Renovating a historic 1930's brick building presents many challenges. Renovating that same building to exceptionally high energy standards adds further layers of complexity to the project. Fortunately, for a vacant 5,000-square foot brick storefront in Des Moines' Sherman Hill neighborhood, developer Chaden Halfhill has not shied away from these challenges.
Geothermal Energy is heat (thermal) that comes from the earth (geo). The layers of the earth are heated in different gradients, originating from the 4,000-mile deep core, which has a temperature similar to that of the sun of around 9,000 degrees Fahrenheit (F). The heat gradually lessens as it reaches the surface of the earth, where the temperature of the top soil more accurately represents the temperature of the atmosphere. Just ten feet below the surface of the ground, the temperature of the earth maintains a constant temperature of 50-60 degrees F in all seasons. Geothermal heat pumps make use of the earth's constant temperature as a natural source for heating and cooling.
Renovation Weekend: Surprises at the Job Site!
Are you interested in developing, designing or rehabilitating older buildings? Have you ever wanted to be an observer inside a construction project? Do you just enjoy a good story and making new friends? Well, clear your calendars because there are exciting renovation events happening this weekend in Sherman Hill.
Where do heritage and sustainability meet? Restoring historic buildings!
Are you interested in developing, designing or rehabilitating older buildings? Join us to hear a panel of experts discussing green historic renovation as they come together to share the inter-connectivity between historic preservation and green building.
Join us for an early evening gathering to meet and engage in meaningful conversations about sustainable historic renovation, using the Green & Main Pilot Project as the backdrop for discussion.
It's Monday morning and I'm sitting in a local coffee shop with John Konior, Assistant to the City Manager of Urbandale and one of the leaders in Central Iowa's movement towards energy efficiency. Less than two months ago, Konior and his team launched ShareGoodEnergy.org, a website dedicated to sharing stories on energy efficiency in our communities.
Last weekend, I had the opportunity to camp at the Iowa State Fair.
It was a perfect weekend to walk around the 435-acre fairgrounds (admittedly, that includes parking lots and all). The sun was out and there was a breeze to cool us off when the shade wasn't available.
If you want to meet the man behind all that's happening at the Green & Main project site, you'll have to first wait for him to find a good pausing point from whatever project is currently tying up his hands. You must be patient as you get interrupted for a multitude of construction questions, and then make sure that you're able to squeeze in a time between the meetings he holds with everyone involved in the project.


text:
Is Copyright Law Censoring the Art World?
Last week, ART and the Center for Law and Policy Research held a workshop on "Copyright, Censorship and the Creative Commons" for individuals interested in examining the art/law nexus, and exploring its broader implications for individual artists and the creative commons. While it appears that artists are becoming more rights conscious, the increasing copyrightability of art today is compelling many artists to critically rethink the role of law in the art world.
The workshop drew individuals affiliated with the arts in many different ways, making for a rich exploration of how legal governance has come to shape art as praxis, influence modern conceptions of "art" and alter the ecology of creativity. The two-day workshop offered artists pragmatic legal tools and advice, as well as the opportunity to discuss the friction between artistic freedom, legal rights, and juridical power in the art world. Judging from the workshop, artists appear to be increasingly concerned with their legal rights. With this said, they also seem to be equally critical of how legal systems may be shaping modes of artistic expression. This ambivalence made for an interesting two days of discussion.
Upon first glance, intellectual property regimes governing the sale, use and production of artistic work may appear wrought with ambiguities for those unfamiliar with legal technicalities. As the globalized nature of legal and technological infrastructures has given rise to complex new challenges for the governing of the art world, there was no shortage of questions from the group in attempt to crystallize their understandings. What does one do when a rights holder has not responded to a licensing request? Can an artist copyright their work when drawing from the public domain? The multiplexicity of the questions made one thing clear – the modern artist must be legally literate if they are to fulfill their rights and obligations under the law. Determining who owns the rights to what, and under what circumstances, can prove more challenging than one may initially assume.
How, and to what extent, the legal system is used by an artist depends on a host of factors. Some of theses factors may include whether or not the artwork has the potential to be commercially exploited, holds intrinsic or traditional cultural value to the artist, or whether or not it can be easily reproduced and distributed using digital technologies. Some participants were interested to learn how they could use the law to protect their work from illegal distribution, while others were keen to how they can contribute to the public domain, while maintaining certain rights to their their work. The increasingly commercial nature of museums and galleries and the risks they pose to artists seemed to be a pressing concern for many. Individuals cited cases of galleries buying the rights to entire bodies of work, thus rendering artists unable to reclaim their artistic rights and integrity.
The monetary value placed on artistic expression, coupled with a technological infrastructure which enables the dissemination of artistic works, appear to have artists seeking greater ownership of what they create. Furthermore, the threat of commercial exploitation seemed to have many artists questioning the possible implications of placing their work in the public domain. The exploitation of art for commercial gain strongly illustrated the need for legal rights to protect the moral and economic rights of artists, and it is within this context that a discourse of rights and proprietorship came to dominate much of the workshop. While only briefly touched upon, A a more nuanced discussion of the rights an artist may obtain under a creative commons license may have led discussion in more open directions. With such emphasis placed on how an artists is to protect their legal rights, the importance of public domain for the art world received little discussion.
While learning how to protect legal rights seemed to be a focus, a leveling sense of ambivalence prevailed as many began to critically questioned the role of the law in shaping artistic expression. From the dominance of the intellectual property framework to the very nature of legal language, legal structures appear to play an increasingly influential, yet ill-suited role, in answering the classic question "what is art?". In the early 20th century, legal and peer censorship played a prominent, yet more traditional role in determining what did or did not constitute art. India's 1954 nude art scandal involving Akbar' Padamsee's painting "The Lovers" and the similar ostracism of artist Marcel Duchamp for his Dada piece "The Fountain", demonstrates these more traditional forms of legal and peer censorship, respectively. Today, a more nuanced method of censorship appears to have evolved alongside the complex legal structures governing artistic work. Under the intellectual property rubric, judges and lawyers, as much so as artists, are critiquing the integrity of art and, consequentially, shaping modern perceptions of authorship and creativity.
Many participants found the epistemological power of law in the contemporary art world to be questionable. As new art forms continue to transgress traditional boundaries of creativity and legality, copyright law is becoming an increasingly complex arena. To what extent does the pop art of of Andy Warhol blur the lines between artistic expression and trademark infringement? Does a series of painted lines a canvas demonstrate "some labor, skill and judgment"? Should conceptual artists be able to copyright their installations and freeze performances, however impermanent these works they may be? The work of artist Jeff Koons clearly exemplifies how copyright law may classify adaptive works as extralegal. His sculpture "String of Puppies" –a playful and colorful adaptation of a photograph, was determined by American courts to be an infringement of copyright, even though it had been clear that a great deal of "labor, skill and judgment" had been poured into the piece. Through the artistic gaze, the work was seen as "original" in its own right. To the legal eye, it was a clearly an infringement of copyright. Such a case demonstrates how juridical authority can, and is used, to impose rigid notions of creativity and authorship.
The role of intellectual property regimes in exacerbating power imbalances within the art world was another theme of concern for artists throughout the two days. Participants gave many examples which demonstrated the cumbersome processes artists must undergo to secure a performance license from foreign rights holders. While one performance manager thought they had secured the rights to a show, they were kindly notified by authorities that they had only in fact been given rights to the script, but were never granted permission to use the music. One can imagine how the increasingly globalized nature of intellectual property law can impose financial restrictions on small time performance artist in Bangalore to acquire all the licenses necessary to "legally" perform a classic Broadway show. Considering that shows are normally performed for smaller audiences and do not garner substantial profits, these legal structures often work to reinforce an asymmetric balance of power in the art world. Other participants noted how emergent Artists Guilds in India are taking almost draconian measures to ensure copyright law is respected by artists and performers in and around the art scene in Bangalore.
The politics of power also permeated discussions of how governments are protecting traditional forms of artistic expression through geographical indication. Geographical indication seems to preserve the spatial contextuality intrinsic to the production of traditional art forms. However, bringing "traditional art" under the umbrella of intellectual property law also raised a host of questions. Considering the disjuncture which exists between supranational systems and local practice, who should hold the power to decide how folklore is protected? These methods of protecting the intellectual property of "the local" often present new tensions between geographical fluidity:rigidity, individual:communal modes of production, and legal representivity:invisibility.
It is evident that the law plays a necessary and functional role for governing the art world and protects many artists from undue exploitation. However, legal structures continue to gain greater epistemological power within the art world as a consequence. This has many questioning how the law may stifling artistic expression; notably as new technologies continue encourage new art forms through the use, adaptation, and remixing of copyrighted works. What will the future of art look like if judges, and artists alike, continue to survey the practice through the lens of legality to the extent they do today? As artistic and legal practices continue to evolve, it may become increasingly difficult to disentangle art from the complex political economy of interests that governs it.
Drawing from such concerns, I am compelled to question why a discourse of rights and protection, rather than one of obligation, continues to dominate discussion of the art/law nexus? If artists are concerned with these increasing legalisms, why aren't they encouraged to preserve the creative commons as often as they are advised to assert their proprietary rights? Wouldn't a discourse of artistic "responsibility" rather than "rights" set the art world on a path towards redefining the role of law and and reclaiming the power of influence over artistic expression? There is a clear need for the art world to recenter the line between legal rights and creative subjectivity, and I feel that more focus on protecting the public domain, rather than individual property rights, would be a proper step towards achieving this. Only by doing so do I believe that artists will be able to ensure that copyright law continues to serve its functional role without becoming a new form of creative censorship.
If the opinions I have expressed raise important questions for you, A.R.T. will be holding another workshop exploring art in the context of social media. As more artists are using the internet and social networking tools to promote their work, new benefits, as well as challenges have risen within this domain. A date for the workshop has not yet been set, however it is planned to take place early on next year.
The views and opinions expressed on this page are those of their individual authors. Unless the opposite is explicitly stated, or unless the opposite may be reasonably inferred, CIS does not subscribe to these views and opinions which belong to their individual authors. CIS does not accept any responsibility, legal or otherwise, for the views and opinions of these individual authors. For an official statement from CIS on a particular issue, please contact us directly.
Rebecca Schild
Rebecca Schild worked as an intern with the Centre for Internet and Society for a period of one year from 2009 to 2010. She is now based in Toronto and works with CIS for the LexUM project.
Open Data and Land Ownership
Talks by Richard Abisla and Kaliya Young
An open data ecosystem can boost India's GDP by $22 B and double farmer income
On World Water Day - Open Data for Water Resources
Open Data and Land Ownership - Environment Scan
Discussion on Open Standards with Bernd Erk and Jiten Vaidya
NASA Space Apps Challenge 2017
CoinFest 2016
Seminar on Open Access in Research Area: A Strategic Approach

