text:
Home»Television»Drama
Drama TV Shows - 1970s 2 Mins Read
Sandbaggers, The
1 9 7 8 – 1 9 8 0 (UK)
20 x 60 minute episodes
From Yorkshire Television came this TV Drama series about the special operations team of the Secret Intelligence Service (SIS), headed by Neil Burnside.
The SIS agents are known as 'sandbaggers' (Willie Caine is Sandbagger #1) and specialise in covert operations around the world.
The series put the spies in grey suits, gave them short haircuts and short tempers, cut out the car chases, sex and swashbuckling and unexpectedly made a pinup of Roy Marsden.
But they upset the Foreign Office by flashing the phone number in the opening titles – a joke by writer Ian Mackintosh, a former Royal Navy officer and once a spy himself.
The meat of The Sandbaggers came from the office-based dialogue. There were deals with CIA ally Jeff Ross (Bob Sherman), confrontations with direct superior Peele (Jerome Willis), and personal attachments to sandbagger Laura Dickens (Diane Keen) – a liaison destined for a brutal end.
Burnside's only real friend was Willie Caine (Ray Lonnen), his longest-serving operative.
The end of The Sandbaggers was shrouded in mystery. During production of season three in 1979, the small plane in which Ian Mackintosh was flying went missing over the Pacific Ocean.
Remaining scripts had to be handled by other writers, and arguably of a lower quality, the series was curtailed. The final episode ended with Caine shot on assignment in Malta, his fate unknown.
Neil Burnside
Roy Marsden (1)
Richard Vernon (2)
Dennis Burgess (3)
Willie Caine
Ray Lonnen
Sir Geoffrey Wellingham
Alan MacNaughton
Diane Lawler
'C' (Sir James Greenley)
Richard Vernon
Matthew Peele
Jerome Willis
Bob Sherman
Michael Cashman
Laura Dickens
Diane Keen
Marianne Straker
Sue Holderness
Alan Denson
Steven Grives
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text:
package org.qi4j.sample.dcicargo.sample_a.context.shipping.handling;

import org.junit.Before;
import org.junit.Test;
import org.qi4j.api.unitofwork.UnitOfWork;
import org.qi4j.sample.dcicargo.sample_a.bootstrap.test.TestApplication;
import org.qi4j.sample.dcicargo.sample_a.context.shipping.booking.BookNewCargo;
import org.qi4j.sample.dcicargo.sample_a.context.shipping.booking.BuildDeliverySnapshot;
import org.qi4j.sample.dcicargo.sample_a.data.entity.CargosEntity;
import org.qi4j.sample.dcicargo.sample_a.data.entity.HandlingEventsEntity;
import org.qi4j.sample.dcicargo.sample_a.data.shipping.cargo.Cargo;
import org.qi4j.sample.dcicargo.sample_a.data.shipping.cargo.Cargos;
import org.qi4j.sample.dcicargo.sample_a.data.shipping.cargo.TrackingId;
import org.qi4j.sample.dcicargo.sample_a.data.shipping.delivery.Delivery;
import org.qi4j.sample.dcicargo.sample_a.data.shipping.handling.HandlingEvent;
import org.qi4j.sample.dcicargo.sample_a.data.shipping.handling.HandlingEventType;
import org.qi4j.sample.dcicargo.sample_a.data.shipping.itinerary.Itinerary;
import org.qi4j.sample.dcicargo.sample_a.data.shipping.location.Location;
import org.qi4j.sample.dcicargo.sample_a.data.shipping.voyage.Voyage;

import static org.hamcrest.CoreMatchers.equalTo;
import static org.hamcrest.CoreMatchers.is;
import static org.junit.Assert.assertThat;

/**
 * Javadoc
 *
 * Test method names describe the test purpose. The prefix refers to the step in the use case.
 */
public class InspectCargoTest
    extends TestApplication
{
    private Cargo cargo;
    private TrackingId trackingId;
    private Location STOCKHOLM;
    private Location DALLAS;
    private Location SHANGHAI;
    private Voyage V200T;
    private Voyage V300A;
    private HandlingEvent handlingEvent;

    @Before
    public void beforeEachTest()
        throws Exception
    {
        UnitOfWork uow = module.currentUnitOfWork();
        Cargos CARGOS = uow.get( Cargos.class, CargosEntity.CARGOS_ID );
        Location HONGKONG = uow.get( Location.class, CNHKG.code().get() );
        SHANGHAI = uow.get( Location.class, CNSHA.code().get() );
        STOCKHOLM = uow.get( Location.class, SESTO.code().get() );
        Location NEWYORK = uow.get( Location.class, USNYC.code().get() );
        DALLAS = uow.get( Location.class, USDAL.code().get() );
        Voyage V100S = uow.get( Voyage.class, "V100S" );
        V200T = uow.get( Voyage.class, "V200T" );
        V300A = uow.get( Voyage.class, "V300A" );

        // Create cargo
        trackingId = new BookNewCargo( CARGOS, HONGKONG, STOCKHOLM, day( 17 ) ).createCargo( "ABC" );
        cargo = uow.get( Cargo.class, trackingId.id().get() );
        Itinerary itinerary = itinerary(
            leg( V100S, HONGKONG, NEWYORK, day( 1 ), day( 8 ) ),
            leg( V200T, NEWYORK, DALLAS, day( 9 ), day( 12 ) ),
            leg( V300A, DALLAS, STOCKHOLM, day( 13 ), day( 16 ) )
        );

        // Route cargo
        new BookNewCargo( cargo, itinerary ).assignCargoToRoute();
    }

    @Test
    public void deviation_3a_CargoIsMisdirected()
        throws Exception
    {
        // Create misdirected handling event for cargo (receipt in Shanghai is unexpected)
        UnitOfWork uow = module.currentUnitOfWork();
        HandlingEventsEntity HANDLING_EVENTS = uow.get( HandlingEventsEntity.class, HandlingEventsEntity.HANDLING_EVENTS_ID );
        handlingEvent = HANDLING_EVENTS.createHandlingEvent( day( 0 ), day( 0 ), trackingId, HandlingEventType.RECEIVE, SHANGHAI, null );
        Delivery delivery = new BuildDeliverySnapshot( cargo, handlingEvent ).get();
        cargo.delivery().set( delivery );
        assertThat( cargo.delivery().get().isMisdirected().get(), is( equalTo( true ) ) );

        logger.info( "  Handling cargo 'ABC' (misdirected):" );
        new InspectCargo( handlingEvent ).inspect();

        // Assert that notification of misdirection has been sent (see console output).
    }

    @Test
    public void deviation_3b_CargoHasArrived()
        throws Exception
    {
        UnitOfWork uow = module.currentUnitOfWork();
        HandlingEventsEntity HANDLING_EVENTS = uow.get( HandlingEventsEntity.class, HandlingEventsEntity.HANDLING_EVENTS_ID );
        handlingEvent = HANDLING_EVENTS.createHandlingEvent( day( 15 ), day( 15 ), trackingId, HandlingEventType.UNLOAD, STOCKHOLM, V300A );
        Delivery delivery = new BuildDeliverySnapshot( cargo, handlingEvent ).get();
        cargo.delivery().set( delivery );
        assertThat( cargo.delivery().get().isUnloadedAtDestination().get(), is( equalTo( true ) ) );

        logger.info( "  Handling cargo 'ABC' (arrived):" );
        new InspectCargo( handlingEvent ).inspect();

        // Assert that notification of  arrival has been sent (see console output).
    }

    @Test
    public void step_3_CargoIsCorrectlyInTransit()
        throws Exception
    {
        logger.info( "  Handling cargo 'ABC' (unloaded in Dallas):" );
        UnitOfWork uow = module.currentUnitOfWork();
        HandlingEventsEntity HANDLING_EVENTS = uow.get( HandlingEventsEntity.class, HandlingEventsEntity.HANDLING_EVENTS_ID );
        handlingEvent = HANDLING_EVENTS.createHandlingEvent( day( 12 ), day( 12 ), trackingId, HandlingEventType.UNLOAD, DALLAS, V200T );
        cargo.delivery().set( new BuildDeliverySnapshot( cargo, handlingEvent ).get() );
        assertThat( cargo.delivery().get().isMisdirected().get(), is( equalTo( false ) ) );
        new InspectCargo( handlingEvent ).inspect();

        logger.info( "  Cargo was correctly directed." );
    }
}

redpajama_set_name: RedPajamaGithub


Mount your Cobb V3 AccessPort on any car with an air vent. Clever clips plus an adjustable "kickstand" allow the mount to work in almost any kind of vent with horizontal slats. Slots in the mount allow the AccessPort holster to slide right on.


text:
// A simple, inconsistent, dependently typed language

#include <stdint.h>

// Each value has a type, and the type is one of the following:
//   Word - A 63-bit unsigned integer, stored as (n<<1)|1 (a la ocaml).
//   (Single t x) - The singleton type consisting solely of value x, which has type t.
//   (Pair a b) - A pointer to a heap allocated cons cell of type (a,b).
//   (List a) - Lists of type a, represented as cons cells.
//   (Sum t f) - If t : Type, f : (Closure t Type), a nonexistent value x : t,
//               and actually the type f(x).  In other words, a pair (x,y) where x isn't stored.
//   (Pi t f) - If t : Type, f : (Closure t Type), the dependent function type x : t -> f(x).
//              Represented as a function pointer, not a closure (no state).
typedef void* Value;
typedef _AnyPair { Value fst; Value snd; } AnyPair;
typedef Value (*AnyFun)(Value);

// Unit is just 0.
//   Unit = (Single Word 0)
// let unit = (single 0)

// Natural numbers are lists of Unit:
//   Nat = List Unit

// Strings are lists of Words:
//   String = List Word

// Closures are pairs of functions and their data.  If t : Type, f : t -> Type,
//   (Closure t f) = (Sum Type (x -> Pair x (Pi (Pair x t) (Apply f x))))
//   (Closure t f) = (Sum Type (x -> Pair x (Pi (Pair x t) (Apply f x))))
// where
//   (ClosureHelper (pair (pair t f) x)) = (Pair x (Pi (Pair x t) (call f x)))

// Closures are pairs of functions and their data.  If t : Type, f : t -> Type, then
//   (Closure t f) = (Sum Type ct   (Sum x (Pi (Pair x t) b))
// Note that the type c is not actually stored.

// Expressions (Exp) are one of the following, where s : String, w : Word, x y : Exp.
//   (var s)
//   (word w)
//   (single x)

//   (let s x y)  // let s = a in b

//   (pair x y)
//   (fst x)
//   (snd x)

//   nil
//   (cons p)       // If p : (Pair t (List t)), (cons p) : (List t)
//   (ifnil s x z)  // If s = nil, s : Unit in x, otherwise x : Pair in y.

