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CR Number
Portrait of George Dyer Riding a Bicycle
Oil and sand on canvas
78 x 58 in. (198 x 147.5 cm)
Date Photographed
Photographed January 1967
Titled and dated on reverse
Fondation Beyeler, Beyeler Collection, Riehen / Basel
'Francis Bacon: Recent Paintings', Marlborough Fine Art Ltd, London, 08 March 1967 - 14 April 1967 (14)
'Francis Bacon: Recent Paintings', Marlborough-Gerson Gallery Inc, New York, 11 November 1968 - 07 December 1968 (1)
'Francis Bacon', Galeries nationales du Grand Palais, Paris, 26 October 1971 - 10 January 1972
'Francis Bacon', Kunsthalle, Düsseldorf, 07 March 1972 - 07 May 1972 (69)
'Francis Bacon, Tate, London (1985)', Tate Gallery, London, 22 May 1985 - 18 August 1985
'Francis Bacon', Staatsgalerie, Stuttgart, 19 October 1985 - 05 January 1986
'Francis Bacon', Nationalgalerie, Berlin, 07 February 1986 - 31 March 1986 (51)
'Francis Bacon Retrospektive', Galerie Beyeler, Basel, 12 June 1987 - 12 September 1987 (20)
'Francis Bacon', Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., 12 October 1989 - 07 January 1990
'Francis Bacon', Los Angeles County Museum of Art, Los Angeles, 11 February 1990 - 29 April 1990
'Francis Bacon', Museum of Modern Art, New York, 24 May 1990 - 28 August 1990 (28)
'Francis Bacon', Centre national d'art et de culture Georges Pompidou, Paris, 27 June 1996 - 14 October 1996 (50)
'Francis Bacon', Gemeentemuseum Den Haag, Den Haag, 27 January 2001 - 13 May 2001 (unnum.)
'Francis Bacon and the Tradition of Art', Kunsthistorisches Museum, Vienna, 15 October 2003 - 18 January 2004
'Francis Bacon and the Tradition of Art', Fondation Beyeler, Riehen/Basel, 08 February 2004 - 20 June 2004 (58)
'Francis Bacon: The Portraits', Hamburger Kunsthalle, Hamburg, 13 October 2005 - 15 January 2006 (36)
'Francis Bacon: Tate Centennial (2008-9)', Tate Britain, London, 11 September 2008 - 04 January 2009
'Francis Bacon: Prado Centennial (2009)', Museo Nacional del Prado, Madrid, 03 February 2009 - 19 April 2009
'Francis Bacon', Metropolitan Museum of Art, New York, 18 May 2009 - 16 August 2009 (unnum.)
'De Fiets', Museum Boymans-van Beuningen, Rotterdam, 07 April 1977 - 12 June 1977 (5)
'Coleccion Beyeler', Centro de Arte Reina Sofía, Madrid, 24 May 1989 - 24 July 1989 (unnum.)
'Homage to Francis Bacon: With works by Picasso, Giacometti, González, Miró, Dubuffet, Tàpies, Rothko', Galerie Beyeler, Basel, June - September 1992 (4)
'Wege der Moderne. Die Sammlung Beyeler', Nationalgalerie, Berlin, 30 April 1993 - 01 August 1993 (2)
'Bacon-Freud: Expressions', Fondation Maeght, Saint-Paul-de-Vence, 04 July 1995 - 15 October 1995 (14) (as 'George Dyer Riding a Bicycle')
James Burr, 'London Galleries: Convulsions of Mind and Body' (: Apollo, 1967). ill. p. 225 (b&w)
Francis Bacon (108 works), Paris: Galeries nationales du Grand Palais 26 Oct. 1971-10 Jan. 1972; Düsseldorf: Kunsthalle 7 Mar. 1972-7 May. 1972; exh cat. (Paris: Centre national d'art contemporain, 1971). pp. 12, 52; ill. No. 69, p. 78
Lorenza Trucchi, Francis Bacon, trans. by John Shepley (London: Thames & Hudson, New York: Harry N. Abrams, 1976). ill. No. 113, unpaged
Michel Leiris, Francis Bacon: Full Face and in Profile, trans. by John Weightman (Oxford: Phaidon, New York: Rizzoli, 1983). p. 34; ill. p. 42, unpaged
Francis Bacon (125 works), London: Tate Gallery 22 May. 1985-18 Aug. 1985; Stuttgart: Staatsgalerie 19 Oct. 1985-5 Jan. 1986; Berlin: Nationalgalerie 7 Feb. 1986-31 Mar. 1986; exh cat. (London: Tate Gallery in assoc. with Thames & Hudson, New York: Harry N. Abrams, 1985). p. 28; ill. p. 28 (b&w), No. 51, unpaged
Francis Bacon (59 works), Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution 12 Oct. 1989-7 Jan. 1990; Los Angeles: Los Angeles County Museum of Art 11 Feb. 1990-29 Apr. 1990; New York: Museum of Modern Art 24 May. 1990-28 Aug. 1990; exh cat. (Washington: The Smithsonian Institution, London: Thames & Hudson, 1990). p. 22; ill. No. 28, unpaged
Ernst van Alphen, Francis Bacon and the Loss of Self, Essays in Art and Culture Series (London: Reaktion Books, 1992). p. 184; ill. No. 115, p. 185 (b&w)
Andrew Sinclair, Francis Bacon: His Life and Violent Times (London: Sinclair-Stevenson, 1993). p. 198
Figurabile: Francis Bacon Venice: Museo Correr 13 Jun. 1993-10 Oct. 1993; exh cat. (Milan: Electa, 1993). p. 111
John Russell, Francis Bacon, World of Art series, Revised and updated edn. (London: Thames & Hudson, 1993). pp. 82, 161; ill. No. 37, p. 85 (b&w)
Daniel Farson, The Gilded Gutter Life of Francis Bacon (London: Vintage, 1994). p. 184
José Maria Faerna, Bacon, trans. by Wayne Finke, Great Modern Masters (New York: Harry N. Abrams, 1995). ill. No. 33, p. 36
Wieland Schmied, Francis Bacon: Commitment and Conflict, trans. by John Ormrod (Munich and New York: Prestel-Verlag, 1996). p. 24; ill. No. 20, p. 52
Christophe Domino, Francis Bacon: 'Taking Reality by Surprise', New Horizons series (London: Thames & Hudson, 1997). pp. 89, 90; ill. pp. 2 (detail), 90
Gilles Deleuze, Francis Bacon: The Logic of Sensation, Continuum Impacts: Changing Minds (London and New York: Continuum, 2005). pp. 29, 118
Francis Bacon (90 works), London: Tate Britain 11 Sep. 2008-4 Jan. 2009; exh cat. (London: Tate Publishing, 2008). pp. 185, 201; ill. p. 195
Francesca Marini, Francis Bacon, trans. by Richard Pierce, Skira Mini Art Books (London: Thames & Hudson, Milan: Skira, 2008). ill. No. 29, p. 65
Sam Hunter, Francis Bacon, Modern Masters series (Barcelona: Ediciones Polígrafia, 2009). ill. p. 45
Martin Harrison, Francis Bacon - New Studies: Centenary Essays (Göttingen: Steidl, 2009). pp. 107, 160; ill. No. 104, p. 161
Anna Maria Wieland, Francis Bacon, trans. by Michael Robinson (Munich, Berlin, London and New York: Prestel Verlag, 2009). p. 95; ill. p. 90
Francis Bacon: A Terrible Beauty (22 works, works on paper and selected archival material, illus.), Dublin: Dublin City Gallery The Hugh Lane 28 Oct. 2009-7 Mar. 2010; exh cat. (Göttingen: Steidl, 2009). p. 42
Kent L. Brintnall, 'Crucifixion | Representation'(Chicago and London: The University of Chicago Press, 2011, pp. 135-170) pp. 158-160
Jonathan Littell, Triptych: Three Studies after Francis Bacon (London: Notting Hill Editions Ltd, 2013). ill. No. IX, p. 34
Martin Hammer, Francis Bacon, Phaidon Focus (London and New York: Phaidon, 2013). ill. No. 71, p. 85
Kitty Hauser, This is Bacon (London: Laurence King Publishing, 2014). p. 61
Francis Bacon and the Masters (28 works), Norwich: Sainsbury Centre for Visual Arts 18 Apr. 2015-26 Jul. 2015; Moscow: Hermitage Museum 9 Dec. 2014-8 Mar. 2015; exh cat. (London: Fontanka Publications, 2015). pp. 29, 165
Martin Harrison, Francis Bacon: Catalogue Raisonné (London: The Estate of Francis Bacon, 2016). pp. 35, 69, 794, 812, 824, 826, 884, 1216; ill. p. 64 (detail); p. 70 (detail); p. 825
Notes for Readers
The information in the present section on francis-bacon.com is based on the data in Francis Bacon: Catalogue Raisonné by Martin Harrison and Rebecca Daniels, which was published by The Estate of Francis Bacon in 2016. The following 'Notes for readers' are extracted from the catalogue raisonné (Vol.1, p.102 and 103) and elaborate on the methodology and thinking behind the compilation and presentation of some data, such as titles, dates and media.
Paintings are catalogued chronologically, under the year of their completion: thus a painting dated 1956-57 will be found in 1957. Undocumented paintings, to which only approximate (circa) dates can be attached, are generally placed at the end of the year in which they are believed to have been painted; this rule is departed from when there is firm evidence that a painting was made at a specific date during a certain year (for example 'Street Scene (with Car in Distance)', 1984 (84-03).
Titles of paintings placed in inverted commas, for example 'Figure with Cricket Pad', c.1982 (82-09), were not applied by Bacon or by his gallerists, and are merely descriptive. Among the paintings with descriptive titles in the catalogue, many did not emerge into public view until after 1998. Some of the titles initially given to them have been revised here; for example, 'Figures in a Landscape', c.1956 (56-11) has been substituted for 'Two Figures in the Grass', which is more logical in view of its relationship with Figures in a Landscape, 1956-57 (57-01).
In the past most of Bacon's paintings have been described as 'oil on canvas'. But he employed many other media, and was fond of mixing sand, dust, fibres and pastel, for example, with his oils. While every effort has been made to include these details, until paintings are examined (and ideally scientifically tested) with the glass removed, the descriptions of media will inevitably be incomplete.
Canvas dimensions are given in imperial measurements, height preceding width, followed by metric; this conforms with the British manufacture of Bacon's canvasses.
After 1969, Bacon titled, signed and dated, on the reverse of the canvas, a majority of his paintings: before that date he only did so intermittently. It has been our aim to record all such details, but there are almost certainly omissions. The modern practice of fixing backing boards on paintings means that, even when granted privileged access to works, it is not always possible to inspect the reverse side.
Photography dates
Paintings were usually sent to be photographed shortly after leaving Bacon's studio. The photography dates provide key data, therefore, in the chronology of paintings.
Alley numbers, for example (Alley 106), are those assigned to each painting in the first catalogue raisonné, Ronald Alley and John Rothenstein, Francis Bacon (London: Thames & Hudson; New York: Viking Press, 1964).
Destroyed paintings
Bacon destroyed many hundreds of paintings. The so-called 'slashed canvasses' are not (with one exception, Double Portrait of Lucian Freud and Frank Auerbach, 1964 (64-03)) included in this catalogue. Forty such canvasses, found in Bacon's studio after he died, are now in Dublin City Gallery The Hugh Lane. Margarita Cappock published them in 2005 under the heading 'Destroyed Canvasses', which raised questions regarding Bacon's intentions with the destructions. On small portrait canvasses he – or a friend – invariably cut out the head, and on the large canvasses the heads and sufficient of the main figurative elements to nullify the 'image' were excised. Doubtless Bacon cut the canvasses so as to leave the stretchers intact for reusage, but while he could not have foreseen the tattered fragments eventually having a commercial value, or being exhibited, he could have rendered the destruction more complete (by burning the fragments, for example). His partial destructions were, typically, ambivalent, while as the creator of images that had 'failed', the connotations of violence in his taking a knife to them has clear psychological implications.
Four canvasses removed from Bacon's studio in 1978 appeared on the market in April 2007, and a further five, from a separate source, were sold in June 2007; six fragments of canvas which had been given in the 1950s to the Cambridge artist Lewis Todd, who painted on their primed sides, were auctioned in March 2013.
Paintings with the suffix 'D' in the catalogue (for example 67-15D) are destroyed. Two of these are paintings which had been sold and were destroyed in accidents while in private ownership; a third was damaged beyond restoration when it fell into Tokyo Dock. Other paintings with this suffix in the present catalogue were destroyed by Bacon but had been exhibited publicly before he did so; since images of them are accessible in catalogues, they have been included for the sake of completeness.
In the 1964 catalogue raisonné, under pressure from Bacon, Ronald Alley consigned abandoned or destroyed paintings to two appendixes, classified as 'A' and 'D'. These compromise categories have been jettisoned in the present catalogue, and the extant paintings placed where they occur in the chronology. A compelling reason for ceasing to adopt these categories is that of the nine paintings Alley listed as 'Destroyed' in 1964, four in fact survive.
Abandoned paintings
On 30 July 1996 David Sylvester wrote to the then owner of 'Lying Figure', c.1953 (53-21), who was disappointed he had not included it in the Bacon retrospective at the Centre Pompidou, Paris. He explained that none of the pictures listed in the 1964 catalogue raisonné as 'Abandoned' was treated as a candidate for inclusion, adding 'it seems reasonable to me that during an artist's lifetime and for a few years after his death, a retrospective exhibition should not include works that he considered abandoned. I think that a different attitude should be taken when an artist has been dead for some years.' Sylvester volunteered the comment: 'As we all know, works which an artist abandoned can still be works of great value: there are any number of such works by a variety of masters in the museums of the world. In my opinion "Lying Figure" is a very fine example of Bacon's work.'
The question of 'finish', as signifying a putative state of completion, is probably less relevant in the case of Bacon than most other artists. An atheist and nihilist, the only 'finish' he recognised – and was haunted by – was death: to finish a painting was, perhaps, analogous to dying. It was neither whimsical nor accidental that he called so many of them 'Study for…': he was being not so much tentative as open-ended. Moreover, if Fragment of a Crucifixion, 1950 (50-02), in which more than half of the canvas is unpainted, was considered by Bacon a 'finished' painting, it is counterintuitive to categorise 'Lying Figure', c.1953 (53-21), for example, as 'unfinished'.
Notes on titles
Robert Melville, reviewing the 1964 Alley/Rothenstein catalogue raisonné in Studio International, July 1964, observed that Study from Innocent X, 1962 (62-2), despite having been painted only two years previously, had already been given three different (if unofficial) titles – Red Pope, Red Pope on Dais, and Red Figure on a Throne. Melville doubted that Bacon gave any of his paintings the title 'Pope', and pointed out that when he was working for Erica Brausen at the Hanover Gallery, 'we used to call them "cardinals" rather than "popes" in the presence of visitors, to make sure that no one would be offended.' Melville predicted that all the paintings in the 1964 catalogue would be thenceforth known by the titles assigned to them by Ronald Alley. This precept has been adhered to in the present catalogue. Furthermore, for the 'post-Alley' years, 1963 to 1991, the titles established by Bacon and Marlborough Fine Art have been adopted consistently; for example, although Painting, 1980 (80-09) was exhibited in 1999 with the descriptive title Three Figures, One with a Shotgun, subsequent research has shown that its original title was Painting, and has been reverted to here.
The five works Bacon included in his first exhibition, in 1930, all had specific titles. In the present catalogue the titles of paintings dating from 1929 and 1930 follow those adopted by Alley, but they have been placed within inverted commas since it is highly unlikely that Bacon titled them as they are, by their media; (Alley had to negotiate Bacon's indifference – or hostility – towards his pre-1944 œuvre).
© The Estate of Francis Bacon. All rights reserved. DACS 2018


