text:
\section{Introduction}
Efforts to develop a theory of quantum gravity (QG) have been dedicated, principally, to two main candidates — string theory (ST) and loop quantum gravity (LQG).  (For a review see e.g., \cite{Review QG}) But despite the general sentiment that these programs are markedly different, they share some fundamental commonalities not usually discussed. Namely, these programs share a rather strict view of QG in which gravitation is itself a quantum force, akin to the electroweak and strong forces of the standard model; such approaches may aptly be referred to as \emph{quantized gravity} theories. But QG, broadly construed, is not simply a program of quantized gravity.  Indeed, although interest in QG is driven by a variety of reasons (see e.g., \cite{Butterfield Isham 2001}), a very basic motivation is that of \emph{consistency}: if matter, which is well-described by quantum theory (QT), is a source of energy, momentum, and so on, and if gravity couples to matter, then there must be some theory, or shared framework that brings the two together. We conjecture that this common thread is, in fact, \emph{entropy}.

We propose here a QG candidate formulated entirely within the Entropic Dynamics (ED) framework. ED is a scheme for generating dynamical theories that are consistent with the entropic and Bayesian rules for processing information.\footnote{For a review of entropic and Bayesian methods, see e.g., \cite{Caticha 2012}\cite{Jaynes Rosenkrantz 1983}.} Among the successes of the ED framework are principled derivations of several aspects of the quantum formalism (For a review of current work, see e.g., \cite{Caticha 2019}) that are also sensitive to, and indeed, help to clarify many conceptual issues that plague QT \cite{Caticha Johnson 2012}. The standout feature of ED that makes this possible is that a clear delineation is maintained between the \emph{ontological}, or physical, aspects of the theory and those that are of \emph{epistemological} significance. The distinction is important: the \emph{ontic}, or physical, variables are the subject of our inferences, and it is their values we wish to predict. The ability to make such predictions, however, depends on the available information, which in ED is codified in the constraints. In short, ED is a dynamics driven by constraints.

In previous work \cite{Ipek et al 2017}\cite{Ipek et al 2018}, ED was utilized to derive the standard quantum field theory on curved space-time (QFTCS) by making a particular choice of constraints, appropriate for a scalar field $\chi_{x}$ propagating on a \emph{fixed} background space-time. One constraint involved the introduction of a drift potential $\phi$ that guides the flow of the probability $\rho$, while another was the employment of a canonical formalism, i.e. \emph{Hamiltonians}, for driving their joint dynamics. But in the context of a manifestly relativistic theory, further constraints are needed. In \cite{Ipek et al 2017}\cite{Ipek et al 2018} these were supplied by the adoption of  the covariant canonical methods of Dirac, Hojman, Kucha\v{r}, and Teitelboim (DHKT). We briefly review their work. Within the DHKT scheme, time evolution unfolds as an accumulation of local deformations in three-dimensional space, constrained by the requirement that the evolution of three-dimensional space be such that it sweeps a four-dimensional space-time. The criterion for accomplishing this, called \emph{path independence} by Kucha\v{r} and Teitelboim, results in an ``algebra" to be satisfied by the generators of deformations.\footnote{The quotes in ``algebra" are meant as a reminder that local deformations do not form a true group; while two deformations can be composed to form another, the composition depends on the original surface.} An interesting aspect of the DHKT approach is that whether one deals with an externally prescribed space-time, or whether the background geometry is itself truly dynamical, the ``algebra" to be satisfied remains the \emph{same} \cite{Teitelboim 1972} (see also \cite{Kuchar 1973}). The true distinction manifests in the choice of variables to describe the evolving geometry.

Our goal here is to pursue an ED in which the background is itself a full partner in the dynamics. But we also wish to proceed conservatively; our aim is not,after all, to simply discard information which has already been proven valuable in ED. Thus we proceed in a minimalist fashion by taking the constraints of \cite{Ipek et al 2017}\cite{Ipek et al 2018} and altering them to account for the additional information; which amounts here to a different choice of \emph{variables} to describe the geometry. Following the seminal work of Hojman, Kucha\v{r}, and Teitelboim in \cite{Hojman Kuchar Teitelboim 1976}, we make a choice in which the metric of three-dimensional space is itself a canonical variable. The ED that emerges from this choice bears great formal resemblance to the so-called ``semi-classical" Einstein equations, but the conceptual differences are enormous: (a) in direct contradiction to the standard (Copenhagen) interpretation of QT, the scalar matter field is ontic and thus has definite values at all times. (b) There are no quantum probabilities. The ED approach is in strict adherence to the Bayesian and entropic principles of inference. (c) Indeed, because of the abidance to the Bayesian view of probability, there are none of the paradoxes associated to the quantum measurement problem --- which is the main source of objection to semi-classical gravity (see \cite{Pro Quantize} and references therein). (d) Our geometrodynamics is not a forced marriage between classical gravity and quantum field theory. It is a first principles framework that not only derives the correct coupling of matter to gravity, but also reconstructs the theory of quantum mechanics itself.

The paper is outlined as follows. In section \ref{ED_Steps}, we give a quick review of the ED of infinitesimal steps, while we review some basic space-time kinematics in section \ref{ST_kinematics}. In section \ref{ED_time} we introduce the notion of a relativistic notion of entropic time. Many of the new results are in sections \ref{ED_GMD} and \ref{ED_QT}, where we construct a geometrodynamics driven by entropic matter. We discuss our results in section \ref{conclusion}.

\section{Reviewing the Entropic Dynamics of infinitesimal steps}\label{ED_Steps}
We adopt the notations and conventions of \cite{Ipek et al 2017}\cite{Ipek et al 2018} throughout. We study a single scalar field $\chi \left( x\right)\equiv \chi_{x} $ whose values are posited to be definite, but unknown. An entire field configuration, denoted $\chi $, lives on a $3$-dimensional curved space $\sigma $, the points of which are labeled by coordinates $x^{i}$ ($i=1,2,3$). The space $\sigma$ is a three-dimensional curved space equipped with a metric $g_{ij}$ that is currently fixed, but that will later become dynamical. A single field configuration $\chi$ is a point in an $\infty $-dimensional configuration space $\mathcal{C}$. Our uncertainty in the values of the field is then given by a probability distribution $\rho \lbrack \chi ]$ over $\mathcal{C}$, so that the proper probability that the field attains a value $\hat{\chi}$ in an infinitesimal region of $\mathcal{C}$ is $\text{Prob}[\chi < \hat{\chi} < \chi+\delta\chi]=\rho[\chi]\, D\chi$, where $D\chi$ is an integration measure over $\mathcal{C}$.
\vskip .25 cm
\noindent \textbf{Maximum Entropy---} The goal is to predict the evolution of the scalar field $\chi $. To this end we make one major assumption: in ED, the fields follow continuous trajectories such that finite changes can be analyzed as an accumulation of many infinitesimally small ones. Thus we are interested in obtaining the probability $P\left[ \chi ^{\prime }|\chi \right] $ of a transition from an initial configuration $\chi $ to a neighboring $\chi ^{\prime }=\chi +\Delta \chi $. This is accomplished via the Maximum Entropy (ME) method by maximizing the entropy functional,
\begin{eqnarray}
S\left[ P,Q\right] =-\int D\chi ^{\prime }P\left[ \chi ^{\prime }|\chi %
\right] \log \frac{P\left[ \chi ^{\prime }|\chi \right] }{Q\left[ \chi
^{\prime }|\chi \right] },  \label{entropy a}
\end{eqnarray}
relative to a prior $Q\left[ \chi ^{\prime }|\chi \right] $ and subject to appropriate constraints.

The prior $Q\left[ \chi ^{\prime }|\chi \right] $ that incorporates
the information that the fields change by infinitesimally small amounts, but which is otherwise maximally uninformative is a product of Gaussians,\footnote{This prior can itself be derived from the ME method, and in that case, the $\alpha_{x}$ appear as Lagrange multipliers.}
\begin{eqnarray}
Q\left[ \chi ^{\prime }|\chi \right] \propto \,\exp -\frac{1}{2}\int
dx\,g_{x}^{1/2}\alpha _{x}\left( \Delta \chi _{x}\right) ^{2}~  \label{prior}
\end{eqnarray}%
where $g_{x}^{1/2} = \det|g_{ij}|^{1/2}$ is a scalar density of weight one. (For notational simplicity we write $dx^{\prime }$ instead of $d^{3}x^{\prime }$.) Continuity is enforced in the limit that the scalar-valued parameters $\alpha_{x}\to\infty$. As argued in  \cite{Ipek et al 2017}\cite{Ipek et al 2018}, a single additional constraint is required to develop a richer quantum dynamics,\footnote{Note that since $\chi _{x}$ and $\Delta \chi _{x}$ are scalars, in order that (\ref{Constraint 2}) be invariant under coordinate transformations of the surface the derivative $\delta /\delta \chi _{x}$ must transform as a scalar density.}
\begin{eqnarray}
\langle \Delta \phi \rangle = \int_{%
\mathcal{C}}D\chi ^{\prime }\,P\left[ \chi ^{\prime }|\chi \right] \int
dx\,\,\Delta \chi _{x}\frac{\delta \phi \left[ \chi \right] }{\delta \chi
_{x}}=\kappa ^{\prime },  \label{Constraint 2}
\end{eqnarray}%
which involves the introduction of a
\textquotedblleft drift\textquotedblright\ potential $\phi \lbrack \chi ]$ whose complete justification is still a subject of future investigation.\footnote{There is strong reason to believe more compelling answers will come from the ED of Fermions.} Maximizing (\ref{entropy a}) subject to (\ref{Constraint 2}) and normalization, we obtain a Gaussian transition probability distribution,
\begin{eqnarray}
P\left[ \chi ^{\prime }|\chi \right] =\frac{1}{Z\left[ \alpha _{x},g_{x}%
\right] }\,\exp -\frac{1}{2}\int dx\,g_{x}^{1/2}\alpha _{x}\left( \Delta
\chi _{x}-\frac{1}{g_{x}^{1/2}\alpha _{x}}\frac{\delta \phi \left[ \chi %
\right] }{\delta \chi _{x}}\right) ^{2},  \label{Trans Prob}
\end{eqnarray}%
where $Z\left[ \alpha _{x},g_{x}\right] $ is the normalization constant. The Gaussian form of (\ref{Trans Prob}) allows us to present a generic change,
\begin{eqnarray}
\Delta \chi _{x}=\left\langle \Delta \chi _{x}\right\rangle +\Delta w_{x}~,
\end{eqnarray}
as resulting from an expected drift $\left\langle \Delta \chi
_{x}\right\rangle $ plus fluctuations $\Delta w_{x}$. While $\left \langle \Delta w_{x} \right \rangle = 0$, because the distribution is Gaussian, the square fluctuations and expected short steps do not. That is,
\begin{eqnarray}
\left\langle \Delta w_{x}\Delta w_{x^{\prime }}\right\rangle =\frac{1}{%
g_{x}^{1/2}\alpha _{x}}\delta _{xx^{\prime }} \quad \text{and} \quad \left\langle \Delta \chi _{x}\right\rangle =\frac{1}{g_{x}^{1/2}\,\alpha _{x}%
}\frac{\delta \phi \left[ \chi \right] }{\delta \chi _{x}}\equiv \Delta \bar{%
\chi}_{x}~.   \label{Exp Step 1}
\end{eqnarray}%
Therefore, as in \cite{Ipek et al 2017}\cite{Ipek et al 2018}, the fluctuations dominate the trajectory leading to a Brownian motion.

