The hall of an art-gallery. Pictures on the wall, in an approximately intentional order. Somebody is playing something. Someone else, after being invited, is observing, and whilst listening to the music is wondering whatever is the music doing there, and whether it should be relegated in the background like a tapestry or given some greater significance. Yes, but what significance? This is the question of that intentional observer, from whose point of view we can look at the scene. If this is a plausible background – and this fact is testified by this catalogue, dedicated to the dialogue and relationship of Daniela Carati's painting and Massimiliano Messieri's music – we want to ask a question, maybe more than one, in an attempt to start a reflection. By asking the question, we try to extract a symbolic suggestion from the situation, given the fact that we can recognise several reasons for interest that can be explicated if we renounce the attempt of being exhaustive. This starting point defines the field and its limits and in the same time broadens it. In fact, it' s not the type of music, or the criticism of that type of painting which is in discussion here. It's the aesthetic situation that comes into play and creates a historical symbolic suggestion.
In the last few years the writer has had several occasions to note a growing interest in these problems concerning the mingling of music and visual arts, the most recent being in the Italian seat renowned for the high quality of the celebrated arts, that is the Biennale of Venice.1 In this event, many interesting points emerged that in a different context are elaborated here, and further examined.
What happens when sound interacts with colour or whit graphic signs? Is there an internal force that pushes the sound towards the colour itself, or in some way to search for an epiphenomenal acknowledgement that being colour is in itself, without further remnants? If so, we can pose the crucial aesthetic question of musical timbric colour-based microfluctuations passing from the state of ornament to that of text.
In the same way we can say that the creative thinking renounces the classic counter pointistic linearity or the linking of the harmonic functions in order to make volumetric music (e.g. Xenakis). This is a very important change in paradigm, and we must dedicate the right attention to it in the development of this discussion. From the moment that sensibility to colours, and consequently to volume has broken into music, things are not the same anymore. In any case music is not painting and, besides the analogies of reference we will see how its more peculiar elements, such as rhythm, silence, organised sound, will change its timbric colour-based texture in a very original way.
The living eye continues on its virtual path ("virtual" because it goes beyond the immediate condition, not however forgetting it): First of all it observes it is a matter of art in the double form of sound and vision, not fiction. The game of representation is banished from the canvas and in the score there are no themes that are in themselves recognisable. Artists are playing with the essential elements of communication, giving priority to the linguistic texture more than the illustration of the themes. Colour emerges in itself, together with a significant paradox which stimulates its attention: colours of paintings tend to be subterranean movements almost denied by the timbric colour of music. For visual art it is like to adhere to that fluent form which is quoted by Ruggero Pierantoni in his important book, Forma fluens,5 which describes the relationship of pictorial sign and movement, from its origin to our days.
Our visual system – according to Pierantoni – in its entirety cannot give us a similarly accurate valuation of form and movement of an object. A sort of intermediate solution, a compromise, does exist, so that both the characteristics, the geometrical and the dynamic one, cannot be dealt with simultaneously with the same level of accuracy of analysis. However, information about both conditions are given with more or less precision, in accordance with the characteristics of the form in motion and the kinetic conditions by which it moves. Approximately we can say that a form which is rich in details can be better perceived the slower its motion is, and that a motion can be more accurately evaluated, for example in terms of its prediction, the poorer in details and formal elements the object in motion is".6 if we examine works, or pieces like: Couleurs de la citÈ celeste a Catalogue dìoiseaux of Oliver Messeaen, Trio d'arco n. 2, n. 3 and n. 4 by Scelsi, Atmosphère e Lontano by Ligeti, Spiegel by Cerha, Compositions n. 7, The Tortoise, His Dreams and his journeys by La Monte Young, Stimming by Stockhausen, Iris and Luna by, String Quartet by Frisch, Melodie e Mondias e Interludios by Maigascha, Lonely Child and Trois airs pour un Opéra imaginaire by Vivier, Doriud and Thirty Dreams Ago by Radulescu, Mortuos Plango and Vivos Voco by Harvey, Io by Saariaho, L'orage by Dufourt, and again, the operas of Murial, Grisley, Dalbavie and Hurel that, according to the young English scholar Julian Anderson, would make the constellation of the percursors, the travelling companions and the representatives of the so called and cited French "Spectralists", we could see how the "approaching of a form rich in details" has slowed down the creative process to the point of thinking of it as the very slow rotation of an effervescent sounding panel. In cases like this, the problem consist in the hypostatizing of a concept without a proper empirical check, whilst it should be advisable to be able to make distinctions. All the above cited composers, have in common the tension to go deep into the sound but not all of theme share the same temporal perspective, not all of theme tend to the same condition of stasis. This is not the proper place to operate any necessary distinction, herein we only examine a deliberately schematic picture in not unproblematic composition area, of the passage of the timbric colour from ornament to text. Not unproblematic, in the sense that we stress the necessity of making some distinctions and first of all of recalling that the themes of motion, rhythm and temporality, with their paradoxes and contradictions, are found throughout the timbric-colouring colour based matter, enhancing it with new features.
Someone might think that we can talk about rhythm only when we talk about music. This is not the case: its pertinent dimension belongs to the iconological area as well. In fact, it is a reasonable suggestion that music can draw hints from the way rhythm has been handled in painting. Herein the research of Pavel Florenskij can be cited "A homogeneous time, flowing smoothly, is not able to give a rhythm. A rhythm requires pulsation, concentration and expansion, slowing down and speeding up, steps forward and stops. Consequently, figurative means conveying rhythm must possess some sort of link among their elements in order to keep the attention and the eye, whilst different intermediate elements lead them from one element to the other. In other words, the lines forming the basic scheme of a figurative work, must link together in the alternating elements of rest and movement".9 These elements are not far from a film-like technique which 'assemble' the dynamic scene of a certain detail of a modern whirl. The very fact of recalling a film-like logic, suggests that we are actually dealing with a non-metric rhythm, for a big mass to induce to rest or leave in motion, which is to say a volumetric rhythm. Conceptually, this intercommunicating aggregate of plain objects reorganised on a global scale, has deeply affected both the macro and the microform.
It is not just music, no other art can do without rhythm. It is probably in this very context that we can consider the paradox of the object ambigu when it emits the unknown force of the underlying rhythm with whom it is interwoven. In this framework we reverse the game of give and take between music and visual arts. Lots of people (the writer being amongst them) think that music is quintessence is rhythm; those ones who believe that compositive-thinking is reaching a deadlock very difficult to overcome, have never accounted for rhythm and its creative potential. When the soil is ready time is ripe for a new synthesis between the timbric and rhythmical dimensions and we'll probably see a new creative season.
In Western-culture, referring to arts of continuity (like poetry and music), text is historically based on temporality and linearity. It reflects the cultural code from where it originated. Western culture is based on full of linearity, as Czechoslovak philosopher Vilém Flusser reminded at the Kunstmuseum conference of Berna in '88 "Wir sind 'westliche Menschen', weil unsere 'forma mentiss' von der Linearitāt des alphanumerischen Codes ausgebildet wurde". 10 If it is not easy to understand the processes, putting aside the ēintentialityì of the author, which can be graded on a awareness scale ranging from empiricism to the most abstract rationalisation, in the same way it's not possible to forget the specific dimension of the cultural macrotext – in this specific case, based on the western code – within which the composer locates its musical text. Acceptance or refusal, what comes out is a cultural choice of the musical space that he uses. Where there is talk of naturalness, one must always read historicity. Works of art are results of a cultural choice, they are not products of nature. Between the second half of the last century and the end of this century, due to the crisis of the specific linguistic code, a different form of the musical space, in physical terms, has dominated, thus throwing into doubt the linearity of music in itself.
"Generally speaking, a phenomenon is called non-linear when, altogether its effects are not proportional to its causes (…). In the linear condition, the system is actually the pure sum of the sub-parts. Mathematically this is known as the principle of superimposition of effects, and makes most mathematical methods for physics successful. In non-linear condition, all this stops being true, and the system is not the sum of the sub-parts plus their mutual interaction. Consequently it doesn't make sense to try and distinguish elementary sub-systems, but the crucial point is moving and to focus on the interaction of such sub-systems. Lacking a principle of superimposition, it is no longer possible to create general categories of solutions, starting from solutions to single problems. Each problem, therefore, must be solved in its individuality. (…) It has to be specified, though, that some sort of generality is allowed from the fact that the intrinsic characteristics of the ones, have less importance in respect to their properties of communication. It is reasonable, therefore, to expect that different looking systems behave in the same way, when their interaction laws are similar. This is certainly true for example, talking about Volterra-Lotka's "oscillation and relaxation" cycles that are common to many totally distinct phenomenon, but interrelated between themselves by the fact that they are all provided with retroaction". 11 The result is that "It is possible and effective to create a complex system, by putting together many plain objects on a large scale". 12 Furthermore ìthis aggregate of plain objects, provided with local non-linear laws, is able to show phenomena of self organisation on a global scale". 13 These plain objects in mathematical modelling are called "cellular automations".
In art however, we often find the phenomenon of the concealed historical correlative in the appearance of revolutionary breakthroughs. It can actually be easily maintained that this fragmentation of the experience is an analogue of the mathematics orientated view of the Renaissance artist. Erwin Panofsky writes "The Renaissance precise perspective construction not only radically abstracts its results from the structure of the psycho-physiological space, but even its aim is to realise the homogeneity and affinity in the representation of space that is ignored by the immediate Erlebnis of space and to transform the psycho-physiological space in a mathematical space. Therefore it denies the difference between front and back, right and left, body and element in-between ('empty space'), in order to solve all the parts and contents of space in one 'quantum continuum', it doesn't consider the fact that we don't see things with a fixed eye, but with two eyes which constantly move, giving our field of vision a 'spherical form' ". 14 This game of cross-references to help us realise that, whatever direction we take the result is that in the conceptual horizon of the object ambigu, colour and geometry often change places. In other words, right when the colouristic themes seem to dissolve into complete indefiniteness, at that precise moment, we realise that Cezanneìs cones and cylinders are appearing again. The common concept is the bending of space and it is on this base that the Western culture has repeatedly brought the "alphanumerically code" on which its way of thinking was based, to a crisis.
after the composition experiences of Boulez or Berio, it's no longer possible to deny music a spatial dimension. In cases like this the volumetric sensitiveness – originating from a sharp feeling for timbre and colours – becomes architecture of musical space. The complexity of this would lead to a long discussion, we must however leave this for another occasion. At present we only want to illustrate the peculiarity of the relationship between colour and spatial values, a hint of which has given us by art criticism, with the clue of a question which directly refers to music. Let's listen to Pierre Francastel: "we know now that a colour must not only be handled according to the complementary law (accepted for centuries), but also taking into account the fact that it possesses an absolute, spatial significance in itself. Blue move things away and yellow pulls things nearer. This discovery has revolutionised the technique, definitely breaking with the traditional relationships between drawing and colour. The latter doesn't need to be defined or completed by lines, it bears its own special significance. It is possible to create a complex space by simply juxtaposing spots of colours. It is no longer necessary to cover with small touches a linear pattern, even a schematic one a the impressionists used to do". 17 Is it possible, one may wonder, to state something similar for frequency links? Maybe it is, as it has been observed by philosopher Ernst ach: the note connections outline a space. These problems are raised in order to stress that the compared analysis of visibility and audibility might help not only to evidence big thematic fields (the macroscopic dimension) but also for the sharpening of detailed analysis (the microscopic dimension). A reflection, willing to go further, might lead to recognise some great retrospective interesting subject. From the perspective of contemporary art analysis, we might go back to Flemish music: the former give us the instruments to understand the latter better. The theme of space is repeated: how did the Flemish define musical space? It must he said that the comparison between music and visual arts is helpful because it brings the musicologist in touch with the great critical literature about visual arts where these subjects have been deeply discussed.
We don't want to make the common mistake typical of this fin de siĒcle, of identifying the revolution in composition with the frequency and amplitude modulations which have emerged from cold mathematical procedures and sophisticated machines in appropriate research institutes equipped with modern computers. Different tensions do exist, different modulations that cannot be framed and reabsorbed in the vertical spectrum of sound. A musical horizontalness does also exist, producing the Schoenberg-like question, recalled by Massimo Cacciari in a conversation with Luigi Nono in which Leibniz' question resounds as well (why something is given rather than nothing?): why another sound after a sound? Therefore it can be said that the problem from which a new musical situation springs, appears just to have this form: why another sound after a sound? This 'why' has the power to doubt to their roots all the traditional "why?" that usually find their answers in programmatic definitions or statements. On the contrary, this question remains, since every sound goes back to it, like a completed cell coming out from silence and going back to silence again…Webern for me, is this constant possibility that everything is given at every point, but for the same reason, that everything can really end at any point. Far from those purely technical-serial interpretations about Webern…! Every sound is changed with the responsibility of immediately preceding the nothing; and every new sound is charged with the wonder of the first one, and is astonished like the first one… In the third act of Tristano we hear a "listen", free from any restrictive indication relative to 'what' ". 21 The depth of sound, evokes a depth of music like a question without an answer, like experience of listening without what listening to, experience of going "right or left" backwards and forwards, above and underneath". "One must go on without asking what is in front or behind" as Gabriele at the beginning of the Scala di Giacobbe said when citing the Talmud.
A burning question today is the relationship between contemporary and historical twentieth-century musical phenomenology, and the 'common sense' of listening. In physics as well, the results of the research moves further away from the standards of perception and "common sense". "Ingenious physics" as it was called by psychologist Paolo Bozzi,22 contradicts Galileoìs motion laws. Is it useful to produce some sort of judgement? Surely not about physics. And what about music? It is certainly a much debated controversial question.
All post tonal music seems to be fighting with the common sense, culminating with the most extreme experimental results. However these experimental outcomes sometimes reveal productive contradictions for those who are not satisfied with a quiet life within their own specific code.
Contemporary music in its different aspects, has released several thinking processes from old prejudices and the new questions and experiences are evidence of the permanent vitality of music itself. Talking about vitality of music might sound rather pretentious, in front statements of crisis and dissolution. It must be 'interpreted' by outlining a conceptual horizon which doesn't want to transcend from the empiricism of its own developing, from the contingency of it being here and now, and within which it can assume some significance, according to the evolution of creative thinking. It is necessary to be positively inclined towards a process which, in a certain way, lacks speculative excitement. It is interesting to study arts in the same view of the problems to which music is trying to give an answer, phenomenologically starting from "zu den Sachen selbst", things starting from themselves. We certainly cannot pretend exhaustiveness when we refer to a century still in course, but perhaps it is advisable to accurately examine the reasons of contemporary music, in all its components; to define the "structure that connects" the many experiences and sensitiveness in a wide choice of possibility: to understand how listening itself has come out transformed by the cyclic waves that originates within a global change of paradigm.
We must not neglect the central importance of the "machine experience" in milestone moments of the late twentieth century, starting from Schaffer's "musique concrete" to "Elektroniische Musik" of the Cologne studio, up to the Ircam's research of musique-acoustique. Born out of the big American universities, tyoday a new phenomenon stands out, music produced by "virtual instruments". Some experiences of Tod Machover are explanatory in such sense. His research must be followed with great attention, being likely to open new possibility within the human-machine relationship.
However, we must indicate a very relevant paradox. From the moment when the machine enabled us to take the place of nature, we start again to imitate it. In front of a computer machine we put our eyes down again, after having looked up to the Nothing for a while, putting our eyes in line with an aesthetically certainly pleasant ornamentality, but not variegated by the questions that nourish it.
Nevertheless from this extreme contamination, sometimes the gorgonic face of art shows up again, even among a thousand contradictions. We hope we have been clear enough in developing this discussion and to be even clearer in the conclusion. Contemporary art lives by digging in the contradictions of its own age even in those cases when it seems to be assimilated or about to be. A work of art is not television "let us consider any of its news programmes" Giulio Ferroni had the chance to observe "what do we see? A fast uninterrupted sequence of images, all very different from one another, chasing themselves and overlapping: lots of windows open on the senselessness of the world. What are those images looking for? A continuous shocking effect. Everything is concentrated in order to shock us. Just like an advert spot. This is how, thanks television, also reality has become unreal". 24 Unreal and chaotic. Lets follow the opinion of an art critic: the standardisation of lifestyle, together with the dizzy circulation of images (…) in the last few years has enormously increased the number and the flow speed of visual stimuli with a consequent overload (next to saturation?) of the presence expectation system and an obvious and evident wear and tear of the receivers capacity of attention (…). It is as if the crowd of signals would build up a wall and any component in our mass society would not be able to distinguish the single stones of it. This is how it is possible to explain the trend of contemporary artists towards large dimensions, but it is also possible to explain the advertising experts "research of colours and shapes to provoke or even break into the retina". 25 This is the crucial point. Here is the knot of all the possible contradictions. The most self-consciously critical art – far from working like advertisements – is trying to change the marks of these unreal chaotic shock. There, where it looks more degraded, it keeps its wrinkled face. The problem is how to amplify its signal, how to live and think about it in a creative way. Is there anybody who can do it? Is there anybody who can do it? Is there anybody who can see beyond the world of ads?
1 "Civiltà dell'immagine e ruolo dell'ascolto", round table conference with A. De Lisa, P. Petazzi, J. Noller, M. Messinis, Biennale di Venezia, July 1995.
2 M. Brusatin, Storia dei colori, Torino 1983, p 106.
3 T. Murail, Scelsi de-compositore, in P. A. Castanet – N. Cisternino (put together by) Giacinto Scelsi. Viaggio al centro del suono, La Spezia 1993.
4 M. de Micheli, Le avanguardie artistiche del novecento, Milano 1986, p. 208.
5 R. Pierantoni, Forma fluens, Torino 1986.
7 D. Nicholls, American Experimental Music 1890-1940, Cambridge 1990, p. 148.
9 P. Florenskij, Lo spazio e il tempo nell'arte, Milano 1993, p. 162-9.
10 V. Flusser, Krise der Linearitat, Bern 1992.
11 S. Succi, Automi cellulari. Una nuova frontiera del calcolo scientifico, Milano, 1991, pp. 45-48.
14 E. Panofsky, La prospettiva come forma simbolica, Milano 1987, p. 40.
15 M. Brusatin, op. cit., p.107.
16 E. Tadini, in Vermeerìs room in the light of day, in Corriere della Sera, 1st march 1996.
17 Francastel, Lo spazio figurative dal Rinascimento al Cubismo, torino 1957, p. 141.
18 A. Tagliapietre, La metafora dello specchio. Lineamenti per una storia simbolica, Milano 1991, p. 172.
19 G. R. Hocke, Il manierismo nella letteratura. Alchimia verbale e arte combinatoria esoterica. Contributo a una storia comparata della letteratura europea, Milano 1975, pp. 223-224.
20 G. Damiani, "The necessity for variation in progressive viennese thinking", in studi musicali, Anno XXII, 1993, n. 2, pp.447-465.
21 "Verso Prometeo". Conversazione between Luigi Nono and Massimo cacciari collected by Michele Berteggia, in M. Cacciari (put together by), Verso prometeo, Milano 1984.
22 P. Bozzi, Fisica ingenuta. Oscillazioni, piani inclinati e altre storie: studi di psicologia della percezione, Milano 1990.
23 R. Bodei, le forme del bello, Bologna 1995, p. 75.
24 Discussion with G. Ferroni by M. Fortunato, "Save paper, write fewer book", in L'Espresso, 1st March 1996.
25 . Maltese, semiologia del messaggio oggettuale, Milano 1970, pp. 62-3.


