text:
Q: More Efficient Alternatives to plt.draw() in MatPlotLib I'm trying to make an interactive GUI using MatPlotLib, and the thing users notice most is the latency between, say, changing a slider, and the GUI responding.
Currently, I am using plt.draw() at the end of every event, which works well, except for the fact that it causes 256ms of the function's 259ms runtime.
In researching alternatives to plt.draw(), I came across this post: why is plotting with Matplotlib so slow? , in which it was recommended to use fig.canvas.blit(ax1.bbox) as an alternative which reloads just the graph, and not the entire figure.
When I use this, the event handler runs in 3ms, however the GUI updates during the following event, rather than at the end of the current event as if the event was caught in a buffer: User input 1>pause>User input 2>GUI responds to input 1>pause>User input 3>GUI responds to input 2, making the program unusable.
So what alternatives do I have?  Fixing either one of these problems would allow me to run a very fast GUI.  I'll post code if you need it.
Note 1:  When using fig.canvas.blit(ax1.bbox), the sliders, buttons, etc will change immediately, and only the subplots will behave as described above.
Note 2: fig.canvas.draw_idle(), as used in the widgets example here http://matplotlib.org/examples/widgets/slider_demo.html, and fig.canvas.draw(), perform identically to plt.draw()


The Origami "B20" Module is a revolutionary module with extreme connectivity and processing power. With its business card size and its dedicated Z-Ray connector, the B20 can easily be integrated onto standard or custom carrier boards that perfectly fit every application. The B20 is organized around a Xilinx Kintex Ultrascale 060 FPGA., the B20 features 2 banks of high bandwidth DDR4 memories. It incorporates the requested on-board DC-DC. The B20 offers special provision for security. It allows to secure IP-Cores, Firmware and processed content with strong encryption, key management and physical security enclosure. It includes a battery powered real time clock and tamper detection circuitry. The B20 is particularly convenient for advanced video applications. It is capable of handling multiple video codecs and of interfacing and processing video streams up to 8K UHD-2 video stream in uncompressed & TICO and up to 4K UHD-1 in uncompressed, TICO, JPEG 2000, HEVC IP, AVC and MPEG 2.
We launches the Origami Ecosystem, gathering market leaders to deliver audiovisual system designers modular hardware, software and IP-Cores enabling freedom of creativity.


text:
Privacy of Personal Records
#1 | Posted: 30 Aug 2008 07:09 | Edited by: johnbsims3
In light of the position taken by the Department of Revenue that its form entitled "Original Application for Ad Valorem Tax Exemption" constitutes a "return," such form should be treated as a "return" that is confi dential pursuant to s. 193.074, F.S. AGO 05-04. Accord, AGO 95-07.
However, taxpayer information that is confi dential in the hands of certain specified officers under s. 193.074, F.S., is subject to disclosure under the Public Records Act when it has been submitted by a taxpayer to a value adjustment board as evidence in an assessment dispute. AGO 01-74.
Similarly, absent a specifi c statutory exemption for assessment rolls and
public information cards, such documents made or received by the property appraiser are public records subject to the Public Records Act, regardless of the confi dentiality of a return that may contain information used in their creation. AGO 05-04.
Privacy of Personal Records ↑ Top

redpajama_set_name: RedPajamaCommonCrawl


Now that I have an Apple Watch on order, time to think about bands. Since we're all probably well versed in the bands available from Apple (and Hermes), thought it'd be fun to put together a running list of some of the BEST third party Apple Watch bands.
Add your own choices (with links please) below!
I'm wearing Pad & Quill's Lowry Cuff and it's a really nice, high quality leather band from a very well known leather accessory maker.
Mark Guim and sg01 like this.
Gotta love P&Q gear. Always quality.
I second the Eoso Link bracelet as well as their Sport Band knockoffs. They are all pretty good quality. $70 for a link bracelet is a whole lot better than $500. P&Q makes good stuff but I haven't tried their bands, sure they are fine. I would like to recommend the Case Mate leather bands. They are a little small for my wrist but aside from that they seem to be good quality.
I second the Eoso Link bracelet as well as their Sport Band knockoffs. They are all pretty good quality.
I just took a look at some of their stuff and it does look decent.
If you have any others don't be shy. Share them here!
I'm also looking at Lucrin. I like that you can choose the color of the connector: silver or black.
Those are really nice. Such nice colors, and like you said love that you can choose the color of the connector.
I really like those bands!
My S2 watch is arriving shortly and I'm looking for another band.
Gentleman in the apple store mentioned that the bands for slightly different with the series 2 so should I hold off ordering until it's been updated? I previously heard the bands are compatible.
For sports bands, you can't beat Moko brand, available from Amazon.com. Other than the fact that the material is ever so slightly thinner, these are the closest thing you'll find to an Apple sports band. I don't have EVERY color Moko offers, but almost. My wife and I have an agreement - she has different shoes for every outfit, I change watch bands to match shirt color. No judgment.
For nylon bands, I just bought a pink one from Kartice and it seems identical to the one Apple nylon band I own.
This is absolutely the first I've heard about that S2 or any bands being different from the first versions.
I expected that there would be different bands available, but not incompatible. Maybe somebody with an S2 can speak to the compatibility with original bands. Given the number of people who have a number of bands, I'd expect we'd have heard about any incompatibility with the S2 (or S1) already.
I looked at their Classic Buckle and it looks every bit as nice as Apple's CB. But I was hoping to find a good leather band for a little less than what Apple wants.
That's what I thought as well so I figured i'd take the risk on a couple of the sport bands on amazon. At 12 dollars it's worth the inconvenience if i have to return them.
I don't have EVERY color Moko offers, but almost. My wife and I have an agreement - she has different shoes for every outfit, I change watch bands to match shirt color. No judgment.
I change watch bands to match shirt color.
I might do that and see if anybody notices.
On a study abroad trip last May, I wore a different color shirt every day with a matching watch band. I wasn't sure if anyone noticed. One day I wore a long-sleeve shirt and one of the students walked up to me and pulled up my sleeve so she could see the watch band. "Just checking," she said.
By the way, here's today's combo - pink long-sleeve Columbia shirt with pink Kartice nylon band.
ladyc0524 and sgchick like this.
You can check from the apple store. I have 3 bands from my previous apple watch and they all install fine with my Apple Watch series 2.
I have two sports band, the leather one and the Milanese loop. All from apple. I don't trust the third party ones when it comes to quality.
It's a pricey way to go but there's no doubting the quality of the bands. Those are also the two bands highest on my Buy Next list. I'm thinking the Black Milanese though.
Yeah I hear ya! Would be nice to (eventually) have the choice between a new round design and the current one. Would open up a new world of accessories for Apple and others as well.


Funk in the City presents the Annual Art Festivals at Haynie's Corner! Join us as for a fabulous day of art. Featuring artists from around the region and multiple states, this is a great opportunity to support artists and the art community. In addition to the amazing artist and artisans, there will also be fabulous food vendors to satisfy your hunger!
The Funk in the City organization is proud to partner with the Haynie's Corner Arts District Association. A portion of the proceeds will be used to promote and preserve the Art's District.


Home / غير مصنف / CANCEL BREXIT: Brexit petition update - will Britain EVER leave the EU?
CANCEL BREXIT: Brexit petition update - will Britain EVER leave the EU?
The petition calls on the Government to "revoke Article 50 and remain in the EU." At the time of writing it had gathered 5,562,140 signatures from across the UK. As the petition ratcheted up signatures over the weekend, an estimated one million people took to the streets of London to march for a 'people's vote' on Brexit.
The original Brexit deadline of March 29 is a thing of the past, with the Government in the process of preparing legislation to officially move the mark.
Now, we're looking at May 22 at the latest - and that's only if Theresa May can get her deal through the House of Commons, which she said herself doesn't look likely.
If the deal isn't voted through, the UK is looking at an April 12 deadline and a no deal Brexit.
Speaking to MPs in the Commons on Monday, the Prime Minister said the "default outcome" remained to leave the EU without a deal.
"The alternative is to pursue a different form of Brexit or a second referendum.
"But the bottom line remains: if the House does not approve the withdrawal agreement this week and is not prepared to countenance leaving without a deal, we would have to seek a longer extension."
MPs voted to rule out a no deal scenario in a series of votes held in the Commons earlier this month.
In 2018, the European Court of Justice ruled that the UK could unilaterally revoke Article 50 and stay in the EU.
However it is extremely unlikely for this action to be taken without another referendum or some form of public vote.
Meanwhile, organisers of the Put It To The People march celebrated more than a million people turning out on Saturday to protest through the streets of London.
If these estimates are correct, it would make it the biggest march of the century, on par with the Stop the War march of 2003.
He said he had this message for her: "I can only vote for a deal if you let the people vote on it too.
"Prime Minister, you've lost control of this process, you're plunging the country into chaos, let the people take control."


Home Books Penine agadah min ha-Talmud ha-Bavli, ha-Yerushalmi eha-midrashim kines e-arakh Yonah Ben-Pinas.
Book Penine agadah min ha-Talmud ha-Bavli, ha-Yerushalmi eha-midrashim kines e-arakh Yonah Ben-Pinas.
Penine agadah min ha-Talmud ha-Bavli, ha-Yerushalmi eha-midrashim kines e-arakh Yonah Ben-Pinas.
Yerushalayim . R. Mas, (c)742, 1982.
166 p. ;, 22 cm.
Title on added t.p.: Gems of Talmudic legend.
William Dronfield, 1826-1894 : influences on nineteenth century Sheffield by Vernon Thornes.
Publication & Distribution: [Sheffield] . Sheffield City Libraries, (c)1976.
Index to Jackson & Barnard Funeral Home records, Sudbury, Ontario, December 1913 - June 1949 : a genealogical reference listing.
by Index to Jackson & Barnard Funeral Home records, Sudbury, Ontario, December 1913 - June 1949 : a genealogical reference listing.
Publication & Distribution: Sudbury, Ont. . Sudbury District Branch OGS : . Sudbury Public Library, (c)2000.
The Cape run : the story of the Union-Castle service to South Africa and of the ships employed by W.H. Mitchell and L.A. Sawyer ; with drawings by Nigel V. Robinson.
by by W.H. Mitchell and L.A. Sawyer ; with drawings by Nigel V. Robinson.
Publication & Distribution: Lavenham [Suffolk] . T. Dalton, (c)1984.
Shoki M Takut kenky Nakayashiki Hiroshi cho.
Publication & Distribution: Machida-shi . S?s?sha, (c)1998.
Publication & Distribution: TÞubingen . Mohr Siebeck GmbH & Co. KG, (c)2005.
Author: Hrsg.: Rubenstein, Jeffrey L.
Download Penine agadah min ha-Talmud ha-Bavli, ha-Yerushalmi eha-midrashim kines e-arakh Yonah Ben-Pinas.


text:
Q: HTML: show Romanian characters on a web page I am building a web page in Romanian language and I want to appear on the web page the special Romanian characters (ș, ț, ă, î, â).
I have introduced in the head of the html file the following code:
<meta http-equiv="Content-Type" content="text/html; charset=utf-8">

but it does not work.
Can somebody support me?