\section{Some space-time kinematics}\label{ST_kinematics}
In geometrodynamics, the primary object of interest is the three-dimensional metric of space $g_{ij}$, whose time evolution is required to sweep a four-dimensional space-time. Thus coordinates $X^{\mu}$ ($\mu ,\nu ,...$ $=0,1,2,3$) can still be assigned to space-time, even if its geometry \emph{a priori} unknown. By construction, space-time can be foliated by a sequence of space-like surfaces $\left\{ \sigma \right\} $; that is, its topology is globally hyperbolic. The embedding of a surface in space-time is defined by four embedding functions $X^{\mu }=X^{\mu }\left(x^{i}\right) $.

An infinitesimal deformation of the surface $\sigma $ to a neighboring surface $\sigma^{\prime }$ is determined by the deformation vector
\begin{eqnarray}
\delta \xi ^{\mu }=\delta \xi ^{\bot }n^{\mu }+\delta \xi ^{i}X_{i}^{\mu }~,
\label{deformation vector}
\end{eqnarray}%
where $n^{\mu }$ is the unit normal to the surface ($n_{\mu }n^{\mu }=-1$, $n_{\mu }X_{i}^{\mu }=0$) and where $X_{i}^{\mu}(x) =\partial_{ix}X^{\mu}(x) $ are the space-time components of vectors tangent to the surface. The normal and tangential components of $\delta \xi ^{\mu }$, also known as the lapse and shift, are collectively denoted ${}(\delta \xi
^{\bot },\delta \xi ^{i})=\delta \xi ^{A}$ and are given by%
\begin{eqnarray}
\delta \xi _{x}^{\bot }=-n_{\mu x}\delta \xi _{x}^{\mu }\quad \text{and}%
\quad \delta \xi _{x}^{i}=X_{\mu x}^{i}\delta \xi _{x}^{\mu }~,
\end{eqnarray}%
where $X_{\mu x}^{i}=g^{ij}g_{\mu \nu }X_{jx}^{\nu }$.
\section{Entropic time}\label{ED_time}
In ED, entropic time is introduced as a tool for keeping track of the accumulation of many short steps. (For additional details on entropic time, see e.g., \cite{Caticha 2012}.) Here we introduce a manifestly covariant notion of entropic time, along the lines of that in \cite{Ipek et al 2017}\cite{Ipek et al 2018}.
\vskip .25 cm
\noindent \textbf{Ordered instants---}
Central to our formulation of entropic time is the notion of an instant of time. In a properly relativistic theory in curved space-time, such a notion is provided by an \emph{arbitrary} space-like surface, denoted $\sigma$ (see e.g., \cite{Kuchar 1973}). This allows us to define the epistemic state at the instant $\sigma$, characterized by the probability $\rho_{\sigma}[\chi]$, the drift potential $\phi_{\sigma}[\chi]$, etc.

Having established the notion of an instant, including a assignment of the instantaneous probability $\rho_{\sigma}[\chi]$, our task turns to updating from one instant to the next. Such dynamical information is encoded in the short-step transition probability from eq.(\ref{Trans Prob}), or better yet, the joint probability $ P\left[ \chi ^{\prime },\chi \right]= P\left[ \chi ^{\prime }|\chi \right]\rho_{\sigma}[\chi] $. A straightforward applications of the ``sum rule" of probability theory suggests that the probability at the next instant is given by
\begin{eqnarray}
\rho_{\sigma^{\prime}}[\chi^{\prime}] = \int D\chi \, P\left[ \chi ^{\prime }|\chi \right]\rho_{\sigma}[\chi]~.\label{CK equation}
\end{eqnarray}
This is the basic dynamical equation for the evolution of probability.
\vskip .25 cm
\noindent \textbf{Duration---}
To complete our construction of time we must specify the duration between instants. In ED time is defined so that motion looks simple. Since for short steps the dynamics is dominated by fluctuations, eq.(\ref{Exp Step 1}), the specification of the time interval is achieved through an appropriate choice of the multipliers $\alpha _{x}$. Moreover, following \cite{Ipek et al 2017}\cite{Ipek et al 2018}, since we deal here with the duration between curved spaces, this notion of separation should be local, and it is natural to define duration in terms of the local proper time $\delta_{x}^{\perp}$. More specifically, let
\begin{eqnarray}
\alpha _{x}=\frac{1}{ \delta \xi _{x}^{\bot }}\quad \text{so that}\quad
\left\langle \Delta w_{x}\Delta w_{x^{\prime }}\right\rangle =\frac{
\,\delta \xi _{x}^{\bot }}{g_{x}^{1/2}}\delta _{xx^{\prime }}~.
\label{Duration}
\end{eqnarray}%

\vskip .25 cm
\noindent \textbf{The local-time diffusion equations---}
The dynamics expressed in integral form by (\ref{CK equation}) and (%
\ref{Duration}) can be rewritten in differential form as an infinite set of local equations, one for each spatial point,
\begin{eqnarray}
\frac{\delta \rho _{\sigma }}{\delta \xi _{x}^{\bot }}=-\,g_{x}^{-1/2}\frac{%
\delta }{\delta \chi _{x}}\left( \rho _{\sigma }\,\frac{\delta \Phi _{\sigma
}}{\delta \chi _{x}}\right)\quad\text{with}\quad \Phi
_{\sigma }\left[ \chi \right] = \,\phi _{\sigma }\left[ \chi \right]
- \log \rho _{\sigma }^{1/2}\left[ \chi \right] ~. \label{FP equation}
\end{eqnarray}%
As shown in \cite{Ipek et al 2017}\cite{Ipek et al 2018}, this set of equations describes the flow of the probability $\rho _{\sigma }\left[ \chi \right] $ in the configuration space $\mathcal{C}$ in response to the geometry and the functional $\Phi_{\sigma}[\chi]$, which will eventually be identified as the Hamilton-Jacobi functional, or the phase of the wave functional in the quantum theory. Moreover, when a particular foliation is chosen, these equations collectively form a Fokker-Planck equation, thus justifying the name, the Local-Time Fokker-Planck (LTFP) equations for eqns.(\ref{FP equation}).
\section{Geometrodynamics driven by entropic matter}\label{ED_GMD}
In an \textit{entropic} dynamics, evolution is driven by information codified into constraints. An entropic geometrodynamics, it follows, consists of dynamics driven by a specific choice of constraints, which we discuss here. In \cite{Ipek et al 2017}\cite{Ipek et al 2018}, QFTCS was derived under the assumption that the background remains fixed. But such assumptions, we know, should break down when one considers states describing a non-negligible concentration of energy and momentum. Thus we must revise our constraints appropriately. A natural way to proceed is thus to allow the geometry itself to take part in the dynamical process: the geometry affects $\rho_{\sigma}[\chi]$ and $\phi_{\sigma}[\chi]$, they then act back on the geometry, and so forth. Our goal here is to make this interplay concrete.
\vskip .25 cm
\noindent \textbf{Path independence---} In a relativistic theory there are many ways to evolve from an initial instant to a final one, and each way must agree. This is the basic insight by DHKT in their development of manifestly covariant dynamical theories. The implementation of this idea, through the principle of \emph{path independence}, leads to a set of Poisson brackets (see e.g., \cite{Teitelboim 1972})
\begin{eqnarray}
\left\{ H_{\bot x},H_{\bot x^{\prime }}\right\} &=&(g_{x}^{ij}H_{jx}+g_{x^{\prime
}}^{ij}H_{jx^{\prime }})\partial _{ix}\delta (x,x^{\prime })~,  \label{PB 1}
\\
\left\{ H_{ix},H_{\bot x^{\prime }}\right \} &=&H_{\bot x}\partial _{ix}\delta
(x,x^{\prime })~,  \label{PB 2} \\
\left\{ H_{ix},H_{jx^{\prime }}\right \} &=&H_{ix^{\prime }}\,\partial _{jx}\delta
(x,x^{\prime })+H_{jx}\,\partial _{ix}\delta (x,x^{\prime })~,  \label{PB 3}
\end{eqnarray}%
supplemented by the constraints
\begin{eqnarray}
H_{\perp x} \approx 0\quad\text{and}\quad H_{ix} \approx 0 ~,\label{Hamiltonian constraints}
\end{eqnarray}
where ``$\approx$" is understood as a \textit{weak} equality \cite{Bergmann 1949}. (From a practical viewpoint, the Poisson bracket relations are essentially constraints on the allowed functional form of the generators $H_{Ax}$ for arbitrary choices of the dynamical variables. On the other hand, the weak constraints $H_{Ax}\approx 0$ are meant to restrict the allowed choices of initial conditions for a given form of the generators $H_{Ax}$.)
\vskip .25 cm
\noindent \textbf{The phase space---} The equations (\ref{PB 1})-(\ref{Hamiltonian constraints}) of path independence are \emph{universal}. That is, if the dynamics is to be relativistic, these equations must hold. Whatever the choice of canonical variables, or whether the background is fixed or dynamical, the same ``algebra" must hold.

