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RPG TITLES » World Of Warships » World of Warships: A Puzzle of Teamwork: The Story Behind the New Site of World of Warships
World of Warships: A Puzzle of Teamwork: The Story Behind the New Site of World of Warships
March 9, 2022 World Of Warships
If you type "World of Warships" into your browser search bar, the very first link will lead you to one of the game's promo sites. Up to now it has looked like this:
World of Warships has not required a fully branched portal, although it will inevitably get one soon. It has already outgrown the "business card site" format and, last year, the game witnessed several important milestones. The alpha version went live and the game finally got its own blog where the developers were given an official broadcasting channel to fill with new content week in week out. Previous versions of the promo-site failed to reflect these vital developments and it soon became apparent that something needed to be changed. All that followed was, to a large extent, a result of brilliant teamwork.
Everything started with the initial visit of Ivan Moroz to the St Petersburg office with a task for us. We were asked to create a new, high-quality and contemporary promo-site that utilised parallax technology – an optical illusion of independently moving layers and, in our case, one that would involve ships.
The challenge was accepted and work started in the typical manner for a designer- with initial sketches. Both St Petersburg and Minsk-based artists joined forces to face the task of creating a static picture that would be coupled with moving elements.
Some of the proposed variants looked nice only in the static state and not when they were moving. Others looked pretty dynamic but did not consider the technical aspects of the project.
From left to right: Media, About game, Fan Kit, Blog, Testers, Forum, Social Networks
Finally we chose a sketch. The art was developed in St Petersburg and the technical/design aspects in Kharkiv; Minsk coordinated all activities. So, essentially, three countries were involved in the process.
The next stage demanded our "rendermen" to choose the desired models of vessels to be depicted and to figure out the light sources in the picture.
This was Julia's task as she was the artist and the ideological leader behind the creation of the picture.
Thanks to her enthusiasm and communication skills, a number of colleagues from adjacent departments were also involved. Here you may see our video team explaining wave movement laws …
Illustration of a porposal from our video team; From left to right: 1). We raised the heights of the waves, like this , 2). Where possible we also broadened the wave heights.
… and Eugene Zaitsev, our skilful 3D-modeller, who succeeded in turning a stern sea into something more "foamy". The mountains in the background also became more realistic.
The work was still in progress when we had to check the authenticity of the plane in the foreground. As we specialise mainly in ships, we had to avoid any blunders with depictions of period aviation. Vladimir Gremitskiy, our military vehicle consultant, was on vacation at this time, so we decided to send this issue to our specialists in the Kiev office.
As a result of this "find a plane" quest, that involved people from both Minsk and Kiev, we received the desired high-polygonal model. The plane was finally taking off!
The hardest part of the job was still to be accomplished, specifically, conjoining all the elements into one harmonic display. At this point, Julia was almost inseparable from the picture. Over and over again we altered the water and foam patterns, applying and removing details. The heroes of this epic image cannot evade such a fate as well – we were looking for the most expressive picture possible.
In pursuing excellence, we are constantly discussing all the difficult and complex aspects of our work with our international team. Ultimately, we provide our colleagues from Kharkiv with the initial, raw image and wait for it to be implemented into the site design. Their efforts make a miracle happen – the picture becomes dynamic, enriched by various interfaces.
Even though parallax hasn't been tweaked yet and its movements are a bit strange, we finally can see it working and can understand what should be done next. Polishing the art continues, now with consideration given to the specific dynamics. For instance, we had to introduce an additional correction for the tracers' trajectory.
Having addressed our Art QA department for a historical expertise, we found new ways for further improvements…
Detailed comments from the Art QA deptartment are a source of grief and pain for any artist, although, this topic is beyond the scope of our article!
Translation: Incorrect tracer trajectories. It was better to make this in 3D using separate cylinders in a separate layers. There should be 3 guns and tracers on each side of the plane. Flashes from the guns are not something that would happen in reality. We also added 3 spent ammunition magazines under each wing.
Being a true artist, Julia never ceases in the search for perfection. She seems to never stop adding corrections. Finally everything is polished from the biggest part down to the tiniest details and all fragments are arranged into layers. The epic puzzle is finally alive!
Our mission is over and it's time for the Kharkiv team to do the rest of the job. Their duty now is the technical implementation and overall design of the site itself. There is no point in talking further, you should just see it for yourself!
As an ending note, it is said that man can endlessly watch three things: the flow of water, the fire glow and others at work. Even though the process of our mutual efforts remains behind the scenes, despite this modest attempt at showing it, the two former two are widely represented in worldofwarships.com.
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Tagged Behind, Puzzle, Site, Story, Teamwork, Warships, World.
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With potential strike looming, Stop & Shop scouts replacements
Alexander Soule
Feb. 22, 2016 Updated: Feb. 23, 2016 6:37 a.m.
1of5Stop & Shop's location at 2200 Bedford Street in Stamford, Conn. The United Food and Commercial Workers International Union (UFCW) Local 919, which represents Stop & Shop workers, has scheduled a contract ratification vote for February 28, 2016, to be followed immediately by a strike vote if the supermarket's latest contract offer is rejected.Alexander Soule / Hearst Connecticut MediaShow MoreShow Less
2of5Danbury residents Flora Franchville, left, and Carol Levine buy groceries at Stop & Shop on Lake Avenue in November 2014. Stop & Shop is preparing for a potential work stoppage by advertising for temporary workers at stores in Fairfield County and elsewhere.Carol Kaliff / Carol KaliffShow MoreShow Less
4of5Stop & Shop's location at 1937 West Main Street in Stamford, Conn. The United Food and Commercial Workers International Union (UFCW) Local 919, which represents Stop & Shop workers, has scheduled a contract ratification vote for February 28, 2016, to be followed immediately by a strike vote if the supermarket's latest contract offer is rejected.Alexander Soule / Hearst Connecticut MediaShow MoreShow Less
With no agreement in the offing with the labor union representing cashiers and other personnel, Stop & Shop parent Ahold has been actively advertising for replacement workers to staff checkout lines starting as soon as Sunday if workers vote to go on strike.
Koninklijke Ahold (NYSE: AMS), a Netherlands-based grocery giant with its New England headquarters in Quincy, Mass., is running ads for replacement workers for $16 an hour, with no other terms listed. The company is holding recruiting events at the Fairfield Circle Inn in Fairfield, as well as in Waterbury, Westbrook and East Hartford.
You should never buy these items at a grocery store
Most popular grocery store in each state
Ahold USA is the largest supermarket operator in southwestern Connecticut, listing about 30 Stop & Shop locations in the region. A spokesman did not immediately respond to a Hearst request for how many local jobs it would need to fill in if the company is hit with a strike; throughout the region, Stop & Shop is bracing for as many as 6,000 people walking off the job heading into Leap Day on Feb. 29, with Stop & Shop workers in Connecticut represented by the Farmington-based United Food and Commercial Workers International Union (UFCW) Local 919.
The union says Stop & Shop's latest contract offer freezes pay, eliminates "premium" pay for holidays, Sundays or otherwise longer working days; and requires workers to pay higher health-care premiums. UFCW Local 919 has countered the company's plan to hire replacements with pleas on its website like one posted Feb. 16 titled "Don't replace my mom!" depicting a Stop & Shop worker with her two daughters, and videos from Stop & Shop workers from throughout the area.
"In all my 30-year career, this is by far the most devastating set of proposals ever submitted," Mark Espinosa, president of UFCW Local 919, wrote Feb. 19 in an online post on the status of negotiations.
Placing ads to find temporary staff is part of Ahold's "standard contingency planning should the need for temporary workers be required in the event of a union strike," spokesman Philip Tracy told MassLive late last week. "The timing of these ads is consistent with our outreach efforts in years past. Stop & Shop has a long history of reaching new contracts without disruptions and these ads are in no way a reflection of the state of negotiations."
The union has scheduled a member vote to ratify a contract for 10 a.m. on Sunday, Feb. 28 at the CoCo Key Water Resort Hotel & Convention Center in Waterbury, to be followed immediately by a strike vote if the contract offer is rejected.
Alex.Soule@scni.com; 203-964-2236; www.twitter.com/casoulman
Reach Alexander on
Lead Hearst Connecticut writer on state economy and providing local business coverage for The Norwalk Hour and Danbury News-Times, also contributing to the Connecticut Post, New Haven Register, Stamford Advocate and Greenwich Time; and penning a monthly column on personal finance for Connecticut Magazine. Before joining Hearst Connecticut, I started up a growth economy website called Enterprise CT chronicling Connecticut startups. Before that, I spent six years with the Fairfield County Business Journal, and before that the Boston Business Journal, the Rochester Business Journal, Mass High Tech and InsuranceTimes in Boston. Maine native and served two-year enlistment in the U.S. Army (Fifth Infantry Division at Fort Polk, La.) before attending Connecticut College.


