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Home > Can Mexico Be Saved?
Monday, August 13, 2018 - 11:00pm
Can Mexico Be Saved?
The Peril and Promise of López Obrador
Denise Dresser
DENISE DRESSER is Professor of Political Science at the Autonomous Technological Institute of Mexico.
In 2012, Mexico's future looked promising. The election of a dashing young president, Enrique Peña Nieto [1], imbued the country with a new sense of energy and purpose. Back in power after a 12-year hiatus, the Institutional Revolutionary Party, or PRI [2], had promised to reinvent itself and shun the corrupt authoritarianism it had practiced during the seven decades it ruled Mexico. As the country seemed to reach a consensus on long-delayed structural reforms, the international press heralded "the Mexican moment." [3] According to the cover of Time magazine [4], Peña Nieto was "saving Mexico" by opening up the energy sector to foreign investment, combating monopolies, changing archaic labor laws, and leaving nationalism and crony capitalism in the past.
Just six years later, however, a historic election [5] swept the PRI from power and delivered a landslide victory to its nemesis, the antiestablishment leader Andrés Manuel López Obrador, and his party, the National Regeneration Movement (MORENA). The election was a sharp rebuke [6] to Peña Nieto, his agenda, and the political and economic system that has been in place since the country transitioned to democracy in 2000. Despite the early promise of Peña Nieto's modernizing reforms, by 2018, eight in ten voters disapproved of the PRI. The election catalyzed popular anger over frustrated economic expectations, rampant corruption [7], and a homicide rate [8] that has made Mexico one of the most violent countries in the Western Hemisphere.
But the vote was about more than merely punishing the PRI for its failings. López Obrador won because he was perceived as an authentic opposition leader: an insurgent politician who for years—including during two previous runs for the presidency—had railed against rapacious elites and a democratic transition gone awry. This time, however, his message in defense of "the people" resonated with wider segments of the Mexican electorate because the ills he diagnosed had become increasingly evident during the Peña Nieto administration.
López Obrador's promise to shake up the status quo appealed [9]
Source URL: https://www.foreignaffairs.com/articles/americas/2018-08-13/can-mexico-be-saved
[1] https://www.foreignaffairs.com/interviews/2013-12-06/pact-progress
[2] https://www.foreignaffairs.com/articles/americas/2012-06-06/old-guard-new-mexico
[3] https://www.theguardian.com/world/2014/jan/09/mexico-moment-reforms-enrique-pena-nieto
[4] http://content.time.com/time/covers/pacific/0,16641,20140224,00.html
[5] https://www.foreignaffairs.com/articles/mexico/2018-07-02/lopez-obrador-and-future-mexican-democracy
[6] https://www.foreignaffairs.com/articles/mexico/2015-02-04/mexicos-perfect-dictatorship
[7] https://www.foreignaffairs.com/articles/mexico/2016-06-22/fighting-corruption-mexico
[8] https://www.nytimes.com/2017/08/04/world/americas/mexicos-drug-killings.html
[9] https://www.nytimes.com/2018/07/10/opinion/victory-mexican-democracy.html


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Home Business UBA declares N18 billion profit in 1Q
UBA declares N18 billion profit in 1Q
Nigeria's foremost bank, the United Bank for Africa Plc, has declared N18 billion profit after tax for the unaudited first quarter of 2016.
According to the Bank's result released on the Nigerian Stock Exchange (NSE) recently, its gross earnings stood at N74 billion for the three months ended March 2016.
The Group sustained its strong profitability, recording an annualized 20 per cent return on average equity (RoAE).
While commenting on the results, the GMD/CEO of UBA, Phillips Oduoza, said, "I am pleased to report yet another impressive performance for the period. In addition to achieving better pricing on our assets and liabilities, we leveraged enhanced service channels in growing transaction banking volumes and fee income."
ALSO SEE: UBA targets 50% growth from African subsidiaries, approves 40k dividends
He explained that the bank recorded an impressive 12 per cent year-on-year growth in net interest income and sustained net operating income at N50 billion for the first three months of the year.
"I am particularly pleased with the increased contribution of the African subsidiaries, which represented 28 per cent of our Group's top- and bottom- lines in the first quarter of the year"
He admitted that the first quarter has been challenging, with a host of macro-economic pressures ranging from inflationary threats to fuel shortages; all of which impacted the business environment.
"We grew the loan book by a modest N13 billion or $65 million in the quarter and maintained our decent asset quality metrics, 1.7 per cent non-performing loans (NPL) ratio and 0.4% cost of risk," he said.
United Bank for Africa (UBA)
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Solar Bat Unveils New Website - Solar Bat Enterprises Inc.
After months of hard work and patiently awaiting the new site's development, Solar Bat Sunglasses is preparing to unveil the new e-commerce website that makes shopping easier than ever. Each page has been designed specifically to make product accessibility and shopping more convenient for the user. Additionally, as a company, we are working to expand the brand in new digital media arena. That way, we can share the superiority of our products with outdoor enthusiasts of all ages and both genders. Solar Bat believes in its products, so unveiling the new website will communicate to customers everything he/she needs to know about a pair of sunglasses prior to purchasing a pair. Even more importantly, the new website is mobile friendly and makes navigation easier than our previous website. Be sure to check the new website for sales, new releases, product reviews, news and information … Solar Bat is ready to improve your outdoor sports performances.


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Which IoT Protocol? Comparing standardized approaches over a common M2M application.
Fysarakis, K., Askoxylakis, I., Manifavas, C., Soultatos, O., Papaefstathiou, I. and Katos, V., 2016. Which IoT Protocol? Comparing standardized approaches over a common M2M application. In: IEEE Globecom, 4-8 July 2016, Washington DC.
Computing devices already permeate working and living environments, while researchers and engineers aim to exploit the potential of pervasive systems in order to introduce new types of services and address inveterate and emerging problems. This process will lead us eventually to the era of urban computing and the Internet of Things (IoT). However, the long- promised improvements require overcoming some significant obstacles introduced by these technological advancements. One such obstacle is the lack of interoperable solutions, to facilitate the use, monitoring and management of the plethora of devices and their services. While seamless machine-to-machine (M2M) and human-to-machine (H2M) interactions are a necessity for secure and truly ubiquitous computing, the current status quo is that of a segregated and incompatible assortment of devices. The resource-constraints of the platforms integrated into smart environments, and their heterogeneity in hardware, network and overlaying technologies, only exacerbate these interoperability issues. Motivated by the above, this paper identifies three promising, standardized protocols, each following a different approach in addressing the above concerns. We evaluate the selected protocols in the context of designing and implementing an application requiring various M2M interactions, namely a policy-based access control framework for IoT devices. Thus, three variants of the application are developed, considering each protocol's intrinsic characteristics and features. Finally, the developed applications are evaluated on a common testbed of embedded devices, allowing us to extract useful conclusions concerning the protocols' performance, their intricacies and their applicability in similar applications.


