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Quote of the Day: Adam Jones on his rights as a player
By Craig CalcaterraAug 1, 2018, 9:03 AM EDT
A lot of people wondered if the Orioles would trade outfielder Adam Jones at the deadline. He did not get moved, of course, and a big reason for that was that he has full no-trade rights pursuant to his being (a) a ten-year veteran; with (b) five years on his current team. Or, "ten-and-five" rights, as they're colloquially known.
These are rights which the players union bargained for because no player likes to be traded when they've been someplace for a while. It uproots families and disrupts social and philanthropic efforts players — who are expected to have some loyalty to their community — tend to cultivate. In bargaining, the owners agreed. They agreed that, at a certain point, sure, it's the right thing to allow guys of significant tenure to have a say in where they play.
I haven't explored Baltimore Orioles fan message boards and haven't sought out their comments since the deadline passed, but based on how such situations have played out in the past, I presume there are at least some fans who wish Jones would've waived his no-trade rights in order to allow the O's to more completely tear things down. Roch Kubatko of MASNsports.com no doubt heard or expected such sentiment, so he asked Jones about not approving a trade. Jones' comment:
Jones on why he didn't approve trade: "When players walked out years ago and walked the picket lines and did all that stuff, they did all that for reasons like right now. I earned this and it's my decision. I don't have to explain it to nobody. It's my decision. Thank you."
— Roch Kubatko (@masnRoch) August 1, 2018
Kubatko added later that there was no saltiness or anything like that on Jones' part when he said this. He said it was matter-of-fact and that it was even a little amusing. Which is not surprising given Jones' reputation. He's one of the good ones.
You know me pretty well by now, so you know I'm staunchly in favor of players' rights when it comes to this sort of thing. I share it, though, not so much as to wave the union flag as I do to remind folks that not every assertion of a players' rights is some sort of anti-team, anti-management provocation, as they are so often portrayed. As Jones correctly notes, in this case a team asking the player to waive his rights is the one asking for more than that for which they bargained. They're the ones trying to take a bit more, not the player.
As such, we should not ask, as we often do in these instances, why the player being intransigent or whatever. We should ask why the team is asking for more than it is entitled to and what they're willing to do for the player to grant it a considerable favor.
Tags: Adam Jones

redpajama_set_name: RedPajamaCommonCrawl


London-based musicians Chris Davids and Liam Ivory AKA Maribou State release their debut long-player on Ninja Tune's sub-label Counter Records. Following a slew of releases on Fatboy Slim's Southern Fried Records, the pair offer up ten original tracks and collaborations with Pedestrian, Holly Walker, and Jono McCleery. Portraits is set to expand on the instrumentalist nature of their soundscape, illuminating the organic, pleasantly rough textures of their music.
On first listen, U.K. duo Maribou State seem like another sad-robot James Blake clone, mixing downtrodden post-dubstep beats with melancholy pitch-shifted vocals. However, the multilayered compositions of debut full-length Portraits prove that they're much more than that. The duo's mostly midtempo tracks feature busy yet restrained production, creatively constructing moody beatscapes with subtly manipulated rhythms and unexpected samples. The grainy guitars and synths give the songs a rough edge, keeping them from sounding too flashy, and contributing to the album's slightly strange aura. The sour bass synth during "The Clown" sounds a bit jarring at first, but becomes addictive on repeated listens. The duo take several approaches with their use of vocals, disguising them in effects as well as letting them ring out clearly, especially on the songs with guest vocalists Holly Walker and Jono McCleery. Even on these songs, they blend the straightforward vocals with mutations of the same, as well as samples, such as the spoken snippet "sometimes you wheel, sometimes you deal, sometimes you have to rob and steal" which pops up during "Steal." Instrumental "Natural Fools" is a good showcase for their mastery of understated production techniques, with a slightly off-base beat framing clean, sparse guitar lines and distant strings, sparingly overlaid with dubby echo and ghostly vocal fragments. The album gracefully ends with airy string-and-piano closer "Varkala," breaking from the stately dance tempos of the preceding songs to deliver a cinematic drum crescendo finale. Portraits establishes Maribou State as an intriguing pair of sonic architects, capable of crafting intricate but not cluttered, blue but not depressing, emotive electronic pop music.


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Deutsche Börse: 89% of shares tendered in LSE Deal
Deutsche Börse said Wednesday that 89.04% of shares were tendered in its proposed merger with London Stock Exchange Group, after the tender offer expired Friday.
William Wilkes, The Wall Street Journal
Thursday August 18, 2016 5:51 pm
The German exchange operator previously said that more than 75% of its shares had been tendered to be exchanged for new shares in the combined company, eliminating any doubt that the merger could proceed.
Deutsche...


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39:3-41. a. At the time of the issuance of an examination permit or a special learner's permit to operate a motor vehicle, the chief administrator shall make available to each applicant for the examination permit or special learner's permit a driver's manual containing information required to be known and followed by licensed drivers relating to licensing requirements.
b.At the time of any required examination for renewal of a driver's license, the chief administrator shall upon request make available to each applicant for renewal a copy of the manual and any supplements thereto.
c.The driver's manual and any supplements thereto or any other booklet or writing prepared in connection with examinations for drivers' licenses or for renewals of drivers' licenses shall contain all information necessary to answer any question on an examination for a driver's license or for a renewal of a driver's license.
d.The chief administrator, following consultation with the organ procurement organizations designated pursuant to 42 U.S.C. s.1320b-8 to serve in the State of New Jersey, shall include in the driver's manual information explaining the provisions of the "Revised Uniform Anatomical Gift Act," P.L.2008, c.50 (C.26:6-77 et al.), the beneficial uses of donated organs and tissues, and the procedure for indicating on the driver's license the intention to make a donation pursuant to section 1 of P.L.1978, c.181 (C.39:3-12.2). The chief administrator may distribute all remaining copies of the existing driver's manual before reprinting the manual with the information required pursuant to this subsection.
e.The chief administrator, in consultation with the Nikhil Badlani Foundation, shall include in the driver's manual information explaining the dangers of failing to comply with this State's motor vehicle traffic laws and indicating that interested drivers may take the STOP for Nikhil Safety Pledge set forth in paragraph (1) of this subsection.
(1)The "STOP for Nikhil Safety Pledge" is as follows:
"In order to ensure the safety of others on the road, passengers in my car, and myself as a driver, I pledge to obey traffic laws while operating a motor vehicle, be extra cautious, and be attentive to traffic signs and signals and road conditions. Specifically:
I will come to a complete stop at every "stop" sign or red traffic light, and will not proceed through a red traffic light;
I will stay alert, keep two hands on the steering wheel whenever possible, and keep my mind on the road;
I will talk safely by using a hands-free wireless telephone while driving if I am of lawful age to do so and refrain from texting while driving; and I will plan ahead and leave enough time to arrive at my destination."
(2)The chief administrator shall ensure that drivers have the option of taking the pledge set forth in paragraph (1) of this subsection by filling out a standard form made available at motor vehicle offices or by following instructions publicized by the chief administrator directing interested drivers to the appropriate website to complete the pledge.
(3)The chief administrator may distribute all remaining copies of the existing driver's manual before reprinting the manual with the information required pursuant to this subsection.
f.The chief administrator, in consultation with the Commissioner of Health and the Director of the Division of Highway Traffic Safety in the Department of Law and Public Safety, shall include in the driver's manual information explaining the dangers of carbon monoxide poisoning from motor vehicles and techniques for the safe operation and proper maintenance of a motor vehicle. The chief administrator may distribute all remaining copies of any existing driver's manual before reprinting the manual with the information required pursuant to this subsection.
amended 1941, c.341; 1977, c.24; 1992, c.110, s.2; 2008, c.50, s.26; 2015, c.78, s.2; 2016, c.81, s.3.
• TITLE 27 HIGHWAYS
27:7-44.21 Signs Prohibiting Motorists From Texting While Driving.