redpajama_set_name: RedPajamaCommonCrawl


Think you need a big budget to create a luxury bathroom? Think again! This guest post has lots of clever ideas that won't break the bank.
Your bathroom is one of the most important rooms in your home, and is much more than a functional area. Adding opulence and luxury to your bathroom can help to create a space that is both fresh and relaxing – and the good news is that you don't need a huge budget to realise your dream. Here are some easy ways to create a luxury bathroom on a budget.
One of the quickest ways to upgrade your bathroom space and give it the appearance of a luxury room is to change your lighting. By rethinking what the role of lighting in your bathroom is, you can make small changes that will have a dramatic effect. For example, why not swap the usual light above the mirror for more decorative sconces? For bigger rooms, pendants are a fashionable alternative to the traditional bathroom light. And by adding vanity mirrors or lightly-coloured but beautiful furniture to your bathroom, you can bounce light around the room to create an opulent feel.
Windows play a key role in the look and feel of your bathroom. They have a practical role in helping to regulate the temperature and moisture levels, but they're also the main source of natural light and the window dressing you choose can make a big difference to the finished look of the room. There are many options for bathroom window dressings, including panel curtains, traditional blinds or roller blinds, but when you are considering decoration ideas don't rule out the use of shutters. Shutters are an elegant solution that do away with much of the clutter around your windows associated with curtains and blinds, and can give the room a real luxury feel. Shutters are available in a wide range of materials and colours, so you should have no problem finding the right one to suit your bathroom style.
Colour is crucial when it comes to shaping the look of your bathroom. Traditional white cabinets and surfaces, along with neutral paint colours and white linen, can create a luxurious style reminiscent of high-end hotels, and a little investment here can go a long way to creating a stunning look.
There are other colour options though. White may have been the dominant colour in bathroom design for many years, but grey is starting to make an impression. Grey has many advantages. It is as flexible as white, but adds a touch of warmth that white often lacks. Grey also blends in much more effectively with other colours and materials, such as silver fixtures or wooden surfaces.
For those who are more adventurous with their colours, a good approach is to follow the example of spa décor. Most spas are decorated with simple, monochromatic schemes. These don't have to involve white or grey, as long as they are focused on producing a relaxing, luxurious effect. The easiest way to introduce a monochromatic colour scheme is to start with a calming colour, and then add progressively lighter or darker shades of the same colour, for a stunning effect.
Incorporating the outdoors as a design effect is not something that many of us would automatically consider when decorating a bathroom, but it can help to add a degree of opulence and luxury. There are various ways to bring the outdoors into your bathroom, including window treatments that admit more light, artwork, or decoration that features plants or even plants themselves. Obviously, you will need to choose plants that thrive in humidity and damp atmospheres, but one or two well-placed examples of indoor greenery can work wonders in creating a spa-style effect in your bathroom.
It can be tempting to think that introducing luxury into your bathroom involves buying expensive pieces of furniture, but sometimes refurbished furniture can do the trick. A coat or two of paint and a little minor DIY can help to turn an ordinary chest into a fabulous vanity unit, or you can simply repaint your existing bathroom furniture to give it a fresh, clean look, boosting the luxury factor considerably.
Great décor and design are all about style and taste, not money, and as these tips show, you don't need to spend big to produce a beautiful, opulent bathroom environment. All you need is a little creativity and you can realise your bathroom visions. What are your tips for creating a luxury bathroom on a budget?


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Q: How do I check generalization (validation loss) on google object detection? When I train ssd_inception_v2 model, as below process, that message "global step~ loss ~" is showed on command screen. is the loss validation loss?
In addition, like below second image that shows a various type of loss, I couldn't know whether the loss is training loss or validation loss.
How could I check the validation loss of my training model??
enter image description here
enter image description here

redpajama_set_name: RedPajamaStackExchange


text:
package org.drools.workbench.screens.guided.dtable.client.widget.analysis.cache;

import org.drools.workbench.models.guided.dtable.shared.model.Pattern52;
import org.drools.workbench.screens.guided.dtable.client.widget.analysis.condition.ConditionInspector;
import org.junit.Before;
import org.junit.Test;

import static org.drools.workbench.screens.guided.dtable.client.widget.analysis.TestUtil.*;
import static org.junit.Assert.*;
import static org.mockito.Mockito.*;

public class ConditionsTest {

    private Pattern52 pattern;

    @Before
    public void setUp() throws Exception {
        pattern = mock( Pattern52.class );

    }

    @Test
    public void testSubsume001() throws Exception {
        Conditions a = getConditions( getNumericIntegerCondition( pattern, "age", "==", 1 ) );
        Conditions b = getConditions( getNumericIntegerCondition( pattern, "age", "==", 1 ) );

        assertTrue( a.subsumes( b ) );
        assertTrue( b.subsumes( a ) );
    }

    @Test
    public void testSubsume002() throws Exception {
        Conditions a = getConditions( getNumericIntegerCondition( pattern, "age", "==", 1 ) );

        Conditions b = getConditions( getNumericIntegerCondition( pattern, "age", "==", 1 ),
                                      getNumericIntegerCondition( pattern, "number", "==", 111111111 ) );

        assertFalse( a.subsumes( b ) );
        assertTrue( b.subsumes( a ) );
    }

    @Test
    public void testSubsume003() throws Exception {
        Conditions a = getConditions( getStringCondition( pattern, "name", "==", "Toni" ) );

        Conditions b = getConditions( getNumericIntegerCondition( pattern, "age", "==", 12 ),
                                      getStringCondition( pattern, "name", "==", "Toni" ),
                                      getStringCondition( pattern, "lastName", "==", "Rikkola" ) );

        assertFalse( a.subsumes( b ) );
        assertTrue( b.subsumes( a ) );
    }

    private Conditions getConditions( ConditionInspector... numericIntegerConditions ) {
        Conditions conditions = new Conditions();
        for ( ConditionInspector inspector : numericIntegerConditions ) {
            conditions.put( inspector.getKey(), inspector );
        }
        return conditions;
    }

}

redpajama_set_name: RedPajamaGithub


Injury claims may assert physical suffering. In collisions and assaults, emergency medicine and trauma physicians can quantify the amount of suffering through extensive investigation of medical records, medical history, and interviews with the patient (when possible), witnesses, or input from the patient's family and friends. More longstanding injuries may be more appropriate for The Forensic Panel's expert's in physical medicine, orthopedic surgery, and neurology.
The range of physician specialists contributing to The Forensic Panel imbues every inquiry with the specialty experience that best approximates the inquiry of your case. The Forensic Panel's emergency and general medicine experts have extensive and ongoing patient-care experience in assessing the severity of physical suffering that enables a physician to educate the court.
The validity and reliability of the expert physician's assessment of physical suffering is enhanced by The Forensic Panel's peer-review. This exceptional oversight disciplines the evaluation from bias that might otherwise influence such inscrutable determinations as "how much did the examinee suffer," or "how much is the examinee likely to suffer? Peer-review accountability ensures that all necessary sources of information contribute to our analysis, and that final conclusions adhere to standards of each involved discipline. The care with which the specialist arrives at a well-informed and objective decision strengthens the impact of the findings upon the court.


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Segundo o mito de criação das religiões abraâmicas, Adão e Eva foram o primeiro homem e a primeira mulher criados por Deus, sendo o centro da crença na humanidade como essencialmente uma única família, com todos descendendo de um par original de ancestrais. Proveem também a base das doutrinas da queda do homem e do pecado original, embora estas não sejam pregadas no Judaísmo ou no Islã.

Nos cinco primeiros capítulos do Livro do Gênesis da Bíblia Hebraica há duas narrativas de criação com duas perspectivas distintas. Na primeira, o primeiro homem e a primeira mulher não são nomeados. Ao invés disso, Deus os cria à sua imagem e os instrui a se multiplicarem e administrarem tudo que Deus havia criado até então.

Na segunda narrativa, Deus cria Adão do pó da terra e o põe no Jardim do Éden. A Adão é dito que ele pode comer livremente de todas as árvores no jardim, exceto da árvore do conhecimento do bem e do mal. Subsequentemente, Eva é criada a partir de uma das costelas de Adão para fazer-lhe companhia. Eles são inocentes, sem vergonha da sua nudez. No entanto, uma serpente engana Eva, convencendo-a a comer o fruto da árvore proibida. Ela dá também a fruta para Adão. Esses atos lhe dão conhecimento adicional, mas também noções negativas e destrutivas, como o mal e a vergonha. Deus posteriormente amaldiçoa a serpente e a terra, e diz à mulher a ao homem que haverá consequências pelo pecado de desobedecê-lo. Ele então os bane do Jardim do Éden.

A história passou por extensiva elaboração em tradições abraâmicas futuras e foram largamente analisadas por estudiosos bíblicos modernos. Interpretações e crenças referentes a Adão e Eva e a história envolvendo-os varia entre religiões e seitas; por exemplo, a versão islâmica da história afirma que Adão e Eva foram igualmente responsáveis pelo pecado de arrogância, ao invés de Eva ser a primeira a ser desleal. A história de Adão e Eva é frequentemente retratada na arte, e teve grande influência na literatura e poesia.

Etimologia
Adão, originalmente , radical de 'terra' (); emprestado como  .  Também, já que דם significa 'sangue,' o nome também significaria 'homem de sangue.' Logo, devido a ligação entre o sangue e o fôlego de vida, Adão significaria 'homem vivo.' Eva, originalmente , derivado do de ,; emprestado como , . O nome de Eva nunca é revelado ou usado no Alcorão, sendo mencionada pelo nome apenas no Hádice.

