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Capitol insurrection aftermath calls for statesmen in the mold of Howard Baker | Opinion
The late Tennessee Senator Howard Baker had guts — the courage to risk the wrath of his party, to risk reelection — to put our interests ahead of his personal interests.
John Castellaw | Guest columnist
Howard Baker on the decisive moment in Watergate and Richard Nixon's presidency
Howard Baker and John Siegenthaller talk about a conversation with President Nixon that led Baker to find the facts, regardless of politics and party.
Howard Baker Jr. Center for Public Policy, University of Tennessee
Lt. Gen. John Castellaw USMC (Retired) is a third-generation farmer on his family farm near Crockett Mills, Tennessee.
In nearly four decades as a Marine, I saw armed mobs taking control of buildings in the Balkans, in East Timor and in Africa. I never thought I would see it in Washington, at the Capitol, the center of our democracy.
In what can only be described as an insurrection, an angry armed mob attacked our Capitol, overran security, and entered the House and Senate chambers to delay the peaceful transfer of political authority. This is what happens in a third-world dictatorship, ruled by mob law, not a functioning democracy.
Driving back to my Tennessee farm, I had time to reflect on the events of Jan. 6. One thought kept playing in my mind over and over: "how could this happen?"
How could a sitting president instigate this assault on our house of the people, and then as the Capitol descended into chaos, retire to his White House bunker, concerned only with holding power, not the loss of life and National Honor that followed?
How could Republican leaders, including our Tennessee representatives and senators, spend the last two months repeating untruths and conspiracy theories, stoking anger and distrust of the election process? How could elected leaders, sworn to uphold the Constitution, act to overthrow the democratic will of the people?
What would Howard Baker have done?
I also had time to reflect on what might have been different if one of Tennessee's great statesmen had been there in the Senate representing us.
In 1967, Republican Sen. Howard Baker introduced me, via his Youth in Government program, to his love and respect for our government.
Known as "the Great Conciliator," he embodied the responsibility we have as citizens to respect and listen to those with different views in our great democratic experiment and not act as take-no-prisoners partisan warriors determined to "take them out."
As a 16-year-old, I traveled a new Interstate 40 from Crockett County to the big city of Nashville, stayed in the Hermitage Hotel and attended sessions with other students from across the state. In the sessions, Baker exhibited quiet confidence and competence; he listened to the lowest as well as the highest, and his low-key communications were direct and devoid of verbosity.
He encouraged students, in a non-partisan way, to learn the workings and functions of government. Baker pushed us to participate in our democracy, not in an adversarial relationship, but as citizens with responsibilities to act to instill confidence and trust, regardless of political party, in the democratic process.
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Baker stood up to his own party
Back in the Senate, without discarding his principles, he demonstrated his willingness to compromise when in the best interests of Tennessee and the nation. He did not flinch doing what was right in the face of party opposition.
The very qualities that made him an effective legislator — his willingness to break with party ideology and work with the opposition — made him unpopular with some. But his legacy demonstrates that he courageously served the interests of this nation in supporting civil rights legislation, the Equal Rights Amendment, and the treaty ceding the Panama Canal to Panama.
He had guts — the courage to risk the wrath of his party, to risk reelection, to do what his oath demanded of him — to put our interests, those of all the citizens of his state and of his country, ahead of his personal interests.
Baker delivered his greatest service to Tennessee and the nation in 1973, as the ranking Republican on the Watergate committee investigating President Nixon. In dramatic hearings, he repeatedly asked the question that Americans needed to hear: "What did the president know, and when did he know it?"
Statesmen must rise to the challenge
We need Tennessee statesmen to rise to the challenge our democracy faces in 2021, as Baker rose to the test in 1973. We need statesmen willing to ask the hard questions about the events of Jan. 6 and hold the president and his enablers accountable for their assault on democracy.
We have seen what it can look like when a proud nation falls, when centuries of freedom end, and when Lady Liberty bows her head with tears in her eyes, when she can no longer stand as the beacon of freedom to the world. It is past time for our leaders to follow in Baker's steps, to do what is right to stop those who would destroy our democracy.
Lt. Gen. John Castellaw USMC (Retired) is a third-generation farmer on his family farm near Crockett Mills, Tennessee. He remains involved in national security issues, serves on several boards and advocates for a strong national defense.


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Orchis ustulata L.1753 es una especie incluida en el género de orquídeas Orchis de la subfamilia Orchidoideae de la familia de las Orchidaceae.  Se distribuyen por Europa. Son de hábitos terrestres y tienen tubérculos.

Descripción

Las hojas son oblongas con una longitud de 5 cm, crecen desde los nódulos subterráneos que tienen un tamaño máximo de 6 cm y son redondos

Las inflorescencias que son erectas en espiga, salen de la roseta basal de hojas estando cubierto el tallo en 1/3 por una bráctea color verde claro.
Presenta una densa floración con flores pequeñas. Los tres sépaloson iguales en tamaño estando soldados por los lados quedando los ápices sueltos y forman una especie de gorra que cubre la columna. Los sépalos presentan un color púrpura oscuro que en los bordes vira a blanquecino en el haz, y de color blanco con motas púrpuras en el envés.
El labelo sobresale debajo del casco 2/3 partes es de color blanco con algunas motas de color púrpura gruesas y dispersas.  El labelo presenta una indentación en el extremo de la parte inferior con dos lóbulos ligeramente hacia arriba. También presenta dos lóbulos, uno a cada lado en la parte superior que están ligeramente arqueados hacia arriba. Tiene dos pétalos más muy reducidos.
Floreciendo desde abril hasta junio. El color puede variar en intensidad de los tonos púrpuras.

Hábitat
Se desarrolla en prados y terrenos a la luz solar directa o media sombra.

Usos medicinales

La harina de sus tubérculos llamada salep es muy nutritiva y demulcente. Se usa en dietas especiales de convalecientes y niños. Es muy rica en mucílago y forma una demulcente y suave gelatina que se usa para el canal gastrointestinal irritado. Una parte de harina con cincuenta partes de agua son suficientes para formar la gelatina. El tubérculo para preparar la harina debe ser recolectado cuando la planta está recién seca después de la floración y cuando ha soltado las semillas.

Taxonomía
Orchis ustulata fue descrita por Carlos Linneo  y publicada en Species Plantarum 941. 1753.
Etimología
Las orquídeas reciben su nombre del griego όρχις orchis, que significa testículo, por la apariencia de los tubérculos subterráneos en algunas especies terrestres. La palabra orchis la usó por primera vez Teofrasto (371/372 - 287/286 a. C.), en su libro  De historia plantarum (Historia natural de las plantas). Fue discípulo de Aristóteles y está considerado como el padre de la Botánica y de la Ecología.

ustulata: epíteto latino que significa «quemado», «de fuego».
Sinonimia
 Orchis amoena Crantz 1769
 Orchis columnae F.W.Schmidt 1795
 Orchis parviflora Willd. 1805
 Orchis hyemalis Raf. 1817
 Orchis imbricata Vest 1824
 Neotinea ustulata (L.) R.M.Bateman, Pridgeon & M.W.Chase 1997

Nombre común
Orquídea manchada.