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Alice Twemlow | Essays
Remembering Richard Hamilton as Design Critic
Richard Hamilton, the British artist and founding father of Pop, died last Monday at the age of 89. He leaves a rich and well-discussed legacy of art works, but his work as a designer in mid-twentieth century London (models of New Towns for the Festival of Britain, exhibition design for the Institute of Contemporary Art, consultant at Granada Television, a heated breakfast tray with Misha Black, and the White Album for the Beatles) is less familiar. Hamilton's writing about design is even less known, but in 2008 I had the chance to talk to him about the articles he wrote in the early 1960's in Ulm, Upper Case, Architectural Design, and Design, on industrial design and its mediation.
In "The Persuading Image," published in the February 1960 issue of Design, the monthly journal of Britain's Council of Industrial Design, Hamilton wrote provocatively about how industrial manufacturers and designers should use sophisticated and witty imagery to seduce their consumers, to "design" them to products they had already created. His pragmatic stance and serious interest in such issues as surface-level styling, image re-touching, glamour, ephemerality, and planned obsolescence, disrupted Design's narrow editorial perspective, visually, tonally and in terms of its content. His take on design challenged the established viewpoint the Council of Industrial Design, and the design professions it represented.
Cover of Design, the monthly journal of Britain's Council of Industrial Design, February 1960
Page from Richard Hamilton's "Persuading Image" article in Design 134, February 1960
The article was based on a lecture titled "The Designed Image of the Fifties" Hamilton delivered in 1959 at the Institute of Contemporary Arts in London to members of a loose-knit discussion salon known as The Independent Group. Led by Lawrence Alloway and John McHale, the Group arranged a series of lectures on aspects of pop culture, and specifically American pop culture, as an alternative to prevailing standards of good taste in 1950's Britain. Other lectures in this series included expositions on Elvis, violence in the cinema, and the design critic Reyner Banham on American car design. Hamilton's lecture discussed appliances such as washing machines and refrigerators and the intricate network of designers, manufacturers, publicists, advertisers, and magazine editors, involved in the creation of the images used to sell these goods. "I covered that territory as thoroughly as Banham covered his study of automobile design," Hamilton told me, "but I became interested in the sociology and psychology of advertising too. It was about advertising as much as the goods themselves." Hamilton described his presentation as being rather "exotic." He had three projectors and three screens; one of which was the whole of the back wall. This format was his response to the Eames' multi-screen film Glimpses of the U.S.A. produced for the 1959 American National Exhibition in Moscow in which 2,200 images were projected on seven 20-by-30-foot screens. "In my modest little way I was trying to catch up with the avant-garde," Hamilton recalled.
Michael Farr, editor at Design, who had studied English at Cambridge, under the tutelage of the literary critic FR Leavis and had worked at the self-consciously debate-driven Architectural Review, was at the ICA lecture in 1959 and commissioned Hamilton to turn it into an article for the magazine. Farr had a journalistic appreciation for controversy and saw how Hamilton's perspective could invigorate the magazine. Within the magazine Hamilton's article is emphatically flagged. It's the lead article. Its first page is printed on bright yellow paper, and color tints were used for the images, at a time when color tended to only appear in Design when a manufacturer paid for it in order to better show off their product. Ken Garland, art director of Design at this time, recalls that the bolding of key phrases was to "enliven and emphasize" the text and was done in consultation with Hamilton.
Hamilton's use of imagery was also unique within the pages of Design. The images he and Garland selected to illustrate his piece float alongside the text allusively rather than as directly referenced examples. His enigmatic captions float too, fusing poetry and the language of advertising slogans. He sampled both these images and quotations from other design magazines such as Industrial Design, which he read at the American Embassy library.
While other writers in Design worked within a tight sphere of influence that spun on a shared axis of good taste — pure forms dictated by function, natural materials, craftsmanship, preferably Scandinavian — Hamilton provided a glimpse of the larger and messier circumstances in which design actually operates and canny commercially minded industrial designers, who he described variously as: "specialists in the look of things;" "marketing aids;" "men who establish the visual criteria;" operators of "the machinery of motivation control" and collaborators with "ad-man, copywriter and feature editor."
Hamilton's article was also conspicuous through its role as a conduit for an American perspective on economic and social practices. The idea, for example, that prosperity was contingent upon accelerated obsolescence had been propounded by economists like Peter Drucker and made available to Hamilton via George Nelson writing in Industrial Design magazine. In his 1956 article for Industrial Design on "Obsolescence" Nelson explained that America was so rich because it was so wasteful; that the waste-system enabled mass production at an ever-increasing pace. Nelson surmised that the European view of this was "a blend of appalled curiosity, downright disbelief, righteous indignation and envy." Hamilton understood the social costs of such an economic model, but unlike the European response Nelson imagined, he applauds the way in which American industrial design had come to terms with mass society and had reached a situation of mutual appreciation with "big business" (one of the terms in his 1957 enumeration of pop art's qualities.) Indeed, he was frustrated by the slow take up of such ideas on his side of the Atlantic.
Hamilton especially admired the people who knowingly constructed the "designed image of our present society" in the pages of "glossy magazines." These are the very images, after all, that provided Hamilton and others at the Independent Group meetings of the 1950s with such a rich source of inspiration, raw material, and formats for their creative expression. He talks of their creators' "skill and imagination" and "wit," and quotes their slogans — "plush at popular prices" — surely aware of the goading effects such language would have had on Design magazine's readership. Even the very use of the word "glossy" would have triggered complex reactions. Paper rationing continued in Britain for several years after the end of the war and even by 1960 it was still a recent memory for many. Hamilton was using the word as a descriptor for mainstream consumer magazines such as Life, Look, and Esquire of course. But he must have been aware of its pejorative connotations in a post-war Britain fearful of Americanizing influences of "ersatz" mass media.
His title, "The Persuading Image," evokes Vance Packard's 1957 book The Hidden Persuaders, a best-selling exposition of the media manipulation of the populace in the 1950s. For Hamilton, however, the constructed image was far from sinister. The identification and exchange of art-directed images was a shared connection among his peers, who were obsessed by pin-board culture, a habit he says they had picked up from students at the Architectural Association. "It was strange to walk into the houses of friends and find we all had exactly the same picture," he said. "There was a picture of an American model wearing a backless dress, showing her backside cleavage, which was very venturesome. That was on everyone's pin boards." The image of swimwear model Vicky Dougan's back, framed by a low-cut white dress, used to illustrate "The Persuading Image," was clipped from Esquire and ended up in the work Hamilton created between 1958 and 1961 titled "She."
She, Richard Hamilton, 1958–1961
Hamilton's fascination with the art direction of images is also evident in his inclusion of the 14-item list of the crew and props it took to produce a complex self-portrait that was used for the cover of a 1963 ICA publication called Living Arts. The image, photographed from above by Robert Freeman, features a 1963 Ford Thunderbird with a lingerie model sprawled on the back and a male model wearing an American football uniform leaning on the hood, a Mercury spacecraft capsule on loan from Shepperton Film Studios, a refrigerator stuffed with American food, a Wondergram, a vacuum cleaner, telephone, typewriter, and toaster all arranged on a background of high-gloss pink paper. Hamilton credits the photographer, the stylist and himself as the "producer" of the image.
"Self-portrait," produced by Richard Hamilton and used as cover image for Living Arts, 1963
Design magazine invited responses to Hamilton's article from a select group of American and European designers, manufactures and critics. Among them were Reyner Banham; Misha Black, the industrial designer and professor of industrial design at the Royal College of Art; and DW Morphy of the British home appliances firm, Morphy Richards. They reacted to the planned obsolescence and motivation research aspects of Hamilton's piece, objecting to what they perceived to be Hamilton's lack of morality and social responsibility. Under the subhead "Man without a conscience," for example, Alberto Rosselli, the editor of Stile Industria, is reported as saying "the Hamilton prescription is immoral in that it might lead to indiscriminate use of persuasion." The discussion went on for several pages and continued in readers' letters in subsequent issues.
Hamilton was given the last word on the subject. He wrote, "The phrase that caused the alarm, 'designing the consumer to the product,' is a redefinition of a well-known process; for the ultimate political evil it was called fascism, when directed at purely commercial objectives it is called salesmanship, without the moral overtones it is known as education. We are all concerned, in one way or other with the conversion of others to a point of view."
Indeed, the Council of Industrial Design's longstanding mission had been to "design" the consumer of design in Britain by improving their taste. Design magazine, too, under pressure to sell more issues, was beginning to show curiosity about its own consumers. They employed Mass Observation to do some market research and its 1961 report on Design magazine's readership unearthed a litany of grumbles about its form and content.
It turned out that the consumer of Design was harder to shape than its managers thought. Readers had specific views about Design and how it could be improved. One of the subscribers interviewed, a production planning manager in an engineering firm, said he wanted more articles by sociologists. In his rationale for this request he unconsciously quoted Hamilton's article, saying: "The magazine should deal with the social side of design. You can now design the customer to the product as well as the product to the customer."
Hamilton did not consider himself a design critic; "I've always thought of myself as a design hobbyist," he said. And yet his perceptive analysis of the mechanics of image making and the social and economic implications of mass-produced consumer goods went against the grain of design discourse in post-war Britain and was expressed with a degree of authority and conviction seldom found among establishment-sanctioned design commentators of the period.
Posted in: Arts + Culture, Business, Media
Alice Twemlow is co-chair of the SVA MA in Design Research, Writing & Criticism in New York, and co-head of the MA in Design Curating & Writing at Design Academy Eindhoven. Twemlow has a Ph.D from the History of Design program run jointly by the Victoria & Albert Museum and the Royal College of Art in London, and is currently developing her doctoral thesis about the history of design criticism into a book to be published by MIT Press.
She writes and lectures on design culture, and has recently contributed essays to Graphisme en France (CNAP, 2016), Iconic Designs: 50 Stories about 50 Things (Berg, 2014), Lolita—Story of a Cover Girl: Vladimir Nabokov's Novel in Art and Design (Print, 2013), and The Aspen Complex(Sternberg Press, 2012).
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Design Responses to Mass Surveillance
Alice Twemlow on Home
Alice Twemlow is the co-founder and chair of a two-year graduate program in Design Criticism at the School of Visual Arts in New York City. She is also a PhD candidate in the History of Design department at the Royal College of Art, London.
Massimo Vignelli's Desk
Vignelli Celebration: Alice Twemlow snoops around Massimo Vignelli's desk.
Howling at the Moon: The Poetics of Amateur Product Reviews
Amazon reviews can be seen as an example of a democratizing impulse in design criticism.


