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#18 EARTHING with Martin Zucker
Unlike simply spending time in nature, which in and of itself is healing, when you take it one step further by making contact with the earth with your bare feet you'll be amazed by the results. It's grounding, healing and nourishing to ALL systems of the body.
And it's absolutely free.
But if it's not that easy to get out there and dig your toes into the dirt consistently enough to yield results, there are ways you can do it while you sleep, while sitting at your desk, and while you're chilling out watching a movie.
Listen as Martin Zucker, co-author of the book EARTHING, shares the surprising benefits of Earthing, and why you're going to want to kick off your shoes and head outdoors as soon as possible.
ABOUT THE HOST:
Erica Boucher, host of the ALL WAYS EVOLVING Podcast, is an Author, Educator, and Creator of the 12-Weeks to LOVE YOUR LIFE program, the EMPATH Yoga Teacher Training & Life Coach Training Programs, hosts LIVE yoga & meditation practices, and organizes yoga retreats and travel around the world. The ALL WAYS EVOLVING Podcast, like all of her offerings, is about helping people have the breakthroughs they need to move from merely surviving, to absolutely thriving. Learn more about all of Erica's offerings at www.ericaboucher.com.
All Ways Evolving is a podcast about living an awake, aware, conscious life. It's about recognizing that our lives are a product of the choices that we make. So let's choose wisely. Listen in as Erica Boucher—yogi, author, and educator—talks about everything from yoga and spirituality to emotional intelligence, communication and relationships, sustainability living, conscious eating, world travel, and so much more. Erica is an author, educator, and world traveler with insatiable wanderlust. She has been organizing and leading yoga retreats and adventure travel around the world as INTERNATIONAL YOGA TRAVEL for the past 15 years. Learn more about Erica and all of her offerings at www.ericaboucher.com. Music used with permission by the artist from the song track, Journeying, on the album The River by Michael Brant DeMaria. Couresty of Ontosmusic/michaelbrantdemaria.
© Erica Boucher 2019


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Wedding Fairs in Cambridgeshire
The Eco Wedding Show - Cambridge - 12th March 2023
The ECO Wedding Show (formerly called The Ethical Wedding Show) has arrived and is launching in Cambridge in spring 2022 at the beautiful Willow Grange Farm. It is a show for eco, ethically-minded couples who love the planet as well as each other.
Every supplier has been handpicked for The ECO Wedding Show, not just for their gorgeous product and impeccable service, but because they too care about the planet.
They have worked hard to reduce their plastic use before, during, and after your wedding.
They have introduced vegan versions to give more choice, and because they care.
They have been clever with recycling or up-cycling in their designs as well as after your wedding.
They source locally to keep their carbon footprint low.
They embrace pre-loved or vintage.
But this doesn't mean quality has dropped. Neither does it mean they don't deliver the creative luxe weddings we are known for here at Magpie Wedding.
The ECO Wedding Show is on March 12th 2023 and doors open at 11 and closes at 3.00
We will have great suppliers as always ready to support you and show you their beautiful products. We will also have talks, demos, workshops and a fashion parade.
Standard tickets are £7, which includes a £2 donation to The Campaign Against Living Miserably, charity number 1110621.
VIP tickets are £12, where you can enjoy an eco goody bag for £10. For every ticket sold, £2 will be donated to The Campaign Against Living Miserably, charity number 1110621 (you can read more about them here).
Admission: EARLY BIRD TICKETS £5-£10
Location: Cambridge Manor Barn, The Manor Barn, Washpit Lane, Cambridge, CB23 1EY
https://www.magpiewedding.com/event/eco-wedding-show-cambridge-tickets/
Organiser: Kate Beavis

redpajama_set_name: RedPajamaCommonCrawl


Facebook has announced that it will introduce around 50 new gender identity options for its billion-strong userbase, allowing people to define how they want to be perceived on the world's biggest social network.
Some of the new options, created in consultation with gay and transgender advocacy groups, include "transgender", "androgynous", and "transsexual", amongst many other variations.
Users will also be able to choose whether they want to be referred to as "he", "she", or the less gender-specific "they".
The new options will initially be available only to those who use Facebook in "US English", but the company are looking to roll out the change to other languages soon.


The luxury apparel company turned in an impressive holiday quarter. Here's what investors need to know.
What: Shares of Michael Kors Holdings Ltd. (NYSE:CPRI) were up more than 25% Tuesday after the luxury fashion and apparel specialist reported better-than-expected fiscal third-quarter 2016 results.
So what: Quarterly revenue rose 6.3% year over year (9.9% at constant currency) to $1.4 billion. That included an 11.1% increase in retail net sales (15.7% at constant currency) to $766.2 million, as a 0.9% comparable-store sales decline more than offset growth in e-commerce sales and sales from 114 net new store openings over the past year. To Michael Kors' credit, comparable-store sales would have increased 2% had it not been for the negative impact of foreign exchange.
On the bottom line, that translated to a 3% decline in net income to $294.6 million, and -- thanks to share repurchases over the past year, including 4,682,121 shares repurchased for roughly $200 million during the quarter -- a 7.4% increase in net income per diluted share to $1.59.
Analysts, on average, were anticipating lower revenue of $1.36 billion would result in net income of $1.46 per share.
"We are pleased with our third quarter results, as we delivered revenue, comparable store sales and earnings growth ahead of our expectations," explained Michael Kors CEO John Idol. "Our performance was driven primarily by strong consumer response to our luxury fashion product offering, particularly in our accessories and footwear categories, the continued momentum in our digital flagship business and outstanding growth in our international markets."
Now what: For the current quarter, Michael Kors anticipates revenue of $1.13 billion to $1.15 billion, including flat comparable-store sales on a reported basis, and good for high-single-digit percentage growth on a constant currency basis. Earnings per diluted share are expected to be $0.93 to $0.97. By contrast, analysts' consensus estimates called for higher revenue of $1.16 billion and higher earnings of $1.00 per share.
Given its relative outperformance in fiscal Q3, however, Michael Kors now expects full fiscal 2016 revenue to be approximately $4.65 billion, good for low-double-digit growth on a constant currency basis, with diluted EPS for the year coming in at $4.38 to $4.42. Wall Street's consensus predicted full fiscal 2016 earnings of $4.33 per share on revenue of $4.63 billion.
In the end, it's no surprise investors are willing to overlook Michael Kors' guidance shortfall in the current seasonally slower period, especially given its strong showing in the crucial holiday quarter. If Michael Kors can sustain this momentum going forward, and with shares still trading below both trailing-12-month earnings and next year's estimates, I see no reason Michael Kors stock won't continue to rise from here.


(هذياني) failing in duty; offending by neglect of duty.
(دكتاتور) one who dictates; one who prescribes rules and maxims authoritatively for the direction of others.
(الكرامة) quality or state of being worthy of esteem or respect.


In 1909 a number of boys' camping groups were developing in the U.S. Two notable ones were under Daniel C. Beard and Earnest Thomas Seton, the latter on his estate in neighboring Cos Cob. That year, Chicago publisher William D. Boyce, traveling in England, was so impressed by Robert Baden-Powell's Boy Scouts he applied for an American charter. The official birth date of the Boy Scouts of America is February 8, 1910. The movement spread rapidly, with Messrs. Beard and Seton among the driving forces.
Scouting began in Stamford on March 22, 1912, according to the Advocate's 1941 Tercentenary Edition. The first troop, formed at St. John's Episcopal Church, for some reason was labeled "Troop 5". Other troops followed quickly.
On March 23, 1917 a committee of leading citizens and scouters met in the Common Council Room to coordinate scouting in Stamford and Darien. By June the Stamford Council, Boy Scouts of America was official. Alfred W. Dater, head of the Stamford Gas and Electric Company, was elected president, a post he was to hold for 22 years. William A. Aycrigg, active in Stamford scouting since 1912 and first Scoutmaster of Troop 5, was Commissioner, and Noble P. Randel was Scout Executive. Offices were opened in the Washington Building, 1 Bank Street.
The nation was in the seventh week of war. Stamford scouts quickly found a job in the Liberty Loan campaign. In October they raised $384,750. By the end of the war the scouts had raised more than $1,200,000! By February 10, 1921, the Stamford Council had grown to 19 troops, 548 scouts and 180 active adults.
Camping being central to scouting, the Stamford Council opened its first camp at Winnituyk House Farm in Long Ridge in the summer of 1920, though an informal camp may have been used earlier. Two years later, named Camp Toquam, it was located nearby on Holly's Pond in Hunting Ridge. In 1924 the camp was moved to Lake Mamanasco in Ridgefield. That same year, Troop 1 at the Presbyterian Church established Stamford's world-famous Pine Tree Patrol, and on March 6 the Council was incorporated.
By 1926, 20 troops held over 1000 meetings annually. The Darien Scout Cabin was completed and dedicated, later named for its donor, Andrew Shaw. Plans for a new camp were started with a Tenth Annual testimonial dinner raising $50,000. A few months later new Camp Toquam opened the 1928 season, settled for good on Dog Pond, Litchfield Hill, Goshen. It was destined to provide fond memories and a large dose of character for thousands of Stamford-Darien boys. A major expansion took place in 1938.
The Commissioner's January, 1932 report listed 870 active members, boys and men. In that same year a new wave of growth was started experimentally: a unit for younger boys called Wolf Cubs.
Much of this period's growth was guided by one man: A Wilson Beeny. He left Brooklyn, N.Y. in June 1922, where he was Field Executive, to serve for 15 years as Scout Executive in Stamford until his death late in 1936. A little over a year later the Council lost another of its great builders with the death of Alfred W. Dater, the only president the group had ever had. On December 2nd that year, 1938, in his memory the Stamford Council was renamed the Alfred W. Dater Council.
About that time the Scout offices were moved to No. 1 Atlantic Street. Enrollment was 585 scouts and 71 cubs. By May 1939 the Council included a very active Sea Scout unit which was using the old bath house at Cummings Park. In 1947 a dedicated scouter, John Sherman Hoyt, gave the Council 18 acres in Norwalk to be called the Five Mile River Camp, used for short term camping.
Through the 40's and 50's, enrollment showed its greatest growth. The mortgage on Camp Toquam was finally paid off in February, 1950. In October 1952, Robert Critchell became Scout Executive, to serve until September, 1969 for the longest term of any. In January, 1954 he was happy to report 3,269 Stamford and Darien boys and adults in the Dater Council.
Shortly after, sponsored by Union Memorial Church and financed by sale of a portion of the Five Mile River campsite and by a $4000 donation from the Lions Club, Scout headquarters got its own building an Kirkham Place in Glenbrook. Other highlights of the 50's were the participation of local scouts in the 1953 California Jamboree, and the dedication of the Williams Training Center made possible by sale of the rest of the Five Mile River property and a major donation by. A successful campaign in 1958 raised $120,776 for improved facilities and expansion of Camp Toquam. 50 years after its start, the Stamford Council counted 76 units and 2,620 Scouts.
Through the 60's activity remained high and growth continued. In February, 1971 the Council included 3000 scouts, cubs and explorers, plus about 1200 men and women in leadership functions.
In 1973 all local Scout Councils were merged into just one Fairfield County Council headquartered in Norwalk. Stamford's Alfred W. Dater Council passed into history and the Scout House on Kirkham place was gradually phased out. Eventually even Camp Toquam was sold.
At one of the final meetings held in the Scout House, John P. Guerrlich, a long time scoutmaster and board member of the Fairfield County Council, noticed 34 large scrapbooks neglected in a closet and in imminent danger of being thrown out. Mr. Guerrlich gave them safekeeping in his home for some years. On March 8, 1986 the Guerrlichs donated the books to the Stamford Historical Society.
Remarkably, the scrap books cover almost the entire life of the Stamford-Alfred W. Dater Council, starting with a sheet of penciled notes for the 1917 agenda and ending with news clips from February, 1973--a span of 56 years!
Beard, Daniel C. Hardly A Man Is Now Alive: the Autobiography of Dan Beard. Doubleday, 1939.
Macleod, David I. Building Character in the American Boy. Univ. of Wisconsin Press, 1983.
Oursler, W. C. The Boy Scout Story. Doubleday, 1955.
Rosenthal, Michael. The Character Factory: Baden-Powell and the origins of The Boy Scouts. Pantheon Books, 1986.
Except where noted, the following scrap books of the Alfred W. Dater Council, Boy Scouts of America, contain mostly newsclips from The Stamford Advocate, The Darien Review, and other local area news media.