I've written an overview post in this series on Depression Central, and I hope you'll have a look at that. Thanks.
Talking to a depressed partner can be more than frustrating. It can feel hopeless when you're faced with a slammed door shutting you out completely or a furious attack full of blame and rejection. If your partner says anything, the words are likely either accusing you as the cause for the onset of severe depression, or angrily denying there's any problem at all. Or you may not get any response and have to deal with someone who is emotionally absent, empty of feeling, gone from the relationship. This is likely the worst crisis you've ever faced with your partner.
I discussed in a previous post some approaches recommended by prominent authors to the partners of depressed people and mentioned Julie Fast's "big picture" plan as the one that made the most sense to me.
The first step toward healing for your partner, as well as yourself and the relationship, is to recognize that it's depression driving you apart. Both partners need to be able to sense the early signs of its onset. But only your partner can make a commitment to action and take charge of their own treatment. There are some ways you can help with this process, but you can't do it for them or take on the leading role in recovery. That's not your job. You didn't cause the problem. You can't cure it.
I'd like to describe here how difficult that first step of recognition was in my case and then look at a method for getting a clearer picture of what's happening, one that proved effective for my wife and for me. With the understanding and insight gained from that work, it slowly became possible to communicate without getting caught up in confrontations driven by depression.
As I've mentioned in an earlier post, for years I had a very limited understanding of what depression could do. Apart from the feelings of bleakness and despair, I never grasped that so many other things I was experiencing were linked to this condition. That's important to know because a partner may be in treatment for depression but not be dealing with all its effects and distortions of thought and feeling.
I assumed that other symptoms, now so familiar to those who have tried to educate themselves about this condition, were either a part of my nature or were caused by some external circumstance. The anxiety, the obsessive way of thinking, the inability to focus and mental blank-outs seemed to be limitations that I could not change, even though they were by no means permanent.
My constant negative thinking and the shame I felt seemed justified by my inner failings. Projecting negative judgments about myself into the minds and attitudes of others also felt like reality. That's the way they must be judging me. Everyone should think badly of me because I was empty inside.
On the other hand, I blamed my wife for the problems I imagined were plaguing our relationship. I could certainly see that I was contributing to them, but that didn't stop me from raging at her and our kids for everthing – and for nothing.
All of this made any real communication about what was happening completely impossible. I cast around me a net of control to capture and hold everything still. Most of my crazy behavior was based on fear of ripping that net. Everything I saw felt like part of me, an extension of my nervous system. On the surface, I was enraged at each unexpected tremor, sudden shift, raised voice, spontaneous action.
But anger can be a mask for fear, and inwardly I often burned in fear, even panic. Any effort by my wife to tell me what she was seeing in me and the effect it was having on her and our children only prompted more anger as I denied I had any problem and shut her out even more.
How did we begin to cut through the defenses and barriers to real communication? At calmer moments, we applied some tools we had learned from a therapist and gradually retrained our reactions to each other. That process made a breakthrough possible, but it was a long time coming.
As Julie Fast suggests in Loving Someone with Bipolar Disorder , making lists of what works with your partner and yourself is a helpful starting point. That process begins by writing down changes in behavior and learning how those changes relate to the symptoms of depression.
Then, it's important to list the specific actions, tones of voice, words and physical gestures – everything you perceive when the familiar partner is slipping away into depression. These steps make it clear that depressed partners are no longer the same people you've known but have been transformed by a condition they may not recognize at all or just can't control. Next, think about your own responses to what the "new" and estranged partners are doing. By writing down those reactions – not just the feelings but also what you've said and done – it may be possible to separate the responses that seemed to get nowhere from those that helped move toward a truer dialogue.
Julie Fast gives many examples of how to focus on what works, but she also understands how hard it is. Faced with irrational and abusive attacks that threaten the core relationship and tear into one's own self-esteem, no one can stand back and calmly set aside the raw emotions of the moment. For one thing, the "well" partners have plenty of issues of their own. They may have experience with depression, anxiety, fears of abandonment, damaged self-esteem, a history of abuse. Everyone has vulnerabilities, and it is often those dimensions that are the targets of of a depressed partner's abuse.
To be most effective, though, learning from such methods has to be shared, if at all possible. The burden can't fall on one person. In our case, I had enough periods when depression receded that I could work with my wife in therapy and begin practicing ways of catching myself early on. That didn't stop repeated episodes of illness, but it did give my wife something to appeal to when I started going into a tailspin. She could tell me what she was observing before I got out of control – the initial irritability, obsessive thinking, secluding myself, constant frowning, never looking directly at her. Her ability to do this gave me pause because I could see where I was heading. If I could admit to her that she was right, I was getting depressed, we could both focus on the illness instead of getting into a blaming match.
Many depressed partners are beyond reach and refuse to talk at all. Even in those cases, though, working through this method alone at least helps partners of the depressed avoid self-blame or the trap of believing they can fix the problem on their own.
But no matter how severe the depression, the effects of abuse and irrationality are real and can't be allowed to continue. It's especially important for the unreachable partners to face the consequences of the pain and damage they inflict on their familes. If nothing else works, a boundary has to be sharply drawn. More than once, I faced an ultimatum from my wife, and that forced me to acknowledge the havoc I was causing and to get serious about treatment. As addicts often say, it wasn't until they lost everything that they finally admitted they were out of control and could begin recovery. Unchecked depression can be that bad. The illness pushes everyone affected by it toward destruction, and it can take extreme measures to stop it.
These methods helped us avoid the extreme, but every relationship has different needs. Does this one sound feasible in your case? Have you found any method that works for you?
I really need help with my Husbands depression. Its going on for over 7 years, where we are in a financial trouble most of the time, I am working full time, and part time and currently doing all the household chores.He had his own bus Our House is a steak at the moment and our relationship on the rocks. He blames me for making him feel useless (like a dog), so I get treated like one. He is using depressing medication but not regularly as prescribed and smokes a lot and drinks alcohol almost every day( 2-6 bears). We went to therapy at a psychologist for marriage council, and he was sent to a psychiatrist for further evaluation. But he is still in denial. I can talk to him without him getting angry and acknowledge to me that he knows he is useless….to make me feel bad. I asked him to please take responsibility and make thing better for us as a family….and he responded by " You have two options: I give you a divorce or I commit suicide". I am not sure I f suicide threats are to be taken seriously. But I have had some many scared moment of not knowing how I will find him when I get home sometimes because I am really afraid he might do it. I am desperate for help. We not that involved in church but I have tried getting church people, friends help, and it made him feel worse and humiliated.
I have had depression all my life and feel like a misunderstood lab rat. I am 66 and have just now been diagnosed with bipolar2.


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Oxygen atom "cut and paste" from carbon dioxide to a fischer carbene complex
Milko van der Boom
(Chemical Equation Presented) A quick fix: The recently reported process of "oxygen-atom metathesis", which is akin to olefin metathesis, may be involved in the activation of carbon dioxide. Nucleophilic attack by the d8 metal center of an in situ generated Fischer carbene complex on carbon dioxide affords an unstable metallacycle. Elimination of an organic component, tert-butyl formate, results in the concurrent formation of an iridium-carbonyl complex.
Angewandte Chemie - International Edition
Alkenes
tert-butyl formate
Carbenes
Metathesis
van der Boom, M. (2009). Oxygen atom "cut and paste" from carbon dioxide to a fischer carbene complex. Angewandte Chemie - International Edition, 48(1), 28-30. https://doi.org/10.1002/anie.200803953
Oxygen atom "cut and paste" from carbon dioxide to a fischer carbene complex. / van der Boom, Milko.
In: Angewandte Chemie - International Edition, Vol. 48, No. 1, 2009, p. 28-30.
van der Boom, M 2009, 'Oxygen atom "cut and paste" from carbon dioxide to a fischer carbene complex', Angewandte Chemie - International Edition, vol. 48, no. 1, pp. 28-30. https://doi.org/10.1002/anie.200803953
van der Boom M. Oxygen atom "cut and paste" from carbon dioxide to a fischer carbene complex. Angewandte Chemie - International Edition. 2009;48(1):28-30. https://doi.org/10.1002/anie.200803953
van der Boom, Milko. / Oxygen atom "cut and paste" from carbon dioxide to a fischer carbene complex. In: Angewandte Chemie - International Edition. 2009 ; Vol. 48, No. 1. pp. 28-30.
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-Veteran editor and columnist, Bikram Vohra, commenting on media trends then and now.
-Reports in yesterday's papers, about a case involving an acutely star-struck Sheikh and a 'fixer'.
Rahul Akerkar has been one of SoBo's most popular and celebrated chefs/restaurateurs for the past two decades or so. Akerkar, who started Indigo Colaba, the flagship standalone eatery, had introduced Mumbai (and later on the rest of India) to high-quality continental and wholesome dining. And though he has long parted ways with DeGustibus Hospitality, the company he'd created and parted ways with in 2015, and is on his way to introduce his latest venture in Mumbai's Lower Parel, this week, the chef was spotted in an exuberant new avatar during the Diwali luncheon he had hosted at his home with wife-designer Malini Akerkar. "There was a delightful spread of South Indian dishes. The fish curry was to die for. But the highlight of the occasion was evidently Rahul's lungi dance, which we all took videos of," informs a source. Friends will tell you that Akerker is quite the showman, especially when the camera lens is pointed at him. For years, he has popularised his signature 'running man' pose and has even managed to get other restaurateurs to join him in it. A quick glance on his Instagram will show you that the pose has travelled around the world with him. Now, given this, perhaps it is a turning point, and it is now the turn of 'Akerkar lungi dance', which will be the order of the day and his preferred camera stance? Meanwhile, the city awaits the opening of what is described as its 'most hotly anticipated restaurant of the year' from his stable.


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Writers Of The Harlem Renaissance Essay
Writers of the Harlem Renaissance
During the 1920?s, a ?flowering of creativity,? as many have called it, began to sweep the nation. The movement, now known as ?The Harlem Renaissance,? caught like wildfire. Harlem, a part of Manhattan in New York City, became a hugely successful showcase for African American talent. Starting with black literature, the Harlem Renaissance quickly grew to incredible proportions. W.E.B. Du Bois, Claude McKay, and Langston Hughes, along with many other writers, experienced incredible popularity, respect, and success. Art, music, and photography from blacks also flourished, resulting in many masterpieces in all mediums. New ideas began to take wings among circles of black intellectuals. The Renaissance elevated black works to a high point. Beyond simply encouraging creativity and thought in the African American community, the writers of the Harlem Renaissance completely revolutionized the identity of African American society as a whole, leading black culture from slavery to its current place in America today.
There was no single cause which produced the Harlem Renaissance, but there are several historical developments which paved the way. The first set of contributing factors deal with the cultural background of Harlem from 1900 to 1920. At the turn of the century, Harlem first began to emerge as a distinctly black community. As black population increased, African American culture came to the surface and blacks started to hold prominent roles in this self-motivated community. This afro-centric atmosphere of Harlem appealed to many southern blacks, and as a result, ?the Great Migration of southern rural blacks to the north began in 1915? (Haskins 15). Blacks left segregation-endorsing southern states to find newly opened jobs and opportunities in the north. This migration so greatly affected New York that, according to Negroes in the U.S., by 1930 over 52% of Manhattan?s black residents had migrated from South Atlantic states. This migration set the stage for a diverse and interesting Harlem flavor, which led to the Renaissance.
A second cluster of factors contributing to the Renaissance concerns the development of a sense of empowered community among black culture in the ?twenties? and the preceding decade. The African American churches played a large role not only in religious thought, but also in building community and self-awareness among blacks. Organizations such as the Negro YMCA and African American lodges and social clubs began to emerge and flourish. In 1909 and 1910, the National Association for the Advancement of Colored People (NAACP) and the Urban League were formed. In 1916, Marcus Garvey began the Universal Negro Improvement Association (UNIA), which stressed nationalism among blacks and ?urged blacks to be proud of their color and to build social and economic institutions of their own? (Haskins 29). Although different in some of their ideals, these organizations...
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990 words - 4 pages The Harlem Renaissance enriched America through its music. Countless African Americans became key figures in music during this time. The Harlem Renaissance was a time of African American expression in art, music, and literature. The Harlem Renaissance was instigated by the migration of African Americans to northern cities that was taking place in America at that time. (Hutchinson) The music of the Harlem Renaissance brought about a sense of
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text:
import pprint
import itertools
from Interval import Variable, IntervalExpression