//   (call x y)
//   (fun s x y)  // s : x -> y

//   (open s x y) // If x : (Sum t f), s = the nonexistent value

// The polymorphic identity function
//   id : (Pi

// An Any is a consistent type, value pair:
//   Any = (Sum Type

// Environments consist of (string,type,value) pairs.
//   Env = (List (Pair String (Exists

// There is a prelude environment consisting of a number of name,value pairs:

/*
 * The types above are represented as Values as follows:
 *   (value Type) = 0
 *   (value Word) = 1
 *   (value Unit) = 2
 *   (value (Pair a b)) = (pair 0 (pair a b))
 *   (value (Fun a b)) = (pair 1 (pair a b))
 *   (value (Union a b)) = (pair 2 (pair a b))
 *   (value (List a)) = (pair 3 a)
 */

/* Expressions are built up out of the following primitives */

/* Construction and destruction of pairs */
static Value pair(Value a, Value b) {
  AnyPair p = (AnyPair)malloc(sizeof(_AnyPair));
  p->fst = a;
  p->snd = b;
  return p;
}
static Value fst(AnyPair p) {
  return p->fst;
}
static Value snd(AnyPair p) {
  return p->snd;
}

/* Induction on lists */


A big story in the virtual reality market is the upcoming Oculus Quest, an all-in-one portable headset that lets users enjoy VR games without requiring a wired connection to another device. Like the Oculus Go, it's a standalone product; unlike the Go, the Quest is specifically designed for a gaming audience, combining the Go's portability with enough onboard horsepower to run games from the Oculus Rift's library of titles. It's planned for release in spring of this year.
In London on Tuesday morning, journalists got their first chance to go hands-on with many of the debut titles for the Oculus Quest, including a ported version of Epic Games's Robo Recall. Recall, one of the top VR shooters of 2017, is being brought to the Quest by Seattle's Drifter VR.
Drifter VR is a small team of video game industry veterans, including CEO Ray Davis, who worked on the first two Gears of War games as their lead programmer. Their projects include 2017's award-winning Gunheart and last year's Rise of the Gunters, a VR shooter made as a tie-in product for Steven Spielberg's Ready Player One. The company raised a $2.25 million seed round in 2016 from investors including Initialized Capital, Presence Capital, The VR Fund, Pathbreaker Ventures, and Anorak Ventures.
GeekWire interviewed Davis about Drifter VR, its output in virtual reality, and the Oculus Quest.
Robo Recall, as seen on the Oculus Quest.
GeekWire: Thanks for speaking with us, Ray. Can you first talk about Drifter's founding story?
Ray Davis: I started Drifter with two co-founders in the summer of 2016. Kenneth Scott, our art director, was actually at Oculus at the time, where he was doing a lot of first-party content. He got started back at id Software, so he was the art director for Doom 3, Rage, Quake, all these classic games. He was also at 343 Industries when Bungie split off, and Microsoft put him on Halo. The other co-founder, Brian Murphy, was at Microsoft for many years, working on the Kinect at launch and on top secret stuff.
The three of us brought that combined experience together. We love making AAA games, we've done all kinds of games, and the opportunity to pool that expertise and build a VR development studio was too good for us to pass up. That's when we all jumped ship, and the rest is history, so to speak.
GW: Why'd you go for virtual reality, as opposed to anything else?
Davis: I really enjoyed my time making Gears of War. There were a couple of cover-based shooters before that, but not necessarily the way that we'd envisioned it in Gears of War. I like to think that Gears helped set a new standard. If you're going to make this kind of game, as a developer, you're pushing what's possible.
For us, I think all the excitement was around virtual reality being sort of the last frontier. There are a lot of things in game development that you've understood for many years, that we've gotten really good at, and when it comes to VR, all kinds of things are different, like, "Hey, developers no longer have control of the camera." That's such a powerful tool for building experiences. How are we going to work around that, and what other new things can we find inside of virtual reality?
GW: How did you guys end up working on the Robo Recall port?
Davis: It's actually an interesting story. Before we started Drifter, my last job was as the general manager on Unreal Engine 4 at Epic Games. One of my responsibilities was shepherding all the early VR incubation efforts. A lot of the work we did was in partnership with Oculus back in the day, like on Bullet Train.
And my friend was like, "How about Drifter?" Because obviously, we had that relationship with Epic. We ended up on that project for about five-and-a-half months. Working on the Quest was just fantastic. We were able to preserve the core gameplay that makes Robo Recall so fun, and we had a good time figuring out just what the hardware is capable of, and still maximizing the visual fidelity and what you can squeeze out of it.
GW: Can you talk about the challenges of porting it from the Rift to the Quest?
Davis: The Quest is based on a mobile chipset, so when you compare it to a desktop GPU, there's an order of magnitude less of raw power that you're dealing with. You have to take into account the power requirements of common techniques, like visual effects.
What we spend a lot of time doing is running the device and then working backward. How can we change some of the content, and keep true to the visual style, while reaching our performance target? It involves modifying the content, the environments, bringing down poly counts, sort of the usual process across the board.
Also, there's a lot of great new technology for performance that Oculus and Epic have been doing research on. A lot of it's just that we can do more with the hardware we already have, given that everyone is much more educated on VR and the opportunities there.


Greetings, pilgrims, Thanksgiving is here once more! Yes, it's once again time to crank up your oven and bake the perfect turkey and pumpkin pie. Looking for tips on how to create a gastronomic spread everyone will thank you for?
Here's a menu that will surely make this Thanksgiving something everyone won't forget.Thanksgiving is my favorite holiday, next to Christmas.
It's a wonderful time to gather friends and family around a table to give thanks for the fast-dying year. Because Thanksgiving is really important to me, I really set aside time to prepare for it.
I spend about a week in advance thinking about the menu, decorations and guest list. The two days before Thanksgiving I reserve for sprucing up the house and cooking up a storm.
Feel free to alter this Thanksgiving Menu to suit your taste. Happy holidays, pilgrims!