A statue of Jesus holding two children made a journey of biblical proportions to a Palm Beach, Florida church.
The 4-foot tall, 2,000-pound treasure -- made from stone within the Church of the Holy Sepulchre, a site where it is said Jesus was crucified in Jerusalem, and carved in Bethlehem, the site of Jesus' birth -- traveled over 6,500 miles from the Holy Land. Today, it rests in the parish hall courtyard of St. Edward Roman Catholic Church.
The heavy Jesus statue was taken by crane to the church's courtyard earlier this month.
It all came about as a result of a photograph Klinzing saw more than two years ago. He asked St. Edward's member Desmond Keogh, the owner of Haifa Limestone in West Palm Beach, to see if it was even possible.
Keogh, Klinzing and other members of the church privately funded the piece extracted from Jerusalem, carved by a Christian in Bethlehem, for $50,000.
Later this year, the church, which was founded in 1926, plans to dedicate the new addition with a plaque and a ceremony.
St. Edward's serves the Palm Beach community in several ways. The church gives 750 meals a week to local food pantries, is used as a polling place during elections, for Police Department exams and graduation ceremonies, and by the Town Council for meetings.


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Sarah Michelle Gellar celebrates Buffy the Vampire Slayer's 40th birthday: 'Let's all be brave'
See the slithery, creepy new poster for American Horror Story: Coven
Matthew Jackson
Sep 3, 2013, 6:27 PM EDT (Updated)
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Tag: American Horror Story: Coven
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The coven has assembled, and they brought a friend.
The latest promo for the third season of FX's acclaimed horror series American Horror Story is this creepy, yet somehow tempting, poster, featuring a slithering companion:
Coven will be set both in the 1830s and the present day, and offer up a secret history of American witchcraft. More than three centuries after the Salem witch trials, the remaining American witches are threatened by new attacks that could mean the end of their kind. To combat the threat, young witches are sent to a new school in New Orleans to learn to defend themselves, and the Supreme witch Fiona (Jessica Lange) returns to help protect the coven from extinction.
In additon to Lange, Coven will feature returning American Horror Story cast members Lily Rabe, Frances Conroy, Evan Peters, Sarah Paulson, Taissa Farmiga, Alexandra Breckenridge, Denis O'Hare and Jamie Brewer, along with new stars Kathy Bates, Angela Bassett, Patti LuPone, Emma Roberts and Gabourey Sidibe.
Coven premieres Oct. 9 on FX. Are you ready for another season of scares?
(Via THR)

redpajama_set_name: RedPajamaCommonCrawl


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Corns: What they are? What causes them? How are they treated?
A corn is a concentrated area of hard skin which can become very painful and infected.
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General duty, carbon steel hardened and tempered. Satin finish lacquered heads with cutting edges additionally induction hardened. Cuts medium hard wire 1.6mm diameter. Heavy duty soft grip handles. Display packed.