AND = 1
OR = 2
NOT = 3
XOR = 4

EXPAND_STATE_IN_SATISFY = True

def normalize( entry ):
	if isinstance( entry, IntervalExpression ):
		return IntervalTerm( entry )
	else:
		return entry

def flatten( array ):
	out = []
	if not isinstance( array, list ):
		return array

	for entry in array:
		value = flatten(entry)
		if isinstance( value, tuple ):
			out.append( value )
		else:
			out.extend( value )

	return out

class Expression( object ):
	def __init__( self, op, lhs, rhs ):
		self.op = op
		self.lhs = normalize(lhs)
		self.rhs = normalize(rhs)

	def __and__( self, rhs ):
		return Expression( AND, self, rhs )

	def __mul__( self, rhs ):
		return Expression( AND, self, rhs )

	def __or__( self, rhs ):
		return Expression( OR, self, rhs )

	def __add__( self, rhs ):
		return Expression( OR, self, rhs )

	def __neg__( self ):
		return Expression( NOT, self, None )

	def __not__( self ):
		return Expression( NOT, self, None )

	def __xor__( self, rhs ):
		return Expression( XOR, self, rhs )

	def eval( self ):
		if self.op == AND:
			return self.lhs.eval() and self.rhs.eval()
		elif self.op == OR:
			return self.lhs.eval() or self.rhs.eval()
		elif self.op == NOT:
			return not self.lhs.eval()
		elif self.op == XOR:
			return self.lhs.eval() ^ self.rhs.eval()

	def __nonzero__( self ):
		return self.eval()

	def depends(self):
		out = []

		if self.lhs is not None:
			out.extend( self.lhs.depends() )
		if self.rhs is not None:
			out.extend( self.rhs.depends() )

		# remove duplicates
		return list(set(tuple(out)))

	def __str__( self ):
		if self.op == AND:
			return "(%s AND %s)" % ( str(self.lhs), str(self.rhs) )
		elif self.op == OR:
			return "(%s OR %s)" % ( str(self.lhs), str(self.rhs) )
		elif self.op == NOT:
			return "(NOT (%s))" % str(self.lhs)
		elif self.op == XOR:
			return "(%s XOR %s)" % ( str(self.lhs), str(self.rhs) )

	def demorgan( self ):
		if self.op == NOT:
			if isinstance(self.lhs, Term):
				# nothing to do
				return
			else:
				if self.lhs.op == AND:
					lhs = Expression(NOT, self.lhs.lhs, None)
					rhs = Expression(NOT, self.lhs.rhs, None)
					self.lhs = lhs
					self.rhs = rhs
					self.op = OR
					self.lhs.demorgan()
					self.rhs.demorgan()

				elif self.lhs.op == OR:
					lhs = Expression(NOT, self.lhs.lhs, None)
					rhs = Expression(NOT, self.lhs.rhs, None)
					self.lhs = lhs
					self.rhs = rhs
					self.op = AND
					self.lhs.demorgan()
					self.rhs.demorgan()

				elif self.lhs.op == NOT:
					if isinstance( self.lhs.lhs, Term ):
						# mathematically unaesthetic
						self.op = AND
						self.rhs = self.lhs.lhs
						self.lhs = self.lhs.lhs
						# no need to continue
						return

					else:
						self.op = self.lhs.lhs.op
						self.rhs = self.lhs.lhs.rhs
						self.lhs = self.lhs.lhs.lhs
						self.lhs.demorgan()
						if self.rhs:
							self.rhs.demorgan()
						self.demorgan()
		else:
			self.lhs.demorgan()
			self.rhs.demorgan()

	def satisfy( self ):
		if self.op == NOT:

			if isinstance( self.lhs, State ) and EXPAND_STATE_IN_SATISFY:
				return self.lhs.satisfy( state = False )

			return [(self.lhs, False)]

		elif self.op == OR:
			left = flatten( self.lhs.satisfy() )
			right = flatten( self.rhs.satisfy() )
			# test if we did actually generate duplicates
			if tuple(left) == tuple(right):
				return [left]

			return [left, right]

		elif self.op == AND:
			left = self.lhs.satisfy()

			#short-circuit evaluation, if lhs is empty
			if len(left) < 1:
				return []

			right = self.rhs.satisfy()
			out = []
			for l in left:
				for r in right:
					if isinstance( l, tuple ):
						raw_result = [l]
					else:
						raw_result = l

					if isinstance( r, tuple ):
						raw_result.append( r )
					else:
						raw_result.extend( r )

					is_ok = True
					result = []
					for entry in raw_result:
						if (entry[0], not entry[1]) in raw_result:
							is_ok = False
							break
						else:
							if entry not in result:
								result.append( entry )

					if is_ok:
						out.append( result )

			#validate interval terms
			new_out = []
			for result in out:
				its = {}
				normal = []
				for entry in result:
					if isinstance( entry[0], IntervalTerm ):
						if entry[0].expr.var not in its:
							its[entry[0].expr.var] = []
						its[entry[0].expr.var].append( entry[0].expr )
					else:
						normal.append( entry )

				if len( its ) < 1:
					new_out.append( normal )
				else:
					is_ok = True
					for var in its:
						result = its[var][0]
						#print "result", result
						for q in its[var][1:]:
							#print "q", q
							result = result * q
							#print "result", result
						if len(result.interval.intervals) < 1:
							is_ok = False
						normal.append( (IntervalTerm( result ), True) )
					if is_ok:
						new_out.append( normal )
			#out = new_out
			out = []
			tuples = []
			for entry in new_out:
				if repr(entry) not in tuples:
					out.append( entry )
					tuples.append( repr(entry) )
			return out

class Term( object ):
	def __init__( self, name = "" ):
		self.name = name
		self.value = True

	def set( self, value ):
		self.value = value

	def eval(self):
		return self.value

	def depends(self):
		return [self]

	def demorgan(self):
		pass

	def satisfy( self ):
		return [(self, True)]

	def __and__( self, rhs ):
		return Expression( AND, self, rhs )

	def __rand__( self, rhs ):
		return Expression( AND, self, rhs )

	def __mul__( self, rhs ):
		return Expression( AND, self, rhs )

	def __or__( self, rhs ):
		return Expression( OR, self, rhs )

	def __add__( self, rhs ):
		return Expression( OR, self, rhs )

	def __neg__( self ):
		return Expression( NOT, self, None )

	def __not__( self ):
		return Expression( NOT, self, None )

	def __xor__( self, rhs ):
		return Expression( XOR, self, rhs )

	def __str__(self):
		return self.name# + "[%s]" % self.value

	def __repr__(self):
		return "Term('%s')" % self.name

	def __nonzero__( self ):
		return self.eval()

class State( Term ):
	def __init__( self, name = "" ):
		self.name = name
		self.turn_on = None
		self.turn_off = None
		self.value = False

	def demorgan( self ):
		self.turn_on.demorgan()
		self.turn_off.demorgan()

	def consistent( self ):
		left = set(self.turn_on.depends())
		right = set(self.turn_off.depends())

		#print ""
		#print "consistency:"
		#print "\tl:", left
		#print "\tr:", right

		common = left.intersection( right )
		# state turning on and off are fully independent
		# -> not guaranteed that both wouldn't be true at the same time

		if len(common) < 1:
			return False

		left = self.turn_on.satisfy()
		right = self.turn_off.satisfy()

		#print ""
		#print "satisfy:"
		#print "\tl:", left
		#print "\tr:", right

		# make sure that both on- and off-states are possible
		if len( left ) < 1:
			return False

		if len( right ) < 1:
			return False

		# be sure that on- and off-states cannot be true at the same time

		for lhs in left:
			for rhs in right:
				found = False
				for q in lhs:
					if q in rhs:
						found = True
					else:
						found = False
				if found:
					return False

				found = False
				for q in rhs:
					if q in lhs:
						found = True
					else:
						found = False
				if found:
					return False

		return True

	def satisfy( self, state = True ):

		if EXPAND_STATE_IN_SATISFY:
			if state:
				return self.turn_on.satisfy()
			else:
				return self.turn_off.satisfy()
		else:
			return [(self, True)]

	def eval( self ):
		left = self.turn_on.eval()
		right = self.turn_off.eval()
		if left:
			self.value = True

		if right:
			self.value = False

		return self.value

	def __irshift__( self, rhs ):
		self.turn_off = rhs
		return self

	def __ilshift__( self, rhs ):
		self.turn_on = rhs
		return self

	def __repr__(self):
		return "State('%s')" % self.name

class TransientEvent( Term ):
	def __init__( self, name = "" ):
		self.name = name
		self.turn_on = None
		self.value = False

	def __ilshift__( self, rhs ):
		self.turn_on = rhs
		return self

	def demorgan( self ):
		self.turn_on.demorgan()

	def eval( self ):
		left = self.turn_on.eval()
		if not self.value and left:
			return True

		self.value = left
		return False

	def consistent( self ):
		sat = self.turn_on.satisfy()
		if len(sat) < 1:
			return False

		return True

	def __repr__(self):
		return "TransientEvent('%s')" % self.name

class IntervalTerm( Term ):
	def __init__( self, expr ):
		self.name = "(%s)" % str(expr)
		self.expr = expr

	def consistent( self ):
		return len(self.expr.interval.intervals) > 0

	def __repr__( self ):
		return str(self.expr)

	def __neg__( self ):
		return IntervalTerm( -self.expr )

class SubstituteTerm( Term ):
	def __init__( self, name = "" ):
		self.name = name
		self.value = True
		self.expr = None

	def eval(self):
		return self.expr.eval()

	def depends(self):
		return self.expr.depends()

	def demorgan(self):
		self.expr.demorgan()

	def satisfy( self ):
		return self.expr.satisfy()

	def __repr__(self):
		return "SubstituteTerm('%s')" % self.name

	def __ilshift__( self, rhs ):
		self.expr = rhs
		return self

def analyze( relations ):
	var_map = {}
	for (name, relation) in relations.items():
		terms = relation.depends()
		for term in terms:
			if term not in var_map:
				var_map[term] = []
			var_map[term].append( name )
	pprint.pprint( var_map)
	print ""
	terms = var_map.keys()

	rels = {}
	for (name, relation) in relations.items():
		terms = tuple( sorted( relation.depends(), key = lambda t: t.name ) )

		if terms not in rels:
			rels[terms] = {}
		rels[terms][name] = relation

	for (terms, to_be_evaled) in rels.items():
		evals = {}
		for i in range( 2**len(terms) ):
			values = []
			for j in range( len( terms ) ):
				terms[j].set( (i & (1 << j)) > 0 )
				values.append((i & (1 << j)) > 0 )
			evals[tuple(values)] = {name: relation.eval() for (name, relation) in to_be_evaled.items()}
		print terms
		pprint.pprint( evals )
		print ""