My last blog post was different from some of my others in that I let myself be extremely unguarded and personal, more so than any other post I think.
I've been going through a rough patch. A very rough patch.
I'd rather not disclose all the details as to what happened, or why I've been living in the dark (and not just in the blogging sense) but I'm ready to give a simple overview.
In March I got some really bad news that more than scarred me, it nearly killed me.
I've been going through a really bad depression ever since, especially after school ended and I had to come home and leave my friends. I was without any direction or purpose or the support from friends whose presence I'd come to rely on so much. I got much worse.
I'm finally starting to heal, I think.
At least, I'm able to function better then I have in weeks.
I'm trying to piece myself back together slowly because I've seen what's happened when I try to do it to fast.
I haven't yet decided whether this blog will be in the picture much longer.
It served its purpose in my life, and I think I need a new place for a new, wiser, and more aged me.
I'm still healing, and I have a long way to go, but I'm hopeful I can move on from here.
Thank you for the prayers that were offered after my last post.
they can be perfectly sound physically, no bone fractures, no tears.
a small crack of what I was.
and I don't know how to fix it.
it's me trying to believe it wasn't my fault.
so why should I fight?
why should I demand something I lost any right to?
but what am i looking forward to?
i don't even see any road signs at this point.
all i want is to be happy again.
I've forgotten how to be happy.
I'm not sure if I'll ever remember.
I'm not a naturally neat person anymore. I actually have to work for it.
I steal my best friends' hats/covers. Beware.
I own over 400 books. That's me, not my family. My own personal library.
I apparently walk a lot in college.
I am very VERY competitive.
My hair was short, but I've decided to grow it out a bit.
I've soloed in a plane. That's right, flew it by myself.
I've now finished this award.
No nominees, but feel free to nominate yourself if you want!
That feeling you get when all you want is a text from a specific person, but you keep getting texts from everyone BUT that person.
I'll be honest, I'm feeling left out.
Everyone I know, for the most part, is getting all psyched up for NaNoWriMo.
I'm a prep, on scholarship, and sponsored, meaning my grades are beyond important. If I get one D in the year my scholarship money goes away, and even a C is risking it.
So there is absolutely no possible way I can do NaNo this year.
However, I'll be here (when I can spare the time) for moral/mental support.
I can't wait to hear of everyone's NaNo adventures this year! Because I am absolutely NOT going to wake up at 1 AM on Nov 1st and do something stupid!
There are two compositions I did by myself when I was little because I wanted to write something and because i forget which was first you get to hear about both.
One was a retelling of the lion and the mouse that took place on a farm. I think jit was about a horse and a cat, but I honestly don't recall.
The second was for a PBS story contest. It was inspired by cyberchase and involved me falling into a portal. That is also the first story that I experienced writers block.
Both stories were written when I was in the 6-7 age range.
So I have officially been a college student for a week.
Though my experience may be a little different then normal.. I wear a red hat, high socks, run through the barracks and sound off. I am a service acadamy prep student at a military college.
But hopefully you all rembered me saying that earlier.
This place is tough, it is different but it is a TON of fun! I like sounding off, I like eating at attention, I like asking permission "refuel". It's going to get a lot harder when the other students get here and recruit training really starts, but for now I'm just having fun doing what I'm supposed to.
When words mean nothing and everything?
Or destroy everything that dear you hold.
By thoughts and fears of what may come on morning tide?
To the one who keeps you up at night.
But may toss away your heart like an old autumn leaf.
When it seems that no help comes from heaven above?
As you feel yourself slipping down into a darkened hole?
Force themselves into your open door.
You may send him off in a fright.
Comes as both sweet and tart.
If he loves you truly he won't run away.
The old and dusty meditative state of mind.
Through this world that seems of stone.
That he is not in fact hiding from you.
But of some story you've not yet heard.
Will be only for a second lived.
The hole that comes from a silent quill.
Comes from the silent lover's pain.
Wrote this ridiculously late at night. It's been a while since I've done a poem with an actual rhyming pattern to it, so I may be a bit rusty.
Like it? Love it? Stick to prose? Let me know in the comments below!


text:
Otchkhamouri (en géorgien : ოჩხამური) est une petite ville de Géorgie, située en Adjarie.

Transport
Otchkhamouri est reliée par voie ferroviaires à tous le reste du pays grâce à la ligne Batoumi - Samtredia.