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Board index of things that are not Writing Writing Duels Writing duel 1 Writing duel 1
Autumn2012 Rewrites
Zara & S - complete
Vincent, Catherine, a portray
Post by Zara » Fri Jul 12, 2013 4:23 pm
Zara's Rewrites from Jan/Feb 2013 in Word .DOC file.
Pasted text:
Portrait of a Bond
~ a writing duel by S & Z
(Zara's Rewrites Draft)
Vincent looked up from the large square of paper clipped to his handmade drafting board and smiled, amused. "If you try to hold that expression, Catherine, I'm afraid you will hurt your face. Simply be yourself. I often draw portraits of the children. I am used to capturing moving targets."
With a slightly embarrassed chuckle, Catherine relaxed a bit against the back of the armchair. "Well, I can't take lightly the tunnel version of immortality, can I? Are you really sure that we can't just go there and spend some time with Elizabeth, so that she has the original me? Or bring her a photograph?"
Vincent glanced between Catherine and the drawing paper as he sketched new lines with a stub of charcoal. Catherine found herself admiring the confident movements of his hand. Vincent replied, "The new mural is Elizabeth's Winterfest gift to all of us. We are to consider that section of the Painted Tunnels closed until then. Elizabeth is granting entry only to Mouse and Mary...and they are sworn to secrecy. Would you deny our friend the pleasure of creating her surprise?"
Catherine resisted the temptation to steal a look at the drawing, but couldn't help indulging the desire of her attorney-self to ask more questions about the project. "If you can let her have your drawing, you could let her have a photograph as well…"
Although modeling for you is so much more enjoyable… was her accompanying thought.
Aloud she continued, "And I understand Mouse, but why Mary?"
Vincent smiled again. "Mary provides gentle company and nutritious food. Imagine how it would be if Mouse brought Elizabeth her meals as well as her paints!"
Now he gave Catherine a long, loving look and said, "As for the photograph, Elizabeth asked for portraits drawn by friends. She wants to see our community with borrowed eyes, to understand what we notice when we behold one another." He dropped his clear blue gaze to the artwork in front of him. "I requested the privilege of being the one to commit your image to paper. No one objected."
Of course, Catherine thought. The essential is invisible to the… camera eye. I love these people.
"I am truly honored to be part of this, and grateful to Elizabeth," she said. Her listener nodded his agreement, resuming his work. "Especially...for allowing me the chance to understand what you notice when you behold me."
Vincent did not take his eyes from his drawing as he asked, "Shall I tell you what I am beholding right now?"
Catherine's heart seemed to flutter with renewed curiosity at the prospect of hearing what would undoubtedly be Vincent's very candid opinion. She nodded.
His quick glance caught her gesture. His fingertips shaded a delicate angle between two lines on the page as he began to speak in a patient, thoughtful tone of voice.
"I am drawing your mouth. The shapes are like calligraphy, connected lines that touch and part, forming an image of the graceful instrument you use to communicate your thoughts to others, or to nourish your body, or to permit the passage of living breath to flow between the world within you and the world without." His next glance sparkled with satisfaction. "Now your mouth is smiling at me. And my words have brought new color to your cheeks."
She closed her eyes, each word like a caress over what he was describing, almost physically pleasurable. Not only that, Vincent. The mouth he was praising could not help but remember feeling the light touch of his lips. But..."This is what anyone can see," she said. "What do you see?" And Catherine reopened her eyes, looking at him, at his own mouth, which the casual beholder could only view as a feral one.
His left hand became still. Vincent raised his head and silently examined her features from where he sat across the table opposite to her. He answered, "I see the lips that have loved mine."
Watching her, he savored the slow, grateful warmth sweeping through his heart at those words, a real but incredible physical counterpoint to the joy spreading over Catherine's face, and into her eyes. No artist could ever put that miracle on paper. It was theirs, only theirs.
Gentle voices echoed down the stone corridor outside Vincent's chamber. From some distance above them, a train swept along its subway track, clanking and sighing, while the energetic pings and taps of pipecode rang on the master pipes. Their two worlds intersected in the mingling of these sounds. Their two lives became one reality within the sanctuary of tender silence they shared. Aglow with Catherine's radiant mood, Vincent thought, In these moments, we touch upon eternity, knowing ourselves beloved.
He returned his gaze to the drawing beneath his hands, beginning to work quickly. He wanted very much to portray the joyous affection now shining in Catherine's eyes. He imagined being able to walk out to the Painted Tunnels anytime he wished, by day or by night, to stand in wonderment before her portrait, remembering this Saturday afternoon, and the fulfillment he felt in her presence. This beautiful dream gilded his present-day heartbeats with hope. Vincent loved being in love with her.
I love being in love with you! Oh, yes, I do, Vincent. Made speechless by his brief, fervent affirmation, this dreamy thought kept echoing in Catherine's mind, and she fleetingly wondered how it dawned, so simple and so perfect. Silly question. Her answer was there, in front of her eyes, in the passionate countenance that he was now trying to conceal, making himself busy with drawing. In such intense moments, she could feel an oh-so-faint shadow of his feelings. Heaven.
Crowded heaven, darn it! she sighed inwardly, hearing the tentative question coming from the passageway: "Vincent, may we come in?"
Catherine thought the new little smile he gave her was somewhat regretful. But he answered, "Yes. Come," and they both looked toward the chamber entrance. Mary and Jamie stepped through, Mary seeming the tentative one, while Jamie grinned broadly when she caught sight of Vincent's guest.
"We're not interrupting anything?" Mary asked.
"Hi Catherine!" Jamie exclaimed. "And sure enough, we did interrupt!"
The girl was looking at Vincent, who had nonchalantly covered his unfinished artwork with a blank sheet of drawing paper. "I guess you're telegraphing that we're not allowed to get a sneak peek?"
Vincent's reply was just a meaningful smile, and while Catherine stood up and greeted the two women, Jamie added: "Okay, we'll try to leave you alone, asap. We're only here because the kids just cannot seem to find a way to agree who should be the one to make your portrait, Vincent. Not such a good idea to let them try to reach an agreement on their own."
Vincent set his drafting board and charcoal on the table and stood up. "I didn't realize my open offer would create such dissension in the ranks," he murmured, brushing black dust from his fingers. He glanced at the sheaf of papers Mary was holding in her hand. "Can you tell me, who are the main contenders?"
Mary gave the papers to him, saying, "No, I cannot. The children want us to show you six samples of their best work without revealing who has drawn what." She smiled apologetically. "It was my suggestion to have you choose an artist anonymously from the art, in order to end the deadlock. Honestly, Vincent, walking into the Nursery an hour ago was like attending a political rally with six candidates all vying for election. Their friends were making speeches to the others on behalf of their favorite artist... and their favorite method of calling a vote. Jamie is here to serve as a second witness to your decision."
He looked at the bunch of sheets in his hand, and then to Catherine. Vibrations of the beautiful, intense moment they had just shared still tingled, and the floodgates of their bond seemed reluctant to close. They smiled to each other, an uncanny sensation of sharing the same reaction to Mary's words lingering between them.
He handed Catherine the bundle of sheets, and while leafing them, she pensively said: "Vincent's decision is—I mean," she corrected herself, looking at the two women with a self-conscious grin, "I think that Vincent's decision is to remind the children that he knows each child's skills and styles so well, no anonymity is possible. He would recognize who did what. Right?" she asked, looking at him.
Vincent had sat down, legs outstretched, fingers intertwined, watching her with an amused and vaguely proud expression on his face. He smiled his assent, and gave her a little nod.
"And that he suggests—" she looked at him again, with a touch of uncertainty, but he nodded a second time "—to bring Elizabeth six portraits of him, from all six contenders, so that Elizabeth will have a wealth of loving references she can use to paint her own portrait."
He openly grinned now, and, lost in Vincent's eyes, Catherine added—to herself alone, she hoped, but she was not so sure—He's larger than life; six portraits are hardly enough.
Vincent tipped his head slightly to one side, the gleam in his blue eyes becoming playful, and Catherine knew he had sensed this sentiment too.
Their visitors looked from Catherine's face, to Vincent's, and back again. Jamie opened her mouth to speak, perhaps to ask a question, but Mary reached for the six drawings and hastened to say, "That's a simple, wonderful solution to the quarrel. I hadn't thought of it!" She smiled at the papers."There might even be more than six submissions, in the end."
Jamie's face was a study of puzzled admiration. "Okay," she said at last, "if you teach lessons in whatever it was that happened here right now, I'm the first in line. Let's go, Mary."
The two visitors, unsettled but still smiling their farewells, turned and left the chamber.
Catherine and Vincent watched the empty entryway for a moment. Then Vincent murmured, "Catherine? I didn't know we could do that." She looked at him as he continued, "This bond between us, this dream...it's rooted so deeply now." He shook his head in wonder. "It's as if there is a new world, a place no one has ever traveled to, a place that opens its landscape to you and me alone."
She returned to her place in the armchair opposite to him and replied, almost sorry that her stubborn Topsider rationality was emerging again, "I'm ready to follow you into whatever new world you want to lead me, Vincent, but I'm an attorney. It's my training to understand and speak on behalf of people. I was sure that you were thinking what I was thinking. That my reaction to this situation was exactly the same as yours. Perhaps… yes, I was more sure than in other situations, but it was just a matter of logic, and of knowing you. It happens all the time, in my job, with my father, with some dear friends I know very well." She looked at him, hoping to be contradicted. "That's all…I think?"
Vincent studied her face. "Perhaps. I don't doubt your rational mind, nor your abilities as an attorney..." His gaze met hers with such warmth, Catherine suddenly felt like summer had come to the cool underground cavern. But what does your heart tell you about us? Vincent thought to her, testing the link, curious.
Not long ago, Catherine had heard him call out to her while she was visiting the other side of the continent. In this moment, when their love flowed so freely between them, the possibility that they might be making such a connection from within the same room opened the way for new dreams, a deeper comprehension of each other, and as yet unknown heights of love to explore.
The drawing board remained on the table between them, still covered by the concealing sheet of blank paper. Catherine leaned toward Vincent and placed her hand on the paper page, palm up. "Give me your hand."
Vincent considered the invitation, then obeyed her, sitting forward in his chair to rest his palm upon hers. The back of his strong, clawed hand was covered in short reddish-gold fur, the palm thickly calloused from long years spent shaping rock with hand-held tools, and grasping heavy loads, and crafting or repairing furnishings for his many friends Below. This incredible paw was large enough to engulf Catherine's slender hand from wrist to fingertips. Yet Vincent's touch was light and delicate, a gentle contact sending waves of tingling heat through both of them.
Together, they looked down at what was lying on the white drawing sheet. Again the thought that that was something no artist could transfer to any work of art flickered in their minds, and again they were sure that the same sentiment was licking at the borders of their souls. Training? Maybe. Love needs training. All kinds of love, and moreso their incredible, never-traveled-before path to being a couple, which their intertwined, so-different hands powerfully symbolized. With her other hand, Catherine lightly caressed the back of his, savoring the tactile pleasure of the soft curls covering it, tracing the contours of his fingers with their clawed tips. And recognizing, inside herself, his pleasure at her touch.
"Do you remember what I told you, that night, on my balcony, giving you my mother's rose?"
Vincent looked into Catherine's eyes and whispered, "Yes. You said you had forgotten how it felt to be connected to someone...until I came into your life. To know that someone is thinking of you." His hand tightened its loving hold on hers. "Always."
"I don't know what you are thinking now," she said, playing with his fur, "but I feel you are thinking of me. I always do. It makes me whole." She lifted her gaze to his face, and squeezed his hand with both of hers. "That rose was…a place hold. I was waiting for you."
He received her words, then stood up from his chair, now clasping her proffered hand in his own to maintain the unity of their touch. She moved with him, stepping close and holding fast to the hand Vincent had willingly let her capture.
He pulled their hands to his chest. Catherine felt the leather of the small pouch she had made to contain her mother's rose. The texture was soft against her knuckles. Vincent always wore her gift around his neck, just as Catherine now rarely removed the necklace he had given to her: a crystal prism, suspended from a delicate gold chain. These keepsakes were their pieces of eternity, tangible symbols of their love for each other. Catherine became enfolded into her lover's warm embrace as he lowered his free arm around her back and drew her even closer. "And now?" he asked.
She said nothing, but the very air around them crackled with her answer.
So Vincent smiled, and held her, and after a moment murmured into her hair, "Your portrait will hold our place too. It will stand watch at the boundary we share, a place I am still discovering day by day: my vision of your beauty, a landmark in our history."
His wide lips brushed Catherine's forehead. "For I will include this." He bent his head to touch his muzzle to her left cheek. "And this." Then, softly, with infinite tenderness, he kissed her mouth. "And this," he whispered. "And you and I will know the hidden lines that I have drawn to create a complete picture." He drew back a little, his blue eyes bright and adoring. "You make me whole as well."
"I… think…" she tried, giddy with joy, finding it strangely difficult to speak, to use the mouth just blessed by his kiss for anything else. "I think that now I can feel what you are thinking," she managed to whisper back. His smile almost undid her. His eyes were lovingly challenging, still curious. She lifted a hand, and with the back of her fingers caressed his cheek, his jaw, his smile. "Three words. Three little words…"
He leaned close again and breathed three words into her ear, exultant. After this, he held her tightly, and when Catherine released his hand to wrap both of her arms around him, they stood together in the candlelight for a long time, two travelers sharing one journey within the same span of joyful heartbeats. The hidden drawing of Catherine's smiling face rested upon the table beside them, an emblem of unified love patiently awaiting completion.
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Welcome to ChildSupportOffice.net. We provide information on how to contact your local child support agency by state. We also show how to collect child support and the application process through the child support office.
Use the contact form below to report website issues, including inaccurate child support office information, typos and or bad links. Please note ChildSupportOffice.net is not affiliated with any government department or service. Do not use this site for legal advice. If you have questions regarding child support payments, or application we will not be able to assist you.


