en dólares estadounidenses según tipos de cambio oficiales).
Países por PIB (PPA), lista de países ordenados por PIB (PPA), según la metodología de la denominada paridad de poder adquisitivo.
Países por PIB histórico (nominal), lista de países por PIB histórico (nominal), de acuerdo a estimaciones del Banco Mundial, entre los años 2000 y 2018.


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Notes from the Void
Note 5: Bubbles
www.notesfromthevoid.cc
Space travels and thoughts on religion and meaning.
Chris J. Karr
I'm planning to go a bit light on the judicial politics this week to talk about bubbles.
Getting back to this newsletter's namesake, my Elite: Dangerous pilot, CMDR Adenadar, recently returned to the human Bubble on the Orion arm of the Milky Way galaxy in the year 3306.
In Elite, The Bubble represents the portion of the galaxy where the majority of mankind lives 1,300 years in the future. Humans have developed robust space technology and faster-than-light travel, but space is big, so while mankind has explored all areas of the galaxy, less than 1% of its member stars have been seen by human eyes. The great thing about Elite is that it takes this scale seriously, and my trip back to The Bubble, still took me several weeks (in real-time), 43 light year hops at a time.
The trip back started at Sagittarius A*, the supermassive black hole at the center of the galaxy:
While Elite gets a lot of things correct, it still hasn't nailed black hole accretion disks, so using the film Interstellar as a reference, Sag A* looks a lot more like a wormhole than a cosmic vacuum feeding voraciously:
While Elite's Sag A* nails the gravitational lensing, it skips the time dilation one would experience (for obvious game-play reasons) as well as the glowing accretion disk:
Note that not all black holes have accretion disks (which makes them pretty sneaky cosmic objects if you're not actively looking for space-time warps), so most of the smaller singularities encountered in Elite are fairly accurate.
And while we're on the topic of how black holes appear, we have some updates on the only one we've managed to capture on camera (with some clever math):
A statistical modeling technique, plus some educated guessing, allowed the researchers to chart changes to the system over time, in a process that included observations gathered by EHT until 2019.
As the models showed, the overall shape of this thing has remained constant over the past 10 years, which is good news if you're a fan of Albert Einstein. The fixed diameter of the crescent shadow for a black hole of this size agrees with a prediction drawn from his famous theory of general relativity.
"In this study, we show that the general morphology, or presence of an asymmetric ring, most likely persists on timescales of several years," said Kazu Akiyama, an MIT scientist and study co-author, in the Harvard & Smithsonian press release. "This is an important confirmation of theoretical expectations as the consistency [of multiple observations] gives us more confidence than ever about the nature of M87* and the origin of the shadow."
This constancy aside, the astronomers did notice a major difference, as the asymmetric ring appears to be wobbling to a significant degree. The ring's shape hasn't changed in the past decade, but it has rotated.
"Actually, we see quite a lot of variation there," said Wielgus.
Very interesting stuff for space nerds like me.
Getting back to my journey from the center of the galaxy back to civilization, here's a postcard of BOOMKIN III parked on a nearby fleet carrier orbiting Sag A*.
On my way back, I discovered this unique system. I'm not sure whether to dedicate it to The Mandarin or Beyoncé:
One of my "landmarks" midway through the journey was a feature that I named the Skull Nebula:
I landed on several planetary bodies on the way in, and I really liked this one:
To speed the journey along, I taught myself how to use neutron stars to quadruple my 40+ light year jump range to four times that by supercharging my Frame Shift Drive in the neutron stars' cones:
I finally made it back on Saturday, where I started selling all my exploration data to strategic parties that will admit me into locked-off systems:
Getting back allowed me to also bump my exploration rank to Elite, as well.
The plan for now is to do some local exploration, including visiting the generation ships left over from an earlier era of human exploration, and to build my next vessel that will take me to the other side of the galaxy, BOOMKIN V:
With some investment and engineering, I should be able to get it to the 80 light year jump range (320 light years w/ neutron star assistance).
Finding meaning in The Bubble
My SCOTUS predictions continue to line-up, with Trump nominating Amy Coney Barrett on Saturday to replace Ginsburg. I fully expect this to be rammed through before the election ends in early November. While I'm still reading up on our next Associate Justice - she seems to be an Originalist in the mold of Scalia (which is neither my most favorite mode of interpretation, nor my least favorite) - I've had quite a few flashbacks when it comes to discussions about her faith as a Charismatic Catholic belonging to a group called The People of Praise.
Now, while I don't have a lot of experience with her group or Charismatic Catholicism, I spent plenty of time as a child and pre-teen in the pews of Assembly of God churches, which was a pretty charismatic Protestant denomination. The best way that I can describe the Assembly of God is to compare it to the Southern Baptist churches I attended later in my older teen years. The Southern Baptist services were meticulously planned affairs. When you picked up your church program for the service, the Baptists had things planned down to the minute. Hymn would take a certain amount of time, offerings would only take a couple of minutes, you'd have your prayer call, and then on to the sermon. If you had a lunch appointment after the service, there was no worry that you would run late.