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Home / Privacy / Google's appeal of the €50 million GDPR penalty: what is at stake? (part 1)
Google's appeal of the €50 million GDPR penalty: what is at stake? (part 1)
22 February 2019 By Matthijs van Bergen
Recently, we provided a summary and initial analysis of the first major fine under the GDPR, which was issued by the French data protection authority (the CNIL). In a series of three blogs, we will provide further analysis of this landmark decision and its implications. This first part will provide information about the motivation of the penalty and Google's decision to appeal. In the second part of the series, we will consider potential future GDPR fines and draw a link between privacy and competition considerations. In the third part, we will provide practical advice to improve compliance.
Motivation of the penalty
As stated in our previous article, the penalty was imposed on Google for failing to provide sufficient information and transparency as required under articles 5, 12 and 13 of the GDPR, and for processing personal data without a valid legal basis, constituting a violation of article 6 GDPR, in the context of creating a Google account when setting up an Android phone. The CNIL's decision was based on the following reasons.
Too many steps required
The first issue addressed in the CNIL's decision was that information about Google's personal data processing was not easily accessible for users. The CNIL found that information was spread across too many different documents, and that too many steps were required to find the relevant information — in particular, where it concerned personalisation of advertisements (5 steps) and geo-tracking (6 steps). Another problem noted by the CNIL was that information about the retention terms of data was placed under the title "Exporting & deleting your information", which took 4 steps to reach and did not make it sufficiently clear to users that information on standard retention terms was to be found there as well. These issues combined led the CNIL to conclude that there was a general violation of the requirement that the relevant information should be "easily accessible" to users.
Information was not sufficiently specific, considering the very high privacy impact
The CNIL also considered that the nature and scope of the personal data and processing activities at hand are particularly intrusive and massive, as information is continuously collected and processed about users' habits, tastes, contacts, opinions, and whereabouts. In this situation in particular, the CNIL demanded more clarity from Google about the specific ways in which personal data would be processed, rather than broad and generic descriptions of purposes such as 'offering personalized services in terms of content and advertising', 'safeguarding the security of our products and services', and to 'provide and develop our services'. The CNIL concluded that information sufficiently clear and detailed to enable users to substantially assess the impact on their privacy was not available in any of the several documents and layers of information provided by Google.
Essential information and settings were available only after creating an account
Another problem noted by the CNIL was that the "privacy check-up" and "dashboard" tools were only provided after the creation of a Google account, and not before. The CNIL considered the information provided there to be essential to properly inform users at the outset. Furthermore, an active step was required for users to access this information. The CNIL deemed this a violation of the requirements of article 13, which states that information should be provided to the data subject at the time when personal data are obtained. Thus, in accordance with the findings of the CNIL, the privacy check-up and dashboard information and settings should have been actively provided as part of the setup process, rather than made available after completion of the setup process.
Consent was not sufficiently informed, specific, and unambiguous
The CNIL concluded that the user consent obtained by Google did not meet the requisite standard of "informed" per the GDPR, for the same reasons that it found Google to be in violation of the transparency requirements. For one, the CNIL noted that the information provided about ad personalisation did not explain the extent to which data would necessarily be combined across different services provided by Google (such as Google Search, YouTube, Google Home, Google Maps, Play Store, and Google Images). The fact that the box for ad personalisation was pre-ticked by default was also problematic, as it meant that consent was not given by an affirmative action from the data subject. Finally, the CNIL found that the user was asked to provide consent for all processing activities at once, whereas it stated that "consent is "specific" only if it is given distinctly for each purpose".
Google's decision to appeal
As mentioned, Google has already indicated that it will appeal the decision, giving the following statement:
We've worked hard to create a GDPR consent process for personalized ads that is as transparent and straightforward as possible, based on regulatory guidance and user experience testing. We're also concerned about the impact of this ruling on publishers, original content creators and tech companies in Europe and beyond. For all these reasons, we've now decided to appeal.
Such a response was only to be expected. There is plenty at stake here: not only the €50 million fine (which amounts to only about 4.5 hours of turnover for Google), but more importantly, the scope of transparency and consent requirements under the GDPR. The CNIL's decision reminds us that transparency and consent are foundational elements of the GDPR, and the way these concepts are to be applied will indeed have major consequences for all or most digital services provided in Europe. Moreover, it appears that the decision was intended to signal to the market that data protection authorities in the EU are ready and not afraid to use their substantial enforcement powers. This is likely to provide further incentive for Google to push back.
The CLOUD Act and its consequences
Matthijs van Bergen
Managing director Legal ICT
Matthijs manages Legal ICT's Brussels office and advises clients mostly in matters concerning EU and international law. Matthijs has extensive experience in drafting and negotiating (international) ICT contracts and has substantial knowledge about intellectual property, privacy, information security, Internet, freedom of speech, net neutrality, and broadband in rural areas.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Thomas McManus
Picasso, the painter who changed sculpture forever
Woman's Head (Fernande) 1909, Bronze
To attend the Picasso Sculpture Exhibit at MoMA is to witness the secret workings of a relentless creative mind. Never schooled in sculpture, he was free to explore its potential, without fear of failure. Coupled with his sense of playfulness and rebellious outlook, he worked in the gap between painting and sculpture. He made no assumptions about what a sculpture could be, and he didn't let convention get in his way. Richard Serra said, "Picasso seems to be actually more inventive in sculpture than in painting." What few realize is that the greatest painter of the 20th century was also the greatest sculptor of the 20th century. To see this show is to know the canon other serious sculptors must compare themselves.
Picasso once famously said, "Good artists borrow, great artists steal." and the artist he stole the most from was Cezanne, a painter who not only painted what he saw, he painted how he saw. Cezanne eschewed staining, "sculpting" his work with thick brushstrokes, and with multiple perspectives, he reduced his pictorial elements to cubes, cones, and cylinders. From this starting point, Picasso created Analytical Cubism. Picasso took Cezanne at his word, and he painted cubes that fractured the picture plane, creating a breathing space for shapes to float in and out. Facilitated by the freedom this structure offered him, he investigated multiple views of perception. Picasso painted some of his most provocative works of art at this time, and propitiously, he continued to work in sculpture.
The first room in the show shows how quickly Picasso progressed in his early 1903 to 1909 period. From a sentimental bust of a bronze harlequin to a primitive wood sculpture of a nude, you are immediately led to his breakthrough work, Woman's Head 1909. Modeled out of clay, and then cast in bronze, Woman's Head, portrays his lover, Fernande, from multiple viewpoints, as partly buried cubes emerge from a block of clay. Picasso tries to release his cubes and make them float, but traditional sculptural processes hold him back. Unlike his paintings, there isn't any air in this work, which limited his potential for spatial exploration. Multiple viewpoints stuck in the mud of the clay, lack clarification. Luckily, his painting process offered a solution to his predicament.
Still life with Guitar. Variant state Paris, assembled before November 15, 1913, Subsequently preserved by the artist Paperboard, paper, string, and painted wire installed with cut cardboard box
While working on his still life paintings, Picasso would use sketches, or maquettes, as the reference for his work. One of these sketches was a three-dimensional cutout of a guitar, handmade of paperboard, paper, string and painted wire, glued together. A photo of it exists as a centerpiece in a three-dimensional tableau made of paper cutouts. Once finished, Picasso had an insight. Why couldn't the sketch stand alone and be the sculpture? That way, it would free up the negative space of his work allowing shapes to float, as they did in his paintings, allowing multiple viewpoints to mesh with each other. This bold move demonstrated a rejection of the lofty subject matter of sculpture. This wasn't a statue of a goddess, a general on a horse, or even his mistress. It was a sculpture of an inanimate object. Of a guitar! Then in 1916, Picasso folded up the paper guitar and put it away in a box. It remained there for 64 years until the MoMA acquired and displayed it again, soon after the artist's death. Fortunately, before mothballing the paper sculpture, Picasso decided to make a more permanent version of it in 1914.
Guitar, Paris, after mid-January 1914 Ferrous sheet metal and wire
Guitar 1914 wasn't made from clay, wood, or marble. It was made with metal. It wasn't carved, chiseled, or molded. It was constructed. It even had lines (the strings were made of wires). It hung on a wall. What was it then? With Guitar, Picasso resolved a conflict between painting and sculpture by introducing a strange hybrid. Some called it pictorial sculpture.
Here, Picasso answers 'why' questions. Why is sculpture always about the human form, when it could be of an inanimate object? Why can't it be assembled, when you can construct it out of metal? Why does it have to be on a pedestal, when it can hang on a wall? Why does sculpture have to be so serious, when it could be fun? By challenging sculpture's very nature, Picasso brought a new energy to the medium. The poet Andre Salmon observed, "We were delivered from painting and sculpture, liberated from the imbecilic tyranny of genres." Guitar 1914 set the stage for the greatest sculptural exploration and innovation of the 20th century.
Still Life, 1914, painted pine and poplar, nails, and upholstery fringe. About 12 inches high.
Still Life, 1914 is the first sculpture that made fun of sculpture. Instead of carving, he paints pine and poplar wood and nails them together. Although still life as a genre is within the purview of painting, Picasso boldly makes it the subject of sculpture. By portraying a workman's lunch, he offers a sardonic commentary on the 'high' ambitions of 'Art'. (A Dutch Master, 17th century feast, it isn't.) Haphazard sawn wood, machined and hand carved, refute the journeyman's aesthetic of refinement. Further blending painting and sculpture, he uses paint to distinguish the surface of the glass (glossy) and the rest of the tableaux (matte). The addition of tasseled upholstery fringe, a found object integrated into the piece, proffers another snub at the craftsmanship, giving the piece an air of insouciance and whimsy. This daring act, incorporating real objects into sculpture, unleashed a creative fervor that resonates to this day. But this is just the beginning for Picasso, and there are so many more rooms to go through.
Pablo Picasso. Figure. 1928
Picasso's quest to have his sculpture breathe led to another breakthrough, Figure, 1928, a rejected study for the tomb of his friend Apollinaire. Once again, a painter's perspective creates a new sculptural form, but, this time, using Surrealist imagery. Inspired by the strings in his guitar sculptures, he created a piece made entirely of welded wire. A contemporary art dealer declared it 'drawing in space.' Sculpture as drawing, freed up the medium, allowing new avenues of creativity by using line and air for expression. Once again, Picasso's disregard for the status quo showed the way for artists to use unorthodox materials and techniques.
Picasso's 'Bull's Head' Paris, spring 1942 Bronze, cast in 1943
Assembled out of a bicycle seat and handlebars, Bull's Head evokes a smile. Bold simplicity and a good coupling of two disparate bicycle parts surprise with a depiction of a bull. But then, Picasso takes it a further step, as he casts the assemblage. Now, Picasso comes full circle with another desecration. After embracing the commonplace by incorporating it into his art, he now sanctifies it with bronze. The 19th century must have been rolling in its grave.
Chair Cannes, 1961. Painted sheet metal, Musée National Picasso–Paris.
What Figure 1928 did for the line, Chair Cannes did for shape. This kooky sculpture questioned the fundamental processes of its medium. First cut out of paper, folded, and then flattened out (at this stage Picasso said it looked like a chair run over by a steamroller), craftsmen then bent a single sheet of painted metal, based on the paper template, to create an art object. Made of only one part, he manipulated the material of the work itself, to create a complex piece without soldering or welding. Only gravity holds it together. Bent and turned planes create their own negative space. With a mundane object as subject and a simple shape as a sculptural form, with bending as process and gravity as glue, Guitar Cannes, advanced both the mental and visual gymnastics of Picasso's art – not bad for an 80-year-old.
To tour this show is to explore the creative mind. How are new ideas formed? How does one find the confidence and courage to embrace them? Picasso shows the way with his unrelenting curiosity, reassessment of assumptions, and rejection of category norms. He asks big questions by challenging the opposing prejudices of painting and sculpture. His nonchalance enabled risk taking, with a take-or-leave-it attitude. What is the secret to Picasso's prolific creativity? He had fun.
Thomas McManus is a writer, artist and professor at Fashion Institute of Technology in NYC.
Tagged: Mixed Media, MoMA, Pablo Picasso, Sculpture, Thomas McManus
Paul Rand, Art in Advertising
"Mail order advertisers, as we have said, have pictures down to a science." Claude Hopkins
As you enter the Paul Rand exhibition, you can't miss a quote of his in a display case filled with his work. It proclaims, "There is no science in advertising."
Advertising has always wanted to be scientific. Clients want to know where their dollars are going. They want a return on investment. They want ads that are "two-fisted". Within this den of Philistines, Paul Rand offers an alternative. Instead of the huckster aesthetic of cold hard cash he tries to bring culture to the product. Paul Rand believes that art can be just as persuasive as science, if not more so.
Rand is an astute and eclectic salesman who embraces the art movements of the avant guard. If Matisse were a graphic designer, he would be Paul Rand. A defining style incorporates the Mediterranean color, cut-outs and simplicity of the French master.
A pharmaceutical ad is an homage to Constructivism.
A book cover for "The Captive Mind" presages Op Art by a least a decade.
An ad for Westinghouse makes a deconstructionist statement.
Rand is the last modernist before the full weight of postmodernism eclipsed his generation's optimism. His work is full of whimsy, not irony. It is a testament of how a lowly advertising art director can become one of the greatest artists of his time.
There is a saying that an ad in this morning's newspaper is used to wrap fish in the afternoon. Sometimes it is also used to line the bottom of a bird cage. But every once in a while it ends up in an esteemed exhibition, like the one running now until October 13, at the Museum of the City of New York.
Tagged: Art, Art in Advertising, Artworld, Design, Paul Rand, The Captive Mind, Thomas McManus, Westinghouse
Jeff Koons: Jeffie Goes to Hollywood
"Life is too important a thing ever to talk seriously about it." –Vera, or The Nihilists
Frankie Goes to Hollywood(FGTH), is an 80's British band that had a hit with their single "Relax". They released a greatest hits album, "Bang! The Greatest Hits Album of Frankie Goes to Hollywood". It has only one hit on it. It is called "Relax". Which brings to mind Jeff Koons. He is the Frankie Goes to Hollywood of artists. A one-hit-wonder or at best a three-hit-wonder. He also has a greatest hits album. It's now playing at the Whitney Museum of Art.
Koons is the ultimate Post Modernist. With sardonic references to art historical styles, appropriation and irony he subverts all that is dear to Modernism. One Ball Total Equilibrium Tank (Spalding DR. J 241 Series) has a basketball floating in a tank of water that is mounted on a steel table. The purity of modernism (Donald Judd) is undermined by pop imagery (Warhol). It makes an elegant simple statement while at the same time celebrating the banal. The ball isn't soldered to another piece of steel. Salt and distilled water hold it in suspension. No wires are used. It floats magically and motionlessly. You can't help but think of the late Frank Caro's obsession with weightlessness as a sculptural end game. But unlike Caro this work isn't constructivist. Koons uses water as his medium to hold a readymade in place. Like an aquarium this piece has to be routinely cleaned and the water replaced. Damien Hirst couldn't have put a shark in a tank without first being inspired by Koons.
WIth Balloon Dog (1994-2000), Koons fixates on the transformative powers of material by the manipulation of surface. Warhol's Brillo (1964) boxes are an obvious inspiration. But Koons doesn't subvert Modernism by reconstructing advertising iconography. Instead he bases his work on a readymade interpretation of reality–the balloon abstraction of a dog. The use of scale creates a surprising disruption. The piece is massive and monumental while being as fragile as a Christmas tree ornament. It appears to be cast but it is actually over 30 pieces of metal that are attached.The yellow color, surface and subject make it feel like it could float away.
Play-Doh (1994-2014) took over 20 years to build. Koons felt he couldn't finish it until technology was sophisticated enough to pull it off. Play-Doh is enormous and just sits there all mashed up into one large piece. So much for composition! Once again color, surface and texture are transformative. This is a sculpture that you feel as well as look at. The work appears to be malleable and you just want to tear off a piece and make something with it. Using constructivism to create a sculpture whose subject is clay is about as ironic as it gets. I just hope Play-Doh doesn't dry out with time.
The rest of the show is cannon fodder. You get the feeling Koons must maintain a large output to pay for La Cicciolina's alimony. His paintings are slick knock-offs of Rosenquist. There is so much camp here it feels like you are in Yellowstone National Park.
His "Made in Heaven" series really nails it. Jeffie Goes to Hollywood.
Written by Tom McManus
Tagged: Frankie Goes to Hollywood, Greatest Hits, Jeff Koons, Made in Heaven, Post Modernism, Thomas McManus


