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«Человечка нарисовал я» — советский полнометражный рисованный мультфильм 1960 года. Ремейк мультфильма «Федя Зайцев» 1948 года тех же авторов.

Сюжет
1 сентября в школу пришёл мальчик-третьеклассник Федя Зайцев. На школьной стене он, забывшись, кусочком угля нарисовал человечка. Когда на уроке учитель спросил, кто испортил чистую стену, Федя, испугавшись наказания, промолчал. Когда же учитель попросил учеников поднять руки, Федин друг, с которым тот поздоровался за руку, ничего не подозревая, поднял испачканную углём руку и попался.

Так и не сознавшись, Федя отправился домой. Ночью мальчик захотел почитать книгу «Тимур и его команда», но оживший Тимур на обложке говорит Феде, что Гайдар писал её не для него. Тогда Федя берёт в руки «взрослую» книгу — «Каштанку», но собака с обложки укусила его за палец. Зайцев отбрасывает книги в сторону и решает поиграть, однако заведённый волчок трижды называет Федю лжецом, а оловянные солдатики и моряки уходят от хозяина в магазин. Не сумев остановить игрушки, Федя подходит к матрёшке, но и та упрекает мальчика во лжи и подставе товарища. В ярости Федя раскалывает кукол пополам линейкой; несмотря на это, самая маленькая куколка говорит ему, что правда всё равно обнаружится.

В это время в школе нарисованный человечек оживает и решает вывести Федю на чистую воду. Из-за стука зонтом по полу в кабинет входит школьный швейцар Гаврила Иваныч и, обнаружив проделки Феди, ругается и отправляется за тряпкой. Человечек замечает в другом кабинете своего двойника, нарисованного мелом на доске, и находит благовидный предлог, чтобы явиться к Феде и не обмануть швейцара. Человечки выпивают чернила, бывший «блондин» встаёт на место своего угольного «близнеца», а последний бежит к Феде, несмотря на дождь. К этому моменту швейцар, вернувшись и не найдя злополучный рисунок, решает, что он ошибся кабинетом, однако, как только на стене оказывается замаскированный человечек с доски, Гаврила Иваныч, зайдя в третий раз, недоумевает: «Ну что за чертовщина!».

По дороге к Феде угольный человечек встречает других «сородичей» и восьминогое животное («льва», как оно само признаётся), изображённых Федей Зайцевым по пути домой. Верхом на «льве» он добирается до Фединой квартиры, однако мальчик в ответ на просьбу сознаться заявляет, что будет и дальше врать. Человечек говорит, что для таких, как он, существует страшное Царство лжи, где правит коварная, жестокая и, очевидно, лживая царица. Федя решает доказать, что у него по географии «круглая четвёрка», и вращает свой глобус, дабы найти это сказочное государство. Вдруг рядом включается радиоприёмник и таинственным голосом объясняет, что нужно для того, чтобы оказаться в царстве лжи. Федя одевается, однако пионерский галстук улетает от него, и мальчик решает, что это необязательно. Выйдя из дома, он делает так, как говорило радио, и за ним тут же приезжает карета. Человечек, переживая за Федю, бросается вслед за ним, сев на запятки.

Утром в пустыне карету покачнуло, и человечек падает. Кучер игнорирует просьбу человечка остановить карету и разгоняет лошадей, а человечек бросается в погоню. Когда карета въехала в царство, ворота закрылись. Человечек тянет ворота к себе (как написано на табличке), но оказывается, что те, наоборот, открываются от себя. Человечек, не подозревая этого, после очередной попытки решает отдохнуть.

Федю встречает царица лжи в маске и подзывает к себе. Сначала царица хвалит Федю за подставу Рыжика, а после предлагает стать её пажом (взамен предыдущего, который накануне впал в немилость, дав владычице не ту маску и оскорбив её случайно оборонённой шуткой про её жениха). Герой соглашается, и в следующей сцене он с удовольствием пьёт газировку и ест другие вкусности. При этом к нему присоединяются мартышки, белки, воробьи, олень и попугай. Федя пытается их угостить, но животные отказываются подойти, думая, что мальчик их обидит.

Тем временем нарисованный человечек страдает от того, что не сумел уговорить Федю, не нашёл «дороги к сердцу детскому», и теперь мальчик один в том царстве, где «семью восемь — двадцать пять», и он забыл, чему его учили в школе. В отчаянии человечек стал плакать, но, прочитав задачник, решает спасти Федю — он пишет письмо, делает из него бумажного голубя и отправляет ему. Федя отвечает, что он чувствует себя хорошо в Царстве лжи, и человечек разрыдался ещё сильнее.

К царице приезжает тот самый жених — усатый военный, и Федя даёт ей подходящую маску. Военный рассказывает, что его отец — славный и мудрый правитель Королевства клеветы, в прошлом крепко друживший с покойным отцом царицы лжи, и делает ей предложение руки и сердца. Пока Федя по просьбе царицы вручал ей маску «глубокой заинтересованности», прежний паж, назначенный трубочистом, вылезает из камина и подрисовывает усы на маске «очаровательного смущения», которую герой держал за спиной. Как только владычица надевает эту маску, военный, заметив усы на «лице» возлюбленной, в гневе уходит, мотивируя это тем, что «на двух супругов совершенно достаточно и одной пары усов». Царица злится на Федю и прогоняет его.

Утром Федя интересуется работой обитателей царства — гончаров, кузнецов — и узнаёт от них, что если поймать некие шары на предстоящем празднике, можно получить всё, что угодно. Повар-кондитер угощает Федю хлебом, но тот говорит, что хотел бы попробовать торт. Повар отвечает, что торт припасён для царского стола, и рассказывает, что он ест сам и что съел бы, если бы ему удалось поймать волшебный шар.

Царица собирает всех жителей на дворцовой площади и рассказывает, что за «честную работу» она приготовила для всех огромное количество «шаров счастья», которые на деле являются обычными мыльными пузырями. Придворный надувает пузыри и ставит условие: прежде, чем они лопнут, все должны успеть высказать своё желание. Однако, по понятной причине, никому это не удаётся.

Федя, не веря, что счастье может быть индивидуальным, пытается убедить остальных, что их обманывают, но никто ему не верит. Тогда герой, дабы доказать правоту, намеревается удержать хотя бы один пузырь и пишет письмо человечку с просьбой о помощи. Тот находит решение в учебнике физики — нужно надеть шерстяные перчатки. Узнав о плане Феди, царица лжи, боясь разоблачения, нанимает волшебника, чтобы пойманный мальчишкой пузырь всё-таки исполнил его желание.

На следующий день Федя с помощью перчаток ловит «шар счастья» и загадывает, чтобы Царство лжи «лопнуло» вместе с пузырём, его жители стали честными людьми, а сам он вернулся в позавчера, чтобы исправить свою ошибку. Так и происходит: замок царицы рушится, к Феде возвращается пионерский галстук, и он, вновь оказавшись 1 сентября в своём классе, сознаётся в содеянном.

История создания
Именно этот полнометражный сценарий соответствует первоначальному сценарию Михаила Вольпина и Николая Эрдмана, предложенному для постановки в 1947 году и с самого начала разбитому на две части (возможно, из-за установки министра кинематографии Ивана Большакова на короткометражные мультфильмы). Первая часть быстро была запущена в производство, а вторая была встречена негативной рецензией со стороны худсовета, который раскритиковал её сюжет и посчитал, что первая часть вполне может тянуть на законченную. Сюжет под названием «В царстве Лжи» был послан на доработку, при этом «Федя Зайцев» должен был оканчиваться не признанием героя, а открытым финалом, предполагающим возможность будущего продолжения. Однако и доработанный сценарий был отвергнут, в связи с чем изменился и финал «Феди Зайцева».

Авторы не оставили идею серии фильмов о Феде Зайцеве, подогретую большим успехом экранизированной первой части. Эрдманом и Вольпиным был написан сценарий «Федя Зайцев на даче», по которому в 1955 году сёстры Брумберг сняли мультфильм «Остров ошибок» (однако герою в итоге поменяли имя).

К сценарию «В царстве Лжи» авторы вернулись только в разгар так называемой «хрущёвской оттепели», однако после прошедших со времени первой экранизации двенадцати лет было решено снимать не просто продолжение, а ремейк для нового поколения — «в его настоящем, нескомканном виде». По мнению М. В. Ромашовой, «существование оригинала и ремейка — неординарный случай, анализ которого позволит выявить способы репрезентации школьного мира в период социальных трансформаций».

Некоторые отличия от мультфильма «Федя Зайцев»
Хотя ремейк сделан в иной, чем оригинал 1948 года — более условной — изобразительной манере, текст и покадровый монтаж первой части совпадают до деталей, а некоторые персонажи озвучены теми же актёрами, что озвучивали их в оригинальной версии. Наиболее значительные отличия:
 В песне маляров, открывающей мультфильм, изменён текст последнего куплета:
Чтоб ребята точно знали,
Что такое кислород.
Чтоб ребята уважали
И любили свой народ,
Чтоб творили и мечтали,
Чтобы Пушкина читали,
Чтоб росли умнее нас,
Мы с душою красим класс.

Также несколько трансформировались типажи маляров.
 Школа, в соответствии с новыми реалиями, показана не мужской, а смешанной (раздельное обучение в СССР действовало с 1943 по 1954) и ученики носят форму (форма в советских общеобразовательных школах была введена как раз в год выхода фильма «Федя Зайцев», в 1948 году, но только с первого класса). Здание школы стало более безликим, избавившись от характерных для сталинского ампира так называемых «архитектурных излишеств», которым была объявлена борьба.
 Изменениям подвергся образ учителя: в новой версии он смотрит в другую сторону и у него седые волосы, а актёр Эраст Гарин озвучивает эту роль более спокойным, мягким голосом. В новой версии на столе перед учителем стоят цветы.
 Все ночные приключения (как и отсутствующее в мультфильме «Федя Зайцев» путешествие в Царство лжи) происходят не во сне, а на самом деле. Вместо пробуждения и признания, в оригинале происходивших на следующий день, фильм заканчивается возвращением Феди в первое сентября, где он сразу признаётся в содеянном. Также во сне по первоначальному сценарию должны были происходить и события мультфильма «Остров ошибок».
 Смягчён эпизод с Матрёшкой и её содержимым — они не раскалываются от удара Фединой линейкой, а раскрываются.
 Из монолога Человечка убрана часть, где он выражает несогласие с учителем в том, что стена была испорчена его фигурой: «Наоборот, — сказал бы даже я, — здесь без меня чего-то не хватает».

Интересные факты
 Завязка второй части перекликается с мультфильмом тех же авторов «Остров ошибок» (1955 год), который первоначально задумывался как прямое продолжение «Феди Зайцева»: оживающие рисунки (контраст условности которых с реалистическим рисунком основной мультипликации выглядел новаторским приёмом) предвосхищают попадание героя в сказочную страну. Своеобразной отсылкой к «Острову ошибок» является также вскользь упомянутая задача о двух поездах.
 В толпе под дворцовым балконом можно заметить человека в одежде Буратино.
 Царство лжи и его царица — отсылка к повести Мурада Мамедова «Марка неизвестного королевства».