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Lightning Returns: Final Fantasy XIII Limited Edition (Xbox 360)
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Lightning Returns - Final Fantasy XIII
Only at GAME Limited Edition - Review - Strategy Guides - Video - Screenshots - Related Games
LIGHTNING RETURNS: FINAL FANTASY XIII VIDEO
Release Date - 14/02/2014
A legendary story reaches its epic conclusion in Lightning Returns: Final Fantasy XIII for Xbox 360 and PlayStation 3.
The fan-favourite character returns to action as you control her final days in a world that is doomed to utter devastation. This expansive new world is as beautiful as you would expect from a Final Fantasy game, and one that is filled with ever-changing environments. As time runs out for this world, there are challenges that can only be faced there and then, and choices that will have to be made in the heat of the moment.
Lightning Returns revamps the gameplay from the previous Final Fantasy XIII games, and introduces a new combat system that reflects the more action-oriented nature of this chapter. Experience exhilarating battles with enemies and monsters, control the action like never before, and reap the benefits of every victory. Add this to increased weapon and outfit customisation options that will not only affect the way she looks but also how she acts, and you can be sure of a unique gameplay experience as you guide Lightning on her heroic journey.
Prepare for lightning to strike again. Order Lightning Returns: Final Fantasy XIII today!
LIGHTNING RETURNS: FINAL FANTASY XIII SCREENSHOTS
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Buy Lightning Returns: Final Fantasy XIII Limited Edition on Xbox 360 or PlayStation 3 and receive an exclusive Limited Edition Steelbook and download token to gain access to the iconic gear of Cloud Strife from Final Fantasy VII, including his uniform, Soldiers Band, the formidable Buster Sword and his victory pose and fanfare.
LIGHTNING RETURNS: FINAL FANTASY XIII STRATEGY GUIDES
LIGHTNING RETURNS: FINAL FANTASY XIII REVIEW
The battle system and time-based questing make Lightning Returns is much closer to an action game than an RPG. If you enjoy both genres, this could be the perfect game for you. GAME's Verdict - 7/10 read more
7/10 - Action game fans will likely find Lightning Returns to be a fresh take on the RPG... If you enjoy both genres, this could b…
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Editor's Choice: Old Gen, New Tricks
Despite the release of the new gen consoles, there's still plenty for 'old-gen' gamers to look forward to this year…
See more about 'Editor's Choice: Old Gen, New Tricks'
Xbox 360: Most Wanted Games of 2014
Dragons, zombies and a well-deserved reboot will make Xbox 360 shine, even with the Xbox One grabbing headlines…
See more about 'Xbox 360: Most Wanted Games of 2014'
Lightning Returns demo out now, unloc…
Final Fantasy fans can get a sneak preview of the imminent spin-off Lightning Returns thanks to a demo now available from Xbox Liv…
See more about 'Lightning Returns demo out now, unloc…'
Lightning Returns won't be a mere morsel compared to the other games in the series, designer Yuji Abe has explained…


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Midway, also known as "Tickbush", is an unincorporated community in Franklin County, Tennessee, United States. Midway is  southwest of Monteagle.

References

Unincorporated communities in Franklin County, Tennessee
Unincorporated communities in Tennessee

redpajama_set_name: RedPajamaWikipedia


Your professional quantity surveyor will create a tax depreciation schedule that will essentially reimburse you for the depreciation of all the relevant pieces in your property.
An investment property represents a fantastic way to make money, but it can also become a bit of a money pit if you don't know what you are doing. Renting out the property for a price that brings in a profit is just half the battle, as that can all be lost when tax time rolls around. Property owners in the Sunshine Coast and beyond need to look at preparing a tax depreciation report, as that will help them recover a good portion of the losses that they might ordinarily take as parts of their property begin to age.
No-one ever buys an investment property in hopes that they will end up losing money, yet there are a lot of people who do just that because they didn't ask the right questions going in. Was the property in a location that was desirable to renters, was it set at a price that was on par with other rental properties in the area, and did the owner get as much out of the investment as the law allowed? That last question in particular is one that property investors need an answer to, as many of them leave money on the table come tax time.
It's easy to think of reality TV as nothing more than meaningless entertainment, but there can be times when there are lessons to be learned. If you are interested in acquiring an investment property, you will quickly learn that there is more to the process than just picking a nice place in a prime location.
There are always one or two things that end up being really important to voters come election time, and tax depreciation was very much on the minds of those who cast a ballot in the Noosa Sunshine Coast mayoral race.
The impact of changes to the tax depreciation that may be claimed on your investment house in Noosa Sunshine Coast or in fact Buderim is significant to a lot of voters. Each of the three candidates – Tony Wellington, Sandy Bolton, and Ray Kelly – were well aware of the importance of this issue, which was why they all took time to lay out their plans ahead of the final vote.
The government and the opposition seem to be leaning towards an agreement on making changes to negative gearing, which many believe will be the death of tax depreciation on investment properties.
There is still a lot of debate going on, so it is unclear yet as to how the final changes will end up impacting property investors who use tax depreciation to offset some of their losses. The opposition in particular views this practice as a way for investors to save money at the expense of the government, hence the call for change.
Regardless of the changes made to negative gearing, it is going to have some effect on the depreciation, leaving property investors in the Sunshine Coast and other parts of the country wondering whether it is worth claiming depreciation at all.
This is not necessarily a good time for first time buyers to dip their toe into home ownership, as rising property values have left slim pickings for anyone who doesn't want to have a massive mortgage hanging over their heads at the first time of asking.
Owning a small business on the Sunshine Coast is a truly rewarding experience, but there usually comes a time when selling is the right thing to do.


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Secrets of…the Sistine ChapelSecrets of…the…
Secrets of…the Sistine Chapel
For centuries the Sistine Chapel, the gem of the Vatican, has stood to the glory of God and as evidence of the incredible mastery of Renaissance painters.
It is one of the must-see historic sites of Rome and draws tens thousands of travelers taking vacations in Italy each day.
Five hundred years ago, at evening vespers on October 31, 1512, Pope Julius II officiated a Mass to inaugurate the Sistine Chapel and unveil its crowning touch: the stunning ceiling mural by artist Michelangelo that was newly finished after over four years of toil. The Old Testament stories depicted by the genius Michelangelo create an awe-inspiring place to pray and contemplate spiritual matters and have been considered one of the most important works of art in the world ever since.
The massive frescoes span the entire ceiling, a scale so grand and incredible it is unimaginable until you visit and see it in person. Over 20,000 people visit the Sistine Chapel each day, either lining up to see it during visiting hours or booking small, private tours to skip the long ticket lines and benefit from a knowledgeable guide to lead the tour and discuss the history and artwork.
While most people are familiar with details of Michelangelo's Sistine Chapel ceiling – notably the image of God reaching out to touch the hand of Adam and give him life – there is so much history behind this magnificent chapel that travelers who take our small group, 12-person Vatican Sistine Chapel walking tour are amazed to learn historical facts and scholarly assumptions that make this combination of art and architecture all the more impressive. Four hours is just enough time to really grasp some of the rich history of this Vatican treasure's secrets.
Here are some facts and secrets to introduce you to the Sistine Chapel:
• The Sistine Chapel is named for Pope Sixtus IV. It was consecrated as a place of worship during a ceremony with the first Mass celebrated there on August 9, 1483. That date was the Feast of the Assumption, fitting since the chapel was dedicated to the Virgin Mary.
• Pope Sixtus IV commissioned many great Renaissance artists to paint frescoes on the walls of the chapel, including Sandro Botticelli, Pietro Perugino, and Pinturicchio.
• Pope Sixtus IV was the uncle of Pope Julius II, who commissioned Michelangelo to create frescoes for the ceiling. Before this the ceiling was rather plainly painted blue with stars, so plain and ugly that Michelangelo was insulted not only because he considered himself a sculptor rather than a painter but because he likened the ceiling to the "roof of a barn." It took time and the promise of a sculpting commission before Michelangelo consented to re-fresco the Sistine Chapel's ceiling.
• The sheer scale of the chapel ceiling is staggering. It measures approximately 40 meters (131 feet) long by 13 meters (43 feet) wide – working out to well over 464 square meters (5,000 square feet) of frescoes painted by Michelangelo.
• Some scholars believe the dimensions of the hall (40.23 metres in length, 13.40 metres in width and 20.70 metres in height) are the same as Solomon's great temple in Jerusalem.
• There are more than 400 painted figures on the ceiling.
• Michelangelo started work in July of 1508 and the ceiling was unveiled on November 1, 1512. He built special scaffolding and worked long hours painting with his arms raised, painting by dim light.
• The central vault chronicles nine scenes from the Book of Genesis, including three from Creation, three of the fall of Adam and Eve, and three about Noah.
• The Sistine Chapel ceiling was Michelangelo's first attempt at frescoes, but not his last. However inspired his brushwork, Michelangelo always considered himself a sculptor rather than a painter. A true master, Michelangelo completed the ceiling work in buon fresco, the most difficult fresco method.• The chapel is a place of worship, used for important services by the Pope. It is also where the College of Cardinals will gather to vote for successive popes, as they did after the death of Blessed Pope John Paul II in 2005.
• On October 31, 2012, Pope Benedict XVI officiated Mass at evening vespers to commemorate the 500th anniversary of Michelangelo's frescoes.
• Visitors need to remember that there is a dress code to visit the Sistine Chapel and other churches in Italy; both men and women must have shoulders covered, men must wear pants, and women pants or dresses below the knee.
Art experts have been expressing concern that the number of visitors (massive groups generating body heat and humidity) to the Sistine Chapel may damage these priceless works of art. This year the Vatican announced it may consider limiting visitors each day in future to protect the chapel.
Italy , Sistine Chapel , Vatican ,


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The photographer Jules David is not to be confused with the lithographer Jules David.

