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El Valle de Atemajac es el nombre del valle situado en el Eje Neovolcánico donde se fundó la ciudad de Guadalajara en el siglo XVI. Atemajac significa Piedra que bifurca el agua o lugar donde el agua se bifurca, proviene de la palabra Náhuatl Atemaxaque, la cual se desprende de las raíces atl (agua), tetl (piedra o cerro) y maxatli (bifurcar). Actualmente la mayor parte del valle se encuentra urbanizada, formando la Zona Metropolitana de Guadalajara. Antiguamente el río San Juan de Dios atravesaba la parte central de la actual mancha urbana, corriendo desde el parque Agua Azul y desembocando en la barranca de Huentitán.

El valle se encuentra rodeado de cerros: al oeste la Sierra Primavera, al este y al sur el eje neovolcánico y al norte la barranca de Huentitán. No presenta una profundidad demasiado pronunciada. Tiene forma de un llano y se encuentra entre 1530 a 1550 metros sobre el nivel del mar.

Suelo
El suelo es en su mayoría de origen volcánico de la era Cenozoica del periodo Cuaternario, que compone el 96,31% del municipio, en menor medida del periodo Terciario que compone el 6,39% del municipio. El tipo de suelo es Regosol eútrico y Feozem háplico; y como suelo asociado se encuentra el Luvisol crómico. El subsuelo pertenece al período Terciario y cuaternario, y se compone de rocas sedimentarias, rocas ígneas, extrusivas, riolita, andesita, basalto, toba y brecha volcánica. La mayor parte del suelo tiene uso urbano.
 Aspectos económicos
La tenencia de la tierra en su mayoría es propiedad privada. En el municipio de Guadalajara, actualmente no existen terrenos en los que el uso del suelo sea agrícola específicamente, aunque en otros municipios aledaños existen zonas en las cuales se puede practicar la agricultura.
 Sismicidad y desgaste del suelo
La actividad sísmica va de moderada a intensa. El volcán más cercano es el volcán de la Primavera (en actividad) y uno extinto, llamado Cerro del Colli (se pronuncia coli), un cerro de roca caliza, blancuzca (de allí su nombre, que en nahuatl significa 'cano' o 'abuelo') con forma de Ayers Rock. Debido a la fuerte erosión interna en el subsuelo, provocado por la explotación excesiva de los mantos acuíferos, al noroeste se han formado grietas de 2 m de profundidad y varios metros de largo; estudios de la Universidad de Guadalajara sugieren que estas formaciones pertenecen a una falla en proceso formativo.

Fisiografía

En general el perfil del valle es plano con algunas ondulaciones, seguidas de pequeñas planicies y luego más alturas pequeñas. Se compone principalmente de Lomeríos con Cañadas (92,24%), Cañón (4,99%), Sierra (2,07%). El valle se localiza sobre el Eje Neovolcánico, lo que puede explicar la presencia de diversos conos volcánicos cercanos a la ciudad. Al norte se localiza la Barranca de Huentitán; al oeste se encuentra la Sierra Primavera, al este y al sur por el Eje Neovolcánico. En la denominada vulgarmente como la mancha de marginación, se encuentra el Cerro del Cuatro (20º 36' N, 103º 22' O) y se eleva a 1870 msnm; otras elevaciones son el Cerro del Tesoro, 1728 msnm, Cerro Santa María, 1710 msnm, y Cerro el Colli, 1950

Hidrografía
El Valle de Atemajac se encuentra sobre la Cuenca Lerma-Santiago, en la Vertiente del Pacífico. Cruza al municipio de Guadalajara el río San Juan de Dios, que no tiene importancia agrícola ya que se encuentra entubado. Al noroeste se localiza el río Santiago que sirve de límite municipal entre los municipios de Guadalajara e Ixtlahuacán del Río; el Arroyo Atemajac que divide a Guadalajara con el municipio de Zapopan; y al noreste, lo que queda aún del arroyo de Las Fresas. Al sur del municipio, en el Parque Agua Azul, se encuentran varios manantiales de agua, ahora ya extintos.
Los únicos cuerpos de agua cerca de la ciudad (sin pertenecer a ella) son la Laguna de Cajititlán y el Lago de Chapala.

Clima
El clima del valle es semicálido subhúmedo con lluvias en verano de humedad media (ACw1). De hecho, ha sido calificado como uno de los más benignos del mundo, debido a sus temperaturas primaverales. La primavera es la estación más seca y cálida, registrándose temperaturas de hasta 35 °C (Temperatura máxima extrema de 39 °C). En verano, principalmente de mayo a octubre, se presentan fuertes tormentas acompañadas de intensa actividad eléctrica, y en ocasiones de granizo, causando inundaciones y daños en la infraestructura de la ciudad. Al llegar el otoño, las precipitaciones disminuyen dando paso a días más soleados, con densas neblinas en las áreas periféricas, y disminuye la temperatura debido a los frentes fríos que soplan del norte. En invierno no es raro que el termómetro baje de los cero grados causando ligeras heladas (Temperatura mínima extrema de -5,5 °C). Incluso se han registrado nevadas; como la tormenta de nieve que azotó Jalisco en 1997, aunque también se registró una ligera caída de aguanieve en partes altas de la ciudad el 15 de enero del 2010. Incluso se registró un tornado el 6 de septiembre de 2010.

El Clima del norte es menos cálido

El Clima del sur es más cálido con más lluvia

Recursos naturales
La riqueza natural con que cuenta el municipio está representada por algunas zonas de bosque como la Barranca de Oblatos, Los Colomos y el Bosque de la Primavera.

Flora
La flora la constituyen las áreas verdes que se preservan para ornato y ambientación de la ciudad. Además de la flora que se encuentra en el área de la barranca de Oblatos y en Los Colomos.
En Guadalajara se han identificado cerca de 1,000 especies de plantas, destacando las compuestas y las orquídeas terrestres, así como una gran cantidad de especies de hongos, muchos de los cuales son comestibles (Boletus sp y Lacaria sp) tan solo por citar algunos.

Fauna

El registro actual de fauna en Guadalajara incluye 106 especies, de ellas 28 son mamíferos como venado cola blanca, puma, lince, coyote, zorra gris, tejón, tlacuache, liebre, mapache y conejos. Encontramos también 19 especies de reptiles y anfibios y seis de peces, entre los que destacan los de la familia Poecilla, que viven en agua caliente, resistiendo temperaturas de hasta 45 °C y son endémicos de la zona. Se han identificado alrededor de 137 especies de aves, tanto migratorias como residentes. Así, se observan halcones, aguilillas, garzas, calandrias, tordos, codornices, búhos, correcaminos, pájaros carpinteros, especies de gorrión común y muchas más. Toda esta fauna queda resguardada en la Zona de Protección Forestal y Refugio de la Fauna Silvestre en Guadalajara. Cabe señalar que dentro de la ciudad se encuentran la típica fauna urbana, que serían animales como las palomas, gorrión común, ratas, perros, gatos, etc., así como también se encuentran el tipo de "fauna importada", que no son originarios de la región (o del país), consiguiéndose en tiendas especializadas en la fauna.