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The Office of the Independent Inspector continue meetings with representatives of academia
Today, the Independent Inspector spoke with the 11 accredited higher education university law school representatives. He spoke about the specifics of the disciplinary proceedings and the need to include it as a practical component in the study modules.
The Independent Inspector also reviewed future plans and called on university representatives to actively involve students in the national competition.
The meeting was held with the support of the Council of Europe Office in Georgia and was attended by Law School representatives of Georgian-American University, Georgian Institute of Public Affairs, Eastern European University, Tbilisi Free University, Caucasus International University, LEPL Samtskhe-Javakheti State University, LEPL Akaki Tsereteli State University, LEPL Iakob Gogebashvili Telavi State University, LEPL Batumi Shota Rustaveli State University, LEPL Shota Meskhia Zugdidi State Teaching University and LEPL Gori State Teaching University.


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[Opinion] Anatomy of society
by Khameto
When gods inhabited every sphere of life in old days everything under the sun exude meaning. The snow was abode of fairies, trees was rendezvous for fairies to ogle at the boy they love, some trees connected us to supernatural world, flowers and fragrance had effect of transporting one into ecstasy which in its turn brought forth exquisite poetry not contaminated by commercialism and vogue for 15 minute fame, we were oblivious of and not effected by the big events that jolted our surrounding polities, we had a local ethos that connected us to the syzygy of nature, supernatural and human beings.
Suddenly, everything collapsed before our eyes. The terra firma on which we were standing, and established edifice of culture and society, turn out to be an ice that rapidly melted under the heat of change that we failed to comprehend. Suddenly, we found ourselves looking aghast at novel things of post industrial society. For the mind of a closed society everything was unfathomable. We failed to make sense of order of things because our cognitive apparatus is not attuned to objective world. In a nutshell, we found an 'existential hole' in our existence. In desperation and without guidance we filled the existential gap with whatever we found exotic. And we were justified in copying everything exogenous because when we did not have anything at all. We turned into paupers and beggars and no choosers.
We are living in a society where meaning disappeared with, in the words of famous German poet, 'the departure of gods/God'. Consequently, we are condemned to carve out meaning through gossip, wine, books, sex, self righteousness, misogynist attitude etc, to count a few. We exist by consuming the leftover of those societies who have entered another paradigm.
First ever Burushaski Rap Song – 'A sign of things to come' appeared in this background. The complex interplay of social, cultural, economics, religious, personal and tribal processes have given birth to this creation. It encapsulates the dilemmas we are facing at individual and collective level. The album is aptly title 'a sign of things to come'. This is our future appearing in present as sign. Majority of our children will be doing what we are opposing now. I disagree with some of the comments about this album. I neither encourage nor discourage the young lads who indulged in unknown genre, for creativity should emanate from within not to be triggered by a flattering mouth. This form of music is meant to shock sensitivity of a society that refuse to raise question against its established norm.
Can anybody tell me what Hunza culture is? I do not know. We are the only people who are proud to be good speakers of English, then why we hesitate to accept its cultural forms including vulgarity. In every matter we are confused to the core. I agree to disagree with people who said this is not our culture. If calling bad names is not our culture then how come our languages contain good stock of obscene words? Some of comment exudes air of self righteousness. We are constantly bombarded with images on TV which are more obscene then the words here. So what the heck objection to vulgar words.
In order to extricate ourselves from the dilemma of being mimicking apes to authentic beings we ought to engage with primary questions that have not been addressed with the advent modernity. These questions related to direction/misdirection of our society and angst that persists at individual level but could not get cathartic outlets. To put it interrogatively we need to question: the idea of progress, purity, success, history, culture, tradition, superiority of tribes, self righteousness, definition of knowledge and intelligence in our social setting, our place or extinction in the world stage in future, how to provide spaces for individual creativity without letting collective instinct stifling his ideas etc.
Raising questions about aforementioned issues will consequently lead to harsh realization about their irrelevance or socially constructed nature. Ultimately, we will undergo a drastic and agonizing spiritual pain at individual level. Only after that we will come out with new realization and understanding about the agonizing relation of individual's interaction with society and agonizing process of making a society that encompass heterogeneity of individual interests. That will be a point where our society will produce authentic Being who can engage with primordial question of being and being in society.
The writer identifies himself as a pseudonym "holding a degree in literature from a non-reputed university. For individual queries he can be reached at khameto@gmail.com"
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16 thoughts on "[Opinion] Anatomy of society"
Sajid I Barcha says:
beautifully thought. I agree with Khameto, especially I am on the same page with him on the 5th paragraph.
Why do we always come up with this culture issue? I too do not know where our culture came from….Did God distribute the guidelines about culture when he made tribes? as in saying 'you hunzukutz, this is what u do and thats ur culture, hey wakhis, this is what u do and thats ur culture, and so on"…..NO. For me, what our ancestors did when they were bored or when they had to do something or whatever, is what WE call culture. Our ancestors did not even know that what they were doing was the CULTURE, they did it because either they had to, or they liked to do so. we mistook that for something thats obligatory. If they could make a piano back then, may be they would not make a SURANAI, who knows? What we are doing now, will be the culture of our ancestors.
I also agree with Khameto about his thoughts on vulgarity. Is our culture just the part we like? in old times, they walked bare footed, is that our culture? one might argue that there were no shoes thats why they walked bare footed or in TAOCHING, I argue that they played SURANAI cuz their was no piano. Both these arguments are equally valid, an individual's personal dislikesness and likeness can never be used to undermine one argument and validate another. Vulgarity has always been there in our language, why should we let it die? a language is incomplete without them. And I have always seen people learning the bad words first when they are interested in learning a new language.
Haq Parast says:
Khameto has this tendency to be ignored/refuted coz s/he tends to talk meanings and questions that are considered "signs of maarifat" by many in our society. People just don't dare to challenge him coz he is good at things that he talks.
Culture is irrational, guided by emotions(which are superficial and self serving). The rational abhor emotions, but are slave to them, by definition :p
ali al-Hakim says:
Khameto has done a good reflection on contemporary angst that is brimming in our society. But the parameters that he has set out for a discussion are very muddled in the sense that they urge people to long for an authentic mode of being on the hand and also willing to accept and be forward looking on the other.
In expressing his opinions and passing judgements on the nature of cultural activities in Hunza, Mr Khameto the so called educated person from a non-reputable university, is in fact as much confused as he thinks that others in Hunza are in deep disarray when it comes to resurrecting, as it were, original values in a deeply interconnected world. Here, without making globalisation too complicated by questioning its underlying processes of and the dominant impact of Western values on our society, it is safe to say that cultures everywhere are malleable, learn from each other. Civilisation as a broader category is not an air-tight cylinder, containing authentic values and systems of being in themselves. Throughout history peoples, cultures, and civilisations have interacted with each other to form the beauties of human expression, in art, in music, in paintings, in dance, and also in evolving moral virtues.
To give one of the fine examples from Islamic history we can look at the great cultural interaction that took place in Moorish Grenada, and Cordova. I know that some people might raise objection on the grounds that the architecture of Moorish cities is an expression of imperial ambitions of exiled Umayyad princes but the very reality of synthesis of Islamic and Christian patterns of design is a testimony to peaceful, cooperative and creative engagement of human beings. Here, the general point that I wish to make is to illustrate the fact that we should not be really scared to embrace 'foreign cultures' and influences. We will limp, we will mimic, we will internalise, we will externalise and excurse some of our own out-dated traditions but in the end humanity will win if it interacts in a faithful manner. The recent appearance of a rap song though it may be deficient in upholding great moral standards is however a good creative endeavour towards challenging our stagnant society and exploring ways of jolting us from our slumber. We should comment on these kinds of activities and try to explore as Khameto has done various dimensions of this new pattern in our cultural lives, rather than passing quick judgements.
To make one related point, one can admittedly say that the culture of modernity is influenced by an ethos informed by rational activity. In all human expressions the searching calculation of human beings, the application of reason, and the mechanical way of social and political organisation in society has stripped us from experiencing real human emotions, passions and desires. In some places where rationality has overtaken everything else they have become 'one-dimensional men' whose only goal is to be productive, efficient and to use an NGO terminology results oriented. While this attitude has created great wealth and expanded the opportunities to control nature in more sophisticated ways but the ground for great tragedy, and heroism seems to be in limbo now. Once great virtuous men like the Israelites prophets used to be heroes of their time, this august position seems to be relegated to men of profit rather than prophet. Men of wealth have now power, influence and disproportionate impact on our society, a reality which is as truer for Western society as it is for ours. The recent rap song can be seen against the dominating influence of rich and powerful people- and those whose life-goal has now become accumulation of wealth.
ali al-Hakim
khameto says:
Since Sajid Barcha sees eye to eye with my opinion, there is no point to provide him detail answer except my heartfelt thanks for his appreciation. I appreciate Haq Parast's comment about my write up. I could understand whether he opposes me or support my observations. I take exception to his comments that I tend "to talk meanings and questions that are considered "signs of maarifat" by many in our society." Here specially important is the what is written in quote and unquote " ". I wonder whether by maarifat he is alluding that i might belong to Khana-e-Hikmat or putting me in the high pedestal of scholars, neither of whcih i am not. Haq Parast in right that i have tendency to be ignored/refuted. a person who refuse us deserves more respect for he provide a n opportunity to address our shortcomings. if we receive agreement and respect all the time there is likelihood of our turning into Pharoah. for me culture is what human beings create a thing that is given by nature like mountains, air, sea, tree. If Haq Parast needs more elaboration, i am ready to provide him. I am concluding my comments here for i am afraid the readers of PT may dub me garrulous.
Anti-Khamito says:
Khamito tends to paint a remonticized picture of human intellectual journey and consistant conflict between material change and traditions. Traditions being defined here as a set of values of a society that resist change.
I appreciate the intellectual critique of ali al-Hakim. He has studied in a reputed institution of London School of Economics and Political Science. On the other hand my way commenting and refuting has flair of crudeness which is typical of our region.
In fact, I am puzzled by the response of al-Hakim. My thoughts may not be as clear as my brother's, but what he said seemed to support my stance that we should get rid of contradictions in our society and do not hesitate to accept new things after critical engagement. A cursory glance at my write up will clearly show even to a layman that i favored new experimentation by youngsters in Brushashki language. I request readers to decide whether ali al hakim's observations refute or support my ideas. Perhaps editor of Pamir Time can decide objectively about it.
Indeed, I spoke against the people who criticized the singers of first Brushashki Rap Song on the basis of morality that does not hold sway over society anymore. Can ali hakim explicate how an attempt to be authentic and forward looking attitude are mutually exclusive? Going against the grain of prevalent norm is no less heroic than the heroes of Greek epics. Aristotle set a strict criterion for hero that he should be above normal human beings. It means only a king, prince or supernatural being can be hero.
Currently, we neither have kings and princes, nor we believe in supernatural beings. Therefore, the only locus of heroism can be found among common man. Modern literature and cinema have successfully created and depicted such heroes. For example, the character of tramps in drama 'Waiting for Godot' by noble laureate Samuel Beckett is exquisite illustration of becoming heroic in unheroic age. Another example is 'Death of a Salesman' by Arthur Miller. In cinema Charlie Chaplin's character epitomizes pangs and angst of man in modern setting. It shows that the definition of heroism is immutable as al Hakim seems to imply. It is still here but the nature of fight change.
One of the strains in my thinking emanates from being a member of society. If there is any confusion in my mind it either reflects general confusion of our society regarding asserting itself in the age of globalization, or you can attribute it to lack of my knowledge. The more I learn things do not become as clear to me as to ali al Hakim, but they become more complicated. And this is difference between me and him because he gets clear and easy picture of a convoluted social process or phenomena, whereas I treat a simple social phenomena as a complex whole. Perhaps both are right, but between two rights a great deal of reality lies. Pamir Times plays an instrumental role in bridging the gap between two opposites by getting people with diverse thinking under a single blog.