### example

if __name__ == "__main__":

	X = Term("X")
	Y = Term("Y")
	Z = Term("Z")

	Q = X + Y
	P = X + (Y * Z)
	R = Z * (-Q )
	S = X * ((-(-(X+X))) * X)
	T = X * (-(-(-( -(-Z)))))

	print "Q :=", Q
	print "P :=", P
	print "R :=", R
	print "S :=", S
	print "T :=", T
	print ""
	print "after De Morgan rewrite:"
	print ""

	Q.demorgan()
	P.demorgan()
	R.demorgan()
	S.demorgan()
	T.demorgan()

	print "Q :=", Q
	print "P :=", P
	print "R :=", R
	print "S :=", S
	print "T :=", T
	print ""

	print ""
	print "Satify test"
	print "Q:", Q.satisfy()
	print "P:", P.satisfy()
	print "R:", R.satisfy()
	print "S:", S.satisfy()
	print "T:", T.satisfy()

	print ""
	print ""

	print "Q :=", Q, "->", Q.eval()
	print "P :=", P, "->", P.eval()
	print "R :=", R, "->", R.eval()
	print "S :=", S, "->", S.eval()
	print "T :=", T, "->", T.eval()

	print ""
	print "Q depends on", Q.depends()
	print "P depends on", P.depends()
	print "R depends on", R.depends()
	print "S depends on", S.depends()
	print "T depends on", T.depends()
	print ""
	analyze({
		'Q': Q,
		'R': R,
		'P': P,
		'S': S,
		'T': T,
		})

	print ""
	print ""

	A = State("A")
	B = State("B")

	A <<= -Q
	A >>= R

	B <<= Q * (-A)
	B >>= R

	print "Is A consistent?", A.consistent()
	print ""
	print "A :=", A.eval()
	print ""
	print "Is B consistent?", B.consistent()
	print ""
	print "B :=", B.eval()
	print ""
	print ""
	print "Interval testing"
	print ""
	t0 = Variable("T0")
	t1 = Variable("T1")
	it = (t0 > 50) * (t0 < 120)
	it2 = (t0 > 130)
	koe = (t1 < -1)

	vtest1 = (X * -it) * (X * (it + -it2) ) + -X*-koe
	vtest1.demorgan()
	print vtest1
	print ""
	sats = vtest1.satisfy()
	for sat in sats:
		print sat
		print ""

	print ""
	print ""

	K = SubsituteTerm( "K" )

	K <<= X + Y
	L =  Z * K

	print "K:", K
	print "L:", L
	print "K.depends():", K.depends()
	print "K.satisfy():", K.satisfy()
	print "L.satisfy():", L.satisfy()

redpajama_set_name: RedPajamaGithub


Sullivan, Bill ("Sully") He joined the staff at Disneyland in 1955, progressing from ticket taker to ride operator to operations supervisor. He assisted in the pageantry for the 1960 Olympic Winter Games in Squaw Valley and the Disney attractions for the New York World's Fair in 1964. Sullivan relocated to Florida to help open Walt Disney World and remained there as an executive in operations until his retirement in 1993. He was named a Disney Legend in 2005.


text:
Live Daily "Placebo", Feb'07
Briefly: Oscars, Paula Abdul, Placebo, 'MTV Live'
By LiveDaily Staff
Virgin Records today (1/23) issued a new version of London-based alt-rock trio Placebo's latest album, "Meds." Originally issued in the US last year by the Astralwerks label, the updated set now includes two previously unreleased tracks ("Uneedmemorethanineedu" and "Lazarus"), as well as the group's cover of Kate Bush's "Running Up That Hill."
Source: livedaily


text:
/*===
boolean false
boolean false
boolean false
boolean false
boolean false
boolean false
boolean true
boolean false
boolean false
===*/

function basicTest() {
    function test(x) {
        var t = Array.isArray(x);
        print(typeof t, t);
    }

    test(undefined);
    test(null);
    test(true);
    test(false);
    test(123);
    test('foo');
    test([1,2]);
    test({ foo: 1, bar:2 });
    test(function(){});
}

basicTest();


1 Lytton (Edward Bulwer, Lord Lytton) Ernest Maltravers [bound with] Alice, or The Mysteries. A Sequel to "Ernest Maltravers".
Copyright Edition. Contemporary half-vellum & marbled boards, white linen end papers, spine designed and lettered in gilt. All edges stained red. A little edge wear, but a clean very good copy. The two works bound together in one volume, both designated on the title page: "Copyright Edition". Both works were originally published in three volumes, in 1837 and 1838 respectively.
2 Lytton (Edward Bulwer, Lord Lytton) The Lady of Lyons: or, Love and Pride. A Play, In Five Acts. As Performed at the Theatre Royal, Covent Garden. By the Author of "Richelieu" etc.
London: Chapman and Hall, 1858.
8vo. 72pp. Burgundy calf, ruled and designed in gilt. Hinges worn, both covers nearly detached, very good. First published in 1838. Issued anonymously.
3 Lytton (Edward Bulwer, Lord Lytton) What Will He Do With It? By Pisistratus Caxton. A Novel.
NY: Harper & Brothers, 1864. Reprint - first published by Harpers in 1859. Original rough textured olive cloth, spine lettered in gilt. Beige end papers. Owner's signature on title in red pen, dated 1886. Text in double columns. Scattered foxing, modest shelf wear, a very good copy. The British edition was published in four volumes, 1859.


Are you a renter in Yadkinville? If so, keep in mind that you have a big financial investment in all of your possessions. If you were forced to pay to replace what you have, it would probably cost you tens of thousands of dollars, or even more.
Call us and speak with one of our friendly agents from W.N. Ireland Insurance Agency, Inc in Yadkinville, North Carolina. As we are local, we are very easy to connect with, and we can meet with you off work hours if that is more convenient. Talk to us!


We're keeping Chandler healthy with preventive dental care!
We can produce a sensational smile, but without a solid foundation, that beauty won't survive. To safeguard your smile and oral health, you need routine checkups and good home habits. Preventive dental care is a critical component in preserving your dental health.
During your checkup, Dr. Arooni will complete a thorough examination using our state-of-the-art diagnostic technology and will then discuss your dental needs and goals. These exams include a full mouth evaluation so that we watch for cavities, gum disease, or dental work that needs replacement. We will also supply you with important information and advice so that you are well-equipped to protect your teeth and gums at home.
Passionate about his profession, trained in the latest techniques, using the most advanced equipment, Dr. Arooni and staff are always available to help you get your perfect smile. Please contact our office at 480-855-1200 or visit our office at 1949 W Ray Rd. Chandler, Arizona 85224.


Well done Trish!! But my god, a coffee and a book sounds good right now….
It's been a long week in London with 3 separate incidents of disorder but hopefully now the Christmas cheer will kick in and everyone will be kinder to each other.
Will we get a chance to read the 50,000 words?


Facebook has begun changes to it's privacy tools which may be down to the recent controversy which saw 50 million users of the social network have data shared for political advantage.
The update will not actually change the sites privacy policies and what data it gathers about you, but will provide an easier method to alter the previously hard to use privacy and security settings.
Even though the change comes amid the scrutiny over Facebook for harvesting data, they claim that these changes where already planned prior to the scandal to ensure compliance with new EU rules.
"Last week showed how much more work we need to do to enforce our policies and to help people understand how Facebook works and the choices they have over their data. We've heard loud and clear that privacy settings and other important tools are too hard to find and that we must do more to keep people informed.
So in addition to Mark Zuckerberg's announcements last week – cracking down on abuse of the Facebook platform, strengthening our policies, and making it easier for people to revoke apps' abilities to use your data – we're taking additional steps in the coming weeks to put people more in control of their privacy.
January saw Zuckerberg losing $3.3 Billion due to the changes he implemented in to Facebook, this is because the less data people are willing to share on the site means the advertisers who buy the data see it as less valuable.
What are your thoughts on the scandal? Let us know!