Над фильмом работали
 Сценарий: Михаил Вольпин, Николай Эрдман
 Режиссёры-постановщики: Валентина Брумберг и Зинаида Брумберг
 Режиссёр: Валентин Лалаянц
 Художники-постановщики: Лана Азарх, Валентин Лалаянц
 Художники-мультипликаторы: Фёдор Хитрук, Фаина Епифанова, Мария Мотрук, Игорь Подгорский, Елена Хлудова, Борис Бутаков, Вячеслав Котёночкин, Вадим Долгих, Константин Малышев, Марина Восканьянц
 Художники-декораторы: Гелий Аркадьев, Елена Танненберг, Ольга Геммерлинг, Вера Валерианова
 Композитор: Никита Богословский
 Оператор: Елена Петрова
 Звукооператор: Николай Прилуцкий
 Ассистенты режиссёра: Нина Майорова, Татьяна Фёдорова, Е. Шилова, Светлана Кощеева
 Редактор: З. Павлова
 Директор картины: Г. Кругликов

Роли озвучивали
 Валентина Сперантова — Федя Зайцев
 Михаил Яншин — Человечек
 Серафима Бирман — Царица лжи
 Лев Свердлин — Верховный лжец

В эпизодах
 Серафим Аникеев — Усатый военный («Кот в самоваре») / жители Царства лжи
 Георгий Вицин — кондитер / поэт, желавший славы
 Владимир Готовцев — Гаврила Иваныч, школьный сторож
 Владимир Лепко — попугай
 Сергей Мартинсон — человечек, нарисованный мелом / восьминогое животное
 Георгий Милляр — маляр Герасим / бродяга
 Галина Новожилова — паж
 Андрей Тутышкин — волшебник
 Сергей Цейц — птица

В титрах не указаны
 Эраст Гарин — учитель
 Лидия Королёва — матрёшка
 Юрий Хржановский — житель Царства лжи
 Александр Баранов — военный, желавший власти

Видео
 В середине 1990-х годов мультфильм был издан на видеокассетах в сборниках лучших советских мультфильмов Studio PRO Video и видеостудией «Союз».
 В 2003 году мультфильм был издан в сборнике «Здравствуй, школа!» студией «Союз» на видеокассетах и DVD-дисках.

Примечания

Ссылки

 «Человечка нарисовал я» на myltik.ru

Рисованные мультфильмы СССР 1960 года
Полнометражные мультфильмы СССР
Мультфильмы студии «Союзмультфильм»
Мультфильмы В. и З. Брумберг
Мультфильмы по сценариям Михаила Вольпина
Мультфильмы по сценариям Николая Эрдмана
Мультфильмы о школьниках
Ремейки советских мультфильмов

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List of viscounts in the peerages of Britain and Ireland
This is a list of the 111 present and extant Viscounts in the Peerages of England, Scotland, Great Britain, Ireland, and the United Kingdom. Note that it does not include extant viscountcies which have become merged (either through marriage or elevation) with higher peerages and are today in use only as subsidiary titles. For a more complete list, which adds these "hidden" viscounties as well as extinct, dormant, abeyant, and forfeit ones, see List of Viscountcies.
The general order of precedence among Viscounts is:
Viscounts of England
Viscounts of Scotland
Viscounts of Great Britain
Viscounts of Ireland
Viscounts of the United Kingdom
However, the viscountcies of Ireland which were created after the Acts of Union 1800 yield precedence to older United Kingdom viscountcies; one of these post-Union Irish viscountcies is older than any viscountcy of the United Kingdom, one other remains as a viscountcy, two are extinct, and one is now a subordinate title.
Viscounts in the Peerages of Britain and Ireland
List of heirs of Viscounts in the peerages of the British Isles
Heirs apparent
Hon. Henry Devereux, eldest of the Viscount Hereford
Hon. Lucius Cary, Master of Falkland, the eldest son of the Viscount of Falkland
Hon. Christopher Arbuthnott, Master of Arbuthnott, eldest son of the Viscount of Arbuthnott
Hon. Max Makgill, Master of Oxfuird, eldest son of the Viscount of Oxfuird
Hon Oliver Lyttelton, eldest son of the Viscount Cobham
Hon. Evelyn Boscawen, eldest son of the Viscount Falmouth
Hon. Archibald Hood, eldest son of the Viscount Hood
Hon. Theo Butler, eldest son of the Viscount Mountgarret
Hon. Charles Skeffington, eldest son of the Viscount Massereene
Hon. Shane Caulfeild, eldest son of the Viscount Charlemont
Hon. Connor Chetwynd, eldest son of the Viscount Chetwynd
Hon. Ashley Midleton, eldest son of the Viscount Midleton
Hon. Gustavus Hamilton-Russell, eldest son of the Viscount Boyne
Hon. Henry Gage, eldest son of the Viscount Gage
Hon. Geoffrey Monckton-Arundell, eldest son of the Viscount Galway
Hon. Rowland Flower, eldest son of the Viscount Ashbrook
Hon. Oliver Vesey, eldest son of the Viscount de Vesci
Hon. James Hewitt, eldest son of the Viscount Lifford
Hon. Nathaniel St Leger, eldest son of the Viscount Doneraile
Hon. Patrick Pomeroy, eldest son of the Viscount Harberton
Hon. Varian Maude, eldest son of the Viscount Hawarden
Hon. James Jervis, eldest son of the Viscount St Vincent
Hon. John Addington, eldest son of the Viscount Sidmouth
Hon. Robert Vereker, eldest son of the Viscount Gort
Hon. Edward Pellew, eldest son of the Viscount Exmouth
Hon. Laszlo Stapleton-Cotton, eldest son of the Viscount Combermere
Hon. Michael Clegg-Hill, eldest son of the Viscount Hill
Hon. Peregrine Hood, eldest son of the Viscount Bridport
Hon. Luke Portman, eldest son of the Viscount Portman
Hon. Lucian Brant, eldest son of the Viscount Hampden
Hon. Henry Holland-Hibbert, eldest son of the Viscount Knutsford
Hon. Matthew Brett, eldest son of the Viscount Esher
Hon. Alexander Goschen, eldest son of the Viscount Goschen
Hon. Matthew Ridley, eldest son of the Viscount Ridley
Hon. Patrick Knollys, eldest son of the Viscount Knollys
Hon. Wentworth Beaumont, eldest son of the Viscount Allendale
Hon. Oliver Akers-Douglas, eldest son of the Viscount Chilston
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Re: [wildfly-dev] 12.0.0.CR1 released!
Jaikiran Pai
Wednesday, 28 February 2018 Wed, 28 Feb '18
Hi Jason, The past few weeks, there have been multiple reports in the forums and in the JIRA related to remote EJB invocations (especially over HTTP) that seems to be failing due to some of the bugs in our remote EJB libraries. From what I see, most of them should be resolved in 12.0.0.CR1 that's released. However, I think there's at least one or two issues (still being discussed in the forums and JIRA[1] [2]) which I suspect are bugs in either WildFly itself or one of our libraries. Related to those, I believe, the fix in this PR https://github.com/wildfly/wildfly/pull/10929 which is currently open, is an important one in context of 12.0 Final release. I haven't had the chance to check if this PR would solve the rest of the issues, but at least from the looks of it, it's an important fix in itself. I think we should include that fix in 12.0.0.Final. [1] https://issues.jboss.org/browse/WFLY-9896 [2] https://developer.jboss.org/message/980718#980718 -Jaikiran On 27/02/18 9:02 AM, Jason Greene wrote:
Hi Everyone, In preparation for WildFly 12 Final, CR1 is now available for build testing: http://wildfly.org/downloads/ Provided no blocking issues are discovered we will be releasing Final shortly. WildFly 12 is the first release in our new quarterly delivery model. The most significant feature is delivery of new EE8 capabilities. As mentioned during the original 12 announcement, we are delivering EE8 functionality incrementally, as opposed to waiting for a big bang. WildFly 12 includes Servlet 4, JAX-RS 2.1, CDI 2.0, Bean Validation 2.0, JSF 2.3, JSON-B, JSON-P 1.1, and Javamail 1.6. By default WildFly 12 runs in EE7 mode, but you can enable EE8 variants of the standard by starting the server with the special parameter "-Dee8.preview.mode=true". Thanks! -Jason _______________________________________________ wildfly-dev mailing list wildfly-dev(a)lists.jboss.org https://lists.jboss.org/mailman/listinfo/wildfly-dev


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By William Taylor, Phyllis Taylor, Beth Dunlop


text:
\section{\label{sec:Intro}Introduction}

The metric \cite{Behar2000,Carmeli2002a} used by Carmeli in a generally covariant theory (Cosmological General Relativity) extends the number of dimensions of the universe by the addition of a new dimension -- the radial velocity of the galaxies in the Hubble flow. The Hubble law is assumed as a fundamental axiom for the universe and the galaxies are distributed accordingly.

In determining the large scale structure of the universe the usual time dimension is neglected as observations are taken over such a short time period compared to the motion of the galaxies in the expansion. In this case, the usual time coordinate ($t$) does not need to be considered. This leaves only four dimensions to be considered -- three of space and one of velocity. In general, however, the new 5D cosmology developed by Carmeli contains all of general relativity as a subset. All of the results in general relativity that are experimentally supported are also obtained in Cosmological General Relativity (CGR) \cite{Carmeli2002b}.

When discussing the motions of stars and gases in galaxies the five dimensional cosmology must be used. Both the usual geodesic equation and a new phase space equation have been derived using CGR. From this Carmeli was able to derive a Tully-Fisher like equation \cite{Carmeli1998}, which indicates that the existence of halo dark matter is not necessary to be assumed in spiral galaxies.

It is then worth seeing to what extent the Carmeli cosmological theory fits the observed data. This paper fits the theory to the observed magnitude-redshift data taken from the high-redshift type Ia supernovae observation teams. From this analysis on the largest scales of the universe no dark matter is necessary when the Carmeli model is assumed.

\subsection{\label{sec:CGR}Cosmological General Relativity}

Here the CGR theory is considered using a Riemannian four-dimensional presentation of gravitation in which the coordinates are those of Hubble, i.e. distance and velocity, or more precisely, proper distances as measured by the Hubble law and the measured redshifts of galaxies. This results in a phase space equation where the observables are redshift and distance. The latter may be determined from the high-redshift type Ia supernovae (SNe Ia) observations.

\subsection{\label{sec:lineelem}Line element}

In the case considered here the line element is
\begin{equation} \label{eqn:metric}
ds^{2}=\tau^{2}dv^{2}-e^{\xi}dr^{2}-R^{2}(d\theta^{2}+sin^{2}\theta d\phi^{2})
\end{equation}

where $ dr^{2}=(dx^1)^{2}+(dx^2)^{2}+(dx^3)^{2}$, $\xi$ and $R$ are functions of $v$ and $r$ alone and comoving co-ordinates $x^{\mu}=(x^{0},x^{1},x^{2},x^{3})=(\tau v ,r,\theta,\phi)$ are used. The new dimension ($v$) is the radial velocity of the galaxies in the expanding universe, and is not the time derivative of the distance. The parameter $\tau$, the Hubble-Carmeli time constant, is a constant for all observers at the same epoch and its reciprocal (designated $h$) is the Hubble `constant' measured in the limit of zero gravity and zero redshift, which is only approximately the Hubble constant $H_{0}$.

Equation  (\ref {eqn:metric})  then represents a curved \textit{spacevelocity} which, like in general relativity, may be represented by a four-dimensional Riemannian manifold with a metric $g_{ \mu \nu}$ and a line element $ds^{2}=g_{ \mu \nu}dx^{\mu}dx^{\nu}$. This differs from general relativity in that here the $x^{0}$ coordinate is velocity-like instead of time-like as is the case of $x^{0} = ct$, where $c$ is the speed of light and a universal constant. The parameter $t$ is the time coordinate. In this theory $x^{0} = \tau v$, where $\tau$ is also a universal constant. The other three coordinates $x^{k}, k = 1,2,3$, are space-like, as in general relativity.