Narrativa da Bíblia Hebraica

Nos 11 primeiros capítulos do Gênesis, é contada a história mítica dos primeiros anos de existência do mundo. A história conta que Deus criou o mundo e todos seus seres, e colocou o primeiro homem e mulher no Jardim do Éden, sobre como foram banidos da presença de Deus, como ocorreu o primeiro assassinato, e a decisão de Deus de destruir o mundo e salvar apenas Noé e seus filhos; a nova humanidade descendeu desses filhos e se espalhou pelo mundo. Apesar do novo mundo ser tão pecaminoso quanto o antigo, Deus resolveu nunca mais destruir o mundo por inundação, e a História acaba com Terá, pai de Abraão, do qual descendeu o povo escolhido, os Israelitas. Nem Adão nem Eva são mencionados em outras partes das escrituras hebraicas, exceto por uma única menção a Adão em uma genealogia em , sugerindo que, embora sua história veio a ser prefixada à história judaica, tem pouco em comum com ele.

Narrativa da Criação
Adão e Eva são considerados o primeiro homem e mulher da Bíblia. Em Gênesis 1, nenhum nome é citado, sendo que "homem" parece ter um sentido coletivo, como humanidade, e homem e mulher são criados simultaneamente. Já na narrativa em Gênesis 2-3, ele carrega o artigo definido ha, indicando que esse é "o homem". Nesses capítulos Deus molda "o homem" (ha adam) do barro (adamah), soprando vida em suas narinas, e fazendo-o o cuidador de sua criação. Deus então cria para o homem uma ezer kenegdo, uma "ajudante consoante a ele", da sua costela. Ela é chamada de ishah, "mulher", porque, diz o texto, ela é formada de ish, "homem". O homem então a recebe feliz, e ao leitor é dito que nesse momento o homem deixa seus pais para se ligar a uma mulher, tornando-se uma só carne.

A Queda
O primeiro homem e mulher estão no Jardim do Éden, de Deus. A eles eram permitido comer e desfrutar de todas as árvores, exceto uma, a árvore do conhecimento do bem e do mal.

A história continua em Gênesis 3 com a narrativa da expulsão do Éden. A mulher é tentada por uma serpente falante a comer o fruto proibido, e dá para o homem, que também come.  Deus amaldiçoa os três, o homem a uma vida de trabalho duro seguida de morte, a mulher à dor do parto e à subordinação ao marido, e a serpente a rastejar-se sobre sua barriga e sofrer o ódio do homem e da mulher. Deus então cria roupas para o homem e a mulher, que agora tem o aspecto quase divino de conhecer o bem e o mal, e então os bane do jardim antes de serem capazes de comer o fruto da segunda árvore, a Árvore da Vida, e viver para sempre.

Descendentes
Gênesis 4 conta a história fora do jardim, incluindo o nascimento dos primeiros filhos de Adão e Eva, Caim e Abel, e a história do primeiro assassinato. Nasce o terceiro filho homem Sete, assim como "outros filhos e filhas" (). Gênesis 5 lista os descendentes de Adão, de Sete a Noé, com as idades que tinham no nascimento de seus primogênitos, e as idades de suas mortes. A idade de Adão é dada como 930 anos. De acordo com o Livro dos Jubileus, Caim casou-se com sua irmã Avan e Sete casou com outra irmã Azura.

Árvore genealógica baseada em Gênesis

Tradições abraâmicas

Judaísmo
No Judaísmo antigo, haviam duas narrativas distintas sobre a criação do homem. A primeira afirma, "Homem e mulher, Ele criou", implicando a criação simultânea de Adão e Eva. Na segunda narrativa Eva é criada depois de Adão. O Midrash Rabá  (Genesis 8:1) reconcilia ambas as narrativas, dizendo que "Homem e mulher, Ele criou", indicando que Deus originalmente criou Adão como hermafrodita, fisicamente e espiritualmente tanto homem quanto mulher, ao mesmo tempo, antes de separá-lo nos seres que seriam Adão e Eva.

Rashi, o mais influente dos intérpretes judeus, disse que Deus criou Adão "com duas faces, depois separou-as". Como o comentário do rabino, escrito na Idade Média, era considerado indistinguível da Torá por muitos judeus, essa  ideia foi aceita por séculos.

Na crença judaica tradicional, Adão e Eva estão enterrados na caverna de Macpela, em Hebrom.

Nas lendas rabínicas, Lilith é a primeira esposa de Adão, ela assertivamente reivindica a igualdade com seu parceiro (especificamente, ela também deseja estar no topo). Lilith é despachada do jardim e uma esposa mais complacente, Eva, toma seu lugar. Depois disso Lilith é marginalizada e silenciada: difamada, ela se torna conhecida como uma ameaça às mães jovens, uma sequestradora demoníaca de bebês recém-nascidos.

Cristianismo

Alguns Pais da Igreja acusavam Eva como responsável pela queda do homem, e portanto também todas as mulheres, por ter tentado Adão a cometer o tabu. "Vocês são a porta do diabo", Tertuliano dizia a suas leitoras, e ainda explicava que eram também responsáveis pela morte de Cristo: "Por causa de sua deserção [i.e. um pecado punível por morte], até o Filho de Deus teve que morrer". Em 1486 os Dominicanos Kramer e Sprengler usaram argumentos semelhantes no Malleus Maleficarum ("Martelo de Bruxas") para justificar a perseguição de "bruxas".

A arte cristã medieval frequentemente retratava a Serpente Edênica como mulher (muitas vezes identificada como Lilith), portanto enfatizando tanto o charme da serpente quanto sua relação com Eva. Muitos dos primeiros Santos Padres, incluindo Clemente de Alexandria e Eusébio de Cesareia, interpretavam a palavra hebraica "Heva" não como o nome de Eva, e sim como "serpente fêmea".

Baseando-se na doutrina cristã da queda do homem, veio a doutrina do pecado original. Santo Agostinho de Hipona (354–430), trabalhando em uma tradução em Latim da Epístola aos Romanos, interpretou que o apóstolo Paulo teria dito que o pecado de Adão seria hereditário: "A Morte passou [i.e. espalhou-se para] todos homem por causa de Adão, todos pecaram", .

O pecado original tornou-se o conceito de que o homem nasce na condução pecaminosa e deve esperar a redenção. Essa doutrina é um pilar da tradição teológica do Cristianismo Ocidental, no entanto não é partilhado pelo Judaísmo ou por igrejas ortodoxas.

Ao decorrer dos séculos, o sistema único de crenças cristãs desenvolveu-se dessas doutrinas. O batismo foi entendido como a limpeza da mancha hereditária do pecado em muitas igrejas, apesar de o simbolismo original ser o renascimento. Ainda mais, a serpente que tentou Eva foi interpretada como tendo sido Satã, ou que Satã comandava a serpente, apesar de não haver nenhuma menção no Torá e não ser uma noção presente no Judaísmo.

Protestantes mais conservadores tipicamente interpretam  como definindo os pais originais da humanidade como Adão e Eva, que desobedeceram a primeira instrução de Deus de que não comecem o "fruto da árvore do conhecimento do bem e do mal". Quando desobedeceram, cometeram uma tremenda transgressão contra Deus e foram imediatamente punidos, o que então levou a queda da humanidade. Então, pecado e morte entrou no universo pela primeira vez. Adão e Eva foram expulsos do Jardim do Éden, proibidos de voltar.

Islão

No Islão, Adão (; ), cujo papel é de pai da humanidade, é reverenciado pelos muçulmanos. Eva (; árabe:  حواء ) é a "mãe da humanidade". A criação de Adão e Eva é referenciada no Alcorão.

Na interpretação presente no al-Qummi sobre Jardim do Éden, tal lugar não seria inteiramente mundano. De acordo com o Alcorão, tanto Adão quanto Eva comeram a fruta proibida, em um Éden Celeste. Como resultado, ambos foram mandados para a Terra por representantes de Deus. Cada um enviado para o topo de uma montanha: Adão sobre al-Safa, e Eva sobre al-Marwah. Na tradição islâmica, Adão chorou por 40 dias até finalmente se arrepender. Em seguida Deus enviou-o a Pedra Negra, ensinando-o o Hajj. De acordo com o Hádice, Adão e Eva se reuniram no plano de "Arafat, próximo a Mecca. Tiveram dois filhos juntos, Qabil and Habil. Há também a lenda de um filho mais novo, chamado Rocail, que teria criado o palácio e sepulcro contendo estátuas autônomas que viveram as vidas de homens tão realisticamente, que enganou-se que possuíssem almas.

O conceito de "pecado original" não existe no Islão porque, de acordo com o Islão, Adão e Eva foram perdoados por Deus. Quando Deus ordenou que anjos se curvassem frente a Adão, Iblis questionou, "Por que devo curvar-me perante um homem? Eu sou feito de fogo puro e ele é feito de barro". Os movimentos liberais dentro do Islão veem o comando Deus de anjos se curvarem perante Adão como uma exaltação da humanidade, que daria suporte aos direitos humanos; outros veem esse ato como mostrando a Adão que o maior inimigo da humanidade seria seu ego.

Na literatura suaíli, Eva comeu da árvore proibida, causando sua expulsão, após ser tentada por Iblis. Sabendo disso, Adão heroicamente comeu o fruto proibido para segui-la e protegê-la na terra.

Gnosticismo
No gnosticismo cristão falou-se de Adão e Eva em dois textos ainda existentes, o "Apocalipse de Adão", encontrado nos documentos de Nag Hammadi e o "Testamento de Adão".

Outra tradição gnóstica afirma que Adão e Eva foram criados para ajudar na derrota de Satanás. A serpente, ao invés de ser identificada como Satanás, é visto como heróica pelos Ofitas. Outros gnósticos acreditavam ainda que a queda de Satanás após a criação da humanidade. Assim como na tradição islâmica, nessa história, Satanás, por conta de seu orgulho, se nega a curvar-se diante de Adão. Satanás afirma que Adão é inferior a ele, pois enquanto ele é feito de fogo, Adão é feito de barro.

Em outros textos gnósticos, como a Hipóstase dos Arcontes, a Pistis Sophia é equiparada à filha de Eva, Norea, esposa de Sete.

Fé bahá'í
Na fé bahá'í a narrativa de Adão e Eva é vista como simbólica. Em Esplendor da Verdade , 'Abdu'l-Bahá rejeita a interpretação literal e declara que a história contém "mistérios divinos e significados universais". Adão representaria o "espírito divino", Eva a "alma humana", a Árvore do Conhecimento o "o mundo humano" e a serpente a "ligação ao mundo humano". A queda de Adão representaria a ciência, por parte da humanidade, do bem e do mal.