In contrast, Assembly of God services were much less deliberate and much more emotional. It was not uncommon for the people in church to get caught up on the second or third hymn, and the pastor would roll with it. There were services that never ended up getting to the sermon, and you would be wise to add an hour or two time-buffer to appointments shortly after. Where the Baptists were keen on demonstrating how well they knew how to church, the AG folks were much more interested in personally connecting to the holy power right here and right now, and letting that wash over them. And I did witness plenty of glossolalia (speaking in tongues). Never had any clue what was being said, but the speakers seemed intent of saying whatever it was.
While I haven't been a true believer in any of that since my younger teen years, I don't regret the time that I spent in those churches - there's still plenty in there worth listening to. (And when your attention is flagging, you can always fall back to the Apocalypse of John and read again about the Four Horsemen, dragons, and the holy smitings yet to come.) I enjoyed the community and friends that I made in those AG churches, so Barrett's Charismatic Catholic background doesn't count against her in my book. Just like the rest of the population, I knew folks from those settings who were the salt of the Earth and those who were not. And when it came to my own faith, I abandoned it when I realized that I was basically broadcasting into the void, never receiving any signals back in return.
To bring this back to the titular topic of bubbles, I never had any problem finding additional sources of metaphysical awe and motivation after leaving the Christian faith. All I had to do was look up into the sky, and marvel at humans' insignificance. (This may also be why I took to Lovecraft's mode of storytelling so readily - it resonated with what I had already been thinking.) Now, some people (such as Lovecraft) take human insignificance and imagine that as a source of terror - we're only here because something more significant (Mother Nature, Cthulhu, etc.) hasn't snuffed us out yet. It doesn't work that way for me - I acknowledge the insignificance as additional headroom that we have to grow.
In my master's thesis on context-aware computing, I discussed passive sensing and automation as tools that effectively enlarged a person's sphere of awareness and their sphere of influence. If I can offload data collection to some automation, I don't have to be looking everywhere all the time to know what's happening. And if I can craft a mechanism that takes action on my behalf, I can project influence without the need for being there personally. As human beings with technology, we have been doing this for millennia, so none of this is particularly novel. However, in the mismatch between the two "bubbles", that's where I topics of interest. As a species, our bubble of perception now extends beyond the bounds of our galaxy - we capture images of black holes in other galaxies (see above) and discover planets across the void of the universe. My personal Rapture isn't about being suddenly elevated by a third party to be made able to reach out and touch those things - it's the long process we'll have to take over many generations to get to that point, with some faith that we have it within ourselves to become not just observers on that cosmic scale, but beings with agency at that scale as well.
One of the best bits of popular culture that captures this sentiment was this scene in Star Trek: The Next Generation:
The Trek writers didn't get into much more of the mechanics of the Dyson Sphere, opting to take the narrative in a more character-centric direction (featuring one fan-favorite TOS character). However, invoking a Dyson Sphere naturally leads to the Kardeshev Scale, a measure of civilizational development based on how well it captures and utilizes available energy:
A Type I civilization, also called a planetary civilization—can use and store all of the energy available on its planet.
A Type II civilization, also called a stellar civilization—can use and control energy at the scale of its planetary system.
A Type III civilization, also called a galactic civilization—can control energy at the scale of its entire host galaxy.
While we have the ability to see light years into the heart of other galaxies, we have yet to reach the first rung on the Kardeshev ladder.
It's in our bridging the gulf between the bubbles we can observe (planets in distant galaxies) and extrapolate (Kardeshev Type III civilizations), and our much smaller bubble of what we can influence where I find all the metaphysical meaning I've ever needed. For the folks that make the argument that individuals are somehow incomplete without God (or suitable religious substitute), my reply is that they're probably not thinking big enough themselves.
This was my favorite clip from the first presidential debate of 2020:
(Watch until the end when the moderator finally restores order.)
In all seriousness, the debate was indeed a shitshow, but the election ended for me yesterday when I dropped off my mail-in ballot. Given Illinois' status as a solid Blue state, my votes were less about Trump v. Biden and more about getting rid of Cook County's Kim Foxx. I did vote to allow Illinois to amend its Constitution to permit a progressive income tax and voted against the assault weapons question for being poorly worded.