Let's be honest, does anyone really enjoy traveling along Washington Avenue? Does anyone ever feel safe when commuting on Washington Avenue? This seven lane roadway that cuts off the vibrant Downtown from the beautiful Mississippi River feels likes a hostile highway for all - car drivers, bicyclists, and pedestrians. In 2014, Washington Avenue will be reconstructed between Hennepin Avenue and Fifth Avenue S. This is a once-in-a-generation opportunity to transform Washington Avenue from its current state as an unsafe, unattractive barrier into a street that invites people to linger and explore – a street that truly links Downtown to its nearby neighborhoods and all they have to offer. We want Hennepin County to rebuild Washington Avenue for everyone!
Washington Avenue has a lot of potential to be a major connector/corridor for bicyclists and pedestrians to Downtown, North Loop, Cedar-Riverside, and the University of Minnesota.
Hennepin County has not released the reconstruction plan yet, but will be releasing it any day now. We hope to seecycletracks included in the reconstruction plan. Want to learn more about cycletracks? Read this document for more information.
You can contact your County Commissioner today to tell them that the inclusion of a cycletrack on the re-designed Washington Avenue is important to you. Use this Ward Finder to figure out who your County Commissioner is and how to contact them:http://www16.co.hennepin.mn.us/commissioner.
This is one of the city's widest corridors. There is adequate room to accommodate infrastructure improvements for bicyclists and pedestrians. There is no reason that this corridor cannot be a thriving, lively, safe, and enjoyable destination.
People want these infrastructure improvements – just ask any of the 500 individuals who stopped on the Stone Arch Bridge to hand-write a letter to Councilmember Lisa Goodman, Mayor Rybak, and Commissioner McLaughlin to ask for a cycletrack on the redesigned Washington Avenue.
The Minneapolis Bicycle Coalition will be updating as the project progresses. Stay tuned for more blog posts and details as they come our way.
What are your thoughts on Washington Avenue?
How do you travel along Washington Avenue? Or do you avoid it all together?
Do you enjoy traveling along Washington Avenue in its current state?
How could Washington Avenue be more enjoyable to travel and linger along?
Volunteers Molly and Betsy co-wrote this post.


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For I want you to know how great a struggle I have for you and for those at Laodicea and for all who have not seen me face to face, that their hearts may be encouraged, being knit together in love, to reach all the riches of full assurance of understanding and the knowledge of God's mystery, which is Christ, in whom are hidden all the treasures of wisdom and knowledge. I say this in order that no one may delude you with plausible arguments. For though I am absent in body, yet I am with you in spirit, rejoicing to see your good order and the firmness of your faith in Christ. ... Christian Gifts
Much of the art surviving from Europe after the fall of the Western Roman Empire is Christian art, although this in large part because the continuity of church ownership has preserved church art better than secular works. While the Western Roman Empire's political structure essentially collapsed after the fall of Rome, its religious hierarchy, what is today the modern-day Roman Catholic Church commissioned and funded production of religious art imagery. Christian Gifts
and in the cutting of stones for settings, and in the carving of wood, that he may work in all kinds of craftsmanship. "And behold, I Myself have appointed with him Oholiab, the son of Ahisamach, of the tribe of Dan; and in the hearts of all who are skillful I have put skill, that they may make all that I have commanded you: the tent of meeting, and the ark of testimony, and the mercy seat upon it, and all the furniture of the tent, the table also and its utensils, and the pure gold lampstand with all its utensils, and the altar of incense, the altar of burnt offering also with all its utensils, and the laver and its stand, Share Your Faith Products
"If you happen to come upon a bird's nest along the way, in any tree or on the ground, with young ones or eggs, and the mother sitting on the young or on the eggs, you shall not take the mother with the young; you shall certainly let the mother go, but the young you may take for yourself, in order that it may be well with you and that you may prolong your days.
"Now I am sending Huram-abi, a skilled man, endowed with understanding, the son of a Danite woman and a Tyrian father, who knows how to work in gold, silver, bronze, iron, stone and wood, and in purple, violet, linen and crimson fabrics, and who knows how to make all kinds of engravings and to execute any design which may be assigned to him, to work with your skilled men and with those of my lord David your father. Christian Canvas Art
"You shall take two onyx stones and engrave on them the names of the sons of Israel, six of their names on the one stone and the names of the remaining six on the other stone, according to their birth. "As a jeweler engraves a signet, you shall engrave the two stones according to the names of the sons of Israel; you shall set them in filigree settings of gold.read more. Christian Gifts
He also made two capitals of molten bronze to set on the tops of the pillars; the height of the one capital was five cubits and the height of the other capital was five cubits. There were nets of network and twisted threads of chainwork for the capitals which were on the top of the pillars; seven for the one capital and seven for the other capital. So he made the pillars, and two rows around on the one network to cover the capitals which were on the top of the pomegranates; and so he did for the other capital. The capitals which were on the top of the pillars in the porch were of lily design, four cubits. There were capitals on the two pillars, even above and close to the rounded projection which was beside the network; and the pomegranates numbered two hundred in rows around both capitals. Thus he set up the pillars at the porch of the nave; and he set up the right pillar and named it Jachin, and he set up the left pillar and named it Boaz. On the top of the pillars was lily design. So the work of the pillars was finished. Bible Verse Wall Art
"You shall have no other gods before Me. "You shall not make for yourself an idol, or any likeness of what is in heaven above or on the earth beneath or in the water under the earth. "You shall not worship them or serve them; for I, the LORD your God, am a jealous God, visiting the iniquity of the fathers on the children, on the third and the fourth generations of those who hate Me,read more. Bible Verse Wall Art
For the entrance of the inner sanctuary he made doors of olive wood, the lintel and five-sided doorposts. So he made two doors of olive wood, and he carved on them carvings of cherubim, palm trees, and open flowers, and overlaid them with gold; and he spread the gold on the cherubim and on the palm trees. So also he made for the entrance of the nave four-sided doorposts of olive woodread more.
The Bible is full of encouraging scriptures that are such a blessing to read and memorize. Here are ten of my favorite scripture quotes for encouragement. Feel free to share these with others as these encouraging Bible verses will brighten anyone's day. The Scriptures used are filled with hope, comfort and inspiration. These famous Bible quotes are from the Old and New Testament. Christian Gifts
And when he had taken the scroll, the four living creatures and the twenty-four elders fell down before the Lamb, each holding a harp, and golden bowls full of incense, which are the prayers of the saints. And they sang a new song, saying, "Worthy are you to take the scroll and to open its seals, for you were slain, and by your blood you ransomed people for God from every tribe and language and people and nation, and you have made them a kingdom and priests to our God, and they shall reign on the earth." Then I looked, and I heard around the throne and the living creatures and the elders the voice of many angels, numbering myriads of myriads and thousands of thousands, saying with a loud voice, "Worthy is the Lamb who was slain, to receive power and wealth and wisdom and might and honor and glory and blessing!" ... Christian Canvas Art
Of David. Bless the Lord, O my soul, and all that is within me, bless his holy name! Bless the Lord, O my soul, and forget not all his benefits, who forgives all your iniquity, who heals all your diseases, who redeems your life from the pit, who crowns you with steadfast love and mercy, who satisfies you with good so that your youth is renewed like the eagle's. ... Christian Gifts
Jacob lived in the land of his father's sojournings, in the land of Canaan. These are the generations of Jacob. Joseph, being seventeen years old, was pasturing the flock with his brothers. He was a boy with the sons of Bilhah and Zilpah, his father's wives. And Joseph brought a bad report of them to their father. Now Israel loved Joseph more than any other of his sons, because he was the son of his old age. And he made him a robe of many colors. But when his brothers saw that their father loved him more than all his brothers, they hated him and could not speak peacefully to him. Now Joseph had a dream, and when he told it to his brothers they hated him even more. ...
"The house which I am about to build will be great, for greater is our God than all the gods. "But who is able to build a house for Him, for the heavens and the highest heavens cannot contain Him? So who am I, that I should build a house for Him, except to burn incense before Him? "Now send me a skilled man to work in gold, silver, brass and iron, and in purple, crimson and violet fabrics, and who knows how to make engravings, to work with the skilled men whom I have in Judah and Jerusalem, whom David my father provided.
19 designers and 31 writers invested their energy and creativity to this collection, each riffing on the timeless, inspired words of Scripture. Each designer worked hard to capture the essence of each verse in its historical and cultural context, and to design in a way that makes clear the way in which the original readers would have understood it. Then, after each design was complete, a writer reflected on each piece of art and the verse that inspired it. The result is 100 pairs of art and devotional that illuminate the words of Scripture.
"You shall take two onyx stones and engrave on them the names of the sons of Israel, six of their names on the one stone and the names of the remaining six on the other stone, according to their birth. "As a jeweler engraves a signet, you shall engrave the two stones according to the names of the sons of Israel; you shall set them in filigree settings of gold.read more. Christian Canvas Art
Solomon made all the furniture which was in the house of the LORD: the golden altar and the golden table on which was the bread of the Presence; and the lampstands, five on the right side and five on the left, in front of the inner sanctuary, of pure gold; and the flowers and the lamps and the tongs, of gold; and the cups and the snuffers and the bowls and the spoons and the firepans, of pure gold; and the hinges both for the doors of the inner house, the most holy place, and for the doors of the house, that is, of the nave, of gold.
Since the advent of printing, the sale of reproductions of pious works has been a major element of popular Christian culture. In the 19th century, this included genre painters such as Mihály Munkácsy. The invention of color lithography led to broad circulation of holy cards. In the modern era, companies specializing in modern commercial Christian artists such as Thomas Blackshear and Thomas Kinkade, although widely regarded in the fine art world as kitsch,[4] have been very successful.
Love is patient and kind; love does not envy or boast; it is not arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice at wrongdoing, but rejoices with the truth. Love bears all things, believes all things, hopes all things, endures all things. Love never ends. As for prophecies, they will pass away; as for tongues, they will cease; as for knowledge, it will pass away.
Paul, an apostle of Christ Jesus by the will of God, and Timothy our brother, To the saints and faithful brothers in Christ at Colossae: Grace to you and peace from God our Father. We always thank God, the Father of our Lord Jesus Christ, when we pray for you, since we heard of your faith in Christ Jesus and of the love that you have for all the saints, because of the hope laid up for you in heaven. Of this you have heard before in the word of the truth, the gospel, ... Christian Gifts
and in the cutting of stones for settings and in the carving of wood, so as to perform in every inventive work. "He also has put in his heart to teach, both he and Oholiab, the son of Ahisamach, of the tribe of Dan. "He has filled them with skill to perform every work of an engraver and of a designer and of an embroiderer, in blue and in purple and in scarlet material, and in fine linen, and of a weaver, as performers of every work and makers of designs. Bible Verse Wall Art
"You saw, O king, and behold, a great image. This image, mighty and of exceeding brightness, stood before you, and its appearance was frightening. The head of this image was of fine gold, its chest and arms of silver, its middle and thighs of bronze, its legs of iron, its feet partly of iron and partly of clay. As you looked, a stone was cut out by no human hand, and it struck the image on its feet of iron and clay, and broke them in pieces. Then the iron, the clay, the bronze, the silver, and the gold, all together were broken in pieces, and became like the chaff of the summer threshing floors; and the wind carried them away, so that not a trace of them could be found. But the stone that struck the image became a great mountain and filled the whole earth.
The words of Jeremiah, the son of Hilkiah, one of the priests who were in Anathoth in the land of Benjamin, to whom the word of the Lord came in the days of Josiah the son of Amon, king of Judah, in the thirteenth year of his reign. It came also in the days of Jehoiakim the son of Josiah, king of Judah, and until the end of the eleventh year of Zedekiah, the son of Josiah, king of Judah, until the captivity of Jerusalem in the fifth month. Now the word of the Lord came to me, saying, "Before I formed you in the womb I knew you, and before you were born I consecrated you; I appointed you a prophet to the nations." ... Christian Canvas Art