Adão e Eva como parábola
O padre Ariel Álvarez Valdez sustenta que trata-se de uma parábola composta por um catequista hebreu, a quem os estudiosos chamam de "yahvista", escrita no , que não pretendia dar uma explicação científica sobre a origem do homem, mas sim fornecer uma interpretação religiosa, e elegeu esta narração na qual cada um dos detalhes tem uma mensagem religiosa, segundo a mentalidade daquela época.

Ilia Delio, teóloga americana, sustenta que a teologia pode "tirar proveito" das aquisições de uma ciência que vê na "mutação" o núcleo essencial da matéria.

O rabino Nilton Bonder sustenta que "a Bíblia não tem pretensões de ser um manual eterno da ciência, e sim da consciência. Sua grande revelação não é como funciona o Universo e a realidade, mas como se dá a interação entre criatura e Criador".

Alguns estudiosos ressaltaram as semelhanças entre as figuras de Eva e de Pandora, pois em ambas as perspectivas mitológicas, uma mulher teria contribuído decisivamente para trazer os males ao mundo.

Patriarcalismo hebreu

Eva como metáfora
Segundo Joseph Campbell a "metade da população mundial acha que as metáforas das suas tradições religiosas são fatos. A outra metade afirma que não são fatos de forma alguma. O resultado é que temos indivíduos que se consideram fiéis porque aceitam as metáforas como fatos, e outros que se julgam ateus porque acham que as metáforas religiosas são mentiras". Uma dessas grandes metáforas é a de Eva. Campbell expõe que o Cristianismo, originalmente uma seita do judaísmo, abraçou a cultura e a história pagã e a metáfora da costela de Adão exemplifica o distanciamento dos hebreus da religião cultuada entre os antigos—o do culto à Mãe Terra, Mãe Cósmica ou deusa-mãe. Campbell argumenta que Adão foi criado a partir do barro vermelho ou argila, ou terra (adamá ou adão, seu próprio nome revela a  origem divina na Deusa), que por sua vez se misturava com o sangue menstrual.

A identidade da religião com a Mãe Terra, a fertilidade, a origem da vida e da manutenção da mesma com a mulher, seria, segundo Campbell, retratada também na Bíblia: …a santidade da terra, em si, porque ela é o corpo da Deusa. Ao criar, Jeová cria o homem a partir da terra, do barro, e sopra vida no corpo já formado. Ele próprio não está ali, presente, nessa forma. Mas a Deusa está ali dentro, assim como continua aqui fora. O corpo de cada um é feito do corpo dela. Nessas mitologias dá se o reconhecimento dessa espécie de identidade universal.

Segundo Campbell, o patriarcalismo surgido com os hebreus deve-se, entre outras razões, à atividade belicosa de pastoreio de gado bovino e caprino e às constantes perseguições religiosas que desencadeavam o nomadismo e a perda de identidade territorial.

Eva e a representação da mulher no cristianismo

Devido ao fato de Eva ter partilhado com Adão o fruto da árvore proibida, justificou-se por longos anos no cristianismo uma suposta inferioridade da mulher. Principalmente porque, após o pecado original, Deus disse que a mulher seria governada pelo marido.

Adão e Eva nos apócrifos
De acordo com o Livro dos Jubileus, no Bereshit Adão e Eva teriam passado sete anos no Paraíso, antes de serem tentados pela serpente, e expulsos do Éden. E de acordo com O Primeiro Livro de Adão e Eva, uma obra extracanônica do , eles quando saíram do jardim, receberam a ordem de habitarem numa caverna, que foi chamada de A Caverna dos Tesouros. O livro diz que eles sofreram muito após terem saído do jardim, principalmente no primeiro ano após a expulsão; por várias vezes tentaram cometer suicídio ou retornar ao Paraíso, até que tiveram os primeiros filhos (Caim, Abel e suas irmãs—não mencionadas na Bíblia).

Conforme O Primeiro Livro de Adão e Eva, o casal teria se arrependido amargamente, e alcançado perdão; e por várias vezes receberam de Deus a promessa de um resgate, de um redentor que nasceria na semente humana, para resgatar sua descendência, e essas promessas os consolavam.

Enfrentaram a hostilidade de Satã, que tentava matá-los, e os enganava transformando-se em anjo de luz, e dizendo-lhes ser um mensageiro celestial, incumbido de lhes trazer mensagens divinas. Mesmo estando fora do jardim, Adão e Eva ouviam a voz de Deus, que sempre lhes enviava sua palavra, respondendo suas indagações. Os apócrifos Vida de Adão e Eva e O Segundo Livro de Adão e Eva dizem que o patriarca Adão morreu primeiro do que Eva, que continuou viva após a morte do primeiro homem.

Bar Hebreu, em sua Cronografia, sumariza várias informações sobre Adão e Eva: Adão foi criado em uma sexta-feira, no sexto dia do mês Nisã, o primeiro mês do primeiro ano de existência do mundo. Citando Aniano, que se baseou no Livro de Enoque, Caim nasceu setenta anos após a expulsão do paraíso, Abel sete (ou setenta) anos após Caim, Abel foi morto com cinquenta e três anos e Sete nasceu cem anos depois (pois Adão e Eva passaram cem anos de luto).

Historicidade da narrativa de Adão e Eva
Enquanto uma visão tradicional é de que o Livro de Gênesis foi escrito por Moisés, os estudiosos modernos consideram a narrativa da criação de Gênesis como um dos vários mitos de origem antiga.

Análise da hipótese documental também sugere que o texto é resultado da compilação de múltiplas tradições anteriores, como a Gênesis de Eridu, escrita em sumério, datada , explicando aparentes contradições.

Com os desenvolvimentos científicos em paleontologia, geologia, biologia e outras disciplinas, descobriu-se que os seres humanos e todos os outros seres vivos compartilham um antepassado comum e evoluíram através de processos naturais, com formas de vida anteriores voltando a bilhões de anos. A arqueologia, paleontologia e antropologia, estabelecem o aparecimento do Homo sapiens sapiens (o homem moderno) a partir de outras espécies de hominídeos, há cerca de 100 mil anos, num período geológico muito recente, a partir da África, no Vale de Omo, no Sudoeste da Etiópia. Na biologia, os antepassados comuns mais recentes da espécie Homo sapiens, quando rastreados usando o cromossomo Y para a linhagem masculina e o DNA mitocondrial para outra linhagem, feminina, são comumente chamados de Adão cromossomial-Y e Eva Mitocondrial, respectivamente. Estes não foram um único casal na mesma época, mesmo que os nomes fossem emprestados do Tanakh.

Sabe-se da possível existência desta Eva mitocondrial por causa das mitocôndrias (um organelo presente no interior de células eucarióticas) que só passam da mãe para a prole, por estar presente no óvulos mas ausente nos espermatozoides. Cada mitocôndria contém DNA mitocondrial e a comparação das sequências deste DNA revela uma filogenia molecular. Assim, essa análise indicaria que todas as linhas maternas convergem em um ponto em que todas as filhas que tiveram descendentes atuais compartilham o mesmo antepassado; Isso aconteceu entre 170 000 e 100 000 anos atrás, após o surgimento do Homo sapiens, mas antes da recente dispersão para fora da África.

Bibliografia

Ligações externas

 Catholic Encyclopedia: Adam (newadvent.org)
 Catholic Encyclopedia: Eve (newadvent.org)

Livro do Gênesis
Personagens da Torá
Profetas do Islão
Progenitores lendários
Biografias de múltiplas pessoas
Adão e Eva

redpajama_set_name: RedPajamaWikipedia


text:
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Home Museum Classical Guitars 2018 Youri Soroka SP/CH
2018 Youri Soroka SP/CH
Year: 2018 Top: Spruce
Back & Sides: Cherry Scale Length: 650 mm
Nut Width: 52 mm Finish: French Polish
Country: France Condition: New
Case: Yes Exchange Policy: ExchangePlus
We met French-Ukrainian guitar builder Youri Soroka at the 2018 Guitar Making Competition in Granada, Spain and were immediately impressed with both the person and his work. Youri's backstory is almost as beautiful as the look and sound of his instruments. Here he describes how he went from a career in technology to falling in love with the craft of guitar building:
"I was a computer software developer and came to guitar making by accident. Initially, I just wanted to repair my old classical guitar which led me to retable it. Impressed by the resulting sound and having then bought a few tools, I wanted to build one entirely from scratch. I completed my first guitar in less than a month working at night in my garage. Then the second, then third… I was starting to fall in love with the process. At some point, I realized that this was really something I wanted to do for a living as this was the first time in my life – when at work – I was saddened by the fact that it was 6 p.m. and time to go home. I always admired traditional and historical woodworking, and starting from my third build, I tried using hide glue and traditional methods for overall construction. Since then, I've stuck with these methods. Another thing important to me is building guitars in a planet friendly way with the least waste generated possible and no chemicals used – no gluing bindings with scotch, etc. The main ingredients are wood, hide glue and shellac. This also led to my interest in using local woods."
For this particular guitar, Youri used a precious set of 15 year-old German spruce from the collection of the late guitar builder Rolf Eichinger. For the back and sides, he chose 40 year-old Wild Cherry which was also used on the guitar that was entered in the Granada Competition. Youri is a very passionate person who has become completely enamored with the craft of lutherie, this guitar itself being proof of this fact! It's an absolutely delightful instrument, with an understated and modest charm in the detailing, but well-executed and firmly traditional its build - a well-studied and informed guitar in the Torres/Hauser tradition. Sound is smooth, with a loose feel, and warmth to the sound while retaining ample clarity and balance between voices. This is a substantial instrument considering this maker is so early in his career - making Youri Soroka our number one "up and coming" luthier for 2018.
Photos of this guitar taken during construction.
Hermanos Camps "CL20-S"
Hermanos Camps "CL20-C"
Wolfgang Jellinghaus "Signature SP/CD 640"
German Vazquez Rubio "Estudio"
Asturias "Comfort"
Augustino Lo Prinzi "Pinnacle"
Manuel Contreras "Double Top"
Antonio Raya Pardo
Rafael Moreno Rodriguez
Kenny Hill "Torres"


