text:
10 messages.month.March 2014
What is tactile contact
Among all types of interpersonal communication an important role is played by the so-called tactile contact, that is, more simply, touch. For some people it tactile sensations are the most effective source of information, therefore communication without tactile contact them is almost impossible.
What is kinesthetic
The secrets of using touch
What is the delicacy
Under tactile contact in the psychology of communications means the touch of one person to another. In fact, this is the first method of communication available to people, because when the man is born, he is still not able to perceive auditory and visual information adequately, in contrast to the tactile sensations. Some psychologists believe that it is in this stage of communication arise a basis for the future of the human psyche.
The types of tactile contact
Traditionally, tactile contacts are divided into several types. First and foremost, this so-called "professional" touch. Doctors, massage therapists, stylists, tailors just can't do without tactile contact in their professional activities. As a rule, most people perceive all of this calmly, knowing that they do not contain any additional information.
According to psychologists, women tend to be more positive about tactile contact than men. Due to this positive reaction on touch called "female".
The second group includes the ritual touch. It is not about mystical practices, and on quite familiar handshake or a welcome kiss on the cheek. It is known that the handshake, for example, has emerged as a means of demonstrating the peaceful and friendly intentions, but over time, this welcome touch has become almost a mandatory ritual.
Finally, the vast field, which uses a tactile contact is in the area of interpersonal relations. Touch here are a manifestation of affection, sympathy, kinship, sexual desire. This can be hugs, kisses, a Pat on the shoulder or a gentle stroking. The presence of stable tactile contact of this kind is an effective marker indicating a close relationship, for example between a guy and a girl.
Tactile contact can indicate social status. Touch often allow themselves to those people who occupy a higher position in society, for example, the head can clap the slave on the shoulder.
The role of touch in communication
In psychology there are several main channels of communication. In accordance with the channel prefers a person, it refers to one of several groups: "auditory", "visual" and "kinesthetic". It is believed that the first to obtain the most complete information you need to hear, second to see, third to feel. By "feelings" in this case means, primarily, smell, and touch. Thus, kinesthetic largely depend on the touches they need not only for information but also for its transmission. They can be easily recognized by the unconscious desire to reduce the distance of communication, automatically touch, Stripping with the interlocutor the invisible dust. Communication with kinestetik can be a serious stress for the people who believe any physical contact, a deeply intimate process. If you are among those people, try to warn of obvious cinestetico about his dislike for touch, to avoid conflict.
How to get him to kiss me
What is the impact of books on human
How to hint to her about your feelings
Why the child was loving school
The first of September. For all students this day is always associated with new life...
How to make a wish for money
How to protect your psyche
How to make wishes that they were
How to make a difficult choice, if you are in doubt


"A person is limited only by the thoughts that he chooses." – James Allen.
How are your thoughts and your mind-set impacting you and your business?
Becoming a key person of influence, growing your business and achieving your full potential begins long before you take any action. It begins with the mind and your attitude!
Catch up with today's insightful and powerful call where we were joined by Executive Business Coach, Andy Hall who discussed the important role mind-set plays in growing a business and reaching our personal aspirations.
We also discussed and shared some our own personal experiences and breakthroughs highlighting how you too can improve and expand your own self-awareness to assure you are performing at your very best!


text:
The Panfilov Division's Twenty-Eight Guardsmen (), commonly referred to simply as Panfilov's Twenty-Eight Guardsmen, Panfilov's Men (, Panfilovtsy), or just the Twenty-Eight, is a propaganda story about a group of soldiers from the Red Army's 316th Rifle Division who took part in the 1941–1942 Battle of Moscow during World War II. According to Soviet records of the time (later shown to be false) all were killed in action on 16 November 1941, after destroying 18 German tanks and stopping the enemy attack; the Twenty-Eight were collectively endowed with the title Hero of the Soviet Union.

Post-war investigation by Soviet authorities, carried out in 1948 and since declassified, revealed the story to be a fabrication. Neither German nor Soviet operational documents confirmed the claimed German casualties, and the Germans fulfilled their day's objectives well before the end of the day. After one of the supposedly dead men was arrested on suspicion of collaboration with the enemy and confessed to having "voluntarily" surrendered to German troops and to having later joined a German police force.  , it was discovered that not all twenty-eight were killed — six of the soldiers had survived and were still alive. Another one of the Guardsmen was arrested by the NKVD for allegedly "giving himself up to the enemy" and sent into a penal battalion. The findings were kept secret; the Twenty-Eight Guardsmen remained national heroes.

Fighting

Background
On 30 September 1941, the Wehrmacht commenced its offensive on Moscow. By mid-November, German units were only 100 kilometers away from the USSR's capital.

The Red Army's 316th Rifle Division, a formation that consisted mostly of recruits from the Kazakh and Kirghiz Soviet Republics, commanded by General Ivan Panfilov, was a part of Konstantin Rokossovsky's 16th Army (Western Front). The division engaged in heavy fighting in October 1941 west of Volokolamsk, restraining the German offensive on Moscow. The division suffered heavy casualties but showed high morale and good fighting qualities. General Zhukov, the commander of the Western front, recommended that the division be given a Guards Division title and the Order of the Red Banner for its performance in the battles of 20—27 October. At the end of October the 316th division was forced out of Volokolamsk and took up positions eastward of the town. Only two battalions remained in the 1075th Rifle Regiment after the fighting in October, the 2nd and the 3rd; the 1st battalion was annihilated. It was believed that the 4th company of the 2nd battalion was also destroyed, so it was formed again, but a few days later remnants of the company managed to get out of the encirclement. The new 4th company (about 100 men from the former 1st battalion) was merged with the old one (about 30 men). Captain Gundilovich remained its commander and Vasily Klochkov its politruk.

Battle of Dubosekovo

On the morning of 16 November, the 1075th Regiment's positions near the small Dubosekovo railroad station (crossing loop, literally raz'yezd) were attacked by units of the 2nd Panzer Division. The Germans formed three combat groups (Kampfgruppen) in the typical Panzerwaffe manner. Across the frozen earth, two of them maneuvered and attacked the weak positions on the left flank of the 1075th regiment. At 10 am (Moscow time) they already seized the villages of Petelino and Nelidovo and bypassed Dubosekovo station. No mentions were found in operational documents about heavy tank losses or an extremely stubborn resistance at this area. In the ensuing battle, the Kampfgruppen advanced further to the north, the 1075th Regiment was overwhelmed and forced to retreat from its positions. In later testimony, the 1075th's commander, Colonel Ilya Kaprov, said that his unit was engaged by German tanks and that the 4th Company of his 2nd Battalion, commanded by Captain Pavel Gundilovich, suffered over a hundred casualties in the fight against them and yet managed to destroy some tanks. Dubosekovo was occupied by the Germans until 20 December.

Glorification

Krasnaya Zvezda articles
On 24 November 1941, Vasily Koroteev, a war reporter for the Red Army's Krasnaya Zvezda newspaper, traveled to the 16th Army headquarters to interview Rokossovsky. While in the command post, he met Commissar Sergei Egorov, the chief political officer of the 8th Guards Panfilov Division – the new name of the 316th Division, which was granted to honor the memory of its commanding general, who was killed in action on 18 November. Egorov told the reporter of a group of soldiers who, when faced by 54 German tanks, fought to the last and shot two from among their own who wished to surrender. The commissar added that he was not present at the event and heard of it from another political officer. He recommended that Koroteev write about it in the newspaper.

The article, entitled Panfilov's Guardsmen in the Battle for Moscow, was published in Krasnaya Zvezda on 27 November with the byline "West Front, 26 November. (By telegraph from our correspondent)". The report discussed the Panfilov Division's contribution to the fighting and mentioned that "A group of soldiers from the 5th company ... was attacked by a column of 54 enemy tanks, but they did not flinch", adding that a Commissar named Diev led the soldiers until all had been killed, but managed to keep the position in the face of the tank attack. Then their regiment came to the rescue and repulsed the attack of the German infantry regiment on "the Commissar Diev's position". Koroteev wrote that the enemy sustained eight hundred casualties and lost 18 tanks. Koroteev did not mention the date or place of the battle, or the exact size of the group.

On the following day, Krasnaya Zvezda ran an editorial on the front page by journalist Aleksander Krivitsky under the title "The Will of the 28 Fallen Heroes", dedicated solely to the heroic fight of Diev's group, which presented the same description of the events. Krivitsky added some historical reminiscences and the slogan "The Guard dies but does not surrender!" as a motivation for the soldiers. The exact time and place of the battle was still not named but the number of heroes was reported in this article. According to evidence from 1948, the editor of Krasnaya Zvezda, David Ortenberg, asked Koroteev how many soldiers took part in the clash. He arbitrarily replied that the company was incomplete and likely there were thirty men at all, including two traitors who wanted to surrender – thus reaching the number twenty-eight. Ortenberg decided that two would-be deserters were too many, reduced their number to one and passed this information to Krivitsky.