Bibliografía

Véase también
 Valle
 Valle de Tesistán
 Guadalajara
 Historia de Guadalajara
 Geografía de Jalisco
 Eje Neovolcánico

Enlaces externos
 Vista del satélite de Guadalajara
 Plano detallado de la Ciudad de Guadalajara

Atemajac
Geografía del estado de Jalisco
Geografía de Guadalajara (Jalisco)


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The Resource (500) days of Summer, Fox Searchlight Pictures presents a Watermark production, (DVD)
(500) days of Summer, Fox Searchlight Pictures presents a Watermark production, (DVD)
The item (500) days of Summer, Fox Searchlight Pictures presents a Watermark production, (DVD) represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Oshkosh Public Library.
Waters, Mark S., 1964-
Arend, Geoffrey, 1978-
Deschanel, Zooey, 1980-
Danna, Mychael
Watermark (Firm)
Simonsen, Rob, 1978-
Gubler, Matthew Gray
Wolfe, Steven J
Weber, Michael H., (Screenwriter)
Webb, Marc
Twentieth Century Fox Home Entertainment, Inc
Novick, Mason
Gordon-Levitt, Joseph, 1981-
Fox Searchlight Pictures
Tuchinsky, Jessica
Neustadter, Scott
Moretz, Chloë, 1997-
For Tom, it was love at first sight when Summer Finn walked into the greeting card company where he worked. Summer is the new administrative assistant. Soon, Tom knows that Summer is the woman with whom he wants to spend the rest of his life. Although Summer does not believe in relationships or boyfriends, Tom and Summer become more than just friends. Through the trials and tribulations of Tom and Summer's relationship, Tom could always count on the advice of his two best friends, McKenzie and Paul. However, it's Rachel, Tom's adolescent sister, who is his voice of reason. After all is said and done, Tom is the one who ultimately has to make the choice to listen or not
Beverly Hills, Calif., 20th Century Fox Home Entertainment, c2009
Rental exclusive ed., widescreen.
Fox Searchlight Pictures presents a Watermark production
(Five-hundred) days of Summer
Five hundred days of Summer
Greeting cards industry
Videodiscs for the hearing impaired
Administrative assistants
Produced by Jessica Tuchinsky, Mark Waters, Mason Novick, Steven J. Wolfe ; written by Scott Neustadter & Michael H. Weber ; music by Mychael Danna & Rob Simonsen ; directed by Marc Webb
MPAA rating: PG-13; for sexual material and language
English, Spanish or French dialogue, with optional Spanish subtitles; English subtitles for the deaf and hard of hearing, closed-captioned
Joseph Gordon-Levitt, Zooey Deschanel, Geoffrey Arend, Chloe Moretz, Matthew Gray Gubler
Waters, Mark S.
Weber, Michael H.
Gordon-Levitt, Joseph
Deschanel, Zooey
Arend, Geoffrey
Moretz, Chloë
Simonsen, Rob
DVD, region 1, widescreen (2.40:1); Dolby Digital
Oshkosh Public LibraryBorrow it
Oshkosh Public Library 106 Washington Ave, Oshkosh, WI, 54901, US

 Data from (500) days of Summer, Fox Searchlight Pictures presents a Watermark production, (DVD) - Oshkosh Public Library

Data Citation of the Item (500) days of Summer, Fox Searchlight Pictures presents a Watermark production, (DVD)
http://link.oshkoshpubliclibrary.org/portal/500-days-of-Summer-Fox-Searchlight-Pictures/lSxe5AKGvHk/
http://library.link/portal/500-days-of-Summer-Fox-Searchlight-Pictures/lSxe5AKGvHk/

redpajama_set_name: RedPajamaCommonCrawl


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text:
VRx for PTSD
Medgadget Editors Military Medicine, Psychiatry
We've seen virtual reality therapy (VRx) being used for treatment of public speaking phobia. The San Francisco Chronicle is reporting a novel to use of VRx for treatment of post-traumatic stress disorder:
Once a week, Pfc. Joshua Frey, a Marine who spent several months in Fallujah before he was shot Dec. 12, heads to a darkened office in the Naval Medical Center here and places a headset over his eyes.
He attaches biofeedback sensors to his arms, hands and chest, grabs hold of a joystick and enters a video game version of the Iraq war. As he moves through a "virtual" Fallujah, he encounters sniper fire, explosions and insurgents lurking in shadows. A Navy psychologist checks readouts from a flat- screen monitor showing the Marine's heart rate, breathing, hand perspiration and skin temperature.
But for Frey and the U.S. military, this is no game. It is part of a potentially groundbreaking approach to treating the effects of severe combat stress, in Iraq and elsewhere.
Frey, like tens of thousands of other veterans of Iraq and other U.S. wars, has post-traumatic stress disorder. Since coming home, he has experienced nightmares, flashbacks and insomnia. But instead of the traditional talk therapy approach, Frey, in a study funded by the Office of Naval Research, is coming almost literally face to face with some of his most traumatic memories. The hope is that "virtual reality" scenes of violent conflict will provide a way for Frey to gradually confront his most painful memories and fears and manage the related anxiety.
"I've been doing psychotherapy for PTSD for 20 years, and my therapy has never been as effective as it is now, within the virtual reality environment," says Frey's doctor, Navy psychologist James Spira.
The virtual war, created at the Institute for Creative Technologies at the University of Southern California, uses elements of Full Spectrum Warrior, a video game originally developed as an Army combat training tool.
Psychologists working with the military say soldiers suffering from post- traumatic stress disorder may be more amenable to such a treatment approach rather than traditional psychotherapy, often seen as too warm and fuzzy for the military's macho culture.
"This is a gaming generation, they feel comfortable with games, and we see a lot more soldiers who want to take part in it, but won't go to traditional talk therapy," says Skip Rizzo, the clinical psychologist, professor and research scientist at USC who heads the team that built the virtual environment.