Jules David, also Jules David-Cavaz (16 April 1848 – 8 October 1923), was a French photographer. In France, he was one of the first professional photographers to specialize in school photography. With his specialty, he built up an international career, often returning to schools, institutions and companies that he had worked with previously. Based in Levallois-Perret near Paris, he worked throughout Europe, and beyond, for almost forty years, traveling as far as Norway, Russia, Greece and Brazil.

Life
Jules David-Cavaz was born the son of Jean David-Cavaz and Françoise Capitant in the hamlet of Charvin, near the village of Pinsot in the Isère department of South-Eastern France. His parents were propriétaires, land-owning farmers, so his family was probably not entirely poor.

Little is known about the first 20 years of his life. Nor do we know where he learned his photographic skills. In 1867, nineteen years old, he worked as an independent "group photographer" (photographe des groupes). In 1869 he was working with the photographer Claude Bretagne (1824–1880) in Leuven, Belgium. In 1870–1871 he served in the French army during the Franco-Prussian War. He left the army in August 1871 as a sergeant major.

In 1873 David opened, together with Bretagne, a photo studio at the rue Gravel 54 in Levallois-Perret. The studio advertised specifically with "school photographs" (photographies des écoles), whereby schools included secondary schools, boarding schools, teacher training colleges and military academies. The association with Bretagne ended after two or three years, in 1875 or 1876, after which David set up his own studio at the rue Gravel 50. Levallois-Perret was to remain his home base for the rest of his life. After a short stay at the rue Trézel 19, in 1879 he moved to rue des Courcelles 90. In 1897 he won a bronze medal at the Brussels International Exposition. From 1902 to 1910 he lived in the Rue Rivay in Levallois-Perret.

On 8 October 1874 Jules David married Marie Cécile Mathilde Daman (1851-1929) in Leuven, Belgium, where his wife was born. Some sources indicate that David became a wealthy man. After World War I he volunteered to pay for a monument commemorating the dead in his birthplace Pinsot. He also donated a large sum to the local school, which the pupils decided to devote to the rebuilding of the destroyed school in Manicamp, Northern France.

David died, aged 75, on 8 October 1923, in his home in the rue Président Wilson 90. He was a recipient of the French Médaille militaire.

Work

David's work differs from that of the numerous traveling photographers of the late 19th century. Photography was still a relatively new discipline and in some regions of Europe few photo studios existed. Travelling photographers filled the gap, advertising their services wherever they went. Generally, portrait photography was all they had on offer. This was not the case with Jules David who carefully prepared his travels and almost exclusively worked with clients who wanted more than a simple portrait. His preferred clients were educational institutions of the bourgeoisie, among them military schools and boarding schools, where French was often the language of instruction.

As a rule, he would take a series of photographs of the building and its interior, he would then prepare a number of carefully composed group portraits of teachers and students, often complemented with 'action' photographs of students taking classes or involved in leisure activities. He then finished the production in his studio in Levallois. The finished product, often a luxury album bound in linen or red leather with imprints in gold, was sent free of charge to the head of the institution after which directors, teachers, students or employees would choose the images they wanted a copy of.

The demand for this type of photographs diminished towards the end of the century. There was more competition from local photographers who were able to provide schools with simpler – and thus cheaper – class photographs. The era of technical challenges and carefully prepared compositions was over. David ended his international career shortly after 1910, after which he exclusively worked in France. With his associate Edmond Vallois he ran a photo studio at the rue de Rennes in Paris. Many of his negatives on glass were sold to the then flourishing picture postcard industry, which after his retirement remained an important source of income for his successor Vallois.

Photographs

France
Jules David worked in France as a photographer specialized in school photography from 1867 until around 1915. The majority of his clients were schools and Catholic institutions. Judging by the number of photographs of Paris sixth-form colleges (lycées), quite a few of them made use of his services. However, his reputation in France was not limited to 'school photography', as can be deducted from the prestigious commission to portray the French president Jules Grévy and his military staff in the garden of the Élysée Palace. Other well-known people were photographed by David: a photograph of Gustave Eiffel with his wife and children shows them relaxing in their garden in Levallois-Perret. His work in France continued after 1875, even when increasingly spending time abroad.

Belgium and Netherlands
The first country outside France where David received commissions was Belgium. In 1874, while still associated with Claude Bretagne, he worked in Antwerp and Verviers. Perhaps not entirely accidental, one of his last recorded trips abroad in 1911 was also to Verviers. An important commission, possibly given to him by the bishop of Namur, mgr. Théodore-Joseph Gravez, led in 1878 to the publication of the leather-bound album L'Episcopat Belge 1878, which included portraits of all Belgian bishops, their cathedrals and their episcopal palaces. He must have returned to the country at least fourteen times, each time taking commissions from more than one client.

In the Netherlands, professional school photography was introduced by Jules David in the school year 1879–1880. Between 1879 and 1908 he visited the country at least twenty times. As in France and Belgium, his main clients were Catholic institutions, notably Jesuit and Ursuline boarding schools. However, his best client in the Netherlands was the Royal Naval College in Den Helder, which he visited eight times between 1883 and 1905. Other favoured clients were Rolduc, a Catholic boarding school for boys (6 commissions) and the Episcopal College St. Joseph in Weert (5 commissions).

British Isles
In Britain and Ireland, David was employed by the military. In York he photographed the 2nd Dragoon Guards (Queen's Bays) in 1899 (an album with 34 photographs). He also worked at the Royal Military College, Sandhurst, as well as in the Loreto Convent in Gibraltar. In Limerick, Ireland, he photographed the 9th Field Battery of the Royal Artillery in the courtyard of the Mulgrave Street barracks in 1898.

Northern Europe
In Scandinavia, he counted many schools among his clients, as well as military institutions and private businesses. He visited Denmark at least once but only photographs of schools in Copenhagen are recorded (1889/90). In Norway the emphasis lay on school photography, although he also had firemen posing in front of his camera, as well as workers at an arms manufacturer (1890, 1892, 1893/94, 1895, 1898, 1899, 1903 and 1908). In Sweden his clients consisted of shipbuilders, a paper factory and a railway company, as well as schools and military institutions, including an equestrian portrait of Prince Carl, Duke of Västergötland (1892, 1894, 1900, 1901 and at least once between 1905 and 1910). In Finland, David took photographs of the various infantry battalions of the Army of the Grand Duchy of Finland (1880s and 1890s). The Finnish revolutionary leader Johan Kock was photographed by David while in Paris.

Southern Europe

In 1878 David received a prestigious commission from the Holy See. It resulted in Le Vatican 1878, another luxury album with twenty double-mounted photographs of the new pope Leo XIII, his closest associates, the Papal Swiss Guard and various locations in the Vatican. A copy of this album with a dedication was presented to emperor Alexander II of Russia. There is only one other photograph, taken in Turin in 1895/96, to testify of David's presence in Italy.

In Spain, on the contrary, numerous visits are recorded between 1878 and 1909, including some return visits to clients, as was the case with the railway company Ferrocarriles Andaluces in Malaga in 1895, 1903, 1907 and 1908. Other clients included Catholic (and Protestant) schools, technical schools, military and naval schools, factories and an observatory. Between 1881 and 1905 visited seven times Galicia at least, where was cataloged over 90 photographies. In 1890 he worked in Gran Canaria.

David visited Portugal at least twice. In 1887/88 he took photographs at the University of Coimbra. A series of photographs of the Jesuit boarding school Colégio Jesus Maria José in Lisbon is undated but must have been taken prior to October 1910, when the school was closed down as a result of the Portuguese Revolution. Only one visit to Greece is recorded.