Population

Commune en Géorgie

redpajama_set_name: RedPajamaWikipedia


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text:
Tertullian, Apology XLV. 2-4
Roman laws are descended from those of Moses
Name of the author:
Tertullian
197 CE
XLV.2-4
For a general introduction to Tertullian and his Apology, please see the commentary on Apology V.
In the present passage Tertullian compares the law of the Gospel with the Mosaic laws and the laws of men, which in this case is those of the Romans. He also comments that the laws of the Romans can be traced back to those of Moses, which are much more ancient (this same sort of reasoning is found in Philo, who argues that the best aspects of Greek philosophical teaching go back to that of Moses). Tertullian argues that the Romans do not realise, but their law is derived from the divine law of God. Both the antiquity of the laws of Moses, and the youthfulness of Roman traditions, gods, and institutions, have already been asserted by Tertullian in chapter XIX of the Apology, and a discussion of this chapter, along with chapter XXI, will provide important context for understanding the present extract from chapter XLV. In chapter XIX, Tertullian lists various figures and events which are recorded in the Roman histories that Moses far predates. For instance, it is claimed that Moses lived three-hundred and ninety-three years prior to Danaus, the brother of the mythical Greek king Belus, and eventual king of Argos, about one-thousand years before the Trojan War, and fifteen-hundred years before Homer. Indeed, Moses was earlier than Saturn (XIX.1). Moreover, Tertullian claims that the Hebrew prophets who came after Moses still all predate the earliest of Roman sages, lawmakers, and historians. Here, Tertullian seems to be refuting Tacitus's claim in his Histories V.4-5 that Moses introduced novel forms of worship which separated the Jews from all other peoples. This line of argument is not unique to Tertullian; Greek Christian apologists also emphasised Moses's antiquity (see Justin Martyr, First Apology XLIV; LIV; LIX; Theophilus, To Autolycus III.20-29; Tatian, Oration to the Greeks XXXVI-XLI). Tertullian does not appeal to these earlier Christian authorities, however, but rather to Josephus (see Apology XIX.6 in which Tertullian acknowledges Josephus's prestige). Tertullian's argument is similar to Josephus's statement in Jewish Antiquities I.16, where he claims that Moses was born two-thousand years prior to his own writings, which was longer ago than any of the Roman poets dared to date either the birth of their gods or human laws (see Mark Burrows, "Christianity in the Roman Forum," p. 225).
The antiquity of the Mosaic laws are particularly important for Tertullian, because Moses's writings encompass not only the whole of what is essential to Judaism, but Christianity as well (XIX.2):
"So all the subject matter, all the material, all the origins, chronologies, sources, of every ancient pen you know—yes, and most of your races, your cities, famous in history, hoary of memory—no, the very shapes of your letters, those witnesses and guardians of the past—and (for I seem to be understating things), I say, add your very gods, temples, oracles, rituals and all—the book of a single prophet notwithstanding beats them all, with centuries to spare,—that book in which is seen summed up the treasure of the whole Jewish religion, and in consequence ours as well" (the translation used is that of T. R. Glover, Tertullian, Apology, p. 97, 99, slightly modernised).
As has been discussed by Mark Burrows, later on, in chapter XXI.6, Tertullian portrays Judeo-Christian history as one in which there is a transfer of divine favour: the bond between Israel and God breaks down, and in its place a new bond is formed between God and the Christians. The Christians are understood to have succeeded where the Jews had failed: "The day should come when in the last courses of time God would from every race, people and place gather Himself worshippers far more faithful, to whom He would transfer his favour" (Glover, Tertullian, Apology, p. 105). In Tertullian's view, then, there is a significant degree of continuity in that as outlined in chapter XIX, Christianity has inherited from Judaism a great and ancient set of traditions, notably the Mosaic laws. However, Christianity is merely the representative of the Jewish tradition, it is not tied to it (see Burrows, "Christianity in the Roman Forum," p. 226). In XIX.1, Tertullian reasons, in an utterly apologetic manner, that because Judaism (and particularly Moses) long predates Roman history, Roman law derived from Jewish law. The transfer of God's favour from Judaism to Christianity therefore had wider consequences, as Christians are now the heirs of the law which had "fertilized" (concipio) Roman law: "So it can be seen that your laws and your studies alike were fertilized from the [Hebrew] law and teaching of God; the earlier must be the seed. Hence you have some tenets in common with us, or very near us. From Sophia men call the love of wisdom philosophy; from prophecy comes, by emulation of it, poetic 'vaticination'(vates refers to a bard or prophet; see, e.g. Horace, Odes II.6.24; IV.6.44; Virgil, Aeneid VI.65)." (XIX.1; see Burrows, "Christianity in the Roman Forum," p. 227).
In the present passage from chapter XLV, Tertullian argues that Roman law is first and foremost a human institution. Any concept of innocence (and implicitly guilt) which is contained within Roman legislation is created purely by men. For this reason, Roman law is incomplete, and does not exert the same degree of power and authority as divine law. Indeed, it is not as effective at ensuring that those subject to it remain innocent, because manmade law cannot inspire the same level of fear. As Andrea Villani explains, this chapter presents innocence essentially as something quite exclusive to Christians. Innocence in Roman law is "limited to a human level," but when it is derived from God's revelations, innocence becomes more than simply "an absence of guilt." Rather, Christian innocence has to do with a superior level of perfection. This is why the followers of God's law have more to fear than those who merely adhere to human/Roman law; the threat of eternal punishment means that Christians have more reason to remain innocent (Villani, "Nos ergo soli innocentes," p. 121-124, quotations at p. 123).
Section 3 of the chapter is intriguing, as continuing with his argument that human, i.e. Roman law, is inferior to God's law, Tertullian juxtaposes several items. The suggestion is that the first item in each pairing is the human law, and the latter the divine law. However, Tertullian seems to draw upon the famous "antitheses" of Matthew 5:17-48, which see Jesus offering "improved" versions of the laws given to Moses (some scholars prefer to understand this as Jesus's development, rather than denouncement of the Mosaic laws, in order to guide them to their full potential; for a treatment with discussion of the scholarship, see Paul Foster, Community, Law and Mission, p. 94-143). Against anger see Matthew 5:21-22 (see also Colossians 3:8 and Titus 1:7; for these references, Robert Sider, Christian and Pagan, p. 65). Against lustful looks, Matthew 5:27-28; against speaking evil (false swearing of oaths), Matthew 5:33-37; and against retaliation, Matthew 5:38-39. It is likely that in line with his distinguishing of Christianity from Judaism elsewhere in the Apology (as we have seen in the chapters discussed above), Tertullian here aligns the Mosaic laws with those of the Romans in order to maintain some exclusivity for the way that the Christians now practice the ancient laws of the Jews – i.e., while they have inherited Judaism's ancient traditions, the Christians are superior, hence the reason God's favour has transferred to them from the Jewish people. By alluding to Christ's instructions, which develop, improve, or fulfil the laws previously given to Moses, Tertullian is able to argue that Roman laws are really derived from the ancient laws of Moses while maintaining a distance between Christianity and Judaism. As Andrea Villani argues, in XLV.4, Tertullian admits that a good Roman law can exist, but this is only because they are drawn from ancient divine law: "you must recognize that your own laws, which seem to tend to innocence, drew from the divine law, which is the more ancient pattern." If a law "tends towards innocence" then it must come from God, and because the Romans have no true God, they must have utilised the law of the Supreme God (Villani, "Nos ergo soli innocentes," p. 124-125). Andrew Jacobs argues that Tertullian's assertion that Roman law is borrowed from divine law is double layered. Firstly, he states that "there are overtones of hostility and superiority: Roman magistrates, who insist that 'the laws are supreme in their own domain' (Apology I.3) should realise that the roots of their own legal mentality do not run as deep as the biblical foundation of Christianity (divina lex)." This said, Jacobs claims that there is also an undertone in Tertullian's statement of appeasement, in that while Roman law is borrowed from divine law, the Christians show their loyalty to the Roman state every day (see, for example Apology XXX.4) ("Roman Christians and Jewish Law," p. 85).
Tertullian is cautious in his presentation of the relationship between Jewish law and Christianity. While the latter inherits and represents the former, it is made clear that Christians have become the heirs to God's favour because they can "bear a fuller discipline" than the Jewish people (XXI.6). Burrows suggests that this is Tertullian's way of protecting Christianity from Roman attacks that had been made upon Judaism (e.g. Juvenal in his Satire XIV, who derides the Jews for looking down on Roman law). In order to make clear that Christianity did not suffer from the same flaws as its Jewish ancestor, Tertullian must emphasise that they are distinct despite their shared heritage ("Christianity in the Roman Forum," p. 226). This is likely why Tertullian emphasises in XXI.6 that the Christians who will inherit God's favour are gathered from "every race, people and place"; unlike Judaism, one of the key advertising points for Christianity was that it was non-exclusive, and was for all peoples. This provided a connection with Rome in that the latter prided itself on its incorporation of numerous peoples into the empire. Tertullian sees a new bond emerging between God and the Roman empire, made possible via Christianity. While Roman traditions and institutions, notably Roman law, were borrowed from Judaism, this "line of continuity" now had to be found in Christianity, which was the present representative of Judaism's traditions (Burrows, "Christianity in the Roman Forum," p. 226).
adulterium
antiquus
auctoritas
dominatio
erudio
innocentia
irascor
lex divinus
Moyses
perficio
permitto
prohibeo
Thematic keywords in English:
biblical law
divine law
Roman law
Bibliographical references:
Evans, Robert F., "On the Problem of Church and Empire in Tertullian's Apologeticum" , in Studia Patristica 14: Papers Presented to the Sixteenth International Conference on Patristic Studies held in Oxford 1971 (ed. Elizabeth A. Livingstone; Berlin: Akademie Verlag, 1976), 21-36
Jacobs, Andrew S, "'Papinian Commands One Thing, Our Paul Another': Roman Christians and Jewish Law in the in Collatio Legum Mosaicarum et Romanarum", in Religion and Law in Classical and Christian Rome (ed. Clifford Ando , Jörg Rüpke ; Stuttgart: Franz Steiner Verlag, 2006), 85-99
Burrows, Mark S., "Christianity in the Roman Forum: Tertullian and the Apologetic Use of History", Vigiliae Christianae 42 (1988) : 209-235
Foster, Paul, Community, Law and Mission in Matthew's Gospel (Tübingen: Mohr Siebeck, 2004)
Sider, Robert, Christian and Pagan in the Roman Empire: The Witness of Tertullian (Washington, D.C.: Catholic University of America Press, 2001)
Villani, Andrea, "Nos ergo soli innocentes! (Apologeticum 45,1): Innocence as a Marker of Christian Affiliation in Tertullian's Apologeticum" , Zeitschrift für Antikes Christentum 16 (2012) : 113-128
Tertullian, Apology XXX
The nature of Christian prayer for the emperor
Read more about Tertullian, Apology XXX
Kimberley Fowler
Author(s) of this publication: Kimberley Fowler
Publishing date: Fri, 05/04/2018 - 13:34
URL: http://www.judaism-and-rome.org/tertullian-apology-xlv-2-4