Speaking of bubbles, our local neighborhood baseball team took its first step toward spending time in the 2020 MLB playoff bubbles on their way to another World Series. While I'm rooting for the Cubs to go all the way, I think that the real story here is that of first-year manager David Ross taking his team to a division championship. When folks were throwing around Ross's name for manager of the Cubs, I thought it was more wishful thinking on the part of fans than a serious consideration. I'm extremely pleased that I've been wrong since that time. Let's see if he can take the Cubs to another World Series win. He would join a distinguished club.
What We Can Learn From Maine's Move to Ranked-Choice Voting (The Dispatch)
Here's what happened when neural networks took on the Game of Life (The Next Web)
New expansion for Elite Dangerous will add tens of thousands of locations to the game (Polygon)
Until next week, CMDRs! o7
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Iraq war deaths show sharp decline
Iraqi, U.S. military officials: It's too soon to say war has reached turning point
Officials says Iraqi government must do better job of political reconciliation
Number of U.S. military deaths in October is the lowest since March 2006
Next Article in World »
BAGHDAD, Iraq (CNN) -- The number of U.S. military and Iraqi civilian deaths has dropped dramatically, according to recent reports, although American military officials said it is too soon to declare a turning point in the conflict.
Thirty-seven Americans have died in October, the lowest monthly figure since March 2006 when 31 perished, according to the U.S. military.
Three soldiers died Tuesday southeast of Baghdad when a roadside bomb struck a U.S. military patrol.
The number of Iraqi civilians killed in September was 844, down from 1,990 in January, according to Iraqi governmental figures provided to CNN.
Slain bodies found dumped in Baghdad dropped from 428 in August to 301 in September and 151 so far in October, the Iraqi Interior Ministry said.
The numbers mark a decline in fatalities since the war began in March 2003 and point to a decrease in violence after a year of pitched battles and sectarian strife.
Still, cautious U.S. and Iraqi military officials aren't ready to proclaim a decisive moment in the war, saying such an outlook would require the Iraqi government to do a better job of promoting political reconciliation and compromise.
"Well, I think we're almost there," said Lt. Gen. Raymond Odierno, the No. 2 U.S. commander in Iraq, interviewed by CNN. "I tell everybody we have momentum. We've not yet created what I consider to be irreversible momentum, but our goal is to create that irreversible momentum."
Blackwater not offered immunity, official says
Iraqis donate to U.S. fire victims
Iraqi Foreign Minister Hoshyar Zebari said, "We are in a race against time. We have to make the best use of time ... to step in before this achievement could evaporate."
Other examples of a decline in violence have emerged as well. Watch how a music store owner views the drop in violence »
An Iraqi commander, Lt. Gen. Abud Qanbar, said last week there have been steep decreases in attacks such as car bombings, terrorist operations against Iraqi security forces and civilians, and sectarian assassination attempts.
Iraqi and U.S. officials point to several factors contributing to this decline:
The "surge" offensive added nearly 30,000 U.S. troops this year in Baghdad and insurgent-filled regions near the capital such as Anbar and Diyala provinces.
The Mehdi Army, the militia of the anti-American Shiite cleric Muqtada al-Sadr, is holding to its cease-fire. Authorities believe the militia has been responsible for killing Sunnis and rival Shiites.
Strides are being made in combating the Sunni-dominated al Qaeda in Iraq.
U.S. and Iraqi officials have been pointing to the rise of an anti-al Qaeda "awakening" among the Sunni tribes and a growing rejection of Sunni insurgents.
Rear Adm. Gregory Smith, a military spokesman in Baghdad, said progress made against al Qaeda in Iraq and other "criminal elements" has led to a drop in attack levels that has spurred "a decrease in casualties."
Along with the so-called surge, Odierno cited the improved performance of Iraqi security forces and Iraqis working together and "forgetting about the old hatreds."
Iraqi government officials said key compromises must be made among sectarian groups, such as accommodating more Sunnis in the Shiite-dominated Iraqi police and making economic and not just military improvements.
"One simple truth is that the government has to do a better job," Zebari said.
Sunni lawmaker Saleh Mutlaq, an outspoken critic of the government of Prime Minister Nuri al-Maliki, said the security situation is improving in Iraq, but might not last long.
"Well, it is improving, but my feeling is that this improvement is temporary because it doesn't reflect the presence of the American army and the Iraqi army volume in Baghdad and other cities."
Mutlaq added that the fight against al Qaeda is not over.
"Al Qaeda is very strong," he said. "It has been weakened in some areas but this weakness is only because the people of Iraq realize that al Qaeda is not good for them, especially the Sunni parts."
The Sunni lawmaker also attributed the improvement in security to Iraqis -- "especially the resistance" -- realizing that "the presence of the Iranians in Iraq is more important to fight than the Americans."
U.S.-led coalition forces killed four terrorists and detained 17 suspects in operations overnight targeting al Qaeda in Iraq networks in central and northern Iraq, the U.S. military said Tuesday. The raids were south of Baghdad, in Mosul, northwest of Tarmiya, near Kirkuk and in Baiji.
The blast that wounded U.S. Army Brig. Gen. Jeffrey Dorko on Monday was caused by an armor-piercing explosive device that the U.S. military said comes from Iran. Dorko is being treated in Germany for shrapnel wounds after the blast near his vehicle, Pentagon sources said. Dorko is the second brigadier general to be wounded in the Iraq war.
CNN's Jim Clancy, Jomana Karadsheh, Morgan Neil and Nic Robertson contributed to this report.
All About Muqtada al-Sadr • Raymond Odierno