My company develops a WiFi-connected IoT product. I want to make sure that the process of getting the user's WiFi credentials into the device is as safe as possible. At the moment, the product is in a prototype stage, so we can (and will) make further changes before it hits the market.
The device creates its own WiFi hotspot. The credentials for this hotspot are printed onto a label on the device itself.
Several guys in the company think that this is secure. An attacker would need to get into the hotspot to sniff on the user's WiFi credentials.
The company creates a self-signed SSL root certificate.
We use this root cert to sign individual certificates unique to each product sold. The product's certificate and private key is embedded in flash memory during manufacturing.
The user goes to our website and downloads our root certificate and installs it into his operating system.
The user enters his WiFi credentials into a form on that page. The information is sent to the device over the TLS-encrypted channel.
How can we update a device's certificate? Possible, but very cumbersome and a lot of effort.
The user has to manually install a certificate. This is not very user-friendly and less tech-savvy users may fail to do it correctly even if we provide very detailed instructions.
Is the suggested process secure enough for an IoT product (imagine it as some kind of smart energy meter measuring your electricity consumption)?
Is there any way to improve the user experience of the process (e.g. getting around the need to install our certificate)?
Is there any way to improve the process in terms of implementation complexity for us (without compromising the user's security)?
Are there alternative ways to get the WiFi credentials onto our device? We cannot use Bluetooth and the device has neither screen nor keyboard.
Browse other questions tagged tls wifi http embedded-system iot or ask your own question.


I'm delighted to be in residence at Peter Rollins' Spark Festival this October (13-17). Spark is a five-day bespoke retreat that is carefully crafted to help spark peoples creative potential. This is not designed to help you briefly escape your everyday life, but rather is curated to help you find the tools and inspiration that will enable you to make positive changes in your everyday life.
Pete is an old friend, and has been an extraordinary support and encourager to me over the years. I'm really looking forward to opportunities to be part of this festival. We'll both be making time to meet with folks to talk about their creative processes, talk editing, talk storytelling, talk delivery and craft.


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Der Steinküppel ist ein 329 Meter hoher Berg bei Mömbris im Spessart im bayerischen Landkreis Aschaffenburg.

Geographie

Am Fuße des Steinküppels liegt im Kahltal der zu Mömbris gehörende Ortsteil Niedersteinbach, wo direkt unterhalb des Berges die Staatsstraße 2305 verläuft. Der Steinküppel wird im Südosten durch den Oberschurbach begrenzt. Nordwestlich des Gipfels entspringt der Borngraben. Im Norden ist der Steinküppel mit dem Herrenberg (341 m) im Süden mit dem Gretenberg (283 m) verbunden. Nur die westlichen Berghänge des Steinküppels sind bewaldet. Dort liegt der Buchborn.

Siehe auch
 Liste von Bergen und Erhebungen des Spessart

Weblinks

 Lage des Steinküppels im BayernAtlas

Einzelnachweise

Berg im Spessart
Berg im Landkreis Aschaffenburg
Geographie (Mömbris)