The focus of writing a literary analysis is to assess or evaluate a work of literature or literary work by breaking it down into its core components. And discussing it in detail through their own perspective of understanding. The analysis will require you write a minimum of three paragraphs. All written content must be written in such a way that it supports the overall statement being made. It must also contain substantial evidences supporting their perspective and stand on the statement. The main and primary purpose of a literary analysis is to bring out your opinions about a piece of work in the most detailed and interesting manner possible.
One of the first steps towards researching a literary analysis is to read it. A minimum of two times of reading is advised to get a better understand of what you are reading. The first time, read it as you would read any other book. But the second time around, take notes and make points that will help you justify your stand on the literature. Try to note down your thoughts as well as a reaction to the literature, as this will help in building your study further. Then, the next step is to investigate on the outside sources that will help you understand the main literature in question. This is highly recommended as it will help you understand what you are reading and what you want to write more. It provides a more in-depth understanding. Thereby contributing to a more informative analysis. And one of the main tasks of any literary analysis research is to understand the author of the literary work. Because when you make an effort to understand who the author is, how the author's life was and what influences him to write in the first place. This is a constructive study that will help you in understanding the literary work to be analyzed better. Especially if the literary work in question is a historical work, by understanding the life of the author, you are gaining information about the era the author lived in. The social and political impact of that time on the book and what the book stood for, can be easily understood.
Then the next step would be research on what other have got to say about the same literary work. This might prove highly beneficial in backing your stand.
Do your research first—not later.
When gathering evidence for your thesis you want to use reputable sources. The best choice is always to go to the library for this, because library journal articles are regulated by strict editors who check all the facts in their writer's work to make sure they have their story straight. This is why researchers prefer researched articles from journals that students find in the library. Plus, you will find a lot of good research very quickly.


text:
require 'helper'

class VeritableConnectTest < Test::Unit::TestCase
  def test_connect
    a = Veritable.connect
    assert a.is_a? Veritable::API
    assert a.to_s.is_a? String
  end

  def test_connect_unauthorized_fails
    assert_raise(Veritable::VeritableError) { Veritable.connect({:api_key => "foo"}) }
  end

  def test_connect_nogzip
    a = Veritable.connect(opts={:enable_gzip => false})
    assert a.is_a? Veritable::API
  end

  def test_connect_no_ssl_verify
    a = Veritable.connect(opts={:ssl_verify => false})
    assert a.is_a? Veritable::API
  end

  def test_connect_no_json_fails
    assert_raise(Veritable::VeritableError) { Veritable.connect({:api_base_url => "http://www.google.com"}) }
  end

  def test_connect_not_api_fails
    assert_raise(Veritable::VeritableError) { Veritable.connect({:api_base_url => "https://graph.facebook.com/zuck"}) }
  end

  def test_instantiate_api
    a1 = Veritable.connect
    a1.class.publicize_methods do
        a2 = Veritable::API.new({:api_key =>a1.api_key, :api_base_url =>a1.api_base_url})
        assert a2.is_a? Veritable::API
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
Clark H. Tidwell, Attorney at Law
Eminent Domain and the Border Wall
March 4, 2019 clarkt1962 1 Comment
The practical realities of building a wall or barrier along the United States-Mexico border present complex legal problems in turning private property into public land.
The taking of landowners' private property to build the wall may represent the largest eminent domain taking in the nation's history.
The United States-Mexico border runs almost 2,000 miles long; about two-thirds follows the Rio Grande River in Texas. The land around the river is protected by several treaties, one of which sets the international boundary at the middle of the river. Any border wall would likely need to be constructed a mile or more inland. This would cut many properties in two pieces, leaving some property owners in a "no-man's land" north of the border, but south of the wall.
The land south of the border could have little or no value. Access would be eliminated. The view of the wall would not be a selling point. Thus, the value of a landowner's remaining property is going to be much less after the building of the wall.
The cost of the wall is not just in the labor and supplies to build it. The government must pay just compensation to the landowners whose private properties will have the wall running through them. This duty to pay just compensation is set forth in the Fifth Amendment of the United States Constitution. This includes payment for the actual land taken and the damages to the remaining land.
Most people do not realize that the offer made to them by the government is likely to be low, and may not include all of the damages. Most importantly, landowners have the right to refuse the offer. If the offer is refused, government attorneys file a "Petition for Condemnation". At the time the Petition is filed, the government must pay the amount of the offer into court, which a landowner can then get out of court for his or her own use while the condemnation case works its way through the court system.
1 thought on "Eminent Domain and the Border Wall"
Mr WordPress on Eminent Domain and the Border Wall
Clark H. Tidwell, Esq.
clarktidwell@ctidwellatlaw.com
40 Burton Hills Boulevard
Julie Cottingham, Paralegal
juliecottingham@ctidwellatlaw.com
Copyright © 2020 Clark H. Tidwell, Attorney at Law — Velux WordPress theme by GoDaddy