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Christianity and Science, Christianity in the News, Creationism, Current Events, Science, Young Earth Creationism
"We Believe in Dinosaurs" – The Ark Encounter Examined
Posted by J.W. Wartick ⋅ February 26, 2020 ⋅ 4 Comments
Filed Under answers in genesis, Ark Encounter, Christianity, creationism, ken ham, Noah's Ark, Noah's flood, We Believe in Dinosaurs, Young Earth Creationism
The Ark Encounter is a controversial attempt to create a monument to what one group of people sees as biblical truth. "We Believe in Dinosaurs" documents the making of the Ark, both before and after, through several different lenses–a creationist working on the project, a geologist opposing it, an atheist protesting it, a woman who speaks in defense of creationism, a business owner hoping it will revitalize the town, a pastor who sees it as too closely uniting church and state, and a young Christian man who's changed his mind. Recently, I had the chance to watch the documentary on PBS. It's also available on Amazon.
One thing that makes the documentary so fascinating is that range of voices and perspectives it presents. Doug Henderson is the lead project designer at the Creation Museum and in the documentary he helped design the exhibits and leads a team making animals to go on the Ark, among other things. He's a fully convinced Young Earth Creationist who believes the world is about 6,000 years old and that a global flood can account for the geologic record of our planet. He admits to having some doubts in the past, but that he resolved those doubts through a firm reliance on what he sees as the correct way to interpret the Bible. One of the most poignant moments of the documentary has him appealing to the camera with the notion that "I'm not crazy" and that he's just as normal as anyone else, he just believes the Earth is young. It's a rare, emotionally vivid moment in creation-evolution debates where the facade of certainty is stripped away and, as a viewer, one can witness that these are real people with real concerns. It's powerful.
David Macmillan used to be a young earth creationist, and even donated enough to have his name on the wall at the Creation Museum. His own journey led him to question the truth of young earth creationism and he points out that it was a questioning of the rigidity of interpretation as well as scientific findings that caused him to change his view. As a viewer, he related to me quite a bit because his journey is very similar to my own.
Dan Phelps is a geologist who thinks the Ark Encounter is anti-science and has done the work to demonstrate it. But he rose to prominence in opposition to the project not because of geological disputes but due to his taking issue with tax dollars being used to supplement the building of the Ark. What was most alarming to him was that the Ark Encounter's job applications at every level, whether project leader or janitor, required strict adherence to the full statement of faith of Answers in Genesis. This meant not only that atheists need not apply, as his op-ed got titled, but also that no Muslims, Hindus, Mormons, and even many, many Christians need apply either. To have this kind of hiring policy while also getting government money was alarming, and the documentary follows the fight against this government funding. Ultimately, this battle was lost and the Ark Encounter received grants and other aid from both state and local governments, despite claims both that the Ark is an evangelistic tool and the strict hiring practices.
One of the most alarming parts of the film is found when Jim Helten, President of the Tri-State Freethinkers (an atheist organization) who raised money to make billboards slamming the Ark Encounter and Creation museum as the "Genocide and Incest" museum is interviewed for the radio. What's alarming about this is the way the Christian reacts to the atheist in this encounter. Jim alleges that the Ark implies incest and genocide because the flood kills everyone not on the ark, whether innocent or not, and then that the world has to get repopulated through incest because only Noah's family was on the Ark. One can debate the nuance (or lack thereof) of Jim's interpretation, but the Christian on the other end of the line turns around and immediately consigns Jim to hell. He says he'll pray for Jim to not be in hell, but finally becomes unhinged and says "and there'll be a million serpents biting your legs for eternity" as though that's a reasonable response to Jim's charges and his efforts to put up somewhat inflammatory billboards. Jim points out that he's being threatened with eternal torture for asking for evidence. It's another one of the moments that the documentary does so well of creating times to think and reflect and wonder. How is it possible that an ostensibly Christian person would think such a response was justified–and where did the line about the serpents come from?
A major aspect of the documentary is showing the Ark Encounter's impact on the local community. It's not clear what explicit promises were made, but it is clear that the people of Williamstown, Kentucky were given the impression that the Ark Encounter would bring a business boom to their community and help revitalize a downtown that Jamie Baker, interviewed in the documentary, said was so slow at times you could almost see tumbleweeds. The documentary covers several aspects of this hope, showing one group singing a song about their excitement related to the Ark Encounter. Just a few years later, that same place is a vacant facade, to go along with all the other places for sale or rent in a downtown that hasn't been helped at all. One person in the documentary said they were promised shuttles would bring people into town to eat and shop, but that they only rarely see even a car driving through.
It is not clear, again, what promises were made to the people of Williamstown, but whatever hopes were raised have since, apparently, been crushed. The Ark Encounter isn't helping the community in a monetary way so far as one can tell from the documentary. This, despite the city selling 78 acres of land to the Ark Encounter for $1 and giving them $175,000. This may not seem like a big problem–businesses make promises and bully people into helping them turn a profit all the time. But the Ark Encounter is an ostensibly Christian exhibit! Its staff has to subscribe to a strict statement of faith. One would expect integrity and openness from such people, not attacks on people who question their practices and attempts to block or obfuscate information related to their exhibit.
"We Believe in Dinosaurs" is a fascinating, challenging watch. It presents many sides, both sympathetic and not, related to the Ark Encounter. I haven't even gone over several other people who show up in the documentary, and there's much more there. I highly recommend it to anyone, given its broad range of interests from religious freedom, church and state issues, questions about science and faith, and more.
What options are there in the origins debate? – A Taxonomy of Christian Origins Positions– I clarify the breadth of options available for Christians who want to interact on various levels with models of origins. I think this post is extremely important because it gives readers a chance to see the various positions explained briefly.
What is the relationship between Christianity and science?- An Overview of 4 Views– How should the Christian faith interact with science? Do they interact at all? I survey 4 major views on these and other questions.
Origins Debate– Read a whole bunch more on different views within Christianity of the "origins debate." Here I have posts on young and old earth creationism, intelligent design, theistic evolutionism, and more!
« Apologetics Guided Reading: George Park Fisher "Manual of Christian Evidences" Chapter 12
Today in History: German Foreign Office Warns about Dietrich Bonhoeffer »
4 thoughts on ""We Believe in Dinosaurs" – The Ark Encounter Examined"
I too watched the PBS special with trepidation. To no surprise the very narrow interpretation of the Bible by Answers in Genesis is disheartening. I fear continued confusion and drifting away by Christian kids as they learn the truths of what is seen in nature and reconciling with the Scriptures from the original writings.
Posted by Orvin Bontrager | February 26, 2020, 9:28 AM
Yes that's my biggest concern as well. It's one thing to have such a rigid interpretation; it's entirely another to link it so intricately to faith in general. YEC or nothing is what is taught. They say it's non essential but then elevate it to essential anyway.
Posted by J.W. Wartick | February 26, 2020, 12:25 PM
It does sound fascinating. Thanks for bringing it to our attention!
Posted by bibliomike2020 | February 26, 2020, 10:04 AM
Let me know if you watch it!


