text:
Eleonora Duse est une comédienne italienne née le  à Vigevano et morte le  à Pittsburgh. Elle est considérée comme l'une des plus grandes comédiennes de son temps. Rivale de Sarah Bernhardt, elle lui voua cependant une admiration profonde.

Biographie

Née dans une famille de comédiens de Chioggia, Eleonora Duse passe son enfance dans la troupe amateur itinérante de ses parents, Alessandro Vincenzo Duse et Angelica Cappelletto. La famille Duse est apparentée à une autre famille de comédiens ambulants, les Vitaliani dont la fille  est la cousine d'Eleonora. Dès l'âge de quatre ans, elle joue, en 1862, le rôle de Cosette dans une version théâtrale des Misérables. En 1878, elle tient les rôles de « première amoureuse » dans la compagnie Ciotti-Belli Blanes et, à tout juste vingt ans, est à la tête d'une compagnie aux côtés de . Elle connaît son premier succès en 1879 dans le rôle de Thérèse Raquin, dans la pièce de théâtre éponyme adaptée de son roman par Émile Zola en 1873, qui lui vaut l'adoration du public et la reconnaissance de la critique.

En 1879, elle entre dans la troupe semi-permanente de Turin de Cesare Rossi où elle portera à maturation son choix esthétique, recueillant l'héritage du passé mais rompant en même temps avec la tradition du « grand acteur » de la première moitié du . C'est au cours de cette période, dans les années 1880, que la Duse accomplit les choix de répertoire qui marqueront son parcours artistique et sa carrière théâtrale. Un répertoire qui lui permet d'exprimer son sentiment de crise face à son époque. Étant donné l'absence significative de dramaturgie en Italie (de Paolo Giacometti, Giuseppe Giacosa, , Emilio Praga ne subsiste au mieux qu'un texte de chacun) elle privilégie les  françaises : modernes, mondaines, adaptées à l'évolution des goûts du public de cette fin du , aux mécanismes parfaitement huilés pour coller aux valeurs bourgeoises. Mais entre les mains de la Duse, les drames de Victorien Sardou et d'Alexandre Dumas fils deviennent des pièces à démonter et à remplir ensuite d'une vie nouvelle, du message infiniment personnel de la Duse qui veut représenter les valeurs de cette classe telle qu'elle se présente dans la réalité qui l'entoure et non pas les approuver sans réserve. Ses thèmes de prédilection, les plus difficiles à affronter, sont les plus représentatifs de la société bourgeoise de l'époque : l'argent, le sexe, la famille, le mariage, le rôle de la femme. Il en ressort le portrait d'une société respectable mais en réalité hypocrite, brillante en apparence mais dépravée en substance, obnubilée par un dieu de l'argent régulateur de toute relation humaine, un monde dans lequel il est impossible d'éprouver des émotions sincères. Mais en émerge également l'intériorité féminine de la Duse : une intériorité brisée, aliénée, névrosée. Son répertoire est moderne et attractif : du vérisme de la Cavalleria rusticana de Giovanni Verga aux drames de Victorien Sardou et d'Alexandre Dumas fils qui sont également ceux du répertoire de Sarah Bernhardt. Entre les deux comédiennes nait rapidement une rivalité qui divise les critiques.

En 1881, Eleonora Duse épouse Tebaldo Checchi, un acteur de sa compagnie. L'union, de laquelle naît une fille, Henriette, se révèle rapidement malheureuse et se termine par une séparation définitive. En 1884, la Duse se lie avec Arrigo Boito qui traduit pour elle l'Antoine et Cléopâtre de Shakespeare. La relation, restée secrète, dure plusieurs années entre hauts et bas. Les rencontres ont lieu à Ivrée, dans le château de San Jose, demeure d'un ami commun, Giuseppe Bianchi. Pendant cette période, la comédienne fréquente le milieu de la scapigliatura, et son répertoire s'enrichit des drames de Giuseppe Giacosa, ami de Boito. Son amitié avec Isadora Duncan qu'elle rencontre lors de tournées européennes est très commentée. Néanmoins il ne fut jamais prouvé qu'elles furent engagées dans une relation amoureuse. En 1886, elle fonde sa propre compagnie. Elle porte sur les scènes italiennes les drames d'Henrik Ibsen, dont elle interprète Une maison de poupée, Hedda Gabler, La Dame de la mer et Rosmersholm À partir de 1890, elle joue principalement hors d'Italie, notamment à Paris, où elle connaît la consécration en 1897. Rosmersholm d'Ibsen est notamment repris au Théâtre de l'Œuvre en 1898 dans la mise en scène de Lugné-Poe puis dans les décors mémorables d'Edward Gordon Craig en 1906.

Jusqu'en 1904, elle est la maîtresse et l'interprète du poète Gabriele D'Annunzio. Elle quitte le théâtre en 1908 et joue en 1916 pour la seule fois au cinéma, dans Cenere d'Arturo Ambrosio, film tiré du roman homonyme de Grazia Deledda. Elle entretient  une liaison avec la jeune rebelle féministe Lina Poletti, de 1909 à 1911.

Elle revient au théâtre de 1921 à 1923. Elle meurt d'une pneumonie, au cours d'une ultime tournée américaine, à Pittsburgh, le . Elle est enterrée au cimetière d'Asolo conformément à sa volonté.

La rencontre avec D'Annunzio

En 1882 à Rome, Eleonora Duse rencontre pour la première fois Gabriele D'Annunzio. C'est un jeune homme séduisant, arrivé depuis peu des Abruzzes mais avec déjà trois œuvres publiées. Il se présente à la Duse et, avec des paroles mélodieuses, lui propose sans autre préambule de coucher avec lui. Eleonora le congédie avec indignation mais, peut-être, avec aussi une secrète satisfaction. Ce jour-là, elle le décrit ainsi : . En 1888, Eleonora qui, sur la scène du teatro Valle, vient tout juste de se repentir de ses plaisirs de dévoyée, de prendre en pleine face une poignée de fausse monnaie et est morte de phtisie et d'amour dans le rôle de la malheureuse Dame aux camélias, se dirige encore pleine de soupirs et de sanglots vers sa loge. C'est alors qu'un frêle et élégant jeune homme surgit de la pénombre du corridor et lui crie, avec enthousiasme et assurance : . Eleonora un peu épouvantée, le dévisage un moment et poursuit son chemin. C'était encore D'Annunzio. Juin 1892 est la date que D'Annunzio inscrit, avec la dédicace  sur un exemplaire de ses Elegie romane. De ces livres, naît en Eleonora le désir d'une rencontre avec l'auteur. Et, lors de la rencontre, .

Le tournant décisif de la vie et la carrière artistique d'Eleonora Duse fut la rencontre définitive à Venise, en 1894, avec Gabriele D'Annunzio, alors à peine trentenaire. Le lien sentimental et artistique tempétueux qui s'établit entre la comédienne et le jeune poète dura une dizaine d'années et contribua de manière déterminante à asseoir la réputation de D'Annunzio. Eleonora Duse, déjà célèbre et acclamée en Europe et outre-atlantique, porta sur toutes les scènes les drames dannunziens (Il sogno di un mattino di primavera, La Gioconda, Francesca da Rimini, La città morta, La figlia di Iorio), finançant souvent elle-même les productions et leur assurant le succès et l'attention de la critique y compris hors d'Italie. Cependant, en 1896, D'Annunzio lui préféra Sarah Bernhardt pour la première française de La ville morte. Les périodes de proximité et de collaboration entre les deux artistes alterneront avec les crises et les ruptures. D'Annunzio suivait rarement l'actrice dans ses tournées mais, en 1898, il loua la villa de la Capponcina à Florence, dans la frazione de Settignano, pour se rapprocher de la Porziuncola, la demeure d'Eleonora. En 1900, D'Annunzio publia son roman Il fuoco, inspiré de sa relation avec Eleonora Duse, suscitant de vives critiques de la part des admirateurs de la comédienne.

Postérité
Après sa mort, de nombreux théâtres sont baptisés de son nom, tout comme des écoles et autres toponymes de villes italiennes. Le Teatro Duse de Bologne fait exception puisqu'il est renommé en son honneur de son vivant, en 1898, à l'occasion d'un changement de propriétaire.

Elle fut une amie d'Axel Munthe qui l'évoque dans Le Livre de San Michele (1929) dont est tiré en 1962 un film du même titre réalisé par Giorgio Capitani et Rudolf Jugert et dans lequel son rôle est interprété par Valentina Cortese.

En 1953, Luigi Comencini lui a consacré un film biographique, La valigia dei sogni. Ses costumes de scène, restaurés par le styliste italien Fausto Sarli, sont exposés dans les musées du monde entier.

Son nom inspira celui d'Éléonoradus, metteur en scène au théâtre romain de Condate dans Astérix et le Chaudron (1968).

En 1994, l'Union astronomique internationale a donné son nom à un cratère de  de diamètre de la planète Vénus.