As one might expect, the ED formulated here with a dynamical background shares some similarities with the theory developed in \cite{Ipek et al 2017}\cite{Ipek et al 2018}, in the context of a fixed background. Most obvious is that the variables $\rho$ and $\phi$, or equivalently, $\rho$ and $\Phi$ remain canonically conjugate, forming the so-called \emph{ensemble phase space}, or e-phase space for short. However a crucial difference emerges with respect to the treatment of the geometry. Here, deviating from \cite{Ipek et al 2017}\cite{Ipek et al 2018}, we instead follow Hojman, Kucha\v{r}, and Teitelboim (HKT) by describing the dynamics of the geometry by taking the metric $g_{ij}(x)$ as a central dynamical variable. Of course, for the scheme to be canonical, we must also introduce a set of auxiliary variables $\pi^{ij}$, which must have the character of tensor densities. At this juncture the sole interpretation of the $\pi^{ij}$ are as the momenta conjugate to $g_{ij}$, defined by the canonical Poisson bracket relations
\begin{eqnarray}
\left\{g_{ij}(x),g_{kl}(x^{\prime})\right \} &=& \left\{\pi^{ij}(x),\pi^{kl}(x^{\prime})\right \} = 0~,\notag\\
\left\{g_{ij}(x),\pi^{kl}(x^{\prime})\right \}  &=& \frac{1}{2}\left(\delta^{k}_{i}\delta^{l}_{j}+\delta^{k}_{j}\delta^{l}_{i}\right)\delta(x,x^{\prime})~.\label{canonical relations Grav}
\end{eqnarray}
Here we have introduced the notion of a Poisson bracket, which is an anti-symmetric bi-linear product that allows for the notion of an algebra. Written in local coordinates, the Poisson brackets take the form
\begin{eqnarray}
\left\{F,G\right\} &=& \int dx\left(\frac{\delta F}{\delta g_{ij}(x)}\frac{\delta G}{\delta \pi^{ij}(x)}-\frac{\delta G}{\delta g_{ij}(x)}\frac{\delta F}{\delta \pi^{ij}(x)}\right)\notag\\
&+&\int D\chi\left(\frac{\tilde{\delta} F}{\tilde{\delta}\rho[\chi] }\frac{\tilde{\delta} G}{\tilde{\delta} \Phi[\chi]}-\frac{\tilde{\delta} G}{\tilde{\delta}\rho[\chi] }\frac{\tilde{\delta} F}{\tilde{\delta} \Phi[\chi]}\right)~,
\end{eqnarray}
for arbitrary functionals $F$ and $G$ of the phase space variables $(\rho,\Phi;g_{ij},\pi^{ij})$.

\vskip .25 cm
\noindent \textbf{The super-momentum---} We now turn our attention to the local Hamiltonian generators $H_{Ax}$, and more specifically, we look to provide explicit expressions for these generators in terms of the canonical variables by solving the Poisson brackets eqns.(\ref{PB 1})-(\ref{PB 3}). We begin with the tangential generator $H_{ix}$, which generates changes in the canonical variables by dragging them parallel to the space $\sigma$. As shown in \cite{Teitelboim 1972}\cite{Hojman Kuchar Teitelboim 1976}, the tangential generator can be shown to split
\begin{eqnarray}
H_{Ax}[\rho,\Phi;g_{ij},\pi^{ij}] = H^{G}_{Ax}[g_{ij},\pi^{ij}]+\tilde{H}_{Ax}[\rho,\Phi],\label{Super-Momentum split}
\end{eqnarray}
into components we identify as an ensemble super-momentum $\tilde{H}_{ix}$ and a gravitational super-momentum $H^{G}_{ix}$. This then leads to eq.(\ref{PB 3}) similarly decomposing into ensemble and gravitational pieces so that each can be solved independently of the other. The appropriate super-momentum for the ensemble sector was given in \cite{Ipek et al 2017}\cite{Ipek et al 2018}, with the result that
\begin{eqnarray}
\tilde{H}_{ix} = - \int D\chi \rho[\chi]\frac{\delta\Phi[\chi]}{\delta\chi_{x}}\partial_{ix}\chi_{x}~, \label{Super momentum}
\end{eqnarray}
while
\begin{eqnarray}
\quad H_{ix}^{G} = -2 \partial_{j}\left(\pi^{jk}\, g_{ik}\right) + \pi^{jk}\partial_{i}g_{jk}
\end{eqnarray}
is the gravitational contribution, determined by Hojman et al in \cite{Hojman Kuchar Teitelboim 1976}. The so-called super-momentum constraint from eq.(\ref{Hamiltonian constraints}) is then just
\begin{eqnarray}
H_{ix} =  -2 \partial_{j}\left(\pi^{jk}\, g_{ik}\right) + \pi^{jk}\partial_{i}g_{jk} - \int D\chi \rho[\chi]\frac{\delta\Phi[\chi]}{\delta\chi_{x}}\partial_{ix}\chi_{x}\approx 0~.\label{Super-momentum constraint explicit}
\end{eqnarray}
\vskip .25 cm
\noindent \textbf{The super-Hamiltonian---} As pertains to the super-Hamiltonian, a similar decomposition does not occur. But following Teitelboim \cite{Teitelboim 1972} let us suggestively rewrite $H_{\perp x}$ as
\begin{eqnarray}
H_{\perp x} = H_{\perp x}^{G}[g_{ij},\pi^{ij}]+\tilde{H}_{\perp x}[\rho,\Phi;g_{ij}, \pi^{ij}]~.\notag
\end{eqnarray}
Note we make no assumptions in writing $H_{\perp x}$ in this way, as this simply \emph{defines} the contribution of ``matter." The assumption comes, instead, the requirement that the ensemble super-Hamiltonian $\tilde{H}_{\perp x}$ to be \emph{independent} of the momentum variable $\pi^{ij}$.\footnote{Although many interesting models remain after this assumption, some models of physical interest are, indeed, excluded by this simplification. We leave it to future work to relax this requirement.} (This simplification is called the assumption of ``non-derivative" coupling, since it can be \emph{proven} \cite{Teitelboim 1972} that this implies $\tilde{H}_{\perp x}$ is just a local function (not functional) of $g_{ij}$, not its derivatives.) Another consequence of this assumption is that eq.(\ref{PB 1}) --- the most difficult Poisson bracket --- decomposes completely into gravitational and matter sectors. Thus each can be approached independently. That is, the gravitational side can proceed \emph{as if} there were no sources, while the matter side can proceed along lines similar to \cite{Ipek et al 2017}\cite{Ipek et al 2018}.

The solution to the gravitational piece, which is quite involved, was first given by HKT \cite{Hojman Kuchar Teitelboim 1976} and takes the form\footnote{Note that the solution given in \cite{Hojman Kuchar Teitelboim 1976} relies on the assumption that geometrodynamics is time-reversible. An alternative derivation in \cite{Kuchar 1973} obtains the same result without this assumption, but uses a Lagrangian instead.}
\begin{eqnarray}
H_{\perp x}^{G} = \kappa \, G_{ijkl}\pi^{ij}\pi^{kl} - \frac{g^{1/2}}{2\kappa}R~,
 \label{Super hamiltonian grav}
\end{eqnarray}
where
\begin{eqnarray}
G_{ijkl} =  g^{-1/2}\left(g_{ik}g_{jl}+g_{il}g_{jk}-g_{ij}g_{kl}\right)\label{DeWitt super metric}
\end{eqnarray}
is the DeWitt super metric, $R$ is the Ricci scalar for three-dimensional space, and $\kappa$ is a constant coefficient. (We have set the cosmological constant $\lambda = 0$.) The determination of the ensemble super-Hamiltonian is subject not only to satisfying the Poisson bracket eq.(\ref{PB 1}), but also to the requirement that the evolution generated by $\tilde{H}_{\perp x}$ reproduces the LTFP eqns.(\ref{FP equation}). In \cite{Ipek et al 2017}\cite{Ipek et al 2018} it was shown that an acceptable (but not exhaustive) family of ensemble super-Hamiltonians is given by
\begin{eqnarray}
\tilde{H}_{\perp x}[\rho,\Phi] = \tilde{H}_{\perp x}^{0}[\rho,\Phi;g_{ij}]+F_{x}[\rho; g_{ij}]\label{Super Hamiltonian F}
\end{eqnarray}
with
\begin{eqnarray}
\tilde{H}_{\perp x}^{0}[\rho,\Phi] = \frac{1}{2}\int D\chi \rho\left(\frac{1}{g_{x}^{1/2}}\left(\frac{\delta\Phi}{\delta\chi_{x}}\right)^{2}+g_{x}^{1/2}g^{ij}(x)\partial_{ix}\chi_{x}\partial_{jx}\chi_{x}\right)~,\label{Super hamiltonian free}
\end{eqnarray}
where the functional $F_{x}[\rho;g_{ij}]$ is restricted to the simple form
\begin{eqnarray}
F_{x}[\rho;g_{ij}] = \int D\chi \, \rho \left (g^{1/2}_{x}V_{x}(\chi_{x}) + \frac{\beta}{g^{1/2}_{x}} \left ( \frac{\delta\log\rho}{\delta\chi_{x}}\right )^{2}\right )~,
\end{eqnarray}
where the potential $V_{x}(\chi)$ is a function only of the field and $\beta$ is a coupling constant. For future convenience we set to $\beta = 1/8$.