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"The painter of American scenery has, indeed, privileges superior to any other. All nature here is new to art."
The paintings of Thomas Cole, like the writings of his contemporary Ralph Waldo Emerson, stand as monuments to the dreams and anxieties of the fledgling American nation during the mid-19th century; and they are also euphoric celebrations of its natural landscapes. Born in the industrial north-west of England, Cole moved to the United States as a young man, and from that point onwards sought to capture in paint the sublime beauty of the American wilderness. He is considered the first artist to bring the eye of a European Romantic landscape painter to those environments, but also a figure whose idealism and religious sensibilities expressed a uniquely American spirit. Indeed, despite his upbringing in Britain - or perhaps because that upbringing gave him a fresh perspective - his work continues to resonate as an exemplar of that spirit in the modern day.
No one before Thomas Cole had applied the motifs and techniques of European Romantic landscape painting to the scenery of North America. In his works, we find the dramatic splendor of Caspar David Freidrich or J.M.W Turner transposed onto the Catskill and Adirondack Mountains. But whereas younger American painters such as Albert Bierstadt had come into direct contact with the The Düsseldorf School of painting, and thus with the tradition in which they placed themselves, Cole was largely self-tutored, representing something of the archetypal American figure of the auto-didact.
Thomas Cole is seen as the founding father of the Hudson River School, a group of American artists who sought to depict the untainted majesty of the American landscape, particularly that located around the Hudson River Valley in New York State. Cole was the first to explore this territory, taking steamboat trips up the valley from the mid-1820s onwards, and his work became a touchstone for a whole generation of American artists including Frederic Edwin Church, Albert Bierstadt, and Asher Brown Durand.
In many ways, Cole's art epitomizes all contradictions of European settler culture in America. He was in love with the sublime wildness of the American landscape, and sought to preserve it with his art, but his very presence in that landscape, and the development of his career, depended on the processes of urbanization and civilization which threatened it. From a modern perspective, Cole's Eurocentric gaze on seemingly empty wildernesses which had, in fact, been populated for centuries, also seems troubling; where Native Americans do appear in his work, as in Falls of the Kaaterskill (1826), it is as picturesque flecks rather than characterized participants in the scene.
Cole's paintings often serve as warnings about the destructive course of human civilization, offering portents of the devastation of the natural world, and the ceaseless spread of industry, which the American project seemed to represent. A deeply religious man, Cole saw these processes as transgressing God's will in some way, and various of his works imply that a moment of judgement or catastrophe might be imminent.
Raised in Bolton-le-Moors, Thomas was the only boy amongst the eight children born to parents Mary and James Cole. His father was a woolen manufacturer who often moved the family around during Thomas's childhood, in search of better employment. This peripatetic lifestyle provided various opportunities for the young artist, including an apprenticeship in a printshop in Chorley at the age of fourteen, where he learned how to engrave designs for calico fabrics, and a period of work as an engraver in Liverpool during 1817. Cole developed a love of nature in his youth, and would often take walks with his sister Sarah to admire the landscapes of the north of England.
Lake with Dead Trees is one of Cole's earliest works depicting the landscapes of the Catskill Mountains in south-east New York State. At the edge of a motionless lake, surrounded by dead trees, two deer are roused into action: one is poised and alert, the other leaps skittishly off to the right. Behind the dark wooded peaks sunlight streams through a cloudy sky.
Interpreted as a meditation on the nature of life, death, and the passage of time, this was one of five paintings exhibited in New York City in November 1825 on Cole's return from his first major trip along the Hudson Valley. Their acclaim amongst his contemporaries helped to ground his reputation as a painter of the American wilds; the writer William Dunlap purchased this piece, and published several articles praising Cole's self-taught painting techniques. Cole's career was advanced further around this time when he met the Baltimore collector Robert Gilmor Jr., who would become an important patron to the artist.
In terms of Cole's development as a painter, this image of untamed nature marks the start of his engagement with the Hudson River Valley as a source of inspiration. He once observed that "the most distinctive, and perhaps the most impressive, characteristic of American scenery is its wilderness", and, for the first time in North-American art, Cole brought the impulses of a European Romantic landscape painter to bear on that wilderness: compare this painting to the work of Caspar David Friedrich, for example. Indeed, of all the Hudson River School artists, Cole was the most interested in conveying the Northern-European Romantic concept of the Sublime, whereby the viewer loses themself in the perception of a landscape whose scale and beauty are both inspiring and fearful.
This painting depicts the moment in the Book of Genesis when God expels Adam and Eve from the Garden of Eden. Rather than focusing on the naked humanity of the couple, however, Cole dwarfs them within a natural setting whose scale and majesty symbolize heavenly power. Counterintuitively, the painting should be read from right to left, since the Garden of Eden was traditionally located in the east: from where fierce shards of light seem to forcibly evacuate the couple. The surrounding landscape is highly allegorical, a visual expression of Pathetic Fallacy, with the bright, cloudless skies of Eden offset against the brooding, stormy skies to the right.
This relatively early work exemplifies Cole's interest in religious themes, and his desire to equate the unspoiled beauty of the American landscape with the manifestation of God's will. If works such as Lake with Dead Trees indicate the Romantic infusion in Cole's painting style, this work shows his affinity with the allegorical, Neoclassical landscape works of 17th-century European painters such as Claude Lorrain and Gaspard Dughet. Rather than depicting a version of a real landscape, in this case an imaginative landscape based on the American wilds forms the backdrop for a scene from mythical antiquity, each element of which is highly symbolically loaded. The framing and miniaturization of human activity within that larger scene is reminiscent of Neoclassical landscapes such as Nicholas Poussin's Landscape with a Man Killed by a Snake (1648).
Expulsion from the Garden of Eden and similar works were not well-received when they debuted, perhaps because the American public was not yet ready to embrace Cole's apparent departure from the Romantic landscape style for which he was already well-known. This painting was also criticized by some commentators as being too similar to an engraving produced by John Martin for an edition of Milton's Paradise Lost (1667). Nonetheless, the painting demonstrates the breadth of Cole's historical influences, and was revealing in bringing to the surface the significant religious undercurrent in his work. Cole would return to religious painting towards the end of his life after joining the Episcopal Church.
The Consummation of Empire is one of a sequence of five paintings entitled The Course of Empire commissioned by Cole's patron Luman Reed, created between 1833 and 1836. Each painting in the series depicts the same landscape at a different stage of the rise and fall of an imaginary civilization. This, the middle painting in the series, represents the apparent triumph of that civilization, a scene crammed with classical porticos, rotundas and statuary, with a happy, colorful procession of citizens passing over the bridge in the centre. A statue of Minerva, goddess of wisdom, stands to the right, but seems to be ignored by the hordes beneath.
In fact, the whole series was intended to serve as a warning about the over-weaning ambitions of Empire. Even this painting, which seems to depict that empire at the height of its power, anticipates its demise in the representation of a militaristic ruler carried aloft by the citizens. Later paintings in the sequence show the ruin of the city, and its eventual reclamation by nature, which in this image seems entirely subdued (as represented by the potted plant in the foreground). Anxious to create an epic series of paintings, and inspired by the Neoclassical masterpieces he had seen firsthand during his travels in Europe in 1829-32, Cole nonetheless showed his unique ability through The Course of Empire to capture the American spirit in his work. These paintings sound a note of both triumph - America had recently liberated itself from the British Empire - and caution: that the new state should not fall into the same traps as its European predecessors. More than that, the series seems to express Cole's anxiety about the encroaching threat of industry and urban expansion to the American landscape.
The art historian Earl A. Powell sums up the cultural significance of Cole's series in stating that "[i]n its totality, The Course of Empire represents a truly heroic moment both in Cole's career and in the history of American painting. It was a paradigm of the Romantic spirit - melancholy, grand in conceptual scope, and didactic and moralizing - and it succeeded in delighting its audience." The Course of Empire shows an artist at the height of his powers, whose grand scope summed up the spirit of a nation.
Usually referred to as The Oxbow, this painting shows two very different aspects of the American landscape. To the left of the canvas, dense grey clouds hang over a forest of green trees; to the right, the Connecticut River meanders gently through cultivated fields under a blue sky.
A key painting in Cole's oeuvre, and arguably his best-known work, The Oxbow was created at a time when Cole was largely occupied with his Course of Empire series; his patron Luman Reed had advised him to take a break from that series, as Cole seemed to be showing signs of depression, and to return to the genre of Romantic landscape painting which he loved most of all. Whereas The Course of Empire stands as a stark warning on the fate of civilization, this painting presents a more complex, though still polemical, statement on the potential direction of American society. The uncultivated landscape to the left is at once threatening and enticing, while the cultivated land to the right presents an equivocal image of security, complicated by the presence of scar-lines in the forest on the far hills: signs of the aggressive over-husbandry of the land. Debate exists as to whether a written message can be made out in these marks, with some scholars believing that the lines were intended to spell out the word "Noah" in Hebrew, and would, from the aerial perspective of God, read "Shaddai" or "The Almighty". If that reading is accepted, then the landscape - which, after all, shows a floodplain - stands for the hubris of human society awaiting the cleansing force of divine judgement.
Cole personalized the work by depicting himself at the center of the canvas. Gazing back at the viewer from between two crags, the minute figure of the artist preserves the landscape on his canvas before it is lost, and, perhaps, invites our own judgement on the scene. This personal element reflects Cole's feeling of emotional connection to the work, which now stands as one of the most quintessential examples of mid-19th-century North American landscape painting.
This work shows a young man rowing a boat down a tree-lined river, towards a ghostly white palace in the sky; on the shore to the left, a guardian angel watches over him, offering him protection on his journey. This is the second in a series of four paintings completed by Cole during 1842 depicting the various stage of man's allegorical journey through life. The other three represent childhood, manhood and old age, with compositional elements and motifs such as the boat, the river, and the angel recurring throughout. The four stages of human life are reflected in the passage of the seasons across the paintings, nature serving as a mirror for man's emotional condition, in quintessential Romantic style.
The Voyage of Life was commissioned by the banker Samuel Ward, and was meant to remind the viewer of the course that must be steered to secure a resting place in eternity. In so doing, these works tap into the cultural mood in America during the 1840s, when a period of intense religious revivalism was underway. At the same time, the 'voyage of life' may be read as an allegory for the progress of American civilization, which was, at this time, in a promising but uncertain stage of its growth. The compositional style exemplifies Cole's approach in combining rugged, American-style landscapes with motifs and techniques borrowed from European landscape painting in both the Neoclassical and Romantic styles.
So popular were the Voyage of Life paintings that they became a source of dispute between Cole, who wanted to keep them on public display, and his patron Samuel Ward, who wanted to keep them for his own private collection, even refusing to sell the paintings back to the artist. In the end, Cole created a second version of the series while visiting Europe in 1842. On a personal note, he had converted to the Episcopal Church in 1941, and these paintings are the best example of the religiously allegorical work which he produced during the last years of his life. Their place and significance within his oeuvre was summed up by William Cullen Bryant during his speech at Cole's funeral, when he described them as "of simpler and less elaborate design than The Course of Empire, but more purely imaginative. The conception of the series is a perfect poem."
As its title might suggest, the focal point of this painting is the young architect resting on a pile of books in the foreground, atop a classical column. Carved in the column is the dedication "Painted by T. Cole, For I. Town Arch, 1840", indicating the work's creation for the prominent American architect and engineer Ithiel Town. The rest of the canvas is filled with grand architectural monuments, including a vast Greco-Roman portico, a pyramid shrouded in mist in the background, and a medieval cathedral to the left.
This work represents something of a stylistic departure for Cole, in that the natural landscape is not the primary focus. Offering instead a celebration of the history of architecture, Cole presents the young protagonist - presumably based on Town - admiring the great works of the past, implicitly suggesting that the American state, with the help of pioneers such as Town, might inherit and build on the cultural traditions which those works represent. Discussing this aspect of the painting the art historian Matthew Baigell states that "the architect, like the artist, fulfilled his function in society by calling to mind the highest achievements of the past as a way to guide society through the present and into the future. Such a point of view suggests a specific interpretation of the concept of Manifest Destiny - that America might become the new Rome, an improved version of European civilization, rather than a promised land for the chosen people, a new civilization separate and distinct from Europe."
This painting also reflects Cole's own interest in, and occasional practice of, architecture: in 1938 he entered a competition to design the Ohio Statehouse in Columbus, and he produced similar sketches and plans throughout his life. In this sense, the work, like the early portraits which Cole also composed, represents an element of his creative practice which is occasionally forgotten because of the central importance granted to his landscape works.
This painting depicts an idyllic scene of outdoor leisure activity, set amongst a glade of trees. To the left, a group of figures sits listening a man playing a guitar. Other, smaller clusters of people seem to have broken off from the central group, and sit on blankets eating and talking. On the lake in the background, a boat is rowed to the shore.
Painted during the last years of the artist's life, this work is one of several created by Cole which present a very different aspect of the American landscape to the desolate wildernesses explored earlier in his career: the wild landscape has been tamed, converted into a picnic site. In one sense, this seems to imply an earnest celebration of the harmonious interaction of human activity and the natural environment; the scene has something of the quality of the Arcadian landscapes depicted in 16th-century Neoclassical painting. At the same time, features such as the hacked-off tree-stump in the foreground suggest a more ironic or resigned attitude to the presence of humankind amongst the wilderness. Certainly, the notion of the Sublime is no longer conveyed, and the work has a more composed, narrative quality than Cole's earlier landscape works.
As a man who felt that "art, in its true sense, is, in fact, man's lowly imitation of the creative power of the Almighty," Cole must have struggled to come to terms with the progress of American society responsible for this kind of order. Indeed, it may have been his sense of the inevitable loss of his beloved wilderness that drew him deeper into his faith in the years before his death.