Elsewhere
David's busy schedule took him to every corner of Europe, and beyond. In Central and Eastern Europe he visited institutions and private enterprises in Poland, Moravia, Austria, Croatia, Hungary and Russia. His furthest journey, as far as we know, took him to Brazil in 1906 where he spent several weeks taking photographs at the Colégio Militar in Rio de Janeiro, the Colégio Notre-Dame de Sion in Petrópolis, and the São Paulo Railway around São Paulo.

References

External link

1848 births
1923 deaths
19th-century French photographers
20th-century French photographers
Portrait photographers


text:
Printed from https://ideas.repec.org/a/bla/ehsrev/v66y2013i1p57-85.html
Through the magnifying glass: provincial aspects of industrial growth in post-Unification Italy
CARLO CICCARELLI
STEFANO FENOALTEA
In post-Unification Italy industrialization was ever sharply sub-regional. Initially industry was largely artisanal, and located in the former political capitals; factory industry was instead attracted by the waterfalls of the subalpine Northwest. From the 1880s, as modernization accelerated, industry concentrated: in the Lombard and Piedmontese subalpine provinces with the late-nineteenth-century boom in (protected) textiles, then particularly in Turin and Milan with the engineering boom, and novel energy-transmission, of the belle �poque; and in Liguria's Genoa, which captured (subsidized) civil and naval shipbuilding. The only significant diffusion came as (newly protected) beet-sugar-extraction spread throughout Emilia.
Carlo Ciccarelli & Stefano Fenoaltea, 2013. "Through the magnifying glass: provincial aspects of industrial growth in post-Unification Italy," Economic History Review, Economic History Society, vol. 66(1), pages 57-85, February.
Handle: RePEc:bla:ehsrev:v:66:y:2013:i:1:p:57-85
DOI: 10.1111/ehr.2013.66.issue-1
File URL: http://hdl.handle.net/10.1111/10.1111/ehr.2013.66.issue-1
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Brown, Jason P. & Florax, Raymond J. G. M. & McNamara, Kevin T., 2009. "Determinants of Investment Flows in U.S. Manufacturing?," The Review of Regional Studies, Southern Regional Science Association, vol. 39(3), pages 269-286.
Jason P. Brown & Raymond J.G.M. Florax & Kevin T. McNamara, 2009. "Determinants Of Investme??T Flows In U.S. Manufacturing," Working Papers 09-10, Purdue University, College of Agriculture, Department of Agricultural Economics.
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Toktarova, Alla & Walter, Viktor & Göransson, Lisa & Johnsson, Filip, 2022. "Interaction between electrified steel production and the north European electricity system," Applied Energy, Elsevier, vol. 310(C).
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Isard Walter, 2005. "Industry-Services Complex Analysis for Poverty Region Development (Realistic Development Theory for Regions Emerging from Poverty)," Peace Economics, Peace Science, and Public Policy, De Gruyter, vol. 11(1), pages 1-33, May.
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N63 - Economic History - - Manufacturing and Construction - - - Europe: Pre-1913
N93 - Economic History - - Regional and Urban History - - - Europe: Pre-1913
R11 - Urban, Rural, Regional, Real Estate, and Transportation Economics - - General Regional Economics - - - Regional Economic Activity: Growth, Development, Environmental Issues, and Changes
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The looming crisis in human genetics
Some awkward news ahead
Human geneticists have reached a private crisis of conscience, and it will become public knowledge in 2010. The crisis has depressing health implications and alarming political ones. In a nutshell: the new genetics will reveal much less than hoped about how to cure disease, and much more than feared about human evolution and inequality, including genetic differences between classes, ethnicities and races.
About five years ago, genetics researchers became excited about new methods for "genome-wide association studies" (GWAS). We already knew from twin, family and adoption studies that all human traits are heritable: genetic differences explain much of the variation between individuals. We knew the genes were there; we just had to find them. Companies such as Illumina and Affymetrix produced DNA chips that allowed researchers to test up to 1m genetic variants for their statistical association with specific traits. America's National Institutes of Health and Britain's Wellcome Trust gave huge research grants for gene-hunting. Thousands of researchers jumped on the GWAS bandwagon. Lab groups formed and international research consortia congealed. The quantity of published GWAS research has soared.
In 2010, GWAS fever will reach its peak. Dozens of papers will report specific genes associated with almost every imaginable trait—intelligence, personality, religiosity, sexuality, longevity, economic risk-taking, consumer preferences, leisure interests and political attitudes. The data are already collected, with DNA samples from large populations already measured for these traits. It's just a matter of doing the statistics and writing up the papers for Nature Genetics. The gold rush is on throughout the leading behaviour-genetics centres in London, Amsterdam, Boston, Boulder and Brisbane.
GWAS researchers will, in public, continue trumpeting their successes to science journalists and Science magazine. They will reassure Big Pharma and the grant agencies that GWAS will identify the genes that explain most of the variation in heart disease, cancer, obesity, depression, schizophrenia, Alzheimer's and ageing itself. Those genes will illuminate the biochemical pathways underlying disease, which will yield new genetic tests and blockbuster drugs. Keep holding your breath for a golden age of health, happiness and longevity.
In private, though, the more thoughtful GWAS researchers are troubled. They hold small, discreet conferences on the "missing heritability" problem: if all these human traits are heritable, why are GWAS studies failing so often? The DNA chips should already have identified some important genes behind physical and mental health. They simply have not been delivering the goods.
They simply have not been delivering the goods
Certainly, GWAS papers have reported a couple of hundred genetic variants that show statistically significant associations with a few traits. But the genes typically do not replicate across studies. Even when they do replicate, they never explain more than a tiny fraction of any interesting trait. In fact, classical Mendelian genetics based on family studies has identified far more disease-risk genes with larger effects than GWAS research has so far.
Why the failure? The missing heritability may reflect limitations of DNA-chip design: GWAS methods so far focus on relatively common genetic variants in regions of DNA that code for proteins. They under-sample rare variants and DNA regions translated into non-coding RNA, which seems to orchestrate most organic development in vertebrates. Or it may be that thousands of small mutations disrupt body and brain in different ways in different populations. At worst, each human trait may depend on hundreds of thousands of genetic variants that add up through gene-expression patterns of mind-numbing complexity.
We will know much more when it becomes possible to do cheap "resequencing"—which is really just "sequencing" a wider variety of individuals beyond the handful analysed for the Human Genome Project. Full sequencing means analysing all 3 billion base pairs of an individual's DNA rather than just a sample of 1m genetic variants as the DNA chips do. When sequencing costs drop within a few years below $1,000 per genome, researchers in Europe, China and India will start huge projects with vast sample sizes, sophisticated bioinformatics, diverse trait measures and detailed family structures. (American bioscience will prove too politically squeamish to fund such studies.) The missing heritability problem will surely be solved sooner or later.
The trouble is, the resequencing data will reveal much more about human evolutionary history and ethnic differences than they will about disease genes. Once enough DNA is analysed around the world, science will have a panoramic view of human genetic variation across races, ethnicities and regions. We will start reconstructing a detailed family tree that links all living humans, discovering many surprises about mis-attributed paternity and covert mating between classes, castes, regions and ethnicities.
We will also identify the many genes that create physical and mental differences across populations, and we will be able to estimate when those genes arose. Some of those differences probably occurred very recently, within recorded history. Gregory Cochran and Henry Harpending argued in "The 10,000 Year Explosion" that some human groups experienced a vastly accelerated rate of evolutionary change within the past few thousand years, benefiting from the new genetic diversity created within far larger populations, and in response to the new survival, social and reproductive challenges of agriculture, cities, divisions of labour and social classes. Others did not experience these changes until the past few hundred years when they were subject to contact, colonisation and, all too often, extermination.
If the shift from GWAS to sequencing studies finds evidence of such politically awkward and morally perplexing facts, we can expect the usual range of ideological reactions, including nationalistic retro-racism from conservatives and outraged denial from blank-slate liberals. The few who really understand the genetics will gain a more enlightened, live-and-let-live recognition of the biodiversity within our extraordinary species—including a clearer view of likely comparative advantages between the world's different economies.
Geoffrey Miller: evolutionary psychologist, University of New Mexico; author of "Spent: Sex, Evolution, and Consumer Behavior" (Viking)