The Krivitsky mission

The first article got a positive response from Soviet leaders, including Stalin himself, but there was a need to identify the names of the fallen heroes. Krivitsky visited the 8th Guard Division and tried to find witnesses to the fighting. He found that nobody could identify "Commissar Diev", and Colonel Kaprov told him that he had never heard of the action of the "28 Guardsmen". In spite of this, on 22 January 1942 Krivitsky published another article in Krasnaya Zvezda, in which he changed "5th company" to "4th" and made commissar Vasily Klochkov the main hero. Krivitsky also stated that "Diev" was a nickname of Klochkov, though nicknames were never used in reports in the Red Army. Klochkov's last words in the article were: "Russia is a vast land, yet there is nowhere to retreat – Moscow is behind us!"

The second most important hero in the article was Sergeant Dobrobabin. The whole group was called "Sergeant Dobrobabin's unit" and he allegedly commanded the first clash with enemy infantry on his own. In fact, Dobrobabin commanded only one squad of the rifle platoon and there was a man with higher rank, staff sergeant Gavriil Mitin, among the "28 Guardsmen".

In an article dated January 22, Krivitsky for the first time indicated the exact time and place of action – November 16, at Dubosekovo station, on the left flank of the 1075th Regiment. Now Soviet historians were forced to look for traces of the feat there, while documents drew the opposite picture – the rapid advance of the Germans. In fact, the fighting in the following days became much harder for the 2nd Panzer Division, and on November 18 they remained 25 kilometers from the target set for that day. According to the article, the Guardsmen killed 70 enemy "submachine gunners" and destroyed 18 tanks using their anti-tank rifles, grenades and Molotov cocktails. The article claimed that the last survivor from the group, soldier Ivan Natarov, described their exploits shortly before dying of his wounds in a field hospital. The names of the dead were listed in addition. The names were not known reliably: either these names were told to Krivitsky by the commander of the 4th company, Gundilovich, as he remembered them or were taken from some lists of killed and missed in action around the date of 16 November. Captain Gundilovich was killed in action in April 1942, so he could not comment on the testimony of Krivitsky, Kuzhebergenov, Dobrobabin, and others.  During the winter, only three bodies were found near Dubosekovo station, and only three more were discovered after the snow melted.

The story of the Twenty-Eight gained wide publicity. In March 1942, Nikolai Tikhonov wrote a poem entitled "A Verse to the Twenty Eight Guardsmen". Other authors followed suit and several literary works dealing with the battle at Dubosekovo were published. Consequently, the Guardsmen became celebrated heroes throughout the Soviet Union.

"Panfilov's Twenty-Eight Guardsmen" in the Soviet era

Kuzhebergenov's arrest
In May 1942, the NKVD arrested a Western Front soldier, Danil Kuzhebergenov, for allegedly "giving himself up to the enemy" by trying to surrender. When he was interrogated, the suspect claimed that he was the same Danil Kuzhebergenov that was listed as one of the Twenty-Eight Guardsmen. The NKVD discovered that he indeed served in the 4th Company of the 1075th Regiment's 2nd Battalion. Kuzhebergenov claimed that during 16 November he was knocked unconscious by an explosion and picked up by a German burial detail who presumed he was dead. He later managed to escape and joined General Dovator's Cavalry Division. The man was later recognized by other participants as one of the soldiers in Dubosekovo. The NKVD forced Kuzhebergenov to sign a confession in which he professed to having been an impersonator who was never present at the area of the battle and based his claims on material gleaned from the newspapers. Commissar Muhamedyarov wrote a letter in which he claimed to have erroneously ascribed Danil Kuzhebergenov as one of the Guardsmen instead of another soldier, Askar Kuzhebergenov, who was henceforth listed among the Twenty-Eight in official publications. According to the division's records, a soldier by that name joined it during January 1942 and was killed shortly after. Danil Kuzhebergenov was imprisoned on charges of impersonation and cowardice and later sent to a penal battalion. His criminal record as a "traitor to the Motherland" was never expunged.

On 21 July 1942, the Guardsmen were all posthumously awarded the title of Hero of the Soviet Union.

Afanasyev Report
In November 1947, the Kharkov Military Prosecutor's Office arrested Ivan Dobrobabin, a resident of the Kyrgyz town Kant, on suspicion of collaboration with the enemy. Dobrobabin told the investigators that he was one of the Panfilov Guardsmen. His claim was verified; he indeed was the same Ivan Dobrobabin who was listed as one of the dead in Dubosekovo. Dobrobabin claimed that during the clash on 16 November, he was captured by the Germans but managed to escape. He then decided to return to his native town of Perekop, in Ukraine, which was under German occupation. There, Dobrobabin joined the local Hilfspolizei and was made its chief. He was accused of participating in anti-partisan activity and of assisting the deportation of forced laborers to Germany. In 1944, when the German defeat was imminent, he fled his village and re-enlisted into the Red Army. Dobrobabin was convicted and sent to fifteen years in prison.

The Dobrobabin affair led to an official investigation of the Panfilov Guardsmen story. A military judge, Lieutenant-General Nikolai Afanasyev, supervised the process. When he interviewed Kaprov, the Colonel told him that although heavy fighting took place in Dubosekovo, the Guardsmen did not perform the deeds attributed to them by the press. When questioned, Krivitsky admitted that he made up most of the details which were published in his articles, including Klochkov's famous last words and the dying Natarov's tale – documents from the 1075th Regiment's staff later revealed that Ivan Natarov was killed two days before the battle. Ortenberg and Koroteev told the judge that their main motive was to boost the morale of the Soviet troops and therefore they published Egorov's story.

In addition to Kuzhubergenov, who the investigation confirmed to have been one of the Twenty-Eight, and Dobrobabin, four other surviving Guardsmen were located by the commission: Grigory Shemiakin and Illarion Vasilyev were injured severely on the 16 November incident and evacuated to hospitals; Dmitry Timofeev and Ivan Shadrin were taken prisoner but eventually repatriated to the Soviet Union. In his report, submitted to the Procurator General of the Soviet Union on 10 May 1948 and passed on to Joseph Stalin and Andrei Zhdanov, Afanasyev concluded that the Panfilov Guardsmen's last stand "did not occur. It was a pure fantasy."

Post-war era

In spite of the Afanasyev report, the wartime version of the events was adhered to. Memorials to the fallen heroes were built throughout the Soviet Union, including five 12-meter tall statues near the site of the battle and the Twenty-Eight Guardsmen Park in Alma Ata (Almaty). The municipal anthem of Moscow makes a reference to the city's "twenty-eight brave sons". Some Soviet military historians tried to reconcile "the Feat of the 28" with the known facts about the real course of hostilities. Thus, in the official six-volume "History of the Great Patriotic War" by Pospelov it was stated that "28 heroes" were part of the 1077th Regiment. This regiment did hold its ground in the battle on November 16, but these positions were 20 kilometers away from the Dubosekovo station.

In 1966, the popular Soviet literary magazine Novyi mir published an article entitled  ("Legends and facts") by . There were some serious questions posed of Krivitsky and the canonized version of "28 heroes". Kadrin named several survivors and asked why no further studies has been made. Such thoughts were slapped down personally by Leonid Brezhnev, Soviet Union's Head of State: "Some of our authors even say that ... there were no 28 Panfilov men, ... that this fact was perhaps invented, that Klochkov did not exist, and neither did his appeal 'There is nowhere to retreat – we have our backs to Moscow!' These are slanders against ... the heroic history of our party and Soviet people."

During the Perestroika period, the still-living Ivan Dobrobabin petitioned the Military Prosecutor General for rehabilitation, claiming that he never hurt anyone during his service in the Hilfspolizei. Dobrobabin's plea attracted media attention to the case, which resulted in the eventual declassification of the Afanasyev report.

Memorials
 Park of 28 Panfilov Guardsmen, Almaty, Kazakhstan
 Guardsmen's Memorial, Dubosekovo – 10-meter statues of six figures.
 Monument to Panfilov's Guardsmen, Moscow – was a statue, now a wall

Contemporary Russia
In June 2015, Russian State Archive director Sergei Mironenko, citing historical documents, publicly stated that the story was in fact a myth. He earned a sharp rebuke from Culture Minister Vladimir Medinsky. Shortly afterwards, the Archive posted online the results of the 1948 investigation by Soviet military prosecutors, which concluded that journalists from the military newspaper Krasnaya Zvezda had concocted the story's details. Mironenko was subsequently removed from his post. Medinsky stated that "It is my deep conviction that even if this story was invented from the start to the finish ..., it is a sacred legend which it's simply impossible to besmirch. And people who try to do that are total scumbags."