text:
Learning From Our Mistakes
davidccouper July 25, 2016 July 25, 2016 police
Everyone makes mistakes. People do and so do their organization's. Mistakes or errors cannot be totally avoided. And attempts to cover them up, de-minimize them, or argue they are not mistakes always seems to compound the problem.
But there is another way to approach a mistake. They can be great learning opportunities; in fact, teaching moments!
Yes, it would be nice not to have incidents in which the public questions the propriety of a police response or decision, but given the varieties of behavior police encounter, not all will be without error or be considered acceptable in the public's view.
One city which I have been following is a typical American city with a good police department and much civic pride. But the city recently experienced three police incidents which claimed citizen lives.
Each could have been an opportunity for the police department to publicly review their tactics, training and leadership, and reassure the community of their commitment to lifesaving.
From such a discussion, learning could have occurred — like seeing the need to restate the department's commitment the protection of life, making a change in their training protocol, or, at least, presenting themselves to the community as concerned, caring and compassionate. It did not happen.
Now a fourth incident is currently in the public's eye, the violent arrest of a teenage girl of color. While attempting to restrain her, police used multiple knee strikes to her torso, slammed her into the pavement, and applied a Taser repeatedly to her midsection.
Many who watched the shocking video (taken, of course, by a citizen bystander) thought the police tactics were excessive, out of line, and disproportionate to the situation — an upset teenager in shopping center who thought her cell phone had been stolen. The caller to police mentioned a knife, though when approached by police she was upset, not armed, and a good candidate to use conflict management and de-escalation techniques.
This incident is now being reviewed by the district attorney for law violations and the police department for policy or training violations. Short of a press conference right after the incident went viral, there has been little to no public discussion.
Nevertheless, this incident could have been another opportunity for police leaders to practice their commitment to community-oriented policing.
I say this because a true community-oriented policing involves deeply listening to the community; especially if the community is telling the police their tactics are unacceptable and should no longer be used.
A true community-oriented police department is able to listen to angry voices, not respond in kind, and review its practices and make adjustments. Often it is to balance what may be legally permissible with what is desirable and acceptable to the community..
If the district attorney finds that the officers did not violate the law and the police chief finds the officers' conduct correct in keeping with their training and policy, I sense there is going to be a major problem.
For not to adjust the department's training, policy, and direction after reviewing the use of force in arresting this young girl is to invite legitimate cries of misfeasance and further erosion of trust and support of the police in this community.
Over the years, the police in this city have an established legacy of excellence, fairness, responsiveness, and a strong orientation and closeness to the community. But community goodwill can be quickly eroded in the absence of corrective behavior.
Many years ago the department put "continuous improvement" into its mission statement. It means mistakes and errors are opportunities for improvement not occasions for organizational self defense.
Now back to the most recent incident. Simply said, none of us would want our daughters, sisters, wives or mothers treated in such a manner as this young girl was. Therefore, a police agency in the 21st century must find more appropriate ways to respond to misbehaving teenagers – teachers do, social workers do, group home supervisors do — and so should police.
Over the past few years there has been a conversation that goes like this: while a law may permit certain behaviors by police, it is not unrealistic to expect them to "raise the bar" in "legal" situations that are unacceptable to the community. This is precisely the argument surrounding police use of force in our country today.
For instance, this department has a long history of doing this. When state law permitted police to use deadly force to apprehend any fleeing felon the police department leadership said no. Deadly force could only be used to apprehend those who pose an immediate threat to police or others. This meant police officers were no longer permitted to use deadly force to apprehend fleeing car thieves who often turned out to be teenagers.
When state law permitted police to pursue and apprehend suspects who evaded capture by fleeing in an automobile, police leadership again said no. The department will pursue only under certain conditions and when danger to the community rises, field supervisors can order an officer to stop the pursuit, to terminate the chase. This meant the probability that a driver fleeing from police would crash into an innocent bystander was greatly reduced. These administrative rules also prohibited police in this city from shooting at a moving vehicle for the very same reasons.
The law permits people to be arrested and jailed for a great number of offenses many of us would consider to be minor. While the law permitted a person to be physically arrested in these cases, police leaders instructed their officers to issue citations in lieu of arrest (which, in effect, curtailed the arrest powers granted to police by the state).
It is not usual, improper, nor illegal, for governmental agencies such as the police, to engage in administrative rule-making (policy development) to regulate and raise the behavior of its officials above that which law may permit.
This is how and why a democracy works. Powerful governmental entities like the police must be able to restrain their authority in order keep in step with the will of the people.
And that means deep and generous listening and continuously improving.
continuous improvement, police, policy, Rule le making, use of force
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You just cannot resist couching your critique in 'oops, someone made a mistake' nonsense.
I watched the video of the East Towne assault.
This was no mistake.
Framing these SOP attack as though it were an outlier is disingenuous.
Attacking, harassing and terrorizing targets of opportunity is SOP for police.
Unsolved Major Crimes says:
I question those reports of 911 calls especially since it involved the mentally challenged person holding a toy train & and this upset young girl of color. It seems a lot of these issues are happening to people as you well said people of color or of some difference from the normal we pride ourselves to be.
If I were to get a dispatch from a 911 call and may I add the dispatcher should be comparrison ask questions about the so called weapon but let's say the report says this person has a knife in his hand and not a toy train.
A well trained person would show up and guess what happens. He's in high alert looking for some sort of confer mating before he starts firing. Well in some of these cases they seem to be blind and excuse my French they need some glasses because a toy train looks nothing like a knife.
Which causes me to question those 911 reports we don't seem to be hearing to back those reports that came in…. wonder why?
What I think is happening is there's a war going on between the people of color and the innocent are dying because of it… call it whatever you want it's not going to stop with the lies.
Mark Bowman says:
Law enforcement organizations, like most organizations, are learning disabled. Learning organizations learn from their successes as well as failures. Police agencies tend to investigate rather than analyze, due to our current national craze for accountability. We can accomplish more through learning than we can quests for accountability.
I recommend you read a recent analysis of data about violence and police use of force.
Click to access Dispelling_the_Myths_July18.pdf
The most compelling data from the Uniform Crime Report (with about 66% of agencies reporting) indicate that in there were 9,074 deadly assaults with firearms, cutting instruments, and other deadly instruments on law enforcement officers in 2014. The best estimate of deaths from police use of force for 2014 (average of data from Centers for Disease Control) would be around 429. If we assume that those agencies not reporting are relatively small agencies in which there were no deadly assaults on officers, there were 8,645 incidents in which officers could have likely been justified in using deadly force, but did not kill their assailants.
What happened in those 8,645 incidents? Were those outcomes due to luck, lack of bad luck, or skill? We simply don't know. One of the major flaws in a quest for accountability is that you generally only draw conclusions about what not to do. Who wants to hop up on the operating table with a surgical team that only knows what not to do? I suppose if you want to contribute your body to science that would be a good way to do so. How can you hold someone accountable when you can't tell them how do perform correctly?
If you want to save lives, learn from everything you can.
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YORK COMMON CENTS
Collectibles that are worth the investment
Ashley Wislock
As biz reporter Sean Adkins will tell you - some collectibles are not only things to treasure, they are worth serious dough.
You see, Sean's convinced his mint-condition He-man figures are a veritable treasure trove of value - and according to TheStreet, he's right.
"Collectors always are attracted to the toys of their childhood," says Terry Kovel, an expert on antiques and collectibles.
Hot Wheels cars top the list of collectibles with some real value (unlike my containers of Beanie Babies in my parents' garage).
Here's some other items that you should keep in tip-top condition:
Vintage board games: In an era when families get together to play a game on Wii, board games from the 1950s to 1970s must seem like a very antiquated pastime, but that's a sentiment making these games worth some dough to collectors. Games should be in good condition, in the original box and include all of the pieces.
Vintage movie posters: Bob Brooks, a long time movie poster collector and expert in Vancouver, B.C., says "Movie posters are still relatively inexpensive, so there's a lot of upside." There are never going to be pictures such as "Lawrence of Arabia" or "2001: a Space Odyssey" ever again, he says.
Signage: If you've watched any episode of "American Pickers" on television, you will know they are always in the market for unique signage, particularly if the company no longer exists.
Read more about collectibles on TheStreet.
What do you collect? Do you think your collections hold any monetary value?