"Create innovation in your home"
For nearly 40 years the Texas Home & Garden Show series has connected home and garden professionals and consumers. These events are Texas homeowners best resource for expert advice, money saving tips, remodeling ideas, landscape features and everything you need for your home and garden. Event attendees will have access to hundreds of companies and can visit with vendors one-on-one to learn more about the latest indoor and outdoor trends and solutions. Whether you're in the market for a new roof or your home just needs a new look you'll find the experts you need to tackle all your home improvement projects.
Everything for your home under one roof for one weekend!
5 04 Oct 2018 Chris Cahill Business Development Director at International Exhibitions, Inc.
Lots of different companies were there that can take care of all of my remodeling needs!
I was sorry to see that the Fern and Orchid societies were not there this year. Part of the Home & Garden Show that I like the best is being able to buy plants.
Home & Garden Market-Dallas welcomes more than 500 exhibitors from the sectors of home improvement and gardening. This event will exhibit an extensive array of products that are related to this sector such as bathroom remodeling products, replacement windows, leisure and outdoor products, gardening equipments, home decor products, energy efficient products, bath ware and kitchen utensils, insulation and solar products. Eminent manufacturing companies and leading suppliers also take part in this focused show to present their current offerings and make new business contacts at the same time nourish existing business relationships.


Album Review of You Disgust Me by The Alchemist + Oh No (Gangrene).
Hip Hop's creativity is now drawn from a global wellspring, and vanguards are regularly born far outside of traditional hotbeds. California's own Alchemist and Oh No (the latter a blood brother to producer extraordinaire Madlib) have respectively made their mark from Beverly Hills and Oxnard, working with legends not limited to Mobb Deep, Nas, DOOM, Curren$y, and Planet Asia. Albeit a newer outfit in tandem since 2010, Gangrene has been a pet project where they attempt to form musical diamonds from unfiltered grit.
When you hear an Alchemist beat, you know it. He's refined his style over 15 years and hundreds of productions, from Prodigy's thug-rap high-water mark Return of the Mac to brilliant loosies for Dilated Peoples ("Worst Comes to Worst"), Nas ("Book of Rhymes") and Raekwon ("Surgical Gloves"). His sound moves between two poles. There are the loops woven out of all manner of sample fodder, like the superior Israeli Salad instrumental suite he released earlier this year that excavates records purchased during a trip to Israel.
A project that launched in 2010 featuring producer/rapper the Alchemist and rapper/producer Oh No, Gangrene have been a conceptual powerhouse before, offering an acid trip with 2012's Vodka & Ayahuasca, or re-creating the world of the video game Grand Theft Auto V with their Welcome to Los Santos LP from earlier in 2015. This second album of the year is as murky as its title implies, and there are plenty of hate-spitting interludes throughout the album, but this is arguably as loose as the duo have ever come off, since You Disgust Me casually strolls through the land of underground rap and lets the concepts fall where they may. In the case of the great "Noon Chuckas," it all falls toward the ugly sound of their aptly titled debut, Gutter Water, with eerie beats and angry words overflowing, but with the Action Bronson feature "Driving Gloves," it's funky spy music and modern video game drama.
Of the many lanes of hip-hop, The Alchemist and Oh No—collectively known as Gangrene—rep for the backpack thugs. And with their recently released project You Disgust Me, out now via Mass Appeal, the duo stick to their successful boom-bap sound. Being that The Alchemist has been crafting beats for the past 15-plus years, his sound has become predictable yet remained typically raw.


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No Need to Fret Over NHL Helmet Ads
December 22, 2020 Chris Ostrander
The NHL took a monumental step in allowing teams to place ads on their helmets for the 2020-21 season.
See, this is fine.
So far, the decision is being described as an effort to make good on lost advertising from the shortened 2019-20 season. The helmet ads are said to be a one-year effort in an attempt to make up lost revenue from last year. Whether that decision holds remains to be seen. It's hard to imagine the league and teams will happily turn away whatever advertising dollars can be generated by the ongoing placement of ads on helmets.
At the very least the status quo will be different for this coming year. Ads have made their way to the NHL's uniforms, that ice has been broken, just a few short years after the NBA placed ads on their jerseys. The NHL's jerseys remain untouched for now and I suspect they'll remain that way for at least a few more years.
Even if this doesn't wind up as a one-year trial, the helmet ads ought to satiate the league, owners and advertisers enough that nothing is added to the jersey. Gary Bettman has described the jerseys as sacred and I can take him at his word on that. If helmet ads are the trade-off for the jerseys remaining untouched, possibly indefinitely, that's a fair trade to take.
Naturally this is a fraught issue. If you're a uniform purist, you'll hate the decision. After all, there are some fans out there who hate that there's any advertising on or around the field of play, let along the uniforms.
One interesting note is that ESPN has reported teams can include two advertisers if they wish. Meaning it's conceivable that a team would have one advertiser for their home jersey and another for their away jersey.
I'm not as worried about the addition. It's disappointing to see the league backed into this corner. But it's not as if there's any sort of storied history with the sides of hockey helmets. It wasn't long ago that teams had to navigate the maker's mark on helmets, so this isn't equivalent to swapping the crest for a Honda logo.
The key for this is integrating the logo with the uniform. Advertisers on soccer uniforms are just part of the scenery these days and that's due, in part, to how they're mixed with the jersey's design. So long as these logos work with the team's color scheme, they won't be a distraction.
As of writing this post, the Devils, Predators and Capitals have released the company whose decal will be on their helmets. None of the three look particularly bad. Even the black and red Bridgestone logo doesn't look horrendous mocked up on the Predators helmet. Maybe I feel this way because I'm not typically bothered by this sort of thing (sponsor banners in the rafters is another story). If the logo is cool and isn't gigantic, it will probably look okay. For exampke, Nashville using just the B in Bridgestone's logo is a heck of a lot different than using their entire wordmark. Capital One's red white and blue colors mix perfectly with Washington's uniform. So, they work. They logos don't look gigantic, they're not dominating the helmet and I'm willing to bet by game 33 you'll hardly notice them.
What does this mean for the Sabres? There hasn't been any report of which company will be advertising on their helmet. Their partner page offers an interesting mix of possibilities. Some of the logos are better than others when it comes to fitting on a helmet. The Docmentelligence wordmark wouldn't look quite as aesthetic as the StubHub or Labatt logo might look. I'm pretty sure so long as the Sabres have wiggle room with colors – so to avoid a red or green logo on their helmets – they'll be in fine shape.
This is far from ideal. I'd much rather see those sharp alternate logos on the Sabres' helmets as opposed to KeyBank. But it's hardly a federal case (and probably not worth 700 words of text). The Sabres jerseys are still going to look incredible and that's really all that matters.
Buffalo Sabres, NHLBuffalo Sabres, NHL, NHL Helmet Ads
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"Crested Butte is the only ski town that has bigger revenues in the summer than the winter. I don't think that summer is so strong—it's because winter has been so weak," Norton said.
Norton said he had heard at the recent Crested Butte economic assessment community focus groups that ski town revenues are "always higher during the summer than the winter." Norton said he questioned the statement and found it is true only for Crested Butte, not other similar ski towns.
Norton reported that Telluride receives $4 million annually from sales tax, while Crested Butte has budgeted less than $1 million in revenues for 2008.
"Skiers spend money, and the reason sales tax is greater in the winter (for Telluride) rather than the summer is because there are more skiers and they buy more than summer guests," Norton explained.
Plans to expand the ski area onto the 11,145-foot-high Snodgrass Mountain, adjacent to Mt. Crested Butte, have come and gone for more than two decades. In 1982, the Forest Service approved a CBMR proposal to develop Snodgrass to increase more intermediate skier terrain. However, the plans fell short when the resort was unable to move ahead due to financial trouble.
In 1994, the resort forwarded its second request to expand onto Snodgrass, but CBMR put the project on the "back burner," citing community opposition and other factors.
In 2005, plans for Snodgrass resurfaced, as the resort, under new ownership, submitted a new proposal to the Forest Service. The geological hazard report released by the Forest Service in 2006 said landslides and slope movements on Snodgrass Mountain were the main concerns that development of the mountain would pose. CBMR disputed the claims and hired consultant Jim McCalpin to conduct an independent geological study of the mountain.
Earlier this year in April, Norton appeared before the Crested Butte Town Council to give an update on the progress of the resort's plans for Snodgrass. The Friends of Snodgrass Mountain, a local non-profit group that has vocally opposed the resort's plans to develop, then gave a counter-point presentation to the Town Council on Monday, September 10.
Monday's presentation was in rebuttal of the Friends of Snodgrass presentation. Town Council member Skip Berkshire reiterated that the session was purely informational and public input would be solicited only if there was time after the presentation.
Norton started his presentation by asking the Crested Butte Town Council candidates to "reconsider the idea of expansion onto Snodgrass." Norton said it appeared to him that the candidates had made up their minds about the issue, based on their responses printed in the Crested Butte News.
"I invite you to get involved beyond the town's boundaries," Norton suggested to the candidates.
Norton said he felt the Friends for Snodgrass presentation did not address Crested Butte's economic situation.
"We really can sink or swim together—it's very difficult for one town to have boom or bust and not the other," Norton said.
Norton reported the resort's performance and the community's economy are interrelated and both have experienced the impact of fewer skiers on the mountain. Norton reported that CBMR has experienced fewer skier days than the state average for the past ten years, while Colorado experienced record years during the same time.
Norton, comparing Crested Butte to neighboring ski resort town Telluride, said in the mid-1980s Crested Butte had an average of 300,00 skier days, while Telluride had only 175,000 skier days.
"Telluride was going nowhere at the time, and 10 years ago Crested Butte was bigger than Telluride and now they are bigger than us," Norton said of the other town's current success.
Norton claimed Telluride's increased success was linked to its expansion and the amount of intermediate terrain offered at the resort.
According to a 2002 Colorado Ski County USA study Crested Butte ranks fifth from the bottom for intermediate terrain. Intermediate terrain was defined in the study as anything except double black diamond runs. Crested Butte provides less terrain than Eldora and slightly more than Monarch Ski Area.
Norton said Crested Butte cannot compete with destination resorts that have up to 3,000 to 7,000 acres of intermediate terrain.
"The ski resort has performed more poorly than any other ski resort in Colorado because of the dearth of intermediate terrain," Norton said.
Tim Mueller, co-owner of CBMR, explained the success the company's other two resorts—Okemo, Vermont and Mount Sunapee, New Hampshire—was also linked to the amount of intermediate terrain offered. Both resorts cater to the intermediate skier, which Mueller argued is the average type of skier.
Mueller said when he and his wife, Diane, purchased Okemo it posted 90,000 to 100,000 skier days, had only three service lifts, and lacked adequate lodging, but now the resort was a destination weekend resort posting 200,000 to 500,000 skier days. Mueller also reported growth and expansion helped with the development of Mount Sunapee—in four years, skier visits increased from 109,000 to 270,000.
"The reason that happened was because of the expansion that took place," Mueller explained.
CBMR's new chief marketing officer, Ken Stone, who came from Telluride, also mentioned that intermediate terrain plays a role in a resort's success. Stone said expansion at Telluride helped the resort increase its Colorado market share and insulated it from bad snow seasons.
Despite Telluride's experience, the Friends of Snodgrass argued in their presentation that most ski resorts in Colorado that expanded did not necessary improve skier days. Stone, however, said skier days alone are not the "best" indicator of success of expansion.
Mueller agreed and said most ski resorts expand for different reasons and not only for increasing skier days. Rather, the resorts aim to decrease the density on the mountain, decrease the lift lines, and improve the skiers' experience. "We don't have that problem in Crested Butte," Mueller added.
Travel to and from the area has also become a concern, Norton said, with both American and United airlines cutting back service this winter. United Express will have only two flights per day from Denver this winter, while American has cut back to one flight per day from Dallas. Norton pointed there will be fewer flights this winter than in 1985.
"The airline people said we will give you more airline service when there is demand for service," Norton said.
Morgan also said the effects on the community were going to come from the North Village development—not expansion on Snodgrass—and argued, "Why not receive revenue along with the impacts?" Morgan noted CBMR is the largest business in the Town of Mt. Crested Butte.
"I would like to see us utilize our resources to maximize our revenues," Morgan said.
Crested Butte Town Council member Ron Chlipala said he would rather not comment on the presentation, as he anticipated more interactions in the future, but said sales tax revenue is of concern and noted sales tax "comes with people," indicating tourism brings dollars into the community.
Berkshire asked where CBMR was in terms of submitting their plans to the Forest Service. Norton said the final geology report by McCalpin would be completed by November 15 and then would be submitted along with the original Forest Service report to the United States Geological Survey, which would provide a final review by January.
The plan of operation would then be submitted to the Forest Service and the NEPA processes would begin. Prior to NEPA process, CBMR will host a community meeting on the plan. CBMR would also start the county permitting process at the same time. NEPA is the National Environmental Policy Act, which analyzes environmental impacts of major projects.
"The debate on the geology of Snodgrass is coming to an end… We don't have any concerns about endangering life, run-off, causing earth-flows, etc.," Norton said. "More is known about the geology of Snodgrass than any other mountain," he added.
CBMR's plan includes three major lifts and three surface lifts, which would access intermediate to lower intermediate terrain with limited lift access to expert terrain, however, the plan could change, Norton said.
Berkshire once again expressed his frustration with the debate over development on Snodgrass and said presentations and counter-presentations were not "beneficial for the community." He said he was worried the issue could become the "the stake in the heart" for the community.
Crested Butte resident Michele Simpson, the only person in the audience of 50 allowed to ask a question, said development on Snodgrass was "obviously a controversial issue," and asked Norton when CBMR planned to host a public forum on the issue during which residents could ask questions and provide feedback.