Galerie

Annexes

Bibliographie
En français

En italien
 Paola Bertolone, I copioni di Eleonora Duse : Adriana Lecouvreur, Francesca da Rimini, Monna Vanna, Spettri. Pisa, Giardini, 2000
 .
 Nino Bolla, Eleonora Duse : la grande tragica. Roma, Società Nazionale Editrice, 1974
 Vittore Branca, Vocazione letteraria di Eleonora Duse : con una serie di documenti inediti. In: «Nuova Antologia», n. 2178 (aprile-giugno 1991)
 Mario Cacciaglia, Eleonora Duse, ovvero Vivere ardendo. Milano, Rusconi, 1998
 Gerardo Guerrieri, Eleonora Duse : nove saggi; a cura di Lina Vito. Roma, Bulzoni, 1993
 Nicola Mangini, Eleonora Duse nella storia del teatro europeo. In: «Archivio Veneto», serie 5., vol. 121. (1983)
 Franca Minnucci, La Figlia di Iorio - Era mia, era mia e me l'hanno presa. Pescara, Ianieri, 2004.
 Franca Minnucci, Eleonora Duse - La fine dell'incantesimo. Pescara, Inaieri, 2010.
 Cesare Molinari, L'attrice divina. Eleonora Duse nel teatro italiano fra i due secoli. Roma, Bulzoni, 1985
 Daniela Musini, Mia Divina Eleonora. Pescara, Ianieri, 2008
 Donatella Orecchia, La prima Duse. Nascita di un'attrice moderna, Roma, Artemide, 2007.
 Maria Pia Pagani, Mirandolina e Vasilisa: due volti di Eleonora Duse. In: «Viglevanum: miscellanea di studi storici e artistici», 16(2006)
 Luigi Rasi, La Duse. Roma, Bulzoni, 1986
 Federico von Rieger, Eleonora Duse. Milano, Nord-Ovest, 1981
 Mirella Schino, Il teatro di Eleonora Duse. Bologna, Il Mulino, 1992
 Helen Sheehy, Eleonora Duse: la donna, le passioni, la leggenda. Milano, Mondolibri, stampa 2006
 Olga Signorelli, Eleonora Duse, 1959
 John Stokes, Michael R. Booth, Susan Bassnett, Tre attrici e il loro tempo: Sarah Bernhardt, Ellen Terry, Eleonora Duse. Genova, Costa & Nolan, 1991
 Matilde Tortora (éd.), Matilde Serao a Eleonora Duse : lettere. Napoli, Graus, 2004 * William Weaver. Eleonora Duse. Milano, Bompiani, 1985
 Eleonora Duse nella vita e nell'arte (1858-1924). Venezia, Marsilio, 2001
 Amarti ora e sempre : Eleonora Duse e Francesca da Rimini. [Catalogo della mostra tenuta a Rocca di Gradara nel 2006, a cura di Laura Villani, Maria Ida Biggi, Maria Rosaria Valazzi ; con la collaborazione di Daniele Diotallevi]. Urbino, QuattroVenti, 2006
 Museo Teatrale alla Scala, Eleonora Duse: un vestire che divenne moda. Mostra, 3 marzo-1 aprile 1973. Catalogo a cura di Dada Saligeri; introduzione di Carlo Fontana. Milano, Arti grafiche G. Ferrari, 1973

Notes et références

Articles connexes
 Gabriele D'Annunzio
 Premio Eleonora Duse
 Teatro Duse

Lien externe

Actrice italienne de théâtre
Actrice italienne du muet
Actrice italienne du XIXe siècle
Actrice italienne du XXe siècle
Naissance en octobre 1858
Naissance à Vigevano
Décès en avril 1924
Décès à Pittsburgh
Décès à 65 ans
Mort d'une pneumonie


unmigrated- wiki-markup\- From around 1980 onward \ [...\] museums themselves are in transition. They are no longer simply repositories of objects and artifacts stored for presentation, posterity and edification. They are expected to engage with the public and compete with the rest of the entertainment industry for tourist dollars and leisure time while maintaining their learning functions.
- wiki-markup\- Stephen Weil \ [... writes\] "Some museums are celebratory, others seek to console. Some try to stimulate a sense of community, others to capture memory. And some simply offer the important refreshment to be found in breaking the grip of everyday routine." \ [...\] Weil emphasizes this by listing some figures concerning attendance at the Smithsonian and his reflections on these numbers is edifying: "Of sixteen thousand visitors interviewed between 1994 and 1996 visitors who had come on their own, not as a part of any organized school or other tour only 14 percent had come by themselves. For the other 86 percent, their museum visits were interwoven with a social experience" . As Deborah Perry, Lisa Roberts, Kris Morrissey, and Louis Silverman have pointed out (Journal of Museum Education, fall 1996), "People often come \ [to museums\] with their families and other social groups, and they often come first and foremost for social reasons. Although visitors say they come to museums to learn things, more often than not the social agenda takes precedence. Quality family time, a date, something to do with out-of-town guests, a place to hang out with friends: these are some of the primary reasons people chose to go to museums.
- wiki-markup\- Booth validated and identified three different groups of visitors and information needs \ [on science and technology museums\]: The general visitor who requires information on opening hours, prices, the Museum's facilities, what's on, notable exhibits and navigation aids in the Museum; the educational visitor who requires (in addition to the above information for general visitors) more detailed information to help plan visits...and project based information; and finally the specialist visitor who requires (in addition to the information for general visitors) detailed information concerning the Museum's collections and access to its expertise, together with links to other sources of information.


Paint and I work together full-time in Levin.
We cover most surfaces in layers of colour finding that perfect place to stop and move on.
From the days of The Learning Connexion where it was all about scaffold and huge scale to now where it's the same process, that of searching for that space which intrigues me and where the colours can chat, dance and debate and find their position in place where they can stand in a good place amongst the other colours.
Black and White are the main leaders of this game …each of these two have particular strengths which can kill or create new colour.
The texture of the brush and the paints pigment and fluidity also interests me, when the paint hits the surface how thick or thin or dry or wet all speaks sound and rhythm and all going to plan the result is tuneful!!
Whilst painting the buildings in Taita I had a couple of YouTube clips which may explain more too …they are in the Publicity section of this site.
Every day Paint and I discover more things to do …at the moment we colour lots of fibreglass 3d objects, and when the time is right the view outside beckons for some plein air.
Whatever is going on in this paint world gets expressed as we explore …its a good life!


Funko is excited to announce the blocky video game Minecraft is coming to Pop! Minecraft is all about building and exploring. The series of Pop! features characters Steve and Alex, an adorable Ocelot, and watch out - enemies Skeleton and Creeper. Collect them all in early 2018! The Ocelot Pop! figure stands around 9cm tall. Packed in an illustrated window box.


text:
using System;
using System.Collections;
using System.Collections.Generic;
using System.Linq;

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{
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            _caches.Add(ActiveCacheEnum.Green, new System.Runtime.Caching.MemoryCache("Green"));
            _caches.Add(ActiveCacheEnum.Blue, new System.Runtime.Caching.MemoryCache("Blue"));
        }

        public static System.Runtime.Caching.MemoryCache CurrentCache
        {
            get { return _caches.First(c => c.Key == _activeCache).Value; }
        }
        public static System.Runtime.Caching.MemoryCache StandbyCache
        {
            get { return _caches.First(c => c.Key != _activeCache).Value; }
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        private static System.Runtime.Caching.MemoryCache _standbyCache
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            get { return _caches.First(c => c.Key == _activeCache).Value; }
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        private enum ActiveCacheEnum
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        public static void SwapActiveCache()
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        public static void ClearStandByCache()
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redpajama_set_name: RedPajamaGithub


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category Healthy , Restaurant/Hospitality , cafeteria , and 23 more.
category allergen free , cooking , Food , and 10 more.
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category epicurean , preventative , Sustainable , and 24 more.
category monthly , healthy lifestyles , CrunchyBaby Box , and 29 more.
category CrunchyKid Box , gluten free , Babies , and 29 more.
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A Christmas short story of 2500 words.
Something strange is happening in Lakeshore, Ohio. This quiet suburb twenty-five miles east of Cleveland on the shores of Lake Erie has been experiencing an unprecedented series of small earthquakes. They began just after Thanksgiving, and as the days count down towards Christmas, the tremors are only growing stronger and more numerous. But what is causing them? And will they ever end?
A holiday short story of approximately 2500 words.


One of the most important medieval histories, the 'History of the English Church and People' was written by Bede, a monk at Jarrow, about 730. Copied at Jarrow probably within a few decades of the original, this manuscript is written in the beautiful handwriting that was developed to supply the demand for their house-author's work. It was nearly destroyed in a fire in 1731. Another contemporary manuscript of the book survives in the library of St Petersburg. Bede wrote his history for the king of Northumbria, Ceolwulf, who was a devout although not strong ruler. The book tells the story of the conversion of the Anglo-Saxons to Christianity, based on sources Bede gathered from colleagues and other books, which he referenced in his work. This page tells of Augustine, the Italian monk sent by Gregory the Great to convert the Anglo-Saxons, and his conversion of King Aethelbert of Kent. The first letter of the chapter is typical of the elegant, restrained style of decoration of Jarrow's scribes. The geometric design, narrow diagonal stripes of colour and pointed black shapes were inspired by the sophisticated book art of the Mediterranean.