text:
Harvard's bionic leaf now makes fertilizer too
Megan Treacy mtreacy
© Jessica Polka/Silver Lab
Just last summer, Harvard announced that the artificial leaf they've been working on for years was now 10 times more efficient than real plants at turning sunlight into fuel. The bionic leaf is able to split water molecules into hydrogen and oxygen and then with the help of hydrogen-loving bacteria, produce liquid fuels and potentially many other products.
The potential for other products has now become a reality as the artificial leaf can now make fertilizer too. The leader of this project David Nocera, along his research team, has been improving the artificial leaf technology since 2011, increasing its applications.
"The fuels were just the first step," said Nocera. "Getting to that point showed that you can have a renewable chemical synthesis platform. Now we are demonstrating the generality of it by having another type of bacteria take nitrogen out of the atmosphere to make fertilizer."
The new bacteria, Xanthobacter, consumes the hydrogen produced by the leaf and when it's exposed to the carbon dioxide in air, it forms a bioplastic. That bioplastic is stored in the bacteria as a fuel which is then used to make ammonia from the nitrogen in the air. The bacteria can be placed in the soil where crops are planted acting as a fertilizer factory.
"I can then put the bug in the soil because it has already used the sunlight to make the bioplastic," said Nocera. "Then the bug pulls nitrogen from the air and uses the bioplastic, which is basically stored hydrogen, to drive the fixation cycle to make ammonia for fertilizing crops."
© Nocera lab, Harvard University
In testing, the bacteria showed impressive results. They compared crops grown with the bacteria to those grown without it over five crop cycles and the crops that received the fertilizer treatment grew 1.5 times larger. The radishes on the right above were grown with the bionic leaf fertilizer.
The benefit to this type of bionic leaf system is that it would work as a cheap, portable source of fertilizer for farmers around the world, particularly in developing countries where the making and distributing of fertilizer is far more difficult and expensive.
The incredible artificial leaf that can turn sunlight into fuel can now also increase crop yields.