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A Date Night with Annabelle
IvanYolo » Movies » A Date Night with Annabelle
Annabelle 2 is one of the latest horror movies I've watched last night and of course, horror movies are worth watching with D-Box and Dolby Atmos in cinema. Annabelle Creation the sequel that tells the story of how the Annabelle doll created and get possessed by a demon.
The scare tactic in Annabelle 2 was quite good but not the best. Not really as scary as The Conjuring 2 and I don't understand why there is news on the internet about people running out of cinema screaming or pissed in pants. But I do have the intention to leave the cinema when some scenes are too quiet and ready for the next scare scene. LOL.
If you haven't watched the movie, don't proceed reading this as there are little spoilers below!
The story begins when toy maker Sam Mullins, wife Esther and their daughter Bee was stranded by the roadside to fix a punctured tire. While Sam fixing the tire, some parts flew out in the middle of the road. Bee said she is going to pick it up by walking to the middle of the road and without noticing an oncoming car and got hit by the car, that scene was quite thrilling and heart felt! The D-Box shaking seat definitely gives more effects to the movie.
After 12 years since the tragic car accident of Bee, 6 homeless orphaned girls and a nun reached Sam's farmhouse for shelter. Bad things start to happen when one of the girls entered a locked room and that was when the horror begins.
In my opinion, this movie has the basic scares but not as good as the first Annabelle & The Conjuring 2 with lots of screams! But still okay to watch if you like horror movies. While in the cinema, I heard some of the audiences were thrilled during some scenes, saying "Oh no!", "Oh my God", "Sh*t" and so on.
My rating: / 5
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What Nietzsche really meant: The Apollonian and Dionysian
One God stands for order, logic, and reason. The other stands for chaos, madness, and drunkenness. Nietzsche thinks you need both.
Scotty Hendricks
Order, reason, chaos, and madness is within all of us. Nietzsche thinks this is great. (J. A. Hampton/Topical Press Agency/Matt Cardy/Getty Images)
We all know the kind of person who likes to impose order on every situation. They want reason, logic, precise definitions, and despise chaos. Likewise, we all know people who throw order to the wind, follow every impulse they have, are drawn to chaos, and hate restraints on them.
While most of us would look at these kinds of people and see nothing more than personality differences, Friedrich Nietzsche saw an enduring dichotomy inside all of us which emerges from nature itself and can be applied to art, psychology, ethics, and politics.
The Apollonian and Dionysian
In his first book The Birth of Tragedy, Nietzsche examines art, particularly ancient Greek plays. While he didn't write the last word on the subject, he did use the book to introduce a concept which would continue to appear in his thinking long after he dismissed his earliest work as "badly written, ponderous, embarrassing, image-mad and image-confused."
The two forces of nature he introduces show up everywhere. While their most famous iteration was as pillars of Greek culture, they can also appear as drives within us and even as historical forces. He names the two halves of this dichotomy the Apollonian and the Dionysian, after two Greek Gods.
Apollo, the God of the sun, truth, light, and logic, is the namesake for the first, ordered, half. This is the half that covers everything which is structured. Sculpture, an art which is pure form, is the most Apollonian art.
Rational thinking, which is based on logical structures, is also Apollonian. Since this drive tends to put things into their place, it also tends to individualize and distinctly separate people and ideas from one another.
Nietzsche thinks dreams are the most Apollonian state we can experience. He bases this on the idea that we understand what we see when dreaming isn't real, but merely an image. It has been suggested that he was a lucid dreamer to explain this strange notion.
Dionysus, the God of wine, festivals, and madness lends his name to the later, frenzied, half. Music is the pure Dionysian artform since it doesn't appeal to our rational mind but rather to our emotions. The Dionysian doesn't categorize and tends to blur the boundaries between the self and nature.
The esoteric and mystic cults of the Greeks, many of which were dedicated to Dionysus, offer an alternative to the rationalism of the Apollonian and were noted for their "sexual licentiousness."
Drunkenness is suggested as the pure Dionysian state. He gives us a fantastic description of the Dionysian when he explains:
"Transform Beethoven's 'Hymn to Joy' into a painting; let your imagination conceive the multitudes bowing to the dust, awestruck- then you will approach the Dionysian."
Nietzsche suggests that folk music is especially Dionysian and that "it might also be historically demonstratable that every period rich in folk songs has been most violently stirred by Dionysian currents." This explains a lot about the 1960's.
Two men ride home after the Woodstock Music Festival; three days of music, free love, and drugs that dissolve the boundaries between self and the cosmos. A more Dionysian event is hard to come by. (Photo by Three Lions/Getty Images)
How can these drives ever be combined?
Getting these two drives to work together is difficult, but not impossible. Nietzsche saw their fusion as ideal, as it allowed the tremendous frenzied energy of the Dionysian to be applied constructively inside an Apollonian framework. He thought the ancient Greeks, perhaps uniquely, were able to blend the two drives in their culture.
In Greek tragedies like Oedipus Rex, dreadful concepts like death, fate, and unfairness were expressed in a beautiful and ordered way through plots and dialogue. The audience viewed these concepts in a Dionysian way since they were watching an unrelatable main character experience them as explained by the chorus.
The chorus' unity and detachment from the action helps the audience to separate from themselves and consider the ideas in the play in a depersonalized way. This allows the viewer to deal with unpleasant ideas in a way that is gentler than frank, Apollonian discussion.
The ability of Greece to fuse the two ideas didn't last forever though, eventually, the Greeks drifted towards the Apollonian again, to Nietzsche's disappointment.
He argues that the movement from plays which focused on great heroes towards subjects that the audience could relate to allowed audiences to judge the people on stage and restored their self-consciousness when watching plays. The audience, now individualized, could no longer get the same comfort from theatre as they could before.
Is the Apollonian bad?
It's not bad at all, but Nietzsche knew that we need both. The loss of the Dionysian in drama and society is, therefore, a loss to our own ability to be complete people- let alone the effect it has on plays.
The Apollonian gives us reason, order, law, and harmony. These are often very good things. (ARIS MESSINIS/AFP/Getty Images)
How can I use this?
Even if you're not a playwright or a classical scholar trying to make sense of Greek Civilization, these concepts can still be of use. We all have both an Apollonian and Dionysian side to us. While many thinkers have downplayed the Dionysian and sought to promote only the rational, structured parts of us, Nietzsche thinks this isn't just folly but detrimental. He mocks those who try and avoid the Dionysian, saying they :
"turn away from such phenomena as from "folk-diseases," with contempt or pity born of the consciousness of their own "healthy mindedness." But of course such poor wretches have no idea how corpselike and ghostly their so-called "Healthy-mindedness" looks when the glowing life of the Dionysian revelers roars past them."
But this doesn't mean that you should utterly give into the drunkenness, madness, "sexual licentiousness," and boundless chaos of the Dionysian. Instead, it means that you should accept that part of you wants those things and strive to harness that energy towards a more constructive goal.
Does this have use elsewhere?
Ruth Benedict has used the dichotomy to describe different cultures in her anthropological work. Camille Paglia wrote a controversial book suggesting men and women embody the archetypes and that there is a biological cause of this. Freud, whose ideas covered similar ground as Nietzsche's, described the Id in Dionysian terms.
While Nietzsche later dismissed his first book, the ideas he put forward in it are still of great interest. His understanding that we all have forces of reason, irrationality, structure, chaos, individualism, and cosmic unity within us all would later inform his psychological insights.
While his theories on aesthetics might not have been the end all answer he was looking for, the Apollonian and Dionysian dichotomy remains a useful way to view art, psychology, and society.
Listen: Scientists re-create voice of 3,000-year-old Egyptian mummy