From eqns.(\ref{Super hamiltonian grav}) and (\ref{Super Hamiltonian F}) the super-Hamiltonian constraint is then just
\begin{eqnarray}
H_{\perp x} = H^{G}_{\perp x}+\tilde{H}_{\perp x} \approx 0~,\label{Super-Hamiltonian constraint split}
\end{eqnarray}
where the gravitational and ensemble pieces are those given in eqns.(\ref{Super hamiltonian grav}) and (\ref{Super Hamiltonian F}). Note that a solution of this constraint requires fixing a set of variables in terms of another set --- i.e. the gravitational variables are not necessarily independent of the probability $\rho$ and phase $\Phi$!
\section{The dynamical equations}\label{ED_QT}
In the previous section we have identified a representation of the relations eqns.(\ref{PB 1})-(\ref{Hamiltonian constraints}) in terms of the canonical variables $(\rho,\Phi;g_{ij},\pi^{ij})$. The resulting evolution, generated by these $H_{Ax}$, leads to a fully covariant geometrodynamics driven by entropic matter. But to do this, we first pick a foliation of space-time with parameter $t$, specified by a particular choice of \emph{lapse} and \emph{shift} functions, which are, respectively, given by
\begin{eqnarray}
N(x,t) = \frac{\delta\xi^{\perp}_{x}}{dt}\quad\text{and}\quad N^{i}(x,t) = \frac{\delta\xi^{i}_{x}}{dt}~.
\end{eqnarray}
\vskip .25 cm
\noindent \textbf{The Schr\"{o}dinger equation---} We are interested in the dynamical evolution of the ensemble variables $\rho$ and $\Phi$, however, this very same dynamics can be expressed equivalently by the introduction of complex variables $\Psi_{t} = \rho^{1/2}_{t}e^{i\Phi_{t}}$ and $\Psi_{t}^{*} = \rho^{1/2}_{t}e^{-i\Phi_{t}}$ (we use units in which $\hbar = 1$). The reason these variable turn out to be useful, is that the dynamical equations turn out to take a familiar form. In particular, we have
\begin{eqnarray}
i\partial_{t}\Psi_{t}[\chi] &=& i\int dx\left[ \left\{\Psi_{t}[\chi],H_{\perp x}\right \}N(x,t)+\left\{\Psi_{t}[\chi],H_{i x}\right \}N^{i}(x,t)\right]\notag\\
&=& \int dx\left [N(x,t)\hat{H}_{\perp x}+N^{i}(x,t)\hat{H}_{ix}\right ]\Psi_{t}[\chi]\label{Schrodinger equation}~,
\end{eqnarray}
where $\hat{H}_{ix}$ and $\hat{H}_{\perp x}$ are given by
\begin{eqnarray}
\hat{H}_{ix} = i\,\partial_{i}\chi_{x}\frac{\delta}{\delta\chi_{x}}
\label{Super momentum operator}
\end{eqnarray}
and
\begin{eqnarray}
\hat{H}_{\perp x} =- \frac{1}{2g^{1/2}}\frac{\delta^{2}}{\delta\chi^{2}_{x}}+\frac{g^{1/2}}{2}g^{ij}\partial_{i}\chi_{x}\partial_{j}\chi_{x}+g^{1/2}V_{x}(\chi_{x};g_{ij})~,\label{Super Hamiltonian operator}
\end{eqnarray}
respectively. Notice that although eq.(\ref{Schrodinger equation}) is ostensibly a linear equation for the functional $\Psi_{t}$, which may suggest calling this a ``Schr\"{o}dinger equation," closer inspection reveals this to be misleading. Indeed, owing to the constraint eqns.(\ref{Super-momentum constraint explicit}) and (\ref{Super-Hamiltonian constraint split}), the metric $g_{ij}$ that appears in this equation itself depends on the variables $\Psi$ and $\Psi^{*}$, leading instead to a \emph{non-linear} equation!
\vskip .25 cm
\noindent \textbf{Geometrodynamics---} To complete the description of the dynamics we will determine the evolution of the geometrical variables $(g_{ij},\pi^{ij})$. Beginning with the metric, its time evolution, generated by the super-Hamiltonians $H_{Ax}$ given above, after a straightforward computation yields
\begin{eqnarray}
\partial_{t}g_{ij} =  \frac{2\kappa N(x,t)}{g_{x}^{1/2}}\left(2\pi_{ij}(x) - \pi(x) g_{ij}(x)\right)+\nabla_{i}N_{j}(x,t)+\nabla_{j}N_{i}(x,t),\label{Evolution equation metric}
\end{eqnarray}
where $\nabla_{i}$ is the metric compatible covariant derivative.\footnote{Note that eq.(\ref{Evolution equation metric}) relates the conjugate momentum $\pi^{ij}$ to the extrinsic curvature of the surface $K_{ij}$.} The equation for the conjugate momentum $\pi^{ij}$ is more interesting
\begin{eqnarray}
\partial_{t}\pi^{ij}  &=& -\frac{Ng^{1/2}}{2\kappa}\left(R^{ij}-\frac{1}{2}g^{ij}R\right )+ \frac{N\kappa}{g^{1/2}}g^{ij}\left(\pi^{kl}\pi_{kl}-\frac{1}{2}\pi^{2}\right)\notag\\
&-&4\frac{N\kappa}{g^{1/2}}\left(\pi^{ik}\pi^{j}_{k}-\frac{1}{2}\pi\pi^{ij}\right)+\frac{g^{1/2}}{2\kappa}\left(\nabla^{i}\nabla^{j}N - g^{ij}\nabla^{k}\nabla_{k}N\right)+\nabla_{k}\left(\pi^{ij}N^{k}\right)\notag\\
&-& \pi^{ik}\nabla_{k}N^{j} - \pi^{kj}\nabla_{k}N^{i}-N\frac{\partial\tilde{H}_{\perp x}}{\partial g_{ij}}~,\label{Evolution equation pi}
\end{eqnarray}
where we have introduced $R^{ij}$, the Ricci tensor.\footnote{We have used the fact that the non-derivative coupling assumption implies that $\tilde{H}_{\perp x}$ is local in $g_{ij}$.} Note that the evolution of $\pi^{ij}$ is driven by $\partial \tilde{H}_{\perp x}/\partial g_{ij}$, which is a functional of $\Psi$. Thus the evolution eqns.(\ref{Evolution equation metric}) and (\ref{Evolution equation pi}) describe a queer dynamics in which the geometry evolves in response to the informational state, codified by the functional $\Psi$. This will be further explored below.

\section{Conclusions and discussion}\label{conclusion}
The ED developed here has several interesting features. Although written in the relatively less common language of geometrodynamics, the evolution eqns.(\ref{Evolution equation metric}) and (\ref{Evolution equation pi}), together with the constraints (\ref{Super-momentum constraint explicit}) and (\ref{Super-Hamiltonian constraint split}) are mathematically equivalent to the so-called ``semi-classical" Einstein equations (SCEE), which are typically written as \cite{Butterfield Isham 2001}
\begin{eqnarray}
G_{\mu\nu} =8\pi \kappa \left \langle \hat{T}_{\mu\nu} \right \rangle~,\label{Semi classical equations}
\end{eqnarray}
where $G_{\mu\nu}$ is the Einstein tensor and $\left\langle \hat{T_{\mu\nu}}\right \rangle$ is the expected value of energy-momentum operator of a quantum scalar field.

Such a theory of gravity has long been seen as a desirable step intermediate to a full theory of QG, in part because it contains well-established physics --- QFTCS and classical general relativity --- in the limiting cases where they are valid. But there has been much debate (see e.g., \cite{Pro Quantize}), on the other hand, as to the status of semi-classical theories as true QG candidate; with many harboring a negative view.

Here we do not propose a definitive rebuke of all these critics, but note that the ED formulation of SCEE has certain features that allow it to evade the most cogent criticisms. For one, a problem that is often raised against the SCEE is that it is proposed in a rather \emph{ad hoc} manner, based on heuristic arguments. But in ED these equations are \emph{derived} on the basis of well-defined assumptions and constraints. Period.

Another argument commonly raised against the SCEE (see e.g., the paper by Unruh in \cite{Pro Quantize}) is that the left hand side of eq.(\ref{Semi classical equations}) features the gravitational field, which is commonly viewed as a real ``physical" field, while the right hand side contains the quantum state $\Psi$, which is an epistemic variable that describes the known information. Taken at face value, this leads to serious issues during the process of measurement and subsequent wave function ``collapse." As mentioned by Kibble \cite{Pro Quantize}, however, the standard theory of measurement in QT is itself fraught with issues and thus serves as a weak basis on which to judge the merits of the SCEE. The ED approach, on the other hand, allows for a more cogent resolution of the so-called ``measurement problem" of QT \cite{Caticha Johnson 2012} which helps to sidestep many of the standard problems. Moreover, the very premise that the gravitational field be treated as a physical entity is itself dubious. Where, after all, do metrics come from? Who ordered that? One possible answer is offered in \cite{Caticha 2016}, where it is argued that the geometry of space is itself an \emph{information geometry} --- i.e. that spatial distances measure the distinguishability between probability distributions. Certainly such a model places the gravitational field in a far different light than the classical picture typically used to interpret the SCEE.

Finally, the Schr\"{o}dinger equation we obtain here is quite unorthodox. As mentioned above, the dynamics of $\Psi$ follows a \emph{non-linear} equation. This non-linearity is not, however, an artifact of a bad approximation, but the prediction of a theory derived from first principles. This begs the question, is linearity just a misguided prejudice? Or, will the superposition principle become the first casualty of quantum gravity?

redpajama_set_name: RedPajamaArXiv


text:
Business email compromise (BEC) schemes
Over the years, scammers have stolen millions of dollars from businesses by compromising their official email accounts and using them to request fraudulent wire transfers . Technically these schemes, which are in effect scams, are called Business Email Compromise .
There has been an increase in cyber intrusions related to Business Email Compromise schemes, involving scammers posing as executives . Contact is made by sending phishing e-mails from seemingly legitimate sources and then wire transfers to fraudulent accounts are requested. These methods ultimately lead to intrusion and unrestricted access to their victims' credentials.
What is meant by Business Email Compromise?
The FBI defines Business Email Compromise (BEC) as a sophisticated scam that targets companies that work with foreign suppliers and companies that regularly make payments by wire transfer. Formerly known as Man-in-the-Email scams, these schemes compromise official corporate email accounts to conduct unauthorized funds transfers.
According to the FBI, victims lost more than $ 750 million and affected more than 7,000 people between October 2013 and August 2015. Globally, cybercriminals defrauded more than $ 50 million from victims in non-American countries.
BEC scams often start with an attacker compromising a business executive's email account or any publicly listed business email. This is usually done using a keylogger or phishing methods , where attackers create a domain that is similar to the corporate one they are targeting. In other cases, a spoofed email tricking the target into providing account details is sufficient.
After monitoring the compromised email account, the scammer will try to determine who initiates the wire transfers and who requests them . Scammers often carry out a fair amount of research, looking for a company that has had a leadership change in the financial function management, where executives are on the road, or conducts conference calls for investors. Attackers use these as opportunities to execute the pattern.
At this point, the attack can be done in several ways.
Version 1: The bogus invoice
This release, which has also been called " The Bogus Invoice Scheme ", " The Supplier Swindle ", and " Invoice Modification Scheme "usually involves a company that has a stable relationship with a supplier . The scammer asks to transfer the funds for the payment of the bill to an alternative and fraudulent account by e-mail, telephone or fax.
Version 2: CEO Fraud
In this version, scammers identify themselves as senior executives (CFO, CEO, CTO, etc.), lawyers or other types of legal representatives and claim to handle confidential matters or urgent and require you to make a wire transfer to an account they control. In some cases, the fraudulent wire transfer request is sent directly to the financial institution with instructions to urgently send the funds to another institution. This scam is also known as " CEO Fraud ", " Business Executive Scam ", " Masquerading ", and " Financial Industry Wire Frauds ".
Version 3: Account Compromise
Similar to the other two versions, an employee email account is hacked and then used to make requests for payment of bills to bank accounts controlled by scammers . Messages are sent to multiple vendors identified from the employee's contact list. The company may not be aware of the scheme until their suppliers perform checks on the invoice payment status.
Version 4: The fake lawyer
In this version, the cybercriminal contacts employees and / or the CEO of the company and identifies himself as a lawyer or representative of a law firm, claiming to handle confidential and urgent matters. This contact, typically made by phone or email, prompts the contacted party to act quickly or covertly in handling the transfer of funds.
This type of Business Email Compromise pattern can be scheduled to occur at the end of the day or work week, when employees are preparing to quit and therefore are particularly sensitive to a situation. emergency.
Version 5: Data theft
This scheme involves emails from employees with specific roles in the company used to send requests . This time, however, the requests are not for transfers of funds but for personally identifiable information of other employees and executives . This variant can therefore serve as a starting point for more elaborate and malicious BEC attacks against the company.
The scam is primarily social engineering and generally does not need sophisticated system penetration . Unlike phishing scams, emails used in BEC scams are not sent in bulk to avoid being reported as spam . Victims are tricked into making transfers, usually instructed to act quickly and confidentially when transferring funds.
Some known cases
In March 2016, an increasing number of companies and businesses suffered damage from BEC schemes. Companies like Seagate and Snapchat have been among the victims of email scams using the same modus operandi . At the end of the same month, San Francisco-based Pivotal Software was hacked through a phishing scheme that leaked an unknown amount of employee tax information .
The breach was initiated by an email that appeared to come from company CEO Rob Mee, requesting information about the company's personnel. This resulted in the delivery of the employee information W-2 . This information included addresses, previous year's income details, social security numbers and individual taxpayer identification numbers. The recipient of the data, needless to say, was not authorized to request or receive data of this nature.
Not long after this incident, similar schemes were used to obtain personal information in the education sector. W-2 information of 3,000 employees at Tidewater Community College, Virginia was leaked. The event was sparked by a request message from the principal of Kentucky State University, received by one of the school staff members. The request prompted staff to forward a list of employees and students along with W-2 information.
Scams involving the theft of personal information via phishing emails have proven to be an inexhaustible source of data. The stolen data could be sold and also used to stage future attacks or identity theft. As seen in recent and previous tax scams, email scams have become one of the fastest ways to fool unwitting users.
How to defend yourself?
The advice is always the same: stay vigilant and educate employees on how to avoid being victims of BEC scams and other phishing attacks .
It's important to know that cybercriminals don't care about the size of your company. Indeed, usually, the more victims there are, the better. These types of scammers don't need to be highly technical as they can find tools and services that meet all levels of technical proficiency in the deep web . As the world relies more and more on cloud services and in general linked to each other, a single compromised account is all it takes to obtain large amounts of money or data from a company .
Review all emails carefully. Be wary of emails sent by company executives, as they are often used to trick employees into taking urgent action. Review emails requesting funds transfer to determine if requests are irregular.
Educate and train employees . While employees are a company's greatest asset, they are usually also the weakest link when it comes to security . Make a commitment to train employees according to the best practices of the company. Remind them that adhering to company policies is one thing, but developing good safety habits is another. For this we offer a ethical phishing service geared towards education against Business Email Compromise schemes and phishing in general.
Stay up to date with customer habits , including details and reasons for payments.
If you suspect that you have been the victim of a BEC email, < strong> immediately report the incident to the police. Also, alert your company so they can raise their guard and tighten controls.
SOD can help you train your employees. Find out how by contacting us, we will be happy to answer any questions.
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What is phishing? Understanding and identifying social engineering attacks