text:
Review: Les Misérables School Edition at Liverpool's Epstein Theatre
Entertainment | 19th November 2017
Tags: Epstein Theatre, Liverpool, Musical, musical theatre, Theatre Review
The Heath Performing Arts Academy in Association with LIPA 4:19 presents Les Misérables School Edition
Norther Quota reporter Jess Stoddard reviews the award winning musical
Now, Les Misérables is a musical very close to my heart, after performing in two productions of the musical, I think I know all the words to all parts backwards. It's a musical that I do enjoy watching too, as it's so interesting to see the different ways that companies produce the iconic scenes like the barricade, the war and the chain gang.
Being one of the world's most iconic and longest-running musicals, Les Misérables tells the story of Jean Valjean, a former convict who spends a lifetime seeking redemption. Set against the backdrop of 19th-century France and the aftermath of the French Revolution, this timeless story of intertwined destinies reveals the power of compassion and the quiet evil of indifference to human suffering. As Valjean's quest for a new life carries him into Paris and to the barricades of the Student Revolution, he is hunted by Inspector Javert and the ghosts of his past. Amidst a battle for the soul of Paris, he discovers the true meaning of love and salvation.
Now I have to mention, the cast of this production were aged 4-19 years old, and wow, they didn't let their age get in the way of performing this masterpiece of a musical. Not only did the cast embrace the challenge whole-heartedly, they excelled; shining like stars in roles beyond their years.
Will Callan delivered a truthful, powerful performance in the role of Jean Valjean with such intensity and emotion that showcased an abundance of talent. His performance of Bring Him Home was especially moving – I did shed a tear at his tone and raw emotion in this moment.
I have to applaud the wonderful Alix Hushin, who played the dominating Inspector Javert. Her performance was sublime, and I was worried she would not hit some of the more demanding notes in her Soliloquy and Stars, but she perfectly hit the nail on the head. She commanded the stage and made her manly presence known.
With the classic songs such as On My Own, A Heart Full of Love, Empty Chairs at Empty Tables and I Dreamed A Dream being sung perfectly by the principals, the cast was well chosen for these demanding songs.
I especially loved the ensemble numbers, with the choral singing in One Day More, Master of the House and Finale being so moving and note perfect. The group sound was so rich and full over the live orchestra, conducted by Chris Bastock.
The set was incredible, especially the barricade. The scene of the revolution war was wonderfully directed by Kate Allerston. The battle was dramatic and you felt like you were a part of the action with the characters.
I was very impressed with this production, and I have to say, keep an eye out for the performers, they will be on the West End stage next!