A: First set a header with PHP:
<?php header('Content-Type: text/html; charset=utf-8'); ?>

Note: call this function before any output has been sent to the client.
  See the manual page of header for more information.
php.net/manual/de/function.header.php

Then use the html5 version of header:

   <meta charset="UTF-8">

Last step save the file with the UTF-8 charset.
This should work without replacing every special char with the masked version of it (ü ...)

A: Try this code
<!DOCTYPE html>

<meta http-equiv="Content-Type" content="text/html; charset=utf-8">
<title>Page Title</title>

ș

ă

ț

â

î

Output --
ș
ă
ț
â
î
Try this link https://websitebuilders.com/tools/html-codes/romanian/

redpajama_set_name: RedPajamaStackExchange


text:
Verdict mixed in toxic contami...
Verdict mixed in toxic contamination trial
By John Ellis, Fresno Bee
A federal jury late Thursday delivered a mixed verdict in a major toxic contamination case, finding the cancer-causing chemical hexavalent chromium migrated into a Merced-area neighborhood via the air and in a canal, but not through groundwater.
More than 2,200 residents of the Beachwood subdivision claimed contaminants from a nearby plant that used industrial chemicals to pressure-treat wood for cooling tower frames contaminated the air and water.
The plant was once owned by Baltimore Aircoil, a subsidiary of pharmaceutical giant Merck & Co. In 1985, Merck sold the company to Amsted Industries of Chicago. All three were sued by the residents.
"The air in the Valley is not the best, but you don't make it worse by adding a toxic chemical like this," said Fresno attorney Mick Marderosian, who represented the residents. "This jury did the right thing."
But Merck also claimed victory, saying in a statement that it was "pleased" that the jury "found that plaintiffs were not exposed to contamination in drinking water or groundwater."
It also promised an appeal of the air and canal portions of the jury's verdict, saying they "were not supported by the evidence and are inconsistent with well-established legal principles."
Thursday's verdict, following a two-month trial before U.S. District Judge Oliver W. Wanger, was just the first hurdle in what could end up being a three-part case. A second jury will now be convened to determine whether the residents were harmed by exposure to the hexavalent chromium, which gained attention after the movie "Erin Brockovich."
Merck, Amsted and Baltimore Aircoil will again be the defendants, and after the jury's verdict, Marderosian said Thursday he will "absolutely" seek punitive damages.
Merced County, the city of Merced, the Franklin County Water District and Merced Irrigation District settled before the trial.
While the case will continue on the air and canal contamination, the jury's verdict ended the allegations that hexavalent chromium contaminated the groundwater.
The jury's finding cleared a third defendant, the Meadowbrook Water Co., a family-owned company.
"Obviously we're pleased," said Gary Drummond, an attorney who represented Meadowbrook. "We expected [the verdict] and we deserved it."
The plant's history stretches back to the early 1960s, but it didn't start pressure-treating wood until around 1969. By 1975, it was owned by Baltimore Aircoil, then a Merck subsidiary.
In 1985, Merck sold the company to Amsted.
The contamination was discovered in 1984, but the plant continued to pressure-treat wood until 1991. It was shut down in 1993.
Marderosian said in his closing argument that the hexavalent chromium had migrated from the plant toward the neighborhood, where it was picked up by a Meadowbrook well. He said the well aided in sucking contaminated water into the neighborhood, where it reached other wells.
The jury didn't find that was the case. It did find, however, that the plant contaminated the air for 25 years. Marderosian argued that the chemicals dripped onto dirt at the plant, and forklifts kicked up contaminated dust that was carried by air to the subdivision.
The jury also found hexavalent chromium was in a canal that ran by the plant and adjacent to the neighborhood from 1969 to 2006 at 87 parts per billion. California's standard for total chromium is 50 ppb. There is no standard for hexavalent chromium.
In its statement, Merck said that it is a "research-based pharmaceutical company [that] has never operated any wood-treatment facility."
Its role in this case, the company said, came only from its ownership of Baltimore Aircoil Co.
Since it sold the company to Amsted in 1985, Merck said it has "worked closely with Amsted and state and local environmental regulators to investigate and remediate groundwater and soil at the site."


text:
Sanket's Review: Bangistan
sanket porwal, August 9, 2015 August 9, 2015 , Member Reviews, Reviews, 0
Its hard to dismiss a film that is layered with sincere and relevant intentions and makes a brave attempt. But alas, intentions and audacity doesn't necessarily make up for some good 130 odd minutes of a movie. Bangistan is so juvenile and pedestrian that it even puts someone of Riteish Deshmukh's calibre in a backseat offering a cold performance in a muddled role.
The film has interesting premise, but it fails to catch up. Religious discrimination is darling issue of the movie and yet there's no particular scene from which I could gather any interesting point of view on religion. Its that banal. For the entire running time of Bangistan, all you keep expecting is some emotion – laughter, pain, anger…anything! But it fails. What it does successfully though is keep adding characters to the plot to engage the screenplay. But just everything falls apart.
The film's climax is absurdly stupid and unimaginative. Earlier this year there was "Welcome 2 Karachi" another film thriving on similar plot. That particular film wasn't any good, infact hardly mediocre, but it gave some genuine laughs in its first hour. It had some interesting ideas. But just like Welcome 2 Karachi even Bangistan takes its plot too seriously and ends up in a regressive climax. I think it's because they want to convey something serious and don't wanna spoil it by just making the film more disposable by adding comic elements. I am not saying it shouldn't be a serious toned film, but it shouldn't be as regressive as the climaxes of two films mentioned that you feel you would rather have some forgettable laughs!
The songs are so-so and the background score is just fine. Although visuals of this film are eye-pleasing and captures some amazing scenery of Poland.
Its a film where in the end you don't remember any performance or any scene for that matter. The film just goes on and on and on. And on. I will be generous about the rating of the film for its honest intent, but I must say its one of the poorest films we saw at cinemas this year.
Rating – 1.5/5
Tags: Bangistan Karan Anshuman Member Reviews Pulkit Samrat Reviews Riteish Deshmukh
Gangs of Wasseypur Telegraph Movie Review by Pratim D. Gupta
sputnik, June 23, 2012 December 1, 2013 , Critics Reviews, Reviews, 0
Taare jo babuna, taarti babuniya… Babuna ke hatthe na chadhti babuniya… womaniya… Ho ho womaniya! womaniya… Aa ha womaniya!...
Hate Story Movie Review by Anupama Chopra
sputnik, April 21, 2012 December 1, 2013 , Critics Reviews, Reviews, 0
Director: Vivek Agnihotri Cast: Paoli Dam, Gulshan Devaiah Hate Story is being pitched as an erotic thriller but it's...
Kedarnath Movie Review by Rajeev Masand
sputnik, December 7, 2018 December 7, 2018 , Critics Reviews, Reviews, 0
Rajeev Masand reviews this week's new Hindi film Kedarnath starring Sushant Singh Rajput and Sara Ali Khan, and directed...
1920 – Evil Returns Movie Review By Taran Adarsh
aryan, November 2, 2012 November 2, 2012 , Reviews, 0
Vikram Bhatt has emerged the most successful brand in the horror genre. In fact, it won't be erroneous to...
DON 2 Movie Review by Anna M.M.Vetticad (Spoilers)
sputnik, December 22, 2011 December 28, 2011 , Reviews, 0
"Helloooo Mr Shah Rukh Khan! And you too, Ms Priyanka Chopra! But most of all, may I shake your...
Ek Tha Tiger Movie Review by Komal Nahta
sputnik, August 16, 2012 August 16, 2012 , Reviews, 2
Ghanchakkar Public Reviews
aryan, June 28, 2013 December 1, 2013 , Public Reviews, Reviews, 1
More Public Reviews Below
The Commuter Movie Review by Sputnik
sputnik, February 7, 2019 February 14, 2019 , Member Reviews, Reviews, 0
In this action-packed thriller, Liam Neeson plays an insurance salesman, Michael, on his daily commute home, which quickly becomes...
Gaye Jaa Song from Brothers ft Akshay Kumar, Sidharth Malhotra, Jackie ShroffBox Office Predictions of Brothers