text:
30 years running & £350M raised… is it REALLY worth the hype?!
22 Feb 2019 by Alice Hubley
It's crazy to think that the National Arts Fundraising School, or NAFS as it's affectionately known, has been running for 30 years. Because 30 years ago, arts & cultural fundraising was a totally different space.
Peak – photo Toril Brancher
Remember when Tony Blair got his guitar out, declared that music is power and set up the National Foundation for Youth Music? Remember when you used to describe yourself as an RFO? Remember life *before* being a registered charity?
If you answered yes then wow – you've seen it all. You're an arts veteran who has done some incredible things, and changed loads of lives. But as things have changed in the sector, how has your fundraising changed? When's the last time you actually re-wrote your fundraising strategy rather than updated the figures and dates? Or when was the last time you asked for money in person?! *gasp*. Perhaps it's time to brush up those skills so they are future-proof.
"I've been quite evangelical about NAFS since returning to work. I used to see fundraising as a 'necessary evil', but by the end of the course I felt excited and confident about how it can be embedded in everything we do. And it's fun! The School is a big commitment of money and time, but the quality of the week says it's worth it, and the learning will pay dividends."
Cat Moore, Executive Producer, New International Encounter
If you answered no then hello and welcome to the new cultural sector: one where corporate support has been steadily declining for years, you now have to compete with museums and libraries for Arts Council cash and 40% of crowdfunding campaigns raise £0. Ouch. But there is a way to play the game better and be successful – to make audiences, communities and people who can give significant £££ fall in love with you and want to support your cause.
"NAFS was just what I needed to set me off in my fundraising career. Since November 18 I've had my first successful funding application, secured my first sponsorship deal and also tried out a small individual campaign which has already had some results. This is all thanks to my learning at NAFS"
Matt Clay, Sales & Development Manager, Lichfield Garrick Theatre
So as these 30 years have changed the sector, has the course changed?
Well, yes. And also, no.
Yes in the sense that you'll get the most up-to-date information on trends within arts, culture & heritage fundraising aswell as wider charitable sector. Yes in the sense that we're here to help you be realistic and ambitious in your fundraising strategy as it is today – not holding on to old ideas of what works. Yes in the sense that attending means being surrounded by staff from venues, freelancers, touring theatre companies, local authorities, library professionals and museum folk.
"I would definitely recommend NAFS, particularly to those in local authorities who are new to fundraising. I feel I have been given the necessary tools, practised the skills and am now empowered to start fundraising."
Lynne Emeny, Business Manager, North Lincolnshire Council
No in the sense that on the NAFS, we still teach you the same fundamental principles of fundraising from private sources that work – how to write compelling grant proposals, how to ask for money in person, how to pitch to a business.
"Before Christmas I was able to secure a £10k grant towards supporting rurally based women develop digital training skills – this was using a template straight from the course folder!"
Rachel Dunlop, Participation Manager, Peak – Art in the Black Mountain
"Within three months of attending, our bid for an £80k grant was approved. The communications sessions during the School gave my confidence a huge boost, and helped me to effectively convey our case to the grants assessor"
Aziza Mills, Business Development Officer, Venture Arts
No in the sense that we haven't changed our strategic approach to fundraising. No in the sense that we've never stopped using learning from the wider charitable sector to better inform your learning. And no in the sense that we never just say goodbye at the end of the week.
"It's simply incredible that more than 10 years after attending the School I can still reach out to the course leaders and get advice on my strategy and direction immediately. They really do mean 'lifetime support' after you've attended."
Eona Craig, Director of Development, Creativity, Culture and Education
So is it really worth the hype? Just ask any of our 1,800 alumni, who say it better than we ever could.
"I have come away from the School feeling validated in my strengths and knowledge in the field, and inspired to develop myself in those areas I lack. Most importantly, it has given me the confidence to believe that I am more than capable to do my job – asking for money isn't that scary!"
Johnny Dawson, Fundraising & Development Officer, Awen Cultural Trust
The next School is 10 – 15 November, book now to guarantee your place.
What will I get from the National Arts Fundraising School?
How to convince your boss you should attend the National Arts Fundraising School
Testing Decision Science in NYC. Can you guess which worked best? 06 Nov 2019
How to make your ideas 'sticky' 19 Apr 2019
How to convince your boss you should attend the National Arts Fundraising School 04 Mar 2019
30 years running & £350M raised… is it REALLY worth the hype?! 22 Feb 2019
What will I get from the National Arts Fundraising School? 11 Feb 2019
The five common questions about the National Arts Fundraising School 11 Feb 2019

redpajama_set_name: RedPajamaCommonCrawl


A drain snake tool is used to remove clogged drain pipe. It is a long and flexible spring auger shown below. In the past, you may have to manually rotate the drain snake coil to remove the clogs. Nowadays, it is frequently operated with an electric drill.
The drain snake is also called the electric coil snake and plumber snake. Most of the time, drain snake is not used. It is only used for difficult clogs that cannot be easily loosened. Most clogs can be cleared with other less aggressive tools like a plunger. The plunger is easier to perform. You just have to ensure that the plunger is placed flat on the sink or ground to create a seal. Thereafter, you just have to push and release the plunger to clear the clogged drain. The plunger makes use of pressure to clear the clog.
Push the tip of the drain snake coil into the opening of the drain. Switch on your drill so that the coil starts rotating and penetrating into the drain. You have to push the snake coil deeper as it rotates. Once you feel any blockage or resistance, it means that you have reached the clog. You may have to apply some force to get the drain snake coil to break up the clog and penetrate through. Once the clog is removed, the drain snake coil should slide through easily. You may wish to go deeper just in case there are multiple clogs. After the removal of clogs, flush some water down the drain to confirm that the clog is removed and drain is cleared.
To prevent the drain from clogging, it is important to stop dumping solid materials and hairs into the sink. It is also a good practice to use a drain screen for your sink and bathroom to filter the solid object and hairs which would clog the drain pipes. Nowadays, the drain screen that comes with the kitchen sink may not be that effective because the filtration holes are too big. You may wish to buy a separate drain screen with smaller holes.
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Afro Rebels
NoMames
Yes, Cleveland, Puerto Ricans Are U.S. Citizens, Even the Ones Who Get Arrested for Kidnapping
By: Latino Rebels
UPDATE, 10:10 pm EST, Pagonakis said the following on a NewsChannel5 Facebook post:
He also tweeted this to us a few minutes ago:
@latinorebels My deepest apologies I know better. We ran a correction on the air. didn't report correct information from police. I'm sorry.
— Joe Pagonakis (@joeonyourside) May 9, 2013
What has happened in Cleveland this week has been both miraculous and horrific. Miraculous because three young women (Amanda Berry, Gina DeJesus, Michelle Knight) and Berry's little girl were found alive after most of the city thought the young women were long gone from this world. Horrific because the alleged suspect Ariel Castro got away with this crime for so long. Today Castro was charged with several counts of rape and kidnapping. Here is what City prosecutor Victor Perez said:
Besides this, Perez also wanted to make sure that he said something about Puerto Rico and Puerto Ricans. Perez is of Puerto Rican descent and so are Castro and Castro's two brothers. Here is what Perez said, "I want everyone to know that the acts of the defendant is not a reflection of the Puerto Rican community here and in Puerto Rico."
Ariel Castro, via Cleveland Police Dept.
Guess Cleveland Deputy Police Chief Ed Tomba and local Cleveland Channel 5 reporter Joe Pagonakis didn't hear what Perez was saying, because later in the press conference Pagonakis asked Tomba if he knew about the citizenship status of the Castro brothers. Here is what transpired. (FYI: You can see the whole 17-minute press conference here. The Puerto Rico exchange happened two times in a span of 20 seconds total.) In the first part of the video, Tomba basically said that he doesn't know, while a few minutes later he confirms that he is from Puerto Rico. That's it. Nothing else. No mention to Pagonakis that the question was ignorant, that Puerto Ricans are actually natural-born U.S. citizens. You even had Perez in the press conference who just said that he was Puerto Rican. How hard would it have been for Tomba to ask Perez to answer the question? Instead, you got one clueless person asking another clueless person a clueless question. Then Pagonakis, who for some reason protects thinks he is protecting us from some foreign criminals, has to tweet out a confirmation that the Castro brothers are "residents of Puerto Rico." No, they are U.S. citizens from Puerto Rico who reside in Cleveland. Thanks for misinforming your viewers and followers.
Deputy Chief Tomba now confirmed that the Castro brothers are residents of Puerto Rico — Joe Pagonakis (@joeonyourside) May 8, 2013
Here's the point: this world is full of bad guys, no matter where they come from. There are U.S. citizens who do evil things and get caught. There are also non-citizens who do bad things, too. But this whole generalization and fear-mongering of groups needs to stop. No, Joe Pagonakis, there is no "illegal immigrant" angle to this story, the Castro brothers are U.S. citizens just like you. How does that make you feel? We tweeted Pagonakis for clarification and to inform him of his poor reporting. We doubt he will answer.
@joeonyourside you do know that "residents of Puerto Rico" also means that they are U.S. citizens, right? He never said "residents" either
— Latino Rebels (@latinorebels) May 8, 2013
@joeonyourside you should apologize for press conference question and for misreporting information about Puerto Ricans
As for Tomba? Next time just listen to what your Puerto Rican prosecutor said and repeat it. It is not that difficult to educate yourself.
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8 responses to "Yes, Cleveland, Puerto Ricans Are U.S. Citizens, Even the Ones Who Get Arrested for Kidnapping"
EusebiaAq says:
They "NEVER"ask if "whites or Afro-Americans" are "citizens".Only if one ID's as a Latino. That's The "ugly racism" that is "coded"with any Latino in America. There once was a time that one black must be "run away slave" Nothing has change in America.
latinorebels says:
EusebiaAq So true.
GlennJerome says:
latinorebels EusebiaAq I'm trying to find out the cultural background of the neighbors. Castro played in Meringue band but Ramsey mentioned Salsa music. So I'm confused if the neighborhood is PR or Mexican? What's the other hero's heritage? Is Angel C. PR too?
GlennJerome Castro is Puerto Rican even though merengue is a Dominican-style genre, it is very popular with Puerto Ricans as well. Salsa is like a cousin to merengue, a bit slower tempo but of the same family. Angel C. is Dominican, we believe. Thanks for your comment!
rikimaru says:
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The Victorian Era England facts about Queen Victoria, Society & Literature
Key Characteristics
Courtship & Marriage
Victorian Era Homes
Victorian Interiors
Victorian Era Society
Social Class Structure
Architecture in England
Victorian Era Fashion
Victorian Era Gowns
Victorian Era Wallpapers Images, Design Patterns
The usage of wallpapers had begun around the time of the Roman Empire. However, it was in the Victorian era that it was further developed and it gained tremendous popularity.
In fact the wallpapers were the main characteristics of the Victorian interior designs. It was this feature of the wallpapers that later became a style statement for most of the people using wallpapers in their homes.
During the initial and mid stage of the Victorian period, floral patterns with red, blue and green background having overprinted shades of tan and cream were a common phenomenon. But in the 19th century, Gothic art, that is, rich earth tenor having leaf and flowers on them became a trend in all the houses.
Printed paper was used on the ceilings and fabric on the chairs was such that it matched the color on the walls thus making it difficult in some cases to separate the chair fabric from the wallpaper color.
However, during the last few years of the Victorian Revival, immense importance was given on the reproduction of genuine period wallpaper patterns that could be used in reinstalled designs.
Though it was in the Victorian era that the wallpapers were developed, it was not until the 1920s that the wallpapers were at its peak of popularity. The 1920s was known as the Golden Age of the wallpapers.
As the years went by there was an advancement in the methodology of making wallpapers. There was a new concept of stenciling the wallpapers. These wallpapers would be sponged and splattered and thus there a texture created out of it rather than just the paint walls as they had been in the previous years.
The concept of sponging and splattering the walls was such a success that at times it was difficult to separate the wallpaper from the paint. Even simulating wood grains were used by the Victorians to decorate their walls.
Found info useful?
More about Victorian age
Victorian Era Timeline
Famous Writers in Victorian Era
Bibliography – References