One should appreciate the poetics of Khameto's expression-a ballad of shaman-could be outshined by this spontaneity. Khameto's insatiable lust for a bygone age where gods/deities reign human creativity and culture is not a simple nostalgic attempt to glorify the past, it is rather an expression of the perennial question of existence. Grappling with an agonizingly self perpetuating conflict between meanings, values, art and all other creative manifestations of this fleshy human is what has determined the course of the history of ideas.
mutabiat says:
Both Khameto and anti-Khameto seem to have same level of grasp over the anatomy of society and the self perpetuating conflicts between various creative human thoughts and actions, and manifestations.
It is really heartening to note that we have thinkers of such a high caliber among us, in the context of Hunza. This situation should give us enough confidence and hope in the capacity of our collective wisdom, so essential for progress and better future.
We all need to create harmony between our thoughts and actions, which will only be possible, once we have many good thinking heads in our society.
I think the worth of words is dimmed in front of the veils that Khameto or his "anti" has clad himself in. Why don't our "intellectuals" first break through the luring glass ceilings of vague identities and, then, try to decode the fabrics of our society?!!
Bertrand Russell or Gallileo needed not to hide behind this or that veil, when speaking their mind out, irrespective of the consequences!!
What does it take to create honest, open, rational-thinkers?
It goes almost without saying that intellectual heresy stirs the stagnant to move, stings the sluggish into life-as Socrates once said. Ideas should precede the ephermal identity and hence it should be the vigor of intellect to be appreciated rather than the association of ideas to a personality. Therefore, it means least whose ideas are there but it matters a lot what has been said.
The ideas evolve with a complex dynamism and therefore are not the product of a single person's creativity-thus it is unfair to associate them to an individual. Hiding the identity is a fair way to suggest that these ideas were not revealed to me but they were transmitted evolved and they trespass the defined territory of my existence. I do not know what Khamito has to say on this but I at least am convinced that public perception of my personality does not impede the appreciation of the ideas that I borrow from history. Let us proclaim the death of author and authority and then the only permenant thing left is —ideas.
Why don't you guys simply say that readers should not see, 'who has said what' they should rather take 'what has been said' – idea has more value than flesh!
In that sense, hiding one's identity, does not seem to be an intellectual dishonesty – is that right?
Pamir Times says:
Somehow, I have the understanding that what's being said is very much a reflection of the forces surrounding the sayer, per se. In a rational world, the cause of what is being said, needs to be understood, if we seek to understand what has been said.
But then, that's just my "personal" feeling.
Anti-Khameto accepts that History is the wellspring of ideas but he dissociates himself and for that matter any single personality from the world of ideas on the grounds that post-modernists have claimed for the 'death of author and the authority.' The very use of this expression and its endorsement suggests that Anti-Khameto accepts the broader post-modernist outlook as well: that is the relativity of truth i.e. it is futile to search for eternal truths, uniqueness of individuals i.e. whoever desires and thinks in whatever way is valid, and the end of grand narratives that means depersonalization of society, values and historical evolution of culture and systems of thought. The value against grand narratives is to say that we cannot access universal truths in a single interpretive framework. The world is a jigsaw puzzle and it will remain as elusive as ever. It would be difficult to put together an overarching scheme of things; in short the order of things is chaotic at its heart. The human search for order would always be enigmatic. Whatever systems of thought we have built so far are mere reflections of power-relations, and essentially they are social constructs that tell us more about the nature and constitution of a particular society at a particular space and time as opposed to human struggle and search for answers to perennial questions. This attitude in my opinion is frightening and dangerous. The idea of democracy
Without differing too much form what I had said earlier in my comment above that we the people of Hunza should embrace change I would however also add that the process of change must be organic, the shifts in social attitudes and values should reflect our critical engagement. The change should be authentic otherwise we risk becoming instruments in the hands of international powers, and men of ideas who are external to our existence. We risk becoming slave to foreign agendas, and it will be easy for external opinion makers to shape and mould us according to their own interests, and preferences. Within this context it is dangerous and frightening to hide behind faceless nicknames masquerading as ideologues. Do such intellectual habits deserve our genuine admiration and respect? To begin with I had myself these temptations and I had certainly fallen into them and now I realize that this is not the way forward, however the attempt to 'sting sluggish into life' is genuinely sincere. ¬May be this attitude is reflective of the voices within ourselves pulling us to one side or the other and second the conflict about our conception of ourselves and our world, about the meaning of our sayings and indeed the meaning of our activities and of our lives.
In the above comments, both from Khameto, anti-Khameto and their supporters and detractors, there are complicated and deep issues at stake. It is beyond the scope of this comment to systematically combat and explore the issues that have been raised. Notwithstanding my disagreements I would however applaud Khameto, anti-Khameto, and everyone else who have shown an interest to reflect on the disconnect and the evolving uneasy relationship between our local traditions and the demands of modern ideas, for these are the people who would help us chart out ways forward by dissecting moral issues, and providing the necessary intellectual leadership.
Anti-Khameto says:
The incredulity towards grand narratives "as Leoyard Fancois once put contains a powerful proclamation; though it is not an epochal rupture-like modernity but it is tumultuous enough for societies like ours where modernity is intertwined with medieval values. We have used religio-tribal instruments to interpret modernity. Our Weberian rational institutions are founded on what is sacred to us –as a bulwark against profanity- in classical Durkheim's sense. Western societies, due to an historical interplay between human agency and structural forces are somehow less traumatized by the travail of post modernity-where it nurtured, evolved and developed organically as a continuum. We the non westerners had equally strong hermeneutic traditions whose refutation was not an indigenous antithesis rather its critiques/refutation were exogenously framed. I cannot forget centuries long of colonial experience whereby local hermeneutic tradition were portrayed as a set of stagnant myths of inferior races. The new epistemology (form of knowledge) that germinated in the intellectual and political womb of the West was injected into the colonial societies. Thus a sort of epistemic imperialism is explicit in this which by no means was an intrigued design to suppress local knowledge but an unavoidable outcome of early capitalism. Truth is relative-I agree with Al-Hakim-and through him-the post modernists but I fear that we tend to lose sight of heterogeneity of post modernity itself-because the very notion of post modernism brings its own meta narratives. Therefore one should add that there is no such thing as post modernism –there are multiple realities only and there were always multiple realities-which were trampled historically.
Dawar M Khan says:
Good debate between two towering intellectuals of our time. Both Khameto and Anti-khameto have involved me with some new dimensions of life. Anti-Khamito, in particular,is powerful with extraordinary writting skills and clarity of thinking.
It is heartening to see the debate generated by 'Anatomy of Society' and quality of feedback I have received for my views. The debate started with, in the words of ali-al hakim, with broad parameters and my discussion was very muddled. Perhaps he is right to a great extent. Now it appears that the debate is converging on a single point and getting to the cores where the problems lie. The metamorphoses of debate is clearly visible as we started our discussion from ground realities of our society and moved into the realm of ideas with feedback from Sajid, Ali al Hakim, Noor, Anit-Khameto, Mutabiat, and Haq Parast.
Anit-Khameto has brilliantly pointed out the dilemma faced by non-western societies in negotiating modernity and asserting their identity in the age of postmodernism. The question arises here is how to get rid of epistemic imperialism/violence perpetrated by colonial powers and the colonial experience imbedded in the palimpsest of our history. To do so we need to reengage with our history with clear philosophical vision. Until now our history is written either by colonial power, state or local elites. They have tried to fit history within the mould that is product of the convergence of power, interest and economic base. While doing so the history of layman was suppressed. Hence, the life world of society and its people were expunged from the pages of history with single stroke of pen that colluded with the power.
Modern technologies of power are in diffused form. It is because of the diffused nature of power Michel Foucault said 'power is everywhere but it comes from nowhere.' To break the clutches of epistemic imperialism on mind we ought to confront power at the loci from where it emanates. The clearest manifestation of power is in the discourse of history. To redress the imbalance created by modern epistemic structures we have to suspend the theoretical unity of universal discourses. It will result in creating a space for local narrative to assert them, thus filling the gap. Francois Lyotard's incredulity towards meta-narrative was not a fancy of a poet or a whim of a madman; rather it was a deep insight into the inner dynamics of knowledge and discourse formation in modern age. It proved conducive for subaltern groups to assert themselves on the pages of history.
Italian Marxist Antonio Gramsci in his magnum opus 'Notes from Prison Book' adopted the word subaltern to refer to those groups in society who are subject to the hegemony of the ruling classes. Subaltern classes may include peasants, workers and other groups were denied access to hegemonic power. 'Their history' asserts Gramsci 'therefore, is intertwined with that of civil society, and thereby with the history of States and groups of States.' Subaltern classes are not unified and do not have state. Therefore, they do have history of their own. They remained underrepresented, as history is a history of the state and dominant groups.
Gramci's philosophy of history inspired a group of historians called 'Subaltern Studies Project' in India. Now this school of thought is the only school of thought in history that emerged in non-western societies. The historians of Subaltern Studies applied the theoretical insights of Gramsci about the problem of representation of the subaltern groups to Indian history. However, while applying Gramician notions of hegemony and sublaternity, they take the Indian cultural and political context into consideration. They argue that though the elite in India had dominance over subaltern groups, they did not have hegemony over these. Absence of hegemony provided a space for subaltern groups to affect local event through their agency and will. Colonialist and nationalist history left out subaltern classes whose traditional structure or domain remained intact during colonial period. Subaltern groups relied on local structures for political mobilization. Guha treats the subaltern domain as an autonomous domain, for it neither originated from elite politics nor was its existence depended on the latter.
Meta-narratives attempt to subjugate diversity in a monolithic form. By doing so, they eliminate myriad cultures and societies from the pages of history or consign it into dustbin of history a la Francis Fukuyama by declaring end of history. Fukuyama's influence is clear on ali al Hakim's writings.
An example from subaltern studies group's rejection of meta-narrative and celebration of heterogeneity of postmodernity will clearly illustrate the intellectual benefits of extricating ourselves from the meta-narratives of modernity that hang around our neck like an albatross in 'The Rime of Ancient Mariner' by S.T Coleridge.
Since the elitist/modern historiography in subcontinent subscribes to the essentialist posture of colonialists, it depicted the region as homogenous culture at the expense of subaltern groups, cultures, histories, and races. Likewise, collusion of historical scholarship and ruling elite resulted in capturing of meaning in homogenous nationalism. The politics of representation in Orientalist discourse is based on clearly delineated identities. It forced heterogeneous and non-delineated groups to align with delineated group. In this process various groups lost their particular identity or coerced by epistemic force to surrender their particularities to a group which was underpinned by taxonomy and labels manufactured by Orientalism to strengthen the sway of colonial power over uncharted groups. Pakistani state is trying to do the same by coercing us to merge our diverse identities, including Gilgit-Baltistan within a monolithic identity of Pakistan if there is any.
We can get a better understanding of the past by learning lesson from the historians, like subaltern studies group, who broke new grounds in the discipline of history. Only by questioning received wisdom and thinking we can become mentally independent. No doubt thinking is thanking.
In the context of Gilgit-Baltistan we have to reengage with colonial representation and national discourse of history to bring forth the epistemic violence perpetrated covertly by ruling class to maintain historical amnesia in our society. It is need of the hour to have research institutions where scholars in their respective fields will be able to explore the hitherto unchartered territories in history and society of Gilgit-Baltistan.
Unfortunately, we lack institutions for social and cultural research. Although there are some institutions, they are either engaged with non issues or culture and social issues are not issues for them at all. As a corollary, our society is moving like a rudderless ship in the tumultuous period of globalisation, which is engulfing weaker societies. This is my last comment about the debate regarding anatomy of society. I am grateful to all those readers who considered my article worth reading and conferred me with their invaluable comments. Kudos to Pamir Times for providing a source of catharsis to express our latent confusions, views and opposition.