text:
De Longitudinal Aging Study Amsterdam (LASA) is een langlopend onderzoek naar oud worden in Nederland dat in 1991 werd opgericht.

Geschiedenis

Het LASA is opgericht in 1991 aan de Vrije Universiteit Amsterdam en het VU medisch centrum in opdracht van het ministerie van VWS. Het betreft een longitudinaal onderzoek naar de determinanten en gevolgen van veroudering. Sinds 1992 worden elke drie jaar dezelfde personen onderzocht; het betreft een onderzoeksgroep van 3107 personen van 55 tot 85 jaar uit drie regio's die representatief zijn voor de Nederlandse bevolking. Het LASA levert data die hun weerslag vinden in veel wetenschappelijk onderzoek. Tot nu toe heeft het LASA onder leiding gestaan van de hoogleraar Epidemiologie van veroudering aan de VU. Vanaf de oprichting tot 2015 was dat prof. dr. Dorly Deeg. Prof. dr. Martijn Huisman is anno 2017 directeur en aanvaardde op 21 december 2017 zijn hoogleraarsambt tijdens de viering van 25 jaar LASA. Het onderzoeksteam bestaat uit tientallen medewerkers en heeft in de loop der tijd honderden studies opgeleverd. LASA werkt samen met andere Nederlandse en internationale onderzoeksinstituten.

Vrije Universiteit Amsterdam

redpajama_set_name: RedPajamaWikipedia


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Description: Butane lighter is lit. Cigarette Lighter Lighter, Butane.
Description: Cigarette From Box, Taps, Lighter Flick And Light.
Description: Zippo Lighter Flint Light.


There is something beautiful at the intersection of culture, tradition, creativity and humanity that some fear will be lost as AI becomes more prominent. There are parents and educators who are concerned about the rise of mobile technologies and the thought of losing the core of what makes us uniquely human. There is reason for people to be concerned when they see young people disconnecting from face-to- face interactions with peers and appearing to lose touch with the real world around them. We see on social media people falling into fountains as they are so engaged in the content on their mobile devices that they not only miss the aesthetics of the fountain, but they also miss that tripping over and falling in could be hazardous to their physical wellbeing. We see cyberbullying. We see destructive behaviors.
But we do not have to choose between either humanity or technology. Both can exist together. Technology can support humanity in powerful ways. But it does require some creativity and a willingness to step out of domains that have been considered traditional subjects in school. This requires educators to continuously become learners and to be willing to challenge long-held ideas of how to approach learning and assessment.
Education as we know it now has become an incredibly inertial system. It tends to stay in its current state unless something acts upon it. Although there are many people who have been working on education change, it feels like once there is some movement for shift in thinking, the fear of failure, the resistence to change, how to assess learning, or the feeling of being inadequate lead people to return to that inertial state. Nothing seems to change enough to make a big enough impact in a scalable way, leading to substantial change. As much of education stands, the fears and challenges are more similar across the globe than many educators are aware. This is because human nature transcends geographical boundaries and languages. Without a shift in the way we think about education, we will continue to train young people to look at content in isolation, work only with same-age peers, resist seeking multiple perspectives and alternate paths to elegant solutions, while these learnings are removed from context and application in life.
To model creative, cross-cutting divergent and convergent thinking, and re ective processes, educators need to be willing to go beyond feeling most accomplished as specialists in a speci c, singular subject domain. There needs to be a willingness to learn about other domains, intersections of subject matter and approaches that they may have never considered in the past. This requires a willingness to acknowledge: "I don't know it all, and I need to leverage the expertise of others" In other words, teachers need to model collaboration as well as humility, understanding that we cannot humanly know everything in one subject domain, nor can we be the sources of all the knowledge our students will need.
Artificial Intelligence will continue to make this reality more evident as AI based searches, such as Wolfram Alpha, (which powers Siri), become increasingly sophisticated and much quicker at accessing a wide range of content. This doesn't make human educators obsolete, by any means. However, if all an educator is doing is just what an AI based search engine can do, and students can nd a rote response to a question quickly, then the machine should replace the teacher. It will be more ef cient and probably faster at providing an answer and has the ability to quickly present more than one perspective on a topic. We, rather, need to focus on what machines are not good at. We need to help young people look for multiple approaches to solutions and draw on inspiration from those who have gone before us. We need to train them to receive and apply critique – and more – learn how to ask for it. We need young people to respect other people's perspectives that are different from their own, develop empathy and compassion and let those inspire defining problems that need solutions and need answers. So, how to harness all of what technology has to offer us to help solve those challenges in unexpected ways?
We have seen the power of technology. We know the good it can do. We have also seen the power of humanity. GTWN at Mobile World Congress in Barcelona, Spain, in 2019 is once again evidence of the power of human connection in an era where technology allows us to communicate across distance and time. There is something uniquely human about meeting in person and watching the serendipity of new ideas emerge, new connections, transferring learning, and being inspired by beauty, architecture, strength, grace, emotion, tradition, and culture that surrounds us. From traveling, listening to people, and presenting around the world I continue to become more aware of how different the experience is to research online about a place and a culture than it is to be immersed in it and talk with the people who live there.
When I visited Barcelona for the rst time in July 13, 2015, I wondered how in my entire school career, I never knew about Gaudi. I didn't recall hearing about La Sagrada Familia until someone recommended that I make sure to visit while I was there. I had visited many cathedrals in Europe and thought I had an idea of what I may walk into. The experience was nothing like I expected. The intentionality with the way the light played across different surfaces to bring rhythm and music to cold metal organ pipes and play across the stone, the structure of the support systems replicating shapes found in nature, like trees and branches. It was a striking statement with the absence of traditional iconography, but a choice to tell the story by demonstrating the glory of God though His creation though abstractions of creation in all of its strength, beauty, balance, and precision. It was mathematical, scientific, engineering marvel, and had an aesthetic that I didn't anticipate. It was intentional design. Not an accident. Not a replication experiment of something that had been done before and tweaked, and yet, a replication of what already exists in nature, reimagined.
I walked away thinking how La Sagrada Familia was an extraordinary example of the intersection of Science, Technology, Engineering, Arts, and Mathematics (STEAM), an ongoing, transdisciplinary, project-based learning (PBL) that was history and was becoming history, simultaneously. It was merging the past and the future, the vision of someone who may have been far ahead of his time and the emerging technology now that was helping to make his vision a reality for future generations to marvel.1 I wanted my students to see. I wanted them to know what STEAM looked like across generations, in real life. I decided to turn it into a hub for learning and modeling a process of thinking, researching, practising, reporting, documenting, and sharing failures and successes. I wanted the learning to span subject domains, across different media – tangible and digital. I wanted there to be storytelling and student voice. I wanted them to experience challenge that may not succeed at first, persist, and model that for younger students and for educators to see what was possible. I wanted them to be the center of their learning and set goals as they collaboratively produced a final product.
Humans and machines both have the ability to learn from mistakes—but only humans can glean wisdom from them. Our imperfections are worth observing. The flaws in each of us can propel us to become better, and the scars we have received though hurts can guide our choices when failure occurs. It takes courage to model this for our students— to encourage them to highlight their mistakes in their STEAM, design thinking, and PBL work so they can reflect on their failures, ask the right questions, and move forward with resilience to find a solution. Their documentation becomes a model for others to build upon, creating the type of culture necessary for innovation to persist. (see Teaching AI2, p. 151)3.
I wanted my students to see the parallels between the way Gaudi used parabolas and catenary arches with the type of work Pixar Animation Studios did to create blades of grass for an animated movie. Both drew on nature and represented nature. Both used some form of technology. Both approached the challenges in unexpected ways to produce the desired result and end product.
In the future, we know that machines will become more capable of automating tasks, including basic level code. However, humans have the ability to create in ways that are inspired by emotion, tradition, culture, empathy and even from implicit information in ways that machines currently cannot. As educators, mentors, influencers, and developers, we have the opportunity to help young people understand who they are as people; why societies, cultures, and traditions are important to people; how to treat others with respect; and how to become stronger in areas where machines do not excel, while learning about machines' ability to augment our own human capacity. Students need to know how to learn, unlearn, and relearn to remain relevant in a constantly shifting job market. Training in design thinking, STEAM, and PBL can assist with developing this mindset early.
The cultural implications of AI make it vital that culture remains a part of the process as schools lay the foundation for students to effectively interact with new technologies while engaging in project-based learning, STEM, and design thinking. The key to retaining the uniqueness of schools around the world is to not abandon each school's rich heritage for the sake of modern technology. We should maintain a mission within our individual schools around the world and the communities they serve to ensure they have a clearly defined culture, allowing history to be restored, renewed, and maintained in order to not forget the past. By adapting our vision for the future, we can demonstrate a synthesis of existing culture and machine learning (Teaching AI, p. 57-58). Creating rich projects like the Paper Tree Project will help students practice deep level processing, collaboration, knowledge creation, and communication as they work across multiple domains and transfer learning to multiple settings outside of the classroom walls.
Mobile enabled technologies are making learning out in the eld more ef cient and purposeful. There are apps that are supported by AI to help students capture video and photo data, edit that data, and create new representations of learning. Choosing the tools that match the end goals for learning4 will help us to prepare students for the future. If we don't take the challenge to engage in modeling these behaviors and showing educators and families what is possible, who will? When will we expect young people to learn it? But in the process of helping create a vision, build the scaffolding, model with technology, we can document the progress to show future generations that change didn't happen overnight. It was the hard work of passionate and dedicated individuals who helped make the future of education and learning a reality though policy, collaborations, innovations, and technologies that allowed them to communicate globally in ways we cannot yet even imagine.
See January 9, 2019 article about Michelle and her students Teaching AI: Exploring New Frontiers for Learning on Forbes.