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Analyst Downgrades: First Solar, Barrick Gold Corporation
Analysts issued bearish brokerage notes on FSLR, FCX, and ABX
FSLR
FCX
Analysts are downwardly revising their ratings on alternative energy issue First Solar, Inc. (NASDAQ:FSLR), as well as commodity concerns Freeport-McMoRan Inc (NYSE:FCX) and Barrick Gold Corporation (USA) (NYSE:ABX). Here's a quick look at today's bearish brokerage notes on FSLR, FCX, and ABX.
FSLR is bracing for a more than 6% drop right out of the gate, after the firm's third-quarter earnings miss and news it will not spin off its solar assets was met with price-target cuts from RBC (to $50), Goldman Sachs (to $44), J.P. Morgan Securities (to $68), and Needham (to $70). Today's projected price move is likely music to the ears of option traders, who were growing increasingly bearish in the weeks leading up to last night's report. In fact, at the International Securities Exchange (ISE), Chicago Board Options Exchange (CBOE), and NASDAQ OMX PHLX (PHLX), the stock's 10-day put/call volume ratio of 2.01 ranks higher than all other readings taken in the past year. Additionally, FSLR's Schaeffer's put/call open interest ratio (SOIR) of 0.96 ranks in the 90th percentile of its annual range, pointing to a distinct put-bias among short-term speculators. On Thursday, shares of First Solar, Inc. closed at $56.41.
Deutsche Bank cut its price target on FCX to $40 from $45 -- while underscoring its "buy" rating -- although this new forecast still represents expected upside of 45% to last night's close at $27.57, and sits in territory not charted in two years. Year-to-date, the stock has lost more than a quarter of its value -- and tagged a new annual low of $27.07 yesterday -- and should the shares continue to struggle, an additional round of bearish brokerage notes could be on the horizon. At present, 12 out of 15 analysts covering Freeport-McMoRan Inc deem it worthy of a "buy" or "strong buy" recommendation, with not a single "sell" to be found. Additionally, the consensus 12-month price target of $39 stands at a 41.5% premium to current trading levels.
ABX has been falling in step with gold, with the shares down more than 41% from their mid-August high of $19.36 to trade at $11.34. Against this backdrop, RBC slashed its price target on the shares by $4 to $17, while Goldman Sachs removed the equity from its coveted "Conviction Buy" list. On the sentiment front, option traders have taken the skeptical route in recent weeks, as evidenced by ABX's 10-day ISE/CBOE/PHLX put/call volume ratio of 0.41, which ranks in the 79th percentile of its annual range. Outside of the options pits, though, there's plenty of room on Barrick Gold Corporation's (USA) bearish bandwagon. Short interest, for example, accounts for just 1.2% of the stock's available float, and would take less than one session to cover, at average daily trading levels.