The line element represents a spherically symmetric isotropic but not necessarily homogeneous universe. The observations are made at a definite time and therefore $dt = 0$ does not appear in (\ref{eqn:metric}).

\subsection{\label{sec:field}Field equations}

In CGR, as in general relativity, one equates geometry to physics. In this theory Einstein's field equations
\begin{equation} \label{eqn:fieldeqn}
G_{\mu \nu}= R_{\mu \nu} - \frac {1} {2} g_{\mu \nu}R = \kappa T_{\mu \nu}
\end{equation}
are modified.

The energy-momentum tensor ($T_{\mu \nu}$) takes on a different physical meaning. The coupling constant ($\kappa$) that relates the geometry $G_{\mu \nu}$ in (\ref {eqn:fieldeqn}) to the energy terms $T_{\mu \nu}$ is also different. However the form of (\ref {eqn:fieldeqn}) is exactly the same as in general relativity, but with $\kappa = 8 \pi k/\tau^{4}$ and $ k = G \tau^{2}/c^{2}$ where $G$ is Newton's gravitational constant. Therefore $\kappa = 8 \pi G /c^{2} \tau^{2}$.

The correspondence with general relativity is easily seen by the substitutions $c \rightarrow \tau$ and $t \rightarrow v$. In this new theory the energy-momentum tensor $T^{\mu \nu}$ is constructed with these substitutions. As usual  $T^{\mu \nu}= \rho u^{\mu} u^{\nu}$, where where $\rho$ is the average mass/energy density of the universe  and $u^{\mu} = dx^{\mu}/ds$ is the four-velocity.

In general relativity $T_{0}^{0}=\rho$. In Newtonian gravity the potential function is defined by the Poisson equation $\nabla^{2}\phi=4 \pi G \rho$. Where $\rho = 0$ the vacuum Einstein field equations are usually solved in general relativity and similarly Laplace's equation in the Newtonian theory.

These are valid solutions but in cosmology there never exists the situation where the density $\rho$ is zero because the universe always contains matter and energy. So in order to equate the rhs of (\ref {eqn:fieldeqn}) to zero Carmeli took $T_{0}^{0}\neq \rho$ but $T_{0}^{0} = \rho_{eff} = \rho - \rho_{c}$, in the appropriate units. Here $\rho_{c}$ is the critical or  ``closure'' density and in this model $\rho_{c} = 3/8 \pi G \tau^{2}\approx 10^{-29} \; g.cm^{-3}$. Therefore in CGR $T^{\mu \nu}= \rho_{eff} u^{\mu} u^{\nu}$.

The result is that we can view the universe, in \textit{spacevelocity}, or phase space as being stress free when the matter density of the universe is equal to the critical density. That is, the effective density $\rho_{eff}= 0$. This then gives us the analogous situation to that in the Newtonian and Einsteinian theories. Besides the assumption of the universality of the Hubble Law, this is the second fundamental assumption in this cosmology.

\subsection{\label{sec:phasespace}Phase space equation}

In \textit{spacevelocity} the null condition $ds = 0$ describes the expansion of the universe. In the limit of no matter or gravity (i.e. $e^{\xi}= 1 $) the null condition yields $dr/dv = \pm \tau$, which when integrated with appropriate initial conditions results in $r = \tau v$ in an expanding universe. This can be rewritten as $v = h r \approx H_{0} r$, the Hubble law in the zero-gravity limit.

It follows from (\ref {eqn:metric}) for a spherically symmetric isotropic distribution of matter where spherical spatial coordinates ($r,\theta, \phi$) are used and taking into account $ d\theta = d\phi = 0 $ (the isotropy condition) that
\begin{equation} \label{eqn:4Dmetric}
\tau^{2}dv^{2}-e^{\xi}dr^{2}=0
\end{equation}
which results in
\begin{equation} \label{eqn:4Dmetricderiv}
\frac{dr} {dv} = \pm \tau e^{-\xi/2}.
\end{equation}
The positive sign is chosen for an expanding universe, which was solved in \cite{Carmeli2002a,Carmeli2002b}.

\subsection{\label{sec:soln}Solution to field equations}

Carmeli found a solution to the resulting field equations \cite{Carmeli2002a}, with the necessary condition that $R'> 0$, as
\begin{equation} \label{eqn:simple}
R = r
\end{equation}
and
\begin{equation} \label{eqn:soln1field2}
e^{\xi}= \frac{{1}}{1 + f(r)}
\end{equation}
where $f(r)$ is an arbirary function of $r$ and satisfies $f(r) + 1 > 0$. The solution is where
\begin{equation} \label{eqn:fvalue1}
f(r) = \frac {1-\Omega}{c^{2}\tau^{2}}r^{2},
\end{equation}
and $\Omega = \rho/\rho_{c}$. The matter density $\Omega$ is assumed to be the smoothed average density for matter that is evenly distributed throughout the universe. However because we look back through past epochs the density is a function of the redshift $z$.

By substituting (\ref{eqn:soln1field2}) with (\ref{eqn:fvalue1}) into (\ref {eqn:4Dmetricderiv}) we get Carmeli's result
\begin{equation} \label{eqn:phasespacederiv}
\frac{dr}{dv}= \tau \sqrt{ 1+(1-\Omega) \frac{r^2}{c^2 \tau^2}},
\end{equation}
where the positive solution has been chosen for an expanding universe.

Equation (\ref {eqn:phasespacederiv}) may be integrated exactly to get
\begin{equation} \label{eqn:phasespacesoln}
r(v)= \frac{c \tau}{\sqrt{1-\Omega}}\sinh \left( \frac{v}{c} \sqrt{1-\Omega } \right)
\qquad \forall \Omega.
\end{equation}
Thus (\ref{eqn:phasespacesoln}) may be written in terms of normalized or natural units $ r/c \tau $ and for arbitrary $z = v/c$,
\begin{equation} \label{eqn:phasespacesolnnatural}
\frac {r} {c \tau}= \frac {\sinh (z \sqrt{1-\Omega})} {\sqrt{1-\Omega}}.
\end{equation}
Considering the expansion of the universe it is clear that (\ref{eqn:phasespacesolnnatural}) describes a tri-phase expansion. Initially the universe is very dense and $\Omega > 1$ so the hyperbolic sine function becomes a normal trignometric sine function describing a decelerating expansion. Then the density $\Omega$ reaches unity and the rhs of (\ref{eqn:phasespacesolnnatural}) becomes equal to $z$ which describes a coasting stage. Finally the density decreases and $\Omega < 1$ as the universe continues to expand. Then the hyperbolic sine function represents an exponentially accelerating universe.

There are four symbols used in this paper for density expressed as a fraction of the critical density. The symbol $\Omega$ represents the matter density at any epoch defined by redshift $z$ and because we take $dt = 0$, $\Omega$ is therefore only a function of $z$. The symbol $\Omega_{m}$ represents the matter density at the present epoch and therefore is a constant on the time scale of any measurements used here. The symbol $\Omega_{b}$ specifically represents the baryonic matter density at the present epoch, which in this paper we show is identical with  $\Omega_{m}$. The symbol $\Omega_{\Lambda}$ is the vacuum or `dark' energy contribution to gravity and is a function of redshift $z$. In fact, because the cosmological constant ($\Lambda$) does not appear explicitly in Carmeli's cosmology this latter component is really a property of the metric.

The structure of this paper is as follows: Section \ref{sec:density} discusses the variation of matter density with redshift and presents an equation, modified by the author \cite{Hartnett2004b} from the Carmeli equation, that describes proper distance as a function of redshift in the Carmeli cosmology. Section \ref{sec:Comparison} is where the new work begins. In this section, for the first time,  a magnitude-redshift relation is fitted to the data taken from the high-$z$ supernovae teams \cite{Knop2003, Riess2004, Tonry2003}, for a model that assumes flat \textit{spacevelocity}. In Section \ref{sec:density2} a magnitude-redshift relation is fitted to the same data but this time for a model that assumes curved \textit{spacevelocity}. Section \ref{sec:Hubble} calculates the value of $h = 1/\tau$. Section \ref{sec:darkenergy} calculates the value of $\Omega_{\Lambda}$ and the total $\Omega_{\Lambda} + \Omega$ as a function of redshift. The appendix calculates, in a more rigorous way than in Section \ref{sec:density2}, the effect of curved \textit{spacevelocity} on matter density as a function of redshift.
\section{\label{sec:density}Matter density verses redshift}

Now let us consider the density of matter as a function of redshift, $z$. Carmeli assumed  that the value of $\Omega$ in (\ref{eqn:phasespacesolnnatural}) is fixed and plotted curves as functions of redshift for various values of $\Omega$. See figure A4, on page 134 of \cite{Carmeli2002a}.

In 1996 he predicted that the universe must be accelerating \cite{Carmeli1996} and simulated the form of the high redshift data of Riess \textit{et al} \cite{Riess1998}, published in 1998, which announced an accelerating universe following the observations of Garnavich \textit{et al} \cite{Garnavich1997} and Perlmutter \textit{et al} \cite{Perlmutter1997}.

Therefore in 1998, Carmeli assumed a value of total matter (normal bayonic matter + dark matter) density  $\Omega = 0.245$,  which was the accepted value then for $\Omega_{m}$ the matter density at the present epoch. However, more correctly $\Omega$ varies as a function of redshift, $z$.

Carmeli never fitted his theory to any of the high redshift SNe data with a least squares method or any other, nor did he determine a value for the matter density $\Omega_{m}$ himself.

\subsection{\label{sec:density1}Baryonic matter density}

The density of normal baryonic matter in the universe has generally come from considerations of big bang nucleosynthesis (BBN)\cite{Krauss1998, Ostriker1995}. The predicted primordial abundance of the light elements are assumed to have been produced in the big bang and not in stars. Hence a comparison between predicted abundances and abundances inferred from observed baryon-to-photon ratios are used to put an upper limit on the baryon density.

Deuterium is believed to be only destroyed by stellar processing, therefore any observation of its interstellar or solar system abundance would put a lower bound on its primordial abundance since it is believed that it was all created in the BBN process. As a result a lower bound on deuterium translates into an upper bound on the density of baryons. Following this line of logic the observed interstellar value of $D/H \geq (1.6 \pm 0.2)\times 10^{-5}$ puts a limit on the baryon density $\Omega_{b}h^{2}\leq 0.027 {}(2 \sigma)$ \cite{Krauss1998}. An earlier determination produced $\Omega_{b}h^{2}\leq 0.015 \pm 0.005$ \cite{Ostriker1995}. (Here $\Omega_{b}$ is the baryonic density expressed as a fraction of the critical density and $h$ is the Hubble constant as a fraction of $100 \; km.s^{-1} Mpc^{-1}$ and not to be confused with $h = 1/\tau$ used in this paper.) Assuming a value of the Hubble parameter $h = 0.7$ these two sources put $\Omega_{b} \leq 0.055$ and $\leq 0.031$ respectively.

The aforementioned values of $\Omega_{b}$ agree well with the locally measured baryonic budget. One study yields a range $0.007 \leq \Omega_{b} \leq 0.041$ at $z\approx 0$ with a best guess of $\Omega_{b} \approx 0.021$ where a Hubble constant of $70 \; km.s^{-1} Mpc^{-1}$ was assumed \cite{Fukugita1998}.