redpajama_set_name: RedPajamaWikipedia


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[AAS21 Podcast] Episode #6: Before Cornel West, After Cornel West
(0:00) [background music]
Eddie: Hello. I'm Eddie Glaude. I'm the chair of the Department of African-American Studies at Princeton University and welcome to the African-American studies podcast. Today I'm delighted to have as our guest the one and only Doctor Cornel West. Professor of the Practice of Public Philosophy in the Department of African and African-American Studies at Harvard University and present Professor Emeritus here at Princeton. Professor West is one of the most influential intellectuals of our time. His scholarship has transformed conversations across a wide range of fields, from black liberation theology to critical theory and cultural studies to American pragmatism. In so many ways, scholars and intellectuals are still trying to catch up with him. He's the author of over 20 books and 13 edited volumes, classics such as Prophesied Deliverance and the American Evasion of Philosophy, The Ethical Dimensions of Marxism, Keeping Faith and of course, Race Matters and Democracy Matters, just to name a few. His latest books are Black Prophetic Fire and the Radical King. Professor West is also one of the nation's most important public intellectuals. His insistence on speaking truth to power on embodying integrity, honesty, decency, and courage on behalf of the most vulnerable, no matter who resides in the white house, has been a model for so many around the country as well as a thorn in the side of those comfortable walking the corridors of power. It is indeed a privilege and an honor. Welcome, Doctor West.
Cornel West: My dear brother, my dear brother. Kind and generous words of a brother to think oh man, it has been almost 30 years.
Eddie: Almost 30 years, man.
Cornel: 30 years holding up that bloodstained bennet trying to be consistent and constant and persistent in trying to tell the truth.
Eddie: It is amazing actually. You know, every time I give thanks and praises to, to, to God, I thank Him for you and what you have meant to me in my life and to so many others. But I wanted to, uh, I really am
excited about this conversation for a couple of reasons but because I think we have an opportunity to just simply, you know, chop it up as we often do in the privacy of our own spaces.
Cornel: Yeah, yeah.
Eddie: Um--
Cornel: All the precious, precious moments--
Eddie: Indeed.
Cornel: That I spent many time with you over the years but every week, I just learned from you, inspired by it, oh brother.
Eddie: Well, it's-- It's, well, just a reflection of you, doc. So I- I want to begin with talking about this- this life of the mind that you have-- uh, you've been talking with me about for 30 years. Almost 30 years. Um, this idea of what it means to be committed, to be in love with ideas. Talk about how that began, how did it take root in you?
Cornel: You know I've been so very blessed to um, come from such a-- a loving family, a loving church. I love baptist church on the one hand and the West family on the other; to be so deeply shaped by coaches like Bill Mahan and uh, John Braxton and then to have teachers like Martin Keelson and Preston Williams, and Sinclair Drake. Really it's a kind of a- a model--
Eddie: Hmm.
Cornel: -- in so many ways and of course, the John [inaudible] and Stanley Cavell and Henry Pugnant and Israel Jefferson, Robert Nozick at Harvard and then the Richard [inaudible] and Sheldon Wolin's, uh [inaudible] and Tim Scanlon's and Tom Nagel's, Walter Kaufmann at Princeton. I mean there's nothing like being shaped by that kind of way of love and by love I meant those who are fundamentally committed to love of truth and love of beauty, love of goodness in my own particular sense of love of the holy as it hasn't been losing that Christian. And so when you think of that backdrop, there's so much joy that follows from that life with the mind and the world of ideas, to try to cultivate, uh, capacity for
energy, discipline and talent, and to use them as forms of weaponry in this struggle for freedom. Uh, I am first and foremost a Christian. I'm first and foremost a Christian tied to radical love and freedom, to radical freedom and love. But that radical love has to do with a hatred. And justice loves this notion of a charitable Christian hatred. We hate the saint and love the sinner. And you hate the injustice, but still love the person who perpetuate it because it they can be changed, they are redeemable. They can always be transformed by something greater than me. Uh, so I am full of a lot of um righteous indignation. I mean, a lot of people actually call me a hater. And I say, "You're absolutely right." That, uh, when you love people, you hate the fact they're being treated unjustly. You loathe the fact that they're being treated unfairly. And if you don't do something, their rocks are going to cry out. That is, for me, part and parcel a certain kind of calling. A certain kind of vocation.
Eddie: You- You know, you always do this. Um, whenever you speak around the country or whenever you talk yourself, you- you- you point to those uh, who have poured something so significant into you.You used a phrase not too long ago, um, that I've heard you used it before but not so much in this way. A revolutionary piety. So there's always this kind of, um, public acknowledgement of your indebtedness to the sources of who-- the sources who made you who you are.
Cornel: Absolutely.
Eddie: Now it's interesting, because it's- it's a reflection of- of a side of you that most people might not think about. And it is your deep connection to tradition, your understanding, I mean-- It's from God Emerge to Edward Shields. I mean there's this kind of-- So talk a little--
Cornel: I called it two fundamental things.
Eddie: Exactly. So talk a little--
Cornel: God emerge chose the methods. Shields has great work on tradition.
Eddie: So talk a little bit about that.
Cornel: Well the finest
(6:00) analysis we have of piety was written by rabbi Abraham Joshua Heschel in the first piece he ever wrote in English and it talks about the three pillars of pie: the remembrance, reverence and resistance, and it talks about piety itself as subversive in that sense. But you always begin by remembering, you always rig-- begin by degree that's membering the gathering of the dismembered element of the past that need to be able to be brought to bare in a nightmarish present in order to hold on to some vision of a better future, let alone the actualization of that better future. So that for me, piety, the indebtedness of the sources of good in our lives, in our brief move from our mama's womb to tomb. And during that short time in time and space, the memories that can somehow connect us to a reverence beyond just the idols, the fetishes, uh, the- the brands, the uh, the chronic self-promotions and the raw ambition, something deeper than that. Uh, and then of course the resistance against those same idols and fetishes of our day.
Eddie: You, uh, you- you will invoke Sheldon Wolin's distinction between vocation and invocation as another way of getting at that. Talk a little-- Because Wolin is so important to you as well.
Cornel: Well, with Sheldon you have my thesis adviser, and God rest his- his soul, he's one of probably the greatest radical democratic political theorists let upon the 20th century in American empire. And when he talked about vocation, he went back to Martin Luther Beruf. He talked about vibrant vocation, what it is that have a calling. But then there's no vocation without invocation. There's no calling without also a recalling and remembering of those grand figures. He-- He's in some way tied the highbrow
humanous tradition, of which I'm a part, that highlights exemplars. Exemplary figures who intervened in one's present by means of the life of the mind that allow you touchstones and milestones, high standards of excellence, [foreign word] in the language of the Greeks. The high standards of excellence that give you a sense of what it is to uh, a strive to something grander than you and the lives that they lived.
Eddie: Yeah. Yeah. So-- So I mean-- And- And when you- when you locate yourself in this kind of high humanous tradition, there's some- there's some serious folk that you invoke. I mean, from uh, going from Erasmus all the way, even you know--
Cornel: It begins with Socrates and Jesus.
Eddie: Socrates. Yeah, so, so--
Cornel: Absolutely. Begins with Socrates on the one hand, and Amos and Jesus on the other. And of course, with Socrates it's always pretty--
Eddie: Athens and Jerusalem--
Cornel: --the pre-existence and antecedent condition going back to Egypt, another African civilizations. But, especially, the intellectual integrity of Socrates, the unleashing of critical consciousness, of questioning, of interrogation, the willingness to have the courage to follow arguments even when it go in places you don't want to go and the painful truth of coming to term of who you are. And then Jesus himself, building on the prophetic Judaism that produced him. He is very much a prophetic Judaic figure. But at the same time, opening it up to the world in terms of the unleashing of a love of neighbor and a love of enemy that puts one at risks that leads toward a cross that exemplifies a way of love in which to be, uh, what's the right word-- to empty, to empty one's self and to be emptied by others
in such a way that when you are on that cross, you have some kind of traces that you can point to the impact that you have on the souls of others. There's something that's quite sublime about that-- um, of course you see that sublimity in, um, in Spinoza? Great-- Great excommunicated Jewish. I think it was secular to the core who love the example of Jesus, the example of Jesus in the Quran as well. Uh you see there's so many folk who see his sublimity who are not necessarily Christian. Or Jacob himself, of course, who was a great agnostic but who could go to church and cry and say, "The passion, the Eucharist. Too beautiful to be true." That goes to [inaudible]. That unbelievable sense of self investment and a life of trying to love, of pursuing justice but recognizing that the ways of the world were for the most part always tried to crush it by means of character assassination, literal assassination, misinformation, misinterpretation of what you and the movement that you're a part of is trying to do. Martin King is the grandest example, of course, John Coltrane, Mary Lou Williams are the great artistic exemplars of what I'm talking about within my own tradition, the black freedom tradition.
Eddie: So then you know there's uh- there's talk of your genius and this evidence of your genius. But that- It is- It is actually a result of an extraordinary discipline and dedication to your craft. Talk a little bit about you habits of reading. You are first and foremost a reader.
Cornel: Absolutely. No doubt it's true. [crosstalk] [inaudible]
Eddie: Um , so, all the town folks walking around here thinking, seeing, watching you speak and listening to you speak at the core of who you are uh, Irene and Clifton West who made you who you are, Shallow Baptist [inaudible] [crosstalk] You are a reader.
Cornel: That's exactly--
Eddie: So talk a little bit about your habits of reading.
Cornel: Well, there's the sense in which I'm committed to the dialogical and not-- And that dialogical commitment has to do with commitment to reading, especially the great texts of the dead as well as some of the text of the living, I think the greatest text that has been written tend to be by those who are dead as opposed to the quick. But it doesn't mean that you downplay, the quick who are serious at building on the best of the dead. But for me it's a matter of soulcraft it's a matter of orienting myself in such a way that I can generate visions and virtues and values that enacted-- that if enacted in the right way can lead toward a better life. Because I don't fetishize texts and texts for me are simply ways in which persons can live better lives and by engaging these texts you become more courageous, more critical, more-- more compassionate, more sacrificial. So in that sense it's- it's like Shakespeare's The Tempest, you know, all of these plays actually mean little if the plays themselves don't try to get you to live your life as a work of art. Don't fetishize the art itself, but being a spectator and just acknowledging the genius of Shakespeare but rather to- to make a choice, to try to live your life in such a way that your life becomes a work of art. So these plays help enable and empower you to be a walking work of art. You see, that's part of the genius of Shakespeare. But that's truth for uh, the Duke [inaudible] I think. It's true for um, a [inaudible] Hathaway.
Eddie: And [inaudible], right? I mean this is-- the art- [crosstalk]
Cornel: -- [inaudible] the way of life, well, absolutely. I mean, he's- he's associated with spiritual exercises so that- that spiritual exercise is part and parcel what the Greeks called Paideia, which is a deep education that's soul-- uh, change that soul transformation at the shifting of the soul from the world, becoming to the world and being from the world, of surface of the world of depth, most importantly from the world
(14:00) of superficial to the world of the substantial. Those things that really matter, life, death, joy, love, trust, intellectual, dialog for personal and social transformation.
Eddie: So that's the motivation to get to the books. That's-- that's what lies behind uh, the reading. But there-- there is a-- there is a discipline that attends it. I mean, no matter how busy you are, you- you are reading.
Cornel: Well, I got to read three hours every night. No, there's no doubt about that. Just feel incomplete.
Eddie: You just feel incomplete?
Cornel: Oh yeah, I--
Eddie: Goes all the way back when your mother tried to have to take your glasses away from you, keep you--
Cornel: Take my glasses from the book mobile. No, that's very very true. That's fair. And for me the reading is much more important than the writing. I mean, writing itself can become just another form of narcissism, another form of obsession with self presentation in such a way that people can say how smart you are and acknowledge your smartness. And I can't stand the cultural smartness, I can't stand new liberal soulcraft that says the best thing that ever happens to anybody can be the smartest person in the room as opposed to being wise, courageous and compassionate. The smartness culture and this neoliberal soulcraft is just another product of late capitalist civilization. It somehow tries to get us to fall in place to the prevailing idols rather than crush the idols and stay in contact with the best of the past. And usually the- the best was something that we know come from the dead. The living, in and out of themselves, have- don't have a whole lot to offer. They've got to be in a conversation and dialog with the best towering figures in the movements of the past.
Eddie: You know-- You know, you-- you're always referencing artists. You know, you always kind of, turn to the poets. Because in the argument between uh, the poets and the philosophers, you-- you side with the poets. Um, uh, and-- and it's clear-- But you know, you once told me in passing, I don't know if you remember this, that you read novels slowly. You don't read them as quickly
as you read other things. Why is that the case? Why does it take you-- Why are you more-- And I wouldn't say you're more deliberate, but it takes a little longer to finish a novel than it does.
Cornel: Yeah. Especially a Toni Morrison novel. [laughter] But that's just Tony with James Johanson, Pruce, says any of the great one. But one, first, I fundamentally believe that artists are the vanguard of the species. I think we are a kind of species, a kind of organic creatures, a kind of organisms with language that we-- are-- The highest levels of our courage and the lowest depths of our love is manifesting those who take us to edge of life's abyss who are willingly invest everything and who they are into a product that would lead toward their being emptied out, but to lead toward art being filling up. And uh, and it's the artists who'll do that. Uh, not just musicians but the painters and- and the writers and the um-- and the poets in the broadest sense of what the Germans call dictar. Those who have the imagination and empathy that conceive love in alternative uh, reality, given a nightmarish reality that all of us have to deal with and our death sentences in space and time. And so in that sense, philosophers can become artists. Man, I got my David Hume, right here. This is uh, Dialogues on Natural Religion. That's one of the great works of art in the English language written by a philosopher, a comic philosopher who preoccupied with incongruity and inconsistency and contradictions.