text:
The first in a series of blog posts about how Italy lied to me
When you're in Italy, you must eat pasta, drink wine, get fat, relax, enjoy life to its fullest. That's what they say at Olive Garden, at least. The colors are brighter, the food more natural and delicious, and the people so warm and approachable that one day you're an intern, next, you're running a prostitution ring from the Prime Minister's office.
Outside of Italy, we've been getting Italian cultural hype for hundreds of years. Sir Walter Scott wrote anxiously in the early 19th century, "Methinks I will not die quite happy without having seen something of that Rome of which I have read so much." **
This is because Italy has been luring gawkers continuously. Forster. Gogol. Twain. Lawrence. at Pray Love chick. Everyone and their mom has been to Italy. Certainly, Mr. B and his mom had, ten or so years ago, in an unfortunate Russian bus trip Mr. B would rather forget because the tour guide, a Teutonized Russian Jew living in Germany, refused to stop for most meals and old people.
The complete proliferation of la dolce vita in both American culture, caused by the strong dynastic pride of Italian Americans and among Russians, who all secretly want to be Italian, left me with high hopes and firm expectations for our trip a couple weeks ago.
For Mr. B, it was a redo, a chance to wipe out memories of traumatizing vacations past. For me, it was a chance to fill in my travel knowledge, like Sir Walter Scott. Most importantly, it was a chance to be lazy. I spent all winter and spring working, writing, and studying, and I didn't have it in me to plan an extravagant itinerary. Since Italy is the fifth-most visited country in the world, I knew there had to be tons already out there that I could easily take from. And even if we didn't end up seeing anything, no big deal. We were going to do a couple days in Rome, one in Naples, and the rest of the time relaxing on the Amalfi Coast, low-key, Italian-style.
In last year's funny and cute To Rome With Love, Woody Allen is on a Alitalia flight to meet his daughter's new Italian fiance when turbulence occurs. As is typical of Woody Allen, he starts panicking, and his wife, played by pragmatic Judy Davis, suggests he "unclench." "I can't unclench when there's turbulence," Woody replies, "You know I'm an atheist."
Unfortunately, I couldn't unclench in Italy, either, and the trip turned out differently than I had anticipated. The first reason was that I'm an 80-year-old Jewish man. The second is that everyone that, because there are so many blog posts, books, movies, and third-rate American restaurant chains about Italy, I came into the country with extremely high expectations, which were immediately busted by a combination of my Russian pessimism and the fact that Italy is not what it seems.
The rest of this blog posts will be spent exploring how anal-retentive I am and all of the ways the Western literary canon lied to me about Italy. Ciao!
Mr. B and I arrived at Fiumicino on a Friday morning on U.S. Airways. Flying this airline is a great way to punish your worst enemies, especially if they hate legroom and wine that comes in cardboard juice containers. By the time we arrived at the gate, our hair was matted to our heads, or maybe falling out slowly from plane-food related stress, we were going on three hours of sleep, and our necks didn't turn the whole way.
This is how Italian travel is supposed to be:
This is how Italian travel really is:
We were staying at someone's apartment through AirBnB, so I needed to call him and tell him we were on our way so he could meet us there. We had rented a cell phone through the same company I'd used in Israel.
Unfortunately, the cell phone thought it was still in its ancestral homeland, and refused to work. As Jack Donaghy notes, there are no rules in Italian airports, so we spent half an hour jostling through crowds of Russians in sweatsuits trying to look like crowds of Italians in sweat suits yelling at Americans in yoga pantsp,trying to get some information out of anyone about how we could get a SIM card or a phone. We finally bought an Italy-compatible phone and I connected with the host.
"Ciao, Vick-i. Where are you," he asked.
"At the airport," I said. "We're about to get a taxi…we should be there in 30 minutes."
"Okay. See you in an hour." We got in a shared taxi, filled with vaguely European tourists and other Americans going to hotels. The driver blasted Radio Deejay, whose motto is, "One Nation, One Station" (sic.) Macklemore announced that he was pumped because he just bought some shit from the thrift shop.
I looked around the landscape. Central Italy is almost virtually indistinguishable from the States, except that there are hundreds of umbrella pines dotting the landscape, like so:
and, also, it doesn't censor American rap music. The taxi driver's phone rang. His ringtone was Get Lucky. It is impossible to escape American culture.
Twenty minutes later, we were standing still in Roman traffic. The driver turned apologetically to us. "There's a strike," he said. "On the public transportation." "Also everyone leaves the city, the Friday," he explained further. Italy's public transportation services have strikes so often that Trenitalia has a helpful tab on its home page labeled 'In Case of Strike.' "Some services will still be operating maybe," it says reassuringly.
Our driver swore, navigated, and gestured his way around the Vespas, Fiat Puntos, and endless crowds of Asians wearing fanny packs. Every lane merge was a personal affront to him, every Do Not Enter a suggestion, to the point where I'd begun to wonder if he was playing up being Italian just for us.
We had promised the apartment owner we'd be there in thirty minutes. We were pushing an hour and a half. Another half hour later, we arrived on a narrow, charming street in Trastevere, and I called our host, feeling terrible that we were late.
"We're here," I said.
"Okay, I park the car. I'll be there soon! " We waited outside for another twenty minutes, watching women in impossibly tall high heels walk impossibly small dogs down the street, smoking (the women, not the dogs,) and older couples holding bags full of groceries, before he came to let us into his beautiful , modern apartment. The apartment was up four flights of stairs
This incident began my understanding of Italian Italian time. Italian time is different from American time. Every culture I know has the joke that they're on X Standard Time, but I have yet to meet a culture that treats time with such elasticity as Italians. Most that deal with anal-retentive Americans are on time. Everyone else is, come se dice, suggerimento. Cafes open around 8 or 9, maybe, farmers' markets, also, maybe 10, or whenever they feel like it. Everyone closes down around 1:30 for lunch and doesn't reopen until dinner, which can be at 7:30 or 10, depending on how you feel and if Gli Azzuri won their match. If you have a heart attack between 12 and 1, well, try to have it later.
Breakfast at 9. Or 10. Ish.
If you're late to something you signed up for, you might get a frown or a shrug or nothing, depending. Asking for directions could mean you're driving "around 30 minutes" or "a couple streets." Sitting down for a tiny cappuccino can mean 45 minutes, or however long you want to sit.
On the outside, this is charming. It means Italians have resisted the pull of modernity that keeps us all glued to the screen and at the grindstone. To someone with an absolute view of time, Italy is extremely stressful. I'm punctual and view anyone who isn't as a child-eating monster. If you ask me to be somewhere at 2:34, I will do everything in my power to be there at 2:33:50, because it's important to you.
I am a list-maker, a horological stickler, and unbearable pedant. Mr. B has more flexible views about time, and the first three years or our relationship consisted of me writing tearful emails to him saying that I was breaking up with him because he didn't respect my time and to please give back the mix CD I made him. But even for him, to be in a country where some people took time very literally, but most didn't, and it really depended on the situation and the weather, was hugely annoying.
But Italy has nowhere to hurry, and this was obvious from the very beginning in Rome. In a recent essay about Italian soccer racism, Wright Thompson wrote, about Liga Nord, the Northern Italian political racist party that popped up in the 80s and wants to split Northern Italy from the South and send everyone south of Rome back to Africa, that, "Yesterday is familiar. Everything else makes them afraid."
This is all of Italy. It's accomplished enormous amounts of creative throughput in the last couple centuries. Dante. Fermi. Garibaldi. Nero. Caesar. Vivaldi. Machiavelli. Augustus. Benigni. It's in no hurry to prove itself like America is. Italy's done with the marathon and relaxing with a coffee and a cigarette on the sideline. America is still young and uppity, trying to constantly prove itself, failing, tripping over its shoes, getting back up and at it. America's still only (I hope) on mile 3 of 26."That's fine, kid," Italy says. "I've done it all. I've done the 12 gods thing and the monotheism thing. I've made the most famous penis sculpture in marble. I've combined tomatoes and cheese. I've given hipsters centurion sandals. You can take it from here. I'm on strike. "
For the next three days, we started to understand more about this culture as we walked Rome ragged. Russian vacations are never-say-die vacations, as I've written about before, and despite the fact that even up to two days before we left I didn't have an itinerary, we walked the entire city.
We walked an average of 7 miles a day, and we walked ceaselessly, trying to get into every nook and cranny.
Too many people have written about Rome for me to write anything meaningful. People have been writing about Rome for centuries. Mark Twain wrote, in the second half of the 19th century in Innocents Abroad,
What is there in Rome for me to see that others have not seen before me? What is there for me to touch that others have not touched? What is there for me to feel, to learn, to hear, to know, that shall thrill me before it pass to others? What can I discover? — Nothing. Nothing whatsoever. One charm of travel dies here.
There is nothing we saw in Rome that's any different than millions of people have over the centuries. We walked around the Forum, down the Spanish Steps to the gelato shop next door, down Via Cavour, across the Tiber, near the Castel Santangelo, ate at a tourist trap restaurant the first day, then got better at finding local places in Trastevere where the waiter plied us with wine and grappa. Holy shit is grappa terrible. But great for being drunk. And Rome is a great city to be drunk in.
The air in the spring is warm and Mediterranean and salty and full of umbrella pines, and no one goes to bed until 12, even on school nights. We stumbled across a tiny street where a kids' birthday party was still going on at 9 PM on a Sunday. There were a couple kids running around with balloons. But it was mostly more adults, standing, smoking, discussing the meaning of life, and how to get their kids to smoke, probably.
We watched Il Grande Gatsby with Italian subtitles in a theater full of locals.
We watched hordes of Russian tourists go right past the historical sites and to the Prada and Gucci stores with signs strategically in Russian. We ate bruschetta every night. We went to creepy-ass ossuaries and crypts. We went far, far below the city, to a darkened room that was probably a highway in Roman times, and somewhere deep in the room, a spring trickled ceaslessly, like it had for millennia, and it made us shiver.
This probably all sounds super-glamorous. But it was not.
It probably reads like this:
But it was more like this:
Because by the time we were done walking, we got home, limping, having skipped lunch, and ate salami straight from the supermarket packaging, Italian cookies with tea, olives, and fresh bread, and waited for dinner. We skipped lunch most days because we didn't have time. We were sight-seeing. By the time we limped back to the apartment, I was ready to die at the doorstep. The other fun part was that the apartment was four flights of stairs up.
There was an elevator, but since it was an old, charming Roman building, the elevator was built into the architecture, meaning it was the side and height of a middle school locker. Just myself in the elevator was fine. Just Mr. B in the elevator was also fine. But having both of us in there was a potential safety hazard. You also had to get in, close the elevator door from the outside, then close the inside one, before it would go anywhere.
So we crawled up the stairs.
We took embarrassing pictures with gladiators. These pictures cost 5 euros and 5 dollars.
We saw too much large marble genetalia. Some of us were immature enough to take pictures.
In all of that, in all the constant walking and the monument-seeing and the gelato-eating, we were never sure whether we were having genuine experiences, whether we understood the real Rome. Rome is a city that has been washed over for hundreds of years, and, as such, is designed to put on a show. It has a thin veneer that it coats for tourists, near the bridges, near the castle, near the Typewriter, and near everything that makes tourists want to visit.
We were never sure if Rome was merely putting on a show for us, or if it was working the way it always did, the way it always had, and we were merely viewers. Did the waitress who said 'Mamma mia!' in exclamation as she swept of a dirty table cloth really mean it, or was she playing up to a stereotype? Was the waiter that gave us grappa just hoping for an extra tip? Nothing felt sacred or genuine in Rome .Everything felt worked over by groups of tourists and people who were trying to make money off of them. None of the churches had a soul anymore. Everything was optimized for people who have minimal time to see the city, as we did. Pre-packaged is the right word.
There was one glimpse of the real Rome. We went to the Jewish Quarter, to the synagogue, that was the most beautiful synagogue I've ever seen, aside from the Spanish Synagogue in Prague. An older woman named Laura, one of the members of the Jewish community, gave a very thorough tour, talking about living in the city during Fascist rule, about how the Jewish community in Rome went back, back before Sfaradim and Ashkenazi rites, back in time, moving with the vagaries of the city, and I felt something, a piece of the truth. But then we were outside the gates of the Jewish Museum and it vanished as quickly as it appeared.
Trying to see the true Rome is like looking in a thousand mirrors for the true reflection, and I'm sad to say we didn't find it, no matter how far we walked. And we walked really, really far. We were exhausted and overloaded with ancient stuff and Roman stereotypes.
Somehow I knew that the Amalfi Coast held the truth, the true vacation, the true relaxation, if only I could live until then.
The reward for the fact that my blisters had blisters was that the next morning, we got on the train to Ostia, Rome's ancient port city, to pick up our rental car and drive to Naples. This was my first glimpse of the real Rome, the city beneath the dazzling facades, at real Italians. The train was dirty and looked like it hadn't been washed for several Berlusconi administrations.
Foreign workers held onto grimy Nokia phones and slept on the way to work. Women with shopping bags full of bread talked loudly. People read the paper. The day became hot. I sat and watched stations go by, trying to reconcile this mundane scene with the Rome of yesterday.
At Ostia, a very helpful man in a tiny un-air-conditioned office gave us the keys and asked us twice if we wanted insurance. We had seen Roman driving. We said yes, yes, and again, yes, per piacere.
The car was conveniently parked in a roundabout. Mr. B had to back up into oncoming traffic while an older Italian woman impatiently motioned for him to move from the space, lightly hitting our car with her palm at to guide the way. Vespas and Puntos zoomed by within inches of the bumper. Baptized by fire, Mr. B entered the ranks of Italian drivers and my feet entered a previously-unknown rest state.