A certified barbecue judges class will be held at 6 p.m. June 7 at Old Town Carriage House, 102 S. Victoria Ave., in conjunction with the annual Boats, Blues & Bar-B-Que cook-off June 8-9 at the Historic Arkansas Riverwalk of Pueblo.
Participants will learn how to judge four official Kansas City Bar-B-Que Society categories - ribs, chicken, brisket and pork - and will take a judge's oath and be named official Kansas City Bar-B-Que Society judges.
Registration fee is $75 for people who aren't society members and $35 for members.
For more information, call 595-0242. To register for the class, go to www.puebloharp.com and then mail in an application. Participants also may register the night of the class.
June, which begins on Friday, is both Dairy Month and National Iced Tea Month. Have a glass of something cold in celebration: milk with a chaser of cookies, a chocolate shake, or a tall glass of ice-filled tea topped off with a twist of lemon and a mint sprig.
Picnic season is upon us, which means there are more opportunities for serving our favorite backyard bird. Some possibilities are Luau Chicken Sandwiches - grilled chicken breasts with sliced pineapple and a spicy sauce made from brown sugar, ground mustard, mayonnaise and dill weed; Caribbean Chicken - chicken breast halves marinated in a mix of lemon juice, honey, sliced jalapenos, green onions, thyme, nutmeg and allspice and then grilled; or Plum-Glazed Chicken Kabobs - skewers of chicken-breast cubes, pineapple chunks and green pepper seasoned with a plum sauce, grilled and served with rice.
These and many more recipes are included in "Best of Country Chicken," a Taste of Home book. The cookbook sells for $15.99. For information about ordering, call 800-558-1013 or go to the publisher's Web site, www.reimanpub.com.
Mix cream cheese and sour cream in a bowl until smooth. Stir in olives, green chiles, cheddar cheese and green onions. Season with garlic. Spread onto tortillas. Roll up the tortillas and wrap in plastic wrap. Chill for 4 hours. Cut into 1/2-inch slices and arrange on a serving platter. Serve with salsa for dipping.
Compiled by Mary Jean Porter from various sources.