Eddie: And Cavell.
Cornel: Hands down, Cavell. Someone of writing on Emerson in that way but Wittgenstein would be another [inaudible] of course, another Dorno, another uh, within the European tradition. Uh, and that there's- there's an array of artists who are deeply philosophical, I mentioned Tony Morrison but I would say Lorraine Hansberry's one of the underappreciated persons who have a deep
philosophical orientation. Her rewriting of Waiting of the Godot, Waiting for- for top dog, Waiting for Todog. Critique of that towering late modernists playwright, Samuel Beckett and there is this genius from southside Chicago in her late twenties, early thirties taking him on as a revolutionary humanist as she was as well a student at WEB Du Bois and others. Saying would be true of Gwendolyn Brooks, we can go on and on with figures who understand the way in which the philosophic and the poetic are tied together. The Souls of Black Folk is one of the great examples of that classical 1903. My tradition is one in which I read novels slowly. Because there's a semantic density, there's thickness of meaning that you don't want to miss. You'll never be able to capture all of it, but you don't want to miss and therefore take so much more time. But you read more novels than I do, my brother, you read the Latin American and African novelists and so forth and so on. And I wish I had the time to be able to follow through on so many of the novelists that you read all the time as a philosopher and as a social critic. But uh-- but the poets, I do try to read uh, much more of the-- the Jeffrey Hills who take a long time to read. You know, uh, very very difficult. But very profound, very profound.
Eddie: You know, I've-- There's this- there's this wonderful, um, juxtaposition in your work and so, it's not juxtaposition, it's not the right word. It's-- it's disintegrated uh, density to your own work. And where there's a kind of deep reading in the European tradition, what you described is a kind of high humanous tradition that you can map out. Um, and then there is this kind of deep uh, reading in the African-American sources, alright? And there's a way in which you bring these two together, uh, and has kind of defined the arc of your work
(20:00) since the first book. Um, you know, the edited volume on Black Theology to uh, the- the Prophesied Deliverance to-- to um, American Event. There's a way in which you're bringing these traditions together that is- That-- That really fascinates me. Um, and- and- And how- How do you think, um, about the relationship between these sources of hope? The sources that make you who you are? And let me say a little bit more about what I mean.
Cornel: Yeah, yeah. Okay.
Eddie: So, there- there's a way in which, and this is what angered me with Mike [inaudible] you know, [crosstalk] rendering a view and then give thin the new republic, little blessings, but--
Cornel: Oh, God bless it. God bless that both, yeah.
Eddie: But there's a way in which you have transformed conversations in so many different areas. I mentioned this in the introduction. So the way in which you bring Marxism to bare, right? Are you a Marxian thinking to bare on black liberation theological discourses? Right? When you're very young. And how you were impacting that conversation. And the way in which you, uh, in some ways, transformed and pushed Cone and others. To think about the material conditions for the production of theological uh, reflection. Or do you think about the ways in which you were engaging in conversations with folk who are just now reading Foucault? Just reading, I mean, [inaudible] gave you Foucault. Right before--
Cornel: Right. Sure did. Sure did. [inaudible]
Eddie: Right when it was first translated right? And the way in which you were thinking about critical theory and cultural studies at a moment where it was taking off, and how you were having an impact by bringing the conversation of race and placing it at the center as you were reading these folk- as you were pushing [inaudible], as you were pushing Paul Bouvet. Those folks up in Spitsbergen alike. And then of course the American pragmatist tradition. You- you write a story. You, uh, you tell a story of its beginnings that fundamentally re-narrates it in order to highlight its blindnesses and then you introduce figures who weren't necessarily central to have folks taught about that tradition.
(22:00) Talk a little bit about that methodological approach. The way in which you bring these various sources to bare on what you-- how you think and how you write.
Cornel: I think it has much to do with the legacy of the greatest public intellectual in the American Empire the 20th century - WEB Du Bois. He's got a lot of competition with John Dewey and Edmund Wilson and Susan Sontag and Muriel Rukeyser, Lionel Trilling and others. But, to me, there's a BC and an AD. Uh, to be post-Du Bois, and after Du Bois, is to begin with a internationalism, a cosmopolitanism in which you keep track of civilizations, how they relate to each other, but also come to terms with empire. So for example, when I was coming along and first reading um, James Bowen but especially Ralph Ellison. They both have tremendous impact on me. Uh, and Albert Murray too to a significant degree. And they were so concerned with looking at black people in the context of American culture, what I'd call American civilization. And it was fascinating. It was very important. But I always thought that was too parochial because I think America itself has a parochialism and a provincialism, it has magnificent things, that energy, mobility, obsession with futurity, the future. But it still has its own blindspot and underside of indigenous people treatment, genocidal attacks, depth of lands as well as slavery and domestic, household being patriarchal, women confined to those private spaces, while working men, without property not being able to vote. But I was always concerned with the issues of empire and the issues of what it is to be part of a civilization that is usually connected in complicated way with other civilizations.
(24:00) So that when they would say, "Well, black culture is really fundamentally a part of American culture." I would say, "Well, yes. That's true but that's not the compliment that you think it is." [laughter] It's a great insight, we accept it. But the move toward American nationalism without being internationalist itself is still too narrow. So even in 1982 as you rightly know, that's 35 years ago in Prophesied Deliverance which is my first text. I was much more concerned with trying to connect the rich, deep, profound black tradition of the doing and suffering of these new world Africans and the shaping of both themselves, the culture, the community as well as American civilization but also modernity. Also human history. And that's Du Bois' great move. Du Bois is the great publican electual concerned about empire. And that's very, very rare. Um, and Cedric Robinson is another who comes to mind uh, in that regard. Uh, Gerald Horne, uh, comes to mind in that regard. But we don't have a lot. Most are settled into the US context when we talk about black folk. And uh, lot of it has to do with my Christian sensibility to be a Christian and to live a life in which you choose a way of the cross makes you a radical internationalist who wants to turn the world upside down. Because every human being no matter what color, what national identity, no matter what sexual orientation made in the image and likeness of God. So, you- you view nationalism itself as a kind of ideological species of idolatry. Even given the fact that democracy comes into the modern world in a nutshell of the nation state, therefore you have to deal with nations if you're going try to democratize in any serious way. And the same would be true (26:00) with the uh, the impact of Marxist analysis for me, that, uh, that Karl Marx himself was first and foremost a radical internationalist who wanted to turn world upside down because he saw capitalist civilizations as promoting ubiquitous co-modification of everything and everybody. Everybody for sale, everything for sale, which is very much where we are now in-in, uh, in American civilization with its capitalism ran amok and its white supremacy out of control, let alone its president out of control and over his head. Um, so that my own shaping and molding was up with an internationalism that cuts radically against the grain of the Academy. The-the division of knowledge, uh-uh-uh, in the Academy tends to be one in which international affairs is on the side, and in which the disciplines themselves are very much locked into, uh, the nation-state and nationalism as much more important than an internationalist perspective, let alone an anti-imperialist perspective.
Cornel: So, some would periodize it differently. You know, you said there's a BC and there's an AD-
Eddie: Yeah.
Cornel: With Du Bois someone would say there's a before Cornel West and there's an after Cornel West.
Eddie: Well, no one would say that, you know. [chuckles]
Cornel: No, no, no, no there's a-- the different sorts of questions that are asked prior to you and then after you, different sorts of ways of imagining how to do this work before Cornel West and after Cornel West, so there's-there's an interesting kind of moment. We've talked about, you know, habits of reading, uh, how you imagine the life of the mind, you know, then Race Matters hits. Um-
Eddie: Mm-hmm. Which is a fluke, yeah, a fluke. Since the Deborah Chad and gives some essays and [crosstalk] [inaudible].
Cornel: And, you know, I remem-- I was here when ra-- We-- I was here we as a graduate student when Race Matters hit and it was, uh, it was a phenomenal moment.
Um, I remember when Rock-- remember that show on Rock and they invoked, they invoked the book on-on Rock's show, um, and in some ways you became the darling of white liberals.
Eddie: Oh yes, dangerous position, dangerous position.
Cornel: Talk a little bit about that for you, for yourself.
Eddie: Well, one of course, again, the text itself was a fluke with-with Deborah Chad did, finding some essays on the floor and putting them together, but the-the visibility of the text had everything to do with the rebellion of the black masses in Los Angeles responding to Rodney King, where the vicious legacy of white supremacy had to be taken seriously and when you have such moments, they were like our moment now, the white power structure wants to select certain individuals and certain texts-
Cornel: Hmm.
Eddie: - that become the focus because you gonna have to have some public conversation about race. You remember the-the piece in New York Times Magazine on Princeton's Public and Election.
Cornel: Exactly.
Eddie: Back in 1992, right, when the rebellion taken place and the text takes off. And I did become the darling of the white liberal establishment for very quick time. It only lasted about nine months or a year because of my association with Louis Farrakhan, with the [inaudible] and Ben Chavis, the three of us were traveling around the country, and we're being very honest about our disagreements but also being honest at the plight of black Americans, specifically the plight of black brothers was one that had to be addressed. And though I've always had my-my differences and disagreements with my dear brother men Louis Farrakhan, I've always been willing to work with a variety of different persons who are highlighting certain kinds of issues, in this case that the impact of white supremacy on the black community and the impact of white supremacy on the heart and souls of precious black brothers. So, to be Associate Minister of Louis Farrakhan in Ivy League schools at that time,
of course, was a-a-a deadly or a poisonous thing and I-I was very explicit about it that I'm a free black man for Jesus loving, free black man, so I-I love who I want to love, I associate who I want to associate with, so I had some very vicious attacks at that time, of course vicious attacks escalated [laughs] in different ways.
Cornel: No, no, I remember brother Sean Willinds and Michael Walzer [crosstalk] [inaudible].
Eddie: All you supporting fascism. This is a black Mussolini. At this march we're going to get vicious attacks on precious Jewish brothers and sisters right after. I said, "No, it's not like that at all. it's not like that at all," and they turned out to be wrong, uh, totally wrong in that sense.
Cornel: Right.
Eddie: But that was just the beginning, but what happens is there is a very rich tradition I think of the boys themselves. I think of James Baldwin, I think of Gwendolyn Brooks, I think of Amiri Baraka, I think of Gwendolyn Brooks, they've all been the darlings of the white liberal establishment early in their careers. And as they follow through and became more radicalized in terms of them willing to speak truths that were uncomfortable for the white liberals, the white liberals turned on them viciously and you just look up each one of their careers. [inaudible], I think is also a fascinating case in that regard and a lot of courage. And it's-it's-it's a difficult situation because it's very hard for a black intellectual to reach any level of success in the white liberal mainstream anyway, and so once you get there you have to make a choice. Are you gonna opt for integrity or you're gonna opt for popularity? You see, Leroy Jones could've remained Leroy Jones and bend the darling of white liberals. The boys could have done that. James Baldwin's certainly fine, next time they loved him. No-name in the street, they hate him. He's the same lovely Jimmy-
Cornel: Same. Yeah.
Eddie: - telling his truth, you know, but he got to come to terms of death of Malcolm.
Cornel: So here we are now.
Eddie: [inaudible] Here we are in are 2017, same kind of phenomena, you know. You got the-the neoliberal white establishment trots out its darlings and they become, you know, bestsellers. They become highly visible. They become, uh-uh, persons that-that many people argue, are the only voices and you say, "No, there's never the only voices or primary voices." Most of them won't tell fundamental truths, drone strikes, Israeli occupation of Palestinians. There's certain issues they won't touch with a ten-foot pole precisely because those are the issues that the white liberal establishment-
Cornel: Won't touch with a-
Eddie: - won't touch with a ten-foot pole in any critical way, you see. And so-- but I-- The-the wonderful thing is that with Black Lives Matter and awakening that taken place, spiritual, moral awakening on the younger generation that-that, uh, they-they know, you know, who's for real and-and who's phony. So, in that sense, there is a certain kind of hope that we have in terms of truth tells.
Cornel: Right. So there's-there's Black Lives Matter, right? And then there's this kind of con-- this interesting convergence, the ascendance of Trump and the ascendance of Copes, [inaudible] book. How do you, how do you in your mind make sense of this against the backdrop of the election of-of-of the first African-American president? You mean you-you caught-- I mean, you've caught a lot of, a lot of hell out here over the last eight years truth-telling, trying to, uh, shout from the rooftops about, uh, what was happening, not just simply, uh, in the con-- not just simply among black America in the country and across the globe. Uh, while we were kind of, uh, all excited about a black man in the White House you were keeping track of this-this question of Justice and this issue of love
and that motivated you to continue to bring, uh, a critique to bare on Obama's, uh, presidency. And then of course, you get the ascendance of Trump and then this phenomena of between the world and me and these young folk in the streets. How do you make sense of all of-of this, uh, as-as a person who has in some ways been thinking about the American Empire for a long, long time?