The cosplay at Dragon Con was so good, that not only do we have more days of galleries to share, but we're doubling up on some of these days. Like today.
Here's another gallery from just Thursday at Dragon Con, courtesy of our partner, JDragon.


text:
London 2012: Canadian gymnastics team set to give front-runners a run for their money
By Robyn DoolittleStaff Reporter
Mon., July 30, 2012timer2 min. read
LONDON—The moment five young members of Canada's artistic gymnastics team step onto O2 Arena's hot pink floor Tuesday evening, they'll already have made history.
These London Olympic Games mark the first time Canada has qualified a full squad for the team final — and they did it against one of the most competitive fields in recent memory.
While the world tunes in to see if the Americans live up to their hype against powerhouses Russia, China and Romania, Canada's rookie team will have already met their goal. Now they're just aiming to cause trouble for the others.
"I think it's safe to say a medal is not realistic, but we're not going down without a fight," said Whitby's Kristina Vaculik, who at 20 is the eldest and unofficial den mother of the group. "This is really about proving that we deserve to be in the top eight, among the best in the world. It's about a legacy going forward. That (Canadian gymnasts) could in the future be going for those top spots with the right support."
The team will rely on their typically strong vault events and creative floor routines to put the pressure on Great Britain, Japan and Italy, which ranked fifth through seventh heading into the final. Canada left room to improve on their qualifying score of 167.696 after a few bobbles on bar and beam.
National team director Kyna Fletcher said a top sixth finish is attainable.
The battle for gold between the big four will be fierce, she added.
Which nation tops the podium will likely come down to whether American Jordyn Wieber, the world champion and face of U.S. gymnastics, can mentally regroup after she shockingly failed to qualify for the individual all-round competition. Wieber placed fourth behind two of her own teammates, but the rules state that a country can only send their top two competitors.
But Canada's Dominique Pegg — who got a congratulatory tweet from Justin Bieber — will be there, having earned herself a spot by placing 18th in the qualifier. Pegg's teammates Brittany Rogers and Ellie Black also qualified in the individual vault event. The squad is rounded out by Victoria Moors, who at 15 is the youngest Canadian at these Games.
The night before the big event, Vaculik said the girls were just "chilling out" together in the village.
"We're just relaxing and doing what we usually do the night before," she said.
Sunday's qualifier was the Olympic debut for each of the five girls. It was a particularly proud moment for Vaculik, who had to withdraw as a reserve for Beijing due to an elbow injury. The Stanford University student will likely not be returning for 2016 in Rio de Janeiro.
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"It's just been really special being here and we're all just trying to take it in," she said.
At the final, three members from each team will compete on each of the apparatuses: vault, uneven bars, beam and floor. The team with the combined high score takes gold. Team USA won the qualifier with 181.863. Each of the five Canadian gymnasts will have a chance to compete on at least one apparatus, Fletcher said.