Véase también
 Polinización en orquídeas
 Terminología descriptiva de las plantas
 Anexo:Cronología de la botánica
 Historia de la Botánica
 Características de las orchidáceas

Referencias

Bibliografía
 Leroy-Terquem, Gerald and Jean Parisot.  Orchids: Care and Cultivation. London: Cassel Publishers Ltd., 1991.
 Schoser, Gustav.  Orchid Growing Basics.  New York: Sterling Publishing Co., Inc., 1993.
 White, Judy. Taylor's Guide to Orchids. Frances Tenenbaum, Series Editor.  New York: Houghton-Mifflin, 1996.
 Alec Pridgeon. The Illustrated Encyclopedia of Orchids. Published by the Timber Press.
 Bechtel, Cribb and Launert. The Manual Of Cultivated Orchid Species Published by The MIT Press.
 Williams, N. H.  A reconsideration of Ada and the glumaceous brassias. Brittonia 24: 93–110. 1972

ustu
Plantas medicinales
Flora de Europa
Plantas descritas en 1753
Plantas descritas por Linnaeus

redpajama_set_name: RedPajamaWikipedia


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Ann Coulter, Scientist
Conservative pundit Ann Coulter should stick to politics; her science is too screwed up for words.
Filed under Natural History, Religion
Skeptoid Podcast #69
Today we're going to crack open a bestselling book from a prominent author and read all sorts of pseudoscience. Gee, haven't heard that one before, have we? Sometimes it seems that the more popular a cultural phenomenon, the further away from true science it's likely to be. Today's target is a purveyor of claimed science that disputes the scientific consensus on the origin of species. And, in scientific circles, this author is a pretty easy target: Ann Coulter.
Obviously, Ann Coulter is best known as a political figure. She has a very clear, very well known political stance, and you can agree with it or disagree with it. Not what we talk about here. What I want to talk about is Ann Coulter's science, the information she presents in her best-selling books that purports to be factual and educational. In one of her recent books, Godless: The Church of Liberalism, she attacks evolutionary biology, but using only logical fallacies stemming from unfamiliarity with the scientific method to support her points; and urges a religious creation story to be taught in schools instead, even though creation and evolution are not necessarily mutually exclusive.
Coulter's attacks on evolution center around the usual creationist arguments. Predictably, she hasn't come up with any original ones. She generally relies on these four:
That evolutionary biology is a godless religion with Darwin as a prophet
That evolution fails to explain things it has nothing to do with, like the origin of the universe
That predictable gaps in the fossil record invalidate all other evidence
That hoaxes such as Piltdown Man cast doubt upon legitimate evidence
I respect anyone who has a valid point and argues it intelligently, whether I agree with it or not. But too often, the points you hear trumpeted the loudest are argued only with logical fallacies, straw man arguments, explaining an unknown with another unknown, or just plain good old fashioned nonsense. Ann Coulter may well have numerous valid political arguments and can probably debate them most intelligently, but when she turns instead to science, all she finds in her bag of verbal ammunition is the latter — a cornucopia of unsupportable drivel. This is what happens when you choose to make your opinions about science dependent on your religious convictions.
We hear this when the Kansas Board of Education notes that in two separate places (I Kings 7:23-26 and II Chronicles 4:2), the Bible reports a circumference as three times a diameter; and so the board votes on officially redefining pi as exactly three point zero. This is the type of science Ann Coulter wants our future scientists and engineers to work with. When the courts, the media, schools and parents disagree with this flagrant attack on reason, Ann Coulter attacks them as godless enemies. [Note: Although the Kansas board has never actually voted on this, a few fringe Christian groups have continued to lobby school boards across the US to do so ever since the concept was first published as an April Fool's joke!]
A far more fascinating and useful lesson for our students would be Archimedes' exciting calculation of pi using a circle and hexagons, without the benefit of algebra, trigonometry, or even decimal notation, and he did it in 250 B.C. This was the type of human achievement that we should be proudly celebrating, understanding, and emulating. This was an example of true inspiration of the human spirit. But it wasn't in the Bible, so vilify it. Label it as blasphemous and tear it out of our textbooks. Pi equals three, and we'll hear no more about it, despite the fact that you can't find a single circle anywhere on the planet whose circumference can be measured as exactly thrice its diameter.
How does Ann Coulter, who's obviously very smart and knows what she's doing, justify her science? Does she really believe it, or is she another P.T. Barnum, saying whatever her fans will buy at the cash register? If it's the latter, fine, I can understand that. If it's the former, and she really believes what she espouses, something's wrong somewhere. Very wrong.
Finding evolutionary biology to be invalid as a science because it has nothing to do with the origin of the stars is a logical fallacy, and someone as smart as Ann Coulter should know that.
Finding evolutionary biology to be invalid as a science because some hoaxsters once tried to make money exhibiting a fake skeleton they built is a logical fallacy, and someone as smart as Ann Coulter should know that.
Finding evolutionary biology to be invalid as a science because some examples of one foundation of its evidence are buried under millions of years of rock and can't reasonably be expected to ever be found, despite the fact that other foundations of its evidence such as genetics, resistant bacteria, and observation are perfectly intact, is a logical fallacy, and someone as smart as Ann Coulter should know that. The crime lab doesn't throw out all the DNA evidence, blood stains, and the murder weapon just because many of the fingerprints were wiped clean.
Finding evolutionary biology to be invalid as a science because it's about speciation and not other subjects, like the origin of life, is a logical fallacy, and someone as smart as Ann Coulter should know that.
Finding evolutionary biology to be invalid as a science because we learn new information and incorporate it to improve our theory over time, like you're supposed to do with all theories, is a logical fallacy, and Ann Coulter should know that.
Finding evolutionary biology to be invalid as a science because you want to pretend that it's about worshipping Darwin rather than about studying and explaining speciation, or even to pretend that anything about the theory forbids you to think God intended it to happen this way, is just plain stupid and laughable and I'm really sorry for anyone who feels that antagonistic against our natural world and against the learning process.
One reviewer notes that Ann Coulter writes "with a keen appreciation for genuine science." But her "genuine science" seems to have no supported theory of its own, and instead consists merely of attacking mainstream science with a transparent collection of hoary devices such as ad hominem, special pleadings, observational selection, non-sequiturs, slippery slopes, and straw men.
Charles Darwin wrote The Origin of Species, and it was generally correct in its fundamentals. But it was also massively incomplete compared to what we know now, and he was also wrong in many of his conjectures. This is to be expected of any pioneering work. Little or none of Darwin's specific theories of the mechanisms of natural selection survive in their original form. But Ann Coulter characterizes this treatment of Darwin as absolute devotion to a prophet which allows no challenges to the official religion. I wonder how she expects the rest of us to characterize her science.
Dunning, B. "Ann Coulter, Scientist." Skeptoid Podcast. Skeptoid Media, 9 Oct 2007. Web. 31 Jan 2023. <https://skeptoid.com/episodes/4069>
Dawkins, Richard. The God Delusion. New York: Houghton Mifflin Harcourt, 2006.
Gratzer, Walter. The Undergrowth of Science: Delusion, Self-Deception and Human Frailty. New York: Oxford University Press, USA, 2000. 1-344.
Gross, L. "Scientific Illiteracy and the Partisan Takeover of Biology." PLoS Biology. 18 Apr. 2006, Volume 4, Number 5: e167.
Han, S., Mao, L., Gu, X., Zhu, Y., Ge, J., Ma, Y. "Neural consequences of religious belief on self-referential processing." Social Neuroscience. 3 Jan. 2008, Volume 3, Issue 1: 1-15.
Harris, S, Kaplan, J.T., Curiel, A., Bookheimer, S.Y., Iacoboni, M., Cohen, M.S. "The Neural Correlates of Religious and Nonreligious Belief." PLoS ONE. 1 Oct. 2009, Volume 4, Issue 10: e0007272.
Laverghetta, A., Stewart, J., Weinstein, L. "Anti-intellectualism and political ideology in a sample of undergraduate and graduate students." Psychological Reports. 1 Dec. 2007, Volume 101, Number 3: 1050-1056.
Miller, J.D., Scott, E.C., Okamoto, S. "Public acceptance of evolution." Science. 11 Aug. 2006, Volume 313, Number 5: 765-766.
Ruse, Michael. "Is Evolution a Secular Religion?" Science. 7 Mar. 2003, Volume 299, Number 5: 1523-1524.
The Pew Research Center for the People & the Press. "PUBLIC PRAISES SCIENCE; SCIENTISTS FAULT PUBLIC, MEDIA Scientific Achievements Less Prominent Than a Decade Ago." The Pew Research Center for the People & the Press: Survey Reports. The Pew Research Center for the People & the Press, 9 Jul. 2009. Web. 15 Oct. 2009. <http://people-press.org/reports/pdf/528.pdf>