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Dean Richards ist der Name folgender Personen:

* Dean Richards (Fußballspieler) (1974–2011), englischer Fußballspieler
 Dean Richards (Rugbyspieler) (* 1963), englischer Fußballspieler

redpajama_set_name: RedPajamaWikipedia


text:
Andreas Uebele (* 1960 in Faurndau) ist ein deutscher Grafikdesigner und Professor für Visuelle Kommunikation. Er lebt und arbeitet in Stuttgart und lehrt in Düsseldorf.

Leben und Werk

Uebele studierte Architektur und Städtebau an der Universität Stuttgart und Freie Graphik an der Kunstakademie Stuttgart. Von 1991 bis 1995 arbeitete er als freier Mitarbeiter bei Behnisch & Partner. 1996 gründete er sein eigenes Büro für Visuelle Kommunikation in Stuttgart. 1998 wurde er als Professor für Visuelle Kommunikation an die Fachhochschule Düsseldorf berufen.
Andreas Uebele ist Mitglied im Type Directors Club New York, Art Directors Club New York und seit 2007 Mitglied der AGI Alliance Graphique Internationale.

2015 war Andreas Uebele Praxisstipendiat der Villa Massimo in Rom.

Auszeichnungen

Die Arbeiten des Büros wurden mit über 300 nationalen und internationalen Auszeichnungen gewürdigt, unter anderem 2003 mit dem Grand Prix des red dot award: communication design, 2009 mit dem Designpreis der Bundesrepublik Deutschland in Gold und 2011 mit dem Designpreis der Bundesrepublik Deutschland in Silber.

Werke
 Material. Schmidt, Mainz 2017, ISBN 978-3-87439-875-6.
 Schrift im Raum. Schmidt, Mainz 2000, ISBN 3-87439-494-8.
 WegZeichen/My type of place. Schmidt, Mainz 2003, ISBN 3-87439-645-2.
 Orientierungssysteme und Signaletik. Schmidt, Mainz 2006, ISBN 3-87439-674-6.
 Alphabet Innsbruck. Schmidt, Mainz 2009, ISBN 978-3-87439-785-8.

Weblinks

 Website des Büros Uebele

Einzelnachweise

Grafikdesigner (Deutschland)
Plakatkünstler (Deutschland)
Hochschullehrer (Hochschule Düsseldorf)
Deutscher
Geboren 1960
Mann