Description VEHICLE DESCRIPTION: LIGHT DUTY PICKUP TRUCKS AND SPORT UTILITY VEHICLES EQUIPPED WITH VACUUM POWER, 4-WHEEL DISC BRAKES. THESE VEHICLES FAIL TO COMPLY WITH THE REQUIREMENTS OF FMVSS NO. 105, "HYDRAULIC BRAKE SYSTEMS." THESE VEHICLES WERE BUILT WITH A KINKED BRAKE BOOSTER VACUUM SUPPLY HOSE.
Consequences THESE VEHICLES DO NOT COMPLY WITH REQUIREMENTS OF FMVSS NO. 105.
Corrective action DEALERS WILL RE-ROUTE THE BRAKE BOOSTER VACUUM SUPPLY HOSE.
Notes OWNER NOTIFICATION BEGAN SEPTEMBER 22, 2000. OWNERS WHO TAKE THEIR VEHICLES TO AN AUTHORIZED DEALER ON AN AGREED UPON SERVICE DATE AND DO NOT RECEIVE THE FREE REMEDY WITHIN A REASONABLE TIME SHOULD CONTACT CHEVROLET AT 1-800-222-1020 OR GMC AT 1-800-462-8782. ALSO CONTACT THE NATIONAL HIGHWAY TRAFFIC SAFETY ADMINISTRATION'S AUTO SAFETY HOTLINE AT 1-888-DASH-2-DOT (1-888-327-4236).