redpajama_set_name: RedPajamaCommonCrawl


The Last Supper was painted upon the wall of the monastery alU Grazie, at Milan. The place where the picture is painted must first be considered, for here the skill of the artist appears in its most brilliant light. What could be fitter and nobler for a refectory than a parting meal, which should be an object of reverence to the whole world for all future time. Several years ago, when travelling, we beheld this dining-room still undestroyed. Opposite the entrance on tbe narrow side, stood tbe table of tbe prior, on both sides of bim the tables of tbe monks, all of which were raised a step from the floor and when the visitor turned roand, he saw painted on the fourth, above the doors, which are of but mod- erate height, a fourth table, and Christ and his disciples seated at it, as if they belonged to tbe society. At meal times it must have been a telling sight, when tbe tables of the prior and Christ looked upon each other as two opposite pictures, and the monks at their places found themselves enclosed between them. And just on this account the skill of the artist was compelled to take the existing tables of the monks as a pattern. Also, the table-cloth, with its folds still visible with its worked stripes and tied corners, was taken from the wasb-room of tbe monastery. The plates, dishes, cups, and other vessels, are like those which tbe monks used.
Here was no attempt at imitating an uncertain antiquated costume ; it would have been highly improper to stretch out the boly company upon cushions in this place. No, tbe picture roust be brought near to the present; Christ must take his lost supper with the Dominicans at Milan. Also, in many other respects, the painting must have produced a great effect; the thirteen figures about ten feet above the Boor, onehalf larger than life-size, take up the space of twenty-eight feet in length. Only two whole figures can be seen at the opposite ends of the table, the rest are half-figures ; and here, too, the artist found hia advan- tage in tbe necessity of the circumstances.
Every moral expression belongs to the upper part of tbe body, and tbe feet in such cases are everywhere in tbe way. The artist has created here twelve half-figure«, whose laps and knees are covered by tbo tabic and table-cloth, but whose feet arc scarcely visible in tbe modest twilight be- neath. Let us now imagine ourselves in tbe place ; let us consider the moral repose which prevails in such a monastic dininghall, and let us admire the artist who lias infused into his picture, powerful emotion, passionate movement, and at the same time has kept his work within the bounds of Nature, and thus brings it inclose contrast with the nearest reality.
The means of excitement by which the artist arouses the quiet boly group, are tbe words of the Master : " There is one among you who shall betray me !'* They are spoken—the whole company falls into disquiet; but he inclines bis bead, with looks cast down ; the whole attitude, the motion of the arms, of the hands, everything repeats with heavenly submission tbe unhappy words: Yes, it is not otherwise, there is one among you wbo shall betray me!
Before we go fnrthcr, we must point out a happy device whereby Leonardo principally enliveaed his picture; it is the motion of the hands; this device, however, only an Italian could discover. With his nation, tbe whole body is full of anima- tion ; every limb participates in tbe ex- pression of feeling, of passion, even of thought. By various motions and forms of the hand, he expresses: " What do I care !—Come hither 1—Thie is a rogue I beware of him!—He shall not live long!—• This is a main point!—Observe this well, my bearers!" To such a national pecu- liarity Leonardo, who observed every char- acteristic point with the closest attention, must have turned bis careful eye. In this respect, tbe present picture is unique, and one can scarcely obscrvo it enough. Every look and movement perfectly correspond, and at the same time there is a combined and contrasted position of the limbs, com- prehensiblo at a glance, and wrought out in the most praiseworthy manner.
The figures on both sides of the Saviour considered by threes, and each of these again must be thought into a unity, placed in relation, and still held in con- nection with its neighbors. First, on the right side of Christ, are John, Judas, and Peter. Peter the most distant, in conso- nance with bis violent character, when he bears the word of the Lord, hastens up behind Judas, who, looking up affrighted, bcDds forward ovcrtho table,and bolds with his right band firmly closed, the purse, but with the left makes an involuntary nervous movement, as if he would say: What's that? What does that mean? In the meanwhile Peter has with his left hand seized the right shoulder of John, who is inclined towards him, and points to Christ, and at the same time urges the beloved disciple to ask who tbe traitor is. He strikes a knife bandle, which he holds in bis right hand, inadvertently into tbe ribs of Judas, whereby the affrighted forward movement, which apeete the saltcellar, is happily brought out. This group may be considered as the one which was first thought out by the artist; it is the most perfect.
If now upon tbe right hand of the Lord immediate vengeance is threatened, with a moderate degree of motion, there arises upon his left the liveliest horror and detestation of the treachery. James, the elder, bends back from fear, extends bis arms, stares with bis head bowed down as one who sees before him tbe monster which be has just heard of. Thomas peers from behind hie aboulder, and approaching the Saviour, raises the index of his right hand to bis forehead. Philip, the third of this group, rounds it off in tbe loveliest manner; he has risen, bends toward tbe Master, lays his hands upon bis breast, and declares with tbe greatest clearness : Lord, it is not I! Thou knowest it! Thou secst my pure heart. It is not I!
And now, the last three figures of this group givo us new material for thought; they talk with one another about the terri- ble thing which they have just heard. Matthew, with a zealous motion, turns his fnco to the left toward his two companions; his bands, on the contrary, be stretches with rapidity towards his master, and thus, by the most ingenious artifice, unites bis own group with the previous one. Thad- deus shows the most violent surprise, doubt and suspicion ; be has laid his left band open upon the table, and has raised the right in a manner as if be intended to strike bis left band with tbe back of tbe right—a movement which one still sees in men of nature when tbey wish to express at an unexpected occurrence: Have I not said so? Have I not always supposed it ? Simon sits at the end of tbe table, full of dignity—we therefore see bis whole figure; he, the eldest of all, is clothed with rich folds; his countenance and movements show that be is astonished and reflecting, not excited, scarcely moved.
If we now turn our eyes to the opposite end of tbe table, we see Bartholomew, who stands upon bis right foot, with the left crossed over it; be is supporting bis in- clined body by resting both bands firmly upon the table. He listens, probably to bear what John will find out from tbe Lord; for, in general, tbe incitement of the favorite disciple seems to proceed from this entire side. James, the younger, be- sido and behind Bartholomew, lays his left band upon Peter's shoulder, juit as Peter lays bis upon the shoulder of John, but James does so mildly, seeking explanation only, whereas Peter already threatens ven- geance.
And thus, os Peter reaches behind Judas, so James the younger reaches behind An- drew, who, as one of the most important figures, shows with his half-raised arms, bis expanded bands in front, a decided expression of horror, which appear« only oocc in this picture, while in other works of less genius, and of less profound thought, it recurs unfortunately only too often.
Before we now corue to imit&tious of our painting, of which the number amounts to about thirty, we must make some reference to the subject of copies generally. Such did not cornu into use uutil everybody confessed that art had reached its culminating point, whereupon, inferior talents, looking at the works of the greater masters, de*«paired of producing by their own skill anything similar, either in imitation of nature, or from the idea; and art, which now dwindled into more handicraft, began to repeat its own creations. This inability on tho part of most of the artists did not remain a secret to the lovers of art, who, not being able always to turn to the first masters, called upon and paid inferior talents, inasmuch as they preferred, in order not to receive something altogether destitute of skill, to order imitations of recog- nized works, with a view to being well served in some degree.
This new procedure was favored, from re&sons of illiberality and overhaste by owners no less than by artists, and art lowered itself advisedly by setting out with the purpose to copy. In the fifteenth century, as well as in the previous one, artists entertained a high idea of themselves and their art, and did not readily conteut themselves with repeating the inventions of others ; hence wc find no real copies dating from that period—a circumstance to which every friend of the history of art will do welt to give heed. Inferior arts no doubt made use of higher patterns for smaller works, as tn the case of Niello and other enamelled work, and, of course, when from religious or other motives, a repetition was desired, people contented themselves with an accurate imitation, which only approximately expressed the movement and action of tho orig- inal, without paying any cloae regard to form and color. Hence in the richest gal- leries we find no copy previous to the sixteenth century.
But now came the time, when, through the agency of a few extraordinary men — among whom our Leonardo must be reckoned and considered as the first—art in every one of its parts attained to perfection ; people learned to sec and to judge letter, and now the desire for imitations of first-class work was not difficult to satisfy, particularly in those schools to which large numbers of scholars crowded, and in which the work* of the master were greatly in request. And yet, at that time, this desire was confined to smaller works which could bo easily compared with the original and judged. As regards larger works, the-wftse was quite different at that time from what it was at a later period, because tbe original cannot be compared with the copies, and also because such orders are rare.
Thus, then, art, as well as its lovers, contented itself with copies on a small scale, and a great deni of liberty was allowed to the copyist, and the results of this arbitrary proceduro showed themselves, in an overpowering degree, in the few cases in which copies on a large scale were desired. These indeed wore generally copies of oopies. and, what is more, generally executed from copies on a smaller scale, worked out far away from the original, often from mere drawings, or even perhaps from memory. Job-painters now increased by two dozen, and worked for lower prices; people made household ornaments of painting ; taste died out; copies increased and darkened the wails of ante-chumbers and staircases; hungry beginners lived on poor pay, by repeating tho most important works on every scale; yea, many painters passed the whole of their lives in simply copying; but even then an amount of deviation appeared in every copy, either a notion of the person for whom it was painted, or a whim of the painter, or perhaps a presumptuous wish to be original.