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Surprise! Trump is making stuff up ahead of the midterms
The midterms are pushing the president to new levels of bullshit.
by Carter Sherman
November 2, 2018, 8:04pm
The United States is just days away from an election that will likely put Democrats in control of the U.S. House and check Donald Trump's power. And that impending deadline has pushed the president to new levels of bullshit.
Throughout the first nine months of his presidency, Trump made an average of five false or misleading statements a day, the Washington Post fact-checking team found Friday. Now, the Post found, the president is spouting about 30 such claims per day.
"He says things at every appearance that need a fact-check," said Angie Drobnic Holan, who edits the nonpartisan fact-checking outlet PolitiFact. Trump is holding rally after rally to support Republican candidates — events where Trump is frequently at the height of his imaginative powers — and generating about 35 to 45 claims at each one, according to the Post's tally.
Trump's tendency to make false statements is, of course, nothing new. He kicked off his political career by questioning whether Obama was born in the United States. (Obama was.) And he started his presidency by sending out then-Press Secretary Sean Spicer to insist to reporters that Trump's inauguration drew "the largest audience ever to witness an inauguration, period, both in person and around the globe." (It didn't.) Lately, though, his lies have clustered around a handful of politically advantageous topics, like immigration and health care.
For David Greenberg, a professor of history, journalism, and media studies at Rutgers University, Trump's casual approach to the truth is a hallmark of the current "explosive, high-strung, fearful moment" in American history.
"We, the American public, are more ready to call these things lies than we used to be," Greenberg said. "We are more ready to ascribe nefarious motives to the politicians we disagree with than we used to be."
The new Willie Horton
In a Thursday speech at the White House about immigration and border security, for example, Trump said that people seeking asylum in the United States don't show up for their court dates. "It's like a level of 3 percent. They never show up for the trial," he said.
There's little evidence to support that claim. In fact, 99 percent of asylum-seeking families enrolled in one Obama-era program showed up for court and regular check-ins with immigration authorities for more than 18 months, according to an executive involved in the program.
During that same speech, Trump also said that up to 20 million undocumented immigrants could be living in the country. "The record-keeping from past administrations has not exactly been very good," he added to reporters. Trump's own administration estimated that, as of 2014, 12.1 million undocumented people lived in the United States.
"We fact-checked President Barack Obama regularly, because he was the president. We would fact-check any president on a regular basis," Drobnic Holan said. While Obama would make false statements while speaking off the cuff to journalists, she said, his prepared speeches typically needed one or two fact-checks — one of which might qualify as "half-true."
"With Donald Trump, it's a totally different dynamic," Drobnic Holan said. "He makes multiple false statements."
Perhaps most notably this week, Trump pinned a racially charged ad to the top of his Twitter account, where he has 55.6 million followers. The ad depicted Luis Bracamontes, who was convicted of killing two police officers in 2014, and proclaimed, "Illegal immigrant, Luis Bracamontes, killed our people! Democrats let him into our country. Democrats let him stay."
Bracamontes last entered the country illegally under a Republican administration, PolitiFact found. The outlet judged the ad to be "pants on fire" — as in, liar, liar.
The ad also evoked the infamous "Willie Horton" ad, which aired during the 1988 presidential election in support of George H. W. Bush and depicted a little-known, at the time, black felon named William Horton. A convicted murderer, Horton escaped from a weekend prison furlough and later raped a white woman. The ad went after Bush's opponent, Michael Dukakis, for supporting the weekend furlough program and declared, "Weekend prison passes: Dukakis on crime."
"Certainly, other presidents have used racist insinuations, imagery dogwhistles," Greenberg said. "For Trump, it's like on the front of his agenda. It's at the forefront of his rhetoric in a kind of fairly consistent way. And that is something that we're not used to."
Following in Trump's footsteps
At a rally in Florida on Wednesday, Trump told supporters, "We will always protect Americans with pre-existing conditions. Always. Always."
History would indicate otherwise. Republicans have repeatedly taken steps to weaken the Affordable Care Act's (ACA) protections for pre-existing conditions, from trying to repeal and replace its legislation to launching a lawsuit against the ACA.
That record is now dogging Republicans, as the ACA remains popular among 49 percent of Americans, according to a poll by the Kaiser Family Foundation. Republican Sen. Ted Cruz claimed earlier this month that he "will protect pre-existing conditions." But last July, he introduced an amendment that, a leading insurance group said, would make coverage for people with such conditions skyrocket.
And Missouri Attorney General Josh Hawley, who's running for Democratic Sen. Claire McCaskill's seat, released an ad announcing that he supports "forcing insurance companies to cover all pre-existing conditions." But Hawley has signed onto a lawsuit that would dismantle the Affordable Care Act, including its protections for pre-existing conditions. "I would say the Republicans are following President Trump's example of being able of just not needing evidence to make allegations," said Drobnic Holan, though she added that not all Republicans do so. "It's not like the Democrats are innocent. But they're not just as extreme in the fabrications and falsifications as the Republicans are."
"I do think there has been some trickle-down of the Trumpian sort of 'black is white, day is night'-style into the Republican bloodstream," Greenberg agreed. But, he pointed out, elections and shifting political winds often lead politicians to reframe their record in opportunistic ways. American voters understand that.
"The Republicans are now changing their tune and sort of opportunistically sort of be more for it," he said of the Affordable Care Act. "I think that is really pretty common to what politicians do. I don't see that as a particularly Trumpian move."
"I do try"
Trump is, of course, not the first president to lie — and past presidents have lied big league. Bill Clinton told a grand jury, of Monica Lewinsky, "There's nothing going on between us." (There was.) After a burglary at the Watergate Hotel, Richard Nixon said, "No one in this administration, presently employed, was involved in this very bizarre incident." (They were.)
But Trump admits that his relationship with the truth is an open one. On Wednesday, an ABC News reporter asked Trump, "In the campaign, you made a promise. You said, 'I will never lie to you.' So can you tell me now, honestly, have you kept that promise at all times? Have you always been truthful?"
"Well, I try. I mean, I do try," Trump said. "I think you try, too. You say things about me that are not necessarily correct. I do try, and I always want to tell the truth. When I can, I tell the truth."
"I mean sometimes it turns out to be where something happens that's different or there's a change," he went on. "But I always like to be truthful."
Cover image: President Donald Trump waves off a reporters question as he speaks to members of the media on the South Lawn before boarding Marine One at the White House in Washington, Friday, Nov. 2, 2018. (AP Photo/Andrew Harnik)
Tagged:PRESIDENTVICE NewsDonald TrumpRepublicansCaravanlying