Now, determinations of the total matter density (including dark matter), at high redshifts, have been made, for example, from X-ray measurements of the gas content in galaxy clusters combined with the total virial masses \cite{White1993}. The calculation of the virial masses in turn assumes that the equations describing the motions of the constituents in the clusters are correct and therefore gravitational potentials are assumed that generate masses larger than the baryonic matter content. Hence a significant dark matter content results.

However it is well-known that mass-to-light ratios vary over all mass scales from galaxies to superclusters \cite{Wright1990}. This may be the result of an incorrect understanding of the physics which has resulted in incorrect dynamical masses. That conclusion is suggested by Carmeli's derivation of a Tully-Fisher type relation for galaxies \cite{Carmeli1998} and by a new post-Newtonian equation describing the dynamics of the stars and gases in spiral galaxies \cite{Hartnett2004a}. The latter produces the galaxy rotation curves, without any dark matter, where previously it was necessary to assume that they are evidence for halo dark matter.

Therefore the application of the Carmeli theory to the very important problem of galaxy cluster dynamics is necessary to see if it also eliminates dark matter on that scale. Eventually it is necessary that the Carmeli theory also determine cluster masses from the virial theorem, observed X-ray temperatures, and from weak gravitational lensing with results consistent with each method and with the observed baryonic matter density. However such an exercise is beyond the scope of this paper.

The question that remains for this paper to answer is ``Do the high-$z$ SNe Ia data fit this model without the need to assume the existence of dark matter?'' In future research, other issues can be addressed, for example, to explain the much higher than expected dynamical masses of clusters at high redshift, and the shape of the blackbody spectrum of the cosmic microwave background as well as the acoustic peaks in its spatial spectrum.

\subsection{\label{sec:density2}Matter density at the present epoch}

This paper makes no determinations about the matter density, dark, baryonic or otherwise at high redshift except the following, with a justification in section \ref{sec:darkenergy}.
\begin{equation} \label{eqn:densityeqn}
\Omega = \Omega_{m}(1+z)^{3},
\end{equation}
where $\Omega_{m}$ is then the averaged matter density, at the present epoch, expressed as a fraction of the critical or ``closure'' density. $\Omega_{m}$  can be considered to be constant on the time scale of any measurements used here. Equation (\ref {eqn:densityeqn}) results from the fact that as the redshift increases the volume changes as $(1 + z)^{-3}$ assuming flat Euclidean space.

In the standard Friedmann-Lemaitre (F-L) theory the equivalent expression is
\begin{equation} \label{eqn:stdmodeldensityeqn}
\Omega = \Omega_{m}a^{-3}/H(a)^{2},
\end{equation}
where $a = (1+z)^{-1}$ the scale factor (because at the present epoch, as usual, $a$ is assumed to be unity) and $H(a)$ is the Hubble term which quantifies the curvature of the expansion and defined $H^{2} \equiv (\dot{a}/a)^{2}$, where the dot is the time derivative.

In this theory the curvature results from the inclusion of the new velocity dimension and the implicit assumption of the universality of the Hubble law. This introduces curvature through the concept of \textit{spacevelocity}, which is discussed later. (See section \ref{sec:density2} and the appendix. The time derivative of a scale factor is not relevant.)

In the first instance I assume a flat  \textit{spacevelocity} model in (\ref{eqn:densityeqn}), which is identical to (\ref{eqn:stdmodeldensityeqn}) where $H(a) = 1$. This would correspond to a dust dominated spatially flat universe in the standard theory.

Now the value of the baryonic matter density commonly cited is $\rho = 3 \times 10^{-31} \; g.cm^{-3}$. If this is assumed to be the total matter density then $\Omega_{m} \approx 0.03$ in (\ref {eqn:densityeqn}).

Substituting (\ref {eqn:densityeqn}) into (\ref {eqn:phasespacesolnnatural}) we get
\begin{equation} \label{eqn:phasespacesolnnaturald}
\frac {r} {c \tau}= \frac {\sinh \left(z \sqrt{1-\Omega_{m}(1+z)^3 }\right)} {\sqrt{1-\Omega_{m}(1+z)^3}}.
\end{equation}

It has been shown \cite{Hartnett2004b} that (\ref {eqn:phasespacesolnnatural}) with $\Omega = 0.245$ (which Carmeli initially assumed) and (\ref {eqn:phasespacesolnnaturald}) with $\Omega_{m} = 0.03$ are practically identical over the redshift range $ 0 < z < 1$. The difference between the two equations over the domain of the measurements is much less significant than the fit to the data.

Once it is shown that this theory fits the actual observational data it follows that this effectively eliminates the need for the existence of dark matter on the cosmic scale.

\section{\label{sec:Comparison}Comparison with high-z type Ia supernovae data}

In order to compare (\ref{eqn:phasespacesolnnaturald}) with the data from the high redshift SNe Ia teams the proper distance is converted to magnitude as follows.
\begin{equation} \label{eqn:lumindistance}
m(z) = \mathcal{M} + 5log \mathcal{D}_{L}(z;\Omega),
\end{equation}
where $\mathcal{D}_{L}$ is the ``Hubble constant free'' luminosity distance. $\mathcal{D}_{L}$ is related by
\begin{equation} \label{eqn:magnitude}
\mathcal{D}_{L}(z;\Omega) = (1+z) \frac {r} {c \tau}
\end{equation}
using (\ref{eqn:phasespacesolnnaturald}) and
\begin{equation} \label{eqn:scriptem}
\mathcal{M} = 5log(c \tau) + 25 + M_{B} + a.
\end{equation}

Here $\mathcal{M}$ incorporates the various parameters that are independent of the redshift, $z$.  The parameter $M_{B}$ is the absolute magnitude of the supernova at the peak of its light-curve and the parameter $a$ allows for any uncompensated extinction or offset in the mean of absolute magnitudes or an arbitrary zero point. The absolute magnitude then acts as a ``standard candle'' from which the luminosity and hence distance can be estimated.

The value of $M_{B}$ need not be known, neither any other component in $\mathcal{M}$, as $\mathcal{M}$ has the effect of merely shifting the fit curve (\ref{eqn:magnitude}) along the vertical magnitude axis.

By choosing the value of $\tau = 4.2 \times 10^{17} \, s = 13.3 \; Gyr$, which is the reciprocal of the chosen value of the Hubble constant in the gravity free limit $h = 73.54 \; km.s^{-1} Mpc^{-1}$ (see section \ref{sec:Hubble}) $\mathcal{M} = 43.06 + M_{B} + a$. In practice, where the distance modulus ($m-M_{B}$) is used in the curve fits, $a$ is an arbitrary free parameter.

It has been one of the goals of cosmology to determine if the Hubble expansion is speed limited. That is, to answer the question of whether the cosmological expansion is governed by the relativistic Doppler effect or not. If it isn't then in (\ref{eqn:phasespacesolnnaturald}) $v/c = z$ (as written), but if it is then as $v$ approaches $c$ it is necessary to replace $z$ in (\ref{eqn:phasespacesolnnaturald}) with $v/c = ((1+z)^{2}-1)/((1+z)^{2}+1)$. So by fitting to the data of the high-$z$ SNe Ia it is possible to test this experimentally. Behar and Carmeli \cite{Behar2000} have asserted that latter (speed-limited version) is the correct form, so this then becomes an experimental test of the prediction.

\begin{figure}
\includegraphics[width = 3.5 in]{Fig1.eps}
\caption{\label{fig:fig1} (Color online) Data taken from Table 5 of Riess \textit{et al}. Curve 1 (purple solid line) is the best fit and respresents the speed limited model. Curve 2 (orange dots) is the non speed limited model. Both curves use the same value of $\Omega_{m} = 0.02$. In order to make curve 2 pass through the highest data points the required mass density $\Omega_{m}$ must be larger than $0.10$. However such values are unphysical}
\end{figure}

In figure \ref{fig:fig1} (\ref{eqn:lumindistance}) has been plotted against the distance modulus ($m-M_{B}$) data taken from Table 5 of Riess \textit{et al} \cite{Riess2004}. Curve 1 is the best fit to the data using (\ref{eqn:phasespacesolnnaturald}) with $v/c = ((1+z)^{2}-1)/((1+z)^{2}+1)$, the speed-limited model and curve 2 is (\ref{eqn:phasespacesolnnaturald}) with $v/c = z$ the non-speed-limited model. This immediately answers the question. The Hubble expansion, as seen from our position as observer, is speed-limited, by the usual relativistic Doppler effect, which confirms the theoretical prediction.

It can be seen that curve 2 departs from curve 1 slightly above redshift, $z = 0.5$. Both curves have been plotted with a value of $\Omega_{m} = 0.02$, which is the best fit for curve 1. However different `best fit' offsets ($a$) have resulted. For curve 1, $a = 0.41$ and for curve 2, $a = 0.011$. There are a total of $N = 185$ data and the residual for the speed-limited version of (\ref{eqn:phasespacesolnnaturald}) is $R = 0.9960$, with $\chi^{2} = 19.94$ and hence $\chi^{2}/N = 0.1078$. The residual for the non-speed-limited version of (\ref{eqn:phasespacesolnnaturald}) is $R = 0.9927$, with $\chi^{2} = 37.465$ and hence $\chi^{2}/N = 0.2036$.

In order to make curve 2 pass through the highest data points the requirement on the mass density is $\Omega_{m} \geq 0.10$, which is unphysical assuming only baryonic matter. As mentioned in section \ref{sec:density}, the local baryonic matter budget has been measured in the range $0.007 \leq \Omega_{b} \leq 0.041$ \cite{Fukugita1998} with a best guess of $\Omega_{b} \approx 0.021$. The latter is consistent with the best fit from this data set.  Therefore, in the following analysis, $\Omega_{m} = \Omega_{b}$ i.e. no dark matter needs to be included. Also only the speed-limited form of (\ref{eqn:phasespacesolnnaturald}) will be used. That is
\begin{equation} \label{eqn:speedlimited}
\frac {r} {c \tau}= \frac {\sinh \left(\varsigma \sqrt{1-\Omega_{m}(1+z)^3 }\right)} {\sqrt{1-\Omega_{m}(1+z)^3}}
\end{equation}
where $ \varsigma = ((1+z)^{2}-1)/((1+z)^{2}+1)$.
\begin{figure}
\includegraphics[width = 3.5 in]{Fig2.eps}
\caption{\label{fig:fig2} (Color online) Data taken from Riess \textit{et al} for $z > 0.2$. Curve 1 (black solid line) is the best fit and respresents (\ref{eqn:lumindistance}) with the speed-limited (\ref{eqn:speedlimited}). Curve 2 (orange dots) represents (\ref{eqn:lumindistance}) with $\Omega = \Omega_{m} = 0$ and curve 3 (purple dot dash) represents (\ref{eqn:lumindistance}) with $\Omega = 1$}
\end{figure}