text:
April 21, 2019 / Leslie Clark
Clockwise left: LAKOTA "CREATION NARRATIVE" SHIRT by Thomas "Red Owl" Haukaas (Sicangu Lakota/Creole) of wool cloth, antique glass beads, 2016. Courtesy of the Nerman Museum of Contemporary Art. Photographer unattributed. OBA'S "BARRISTER'S WIG" CORONET, Yoruba peoples, southwest Nigeria, of cotton, glass beads, 21.0 x 17.0 x 15.0 centimeters, twentieth century. Sara and David Lieberman Collection. Photograph by Craig Smith. BABY CARRIER PANEL, Kenyah peoples, Orang Ulu group, Borneo island, Indonesia/Malaysia, of cotton, glass beads, pineapple leaf fiber, 31.0 x 33.0 centimeters, mid-twentieth century. WEDDING MOCCASINS FOR BRIDE'S IN-LAWS, Lakota peoples, North or South Dakota, of tanned hide, glass beads, 26.7 centimeters, circa 1930. MUKYEEM MASK, Kuba peoples, Democratic Republic of the Congo, of hide, wood, glass beads, cowrie shells, plant fiber, 39.5 x 44.9 x 54.0 centimeters, pre-1935. Courtesy of the Field Museum. Photograph by John Weinstein.
Clockwise right: LEOPARD HELMUT MASK, Bamileke peoples, Grasslands, Cameroon, of raffia, indigo-dyed cotton and trade cotton, glass beads, 53.0 x 79.0 centimeters, circa 1900. HORSE NECK COVER (ghughi), Kathi peoples, Saurashtra region, Gujarat state, India, of cotton, silk, glass beads, mirror, metal, 128.3 x 162.6 centimeters, circa 1930. David McLanahan Collection. OBA'S BRITISH CROWN-STYLE CORONET, Yoruba peoples, southwest Nigeria, of cotton, glass beads, diameter: 16.0 centimeters, mid-twentieth century. GROOM'S WEDDING BAG, Banjara peoples, Wadi, Gulbarga, Karnataka state, India, of cotton, cowrie shells, metal, 49.0 x 30.5 centimeters, circa 1986. CHINA POBLANA BLOUSE, Puebla, Mexico, of cotton, glass beads, 62.3 x 53.5 centimeters, circa 1935. COLLAR, Saraguro peoples, Ecuador, of glass beads, nylon thread, 11.7 x 37.0 centimeters, 1963. BRIDE'S APRON (ijogolo), Ndzundza Ndebele peoples, Transvaal region, South Africa, of goatskin, glass beads, 60.5 x 42.0 centimeters, circa 1970. All photographs courtesy of the Museum of International Folk Art and by Blair Clark, except where noted.
European glass beads, as author and curator Marsha C. Bol explains, are "the ultimate migrants." In her exhibit "Beadwork Adorns the World," which recently closed at Santa Fe's Museum of International Folk Art, and her accompanying book, The Art & Tradition of Beadwork, she explored how, in the nineteenth century, these trade goods not only went to the far ends of the earth, but also were transformed into an astounding array of cultural and social artifacts. In the West, beadwork became mostly decorative, more so these days in couture and formal wear. But elsewhere, beadwork endowed clothing and objects with formidable power and rich, metaphysical meanings. It became the most profound expression of ritual, of majesty, of identity, and of the spirit world.
Dr. Bol generously agreed to sit down and talk about the years-long process leading to the exhibit. The extended search for superb examples consumed many air miles and many conversations with artists, since so much knowledge has only been passed down orally, from mother to daughter or from an elder to an archaeologist or historian. Intended to dazzle and impress, the beadwork in the exhibit did all that and more.
WEDDING OUTFIT (ulu rajang), Iban peoples, Sarawak state, Borneo island, Malaysia. HEADDRESS of wood, paper, glass beads, cotton, sequins, 38.1 x 61.0 centimeters. DRESS of stone, glass and shell beads, 77.5 centimeters long, twentieth century. David McLanahan Collection.
Q. What was your inspiration for "Beadwork Adorns the World?"
Actually, it was a book project first. Back in 2011, a tall, stately, white-haired man named Gibbs Smith walked into my office. He was a magnificent man. He wanted to do this; he thought that Lois Sherr Dubin's book, The History of Beads: From 30,000 B.C. to the Present, had been out for quite a long time and he wanted to publish something new; not about beads, but beadwork around the world. He came to me partly because of my background—I did a Ph.D. in Native American art history with a dissertation on Lakota [western Sioux] women's and men's arts, and I continue to do fieldwork. And he knew, because of this museum's holdings, that it was the right place for the project. I was the museum's director, so it was going to take a while to get it done. Bless his heart; he died about the time the book went to press.
Q. What types of beadwork were shown in the exhibit?
The whole exhibit included two hundred sixty beaded objects. I used a very broad definition of beads: metal, shell, ceramic—all different kinds of beads, from fifty-two countries and one hundred four known cultural traditions. There were many examples of women and men's clothing, several crowns, jewelry, and masks. There was also a beaded pillow, boxes, a royal stool, voodoo flags, bowls, and quite a few amulets. The pieces ranged from the nineteenth century to the present day, so it was not just about the past. When you first walked in there was a "Grab Me" piece. Exhibit designers emphasize the importance of that, to pique curiosity and interest. An extraordinary piece, it's a wedding dress from the Iban people, who live in the Malaysian part of Borneo. Fully beaded, it weighs about thirty-eight pounds, with very large carnelian beads.
HEADHUNTER'S NECKLACES, Konyak Naga peoples, Nagaland, northeast India, of brass, glass beads, goat hair, conch shell, brass heads: 29.0 x 11.5 centimeters; blue beads: 58.0 centimeters; red beads: 26.5 centimeters, pre-1940. Harry and Tiala M. Neufeld Collection.
Q. Were there any surprises for you, while you were organizing the exhibit?
I always approach a project like this with two prongs. One is obviously that you need to work with the collections that you already have. But the other prong is to think about the themes and the content. The museum has an impressive collection, and I went through every drawer and every cabinet looking for beadwork. I ran through four part-time assistants during the project. The museum's photographer, Blair Clark, and I would spend every Friday morning shooting pictures; we ended up taking about one thousand photographs.
As I was looking at objects, I started to realize that they fell into interesting groups of themes, beginning with life passages. It made me aware of something that I'm not sure that I had consciously understood, which is that beadwork is used for these peak moments in the lives of people in almost every culture. So if you start with childhood, from the cradle, then move on to puberty and adolescence, marriage and death, every beadworking society that I know of does it for an occasion, or to identify and set apart a king, a spiritual authority or someone of high status and position.
Then I got to thinking: beadwork is not a structure, like ceramics or textiles; it's an adornment, an embellishment. It's not something that can be used solely on its own—it's almost always married with something else. That also pushed me towards thinking about how the embellishment, which did not stand alone, added to the effectiveness of the piece—maybe gave it more potency. The exhibit was arranged to follow those themes, which were developed in the book.
BABY BONNET, Lakota nation, North or South Dakota, of native-tanned hide, glass beads, 9.1 x 2.7 x 4.6 centimeters, circa 1890. Bob and Lora Sandroni Collection. Photograph by LA High Noon, Inc. CHILD'S HAT, Nuristan province, Afghanistan, of cotton, silk, glass beads, buttons, metal, embroidered applied trim, 58.0 x 12.0 centimeters, circa 1950. BOY'S HAT, Bai peoples, Dali county, Yunnan province, People's Republic of China, of silk, cotton, metal beads and objects, feathers, yarn, embroidered appliquéd applied trim, diameter: 14.0 centimeters, twentieth century. Photographs by Addison Doty.
Q. What was the toughest part of the show to pull together?
Trying to be international! We were missing some areas and I couldn't travel everywhere, which was frustrating. When I did get away for work, I searched for beadwork. I went to Uzbekistan, southwest China, Oman, and Saudi Arabia. I went to the Field Museum in Chicago to look at the African collection, which is absolutely mind-boggling. I found a wonderful private collection of Lakota beadwork that is in two homes, here and in San Diego.
What is also special to me about the exhibit and the book is giving more recognition to the beadwork of Borneo. The examples we included came from a private collection in Seattle. Pieces like those are considered treasures in Borneo. Before glass beads came in through the trade network, they were getting carnelian beads from Java. Their designs are very recognizable, especially for the Orang Ulu people. Among indigenous people in Borneo there's a hierarchy; certain designs belonged to the aristocracy and certain ones to the middle class. The beadwork on baby cradles serves a double function, to reveal social position and for protection. Babies' souls like to wander, so the beaded panels distract evil spirits and keep them away from harming the baby.
BOY'S VEST AND PANTS, Lakota nation, North or South Dakota, of native-tanned hide, glass beads, circa 1890. Bob and Lora Sandroni Collection. Photograph by LA High Noon, Inc.
Q. No matter where you looked, Venetian and Czech glass beads seem to have gone all around the world. How did they become so widespread?
First it was the Venetian, and then the Czech glass beads. Beads were always expensive; they had a lot of value as prestige items. In fact in some places in Africa, like among the Zulu, the king controlled the rights to the bead trade; only the king and members of his court were allowed to wear beadwork on their headdresses and clothing. There are three desirable things about glass beads. First of all, they are quite durable, and last a long time even though they are glass; secondly, they have a luster and shine that is very attractive; and thirdly they come in many different colors, which is also extremely appealing.
On the Plains, seed beads arrived around 1850. You cannot say that, among the Lakota, there was nothing before then, because there was dyed quillwork, and many of the old geometric designs carried over into beadwork. Later on, during the reservation period for the Lakota and other Sioux tribes, there was a lot of pressure from the U.S. government to abandon traditional ways, including traditional clothing. There was a big florescence of beadwork then on the reservations, part of which I believe had to do with trying to preserve the identity of the children. That's why you saw a little boy's vest and pants, which are very Western in style, yet they are totally Lakota because they are not made out of cloth; they are made out of hide completely covered in beadwork. This kind of outfit would be more acceptable to the Indian agent and government people, yet it let everyone in the family feel a strong sense of their culture.
Q. So wherever you go in the world, beadwork communicates shared cultural meaning.
There's a fascinating example of that, which is well-recorded, from Zulu beadwork in South Africa. Zulu beadwork does the talking for the women when it's involved in courtship. Young women would make beadwork bracelets, cuffs, ankle bands, or necklaces as gifts for the young man they had their eye on.
We call them "love letters," though they were not quite that. The necklaces in the exhibit dated from the late nineteenth century and were loaned from the Field Museum. Scholars disagree about this, but from the colors and designs, proverbs could be discerned. It was not like a personal message, but let a young man know her intentions. A young Zulu man could pile on beadwork from many girls, all at the same time; a piece didn't obligate him. And of course the more he wore, the more status he had.
One of the most exciting things about doing this project was that every piece has a story to tell, because they are all deeply imbedded in the cultures that make and use them. I tried to share those stories in the label texts, though of course you're limited in the amount of space you have. But one day I was at the museum after the show had opened and I overhead a man—a man, no less—come out of the show and say to his friends, "That show! There's a story about every piece!" He was very excited, and I was doubly thrilled because it was a man—often we think of beadwork as women's work—and because he understood there was a story with everything.
"LOVE" LETTERS (ubala abuyise), Zulu (Xhosa?)-speaking peoples, South Africa, of cotton, glass beads, diameter: 19.8 centimeters, pre-1893. "LOVE" LETTERS (ubala abuyise), Zulu (Xhosa?)-speaking peoples, South Africa, of cotton, glass beads, diameter: 16.0-19.8 centimeters, pre-1893. Photographs by John Weinstein.
Q. Let's talk about Western attitudes towards beadwork as "women's work." There was a thought-provoking section of the exhibit and the book called "Gender in Beadwork."
We underestimate beadwork's importance in other cultures. The idea in the exhibit was to honor and acknowledge women's artistry and creativity in beadwork. In traditional societies, there has always been a division of labor by gender. Women worked with materials for the home, like making pottery or baskets. The fineness and beauty of what women produced brought them respect and rank: it gave them status. Even in our culture doing beadwork was a practical skill; it demonstrated a woman's housekeeping capabilities, how she could produce useful things. Certainly in fashion today beadwork is prized.
Q. Some beadwork from Africa radiates drama and power and grandeur. There were examples from the Yoruba people in Nigeria, the Bamileke in Cameroon and the Kuba, from the Democratic Republic of Congo. Why is that beadwork so imposing?
Those are magnificent pieces, all intended for the king. Again, the right to wear trade beads belonged exclusively to royalty. It's very powerful, gorgeous stuff. Only a professional male beadworker can make the king's regalia, and he actually does it at court. In hierarchical societies, the kings usually have both political and spiritual leadership. The star of that section was the great Yoruba crown. It reinforces the king's divinity, separating him from other people; when he wears that crown, he embodies the oba, who can communicate with ancestral spirits. The long beaded veil covers his face, and he holds an elaborately beaded flywhisk to hide his mouth as he's speaking. His feet can't touch the ground, so they rest on beaded cushions. The faces on the crown represent the first oba, Oduduwa. When someone consults the oba, he is not asking about his future. In their belief system, you know everything that is going to happen before you emerge into this life. As you are born, you touch the tree of forgetfulness. You are asking the oba to remind you of what you used to know.
The king only wears that crown for major ceremonial occasions. He has day-to-day crowns, which resemble the British crown; Nigeria was a British colony during the nineteenth century. There are even beaded British-style wigs for court. That's a good example of how traditional beadwork merged into modern society.
OBA ADEMUWAGUN ADESIDA II, in the courtyard of his palace, Akure, Nigeria, 1959. Photograph by Eliot Elisofon, image courtesy of the National Museum of African Art. OBA'S GREAT CROWN (adenla), Yoruba peoples, southwest Nigeria, of palm ribs armature (pako), cornstarch (eko), cotton, glass beads, thread, 114.0 x 22.9 centimeters, 1920s. Photograph courtesy of Douglas Dawson Gallery.
Q. The world is changing so fast. Does beadwork still have a cultural role to play?
Beadwork is still essential to reaffirm identity. For instance, after the Boer War in South Africa, the Ndzundza Ndebele people were indentured out to farms all over the country, scattered far from their homeland and each other. Ndzundza Ndebele women, even under those circumstances, began again to hold puberty ceremonies for boys and girls in these faraway places, which involved beaded aprons. Ndebele women are identified by their age-stage beaded aprons: for little girls, as unmarried adolescents, and as married women, when the apron has five distinct lobes. They held onto making and wearing these beaded aprons and are known for them today.
It's always evolving. Nellie Star Boy Menard from Rosebud on the Rosebud Indian Reservation and I were judging at an arts fair in Bismarck, North Dakota. She saw a piece of beadwork and said, "Oh, that's not Sioux enough." I have talked to Florentine Blue Thunder and Tom Haukaas, who make their own pow-wow outfits, and they keep to the more historic traditions, but they complain that the judges now don't know how to tell the old styles and designs. The pow-wow and social-dance competitions help beadwork to continue. If you don't have a market for your arts, whether internal, among tribal members, or external, among outsiders, they are not going to survive.
ZULU RICKSHAW PULLERS ON THE BEACHFRONT, Durban, South Africa, early 1980s. Photograph by Jean Morris.
Q. How can these older cultures stay resilient and sustain their beadwork traditions?
One way is through re-invention. In South Africa, Zulu rickshaw pullers became celebrated for their outfits. In the 1890s, somebody from Durban went to Singapore and brought back rickshaws (this is before there were cars). Only Zulu men were allowed to pull them, but then someone said they needed to wear a uniform so the police could identify who they were.
The Zulu men themselves created these wild, wonderful, imaginative costumes with the enormous, amazing headdresses. The oxen horns associated the strength of the ox with the man. They were a tourist attraction, and the men would stage their own competitions for who had the best costume. In the past they were famous warriors, so it became a source of real pride for the Zulu men.
Another way is through the marketplace. A purposeful part of the exhibit was to let visitors know that beadwork is still very much a living tradition. Within various sections I included profiles of contemporary artists, or of women's co-ops who are working today. An example was the netted-beadwork necklaces made by indigenous Saraguro women in Ecuador. They've joined together five local associations into one big co-op, for marketing purposes and for buying materials. They can still make part of their traditional ethnic dress and bring in income to support their families. Oftentimes they are the main breadwinners in their communities.
CHILD'S BLOUSE PANEL, northern Afghanistan, of cotton, glass beads, 38.0 x 32.7 centimeters, twentieth century. Anne and Bill Frej Collection.
I should mention here that the International Folk Art Market was a great help to me, because a lot of beadwork artists come to the market and I was able to connect with them. The world is getting smaller all the time, and more beadwork traditions are crossing into global awareness. Artists are finding ways to adapt their beadwork and introduce innovations yet keep it meaningful. As I discuss in the book, beadwork has even moved into contemporary art. At the opening, Kiowa beadwork artist Teri Greeves told me she was so grateful to be included in an international show, and not strictly a Native American show. That made it all worthwhile.
Q. As you were considering pieces for the exhibit and writing your book, you developed criteria for quality and excellence. Did you wind up with any personal favorites?
There were so many pieces I loved for different reasons, but some were standouts for me, because of the amount of incredible beadwork on them, the skill of the artists and the aesthetics. I'm thinking of Tom "Red Owl" Haukaas's beaded Lakota cradles; the nineteenth-century double-headed elephant stool covered in red tube beads used by the king in Cameroon; the wonderful Brulé Lakota violin case; and a Ndebele married woman's wearing blanket.
VIOLIN CASE, Brulé Lakota, Rosebud Indian Reservation, South Dakota, of commercial wood case, native-tanned hide, metal trim, glass beads, 81.3 x 25.4 x 11.4 centimeters, 1891. Courtesy of Stars and Stripes Foundation.
"Beadwork Adorns the World" showed April 22, 2018 - February 3, 2019, at the Museum of International Folk Art, 706 Camino Lejo, Santa Fe, New Mexico 87505. Visit their website at internationalfolkart.org. The 16th Annual International Folk Art Market takes place July 12 - 14, 2019, Milner Plaza, on Museum Hill, Santa Fe, New Mexico. Visit their website at folkartmarket.org.
Bol, Marsha C. The Art & Tradition of Beadwork. Layton, UT: Gibbs Smith, 2018.
Dubin, Lois Sherr. The History of Beads from 30,000 B.C. to the Present. New York: Harry N. Abrams, 1987.
Liu, Robert K. Collectible Beads: A Universal Aesthetic. Vista, CA: Ornament Inc, 1995.
Roach, Mary Ellen and Joanne Bubolz Eicher. "The Language of Personal Adornment." In The Fabrics of Culture: The Anthropology of Clothing and Adornment. The Hague: Mouton Publishers, 1979.
Sumberg, Bobbie. Textiles: Collection of the Museum of International Folk Art. Layton, UT: Gibbs Smith, 2010.
FON'S ROYAL STOOL, Bamileke peoples, Grasslands, Cameroon, of wood, raffia cloth, glass beads, 41.0 x 45.0 x 50.0 centimeters, nineteenth century. Photograph by John Weinstein. MITAKUYE OYASIN CRADLE by Thomas "Red Owl" Haukaas (Sicangu Lakota/Creole) of brain-tanned elk hide, cotton, glass beads, thread, 68.5 x 23.5 x 30.5 centimeters, 2005. Marilyn Eber Collection. MARRIED WOMAN'S BLANKET (irari), Ndzundza Ndebele peoples, Transvaal region, South Africa, of wool, glass beads, 269.2 x 381.2 centimeters, circa 1970.
Leslie Clark is a freelance writer and editor based in Santa Fe, New Mexico. She is endlessly fascinated by the variety, intricacy, technical prowess, and rich beauty of beadwork. "I kept going back to the recent exhibit 'Beadwork Adorns the World' just to feast my eyes and try to understand more," she says. "Once you discover the complex meanings of beadwork in other cultures, you come away with a real sense of awe and wonder." She has taken the Museum of International Folk Art exhibition to a more revealing level, with her Ornament interview with Marsha C. Bol, curator of the exhibit, as Bol discusses how throughout the world beadwork communicates shared cultural meaning.
April 21, 2019 / Leslie Clark/ Comment
Clothing, Beads, Craft, Ethnographic, Exhibition, Feature, Historical, Jewelry
41.1, Beadwork, Jewelry, Clothing, Craft, Museum of International Folk Art, Ethnographic, Historical, International
Leslie Clark is a freelanced writer and editor in Santa Fe, New Mexico. Clark, who claims red is her favorite color, was flabbergasted by her visit to the "The Red That Colored the World" exhibit at the Museum of International Folk Art up on Museum Hill. "I had no idea how exhaustively people worked, for centuries, to produce a red color. No wonder kings and prelates hogged it for themselves. Cochineal changed everything. Even now, with synthetic dyes around, its amazing properties are still the best. It makes you grateful to Mother Nature and those little bugs."
September 05, 2018 / Carolyn Benesh
STENCILED INDIGO-DYED CLOTHING, SCARVES AND ACCESSORIES by Wen-Chun Tang (pictured) and Wan-Lee Chen, Taiwan. OAXACAN SILVER FILIGREE JEWELRY by Yesenia Yadira Salgado Téllez, Mexico.
For fifteen years the International Folk Art Market (IFAM) has perched on Museum Hill, part of historic Santa Fe, a seductive, enchanting city in the Southwest's high desert of New Mexico. Ninety-eight countries have participated in the annual July festival since its genesis in 2004; and the 2018 festival brought together fifty-three countries, two of them, Azerbaijan and Greece, for the first time. Originating as a counterpoint to our fiercely competitive, economically global world of corporate dominance, technical, mechanized and digital masteries, IFAM has become another kind of powerful voice, one that celebrates, encourages and supports the handmade.
GULZAT CHYTYRBAEVA, Kyrgyzstan.
FELTED WOOL EMBROIDERED SLIPPERS by Gulzat Chytyrbaeva, Kyrgyzstan.
Numbering among those who are showing for the first time, Gulzat Chytyrbaeva, from Kyrgyzstan, brought her sophisticated skills in embroidery to the venue. Her beautifully and carefully constructed soft merino wool slippers are traditionally worn in the Kyrgyzi home. She and her team of artisans design and make them, and all parts are handworked from the initial shearing of the sheep to final sewing of the slipper and its embroidery in their brightly colored, visually arresting designs. Under an apricot tree as her classroom, a young Chytyrbaeva learned Kyrgyzi embroidery techniques from her grandmother, and says, "Through embroidery I can convey my dreams."
In Santa Cruz Xoxocotlan, just outside of Oaxaca City, Yesenia Yadira Salgado Téllez makes finely detailed handcrafted jewelry, specializing in the ornate filigree work introduced by the Spaniards centuries ago. Her parents, goldsmiths Arturo and Marta Salgado Téllez, have been important mentors in her and her sisters lives, teaching them the exacting techniques and methods of jewelrymaking, such as the traditional "hoop" design replicated throughout Oaxaca. Now established in her own workshop, Téllez hones and increasingly introduces her own signature embellishments. She has gained more and more visibility in the craft world. Along with her 2018 admission to the market, a first, and as a participant in the Competition for Young Artists, held in Oaxaca, she recently received an award for "The Hoop," a gold-plated pendant and earrings accented with freshwater pearls, rubies and semiprecious stones.
GREEN GLAZED CEREMONIAL WINE VESSELS, JUGS AND GOBLETS by Gyula Borsos, Hungary.
GYULA BORSOS, Hungary.
Hungarian potter Gyula Borsos says that he was first taught by a master potter in his hometown during a weekend course. Now himself a proficient master of a regional style dating back several hundred years, Borsos makes functional vases, pitchers and stemware for informal daily use. Initially liturgical or commemorative vessels for the Reformed Church of Hungary, based on the Protestant theology of Calvinism, the pottery has evolved from its original purpose and is valued not only for its association with Calvinism but for its own unique aesthetic. Borsos's application of a locally sourced green glaze brightens the surfaces with a seemingly magical interior beauty. Continuing to honor the past, the life of the present and the promise of the future, Borsos says that, "Someday, I would like to teach pottery besides making it, so as to keep this beautiful and very rich traditional profession alive."
One of six regions showing at IFAM is East Asia and the Pacific, with crafts from eight distinctive cultures—Cambodia, China, Indonesia, Lao PDR, Malaysia, South Korea, Taiwan, and Thailand. Their traditions draw on an infinite reservoir of thousands of years of making baskets, beadwork, ceramics, jewelry, and most of all, textiles. These participating countries cumulatively contribute to the overall mix and material texture that makes IFAM such a valuable and meaningful destination. Two artists from Taiwan, Wan-Lee Chen and Wen-Chun Tang, specialize in sublime indigo-dyed garments, casual and wearable. While anchored in the traditional forms and motifs of their history, they also voice a relaxed, confident contemporary aesthetic, one that recognizes the global community as a source of inspiration. In addition to operating her own indigo farm and workshop, Tang is an indigo master dyer and teacher at the National Taiwan Craft Research Institution and her partner Wan-Lee Chen, a professor and designer of costume, received her Ph.D. from the University of Edinburgh in the United Kingdom.
In its aspirations, the International Folk Art Market can be viewed through many lens, but one is the influential role the United States continues to play at home and abroad. There are many differences and divisions keenly felt, and the struggle is strong and visible each and every day, but the US still sends a strong message of hope and possibility—and the world looks and listens, taking note. As individuals, there is common ground to be found in cooperation and compromise; and we can live together in peace and civility, respecting our humanity. While the market honors the gifts of creation, bringing together artisans from all over the world, its true value is cultural—the world is a place for you and me to share and to exchange with each other, to grow and to learn. And for one weekend in July there are many such possibilities to be found on a certain hill in Santa Fe.
IFAM next celebrates the global art of the handmade July 12 - 14, 2019.
Visit their website at www.folkartmarket.org.
Carolyn L. E. Benesh is Coeditor of Ornament and our in-house expert on contemporary wearable art. As Ornament's resident itinerant, she moves to and fro across the USA in search of inspiring craft, great experiences and, of course, excellent food. Each year she travels to Washington D.C., where Ornament gives the Excellence in Jewelry Award at the Smithsonian Craft Show, this year awarded to Biba Schutz. Her visit was a busy affair, with old friends and a plethora of clothing exhibitions filling the capital. At George Washington University's Textile Museum, Benesh had the pleasure of meandering through "Vanishing Traditions: Textiles and Treasures from Southwest China," where a concise visual commentary presented a wide range of Miao minority garments and adornment. She also writes about some of the exhibitors new to this year's International Folk Art Market in Santa Fe.
September 05, 2018 / Carolyn Benesh/ Comment
Department, Ethnographic, Show
40.4, International Folk Art Market, Museum of International Folk Art, Jewelry, Clothing, Craft, Ethnographic, Folk, International
Cochineal Volume 38.4
January 26, 2016 / Leslie Clark
The Red That Colored the World
FIREFIGHTER'S CEREMONIAL COAT of wool with gold- and silk-thread, Japan, eighteenth-nineteenth century, Edo period. Photograph by John Bigelow Taylor. All photographs provided by Museum of International Folk Art, Santa Fe, New Mexico.
A first-class exhibition stirs up a sensation like jumping off into the unknown. "The Red That Colored the World," originally at the Santa Fe Museum of International Folk Art, did that and more, taking the novel approach of investigating the long-lost legend of a color. Called "an epic story of art, culture, science, and trade" by Camilla Padilla, exhibition co-curator with Dr. Barbara Anderson, it led one, like going through the Narnia closet, on a great adventure to seize upon marvels of red.
The essential marvel is cochineal: a tiny bug that lives and breeds on prickly pear cactus in the Americas. The female stores in her body enormous quantities of carminic acid, which produces a deep crimson-red dye. For close to two thousand years in Mesoamerica it was cultivated as an ideal colorant for protein fibers like silk and wool. Not until the arrival of the Spanish in the 1520s in Mexico did cochineal pass into recorded existence and become an invaluable dyestuff in global trade. As an archetype of a brilliant collaboration between nature and human ingenuity, cochineal was and still is applied to almost everything conceivable: textiles and clothing, books, murals, sculpture, furniture, oil paintings, as a varnish on violins, and in cosmetics, food and candy.
PORTRAIT OF A YOUNG WOMAN WITH A HARPSICHORD, artist unknown, Mexico, early eighteenth century. Photograph courtesy of Denver Art Museum.
It took six years to locate and organize around one hundred and twenty-five magnificent examples of art with cochineal, loaned from museums and collections in London, New York, Denver, and Austin, and from Mexico, Peru, Spain, and Italy. The exceptional quality and craftsmanship of the selection celebrates how much red mattered. Whatever the culture or the epoch, red connoted rank and wealth and symbolized the sacred. It was hard to produce. The exhibition included samples of other natural sources of red dye—vermilion, cinnabar, lac, kermes, madder, even Polish and Armenian cochineal. They were expensive, toxic to extract, and not very stable. By comparison, cochineal was a dream, because of its super-saturation, its colorfastness and its ability, combined with mordants like lime or alum, to create an amazing spectrum of colors, from pink and salmon to apricot, magenta, scarlet, and a rich plum purple. A gilded beech armchair, upholstered in warm red wool dyed with cochineal, came from Napoleon's council room at Malmaison. Cochineal was so coveted (and everyone was forking over such a fortune to the Spanish to buy it) that Napoleon offered a hefty "prize of 20,000 livres to the person who will find how to give wool by means of madder a solid vivid color… which most closely resembles cochineal scarlet."
Maybe to stymie competitors, the Spanish claimed it was a grana, a little seed. Europeans never realized it was an insect until the invention of the microscope in the late seventeenth century. By the same token, everything in the exhibition was tested. Mark MacKenzie, head of the museum's conservation department, did approximately twenty-five hundred analysis runs using primarily HPLC (high performance liquid chromatography) technology to confirm wherever American cochineal was present. The point was not for viewers to figure out that a particular red comes from cochineal, like finding Waldo in a crowd, but to amplify our appreciation for its singular and inexplicable beauty.
THE SAVIOR by El Greco, from the Apostles series, Toledo, Spain, circa 1608-1614. Photograph by Tomas Antelo, Instituto del Patrimonio Cultural de España.
Cochineal travelled everywhere. A sixteenth-century painting by El Greco of El Salvador in a red robe, and a Van Gogh picture from 1888 of a pair of worn boots both contain it. Spanish colonial artists lavished cochineal red, called carmine lake by pigment makers, on sumptuous rococo-inflected devotional art. Cochineal turns an eighteenth-century Japanese ceremonial firefighter's coat bright red, and animates embroidered silk flowers with a vivacious wine red in an early nineteenth-century valance from Samarkand in Central Asia. From Mexico, the pièce de résistance is an eighteenth-century lacquerware papelera (writing chest) made in Michoacán and intricately painted with mythological figures, flowers and landscape views containing a soft berry red.
Once synthetic dyes came along in the late nineteenth century, red went into decline as a precious color. But since the 1970s, a revival of interest in natural dyes has steadily grown. Today Peru produces over eighty-five percent of the cochineal on the market, with the Canary Islands close behind. Fashion and textile artists especially favor cochineal. Two dresses from designer Mariano Fortuny were one of the crowning glories of the exhibition. Fortuny had a passion for color and experimented with cochineal to produce a palette of superb reds. To see an iconic pleated-silk Delphos gown up close is to realize just why he was called the Magician of Venice.
"The Red That Colored the World," an integral part of Santa Fe's 2015 Summer of Color, has now closed. Fortunately, there is still an opportunity to see this thematic presentation in another venue. It is showing at the Bowers Museum in Santa Ana, California, through March 21, 2016.
PAPELERA, writing desk of pine, lacquer and iron, Mexico, eighteenth century. Photograph courtesy of Museo Franz Mayer.
January 26, 2016 / Leslie Clark/ Comment
Clothing, Historical, Ethnographic, Exhibition, Department
Clothing, Historical, Ethnographic, Exhibition, Museum of International Folk Art, Bowers Museum, Cochineal, Red, 38.4