Eddie: Well, I tell you though, you know, after Reagan and Bush's black people were levels of desperation looking for any symbol and sign of hope, and the very notion of there being a successful black president in a sense of a president who wins and goes to the White House with a precious black family, brilliant black wife and beautiful black children, it was unimaginable. So when it took place, the impact on black America of course was just it was unprecedented, and it's understandable because the depth of desperation we oftentimes have very low expectations and when those expectations are exceeded by a black family going to the white house primarily built by black people, uh, it's-it's-it's-- it was overwhelming. But the result was what? The result was our leaders, our politicians, spokespersons and our intellectuals began to revel in that symbolic celebration even as it reinforce a concrete hibernation. And what I mean by that is symbolic break dancing but on the ground sleepwalking. So, you no longer made any demands, your Socratic energy was-wa-was attenuated, no serious critiques. Now, as an internationalist, when I was concerned about drone strikes for a baby in Yemen and Pakistan and Afghanistan, has exactly the same value as a black baby or a white baby or a red baby in the United States.
Nobody really want to highlight it in a way as the artist is Jeremy Sca-Scahill and-and-and others, Medea Benjamin and others who were talking about this. But I had to be part and parcel that while-- as the King legacy. A Vietnamese baby got the same value as a black, brown or red, uh, yellow baby. Same is true with relation with Wall Street, same was true in relation in our Security State, the National Surveillance State.
So that we think, "Oh my God, Barack Obama's dropping to over 20,000 bombs every year on seven Muslim countries with a peace prize.-
Eddie: - That's a contradiction. That's need to be pointed out." "Well, brother West that's-that's-that's-- no, because Fox News coming at him, right wing's coming at him. We got to protect him, we got to protect him." and so we saw it was Sharpton, Dyson, Melissa Harris-Perry and the others, they became the protectors. They became the cheerleaders with a known role of serious intellectuals who are concern about black suffering, poor people's suffering, wiping of-of-of working people suffering. Is it tell the truth? The district truths allow suffering to speak, so-so- when you got a black president, Dyson and called him Pharaoh for a few-few weeks changes his mind and became a cheerleader. I said, "Oh, okay well, what's the grounds for the shift," right?
Cornel: But how do you respond to people who say that-that-that it was the fact that he didn't extend tickets to the inauguration, you know, the Chris Hedges interview or that if you, if you had access to him, uh, that this-- you wouldn't be so critical. How do you resp-- or people say, uh, that your language, right? The rhetoric, the what-- you know, he is, uh-uh-uh, [crosstalk] Rockefeller republican and black face.
Eddie: He was a puppet of Wall Street. He turned out to be a puppet of Wall Street that's why no one of his executives went to jail given all that crime.
Cornel: How do you respond to people saying that you-you-- the harshness of your critique?
Eddie: Well, there's no doubt that there's an intensity and harshness because right when everyone else is celebrating, the last thing you want to use is polite language and sweet language when it's the harshness that allows what you have to say to stand out and
be reckoned with. Why? Because the harshness of the language pales in light of the harshness of the condition.
Eddie: Right. We put the pressure on, let's say something about the new Jim Crow thing, Michelle Alexander and others, you know, the secular. Uh-uh-uh, her classic text for the movement building on Angela Davis and Glenn Lowry and the others, uh, we're concerned about new Jim Crow for-for decades. You had to use a harsh language in order to try to wake people up. That's one of the role of hyperbolic language, to wake people up and to recognize just how ugly and vicious these conditions are.
Cornel: Yeah, no, absolutely.
Eddie: And so, uh, you thought about black child poverty. one out of two black children under six are living in utter poverty and he didn't give one speech dealing with poverty and gentlemen, let alone child part live and alone black child poverty, and yet black folk giving him a pass. And black folk now, you know, we-we understand what it meant to give him a pass.
Eddie: You know what it means? That, "Oh, hey, he's so successful." Is that all you wanted with just black success at the top of rather than trying to attenuate black suffering on the bottom, inequality still increased, all the jobs, 94% of the jobs were low pay, precarious, contingent jobs, but Wall Street breaking records, stock market breaking records. So what happens is that, uh, we move into a neo-fascist era as the neoliberal era of Obama came to a close with an unbelievable level of disappointment. Disappointment either rationalized by saying he wanted to do more but the right-wing wouldn't allow him. Now he had two years, it was all Democrats still unable to deal in any serious way with the levels of social misery of poor and working people. He didn't support the Employment Free Choice Act that would have helped trade unions. He did sort of come to the Wall Street bailout
without there being a bailout for homeless-- for-for-for homeowners, what is it? A 1/4 of a million black homeowners and you pointed out your powerful tax democracy in black depression, no sense of emergency there at all. So I had to go on and on.
He said, "Oh, brother West it's just a personal matter. he didn't give you tickets." well, after doing 65 events for the brother all I asked was for a ticket for my mother anywhere, you know, MSNBC's friend lifestyle mother had to be in the first few rows. That's a lie. I figured my mother's 70-something years old, she ought to see the first black president, I take her to do it. I did 65 events, never heard a word from him, never heard any-any possibility of her doing-- being there, so I just took her anyway but we couldn't-couldn't go. Is that wrong? I think he was wrong. There's no doubt about that. And I love my mother. But then I'm gonna do my critique.
Eddie: He cannot do the truth teller. Lay out the evidence. Let me see how he was critical of Wall Street in a subjective way as opposed to a Wall Street break-dancer. Let me see the ways in which he was addressing the new Jim Crow, not just by going to some deodorized space in the prison after seven years but hitting the issue head-on retrospectively if you're gonna sign a bill that allows for some reduction in terms of the crack-cocaine vis-a-vis, uh, regular cocaine, uh, punishments and so on. No, it was clear he's a neoliberal president no matter what color he is. And neoliberalism is what? Steal the transfer of wealth from poor and working people to the 1% with privatizing and financializing and militarizing, militarizing the police department, new movement, Black Lives Matter, under a black president who-who needed to be reminded black lives matter.
Cornel: [chuckles] So now we have the neo-fascists.
Eddie: Now the neo-fascists in place.
Cornel: As you say, the gangster in the white and you have been strong as usual in this regard. So, what do we-
Eddie: Brother Donald Trump is a gangster in character and a neo-fascist in content. And what I mean by that is when you're grabbing private parts of a woman and bragging about it, that's gangster. When you're saying you going to Iraq and take their oil, that's gangster. Those are just two examples of what it is to-- and gangster is what? He clips of integrity, honesty, decency, obsessed with the 11th commandment, "Thou shall not get caught," thinking you can do anything living a life of impunity. That is brother Donald Trump, a life of impunity, say anything and do anything with no accountability, no answerability.
But the neo-fascist content is connected to the abandoning. There it's not just disregard of rule of law, disregard a constitution, but it's big business, big corporations with an ideology that scapegoats the most vulnerable, our precious Muslims, our precious Mexicans, our precious transgender folk, and black folk and Jews. And now it gets complicated with our Jewish brothers and sisters because you've got vicious anti-Jewish contempt shot through the Breitbart-like ideological orientation.
Eddie: But you also have the embrace of Israeli elites. Now never to confuse Israeli elites with Jewish brothers and sisters, that's a whole two different things. the elites, right-wing, Netanyahu, comes out of Jabotinsky tradition, very different in Albert Einstein, very different in Judah Magnus, very different from progressive Jews within the Zionist movement, and then you got the Noam Chomsky's who are critical to sign as a whole, but he is as Jewish as Netanyahu.
Cornel: Right, right.
Eddie: He's just more right on the question of-of-of Israel needing to be a-a meeting that-that-that lift the occupation or to allow Palestinians to live lives of decency and dignity with either a state of their own and now whether that's even possibly is open but the crucial thing is we have to have a double up. We've got to love
our precious Jewish brothers and sisters. We've got to love our precious Palestinian brothers and sisters. That's the Martin Luther King Jr.-like challenge and that's what it is that tells truth. When it comes to those kinds of issues, then you're not going to get either a coach or a dicer and others to hit those head. they gonna stay concerned only about the US context and the ways in which race and white supremacy must be radically called into question. They're right about that. but, of course, in terms of their action Dyson, of course, cheerleader for the president up until the end he had to rebrand and now he posed it as if he's a major critic during those eight years, so that's not true. That's a lie. He was very much a cheerleader, you see. Coates, for what's the kind of embedded reporter. You read the long essay in the Atlantic-Atlanti-
Cornel: My black president.
Eddie: My-my black president. He's traveling with the president. He's embedded, no serious critique other than respectability politics here, a little issue there, you know. And you got Jelani Cobb and the others when I act as if that something makes him a major critic. No, that's not major criticism at all. That's nibbling on the edges, but big why because in fact what-what you see in Coach's essay is what? That moment in the essay when he says, "I was just overwhelmed of us. Touches the deepest level when the president walked into a room and white people had to respect him so much." And you say, "Oh is that what black freedom is all about? It's just white respect and white approval and white embrace of who you are? Isn't black freedom very much about making sure white fears insecurities and anxieties are secondary and tertiary, and putting black dignity and black decency and black integrity and black freedom at the center of it." that's the difference between Malcolm X and Carl Rowan. If you won't call Rowan's legacy, then you look at Copes and Dyson because they preoccupied with the white concern, "Here's a letter to the white. This is making sure the white liberals feel good about
themselves because they can see how racist they still are. You call for reparations, you're right. Do you follow through with a black president?" "No, no comment." He said, "What you mean no comment?", you make a case for reparation. You need to bring the case to the president, whoever it is." "No, no, I'm not going that far." "That lacks courage. That lacks more courage," you see, so that the legacy of the boys, the legacy of Malcolm, and Fannie Lou, and Ella Baker, let alone Curtis Mayfield and John Coltrane. The black humanity, black freedom being the lens to which you've you think that you can love others, of course, no matter what color they are. We're internationalist no matter what. Myself, a Christian, but the starting point it's very entering in terms of your intellectual work.
Cornel: So we got a sense of that black prophetic fire right there, so-so-
Eddie: I wrote that book, the love letter to the younger generation, "Keep track of Frederick Douglass, and Du Bois, and Ella Baker, not to be Welles and Martin and--and Malcolm. We need them now more than ever." Your work on James Bauer, we need him more than ever.
Cornel: Well, you know, there is this-- you know, as we come to a close, there is, um, there's something that I think when we talk about the periodization and BC, before Du Bois and after Du Bois, or AD and BC, before Cornel West, and after Cornel West. What advice, what words of wisdom would you offer to young folk who are in love with the life of the mind, who are voracious readers, who find themselves communing with the dead in the ways that you've described but who yet want to think in public with others, who want to bear witness to truth? I know you-you're fond of talking about the four questions that man [inaudible] asked. What-what will you say,
what can you say to those who are coming after you, who want to pursue your questions, those questions that have animated your work, who want to model the kind of fire that you have demonstrated over the course of this amazing life and career?
Eddie: I say we got to learn from the ancestors. We need ancestor appreciation. If you keep track up of Gwendolyn Brooks or John Coltrane, they taught us not to confuse vocation with ambition, not to confuse calling with your career. right now opportunism, careerism, raw ambition and chronic self-promotion tend to be the dominant mode of intellectual work in general and the dominant mode of black intellectual work, so you can be highly talented, you can be even a person of genius, but if you use your talent and genius for yourself promotion and for your careerism and opportunism, then you're not going to be courageous and therefore you're not going to be an exemplar. And by exemplar, I mean, for example Emerson's representative men. We can tell my representative women, they are persons who because of integrity, honesty, decency and courage held honor their vocations and their callings so that the careerism and opportunism that affects all of us didn't become predominant, so your conception of success didn't trump your ability to be great. And greatness in all of its forms, but especially in its spiritual and moral forms of being true to the best of who you are in light of what you're called to do, not what a power structure tries to shape you to do or some establishment tries to gives you approval for doing. And that means in the end it is a kind of anti-establishment sensibility, but it's an anti-establishment sensibility that still allows you to
exist and in any context you can be in a variety of different contexts and be true to the best of who you are. it will get you in trouble, but at least you'll be able to one, sleep better at night and most importantly when it comes to your funeral and your bodies in the coffin, they won't just talk about how great your resume was, but they'll talk about how loving and courageous your life was. That's ultimate. That's Grandmamma criteria.
Cornel: Yeah. Well, Doc, you-you know, as the boys said in 1951, he bow before the storm but he did not break.
Eddie: He didn't break. Yeah, that's the Great Divorce. He's wrong on styling. he's wrong on my, but he loved us and there's love for black people, his love for press people in so many ways, especially on the western side of things and in Africa and other places allowed him not to break, and we love him for that.
Cornel: Well, we love you. We love you for everything that you have done and you continue to do, so, Doc, so thank you for joining me with this discussion today. It's b- it's been amazing.
Eddie: I salute you. You parted a great tradition we talked about. Indeed, indeed, beautiful thing to have students all around the country and the world who try to keep track of the best of you. I got a lot of the worst in me and folk sometimes imitate the worse even when they students, you know what I mean? But lo and behold, you know. We all try to do the best that we can but we have to be very honest and candid, even when we fall on our faces and bounce back.
Cornel: Thank you once again for taking the time.
Eddie: Thank you, my brother.
Cornel: Additionally I want a special thanks to Courtney Bryan for providing the music for this podcast, to the staff of the Department of African-American studies at Princeton University, our office manager, April Peters, our event coordinator, Dion Worthy, our social media specialist, Allison Bland, and our technical specialist and audio engineer. Eliot Leo. Remember you can find this podcast and more by
visiting our website aas.princeton.edu. Take care.