Figure \ref{fig:fig2} shows the data of figure \ref{fig:fig1} but for $ z > 0.2$. Curve 1 (solid line) is the best fit curve over the range of the selected data and also consistent with measured baryonic density i.e. $\Omega_{m} \geq 0.007$. Instead of $\Omega_{m} = 0.02$, the best fit curve requires $\Omega_{m} = 0.007 \pm 0.050$ (statistical). However, the value of $\Omega_{m}$ may range up to $0.04$ with little change in residuals. A slightly increased value of $a = 0.53$ results compared with the fit in figure \ref{fig:fig1}. This may indicate a small $0.12$ additional extinction over the low redshift data. Here $N = 106$, the residual $R = 0.9946$, $\chi^{2} = 17.107$ and hence $\chi^{2}/N = 0.1614$. Curve 2 (dots) represents (\ref{eqn:lumindistance}) with $\Omega = \Omega_{m} = 0$ and curve 3 (dot dash) represents (\ref{eqn:lumindistance}) with $\Omega = 1$. Curve 3 represents a universe where the matter density is always critical regardless of epoch.

\begin{figure}
\includegraphics[width = 3.5 in]{Fig3.eps}
\caption{\label{fig:fig3} Data taken from Tonry \textit{et al}. The curve (solid line) is the best fit and respresents (\ref{eqn:lumindistance}) with the speed-limited (\ref{eqn:speedlimited})}
\end{figure}

Figure \ref{fig:fig3} shows the 8 new SNe Ia data from Tonry \textit{et al} \cite{Tonry2003} for sources with $z > 0.2$. The resulting best fit is shown, with $\Omega_{m} = 0.073 \pm 0.098$ (statistical), $a = 0.56$, the residual $R = 0.9938$, $\chi^{2} = 0.1460$ and hence $\chi^{2}/N = 0.0183$. Tonry \textit{et al} used 4 methods of analysis and averaged the results. The data shown in figure \ref{fig:fig3} is drawn from their Table 6, column 4.

\begin{figure}
\includegraphics[width = 3.5 in]{Fig4.eps}
\caption{\label{fig:fig4} Data taken from Knop \textit{et al} for $z > 0.2$. The curve (solid line) is the best fit and respresents (\ref{eqn:lumindistance}) with the speed-limited (\ref{eqn:speedlimited})}
\end{figure}

Figure \ref{fig:fig4} shows 30 type SNe Ia data (which includes 11 new SNe) from Knop \textit{et al} \cite{Knop2003} for sources with $z > 0.2$. In this case the magnitude has been plotted against redshift. These data are taken from column 4 of Tables 3 and 4 in Knop \textit{et al}.  As with the other data various corrections have been applied, including $K$-correction, Galactic extinction, and light-curve stretch correction. (See references for details). In figure \ref{fig:fig4}, the host galaxy corrected data (column 5 from (Knop \textit{et al})) was not used as it added a large scatter without significant improvement to the fit. The resulting best fit is shown, with $\Omega_{m} = 0.019 \pm 0.137$ (statistical), the residual $R = 0.9217$, $\chi^{2} = 1.9323$ and hence $\chi^{2}/N = 0.0644$. Because the effective apparent magnitude $m_{Beff}$ was used instead of distance modulus the offset is $M_{B}+ a = -18.760$.

By taking the statistically weighted average of the matter density $\Omega_{m}$ obtained from each curve fit in figures \ref{fig:fig2} - \ref{fig:fig4}, we get an average value
\begin{equation} \label{eqn:statav}
\Omega_{m} = \sum_{i} \frac{ \Omega_{mi}}{\sigma_{i}^{2}}/\sum_{i}\frac{1}{\sigma_{i}^{2}} = 0.021 \pm 0.042,
\end{equation}
where $\Omega_{mi}$ are the best fit values from the three data sets used and $\sigma_{i}$ is the standard error for $\Omega_{mi}$.

\section{\label{sec:density2}Curved \textit{spacevelocity}}

In section \ref{sec:density} on matter density it was assumed that the density could be described by the function in (\ref{eqn:densityeqn}) that assumes the universe is essentially spatially Euclidean. This assumption is justified in section \ref{sec:darkenergy}. However it is obvious that besides for small $z$ and where $\Omega = 1$, \textit{spacevelocity} is not flat in general and is expected to modify the expression in (\ref{eqn:densityeqn}). When $\Omega > 1$ it is curved and closed and when $\Omega < 1$ it is curved and open. Equation (\ref{eqn:densityeqn}) relates the matter density at any epoch to the present epoch value ($\Omega_{m}$) in Euclidean space or flat \textit{spacevelocity}.

Rewriting (\ref{eqn:4Dmetricderiv}) in an expanding universe we get
\begin{equation} \label{eqn:4Dmetricderivrz}
\frac {1} {c \tau} \frac{dr} {dz} = e^{-\xi/2}.
\end{equation}
The result is the gradient of the spatial co-ordinate $r$ with respect to the redshift $z$, normalized by the Hubble length $c \tau$.

Therefore it is clear from (\ref{eqn:4Dmetricderivrz}) that $e^{\xi/2} = 1$ under the conditions that produce the Hubble law in the limit of weak gravity or for flat \textit{spacevelocity}. It can be seen from (\ref{eqn:soln1field2}) and (\ref{eqn:fvalue1}) that $e^{\xi/2} = 1$ when $\Omega = 1$. Therefore we can use $e^{\xi/2}$ to define the curvature of \textit{spacevelocity} as a function of redshift $z$. Because the density scales as the inverse cube of the radial coordinate and since the radial coordinate scales differentially as  $e^{-\xi/2}$, then $e^{3\xi/2}$ may be a good estimate of how the density scales with redshift $z$.

See the appendix for a more rigorous approach. The more rigorous approach yields an integral that can only be approximated and results in a transcendental equation which cannot be used in the curve fits. Whereas the former approach results in an analytic function that can be used in the curve fits.

By combining (\ref{eqn:densityeqn}) with (\ref{eqn:soln1field2}) and (\ref{eqn:fvalue1}), for $e^{\xi/2} \neq 1$ we can write
\begin{equation} \label{eqn:densitycurved}
\Omega = \frac {\Omega_{m} (1+z)^{3}} {\left (1+(1-\Omega)\left(\frac {r} {c \tau}\right)^{2}\right)^{3/2}}.
\end{equation}
When $\Omega = 1$ in the denominator of (\ref{eqn:densitycurved}) we recover (\ref{eqn:densityeqn}). To get the density $\Omega$ as a function of $z$ we substitute $r/c \tau$ from (\ref{eqn:speedlimited});
\begin{equation} \label{eqn:densitycurved2}
\Omega = \frac {\Omega_{m} (1+z)^{3}} {\left(1 + sinh^{2}\left(\varsigma \sqrt{1 - \Omega_{m} (1+z)^{3}} \right)\right)^{3/2}},
\end{equation}
where $\varsigma = ((1+z)^{2}-1)/((1+z)^{2}+1)$.

This results in a new density function which is compared with (\ref{eqn:densityeqn}) in figure \ref{fig:fig5}. Curve 1 is the flat \textit{spacevelocity} density from (\ref{eqn:densityeqn}) with $\Omega_{m} = 0.021$ taken from (\ref{eqn:statav}). Curve 2 is for the curved \textit{spacevelocity} density from (\ref{eqn:densitycurved2}) with the same value of $\Omega_{m} = 0.021$. Note the curves 1 and 2 are equivalent for $z < 0.4$.  For small $z$ we recover (\ref{eqn:densityeqn}) from (\ref{eqn:densitycurved2}). Because of the condition $f(r) + 1 > 0$ equation (\ref{eqn:densitycurved2}) is valid for all $z < 4$ provided $\Omega_{m} < 0.03$.

\begin{figure}
\includegraphics[width = 3.5 in]{Fig5.eps}
\caption{\label{fig:fig5} (Color online) Matter density as a function of redshift $z$ for the two models. Curve 1 (black dots) is the flat \textit{spacevelocity} density from (\ref{eqn:densityeqn}) with $\Omega_{m} = 0.021$ taken from (\ref{eqn:statav}). The curved \textit{spacevelocity} density from (\ref{eqn:densitycurved2}) with $\Omega_{m} = 0.021$ is represented by curve 2 (orange dot dash), and with $\Omega_{m} = 0.027$ by curve 3 (purple solid line)}
\end{figure}

The density from (\ref{eqn:densitycurved2}) is then substituted into (\ref{eqn:speedlimited}) replacing $\Omega_{m}(1+z)^{3}$ to get a new expresssion for $r/c \tau$ with only one free parameter $\Omega_{m}$. This was then used in the same curve fits in section \ref{sec:Comparison} (figures \ref{fig:fig1} - \ref{fig:fig4}) with the following results.

In each case the curve fits were improved by the new density model except for the figure \ref{fig:fig2} fit, which had a marginally worse $\chi^{2}$ statistic. For the curve 1 of figure \ref{fig:fig1} the $\Omega_{m} = 0.02$ fit had a reduced but the same $R = 0.9960$. This resulted in a slight change in the offset $a = 0.41$. For figure \ref{fig:fig2} the best fit yielded $\Omega_{m} = 0.016 \pm 0.115$ (statistical) with offset $a = 0.56$ and residual $R = 0.9945$, $\chi^{2} = 17.208$ and hence $\chi^{2}/N = 0.1623$. For figure \ref{fig:fig3} the best fit yielded $\Omega_{m} = 0.020 \pm 0.097$ (statistical) with offset $a = 0.56$ and residual $R = 0.9928$, $\chi^{2} = 0.1684$ and hence $\chi^{2}/N = 0.0211$. For figure \ref{fig:fig4} the best fit yielded $\Omega_{m} = 0.029 \pm 0.175$ (statistical) with offset $M_{B}+ a = -18.76$ and residual $R = 0.9218$, $\chi^{2} = 1.9317$ and hence $\chi^{2}/N = 0.0644$.

Finally by taking the weighted average as before
\begin{equation} \label{eqn:statav2}
\Omega_{m} = \sum_{i} \frac{ \Omega_{mi}}{\sigma_{i}^{2}}/\sum_{i}\frac{1}{\sigma_{i}^{2}} = 0.020 \pm 0.068.
\end{equation}

The new density function (\ref{eqn:densitycurved2}) yields the same result as the previous model. However in the Appendix it is shown that a more rigorous approach indicates that the curved \textit{spacevelocity} model matter density approximates the density of the flat \textit{spacevelocity} model with only a 1.28 multiplying factor for $z<2$. This means the best fit derived value $\Omega_{m} = 1.28 \times 0.021 = 0.027$. However the difference in the fits using $\Omega_{m} = 0.021$ or $0.027$ is extremely small and only apparent for the few data in the region $z >1$, but much less than their associated error bars.

\section{\label{sec:Hubble}Hubble parameter}

By inverting (\ref{eqn:speedlimited}), multiplying both sides of the resulting equation by $v/c$ and using the expression $v = H_{0}r$ we get the following
\begin{equation} \label{eqn:hubble}
H_{0} = h \frac {\varsigma \sqrt{1-\Omega}} {\sinh \left(\varsigma \sqrt{1-\Omega }\right)}.
\end{equation}
with the density $\Omega$ taken from either (\ref{eqn:densityeqn}) or (\ref{eqn:densitycurved2}).

As a result we have an expression which indicates that the Hubble parameter $H_{0}$ is scale length related and a function of the universal Hubble constant ($h$). It has been common to find figures cited in the literature that indicate `long' and `short' scales for $H_{0}$. Studies with the Hubble Space Telescope using classical Cepheid variables yielded $H_{0} = 80 \pm 17 \; km.s^{-1} Mpc^{-1}$ \cite{Freedman1994} whereas studies using SN Ia yielded $H_{0} = 67 \pm 7 \; km.s^{-1} Mpc^{-1}$ \cite{Riess1995}. See also \cite{Freedman2000}.