redpajama_set_name: RedPajamaCommonCrawl


I planned never to have to say this, but I have neglected my blog and been lax on the posting. I had the time, I even did some cooking, but I really just wanted to eat my food. The kitchen has been up and down, and I think now is definitely at an up. Meaning I can cook in the room that is supposed to be a kitchen. There is like a stove and a cook-top and some sort of cabinets. It also looks really good. The husband and I like to stand in there at night and just stare at it. It's not done, and it's not perfect but it's getting there.
I have been more motivated to cook, especially with multiple burners and an oven. But I am still washing dishes in the bathroom so now is not yet the time to go crazy. I've been holding back on the my deep, primal urge to bake a cake. Until today as I was sitting on the floor staring straight on at my new oven (really 2 years old, but sitting unused in the shed) and decided it was time. Nothing crazy, I will save my carrot cake with apricot and cream cheese frosting with layers of something curd for later. So of course David Lebovitz to the rescue again. I have been eyeing his chocolate idiot cake for a while. So few ingredients but the combination cannot be wrong. I of course did not have enough bittersweet chocolate, so used some unsweetened baking chocolate and added a touch more sugar. Then I added some salt, and maybe some bourbon. I did not use a springform pan in the water bath because I decided it was too hard, that is what makes it lazy idiot. Fitting that I have also been too lazy to write blog posts.
This is what my days are looking like. My temporary kitchen is a mish-mash of various meals in progress. Either that or it sits empty while we eat our takeout around the coffee table. Today I have a tomatoey bolognese simmering in the slow cooker, recipe from The Kitchn. The hotplate is grudgingly at work making a grilled cheese. I get to take a break from the tiling because I am the food provider. I am glad for the breaks, a rest is needed for my tired feet and aching back. I rinse the marble dust and dried up mortar off my fingers, stir the bolognese and rotate the sandwiches in the skillet. If not rotated, on side will remain soft and pale while the other becomes black and crisp.
Our counter tops are somewhere between Indiana and Seattle, they have estimated they will be here either March 9th or 11th, I don't believe them, but we will see. So far the husband's estimate of tiling time of 19 hours seems to be off, but unfortunately in the wrong direction. At this point we are maybe 28% done, with about 16 hours of work put into, you can probably do the sad math. But after that all that is left is building and painting cabinets by hand, installing them, installing the counter tops, installing appliances, painting, building the kitchen island, and building a light fixture. That's ok though, because we have both decided that this will be the most amazing kitchen that has ever existed in the existence of kitchens.


text:
Q: Trouble using max(list) Im trying to use max() func to find max value in given a list.
Im creating a list for a given column from a txt file (representing a table, each line has a name and same amount of data columns).
for example - John,M,53,175,8000 (name,. gender, age, height, salary)
The problem is, I dont know if the column will contain numbers or strings. If the column contains integers, then it looks like this (for example):
['1','40','5','520','1025']
In that case, the max() func is comparing first digit and gives back a wrong value ('520').
Here is the relavant code - (Everything is within a class)
First func. is returning a list of a give column.
The second returns the name/names that has max value of the given column.
def get_column(self,colname):
    if colname not in self.columns:
        raise ValueError('Colname doesnt exists')
    col_indx = self.columns.index(colname)+1
    col_data = []
    for i in range(len(self.names)):
        col_data.append(self.data[i][col_indx])
    return col_data

def get_row_name_with_max_value(self,colname):
    if colname not in self.columns:
        raise ValueError('Colname doesnt exists')
    col_list = self.get_column(colname)
    max_val = max(col_list)
    counter = col_list.count(max_val)
    max_name = []
    k = -1
    for i in range(counter):
        index = col_list.index(max_val, k+1)
        max_name.append(self.data[index][0])
        k = index
    return ', '.join(max_name)

thanks alot!

A: You can use the key argument of the max() function to specify comparison as ints:
In [1]: l = [1,'2',3,'100']

In [2]: max(l, key = int)
Out[2]: '100'

Probably you want to apply int() to the output as well.

A: Check if your list consist only of numeric strings before calling max, if this is a case, use key=int:
def kmax(col):
    key = int if all(x.isdigit() for x in col) else str
    return max(col, key=key)

print kmax(['1','40','5','520','1025']) # 1025
print kmax(['foo','bar','40','baz']) # foo

redpajama_set_name: RedPajamaStackExchange


text:
Q: MailApp.sendEmail =: validate the input email availability from user before send email through MailApp Currently i am developing a google form that allow user to key in the recipient email and then send out email after submit the form.
Is there anyway to validate the input email availability from user before send email through MailApp?
I try MailApp.sendEmail(recipient, subject, body, {noReply:true,htmlBody_message, replyTo:user email})
whenever user key in wrong recipient email, system still send back the notification to me(admin) rather than replyTo user's email.
Need help..> <'
Eugene

A: Email addresses in your organization:
If you want to look for emails in your organization, you can use Users: get to check if the email corresponds to any account in your organization.
To do this, you would have to enable Admin SDK Directory Service, and use, for example, this:
const existsInDomain = email => {
  try {
    const res = AdminDirectory.Users.get(email);
    return true;
  } catch(error) {
    return false;
  }
}

Other email addresses:
If you want to check this for email addresses not in your organization, the situation becomes more complicated. You could check if the email address is properly formatted using Regex, as in some of the answers to this question, but I don't know of any way to programmatically check if a specific email address exists (there seem to exist some online tools, but no idea if there is a programmatic way you can integrate to your code).
Reference:

*

*Users: get

*Admin SDK Directory Service

A: Try this

function isValidEmailInMyDomain(address) {
  var parts = address.split('@');
  if( parts.length != 2 )
    return false;
  if( parts[1] != UserManager.getDomain() )
    return false;
  try {
    UserManager.getUser(parts[0]);
    return true;
  } catch(doesNotExist) {
    return false;
  }
}

function testFunction() { //check the menu View > Logs
  Logger.log(isValidEmailInMyDomain('aEmailIn@yourDomain.com'));
}


China's Huawei plans to unveil a new 3D phone with a 3D Huawei camera this month, according to news reports.
Huawei According to Bloomberg, the next Huawei phone is called Princeton, and Sony is using advanced sensors from Sony to integrate the technology into its phone, and the Huawei camera will be able to take 3D images.
The Huawei new feature 3D phone will not only capture stereoscopic images, but will also be equipped to work in conjunction with enhanced reality applications,3D phone enabling developers to use and manage applications and games in new ways.
What do you think then ?


Are you starting to notice lines and wrinkles popping up on your upper face? If this sounds like you, Botox may be able to help!
Botox, or botulinum toxin type A, is a nonsurgical injectable that works by temporarily reducing the appearance of dynamic lines and wrinkles. The most commonly treated areas include forehead creases, crow's feet, and lines between the eyebrows (the 11s).
We express emotions through our facial expressions. These facial expressions cause our facial muscles to repeatedly contract, causing lines and wrinkles. Botox relaxes the facial muscles that contract when we create expressions, smoothing out wrinkles and lines. It also has a mild lifting effect on the outer brow if injected in that area.
Treatments are relatively painless with low risk.
Makes subtle changes that give you a refreshed look.
A candidate for Botox will have fine lines or wrinkles that have resulted from expressions such as frowning, squinting and furrowing brows. However, patients that are also looking for preventative measures may also be candidates. This can be done by preventing the movements that cause the lines and wrinkles over time. The best way to determine if Botox is right for you is through a consultation appointment with Dr. Fichadia.
After an initial consultation to discuss your concerns and aesthetic goals, Dr. Fichadia will recommend the areas that will benefit from Botox injection. A topical numbing cream can be applied to the treatment area before the procedure (if requested) to help ensure a comfortable experience. Each injections site will be marked and injected using a very fine needle. The approved areas for treatment include the forehead, brow area and crow's feet (outer corners of the eyes).
After Botox, there is little to no recovery involved, which makes it a great option for those with busy schedules. Patients may experience some redness or a slight bump at the injection site after treatment. In most cases, this will disappear after a short period of time after the procedure is complete. It is recommended that patients who have had injections do not rub or apply pressure to the area and strenuous exercise and for the remainder of the day and avoid laying down within 3-4 hours post-treatment.
Most patients can begin to see their results after a couple of days. Results can last for about 3-4 months before a follow-up treatment is needed.
If you are interested in learning more about Botox treatments, contact Dr. Fichadia's office today to schedule a consultation. We are happy to answer any questions that you may have.
Your Botox treatment will be customized to your individual goals and needs. When you meet with Dr. Fichadia, she will determine the appropriate amount of Botox for any treatment areas you wish to address. The number of injections may differ from patient to patient depending on your aesthetic goals.
There is little to no downtime required following Botox treatments, so you can return to your daily routine as soon as you leave the office. This is why it is such a popular procedure for individuals with busy lifestyles who do not have the time to take off of work for recovery.
Will my face look "overdone" following Botox?
Dr. Fichadia strongly believes in natural looking results. Following Botox injections, you should still look like you, just a more relaxed version!
Will my Botox treatment hurt?
While most patients can tolerate Botox injections well, a topical numbing cream can be applied to the treatment area to ensure your comfort during the process.
Like any type of cosmetic treatment, Botox does come with some possible side effects. These include headache, neck pain, discomfort at the injection site, undercorrection, and allergic reaction. Be sure to discuss your medical history and list of medications with your provider prior to your Botox treatment to avoid any possible serious side effects.
Is Botox for men, too?
Yes! Botox is for both men and women to help treat unwanted lines in the upper face. The number of men receiving Botox injections has greatly increased over the past couple of years to help them look as young as they feel.
Botox is categorized as a neuromodulator, which works by blocking nerve signals to the muscles. Dermal fillers, however, are different in that they smooth out lines and wrinkles by adding volume under the skin, usually using hyaluronic acid. These two injectable treatments differ in the type of wrinkles and lines they can treat and have varying longevity. They are often used complementary to each other. A consultation can help to determine which treatment can help you achieve your aesthetic goals.
Yes, Botox is FDA-approved and has been used for over 20 years for the cosmetic treatment of facial wrinkles. The overall risk of Botox is minimal, and Botox is considered a safe procedure. You should always be sure to go to a board-certified dermatologist or plastic surgeon for Botox injections for best results.
What is the best age to start using Botox?
It is best to start Botox when you start to notice wrinkles that are visible even when you are not making a facial expression. Some patients also choose to receive Botox injections as a preventative measure to prevent wrinkles from deepening over time.