text:
Trip Planner: Europe / Turkey / Turkish Aegean Coast / Aydin Province / Geyre / Aphrodisias
Aphrodisias, Geyre
#3 of 18 in Historic Sites in Aydin Province
Must see · World heritage site · Ruin · Tourist Spot
Explore the ruins ofAphrodisias, the ancient Greek city named after the goddess of love, Aphrodite, that earned its place on the UNESCO World Heritage list for its abundance of marble and talented sculptors. What was once the capital of Lydia province is now considered one of the most well-preserved of its type in the Mediterranean. Be sure to take a look at the imposing stadium, which once seated over 30,000 for various athletic events. Examine the other remaining structures that have been arranged to replicate a small city: the temple of Aphrodite, the monumental gateway, the Bouleuterion council house, and the Sebasteion. Stop by the museum on site to see some of the most remarkable remaining marble sculptures. Take time for an audio tour if you would like more information. If you decide to drive to the ruins, park in the lot below the entrance and wait for one of the shuttles to take you to the site. Plan your Aphrodisias visit and explore what else you can see and do in Geyre using our Geyre trip planner.
http://www.aphrodisias.com/
Sunday 8:30am - 7pm
80 km from Pamukkale,
Geyre Turkey
Lot parking available
Create an itinerary including Aphrodisias
Tours to Aphrodisias
FROM $2,990 BOOK WITH VIATOR 10 Day Private The Best of Turkey Tour
Tours from $2,990 »
FROM $1,990 BOOK WITH VIATOR Best Of Turkey Tour 10 Days Small Group
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FROM $170 BOOK WITH VIATOR Aphrodisias&Pamukkale Tour from Kusadasi
FROM $292 BOOK WITH VIATOR Aphrodisias, Pamukkale, Hierapolis Tour from Hotels in Kusadasi and Selcuk
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FROM $349 BOOK WITH VIATOR Enjoy a Full Day Tour in Pamukkale and Aphrodisias from Kusadasi
Duration: 8 to 12 hours
Aphrodisias reviews
By mikex2017
We'll worth it if you're day tripping to Pamukkale. Very few people know about this place so you've got the stadium stadium and amphitheatre all to yourself. You can stand right where gladiators and..... more »
An amazing complex. We had seen a number of theatres at Priene, Nysa, Euromos as well as Ephesus so the theatre here wasn't exceptional, good but no better. The value of the site lay in so many other.... more »
By Thomas Armstrong
Felt like we were the only people there. In reality, there may have been another six visitors. If you're as lucky as us, you can experience the exotic feeling of discovering an ancient city. Every major attraction was well marked and the museum is fantastic and impressive in it's size. It may be a more fulfilling experience than the nearby, more popular Ephesus.
By Can Arat
Not every ancient city ruins are worth seeing for people except the ones who are really interested but this one was really must see. Archeologists are still working in the site, I'm sure I'll be visiting the site again later sometime...
Plan your trip to Geyre
Side trips from Geyre
Buldan Suleymanli Yayla
Trips to Aphrodisias by other users
60 days in Europe & Asia BY A USER FROM LATVIA Istanbul · Pamukkale · Antalya 16 days in Turkey BY A USER FROM SOUTH AFRICA Istanbul · Selcuk · Pamukkale 60 days in Turkey BY A USER FROM UNITED KINGDOM Bodrum City · Marmaris · Oludeniz 16 days in Turkey BY A USER FROM FRANCE Antalya · Pamukkale · Alanya 13 days in Turkey BY A USER FROM SAUDI ARABIA Istanbul · Pamukkale · Goreme 19 days in Izmir, Pamukkale & Kusadasi BY A USER FROM UNITED STATES Izmir · Pamukkale · Kusadasi
Images and information provided through Inspirock ®Turkey Trip Planner


text:
#ifndef PCL_SEGMENTATION_IMPL_SEGMENT_DIFFERENCES_H_
#define PCL_SEGMENTATION_IMPL_SEGMENT_DIFFERENCES_H_

#include <pcl/segmentation/segment_differences.h>
#include <pcl/common/concatenate.h>

//////////////////////////////////////////////////////////////////////////
template <typename PointT> void
pcl::getPointCloudDifference (
    const pcl::PointCloud<PointT> &src,
    const pcl::PointCloud<PointT> &,
    double threshold, const boost::shared_ptr<pcl::search::Search<PointT> > &tree,
    pcl::PointCloud<PointT> &output)
{
  // We're interested in a single nearest neighbor only
  std::vector<int> nn_indices (1);
  std::vector<float> nn_distances (1);

  // The src indices that do not have a neighbor in tgt
  std::vector<int> src_indices;

  // Iterate through the source data set
  for (int i = 0; i < static_cast<int> (src.points.size ()); ++i)
  {
    if (!isFinite (src.points[i]))
      continue;
    // Search for the closest point in the target data set (number of neighbors to find = 1)
    if (!tree->nearestKSearch (src.points[i], 1, nn_indices, nn_distances))
    {
      PCL_WARN ("No neighbor found for point %zu (%f %f %f)!\n", i, src.points[i].x, src.points[i].y, src.points[i].z);
      continue;
    }

    if (nn_distances[0] > threshold)
      src_indices.push_back (i);
  }

  // Allocate enough space and copy the basics
  output.points.resize (src_indices.size ());
  output.header   = src.header;
  output.width    = static_cast<uint32_t> (src_indices.size ());
  output.height   = 1;
  //if (src.is_dense)
    output.is_dense = true;
  //else
    // It's not necessarily true that is_dense is false if cloud_in.is_dense is false
    // To verify this, we would need to iterate over all points and check for NaNs
    //output.is_dense = false;

  // Copy all the data fields from the input cloud to the output one
  typedef typename pcl::traits::fieldList<PointT>::type FieldList;
  // Iterate over each point
  for (size_t i = 0; i < src_indices.size (); ++i)
    // Iterate over each dimension
    pcl::for_each_type <FieldList> (NdConcatenateFunctor <PointT, PointT> (src.points[src_indices[i]], output.points[i]));
}

//////////////////////////////////////////////////////////////////////////
//////////////////////////////////////////////////////////////////////////
//////////////////////////////////////////////////////////////////////////
template <typename PointT> void
pcl::SegmentDifferences<PointT>::segment (PointCloud &output)
{
  output.header = input_->header;

  if (!initCompute ())
  {
    output.width = output.height = 0;
    output.points.clear ();
    return;
  }

  // If target is empty, input - target = input
  if (target_->points.empty ())
  {
    output = *input_;
    return;
  }

  // Initialize the spatial locator
  if (!tree_)
  {
    if (target_->isOrganized ())
      tree_.reset (new pcl::search::OrganizedNeighbor<PointT> ());
    else
      tree_.reset (new pcl::search::KdTree<PointT> (false));
  }
  // Send the input dataset to the spatial locator
  tree_->setInputCloud (target_);

  getPointCloudDifference (*input_, *target_, distance_threshold_, tree_, output);

  deinitCompute ();
}

#define PCL_INSTANTIATE_SegmentDifferences(T) template class PCL_EXPORTS pcl::SegmentDifferences<T>;
#define PCL_INSTANTIATE_getPointCloudDifference(T) template PCL_EXPORTS void pcl::getPointCloudDifference<T>(const pcl::PointCloud<T> &, const pcl::PointCloud<T> &, double, const boost::shared_ptr<pcl::search::Search<T> > &, pcl::PointCloud<T> &);

#endif        // PCL_SEGMENTATION_IMPL_SEGMENT_DIFFERENCES_H_

redpajama_set_name: RedPajamaGithub


Manual handling covers a wide range of activities including lifting, pushing, pulling, holding, throwing and carrying. It includes repetitive tasks such as packing, typing, assembling, cleaning and sorting, using hand-tools, and operating machinery and equipment. Because most jobs involve some form of it, most workers are at risk of injuries as a result of this type of labour. injury. Of course, not all tasks of this nature are hazardous. But it is significant that around a quarter of all workplace injuries are caused by physical tasks.
What kind of injuries can result from manual handling?
Some of these conditions are known as repetitive strain injury (RSI), occupational overuse syndrome (OOS), cumulative trauma disorder (CTD) and work-related musculoskeletal disorder (WRMSD). In the Manual Handling Regulations, all of these conditions are referred to as musculoskeletal disorders (MSD). The Regulations define MSD as an injury, illness or disease that arises in whole or in part from manual handling in the workplace, whether occurring suddenly or over a prolonged period of time.
An employer, because it will help you work out which manual handling tasks in your workplace could cause MSD, and show you how to control the risk.
A designer, manufacturer, importer or supplier of plant for use in workplaces because it will help you ensure that users of your product are not exposed to the risk of MSD.


Summary: The last bit of Siwon's resistance is being peeled away with every piece of clothing Leeteuk strips from his body.
Author's Note: Bleh. I needed to write something for this month. I promise to have longer, better fics done when I am not busy ALL OF THE TIME.
Summary: When the other members of Super Junior leave the house, Kangin is on him before the door is even closed.
Author's Note: There is really no plot to this, so please forgive the odd ending.


This is a pair of bright and dynamic paintings showing a flotilla boats using Tiffany's Fractured style. Lots of colour and energy in this duo. Each section is 20cm wide and 1 metre long. This will make a statement in your room! The edges are painted so framing is not required unless desired.


text:
IVÁN MORDISCO
SURINA
Home ᐳ News ᐳ Brief ᐳ Maduro Relies on 'Colectivos' to Stand Firm in Venezuela
Maduro Relies on 'Colectivos' to Stand Firm in Venezuela
COLECTIVOS / 18 MAR 2019 BY VENEZUELA INVESTIGATIVE UNIT EN
President Nicolás Maduro's recent call for armed civilian groups to "resist and stand firm" amid Venezuela's ever-worsening social crisis, confirms his reliance on these criminal organizations to help the regime stay in power.
Amidst rolling power blackouts, which suspended critical services throughout the country causing raids and vandalism from March 7 onward, Maduro requested the support of the "colectivos" (armed civilian groups acting as paramilitaries) and other communal organizations created by his government, through a radio and TV broadcast.
"I call on all the social power, on all the popular power in Venezuela… I call on the 'colectivos', on everyone. The hour of active resistance has arrived," declared the president, whose rule has been deemed llegitimate by more than 60 countries.
SEE ALSO: The Devolution of State Power: The 'Colectivos'
The "colectivos" appeared during the administration of Hugo Chávez with the purpose of defending the Bolivarian Revolution and have since been supported by the government. Armed and traveling in motorcycles, the 'colectivos' are used by the regime to restrain protests against the government as well as to violently bring "order" through raids, such as those seen in increasing number in Venezuela of late.
Maduro's call once again evidences the ties his government has with paramilitary groups dedicated to criminal activities such as kidnapping, extortion, drug trafficking and other offenses.
The "colectivos" have been allowed to act with impunity in exchange for their support in combating anti-government protests as well as opponent intimidation and persecution, aiming to safeguard the unstable Venezuelan regime.
This national blackout has been a backdrop for yet another round of public protests, once again interrupted by the "colectivos". A video released on Twitter recorded these armed groups in action on March 10 in the Caracas municipality of Chacao, dispersing people expressing their anger at the power cuts. The groups of armed men were seen leaving from the Transport Ministry.
Next to the social fretfulness, raids, riots and public disorder, the interventions by the "colectivos" have also been center stage.
SEE ALSO: The Armed Groups Propping Up Venezuela's Government
Last February, Insight Crime alerted about the existence of the "Border Security Colectivo." It operates in the state of Táchira and its members are dissidents of the Revolutionary Armed Forces of Colombia (Fuerzas Armadas Revolucionarias de Colombia – FARC) and the National Liberation Army (Ejército de Liberación Nacional - ELN). The group acted in coordination with state security forces to block the entrance of international humanitarian aid, last February 23.
While the social and political agitation increases in Venezuela, the "colectivos" appear empowered as a strike force and armed wing of the Chavista revolution, with permission to perpetrate brutalities and further their criminal activities.
COLECTIVOS ELITES AND CRIME VENEZUELA
ELITES AND CRIME
Venezuela's Saab Story Continues With Benefit Concert
ELITES AND CRIME / 25 FEB 2021
As alleged Maduro financier Alex Saab awaits potential extradition to the United States, the Venezuelan government decided that a concert…
Bolivia Family Clans Key Cocaine Suppliers to Brazil, Colombia
BOLIVIA / 14 MAY 2021
The extradition of a prominent Bolivian drug trafficker to Brazil has shed rare light on how family clans in the…
El Salvador Mayors Cash in on Migrant Smuggling
EL SALVADOR / 5 AUG 2021
In two separate cases in El Salvador, mayors are accused of heading migrant smuggling rings, a crime that,…