The Twenty-Eight Guardsmen

Killed in action
 Nikolai Ananiev (b. 19 November 1912)
 Nikolai Belashev (b. 1911)
 Grigory Bezrodnikh (b. 1909)
 Yakov Bondarenko (b. 1905) – According to hospital documents, he was wounded on 5 December and died on 6 December 1941
 Piotr Dutov (b. 6 August 1916)
 Piotr Emtsov (b. 14 May 1909)
 Nursutbai Esebulatov (b. 1913)
 Dmitri Kalenik (b. 1910)
 Vasily "Diev" Klochkov (b. 8 March 1911)
 Grigory Konkin (b. 1911)
 Alikbai Kosaev (b. 11 May 1905)
 Abram Kriuchkov (b. 1910)
 Nikolai Maximov (b. 5 July 1911)
 Nikita Mitchenko (b. 3 April 1910)
 Gavril Mitin (b. 1908)
 Ivan Moskalenko (b. 1912)
 Ivan Natarov (b. 1910) – According to the combat report of the 1075th Rifle Regiment he was killed two days before, on 14 November, along with Dusheinkul Shapokov
 Grigory Petrenko (b. 22 November 1909)
 Musabek Sengirbayev (b. 10 March 1917)
 Ivan Shepetkov (b. 1910)
 Duishenkul Shopokov (b. 19 May 1915) – According to the combat report of the 1075th Rifle Regiment he was killed two days before, on 14 November, along with Ivan Natarov
 Nikolai Trofimov (b. 9 May 1915)

Survived
 Dimitry Timofeev (5 February 1907 – 6 June 1950)
 Ilarion Vasilyev (5 November 1910 – 6 October 1969)
 Grigory Shemiakin (25 December 1906 – 25 October 1973)
 Danil Kuzhubergenov (1917 – 1976)
 Ivan Shadrin (17 June 1913 – 21 October 1985)
 Ivan Dobrobabin (21 June 1913 – 19 December 1996)

Popular culture
28 panfilovtsev is a film about Panfilov's 28 men, produced by Libyan Palette Studios together with Gaijin Entertainment. The film, released on 24 November 2016, was partially funded by crowdfunding.

References

External links
The Twenty-Eight Guardsmen on Pobeda.ru
The Twenty-Eight Guardsmen on Pobeda.mo.ru

Afanasyev report – digital copy at the Russian State Archive
Gaijin's announcement of the release date for the movie on their War Thunder forum

Soviet people of World War II
Eastern Front (World War II)
Heroes of the Soviet Union
Soviet military personnel killed in World War II
Propaganda in the Soviet Union

redpajama_set_name: RedPajamaWikipedia


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text:
namespace lourdes { namespace net { namespace ftp {

/// \brief  Tries to write a file to a FTP server.
/// \param  hostname    The name of the host to connect to.
/// \param  username    The user name used to connect to the FTP server.
/// \param  password    The corresponding password for the user user name.
/// \param  path        URL path of the file to be written.
/// \param  filename    Filename of the file to be sent.
/// \return A flag which indicates if the operation has succeed.
bool set(const char* hostname, const char* username, const char* password, const char* path, const char* filename);

}}}

#endif // __LOURDES_NET_FTP_HPP

redpajama_set_name: RedPajamaGithub


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Imagine if you could live a week in your favorite movie.
Sometimes I feel like I do already. I get so easily immersed into things that I could trick my mind into thinking I live there already.
I use to do that with books when I was a kid. It was so easy to get lost in the pages. It is harder for me to do that as an adult but for an hour or two I certainly get lost in the images I see flashed on the screen before me.
I prefer TV shows to movies. If you follow me at all I am sure you can guess which TV show I would love to live in for more than a week but a movie is harder to pick. Sure there is a made for TV movie but that seems like cheating a bit since it is not really a movie.
I could pick a movie that would inspire me with my list like Rocky or Flashdance. I could train with them and check something off the list. Imagine me running with Rocky up the steps? It's a movie, I could so do it. Or, maybe me as a dancer, auditioning for the chores line?
Then there are all the adventure movies I adore like Princess Bride or Serenity. I could be a salon girl and seduce Jayne or maybe a pirate for the Dread Pirate Roberts. Girl pirates are hot. So is Jayne.
I could go with what I know like Waiting or Magic Mike. I waited tables for many, many years and I managed an "all-male revue." I could so do either of those with my eyes closed, not that I would want to.
But to spend five days in a movie I would like to make it meaningful. I would want to check more than one item off my list and I would like to learn something. If I were to spend five days in a movie I would pick Groundhog Day.
I thought really hard over this and am surprised by my choice as well but I came to it while thinking of Sliding Doors which is on my top five list of all time. But, would I want to spend five days in a world of what ifs when I could just repeat the same day over and get everything right that I needed to do?
I could relive my day and learn life lessons while hanging out with Bill Murphy and Andy McDowell. Sure it is winter and cold but who cares, I could eat till I puke and then get lipo surgery and no one would know because I would have recovered.
I think I could even cross all of the things off my list and then do it all again. It really would be ideal. Say everything I want to say and no one would remember! Brilliant. I wonder if my Foursquare check-ins still count?
Which movie would you like to spend five days in?