It then follows from (\ref{eqn:hubble}) that $h \approx 73.54 \; km.s^{-1} Mpc^{-1}$ for $\Omega_{m} = 0.021$ and the flat \textit{spacevelocity} model (\ref{eqn:densityeqn}) when a value of $H_{0} = 70.00 \; km.s^{-1} Mpc^{-1}$ at $z = 1$ is assumed. In any case, the specific value of $h$ or it reciprocal $\tau$ cannot be determined fom the data fit. An independent method must be used to determine the precise value of $\tau$.

\section{\label{sec:darkenergy}Dark energy}

The vacuum or so-called `dark' energy parameter $\Omega_{\Lambda}$ does not appear explicitly in Carmeli's CGR.  Hence the term `dark' energy is a misnomer, and probably `vacuum' energy is more correct. In any case, it is really a property of the metric. Only by a comparison with the standard F-L models can an assignment be made \cite{Behar2000, Carmeli2002a}.

The vacuum energy density $\rho_{\Lambda} = \Lambda/8 \pi G$ (in CGR) $= 3H_{0}^{2}/8 \pi G$ (from the standard theory). Also in CGR the critical density $\rho_{c} = 3h^{2}/8 \pi G$.  Therefore $\Omega_{\Lambda} = \rho_{\Lambda}/\rho_{c} = (H_{0}/h)^2$ and it follows from (\ref{eqn:hubble}) that

\begin{equation} \label{eqn:Darkenergy}
\Omega_{\Lambda} =   \left(\frac{\varsigma \sqrt{1-\Omega}} {\sinh \left(\varsigma \sqrt{1-\Omega }\right)}\right)^2,
\end{equation}
where the density $\Omega$ is taken from (\ref{eqn:densityeqn}) and the resulting $\Omega_{\Lambda}$, as a function of $z$, is shown in figure \ref{fig:fig6} for the flat \textit{spacevelocity} density model. Curve 1 and 2 are respectively the values of $\Omega_{\Lambda}$  and $\Omega$ with $\Omega_{m} = 0.021$.

\begin{figure}
\includegraphics[width = 3.5 in]{Fig6.eps}
\caption{\label{fig:fig6} (Color online) $\Omega_{\Lambda}$ (curve 1), $\Omega$ (curve 2) and the total mass/energy density $\Omega_{\Lambda} + \Omega$ (curve 3) as a function of redshift $z$ for the flat \textit{spacevelocity} density model with $\Omega_{m} = 0.021$}
\end{figure}

Curve 3 in fig. \ref{fig:fig6} shows the values for the total energy density  $\Omega + \Omega_{\Lambda}$  as a function of redshift, $z$, for the flat \textit{spacevelocity} model with $\Omega_{m} = 0.021$. The total density $\Omega + \Omega_{\Lambda} \approx 1$ for $z < 1$ and still remains close to unity up to $z = 2$. This means out to $z \approx 2$ the universe is quasi-Euclidean.

Table \ref{tab:table1} shows the two models compared with $\Omega_{m} = 0.02, 0.03, 0.04$ which are all within the bounds of the measured baryonic matter density at the present epoch ($z \approx 0$). Fits from the two models (flat with $\Omega_{m} \approx 0.02$; curved with $\Omega_{m} \approx 0.03$) both result in approximately the same total density $\Omega + \Omega_{\Lambda} = 1.067$ at $z = 1$.

For small $z$ the total density becomes
\begin{equation} \label{eqn:Darkenergysmz}
\Omega + \Omega_{\Lambda} \approx   (1+\Omega_{m})+3z\Omega_{m}.
\end{equation}

It follows from (\ref {eqn:Darkenergysmz}) that for  $\Omega_{m} \approx 0.021$ at $z \approx 0$ the total density  $\Omega + \Omega_{\Lambda}\approx 1.021$.

Furthermore now let us consider the time development of these densities in a qualitative sense only. From (\ref {eqn:Darkenergy}) it follows that as the universe expands the total density tends to the vacuum energy density  $\Omega_{\Lambda}\rightarrow 1$ because $\Omega_{m}\rightarrow 0$. This means a 3D spatially flat universe in a totally relaxed state.

\begin{table}
\caption{\label{tab:table1}Mass and energy fractions at a redshift of $z = 1$ for flat and curved models and various values of $\Omega_{m}$}
\begin{ruledtabular}
\begin{tabular}{ccccccc}
 Density &flat &curved &flat& curved &flat &curved\\
\hline
$\Omega_{m}$& $0.02$ & 0.02 &0.03 &0.03 & 0.04 & 0.04  \\
$\Omega_{\Lambda}$ & 0.905 & 0.899 & 0.914 & 0.905 & 0.922 & 0.912 \\
$\Omega$ & 0.16 & 0.104 & 0.24 & 0.162 & 0.32 & 0.225 \\
$\Omega + \Omega_{\Lambda}$ & 1.065 & 1.003 & 1.154 & 1.067 & 1.242 & 1.137 \\
\end{tabular}
\end{ruledtabular}
\end{table}

\section{\label{sec:conclusion}Conclusion}

The 5D brane world of Moshe Carmeli has been has been applied to the accelerating expanding universe and the magnitude-redshift distance relation has been applied to the distance modulus data from the type Ia SNe measurements.  It has been found that considering only the evolution of baryonic matter density as a function of redshift, the resulting distance-redshift relation fits the data of the high-$z$ supernova teams without the need for any dark matter.

Astronomers and cosmologists have wondered whether the expansion of the universe is speed-limited in the usual Doppler sense. Here it has also been shown that the expansion is, in fact, speed-limited.  This means that even though the galaxies are assumed fixed within the expanding space, energy cannot be transported faster than the speed of light in vacuum, i.e. photons arriving at an Earth detector are relativistically Doppler redshifted.

Considering the range set on the present epoch baryonic matter density of $0.007 \leq \Omega_{b} \leq 0.041$ \cite{Fukugita1998} with a best guess of $\Omega_{b} \approx 0.021$ and the fact that necessarily $\Omega_{m} > 0$, the best estimates of the matter density (which is only baryonic) from this analysis are $\Omega_{m} = 0.021_{-0.014}^{+0.020}$ with the flat \textit{spacevelocity} model. A similar result was obtained fitting a curved \textit{spacevelocity} model.

Even though the statistically derived standard errors are large, it is only necessary that $\Omega_{m}$ be within the range of the locally measured baryonic matter density for the theory to fit the data. Therefore dark matter can play no part in Carmeli's description of the large scale structure of the universe.

Even though it does not explicitly appear in Carmeli's \textit{spacevelocity} metric, the vacuum energy contribution to gravity $\Omega_{\Lambda}$ is a property of the metric and tends to unity as a function of decreasing redshift. This indicates that the universe, although always open because $\Omega_{m} < 1$, is asymptotically expanding towards a spatially flat state, with a value of $\Omega_{\Lambda} + \Omega_{m} \approx 1.021$ at the present epoch.

redpajama_set_name: RedPajamaArXiv


text:
SABATON: Release Song "Bismarck" As Gift to Fans
Giannis Tziligkakis
SABATON released a video for song "Bismarck". The song was released as a gift to the fans by the band and will not be included in their upcoming album, "The Great War".
The band shared the following message:
"The most requested topic for a Sabaton song ever!
The fate of the ship Bismarck is a fascinating story we wanted to write about for a long time, but could not fit into any album. So we decided to make it as a single release, and as a gift from us to you for being fantastic fans for the past 20 years. Thanks to our friends at Wargaming and World of Warships we can also present it with a truly impressive video, well worthy of this song.
The talented team at Wargaming could ensure the historical accuracy of the scenes thanks to the models from their award winning game World of Warships, and the director Matthias Hoene, who won a Golden Lion at Cannes, were able to bring the band and story together. The song Bismarck was written over a year ago and we recorded it last summer in Black Lounge studios with Jonas Kjellgren, who has also recorded and mixed our upcoming album The Great War.
Bismarck was a German Battleship and one of the biggest ever built in Europe.
Commissioned in August 1940 and sunk in May 1941 after an intense hunt in the North Atlantic. Though he now rests beneath the waves, players of World of Warships can still take this iconic ship into virtual battles."
The clip was directed by Matthias Hoene and produced by Wargaming, and you can watch it below:
More info: sabaton.net/we-give-you-bismarck
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THE THREE TREMORS: Release Video for Song "Fly or Die"
THE THREE TREMORS, heavy metal screamer extravaganza band feat. Tim "Ripper" Owens (JUDAS PRIEST, ICED EARTH, DIO DISCIPLES), Harry "The Tyrant" Conklin (JAG PANZER, SATAN'S...


The County Card Scheme began in 2006 with just a few clubs in Nottinghamshire and neighbouring Midland Counties taking part. There are now 34 participating Counties and almost 1500 Clubs nationwide prepared to offer visiting card holders golf at reduced rates.
Who can get a County Card?
Every member of an affiliated golf club in Nottinghamshire who is over the age of 18 and pays an affiliation fee to the Nottinghamshire Union of Golf Clubs or Nottinghamshire County Ladies Golf Association is entitled to a Nottinghamshire County Card free of charge .
What benefits does the card entitle me to?
Participating clubs offer county card holders golf at reduced rates. The precise benefits and conditions of play are determined by each club and details can be found on the web-site or by contacting the club directly. Although strictly the card is valid for one round of golf at the participating club, many clubs do welcome return visits. Again please consult the club direct about this. You may have to provide additional identification in addition to the County card.
Your Club Secretary or Club Manager will give you your card when you have paid your affiliation fee. Each card is individually numbered and requires you to complete a few personal details.
PLEASE CLICK HERE for details of participating Counties, and contact details for participating Clubs.
Every member of a Nottinghamshire affiliated Golf Club, over the age of 18 at January 1st , is required to pay an annual affiliation fee to the Nottinghamshire Union of Golf Clubs or Nottinghamshire County Ladies Golf Association. This affiliation fee is reviewed and agreed annually.
In October 2014 the Executive of the Nottinghamshire Union of Golf Clubs agreed that the 'Nottinghamshire County Card' will be provided free of charge to every affiliation fee paying member of a Nottinghamshire affiliated club. This will be distributed through the Club Secretary/Club Manager of each affiliated Club.
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Card holders may play once a year at any of the listed clubs, albeit many clubs gladly welcome return visits.
The 'Nottinghamshire County Card' is available to lady members of affiliated Clubs Free of Charge.
The County Card is not available to Juniors under the age of 18 at January 1st, who do not pay an affiliation fee.
What does it mean for Affiliated Clubs?
All affiliated Clubs of the Nottinghamshire Union of Golf Clubs will receive County cards for distribution to affiliated members. All affiliated members are entitled to a County Card irrespective of whether the club is a participating club or not.
The number of cards supplied to each club will be based upon affiliation numbers from the previous year. Additional cards will be supplied on request but additional Affiliation fees must be paid to the Union.
Cards supplied to affiliated clubs for distribution to affiliated members will be sequentially numbered. The Nottinghamshire Union of Golf Clubs requests that Club Secretarys/Club Managers maintain a record of the card number (on the rear of the card) supplied to an individual member.
The decision to be a 'participating Club' in the County card scheme is entirely at the discretion of an individual club. Similarly, the discounts given and conditions of play are at the discretion of a participating club.
County Cards are non transferable and will not be replaced if lost.
We thank all Nottinghamshire Clubs for their support for this initiative and wish all affiliated members enjoyable golf.