text:
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text:
The Band Takes a DAT
This past Saturday my band took a serious dance aptitude test (DAT). We played for a local dance club, an organization that teaches ballroom dancing to couples and has monthly dinner dances where they practice what they learn. The instructor couple had indicated to me how much trouble they had in past years finding bands who could cut the gig. I sympathized with them up to a point, but in the back of my mind I was wondering what the problem was. Was it because playing for dancing has become a thing of the past? This is partly true, but musicians in my generation have spent many hours playing gigs where people dance, most often at weddings but sometimes in clubs. So I wasn't quite sure what the problem was, until I got the suggested song list, which I requested.
When I received the list I understood their issue with bands. It was easy to see that these dancers would be very specific in their wants. In years past, a band leader could feel comfortable going into a gig with dancers by having a sampling of tunes that covered swing, a few 6/8 ballads, a couple of rock numbers, a waltz, a bossa nova and a polka if requested. These styles could usually get you through any gig.
The list I received from the leaders of this club was more specifically defined. It included all the above-mentioned styles, with the addition of a foxtrot, a bolero, a merengue, two types of cha-chas (a regular cha-cha and a chilly cha-cha), a samba, a rumba, a mambo, an Argentine tango and an American tango. You might guess that I was approaching this gig with a bit more seriousness than was originally anticipated. As I looked through the identified songs that accompanied each style, I surmised an unusual degree of homework lay ahead. The biggest issues were with the Latin numbers. When we are asked for a Latin tune, most musicians think of a bossa nova, like "Girl from Ipanema," or "Spanish Eyes." That used to cover the Latin genre. This list made me seriously ponder what I actually knew about the difference between a tango, a cha-cha, a samba and a mambo. I had to admit that I did not actually know a heck of a lot. Adding to my trepidation was the fact that although I had a quartet, I did not have my full band with me. I was grateful, however, to have Tom McGrath on the gig, my A-list drummer.
The gig was a dinner dance and I put a lot of thought into the first tune. We started in our comfort zone and played the bossa nova "Summer Samba," (also called "So Nice"), and to my immense relief we weren't four measures into the tune when more than half the audience was on the dance floor, even though they were mid-dinner. I immediately saw that these dancers knew their stuff. As the night progressed I felt better and more confident as the dancers responded to our selections. But in addition to all these styles, we had a flood of requests. We expected the polka and the waltz, but in addition we were asked for west coast swing, "Spanish Eyes," "The Hustle," "Mustang Sally," "The Electric Slide," and even a song called "Number 720 in the Book." I admit I had never heard of that one, but we filled nearly every request and apparently passed the DAT by a margin of two standard deviations above the mean.
I often think I missed the era of music I really would have thrived in, the late 30's through the war years, when the audience participated by dancing, when arrangers could find work with big bands, when there were plentiful gigs for sidemen, and when jazz and swing music was the popular music of the day. I try not to talk about music history that predated me as if I were there, like the 39-year-old who proclaimed in a Ken Burns documentary that in 1940 the Savoy dance club was THE place to be. So I will only say that I had a flash this last Saturday night of being in a dance hall in 1939. We had a stage, a beautiful dance floor, we had the spotlighted globe rotating in the ceiling, and we had 50 couples dancing and dressed to the nines, applauding after every selection with enthusiastic smiles.
If I'd had a roadie to move my gear I would have called it the perfect gig.
Posted by Monk Rowe at 10:05 AM No comments:
Labels: dance gigs, dance styles, playing for dancers, Tom McGrath


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Home China and Iran draw up military and trade partnership in defiance of...
China and Iran draw up military and trade partnership in defiance of Trump administration
Iran and China have quietly drafted a sweeping economic and security partnership that would clear the way for billions of dollars of Chinese investments in energy and other sectors, undercutting the Trump administration's efforts to isolate the Iranian government because of its nuclear and military ambitions.
The partnership, detailed in an 18-page proposed agreement, would vastly expand Chinese presence in banking, telecommunications, ports, railways and dozens of other projects.
In exchange, China would receive a regular — and, according to an Iranian official and an oil trader, heavily discounted — supply of Iranian oil over the next 25 years.
The document, obtained by The New York Times also describes deepening military cooperation, potentially giving China a foothold in a region that has been a strategic preoccupation of the United States for decades.
Read more:INTERPOL Denies Giving Red Notification for Donald Trump, U.S. Authorities, as Iran Claimed
It calls for joint training and exercises, joint research and weapons development and intelligence sharing — all to fight "the lopsided battle with terrorism, drug and human trafficking and cross-border crimes".
The partnership — first proposed by China's leader, Xi Jinping, during a visit to Iran in 2016 — was approved by president Hassan Rouhani's Cabinet in June, Iran's foreign minister, Mohammad Javad Zarif, said last week.
If put into effect as detailed, the partnership would create new and potentially dangerous flashpoints in the deteriorating relationship between China and the US.
It represents a major blow to the Trump administration's aggressive policy towards Iran since abandoning the nuclear deal reached in 2015 by Barack Obama and the leaders of six other nations after two years of gruelling negotiations.
Renewed US sanctions, including the threat to cut off access to the international banking system for any company that does business in Iran, have succeeded in suffocating the Iranian economy by scaring away badly needed foreign trade and investment.
But Tehran's desperation has pushed it into the arms of China, which has the technology and appetite for oil that Iran needs.
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Edo 2020:PDP plan to rig Edo election – Yahaya Bello
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Youth sermons can be a little tricky to produce.
When speaking and presenting to our youth you have to remember a few important things about your audience. Here are six necessary points to remember when creating youth sermons to present to your youth ministry or your youth group.
Youth sermons should be direct and to the point. The fact is teens don't have long attention spans and become distracted very easily. You can try and try to fight against this but if you go on for an extended period of time you will probably lose the mass majority of the students who will just tune you out.
and also your passion for the material that you are teaching. If you are passionate about your love for Jesus Christ then when you are spreading the word to your students, that love and passion will show through. Don't be afraid to be enthusiastic and excited about the material while presenting it to your students, as this will be in keeping everybody's attention and everybody's eyes on you. The more that they are focused on you, the more you can deliver the message that you are trying to give them.
Youth sermons do not have to be complicated and use a ton of technology. Today we have access to all kinds of media players such as TVs and computers to aid in our presentations. But the reality is sometimes you shouldn't use these crutches, as they can get in the way of your message. If you have a clear and defined message that you want delivered to your students, standing in front of them delivering a message many times can be a much more impactful than if you were trying to dazzle them with a multimedia presentation.
The youth sermons that you deliver to your students should each have a clear defined goal or message. If you try to deliver too much material in one of your sermons, your message can get lost. So for each of the sermons created for teens that you deliver to your students have a focused clear defined message that you want them to take away from your time together. If you find yourself preparing sermons that have more than one message, it is a good idea to break those down into individual youth sermons that you can use at different times.
Lastly one of the most impactful things that you can do to make your youth sermons interesting to your students is to use stories from your own life and your community. If you can connect a message to somebody that your students know, they are much more likely to be interested in you will find it much easier to grab their attention than if you were talking about somebody that they have never heard of before. So try to personalize each one of your youth sermons to the best of your ability.
Keeping these tips in mind when creating and delivering your youth sermons will surely aid you in delivering the word of Jesus Christ.
A few more tips that you should keep in mind when you are creating Youth sermons. Make sure that all Youth sermons you teach are fun and creative. Make sure that the Youth sermons you are teaching really engage students from the start. Keep your Youth sermons laser targeted without too many points that you are trying to convey. Your Youth sermons should have one or two major focuses that you want to teach your students. The Youth sermons should not be very long. Teenagers have short attention spans, and it doesn't matter where they are, if something is going on too long you're going to lose them, so keep your Youth sermons short.
One last point, when you are creating your sermons for youth. Make sure that your Youth sermons really convey your love for Jesus Christ. When your students see that you love Jesus Christ when you are teaching your Youth sermons, you will be able to make a bond with your students during your sermons a lot easier. They will see that your love and passion for Jesus Christ shows at all times including when you are teaching the Youth sermons. And if your love and passion shows through while you are teaching the Youth sermons, they will know that you are for true with what you teach. The sermons for youth should be an extension of your love and passion for the word of God. So when you are presenting your Youth sermons let that shine through.