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Pretty. Odd. é o segundo álbum de estúdio da banda de rock Panic! at the Disco. Lançado em março de 2008 pela Decaydance e pela Fueled by Ramen, foi gravado no Studio at the Palms em Paradise, Nevada, com produção adicional de Rob Mathes no Abbey Road Studios em Londres. Inspirado no pop barroco e nos trabalhos de The Beatles e The Beach Boys, o álbum em estilo de rock psicodélico é bem diferente do antecessor A Fever You Can't Sweat Out (2005), que tem uma grande influência do pop punk.

Para iniciar a gravação do disco, o Panic at the Disco se isolou numa cabana nas montanhas do Mount Charleston, em seu estado natal, Nevada. Os primeiros trabalhos não satisfizeram a banda, que passou todo o inverno reescrevendo o disco. A gravação e a produção foram feitas logo em seguida, e cada música trabalhada até chegar ao nível desejado. As cordas e os sopros foram gravados depois, no Abbey Road Studios. É o único álbum com a participação do baixista Jon Walker e o último com o guitarrista Ryan Ross, que deixaram a banda em 2009.

O disco recebeu crítica mista e foi menos bem sucedido que o álbum anterior - que chegou à certificação de dupla platina -, vendendo 422 mil cópias até 2011. Ele ficou 18 semanas na Billboard 200 e o single "Nine in the Afternoon" ganhou a certificação de ouro pela RIAA. Em 2016, o disco também chegou ao certificado de ouro.

Antecedentes
O grupo, logo após o sucesso de A Fever You Can't Sweat Out, tirou férias após a turnê mundial e começou a trabalhar em ideias para o próximo disco no começo de 2006. Após um curto tempo unindo ideias para as músicas, a banda mudou-se para uma cabana nas montanhas rurais de Mount Charleston, Nevada, em março de 2007 para começar a compor as letras. Na época, eles esperavam lançar o disco durante o outono, mas ainda não haviam escolhido um produtor. Em abril, quatro músicas estavam prontas e eles planejavam voltar para Los Angeles para continuar a trabalhar no que Ryan Ross chamou de "um conto de fadas moderno com um tom romântico." Antes da volta, Jon Walker disse que o álbum seria similar a um álbum conceitual e que toda a banda estava compondo músicas (todas as faixas do álbum anterior foram escritas por Ryan). "Nearly Witches (Ever Since We Met...)" foi escrita para esse disco, mas não foi incluida por não se encaixar no conceito do álbum. Brendon Urie e Spencer Smith reescreveram partes da música e a colocaram no álbum seguinte, Vices & Virtues (2011).

Ao chegar em Los Angeles em junho de 2007, oito músicas estavam completas e a gravação foi iniciada. Após gravarem as novas faixas e tocarem-nas ao vivo durante o verão, a banda voltou para o seu estúdio em Las Vegas, onde escreveram as músicas de seu primeiro álbum. Rob Mathes, que produziu o cover que eles fizeram de "This Is Halloween", do filme O Estranho Mundo de Jack (1993), foi escolhido produtor do álbum. Por volta de agosto, a banda ficou desinteressada nas músicas já escritas e as descartou. Segundo Ryan Ross, eles escreveram as músicas "apenas com um violão e alguém cantando. Eu acho que nós meio que pulamos a parte de escrever na primeira gravação, e agora estávamos mais atentos a isso. (...) Nós compusemos várias músicas desde que voltamos pra casa e eu considero isso a parte mais divertida." As músicas anteriores foram arquivadas e o grupo começou a gravar o que viria a ser o Pretty. Odd.