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VidIQ Extension Microsoft Edge
You have already worked for your content, you only need to let people consume it.
Nowadays, video is arguably the king of multimedia content. It gets your message across easily while keeping your audience hooked with using audio and powerful visuals. This is why it has been the choice of content creators everywhere: from company-owned sites to individual vloggers.
As it stands, Youtube is now the top venue for video content. Due to its popularity and potential for enormous reach, it allowed Youtubers –its resident content creators– to make the platform their principal source of income. However, the platform's signature availability for anybody who wants to create content made it a significant challenge for individuals to stand out.
The name of the game is getting the maximum number of views. This means that it is not enough that a content creator puts out the most fantastic content to become prosperous in the business. The tough part is getting the content right at the screens of your prospective audience.
Content creators should use the principles of SEO or search engine optimization. The way this works is that you increase the chances of your content being in the top of the search results. Software can always do great things for your business, and this is the case for online businesses integrating with Youtube.
And this is where VidIQ comes in: it provides content creators the power tools to take in views and understand how their videos work outside what the number of views might indicate. It gives beginners the boost that they need for their first few videos, and it helps veterans with valuable insight concerning the performance of their content.
What is VidIQ? VidIQ Extension Microsoft Edge
We all have seen it: film and television actors, athletes, and a whole host of other famous people with an existing following can start a YouTube channel one day and quickly gain hundreds of thousands of views by simply dropping a word on the platforms already available to them. Big brands with established names may also do this readily. This is a luxury that nearly all people simply don't have.
At its heart, VidIQ is a service that offers video analytics for content creators on Youtube. Included in its vast array of capabilities is marketing. It helps Youtube videos gain as much exposure as possible to maximize reach. Its wide plethora of features offers more than SEO, as it can help publishers make the best decisions when it comes to how they can interact with their prospective audiences.
Simply put, VidIQ does this by collecting, and revealing metrics and data in a manner that is easy to interpret. The product is an excellent tool for processing and incorporating big data towards a publishing approach.
As in other platforms for publishing content, Youtube also entails responsibility in maintaining a following and moderating interactions. As the number of your subscribers climb, the time and effort needed in keeping up with your viewers also rises as quickly, if not even quicker. Solo content creators and even those with a smaller team might find it hard to keep up, and the production of content might suffer.
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Key features: know your content and audiences to remain ten steps ahead of your competitors.
VidIQ provides its services to content creators of varying scale. Both the humble hobbyist and the full-time career Youtubers can benefit from the packages provided by VidIQ. Even companies that exclusively focus on the advertising campaign of content creators can have a package that caters to their business model.
The Dashboard: maximize your reach using SEO VidIQ Extension Microsoft Edge
The magic starts when VidIQ is connected to a Youtube account. After this, it instantly syncs the videos on the account to its dashboard, drawing vital data on the performance and reach of the movies. In the dashboard, data on the videos can be sorted based on any possible parameter: likes, views, comments, shares, and so on. The dashboard can even give content creators a single page where they can make changes to the tags, description, and the names of each of their videos. Talk about convenience, right?
As basic knowledge on SEO is almost a necessity, VidIQ delivers a massive advantage over individuals because it can automatically suggest tags by taking a look at a popular video that the user selects. A user can choose any video related to their planned content, say the one with the most views, and VidIQ can ascertain the tags used on it and even the traffic source which can be used to optimize reach. VidIQ can also suggest the equivalent of tags from different languages to perform well internationally and gain foreign audiences.
It can be said that this feature alone warrants using the VidIQ tool immediately. Why, you ask? It can help craft lines of text with embedded links on video descriptions.
Modifying each video description can pose as a bothersome task, especially when talking about Youtube channels already with a considerable number of uploads. Surely, no one would object to this. But, coupled with the dashboard feature, the description campaign feature of VidIQ makes it one of its most powerful offerings.
Users are given the simple option of adding links to their websites and even their other social networking profiles. These links can then be used to track just how much audiences click on these links, and even the conversion prices. This attribute can be used to add descriptions with embedded links in future videos. Additionally, the descriptions for videos can be edited or removed en masse.
VidIQ can also present the numbers on the interactions on content across all of a user's social networking platforms. Whether it be the number of replies and retweets on Twitter or the reactions and comments on Facebook, VidIQ can exhibit the numbers in a style that is easy on the eyes.
Make sure that you are always noticed: harness the power of analytics.
VidIQ boasts a robust analytics attribute. It enables content creators to find out the preferences of the audience through their own behaviour. It takes the patterns of viewers and provides users the ability to compare it with the range of content. This basically gives users the ability to learn what strategies and ideas become consumed quickly and which ones lie passively. Analytics is always helpful for video marketing.
The analytics which VidIQ can provide will help users to look beyond the amount of views on their more popular content, but also enable them to determine what exactly made them hits and use it to resonate to more people later on.
Besides this, this attribute can even make a suggestion concerning the timing of uploads. Accumulating big data over time will help VidIQ even more accurate when it comes to homing in on when exactly viewers consume the content that publishers put out, and capitalize on this to have their videos be as fresh as possible to potential audiences.
Not only this, but VidIQ can also help plan the time between uploads, whether videos should be in the short format or not, and even automatically suggest the inclusion of prompts for viewers to comment on the videos.
Cultivate a fan base: VidIQ will help make audiences spread word of your content.
Strategies to make content go viral have emerged a lot across Youtube channels, and VidIQ can make a checklist of the necessities that videos must have to make the most of them. Included among them are the choice of having an ending card for videos, making a playlist for related uploads, and the automatic posting of the video link to other social networking platforms. VidIQ also makes it easy for users to spot budding trends among competitor channels, allowing them to react and plan their content accordingly.
This makes it much easier for users to perform all these measures and ensures that none of them gets forgotten.
VidIQ even has an option for seeing the likes-to-dislikes ratio of videos to have a fast glance at the reception of the content. To make this even better, it also has the comment manager feature so that the most important comments — the ones with the highest number of interactions, or those left by fellow Youtubers with a substantial number of subscribers. It can even help formulate responses to questions which appear a lot in the comments section.
Which package should you take? VidIQ Extension Microsoft Edge
VidIQ's Basic Strategy is completely free and already includes basic analytics, live channel statistics, and the ability to monitor up to three competitor channels. However, it lacks most of the power features that really define VidIQ. Additionally, it works on only 1 account.
For those who intend on taking their Youtube game more seriously, the Pro Plan is available for them. It provides users the ability to compare videos and playlists, make analysis across a wider period of time, get the best time for publishing articles, see top interactions, and monitor up to six competitor channels. However, the search engine optimization capacities on this is limited. This goes for $7.50 a month.
For those dedicated enough to maintain a notch above everyone else, the Boost Plan offers all mentioned plus the entire research and insight capacities of VidIQ. It also allows complete and instant bulk optimization and even has a video record feature. This plan can cater to as much as five accounts for $39 per month.
For companies which cater exclusively for Youtubers and big brands who wish to have their channels handled, the Enterprise plan is available. It has the choice of having unlimited accounts for workers and unlimited competitor tracking. The pricing for this depends on the demand of the company and is on a per-client basis.
Verdict VidIQ Extension Microsoft Edge
As is true with all marketing tools and services, the value of a product depends on the goals, needs, and budget of the client. However, VidIQ indeed provides a lot of effective and powerful features that would make any venture in Youtube more manageable and would maximize the chances of the platform.
VidIQ is a great tool for anyone who wishes to see a difference in how they operate their Youtube channel: from editing previous uploads, planning future content, and even maintaining brand engagement. Indeed, there are lots of benefits that vidIQ can bring, but its main selling point is how it can help in taking Youtube content creators to another level and have them get their message across to create an impact in the digital world at large.
FAQ: VidIQ Extension Microsoft Edge
Q: Can the paid plans be tried at no cost?
A: Yes, free trials are available for every plan so that users can have a test run before they commit any money to get a plan.
Q: Can there be a refund for the plans?
A: No, users have the responsibility of reviewing the policies of 3rd parties with access to their own Youtube channels.