Tom Hanks in the movie 'Forrest Gump'.
Numerous sciences evaluate hypotheses directly against reality. These include biology and associated natural sciences, including chemistry, genetics and medical research. Applied medicine is slightly removed from reality because it tends to be influenced by social mores, religion, politics, geography, and economics.
I have been charitable to my fellow geologists by placing geology halfway between Reality and Fantasy. Appropriately, a fault runs through it. A student of geology will have a number of textbooks covering the various topics, and one, for example, will be on crystallography. A crystal can be held in the hand, have its angles measured using a goniometer, be subjected to wet chemical analysis, spectroscopy, x-ray fluorescence and diffractometry, emission spectroscopy, neutron activation, the list continues. Direct feedback places crystallography on the left hand (Reality) side of the Chocolate Box.
Geomorphology, on the other hand, dealing with the formation of landforms, falls on the right-hand (Fantasy) side of the Chocolate Box. Major river valleys have been allegedly formed by wind and rain and burrowing worms, etc. over almost limitless time, as required by uniformism. Catastrophism explains how they are the result of repeated major floods following asteroid impacts sufficiently severe to move Earth's geographic poles as the continents plunge beneath the oceans.
Continuing toward Fantasy we encounter the fields of astronomy, and then cosmology. I am not at all dismissive of astronomy, in which dedicated scientists have introduced us to many wonders of the Universe. Everything is so far away, however, that most of their explanations are based on conjecture, rather than proof. This has led to a desire on the part of astronomers to find something in their science, anything almost, that would become as universally accepted as DNA or the germ theory of disease. A claim that most astronomers agreed upon is the energy source of the Sun, and every introductory book on astronomy confirms this.
Cosmology is a different situation. Its practitioners have been inspired by celebrities such as Stephen Hawking and Roger Penrose. I read Hawking's book 'A Brief History of Time' and the errors in reasoning practically leaped off the page at me. I examined some of these in chapter #16, on 'Cosmology I'. I don't doubt Stephen had high intelligence, but he would not have got away with so many momentous blunders if not for the tragic medical affliction that trapped him in a wheelchair. He may have told people "Treat me like you would anyone else." but no one ever did. Stephen Hawking was a talented writer in a genre that is almost unique, and that is popular science-fiction that is represented as fact.
The claim that the general theory of relativity requires the Universe to be expanding has received wide acceptance. This is not a test of the general theory of relativity, however, but an example of its misinterpretation. The role of gravity has always been exaggerated while the role of electromagnetism has been neglected. Gravity may be easier to study, but that is not sufficient reason for ignoring the strongest force in the Universe.
A recent trend in cosmology has been speculation about 'multiple universes', which is a direct outcome of the complex mathematics used in the investigation of 'superstring theory'. I will compare this to much simpler calculations I have carried out as an exploration geologist, using seismic refraction equipment to search for buried channels that could host alluvial gold deposits. When the formulae used were entered into a pocket computer, two answers were produced. One was negative, which was to be discarded, while the positive one was accepted. Even a geologist can get that right. Subsequent trenching with a backhoe confirmed the depth as long as the right velocity, based on experience, was entered for the type of overburden present.
The mathematics involved isn't difficult and reminds me of when slide rules were employed, back in the days before calculators. One of the limitations of a slide rule is that it will not carry a decimal point. A parallel, approximate calculation has to accompany the actual one to keep track of where to place the decimal point. While that can seem like a pain there is a benefit as well, in that a degree of personal contact is maintained with the process, so that one retains a sense of the magnitude of values that are being employed.
Superstring theory is totally different in that enormous amounts of data are fed into a super-computer, and the operator is left with little sense of what is taking place in there. Whatever comes out is accepted, and if that means fifteen different universes without the slightest justification, then so be it. Some popular journals, like Scientific American, have promoted this nonsense for decades.
"Even the most unlikely events must take place somewhere." Such a warped concept of 'infinity' is accepted as proof that somewhere out there is a world the same as ours, with people the same as us, and one of them has my name and is writing about me just as I am writing about him. Such nonsense deserves no place within the realm of science. This would be recognized by most thinking people but not, evidently, by some practitioners of cosmology.
The Big Bang traces its origin directly to the Vatican, so there must have been another Mary and Jesus as well. I suggest the Vatican get on to this right away. Is there more than one God? Superstring theory guarantees it.
Relativity is imagined by some to represent a rebuttal to any plea for more common sense in science, by which I mean things that are more readily understandable to them. The speed of light, however, has been determined conclusively and as soon as it was found to be constant, relativity became inevitable. Without Einstein, it would have been explained, eventually, by someone else. Of course, that is not the same as saying that it would have been accepted as readily.
Science used to exist without boundaries. Students would study what we now separate out as geology and astronomy, and physics, and chemistry, and biology and other topics. But as knowledge increased, scientists narrowed their areas of interest and began to learn more and more about less and less. They became specialists.
Specialization is regarded, by those who profit from it, as sensible and necessary, and prestige and reward are tied directly to it. Its advantage lies in the increase in the quantity of scientific work that can be carried out. This increased work has led to greater numbers of scientists, and greatly increased budgets, as the frontiers of knowledge have been extended. In this manner, the grand enterprise called 'Science' has flourished.
There is also a disadvantage. As specialists concentrate their activities within an increasingly narrow field, they are required to defer to others outside of it. Specialists commonly employ the findings of specialists in other fields without question, although ignorant of problems that may be present in those fields, and the result has led much of science away from reality. Generalization, or the application of knowledge across boundaries separating various branches of science, points us toward a remedy. It must be emphasized, however, that generalization must not mean cooperation between specialists.
The belief has become established with the general public that with the progress of science there is no longer the opportunity, much less the need, for scientific revolutions. Actually, the requirement has increased, so that it is greater now than at any time in the past. Scientists defending their science are required to constantly defer to others within their own specialties. In this way, scientists end up defending not only what they know but what they don't know as well.
Players of the board game Monopoly own portfolios of hotels and railroads. Reality returns when the game ends, as most of us don't own portfolios of hotels and railroads in real life. In a similar way, some scientists dream about protecting Earth from asteroids and populating Mars and communicating with aliens. For them, however, the game doesn't end. These people are not fully in contact with reality, but the cost of their wages and travel and expensive equipment are paid for by the productive part of society.
Their failure is not due to any lack of intelligence, interest, commitment or opportunity, but the result of an organizational aspect of their training, and its application. Carl Sagan's claim "Science is a self-correcting enterprise." applies to only the left-hand side of the Chocolate Box, which is ironic since his field, astronomy, is on the right-hand side. The fault line runs through geology, and specialization makes the difference.
On the left-hand (Reality) side in the graph, specialization is not only tolerated but is widely beneficial as well. On the right-hand (Fantasy) side, where everything is a long way away, specialization consists of conjecture piled onto more conjecture by self-proclaimed authorities. As specialists pursue their own interests, the resulting fantasy is no more subject to confirmation by logical investigation or analysis than the doctrine of any religion.
In his book 'Worlds in Collision', Velikovsky examined the worldwide concept of history divided into ages. In the traditions of civilizations from Greece to Israel, and India to China and Polynesia, and to the hemisphere of the Incas and Mayas, history has been divided into ages. It may also be significant that in some of these traditions the word for Sun was used instead of one for epoch. Velikovsky reasoned that this might be attributed to the changed path of the Sun across the sky.
Geologists have divided geologic time in a similar manner so that epochs of the Geologic Time Table might as aptly be called Suns due to the changed path of the Sun across the sky for each one. The number of axis changes has been many times more than the number of recognized epochs, but this at least explains the concept.
Major extinctions of species often occurred at the end of periods, which constitute the next larger divisions of geologic time. At the end of each period, most individuals of advanced life-forms on Earth, at least on land, died. Repeatedly, multiple species would never again contribute to the fossil record. If we consider the number of past catastrophes, their evolutionary significance, the abundance of evidence they left, and the inevitability of their continued recurrence*, the widespread cult of uniformism seems perplexing. Why have we denied our history?
This question can take us far indeed — through a study of psychology, and history, and religion and politics. My intention was to explain the cause of catastrophes, and to demonstrate how all natural science has been corrupted by a denial of their occurrence. I did not intend, at first, to offer reasons for the dogma of the scientists, and yet it seemed wrong to avoid the question altogether, so I shall have something to say about it.
It is an accepted principle of psychology that some personality characteristics develop as a defense against anxiety. Children often perceive their surroundings as threatening, and we have all had to deal with insecurity in the past. Various coping skills are developed to deal with insecurity, and characteristics of adult personality develop as a result. These characteristics can be beneficial, leading to increased productivity, but the price paid may be a reduction in the free functioning of the mind. Reality becomes increasingly difficult to recognize when affected by increased anxiety.
In 'Worlds in Collision', page 298, Velikovsky pointed out that the memory of our most terrifying experiences are sometimes blotted out from consciousness, and he likened this phenomenon to a process by which entire nations came to regard their traditions as allegories, even though actual events were described. Many accounts of cosmic disturbances have come down to us which the ancients explained in terms of miracles. Because most modern scientists do not believe in miracles they have discredited the accounts along with the explanations.
Major religions of the world commemorate these events, and valuable historical descriptions are contained in numerous religious texts. The incredible level of anxiety endured by our ancestors, when every city on Earth was left in ruins, led them to replace earlier beliefs with new ones that addressed the insecurity of their time, and which we have inherited. The determined separation of science from anything religious prevents scientific consideration of any religious description of past events. If you really want to know how fossils formed you should visit a Creationist museum; these people know there was a flood.
A plausible reason for the rapid and widespread acceptance of uniformity was offered by Velikovsky. In Europe, the Battle of Waterloo in 1815 ended a period of tumult that had begun with the French Revolution, a quarter of a century earlier. There was an overwhelming desire for peace and tranquility, and the concept of uniformism fitted the yearnings of the time. In this way, a political climate may have helped to establish a scientific doctrine that would prevail as none other, and which would not find the obscurity it deserved until another two centuries had passed.
Sir Charles Lyell is remembered for his book 'The Principles of Geology', first published in 1830. This book promoted a concept he called 'uniformitarianism', now thankfully shortened to 'uniformism'. The basic thesis was "That no causes whatever have changed the earth except those that still do so under the eyes of man." So effective was Lyell in denying catastrophic change that his concept of uniformism became accepted by scientists everywhere. In time, this viewpoint would come to corrupt most of the natural sciences.
Lyell's criticism of catastrophism was inflexible and absolute, and he accused the ancients of being unconscious of their ignorance. With tremendous irony, he belittled catastrophism as dogma "…calculated to foster indolence and to blunt the edge of curiosity…" His influence was far-reaching, and his work was used by others as a foundation upon which to build. Charles Darwin developed his theory of evolution in part upon a principle that not only lacks proof but flies in the face of evidence that was sufficiently known, even in the time of Lyell.
In a West Yorkshire cave, 440 meters above sea level, and buried beneath 4 meters of clay and boulders, were found numerous remains of hippopotami together with those of mammoth, rhinoceros, bison, and hyena. By way of explanation, Sir Charles Lyell, writing in 'Principles of Geology' speculated on a time when African hippopotami swam north to spend their summers in England, making a timely retreat to the south before the snow and ice set in!
A comparison between uniformism and Darwinism provides rather less difference than one might expect. Darwin saw 'natural selection' as a gradual process in which small random changes passed through environmental filters. He developed that concept, however, at a time when DNA could only be imagined and there was no science of genetics. Add to this the major influence of oceanic flood upon evolution, and there might not be a lot left for Darwin's natural selection to describe. Of course, asteroids are natural, but to follow this line of reasoning would require us to redefine natural selection simply to retain the term.
My respect for Charles Darwin is substantial because this man who had trained to become a minister of religion, living in the time he did, came to recognize that evolution is the result of natural processes. He saw all life as related and descended from a common ancestor, but he cannot be blamed for not coming up with a definition of evolution that would satisfy us now, as no present geneticist has accomplished that. Darwin might have come closer to that objective, however, if he had been less influenced by the uniformist views of Charles Lyell. Still, Darwin was a superb analyst who made numerous contributions to science, such as his observations on the formation of atolls in the Pacific, which were made during his famous around the world voyage on the ten-gun brigantine-sloop, 'HMS Beagle'.
Few large land animals escape the greatest catastrophes, when continents plunge beneath the oceans; oceans which may then turn acidic from volcanism so that the food chain collapses. Catastrophes vary greatly in the extent of their destruction, from along the meridian of maximum latitude change to where the ends of the temporary turning axis connect with the surface of the Earth. Those two points do not change their latitude or longitude at all, and if one should fall on an upland area far from the sea, it could provide sanctuary for the inhabitants. This brings us to an important factor that escaped Darwin as he struggled to explain the causes of evolution, and that was luck!
It is upon the foundation of chance destruction, chance survival, chance association and chance opportunity that the science of evolution must be based. This also brings us to the major driving force of evolution: oceanic floods resulting from axis changes which are the result of massive asteroid impacts. In every major flood, most individuals of dominant life forms from the lowlands die. This provides an opportunity for less dominant and often smaller forms from the hinterlands to take over niches which have become available.
Others, not always as eloquent, shared Shelton's conviction, and scientists vied with each other in making uniformism the deity of their profession. No science could be based upon a hypothesis, so uniformism was elevated to a principle, which reflected beneficially upon its practitioners. Geologists claim that their understanding of their science is based upon "…centuries of patient observations and careful insights." As one modern textbook states: "Step by slow step we are beginning to understand how the earth works." ('Physical Geology' by Skinner and Porter). Even to question uniformism had become heresy.
A true explanation of the universal acceptance of uniformism may transcend yearnings for security by Europeans following the Battle of Waterloo, to touch the psyche of humankind. Every religion promises an alternative to the insecurity of life followed by the blackness of death. Any who believe they will go to heaven and have eternal life must feel good about it. Similarly, those who accept assurances that geologic processes happen only gradually will feel good about that as well. None of us wants to get caught up in a geologic catastrophe.
The essence of every religion is the substitution of certainty for uncertainty. This happens to be the aim of science also so that in this respect theologians and scientists can be said to be engaged in a comparable endeavor. The proponents of religious fundamentalism claim that if we will accept their vision we will enjoy everlasting life, while a scientific claim is that the destiny of humankind is to spread throughout the galaxy and populate other worlds.
Note that in both scenarios we'll be just fine, which carries the unfortunate implication that caring for this world is not much of a priority. That every society in the past has functioned out of contact with reality matters little, except for species sent to their extinction along the way. With our ability to totally destroy ourselves, we must recognize that we are a part of the natural universe and subject to its edicts and limitations. We can limit our numbers and our demands on this planet, or cease to exist, a rather more important concept, I submit, than any individual rights of procreation, pollution, and devastation without constraint.
Those who promoted the uniformist view of science in the early 1800's were probably repelled by considerations of catastrophism, and may even have been influenced by their personal belief in a merciful God. If this interpretation is correct it is ironic indeed, for competition was provided the scientists by Christian fundamentalists who sought evidence for the Noachian flood described in the Book of Genesis. These were the Creationists and they believed in catastrophism. If secular scientists had not vehemently denied and tried to suppress claims of a worldwide flood it is likely that the Creationist movement would not have attained nearly the degree of influence it has reached in America today.
History belongs to us by right of birth, and science belongs to us because we pay for it. Scientists have appropriated science for themselves and changed its language to one only they now comprehend. They have devalued the wisdom of the ancients and impoverished our culture by doing so. I read 'Target: EARTH' by Allan O. Kelly and Frank Dachille with a sense of regret. It was published while I was in high school, but I did not become aware of it until decades later. It helped to develop my concern about what constitutes the scientific wisdom of our times. In short, much of it offends me.
Transgressive seas and axis changes and oceanic floods and ray craters and splosh craters and island arcs and magnetic reversals and fish strata and the Big Bang and missing neutrinos and missing dark matter and missing dark energy and longitudinal sand dunes and comets and frozen mammoths and ice ages and interglacial stages and snowball earth and cosmic rays and cosmic strings and super strings and tektites and marine terraces and submarine canyons and salt lakes and hippopotami bones and canals for seals and tsunamis and Valles Marineris and topsoil and varved clays and badlands and the Scablands and planetesimals and the asteroid belt and the energy of the Sun and fossil forests and Olympus Mons and black holes and wormholes and interglacial stages and Folsom points and yardangs and Australian glaciation and the Belcher islands are not concepts that can be corrected with a little scientific fine tuning. Instead, they are interconnected components of an extensive system that is perpetuated by a pampered class in society, not all members of which are fully in touch with reality.
"To be a scientist is not only to do what scientists do, but to accept what scientists accept – especially the paradigms that one's predecessors and colleagues have built": A Professor of Sociology at an American University. This goes a long way toward explaining how fantasies constituting the science of cosmology, in particular, have become so widely accepted by scientists, who promote them in turn to the general public.
To be a scientist one has to "…accept what scientists accept…"? This is unadulterated nonsense. So much science on the right-hand side of the Chocolate Box is wrong, so what logical argument can be made for accepting it? To be fair to the professor, he was probably describing a circumstance rather than implying an imperative. One advantage being gained by deceiving the public is a perceived social benefit for those seeking to bask in approval provided by the 'Old Boys' Network'.
It all comes back to the Chocolate Box. On the Reality side science progresses as well as any human endeavor can be expected to function. They have their own specialists, as well as 'peer review', although to quote Dr. David Moher of the Ottawa Hospital Research Institute: "We do not have any strong evidence anywhere that peer review works." At least peer review is tolerated on the Reality side, while on the Fantasy side it has morphed into the pastime of protectionism.
When well-known astronomer Fred Hoyle collaborated on the 'Steady State Theory', he marveled at how it was attacked "with an almost insensate fury". It is clear that the further ideas are removed from the opportunity for hypotheses to be evaluated directly against reality the more outraged are the cries of dissent by those defending their faith. Researchers in genetics or biology who are pretty sure of their facts will generally listen respectfully to alternative suggestions.
The foundation stones of Cosmology are the 'redshift of galaxies' and 'microwave background radiation'. Both of these were misinterpreted and subsequent conjectures were piled on top.
Geology has the opposing principles of 'uniformism' and 'catastrophism', and you know which one of those is correct.