The previous section noted the widespread condition of user specialization. This is characteristic of a programme-oriented usage context associated with the adaptive processes of maintenance learning. In such a context the user cannot really be said to have limitations because whenever any limitations are encountered it is simply accepted that greater specialisation is necessary. Through specialising, limitations in the user are circumvented (in effect by imposing limitations on the user). Specialization is here taken to include avoidance of any subject matter which is too complex. In other words the user focuses on that material which he believes meets his needs and abilities (whether as a schoolchild or a postgraduate).(Any relative operational "incompetence" of a user-learner can be considered as a limitation society effectively imposes on him; the educational level of documentation he is capable of absorbing define a form of specialisation).
This "gap", in the case of the individual user, appears in the form of one or more limits. Only by considering the nature of these limits (listed below) is it possible to determine the form of learning which is "unlimited". (The report itself is necessarily vague, if not ambiguous, in the way in which these limits are neglected in its more general focus on unlimited learning possibilities).
a. Quantitative limit: As noted previously, no user is expected to master the quantity of information in every domain of knowledge. A user is limited in that he can only process a fraction of that amount in any given period (even a lifetime). It may be argued that a total access system gives him unlimited "finger-tip mastery" through the ability to access any item of information. But it is important to distinguish between his unlimited power of access and the limited number of accesses he can usefully make in any given period of time. In this respect his learning capacity is limited.
b. Limit to perception of connectedness: Learning is not simply the commitment of isolated elements of information to memory. These elements must be interlinked in a web of comprehended relationships. Such relevance networks extend around every item of information. There are clearly limits to the extent of any such network which an individual can "bear in mind", or tolerate as relevant, particularly as a user of an information system. Even if the task of remembering them is delegated to the system (and there are budgetary limitations), there are limits to the density of connectedness which the user can comprehend as a pattern. Abandoning such comprehension in favour of a linear sequence of accesses imposes a different limit. This is analogous to the case of a traveller on an unmapped subway system who has only lists of stations as a guide -- there is no limitation to his travels but, as in a maze, there is a limit to the complexity of the pattern he could finally comprehend.
c. Limit to comprehension span:. A standard response to the two previous limits is to encode information into some category scheme which provides a better grasp for learning purposes. A user-learner can only tolerate a relatively limited range of categories. This may be as low as 3, or it may extend into the hundreds if only a low degree of overall comprehension is demanded (10). This need for categorisation is a user limitation which arbitrarily distorts his comprehension of the continuum of knowledge.
d. Limit to comprehension depth:. The previous limit necessitates the use of nested sub-categories in order that at each level the number of categories should not exceed an acceptable span. But the number of levels of any such nesting is limited by problems of comprehension if it becomes too "deep". Hierarchical nestings seldom have more than about 7 levels for the same reasons as above (10). The need to restrict the number of levels actively borne in mind by the user is another user limitation which affects his learning capacity in the face of complexity.
e. Pre-logical limitations:. Learning is strongly influenced by pre-logical (possibly culturally determined) biases governing which kinds of information are preferred. A user will unconsciously select information which is in sympathy with his position on each of the following axes, for example: order/disorder, static/dynamic, continuity/discreteness, spontaneity/process, etc. (II). Such preferences impose a limit on the learning capacity of the user, concealing blindspots and giving rise to irrational antipathies for certain forms of information which are significant to others. The situation is further limited because the biases may also determine the media (e.g. text, image, speech) through which information is preferred and via which learning is facilitated. Some information may only be communicable via certain media (e.g. music, space-structures).
f. Attention span limit: As noted above a user is normally only prepared to devote a limited amount of time to any learning process through an information system. The amount is frequently less than the time required to access information from the system. But even if a document is distributed to the user automatically, his available attention time for absorbing the contents (through whatever medium) is often such that the information is effectively rejected. A third aspect is that even if he allocates the necessary time to the learning process, there are limits to his power of concentration in the presence of whatever distractions he accepts in his environment. Given that some phenomena require a significant amount of attention before they can be comprehended (at least by a given user), it is clear that users are limited in their ability to comprehend those requiring more attention than they are prepared to give.
Whilst this may be a future possibility, most users are attempting more or less unsuccessfully to navigate through a whirl of blips rapidly forced into oblivion by the emergence of others. Computers have done little to assist memory to organise them, even in sophisticated computer conferencing data base-linked environments (7). And even if assistance was effective, the computer dependence it created for the user could be construed as a major limitation -- a handicap accentuated by the effectiveness of the crutch. Such dependence, without critical renewal of categorisation, could well lead to a computerized version of the "railway hammer civilisation".
This is illustrated by an anecdote cited in the Club of Rome report (p. 22): "An old British story tells of an elderly railway man who, at his retirement after thirty years of irreproachable service, asks his colleagues gathered for the celebration, why it was that he had to hit the wheels with a hammer each time the train was stationed. No one knew the answer. Current sociology is now concerned with the possible emergence of a "railway hammer civilisation" in which people are repeating patterns and forms of behavior without any hint of the reasons, laws, and purposes behind them".
It is possible that in arguing that there were "no limits to learning", the Club of Rome report was really implying the lack of limitations on a mass of people each pursuing overlapping or complementary concerns. The question of the limits to societal learning will therefore be considered in the next section.
International information systems have been significantly weak in facilitating interdisciplinary approaches. For example, an overview and extensive bibliography of such approaches appears under the title "Integrative, Unitary and Transdisciplinary Concepts" (Section K of ref. 2). The library of the intergovernmental agency with ongoing programmes on interdisciplinarity, failed to register this in its computerised system although it possessed the volume. (Possibly because it only uses "interdisciplinarity" as a category for the few items it processes on this approach). Little is known about how an individual user-learner can build up an integrative understanding, as recommended by the Club of Rome report (5, p. 98). Some suggestions concerning this are made in separate papers (12,13).
"Innovative learning is problem formulating and clustering. Its main attributes are integration, synthesis, and the broadening of horizons. It operates in open situations or open systems. Its meaning derives from dissonance among contexts [On this point see ref. 14]. It leads to critical questioning of conventional assumptions behind traditional thoughts and actions, focusing on necessary changes. Its values are not constant, but rather shifting. Innovative learning advances our thinking by reconstructing wholes, not by fragmenting reality".
The question is how to help the user-learner reformulate the category scheme he is using into one which is more innovatively relevant.
The quotation above was made in a report to the Commonwealth Secretariat on the possibility of using mapping techniques to provide users with a better sense of context than is provided by the arbitrary category divisions of thesauri insensitive to the functional relationships between the phenomena categorised. (Nature and society are no more subdivided on the basis of such categories than they are on the basis of university faculties).
Hence his concern with the learning capacity of nations.


text:
#include "src/codec/SkWbmpCodec.h"

#include "include/codec/SkCodec.h"
#include "include/core/SkColorType.h"
#include "include/core/SkEncodedImageFormat.h"
#include "include/core/SkImageInfo.h"
#include "include/core/SkSize.h"
#include "include/core/SkStream.h"
#include "include/private/SkEncodedInfo.h"
#include "include/private/SkTo.h"
#include "modules/skcms/skcms.h"
#include "src/codec/SkCodecPriv.h"

#include <utility>

// Each bit represents a pixel, so width is actually a number of bits.
// A row will always be stored in bytes, so we round width up to the
// nearest multiple of 8 to get the number of bits actually in the row.
// We then divide by 8 to convert to bytes.
static inline size_t get_src_row_bytes(int width) {
    return SkAlign8(width) >> 3;
}

static inline bool valid_color_type(const SkImageInfo& dstInfo) {
    switch (dstInfo.colorType()) {
        case kRGBA_8888_SkColorType:
        case kBGRA_8888_SkColorType:
        case kGray_8_SkColorType:
        case kRGB_565_SkColorType:
            return true;
        case kRGBA_F16_SkColorType:
            return dstInfo.colorSpace();
        default:
            return false;
    }
}

static bool read_byte(SkStream* stream, uint8_t* data)
{
    return stream->read(data, 1) == 1;
}

// http://en.wikipedia.org/wiki/Variable-length_quantity
static bool read_mbf(SkStream* stream, uint64_t* value) {
    uint64_t n = 0;
    uint8_t data;
    const uint64_t kLimit = 0xFE00000000000000;
    SkASSERT(kLimit == ~((~static_cast<uint64_t>(0)) >> 7));
    do {
        if (n & kLimit) { // Will overflow on shift by 7.
            return false;
        }
        if (stream->read(&data, 1) != 1) {
            return false;
        }
        n = (n << 7) | (data & 0x7F);
    } while (data & 0x80);
    *value = n;
    return true;
}

static bool read_header(SkStream* stream, SkISize* size) {
    {
        uint8_t data;
        if (!read_byte(stream, &data) || data != 0) { // unknown type
            return false;
        }
        if (!read_byte(stream, &data) || (data & 0x9F)) { // skip fixed header
            return false;
        }
    }

    uint64_t width, height;
    if (!read_mbf(stream, &width) || width > 0xFFFF || !width) {
        return false;
    }
    if (!read_mbf(stream, &height) || height > 0xFFFF || !height) {
        return false;
    }
    if (size) {
        *size = SkISize::Make(SkToS32(width), SkToS32(height));
    }
    return true;
}

bool SkWbmpCodec::onRewind() {
    return read_header(this->stream(), nullptr);
}

bool SkWbmpCodec::readRow(uint8_t* row) {
    return this->stream()->read(row, fSrcRowBytes) == fSrcRowBytes;
}

SkWbmpCodec::SkWbmpCodec(SkEncodedInfo&& info, std::unique_ptr<SkStream> stream)
    // Wbmp does not need a colorXform, so choose an arbitrary srcFormat.
    : INHERITED(std::move(info), skcms_PixelFormat(),
                std::move(stream))
    , fSrcRowBytes(get_src_row_bytes(this->dimensions().width()))
    , fSwizzler(nullptr)
{}