Improvised music is at the root of jazz; the concept of a group of musicians "playing" together with few rules and the determination to to not only express their "selves" but also a create an ensemble persona. There's a thin line between self-expression and "noodling" - to my ears and mind, the best music is created when the musicians are really listening to each other and trusting their intuitions.
When the trio of Jean-Michel Pilc (piano), François Moutin (bass) and Ari Hoenig (drums) perform, there is no set list. They may discuss ideas over dinner but, much of the time the trio (pictured above in the order of Hoenig, Pilc and Moutin) just sits and "hits." Their latest CD, "Threedom" (Motema), was created over the space of 2 days last March. The vast majority of the 18 tracks are first-takes and half the pieces are credited to the group (created on the spot in the studio.) There are a number of wonderful surprises along the way ("Giant Steps" with a hip-hop feel, a delicate yet playful take on "A Foggy Day" and a blistering run through Charlie Parker's "Confirmation") and none of it feels forced. You may laugh at the scurrying sounds of "The Grinch Dance" and you could be mesmerized by the chiming piano on "Birth." Just listen with an open mind.
You'll get that opportunity when the Trio comes to Firehouse 12, 45 Crown Street in New Haven, this Friday (May 25) to play 2 sets, 8:30 and 10 p.m. It will be the 3rd night of a 4-night adventure that finds them starting in Boston, New York City, New Haven and Marlboro, NY. For ticket information, go to firehouse12.com or call 203-785-0468. For more information about Pilc, Moutin and Hoenig, go to jeanmichelpilc.com.
Wednesday May 23, the Carl Testa 4Tet performs at 9 p.m. in the Elm Bar, 372 Elm Street in New Haven. Sponsored by bassist/composer and part of his Uncertainty Music Series, the 4Tet features Kevin Frenette (guitar, pictured left), James Rohr (keyboards) and John McLellan (drums). Like Pilc, Moutin and Hoenig, this quartet plays mostly improvised music but may be a bit "freer" with rhythms. Yet, the group interaction will be there and it should be fun to see and hear what musical directions these musical minds go in. For more information and directions, call 475-238-8529. To learn more about the Uncertainty series, go to uncertaintymusic.com. For more information about Carl Testa and his many projects, go to carltesta.net.
Trombonist-composer Marshall Gilkes, a native of Camp Springs, Maryland, is perhaps best known for his work with the Maria Schneider Orchestra and the Richard Bona Band; his credits also include the Vanguard Jazz Orchestra, the David Berger Octet and harpist Edmar Castaneda. Currently, he's living in Koln, Germany, where he is a member of the WDR Orchestra.
"Sound Stories" (Alternate Side Records) is his 3rd release as a leader and features a fine band including Donny McCaslin (tenor saxophone), Adam Birnbaum (piano), Yasushi Nakamura (bass) and Eric Doob (drums). The program, all Gilkes' originals, sounds "lived-in" and not like a "studio session." From the dizzying opening riffs of "Presence - part 1", the listener is drawn to the melodies and harmonies and drawn in by the excellent rhythm section. Nakamura, whose list of gigs is quite impressive for someone who's been playing professionally for less than a decade, is a steady presence throughout and also adds counterpoint to the main melody on numerous occasions. Doob, who has worked with Paquito D'Rivera, Miguel Zenon and Christian Scott, is a fluid player who can really drive the band bit also provide softer colors (quite noticeable on the lovey ballad, "Bare.") Pianist Birnbaum, whose not only has 3 Trio CDs to his credit but also has recorded with Greg Osby, trumpeter Tatum Greenblatt and trombonist Ryan Keberle, is a fine 3rd voice. Supportive, muscular yet displaying a softer touch when called on (you can hear both sides of his playing is his lengthy solo on "First Song".) McCaslin should need no introductions; he is such a strong foil to Gilkes' burred sound. His solo on the opening solo is breath-taking, a riff driven roller coaster powered by Doob and Nakamura.
Self-produced and self-assured, "Sound Stories" is a major statement from Marshall Gilkes. His music is mature, adventurous, a treat for listeners who enjoy contemporary artists such as Wayne Shorter, Dave Douglas, Tom Harrell and the latter Bob Brookmeyer. There's a little touch of the latter's sound in Gilkes' playing, mostly in the smooth tones and articulated notes; that does not mean Gilkes does not use smears and "bent" notes but his phrases are quite clear. At 75 minutes, there's plenty of music but never a dull moment. For more information, go to www.marshallgilkes.com.


text:
Law and Practice of Foreign Arbitration and Enforcement of by Ahmad Ali Ghouri
By Ahmad Ali Ghouri
Pakistan has lately reformed its arbitration legislation and legislation at the reputation and enforcement of overseas arbitration agreements and awards. those reforms relate to either foreign advertisement and funding arbitration. This ebook highlights the adjustments caused by means of the new enactments and explains the relationships among the previous and new laws. It presents a close and up to date research of Pakistani case legislations on overseas arbitration agreements and awards. half I describes the historical past of arbitration legislation in Pakistan. half II explains the appropriate important and procedural ideas for the popularity and enforcement of overseas arbitration agreements and awards and different very important concerns, comparable to the severability of arbitration clauses from major agreements, questions of public coverage, and meantime measures aiding overseas arbitration. half III analyses the new enactments that enforce the hot York and the ICSID Conventions in Pakistan.
Read or Download Law and Practice of Foreign Arbitration and Enforcement of Foreign Arbitral Awards in Pakistan PDF
The part on company legislation of the foreign Bar organization is enormously indebted to the Editor, J. Michael Robinson and to John Gauntlett, the Chairman of the Committee on matters and buying and selling in Securities, and his Vice Chairmen, Blaise Pasztory, Robert Briner and the participants of the Committee who've contributed, for his or her joint efforts in getting ready this ftrst booklet in their committee.
Knowledge for the necessity to deepen the methodological foundations of criminal examine is just contemporary. an identical is right for comparative legislation, by way of nature a extra adventurous department of felony learn, that is usually whatever researchers easily do, every time they appear at international criminal structures to respond to a number of of more than a few questions about legislations, even if those questions are doctrinal, monetary, sociological, and so forth.
This instruction manual of statistical facts at the economies of japanese Europe, together with Yugoslavia and the Soviet Union covers such themes as distribution and construction, overseas exchange and indebtedness, family finance, strength families and criteria of residing.
Vertebrates: Comparative Anatomy, Function, Evolution - 6e
Brussels Ibis Regulation: Changes and Challenges of the Renewed Procedural Scheme
Speech, Crime, and the Uses of Language
New Directions in Comparative Law
Legislative Approximation and Application of EU Law in the Eastern Neighbourhood of the European Union: Towards a Common Regulatory Space?
Additional resources for Law and Practice of Foreign Arbitration and Enforcement of Foreign Arbitral Awards in Pakistan
This clarifies that the application under REFA Sections 4 and 6 would not amount to a regular suit within the provisions of the Code of Civil Procedure, and will be exempt from an ad valorem court fee under the Court Fee Act. REFA Section 5 requires furnishing of documents by a party applying for the enforcement of foreign award in accordance with the New York Convention Article (IV). 7 3 Section 2(d). aspx? src=LON&id=544〈=en 6 Sections 3(2) and 3(3). 7 Section 8. ''8. '' 4 A. General Scheme of REFA 41 1.
AIDA Section 3 (1). Section 4 (b). Section 4, first paragraph. B. 29 It is important to note that there is no provision in AIDA that declares the finality of award once it is registered. This is incompatible with the ICSID Convention Article 53, and may lead to uncertainties regarding the finality of ICSID awards in Pakistan. It is also noteworthy that the words used in ICSID Convention's Article 54 regarding the recognition and enforceability of an ICSID award are: [C]ontracting State shall recognise an award … as if [it] were a final judgement of a court in that State.
1990 MLD Karachi 857). 117 Messrs Yangtze (London) Ltd. v. Messrs Barlas Bros. (Karachi) (1961 PLD Supreme Court 573). 118 Hitachi v. (f). See also China National Machinery Import and Export Corporation v. Tufail Chemical Industries Ltd. (2005 CLD Karachi 1577). 123 Hitachi case has also clarified that APC could apply to even a domestic arbitration provided the requirements of the APC Section 2 and 9 (b) are met. In other words, an award from arbitration conducted in Pakistan could also be treated as a foreign award if APC could be made applicable to such award.
ANNE ALMASY Book Archive > Comparative > Law and Practice of Foreign Arbitration and Enforcement of by Ahmad Ali Ghouri