text:
Diagrams, Perspective and the Unmoved Onlooker - a conversation with Richard Talbot
❉ Blog number 18 on diagrams in art and culture revisits an interview I made in 2013 with the artist Richard Talbot. Richard is a leading authority on perspective, and Head of Fine Art and Professor of Contemporary Drawing at Newcastle University in the UK.
Figure 1: Richard Talbot, Random Moves, 1989, pencil and ink on paper, 120 x 120cm
The diagrammatic drawings of Richard Talbot present viewers with a palimpsest of their the own process of creation, or working-out. Each image sits embedded within a network of the construction lines and erasure marks from which it has arisen, and the artist himself suggests that this promotes the idea that the process of drawing itself can be considered the medium of his work, rather than the materials chosen to make the drawings (1).
I first discovered Richard's work in the book 'Writing on Drawing', a compilation of essays edited by Steve Garner, and published by Chicago University Press in 2013. (More information about the publication is available in a previous blog post: Diagrammatology: A reader.) Richard's contribution 'Drawing Connections', comprises chapter 3 of the book, and introduces his studio practice and academic research in to the theory, history and practice of perspective.
As a second year PhD student in Kyoto I travelled to the UK at the end of the summer in 2013 as part of a research trip to interview artists and theoreticians working with diagrams. One of the highlights of the trip was the opportunity to talk with Richard in his beautiful studio and office in the distinctive, red-brick, double arches of Newcastle University's Gate Tower.
The Arches viewed from the Quadrangle, Newcastle University.
"Essentially, perspective is a form of abstraction. It simplifies the relationship between eye, brain and object. It is an ideal view, imagined as being seen by a one-eyed, motionless person who is clearly detached from what he sees. It makes a God of the spectator, who becomes the person on whom the whole world converges, the Unmoved Onlooker."
Robert Hughes (2)
MW: You originally had studied Astronomy and Physics ?
RT: I did, but realized early on that I had chosen the wrong subject. I noticed also that
you had studied Biomedicine.
MW: Yes, so I was immersed in diagrams, especially as I specialised in Biochemistry, which as a subject deals with diagrams on many levels.
RT: Yes, when I was at school, all the chemistry diagrams and the glassware we used, I still find very exciting, it still gives me a buzz when I look at those diagrams. Also I suppose that Alchemical drawings which are in a sense diagrammatic, but which also refer to broader cultural aspects and spiritual things. But I think it is that combination of diagrammatic mixed with something else where things become very interesting.
MW: Especially for the initiated few who can decode and read the Alchemical imagery and illustrations such as those in Michael Maier's books. And you were also interested in optics and optical diagrams ?
Figure 2: Ray diagram from 'OPTICKS:
A treatise of the Reflections, Refractions, Inflections and Colours of light', Sir Isaac Newton
(forth edition, 1730, Available online here)
RT: Again, I always was - by the geometric diagrams of optics: the eye, mirrors, the idea of 'looking through', I was interested by that whole system; the picture of the eye, the rays coming in to the eye, or out of the eye. I find all of those things exciting, and I think that it's because you're almost standing outside of the system, and you can see what this system is.
MW: That's something I wanted to ask you about because you had mentioned that you were interested in landscapes, and the idea that maybe the drawings you make are detached, conceptual landscapes. I remember reading 'To the Lighthouse' by Virginia Woolf, and there's a very short chapter in the middle of the book, which describes time passing in an empty room. But it does so from outside the book, from the detached perspective of an omnipotent narrator, an all seeing eye. I wondered if that was something you were interested in as an artist?
RT: Yes, I think so. I suppose maybe it's this kind of hyper-consciousness, just this thing, observing, and you just become very aware of time and space, and of yourself as a little entity within this. It's almost as if time disappears.
The other thing I remember reading a lot as a student was Nietzsche, and the image of time as a snake eating its tail. He called it 'eternal recurrence', where you're trying to imagine that every moment could be relived exactly the same, so it kind of neutralizes time, because as animals we're stuck with this as a problem and try to find strategies to overcome that sense of things in the future and things in the past.
Figure 3: Michael Maier, Ouroboros, Emblem 14, Atlanta Fugens, 1617.
MW: I read that time was something that you would like to take out of your drawings, or perhaps avoid referencing in some way. Also, that you presented the objects in your drawings as Platonic forms, without any signs of wear and tear or reference to scale.
RT: Yes, that's right, I started off by making objects, but always found it really frustrating in terms of size, or what you make it with. But I suppose that a lot of the twentieth century was about that problem, about objects, and their separateness to us all.
MW: Such as the use of Plinths to present work ?
RT: Yes, for example Plinths.
MW: So did you ever regard your sculptural works as models, as a way to perhaps overcome these issues ?
RT: I suppose I did think of them as 3 dimensional diagrams, but then I suppose that made me unhappy about the materials they were made from. I always imagined whether perhaps it could be made out of perfect marble perhaps.
MW: I started to consider making works from elemental materials, such as aluminium or carbon, just to try to deal with the problem of simplifying or neutralizing that issue of materiality. One of the 3 dimensional works that you made called 'boat' was made out of rubber wasn't it ? Hanging as a collapsed frame on the wall, the skeletal form of a boat.
Figure 4: Richard Talbot, Boat, rubber, 180 x 30 x 10 cm
RT: Yes, it's funny that that particular series of works didn't end up going anywhere; I'm just trying to remember what the actual sequence was.
I think sometime in the early eighties, I was put forward for a commission; it was one of those completely random invitations to do something. It was for the Savoy Hotel. It was one of those awkward things of, well, do you design sculpture, or do you use something you've already got? So I started playing around with drawings and making cutouts from drawings of things. I ended up with some large sheets of rubber and started cutting it out to see whether it was something I could use.
I didn't intend to end up with something which would hang on the wall, but I did that in the studio by putting it to one side, and it's quite extraordinary how that works. So it was quite accidental, but was just the recognition of having taken it in to that different area that I didn't have any control of, so it was quite accidental. It was all cut by hand, so it was a very crisp line cut with a scalpel.
MW: About your working process, you wrote very beautifully about that initial process of orientation, the initial white sheet that you approach, and the infinite possibilities you're faced with - setting up some kind of initial starting conditions. You used the analogy of the Gothic Cathedral with its ground plans, and then the more organic process of construction that follows that.
There was also another article in the same book (Writing on Drawing: Essays on Drawing Practice and Research) by Terry Rosenberg about ideational drawing, a process of drawing which I though really suited your work very well.
RT: Yes, I mean I must say that I haven't read fully all of the articles in that book, but have skimmed through them.
MW: There were a couple of essays that really stood out for me personally, yours and Terry Rosenberg's. I enjoyed the way you talked about your use of perspective, not as a tool to create realistic drawings, but as a tool to allow you to use your intuition.
RT: Well I think that also goes back to that idea of self-consciousness, sort of knowing that you're this entity that looks at something from the outside.
I used to play around with spatial perspectives, and then I thought that actually one way of neutralizing these issues was just to use it, just to actually use the system. So that to get over that whole issue of viewpoint, for example when you make a piece of sculpture, how do you look at it ? If there's no best side as it were. So I thought, well if I just take it on full, this issue of perspective, and to absolutely use it as it was set up to use, then it falls by the way side, as an issue.
MW: Turning the problem in to part of the solution?
RT: I think it's like sometimes in Mathematics, when a problem can't be solved directly, they will call on a tool from other part of mathematics, and using that tool they can then move from one place to another. But in the end result, that tool disappears, it doesn't ultimately play a part in the answer, but it has been a useful tool to get you from one place to another.
MW: That reminds me of the role enzymes play in Biochemistry. They're completely essential to facilitating the process, but don't take part in a reaction in a way that they are altered themselves in the outcome.
RT: Yes, that's right, yes. So it is a kind of a vehicle, but then it's using that perspective that makes me then question how it was originally used in the Renaissance, because when you're actually working with it on the paper, there are so many interesting things actually going on that art historian looking in from the outside wouldn't grasp. And it is to do with that idea of play, between the diagrammatic and the spatial element. Perspective isn't all about creating a space, it is about the surface and how these things operate 2 dimensionally as well.
Figure 5, Richard Talbot, Missing the Target, 1989, pencil on paper, 140 x 80 cm
Figure 5, Missing the Target (Detail)
MW: I was very interested in the way you talked about the depth of space in your drawings, and not using deep space, but keeping things relatively shallow and immediate.
RT: Yes, I think that this also relates to my sense of what these Renaissance artists were doing. The picture that is portrayed of perspective is all about getting everything in terms of the horizon. But I don't actually think that's it at all. You are really working in a really shallow space. All those Renaissance paintings are also working in a really shallow space, and I think when you're actually constructing that on the paper, there's a real, almost physical connection to the space.
MW: I don't normally use colour in my work, it's actually something I avoid, and have for a long time. Then I came across a book by David Batchelor called Chromophobia. He was writing about colour and how it has been perceived as the additional, the exotic, the lipstick. Or at least that's how it was regarded by artists and writers who saw it as extraneous. And so I'm interested to ask you how you deal with colour in your work.
RT: Well I have to admit as to having always avoided it, as I've never understood it. It's a complete mystery. If I was making a drawing, I can't see any reason to use colour. But then equally I probably can't see any reason not to use it. But then I would probably be thinking well, why do I ? But then I know with somebody like Michael Craig Martin, I suppose he's somebody in the seventies who was producing very austere, paired down work, such as his linear drawings, which were initially all black and white.
But then he probably just stopped worrying and started to use incredibly strong colours in his work. And now the colour is really significant to his work. But its interesting that Michael Craig Martin was taught by Joseph Albers.
MW: That's interesting, I didn't know that.
RT: Yes, at Yale. So he would have had a real grounding in colour, and it's almost as if he, you know – 30 years later or whatever it was – just decided to start using these colours. It is odd how we set rules for ourselves and at the time we kind of need them, but occasionally we just think 'drop them', and stop worrying about them.
Figure 6, Richard, Glass, 1989, pencil on paper, 110 x 100 cm
MW: There were a number of times when looking at your works and reading what you wrote about them that reminded me of mathematics, and the idea of skeletonized forms. The idea of an equation, where the aim is to remove as much information as possible and leave only the knowledge - the process of essentializing something. Also the way that you talk about using intuition, and how intuition can be very immediate, or how it can require you to put the work away for many years. A slow boiler that you come back to much later.
Is mathematics something you're interested in? Or is it restricted to geometry, or patterns of thought?
RT: Yes, I'm interested, not in the sense of reading books on mathematics, but when I'm near mathematicians and they talk about what they are doing, I do feel an affinity with what they are doing, and I suppose that with my drawings, they become very complex, but I do have that hankering after something really, really simple. I do have this idea that one day I'll just be able to draw a line, and that that will be the finish! And in a way I suppose you do occasionally see it in some art works – and think that that is just an extraordinary piece of drawing, but then that in a way embodies everything they've ever done – 40 years later they've managed to make this extraordinary thing !
MW: Richard Dawkins wrote a while ago about the idea of a conceptual space containing all possible genetic variations, a kind of hyper-space of all possible genetic forms, and I was always fascinated by that idea. I think that also Douglas Hofsteader in Goedel Escher Bach, described the idea that Bach, in composing, had the ability to look over all the millions, well almost infinite combinations of musical notes, and was able to see patterns, islands or constellations of musical forms. And I wondered if that idea was perhaps something you were interested in. A vaguely discernible, fuzzy possibility of the form you're searching for, and how this idea relates to diagrammatic forms.
Figure 7: Richard Talbot: Step up, step down, pencil on paper, 120 x 120 cm
RT: Yes, I think that is definitely true, and I suppose that one of the things I am aware of is that in some ways, the drawings all start from the same point. That blank paper, that orientation.
MW: The tabula-rasa ?
RT: Absolutely, and you know that it could go in a completely infinite number of directions, and yet there is a sense that there is some solution there - that you setting things up. It becomes very obvious sometimes.