Gravação e produção

Os trabalhos para o novo álbum continuaram em setembro de 2007. Em um mês, a banda escreveu "seis ou sete músicas" que pareciam muito mais agradáveis para eles, segundo Ross. Em outubro, entraram no estúdio do Palms Casino Resort em Las Vegas para começar a gravação. Ryan se tornou o principal porta-voz do grupo, dizendo à MTV que eles estavam se esforçando para o lançamento, produzindo o álbum para ser mais voltado a uma sonoridade próxima do rock clássico. Eles não se sentiam tão pressionados a conseguir tanto sucesso quanto conseguiram com o primeiro álbum, e portanto fizeram músicas que os deixassem felizes.

A primeira música escrita pro álbum, "Nine in the Afternoon", foi uma das letras salvas da versão descartada do disco. "Nós queríamos uma música que as pessoas viciassem fácil. Ela foi uma das músicas que falavam sobre aquele momento, ela saiu naturalmente em poucas horas. É uma canção divertida, não é pra ser levada a sério", comentou Ryan. Ela foi a inspiração para que a banda fizesse outras músicas animadas, e a partir daí compuseram mais oito músicas em seis semanas, criando algumas outras enquanto estavam no Palms. No fim do ano, o álbum já estava encaminhado para a produção final. Cada faixa pronta foi rapidamente concluída, sendo "Mad as Rabbits" a última a ser gravada.

Em janeiro de 2008, a banda descansou por uma semana em sua cidade natal e partiu para Londres, onde gravaram os sopros e as cordas no lendário Abbey Road Studios, onde eles consideram que "o sonho se tornou realmente verdade." Na capital britânica, o álbum foi mixado por Peter Cobbin. Mathes estava envolvido com a parte instrumental do disco, tocando teclados, piano e bandolim, além de arranjar e conduzir a orquestra para todas as faixas, exceto "Nine in the Afternoon". O wurlitzer de "Mad as Rabbits" foi tocado por Rick Ronick.

Músicas
A sonoridade do disco foi descrita pela banda como "mais orgânica e madura" do que a de A Fever You Can't Sweat Out, e também involuntariamente e coincidentemente similar às músicas dos The Beatles, tanto nas letras como nas ideias. "Nós gostamos deles, do Rubber Soul até o White Album e tal, mas mesmo antes nós estávamos voltados para essas coisas de elementos teatrais. Não queríamos fazer algo como o Sgt. Pepper's", explicou Ross. A banda nunca teve a intenção de soar nem como The Beach Boys nem como The Beatles, de acordo com Ryan e Walker. "Antes de começarmos a escrever as músicas, estávamos fazendo coisas que eram quase totalmente orquestradas - e isso meio que nos carregou para isso", continua Ross. "Eu acredito mesmo que metade desse disco tem tipo aquela coisa de 'instrumentação fantástica', mas nós só tentamos passar nosso humor para cada música. Em alguns casos, só pensamos: 'temos que fazer isso'." A diferença de idade não teve nenhum efeito negativo na banda, e na verdade os inspirou a ter uma visão mais madura, segundo Urie.

Apesar de não haver um conceito por trás de Pretty. Odd., a banda sabia que queria "fazer algo diferente no sentido de que as músicas não soassem parecidas ou fossem parte de um único gênero, você sabe, só fazer algo diferente. Com esse disco, nós ouvimos várias coisas diferentes também, então isso meio que nos ajudou a aumentar nosso gosto musical." Graças à colaboração com o produtor Rob Mathes, a participação dos membros se tornou confusa. Apesar de a maioria das músicas serem atribuídas a Ryan Ross, a banda inteira colaborou nas faixas, sendo que Urie escreveu duas sozinho e Walker e Smith colaboraram em diversas faixas. O jornal The Washington Post avaliou positivamente a nova sonoridade do Panic: "Tudo é novo, e se velho, vai da instrumentação barroca (o uso de fliscorne), letras (com menos palavras, mais claras) e fraseio vocal (simplificado) à progressão de cordas inspirada em Beatles, melodias, harmonias vocais viciantes e unidas, que também server como um pequeno tributo a Brian Wilson." As letras misturam romances destruídos a aforismos neopsicodélicos.

"Nine in the Afternoon" recebeu críticas positivas e os críticos perceberam a grande mudança entre o primeiro álbum o esse. James Montgomery da MTV achou a música similar  ao álbum Music from Big Pink do The Band e chamou o single "Northern Downpour" de um reminiscente das "faixas descartadas do Abbey Road". "When the Day Met the Night", a oitava faixa, foi altamente louvada pelas publicações de música. A Spin a considerou como peça central do disco, chamando-a de "uma música pop alegre que brilha como o sol" e um rígido contraste com o "embaraçoso" A Fever You Can't Sweat Out. A Gigwise chamou a música de "a faixa que todo mundo vai querer ouvir ao vivo" e notou que "o baixo e o glorioso crescendo baseado nas cordas são os mesmo da era Pet Sounds do Beach Boys." A National Public Radio comentou que o Pretty. Odd. é um "experimento entre pop psicodélico, vaudeville e instrumentação não usual."

Marketing
Toda a campanha de marketing de Pretty. Odd. foi baseada praticamente em marketing viral. Segundo o baterista Spencer, a intenção original da banda era de lançar um single durante o Natal de 2007 e o álbum em fevereiro do ano seguinte. A banda começou a promover o álbum em novembro de 2007, com um trecho de "Nine in the Afternoon" tocado no episódio "Cautionary Tales" de Heroes. Em 12 de dezembro, eles lançaram um enigma no MySpace, que continha um link para o site da banda e a misteriosa mensagem "And so it begins..." (e assim isso começa). No site, havia a legenda "You don't have to worry..." (você não tem que se preocupar...). A ideia de ir soltando pistas - que incluíam o nome do álbum, a capa e o primeiro single -, segundo o empresário Bob McLynn, surgiu enquanto os membros estavam bêbados e gravando o disco.

"Nine in the Afternoon" foi lançada pelo enigma em 14 de dezembro. Foi revelado que as mensagens originais eram parte da letra da faixa de abertura "We're So Starving", que foi lançada também no MySpace em 2 de janeiro de 2008. Até ser excluída no fim do dia, a demo foi ouvida 45 mil vezes. O nome do disco apareceu como pista durante a gravação do clipe de "Nine in the Afternoon" em 22 de dezembro, onde cada membro da banda aparecia com uma faixa escrita Pretty. Odd. O título foi oficialmente revelado em 9 de janeiro de 2008. Na mesma data, a banda revelou um novo logo, retirando o ponto de exclamação, o que foi considerado uma ofensa pelos fãs. Em abril de 2008, foi lançado um curta chamado Panic at the Disco in: American Valley para promover o álbum.