Since we launched CallTrackingMetrics in 2012, we have continually added new features, capabilities, and ways to leverage the software in response to feedback from customers. We announce general updates in monthly newsletters, on our blog, through topical webinars and our online support center. However, customers often request additional intensive training options to help their teams become CTM experts and learn leading edge ways that businesses are using the software to optimize their marketing and call center teams.
In response to these requests and after months in the making, we are thrilled to announce the launch of CTM University (CTMU)!
The Basics: A 4-hour session covering all aspects of CallTrackingMetrics. The session will start with the basics of setting up your numbers, routing and tracking sources, and move into understanding reporting and custom configurations. This is a perfect session for new customers and team members, or even those who want a refresher on new features and enhancements.
Advanced Routing: A 4-hour course designed to give users the ability to understand and setup simple to complex call routing within CallTrackingMetrics. Topics included in this course are user setups, schedules, voice mailboxes and call routing. The call routing portion will be a deep-dive into IVR Menus, Call Queues, Geo Routing and Smart Routing.
Advanced Reporting: A 4-hour session dedicated to CallTrackingMetrics integrations with Google Analytics and Google AdWords, demonstrating how to sync meaningful data between all three platforms. This course will have a strong focus on understanding how these Google tools handle call tracking, while incorporating relevant examples and encouraging best practice strategies.
Across the next few weeks, we will provide customers with CTMU pricing and registration information. Stay up to date on the latest announcements and let us know which sessions you/your team is interested in by filling out the form below or dropping us a note at: university@calltrackingmetrics.com.