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Dr. S. Fred Singer's supporters slam 'Merchants of Smear'
CAGW alarmists never complained when Michael Mann & Andrew Weaver filed libel suits, but object to climate skeptic Dr. S. Fred Singer even considering the possibility of legal action against real merchants of smear, libel, and slander: Naomi Oreskes & filmmaker Robert Kenner.
'Merchants of Doubt' emails spark fiery debate about strategies of climate skeptics
Evan Lehmann, E&E reporter
Published: Monday, March 9, 2015
Before the release this Friday of the documentary "Merchants of Doubt," S. Fred Singer sought the advice of nearly 30 climate skeptics about their chances of halting the movie and whether he should sue Naomi Oreskes, who co-authored the book on which it's based.
"Has she finally gone too far?" asked Singer.
The discussion is outlined in a chain of emails initiated last fall by the 90-year-old physicist, who is featured in the film for his work questioning the amount of influence people have on rising temperatures. His request reached a mix of academics and others who have been mostly antagonistic toward mainstream climate findings. ClimateWire obtained the emails from a source who received them as a forwarded message.
Perhaps the strongest response came from James Enstrom, an epidemiologist who has challenged the science around the health risks of secondhand smoke and particulate air pollution. Enstrom told Singer that he could make "a very strong case" against Oreskes if Singer filed complaints with the universities she's affiliated with.
"I suggest you Attack Oreskes by Filing short Grievances with Harvard and Stanford," Enstrom wrote to Singer on Oct. 21. Oreskes is a professor of scientific history at Harvard University with a doctorate from Stanford University.
"Good thought," Singer responded.
The wider discussion is viewed by some as a window into the network of skeptical scientists, bloggers and conservative think tank scholars who often raise objections to mainstream climate science. The tactics discussed -- like lawsuits and grievances -- reflect previous efforts to constrain critics of Singer and others through legal attacks, or the threat of them, several people involved with the movie say.
"This is part of their intimidation," Oreskes said in an interview. "It's a part about trying to make people frightened that if they do speak up and they do expose what's going on, they'll get attacked. And they will get attacked. I've been attacked."
The documentary is based on her book, "Merchants of Doubt," published in 2010. In it, she outlined the similarities between the political fight around climate change and the earlier debates about whether smoking was dangerous. The effort to fight health problems from smoking was stalled for years. She suggested that a small group of scientists cooperating with think tanks and businesses managed to obscure basic truths about the harms of both. The movie will be released nationally Friday. It's directed by Robert "Robby" Kenner, the creator of the 2008 documentary "Food Inc."
Singer, who cooperated with Kenner to film a scene for the movie, said in an interview with ClimateWire that he has decided not to take legal action against Oreskes or Kenner. It would be too expensive and would require too much of his time, he said. He also ruled out filing grievances against Oreskes with university administrators because "they're just as bad as she is."
Still, Singer has sent mixed signals about his intentions. Last week, he sent a letter to Kenner to raise the possibility of legal action.
"I would prefer to avoid having to go to court; but if we do, we are confident that we will prevail," Singer said in the letter, which suggests that the film treats him maliciously and adds, "it is rather too bad that you got mixed up with Naomi Oreskes."
A 'liar for hire' or an honest skeptic?
The letter was posted on Climate Depot, a website critical of climate science run by Marc Morano, who is featured in the film and was a recipient of Singer's emails last fall.
"I think there's a pattern," Kenner said of Singer's letter in an interview. "It's to come after and try to silence critics and to intimidate. And when [Singer] implies litigation is very expensive, I think it's an attempt to be intimidating."
On the other hand, it might be going too far to suggest that Singer's goal is to stifle his critics if he feels he's been slandered, said Andrew Hoffman, a professor at the University of Michigan who studies the behavior of climate skeptics.
Singer says he believes the movie refers to him as a "liar for hire," though he hasn't seen it. That's false, he said, noting that he believes genuinely that humans have little effect on climate change. He also rejects the idea that he's being paid by fossil fuel companies, apart from an unsolicited $10,000 donation from an Exxon foundation 12 years ago to the Science & Environmental Policy Project, which he founded.
Singer acknowledged that he has "made a lot of money on oil," but it was decades ago, from fees he charged to financial institutions, major corporations like IBM and some oil companies to predict the price of crude using a computer model he created, Singer said. The money wasn't related to research around climate change, he said.
"I'm real sad about this attack, but it's not unexpected," Singer said of the "liar for hire" phrase.
But does the movie say that?
No, said Kenner, who provided a transcript of the scene with Singer to ClimateWire. He and others say it appears to be a phrase created by a media outlet that reviewed the film.
Besides, lying isn't a common tool of skeptical scientists, Oreskes said. These contrarians are generally successful, and trusted by some, in one field or another.
"This isn't about lying," Oreskes said. "This is something much more terrible, in a way. Much more devious. A kind of what we call doubtmongering."
"I never said that anyone was lying, and I never would say that," she added. "But this is part of the strategy, too. These people put words in other people's mouths, and then they act all outraged about it, and they spread the claim that you said something that you never said. And then they threaten to sue you for it."
Singer supporters slam 'Merchants of Smear'
Oreskes has an example in mind.
Singer filed a libel suit in the early 1990s against Justin Lancaster, a climate researcher at the University of California, San Diego, who claimed that Singer had taken advantage of his mentor and colleague, Roger Revelle, a noted climate scientist, in the months before Revelle's death.
Singer approached Revelle a month before his triple bypass heart surgery to cooperate on a journal article that downplayed the urgency of addressing climate change. It marked a reversal for Revelle, who supported policies to reduce greenhouse gases and was a mentor to former Vice President Al Gore. The paper roiled the climate debate as Gore's opponents highlighted it to raise questions about the certainty of warming.
But Revelle missed the debate. He died in July 1991 and was unable to shed light on Lancaster's assertions that Singer had pressured Revelle into co-authoring the paper in his weakened state after surgery. So Lancaster accused Singer of acting unethically, and Singer sued. Lancaster eventually settled the suit and entered a yearslong gag period.
He would later say the settlement was one of his biggest regrets. And he accused Singer, in even stronger terms, of pressuring Revelle to cooperate.
"It was one of the worst things I ever did, was to give him a retraction," Lancaster said in an interview. "I did it to try to save my marriage."
Singer frequently points to his success with that case. He raised it in his letter to Kenner and in his emails last fall.
"The lawsuit was not filed to intimidate," Singer said in the interview. "It was filed because what Lancaster suggested was that I faked the participation of Roger Revelle as a co-author. That's completely untrue. We have a complete retraction and an apology."
In his October emails, Singer reaches out to some of the most recognizable opponents of mainstream climate science and policies, including Willie Soon, Patrick Michaels, Anthony Watts, Steven Milloy, Joe Bastardi and Joe Bast.
An English climate change denier, Christopher Monckton, viscount of Brenchley, responded to Singer's request for advice by saying he would "draft the complaint" for a lawsuit, but Singer never followed up.
"In every way, they have bent the science," Monckton said of mainstream scientists and the filmmakers. "And having bent the science and not convinced anybody, not even themselves really, they're not simply resorting to the fallback position which Hitler and Goebbels on the left did, which Mao Tse-tung and Pol Pot did, and of course ... Stalin and Lenin did, and that is smear."
"So this film should really be called 'Merchants of Smear,'" he added.
The pre-release controversy around the movie provides more than just a glimpse into the stormy messaging strategies on climate change. It also promotes the film. But does it help convey the facts?
Hoffman, of the University of Michigan, says tit-for-tats between mainstream and contrarian researchers tend to raise the profile of skeptical scientists, despite their relatively small number. He pointed to the recent inquiries undertaken by Democratic members of Congress, who want the identity of donors who help fund skeptical academics, as an advantage for those who challenge climate science.
"Frankly, this degradation benefits the skeptics," Hoffman said.
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redpajama_set_name: RedPajamaCommonCrawl


Nowadays, many more businesses are adopting a marketing strategy that includes the use of social media and internet marketing. But that is not the reason why they are not achieving the desired marketing results for their individual ventures.
The problem lies in a series of attached procedures that only a few marketers, may have realized. From over time, a larger percentage of social media users have become preferably attached or drawn towards visual contents.
In fact, it seems everybody wants to see some well-created cinemagraphs, quote pics, or the high engaging memes.
However, visual marketing contents are not quite easy to formulate, and most times there's a good level of creativity and reasoning skill that is mandatorily required.
Unfortunately, a lot more marketers cannot readily meet up with the requirements, hence their inabilities to find the optimum results.
As it stands, product and brand marketers on the internet necessarily require specialized tools that can help them step up their marketing and customer/client turnover.
Making attractive, engaging visual content is no longer a hassle!
Lots of customization, and Easy to work with!
The Visual Reel automated software presents an ingenious module that helps internet and social media marketers achieve increased traffic creation and the most important conversion of it.
The solution creates visual marketing materials that make this easy for all categories of users- whether they have the technical skills or not.
Hence this product is designed to assist you in making the right impression on your advert viewer and potential customers- right from the start to the finish.
According to operation roadmap, Visual Reel is a cloud software that runs on autopilot.
This means that it churns out whatever visual content you have preset it to make, and then goes on to implement most of the marketing and advert placements without your mandatory input.
This type of arrangement is effective, while it also affords the user some real time to focus on other aspects of their businesses.
Previous and existing Visual Reel users have commended the software's high-level visual content production, and the wowing results that always follows.
Due to its obvious relevance for marketing purposes, Visual Reel finds users drawn from amongst affiliate marketers, social media marketers, online and e-commerce stores, people enlightenment, and sensitization organizations, marketing agencies, etc.
Remember that the Visual Reel software is automated, so you're not doing any big work when you use it. Thus, it shouldn't be considered or likened to a manual use advert material development tool alone.
Visual Reel provides users with a number of useful options, and it is left to you to decide on how you would be using the app, as well as what you would be using it for.
Firstly, you can create a one-time visual marketing product-for which all the required templates have been provided on the user dashboard.
Once logged on, there are the listed options where you select from the enormous cinemagraphs, meme templates, and quotes on the Visual Reel database.
Another good thing with this service is the fact that the software allows you to customize the visual products to suit your particular intended output.
So, although the templates have been provided, it is not rigidly fixed in such a way that you can't make your own adjustments to it.
In fact, you can import your own designs and raw materials which can be synergies with the those on the software.
After fitting in all the dimensions, colors, and specifications, you may also add your desired texts, or even include any CTA of your choice. Finished contents can then be exported off the software as video or gif outputs, and then distributed as the user wish.
Now, this is just one of the way in which users can make use of the Visual Reel software.
Alternatively, you may just put the type in a description of the product or brand that you're advertising on the visual content, and let the software produce and distribute it on schedules, for you.
Visual Reel automation is noted for its high-level efficiency and result oriented outputs.
It would distribute visual contents of your products, to up to ten different social media platforms- with a level of coordination that is guaranteed to drive traffic to your websites, and also ensure viewer engagement.
Visual Reel poses several features that make it an appropriate tool for marketing visual content creation.
These features are probably the reasons why it has continued to attract users- who have found its use to be beneficial in many ways.
Considering the increasing competitions on every market, it is important that every marketer adopts the best tools- because really, it's only the fittest that would survive. Using the Visual Reel visual marketing contents creator, is a good head start for your business.
The prospects are enormous and could be reaching profits levels way higher than you've imagined, just because of the software you're using.
I really like Visual Reel, it looks perfect for getting social media traffic and automation. I like how many features it comes with and pricing look really affordable.
I have seen some of your other products listed as well, like Twitter Push Pro, and that looked really good too. I think I like this one better though, because it covers more social media outlets.
Being able to drive a large amount of social traffic would no doubt increase conversion for any website. Being able to create engaging content in the form of gifs, videos and memes are top skills every social media marketer should strive to acquire. Personally, I am too engaged to give this aspect of my online business attention. Thanks to technology, I can have Visual Reel automate the whole process for me.
Wow, Visual Reel is really cool!
Thank you for sharing this wonderful innovative way for newbies like me to get connected in social media.
Lately I've read so many ways to generate traffic on blog on internet has gradually given me an information overload.
But coming across this Visual reel software for innovative way of generating traffic is actually a welcome development. I really think this could make a huge difference in my business!
Amazing post I always love going through your websites.
This tool is super cool it contains all the core features I need.
I own an online store and have been having less traffic but after going through this post this is the best tool for me to use to drive traffic to my website.
Thanks for the post I would surely get this product.
Very cool software. It seems like a great way to quickly produce visual content for your online presence.
One question: How is licensing treated for the content? Are you given a license to use and alter the content for use on your site, social media accounts and other areas?
I see that they have 2 types of licenses (regular and agency) and the differences between the plans, but can you elaborate more about the license itself?
The difference lies in the features included with each plan. The license is less about editing or content, and more about what you cna do with the software.
This is a great review of Visual Reel Software. To be honest, this is my first time knowing about this software.
It sounds a bit like the software use for infographic design.
Creating a visual engaging content is very important, indeed. I like the software, but buying it for about $40+ is what I wasn't expecting.
I can see how useful the software can be. It does worth considering.
This would be a godsend to me. Making visuals is actually one of my least favorite parts of online marketing. I'm just not as creative in that capacity and it's incredibly time-consuming. I never feel like I do that great of a job with it, either. I'm glad to have learned about this and I'll definitely be looking into it. I need to find ways to save time and visual images would be a great place for me to do that since it's not something I really enjoy anyway!
Hello there, this is just one of the best article I will be reading on helping me to become more successful in my quest to make money with affiliate marketing, I want to believe this Visual Reel Automated Software is more than a software that is helping internet and social media marketers achieved traffic but it's also automated systems to work on it's own. That's a great advantage over others, I will be taking my time to research more on it.
Reel automated system is a complete one stop solution tool generate awesome traffic, I like how fast and easy it is to create visual content with VisualReel. Saves me time from search for content to use…the libraries have enough cinemagraphs, memes and quote-pics to play around with and you can easily find something for every niche, amazing software, definitely going to recommend this to friend as well.
Hi Jacob, the Visual reel software is quite intriguing with wonderful features every internet marketer needed to succeed in online marketing. The competition in online marketing is great, thus one need to be abreast of others by knowing products that work great in order to compete favourably with others.I love the fact that the software has both e-library with cinemagraphs video content materials, meme templates and image materials. The advantageous feature I love is the fact that it is automated thus no too much work is required by the user. This is a indeed a great tool every marketer would like to have, both newbie and professional. Thanks for a well researched article.
Hi, I would need to give Visual Reel a trial. I hope it does what you wrote in your post.
Often times, I have gotten stuck when preparing contents that can easily create engagement. i'm aware many internet marketers face this challenge as well. Customers and prospects alike appreciate visual contents better than text.
I really love it's features and will let you know what I think of it!