SkEncodedImageFormat SkWbmpCodec::onGetEncodedFormat() const {
    return SkEncodedImageFormat::kWBMP;
}

bool SkWbmpCodec::conversionSupported(const SkImageInfo& dst, bool srcIsOpaque,
                                      bool /*needsColorXform*/) {
    return valid_color_type(dst) && valid_alpha(dst.alphaType(), srcIsOpaque);
}

SkCodec::Result SkWbmpCodec::onGetPixels(const SkImageInfo& info,
                                         void* dst,
                                         size_t rowBytes,
                                         const Options& options,
                                         int* rowsDecoded) {
    if (options.fSubset) {
        // Subsets are not supported.
        return kUnimplemented;
    }

    // Initialize the swizzler
    std::unique_ptr<SkSwizzler> swizzler = SkSwizzler::Make(this->getEncodedInfo(), nullptr, info,
                                                            options);
    SkASSERT(swizzler);

    // Perform the decode
    SkISize size = info.dimensions();
    SkAutoTMalloc<uint8_t> src(fSrcRowBytes);
    void* dstRow = dst;
    for (int y = 0; y < size.height(); ++y) {
        if (!this->readRow(src.get())) {
            *rowsDecoded = y;
            return kIncompleteInput;
        }
        swizzler->swizzle(dstRow, src.get());
        dstRow = SkTAddOffset<void>(dstRow, rowBytes);
    }
    return kSuccess;
}

bool SkWbmpCodec::IsWbmp(const void* buffer, size_t bytesRead) {
    SkMemoryStream stream(buffer, bytesRead, false);
    return read_header(&stream, nullptr);
}

std::unique_ptr<SkCodec> SkWbmpCodec::MakeFromStream(std::unique_ptr<SkStream> stream,
                                                     Result* result) {
    SkISize size;
    if (!read_header(stream.get(), &size)) {
        // This already succeeded in IsWbmp, so this stream was corrupted in/
        // after rewind.
        *result = kCouldNotRewind;
        return nullptr;
    }
    *result = kSuccess;
    auto info = SkEncodedInfo::Make(size.width(), size.height(), SkEncodedInfo::kGray_Color,
                                    SkEncodedInfo::kOpaque_Alpha, 1);
    return std::unique_ptr<SkCodec>(new SkWbmpCodec(std::move(info), std::move(stream)));
}

int SkWbmpCodec::onGetScanlines(void* dst, int count, size_t dstRowBytes) {
    void* dstRow = dst;
    for (int y = 0; y < count; ++y) {
        if (!this->readRow(fSrcBuffer.get())) {
            return y;
        }
        fSwizzler->swizzle(dstRow, fSrcBuffer.get());
        dstRow = SkTAddOffset<void>(dstRow, dstRowBytes);
    }
    return count;
}

bool SkWbmpCodec::onSkipScanlines(int count) {
    const size_t bytesToSkip = count * fSrcRowBytes;
    return this->stream()->skip(bytesToSkip) == bytesToSkip;
}

SkCodec::Result SkWbmpCodec::onStartScanlineDecode(const SkImageInfo& dstInfo,
        const Options& options) {
    if (options.fSubset) {
        // Subsets are not supported.
        return kUnimplemented;
    }

    fSwizzler = SkSwizzler::Make(this->getEncodedInfo(), nullptr, dstInfo, options);
    SkASSERT(fSwizzler);

    fSrcBuffer.reset(fSrcRowBytes);

    return kSuccess;
}


text:
package com.intellij.history.core.changes;

import com.intellij.history.core.Content;
import com.intellij.history.core.Paths;
import com.intellij.history.core.StreamUtil;
import com.intellij.history.core.tree.Entry;
import com.intellij.history.core.tree.RootEntry;

import java.io.DataInput;
import java.io.DataOutput;
import java.io.IOException;
import java.util.ArrayList;
import java.util.List;

public class DeleteChange extends StructuralChange {
  private final Entry myDeletedEntry;

  public DeleteChange(long id, String path, Entry deletedEntry) {
    super(id, path);
    myDeletedEntry = deletedEntry;
  }

  public DeleteChange(DataInput in) throws IOException {
    super(in);
    myDeletedEntry = StreamUtil.readEntry(in);
  }

  @Override
  public void write(DataOutput out) throws IOException {
    super.write(out);
    StreamUtil.writeEntry(out, myDeletedEntry);
  }

  public Entry getDeletedEntry() {
    return myDeletedEntry;
  }

  @Override
  public void revertOn(RootEntry root, boolean warnOnFileNotFound) {
    String parentPath = Paths.getParentOf(myPath);
    Entry parent = root.findEntry(parentPath);
    if (parent == null) {
      cannotRevert(parentPath, warnOnFileNotFound);
      return;
    }
    parent.addChild(myDeletedEntry.copy());
  }

  public boolean isDeletionOf(String p) {
    String relative = Paths.relativeIfUnder(p, myPath);
    if (relative == null) return false;
    return myDeletedEntry.hasEntry(relative);
  }

  @Override
  public List<Content> getContentsToPurge() {
    List<Content> result = new ArrayList<>();
    collectContentsRecursively(myDeletedEntry, result);
    return result;
  }

  private void collectContentsRecursively(Entry e, List<Content> result) {
    if (e.isDirectory()) {
      for (Entry child : e.getChildren()) {
        collectContentsRecursively(child, result);
      }
    }
    else {
      result.add(e.getContent());
    }
  }

  @Override
  public void accept(ChangeVisitor v) throws ChangeVisitor.StopVisitingException {
    v.visit(this);
  }
}


I say, I am not going to rely on BS to take good quality pictures for Ziv. That's because, after months and months of mulling over 'which DSLR should I get?' I finally got one today!
I have only myself to blame for having to pay a full-price DSLR, my procrastinate attributes largely to my inability to redeem about $1000 worth of vouchers from Best Denki using my Amex points. What to do? I was really busy the whole of last week.
However, I got a good deal. Or so I thought.
I am hopelessly oblivious about cameras, not to mention DSLR. Till now, I still do not fathom why are they given such name. And all along, being a lackadaisical person, I told BS, "I will buy whatever camera you bought, so you can teach me. (I can skip reading the guide!)".
He told me several times the model of camera he bought, and that's because I kept asking and forgetting. In the end, I realized what he bought and what I have been checking on were two different models. Sigh! A '0' can mean a great deal of difference in terms of functions and PRICE! I almost fainted when he told me his was EOS50D and it cost about $2699 and the one I have been looking around was EOS500D. Unknown to the fact that 'how long this fad will last?' and 'Kev's constant assurance that I will leave the DSLR at one corner of the house eventually and perhaps incessantly complained that it was giving me a backache when carrying it around my neck', I concurred that those what-ifs are pretty likely to happen, so I stick on to my plan and bought EOS500D. Forget about the vouchers, can save that for other shopping treats.
Paying for the item was a breeze, but unknowningly collecting the item was like hell. I queued alone for an hour! (Ziv & Kev waited in the car.) And luckily I have iPhone to tide me through the mind-numbing lining up. And by the way, the fair was at Expo.
We were also late for our monthly dinner reunion with our ex-neighbours. Was starving that I kept ordering food!
The first thing I said to Kev was, "Please settle Ziv, I need to spend time with my new toy."
Coby, my obliging and camera-loving model.
Coby again. My best model. The shutter is fast enough to capture his licking moment.
The jackpot machine at home.
Handmade Fathers' Day present from Ziv.
I practically took pictures of everything that met my eyes while Kev & Ziv both had an early night. These are what I meant by good quality pictures. Say adious to pictures with shiny arms and head.
And finally, to complete my first sentence in the beginning, I say yes that I am still going to rely on BS, for the fact that Kev is a photography-idiot, I still need BS to take good quality and artistic pictures of me and Ziv.