text:
State health officials say Larimer County's COVID-19 variance will stay in place for now
Kevin Duggan
Fort Collins Coloradoan
Larimer County's variance from some state COVID-19 restrictions will remain in place because the number of positive cases in the county has stabilized.
On July 17, the Colorado Department of Public Health and Environment told the county health department its variance, which allows for greater occupancy in restaurants and places of worship than state rules, was in danger of being revoked because of a spike in cases.
The county created a mitigation plan aimed at stabilizing and reducing daily increases in cases. State officials monitored the county's numbers for two weeks and decided the variance could continue.
The state will check back in a few weeks, said Katie O'Donnell, spokesperson for the Larimer County Department of Health and Environment.
"They're still monitoring," she said. "I think our biggest thing is if our cases get over 100 per 100,000 — we're sitting at 75 right now — then we will have everything back up in the air again."
COVID in Colorado tracker:Larimer + state case, death and hospital data for August
The health department would prefer to see case numbers go down, but for now stopping the continuous rise in cases is a positive step, O'Donnell said.
Officials seem to have taken into account that the wide fluctuation in daily reports of cases in Larimer County is a reflection of data dumps of testing information from the state that affect the county's risk indicators, O'Donnell said.
The county's risk threshold is 25 new cases per day: On Monday, four cases were reported; on Tuesday, 30 were reported.
On Wednesday, 13 cases were reported, according to a county website.
O'Donnell said the county "is not off the hook, but this is good news for now."
The county's mitigation plan called for strong community education and outreach, enforcement and compliance plans for face coverings, social distancing, and following the required guidelines for businesses, according to a press release.
Opinion:Working together will make things better for Larimer County
"I appreciate our unified efforts to suppress the spread of COVID-19 in Larimer County," said Tom Gonzales, public health director for Larimer County. "We have regrouped and stabilized our case rate.
"But we must all continue to take this seriously and be diligent with handwashing, face coverings and social distancing. We must continue to slow our cases to keep NoCo open at our current capacity."
Kevin Duggan is a senior columnist and reporter. Contact him at kevinduggan@coloradoan.com. Support his work and that of other Coloradoan journalists by purchasing a digital subscription today.


Modifies the attributes of an existing point.
The set_point command sets the specified attributes to the provided values. The modified point becomes current. Multiple points may be modified with a single command by setting the currency to "all".
There are several attributes that control the characteristics of points. The set_point command may be used to modify the attribute values of an existing point at any time during a ChIPS session. See "ahelp attributes" and "ahelp setget" for more general information.
If multiple attributes are being set simultaneously and one of them fails, the entire command will fail and the point will not be modified.
Please see the section "Point Preferences and Attributes" below the examples for a list of the point attributes.
Using attribute/value pairs, set the point color to coral and symbol style to downtriangles.
Populate the "pnt" structure with attribute values, then use it to set pnt1 to be blue with a size of 16.


text:
Q: How can I retrieve information from two different tables in a stored procedure? I have to develop a DB stored procedure to be used in an autocomplete feature. If the user types "M" I should return people and groups with the name starting with "M".
I would like to do that in a way that the system should need to call only one stored procedure to avoid the cost of calling the DB twice.
My problem is that groups and people are in separate table (I just need their and and ID), this is what I would ideally do:
select ID, Name from people OR group where name like 'M%'
Of course this is not a valid SQL.
I thought about creating a temp table, making 2 selects (one for people and one groups), inserting in this table and returning it.
Is there a simpler/nicer way to implement it or is this the best approach?

A: Just perform a UNION ALL. Two separate queries, a temp table, multiple inserts, and then a 3rd query, doesn't that sound like a whole lot of unnecessary work?
CREATE PROCEDURE dbo.SearchTwoTables
  @search_argument NVARCHAR(255) = N'M%'
AS
BEGIN
  SET NOCOUNT ON;

  SELECT ID, Name FROM dbo.People
    WHERE Name LIKE @search_argument
  UNION ALL
  SELECT ID, Name FROM dbo.Group
    WHERE Name LIKE @search_argument;
END
GO

Also I assume your Name column should support Unicode strings (and therefore be NVARCHAR), otherwise you may find an angry person when you mangle their name upon saving...

redpajama_set_name: RedPajamaStackExchange


The rules are in the lounge.
Lakituthequick Winner Voldemort - Public Speaker/Unkillable???
It is now Night 0. Roles will be coming shortly, but do not confirm until we say that all roles have been sent out.
Can't wait! This will be fun.
Just kidding. It's too early for plot twists. All role cards have been sent out, though! Please confirm here if you've received them.
Got it. And I don't know if I shouldn't be going out of character in this thread or what? but I have to say you guys did a great job on the the role cards.
Confirming that the role card looks fantastic.
You don't act in character, as far as I can tell for this game. You simply act as yourself.
You are only required to act "in character" (in this thread) if your role card states you have a post restriction. You won't be penalized for not following a post restriction during Night 0.
But even if you don't have a post restriction, you can still come up with your own or act like your character. Messing with people can be rewarding.
but I have to say you guys did a great job on the the role cards.


text:
Home Football API International Football Federations CONCACAF Gold Cup
Get all the data from the biggest international tournament in North America, the Gold Cup, with Sportmonks' Football API.
Check our Football API
Gold Cup History
The Gold Cup succeeded the CONCACAF Championship, with its first edition being held in 1991. The United States hosted the first edition of the championship and has hosted or co-hosted every subsequent iteration of the tournament. In 1996, the Cup included its first guest team, the defending World Cup Champions, Brazil. Since then, 7 different teams have participated in the Gold Cup. An invitee has never won the championship. Brazil finished as runners-up two times and Colombia finished as runners-up one time. Since the formation of the in 1991, the championship has been won eight times by Mexico, seven times by the United States and once by Canada.
CONCACAF Gold Cup 2021
The 2021 edition was the sixteenth edition of the tournament. The championship was originally scheduled to be held from the 2nd through the 25th of July but was later rescheduled for the 10th of July through the 1st of August. It was an exciting tournament with 89 goals scored in 31 matches, for an average of 2.87 goals per match. The top scorer was Almoez Ali from invitee country Qatar with 4 goals. The eventual winners were the United States who beat Mexico 1-0 after a goal in the 117th minute of extra time. The Golden Ball award was given to Héctor Herrera and the young player award was given to Tajon Buchanan whose play was widely praised by the region's media.
Gold Cup API
Are you looking for the best data on the Gold Cup? Then Sportmonks is your perfect opportunity. We have detailed coverage of the biggest North American Tournament. In addition to live scores and match stats we also offer a range of odds, fixtures and historical data.
A couple of records and statistics are listed down below. The nation with the most wins is Mexico, who has 80 wins in 117 games. The United States followed close behind with 73 wins in 97 games. The most lost matches belong to Honduras who have lost a total of 36 games in a total of 90 played matches. Guatemala follows close behind with 32 losses in 72 matches. The team with the worst goal difference is Cuba. They currently have a -85-goal difference. Conceding 112 goals and scoring just 27 in their 37 matches played. Mexico has the record amount of Championships with 8 titles to their name. The USA currently sit on 7 wins. The all-time goalscorer of the Gold Cup is American Landon Donovan, who scored 18 goals in 6 different editions. Luís Roberto Alves holds the record for most goals scored in one edition. He scored 11 goals in the 1993 Gold Cup. 7 of those goals were scored against Martinique. Do you want more stats like this? Head to our Football API to find out more!