Suresh Gupta, http://corporatedir.com/company/unistar-international-llp. Designation Partner at UNISTAR INTERNATIONAL LLP.
Prerna Taneja, http://corporatedir.com/company/unistar-international-llp. Designation Partner at UNISTAR INTERNATIONAL LLP.
Located at House No 5, Plot No 52, Block-D, Sector-9, Landmark, Near Japnise Park, Sahyog Aptt s, Rohini New Delhi New Delhi DL 110085 IN, , . https://corporatedir.com/company/unistar-international-llp.
Unistar International Llp was registered at Registrar of Companies Delhi on 26 February, 2018 and is categorised as Limited liability partnership firm.
Unistar International Llp registered address on file is House No 5, Plot No 52, Block-D, Sector-9, Landmark, Near Japnise Park, Sahyog Aptt s, Rohini New Delhi New Delhi DL 110085 IN, - , , .
Unistar International Llp currently have 2 Active Directors / Partners: Suresh Gupta, Prerna Taneja, and there are no other Active Directors / Partners in the company except these 2 officials.
Unistar International Llp is involved in Manufacturing - Metals & Chemicals, & Products Thereof Activity and currently company is in Active Status.


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Q: Help Understanding Reconstruction Loss In Variational Autoencoder The reconstruction loss for a VAE (see, for example equation 20.77 in The Deep Learning Book) is often written as
$-\mathbb{E}_{z\sim{q(z | x)}} log(p_{model}(x | z))$,
where $z$ represents latent variables, $x$ represents an image, and $q$ is an approximate encoder. If we assume that
$x | z \sim \mathcal{N}(\mu_{x|z}, \Sigma_{x|z})$,
then I understand how that minimizing reconstruction loss is just a typical maximum likelihood problem.
But when I see VAEs implemented in practice, people often seem to represent the reconstruction loss as the L2 loss between each $x$ (training image) and $\hat{x}$ (decoded image).
Can anyone explain how to translate the reconstruction loss in the first expression above to L2 loss between $x$ and $\hat{x}$?