In addition to this onmo the demand for worked tapestry, in which painting was not content to look dignified, except when tricked out with gold ; and the most magnificent pictures were considered meagre and wretched, because they were grave and simple ; therefore the copyist introduced buildings and landscape in the back ground, orn.iiiiciitfi on the dresses, aureoles or crowns around the heads, and further, strongly formed children, animal, chimeras, grotesques, and other fooleries. It often happened, also, that an artist, who believed in bis own powers of invention, received by the will of a client who could not appreciate his capabilities, a commission to copy another person's w6rk, and Rince he did so with reluctance, he wished to uppear original here and there, and therefore made changes or additions as knowledge, or perhaps vanity, suggested. Such occurrences took place of course according to the demands of plaoe and time. Many figures were used for purposes quite different from those for which they had been intended by their first producers.
Secular subjects were, by means of a few additions, changed into religious ones; heathen gods and heroes bad to submit to be martyrs and evangelists. Often also, the artist, for instruction or exercise to himself, had copied some figure from a cel- ebrated work, and now he added to it some- thing of bis own invention in order to turn it into a saleable picture. Finally, we may certainly ascribe a part of the corruption of art to the discovery and abuse of cop- p*r-plate engravings, which supplied job painters with crowds of foreign inventions, so that no one any longer studied, and painting at last reached such a low ebb that it got mixed up with' mechanical works.
In the first place, the cnpperplate engravings themselves were different from the originals, and whoever copied them multiplied the changes according to bis own or other peoples' conviction or whim. The same thing happened pi cisely in the case of drawings; artists took sketches of tho most remarkable subjects in Rome and Florence, in order to produce arbitrary repetitions of them when they returned home.
In view of the above, we shall be able to judge what is to be expeoted, more or less, of copies of the Supper, although the earliest were executed contemporaneously ; for tho work made a great sensation, and other monasteries desired similar works. Of tho numerous copies consulted by tbe author we shall occupy ourselves here with only three, since the copies at Weimar are taken from them; neverthe- less, at the basis of these lies.a fourth, of which, therefore, we must first speak. Marco d' Oggiono, a pupil of Leonardo da Vinoi's, though without any extensive talent, gained the praise of his school cbietly by his beads, although in them he is not always equal to himself. About the year 1510, he executed a copy on a small scale, intending to use it afterwards for n copy on a larger scale. It was, according to tradition, not quite accurate; he made it, however, the basis of a larger copy which is in tbe now suppressed monastery at Castellazzo, likewise in the dining-hall of the monks of those days. Everything about it shows careful work ; nevertheless the usual arbitrariness prevails in the details. And although Vossi has not been able to say much in its pruise, he does not deny that it is a remarkable monument, and that the character of several of the heads, in which the expression is not exaggerated, is deserving of praise. Vossi has copied it, and on comparison of the three copies we shall be able to pronounce judgment upon it from our own observation.
A second copy, of which wo likewise have the beads copied before us, is found in fresco on the wall at Ponte Capriasce ; it is referred to the year 1505, and ascribed to Pierro Lovino. Its merits we shall learn in tbe sequel; it has tho peculiarity that the names of tbe figures are written underneath, a pieoe of foresight which aids us in arriving at a correct characterization of the different physiognomies.
The gradual destruction of the original wo have described in sufficient detail, and it was already in a very wretched condi- tion when, in 1612, Cardinal Frederico Borromeo, a zealous friend of Art, endeavored to prevent the entire loss of the work, and commissioned a Milanese, Andrea Bianchi, surnamed Vcepino, to cxocuto a full-sized copy. This artist first tried bis skill on a few of the heads; being successful in these, be proceeded and copied the whole of the figures, separately however, and afterwards put them together with the greatest possible care ; the picture is at present to be found in the Ambrueiana library at Milan, and lies mainly at the basis of the most recent copy, executed by Vossi. This whs executed on the following occasion.
The Kingdom of Italy was decreed, and Prince Eugene, following the example of Luigi Sforza, wished to glorify the beginning of his reign by patronizing the fine arts. Luigi had ordered a representation of the Last Supper of Leonardo ; Eugène resolved to restore, as far as passible, the painting that bad been going to wreck for three hundred years in a new picture, which, in order that it might be indestructible, was to be done in mosaic, for wbich preparation bad been made in an already existing institution.
Vossi immediately receives the commission, and commences in the beginning of May, 1807. lie finds it advisable to execute a full-sized cartoon, takes up anew the studies of his youth, and applies himself entirely to Leonardo, studies bis art-remains and bis writings, particularly tho latter, because he is persuaded that a man who has produced such splendid works must have worked on the most decided and advantageous principles. He had made drawings of ihe heads in the copy at Ponte Capriasca, as well as of some other parts of it, likewise of the heads and hands of the Castellazzo copy, and of that of Bianchi. Then he makes drawings of everything coming from Da Vinci himself, and even of what comes from some of his contemporaries. Moreover he looks about for all the extant copies, and succeeds in making more or less acquaintance with twenty-seven ; drawings and manuscripts of Da Vinci's are kindlj sent to him from all quarters. In the working out of his cartoon, he adheres principally to the Ambrosinna copy ; it alono is os large as the original. Bianchi, by means of thread-nets and transparent paper, had endeavored to give u most accurate copy of the original, which, although already very much injured, was not yet painted over.
In the end of October, 1807, the cartoou is read-; canvass grounded uniformly in one piece, and the whole immediately sketched out. Hereupon, in order in some measure to regulate his tints, Vossi painted the small portion of sky and landscape, which, on account of the depth and purity of the colors in the original, had still remained fresh and brilliant. Hereupon he paints the head of Christ and those of the three apostles at hie left, and as for the drosses, he first paints those about whose colors he bad first arrived at certainly, with a view to selecting the rest according to tho principles of the master and his own taste. Thus he covered the whole of the canvass, guided by careful reflection, and kept his colors of uniform height und strength. Unfortunately, in this damp, deserted place, he was seized with an illness which compelled him to put a stop to bis exertions ; nevertheless, be employed this iuterval in arranging drawing», copper-plate engravings, partly with a view to the Supper itself, partly toother works of the master ; at the samo time he was favored by fortune, which brought him u collection of drawings, purporting to coine from Cardinal Caesar Monti, and containing, among other treasures, remarkable productions of Leonardo bimsclf. He studied even tbe authors contemporaneous with Leonardo, in order to make use of tbeir opinions and wishes, and looked about him for everything that could further his design. Thus be took advantage of his sickness, -and at last attained strength to set about bis work anew.
No artist or friend of art will leave unread the account of how ho managed tho details, how he thought out tbe characters of the faces and their expression, and even the motions of tho hands, and how he represented them, lu the same manner he thinks out tbe dishes, the room, the background, nud shows that be has not decided upon any part without the strongest reasous. What care he takes about representing the feet under the table in correct attitudes, because tbis portion of tho original had loog been destroyed, and in the copies bad been carelessly treated!
St. Bartholomew, manly youth, sharp profile, compressed, clear face, eyelid and brow pressed down, mouth closed, as if listening with suspicion, a character com pletely circumscribed within itself. In Ves pino's copy no trace of individual charac teristic features, a general kind of drawing book face, listening with open mouth. Vossi has approved of this opening of the lips, and retained it, a procedure to which we should be unable to lend our assent. St. James the younger, likewise profile, relationship to Christ unmistakable, re ceives from the protruded, slightly opened lips, something individual, which again cancels this similarity. According to Ves pino, almost an ordinary, academical Christ, the mouth opened rather in astonishment than in inquiry. Our assertion that Bar tholomew must have his mouth close, re ceives support from the fact that his neigh bor has his mouth open. Such a repetition Leonardo would never have endured ; on the contrary, the next figure, St. Andrew has his mouth shut.
Like persons advanced in life, he presses the lower lip rather against the upper. In the co?j of Marco, this head has something peculiar, not to be expressed in words; the eyes are introverted; the mouth, though shut, is still naive. The outline of the left side against the back ground forms a beautiful silhouette ; enough of the other side of the forehead (eye, nose and beard) is seen to give the head a roundness and a peculiar life; on the contrary, Vespino suppresses the left eye altogether, but shows so much of the left temple and of the side of the beard as to produce in the uplifted face a full bold expression, which is indeed striking, but which would seem more suitable to clenched fists than to open hands stretched forward.
Judas locked up within himself, fright ened, looking anxiously up and back, pro file strongly dented, not exaggerated, by no means an ugly formation for good taste would not tolerate any real monster in the proximity of pure and upright men. Vespino, on the other hand, has actually represented such a monster, and it cannot be denied that, regarded by itself, this head has much merit; it expresses vividly a mischievously bold malignity, and would make itself eminently conspicuous in a mob triumphing over an Ecce Homo, and crying out " Crucify ! crucify !" It might be made to pass for Mephistopheles in his most devilish moment.
But of affright or dread, combined with dissimulation, in difference and contempt, there is not a trace ; the bristly hair fits in with the tout ensemble admirably; its exaggeration, however, is matched only by the force and vio lence of the rest of Vespino's heads. St. Peter.?Very problematical features. Even in Marco, it is merely an expression of pain; of wrath or menace there is no sign ; there is also a certain anxiety ex pressed, and here Leonardo may not have been at one even with himself ; for cordial sympathy with a beloved master, and threatening against a traitor, are with diffi culty united in one countenance. Never theless, Cardinal Borromeo asserts that he saw such a miracle in his time. How ever pleasant it might be to believe this, we have reason to suppose that the art loving cardinal expressed his own feel ing rather than what was in the picture ; for otherwise we should be unable to de fend our friend Vespino, whose Peter has an unpleasant expression. He looks like a stern Capuchin monk, whose Lent sermon is intended to rouse sinners. It is strange that Vespino has given him bushy hair, since the Peter of Marco shows a beautiful head of short, curled tresses.