text:
Ruth Williams (1926–2005) was a baseball pitcher.

Ruth Williams may also refer to:
 Ruth J. Williams, American statistician
 Ruth Williams (badminton) (born 1989), Jamaican badminton player
 Ruth C. Williams (1897–1962), Australian writer for children
 Ruth Margaret Williams, British mathematician
 Ruth Williams Cupp (1928–2016), American lawyer and legislator
 Ruth Williams Khama (1923–2002), First Lady of Botswana from 1966 to 1980
 Ruth Williams-Simpson (born 1949), Jamaican sprinter
 Ruth Williams, character in 1940 American film noir Babies for Sale

See also
 Linda Ruth Williams (born 1961), professor of film studies


text:
Oceanic Iron Ore Corp.
by CanadianSailings | Aug 27, 2013 | Business and Economy, Corporate events & profiles, Other
Profiles: PROSPECTIVE IRON ORE PRODUCERS
Oceanic Iron Ore Corp. (TSX: FEO) is focused on development of its Ungava Bay iron properties in Nunavik, Quebec, at the northernmost tip of the Labrador Trough. These properties comprise three project areas, namely Hopes Advance, Morgan Lake and Roberts Lake, covering more than 147,000 hectares over 300 kilometres of iron formation and are located within 20 to 50 kilometres of tidewater. These three project areas were extensively explored during the late 1950s through the mid-1960s. Interest in these deposits decreased after the middle 1960s due to the extensive development of new iron ore operations further south in the Wabush/Labrador City area in Labrador and in the Upper Great Lakes region in the United States. The deposits were acquired by Oceanic in November 2010.
Hopes Advance
Since its acquisition of the Ungava Bay iron properties, the company has fast-tracked the development of the Hopes Advance project through to feasibility stage with the results of a pre-feasibility study released in September 2012, revealing proven and probable reserves of 1.36 billion tonnes grading 32.2 per cent iron.
The company estimates first production in 2017 at a rate of 10 million tonnes per annum of iron ore concentrate grading 66.5 per cent. Capital costs of $2.85 billion are projected. It is management's expectation that cash flow from operations will provide the necessary capital to allow it to increase its annual production rate to 20 million tonnes after the first ten years of production. Oceanic expects cash costs of $33.17/tonne for the first eight years of production, when it expects to be operating with self-generating power before getting connected to Hydro Quebec's network, which management anticipates will reduce its cash costs to $29.57 per tonne. Anticipated mine life is in the order of 30 years.
Concentrate from the mill is planned to be transported to the planned port site at Ungava Bay via a 26-kilometre slurry pipeline. The lack of a proposed rail connection and the short distance between the mill and the port are significant contributing factors to Oceanic's low expected cash operating expenses.
Several options are being considered for a port site. Challenges include high tidal surges (up to 16 metres). Year-round shipping is expected to be possible, using ice-strengthened vessels.
As of March 31, 2013, the company had cash and receivables on hand of $7.1 million. Current liabilities amounted to $3.7 million.
Oceanic has engaged a strategic advisor to help secure a China-based strategic partner.
Current plans include completion of a feasibility study in 2014, commencement of construction in 2015, followed by first production in 2018.


By now most viewers will be familiar with the newer MPEG 4 channels on some TV's.
Many of these are H/D quality, but unfortunately they are only simulcasts of the parent channel on those particular networks. The good news is Channel Seven launch their MPEG 4 channel in this area on September 3 also in H/D quality.
The better news is that this is not a simulcast of the parent channel or another shopping channel or racing channel, it will show movies and general TV programs.
The even better news I have for some viewers is if their current older TV doesn't receive the MPEG 4 channels now, it may be possible for me to update it.
I've come across some Panasonic Viera models that can be updated. It is not all Viera's so I would have to check it. If I can update it then a service call would be charged and if not, you get a free call out within a reasonable distance, so give me a ring and I can check it out for you.


text:
Home | Business News | CBJ Newsmakers | Azincourt Energy Announces Flow-Through Offering
Azincourt Energy Announces Flow-Through Offering
VANCOUVER, British Columbia, Jan. 06, 2021 (GLOBE NEWSWIRE) — AZINCOURT ENERGY CORP. ("Azincourt" or the "Company") (TSX.V: AAZ, OTC: AZURF), is pleased to announce that it will offer up to 30,000,000 flow-through units (each, an "FT Unit") by way of non-brokered private placement at a price of $0.05 per FT Unit for gross proceeds of up to $1,500,000. Each "FT Unit" will be comprised of one common share, and one common share purchase warrant exercisable to acquire an additional common share at a price of $0.07 for a period of sixty months. In connection with the placement, the Company anticipates a single institutional investor will acquire up to 28,000,000 FT Units.
The gross proceeds from the placement will be used to fund Canadian Exploration Expenses (within the meaning of the Income Tax Act (Canada)) which shall qualify as "flow-through mining expenditures", for the purposes of the Income Tax Act (Canada). It is anticipated that expenditures will largely be focused on the continuation of the Company's ongoing diamond drill program at the East Preston Uranium Project, located in the western Athabasca basin, Saskatchewan, Canada. In connection with the placement, the Company may pay finders' fees to eligible third-parties who have assisted in introducing subscribers to the Company. All securities to be issued in connection with the placement will be subject to a four-month-and-one-day statutory hold period in accordance with applicable securities laws. Completion of the placement remains subject to the approval of the TSX Venture Exchange.About Azincourt Energy Corp.Azincourt Energy is a Canadian-based resource company specializing in the strategic acquisition, exploration, and development of alternative energy/fuel projects, including uranium, lithium, and other critical clean energy elements. The Company is currently active at its joint venture East Preston uranium project in the Athabasca Basin, Saskatchewan, Canada, and the Escalera Group uranium-lithium project located on the Picotani Plateau in southeastern Peru.ON BEHALF OF THE BOARD OF AZINCOURT ENERGY CORP."Alex Klenman"
Alex Klenman, President & CEONeither the TSX Venture Exchange nor its regulation services provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release.This press release includes "forward-looking statements", including forecasts, estimates, expectations and objectives for future operations that are subject to a number of assumptions, risks and uncertainties, many of which are beyond the control of Azincourt. Investors are cautioned that any such statements are not guarantees of future performance and that actual results or developments may differ materially from those projected in the forward-looking statements. Such forward-looking information represents management's best judgment based on information currently available. No forward-looking statement can be guaranteed, and actual future results may vary materially.For further information please contact:Alex Klenman, President & CEO
info@azincourtenergy.comAzincourt Energy Corp.
1430 – 800 West Pender Street
Vancouver, BC V6C 2V6
www.azincourtenergy.com
Nevada Copper Announces Further Ramp-Up Progress & Closing of Credit Facility Increase
Mkango Receives TSX Venture Exchange Approval for Talaxis Cashless Warrant Exercise