I wouldn't compare myself to Bach, but I can see that way of thinking - that there is an infinite number of possibilities, but you alight on a particular form that is true for you in one sense or another. It's hard to really articulate that process.
MW: How would you describe the relationship between the forms in your drawings and the marks which make up the background from which the image appears ?
RT: I think when I first started using perspective I was still in that mindset of drawing objects as things in space, but then quite quickly I became aware of how potent the workings-out - you know, the plans, the elevations and so on - how potent they were and how they were working with the kind of forms which were being described. It was also in trying to pin things down, I became aware of the balance between leaving things open ended and tying something down and saying 'this is that form'. It was that form, but not in such a positive or fixed way.
I stopped using ink on the drawings. I was using ink to go around the forms I was building, but that stopped. And so I started getting a much more subtle interplay between the workings out, and those workings out would be the plans, and elevations, and a myriad of other kind of connections which were being built, a kind of scaffolding.
MW: And you saw inking in as a kind of finishing process ?
RT: I did. You know you suddenly think that it has in a way killed off the drawings. Not inking became a way to leave the drawing as an open-ended thing. Perhaps when a work is too 'closed down' it can end up being very uninteresting. For example Raphael. I've never enjoyed looking at Raphael's paintings because they seem so overly fixed, whereas, Piero de la Francesca's paintings seem almost as if they are propositions.
Figure 8: Piero della Francesca, Flagellation of Christ, c.1468-70,
Oil and tempera on panel, 58.4 x 81.5 cm
Figures 9a,b, Diagrammatic Study of Piero della Francesca:
The Flagellation of Christ (outline and outline proportions)
Courtesy of Richard Talbot.
MW: Very early on in coming up with the questions that I wanted to ask in my PhD, I pretty much hit the same problem you did in realizing that I had always studied sculpture, but always made drawings. And I thought of the drawings as sculptural drawings and, luckily for me, my teachers at the time thought the same. So I had to decide whether to investigate the relationship between 2D and 3D diagrams - and thus include sculpture, or the way in which artists use diagrammatic image making to a romantic end, a subjective end; the way in which Marcel Duchamp played subject against object and also struggled with the issues of dimensionality. Where do you stand in terms of subject and object ?
RT: Yes, well I don't think I would come down either way, because I don't think that coming down on either side actually gets you anywhere. I suppose that in my student days, this dilemma about the objective and subjective was helped by there being, at Goldsmiths - which was something which was great about Goldsmiths at that time - was that there was a huge range of practice within the staff.
So you did have conversations with people who were systems thinkers, right through to people who were watercolour, or landscape painters. People weren't trying to ram the stuff down your throat; you were just having these interesting conversations, and then weighing it up about your own situation.
Thinking about what you were doing, what you thought you were trying to do, what you were actually doing ! You know, all those worries you have about, you know, 'is it art ?' I found myself really being able to make work when I stopped worrying about what side of the fence I was on, and finding a way of working where I felt as if I wasn't having to choose one way or the other. But both sides of me could be involved in that hankering after perfection. It's a case of playing these things off against each other.
I distinctly remember that when I did my MA at Chelsea, the external assessor we had was Paul Neagu, I think he's dead now, but he was very well known. He was one of the artists who Richard Demarco brought to this country, alongside such artists as Joseph Beuys.
Anyway I remember that the work I'd made at Chelsea had become really quite austere, and extremely minimal, and he said… 'don't forget the other side of yourself', and I realized exactly what it was he meant. That we can easily kind of forget. But then I think that also we need those extremes sometimes, to realize something. We need to go beyond in order to know where the edge was. It's only when you fall over the edge that your realize there was one !
MW: So there is actually nothing within your body of work that you see as a mathematical proof, some foundation to build upon ?
RT: No, I would certainly never say that there is anything that I'm demonstrating that is mathematical, no. I could say that when I was at Goldsmiths, I was taught by people who were involved in systems, and there were several people I knew, for example Malcolm Hughes working at the Slade, who had students working with experimental systems, building computers to generate paintings and so on; and I always felt that there was a problem in that they knew the kind of thing they were aiming for, and that it just seemed as if, well, you could make that painting without that system.
It was almost as if they were using that system as almost a 'get out'. The paintings would always end up looking like lots of other abstract constructive paintings that weren't made with a system, that were just made purely intuitively. And so I have a distrust of the idea of a system, and I think that that system is always, ultimately being driven by you.
MW: What are you working on at the moment ?
RT: Well apart form being heavily tied up in administration, I've finished some drawings and I've also been playing with film and video, which I can show you if you want.
It's very long drawing, based on a system in a sense, and was a definite play on the standard idea of a single viewer's perspective. They start with a really basic perspective grid, a 'unit', drawn in such a way that I can simply add these units together and extend the space in any direction. Strangely, it adds the possibility of time, in that your eye can travel along the drawing and the space continues always to make sense.
The video is another simple grid that is constantly shifting from the 2 dimensional surface in to the 3 dimensional image. Originally I had intended it to be projected on to a screen, but then I had the chance to project it in one of the large spaces downstairs, and the results were quite extraordinary - because it did actually become part of the space, which wasn't fully intentional, but those were the results.
The question of the artist's intention is also an interesting problem I think within the history of perspective; the well-known analyses of key renaissance paintings demonstrate that the spaces in the paintings are sometimes not quite what they seem to be. There is often some uncertainty, yet it is usually thought that perspective is fixed - that it's an unambiguous and rational thing.
Figure 10: Richard Talbot, All depth, no substance, 2013, Installation view
MW: Watching the video feels like a trying to solve a puzzle in perspective, there are moments when the lines are like a 2 dimensional pattern of shifting compositions, and then suddenly something in the visual cortex takes over and there's the impression of instant depth from those very same lines. It reminds me of watching animations of higher dimensional cubes rotating. You think you have understood what is happening and there's a sudden unexpected shift, you have to grapple with different kinds of depths.
RT: Well - I don't know - It's to do with my intention, I'm not settling down to produce something which has a specific result. I know they do result in that, but I'm not setting out to do that.
I am showing this work – I've never tried it before. I hope it works… It's actually going to be projected on to three screens, the same image, butted up against itself, but slightly out of synch. So the whole thing will be 'shifting', so that a more complex thing will be going on. I have no idea what it will look like – it might just look awful, but then I'm trying it – for this show.
Grid from Richard Talbot on Vimeo.
Richard Talbot's diagrammatic drawings are further discussed in chapter 3.5 of my PhD thesis, which is available to down load here.
Richard's academic studies in to the origins of linear perspective can be downloaded by clicking on the following link:
speculations_on_the_origins_of_linear_pe.pdf
Finally, below are a series of Piero della Francesca's own diagrammatic studies from his book 'De prospectiva pingendi: a treatise on perspective' c 1470 - 1492. The treatise, divided into three books, provides detailed, mathematical instructions, illustrated with numerous diagrams, for creating realistic perspective in illustrations. It was widely known among artists (such as Albrecht Dürer), but also in an academic milieu, where the copies of the Latin translation are thought to have circulated.
The book is available to view online at the British Library here.
1) Talbot,R. (2008) Drawings Connections, In: Writing on Drawing: Essays on drawing practice and research (2008) Intellect Books, UK: Bristol, p.55.
2) Hughes, R. 1980, The Shock of the New, London: Penguin Random House Company, p.17.
JMW Turner PP (Professor of Perspective)
❉ This is the first in a series of blogs that discuss diagrams and the diagrammatic format, especially in relation to fine art. I recently completed my PhD on this subject at Kyoto city University of the Arts, Japan's oldest Art School.
Figure 1: Lecture Diagram 66- Interior of a Prison (after Giovanni Battista Piranesi) c.1810
The English Romanticist landscape painter Joseph Mallord William Turner held the position of Professor of Perspective at the Royal Academy for some thirty years, from 1807 - 1837. During this time he managed to deliver only twelve full lecture courses.
Despite being primarily a landscape artist, Turner was in a position to lecture on perspective (principally an architectural specialisation) after having been apprentice to a master of the subject, the younger Thomas Malton, during the 1780s. Turner had also worked as a draughtsman to the architects Thomas Hardwick and James Wyatt, thus giving him a solid grounding in perspective theory and its practical application.
The title of 'Professor of Perspective' was something Turner was particularly proud of, sometimes even adding 'PP' when signing works (1). Turner spent over three years preparing his lectures, and during this time created over 170 diagrams to be used as visual aids during his presentations.
These drawings were large in size at approx. 60 x 90 cm (2ft x 3ft), and were positioned by assistants on a stand at his command.
Figure 2: Lecture Diagram 20- Conic Sections (after Thomas Malton Senior) c.1810
Despite his radical brilliance as an artist, Turner's lectures were far from successful. Audience members complained of his mumbling disorganisation, the rapid rate at which his images were presented, or even of his ambitious attempt to show his complete set of diagrams as a complex diagrammatic backdrop to his lecture.
Fellow Academicians mocked Turner for his 'inane lecturing style', his misuse of technical terms, vulgar pronunciation (he pronounced Mathematics as 'mithematics' ), and his liable to stray wildly from the subject he was supposed to be talking about (2,3).
However the diagrams Turner created to elucidate the complexities of perspective that he struggled to explain verbally, remain even today refined, lucid and strikingly contemporary in appearance.
They provide excellent examples of what the American Philosopher-Scientist Charles Sanders Peirce described as 'Moving Pictures of thought', in that one can literally see a given argument and experiment, model and confirm the ideas within ones own mind (4).
As one of the students in attendance at his lecture later reported, Turner's diagrams 'were truly beautiful, speaking intelligibly to the eye if his language did not to the ear'. (5)
This Series of Diagrammatic drawings holds a fascinating position in art history, in that they were made by one of the preeminent Romantic Landscape painters of the period, and yet reveal a mastery of the objective and technical rules of optics and perspective.
Turner, however, was an artist of his time, and in the words of Brian Lukacher, the 'mathematical rules of perspective, he believed, crumble before the higher metaphysics of the artistic mind fixed on the immeasurable'.
The 'Romantic / Objective' nature of such diagrammatic images was the subject of my PhD thesis, chapters of which are available for download from the research page of this website.
Lecture Diagram 19- Conic and Cylindrical Sections (after Thomas Malton Senior) c.1810
Lecture Diagram 11- Spheres at Different Distances from the Eye (after Thomas Malton Senior) c.1810
Lecture Diagram 17- Principles of Rectilinear Perspective (after Thomas Malton Senior) c.1810
Perspective Method for a Cube (after Jean Pélerin) c.1810
Lecture Diagram 21: Representation of a Globe in Perspective (after Thomas Malton Senior) c.1810
Lecture Diagram 37- Perspective Method for a Pentangular Prism (after Dr Brook Taylor) c.1810
Lecture Diagram 14 The Terminology of Perspective of Joseph Moxon c.1810
Lecture Diagram 36- Basic Perspective Construction of a House c.1810
Lecture Diagram 36- A House in Perspective c.1810
Lecture Diagram 10- Proportion and Design of Part of Raphael's 'Transfiguration' c.1810
Lecture Diagram 58- Perspective Construction of Pulteney Bridge, Bath (after Thomas Malton Junior) c.1810
Lecture Diagram 67/68- Stone Recess with Shadows c.1810
Lecture Diagram 70- A Ruined Amphitheatre c.1810
Lecture Diagram 51- Perspective Construction of a Doric Entablature (after Thomas Malton Senior) c.1810
Lecture Diagram 52- Perspective Constructions of an Ionic Capital (after Thomas Malton Senior and Jacques Androuet du Cerceau) c.1810
Lecture Diagram 48- Pedestal of the Column of Antoninus Pius c.1810
Lecture Diagram 75- Interior of a Prison c.1810
1) Judy Egerton [and Clifford Ellis], 'JMWT PP': A Selection of Drawings Made by Turner to Illustrate his Royal Academy Lectures as Professor of Perspective, exhibition catalogue, Tate Gallery, London 1980, p.1.
2) Mr Turner's lectures at the Royal Academy, The New Monthly Magazine, 1 February 1816, p.60.
3) Annals of the Fine Arts, vol.4, London 1820, p.98.
4) CP 4.8-11
5) Richard Redgrave, A Century of British Painters, 1866, p.95.
Andrea Fredericksen, 'Royal Academy Perspective Lectures: Sketchbook, Diagrams and Related Material c.1809–28', June 2004, revised by David Blayney Brown, January 2012, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www.tate.org.uk/art/research-publications/jmw-turner/royal-academy-perspective-lectures-sketchbook-diagrams-and-related-material-r1131857, accessed 18 March 2016.