text:
Lillhärdals kyrka är en kyrkobyggnad som tillhör Svegsbygdens församling i Härnösands stift. Kyrkan ligger i samhället Lillhärdal i Härjedalens kommun.

Kyrkobyggnaden
Första kyrkobyggnaden uppfördes omkring år 1050 och låg invid ån. När vattennivån steg byggdes en ny kyrka 1407. Med tiden räckte inte kyrkan till så en tillbyggnad genomfördes 1770-1771 under ledning av Per Olofsson i Dillne. Ett kyrktorn av trä uppfördes 1805 av byggmästaren Påhl Persson, Stugun. 1880 genomgick kyrkan en betydligare renovering, från början initierad av kronolänsman Jonas Åslund (1837-1916), senare entreprenör för Sveriges första fjällhotell Fjällnäs, som även anskaffade en ny värmeugn till byggnaden och som tillsammans med skolläraren Eklund och byggmästare Westerlund hade ledande uppsikt över arbetet, och öppnades åter för verksamhet genom invigning av kontraktsprosten Pehr Olof Frändén i Brunflo 28 november 1880. Jonas Åslund fick ett skrivset i silver av församlingen för sitt stora engagemang att ha ombesörjt det mesta.

Inventarier
 Altare, altaruppsats och predikstol är tillverkade av Johan Edler d.ä. på 1770-talet.
 Dopfunten är en ängel av trä som troligen är tillverkad av Johan Edler d.ä.
 En madonnaskulptur är från mitten av 1200-talet. Skulpturen är snidad av ett enda stycke trä.
 Altarskåpet är från slutet av 1400-talet och har åtta löstagbara figurer.
 Vid sidan om altarringen finns ett sakramentsskåp som är ett svenskt arbete från senmedeltiden.
 En mässhake är från 1671.

Orgel
1880 byggdes en orgel med 9 stämmor och en manual av firman E. A. Setterquist & Son, Örebro. Den blev beställd för församlingen genom kronolänsman Jonas Åslund som även skall ha uppgjort dispositionen för stämmorna. Den blev besiktigad av musikdirektör August Vilhelm Söderström i Järvsö som godkände. Orgeln invigdes 28 november 1880 av kontraktsprosten Pehr Olof Frändén i Brunflo.

Referenser

Tryckta källor

Webbkällor

 Härnösands Stifts Herdaminne av L. Bygdén

Noter

Vidare läsning

Externa länkar

Kyrkobyggnader i Härnösands stift
Kyrkobyggnader i Härjedalens kommun
Kyrkobyggnader invigda under 1000-talet


We all get Cabin Fever, so we're giving you the best reason to get out the house and do something dope: your favourite day party + the fun of Karaoke! Inspired by Trap Karaoke, this won't be like anything you're used to, we're performing the biggest tunes in Hip Hop, R&B, Reggae, Soca & more!
Invite your fun friends to perform with you, or to enjoy a crazy Sunday Funday! For the chronic floppers, please don't "wait for the next one", if you want dope new concepts in the city, support them when they happen or they won't be produced again. We're putting the FUN back in going out. Playing the best of everything, this is the day party for those who go out to dance, socialize and enjoy themselves.


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You may be a candidate for Botox® Cosmetic if you would like to treat facial wrinkles of the forehead, frown lines between the eyes, and "crow's feet". Botox® Cosmetic works by weakening the muscles that cause facial expressions. Once the treated muscles are weakened, the pull of the muscle relaxes and the overlying skin appears smoother. Botox® Cosmetic is utilized to enhance your appearance, and lessen the wrinkles in the upper part of your face.
Botox® Cosmetic can be administered in the office by appointment. Botox® Cosmetic is freshly prepared on the day of injection. Once prepared the medication needs to be used within 12 hours as the potency diminishes with time. Small amounts of Botox® Cosmetic are injected into the facial muscles using a very tiny needle. There is no post-procedural pain and people can generally return directly to work. Bruising is the most common side effect. Botox® Cosmetic is not indicated for those over 65 years of age.
I have to say a big 'thank you!' You gave me my confidence back. I can now look in a mirror! That is a big thing for me. I can't thank you enough.


text:
Q: How to get files on repo ignore local changes I have several files on my bitbucket repo that are config files, however it contains the config information to go live however a entirely different set of rules is used for local configs, however I have messed up a few times and added the changed rules and pushed them and its become a problem.
Is there any way of having a set file on the repo and it cant be overwritten or touched/added or pushed.
Similar to the git update-index --assume-unchanged

A: There is not a reliable way to keep a file in the repo while ignoring local changes to that file.  The best solution is to arrange your build process so that the local differences are introduced either (a) outside your work tree, or (b) in files that you don't keep in source control, and can therefore exclude with .gitignore.
For example, suppose you have a file app.config.  It needs one set of values in local builds and a different set of values on a production server (or possibly even more sets of values in different server environments).  Suppose the current copy in source control looks like this:
db-server = devdb.mydomain.com
db-user = svcDevDb
db-password = s3cr3t

You could do the following:

*

*Remove app.config from commits going forward: git rm --cached app.config

*Add app.config to your .gitignore file

*Create a new file, app.config-template, which contains placeholders for values that would differ between environments

This might look like
db-server = ${db-hostname}.mydomain.com
db-user = ${db-user}
db-password = ${db-password}

*

*Create one or more "property files" containing shared sets of values that can be plugged into the template

...
$ mkdir propfiles
$ cat > propfiles/dev
db-hostname = devdb
db-user = svcDevDb
db-password = s3cr3t

*

*Now you'll need a script that, given the name of a property file, generates your app.config by filling out the template; and that becomes part of your build process.  (It may seem like I'm glossing over the hard part here, but any decent build framework should either do this for you, or have a plugin that does.)

So you add these changes and commit them.  Now when you build for the dev environment, you specify that values should be taken from propfiles/dev.  For local builds, you can create your own local file; you could store it outside the work tree, or you could add propfiles/local to .gitignore.  You might create a local-defaults propfile for source control, with the intent that people will copy it and edit the copy to make their own local propfile; but the point is local changes don't get made directly to files that are in source control.
This also means that your production propfile could be kept out of source control, and maintained in a secure environment (e.g. a build server that not everyone has full access to).  In our example, the config file contains a password, so being able to keep the production password (and your personal one from your local file) out of source control is worth possibly even more than avoiding the hassle of accidental commits of local config changes in this case.
There are other solutions, and the details can always vary; but the point is, it's better to address as a build problem than a source control problem.

redpajama_set_name: RedPajamaStackExchange


text:
La gare d'Artres est une ancienne gare ferroviaire française de la ligne de Fives à Hirson, située sur le territoire de la commune d'Artres, dans le département du Nord, en région Hauts-de-France.