A: Typically in VAE implementations, the output of the decoder is actually the mean $\mu_{x|z}$ which I will just call $\mu$, and people assumes a unitary covariance. So in that case we have:
$logP(x|z)=-\frac{1}{2}[log(|\Sigma|)+klog(2\pi)+(\mathbf{x}-\mathbf{\mu})^T(\mathbf{x}-\mathbf{\mu})]$
This comes from taking the log of the pdf of a multivariate Gaussian distribution. Now you can see that since the first two terms are constant with respect to $\mu$, the optimization problem is equivalent to maximize $-\frac{1}{2}(\mathbf{x}-\boldsymbol{\mu})^T(\mathbf{x}-\boldsymbol{\mu})$ which is the just the L2 loss between $\mathbf{x}$ and $\boldsymbol{\mu}$.
Finally the expectation is just approximated by averaging.

redpajama_set_name: RedPajamaStackExchange


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ITEM.name = "Leek"
ITEM.desc = "Soso [Satiety: %s]"
ITEM.model = "models/foodnhouseholditems/leek.mdl"
ITEM.satiety = 30

redpajama_set_name: RedPajamaGithub


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Q: Is micropreneur or micropreneurial correct as an adjective? A micropreneur is basically an micro-entrepreneur.  In the following phrase, is micropreneur or micropreneurial correct?

A micropreneur software company

A: Micropreneur is a noun.
Micropreneurial is the adjective form - but if i were you, I'd reconsider using that to describe a software company. I've seen it used along with nouns such as - a micropreneurial venture, a micropreneurial experience etc.,
A micropreneur is described as a person who starts a small business, so if you are trying to use this adjective to simply describe a small software business, it may work better if you just said "micropreneurial venture" or a micropreneurial software business?
Could you give out the whole sentence/context where you plan to use this phrase? Thanks. A nice question.

A: You should probably use micropreneurial, since in that context most would use entrepreneurial. It's more grammatically correct to use an adjective anyways; so micropreneurial fits the bill.
Or, you could say:

A micropreneur's software company.


The Uhing Model RGK3—20—0 roll traversing roll drive developed by Amacoil Company can be used for general winding operations. The product is characterized by its ability to maintain its various basic retractable roll operations while maintaining a competitive price. According to the company, after more than 50 million switching cycles, the drive can be used with minimal maintenance.


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More remains discovered at Detroit funeral home where infant bodies found
0 0 Saturday, October 20, 2018 Edit this post
By Danielle Haynes, UPI
Officials discovered the remains of four additional bodies Friday at a Detroit funeral home where they found the bodies of 11 infants inside the ceiling last week.
Naveed Syed, the new owner of the building that once housed Cantrell Funeral Home, said a worker found the additional cremated remains in boxes in the building's basement. That brings the total number of unattended remains discovered in the now-shuttered facility to 38, The Detroit News reported.
A worker doing electrical work in the basement discovered the remains.
"I [kept] seeing this black box that was in my way," Joseph Summers told WXYZ-TV in Detroit. "So as I moved it to the right, I happened to notice that it was the remains of ashes of someone -- some loved ones that was basically thrown away like trash."
State investigators found the first remains last week after receiving an anonymous letter about their existence. Syed let inspectors from the Michigan Department of Licensing and Regulatory Affairs search the premises and they found boxes and a small casket in the ceiling. Syed said he called police after the remains were discovered.
State inspectors shut down the funeral home in April after inspectors found several violations including decomposing remains and poor conditions.
Among the violations that led LARA to suspend the mortuary science establishment license, inspectors previously found decomposing bodies stored in an non-refrigerated garage in a filthy back room.
Former funeral home owner Raymond Cantrell said he did not order employees to hide bodies.
Syed said he's now decided to demolish the building, which he initially planned to turn it into a community center.
"We've taken out more than four Dumpsters full of stuff, and God knows what else we're going to find," he said.
U.S. - U.S. Daily News: More remains discovered at Detroit funeral home where infant bodies found
https://4.bp.blogspot.com/-hzoQWQyJYLc/W8wKfIzevBI/AAAAAAABEtY/b4hhyryqUrcKdRAOcFc_q8olblefxDbzACLcBGAs/s1600/7.jpg
https://4.bp.blogspot.com/-hzoQWQyJYLc/W8wKfIzevBI/AAAAAAABEtY/b4hhyryqUrcKdRAOcFc_q8olblefxDbzACLcBGAs/s72-c/7.jpg
https://us.dailynews.us.com/2018/10/more-remains-discovered-at-detroit.html