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This one was a pleasant surprise. About a month ago, when I was making this salami I didn't have much hope that this was going to be a great experiment. It just looked like a lot of random and really strong flavored things to put inside of a salami. That's is still true, lots of things, but came out great.
This one is one of my favorites and I make them on a regular basis. I call this one "Waldheimer" because It's inspired by a sausage I used to love when I lived in this small town in Saxony, Germany years ago. The original recipe had no Parmesan or garlic, but this 'evolved' over time to fit what I wanted.


While the ferocious woman who took her from her family conducts a desperate search, a scheming bishop plots to convert a feral teenager for publicity.
Dirty and feral 16-year-old Darlin' is admitted to St. Thaddeus Hospital after being hit by an ambulance in front of the building. Kindly nurse Tony takes a liking to the girl, which puts him at odds with the hospital's stern doctor regarding how to treat her unusual condition. Meanwhile, The Woman stalks outside looking for a clandestine way to get to Darlin.
The Woman slits the throat of homeless hypochondriac Charlie. The Woman cuts a chunk of flesh from Charlie's stomach and presents it to Darlin as food from outside Darlin's hospital room window. No longer wanting anything to do with her surrogate mother, Darlin closes the blinds on The Woman.
The Bishop, who oversees St. Philomena's Catholic school for orphaned girls, sees an opportunity to prevent the church from closing his institution by using Darlin for publicity. The Bishop blackmails Sister Jennifer, a recovering junkie and former orphan, into participating in his scheme to reverse Darlin's feral behavior.
Darlin is enrolled at St. Philomena's. Other orphaned girls at the school include eccentric Billy, antagonistic Bug, a pair of twins, and another girl who harbors a pet mouse.
The Bishop and Sister Jennifer lock Darlin in an animal pen. While The Bishop records the provoked encounter on his phone, Sister Jennifer rubs dirt on Darlin and briefly wrestles with her when Darlin becomes antagonized. While showering afterward, Darlin remembers kissing a young boy.
Tony spots The Woman stalking around the hospital. The Woman sees that Darlin's hospital bed is empty.
Sister Grace attempts to discipline Darlin when Darlin, who remains mostly mute, is unruly during her class. Darlin breaks Sister Grace's ruler.
Billy acts out after Sister Jennifer takes over teaching. Despite Billy's frightened insistence that she will behave, Sister Jennifer sends Billy to The Bishop's private office.
Darlin escapes outside through a classroom window. The Bishop conducts a search with the nuns, but they are unable to locate Darlin in the surrounding woods.
Woken up while sleeping behind a dumpster, The Woman bites the throat of a police officer who mistakes her for a vagrant. The Woman takes the cop's handgun.
The Woman infiltrates the hospital. Brandishing a blade, The Woman murders Darlin's doctor as well as a clown.
Using a childhood bracelet bearing Darlin's name, The Woman confronts Tony. Acknowledging what The Woman wants while fearing for his own life, Tony vows to take The Woman to Darlin. Unfamiliar with cars, The Woman freaks out while Tony drives.
Darlin finds Billy smoking and listening to music in the woods. Billy befriends Darlin by playing music for her. Billy escorts Darlin back to the school.
The Woman forces Tony to overturn his vehicle during an unexpected police pursuit. While Tony is treated for his injuries following the crash, The Woman escapes to an encampment populated by homeless women. Misinterpreting The Woman's muttering of the word "darlin'," encampment leader Mona welcomes The Woman to her group of prostitutes.
Sister Jennifer eventually breaks through to Darlin by teaching her to blow bubbles in her drink. Jennifer befriends Darlin by gifting her with a doll-shaped cookie that Darlin sleeps with.
The Woman kills a john who gets violent with one of the hookers.
Darlin continues acclimating to normal life and gradually begins speaking and reading. Darlin vomits from morning sickness after flashing back to The Woman forcing her to eat the flesh of the boy she was seen kissing in a previous memory.
As she becomes more accepting of Christian doctrine, Darlin asks Sister Jennifer if God will save her. During a private meeting, The Bishop becomes confused when Darin asks if God will remove the devil that is inside of her.
Darlin has a nightmare in which The Bishop tears up her feet with a metal scouring pad. Billy and Bug appear amusedly perplexed when Darlin later tells them she is going to be saved.
Tony asks about The Woman when he comes to visit Darlin at St. Philomena's. Darlin cryptically explains that she had a "dog sister" who ran away after her "Peg sister" died giving birth to a stillborn baby. Darlin adds that The Woman wants the devil that is inside of her.
Darlin dances with Billy in the woods. Darlin tells Billy she is afraid the devil inside her will kill her when it comes out.
In his private office, The Bishop seduces Darlin into stripping off her clothes. The Bishop becomes repulsed when he sees that Darlin is pregnant. When the other orphans learn of her pregnancy, Darlin again expresses her fear that she will die if God does not save her.
The Bishop baptizes Darlin in a ceremony that he has Sister Jennifer record.
Sister Jennifer finally confronts The Bishop about his secret sexual abuse of the orphans, which includes victimizing her when she was a girl. The Bishop threatens retaliation if Jennifer tells anyone.
The Woman follows a pregnant couple into a maternity store. The Woman steals a wearable baby carrier. The Woman unsuccessfully attempts to steal a child in a public park.
During confession, The Bishop asks Darlin about her baby's father. Darlin talks about the kidnapped boy that The Woman also raised in captivity. The Bishop vomits when Darlin describes how sinful it felt to eat flesh from the bodies of the boy as well as her sister Peggy. Darlin expresses her belief that God guided her to St. Philomena's to save her from the same fate as her sister.
The Woman finds a newspaper article about Darlin. Thinking they are helping reunite The Woman with a daughter unfairly taken away by the government, Mona rallies the other homeless women to raid St. Philomena's and take Darlin back.
The other orphans gift Darlin with a new bracelet for her first communion. Thinking it may cause a miscarriage, Darlin drinks a bottle of bleach prior to the event.
As a publicity stunt, The Bishop invites The Cardinal and members of the media to attend Darlin's first communion. Tony and his boyfriend Robert also attend. The Bishop presents Darlin's conversion as a remarkable achievement.
Before Darlin receives the Eucharist, Sister Jennifer publicly accuses The Bishop of sexual abuse. Darlin bites a chunk of flesh from The Bishop's hand when he tries forcing the communion wafer into her mouth.
The Woman storms the church with Mona's mob. The Woman slices a cameraman's throat and impales The Bishop with a flagpole. Finally recognizing that The Woman is a feral murderer, Mona and the other homeless women abruptly flee with other parishioners.
Dying from her bleach ingestion, Darlin suddenly goes into labor. The Woman delivers Darlin's baby. Now disdainful of her religious brainwashing, Darlin asks The Woman to take the child far away. The Woman leaves with the baby strapped in her carrier. Sister Jennifer, Tony, Robert, and Billy comfort Darlin as sirens are heard approaching.
Really though, each plot operates independently of its predecessor, making "follow-up" or "spiritual successor" more appropriate monikers. Regardless of how one references these cinematic cousins, narratively they only share one character, or in "Darlin's" case two characters, in common. So while "The Woman" adds context as a prologue to "Darlin'," it's not essential for getting the gist of this story's setup.
When we left Darlin' at the end of "The Woman," she was a pint-sized tike being led into distant wilderness by the eponymous 'Woman,' an uncivilized savage who had just slaughtered the little girl's family. When we reconnect with her at the start of her same-named movie, we see that ten years living with the cannibalistic Woman has devolved Darlin' into a feral teen no longer able to communicate outside of grunts and growls.
Darlin' harbors a secret that compels her to finally reject The Woman as a macabre mother figure. An ambulance accident then separates the pair when Darlin' is admitted to St. Thaddeus Hospital. There, kindly nurse Tony emotionally invests in the unusual girl's care, although administrators have other ideas.
A conniving bishop sees Darlin' as the ticket he needs to stop the church from shutting down his school for orphaned girls. If he can rehabilitate Darlin', surely he'll be the talk of the town. The Bishop blackmails Sister Jennifer, a recovering junkie and former ward of the orphanage, into joining his self-serving scheme. Together they plot to make Darlin' prim and proper once again, ensuring a camera is always at the ready to document Darlin's "miraculous" transformation.
Meanwhile, The Woman grows hungrier and hungrier to reunite with her surrogate daughter. And The Woman is willing to literally bite through the throat of anyone who stands in her way.
"Offspring" primarily functions as a straightforward killer cannibal flick. "The Woman" adds cerebral chills to visceral thrills through its terrifying themes about malformed family dynamics. Those two films are comparatively simple to unpack in terms of intent as well as relative entertainment value.
"Darlin'" on the other hand, presents a more perplexing parsing problem. Its roller coaster car rides tracks of drama, comedy, and commentary at seemingly random intervals. Hitting these hills of stark horror and then sudden humor induces whiplash that scrambles perception. As a result, it's difficult to discern how much of "Darlin's" seriousness and pseudo-slapstick is by design and how much of it might be due to a slipped grip on inconsistent tones.
Making her directorial debut here, Pollyanna McIntosh's accomplished career in front of the camera very much positions her as an actor's director. She thus gives her cast a long leash to create their characters, to the point where some stray far enough away to play in separate performance pens.
Bryan Batt completely claws loose from any collar by portraying The Bishop as an extreme caricature of a media obsessed zealot deranged by his own doctrine. Batt's exaggerated embodiment of the manicured sleaze pitches itself perfectly for parody, although Spinal Tapping the volume knob on his buffoonery makes him ear-achingly louder than anyone else.
Cooper Andrews applies an agreeably softer touch to Darlin's nurse Tony. Tony endears himself to the audience quite quickly, emanating empathy with an easy manner that doesn't require an excessive amount of screen time to establish. Script-based choices for his characterization come with some questions. For instance, Tony's boyfriend Richard pops in for a pair of appearances, yet this romantic relationship adds no appreciable insight into Tony regarding his affection for Darlin'.
The seesaw wobbles even more for Nora-Jane Noone's Sister Jennifer. Even though she is vaguely blackmailed into abetting The Bishop, Jennifer doesn't express much abhorrence for the situation until she has long been complicit in the conspiracy. Jennifer spends so much time as The Bishop's willing lackey that when the time comes for her moral turn, her personality hasn't built the collateral necessary to fund truly moving moments.
As Billy, an eccentric orphan who befriends Darlin' by showing her how to break the school's strict rules, Maddie Nichols emerges as the unsung hero on the roster. Others will write the words that rightly lift Lauryn Canny as the movie's anchor, or Pollyanna McIntosh for her steely-eyed third go as The Woman. But Nichols sweetly balances unhinged cockiness and sympathetic vulnerability to put additional human heart into the painful coming-of-age arc affecting the orphaned girls.
"Darlin'" hits heavy notes concerning sexual molestation, marginalization, abuse of power, and misguided dogma. Sadly, such subtext tends to drown in the din of bloody sight gags and several sore thumbs of comical characterizations.
McIntosh clearly wants "Darlin'" to have some amount of comedic value. Just how much however is unclear.
There's no reason for The Woman to murder a clown in the hospital's children's ward other than highlighting the visual absurdity of seeing her slice up a Ringling Brothers reject. The same goes for a smash cut to The Woman banshee howling while trying to comprehend her first car ride, which incidentally, is a strange inclusion to begin with. It's not like The Woman is entirely unfamiliar with modernity. She should certainly know what an automobile does in principle, even if she's never been in one before. That's only a singular example of how "Darlin'" breaks immersion in the serious side of its fiction by daring to be too tongue-in-cheek.
Speaking as a lapsed Catholic, I'll add that "Darlin's" overt condemnation of Catholicism aims to question its potentially problematic placement in social institutions more than it means to lampoon the religion itself. McIntosh handles that satire smoothly enough, even though "Darlin'" knocks at low-hanging fruits like perverted priests and knuckle-rapping nuns. At worst, the scathing swipes are more redundant than they are offensive.
Somewhere amidst the hullaballoo of over-the-top humor and gruesome carnage exists metaphoric material that damns established structure as supposedly superior to living a more natural existence. What did God intend? That's no more answerable of a question than, what does "Darlin'" intend?
Perhaps I picked up most of what "Darlin'" tries to put down. Still, I can't come to a concrete conclusion regarding what effect it had on me, and that cuts to the heart of what doesn't feel right about the film. I decided to assign a favorable three stars out of five for its status as a ponderous curiosity. Truthfully, I'm not sure I can sort a distinct opinion of "Darlin'" after just one confounding viewing.
March 20, 2019 by Ian Sedensky.