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Given the burgeoning human population in India in particular and world in general, many decisions taken in the 'interest of society', invariably spell doom to the natural wealth of the land, with green-cover rapidly cleared to make room for an ever expanding human society. This is destined to backfire, for the very foundation of healthy life is based, among other things, on a clean environment, abundant rainfall, fertile soil and pure water. It is therefore the need-of-the-hour, even in the interest of human society, to generate a greater respect for nature and to check over-exploitation of natural resources. More important, however, is for us to recognize the right for all life forms to exist independent of human whims and fancies, a right that is rarely ever acknowledged. Fruition of each of these goals is a long way off, but every step taken with this intention is a step taken in the right direction.
Figure: The agricultural lands visible in the background give an idea of the extent of deforestation this region has experienced. "In Search of Forest…."
Bylaws People Acknowledgements About the Logo
BCRT attempts, in its own modest way, to correct for this appalling imbalance and change the way we view nature. Conservation practices are adopted both actively and passively. Based primarily in Anuganalu, a village in Karnataka, India (at the foot of the verdant Western Ghats), BCRT has established a nursery that grows local and forest plant species. Being native to the region, local flora require little or no attention but benefit the farmer immensely by enriching soil fertility, recharging ground water and preventing soil erosion. BCRT encourages farmers to grow these in addition to their own crops, and has already distributed hundreds of thousands of saplings to farmers. A vast, deep pond, silted over the years, is being de-silted for creating a lake that would not only enhance the local bio-diversity by supporting local flora and fauna, particularly as a bird-habitat, but would also benefit the denizens of the village by recharging ground water. Human activities were minimized around a barren stretch of rocky land, about 15 acres, which belongs to Anuganalu. The result was evident within three years when a slow regeneration of the forest that once, not so long ago, stretched up to the village was noticed. This area is now completely green thanks to additional efforts from BCRT to afforest it.
Medicinal plants are grown here in order to preserve indigenous knowledge in medicine. BCRT conducts workshops to sensitize villagers to the importance of natural wealth and the direct influence it has on the quality of their lives. Organic farming, soil and water conservation methods have been implemented in and around Anuganalu. BCRT also works with central and state government institutions like Karnataka Biodiversity Board, Forest Department, Jalanayana and Department of Agriculture. It is currently working to protect bio-diversity in a hill close to the village by establishing a wildlife sanctuary.
The ultimate objective of BCRT, in addition to conservation and documentation, is to support and conduct research in plant biology particularly by involving farmers right from the beginning. This involvement of end-users (farmers) serves as a tool to preserve and protect the indigenous vegetation.
The activities of BCRT have proved to be nothing short of inspirational to the people whose lives it has touched. Several have returned with the intention of establishing a similar system in their own villages. The government and the forest department have always backed its activities as BCRT looks forward to a steady growth in this goodwill and camaraderie.
While you are here, we would urge you to read the history behind our organization and browse through the projects we have handled over the last five years of our existence. We welcome your feedback and look forward to your participation!


text:
(L-R) Stephen Greenblatt and Adam Phillips (photo by Jerry Bauer).
Office of Development and Alumni/ae Affairs Presents
The Anthony Hecht Lectures in the Humanities
Campus Center, Weis Cinema
5:00 pm – 6:30 pm EST/GMT-5
Second Chances: Shakespeare and Freud
Renowned scholars Stephen Greenblatt and Adam Phillips will deliver the Anthony Hecht Lectures in the Humanities in honor of preeminent poet, alumnus, and former Bard faculty member Anthony Hecht '44. Greenblatt, who is the John Cogan University Professor of the Humanities at Harvard University, and Phillips, who is a visiting professor in the Department of English at the University of York, will present the lecture series, "Second Chances: Shakespeare and Freud." Yale University Press will publish the lectures.
The lecture series includes "Shakespeare's First Chance" by Stephen Greenblatt and "Freud's First Chance," by Adam Phillips on Thursday, November 10, at 5 pm; "Second Chances: For and Against" by Adam Phillips on Friday, November 11, at 10 am. Free and open to the public, these lectures will take place in Weis Cinema of the Bertelsmann Campus Center at Bard College. A reception precedes each lecture. For more information about this lecture series, please call (845) 758-7405.
Download: News-Release.pdf
For more information, call 845-758-7405, or e-mail [email protected].
Time: 5:00 pm – 6:30 pm EST/GMT-5
Location: Campus Center, Weis Cinema


text:
Q: Delphi 7: Reading a block of Bytes from a TFileStream & copying to TMemorySTream I've written a Delphi program which creates MJPEG files, which can be several GB in length. The JPGs are grabbed from a DirectX camera using DSPack. That part works fine and creates a file of JPG images in the format:
FF D8 ....(image data)... FF D9  FF D8 .... (image data)... FF D9 FF D8 etc
FF D8 marks the start of a JPG and FF D9 marks the end.  Each JPG is around 21KB in size.
Now, I'm trying to write a matching MJPEG player.
In the Form's FormCreate procedure, I create a FileStream and display the first JPG which works fine:
procedure TForm1.FormCreate(Sender: TObject);
var
  b: Array[0..1] of Byte;
  jpg: TJPEGImage;
begin
 :
 :
   MemoryStream:= TMemoryStream.Create;
   jpg:= TJPEGImage.Create;

   MJPEGStream:= TFileStream.Create(MJPEGFileName, fmOpenRead);

   MJPEGStream.Position:= 0;

   repeat
      MJPEGStream.Read(b[0], 2);            // Find end of first jpg
      MemoryStream.Write(b[0], 2);          // and write to memory
   until (b[0] = $FF) and (b[1] = $D9);

   MemoryStream.Position:= 0;
   jpg.LoadFromStream(memoryStream);
   Image1.Picture.Assign(jpg);
   MemoryStream.Free;
   jpg.Free;
end;

I leave the FileStream open so, hopefully, its Position pointer is retained.
I have a button on the form, the intention being to jog forwards one JPG at a time but, although the first 'jog' advances one JPG, subsequent jogs advance a random number of times. Here's the procedure:
procedure TForm1.btnJogForwardClick(Sender: TObject);
var
   b: Array[0..1] of Byte;
   jpg: TJPEGImage;

begin
    MemoryStream:= TMemoryStream.Create;
    try
       repeat
          MJPEGStream.Read(b[0], 2);
          MemoryStream.Write(b[0], 2);
       until ((b[0] = $FF) and (b[1] = $D9));

       MemoryStream.Position:= 0;
       jpg:= TJPEGImage.Create;
       try
         try
           jpg.LoadFromStream(MemoryStream);
           Image1.Picture.Assign(jpg);
         except
         end;
       finally
         jpg.Free;
       end;
    finally
       MemoryStream.Free;
  end;

I've checked with a 3rd Party MJPEG player and that is able to jog frame by frame so I know the MJPEG file is ok. Any suggestions as to why my procedure isn't stepping uniformly frame by frame would be appreciated.
Thanks,
John.

A: Thanks for the comments and suggestions.  I think I've managed to sort it.
const
  JPGSizeMax = 100000;

procedure TForm1.FormCreate(Sender: TObject);
var
   b: Array[0..JPGSizeMax] of Byte;
 :
 :
begin
 :
 :
MJPEGStream:= TFileStream.Create(MJPEGFileName, fmOpenRead);
MJPEGStream.Position:= 0;

MJPEGStream.Read(b[0], JPGSizeMax);
for i:= 0 to JPGSizeMax do
begin
   if (b[i] = $D9) and (b[i-1] = $FF) then
   begin
     Count:= i;
     break;
   end;
end;

MemoryStream.Write(b[0], Count);
FilePosition:= Count + 1;

MemoryStream.Position:= 0;
jpg.LoadFromStream(memoryStream);
Image1.Picture.Assign(jpg);

MemoryStream.Free;
jpg.Free;

end;
The procedure for the Jog button is much the same:
MJPEGStream.Position:= FilePosition;

MJPEGStream.Read(b[0], JPGSizeMax);
for i:= 0 to JPGSizeMax do
begin
   if (b[i] = $D9) and (b[i-1] = $FF) then
   begin
     Count:= i;
     break;
   end;
end;

  memoryStream.Write(b[0], Count);
  FilePosition:= FilePosition + count + 1;

// etc

Thanks again for pointing me in the right direction.
John.

redpajama_set_name: RedPajamaStackExchange


text:
Should Michigan Taxpayers Have Been Forced to Spend $30 Million on 'Iron Man 3'?
By Tom Gantert | October 23, 2011
News reports state the movie makers of "Iron Man 3" left Michigan for North Carolina because Michigan wouldn't meet demands for up to $30 million in incentives for the production company.
While Senate Majority Leader Randy Richardville, R-Monroe, implied Gov. Rick Snyder's administration made a mistake in losing Iron Man 3, the Mackinac Center for Public Policy's James Hohman says politicians should have much higher priorities for state tax dollars.
For instance, Hohman, assistant director of fiscal policy, estimated that 4,892 families that were kicked off welfare this year could get assistance again with $30 million.
Also, it would take all the tax receipts of nearly 2,000 small businesses to pay for that $30 million subsidy, Hohman estimated.
Sen. Richardville said negotiations for film tax incentives were ongoing to bring a Steven Spielberg movie to Michigan. Spielberg's net worth is estimated to be $3 billion.
"Legislators have serious prioritization problems if they would rather give $30 million to Steven Spielberg than to improve Michigan's business climate or bolster its human service programs," Hohman said.
Sen. Richardville told AM-1270 host and WWJ political analyst Charlie Langton that Gov. Snyder's administration does not want an encore of what happened with "Ironman 3," which went to another state.
"We will have learned from the Iron Man lesson," Richardville said. "That's one thing about this administration — you can't be perfect with everything you do. … The governor would be the first to admit that he made mistakes. … They learned from that and now are out negotiating on a Steven Spielberg movie, and I can't really get into a whole lot of detail now. You could be hearing something very, very exciting over the next couple of weeks."
Sen. Richardville didn't respond to an email seeking comment.