Urban Brewing Co. brewer, Geofrrey Roeloffze, with the silver SANBT award.
Hout Bay's Urban Brewing Co. scooped a prestigious Silver Award for their Monkey's Paw Pilsner, at the fourth annual South African National Beer Trophy (SANBT) competition, at the Beerhouse, in Cape Town.
This is the second year in a row that the Urban Brewing Co. has been recognised at the SANBT.
Last year, the brewery walked away with a prestigious Gold Award for their Judas Peak Blonde Ale and a Silver Award for their Monkey's Paw Pilsner.
The 2018 SANBT is the largest beer-tasting competition in Africa to date, with 212 entries and more than 20 judges.
The panel included official Beer Judge Certification Programme judges. The Urban Brewing Co. is situated on Harbour Road next to Hout Bay's Bay Harbour Market, and their beer maker, Jörg Finkeldey, is crafting beers inspired by the immediate environment in Hout Bay, from spring water sourced from the Hout Bay mountains.
The brewery has become a popular destination in Hout Bay for craft beer enthusiasts.
"Winning this award means that our beer is recognised by a panel of judges as being of exceptional standard and outstanding quality.
"Winning a medal for two consecutive years at the South African National Beer Trophy (and also at various other competitions) tells us that our beer passed the very strong quality attribute of consistency," Mr Finkeldey said.
The judges were very impressed with the quality of the beers entered this year, and this led to the pass rate being pushed up to 39/50 to be awarded a silver medal.


text:
Q: how to sort an NSArray of nested NSArrays by array count? I have an NSArray that contains nested NSArrays. Im looking for a way to sort the parent array according to the object count of the nested arrays in ascending order. so if [array1 count] is 4, [array2 count] is 2 and [array3 count] is 9,  i would get : array2, array1, array3...

A: There are a few solutions, one of which is:
NSSortDescriptor *sd = [NSSortDescriptor sortDescriptorWithKey:@"@count"
                                                     ascending:YES];
NSArray *sds = [NSArray arrayWithObject:sd];
NSArray *sortedArray = [array sortedArrayUsingDescriptors:sds];

A: static NSInteger MONSortObjectsAscendingByCount(id lhs, id rhs, void* ignored) {
/* error checking omitted */
    const NSUInteger lhsCount = [lhs count];
    const NSUInteger rhsCount = [rhs count];

    if (lhsCount < rhsCount) {
        return NSOrderedAscending;
    }
    else if (lhsCount > rhsCount) {
        return NSOrderedDescending;
    }
    else {
        return NSOrderedSame;
    }
}

/* use if mutable, and you wnat it sorted in place */
- (void)sortUsingFunction:(NSInteger (*)(id, id, void *))compare context:(void *)context;

/* else use */
- (NSArray *)sortedArrayUsingFunction:(NSInteger (*)(id, id, void *))compare context:(void *)context;

redpajama_set_name: RedPajamaStackExchange


text:
Home>Music> Top Tracks: New XXXTentacion Sure Bet For #1
Top Tracks: New XXXTentacion Sure Bet For #1
By Patrick Lyons
@P_Lyons_
Jason Koerner/Getty Images
XXXTentacion's "Bad!" becomes his third posthumous single to debut at #1 on our chart.
Since XXXTentacion was killed this past summer, his stock has rocketed on our weekly chart. He had zero #1 debuts at the time of his death. Four official posthumous tracks have been released to date (features on songs by Sauce Walka and Trippie Redd were taken down days after arriving online), and of those four, three have debuted at #1 on our chart. The fourth, his and Lil Peep's "Falling Down," was only kept out of the top spot by an uncommonly strong few weeks for Eminem and Machine Gun Kelly during their beef. It certainly looks like his first posthumous album, whenever it's released, will do numbers despite the ugly pall of sexual assault that hangs over X's legacy.
This week, Lil Wayne is the only artist with two appearances inside of the top ten. New tracks barely missing out on spots include The Diplomats' "Sauce Boyz" (#11), Lil Durk and Kevin Gates' "Play With Us" (#12), Tee Grizzley and Chance The Rapper's "Wake Up" (#13), and Anderson .Paak's "Who R U?" (#14).
10. Lil Wayne Feat Post Malone - What About Me
Last week, Lil Wayne shared two post-release Carter V bonus tracks, each one featuring a prominent star in their own right, and both coming in towards the bottom of our top ten this week. The first is the Post Malone-assisted "What About Me," which debuts at #10.
9. Lil Wayne Feat. Gucci Mane - In This House
The second consecutive Weezy entry in this top ten is the "In This House," which features Gucci Mane and samples Frank Ski's "There's Some Hoes in This House." It debuts at #9.
8. Metro Boomin Feat. 21 Savage, Travis Scott & Kodak Black - No More
We don't get a lot of tracks hanging around for a second week on the top ten, but when we do, it's usually songs from albums that dropped on Fridays and only had three days of eligibility to make their chart debut. That's the case with "No More," a star-studded cut from Metro Boomin's recent Not All Heroes Wear Capes album, which holds steady at #8 in its second week out.
7. Earl Sweatshirt - Nowhere2go
Just days after showing up for a hot 20 seconds on Vince Staples' FM!, Earl returned with his first actual new music in 3.5 years, dropping "Nowhere2go" last week after some teasing on IG. This one debuts at #7.
6. Ice Cube - Arrest The President
Cube doesn't release a ton of music these days, and when he does, he's not usually getting the most views on HNHH. But a political banger is certainly one way to right that, and his latest joint, "Arrest The President," debuts at #6.
5. Ariana Grande - thank u, next
Ariana Grande used to rely on features from noteworthy rappers to get into the top ten, but thanks to her recently-upped public profile, rap listeners seem to be checking for her now (even if it's just to unleash a barrage of sexist ideology in the comment section). Her new single, "thank u, next," which is now the #1 song in the country, debuts here at #5.
4. Takeoff - Casper
The second of two holdover's from last week's top ten, Takeoff's "Casper" seems like it could be the sleeper his from his quietly great debut solo album. In its second week out, The Last Rocket's "Casper" is up five places, leaping from #9 to #4.
3. Blac Chyna Feat. Yo Gotti & Jeremih - Deserve
This one has the feel of a car crash that you have to slow down and look at, but nevertheless, it racked up the views. Blac Chyna's musical debut, the Yo Gotti and Jeremih-featuring "Deserve," debuts at #3, perhaps off the strength of sheer incredulity alone.
2. J.I.D. Feat. J. Cole - Off Deez
Dreamville's J.I.D. is just weeks away from the release of his album Dicaprio 2, and to drum up some interest for it, he dropped off a new single featuring his label boss last week. "Off Deez" debuts at #2.
1. XXXTentacion - Bad!
This thing's only a hair over 90 seconds in length, but still, it debuts at #1.
Music News Original Content top tracks Lil Wayne Gucci Mane Post Malone Metro Boomin 21 Savage Travis Scott Kodak Black Earl Sweatshirt Ice Cube Ariana Grande Takeoff Blac Chyna Yo Gotti Jeremih J.I.D J. Cole XXXTENTACION top 100 top 10 bad posthumous song charts
Action Bronson, ScHoolboy Q, & More Celebrate Mac Miller In Backstage Pic
Kanye West & Kid Cudi Accused Of Stealing Stage Design From Lorde
MUSIC Top Tracks: New XXXTentacion Sure Bet For #1


This page contains a video lesson to help you improve your Catalan. Also don't forget to check the rest of our other lessons listed on Learn Catalan. Enjoy!
The following video might help you in your Catalan learning process. You can also check our Audio page for more audio lessons.
Watching videos and hearing audio files is very important in improving your Catalan. Once you're done with the Català video lesson, you might want to check the rest of our Catalan lessons here: Learn Catalan. Don't forget to bookmark this page.