Well Mary all I can say is "THANK YOU" I have definitely had a major shift and it is working!!!! I benefited so much from my time with you. I'm feeling ultra-relaxed after my fantastic time with you. Since I have returned home I feel very peaceful and so many of my fears, which were my constant companions, have just evaporated as if they never existed!! Everything seems different, colours seem brighter, …I stood at the window this morning and marveled at how blue the sky was, it was if I hadn't seen it before. I am beginning to think that you must have put a spell on me when I visited you :-). I cannot thank you enough, I have taken a giant leap in my spiritual development, I am much more open and receptive to everyone around me .
I took part in stress a management workshop run by Mary. I couldn't believe how much I learned about myself through it. She is very gentle in her approach as she helped us to see the many limiting beliefs and outdated patterns that were running my live. Up until then I hadn't even thought about the idea that I had a right to be happy. I hadn't even noticed that I was giving everyone permission to treat me like a door mat. I learned to say no to the things that drained me and began to search out ways to be good to me and that would bring happiness into my life.
In my very first healing session with Mary, she very quickly went through the layers to get to the core issues, rather than focusing on peripheral issues. Very gently she brought the energy of the angels in, and reassured me that they were already working with me, and would continue to do so. She encouraged me to just be myself and to stop trying. I have found great peace since the session and feel much more relaxed with people. Being a therapist I am asking for help with my work now. Thanks again Mary. You do lovely intuitive work and you were spot on with everything you said.


Oftentimes patios, porches and other outdoor spaces are sadly neglected collectors of cobwebs and dead plants. But they don't have to be. The wealth of options for outdoor spaces means your patio can be transformed into a luxe outdoor living and entertainment space, whether you're looking to spend a lot or a little. Here are eight ideas to consider.
Consider making your patio essentially an outdoor living room with touches generally associated with indoors. Professionals can install televisions and sound systems to make the space come alive. Mood lighting can also be installed to accentuate the night sky. Adding soft lighting, like bistro lights and lanterns, can dramatically update your outdoor decor.
Balconies can be even more neglected than patios, because the narrow spaces are hard to utilize. Consider using narrow and tall tables and chairs for a pub-like atmosphere. Lighting and narrow furniture are the keys to making this work.
Use outdoor rugs and seating to create "rooms" and areas for conversation outside, just like you would for a living room. Two chairs with a table in between are cozy for a couple, then add another space with couches for the family.
In some locales, particularly in cities, the only way to obtain outdoor space is to create one on top of your regular living space. This can become your urban oasis, incorporating a garden, an umbrella for shade and trendy urban materials such as metal and reclaimed wood.
Bonfires are a classic element of the outdoors, so consider adding a fire pit, gas fire or even a small chimnea to add warmth and atmosphere. Don't forget the s'more fixings, which you can keep handy in your outdoor kitchen.
We all know the pleasures of a grilled al fresco dinner, so plan to enjoy the outdoors every night with a full outdoor kitchen or at least a few extra amenities, such as an outdoor sink or wine cooler. Of course, patios are perfect for dining room tables, too, which can be jazzed up with weather-proof fabric seat cushions and placemats.
A swimming pool, be it an elaborate one with slides for the kids, a lap pool for exercise or an infinity pool for sunset lounging, is an important part of being outdoors. Of course you'll need to take shade eventually, so add a classic cabana poolside. A bar inside the cabana is especially fun for entertaining.
Sports for the whole family transform a backyard into the summer Olympics: from lawn croquet and tennis to volleyball and bocce ball. Throw some horseshoes or play a round of shuffleboard. Don't neglect these classic games; they're classics for a reason, and offer endless entertainment.


text:
Дми́трий Серге́евич Серге́ев (4 декабря 1979, Староминская) — российский гребец-каноист, выступал за сборную России в 2000-х годах. Серебряный и бронзовый призёр чемпионатов Европы, многократный чемпион всероссийских первенств, победитель этапов Кубка мира и прочих престижных регат. На соревнованиях представлял Краснодарский край, мастер спорта международного класса. Также известен как гребец на лодках класса «дракон».