In Teel v. Hospital Partners of America, CA No. H-06-3991, a U.S. District Court for the Southern District of Texas – Houston Division, entered summary judgment in favor of the defendant finding as a matter of law that Mr. Teel, a former CEO of Twelve Oaks, an HPA hospital in Houston could not claim damages against HPA for its attempts an enforcing Mr. Teel's covenant not to compete with HPA, because the covenants were enforceable under the law of the contract (North Carolina) and under the law of the jurisdiction (Texas). Mr. Teel's contract restricted him from "owning, acquiring, developing or managing a competing hospital located within a 25-mile radius of an HPA facility or a facility that HPA was actively pursuing, for one year after his employment ended. If Mr. HPA terminated his employment without cause, Mr. Teel was to receive a severance package up to one year's salary and benefits, if he signed an "effective release agreement in form and substance reasonably satisfactory" to HPA.
Mr. Teel apparently wanted to have it both ways in that after his termination without cause in July of 2006 he began negotiating for a new job in Houston with HPA competitors and began to negotiate with HPA for his severance. In July of 2006, HPA sent Teel a proposed lease form that limited the scope of the non-compete to physician owned hospitals. Teel rejected the release and filed suit in August, 2006 alleging that his non-compete was unenforceable. Teel received a conditional offer of employment from a university hospital in Houston. In December his lawyers sent a signed release back to HPA where the non-compete was broader than the release offer proposed by HPA earlier.
HPA responded that it refused to pay the severance package because Mr. Teel had been in "active discussions with direct competitors-other physician owned hospitals- in the same market. After determining that the noncompete clause was enforceable in North Carolina it also determined that it was enforceable under Texas law, which requires that the clause be " ancillary to or part of an otherwise enforceable agreement at the time the agreement is made to the extent it contains limitations as to time, geographical area, and scope of activity to be restrained that are reasonable and do not impose a greater restraint than is necessary to protect the goodwill or other business interest of the promisee. TEX.BUS. & COM. CODE, Sec. 15.50.
In Texas, for an covenant to be ancillary to or part of an otherwise enforceable agreement, the employer must prove that the consideration given by the employer must give rise to the employer's interest in restraining the employee from competing and the covenant must be designed to enforce the employee's return consideration for the otherwise enforceable agreement.
Having found that the covenant was appropriately limited geographically and in time and scope, the court turned to the issue of consideration and determined that Mr. Teel as an at will employee had been provided confidential information and specialized training as promised in his employment agreement and that consideration supported the promise not to compete. The court held that for an "at will" employee the employee's promise is executory and not enforceable until the promised information is provided. Once it is provided, the employee is bound and Teel was bound.
The court found that there remained a question of fact as to the question of whether HPA breached its obligation to pay the severance to Mr. Teel because Mr. Teel was willing to enter into a release agreement at least as satisfactory as the one offered by HPA earlier. HPA argued that then was then and later was later- conditions had changed as a result of Mr. Teel's activities and its earlier offer rejected by Mr. Teel was no longer sufficient for it to accept Mr. Teel's later release proposal. Sometimes when you go for it all you risk loosing it all.


text:
Q: How to update an array on firebase using the onDisconnectUpdateChildValues I want to remove the user from an array of users once they disconnect (real time firebase).
For example: John crashed, so remove johns node and reorder the indices. Please check image.

let connectedRef = Database.database().reference(withPath: ".info/connected")

    connectedRef.observe(.value, with: { snapshot in

        guard let connected = snapshot.value as? Bool, connected else {
            completion(false)
            return
        }

        self.database.child("\(groupChatId)_F/users").onDisconnectUpdateChildValues([ ??? ]){ (error, ref) in
            if let error = error {
                print("\(error)")
            }
            completion(true)
        }
    })

I am not entirely sure if it's even possible to do such a thing. If my intuition is true then please provide suggestions on how a problem can be overcome.

A: First off: arrays like the one you're using here are an anti-pattern in Firebase. I highly recommend reading Best Practices: Arrays in Firebase.
But aside from that: to update on disconnect you need to specify two things:

*

*The exact, complete path that you want to write to.

*The exact value that you want to write to that path.

Say you want to remove a value/path at users/2 I'd recommend using:
self.database.child("\(groupChatId)_F/users/2").onDisconnectRemoveValue(){ (error, ref) in
  ...

This does mean that you need to know the path of the user (2 in this example code). If you don't currently know that path, you have two main options:

*

*either to remember it in your code when you create the child node. So when you add "Bob", remember in your code that you added him in node 2.

*or you can make the path idempotent. For example, if you user names are unique, I'd recommend storing them in a structure like this:
"users": {
  "Alex": true,
  "Bob": true,
  "John": true
}

redpajama_set_name: RedPajamaStackExchange


If you have worked with or managed data, the chances are you have probably at least heard of 'ontologies' or some other methods of formal knowledge representation. The concept of ontologies in a philosophical sense could be something that you are more or less comfortable with but they could be something that you find a bit daunting, especially if you don't know where to begin.
This module is specifically aimed at those who are not yet familiar with ontologies as a means of research data management, and will take you through some of the main features of ontologies, and the reasons for using them. If you'd like to take a step back to a very basic introduction to knowledge representation systems, you could have a look at the brief summary we have given in the 'Introduction to Research Infrastructures Module' before starting.
By the end of this module, participants should be able to….


text:
package io.spring.cloud.samples.brewery.acceptance;

import io.spring.cloud.samples.brewery.acceptance.common.AbstractBreweryAcceptance;
import io.spring.cloud.samples.brewery.acceptance.common.tech.TestConditions;
import io.spring.cloud.samples.brewery.acceptance.model.CommunicationType;
import org.junit.jupiter.api.Assumptions;
import org.junit.jupiter.api.BeforeEach;
import org.junit.jupiter.api.Disabled;
import org.junit.jupiter.api.Test;

public class ObservabilityBreweryAcceptanceTests extends AbstractBreweryAcceptance {

    @Test
    public void should_successfully_pass_Trace_Id_via_rest_template() {
        // given:
        check_brewery(CommunicationType.REST_TEMPLATE);
    }

    @Disabled("TODO: Waiting for new release of OpenFeign")
    @Test
    public void should_successfully_pass_Trace_Id_via_feign() {
        // given:
        check_brewery(CommunicationType.FEIGN);
    }