text:
Oklahoma man found guilty of killing 5 family members in attack with older brother
By Nicole Darrah, | Fox News
Michael Bever, described as "a gentle young man," was found guilty Wednesday of fatally stabbing five family members. (Broken Arrow Police Department)
An Oklahoma man, described as "a gentle young man," was found guilty Wednesday of fatally stabbing five family members.
Michael Bever, 18, was 16 years old when he, along with his then-18-year-old brother, Robert Bever, killed their parents and three younger siblings in Broken Arrow, roughly 14 miles southeast of Tulsa, in 2015, prosecutors said.
Bever, in addition to the murder counts, was convicted on one count of assault and battery with intent to kill. The older Bever brother pleaded guilty in 2016 and was sentenced to life in prison without parole.
Michael Bever, 18, was 16 years old when he, along with his then-18-year-old brother, Robert Bever, killed their parents and three younger siblings in Broken Arrow in 2015, prosecutors said Thursday. (Mike Simons/Tulsa World via AP)
Defense attorneys for Michael Bever argued that his older brother led him astray. They said the 18-year-old is "a gentle young man who was misled by a mentally ill older brother," adding that "there's a lot more layers to him as a human being than just what happened back in 2015."
But prosecutors on Thursday detailed the severity of Bever's attack, explaining that he and his brother "punched a knife into their sister's neck."
REMAINS OF LINDSEY BAUM, GIRL WHO WENT MISSING IN WASHINGTON IN 2009, FOUND
"They then went and attacked their mom, gave her 40-some-odd wounds to her body," District Attorney Steve Kunzweiler said. "They then hunted down their dad and stabbed him in a bedroom. And then they had the audacity to go and knock on a door to try to lure out those children so they can stab them, so that they can go on some kind of cross-country crime spree.
"I want to know: When do you want them out? When do you want them as your next-door neighbor?" Kunzweiler questioned.
YALE STUDENT WHO CALLED POLICE ON BLACK STUDENT NAPPING IN COMMON ROOM HAS HISTORY OF CALLING COPS
Jurors are scheduled to hear testimony before deliberating what sentence to recommend for Bever on five first-degree murder counts: life in prison with or without parole.
Prosecutors recommended Bever serve 28 years in prison on the assault and battery conviction. They also argued he should be locked up for life because he was a willing participant in the murders of his family members as well as the attack on a sister, now 16, who survived.
Nicole Darrah covers breaking and trending news for FoxNews.com. You can follow her on Twitter at @nicoledarrah.
Indiana boy dies after father's gun discharges during play wrestling, police say


Providing the North Texas area with professional, fast and eco-friendly junk removal services.
Flexibility is one of the cornerstones of our North Texas garage cleanout department. We offer a variety of different ways to clean out your garage so you can reclaim that space. We know that our clients in North Texas have a variety of different needs and that's why we offer a full service cleanout.
A full service cleanout that includes a two-man team. If you want us to look after your garage cleanout from start to finish, we can do that here at Junk King.
One of the things that separates us from the competition is our dedication to 100% customer satisfaction. We've been in business for over a decade and focus on not only cleaning out your space but recycling what we can.
There are other reasons that we are the clear choice when it comes to North Texas garage cleanout. One of the things that all of our clients rave about is our dedication to recycling. At Junk King, we are dedicated to making sure we do our part to save the planet.
We have a warehouse where everything gets sorted out and the recyclable material gets sent to the right location. In the end, it means that not only will you get the best service and transparent dealings with us, you'll also be lessening your carbon footprint.
Over the years, we've found many of our clients have let things build up in their garages for a variety of different reasons.
•	Yard Waste: Raking up leaves and trimming trees can be a tiresome and time-consuming experience. Lots of our clients phone us after they've put everything in the garage and forgotten all about it for a period of time.
•	Renovation Materials: Sometimes, people store particleboard and other things left over from a basement renovation project in their garage and forget about it after a while.
It doesn't really matter why you need to use our services, only that you see the clear advantages of Junk King. Getting in touch with our North Texas garage cleanout department is easy.
This entry was posted in Uncategorized on August 9, 2018 by Junk King. Last updated August 9, 2018 .


NASDAQ Market Replay PRO is an extremely powerful replay and analysis tool, allowing users to view the consolidated order book and trade data for NASDAQ-, NYSE- and other regional exchange-listed securities at any point in time.
Investors can use Market Replay to help validate best execution and Reg NMS compliance. Brokers and traders can use the tool to reconstruct the events around their trade to determine whether there was a missed opportunity or an unforeseen event. Brokers can send clients a NASDAQ-validated screen shot of the moment their particular trade occurred, confirming the quality of the execution and reducing the number of customer inquiries.
Data is available intraday and will be delayed at least 15-minutes for NASDAQ, NYSE- and other regional exchange-listed securities.
Now offering pre/post market queries!
Trade Modifiers — now included in export data.
Replay Panel Export — users can now export the entire replay regardless of the time range selected including the symbol, sequence number, date, exchange, last sale price, last sale quantity, trade and cancel indicators, bid quantity, ask quantity, bid price, ask price, start and end times.
Export the Consolidated Book — users can now export the consolidated book including the National Best Bid and Offer, and Best Bid and Offer information by venue.
Sub-market center codes now viewable in the trades Trades Panel.
View the NASDAQ Market Replay PRO Quick Reference Guide for more information.
Market Replay provides access to quote and trade detail unmatched in the industry today. Featuring an easy-to-use interface, you can request a replay by issue, date and time in a matter of seconds. Control the zoom and replay the order book in simulated real-time or at an accelerated/decelerated speed. The time-span analysis provides the highest and lowest priced quotes that existed over a specific span of time, even if they lasted less than a millisecond.
For more information on becoming a distributor of Market Replay US, contact your NASDAQ OMX Global Data Products Account Manager at datasales@nasdaqomx.com.


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Luis Eduardo Almeida de Oliveira (Rio de Janeiro, 14 de fevereiro de 1964), conhecido como Luisinho, é um político brasileiro. Foi vereador de Belford Roxo e deputado federal pelo estado do Rio de Janeiro.

Biografia
Foi cabo da Polícia Militar do Estado do Rio de Janeiro (PMERJ) e empresário, tendo sido gerente de uma loja de autopeças e de uma locadora de vídeos em Belford Roxo.

Em 1992, foi eleito vereador de Belford Roxo pelo Partido da Social Democracia Brasileira (PSDB), sendo reeleito em 1996. Em 1998, elegeu-se deputado federal pelo estado do Rio de Janeiro. Chegou a filiar-se ao Partido Democrático Trabalhista (PDT) para tentar a prefeitura de Belford Roxo na eleição de 2000, mas teve a candidatura vetada pelo presidente do partido, Leonel Brizola.

Durante sua passagem na Câmara dos Deputados, foi titular nas foi titular na Comissão de Defesa do Consumidor, Meio Ambiente e Minorias, na Comissão de Viação e Transportes e na Comissão de Desenvolvimento Urbano e Interior.

Tentou voltar à Câmara dos Deputados nas eleições de 2002, 2006 e 2010, mas não foi eleito. Na política municipal, foi candidato a prefeito de Belford Roxo em 2004 e a vice-prefeito em 2008, na chapa de Sulamita do Carmo.

Em 2006, teve seu nome citado no escândalo dos sanguessugas, chegando a ser denunciado pelo Ministério Público Federal. Na época, deputados federais foram acusados de estarem envolvidos na compra de ambulâncias com valores superfaturados.

Ligações externas
 Perfil na página da Câmara dos Deputados

Naturais da cidade do Rio de Janeiro
Policiais do Rio de Janeiro
Empresários do estado do Rio de Janeiro
Membros do Partido Democrático Trabalhista
Vereadores de Belford Roxo
Deputados federais do Brasil pelo Rio de Janeiro
Membros do Progressistas do Rio de Janeiro
Membros do Partido da Social Democracia Brasileira
Membros do Progressistas


Mobile Telecommunications Namibia (MTC), has noticed that majority of customers, especially those that are placed or living near frontier towns, are not aware of the subject of accidental roaming and the impact it has on their calls and data plans.
As background, electro-magnetic spectrum is a limited resource and is assigned by the respective regulative authority in each country. As a consequence, there are many cases in which mobile networks of neighbour countries are assigned the same bands of frequencies.
When this happens, different implications to the provision of the service may occur. Particularly, interference problems can disable the possibility of placing calls and generate cases of accidental roaming inside the country of the customer.
The overlapping of network signals is a common activity at the borders of a country and often locals tend to latch onto the network signal which in most cases happens to be the foreign operator's, and subsequently results in a customer getting charged more than usual cost.
Often this activity happens automatically unbeknown to the customers – whilst it may also vary from device set up and network preference selection modes.
Once roaming is activated and a customer latches onto the foreign network, a customer normally receives a welcoming SMS from the foreign network, which is a sign that they are roaming.
The issue of accidental border roaming affects customers differently, depending on the product package or service plan. The prepaid customers are the most affected because their communication is cut upon depleting their credit in the account, which is contrary to the post-paid.
Switch your cell phone to a manual network search which will assist to stay on your current network.
Deactivate voice and data roaming by dialling *682# and then follow the instructions.
Act immediately when they receive the SMS mentioned by dialling MTC Customer Contact Centre for a guided roaming deactivation set up by our Service Advisors.
Advised MTC's Chief Human Capital and Corporate Affairs, Tim Ekandjo, "roaming is quite a costly exercise and some of the customers are not informed of the necessary preventing measures to employ in order to avoid receiving a high bill".