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June 29, 2017 June 29, 2017 Joshua
Foundationalism has had a really rough time in the last few centuries. Starting with Thomas Reid's attacks on 'the way of ideas', finding perhaps their most sophisticated articulations in Sellars and his attack on the 'myth of the given' (both Reid and Sellars are concerned with the foundations of empirical knowledge here) and continuing with Rorty and his attack on the 'mirror of nature', powerful arguments have been leveled at what has been, according to the received wisdom, the reigning theory of knowledge for most of history. Alvin Plantinga has rather famously given classical foundationalism a final kick. Now, a perusal of these links will show that foundationalism is indeed a many splendored thing: there are epistemic and metaphysical articulations to be found, ranging from Descartes to the British empiricists to Russell, but the overall moral is this: the idea that knowledge requires foundations (of any of the kinds listed above) in order to be rational is at the very least open to serious doubt. Now, the fact that foundationalism is in doubt doesn't negate the idea that knowledge may have foundations more generally. Plantinga is a good case study here, since while he objects to classical foundationalism he is still a sort-of, or a modest, foundationalist. It may be more helpful to put it this way: while the requirement for foundations for knowledge to be rational may be called into question, the question of grounds for knowledge is still alive and well.
This was something of a unifying theme for the German Idealists: the idea that there can be grounds for knowledge without foundations for knowledge. Perhaps no more heroic effort to develop a foundation-less but still grounded system was made than that of Fichte, and later by Hegel. One of Fichte's key points made against the idea of a Cartesian foundation, with demonstrable first principles, is that these first principles are in fact non-demonstrable:
…although we can show the genealogical relation between a theory and the first principle from which it derives, this principle is rigorously indemonstrable on the basis of this same theory. From this angle of vision, as Fichte points out, philosophy consists in the search for a first and absolute principle of human knowledge. According to Fichte, such a principle is unlimited and indemonstrable when it is a question of a true first princple. (Tom Rockmore, Before and After Hegel, p. 36)
Fichte is keen to avoid foundations; he is just as keen to avoid justification-less systems. While steering clear of Cartesian foundations, Fichte wants to preserve what he takes to be a fundamental rationalist insight: that there is a first principle that justifies anything that is derived from it (systems, propositions). What sets Fichte apart here is that instead of making intellectual intuition of some object or some fact this first principle, it is the 'I' which serves as first principle. Now, the language of 'justification' here ought to be noted: it is this language which marks out the normative dimension of Fichte's project. There is an essentially Kantian slant to the resulting doctrine, as Terry Pinkard notes: 'That is, we simply had to grasp through an act of "intellectual intuition" that our thought could be subject only to those norms of which it could regard itself the author.' (German Philosophy: The Legacy of Idealism, p. 112). Fichte's (in)famous reworking of the law of identity into a kind of inferentialism is the next step here, and according to Pinkard it is this inferentialism that actually grounds the law of identity (traditionally taken to be self-evident):
Identity statements, whose necessity seems to be at first self-evident when grasped in an act of intellectual intuition, in fact derive their necessity from a prior inference license ("if A, then A"); if so, then even more basic than the identity statement itself must be the notion, so Fichte argued, of issuing the license. (p. 113)
Through a series of dense and at times hard to follow arguments, Fichte moves from this inferentialism to the idea that the 'I' is the fundamental principle of knowledge (and there are some interesting connections here with Fichte's inferentialism to Robert Brandom's inferentialist project): however, this 'I' is not the 'I' or the 'self' of classical metaphysics, a self-contained, stable, enduring through time sort of substance. For Fichte, the 'I' is self-positing, and indeed, before the self-positing, there is in fact no 'I' or self. In another kantian move, Fichte notes that the condition for the possibility of any kind of logical judgement or any kind of inferential license issuing is the 'I' positing its own being, or to put a normative spin on it, the 'I's' self-authorizing. This act of self-authorizing which constitutes the 'I' is essentially a recognition of the law of identity: 'for a subject, an "I," to be said to be issuing inference licenses in the first place, it must be able to entertain both "A" and "not-A." Otherwise, it will never be able to commit itself to any particular inference license at all' (p. 115). This act of recognition is itself normative, since in this context the law of identity becomes 'I=I', and indeed this act of recognition can be given the name of 'self-consciousness', which is 'normatively positioning oneself and authorizing oneself to attribute such positions to oneself' (p. 116). The constitution of the 'I' is, then, for Fichte, the fundamental principle of human knowledge.
But weren't we concerned to show that Fichte wasn't trying to ground human knowledge in a fundamental principle? Yes, and here lies a crucial point for the contemporary debate on foundationalism which was noted in the first paragraph of this post: while the idea of demonstrable foundations of knowledge can be called into question, the idea of grounds for knowledge is perfectly legitimate. Fichte's crucial difference with the Cartesian tradition is that his fundamental principle is indemonstrable, but it is still a fundamental principle. The act of self-consciousness in which the 'I' constitutes itself as 'I', which is the fundamental principle, is not itself given in consciousness. This may seem odd, but recall that Fichte's principle is transcendental: that is, it is a condition for the possibility of logical judgement. This transcendental self-consciousness isn't something we can see or are given in experience: '…there is no comparable sense in which Fichte's structures are implicitly present in consciousness: we cannot be thought to, as it were, see the I's positings in empirical consciousness, in the way that we can be thought to discern Kant's syntheses in the conceptually shaped sensible given' (Sebastian Gardner, The unconscious, in The Impact of Idealism, p. 139). Pinkard notes that
By focusing so straightforwardly on self-consciousness, Fichte was trying to get his readers to grasp the common Kantian–Fichtean point that the "transcendental self " was not an "item" within experience but a normative status that made conscious and self-conscious experience possible in the first place and could therefore not be found in any act of introspection. (The Legacy of Idealism, p. 118)
While Fichte's own conclusions and doctrines may or may not be explicitly relevant to the contemporary debate surely his underlying concerns are. Fichte had shown (or at the very least had taken himself to be showing) that there could be a fundamental principle of human knowledge that wasn't itself a Cartesian foundation. This insight is itself essentially Kantian, but through a quirk of reception, Kant and Kantianism has largely been taken to be foundationalist in the crudest sense: Kantianism as a response to radical skepticism is, more or less, the canonical story. This story has been extraordinarily influential and like all influential stories has a good deal of truth in its broad forms. Kant was, in fact, responding to skepticism, but it is the manner of his response, or perhaps more precisely, the manner in which his response was received and re-oriented, that I want to examine here.
There are two relevant ways to interpret Kant's response to skepticism: (1) transcendentally and (2) foundationally. (1) can be summed up by saying that 'since the skeptic had to presuppose as a condition of experience some feature of experience he was explicitly denying, the skeptic was therefore always being (perhaps unknowingly) inconsistent with the force of his own commitments' (p. 101). (2) can be summed up by saying that 'the normative force of the Kantian categories – their character in determining how we ought to judge things or "must" judge them if we are to make any sense at all – had to be derived from some basic, itself non-derivable fact' (p. 101). We can call (1) the letter of the Kantian view, and (2) the spirit of the Kantian view. (1) is far less malleable than (2), which may be reoriented, redirected, corrected, or even rejected. The dominant interpretation of Kant's response has largely been (2), and this is largely the result of Reinhold's own work on Kant's philosophy.
Reinhold was largely concerned (as were most philosophers in his world) with tensions between philosophy and science, and whether or not philosophy itself was a science, and once his most serious concerns was whether or not philosophy was a science was whether or not it had a foundation, and it was in the Kantian doctrine of consciousness that Reinhold found his own fundamental principle: "In consciousness the subject distinguishes the representation from the subject and object and relates it to both." This was Reinhold's foundation, derived from no other premise but the fact of consciousness itself given in consciousness:
Components of Reinhold's strategy for interpreting Kant were to be replayed time and again in the history of the reception of Kantian philosophy. As that strategy laid out the terms of debate, the central problem to which Kant was supposed to have responded was that of epistemological skepticism; the solution to that skeptical problem was supposed to consist in demonstrating or finding some truth that the skeptic could not doubt; for that to work, such a truth had both to possess "certainty" and to be something with which we are directly acquainted. Since we cannot sensibly deny that we are conscious, and since a close attending to the "fact" of consciousness discloses the elements of the "principle of consciousness,"a close analysis of what is meant by the terms, "subject," "object," and "representation" should suffice to put philosophy on a scientific footing, give philosophers the professorial authority they should have, and answer once and for all the doubts raised by the skeptic. This, Reinhold concluded, was the answer to the question that Kant should have asked but did not. Indeed, understood in that light, the whole of Kant's own critical enterprise, Reinhold concluded, should be considered as a kind of grand theorem of his Elementarphilosophie. (p. 100)
This is, clearly, a markedly different response to skepticism than Kant himself gave, which is much more akin to (1) above. Reinhold's interpretation makes Kant out to be much closer to the dogmatists Kant decried, who attempted to refute skepticism by arguing for facts so certain that not even the skeptic could doubt them. It is this interpretation of Kant by Reinhold as a foundationalist and the Kantian system as foundationalism that has so often informed contemporary discussions of Kant and epistemology: 'Reinhold was instead convinced, like Descartes, that he had to find a principle that was so absolutely certain that even the skeptic could not deny it. Reinhold thus offered a way of interpreting Kant to which people have time and time returned (often without knowing how Reinhold paved the way)' (p. 101). The point of tension appears to be between thinking of Kantian foundations either transcendentally or foundational-ism-ly. Given Kant's own resistance to seeing the 'I' in empirical consciousness, the evidence appears to point towards the following conclusion: to interpret Kant as responding to skeptics, in a time of crisis, as it were, by positing undeniable, immediately available facts is to interpret Kant in precisely the way that he shouldn't be. Kant and Fichte's foundations of human knowledge derive their status as foundational not by being immediately available to consciousness, perception or as objects of knowledge but by the exact opposite: by locating the conditions for the possibility outside of experience itself. Were Fichte and Kant foundationalists? Yes and no: yes in that they agreed that knowledge had to start somewhere, no in that they forcefully rejected attempts to locate this start in demonstrable self-evident facts present to immediate consciousness. Perhaps a moral might be gleaned from this: contemporary debates about foundationalism and the justification of belief stand to gain a good deal if the insights of German idealism are incorporated into the debate, namely the reconfiguration of epistemology as fundamentally transcendental (that is, concerned with the conditions for the possibility of experience and knowledge) and therefore as fundamentally normative. While it has not been touched on here, the normative dimension of German idealist epistemology is deeply social, and a reconfiguration towards the transcendental implies a reconfiguration to the social as well.
Uncategorizedepistemology, fichte, kant, Metaphysics
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All Ireland League may refer to any of the following All-Ireland competitions.