text:
Annibale de Gasparis
Title: Annibale de Gasparis
Subject: List of minor planets/1–100, 24 Themis, 10 Hygiea, 11 Parthenope, 13 Egeria
Collection: 1819 Births, 1892 Deaths, 19Th-Century Astronomers, 19Th-Century Italian People, Discoverers of Asteroids, Italian Astronomers, Recipients of the Gold Medal of the Royal Astronomical Society
Annibale de Gasparis (November 9, 1819, Bugnara[1] –March 21, 1892, Naples; Italian pronunciation: ) was an Italian astronomer. From 1864 to 1889 he was the director of the Astronomical Observatory of Capodimonte in Naples. His name was occasionally written Annibal de Gasparis, including by himself.[2]
He won the Gold Medal of the Royal Astronomical Society in 1851. Awarded the Lalande Prize in 1851 and 1852.
The asteroid 4279 De Gasparis as well as the lunar crater de Gasparis (30 km in diameter) and the Rimae de Gasparis (a 93 km long fracture near the crater) are named in his honour.
Asteroids discovered: 9
10 Hygiea April 12, 1849
11 Parthenope May 11, 1850
13 Egeria November 2, 1850
15 Eunomia July 29, 1851
16 Psyche March 17, 1852
20 Massalia September 19, 1852
24 Themis April 5, 1853
63 Ausonia February 10, 1861
83 Beatrix April 26, 1865
^ Hockey, Thomas (2009). The Biographical Encyclopedia of Astronomers.
^ Letter from de Gasparis to Benjamin Valz announcing the discovery of 10 Hygiea in 1849
Various, (2009). The Observatory - A Monthly Review of Astronomy 1892. pp. 231–232.
Longo, Giuseppe. "Annibale de Gasparis" (PDF).
Articles needing additional references from January 2013
Italian astronomers
Discoverers of asteroids
Recipients of the Gold Medal of the Royal Astronomical Society
19th-century Italian people
Italian astronomer stubs
Italy, Rome, Milan, World War II, Campania
European Union, United Kingdom, France, Germany, Canada
Solar System, Mars, Earth, Apollo program, Pluto
List of minor planets/1–100
Düsseldorf-Bilk Observatory, Robert Luther, Paris Observatory, Hermann Goldschmidt, Marseille Observatory
24 Themis
Themis, Greek mythology, Jupiter, Mass, Proton
10 Hygiea
Earth, Julian year (astronomy), Solar System, Greek mythology, Jupiter


NDOT has mapped stormwater assets within the NDOT right-of-way. A sample of the asset data is accessible through Google Earth and the KMZ file links below. The asset mapping includes outfalls, drop inlets, manholes, treatment structures, pipes, channels and basins.
GIS Data Disclaimer: The Nevada Department of Transportation (Department) can provide data layers for informational purposes only via a Public Records Request.
Data layers were compiled from various sources and are NOT to be construed or used as a "legal description". Data layers are presumed to be accurate, but accuracy is not guaranteed. While the Department has attempted to ensure that the information contained in these data layers is accurate, the Department expressly disclaims all warranties of any type, expressed or implied, including but not limited to, any warranty as to the accuracy of the data, merchantability, or fitness for a particular purpose. The Department does not assume any liability for any errors, omissions, or inaccuracies in the information provided regardless of the cause of such or for any decision made, action taken, or action not taken by the user in reliance upon any data provided herein.


Yes, Control Traktor Remix Decks with any MIDI controller without F1. Our own tool RemixDeck Mapper is now available! RemixDeck Mapper allows one to control Traktor Remix decks without F1 controller. Users can use this software for controlling all remix decks using any MIDI controller they already have.
Windows only at the moment! The donate version is availble starting today!


Bhubaneswar: Justice MM Das Commission, probing the multi-crore chit fund scam, submitted its 6th interim report to the State Government on Friday. The Commission handed over its report to Home department.
In the 6th phase verification of affidavits, the Commission has identified 1,43,463 small investors.
As many as 6 lakh depositors have submitted their affidavits late. All the affidavits will be made digitization to identify real small depositors. The big investors will be identified after the verification process of small depositors got over, the Commission added.
The identification process would take more two-three years to complete, the Commission said.
The Commission had submitted its fifth interim report on July 13 last year in which it has identified about 50,000 small investors and issued notice to 486 chit fund companies.
The Commission has so far identified 3,61,817 small investors and recommended the State government to take measures to refund money. The State Government had set up a ` 300-crore corpus fund in 2013 to refund small depositors.
The State Government had formed the Commission of inquiry on July 9, 2013.


There's a ski lift right outside the back door of The Appalachian at Mountain Creek– behind the heated pool that's open all year – and steps away from your studio, one or two bedroom apartment, should you choose one on ground level.
In summer, it will take you a bit more time to climb the hill to the multi-ride Water Park, but if you're into such things, you won't mind. There's a Lazy River, enormous wave pool, the H-2-O-No! slide, High Anxiety, and many others to set your teeth on edge. If solid or liquid water sports are not your thing, there's always mountain biking. Chair lifts are designed to carry you and your bike to the top of the trails.
Should the weather outside be frightful, inside there's a Virtual Bowling Alley, a full old fashioned arcade with pool table, and a walk-in Laser Tag game – plus Jack & Otto's a new café and trendy bar with a row of mismatched skis as backboard.
Next door, the Red Tail Lodge @ Mountain Creek is a full-service ski and mountain-bike lodge, with ski and bike rental shops, ski and bike repair service (even if you bring your own), and of course food concessions and Hawk's Nest Restaurant (with cool ski-back stools at the bar). There's a Brick Oven Pizza and Sushi bar upstairs.
Mountain Creek just purchased the 18-hole Golf Course and Ropes Course at Great Gorge, so get ready for more choices. Mountain Creek features a pool of 90 apartments in both the Appalachian and a few miles away at Black Creek Townhomes available to rent from owners, so each will be different. Make sure when you call in to request one location or the other. In season apartments from $269 studio to $369 for 2-bedroom per night.
For more to do in the area, check out this Sussex County Travel Post.


text:
June 9: New Paltz Color 5k
May 18: The 2019 New Paltz Bike Swap
May 25-27: Woodstock-New Paltz Art and Crafts Fair
June 16: New Paltz Challenge
June 15-16: Hudson Valley Wine and Chocolate Festival
LOW WAGE LIVING
For Colored Girls
Lovesick Limericks
April 29, 2010 November 10, 2010 Jaime M. Prisco 6358 Views Cliff Venho, creative writing and literature instructor, creative writing major, creative writing program, Dennis Doherty, English major, Honers's Center, Howard Good, Jaime Prisco, Joeseph Campbell, Journalism program, Laurence Carr, Left hand Waving, Lovesick Limericks, Nicole Dezendorf, poetry, poetry board, professor, RateMyProfessor.com, State University of New York (SUNY) at New Paltz
Faculty and students filed into the Honor's Center, anxious to hear professors from the State University of New York (SUNY) at New Paltz read their original poetry. The room went quiet as Howard Good, one of the night's featured poets, approached the podium to announce Dennis Doherty as the first reader. The audience erupted into a loud applause.
"Now, you realize when I come up if you don't do the same, I'm going to be crushed," said Good jokingly.
This marked the beginning of the evening's reading, an event where many came to see their professor in action or just to listen to live poetry.
"It's always nice to hear poems get read out loud," said Nicole Dezendorf, a second-year English major. "It's totally different than just seeing them on paper."
Doherty stepped up to the podium calmly, clad in jeans and cowboy boots. The professor wears many hats; he serves as director of the creative writing program at SUNY New Paltz, chair of the poetry board and a creative writing and literature instructor.
His first poem, "Wildlife," described the different roles people play in their everyday lives.
"Dennis, Papa, Papa, Mr. Doherty, dear," Doherty read, as the audience watched in silence. His poem alluded to the many faces of Doherty that are portrayed within a day.
A crowd favorite was "Epic," a mock-journey about the world's fascination with technology, inspired by Joseph Campbell and his ideas of the hero. Doherty referenced major technological hang-ups including Facebook, Xbox, cell phones and other developments that he feels distract more than they inform.
"Go to rate my me. 'I supposed he was sort of OK, but all hung up on his own breathing and shit, and it's like, what about my happiness?'" said Doherty, mockingly speaking about students' comments on the website, RateMyProfessor.com.
The audience roared with applause at the end of Doherty's set as Laurence Carr approached the front of the room.
Carr, a dramatic and creative writing instructor, displayed his love for drama when he read his poetry. Unlike Doherty, Carr walked all around the podium, hands flailing and voice booming.
Carr's first poem focused on nature, describing a slug sitting in a glass of beer.
However, his poetry quickly turned into more worldly satire. He took a political turn with a poem about Osama bin Laden hiding out in the mountains called "Khyber Pass Ramble: A Fragment of an Open Letter."
"Oh, where have you been Osama my son, oh where have you been my darling young one," Carr said. "Where ya been, baby. We miss you."
Good was the last to read. He is the coordinator of the journalism program at SUNY New Paltz and the author of 18 print and digital poetry chapbooks. He is also co-editor of the online literary journal, Left Hand Waving.
His poetry is short and often bitter, as he said, with selections focusing on the idea of love in all of its different forms.
"It isn't love if our embassy isn't burning," said Good, reading a line from his poem, "Lovesick."
Though Good's poetry and explanations often evoked laughter from the crowd, he also touched upon somber topics in selections like "Songs Without Words," a poem about a student of his that passed away.
"The clock deserted her and ever since it isn't late but it feels it," he said.
However, Good's reading took a different turn when he shared "Pig/Iron," a poem he wrote when he found out pigs can have an orgasm for thirty minutes.
"I thought to myself, that's a poem," he said as the audience laughed. "Well, it is."
When the night came to a close, many students said they were thoroughly impressed with each poet's ability to show emotion and feeling through their words. Some said they felt like it gave them hope to pursue a career in creative writing.
"I was surprised to see how many people were here," said Cliff Venho, a second-year creative writing major. "As an inspiring writer, it's good to see so many young people come out to support and celebrate local writers."
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text:
Then out of the blue, dumb luck, I got a call from the Oingo Boingo people who I'd known slightly in college. They were doing a feature film and they wanted animation and they knew that I was a friend and that I knew something about animation. It just came at a perfect time for me to just cut loose. So I did a piece to just show them what I was thinking about and they were very excited about it. It was for this movie called Forbidden Zone. It was an underground feature directed by one of the Oingo Boingo guys, Richard Elfman. His brother is the composer Danny Elfman. Susan Tyrrell is in it, Joe Spinell is in it. The Kipper kids, Viva, the Andy Warhol Superstar. A lot of these people are still around. And this movie's been revived in the last few years. They made a great DVD of it, it was in black and white and they colorized it, which I thought was just a total commercial, grasping way to squeeze more pennies out of it. But the colorizing is beautiful. Lovely. It really enhances the film. The posters were done in the 80's with that kind of punk graphics, skateboard graphics, very garish colors. Which is what I assumed they would do with Forbidden Zone but they did it more with pastels and really sensitive colorations.
AS: The movie combined animation with live action?
JM: It's a live action picture. In fact the picture was done before they had any animation but they realized they needed it. The animation comes when the action starts to lag a little bit, almost at regular intervals. Some of my stuff sort of pretends to be live action because I do cut-out animation from cut-outs I make of the characters.
AS: Kind of like Monty Python?
JM: Some of it's very Monty Pythonesque, some of it's very much like Fleischer Brothers animation. You know- weird, rubbery things. We were working with an animation place in Hollywood. They had worked out what they call a photo-roto process– where you put a lamp into the camera to shine down and you can trace frames. Well they took it a step farther and used photographic paper and used it as an enlarger in a way. And then you had pegged frames that you knew related to the film.
So we did a scene where you fly into this girl's mouth. She's screaming and you fly down her throat. And you know I was able to pick up on the camera zoom and match that in the animated zoom. In fact Bob [Boyle] did a very similar gag in one of his movies called Nocturne where you zoom in on this window in LA. Once the window fills the frame it becomes part of the footage filmed on stage. And it matches. Very clever. It's a matter of measuring things. Taking a 100th inch ruler and measuring and doing it with your brain. Because the computer wasn't smart enough to do it in those days. It was a wonderful experience.
So we did this picture and it got me to LA and it got me a place to live and made a few bucks. From the animation I wound up going to work for Roger Corman which is a whole other thing. It was great because [James] Cameron worked there in those days. I just worked on these two space movies, Battle Beyond the Stars and Galaxy of Terror.
AS: James Cameron was on Battle Beyond the Stars wasn't he?
JM: Yeah, he started out as a model maker and wound up basically designing the picture. And then we did a second movie, Galaxy of Terror. It was a sort of "Ten Little Indians in space" kind of movie and Jim was the Second Unit Director and the production designer officially and, except for the fact that it's not a very good movie, it looks a lot like Aliens and we did it for nothing. There was Jim, there were the Skotak brothers, who you may have heard of. They picked up a couple of Oscars working with Jim. And they are incredibly interesting guys who taught me how to do perspective miniatures and all those kinds of things.