}


text:
PETER LASZLO PERI
CONSTRUCTIVIST ART AND PERI'S SPATIAL CONSTRUCTIONS
by Alfred Kemeny
Originally published as "Die konstructive Kunst und Péris Raumskonstruktionen,"preface to Mappe: Péri, Linoleumschnitte, 1922-23 (Berlin: 1923)
Original insert
De Stijl, no. 7, July 1922
The latest wave in the contemporary visual arts – Constructivism - has posited the simplest possible organization of artistic design and the most deliberate mastery of creative powers as the guiding principles of creative work in the arts. The physiological structure of the human body is subject to strict cosmic laws of construction. As an individual constructional body within the constructional body of the world, it has a need for construction - for constructional design - that stems from the profoundest cosmic-physiological causes. The laws of the world and the laws of man become the laws of art. The immutable laws of the world and of the human microcosm that are expressed in ever new relationships (= contrasts); the immutable laws of the artwork that correspond to these laws of the world, derived from ever new combinations of elementary mathematical (arithmetic, geometric) relationships, that is, from the contrasts in the means particular to it: form, colour, material; the eternal immutability of law in the eternal transformation of form - this is the profound meaning behind Constructivist design.
Peri in Budapest, c. 1919
In a world of relative motionlessness, we perceive everything as an object, as a certainty. Given the enormous dimensions of the circumstances associated with world movement, we can assume that the world itself is also relatively motionless. All the more so because an external motionlessness - resulting from the tensions among the individual parts in this apparent calm - can cause an intense movement within us. From this recognition Constructivist art forms a new objectivity, a new realism. The artwork itself is created as an abstract reality, as a new object with definite forms and sharp borders.
In deliberate contrast to "non-objective painting," the abstraction of Constructivist design is neither objectivity "resolved" nor nature blurred. The structure of the world takes shape in the sharp clarity and precise organisation of the artistic object. The organizational endeavours of the present day are given a corresponding artistic form. Clarity of form is inherently opposed to the confusion of life today in order to establish a clear construction for the life of tomorrow. Of course, this desire is not expressed actively and concretely enough. The nature of the ethics of Constructivist art is more cosmic and physiological, more individual and formal, than social. We may speak here of an intuitive, mathematical design, in which the arithmetic and geometric relationships of the forms dominate. The world is brought back to its relativity, to its original creative logic, which forms the cosmic out of the chaotic, number out of the undifferentiated, the unambiguous out of the multifaceted. This logic is not the barren poverty of an intellect without energy - or only so in the work of the less talented and of the imitators - but rather controlled consciousness and economy of strength. Its effect derives not from the passivity of an intellectual message but from the assailing activity of an immediate sensuality. It is not the subjectivity, the individuality of the artist but rather objectivity, the rational vigour of the design that determines its value above all. The true task an artwork must fulfil is always taken into account. The Constructivist painting is painted for a wall, not made to float in airless space.
Cubism and Futurism had already revealed the path that leads from the subjective interpretation of nature and emotion toward objectivity in design. However, this path reached its high point in the subsequent movements in the visual arts - Suprematism,
Neoplasticism, Tatlinism, Constructivism. Naturally, the value of a particular artwork is determined not by its trend but by the vigour and originality with which it renders the new goals of design objective. The trend of art is dependent on the period, on the
economic structure of existing society. This is true even when the artist himself takes a stand against the dominant form of society. Constructivist art possesses the will to collectivism. Collectivist art is, however, impossible in the universal anarchy of the prevailing bourgeois society. As the art of the proletariat it is postponed to the future. The worldwide revolution of the proletariat is its prerequisite. Constructivist art makes use of the idea of constructing a collective life to move from the past epoch of individualist art toward the future epoch of collective art. Constructivist art is necessarily only a transitional phenomenon for a transitional period. Wherever the logical element of design - consciousness in lieu of the unconscious element: creative intuition - was overemphasized, the result was not creative design but only an aesthetic sham. The fundamental condition of creative art remains, now as always, artistic intuition. Even so, organizing logic, which came to be emphasised in response to the emotional disorder of non-objective painting, led to a clear, exact, solidly formed, unambiguous, and new form of objectivity.
Péri's construction of space is characterized by an economy compressed into a minimum of forms, by a spatial tension that results from the extreme contrasts in this minimum of forms, from hardness of masses, and from a keen certitude of representation that has no associations with nature whatsoever. The traditional square picture frame does not permit the picture plane to be sharply defined. The square, as the most neutral shape, bestows a certain decorative banality on the entire picture; the passivity of the traditional approach to defining the pictorial space and the isolation of the picture from the wall render it impossible to activate the space in any way. Malevich and Mondrian, independently of each other, brought the square to the ultimate consequence of the design possibilities inherent in it. In working with the square, by means of invariability, by emphatic repetition of one and the same square plane - the most indifferent surface possible - they destroyed the form of the painting as such and achieved a relatively formless type of design based on pure colour relationships on a plane.
The Russian Constructivists -Tatlin, Rodchenko, Lissitzky, Johansen, Vladimir and George Stenberg, Medunetzky, Gabo, and Klucis - moved from the plane into real space. They gave spatial and plastic designs to the purely material relationships of unadulterated-pure-materials (iron, brass, copper, glass, wood, and so on) used simultaneously in the space. By giving the picture plane the sharpest asymmetrical definition possible, Peri exploded the traditional square shape of the painting. In this way he achieved a powerful spatial charge from hard, opposing relationships of two-dimensional forms. The explosiveness of the space is heightened by rhythmic repetition and the relative lack of colour of the paints used (black and greyish brown, black and red). The colours are secondary to the spatial function of the forms. As a result, the opposing relationships of the forms that produce the spatial tension are expressed much more strongly. The equilibrium of the object designed results from the immutable colour relationships and from the variability of the relationships among the forms, from the colour contrast (as the unchanging element) and the form (as the changing one) of the picture plane. A rigid, immobile stability composed of extreme contrasts.
The space-less, cubic template of today's moronic "architectonic interior" is destroyed. A new struggling spatial activity develops from the deeply serious dark contrasts with the dominant elements that result from the omnipresent black paint. In the penultimate constructions the black paint fights with brown and grey. The activity of black is crucial. In these works, despite their asymmetrical and non-quadratic construction, both the horizontal-vertical conflict of the quadrilateral and the concentric, centripetal closed form of the old "painting" are retained. In the final works the horizontal-vertical construction of the painting is eliminated. Opposing diagonal forms span a vertical or horizontal axis as contrasting forces. The spatial tension increases to the most active power relationships of a space balanced at the outside limit of the possibility of equilibrium. Recurrent red fights with black, and its activity drowns out the activity of the black paint. The powerful form masses open up the concentricity of the composition into a dynamic of centrifugal eccentricity. From that point the path leads to the architecture of the future.
The linocuts presented here illustrate Péri's spatial-Constructivist designs. They are not original, creative works and do not wish to be viewed as such. The artist uses linoleum because it is well suited to reproduce his spatial constructions. Nevertheless they still have the value of originals because the elimination of colour presents the artist with a new set of problems. Péri's work is presented here in chronological order. Though reproduced on a smaller scale, the proportionality and scale relationships of the forms is the same as that of the originals intended for a wall. The role that colour plays in separating the forms and its energetic function in heightening the spatial activity of the design are fulfilled here instead by the lines. The mechanical uniformity of the lines emphasizes both the opposing connections of the form parts of the painting as a whole and the suppressed monumentality of the design, just as the repeating rhythm of the colours did in the paintings. Designing using pure relations of space-creating opposing forms is even more effective when colours are eliminated. The lines reproduce, as hard and definite outlines, the non-quadratic and objective character of the spatial constructions with intense urgency.
Linocut no. 4, 1923
Plan for the Great Berlin Art Exhibition, 1923
© 2020 Peter Laszlo Peri Estate