text:
% T1ScanExperiment(loadStr, saveStr, method)
%
% loadStr: the data on which the fit will be performed, to be loaded
% saveStr: where results of the fit will be saved
% method:  what fitting method to use: RD-NLS, RD-NLS-PR
%
% Estimates T1 together with:
%   RD-NLS: a and b parameters to fit the data to a + b*exp(-TI/T1)
%   RD-NLS-PR: ra and rb parameters to fit the data to |ra + rb*exp(-TI/T1)|
%
% written by J. Barral, M. Etezadi-Amoli, E. Gudmundson, and N. Stikov, 2009
%  (c) Board of Trustees, Leland Stanford Junior University

function T1ScanExperiment(...
  loadStr, saveStr, method)

% Load the data on which to perform the fit
load(loadStr);

savefitdata = 1;

nlsS = getNLSStruct(extra,1);

switch method
  case{'RD-NLS'}
    nbrOfFitParams = 4; % Number of output arguments for the fit
    fitStr = ['[T1Est bEst aEst res] = rdNls(data(jj,:),nlsS);']
    storeStr = 'll_T1(jj,:) = [T1Est bEst aEst res];'
    clearStr = 'clear jj T1Est bEst aEst res'
  case{'RD-NLS-PR'}
    data = abs(data);
    nbrOfFitParams = 4; % Number of output arguments for the fit
    fitStr = ['[T1Est bMagEst aMagEst res] = rdNlsPr(data(jj,:),nlsS);']
    storeStr = 'll_T1(jj,:) = [T1Est bMagEst aMagEst res];'
    clearStr = 'clear jj T1Est bMagEst aMagEst res'
end

dims = size(data);
nbrow = size(data,1);
nbcol = size(data,2);

if numel(dims) > 3
    nbslice = dims(3); % Check number of slices
else
    nbslice = 1;
    tmpData(:,:,1,:) = data; % Make data a 4-D array regardless of number of slices
    data = tmpData;
    clear tmpData;
end

% The data needs to lie along an exponential.
% Refer to getData.m if that is not the case.
while (true)
	if (nbslice ~= 1)
		disp('For which slice would you like to check the data?');
		zz = input(['Enter number 1 to ' num2str(nbslice) '.  0 for no check --- '], 's');
		zz = cast(str2num(zz), 'int16');
		if (isinteger(zz) & zz >= 0 & zz <= nbslice) break;
		end
	else
		zz = input(['Enter 1 to check the data, 0 for no check --- '], 's');
		zz = cast(str2num(zz), 'int16');
		if (isinteger(zz) & zz >= 0 & zz <= nbslice) break;
		end
	end
end

if (zz ~= 0)
	sliceData = squeeze(data(:,:,zz,:));
	disp('Click on one point to check that the time series looks like an exponential')
	disp('Refer to getData.m if that is not the case.  CTRL-click or right-click when done');
	TI = extra.tVec;
	plotData(real(sliceData),TI);
end

close all

dataOriginal = data;

% Mask the background (points dimmer than maskFactor*the brightest point)
% Done on the last image, where we expect the magnetization to have almost
% fully recovered.
% Increase mF is the mask does not cover all the background. Decrease it if
% it covers part of the object.
mF = 0.1;
maskFactor = mF;
mask = zeros(nbrow, nbcol, nbslice);

[u,v] = max(extra.tVec);

for kk = 1:nbslice
	maskTmp = mask(:,:,kk);
	maskTmp = medfilt2(maskTmp); % remove salt and pepper noise
	maskThreshold = maskFactor*max(max(abs(data(:,:,kk,v))));
	maskTmp(find(abs(data(:,:,kk,v))> maskThreshold)) = 1;
	mask(:,:,kk) = maskTmp;
	clear maskTmp
end

figure,
imshow(abs(mask(:,:,1)),[])

disp('Check that maskFactor is appropriate. Hit enter if so. Cancel and adjust mF in T1ScanExperiment.m if not.')
pause

maskInds = find(mask);

nVoxAll = length(maskInds);
% How many voxels to process before printing out status data
numVoxelsPerUpdate = min(floor(nVoxAll/10),1000);

ll_T1 = zeros(nVoxAll, nbrOfFitParams);
% Number of status reports
nSteps = ceil(nVoxAll/numVoxelsPerUpdate);

for ii = 1:size(data,4)
    tmpVol = data(:,:,:,ii);
    tmpData(:, ii) = tmpVol(maskInds)';
end
clear tmpVol;
data = tmpData;
clear tmpData;

startTime = cputime;
fprintf('Processing %d voxels.\n', nVoxAll);

h = waitbar(0, sprintf('Processing %d voxels', nVoxAll));

for ii = 1:nSteps
  curInd = (ii-1)*numVoxelsPerUpdate+1;
  endInd = min(curInd+numVoxelsPerUpdate,nVoxAll);
  for jj = curInd:endInd
    % Do the fit
    eval(fitStr)
    % Store the data
    eval(storeStr);
  end
  waitbar(ii/nSteps, h, sprintf('Processing %d voxels, %g percent done...\n',nVoxAll,round(endInd/nVoxAll*100)));
end
eval(clearStr)
close(h);
timeTaken = round(cputime - startTime);
fprintf('Processed %d voxels in %g seconds.\n',nVoxAll, timeTaken);

dims = [size(mask) 4];
im = zeros(size(mask));

for ii = 1:nbrOfFitParams
    im(maskInds) = ll_T1(:,ii);
    T1(:,:,:,ii) = im;
end

% Going back from a numVoxels x 4 array to nbrow x nbcol x nbslice
ll_T1 = T1;

% Store ll_T1 and mask in saveStr
% For the complex data, ll_T1 has four parameters
% for each voxel, namely:
% (1) T1
% (2) 'b' or 'rb' parameter
% (3) 'a' or 'ra' parameter
% (4) residual from the fit

if (savefitdata)
	save(saveStr,'ll_T1','mask','nlsS')
end

% Check the fit
TI = extra.tVec;
nbtp = 20;
timef = linspace(min(TI),max(TI),nbtp);

% Inserting a short pause, otherwise some computers seem
% to get problems
pause(1);

zz = 0;
while(true)
  if (nbslice ~= 1)
    disp('For which slice would you like to check the fit?');
    zz = input(['Enter number 1 to ' num2str(nbslice) '.  0 for no check --- '], 's');
    zz = cast(str2num(zz), 'int16');
    if (isinteger(zz) & zz >= 0 & zz <= nbslice)
      break;
    end
  else
    zz = input(['Enter 1 to check the fit, 0 for no check --- '], 's');
    zz = cast(str2num(zz), 'int16');
    if (isinteger(zz) & zz >= 0 & zz <= nbslice)
      break;
    end
  end
end

if (zz ~= 0)
  sliceData = squeeze(dataOriginal(:,:,zz,:));
  datafit = zeros(nbrow,nbcol,nbtp);
  switch method
    case{'RD-NLS'}
		for kk = 1:nbtp
			datafit(:,:,kk) = ll_T1(:,:,zz,3) + ...
				ll_T1(:,:,zz,2).*exp(-timef(kk)./ll_T1(:,:,zz,1));
		end
	case{'RD-NLS-PR'}
		for kk = 1:nbtp
			datafit(:,:,kk) = abs(ll_T1(:,:,zz,3) + ...
				ll_T1(:,:,zz,2).*exp(-timef(kk)./ll_T1(:,:,zz,1)));
		end
  end
  disp('Click on one point to check the fit. CTRL-click or right-click when done')
  plotData(real(sliceData),TI,real(datafit),ll_T1);
  close all
end

redpajama_set_name: RedPajamaGithub


We have a couple of new insects in their larval stages in the yard this week. Both look like caterpillars (larvae of butterflies and moths) but one type is actually sawfly larvae.
This brightly colored one is a Brown Bordered Owlet Moth caterpillar (Cucullia convexipennis). We spotted several of these of various sizes and lengths on our Zig Zag Goldenrod (Solidago flexicaulis).
According to Jim Sogaard in his book Moths & Caterpillars of the North Woods, the caterpillar feeds on plants in the Aster family, prefering the flowers over the leaves and the pupa then overwinters underground.The adult moth is a non descript light brown color about 1.5 inches in length.
Here is a close up of the side of the Brown Bordered Owlet Moth caterpillar.
The caterpillar look alike is the Dogwood Sawfly larvae (Macremphytus tarsatus).
The are often found in clusters on the underside of dogwood leaves curled up.
This larvae changes in appearance during its instar (larval) stages, looking whitish with a powdery coating to a bright yellow with dark markings (Penn State Fact Sheet).
The leaf damage on our dogwoods (mainly the red twigged dogwood) is on all of the new growth. These larvae have completely defoliated the top quarter of the plant leaving only the leaf mid rib and petiole.
According to the fact sheet cited above, the damage rarely kills the plant because the feeding is late in the season.
Like the caterpillars above, these larvae overwinter on the ground in rotting wood.
We have begun to see warblers and vireos this week in our yard, stopping over on their way south. I'm sure these sawflies will be pretty tasty and nourishing for their long flight ahead.


Dread Central has news that John Landis will direct and Simon Pegg will star in 'Burke And Hare'. The Burke & Hare Murders also known as the West Port murders, were serial murders perpetrated in Edinburgh, Scotland, in 1827 and 1828. The killings were attributed to Irish immigrants William Burke and William Hare, who sold the corpses of their seventeen victims to the Edinburgh Medical College for dissection.