Elle est mise en service en 1872 par la Compagnie des chemins de fer du Nord. Devenue une halte, elle est fermée en 1998 par la Société nationale des chemins de fer français (SNCF).

Situation ferroviaire
Établie à  d'altitude, la gare d'Artres est située au point kilométrique (PK)  de la ligne de Fives à Hirson (qui fait partie intégrante de la Transversale Nord-Est), entre les gares fermées de Quérénaing et de Ruesnes ; le tout s'intercale entre les gares ouvertes du Poirier-Université et du Quesnoy (Nord), ces deux dernières étant desservies par des trains du réseau .

La vitesse limite de traversée de cette ancienne gare est de .

Histoire
La gare est mise en service à l'ouverture de la section Valenciennes – Aulnoye (actuelle ligne de Fives à Hirson) par la Compagnie des chemins de fer du Nord, soit le . Elle intègre à sa création, le , le réseau de la SNCF.

Le  d'origine, détruit pendant la Première Guerre mondiale, est, par la suite, remplacé par un nouveau bâtiment de type « Reconstruction ».

En 1960, Artres dispose de deux quais latéraux et de voies de service, et dessert trois embranchements particuliers.

Devenue une halte après la démolition de son second , la gare reste desservie par des trains régionaux jusqu'en 1998. L'emprise cadastrale des anciennes constructions appartient toujours à la SNCF.

Patrimoine ferroviaire

Le , les quais et les autres installations ayant été rasés, seuls quelques éléments , visibles du parvis désaffecté, témoignent de l'existence de cet ancien point d'arrêt.

Service des voyageurs
Artres est, de fait, fermée à tout trafic ferroviaire.

Néanmoins, la ligne  du réseau « Transvilles » dessert l'arrêt Artres Gare, situé à moins de  (dans la rue de la Gare). Cela permet de rejoindre la gare du Quesnoy, et, par le biais d'une correspondance avec le tramway de Valenciennes à la station Université, la gare de Valenciennes.

Notes et références

Voir aussi

Articles connexes
 Liste de gares en France
 Liste des gares du Nord-Pas-de-Calais
 Ligne de Fives à Hirson

Ligne de Fives à Hirson
Gare fermée dans le département du Nord


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George Robinson, Lizzie's Johnnie Cochran. Jr.
Denise Noe's article on the persuasive leader of the Borden Dream Team, Mr. George Robinson, may be found at the following link. It was first published in The Hatchet, the journal for Borden case studies.


text:
Twenty years of a free, open web
On 30 April 1993 CERN published a statement that made World Wide Web technology available on a royalty free basis, allowing the web to flourish
Screenshot of the original NeXT web browser in 1993
On 30 April 1993 CERN published a statement that made World Wide Web ("W3", or simply "the web") technology available on a royalty-free basis. By making the software required to run a web server freely available, along with a basic browser and a library of code, the web was allowed to flourish.
British physicist Tim Berners-Lee invented the web at CERN in 1989. The project, which Berners-Lee named "World Wide Web", was originally conceived and developed to meet the demand for information sharing between physicists in universities and institutes around the world.
Other information retrieval systems that used the internet – such as WAIS and Gopher – were available at the time, but the web's simplicity along with the fact that the technology was royalty free led to its rapid adoption and development.
"There is no sector of society that has not been transformed by the invention, in a physics laboratory, of the web", says Rolf Heuer, CERN Director-General. "From research to business and education, the web has been reshaping the way we communicate, work, innovate and live. The web is a powerful example of the way that basic research benefits humankind."
The first website at CERN – and in the world – was dedicated to the World Wide Web project itself and was hosted on Berners-Lee's NeXT computer. The website described the basic features of the web; how to access other people's documents and how to set up your own server. Although the NeXT machine – the original web server – is still at CERN, sadly the world's first website is no longer online at its original address.
To mark the anniversary of the publication of the document that made web technology free for everyone to use, CERN is starting a project to restore the first website and to preserve the digital assets that are associated with the birth of the web. To learn more about the project and the first website, visit http://first-website.web.cern.ch
Read more at: http://info.cern.ch/
This entry was posted in TECHNOLOGY and tagged CERN, Internet, WWW. Bookmark the permalink.
Herschel Completes Its 'Cool' Journey in Space
Fermi's Close Call with a Soviet Satellite


Played high-school basketball at Prosser HS, Chicago, Il.
Played college basketball at St. Louis University (1999-03).
Signed for the 2003-04 season by Roanoke Dazzle, NBDL.
Moved to Italy for the 2005-06 season, signed by Orlandina Basket.
Moved to Turkey for the 2006-07 season, signed by Banvit BK.
Moved to Russia for the 2007-08 season, signed by CSK VVS Samara.
Signed by BC Triumph Lyubertsy.
Moved to Ukraine for the 2009-10 season, signed by BC Donetsk.
On February'10 moved to Turkey, signed for the remainder of the season by Besiktas JK Istanbul.
On February'11 moved to Russia, signed by Ural Ekaterinenburg.
Named to the 2002-03 All-USA Conference 1st Team.
Named to the 2001-02 All-USA Conference 2nd Team.


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The USPS will accept and mail single sheet items within a 1/8" rounded corner or less; larger rounded corners are subject to an additional $0.21/per piece surcharge. When 1/4", 3/8" and 3/16" rounded corner options are selected, these jobs must be mailed within an envelope or will be subject to this surcharge.
To submit the variable data file, please use the same file upload tools used for loading digital art files to the order. Access the upload tools by logging into your account at Foldfactory and navigating to the "My Orders" area.
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Upon completion, upload this form along with your digital print PDF and mailing list files.
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text:
Situationist Comedy is an album by Dillinger Four, released in 2002.

The song title "Sell the House Sell the Car Sell the Kids Find Someone Else Forget It I'm Never Coming Back Forget It" is a reference to the film Apocalypse Now.

Track listing
 "Noble Stabbings!!" - 3:20
 "A Floater Left with Pleasure in the Executive Washroom." - 2:37
 "Fuzzy Pink Hand-Cuffs" -  2:09
 "The Father, the Son, and the Homosexual/Single Parent" - 2:04
 "Sell the House Sell the Car Sell the Kids Find Someone Else Forget It I'm Never Coming Back Forget It" - 2:02
 "Folk Song." - 2:27
 "Fired-Side Chat" - 2:56
 "'I Was Born on a Pirate Ship' (Hold Your Tongue)" - 2:36
 "D4=Putting the 'F' Back in 'Art'" - 2:12
 "All Rise for the Rational Anthem" - 2:15
 "Labour Issues in the Toy Department" - 3:45
 "File Under 'Adult Urban Contemporary'" - 2:36
 "New Punk Fashions for the Spring Formal" - 2:59