Check out my response to a recent Q/A response.
This entry was posted on Wednesday, July 16th, 2008 at 9:44 pm	and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.


text:
Most Popular Marriage Halls In Chennai!
Chennai is a bustling with event venue options. It offers an option for every type of venue search whether it is indoor or outdoor, expensive or affordable, grand or intimate. In this blog, we bring you a comprehensive list of the most popular marriage halls in Chennai. Each of these venues stands out for its amenities and services that will make your big day unforgettable. Each venue has something that makes it special. No wonder they are so famous and sought after wedding halls in Chennai.
In no particular order, here's a quick glimpse of the popular marriage halls located in Chennai.
Kuchalambal Kalyana Mandapam
Located centrally in Chetpet, Kuchalambal Kalyana Mandapam is one of the popular marriage halls in Chennai. The spacious hall can accommodate up to 1000 guests and the dining area can accommodate up to 220 guests at once. In addition to that, there is also adequate parking space available. Moreover, the centrally air-conditioned wedding hall has a well-equipped kitchen that can cater to the various cuisine demands.
Address: 24, McNichols Road, Dasspuram, Chetpet, Chennai, Tamil Nadu 600031
Shri Vaaru Venkatachalapathy Palace
Shri Vaaru Venkatachalapathy Palace is a spacious and contemporary hall offering superb service. It has indoor as well as outdoor spaces. Similarly, the hall has a well-maintained landscape with lush lawn and fountain which adds to the beauty of the venue. This huge hall can accommodate up to 1200 guests. Furthermore, it has 22 air-conditioned rooms that will take care of your guest's stay.
Address: No. 103, LBR Garden, Vanagaram-Ayanambakkam Road, Off Poonamallee High Rd, Chennai
Sri Krishnaswamy Kalyana Mandapam
Sri Krishnaswamy Kalyana Mandapam in T Nagar has a spacious dining hall, modern kitchen and air-conditioned rooms that take care of every need of your guest. The Kalyana Mandapam has a fine and appealing architecture. Likewise, they offer excellent amenities suitable for weddings, engagements, birthday parties, exhibitions, conferences etc. In fact, it is an architect designed Kalyana Mandapam.
Address: No.62, (Old No. 31), S Boag Rd, Anna Colony, T Nagar, Chennai, 600017
Raghavendra Mandapam
Raghavendra Kalyana Mandapam is a very popular wedding hall not only in Chennai but in Tamil Nadu itself. Its popularity is quite obvious as it belongs to none other than Superstar Rajinikanth. Located in Kodambakkam, it is a huge venue and can easily accommodate about 1600 guests.
Address: No. 29 B, Main Road, Viswanathapuram, Kodambakkam, Chennai
Mayor Ramanathan Chettiar (MRC) Hall
The famous Mayor Ramanathan Chettiar Hall is a prominent wedding hall in Chennai. It is named after Ramaswami Ramanathan Chettiar, an astute businessman, politician and the first director of RBI. The long galleries around the hall is a striking feature that distinguishes it from others. The main hall is very spacious. As a result, it has a seating capacity of 1000 guests and floating capacity of 1200 guests. Valet parking is available for about 150 cars and 100 bikes at once.
Address: No75/2, Santhome High Road, M.R.C. Nagar, R.A. Puram, Chennai
AVM Rajeshwari Kalyana Mandapam
AVM Rajeshwari Kalyana Mandapam is a prestigious marriage hall in Chennai located in the culturally rich Mylapore area. In fact, this luxurious marriage hall was originally called the Devakottai House belonging to AV Meyappan and his wife Rajeshwari Meyyapan. After their demise, it was converted into a wedding hall in their memory. As a matter of fact, it has the capacity to easily accommodate 900 guests in seating and 1200 guests in floating.
Address: 97, Dr Radhakrishnan Road, Mylapore, Chennai 600004
Em El Em Kalyana Mandapam
The large and grand Em El Em Kalyana Mandapam is the ideal venue for classy and intimate functions. Likewise, its opulent decor forms the perfect backdrop for your ceremony. The hall can accommodate approximately 1100 guests. Furthermore, the adjacent mini hall is perfect to host parties for a smaller crowd of 350 people. Similarly, it has a modern kitchen, dining area, and ample parking area. You have the flexibility to use outside catering and photography vendors. However, you have to work only with their in-house venue decorator.
Address: Mahalingapuram Main Road, Chennai
ICF Thirumana Mandapam
The ICF marriage hall in Ayanavaram is among the popular halls in Chennai. It has a seating capacity of 700 and the dining hall can accommodate up to 200 people at once. It is a good affordable air-conditioned hall with basic amenities.
Address: Ayanavaram Rd, Gandhi Nagar Colony, ICF North Colony, Ayanavaram, Chennai, 600038
Bapalal Bhavan
The Bapalal Bhavan in Thiruvanmiyur is a well-known air-conditioned wedding hall. It is best suitable for hosting mid-sized parties for about 350 guests. The hall has a beautiful wood panelled stage that adds to the charm of the place. They also have spacious and clean air-conditioned guest rooms. Moreover, the hall has ramp access, generator backup and lift facility to care about the needs of your guests.
Address: 1st Seaward Rd, Valmiki Nagar, Thiruvalluvar Nagar, Thiruvanmiyur, Chennai 600041
Sadayappa Kalyana Mandapam
The Sadayappa Kalyana Mandapam is one of the oldest air-conditioned marriage halls in Chennai. It has a huge hall that can comfortably host up to 1000 guests. It is not only a huge hall but also has all the basic amenities and infrastructure that you may want while planning a wedding ceremony and reception. In addition, they also have a large parking lot to ensure convenient and quick parking.
Address: No 85 A, Bangalore National Highway, Thirumazhisai, Chennai 600124
Nathella Sulochanamma Kalyana Mandapam
Located in Koyambedu, Nathella Sulochanamma is an elegant and tastefully designed wedding hall in Chennai. They have beautiful decor across the hall that leaves a pleasant first impression. In addition, the main hall has a seating capacity of 1200 people. Likewise, the hall has a modern kitchen, spacious dining area (for 350 people), parking space and power backup facility.
Address: North Road, Janakiraman Colony, Koyambedu, Chennai, Tamil Nadu 600107
Hema Malini Kalyana Mandapam
Hema Malini Hall is a very famous Kalyana Mandapam in Royapettah. It is an ideal venue for a wedding, birthday party, social or corporate event. The hall has a grand decor and a beautiful design. They have designed the hall tastefully keeping the appeal and comfort in mind. Hence, it is one of the popular marriage halls in Chennai to hold large size parties and functions.
Address: Avvai Shanmugam Salai, 272, Avvai Shanmugam Salai, Royapettah, Chennai 600014
Sri Gajalakshmi Kalyana Mandapam
Sri Gajalakshmi is yet another famous wedding hall on Poonamallee High Road in Thiruverkadu. It is not only a grand Kalyana Mandapam with an amazing Dravidian architecture but also a spacious one. It can comfortably seat up to 450 guests and has ample parking space. Similarly, the interiors are plush with high ceiling and superior quality decor.
Address: No 31, P. H Road, Velappanchavadi, Thiruverkadu, Chennai 600077
Dwaraka Kalyana Mandapam
Dwaraka Palace is a centrally located, well architected Kalyana Mandapam with outstanding features and excellent amenities. In addition to a hall, it also has a party lawn. It is built within the Sri Sri Krishna Balaram Temple complex in Valmiki Nagar, Thiruvanmiyur. As the hall is close to the sea-shore, it is a natural haven. As one of the popular marriage halls in Chennai with a very good ambience, it can accommodate up to 900 guests.
Address: 63, 1st Seaward Rd, Valmiki Nagar, Thiruvalluvar Nagar, Thiruvanmiyur, Chennai 600041
Panigraha Kalyana Mandapam
Panigraha Kalyana Mandapam is located at West Mambalam in Chennai. It has a spacious dining hall, modern kitchen with sophisticated equipment and well-maintained air-conditioned rooms. As a result, the amenities here are excellent and incomparable. In fact, it is an architect designed Kalyana Mandapam suitable weddings, engagements, birthday parties, get-togethers etc. It has a seating capacity of 300 people. Though the interiors are simple, the hall and stage offer enough scope for graceful decorations.
Address: 9/A Arya Gowda Road, West Mambalam, Chennai, Tamil Nadu 600033
Rajalakshmi Hall
With a huge area of 8000 square feet, Rajalakshmi hall in Kilpauk exhibits sheer grandeur and comfort. Hence, it is ideal to host a wedding, reception and engagement parties. In fact, it can accommodate 500 guests at any given time. Additionally, the dining hall in the basement is big enough to seat 400 guests. Rajalakshmi hall is definitely a great choice for a wedding hall.
Address: Poonamallee High Rd, Dasspuram, Kilpauk, Chennai
Ramakrishna Kalyana Mandapam
Ramakrishna Kalyana Mandapam is in West Mambalam, Chennai. As a result, it is easily accessible from across the city. Furthermore, it is well-maintained, clean and offers some great amenities at an affordable price. It has a capacity to host about 500 guests at a time making it a good catch at an affordable price. The dining hall can accommodate up to 120 guests.
Address: No 33, Raju Naiken street, West Mambalam, Chennai
Sree Guha Thirumana Mandapam
Sree Guha wedding hall is a well-known air-conditioned wedding venue in Alwarthirunagar, Chennai. It has a seating capacity of 500 and floating capacity of 1000. As a matter of fact, it is one of the very few halls in Chennai that offers good amenities at an affordable price. It also offers ample parking spaces and air-conditioned rooms for the convenience of its guests.
Address: 44\13, Gandhi St, Alwartirunagar, Valasaravakkam, Chennai 600095
Sri Bhuvaneswari Kalyana Mandapam
Sri Bhuvaneshwari Kalyana Mandapam in T Nagar is an air-conditioned wedding hall. It has a seating capacity of 600 and floating capacity of 1500. Likewise, it provides ample facilities suitable for conducting weddings and receptions. In addition, it also offers valet parking, air-conditioned rooms and generator backup.
Address: Dr Singavelu St, Pondy Bazaar, T Nagar, Chennai 600017
Hope you find our above list of the popular wedding halls in Chennai useful.
Planning a big Indian wedding on the cards next? Trust us, finding a venue is just the beginning of your wedding bucket list! But BigFday has your back covered with our network of venues with exclusive discounts and wedding planning professionals like decorators, photographers and makeup artists! Get in touch with us for a hassle-free event planning experience.
Categories: Conferences
Tags: kalyana mandapams in chennaipopular marriage halls in chennaipopular wedding halls in chennai
Iris Hotel Chennai – An Exquisite Experience For Events & Stay
Whether your stay in Chennai is a short business trip or a long vacation, we have the perfect hotel for you. From its amenities to its design, everything about the Iris Hotel Chennai emanates luxury. Located Read more…
Corporate Travel Management Services For Conferences and Events in GOA, India
Goa is the land of sun, sand and seafood. Undoubtedly, it is India's tropical paradise. Due to its relaxing beaches, water-activities, vibrant culture and comfortable climate conditions, it naturally attracts tourists globally. While Goa is Read more…
Hyatt Regency: An Elegant and Flawless Wedding Venue In Chennai!
Hyatt Regency Chennai is an upscale high-rise business and leisure hotel which stands out for its signature sun-filled atrium lobby, water features and green landscaping. The plush property spans over a land area of approximately 2,00,000 Read more…