In the current market, the majority of homes are sold using FHA loans. This type of loan allows the buyer to put down as little as 3.5% cash to buy. Conventional loans require 20%. Why does this matter to you as a seller? If your home does not meet the FHA or VA guidelines, buyers cannot buy the home. If your home has peeling paint, lack of handrails at stairways, or other items needing attention it may not qualify. Your realtor should walk them home with you pointing out these items, and fix prior to listing on the market.


text:
This inspection reports static import statements.
Such import statements are not supported under Java 1.4 or earlier JVMs.

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The Ford Motor Company is making huge steps into the production of driverless cars, being one of the key manufacturers to help bring automated vehicles to UK cities from January 2015. Should it be successful, it could mean that official Ford dealerships could be offering self-driving vehicles in just a matter of years.
Called the UK Autodrive Programme, Ford has joined Jaguar Land Rover and a host of universities and engineering consultancies to introduce driverless pods to four areas across the UK: Bristol, Greenwich, Coventry and Milton Keynes.
They will be testing self-driving cars on real roads and driverless pods in pedestrianised areas – such as Milton Keynes. In Greenwich, electric shuttle buses will be tested alongside automated valet parking.
It is hoped that the testing of driverless cars in urban environments could lead to a greater understanding of the technology and allow people to envisage how they could fit into everyday life. The cars will be trialled for between 18 and 36 months from January 2015, after which a final decision on the matter is likely to be made.
It aims to replicate a similar project that was collated in the US, one which found that 56 per cent of Americans feel that self-driving cars would result in fewer accidents. It also uncovered the most popular reasons to purchase a self-driving car, those being the ability to do other tasks while driving, not having to park and also to benefit from lower insurance rates.
Should the driverless car be approved in the years to come, it is thought that they could help to reduce congestion, improve air quality and help people to use roads more efficiently and safely.
It's a great example as to how the Ford Motor Company consistently looks to improve the technology offered to its customers. Should the experiments be received positively, it could potentially lead to automated versions of the Ford Focus or other new Ford vehicles on the roads of the UK in the future.


text:
Q: Ridge penalized GLMs using row augmentation? I've read that ridge regression could be achieved by simply adding rows of data to the original data matrix, where each row is constructed using 0 for the dependent variables and the square root of $k$ or zero for the independent variables. One extra row is then added for each independent variable.
I was wondering whether it is possible to derive a proof for all cases, including for logistic regression or other GLMs.

A: Ridge regression minimizes
 $\sum_{i=1}^n (y_i-x_i^T\beta)^2+\lambda\sum_{j=1}^p\beta_j^2$.
(Often a constant is required, but not shrunken. In that case it is included in the $\beta$ and predictors -- but if you don't want to shrink it, you don't have a corresponding row for the pseudo observation. Or if you do want to shrink it, you do have a row for it. I'll write it as if it's not counted in the $p$, and not shrunken, as it's the more complicated case. The other case is a trivial change from this.)
We can write the second term as $p$ pseudo-observations if we can write each "y" and each of the corresponding  $(p+1)$-vectors "x" such that
$(y_{n+j}-x_{n+j}^T\beta)^2=\lambda\beta_j^2\,,\quad j=1,\ldots,p$
But by inspection, simply let $y_{n+j}=0$, let $x_{n+j,j}=\sqrt{\lambda}$ and let all other $x_{n+j,k}=0$ (including $x_{n+j,0}=0$ typically).
Then
$(y_{n+j}-[x_{n+j,0}\beta_0+x_{n+j,1}\beta_1+x_{n+j,2}\beta_2+...+x_{n+j,p}\beta_p])^2=\lambda\beta_j^2$.
This works for linear regression. It doesn't work for logistic regression, because ordinary logistic regression doesn't minimize a sum of squared residuals.
[Ridge regression isn't the only thing that can be done via such pseudo-observation tricks -- they come up in a number of other contexts]

A: Generalizing this recipe to GLMs indeed is not difficult as GLMs are usually fit using iteratively reweighted least squares. Hence, within each iteration one can subsitute the regular weighted least squares step with a ridge penalized weighted least squares step to get a ridge penalized GLM. In fact, in combination with adaptive ridge penalties this recipe is used to fit L0 penalized GLMs (aka best subset, ie GLMs where the total number of nonzero coefficients are penalized). This has been implemented for example in the l0ara package, see this paper and this one for details.
It's also worth noting that the fastest closed-form way of solving a regular ridge regression is using
lmridge_solve = function (X, y, lambda, intercept = TRUE) {
  if (intercept) {
    lambdas = c(0, rep(lambda, ncol(X)))
    X = cbind(1, X)
  } else { lambdas = rep(lambda, ncol(X)) }
  solve(crossprod(X) + diag(lambdas), crossprod(X, y))[, 1]
}

for the case where n>=p, or using
lmridge_solve_largep = function (X, Y, lambda) (t(X) %*% solve(tcrossprod(X)+lambda*diag(nrow(X)), Y))[,1]

when p>n and for a model without intercept.
This is faster than using the row augmentation recipe, i.e. doing
lmridge_rbind = function (X, y, lambda, intercept = TRUE) {
  if (intercept) {
    lambdas = c(0, rep(lambda, ncol(X)))
    X = cbind(1, X)
  } else { lambdas = rep(lambda, ncol(X)) }
  qr.solve(rbind(X, diag(sqrt(lambdas))), c(y, rep(0, ncol(X))))
}

If you would happen to need nonnegativity constraints on your fitted coefficients then you can just do
library(nnls)

nnlmridge_solve = function (X, y, lambda, intercept = TRUE) {
  if (intercept) {
    lambdas = c(0, rep(lambda, ncol(X)))
    X = cbind(1, X)
  } else { lambdas = rep(lambda, ncol(X)) }
  nnls(A=crossprod(X)+diag(lambdas), b=crossprod(X,Y))$x
}

which then gives a slightly more accurate result btw than
nnlmridge_rbind = function (X, y, lambda, intercept = TRUE) {
  if (intercept) {
    lambdas = c(0, rep(lambda, ncol(X)))
    X = cbind(1, X)
  } else { lambdas = rep(lambda, ncol(X)) }
  nnls(A=rbind(X,diag(sqrt(lambdas))), b=c(Y,rep(0,ncol(X))))$x
}

(and strictly speaking only the solution nnls(A=crossprod(X)+diag(lambdas), b=crossprod(X,Y))$x
is then the correct one).
I haven't yet figured out how the nonnegativity constrained case could be further optimized for the p > n case - let me know if anyone would happen to know how to do this... [lmridge_nnls_largep = function (X, Y, lambda) t(X) %*% nnls(A=tcrossprod(X)+lambda*diag(nrow(X)), b=Y)$x doesn't work]