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text:
Q: Create a base fluent ordered constructor EDIT:
Ok, seem example is unuseful...
I have an ordered fluent constructor that is common to many object (all have tha same properties). Is there a way to put all the code in the same base factory class and have only the final costructor in the derived factory?
I use constructor like this
.InitCreation()
.WithID()
.WithPoperty1()
.Create()

where only the Create() make the new object and ID is a mandatory field.
Generics seem me to need rewriting all methods in all factory, instead i want to rewrite only the Create() method to return the right object.
Other way is to grant mandatory field in fluent constructor without using an ordered fluent but don't find nothing to do it
EDIT2
The baseFactory:
    namespace FunzIA.DL.Factory
{
    public class BaseObjectFactory : IBaseObjectCreated, IBaseObjectWithMandatoryField1, IBaseObjectWithFields
{
    internal int mandatoryField1 { get; set; }
    internal string mandatoryField12 { get; set; }
    internal bool optionaField1 { get; set; }

    private BaseObjectFactory(){}

    public static IBaseObjectCreated InitCreation()
    {return new BaseObjectFactory(); }

    public IBaseObjectWithMandatoryField1 WithMandatoryField1(int number)
    {
        mandatoryField1 = number;
        return this;
    }

    public IBaseObjectWithFields ConmandatoryField12(string text)
    {
        mandatoryField12 = text;
        return this;
    }

    public IBaseObjectWithFields optionaField1(bool optionaField1P)
    {
        optionaField1 = optionaField1P;
        return this;
    }

    public BaseObject Create()
    {return new BaseObject(this);}
}

public interface IBaseObjectCreated
{IBaseObjectWithMandatoryField1 WithMandatoryField1(int number);}

public interface IBaseObjectWithMandatoryField1
{IBaseObjectWithFields ConmandatoryField12(string text);}

public interface IBaseObjectWithFields
{
    IBaseObjectWithFields optionaField1(bool optionaField1);
    BaseObject Create();
}
}

The old Example
i create a class Struttura in this way:
namespace FunzIA.DL.Oggetti
{
public class Struttura
{
    public int IdStruttura { get; set; }
    public string Descrizione { get; set; }
    public bool Annullato { get; set; }

    private Struttura(){}
    public Struttura(StrutturaFactory factory)
    {
        IdStruttura = factory.idStruttura;
        Descrizione = factory.descrizione;
        Annullato = factory.annullato;
    }
}
}