text:
Gama Analysis — GTA 5
This essay 2, you will provide a detailed game description (a summary of the game's premise, its gameplay, its virtual environment, music, characters) in addition to outlining of its studio history and reception. The emphasis of the essay, however, is ANALYZING the game (linking its major themes and gameplay to an argument on what you think the game is about with respect to larger social or cultural categories such as gender, race, geopolitical economy, etc.). Like the essay 1 (the previous essay of this course ), you'll be required to research, write. This essay will be 2000-2500 words and will also require 8 sources (3 academic sources required), 2 of which must deal with the game directly. This is an in-depth game analysis, conducted as an extension of the work you did in the first essay. See following for what I did on previous essay and detailed description of this essay 2.
The first essay you finished was a historical survey on Rockstar Games and GTA series (especially GTA 5). You were able to research your game company's history and to evaluate responses to it. The nice thing about this approach is that while you were relieved from having to produce a detailed argument, you were also guided toward the central preoccupations of those who have begun to think critically about the game. So you can really think of essay 2 as an extension of this piece (1), where you take up significant thematic strands within the game (plot, objectives, character, gameplay, soundtrack, etc.) and rebind them to the concerns identified in essay 1. Essentially, this means that you'll be finding ways to relate what takes place within the world of the game to events taking place outside of it in a "real" world of social, political, and economic upheaval.
The relationship between "real" and "virtual" behavior seems to be a key issue in your assessment of the GTA series. So you might proceed by detailing the reasons that the game was deemed controversial, and then go on to explore what's behind these attacks. Do conservative critics imagine that what a gamer does in a simulated environment conditions his/her behavior in the real world? Why do they make an assumption that there is a direct link between these two worlds? What about their criticism is valid? Invalid? At stake here seem to be (1) how mainstream politics has attacked/treated "controversial" games like GTA but also a bigger issue (2) which is how the virtual relates to the real.
You might need more than 3 academic resources. I can provide you some, such as "Grove Street Grimm: Grand Theft Auto and Digital Folklore" by Kiri Miller, "HIGH ART/LOW LIFE The Art of Playing Grand Theft Auto" by Soraya Murray, "Grand Theft Architecture: Architecture works in video games" by David Stark. Email me if you need those. iroooooy@hotmail.com


Lawrence police investigate a possible stabbing in the 3200 block of West 21st Place, Friday, March 22, 2019.
Though a man initially reported that someone else stabbed him Friday morning in Lawrence, police now say that's not true.
"Initially the subject indicated that there was a suspect involved, but police later determined that was not the case," Sgt. Amy Rhoads of the Lawrence Police Department said Friday afternoon.
She said police are not looking for any suspects.
Just before 10 a.m., Lawrence police were called to what they described as a possible stabbing at a house in the 3200 block of West 21st Place, Rhoads said via email shortly after the incident.
The man, who was the only person at the house when police arrived, was taken to a hospital with severe injuries, she said.
On Friday afternoon, he was in stable condition and his injuries were not believed to be life-threatening, Rhoads said.
Two neighbors from the cul-de-sac where the house is located, near Clinton Parkway and Kasold Drive, said they were home at the time but didn't see or hear anything out of the ordinary until police arrived.
They said the person who lived in the house was a younger man who just moved in earlier this week.
Medics at the scene had initially requested an air ambulance, according to emergency radio traffic. However, the helicopter was too far away so medics then made plans to transport the victim by ground to an area hospital.


This royal blue velvet upholstered armchair radiates sophistication and style. The tub style design of the backrest combined with the soft padded seat will quickly make this chair a living room favourite. The gold-capped legs add the finishing touch that pulls together the mid-century modern vibe perfectly.


text:
package com.gmail.alexellingsen.g2skintweaks.hooks;

import android.view.View;
import android.widget.ImageView;
import com.gmail.alexellingsen.g2skintweaks.G2SkinTweaks;
import com.gmail.alexellingsen.g2skintweaks.Prefs;
import com.gmail.alexellingsen.g2skintweaks.utils.SettingsHelper;
import de.robv.android.xposed.callbacks.XC_InitPackageResources.InitPackageResourcesParam;
import de.robv.android.xposed.callbacks.XC_LayoutInflated;

public class LGSettings {

    public static final String PACKAGE = "com.android.settings";
    public static final String PACKAGE_EASY = "com.lge.settings.easy";

    private static SettingsHelper mSettings;

    public static void init(SettingsHelper settings) {
        mSettings = settings;
    }

    public static void handleInitPackageResources(InitPackageResourcesParam resparam) {
        if (resparam.packageName.equals(PACKAGE) || resparam.packageName.equals(PACKAGE_EASY)) {
            boolean enableRemoveDividers = mSettings.getBoolean(Prefs.ENABLE_REMOVE_DIVIDERS, false);

            if (enableRemoveDividers) {
                if (resparam.packageName.equals(PACKAGE)) {
                    removeDividers(resparam);
                } else {
                    removeDividersEasy(resparam);
                }
            }
        }
    }

    private static void removeDividers(InitPackageResourcesParam resparam) {
        try {
            resparam.res.hookLayout(
                    PACKAGE,
                    "layout",
                    "preference_widget_switch",

                    new XC_LayoutInflated() {
                        @Override
                        public void handleLayoutInflated(LayoutInflatedParam liparam) throws Throwable {
                            ImageView divider = (ImageView) liparam.view.findViewById(
                                    liparam.res.getIdentifier("switchImage", "id", PACKAGE));

                            divider.setVisibility(View.INVISIBLE);
                        }
                    }
            );

            resparam.res.hookLayout(
                    PACKAGE,
                    "layout",
                    "preference_header_switch_item",

                    new XC_LayoutInflated() {
                        @Override
                        public void handleLayoutInflated(LayoutInflatedParam liparam) throws Throwable {
                            View divider = liparam.view.findViewById(
                                    liparam.res.getIdentifier("switchDivider", "id", PACKAGE));

                            divider.setVisibility(View.INVISIBLE);
                        }
                    }
            );
        } catch (Throwable e) {
            G2SkinTweaks.log(e);
        }
    }

    private static void removeDividersEasy(InitPackageResourcesParam resparam) {
        try {
            resparam.res.hookLayout(
                    PACKAGE_EASY,
                    "layout",
                    "easy_preference",

                    new XC_LayoutInflated() {
                        @Override
                        public void handleLayoutInflated(LayoutInflatedParam liparam) throws Throwable {
                            ImageView divider = (ImageView) liparam.view.findViewById(
                                    liparam.res.getIdentifier("easy_vertical_divider", "id", PACKAGE_EASY));
                            divider.setVisibility(View.INVISIBLE);
                        }
                    }
            );
        } catch (Throwable e) {
            G2SkinTweaks.log(e);
        }
    }
}


Why do you need a good web site?
People are looking for you online. They may be searching for the products and services you offer. They may have heard about you from a friend and they want to go to your web site to learn more about you.
Is your web site up to date with the latest in technology and design?
An updated web site that utilizes modern technology and reflects your image is going to invite visitors to go deeper into your site instead of "bounce" them away.
More and more people are using mobile devices to search for you. If you don't provide a good mobile experience for them, they will likely go to competitor that has a great mobile site.
Do you have right content and do you have enough content?
More and more people do online research before they decide to contact you or walk in your door. Yur web site needs to convey information about the products or services you offer and answer basic questions about your business. The best web sites also include content to inform and educate.
No one likes to visit neglected web site. Outdated web sites do not portray a positive image of your business. Additionally, Google thinks that neglected web sites are not important and ranks them lower than sites that are regularly updated with new content.
Is your web site easy to update?
DIY content management systems are fine for people who want to learn the system, but it does not make sense to spend hours on your web site at the expense of managing your business. Hosting and maintenance agreements that nickel and dome you when you want to make changes discourage you from having an up-to-date web site. Web companies that offer regular changes and tech support encourage businesses to keep their web site updated.
Is your web site SEO friendly?
SEO (Search Engine Optimization) is what enables your web site to be fond by people looking for you. SEO is all about having the right content with the right words in the right places. Additionally, your web site structure needs to encourage and not discourage search engines.
Does your web site make it easy for web site visitors to take the next step?
You never know when someone will be looking at you online. No matter the time of day, they need to be able to contact you to ask a question or do something specific such as request a quote. Mobile users may be in your town looking for you and they want to find you on a map or click to call from their phone – right now.
Is everything else that you are doing to promote your business leading back to your web site?
Your web site is real estate on the web that you own. Everything else that you do should point back to your web site so that people can learn more about you and be invite to take the next step and do business with you.
Is your web site bringing in customers?
Your web site analytics can provide you with information about how people arrive at your web site and interact with your content, but a successful marketing strategy takes into account many other factors. Track your customer actions both online and off to study how all of the pieces of your strategy are working together to meet your business goals.
A great web site is an essenial piece of any company's marketing strategy. If you do not have a web site or you aren't sure if your web site is working for you, schedule a web site analysis with one of our Digital Media Specialists.


Please start beaTunes and open its Help menu. There you will find the menu item Registration. Select it and enter your license info.
Hi! I'm all set w license set up. Running now.
Cool! Hope you enjoy the software!
hendrik closed this discussion on 07 Jun, 2018 02:31 AM.


Since inception, Saksham Technologies has been working very closely with our customers to understand their needs and requirements to suggest appropriate solutions for their respective applications.
Our reputation for problem solving has been earned through timely support on services and application engineering with in-house capabilities for critical jobs of Refrigeration, Clean Air, High Pressure and Vacuum Engineering. We have also developed an expertise on validation services for various equipments with comprehensive documentation capabilities.
We shall continue to strive for excellence in customers satisfaction and contribute significantly towards the success of our customers.