South Africa's popular peri-peri chicken restaurant Nando's may create fantastic adverts, but according to a global study by World Animal Protection (WAP), they are performing "very poorly" when it comes to taking care of their chickens. In fact, out of nine companies that were assessed, Nando's came third to last, behind other iconic brands such as KFC, Starbucks and McDonalds.
WAP claimed that despite making "billions of dollars from chickens, these huge companies are doing very little to give them better lives"… and that fast food isn't worth the needless suffering of billions of chickens.
"Our comprehensive report has revealed the shocking lack of commitment or care by these billion-dollar fast food companies. The ruthless exploitation of chickens for profit is unacceptable," said WAP.
It's revealed in the report that "modern meat chicken has been developed through extreme genetic selection. Each chicken is expected to reach its slaughter weight in around 40 days – a weight it would naturally take around three months for chickens to reach.
Their policies regarding the protection of chicken welfare.
Their targets to complete action to improve chickens' lives.
How well the company is reporting on its progress to improve chicken welfare.
Each company was then given a grade from 'failing' to 'very good', depending on their scores. Unfortunately none achieved a 'very good' status, with Nando's being rated overall as 'Very Poor' after its performance in all three categories was graded as 'Very Poor'.
Nando's never uses caged chickens anywhere in its global supply chain. All our chickens are reared in deep-littered, well-ventilated barns.
In the UK, all our chickens are barn-reared to Red Tractor standards. Our internal technical teams undertake regular visits to all our suppliers across the world.
WAP says these nine companies were chosen for their report (titled The Pecking Order 2018) "because they're the big players in the industry and have the power, and the responsibility, to improve the lives of millions of chickens every year".
Seven of the nine companies – including Nando's – do use third party auditors in certain locations to check compliance with their company chicken welfare standards, and WAP says "thankfully industry is beginning to embrace these solutions".
Nearly 100 companies have already committed to improving the lives of chickens within the next few years.


Royal Viking Line was a cruise line for the luxury market founded in 1972. Initially it had three almost identical ships, known as the Royal Viking trio. The ships had attractive appearance, high passenger space ratios and excellent facilities. They were designed for the wealthy, elderly passengers. They sailed to many exotic destinations on long voyages. They were the highest-rated ships in the 1980s. Between 1981 and 1983, all the three ships were stretched to increase the length, tonnage and passenger capacity.
Royal Viking Line was purchased by Kloster Cruise (parent company of Norwegian Cruise Line at that time) in 1986, and then two more luxurious ships were built, Royal Viking Sun and Royal Viking Queen. Later, some of the ships in the fleet were transferred to Norwegian Cruise Line or Royal Cruise Line (another subsidiary of Kloster Cruise). In 1994, the cruise line went into history after being purchased by the parent company of Cunard Line. The ships had been operated by Cunard Line, Star Cruises, Princess Cruises and various small companies. Nowadays, the ships belong to Fred. Olsen Cruise Lines, Phoenix Reisen, Holland America Line and The Yachts of Seabourn respectively.


The blog postings are about the Singapore Math. The readers can learn from the postings on Solving Singapore Primary School Mathematics. The blog presenting the Math Concept, Math Questions with solutions that teaches in Singapore Primary Schools. You or the kids will learn the skills of dealing with Math Question Solving, Math Modeling and Problem Sums from Lower Primary School to Upper Primary School level after reading the blog postings. This posting is an upper primary school math question on Ratio and Problem Sum.
You can read the postings on Sarin learns concept of ratio in school to understand the concept of Ratio.
Sarin, Hairu and Fatimah had some stickers. The ratio of the number of stickers Sarin had to the number of stickers Fatimah had was 3 : 5. Sarin and Fatimah together had three times as many stickers as Hairu. The difference in the number of stickers that Hairu and Fatimah had was 987. How many stickers did Sarin have?


We haven't had the pleasure of meeting Meagan in person, but through mutual friends, we have been admiring her from a distance. We have a feeling that we'd all be besties if in the same place at the same time. She is an extremely talented photographer, transplanted from NC to NYC. Her nostalgic styling, plus vibrant use of color & sexuality, features fun, fashionable women that never want to completely grow up. She only shoots film, & her stance on empowering fellow females is also on some #realtalk. We think you guys will love her, too.
I'm from Charlotte, North Carolina & studied Fine Art & Art History at UNC Charlotte. Almost two years ago I relocated to New York. My first time seeing NYC was when I moved here. I have been working full time in SoHo as an art handler ever since. It's a cool job & I get to work with some of my favorite artists. I have also had internships at Bullett Magazine, New York Magazine, & DIS Magazine. I went to the University of North Carolina at Charlotte to study Fine Art and Art History.
Do you foresee staying in NYC?
I probably will not stay here, I feel like it's just a stepping stone. But it's nice to be apart of everything as its starting.
What kind of equipment do you use? What's unappealing about digital?
I shoot with a Canon AE-1 that my grandfather gave me. I use natural lighting & if I'm inside, I have a flash mount. The colors are nice & all the accidents that happen are something that I could never get from digital. I like being surprised when the film develops.
When did you realize it was something you were passionate about?
It started with MySpace, to be honest. It was the whole onslaught of the internet when I was 16 years old. You needed to have a camera to take selfies & then once I had that, I found something fun.
Why are women your favorite subject to shoot?
I love femininity (my subjective view of it). When I decided to focus on women, I was at a point in my life where I was spending a lot of time with my girl friends & I was really inspired by all of the respect we had for each other. I was tired of jealousy & girl hate & just wanted to show these beautiful women & how much love we could put out instead.
What photographers do you admire?
Right now I'm obsessed with The Jogging & also Jaimie Warren.
Do you work in any other mediums?
I do work in different ways; I'm taking a photo but I'm also constructing an image. I'm styling, directing, producing, editing, etc. I really don't consider what I do as photography anymore. It is a means to an end.
Do you enjoy styling your own shoots as much as photographing them?
I actually love styling more than photographing.
I just want to be really proud of what I do & I want to continue working. To put out something original & thoughtful is pretty hard to do, & it's easy to get stuck. Staying inspired is really important & if I can always have that, then I will be happy. I don't think I want a main source of income to be my art, or I would start to hate it.
I am working on a video series for a publication in London. It's going to be pretty serious & personal, but I still want it to be really beautiful & correspond to my other pieces.
You can find a curated selection of my work at meaganlong.com!


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redpajama_set_name: RedPajamaGithub


Designed for you to wear your baby any way you want, this ergonomic baby carrier is a combination of all the features your heart could desire. From infancy to toddlerhood, wear your little one facing in, out, on your hip or on your back. Beco 8 is available in Dark Grey.


Here you can find what you need to know about Dromana, VIC, including house prices in the area, median values, annual growth, recent sale prices, maps, a suburb profile and much more.
There have been 132 Houses sold in Dromana in the past 12 months with a median sale price of $768K, up 8.1% annually. It takes on average 55 days to sell with vendor discounting of -7.53%.


We all love having our television sets hooked up to the net, in fact a quarter of all homes already have internet connected tv. Currently we are kind of cheating though as we use external devices such as consoles and blu-ray players to achieve this. However, by 2013, 55% of all TV models manufactured and shipped out will have an in-built internet connectivity according to the Consumer Electronics Association.
The new wave of televisions that come internet-connected will not need additional, messy seperate boxes, software installs or complicated setup procedures. Currently though, only a small number (18%) of new tv sets shipping come with built-n internet connectivity.
As we speak, Google are planning to makeover your tv. In partnership with Sony and Intel, they plan to make your TV act more like a PC letting you access any website and online service from your remote. Intel are working with some of the big names in the industry to get its processors into internet-connected TVs. Samsung is working on its own applications platform.
Yahoo has its widget internet TV service displaying widgets for weather, news, shopping and social networking which run across the bottom of the screen.
Even while this is going on, some still feel that the public are still not ready to adapt to this new technology. Then others see it as a geberation thing. Those below a certain age, having gone from gadget to iphone and grown up with a pc probably find the basic tv boring and not interactive enough. They will be more likely to embrace connected TV.
Whatever anyone thinks, internet-connected tv is coming hard and fast. Everyone will learn to adapt. The key is just to make it simple. Many old people are happy to use a microwave even though its a relatively new invention, because it does not require an instruction manual to use. Internet tv has to go the same way.
Streaming Internet Movies Direct to Your TV. Blu-Ray Or Connected TV?