BLACK... Absence of light and enveloped in darkness. The color black is power, fear, strength, elegance and emotion. It has a richness all it's own that is deep, mysterious, edgy and glamorous.
Black is stylish, thought provoking, sophisticated, formal and prestigious. Black is associated with the unknown or negative, but also represents power and strength. Here it is used as the predominant color.
This is a collection of work created by integrating the textures, shapes and colors of recycled materials to form art that is imaginative, tactile and uniquely original.
Terrilynn Moore was born in Denver, Colorado in 1956.
She was a Denver Police Officer for ten years and also worked in a mental health facility.
Currently, Terrilynn is working on her 'Nappy Edges—a multi-media, abstract exploration of being black in white American culture. The frustration, pain and chaos of living and working in a society that often degrades, humiliates, incarcerates and undervalues people of color. The irony of her police background serves as fodder for her art.
Terrilynn received her BFA in Painting and Drawing from the University of Colorado Denver in May of 2017. In June of 2014 she was awarded the College of Art and Media Visual Arts Travel Scholarship.
Terrilynn currently lives in Aurora, Colorado.
Lines, cloth, Thread, Knots… a destiny in the weaving!
We are weavers of our lives, each experience can be an important thread used by our consciousness to connect with one another and create our own essence. That's why our intuition is guided by the thread of our soul.
I like to thing that the works of this series symbolize elements of my life tapestry.
Through exploring more traditional working methods while focusing on contemporary subjects in unexpected or unfamiliar situations - Chuvarsky's paintings seek to document current events, the artists daily life, the absurdity of modern politics, and childhood nostalgia. All while examining the placement of the subject within the picture plane and the feeling it invokes.
Donny Dixon manipulates fire to explore powerful imagery of daydreams and nightmares. Drawing upon ideas and pictures that flicker just outside of consciousness, Dixon uses elements of fire such as smoke and ash to permanently sear these images onto his canvases.
"Paper Dreams" is a collection of dream-inspired illustrations made over 5 years.
The stories of my dreams are vividly fantastical, and I use paper to illustrate the icons, figures, and scenes of my subconscious. Paper cutting and color choices are deliberate, and the transformation in form and meaning, from memory to paper shapes, is what inspires me to create.
March 7 - 24, 2019: Rochelle Dammel & Alissa Davies - "Cultivation"
Rochelle Dammel's latest show at Core, Cultivation, shows her determination to stay in the moment while art making, and offers art lovers a pure look into her subconscious. Dripping, swiping, and scraping acrylic and oil paint on wood and canvas gives her the freedom to explore textures, shapes and mark making that often tell stories.
As a writer and process painter, Rochelle Dammel is interested in telling the stories of her subconscious. Cultivation is a compilation of her efforts to illustrate her underlying thoughts. Painting spontaneously allows colors, shapes, textures and mark making to channel through her into her art.
By applying multiple layers to each piece, she cultivates visual stories. Intuition and trust of skill are her guide as she adds layers and complexity to her art, inviting viewers to see their own version of the stories she paints.
Having recently moved to Colorado, Alissa Davies' current show examines the complexity of repositioning oneself in new environments, new communities, and new situations. The longing for the familiar home paired with the growth that comes from moving somewhere new, Cultivation conveys the myriad of feelings that occur with relocation.
Davies is interested in the ways that the art-making process reveals effective methods and tools for navigating the life-making process. The messages include and are not limited to: staying open to the unknown, staying with the ugly stages of a painting (and of life), being curious and exploratory, relishing in beauty and harmony, risking, and knowing when to stop.
Davies' paintings emerge from an intuitive place, intermingling with knowledge of color theory, composition, and painting techniques. Each piece is generated spontaneously, taking cues from her inner world. As a painting progresses she is interested in the interplay of form and the harmony of colors, while staying true to the organic forming of shapes and textures. Play, experimentation, movement and curiosity guide her process.
Jean Smith's current work is based on the feel of the Mid-Century Modern decorating shapes and placement from the mid 60's, and 70's. Each wall composition can be an entity of its own or joined with others to create a larger design element. She uses clay, stains and glazes to create the 3-D components of the pieces.
Annette Coleman's current interest deals with art in the public realm. This installation represents an idea that could be translated for a public space or your home.
Rita Bhasin's paintings express the tactile, bold and colorful quality of her love for the outdoors, ancient cultures and natural materials. She brings to life the quotidian, letting us pause and experience the textures of each moment.
I am interested in making art that is borne of one single uninterrupted line which never crosses overs itself and has a clear beginning but a very inconspicuous ending.
This interactive art installation and exhibit by artist Carrie MaKenna explores The Universal Circle through painting, sculpture and play. It's a culmination of 30 years of interest, study, practice and teaching about the Circle as a unique Universal Pattern and Spiritual Resource.
The Circle is found at the center of many spiritual traditions including the Native American Indian Medicine Wheel, the Celtic Stone Circles, the Buddhist Tangkas and Hindu Mandalas among countless others. The Artist has also had a deep life-long interest in Space, the Solar System and the intricate cycles of the Sun, Earth and Moon that define our life on planet Earth.
Sandy Marvin is a contemporary realist painter who enjoys painting with pastel plus dashes of other media in the mix. She paints primarily from life; plein air or still life.
Bev Ruiz is a Colorado based artist who began painting with oil as a creative outlet. Growing up in the Southwest and throughout her travels, her inspiration comes from observing what is not always noticed.
Her art reflects the bold and vivid colors she sees in nature and everyday life. Primarily a studio painter, she shares her artistic expression thru imaginative layers of bold colors, textures, and brush strokes. "I have to continually evolve each painting thru many layers to create the right sensation".
The Small Works Show is honoring the concept of artwork in any media 12 inches or less in all dimensions.
Juried by Victoria Eubanks, who serves on the board of directors at the Arts Student League of Denver as well as a faculty member. Her work has been exhibited nationally and hangs in corporate collections.
Artwork selected represents various styles and mediums from national as well as international artists.
Come one, come all and experience a unique carousel of rusty elephants and horses, fortune tellers and toads. This multi-faceted dreamscape of attractions is the culmination of artworks by Claudia Roulier & Michelle Lamb.
Can art makes us better human beings?
I've created a grouping of pieces that offer the opportunity to explore the idea of Artopism--the innate ability to emotionally react to art in a positive way, resulting in personal growth and a greater understanding of those around us. Like a sunflower turning towards the sun, or a seedling reaching for the sky, the goal is growth.
I use layers of drips, bright colors and thickly spread oil paint on canvas to create comparisons and discussion. My preference is to paint large, to create a more thorough experience.
How can we grow as people through our innate reaction to, and interaction with art? Is it possible to achieve personal growth through self-reflection and discussion of what we find compelling, or even odd in art?
A long time member of CORE New Art Space Gallery, Gina Smith Caswell works only in oil paints and enjoys exploring pattern, color and texture within her well known body of floral images. She also utilizes similar expressive techniques when exploring abstraction, water imagery, and portraiture.
My recent abstract expressionist work is based upon my perceived awareness of the natural environment. In my studio I'm trying to recapture the subtle mystery or "numinosity" of nature on a 2 dimensional piece of birch panel. I use many layers of oil paint, wax, graphite, oil stick, and pigment. By scratching a texture or expressive line into the medium with different tools, the layers are revealed!
It is as though there is a contrasting conversation I have in the studio, a back and forth between order and disorder. My practice is experimental. It involves a series of decisions that contain a history of creation and elimination. Working with variety of techniques and approaches, I create strategies that I fallow and break. By challenging the way, the painting is constructed each layer caries or destroys prior ideas by cutting and fragmentation of previous gestures. The practice is a kind of choreography; a dance between spontaneous and learned behaviors. Both my conscious and unconscious are played out at different times. It is about knowing when to embrace expectations, rules, desire, and even fear, but knowing that it is equally as important to tell when to let them go.
Through my art work I try to bring the outside in by portraying plants and animals. I see my creations looking as if they have lived or grown somewhere, beautiful objects that pay tribute to the natural world. My goal is to inspire those who see my work, to look more carefully at the world around them to discover beauty in unusual places.
Flora and fauna is the world of living things. "Flora" designates plant life, and is also the Roman goddess of plants and flowers. In Roman mythology, Flora symbolized nature, flowers and fertility. Fauna was the Roman goddess of animals, wildlife, fertility and spring. Hence the word "Fauna" designates all animal life. What does Flora and Fauna mean in today's world? How do you relate to nature in today's technological environment?
Regan Rosburg is an artist and naturalist. Regan teaches Fine Arts and Foundations at the Rocky Mountain College of Art and Design and Metro State University in Denver, Co. She is known for her carefully constructed, layered resin paintings, as well as her sensory-laden, emotionally evocative installations. A published writer and passionate speaker, Rosburg's commitment to environmental causes is evident in her poignant artistic imagery, talks, and writing. Her first curated show was Axis Mundi,a massive exhibition on the topic of eco-psychology (2017 Denver Biennial of the Americas). She is represented by William Havu Gallery.
Jude Barton's work explores the form and function of line, shape and space; creating a certain uncluttered calm and freedom within her structuring of fragmented and blurred iconic images. Her uninhibited wanderings towards creative vision and away from annihilation strive to bring reason and structure within chaos and clutter.
Primarily exhibiting on Canyon Road in Santa Fe, NM, Brian Haley explores the synergies and contrasts between clean rolled steel and distressed wood, Haley works to assimilate the disparities between century old hand salvaged mine wood and mid-century modern design characteristics to create one of a kind tables, chairs, and wall art.
With Coloradans often ranked the most active in the nation, it's no wonder so many of its residents are enjoying the Rocky Mountains in every way possible. We hike to amazing places to ski. We bike scenic byways and mountain trails. Simply put, we love our outdoors. Artist Leslie Jorgensen travels across the Rocky Mountains and the West skiing, hiking and biking along the way. She paints the landscapes she visits and our outdoor activities within it. Her landscapes are abstracted and playful. Join us as we close out the summer season with this fun show that runs through Sunday, Sept 9.
Donny Dixon uses fire to create his art. This primal element gives the work a push-pull relationship of chaos versus control. This technique, combined with other mediums, creates rich and complex surfaces that contain both concrete and ethereal elements. It is here on these surfaces that he can build a stage to provoke response, and combat the overwhelming noise that fills our lives.
Born from the political maelstrom that has defined the last several years, Chuvarsky's paintings seek to critique the continued divisiveness and disinformation of modern politics while examining the issues that define American culture, whether it be our insatiable appetite for consumerism or pop-culture rhetoric. By acknowledging and documenting the flaws, Chuvarsky hopes to shift focus to something uniquely American: optimism.
Emerging Artist Melissa Van Deventer, a Colorado Native and Graduate of the University of Colorado Fine Arts and Art History Department, is sharing her beautifully unique abstract pieces with us in her Go with the Flow Show starting August 2nd. Her love for paint in its purest form influenced her recent works involving various pouring and color mixing techniques, that create beautifully organic contemporary compositions and unveil a unique beauty in the eye of each beholder. Similar to a modern-day Rorschach Test – you'll leave the Go with the Flow Show with a delightfully unique interpretation of the paint combinations you've seen.
This exhibition seeks to show art that has cast away the color system and focuses on the visual power of black and white; reflecting the innovative and contemporary in painting, photography, drawing, printmaking, mixed media and sculpture. This show was juried by Dr. Deanne Pytlinski, Art Dept. Chair at Metropolitan State University of Denver and and features both regional and national artists.
Rolf Helland's oil and graphite drawings on canvas reflect his fascination with the destructive forces on the urban landscape based on images that he finds through the media. His new body of work draws the viewer in for a closer look and reveals raw and complex snapshots in time.
Jim Riggin's ideas most often come from the thoughts he has when sleeping or walking and moving about the city. Often focusing on the imagination and which medium is needed for it's effect, he sees subjects in black and white, in color or in wood and steel. Often working on 2 or 3 different projects at a time which take on various forms usually unintended, Jim finds satisfaction when completing each and signing his name.
Linda Gleitz presents "Social Structure" a multi-piece work consisting of 80 "buildings" about social justice on many different levels. Linda calls it a "city" made of clay. The buildings average about 9 inches-ish. The buildings are full of people doing all of the nefarious and pleasant things that people do behind closed doors. Linda will also show individual pieces that are part of her "army" of goddesses. Their purpose is simply to bring compassion and beauty to our world.
Andrea Gordon's collection of work called "What's Next" is about embracing change and taking chances. The varied works reflect Andrea's exploration of abstract painting from the past 3 years. Trying to be free and open throughout, she created groups completely different from one another using different techniques or sources of inspiration. Moving onto larger works, Andrea pushes the boundaries of color and pattern, most notably a 6'x8' mural made of 24 separate pieces – each standing on it's own while being part of the whole. Most recently, large scale paper-mache sculptures and ceramics incorporate her unique style.
"Within" is an exhibition of art created by University of Denver students in an experimental workshop taught by Professor Deborah Howard. In the course personal expression was strongly encouraged and students were free to work in any media. Students had their own studios in a large classroom that was a community where the exchange of ideas flourished.
"Within" explores childhood, memory, cultural identity and the natural environment. Media and subjects include: portraits in ois, photo transfers on fabric, sculptures made of toys and animated digital media.
A painting, a drawing, a sculpture... NO! It's mixed media! It's all of those things and more. Showcasing endeavors in assemblage, mixed media paintings, collage, sculpture and all that you can imagine.
Suzette Rosenthal is a mixed media artist living and working in Broomfield, Colorado. She received her BA in Art from Cal State LA and is a recent transplant from Laguna Beach California. While living in California, she exhibited for ten years at the prestigious Laguna Beach Sawdust festival and taught classes and workshops in mixed media. She has contributed instructional chapters to two publications available on Amazon: "101 Mixed Media Techniques" (2014) and "Mixed Media Workshop" (2012) Suzette continues to teach mixed media classes and workshops from her home studio in Broomfield and serves on the board of the Broomfield Art Guild.
Her work is unique and visually compelling. She is drawn to textures and likes to experiment with incorporating found objects and upcycled materials to create visual interest. Taking the cast-off objects of others and bringing new life and meaning to it is a driving force behind her inspiration.
"Dazzle & Jazz" features artists Victoria Kwasinski and Joyce Nielsen who take an intuitive approach to abstract painting, using color and structure in variegated and expressive ways. Victoria explores energy, rhythm and movement as unspoken dialogue with the viewer and Joyce examines the aspects that different mediums in contemporary art and how that process can both hint at fun and whimsy while conveying seriousness.
Repetitive patterns have been the focus of my sculptures and pottery. But recently, intrigued with imagery and storytelling, I find myself moving in the direction of drawing on vessels; their forms like a blank canvas with shape. Influenced by ever-changing events in the world; floods, fires, mudslides and colorful politics, while not favorite subjects, are sometimes reflected in my drawings which are a delicate balance of fantasy and reality.
"Feeling blue" is a collection of blue artworks created by Ketty Devieux over the past 10 years on canvas, paper and textile. The versatility of hues of blue to express, by means of different techniques, a wide variety of emotions (longing, nostalgia, loss, exuberance, serenity, trust etc.) as well as spiritual aspirations of the soul, and dreamlike fantasies, is made evident. It's a journey through memory and consciousness.
Celebrate your devotion to your electronic devices through a visit to the Silicon Shrine. A glittering installation where you can experience the power and voice of the great god Si, pray for intercession to repair your failing operating system and purchase actual relics from the first cosmic explosion which created our binary universe.
Photography reimagined, digitally scratched and gesturally designed, unbounded pieces and sculptures evoking nature. Complemented by precise geometric paintings projecting playfully colorful daydreams of strength and erupting violence. Viewers will encounter an adult-themed take on cartoonish characters mixed with geometric robots and rabbits along with delightful provocations of traditional norms. This colorful collaboration between these two friends poses the question who is predator and who is prey.
Emmanuelle Auzias explores turquoise, a color that intuitively finds its way into her abstracts and associated in several cultures as therapeutic in its protective properties and helpful in reconciling grief with positive mothering and controlled nurturing. Green relates to the heart chakra and blue to the voice which aptly fits this powerfully emotive work that is a genuine conversation about personal emotions and observations. Additionally, Emmanuelle shares her latest mixed-media collages inspired by traditional French free-speech satirical comments on current events.
Jen Herling's doll like figures and portraits tell enigmatic and emotive stories. Her work evokes magical dreamscapes depicting a flair for innocence with a dark twist. "Savage Calm" consists of new work highlighting a slight shift towards realism, including a deepening understanding of space, light, and color. Woven throughout her exhibit are themes of surrender, perseverance, and spirituality.
Ms. Purdy's pieces for this exhibit are made from water-based oils on watercolor paper. She interweaves bold uses of color and lines to create an almost three dimensional quality. These smaller scale works represent a new style for Lisa in comparison to her large-scale abstract oils for which she is well known. Award winning Ms. Purdy has been juried into numerous exhibits around the state, including the State Capitol, Denver International Airport, and the Botanic Gardens.
The WOW show has been a Denver metro-area tradition for over 25 years. Artists of all skill levels and media are represented. Come to the gallery and experience the cacophony!
This new body of work by Jeanette Chinelli titled "Arms Backs Legs & Seats", moves from quiet, understated restrained imagery to explosive, dynamic compositions. From dense interplay of pattern, vivid color and wallpaper motifs they become the backdrop for the subjects in Chinelli's art where the chair is the stand in for the human form. Chinelli is currently attending the University of Denver working on a Bachelor of Fine Arts degree.
Terrilynn Moore's organic, soul searching compositions, "Working from the Guff". She draws from the ancient spiritual meaning of the word "Guf" or "Guph" as that creative, amorphous space inside each of us where art begins; that place where souls are quickened into being. "For me, the Guf is that internal space full of wonder and fear; hope and despair; goodness and evil.
The National organization was founded in 1972. The Colorado Chapter was founded in 1990, and is celebrating their 28th Anniversary. There are currently over 25 members in the Colorado group. Our mission is to create community through art, education, and social activism by supporting women artists, by creating leadership opportunities, and by offering exhibition opportunities.