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The following is a semi-regular series of retrospectives on CINERAMA, the legendary motion picture process that kicked off the widescreen revolution. The series focuses on providing a market-by-market historical record of when and where Cinerama and its multi-panel clones were exhibited. These easy-to-reference articles serve to provide nostalgia to those who experienced the Cinerama presentations when they were new and to honor the movie palaces in which the memorable screenings took place.
And now… Part 53: Cinerama Presentations in San Jose, California!
San Jose was the first market to show only "single-strip" Cinerama movies.
San Jose was planned to be the 61st 3-strip Cinerama market in the United States with its Century 21 being the 10th purpose-built Cinerama theater. By the time the theater was completed, however, Cinerama had been re-engineered into a single-strip 70mm format and so the theater was equipped only for 70mm (and 35mm) presentations on a large, curved screen.
The Century 21 hosted the longest-running engagement in the United States of 2001: A SPACE ODYSSEY.
The Cinema 150 was located in the San Jose-adjacent city of Santa Clara.
Various issues of Boxoffice, (San Jose) Mercury News, and Variety.
I never saw any of the above-mentioned films, except for "It's a Mad, Mad, Mad, Mad World", back in the early 1960's, when it first came out. I loved it, but it's not a film that I'd see more than once.
87 weeks for "2001" – wow! Isn't San Jose part of Silicon Valley? I wonder if the movie inspired some of the locals to go into the computer field?
As it happens, this is the day I first saw "2001" 44 years ago – June 15, 1968 – on the Cinerama screen at the Loew's Capitol in New York City. A real life-changing event.
A mind-boggling engagement for "2001!" That 70mm print had to have been worn out by the end of the run. Wonder if it was replaced with a new print after a year or so of showings?
Nick: Thanks for steering us to the Boxoffice Magazine vault. It will soon be up there with Cinema Treasures as one of my favorite websites. Their critic, Jim Watters, wrote an extremely perceptive review of 2001 in the 4/8/68 issue, at a time when some of our most esteemed critics just didn't get the film (or didn't want to get it). Thanks again.
Anyone know if when they showed "THIS IS CINERAMA" at the Cinema 150, did they show it on the FULL Dimension 150 SCREEN with the D-150 Super Curvulon Projection Lens or was it shown on the masked off 70mm screen?
I am speculating, but my guess would be that it was masked down for one or both of two reasons. First, as you probably know, 20th Century Fox's licensing agreement with D-150 equipped theaters required the screen to be masked down except when showing anything but a film lensed in D-150 (all two of them). I have read that some D-150 equipped theaters did not always do this, but I have no knowledge of any instances of noncompliance.
Secondly, those 70mm prints of "This is Cinerama" had a projected ratio of only 2.20 to to 1 rather than the original ratio of about 2.60 to 1 when the three-panel process was used. It was not possible to transfer the full width of the original three-panel images onto the 70mm stock – the left and right original images were cropped. So, "This is Cinerama" in 70mm had the projected ratio of just about any wide screen film of its era except for three-panel Cinerama films and those shot in Ultra Panavision 70/Camera 65.
Oh…I forgot about "2001: A Space Odyssey". I saw that when it first came out, and several times thereafter. A good, well-done film, but the last time I saw it, I'd forgotten how freaky that film was.
Bill, I've spent hours at a time in the Boxoffice vault. A warning should be posted—this site highly addictive! Thanks for the "2001" review link. The film was a life-altering experience for many who saw it in Cinerama. Seeing it in any other format is not quite the same.
Interesting it took until August of 1969 for San Jose to open ICE STATION ZEBRA as a 70mm (presumably roadshow) engagement. The film had opened in Bakersfield in 35mm 4-track as a regular run in June of that year.
It has to be kept in mind though that until November, 1964 when the Century 21 opened in San Jose, Cinerama regarded the Bay Area as a single market with the exhibition site being San Francisco. I am sure many people, especially Cinerama fans in the greater San Jose area, made the forty mile or drive to San Francisco to see Cinerama films at the Orpheum or the Golden Gate and were accustomed to doing so.
By the time "Ice Station Zebra" opened in San Jose, it had completed its run at the Orpheum several months previously in San Francisco and, in a way, Cinerama (at least the 70mm version) in San Jose was sort of catching up to the Cinerama exhibition history that was now fully played out in the City.
The Century 21 certainly would have wanted to play successful Cinerama films as long as they were substantially profitable, and, at the same time, may have had contractual obligations to play other Cinerama films at certain times. It seems to me that it is obvious, looking at the list of Cinerama films that did not play in San Jose that by the end of the run of "Ice Station Zebra," the San Jose Cinerama houses had pretty much given up on Cinerama.
The run that impresses me on this list (and on some others) was the relatively long run "Grand Prix". Considering how relatively forgotten that film is now, that racing photography must have impressed many people in some markets at the time.
The old Century 21 still stands today but in the worse way. The Syufy brothers under the name West Wind still run the place and many years ago they took many feet off the sides of the large curved screen and made it 35% smaller. They un plugged the giant curtains and run the projector light at about a 60% level. Good thing they never put in 3-D. No more showmanship at this old classic dome theatre. When the old man MR Ray Syufy got rid of the union projection guys and had candy help to put up 70mm film at the Century 21 they ruined many prints and the studios did not give him anymore 70mm prints to run for a long time. I remember going to see a 70mm print at the C21 and it was put on backwords. How sad this great Super Cinerama Theatre is still run so bad. They have a long lease on the land worth big bucks along with It's neighbor the Century 22 3 plex, days of going to a a film on the huge screen are gone in San Jose. The Syufy family was so upset when the Fox West Coast (Mann) people opened another Super Cinerama type curved screen across the street at the Town & Country. If you go see a film at the Dome 21 complain about the light level, talk to the manager if you can find him or her. Get a refund like I did and see a film at a AMC Theatre in the area that has good light level.
It seems obvious to me that the reason it took so long for ICE STATION ZEBRA to play in San Jose was because of the extended run of 2001: A SPACE ODYSSEY. Up until the ISZ run, all Cinerama films in San Jose played exclusively at the Century 21. The long run of 2001 is clearly what prompted the Town & Country to "become" a Cinerama house to play KRAKATOA, and in turn prompted Syufy to show ISZ in another one of their roadshow domes instead of waiting until the 2001 run to end. The fact that ISZ had already played in San Francisco is irrelevant.
It seems absurd to suggest that San Jose gave up on Cinerama during the time you cited when they were at that time showing what turned out to be the country's longest run of 2001. The fact that San Jose played 2001 for so long and still found a way to play KRAKATOA and ISZ suggests they had not given up on Cinerama.
I think you may have misinterpreted the list of Cinerama films that did not play in San Jose. The first 12 on the list were released before San Jose came online as a Cinerama market, and the first 10 titles on that list obviously weren't played because of format incompatibility. The Century 21 did not play exclusively Cinerama product, and an extended run of MY FAIR LADY is what prevented THE HALLELUJAH TRAIL from being booked. A lengthy run of DOCTOR ZHIVAGO prevented first-run bookings of RUSSIAN ADVENTURE and KHARTOUM. And CUSTER OF THE WEST not being shown carries little weight since its Cinerama/roadshow release was jettisoned by its distributor before it had a chance to get many playdates. California had six Cinerama markets and only one of them played CUSTER.
By the time of the THIS IS CINERAMA re-issue, there's no reason to believe the D-150 licensing agreement would still be in effect in regard to projecting a 70mm image onto the entire screen at a D-150 house since nobody was producing any films in D-150. There's no way any of us can prove it at this late date, but I can't imagine THIS IS CINERAMA or any other 70mm film not being shown on anything but the entire screen.
This has been incorrectly explained in comments on this page as well as other entries in this series, but Cinerama presentations of films shot in Super Panavision and Ultra Panavision were shown in the same aspect ratio and with identical screen dimensions. The difference between the two was accounted for with the rectification added into the prints. I know it's confusing and difficult to explain, but for 70mm presentations on a deeply-curved screen, to calculate aspect ratio one must measure along the cord not the curve.
Regarding whether D-150 theatres could show other widescreen movies on the full screen by 1973, the answer is YES. The Cinema 150 in Santa Clara (now demolished) showed both "This Is Cinerama" (70mm version advertised as Cinerama) and "The Sound of Music" (advertised as Todd-AO) in September of 1973. I saw them both, and they were projected full screen.