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text:
Joanne Palmer
Jewish Standard Daily
The curse of interesting times
It might be a cliché that it is a curse to live in interesting times, but right now we are in a position to judge it for ourselves.
Remember the end of history? That was the lovely theory that gained traction in the 1990s, when the American political scientist Francis Fukuyama told us that we in the West had reached the summit of human achievement, and that the summit was flat, filled with bright flowers and their sweet perfume, and it is stretched on forever. (Okay, he didn't use those words, but it was his implication.)
Boy was he wrong.
If in fact the 1990s were the summit of human perfection in the West, then that summit actually was a jagged peak, and we are sliding down it, gaining speed, bouncing over the rough parts, breaking bones and dreams as we go.
Maybe perfection was too boring. Maybe history had to go on because there is no narrative in perfection, and we human beings crave narrative.
We certainly are living a story now. As a plot, it's a doozy. It has too many insane twists and impossible turns to be anything but real life; no editor would buy it if it were fiction. And it has far too many literally insane characters, pinch-me motivations, and odd speech tics for even the largest writing room, fueled with every legal or illegal drug in the world, to think of.
And then there's Twitter. Pause for a second to think about the sheer improbability of Twitter, and then move on.
If we were to hunt for a bright spot in this mess — and we must, because we are human beings, and like plants most of us can't help but contort ourselves toward the light — it would be in how it is driving all of us to be more and more involved. There is not much blandness around right now. People have opinions, and they voice them, and not just about politics. About everything. People seem to have found their voices, and that's a good thing.
We see it here at the Standard. We are sent more opinion pieces, more letters, more story suggestions, than I can remember ever seeing before. Look at this week's paper — social justice committees, impassioned debates about Orthodox women's roles, more looks at the Holocaust, from new angles. Something's up.
Maybe partly it's the time of year. The sap will be rising in trees soon (to get all horticultural); it's getting dark later, the groundhog did whatever it is that groundhogs do, which means that no matter what, dismal winter has less than six weeks left. Even the thought of spring does things to us.
But it's not only that. There are ideas rising like sap. Many of us are worried, but many turn that worry into the fuel that propels us forward.
We don't have any idea of how this story we've just begun will end, but one thing is certain. It will be very, very interesting. We'll be talking about it for generations after it ends.
Joanne is the editor of the Jewish Standard and lives in Manhattan with her husband and two dogs, so she has firsthand knowledge of two thriving and idiosyncratic Jewish communities. (Actually that's three communities, if you also count the dog people.)
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This medieval chest has unsually detailed carving on both front and back, with the name 'N.Fares' carved in the back. We do not know whether this was the name of the owner. The chest was evidently intended to be seen principally from the back, where the main decoration was carved, and was therefore possibly for some public use, placed between the user and other people. Chests were the earliest form of receptacle, used for storing clothes, linen, documents or money. This is an example of the medieval method of making chests with six boards; one for each of the sides, bottom and top.
Boarded chest with low relief carved ornament on all four faces, the hinged lid with a deep concave moulding on its front edge. The front (in relation to the lid hinging) with two, basically symmetrical shaped fields, each containing a scrolling stem ending in a rose, which flank a quatrefoil depression for the lock plate (missing), with evidence of four corner nail fixings. The back with a central horizontal band carved in Lombardic capitals NFARES, preceded by a motif thought to represent a skull-cap, and surrounded by a border of scrolling vine and grape ornament. Below the back panel are three cusped arches. The left side (stile) is undecorated. The right side (stile) is carved with a monogram NF surmounted by the same skull-cap motif, with a repeat, low relief quatrefoil flower motif. Both sides bear the remains of a cusped arch, and are cut deeply back (c7cm) behind the front board, suggesting that a deep apron or spandrels may be missing.
Of boarded construction held by pegs and nails. The front and back boards (both about 24mm thick) are pegged and nailed onto deep rebates (about 30mm) in the two side pieces (stiles), each of which is extremely thick (64-74mm), and probably considerably reduced in height. At the back (in relation to the lid hinging), the left side overlaps the backboard with a carved 'buttress', which appears on the right side to have been replaced with an applied batten of similar pattern. The front is formed by a single board. The back is formed by two boards, one deeper (above the level of the chest bottom, and a carved apron. The bottom is a single board (about 28mm thick) that rests in a deep, squared groove cut on the inside of both stiles, the front board (the lower edge now with extensive losses), and the back apron. Nails have been driven through the front and back (and possibly the sides) into the chest bottom.
The lid (which ranges in thickness from 53mm at the front to 39mm at the back) consists of two boards (15cm deep at the front, and 30cm deep behind), apparently nailed together from the front though the full depth of the front board. It is held by two plain, iron hinges (of slightly different designs) nailed to the outside of the lid and the back, but cut-outs on the inside of the back appear to show that earlier hinges were fixed inside. Under the lid are four metal straps crudely nailed across the joint between the two boards. The underside of the lid is cut with a mortise for the lock hasp (missing).
The stiles much reduced, Tracy suggests by 53cm. Numerous splits and areas of abrasion, notably on the left side. Tracy regards the lid and hinges as of later date than the sides, also the arcading underneath the back panel. However, the chest bottom (presumed to be original) appears to sit in a groove cut into the arcading under the back panel, suggesting that this arcading which apparently matches similar remains on the stiles, may be original (and perhaps matched by similar work under the front panel.) It appears that the original strap hinges were nailed to the inside of the back. If the lid is original, the current hinges which attach to the outside of the lid, may be partly original on the lid, but replaced where they are attached to the outside of the back. Further investigation is required.
The Fares chest, six-board medieval chest.
Chest or strong box — 'The Fares Chest' — constructed of six boards; the front is carved with two volute-shaped sprays, each ending in a rose, and in the centre the space for a large lock-plate, which is missing. On the centre of the back is a band with the name 'N. FARES in Lombardic capitals, preceded by a skull-cap and surrounded by a border of vine and grape ornament. Along the bottom are three trefoil cusped arches, the spandrels being filled in with a diaper of rosettes; at each side is a Gothic buttress. On one end is a monogram formed of the initials 'N E' surmounted by the skull-cap and terminating in roses; there is a single arch below, as in the back. The other end is plain. The lid is deeply moulded along its front edge. The lid and hinges are of later date than the sides as is the arcading underneath the back panel.
The presence of decoration on each of the two main sides is highly unusual in the context of a normal chest. Yet there can be no doubt that all the decorative-carving is by the same hand. What is more, on the inside of the back panel are the scars of the original hinge straps. The lower part of this panel is lost and has been replaced by the poor-quality diapered arcading in deal. If allowance is made for the lost portion the panel would have been the same height as the front one (35 cm). Another unusual feature is the considerable thickness of the end pieces; the decorated end's thickness (30 mm.) is particularly excessive given the quite normal thickness of the front and back panels. It is legitimate to speculate that the end-pieces might be the re-used members of some other object, such as bench-ends. However, their profile is asymmetrical and therefore quite inappropriate for a bench-end. Moreover, they are perfectly suitable to their positions, which suggests that the intended front of the chest is the side with the name on it. The absence of any carving on the left-hand end suggests that the chest was intended to stand up against a wall.
The very large space given over to the lock plate in proportion to the overall size of the front panel indicates that security was a high priority. This would seem to corroborate the authenticity of the extremely thick end-pieces. It has been suggested that the chest may have been the strong box for a guild (Cescinsky & Gribble 1922, 24), the legend 'Fares' applying to a place rather than a person. It is quite clear that, in terms of display, the 'back' panel was more important than the front. The exposed end of the chest and the 'back' seem to have acted as an advertisement. It is more probable that an individual rather than an institution would publicise a name in this way. The chest is comparatively small, and therefore portable, but probably stood about 56 cm higher than it does now.
Several writers have suggested that this piece was originally a 'counter chest' (See Macquoid St Edwards 1924-27, 146-48, Roe 1916, 129-31 and Symonds 1951, 174). This explains the element of advertisement on the end panel and 'back' of the chest. If the scars of the hinge-straps on the inside of the back relate to the original arrangement the top was always hinged as opposed to having a sliding mechanism. A hinged lid would have been very inconvenient as a counter. The functional interpretation of the piece as a counter-chest is, almost inevitable, however, given the all—round decorative treatment, the side with the lock, where the merchant/treasurer sat, having a conspicuously lesser aesthetic importance.
The quality of the decorative carving on the chest is high. The stylistic traits on the carving of the rosettes, for instance, is consistent throughout. The rosettes do not need to be 'Tudor' or 'Yorkist' as has been previously suggested. In fact the way that they are treated with nicks cut in the centre of the double-flairs of the petals can be paralleled in England in the late fourteenth century as, for instance, on the choir-stalls of New College, Oxford. The style of the vine foliage can also be matched closely, for instance, on the choir-stalls at Nantwich, Cheshire of about 1400. The decorative Lombardic lettering used for the legend with prominent serifs is reminiscent of that on the Studley Bowl (V&A M.1-1914) a piece of English metalwork of the late fourteenth century.
'The fine oak chest from the Victoria and Albert Museum, which is inscribed " N.
of least importance, other than to one opening the lid, which is the first item of significance.
one of the signs of the Cluniac order, which was a poweriul guild even as late as this.
H. Clifford Smith, Catalogue of English Furniture & Woodwork. Vol I. - Late Tudor and Early Stuart (London 1930).
Burlington Magazine, Vol XXI, p. 208, 1912.
'Connoisseur,' Vol. XLIV, p. 128, 1916.
Jourdain, M. 'English Decoration and Furniture of the Early Renaissance,' fig. 371.
On the back the (owner's?) name N FARES in Lombardic letter.
On one end N and F in monogram.
Given by Mr. J Dowell Phillips.


Fun stuff going on over at Slashdot in a post about how to name servers. I greatly prefer a combination of location and function for my server names. A couple of comments did make me laugh - they hit a little too close to home.
"Indeed. After years of enduring networks with servers with tree names or GI Joe character names, when it came for me to come up with names for my servers and other network devices, I came up with functional names that describe physical locations, departments, functions, and so forth. That way I have a descriptive network rather than trying to remember which one of the Power Rangers the last IT guy liked the best."
... those being DNS entry, IP, and the one which "the server itself knows, and never will confess."