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July 22, 2015: Billboard #1s: "Bridge Over Troubled Water"
[75 years ago this week, Billboard magazine released its first chart of American popular music hits. So this week, I'll AmericanStudy five #1 hits and their cultural and social contexts. Share your thoughts on these and any other pop hits, classic or contemporary, for a chart-topping crowd-sourced post!]
On a surprisingly quiet and potent #1 hit, and the possibilities and limitations of art.
I'll readily admit that I when I started looking into the history of Billboard end-of-year #1 hits, I was expecting to find a lot of, well, crap. But while there are certainly songs on the list that qualify (see my upcoming Friday post for one very recent such example), I would say by and large that the #1s took me by pleasant surprise. Not necessarily in the entirely out-of-left-field way that yesterday's choice, "The Battle of New Orleans," did; but nonetheless as songs that I wouldn't have expected to be the most successful pop hit of their given year. That's certainly true of 1970's #1 pop song, Paul Simon and Art Garfunkel's quiet, moving "Bridge over Troubled Water." A recitation of what the speaker will do for his down-and-out addressee, and one that builds to a particularly beautiful final verse image of companionship and hope, "Bridge" is a hugely inspiring #1 hit.
That would be the case in any year and time period, but I believe that "Bridge" is particularly inspiring in—and perhaps became such a huge hit because of—its 1970 moment. This was the moment, after all, when the optimisms of the 60s and their accompanying social and cultural movements had begun to give way to what Jimmy Carter would famously define, in his 1979 "Crisis of Confidence" speech, as the "malaise" of the 70s, a national downturn only deepened by post-1970 events such as the Watergate scandal and defeat in the Vietnam War. When Simon and Garfunkel's speaker tells "you" that "when times get rough" he will serve as a "bridge over troubled water," that is, he's not just addressing a hypothetical individual and his or her future—he's referring quite precisely to what has begun to happen in the nation's communal present, and pledging to "take your part when darkness comes and pain is all around." And when he closes by imagining that "all your dreams are on their way, now," he's envisioning an end to those troubles, a better future about which he "will ease your mind."
Which is a beautiful image and hope, but of course did not actually come to pass for America in the decade after Simon and Garfunkel's #1 hit. Nor did the subsequent popularity of disco throughout that decade, including end-of-year #1 hits by Roberta Flack and Andy Gibb, necessarily elide those communal troubles and pains (although perhaps disco helped for a few moments…). It's entirely unfair to ask any individual song or artist, or even all songs and artists, to perform such cultural work—but it also begs the eternal question of whether a feel-good anthem like Simon and Garfunkel's (or even more fully feel-good ones like those subsequent disco hits) serves more as an opiate for the masses than a source of genuine inspiration. That's a far bigger question than I can address in one paragraph, or one post, or even one weeklong series on popular culture—but it's an AmericanStudies question to be sure, and one raised with particular clarity by Simon and Garfunkel's inspiring 1970 #1 hit.
Next #1 hit tomorrow,
PS. What do you think? Other hits you'd highlight?
July 31, 2015: Scholars on Fire: Temple Colleagues
July 30, 2015: Scholars on Fire: Paul Edwards
July 29, 2015: Scholars on Fire: Christine Yao
July 28, 2015: Scholars on Fire: Vetri Nathan
July 27, 2015: Scholars on Fire: Luke Dietrich
July 25-26, 2015: Crowd-sourced Hits
July 24, 2015: Billboard #1s: "Tik Tok"
July 23, 2015: Billboard #1s: "Gangsta's Paradise"
July 22, 2015: Billboard #1s: "Bridge Over Trouble...
July 21, 2015: Billboard #1s: "The Battle of New O...
July 20, 2015: Billboard #1s: "I'll Never Smile Ag...
July 18-19, 2015: Trinity Sites and Texts: Hiroshi...
July 17, 2015: Trinity Sites and Texts: On Faith a...
July 16, 2015: Trinity Sites and Texts: The Enola ...
July 15, 2015: Trinity Sites and Texts: Scientific...
July 14, 2015: Trinity Sites and Texts: Historical...
July 13, 2015: Trinity Sites and Texts: Los Alamos
July 11-12, 2015: Samuel Southworth's Guest Post: ...
July 10, 2015: Secret Service Stories: 21st Centur...
July 9, 2015: Secret Service Stories: Guarding Tess
July 8, 2015: Secret Service Stories: The Lincoln ...
July 7, 2015: Secret Service Stories: In the Line ...
July 6, 2015: Secret Service Stories: The JFK Assa...
July 4-5, 2015: The 4th in Focus: The Adams Letters
July 3, 2015: The 4th in Focus: "Sandy (4th of Jul...
July 2, 2015: The 4th in Focus: "Speaking of Courage"
July 1, 2015: The 4th in Focus: Fireworks