And his Fuent Constructori is this:
namespace FunzIA.DL.Factory
{
    public class StrutturaFactory : IStrutturaCeato, IStrutturaConChiave, IStrutturaConProprieta
{
    internal int idStruttura { get; set; }
    internal string descrizione { get; set; }
    internal bool annullato { get; set; }
    internal IList<Processo> processi { get; set; }

    private StrutturaFactory(){}

    public static IStrutturaCeato IniziaCreazione()
    {return new StrutturaFactory(); }

    public IStrutturaConChiave ConCodice(int codiceP)
    {
        idStruttura = codiceP;
        return this;
    }

    public IStrutturaConProprieta ConDescrizione(string nome)
    {
        descrizione = nome;
        return this;
    }

    public IStrutturaConProprieta Annullato(bool annullatoP)
    {
        annullato = annullatoP;
        return this;
    }

    public Struttura Crea()
    {return new Struttura(this);}
}

public interface IStrutturaCeato
{IStrutturaConChiave ConCodice(int chiave);}

public interface IStrutturaConChiave
{IStrutturaConProprieta ConDescrizione(string nome);}

public interface IStrutturaConProprieta
{
    IStrutturaConProprieta Annullato(bool annullato);
    IStrutturaConProprieta ConProcessi(IList<Processo> processi);
    Struttura Crea();
}
}

In this way i can write constructor in this way
Struttura actual = StrutturaFactory.IniziaCreazione()
                                .ConCodice(1)
                                .ConDescrizione("MiaDescrizione")
                                .Crea();

But now i see that i have many object with similar fields (ID, description, canceled) so i try to write a common fluent constructor:
namespace FunzIA.DL
{
public class OggettoBaseFactory : IOggettoBaseCeato, IOggettoBaseConChiave, IOggettoBaseConProprieta
{
    internal int id { get; set; }
    internal string descrizione { get; set; }
    internal bool annullato { get; set; }

    private OggettoBaseFactory(){}

    public static IOggettoBaseCeato IniziaCreazione()
    {return new OggettoBaseFactory();}

    public IOggettoBaseConChiave ConCodice(int codiceP)
    {
        id = codiceP;
        return this;
    }

    public IOggettoBaseConProprieta ConDescrizione(string nome)
    {
        descrizione = nome;
        return this;
    }

    public IOggettoBaseConProprieta Annullato(bool annullatoP)
    {
        annullato = annullatoP;
        return this;
    }

    public OggettoBase Crea()
    {return null;}
}

public interface IOggettoBaseCeato
{IOggettoBaseConChiave ConCodice(int chiave);}

public interface IOggettoBaseConChiave
{IOggettoBaseConProprieta ConDescrizione(string nome);}

public interface IOggettoBaseConProprieta
{
    IOggettoBaseConProprieta Annullato(bool annullato);
    OggettoBase Crea();
}
}

And modify my Factory
namespace FunzIA.DL.Factory
{
    public class StrutturaFactory : OggettoBaseFactory
    {
        public Struttura Crea()
        {return new Struttura(this);}
    }
}

But now when i write
Struttura actual = StrutturaFactory.IniziaCreazione()
.ConCodice(idExpected)
.ConDescrizione(descrizioneExpected)
.Annullato(annullatoExpected)
.Crea();
i get this error:

Error 5   Cannot implicitly convert type 'FunzIA_DL.OggettoBase' to 'FunzIA.DL.Oggetti.Struttura'. An explicit conversion exists (are you missing a cast?)

Is there a way to do it or i have to rewrite the same logic in all my fluent constructor?

A: Just cast it like this:
Struttura actual = (Struttura)StrutturaFactory.IniziaCreazione() .ConCodice(idExpected) .ConDescrizione(descrizioneExpected) .Annullato(annullatoExpected) .Crea();

A: I solved using Generics in this way in the BaseFactory:
public T Create<T>()
        {
            return (T)Activator.CreateInstance(typeof(T), this);
        }

then my DerivedFactory is simply this:
namespace FunzIA.DL.Factory
{
    public class SocietyFactory : BaseFactory
    {}
}

so i can write
Society actual = SocietyFactory.InitCreation()
                    .WithCode(idExpected)
                    .Create<Societa>();

redpajama_set_name: RedPajamaStackExchange


2.1% to 2.8% Daily Interest for 100 days and 3.5% Daily Interest for 50 days both plans with a minimum deposit of $30.
It´s a low daily rate offered even for the higher one of 3.5% daily.
The rates with more demand are 2.1% from 1st plan and 3.5% from the 2nd plan, due to the minimum investment amount requires of $30. The other rates are for amounts upper $1000.
So, for 2.1% daily, the investment can be recover (BEP) in 47 days, which is a long time and for the 3.5% 2nd plan rate, BEP can be achieved on the 28th day, which is a shorter time. Both plans have very high Returns on Investment, 1st one with minimum of 210% and 2nd one with 175%.
The 2nd plan is more attractive, because capital can be recovered faster and daily interest is higher, if we consider that both plans will not achieve the total term.
It´s clearly a long term program, I think this will not attract much of the "fast" investors, who like to recover their capital quickly.
At the time of this review with 31 days of program lifetime, the Break Even Point already have been achieved for the investors that invested since day 1 in the 2nd plan and they are already in profit.
In conclusion, this program has runned well till now!
- The mention to social networks like Facebook and Telegram are sufficiently present.
In conclusion, I give to this program a Evaluation of 3.6 out of 5.
Current time: 04-22-2019, 11:05 AM Powered By MyBB, © 2002-2019 MyBB Group.


text:
18 mai 2019 / PHOTOGRAPHY & CINEMA
Paolo di Paolo, Lost World
MAXXI, Rome, 17 April – 30 June 2019
It may seem slightly odd to post an article on Paolo di Paolo, a photographer born in 1925 who never presented himself as an artist, and mostly took pictures of Italian life in the 1950s and 1960s for the well-known current affairs magazine Il Mondo where he worked from 1954 until its closure in 1968. Di Paolo is however an interesting example of how to portrait a society, a period in the life of a country, thanks to his intimacy with a number of characters in all the strata of society, ranging from celebrities such as Mastroianni and Monica Vitti to intellectuals such as Pasolini or Gadda, or the finest aristocracy, but also his proximity to everyday life in the countryside and in the factories.
In 1959, he sets off in a small car with Pasolini to experience and document with his camera the long Italian coastline, "the long road of sand"– La lunga strada di sabbia – as he will call it. They depart from Ventimiglia, all the way down the peninsula and up again, to end in Trieste where all things end… This is the year when Pasolini published Una Vita Violenta, when Fellini was shooting La Dolce Vita, when Moravia was writing La Noia… It is also a time when the country was changing very fast, with the old ways slowly bowing out under the pressure not only of modernization, which had been part and parcel of the ideology of the Fascist regime, but also of a tremendous and multi-faceted social energy reaching all aspects of life. Luigi Tomasi di Lampedusa, who felt so acutely that inarrestable wave of change, had died little before. Di Paolo captures a world of civility, of simple pleasures, of light hearted expressions of social life: the violence of competition and the urge to succeed are not yet obvious, perhaps even not visible. Elegance has not yet turned into exhibition, activity into business, celebrities into VIP. But of course, black-and-white images transfigure reality, and easily turn poverty and suffering into a form of aesthetic object, and fame into immortality, people into archetypes.
His archives had remained silent for half a century, and was only recently "exhumed"; the excellent initiative of MAXXI to provide a glimpse on parts of this very substantial archive of around 250,000 negatives is a rare enough event to deserve a mention.
This is a fairly moving experience as it represents a perhaps nostalgic stroll into a lost world (Mondo Perduto, as the exhibition was aptly called). Because of these five or six decades of oblivion, we are faced with two lost worlds instead of one: the world that Di Paolo felt was become lost when he took his pictures, and the world of Di Paolo himself to the eyes of anyone aged more than fifty or so. Perhaps a better title would have been "World lost, and again". These vast panoramas help us understand better how the world has moved on, what direction it took, what was forsaken. Contrary to people, societies do not really age, they change, and even sometimes die and vanish; but in a sense they have a face made of the addition, or the juxtaposition, of ways of life, places, symbolic characters, clothes, the design of objects… This huge archive provides a picture of this face.
There is no point in commenting each and every picture; a couple of observations will suffice. One relates to the striking impression of a well-tuned universe, in the musical sense of the word, where each individual seems to belong and contribute to its particular culture: workers look and act like workers, peasants like peasants, aristocrats like aristocrats, and so on; this emanates a general feeling of serenity. Serenity and also measure: even the femmes fatales do not look so fatales… It could perhaps be related to a different conscience of time, a longer horizon. The second is a sense of direction and purpose which we feel implicitly in the genuine grief of the crowds mourning at Palmiro Togliatti's funeral in 1964. Another is the revolution in the gender relationships which are expressed, in a sort of jokingly frivolous manner, in more than a few of these pictures. Behind each one of these phenomena, there is indeed a lost world, irrespective of the judgment one may hold today about such worlds, and which partly depends on current individual and social position.
In some cases, Paolo di Paolo moves beyond the documentary to reach the universal: for instance, when he depicts the loneliness and dereliction of this father watching his just-married daughter walk away with her husband along an empty road, in an empty landscape. Or in some of his portraits, such as when he captures the great Emilio Gadda with the same look as that of the marble elephant behind him, or the enigmatic Giorgio De Chirico watching Gina Lollobrigida, the statue incarnate…
Overall, this gigantic documentary effort in inevitably uneven in its artistic quality; it is the project as a whole which makes sense. One is inevitably reminded of the work of Dorothea Lange, Walker Evans, Theodor Jung, Arthur Rothstein, and all this generation of photographers of the Great Depression. And one fantasizes about the juxtaposition of pictures taken at different times of history of equivalent characters in similar places, to observe the general movement of humanity. Each generation needs a Di Paolo.
F.Donini Ferretti 18 mai 2019
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fathersullivan.com: Jesus saved us by fully resisting a hundred thousand temptations.
Jesus saved us by fully resisting a hundred thousand temptations.
The readings today speak of the beautiful humanity of Jesus. The first reading explains that Jesus had to be fully human for him to represent all of us in making up for our sinful lives.
In the Gospel we see his humanity being unable to say no to the needs of other humans. Then, at the end of the long day, on finding sleep not enough to bring his strength back, he rose, and going out to the hills, he sought refreshment from his Father.
The Catholic translators held back from saying Jesus was tempted. They water it down by saying he was tested. However, it was only by his resisting temptations that he saved us. As we read in verse ten of the Sixth chapter of Paul's Letter to the Romans," Jesus saved us by dying to sin. He saved us by fully resisting a hundred thousand temptations to sin.