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Home News Tech Apple announces Mac Pro with 28 core Xeon processor, up to 1.5TB...
Apple announces Mac Pro with 28 core Xeon processor, up to 1.5TB RAM and Pro Display XDR with 6k Resolution
Along with the new software feature announcements for their iOS and Mac ecosystem, Apple announced a new Mac Pro yesterday at the WWDC 2019 in San Jose, California. The new Mac Pro is a redesigned, workstation for pros with top of the line specifications. The company also unveiled Apple Pro Display XDR, the world's best pro display, it is designed for maximum performance, expansion, and configurability, the all-new Mac Pro features workstation-class Xeon processors up to 28 cores, a high-performance memory system with a massive 1.5TB capacity, eight PCIe expansion slots and a graphics architecture featuring the world's most powerful graphics card.
The Pro Display XDR features a massive 32-inch Retina 6K( 6016 x 3384p) display with gorgeous P3 wide and 10-bit color, 1,600 nits of max brightness, a 1,000,000:1 contrast ratio and a superwide viewing angle. Together, the new Mac Pro and Pro Display XDR are the most powerful tools. Pro Display XDR also features the industry's best polariser technology, delivering a superwide, color-accurate, off-axis viewing angle, so now multiple people can view more accurate content simultaneously. To manage reflected light, Pro Display XDR has an industry-leading anti-reflective coating and offers an innovative new matte option called nano-texture, with glass etched at the nanometer level for low reflectivity and less glare.
With edge-to-edge glass and narrow, 9mm borders, Pro Display XDR features a highly functional and flexible design. The Pro Stand has an arm that perfectly counterbalances the display so it feels virtually weightless, allowing users to easily place it into position. The Pro Stand provides both tilt and height adjustment, and also allows Pro Display XDR to rotate into portrait mode, perfect for tasks like retouching photos, designing a web page or writing code. With a single Thunderbolt 3 cable, Pro Display XDR connects seamlessly to the Mac product line, including the new Mac Pro, which supports up to six displays for a breathtaking 120 million pixels.
Mac Pro features powerful Xeon processors up to 28 cores, with 64 PCI Express lanes for performance and massive bandwidth. It also provides over 300W of power along with a thermal architecture to allow the processor to run fully unconstrained all the time. Mac Pro provides memory capacity to meet needs as they grow. It comes with a six-channel memory architecture and 12 physical DIMM slots, the new Mac Pro allows for a massive 1.5TB of memory, the most ever available in a Mac and with eight PCI Express expansion slots, which is twice that of the previous-generation Mac Pro tower.
Mac Pro features the world's most powerful graphics card and up to 56 teraflops of graphics performance in a single system. The Apple MPX Module features Thunderbolt integration and over 500W of power, both firsts for any graphics card. Mac Pro graphics options start with the Radeon Pro 580X. Mac Pro debuts the Radeon Pro Vega II, featuring up to 14 teraflops of computing performance and 32GB of memory with 1TB/s of memory bandwidth, the highest of any GPU. Mac Pro also introduces Radeon Pro Vega II Duo, which features two Vega II GPUs for an incredible 28 teraflops of graphics performance and 64GB of memory, making it the world's most powerful graphics card. Mac Pro can accommodate two MPX Modules so customers can use two Vega II Duos for a staggering 56 teraflops of graphics performance and 128GB of video memory.
The company also introduced Afterburner, a programmable ASIC capable of decoding up to 6.3 billion pixels per second. With Afterburner, video editors using high-quality cameras that require the conversion of native file formats into proxies for easy editing can now use native formats right from the camera and decode up to three streams of 8K ProRes RAW video and 12 streams of 4K ProRes RAW video in real time,1 virtually eliminating proxy workflows.
Apple Mac Pro with Radeon 580 graphics and 32GB of RAM starts at $5999
Pro Display XDR starts at $4999
Pro Display XDR matte finish is priced at $5999
The Pro stand will be available for $999
For more news and the latest updates follow us on Twitter and Facebook.


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Bundle up with August Hall for fall
You know...we were all prepared to write an intro to this piece that capitalized on the changing fall weather. About leaves softly descending from trees, about digging your scarves and closed-toed shoes out from the back of your closet, about the return of Karl. ...Except that's not what's happening at all. Temperatures that are typical for summer in every other part of the country finally found their way to the Bay a few weeks ago. It was 100+ degrees in some parts of the Bay this week, and if the last few years are any indication, it'll be like this [...]
By The Bay Bridged|September 26, 2019|Tags: Alex Cameron, August Hall, Lucy Dacus, Neon Indian|
Lucy Dacus announces North American headlining tour
Lucy Dacus has just announced tour dates for 2019 and we're pleased as pie. The pure-voiced folk singer has also just released a single, "My Mother and I," and it's a nice taste off her new album titled 2019. The collection is a combination of original Dacus songs and originally reimagined covers. Each track is tied in some way to a holiday, which is an interesting album theme and one we're diggin' on. "My Mother and I," for example, is connected to Mother's Day with raw honesty, bashing away cliches. The track starts out, "My mother hates her body / [...]
By Michelle Kicherer|June 4, 2019|Tags: Lucy Dacus|
Review + Photos: Julien Baker, Phoebe Bridgers and Lucy Dacus aka boygenius at the Fox Theater
boygenius (photo: William Wayland) Words by Elaine Blakely First as soloists and then together as boygenius, they performed at Fox Theater in Oakland on November 27 for an endearing three-and-a-half hour performance. Their supergroup, boygenius, formed out of friendships and the experience of touring together. Dacus and Bridgers have both opened for Julien Baker on prior tours. With similar careers and lives, the three artists intended to co-write three songs. This led to more songs, then an LP release, and now a tour. These artists' performances are deeply personal. Julien Baker, the original headliner, signed to Matador Records for her second [...]
By The Bay Bridged|December 21, 2018|Tags: boygenius, Julien Baker, Lucy Dacus, Phoebe Bridgers|
Julien Baker, Phoebe Bridgers, and Lucy Dacus are the women of boygenius who outsmarted them all
(Photo: Lera Pentelute) Julien Baker, Phoebe Bridgers, and Lucy Dacus booked a tour together before they formed the new indie rock band boygenius. It's not the typical order of events, but that's the genius of this trio. They are not bound by convention, nor do they hang on the word of "adult men" in the industry. These artists — all singers, songwriters, and guitarists under the age of 25 — were driven by their calling to make music together. Undeterred, they made it happen on their own terms. Each young woman has a fairly new and successful solo career, a [...]
By Carla Bova|November 20, 2018|Tags: boygenius, Julien Baker, Lucy Dacus, Phoebe Bridgers|
Mixtape: Highlights and More from South by Southwest 2016
http://media.libsyn.com/media/thebaybridged/SXSW_2016_Mix.mp3 Download: Mixtape: Highlights from South by Southwest 2016 (Podcast #382) Every March, thousands of aspiring bands flock to Austin, Texas for South by Southwest Music, a week-long event functioning as part conference, part music festival, and an all-around great opportunity to sample some of the world's best acts. The sheer number of options blanketing the Texas capital during the festival can be overwhelming, but it remains one of the premier places to discover new and emerging bands. That's the view from a music fan's perspective, mind you. For a musician, the degree to which South by Southwest performances might [...]
By The Bay Bridged|April 1, 2016|Tags: Culture Abuse, Day Wave, Diet Cig, Everything Everything, Gold Class, Guerilla Toss, Ice Cream, Japanese Breakfast, Kamaiyah, Lucy Dacus, methyl ethel, Mueran Humanos, Thao & The Get Down Stay Down, The Spook School|


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In attachments you can see the six pictures.
The upper zone (area) is subjected (expose) to pressure stress.In the lower zone (area) bellow of neutral line we have tensile stress.
The force are on distance of 1600mm .Every force is 30000N.
Hello Mark I send the picture of succsseful finish the calculation.
The buckling happened in upper area where is expect to be.
Buckling analisys is like eigenvalue analisys - you have buckling factor and shape of buckling, but translations, stresses and other resauts scaled by some factor and you can not use it. They are meaningless, but they represetnt deformed shape. If you want to see stresses - make nonlinear analisys.
A linear buckling analysis in Nastran consists of 2 subcases. The first subcase is just a linear static analysis using the load you specified. The results of this case are correct for this static loading and can be used.
The second subcase is the buckling case and is an eigenvalue extraction using the differential stiffness based on the static loading of the first subcase. In general the only useful results from this case are the deformed shapes(buckling mode shapes) and the actual eigenvalues. Any stress or other results are created from the deformations of these buckling modes and therefore not usually meaningful.
One important check to make from a linear buckling analysis like this, if you multiply the eigenvalue by the maximum stress in the first subcase, you must still be below the yield stress of the material, otherwise you have violated the basic assumption of linear buckling analysis.


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Beautiful website! Congratulations and best wishes always from me and my family!
And thank you for everything Francesca!
Congratulazioni per il sito e ovviamente congratulazioni anche a te ed al tuo lavoro!
Bella sito - bella cantante. Spero tutto bene da parte vostra.
You have a wonderful website and wonderful songs.
Good luck with your performances.
Mi piace la tua website.
Brava! Let me be among the first to congratulate you on the show and even the web site. Naturally I went straight to your audio clip- to he it. It's delightful, lively and unique.
I want to see the show very much and might have to come to Italy just to hear you (maybe as part of a trip to Bratislava). But naturally, you know, I hope you and the show will make it to New York.
Very best wishes and success.