text:
Nutrition Research and Practice
The Korean Nutrition Society (한국영양학회)
Effect of green tea extract microencapsulation on hypertriglyceridemia and cardiovascular tissues in high fructose-fed rats
Jung, Moon Hee ;
Seong, Pil Nam ;
Kim, Myung Hwan ;
Myong, Na-Hye ;
Chang, Moon-Jeong
https://doi.org/10.4162/nrp.2013.7.5.366
The application of polyphenols has attracted great interest in the field of functional foods and nutraceuticals due to their potential health benefits in humans. However, the effectiveness of polyphenols depends on their bioactivity and bioavailability. In the present study, the bioactive component from green tea extract (GTE) was administrated orally (50 mg/kg body weight/day) as free or in a microencapsulated form with maltodextrin in rats fed a high fructose diet. High fructose diet induced features of metabolic syndrome including hypertriglyceridemia, hyperuricemia, increased serum total cholesterol, and retroperitoneal obesity. In addition, myocardial fibrosis was increased. In rats receiving high fructose diet, the lowering of blood triglycerides, total cholesterol, non esterified fatty acid (NEFA) and uric acid, as well as the reduction in final body weight and retroperitoneal fat weight associated with the administration of GTE, led to a reversal of the features of metabolic syndrome (P < 0.05). In particular, the administration of microencapsulated GTE decreased myocardial fibrosis and increased liver catalase activity consistent with a further alleviation of serum NEFA, and hyperuricemia compared to administration of GTE. Taken together, our results suggest that microencapsulation of the bioactive components of GTE might have a protective effect on cardiovasucular system by attenuating the adverse features of myocardial fibrosis, decreasing uric acid levels and increasing hepatic catalase activity effectively by protecting their bioactivities.
Microencapsulation;green tea extract;hypertriglyceridemia;myocardial fibrosis
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Genkinger JM, Platz EA, Hoffman SC, Comstock GW, Helzlsouer KJ. Fruit, vegetable, and antioxidant intake and all-cause, cancer, and cardiovascular disease mortality in a community-dwelling population in Washington County, Maryland. Am J Epidemiol 2004;160:1223-33. https://doi.org/10.1093/aje/kwh339
Tunon MJ, Garcia-Mediavilla MV, Sanchez-Campos S, Gonzalez- Gallego J. Potential of flavonoids as anti-inflammatory agents: modulation of pro-inflammatory gene expression and signal transduction pathways. Curr Drug Metab 2009;10:256-71. https://doi.org/10.2174/138920009787846369
Greenlee H. Natural products for cancer prevention. Semin Oncol Nurs 2012;28:29-44. https://doi.org/10.1016/j.soncn.2011.11.004
Frei B, Higdon JV. Antioxidant activity of tea polyphenols in vivo: evidence from animal studies. J Nutr 2003;133:3275S- 3284S. https://doi.org/10.1093/jn/133.10.3275S
Ebrahimzadeh MA, Nabavi SM, Nabavi SF. Correlation between the in vitro iron chelating activity and poly phenol and flavonoid contents of some medicinal plants. Pak J Biol Sci 2009;12:934-8. https://doi.org/10.3923/pjbs.2009.934.938
Yue X, Xu Z. Changes of anthocyanins, anthocyanidins, and antioxidant activity in bilberry extract during dry heating. J Food Sci 2008;73:C494-9. https://doi.org/10.1111/j.1750-3841.2008.00845.x
Kumamoto M, Sonda T, Nagayama K, Tabata M. Effects of pH and metal ions on antioxidative activities of catechins. Biosci Biotechnol Biochem 2001;65:126-32. https://doi.org/10.1271/bbb.65.126
Chen Z, Zhu QY, Tsang D, Huang Y. Degradation of green tea catechins in tea drinks. J Agric Food Chem 2001;49:477-82. https://doi.org/10.1021/jf000877h
Rodriguez-Saona LE, Giusti MM, Wrolstad RE. Color and pigment stability of red radish and red-fleshed potato anthocyanins in juice model systems. J Food Sci 1999;64:451-6. https://doi.org/10.1111/j.1365-2621.1999.tb15061.x
Augustin MA, Hemar Y. Nano- and micro-structured assemblies for encapsulation of food ingredients. Chem Soc Rev 2009;38: 902-12. https://doi.org/10.1039/b801739p
Moyer RA, Hummer KE, Finn CE, Frei B, Wrolstad RE. Anthocyanins, phenolics, and antioxidant capacity in diverse small fruits: vaccinium, rubus, and ribes. J Agric Food Chem 2002;50: 519-25. https://doi.org/10.1021/jf011062r
Cai YZ, Corke H. Production and properties of spray-dried amaranthus betacyanin pigments. J Food Sci 2000;65:1248-52. https://doi.org/10.1111/j.1365-2621.2000.tb10273.x
Ersus S, Yurdagel U. Microencapsulation of anthocyanin pigments of black carrot (Daucus carota L.) by spray drier. J Food Eng 2007;80:805-12. https://doi.org/10.1016/j.jfoodeng.2006.07.009
Augustin MA, Abeywardena MY, Patten G, Head R, Lockett T, De Luca A, Sanguansri L. Effects of microencapsulation on the gastrointestinal transit and tissue distribution of a bioactive mixture of fish oil, tributyrin and resveratrol. J Funct Foods 2011;3:25-37. https://doi.org/10.1016/j.jff.2011.01.003
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Ueno T, Tremblay J, Kunes J, Zicha J, Dobesova Z, Pausova Z, Deng AY, Sun YL, Jacob HJ, Hamet P. Rat model of familial combined hyperlipidemia as a result of comparative mapping. Physiol Genomics 2004;17:38-47. https://doi.org/10.1152/physiolgenomics.00043.2003
Beers RF Jr, Sizer IW. A spectrophotometric method for measuring the breakdown of hydrogen peroxide by catalase. J Biol Chem 1952;195:133-40.
Zheng G, Sayama K, Okubo T, Juneja LR, Oguni I. Anti-obesity effects of three major components of green tea, catechins, caffeine and theanine, in mice. In Vivo 2004;18:55-62.
Lin JK, Lin-Shiau SY. Mechanisms of hypolipidemic and antiobesity effects of tea and tea polyphenols. Mol Nutr Food Res 2006;50:211-7. https://doi.org/10.1002/mnfr.200500138
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Busserolles J, Gueux E, Rock E, Demigne C, Mazur A, Rayssiguier Y. Oligofructose protects against the hypertriglyceridemic and pro-oxidative effects of a high fructose diet in rats. J Nutr 2003;133:1903-8. https://doi.org/10.1093/jn/133.6.1903
Hininger-Favier I, Benaraba R, Coves S, Anderson RA, Roussel AM. Green tea extract decreases oxidative stress and improves insulin sensitivity in an animal model of insulin resistance, the fructose-fed rat. J Am Coll Nutr 2009;28:355-61. https://doi.org/10.1080/07315724.2009.10718097
Thresher JS, Podolin DA, Wei Y, Mazzeo RS, Pagliassotti MJ. Comparison of the effects of sucrose and fructose on insulin action and glucose tolerance. Am J Physiol Regul Integr Comp Physiol 2000;279:R1334-40. https://doi.org/10.1152/ajpregu.2000.279.4.R1334
Bantle JP, Raatz SK, Thomas W, Georgopoulos A. Effects of dietary fructose on plasma lipids in healthy subjects. Am J Clin Nutr 2000;72:1128-34. https://doi.org/10.1093/ajcn/72.5.1128
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Lam TK, Carpentier A, Lewis GF, van de Werve G, Fantus IG, Giacca A. Mechanisms of the free fatty acid-induced increase in hepatic glucose production. Am J Physiol Endocrinol Metab 2003;284:E863-73. https://doi.org/10.1152/ajpendo.00033.2003
Yang LY, Kuksis A, Myher JJ, Steiner G. Contribution of de novo fatty acid synthesis to very low density lipoprotein triacylglycerols: evidence from mass isotopomer distribution analysis of fatty acids synthesized from [2H6]ethanol. J Lipid Res 1996;37: 262-74.
Khosla UM, Zharikov S, Finch JL, Nakagawa T, Roncal C, Mu W, Krotova K, Block ER, Prabhakar S, Johnson RJ. Hyperuricemia induces endothelial dysfunction. Kidney Int 2005;67:1739-42. https://doi.org/10.1111/j.1523-1755.2005.00273.x
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Jun YK, Kim MH, Seong PN, Chang MJ. A comparison of anti-inflammatory activities of green tea and grapefruit seed extract with those of microencapsulated extracts. Korean J Nutr 2012;45:443-51. https://doi.org/10.4163/kjn.2012.45.5.443
Yanagi S, Matsumura K, Marui A, Morishima M, Hyon SH, Ikeda T, Sakata R. Oral pretreatment with a green tea polyphenol for cardioprotection against ischemia-reperfusion injury in an isolated rat heart model. J Thorac Cardiovasc Surg 2011;141: 511-7. https://doi.org/10.1016/j.jtcvs.2010.04.016
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Reineccius GA, Ward FM, Whorton C, Andon SA. Developments in gum acacias for the encapsulation of flavors. In: Risch SJ, Reineccius GA, editors. Encapsulation and Controlled Release of Food Ingredients. Washington, D.C.: ACS Publications; 1995 p.161-8.
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Mountain-cultivated Ginseng Ripened into Persimmon Vinegar Ingestion on Fat Storage and Metabolic Protein Expression in Diet-controlled Rats vol.104, pp.1, 2015, https://doi.org/10.14578/jkfs.2015.104.1.67
Microencapsulation of bioactives for food applications vol.6, pp.4, 2015, https://doi.org/10.1039/C4FO01175A
Nutraceuticals in Lipid-Lowering Treatment vol.66, pp.5, 2015, https://doi.org/10.1177/0003319714542999
The Age of Nutraceuticals: Exploring New Therapeutic Targets vol.23, pp.4, 2016, https://doi.org/10.1007/s40292-016-0171-2
Effects of a Novel Fixed Combination of Nutraceuticals on Serum Uric Acid Concentrations and the Lipid Profile in Asymptomatic Hyperuricemic Patients vol.23, pp.4, 2016, https://doi.org/10.1007/s40292-016-0168-x
Is tea consumption associated with the serum uric acid level, hyperuricemia or the risk of gout? A systematic review and meta-analysis vol.18, pp.1, 2017, https://doi.org/10.1186/s12891-017-1456-x
Supported by : Rural Development Administration