All-Ireland League (rugby union), a rugby union competition
All-Ireland League (association football), a proposed, but ultimately abandoned, soccer league
National Football League (Ireland), a Gaelic football league that runs the All-Ireland Senior Football Championship


I read it this morning. It's possibly the best, most balanced article I've ever read on Over-The-Rhine. Thanks for posting it.
Yes, and I join you in thanking the OP. As for myself, this engaging treatise is the finest article I've ever read about the revitalization of OTR; it deserves ingestion in its entirety by anyone interested in the rebirth of downtown Cincinnati.
Yes, that was an excellent article for sure. I didn't realize so many people are against the revitalization, though.


There has been a lot of recent media coverage on the World Health Organization's (WHO) declaration that processed meats can cause cancer. The evidence is not new; however, WHO's announcement brings increased attention to the matter. In addition to the human health effects of eating meat, there are also significant environmental impacts—greater than any other type of food—to supporting the desire to consume meat and dairy.
Raising livestock for animal products requires a lot of land, water, food, and energy. Further, waste water, manure, and the use of pesticides and fertilizers pollute the air, streams, rivers, and oceans. There are a number of different types of livestock that contribute to environmental degradation, and in different ways; however, beef and dairy cattle appear to be the worst perpetrators. To narrow the focus of this paper, I will examine beef and two types of environmental impacts: greenhouse gases and water usage. Before we can understand the impacts, it's important to note something about consumption habits.


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BJHS Drama's Spring Season
The Bob Jones Patriot Players reading through Arthur Miller's The Crucible.
Maggie Brown, Writer
Chances are, if you've been to a Bob Jones one-act, you know about the Patriot Players. The students of Advanced Production work year-round to produce two incredible shows; we develop our competition piece as a class, and in the spring we bring a time-honored classic to life. Trumbauer season is over, so that means the Advanced Production slate is chock-full! Usually, the class advances to the Southeastern Theater Conference, but this year, we're doing things a little differently. This semester, the Patriot Players are taking two shows to the stage.
On February 21st and 22nd, Production will debut a 50's variety show filled with humor, music, and fun. Students got to pick the scripts themselves from a radio-play archive. Oldies songs, slapstick comedy, and outlandish commercials will be the main parts of the show. "We get to reimagine these scripts for the stage," said Mo McCann, who played Peggy in the fall one-act. "It'll be a fun event with a vintage feel, and we're looking forward to performing for everyone!" This enthusiasm is a staple of the Production classroom. Every day, actors and techies alike pitch their ideas, either for the 50's show or the next year's one-act. The process of writing or pulling together a show can take anywhere from weeks to months, but every Production student brings their best to the table.
From April 30th to May 2nd is The Crucible, a harrowing classic about McCarthyism and the Salem Witch Trials. The hype in the English department is real, to say the least; Bob Jones students will have a chance to see the show during school! For many of the actors, the casting process was a lesson in connecting with literature. Ellie Cornett, who will play Elizabeth Proctor, said, "When I first read The Crucible, I didn't give nearly enough credit to the role that Elizabeth played in the story. It wasn't until we began preparing for auditions that I realized what a complex character Elizabeth is." The two casts will feature JD Willis and Michael Nichols as John Proctor, Ellie Cornett and Clare Norris as Elizabeth, and Maddy Dobbs and Addie McAbee as the ruthless Abigail.
The Patriot Players aren't the only actors who bring amazing shows to our school. Advanced Drama also has a full season ahead of them, including the recruitment show for Patriot Expedition. Lies About High School is an annual staple where students perform vignettes for the incoming freshmen. Each class throughout the years has added a new comedy sketch to the show. Advanced Drama will also be performing a student showcase at the end of the semester. When asked about the rising stars in Beginning and Intermediate, Mrs. Davis said, "The intermediate class gets to do two one-acts, a comedic and a dramatic, so that they have experience in both before they go to the advanced level. My beginning class usually does a comedic one-act because comedy is usually more comfortable for that stage of acting. I'm excited!"
The 50's variety show runs on Feb. 21st & 22nd, The Crucible runs from April 30th to May 2nd, and other show dates are yet to be announced. Stay tuned for more information about the drama department!
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Hi there, I'm Maggie! I'm a junior here at BJHS, and I want to study the humanities, dramatic writing, and entrepreneurship. I work with the drama department...
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How Does Gac Fruit Protect The Liver?
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Lycopene is highly considered an antioxidant with 10 times as powerful as Vitamin E, which protects the liver from harmful free radicals. Nowadays, the main source of Lycopene in the world is from tomato extraction. However, Gac fruit – also called baby jackfruit or spiny bitter gourd, is a common fruit. Its Lycopene content is 70 times higher than tomatoes.
The scientific name of Gac fruit is Momordica Cochinchinensis (also known as Spiny Bitter Gourd). This fruit grows mainly in Southeast Asia.
"Fruit from Heaven"
US researchers have named Gac "Fruit from Heaven" because it is beneficial to the health. It contains a high content of antioxidant (Lycopene), anti-aging properties (Beta-Carotene), and great resistance improvement. Currently, consumers have paid attention to Gac fruit. "Gac" oil is a good food supplement for the eyes due to the great richness in Beta-Carotene – the precursor of vitamin A, which acts as an essential vitamin for the body. However, only a few people notice the other active ingredient in Gac fruits- Lycopene.
According to a number of published scientific studies, Lycopene is a very valuable active ingredient because of its powerful antioxidant properties that are 10 times as strong as vitamin E.
The active ingredient Lycopene now has become material for a wide variety of good health supplements in general and liver supplements in particular. However, up to now, the source of commercial Lycopene in the world has been mainly from tomato extraction, and that is reason "tomato" in modern Latin is called "Lycopersicum". Why does the world's most popular lycopene source come from tomatoes while Lycopene in Momordica Cochinchinensis fruit has been shown to be nearly 70 times as high as tomatoes'?
It is true that the Lycopene content in Momordica Cochinchinensis fruit can be extremely high, but this fruit is widely planted only in Southeast Asia. The amount of Lycopene in Tomatoes is 70 times less than that of Gac but tomatoes can grow in all regions of the world.
Gac – a popular fruit in Southeast Asia – contains 70 times more Lycopene content than tomatoes.
The Origin of Gac Fruit
Fortunately, Vietnam is the cradle of Gac, which is beneficial to Vietnamese manufacturers in extracting and developing products from Gac to protect the health of the Vietnamese as well as export the product to the world.
As a strong antioxidant, Lycopene is capable of supporting the liver's defense against oxidizing agents which results in liver cell damage, liver function impairment, and hepatitis. It is a precious active substance in the context of the high incidence of liver disease in Vietnam- the country ranked the 5th among the countries having the highest rate of liver cancer according to the World Health Organization statistics. The rate of liver cancer in Vietnam (including primary and progressive cancer from hepatitis, cirrhosis) is 24.6/100,000 people respectively.
"Distinctive Rookie"- "Organic Gac Oil"
In the Vietnamese market, it is not difficult to find the diversity of Gac oil products. But if you compare the content of active ingredients as well as the origin of raw Gac among these oil products, you can see the "rookie" Lyco-Prevent capsules is fairly distinctive and remarkable.
The active substances like Lycopene and Beta-Carotene included in Gac fruit are plentiful, but they are also susceptible to the oxidation and content drop by the exposure of external agents such as light, temperature, oxidant. For instance, when people use Gac fruit for steaming sticky rice, the essence of Gac has completely lost in the process of steaming – now Gac only acts as a natural food color.
How To Preserve Nutrients In Gac Fruit?
Therefore, in order to preserve the precious nutrients in Gac, it is necessary to have advanced technology which minimizes the reduction of the active ingredient content by the external agents. And of course, Lyco-Prevent can solve these problems.
Lyco-Prevent is the first product made of Lycopene through Gac extraction and meets National Organic Program of United States Department of Agriculture (USDA-NOP) and EU Organic Regulations (EC 834/2007)
With the high content of Lycopene and Beta-Carotene, Lyco-Prevent becomes the first product made entirely from PhytoGac in Vietnam as well as the world. This type of Gac oil is extracted purely from organic Gac, it meets National Organic Program of United States Department of Agriculture (USDA-NOP) and EU Organic Regulations (EC 834/2007) – the world's highest agricultural standards in consumer safety, hereby, Lyco-Prevent really gets our money's worth.
Gac used for the production of Lyco-Prevent is extracted from Gac by advanced technology, which preserves high content of Lycopene and Beta-carotene from raw organic Gac. The product is a new ideal way to help users remove the free radicals produced during the body's metabolism, digestion. Besides Lyco-Prevent helps protect the liver and increase the resistance.
Source: https://allknow-how.com/gac-fruit/
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