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The unknown story: The public health campaigns India used to target one of history's extraordinary pandemics
An advertisement warning about the dangers of multiple partners and the importance of protection against AIDS by NGO-AIDS Cell, Centre for Community Medicine, AIIMS. | Courtesy of the Wellcome Collection - Colour lithograph by Unesco/Aidthi Workshop, March 1995.
Vaishnavi gives us an insightful analysis into how awareness of the AIDS pandemic and crucial precautionary measures were spread through public health campaigns in India.
Vaishnavi Mohan
1st December 2021 – World AIDS Day
Through our own experience of living through pandemic for the past two years, we often try to compare our situation with previous pandemics.
One of the most widely spread pandemics was HIV/AIDS.
Since the 1980s, AIDS has affected millions of people across the world. The AIDS pandemic was an incredibly sensationalised and politicised phenomenon which changed the way medical policy was devised by governments in many countries. The stigma associated with homosexuality played a crucial role in ensuring AIDS has been such a widely discussed pandemic.
While the most popular public health campaigns about AIDS have been focused in the Global West, it is enlightening to understand how it was approached in other parts of the world too.
In India specifically, AIDS was first detected in 1986, mostly among sex workers. This resulted in the government implementing health measures to screen potential patients. Following this, in 1992, the National AIDS Control Organisation was set up by India's Ministry of Health.
Even though AIDS surfaced in India in the mid-1980s, most of the campaign was conducted in the mid-1990s. Compared to how AIDS was dealt with in many Western countries, India was more proactive in controlling the epidemic. In the early 1990s, when the first cases of AIDS were found, the National AIDS Research Institute was founded to do independent research on the disease and control it. NARI conducted clinical trials and received foreign funding for research on AIDS.
Campaigns were utilised all over India not only to improve public communication about AIDS but to increase awareness. The AIDS awareness campaign, launched by AIIMS (All India Institute of Medical Science) in collaboration with an NGO named AIDTHI, was extremely informative and conveyed information which would be considered taboo at the time. Alongside AIIMS, various NGOs, and the National AIDS Control Organisation organised public health campaigns to promote AIDS awareness and safe sex practices.
I have decided to dissect the crucial messages of the below posters to shed light on such campaigns. These posters were published to promote AIDS awareness in Delhi and Bihar, India, by AIDTHI in collaboration with AIIMS. Based on the language, the people's attire and where the posters are set to indicate that it was targeting people in rural India. Posters like these would have been a very approachable form of communication to raise awareness about AIDS. With short and concise captions and imagery, they easily conveyed the different causes of AIDS and necessary precautions.
In this poster (Left), we can see a woman handing a condom to the man, which indicates that the woman is taking the initiative to partake in safe sexual intercourse. This poster not only makes a statement about how unsafe sex can spread AIDS but also shows the woman giving the condom to the man, which is surprising because women in rural households were not allowed great freedom of choice in their households. In these rural settings, the norm would have been that the husband had multiple sexual partners and thus would be likely to contract AIDS, return home and transmit the disease to his wife (as shown in other posters created for the campaign). Consequently, there was a risk that AIDS could then be transferred to the couples' children. This was a common thread observed among rural areas in India.
Image, left: Advertisement for Nirodh condoms to promote safe-sex and AIDS prevention | Courtesy of the Wellcome Collection – NGO-AIDS Cell, Centre for Community Medicine, AIIMS. Colour lithograph for Unesco/Aidthi Workshop, March 1995. License.
This poster (Right) is of a slightly different nature. It is oriented more towards communicating that AIDS can affect anyone, irrespective of gender, social status, caste or religion. The poster depicts 7 people who appear to be from different backgrounds. The caption reads that people with AIDS are difficult to identify; a person with AIDS may be among us.
Image, right: AIDS prevention advertisement by NGO-AIDS Cell, Centre for Community Medicine, AIIMS, representing difficulties of recognising someone who has AIDS. | Courtesy of the Wellcome collection – Colour lithograph by Unesco/Aidthi Workshop, March 1995. License.
Since homosexuality was a criminal act in India until a few years ago, it could be interesting to consider whether the public health campaign would have been this active if the disease was initially found among homosexual men. Even though prostitution was also illegal in India, there was less stigma attached to this act than being homosexual. Given that homosexuality was a criminal act until 2018, if the disease presented itself among homosexual men first, would the government take any measures to find a cure or communicate about the disease to the public?
Even though AIDS is a medical issue, it is a significantly stigmatised disease. These posters help us to understand how different social sections of the world approached such a global health issue, and to identify the social, political, and economic reasons for the change of approach. Understanding how the AIDS pandemic was communicated and framed in a social context is essential, especially considering this same understanding should be crucially applied to our current pandemic.
View the cover image for this Feature on the Wellcome Collection website here
View the first image within this Feature on the Wellcome Collection website here, and the second image here
Vaishnavi Mohan is a sub-editor for I,Science, and is currently completing her Masters in Science Communication here at Imperial College London. After taking History and Philosophy of Science at UCL, she has an interest in the history of medicine as well as how science and culture intersect
Tags: AIDS aids awareness day health campaigns history of medicine history of science illustrations pandemic philosophy of science public health public health campaign Wellcome Collection Wellcome Trust
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Art joined Dupont at the Savannah River site, where tritium and plutonium were produced under contract wih the Atomic Energy Commission for the Defense Department's nuclear weapons program. It was Dupont's largest plant, with over 10,000 employees. He was a computer programmer, and then held a number of roles in human resources. After receiving his MBA he became the Chief Supervisor of Budget and Finance for the Savannah River National Laboratory. Art then transferred to corporate headquarters in Wilmington, DE, for one year, and then to Tokyo, Japan, headquarters for Dupont Asia Pacific. He was the Regional Manager for Human Development, covering thirteen countries, and then he returned to Wilmington, DE as the Corporate Manager for Human Development.
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Black Celebrity Gossip
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KEYSHIA COLE ON ALLEGED CUSTODY BATTLE WITH BOOBIE: 'I'M HOPING THAT HE WOULD NEVER TRY TO DO THAT'
Tags: alleged custody battle keyshia cole keyshia
Keyshia Cole stopped by The Breakfast Club on Tuesday to talk about her new album, 11:11 Reset, and life as a working mom. The recording artist didn't have much to say about her estranged husband Daniel Gibson Sr.'s recent filings with the courts that requested spousal support as well as physical custody of their son, Daniel Gibson Jr.
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"I haven't been back to L.A. to find out what that's about," Keyshia said. "It could be [true]. He said no, but, I mean, so why was the paperwork filed," the singer asked. "I don't want to talk about it," she added. "He says it's not true. ... I'm hoping that wouldn't be the case. I'm hoping that he would never try to do that."
My Baby 1st Time in Brooklyn ✌ 🤙 You know I had to bring him on the promo run!! packed up his homework!!! He missed HE MOMMY
A post shared by Keyshia Cole (@keyshiacole) on Oct 22, 2017 at 7:16pm PDT
We hope the same. After all, it was Keyshia who recently let her estranged husband live with her when he was experiencing difficulties. "He was going through some things, and it was worrying me that he wasn't going to be able to spend as much time with DJ as was necessary to have spent with him. And I just didn't agree with that, and I just was like, 'Dude. It's all good. You just mind your business.' And then, you know, we get along," Cole said.
Check out Keyshia's full interview with The Breakfast Club (it's so good) below!
The post KEYSHIA COLE ON Alleged Custody Battle WITH BOOBIE: 'I'M HOPING THAT HE WOULD NEVER TRY TO DO THAT' appeared first on BCK Online.
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It was a unique opportunity to experience firsthand what has become Asia's largest book fair and to try to get a better understanding of the market, but also of Chinese culture and traditions. China's rich cultural heritage dates back almost four thousand years, all the way back to the Shang dynasty.
Beijing is a modern and vibrant city, where the Chinese economic growth of the past 20 years is evident. The Beijing International Book Fair keeps growing, this year to expect 25,000 publishers from 93 countries, according to its director, Liying Lin, in an interview that appeared in Publishing Perspectives.
I was able to witness the presence of most of major international publishers and collective stands of a great number of countries, showing their latest editions while at the same time engaging in business discussions with their Chinese counterparts.
While China's economy is still booming, its book market seems to continue expanding and the international book trade keeps growing, there are also some concerns, especially about freedom to publish.
Freedom to publish, one of IPA's core values, has been under discussion for many years (and will continue to be) with our member, the Publishers Association of China, or PAC, since there are differences of opinion.
During my visit in Beijing, I enjoyed a series of very open and sincere conversations with our colleagues from the PAC leadership, with the aim of improving mutual understanding. I was able to understand the Chinese way of thinking a little better and at the same time I think I was able to explain how IPA works and why freedom to publish is so dear to IPA.
I am convinced we can bridge our differences and strengthen the cooperation between IPA and PAC, but to do so, maintaining the dialogue is of the essence.


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The Snooze Button Generation 2019: Tic-tac-toe chicken will be defeated!
Tic-tac-toe chicken will be defeated!
One of my favorite pastimes when I lived in New York City was playing a chicken in tic-tac-toe.
The pastime was so fun that I sometimes took visitors to the seedy - yet glorious - arcade at 8 Mott Street in Chinatown to see the chicken's brilliance.
Friend: I've never been to New York City. Where should I go?
Me: The Empire State Building and Statue of Liberty are a bit too touristy. You should see the tic-tac-toe chicken.
Me: There's a chicken in Chinatown that plays tic-tac-toe.
Friend: Huh? ... Yeah. You're right. That's a must-see.
I have been recommending the chicken to friends for years but recently read that animal rights activists had the chicken removed from its post in 1998, the same year I moved out of the city. Apparently, some animal rights activists consider playing a chicken in tic-tac-toe cruel. I find it cruel to stifle a chicken's gaming abilities.
The chicken has been on my mind again because the other day at Ports O' Call in San Pedro, Calif., I stumbled across a game called "The Love Maine Lobster Claw" that has live lobster as the prize. Catching a live lobster out of a machine is not nearly as exciting as playing a chicken in tic-tac-toe. My record against the chicken was 0-1-8. I never beat him, almost always tied him and goofing around once, learned that the chicken could win if I made a bad play. But, damn it, the chicken always got to go first.
A cynic might say the chicken's game was programmed to always give him the best move. But I don't think so. I think I was playing against a genius. I vow to find that chicken wherever he is, play one last game and even our win total at one apiece.
The polar bear is about to die!


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Assassin's Creed: Rogue, the last-gen console title from Ubisoft and effective sequel to Assassin's Creed IV: Black Flag, will be hitting PC on March 10 (assuming it's not delayed). While the game will mostly be the same as what launched on the Xbox 360 and PlayStation 3, Ubisoft has added in one extra feature for PC gamers: eye tracking.
With a supported peripheral, such as the SteelSeries Sentry or Tobii EyeX, gamers will have an additional way to control the game to complement either keyboard and mouse or gamepad input. When you look to one side of the display, Rogue will track your eye movements, and the camera will begin to pan in this direction to create an "Infinite Screen experience".
On top of this, the in game protagonist - Shay Patrick Cormac - will look in whatever direction you're looking. And when you look away from the display for a moment, Assassin's Creed: Rogue will automatically pause the game, resuming only when your gaze returns.
Ubisoft Kiev producer Corneliu Vasiliu said that eye tracking is "such a natural way to interact with a game and creates tons of potential opportunities for gameplay immersion ". Ubisoft is one of the first companies to integrate eye tracking into a major title such as Rogue, and in doing so, provides gamers "with an entirely new, complementary input to the keyboard and mouse."
If you want to check out Rogue's eye tracking technology, you'll have to spend either $140 on the Tobii EyeX, or $200 on the SteelSeries Sentry. Luckily, the first 5,000 customers who purchase the Sentry will get a free copy of Rogue when it comes out.
And while we're at it, Ubisoft has revealed the minimum system requirements for Assassin's Creed: Rogue. Although recommended specs haven't been released, it doesn't look like the game will be particularly demanding.