text:
Q: C++ const keyword doesn't work for 64-bit Constants I have an old version of Visual Studio ... 2008 to be exact. I am writing this code in C++.
Let's say I were to declare an integer constant that was 64-bits in size:
const DWORD64 FP_FLAGS = 0x8000800080008000;

...

HRESULT ProcessFootprint(DWORD64 nFpFlags);

...

ProcessFootprint(FP_FLAGS);

If I were to use the debugger to halt execution at the last line, then
FP_FLAGS

would be shown to have the value of
0x0000000080008000

. In other words, the 2 most significant bytes would be ignored. The constant would be truncated to 32 bits. Adding the
ULL

suffix doesn't help.
If on the other hand, I were to make the constant into a variable,
DWORD64 FP_FLAGS = 0x8000800080008000;

...

HRESULT ProcessFootprint(DWORD64 nFpFlags);

...

ProcessFootprint(FP_FLAGS);

Then
FP_FLAGS

would be shown to have the value of
0x8000800080008000

.
What am I doing wrong? Is there some syntax I need to specify? A pre-processor option? Something in the compiler? I know that the
const

keyword is related to the compiler.

redpajama_set_name: RedPajamaStackExchange


text:
Q: How to interpret an array into squere bracket of another array? I've write this code and I'm trying to understand the meaning of the output to apply a mask to an array
matrix = np.random.rand(3,3)
matrix

output:

array([[0.7441097 , 0.02908848, 0.60378581],
       [0.53335156, 0.21701412, 0.51545259],
       [0.91777356, 0.49123304, 0.15410852]])

mask

output:

matrix([[0, 0, 2],
        [1, 1, 0],
        [2, 2, 2]])

matrix[mask]

output:

array([[[0.7441097 , 0.02908848, 0.60378581],
        [0.7441097 , 0.02908848, 0.60378581],
        [0.91777356, 0.49123304, 0.15410852]],

       [[0.53335156, 0.21701412, 0.51545259],
        [0.53335156, 0.21701412, 0.51545259],
        [0.7441097 , 0.02908848, 0.60378581]],

       [[0.91777356, 0.49123304, 0.15410852],
        [0.91777356, 0.49123304, 0.15410852],
        [0.91777356, 0.49123304, 0.15410852]]])

how can this result be interpreted?

A: This is simply doing this:
In [1108]: matrix[0]
Out[1108]: array([0.02502891, 0.74397363, 0.74176154])

In [1109]: matrix[1]
Out[1109]: array([0.76480152, 0.84331737, 0.29647379])

In [1110]: matrix[2]
Out[1110]: array([0.68258943, 0.43118925, 0.82981894])

When you do :
matrix[mask]

where mask is :
matrix([[0, 0, 2],
        [1, 1, 0],
        [2, 2, 2]])

It returns you an array whose first element will be :
[matrix[0], matrix[0], matrix[2]],

2nd:
[matrix[1], matrix[1], matrix[0]]

and so on.


a Model, typically based on Bottom-Up Emergence from the behavior of individual actors.
Cosma Shalizi on Simulation-s, Model-s, and Fore Cast-s. It is an abuse to call every hypothesis, or theory, or mere notion, a model, just as it is an abuse to call everything from the most arbitrary detail of this year's haute couture to "linear Western rationalism" a "paradigm," or label a "system" everything in the world and a great deal more. The domain of hypotheses and theories is a great deal broader than that of models... It will be seen that hypotheses approach models, the more detailed, specific and quantitative they are. Thus Adam Smith's theory of the Invisible Hand is less of a model than Kenneth Arrow and Gerard Debreu's "General Equilibrium Model" of the economy, which itself is less of a model than Wassily Leontief's input-output models.
Debreu suppressed Lionel Mc Kenzie's earlier work on a General Equilibrium Model. Enter a young German researcher, Till Duppe, with access to the Debreu papers, maintained at the University of California at Berkeley, where Debreu had taught for thirty years. The two met via an Internet conference and agreed to collaborate. Further details had emerged, including an astonishing fact: the anonymous referee, who bottled UP McKenzie's submission to Econometrica for a critical time, while Arrow and Debreu tidied up their proof, was none other than Debreu himself; and Debreu hadn't disclosed his conflict of interest to the editor, Robert Solow.
Edited: 2014-08-23 00:00:00 | Tweet this!