References

2002 albums
Dillinger Four albums
Fat Wreck Chords albums


text:
Nicki Minaj, Bella Thorne, Katy Perry & More Who've Used Candy & Other Sweet Treats in Their Videos
11/30/2018 by Josh Glicksman
Nicki Minaj, "Good Form"
Nicki Minaj dropped a music video for "Good Form" on Thursday (Nov. 29), tagging frequent collaborator Lil Wayne for the remixed version of the Queen track. Amid the blatantly apparent underlying theme, Minaj seductively dances in a milky bath with an enormous sugar cookie -- complete with, of course, pink icing and rainbow sprinkles -- hanging in the background.
Minaj's utilization of a tasty treat in her video is just the latest notable role that a dessert has played in some of the most memorable music clips over the years. Katy Perry and Fergie have taken to the theme, and even Bella Thorne recently got in on the action, covering herself in whipped cream for a particularly provocative moment.
Below, Billboard takes a look at some of the sweetest music video moments.
The outro of the song boasts several notable cameos (i.e., Tyga), but they're quickly forgettable, given the rest of the clip.
SEXUAL CHOCOLATE -- @thornebybella Song I'm a hoe 2 by bella thorne Another video I directed and did creative on Link in bio -- @ridgeproduction Song produced by mod sun
A post shared by BELLA (@bellathorne) on Nov 28, 2018 at 12:02pm PST
Technically this isn't a full song, but it certainly fits the bill of an artist using sweet treats in a music video. Bella Thorne set Instagram ablaze Thursday (Nov. 29) after finally releasing a long-teased clip that promotes her new cosmetics line. The whipped cream cans run aplenty in the video that comes from her forthcoming song "I'm a Hoe 2."
Just watching the music video for "California Girls" might give you a sweets-induced stomachache. Perry appears to be a character in the loosely-based Candyland-themed board game, with collaborator Snoop Dogg hanging out in his own dessert-laced wonderland. Candy-based clothing runs amuck, as Snoop sports an incredible three-piece suit littered with cupcakes.
Like Minaj, Kelis isn't actually talking about milkshakes in the biggest hit of her career ("Milkshake" peaked at No. 3 on the Hot 100). Regardless, the music video for the track features an (un)healthy dosage of the frothy beverage from start to finish. Near the end of the video, the machine actually just starts overflowing uncontrollably -- good luck to whoever is cleaning that up.
"Fergalicious" takes more of a Willy Wonka approach, with the opening moments of the video welcoming the viewer to Fergieland. Between enormous candy canes planted in the ground, huge lollipops and pools full of candy, Fergie shows that she can have her cake and eat it too with this memorable music video.
So, Harry Styles' music video for "Kiwi" feels a little bit different than the rest of the list, but this food fight is undeniably phenomenal. The mountain of desserts looks delicious, the fashion game is absolutely on point and there are tons of adorable dogs at the end of the clip. What more could you want?


Last night on FD2B Talk Radio, Jack Ferrell of Florasearch shared Green Industry recruitment and job search tips.
Ferrell says the best way to keep your top personnel from looking for a job elsewhere or becoming "recruitable" is by investing time and energy in them. The biggest reasons that key people leave are because they feel undervalued, not respected or unappreciated. It's not because of money.
One way to retain employees is by providing them education and training. Some owners and managers fear that helping their employees better themselves and develop valuable skills is expensive–and there's no guarantee that employees won't leave. That's true, Ferrell says, but he points out the alternative: Not educating or training employees and having them stay.
Guest: Jack Ferrell, Green Industry recruiter, Florasearch, Sanford, Fla.


text:
Gandalf vs Dumbledore: Ian McKellen Talks Wizards
Posted by: SueTLC
Sir Ian McKellen is the subject of a new profile in The Guardian, where the actor talks two famous wizards; Gandalf and Albus Dumbledore. In this candid interview, the actor who was nominated for an Oscar for his turn as Gandalf in the widely successful Lord of the Rings film trilogy, is asked if he ever gives any pointers or discusses the finer art of playing a wizard with his friend Michael Gambon, who currently portrays Professor Dumbledore in the Harry Potter movies. His answer: "Funnily enough, we never have." He grins." The article then continues, dispelling again the rumors that Ian McKellen was to take on the part of the beloved Hogwarts Headmaster after Richard Harris, who originated the role as Professor Dumbledore in the first two films, died in 2002.
"People say to me, don't you wish you'd played Dumbledore? I say no! I played Gandalf! The original. There was a question as to whether I might take over from Richard Harris [Gambon's predecessor in the Dumbledore role], but seeing as one of the last things he did publicly was say what a dreadful actor he thought I was, it would not have been appropriate for me to take over his part." He smiles icily. "It would have been unfair."
Finally, Mr. McKellen answers a question long debated in this and the LotR fandom: Who would win if there was a battle between Gandalf and Dumbledore. "McKellen puffs out his chest. "Gandalf. Of course."


Somewhere he also has a wonderful image of a diplomat carrying around a lock of a chambermaid's hair, or something like that, but I can't immediately find it. In any event, you get the point. Everybody, as Springsteen put it, has a hungry heart. Petraeus will be missed, and the great service he has rendered to his country is not diminished by the circumstances of his departure.
Some observers have been puzzled by Petraeus's role, or lack thereof, in connection with Benghazi. The CIA was deeply involved in that disaster. Some of those killed worked for the agency, and it was the CIA that made the only effort to rescue the besieged Americans, by dispatching a relief force from Tripoli. Yet Petraeus was silent with respect to the events of September 11, even when the Obama administration lied about them. Such silence seemed uncharacteristic. Perhaps the unraveling of Petraeus's career in the manner that today became public played a role. Or perhaps not; at this point, one can only speculate.
UPDATE: This gets curiouser: Petraeus was scheduled to testify before a Congressional committee on Benghazi next week, but in view of his resignation his testimony has been canceled. That makes no sense to me. Why should his resignation have anything to do with testifying about events that occurred while he was the director of the agency?
PAUL adds: Thanks for the excellent Arthur "Bud" Schopenhauer reference and picture, John. You obviously got more out of Schopenhauer tutorial at Dartmouth than I did.


superhero | Are You Zhazha?
I love how I found the array of characters hanging out in the tub after Nia's bath.
What about Batman over there with Cinderella?
I give it two weeks.
Spidey and Ariel are my favorites.


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My work comes from two very different sources. One is the natural world of plant life. The other is found objects such as metal hardware and mechanical parts from the built world.
I use shapes derived from plants as the vehicle for the composition of my drawings, paintings, and sculptures. I find them in fields and woodlands where I draw directly from the species I choose. The drawings, whether on paper or canvas, are composed of a single graphite line woven, looped, and knotted on the surface in quick fashion, and expressing the shapes, patterns, rhythms, and movement I find in my search.
With the found objects I construct assemblages and low relief wall sculptures. They also produce interesting shapes, patterns, rhythms, and movement through construction and placement of the objects.
Balance is an important part of my work as I combine the organic and the mechanical shapes in some degree of harmony. At times the work is nearer the natural side of the spectrum and at others is closer to the man-made side. It can also be an equal balance of both.


The IT Security Office's mission is to protect OSU systems from abuse, intrusion, and misuse. The security stance at OSU, like most universities, is a balance between maintaining the openness of the academic environment and keeping all systems secure and protected. Protecting the computing environment is accomplished through intrusion prevention, monitoring technology, active response, and security awareness training.


text:
Q: Determine if $f(x,y)=(1+x+2y)^2$ is differentiable in $(1,-1).$ To show this, I can use the definition for differentiability for two variables:

A function $f(x,y)$ of two variables is differentiable in $(x,y)=(a,b)$ iff $ \ \exists \ $ constants $A,B:$
$$f(1+h,1+k)-f(a,b)=Ah+Bk+\sqrt{h^2+k^2} \ \rho(h,k).$$

Here I go:
$$\begin{array}{lcl}
f(x,y)       & = & (1+x+2y)^2 \\
f(1,-1)      & = & (1+1+2(-2))^2=0 \\
f(1+h,-1+k)  & = & (1+1+h+2(-1+k))^2=4k^2+4kh+h^2.
\end{array}$$
$$\implies f(1+h,-1+k)-f(1,-1)=4k^2+4kh+h^2=Ah+Bk+\sqrt{h^2+k^2}\rho(h,k) \quad (1).$$
Clearly, there exists no constants $A,B$ such that $(1)$ holds, thus, the function is not differentiable in $(1,-1).$
Questions:

*

*Will my answer do?

*How can I show whether this function is $C^1$ or not?

A: Your $f$ is a polynomial in $x$ and $y$. If polynomials were not differentiable we would have given up differential calculus long ago. Your problem is that you don't yet have fully grasped the notion of differentiability in the multivariate case.
A simple calculation gives
$$f(1+h,-1+k)-f(1,-1)=(h+2k)^2=0h +0k +h^2+4hk+4k^2\ .$$
Now $(2|h|-|k|)^2\geq0$ and therefore $4|hk|\leq 4h^2+k^2$ It follows that
$${|f(1+h,-1+k)-f(1,-1)|\over\sqrt{h^2+k^2}}\leq5\sqrt{h^2+k^2}\to0\qquad\bigl((h,k)\to(0,0)\bigr)\ .$$
This shows that $df(1,-1)=0\ .$
Of course this is all obvious using the standard rules of this game.