Биография
Дмитрий Сергеев родился 4 декабря 1979 года в станице Староминская, Краснодарский край. Активно заниматься греблей на каноэ начал в раннем детстве, проходил подготовку в местной специализированной детско-юношеской спортивной школе олимпийского резерва и в самарской школе высшего спортивного мастерства № 1, где тренировался под руководством Галины Константиновны Савенко. Первого серьёзного успеха добился в 2001 году, выиграв золото и серебро на чемпионате страны в Энгельсе — в четвёрках на дистанции 200 метров и в двойках на дистанции 500 метров.

На взрослом международном уровне впервые заявил о себе в сезоне 2002 года, когда попал в основной состав российской национальной сборной и благодаря череде удачных выступлений удостоился права защищать честь страны на чемпионате Европы в венгерском Сегеде. С четырёхместным экипажем, куда также вошли гребцы Константин Фомичёв, Роман Кругляков и Алексей Волконский, завоевал бронзовую медаль в гонке на 1000 метров.

В 2004 году Сергеев побывал на чемпионате Европы в польской Познани, откуда привёз две медали серебряного достоинства, выигранные в четвёрках на двухстах и пятистах метрах (при этом вместо Фомичёва в экипаже состоял Евгений Игнатов). В 2008 году вместе с Романом Кругляковым, Александром Ковалёвым и
Михаилом Павловым выиграл бронзу на европейском первенстве в Милане, в четвёрках на полукилометровой дистанции. За выдающиеся спортивные достижения в гребле на каноэ удостоен почётного звания «Мастер спорта России международного класса».

После завершения карьеры в гребле на каноэ Дмитрий Сергеев решил попробовать себя в гребле на лодках класса «дракон» и добился в этом виде спорта тоже некоторых успехов, в частности, в составе кубанской команды становился чемпионом мира 2012 года в гонках на озере Идроскало в Италии, является многократным чемпионом России, в том числе был среди победителей чемпионата России 2014 года, прошедшего на гребном канале в «Крылатском».

Примечания

Ссылки
 Дмитрий Сергеев — медали на крупнейших международных соревнованиях
 Сергеев Дмитрий Сергеевич — краткая биографическая справка на сайте Яндекс.Словари
 Списки чемпионов и призёров по гребле на байдарках и каноэ (1936—2007)

Гребцы на байдарках и каноэ России
Чемпионы России по гребле на байдарках и каноэ
Мастера спорта России международного класса

redpajama_set_name: RedPajamaWikipedia


text:
El Nokia X3-02, con teclado clásico y pantalla táctil (Touch and Type), fue lanzado en noviembre del 2010. Es un teléfono denominado "candybar táctil", por tener la capacidad de escribir con el teclado clásico de nokia, y de seleccionar opciones, con la pantalla táctil, siendo el primer teléfono móvil de Nokia con estas características.

El teléfono inteligente sigue la estela de diseño marcada por el N8 y abandona la carcasa de plástico para adoptar estructura de aluminio en tres colores metalizados, blanco, metal oscuro y azul marino, también hay versiones en tonos de rosa.

Pese a haber sido concebido como un gama media, el Nokia X3-02 no tiene malas especificaciones, sobre todo en el apartado de conectividad, donde cuenta con 3G bajo HSPA, WiFi n, y Bluetooth en su versión 2.1 con perfil de audio A2DP. La pantalla no es especialmente grande. Mide sólo 2.4 pulgadas de diagonal y su resolución es pobre (320×240 píxeles).

El abanico habitual de controles de Nokia, con su característico pad direccional, ha sido sustituido en el Nokia X3-02 por cuatro botones de los que dos son accesos directos a mensajería y música. Pese a estar encuadrado en la gama XpressMusic, no parece que Nokia haya hecho especial esfuerzo por integrar un grupo de botones dedicados para el reproductor musical.

Físicamente, el Nokia X3 molesta muy poco en el bolsillo. Mide 105.6×48.4×9.6 milímetros y pesa sólo 78 gramos.

Duración de batería
La autonomía teórica del Nokia X3-02 es de 8.5 horas en funcionamiento con el 3G activado y 17 días en espera. Desactivando el 3G, la autonomía en uso sube hasta 5.3 horas.

Cámara
La cámara del nuevo Nokia X3 exhibe una calidad aceptable para el precio del terminal. El sensor tiene 5 megapíxeles con un zoom digital  de hasta 4x. El formato de la imagen es JPEG.

La cámara de video del teléfono es de 640 x 480 píxeles, con zoom digital de hasta 4x. Los formatos de la cámara de video son: MPEG-4 (MP4) y H.263.

Características de la cámara

Modo de secuencia
Enfoque completo
Auto disparador
Editor de imágenes fijas
Visor de pantalla completa

Página oficial del sitio
http://www.nokia.com/lta-es/productos/celulares/x3-02/especificaciones/

X3-02
Teléfonos móviles introducido en 2010 en SurAmérica, Centroamérica 2006


text:
Did You Know? 13 Amazing Facts About Linux That Will Surprise You
September 17, 2015 spatsariya
Linux kernel is one of the most popular and powerful platforms to work upon, but do you know all the facts about Linux? Read the article to know more.
Little did Linus Torvald know that his personal project of a new free operating system kernel would become a cult someday. Linux kernel, in the primitive form, was of no practical use. Later, Linux and GNU developers collaborated to integrate the components of GNU with Linux to make a functional and free OS.
As of today, Linux is open to thousands of developers worldwide for improvisation and is also among the top choices of the developers. Now drawing from the personal experience, Linux users are one of the proudest and creative people I have ever met.
Check out these surprising facts about Linux and its comprehensive use today.
1. As Torvald began its project, the first Linux kernel occupied only 65 KB. Today, even a regular Linux kernel contains over 10 million lines of source codes.
2. Linux powers the New York Stock Exchange as well. Linux has surpassed the traditional Unix, thanks to its fast computing.
3. Linux kernel had more than 18 million lines of source code in its 3.18 version in 2015 and the rate of Linux development is unmatched. The improvements accepted into the Linux kernel per hour is 7.71, which sums to about 1,300 changes every week.
4. The Department of Defence of the US also uses Linux extensively. The Red Hat Linux runs the nuclear submarines of the State.
5. Linux is favored by the tech giants as well. For the web and cloud services, Linux is the first choice for Google, Amazon and Facebook.
6. You can run Microsoft Windows and the Linux kernel side by side on the same computer using a software called Cooperative Linux (coLinux).
7. The Scientific Linux controls the particle accelerator at CERN. It is based on Red Hat Linux and is again a free and open OS.
8. The bullet trains in Japan use Linux to maintain and manage the sophisticated Automatic Train Control system. Also, the In-Vehicle-Infotainment technology (IVI) inside Toyota and other automobiles use Linux platform.
9. The Linux kernel has expanded exponentially since it was first put out in the open source category. Today, Linus Torvalds's codes account for only about 2% of the total codes in the kernel.
10. Out of top 500 fastest supercomputers of the world, Linux or its variants power 485 of those badass machines. No wonder Linux is termed as the king of supercomputing.
11. Wonder why the basic language taught in schools is C? Because, a major chunk of the operating system kernels including Windows, Linux and Mac are written in C language. So, if you plan on becoming a developer, know the basics.
12. Even the best smartphones (Android, Maemo) are build on Linux kernel. You can also run your Ubuntu Phone in a windowed mode with slight tweaks. Here's how to do it.
13. Linux has a special place in Hollywood as well. Visual effects of Titanic and Avatar were developed in 3D applications on Linux platform using FOSS software.
These are just some of the applications and facts about Linux, no wonder Linux has such a huge following. Having anything to add? Tell us in comments below.
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Born in Putney in London in 1941, Bonetti was initially a Reading Youth player until his mother wrote to Stamford Bridge requesting a trial for her son. Chelsea duly obliged and the goalkeeper's 19-year love affair with the club began.
Peter Bonetti is a true great in the history of Chelsea football club and his natural athleticism, poise and unerringly safe hands graced Stamford Bridge for nearly 20 years.
He made his first team debut at the start of the 1960-61 seasons and quickly established as Chelsea's number one. It was a position he was to hold for nearly two decades and by the time he had played his final game for the Blues he had amassed an incredible 729 appearances for the club. It remains a record surpassed only by the legendary Ron Harris.
Bonetti won the 1965 League Cup, the 1970 FA Cup and the 1971 Cup Winners' Cup with Chelsea and was also capped seven times by England, appearing at the 1970 World Cup finals in Mexico.
To book football speaker Peter Bonetti for an event or conference or hire an after dinner speaker with Laughter UK Call 01524 733310 or contact us online.


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Q: Is according access to a private member to a specific object considered bad practice? I'm wondering if it was considered a bad practice, or something that breaks the rules of OOP, the fact of according an access to a private member to a specific object.
To be really clear here is a code example.
// A special class used to perform some operations on a "Restricted" object
class RestrictedExplorer
{
public:
   Explorer(SpecificData * data) : m_data(data) {}

private:
   SpecificData * m_data;
};

// This class is the only one able to give access to its private member to an explorer
class Restricted
{
public:
   Restricted() { /* ... */ }
   RestrictedExplorer * getExplorer() { return new RestrictedExplorer(m_data); }

private:
   SpecificData * m_data;
   OtherData * m_other;
};

We can see that the class itself allow a specific object to use its private data, and it only gives a part of its private member. Plus, it's impossible for another RestrictedExplorer to have access to the private member of a Restricted object by itself.
As long as the RestrictedExplorer respect the encapsulation, is this design something to avoid because it breaks the OOP, or is it possible to use it ?
Thanks by advance
PS : It's for a school project, we are not allowed to use friend

A: Without a specific context (use-case), there isn't a correct form. The above getter/setting of a private member is fine as long as the class does not make assumptions as to the internals of m_data as you are allowing others to control its contents. If it does then it should not provide a mutable interface to it.
Some (likely most) would consider the above a good practice for any member variable that should be public as you can at lease observe access to the variable through the getter.  If it were a public member variable you would not be able to do so.