text:
Q: Create / Use YUV Image buffer from Camera Preview class In our application, we need to use capture frame from camera @ 33 fps and pass it to compression before sending it to server,
My compression module can take YUV Image, to compress the image, my camera configuration as follows,
Width = 500 px,
 height = 300 px ,
 Image format : YV12
On the preview callback
camera.setPreviewCallback(new PreviewCallback() {

                public void onPreviewFrame(byte[] data, Camera arg1) {

                                }
}

data size is coming out to be 230400, but i suppose it would be around
500*300(Y) + 500*300/4(U) + 500*300/4(V) i.e. 2250000
i.e. 5400 bytes more, does that mean, i can ignore the reamining one ?
Also i need to create YUVImage object , but stride info is not coming, so how we can create YUVImage from above data.
Sincere Thanks for reading and i really appreciate if anyone can help me out on this.

A: Cant help with the data size question but to get YUV from Camera preview you have 2 choices. If running Android 2.2 or later your can use the android.graphics.YuvImage class and just pass it's constructor your bytearray from PreviewCallback.
If you need to support pre 2.2 then you need to do something like:
/**
 * Decodes YUV frame to a buffer which can be use to create a bitmap.
 * use this for OS < FROYO which has a native YUV decoder
 * decode Y, U, and V values on the YUV 420 buffer described as YCbCr_422_SP by Android
 * @param rgb the outgoing array of RGB bytes
 * @param fg the incoming frame bytes
 * @param width of source frame
 * @param height of source frame
 * @throws NullPointerException
 * @throws IllegalArgumentException
 */
private static void decodeYUV_impl(int[] rgb, byte[] fg, int width, int height) throws NullPointerException, IllegalArgumentException
{
    int sz = width * height;
    if (rgb == null)
        throw new NullPointerException("buffer out is null");
    if (rgb.length < sz)
        throw new IllegalArgumentException("buffer out size " + rgb.length
                + " < minimum " + sz);
    if (fg == null)
        throw new NullPointerException("buffer 'fg' is null");

    if (fg.length < sz)
        throw new IllegalArgumentException("buffer fg size " + fg.length
                + " < minimum " + sz * 3 / 2);

    int i, j;
    int Y, Cr = 0, Cb = 0;
    for (j = 0; j < height; j++) {
        int pixPtr = j * width;
        final int jDiv2 = j >> 1;
    for (i = 0; i < width; i++) {
        Y = fg[pixPtr];
        if (Y < 0)
            Y += 255;
        if ((i & 0x1) != 1) {
            final int cOff = sz + jDiv2 * width + (i >> 1) * 2;
            Cb = fg[cOff];
            if (Cb < 0)
                Cb += 127;
            else
                Cb -= 128;
            Cr = fg[cOff + 1];
            if (Cr < 0)
                Cr += 127;
            else
                Cr -= 128;
        }
        int R = Y + Cr + (Cr >> 2) + (Cr >> 3) + (Cr >> 5);
        if (R < 0)
            R = 0;
        else if (R > 255)
            R = 255;
        int G = Y - (Cb >> 2) + (Cb >> 4) + (Cb >> 5) - (Cr >> 1)
                + (Cr >> 3) + (Cr >> 4) + (Cr >> 5);
        if (G < 0)
            G = 0;
        else if (G > 255)
            G = 255;
        int B = Y + Cb + (Cb >> 1) + (Cb >> 2) + (Cb >> 6);
        if (B < 0)
            B = 0;
        else if (B > 255)
            B = 255;
        rgb[pixPtr++] = (0xff000000 + (B << 16) + (G << 8) + R);
    }
    }

}


text:
posted Friday, January 29, 2010 - Volume 38 Issue 05
Rep. Polis introduces Student Non-Discrimination Act
by Mike Andrew - SGN Staff Writer
US Rep. Jared Polis (D-Colo.) introduced legislation on January 27 to protect primary and secondary students from discrimination based on real or perceived sexual orientation and gender identity.
HR 4530 - the Student Non-Discrimination Act (SNDA) - was introduced with 60 bipartisan co-sponsors, including Barney Frank (D-Mass.), Tammy Baldwin (D-Wis.), and Ileana Ros-Lehtinen (R-Fla.).
Washington State Democrat Jim McDermott - who represents Seattle, Vashon Island, and parts of Burien and Tukwila - is also a co-sponsor.
The bill was referred to the House Education and Labor Committee, of which Polis is a member. Hearings on the measure have not yet been scheduled.
"The Congress finds the following," the bill states:
"Public school students who are Lesbian, Gay, Bisexual or Transgender (LGBT), or are perceived to be LGBT, or who associate with LGBT people, have been and are subjected to pervasive discrimination, including harassment, bullying, intimidation and violence, and have been deprived of equal educational opportunities, in schools in every part of our Nation."
SNDA empowers federal departments and agencies to issue "rules, regulations, or orders of general applicability" to protect LGBT students from discrimination and to withhold federal funds from schools or programs that fail to comply.
The act also entitles students who are victims of discrimination or harassment to sue their state or local school authorities, and to collect damages "including but not limited to equitable relief, compensatory damages, cost of the action, and remedial action."
"Every day innocent students fall victim to relentless harassment and discrimination from teachers, staff, and fellow students based on their sexual orientation," said Polis. "These actions not only hurt our students and our schools but, left unchecked, can also lead to life-threatening violence."
"Hatred has no place in the classroom," Polis added. "Every student has the right to an education free from harassment and violence. This bill will protect the individual freedoms of our students and enshrine the values of equality and opportunity in our classrooms."
Existing federal civil rights laws expressly forbid discrimination on the basis of race, color, sex, religion, disability or national origin. They do not include sexual orientation or gender identity, however.
While 30 states have anti-bullying laws, only nine have laws expressly forbidding bullying based on sexual orientation and gender identity. Another four prohibit bullying based on sexual orientation only.
As a result, LGBT students and their parents have had little or no legal recourse for discrimination or harassment.
In his statement on Wednesday, Polis said that SNDA would continue the tradition of previous civil rights legislation.
"Like Title VI for minorities in the '60s and Title IX for women in the '70s, my legislation puts LGBT students on an equal footing with their peers, so they can attend school and get a quality education, free from fear," he said.
"I don't know how anyone could oppose this bill," said co-sponsor Jim McDermott of Seattle. "Every student in America should feel safe going to school and should never face harassment or the threat of violence."
"This issue is deeply important to me and I'm incredibly grateful to Rep. Polis for his leadership on this legislation. I hope that with the strong support we already have in Congress, we'll get this bill passed quickly," McDermott added.
Sixteen national advocacy organizations have also announced their support, including the ACLU, HRC, NGLTF, and GLSEN.
Before election to Congress, Polis chaired the Colorado State Board of Education.
He also founded two charter schools for at-risk students. In 2004, he established the New America School which serves immigrant youth ages 16-21 and has three campuses in the Denver Metro area. In 2005, he co-founded the Academy of Urban Learning in Denver to serve homeless youth.
Jared Polis was elected to Congress in 2008. He is one of three openly Gay US Representatives, the others being Barney Frank and Tammy Baldwin.
Polis currently serves on the House Education and Labor Committee and on the Rules Committee. He is also a member of the powerful "Committee on Committees" - the House Democratic Steering and Policy Committee - which makes committee assignments and sets the legislative agenda for House Democrats.
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Sõnade mälumäng

      	Mängijal tuleb meelde jätta 6 suvalist sõna. Igat sõna näidatakse ekraanil 3 sekundit. Vastuste ekraanil tuleb vajutada sõnade peale, mida eelnevalt ekraanil näidati. Skisofreenia heli kuulamiseks mängu ajal tuleb vajutada heli nuppu enne mängu alustamist.


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Q: Run python function from command-line - invalid syntax due to full file path I try to run a python function from command-line:
H:\myfolder\python.exe -c "from P:\myproject\myscript import myfct; myfct(1,2)"

An error occurs with this message:
P:\myproject\myscript ...
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SyntaxError: invalid syntax

It works fine without the folder path:
H:\myfolder\python.exe -c "from myscript import myfct; myfct(1,2)"

The script should preferably run from other directories as well. Double backslash does not solve the problem as also stated here. As far as I can judge, it's not a problem of directory change. How do I have to write the command string which contains the full file path?
The directory P: is a mapped network directoy. Is this a problem?
I'm using Python 3.9.5 on Windows 10 Pro.


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Why Did We Choose Home Education?
It's messy. Even on the best days, homeschooling is messy. I'm not just talking about the books strewn across the table, the toys strewn across the living room and the dirt, grass, leaves and shoes strewn across the front entryway. It's the conflict that can arise when four people are together—all day, every day. Yes, … Continue reading Why Did We Choose Home Education?