text:
0% Sellers Fees on Yoshitomo Nara Prints
Yoshitomo
One of Japan's best-known contemporary living artists, Yoshitomo Nara's complex, cartoonish portraits of children encourage us to search for deeper meaning whilst garnering a cult-like fanbase. Whether you're looking to buy or sell one of Nara's original prints and editions, browse our network's most in demand works. Receive complimentary valuations and market advice on any original print, with zero obligation to sell.
Record prices
Buy and sell Yoshitomo Nara prints
Cosmic Girl Eyes Closed Unsigned Print
¥8,000-¥17,000 VALUE (EST.)
Star Island Signed Print
Over The Rainbow Signed Print
Marching On A Butterbur Leaf Unsigned Print
Mellow Girl Signed Print
In The Cloud Signed Print
Guitar Girl Signed Print
Girl In A Box Signed Print
Don't Wanna Cry Signed Print
Broken Treasures Signed Print
Beh! Signed Print
The Real One Unsigned Print
Tell Me Why Signed Print
Sword And Starlit Night Signed Print
Straight Jacket Signed Print
Spockie Signed Print
Slash With A Knife Signed Print
Rainy Day Signed Print
Punk Ebizo Signed Print
Poindexter Signed Print
Pissed Off Signed Print
On the F-Word Signed Print
Pain Signed Print
After The Acid Rain (Night) Signed Print
After The Acid Rain (Day) Signed Print
Mirror Signed Print
Mushroom House Signed Print
Night Walker Signed Print
My Little Treasure Signed Print
No Nukes! Love And Peace Signed Print
Life Is Only One Signed Print
In The Floating World Signed Print
£200,000-£300,000 VALUE (EST.)
€230,000-€340,000 VALUE (EST.)
$1,940,000-$2,910,000 VALUE (EST.)
Just A Little Bit Signed Print
I Don't Want To Grow Up Signed Print
I Am Alone Signed Print
Hope So Signed Print
Hateful Christmas Signed Print
Gypsy Song Signed Print
Green Eyes Signed Print
Fuckin' Politics Signed Print
Full Moon Night Signed Print
Flashlight Girl Signed Print
Fight Signed Print
Dream Time Signed Print
Dizzy On Wheels Signed Print
Don't Cry Signed Print
Cosmic Girl Eyes Open Unsigned Print
Balance Girl Signed Print
Backwards And Forwards Signed Print
Bad Meeting Signed Print
Little Tannenbaum Signed Print
Sprouts In Hands Signed Print
Tell Me Signed Print
Time Goes On Signed Print
Untitled Signed Print
Untitled (Eye Patch) Signed Print
Untitled (Omaha) Signed Print
Walk On Signed Print
Words Mean Nothing at All Signed Print
What's Going On Signed Print
S.O.S. Signed Print
Peace Flag Signed Print
No Fun! Signed Print
Goldfish Signed Print
Damm It All Signed Print
Country Home Signed Print
Banging The Drum Signed Print
Y.N. (Self-Portrait) Signed Print
Bow Wow Wow Signed Print
Perhaps Japan's best known living artist, Yoshitomo Nara's art is instantly recognisable. His iconic yet seemingly simple paintings, sculptures and drawings take influence from cartoons, music and his own life. Best known are his paintings of children; sometimes sad, sometimes sinister, these figures enjoy a global cult popularity and following, and reflective market pricing.
Born and raised in northern Japan, Nara is said to have had a lonely childhood, seeking comfort in music and animals. After pursuing a fine art education in Japan, Nara relocated to Germany from 1988 and became absorbed by Neo-Expressionism and punk rock. Both would go on to inform his artistic style.
After 12 years in Germany, Nara returned to Japan. The artist first enjoyed notoriety as a part of his home country's Pop Art movement of the 1990s, creating simple artworks depicting cartoon-like characters.
A 1995 solo show with Tokyo's SCAI the Bathhouse gallery marked a turning point in Nara's career; hosted by LA based gallery Blum and Poe, the show was America's introduction to Nara. Through artworks like his In The Deepest Puddle, the exhibition brought together many of the signature themes found throughout his later work: loneliness, childhood anxiety and rebellion. Since then, Nara has had almost 40 solo exhibitions and his works feature in the collections of some of the most renowned museums in the world, from the San Francisco Museum of Modern Art to The Museum of Modern Art.
Today, Nara's work is massively popular, enjoying a cult-like status that transcends age, culture, or location. Critics attribute the popularity of Nara's work to his transmission of nostalgia and angst through childlike figures. Despite their appearance, the emotions portrayed could be applicable to anyone from anywhere. Art critic Robert Smith described Nara's work as 'high, low and kitsch; East and West; grown-up, adolescent and infantile.'
A figure seen again and again throughout Nara's work is a young girl with almond shaped eyes and brown hair, often depicted with a single straight line for a mouth and her chin sulkily pushed forward. We see her seated in a blue dress in his 1995 work Hothouse Doll, which sold at auction in 2019 for $13.2 million, and again in Midnight Truth (2017) where she stares out at the viewer, challenging them unblinkingly.
Between cartoons and music
Nara is said to take inspiration from children's books, cartoon imagery and manga - influences that are perhaps most immediately apparent in the visual language of his artworks.
Music also plays a key role in the artist's aesthetic. As a child Nara would listen to American and European music, not understanding the lyrics he would study the album covers for meaning. Through listening and studying the accompanying visuals Nara absorbed the anti-establishment message of this western music at the time, a sentiment that is now clearly reflected in his work.
Key Influences on Nara's work
Nara's work mirrors his life experience, reflecting his childhood as a lonely, youngest child of two working parents. The isolated, often unhappy children in his artworks are direct derivatives of this time in his life, and the cartoon style in which they are portrayed is influenced by the various cartoon cultures that he was exposed to as a boy.
Nara has also cited the Japan he grew up in and the period of change undergone by the country as a key factor in his work: 'I was lucky that I lived through a transition period in Japanese society; a time when, for example, I saw the packaging of apples change from wooden boxes to paper bags, or the way miso-making changed from traditional handwork to modern manufacture.'
All Yoshitomo Nara's record prices
Image © Sotheby's / Knife Behind Back © Yoshitomo Nara 2000
1. £20.2M for Yoshitomo Nara's Knife Behind Back
Setting a record for the most expensive work by Japanese Pop Artist Yoshitomo Nara, in October 2019 Knife Behind Back (2000) sold for an astounding HK$195,696,000 (roughly equivalent to £20,229,095) at Sotheby's in Hong Kong.
A standout example of Nara's work, the large-scale piece depicts one of the artist's signature, cartoon-like figures – a small girl with intense, piercing eyes – as she stares back towards the viewer. With an unmistakable expression of anger on her face, the young girl is rendered in a muted colour palette of red, brown, green, and cream tones.
Establishing Nara as the most expensive Japanese artist of all time, the sale saw Knife Behind Back smash its sale record by almost 5 times.
Image © Sotheby's / Nice to See You Again ©Yoshitomo Nara 1996
2. £11.4M for Yoshitomo Nara's Nice To See You Again
Significantly outperforming its pre-sale estimate of US$8,000,000-$12,000,000, Nice To See You Again realised an eye-watering US$15,430,800 at auction at Sotheby's New York in November 2021. Executed in 1996 by Japanese Pop Art icon Yoshitomo Nara, the painting, which measures 180 by 150 cm, depicts one of the artist's signature motifs: a young girl with short brown hair and glaring, elliptical green eyes. The second most expensive work by the artist, Nice To See You Again serves as visual and material evidence of Nara's status as the highest-value Japanese artist of all time.
Image © Sotheby's / Oddly Cozy © Yoshitomo Nara 2013
3. £11.4M for Yoshitomo Nara's Oddly Cozy
Measuring 6 feet in length, this painting masterfully evokes the calm and tranquility that it is named for. Yoshitomo Nara's 2013 Oddly Cozy both mesmerises and pacifies the viewer, depicting a little girl wearing a placid expression, her intergalactic golden eyes sparkling luminously. The 2011 Japanese earthquake marked a significant transformation in Nara's artistic process, and it shows in Oddly Cozy.
Oddly Cozy sold for £11.4million at Sotheby's Contemporary Evening Auction in Hong Kong, surpassing its lowest estimate of £8 million.
Image © Christies 's / Missing in Action © Yoshitomo Nara 2000
4 - 14.
Highest ever Yoshitomo Nara prices
Under The Hammer: Top Prices Paid For Yoshitomo Nara At Auction
Yoshitomo Nara's beloved, cartoon-style artwork has reached new levels of popularity and success on the market following the artist's recent return to Japan. While the cheapest of his works can be acq...
Yayoi
Hirst


My awesome computer has suffered a "permanent battery failure" and so I have to keep it plugged in all the time otherwise I'm staring at a dark screen. It's fine until the power cord gets finicky and since I was running on two hours of sleep, some things seemed infinitely more important than doing battle with my outlets, namely resting because I wanted to appear like a normal, cognizant human being to our foster daughter's brand new social worker during our home visit the next morning.
If I've learned nothing else in the past year, it is that control is simply an illusion. It has seemed like anytime I make plans, life intervenes and I find myself sick, the kids are sick, something needs attention, or who knows what. It's the tyranny of the urgent.
And I am reminded that my own battery has experienced a permanent failure. All of ours have actually. We need to constantly connected to what is important in order to function and by function I mean more than just get by. I mean live with meaning and grace.
While that is entirely true, there's a whole lot more to the story than just that. I think the discussion really suffers when we reduce things down to simple talking points and lately, "God is love" has become one of them.
It's easy to understand and fairly uncontroversial and in moments like this in national discourse, I think there are many of us who crave this. It comes at the expense of understanding the fullness of who God is and the character of Christ.
What most people don't realize when reading this passage is that Jesus is actually quoting scripture, namely Deuteronomy 6:4-5, and Leviticus 19:18. It's essentially the entire law wrapped up into two points. If we focus only on the second one about loving our neighbors, we miss the entire premise. We have to love God with everything we are too. I don't think we can truly love others until we love God fully first. Loving God informs all of our love for everyone else.
When Christ isn't our focus, we start doing things out of our own power and that… well, it never ends well. This is why I've always connected with what Scot McKnight writes. His book, The Jesus Creed, came to mind this week because he specifically writes about the first century culture and understanding Christ and consequently loving God and loving others. The only cure for talking point theology is slow theology. It's the kind where there are no quick answers and the only thing that will satiate our hunger in the fast food kind of culture we find ourselves in. It's best discussed over a cup of coffee or a meal with no time limit because sometimes to topics are so vast that it takes just that long to lay out the issue.
If we quip that we need to love each other, we have contained the weighty responsibility that is to a simple sentence that will allow us to move on with our lives the second that it has been uttered. It's a way to make what can't really be controlled feel controllable. Heaven forbid that we do the same thing when we say we need to love God. The implications of this love must touch every aspects of our lives if we are to grow. If we aren't willing to let it, I would argue it may not actually be love.
It's strangely like my computer situation and I've been laughing at the irony for the past week. Every time I've sat down to write I've had to be plugged in. I also can't write if I'm not plugged into Christ. The fuzzy Christ that we hear so much about isn't really the Christ that we need to know. We need to chase after the one who in these verses demands everything in asking to be loved with all of our heart, soul, mind, and strength. It reaches into every aspect of our lives from relationships, work, choices, and even home visits with social workers.
A great place to start is with The Jesus Creed because McKnight does a fantastic job of explaining the culture the Bible speaks from and how everything comes together in love, justice, relationships, forgiveness, and the journey. It's great theology that will spark the conversations we should be having instead of those we are trying to settle with talking points. You can pick up a copy here at Amazon. These are affiliate links which means that if you use the link make any purchase, I will make a small commission that goes towards running this website. You will never pay more for using these links. Thank you so much for your support!
I hope that you take the time to read this book, The Jesus Creed. It's one of my favorites and has influenced me profoundly for Christ. I'd love to hear what think of it! May you have a wonderful week and spend some time plugging into Christ and loving God with all that you are, just without the battery issues that I've been having!


Easy to make colonial mob cap and nightgown pattern for doll house dolls in one- inch scale.
This downloadable easy-to-make colonial nightgown and mob cap are great as bed clothes for the period doll. Instructions included.
Please be patient. Some files are large and take time to download to your computer.


text:
namespace Azure.Data.Tables.Performance
{
    public enum EntityType
    {
        Simple,
        Complex
    }
    public enum TableEndpointType
    {
        CosmosTable,
        Storage
    }
}


Petrolero de Plaza Huincul (La Liga Argentina) agreed terms with 27-year old American center Travis Elliott (203-104kg-91, college: Beth.-Cookman). He played last summer at Atletico Nacional in Panamanian LPB league. Elliott managed to play in three leagues in two countries last year. In 15 LPB games he had 7.3ppg, 8.3rpg and 1.1apg. He also played for Mekong United (TBL) in league where in four games he recorded just 2.3ppg and 4.5rpg.
The list of the past achievements is quite long as among others Elliott was voted Latinbasket.com All-El Salvador Liga Mayor Center of the Year in 2016.
He has played on three different continents (Asia, Latin America and of course North America). Elliott has played previously professionally in Bahrain, Canada (The Storm and London Lightning) and El Salvador (Halcones and Brujos Izalco).
He attended Bethune-Cookman University until 2015 and it will be his fourth season as a professional player.