Twitter is a wonderful place – you can pick arguments with people the world over, especially renowned experts!
A friend posted his shock at the fact that a UK ISP, for customer verification, simply asks them the password, which means the rep can see the full plaintext password on screen!
Needless to explain that this is a terrible idea – despite the clear disastrous consequences, using the same password everywhere means that once discovered it can be tried on all your online accounts. And so, I commented that the "3 (or 2) letters from your password" is a much better way to do things (explained in my previous blog post.) Which is plainly true.
I got so much flak for this statement. But it gets better! Apparently, hashing those letters so that a trivial SQLi attack can't reveal them with a trivial bit of decoding is all sorts of wrong, because it isn't completely bulletproof against an attacker who has total access to the server. Needless to say, I'm arguing with people who should know better, but who apparently haven't the wit to see that Better is better than nothing at all.
So, what do I propose for storage of the otherwise plaintext password? Quite simple.
So, back to our problem. It seems that InfoSec (Information Security) hasn't yet caught up with PhySec (Physical Security) in some respects. When a user goes to a safety deposit box, how does the facility stop people trying random keys? Or from opening another person's box with a stolen key? They use what is called a Guard Key. This is what the guard holds. This is analogous to a salt for the facility – without it, you aren't getting anywhere.
The result? A database table with lots of impossible to recover individual letters from that second-level password. Yes, it would take a good half a day to code this. Yes, it would require a little extra CPU to check.
Now, on log-in, much like many banks and on-line applications, or when calling customer support, you would be asked not for your full password, but for 3 characters from it, positions chosen at random (but not adjacent) and on entry, those 3 entries would be hashed in exactly the same way as the original password, and if the result was the same then you would be granted authorisation. For "second level" online authorisation, you have that first password – or you could do it the other way around. Either way, the odds of someone guessing the correct 3 letters is, as I pointed out last time, 26^3 -> 17,576 to 1 – and, of course, you could use the numbers, special characters, or even Unicode, to increase that 26 up to 36+. And 36^3 -> 46,656 to 1.
Other advantages: If someone steals the database through an SQL injection attack, they will have fun working anything out. A keyboard logger will only get the characters used, not the whole password, limiting re-use attacks (and a drop-down selection menu could stop that too). Customer services can't learn the entire password (unless the customer tells them it – and that's hard to stop) but it would help. Fishing attacks with cloned websites would be harder to pull off – customers who were fooled would have to enter the 3 letters several times for it to be likely anyone could guess the whole thing to then successfully log-in, and it would also make automated attacks slightly harder. (Yes, of course you would need some form of lock-out penalty, but you need that anyway!) And, best of all, "Password1" becomes an almost tolerable password! It stops the user defeating their own security, as far as possible.
Ok, who out there spotted the "old school" cyptographic attack? Hashing isn't the only thing in the world that can crack open a password! Back before the days of computers, there were lots of people who wrote and broke ciphers. If you've read this far, it is likely you have, too. The Caesar Shift is a simple one, where you bump each character on by, e.g. three. "Hello" becomes "Khoow". Removing three from each letter reveals the original word. The most famous on the internet, from the "olden days" was ROT13, which shifted it 13 places. Shifting it 13 places again, in either direction, reveals the plaintext.
So, what's that to do with this? Well, if you use the same salt for the entire database, you would easily be able to determine, from letter frequency analysis, what certain letters were. And by feeding those in again, and making some guesses, you could determine what the weaker passwords were, and large parts of the more secure passwords. This, of course, would be bad. So, we have to use a salt that changes for each person/password, otherwise all our hard work would be trivially undone! In fact, it would also be worth using, although slightly more technically difficult, a different salt for each of our broken-out characters we are hashing. This would prevent someone even taking a guess at a terrible "password" like "aaaaaaaaaa1" from the database table. That's because, as previously explained, the hashes are all almost completely different, even if only a single character (in this case, the salt) has changed.
Imagine you had a simple hashing that only returned any input as a single letter of the alphabet. You can see that although you might not be able to figure out the letter directly, you could try all the letters, and then the numbers, and the capital letters, and you will then find that, because there are only 26 possible results, some inputs give the same outputs. What this means is that if you typed in a long, strong password with lots of special characters, the hash that the computer sees would be a single letter (because you don't want to be sending a plaintext password, and that plaintext password wouldn't match the single letter hash anyway) If you knew the result of the hashing for the word "Fish" was the same as that super secure password, you could just type "Fish" at the password prompt, and the hash would match, letting you in with a completely different (weak) password. Indeed, with a single letter hash, that super password, and the weak password Fish would both boil down to the same result as a single character input!
So basically, they are bad.
As an aside, there is a mechanical lock from Master, the Speed Dial. This allows an arbitrary (any length) combination of movements as the passcode. However, it acts as a sort of hash function. As the most trivial example, pushing left 5 or 9 times is the same as pushing left once, left 6 or 10 times is the same as pushing left twice, and so on. It loops after 4 pushes in any one direction. (It is more complex than this though, it's a clever design) but what this means is that a long and complex code might well be replaced by pushing left once!
If an attacker gains access to the system, they have access to the database and the salts. Or even easier, the web site developer may be disgruntled and take/reveal the salts.
This offers very little protection.
Security questions (yes, fake answers are recommended) are "just another password" but offer a whole lot more protection than individual characters.
If an attacker gains access to the server side system, and the salts, then you've already lost. They've got everything already – breaking the salted passwords just means they can try them elsewhere too.
Client side hijacking is far more likely in my opinion – millions of barely secured baskets with a few hundred eggs in each, versus a far more secure basket (with, hopefully, professional IDS and staff) that holds perhaps millions of eggs, but only one for each person. Things like wifi power gain analysis (the slight movement of your hands changes the wifi power slightly during text input) can reveal keyboard input from your smart phone without any idea what is shown on the screen. In that case, or if CCTV or good old shoulder surfing were used to monitor the input (as found in so many places now) then the attacker has to repeatedly monitor you to recover the entire password. That, to me, is worth far more than it reducing the time for an attacker to break the individual characters in a secondary auth which still isn't useful without the other password. Indeed, I would still prefer this over nothing. Remember – it is an extra step, but far better than simply using two passwords (or a security question) that are both exposed entirely and fully each time they are used.
Yes, an attacker could watch for potentially weeks or months to get the password, but they are more likely to steal the cookie/session from a person if they can't directly get the entire password trivially. But that, like the server side attacker, isn't what this is protecting against.