A: Note that in this case you can simply observethat by Differentiability theorem since all the partial derivatives exist and are continuous in a neighborhood of $(0,0)$ then (i.e. sufficient condition) the function is differentiable at $(0,0)$.
Note that when  partial derivatives are not continuos at (0,0) you can't yet conclude anything about differentiability. You need to check directly differentiability by definition that:
$$\lim_{(h,k)\rightarrow (0,0)} \frac{\| f(h,k)-f(0,0)-(f_x(0,0),f_y(0,0))\cdot (h,k)\|}{\| (h,k)\|}=0$$


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text:
var main = require('main');
var sim_utils = require('sim_utils');
var utils = require('utils');
var file = require('file');
var _ = require('thirdparty/lodash');
var ko = require('thirdparty/knockout');

// Note: GW does not currently support reconnect.
var DISCONNECT_TIMEOUT = 0.0; // In ms.

var debugging = false;

function debug_log(object) {
    if (debugging)
        console.log(JSON.stringify(object,null,'\t'));
}

var client_state = {
    control: {}
};

function LobbyModel(creator) {
    var self = this;

    self.control = ko.observable({
        has_config: false,
        starting: false,
        system_ready: false,
        sim_ready: false
    });

    self.config = ko.observable();

    self.creator = creator.id;
    self.creatorReady = ko.observable();
    self.creatorReady.subscribe(function() {
        self.changeControl({starting: true});
    });
    self.creatorDisconnectTimeout = undefined;

    self.clientState = ko.computed(function() {
        if (!_.isEqual(client_state.control, self.control())) {
            client_state.control = self.control();
            server.broadcast({
                message_type: 'control',
                payload: client_state.control
            });
        }
    });

    self.changeControl = function(updateFlags) {
        self.control(_.assign({}, self.control(), updateFlags));
    };

    var getAIName = (function () {

        var ai_names = _.shuffle(require('ai_names_table').data); /* shuffle returns a new collection */

        return function () {
            var name = ai_names.shift();
            ai_names.push(name);
            return name;
        }
    })();
    var addAINames = function(armies) {
        _.forEach(armies, function(army) {
            _.forEach(army.slots, function(slot) {
                if (slot.ai && !slot.name)
                    slot.name = getAIName();
            });
        });
    };

    self.startGame = function() {
        var config = self.config();
        // Point the non-AI slots at the player
        _.forEach(config.armies, function(army) {
            var ai = _.any(army.slots, 'ai');
            if (!ai) {
                _.forEach(army.slots, function(slot) {
                    slot.client = creator;
                });
            }
        });
        // Set up the players array for the landing state
        var players = {};
        players[self.creator] = config.player;

        var landingConfig = {
            game: {
                system: config.system,
                type: 'Galactic War',
                game_options: {
                    game_type: 'Galactic War',
                    sandbox: config.sandbox
                }
            },
            armies: config.armies,
            players: players
        };

        addAINames(landingConfig.armies);

        console.log('final gw_lobby data:');
        var logConfig = _.clone(config);
        delete logConfig.files;
        console.log(JSON.stringify(logConfig, null, '\t'));

        config_summary = _.clone(logConfig);
        var client_names = [];
        _.forEach(config_summary.armies, function (army) {
            _.forEach(army.slots, function (slot) {
                if (slot.client) {
                    client_names.push(slot.client.name);
                }
            });
        });
        config_summary.client_names = client_names.join(" ");

        delete config_summary.player;
        delete config_summary.armies;
        delete config_summary.gw.galaxy;
        delete config_summary.gw.inventory;

        server.setReplayConfig(JSON.stringify(config_summary), JSON.stringify(config));

        main.setState(main.states.landing, landingConfig);
    };

    self.control.subscribe(function(control) {
        if (control.starting && control.system_ready && control.sim_ready)
            self.startGame();
    });

    self.validateConfig = function(config) {
        var systemValidationResult = sim_utils.validateSystemConfig(config.system);
        if (_.isString(systemValidationResult))
            return console.error('GW - Invalid configuration', systemValidationResult) && false;
        else
            return systemValidationResult.then (function() {
                if (!config.player || !config.player.commander)
                    return console.error('GW - Invalid player configuration') && false;

                var hasPlayer = false;
                var hasAI = false;
                var invalidArmy = false;
                var invalidAI = false;

                _.forEach(config.armies, function(army) {
                    invalidArmy |= !_.isArray(army.slots) || army.slots.length === 0;
                    if (!invalidArmy) {
                        var ai = _.any(army.slots, 'ai');
                        hasAI |= ai;
                        hasPlayer |= !ai;
                        if (ai) {
                            invalidAI |= _.any(army.slots, function(slot) {
                                if (!slot.ai)
                                    return true;
                                if (!slot.commander) {
                                    invalidAI = true;
                                    return true;
                                }
                                return false;
                            });
                        }
                    }
                });

                if (invalidAI)
                    return console.error('GW - Invalid AI configuration') && false;

                if (invalidArmy || !hasPlayer || !hasAI)
                    return console.error('GW - Invalid army configuration') && false;

                return true;
            });
    };

    self.config.subscribe(function(newConfig) {
        self.changeControl({
            has_config: true,
            system_ready: false,
            sim_ready: false
        });

        if (newConfig.files) {
            var cookedFiles = _.mapValues(newConfig.files, function(value) {
                if (typeof value !== 'string')
                    return JSON.stringify(value);
                else
                    return value;
            });
            file.mountMemoryFiles(cookedFiles);
        }

        sim.shutdown(false);
        sim.systemName = newConfig.system.name;
        sim.planets = newConfig.system.planets;
    });

    var playerMsg = {
        set_config : function(msg, response) {
            if (self.control().has_config) {
                return response.fail('Configuration already set');
            }

            var validResult = self.validateConfig(msg.payload);
            var validResponse = function(valid) {
                if (valid) {
                    self.config(msg.payload);
                    response.succeed();
                }
                else {
                    response.fail('Invalid configuration');
                    _.delay(function() { server.exit(); });
                }
            }

            if (_.isBoolean(validResult))
                validResponse(validResult);
            else
                validResult.then(validResponse);
        },
        set_ready: function(msg, response) {
            self.creatorReady(true);
            response.succeed();
        }
    };
    playerMsg = _.mapValues(playerMsg, function(handler, key) {
        return function(msg) {
            debug_log('playerMsg.' + key);
            var response = server.respond(msg);
            if (msg.client.id !== self.creator)
                return response.fail("Invalid message");
            return handler(msg, response);
        };
    });

    var cleanup = [];

    self.enter = function() {
        utils.pushCallback(sim.planets, 'onReady', function (onReady) {
            debug_log('sim.planets.onReady');
            sim.create();
            self.changeControl({ system_ready: true });
            return onReady;
        });
        cleanup.push(function () { sim.planets.onReady.pop(); });

        utils.pushCallback(sim, 'onReady', function (onReady) {
            debug_log('sim.onReady');
            self.changeControl({ sim_ready: true });
            return onReady;
        });
        cleanup.push(function () { sim.onReady.pop(); });

        var removeHandlers = server.setHandlers(playerMsg);
        cleanup.push(function () { removeHandlers(); });
    };

    self.exit = function() {
        _.forEachRight(cleanup, function (c) { c(); });
        cleanup = [];
    };

    utils.pushCallback(creator, 'onDisconnect', function(onDisconnect) {
        self.creatorDisconnectTimeout = setTimeout(function() {
            delete self.creatorDisconnectTimeout;
            console.log('GW - Creator timed out');
            server.exit();
        }, DISCONNECT_TIMEOUT);
        return onDisconnect;
    });

    utils.pushCallback(server, 'onConnect', function (onConnect, client, reconnect) {
        if (!client.id !== self.creator) {
            server.rejectClient(client, 'GW mode is currently single player');
            return onConnect;
        }

        if (self.creatorDisconnectTimeout) {
            clearTimeout(self.creatorDisconnectTimeout);
            delete self.creatorDisconnectTimeout;
        }

        self.creatorReady(false);
        return onConnect;
    });

    self.shutdown = function() {
        server.onConnect.pop();
    };
};

var lobbyModel;

exports.url = 'coui://ui/main/game/galactic_war/gw_lobby/gw_lobby.html';
exports.enter = function (owner) {

    if (lobbyModel) {
        lobbyModel.shutdown();
        lobbyModel = undefined;
    }

    lobbyModel = new LobbyModel(owner);
    lobbyModel.enter();

    return client_state;
};

exports.exit = function (newState) {
    if (lobbyModel)
        lobbyModel.exit();

    return true;
};

main.gameModes.gw = exports;

redpajama_set_name: RedPajamaGithub