Capa e| título
Toda a direção de arte de Pretty. Odd. foi chefiada por Alex Kirzhner, inspirado nas ideias da banda. O encarte, que possui as letras de todas as músicas, foi ilustrado pelo designer gráfico Connie Makita e a maioria das outras ilustrações foram feitas por Kirzhner e Tanapan "Bang" Puangpakdee. A capa foi revelada no site oficial da banda em 23 de janeiro de 2008. Ela consiste em pinturas de flores e borboletas, que a Slant chamou de tributo aos Beach Boys. A versão deluxe em vinil foi indicada a Melhor Box ou Edição Limitada no Grammy Awards de 2009, mas perdeu para o In Rainbows (2007) do Radiohead.

O título do álbum, Pretty. Odd., foi criado aleatoriamente durante as gravações e o nome pegou. "Apenas aconteceu numa noite. Nós estávamos trabalhando numa nova música e nem estávamos falando de nomes pro álbum, mas foi apenas algo que eu escrevi e trouxe pros caras", explicou Ross. "Tipo, Pretty. Odd. (em tradução livre, Muito. Estranho.). Eles todos gostaram, isso foi há alguns meses, então apenas mantivemos desde então." Smith comentou que achou "mais divertido" com a pontuação no nome. Enquanto isso, a falta de pontuação no nome da banda ofendeu os fãs e trouxe uma grande cobertura da imprensa. Geraldine Woods comparou a pontuação a e.e. cummings e considerou uma "revolução para as pessoas criativas."

Lançamento
Pretty. Odd. foi lançado entre 21 e 29 de março de 2008 no mundo inteiro (datas exatas estão no box lateral). O álbum chegou ao segundo lugar na Billboard 200 nos Estados Unidos, com 54 mil cópias vendidas no primeiro dia e 139 mil na primeira semana. Foi a maior vendagem em uma semana da banda até então, batendo o recorde de A Fever You Can't Sweat Out, que vendeu 45 mil cópias durante o inverno de 2006. O disco também entrou nas paradas de "Álbuns Alternativos de Agora" e chegou ao número 2 nos "Álbuns Digitais", sendo que esse último contabilizou 26% das vendas totais. As vendas online foram importantes para o rápido sucesso de Pretty. Odd.. Como a ITunes Store permitia que os usuários comprassem álbuns dois meses antes de seu lançamento, ele já havia vendido 8 mil cópias no dia antes de ser lançado. Por volta de maio, já haviam sido vendidas 235.280 cópias de acordo com o Nielsen SoundScan. Em junho, eram mais de 500 mil cópias vendidas online.

O álbum também chegou a segundo no Reino Unido. No entanto, as vendas semanais rapidamente caíram e o álbum passou para o décimo primeiro lugar na semana seguinte, ficando por seis semanas no top 100. No Canadá e no México, ele também chegou ao segundo lugar. Na Nova Zelândia, Áustria e Irlanda, o disco chegou ao top 10. Na Austrália, ele conquistou o primeiro lugar. Em países como Suécia e França, ele teve pouco sucesso comercial, mas chegou ao top 40. Ele logo chegou a ouro no Reino Unido e em 2016 conquistou ouro nos Estados Unidos.

Apesar de ter sido comercialmente viável e ouro certificado, ele não conseguiu bater os recordes de vendas de A Fever You Can't Sweat Out. Pretty. Odd. teve vendagem relativamente pequena quando comparado ao seu antecessor, que ganhou certificado platina em alguns meses. "É realmente difícil julgar os álbuns baseados em suas vendas, sabe?", disse Ross à MTV News. "Nós olhamos para elas, e nem mesmo sabemos o que elas significam. Tudo que podemos fazer é continuar (na Honda Civic Tour) e ver que as pessoas estão ouvindo o novo material, e só assim dizer se as coisas estão indo bem ou não." "É uma época complicada para a música, é difícil dizer como estamos, e tudo que você costumava falar da sua banda meio que acabou. Então como você se percebe mudou", comentou Spencer. "Felizmente para nós, bandas de rock sempre foram de tocar ao vivo, (o que é) bom para nós, porque somos uma banda de verdade que toca os próprios instrumentos, então amamos fazer isso. E felizmente isso sempre estará lá, porque você não pode baixar o ingresso do show."

Recepção

Pretty. Odd. gerou confusão entre os fãs e recebeu crítica mista, tanto que em 2011 a Rolling Stone o chamou de uma das mudanças de estilo de banda mais ousados do rock. No Metacritic, ele possui 70 de 100 pontos, baseado na avialiação de 22 críticos populares, indicando "geralmente críticas favoráveis". Das avaliações originais, Spin foi a mais favorável: "Pretty. Odd. dá vida ao título porque ousa ser bonito e otimista numa época em que a tristeza e a feiura têm mais credibilidade." Billboard também foi positiva, chamando o disco de "15 faixas de sons de bateria, sinfonias e harmonias vocais vivas e bem vindas." Time considerou as músicas mais inteligentes e produzia mais excitação pelos próximos trabalhos da banda: "Não está claro para onde a banda vai agora, mas a jornada se tornou muito mais interessante." A revista NME viu no álbum uma luz positiva, chamando-o de "vitória para a ambição artística acima da carreira cínica" e "um dos melhores álbums de pop psicodélico do ano."

O Alternative Press chamou o álbum de ambicioso, enquanto o Blender viu várias músicas como maravilhosas. Rob Sheffield da Rolling Stone concordou com a última avaliação, considerando as músicas como "quase sempre lindas", completando a revisão menos impressionada com "mesmo quando está no auge, basicamente sempre, Pretty. Odd. soa alegre." Leah Greenblatt do Entertainment Weekly chamou o álbum de "more pretty than odd" (mais bonito do que estranho), considerando-o um "álbum para se ouvir com fones de ouvido, uma densa e gostosa camada de bolo de ideias e instrumentação que pode alienar os fãs jovens." Aaron Burgess, do The A.V. Club afirmou que o disco merece "muito mais do que uma ouvida casual", louvando a orquestração barroca com harmonias em multicamadas. Paul Schrodt do Slant Magazine dispensou o disco como genérico, mas elogiou o "uso exuberante" de elementos contagiantes do pop.

A Mojo, levando em conta a idade dos integrantes da banda, chamou o disco de "muito clínico e calculista." A britânica Q expressou o mesmo sentimento: "ultimamente, você fica esperando que o Panic at the Disco fale mais sobre sua geração, em vez de ficar imitando a de seus pais." O The New York Times chamou o disco de "muito elaborado" e uma "mudança corajosa", mas resumiu em palavras pouco gentis: "devido a todo o seu trabalho, Pretty. Odd. aparece como rebuscado e arrogante, mais estudado do que exuberante." The Village Voice o considerou fervoroso e triunfante, mas criticou a narrativa abrangente "difícil de entender." Uncut afirmou que o álbum "tentou muito ser fora do normal", mas elogiou a evolução artística da banda.

James Montgomery da MTV News descreveu o Pretty. Odd. em uma revisão como muito negligenciado, escrevendo que "me dê essa década... nós podemos ter outro Pinkerton em nossas mãos", se referindo ao álbum do Weezer que recebeu crítica mista ao ser lançado mas depois foi considerado um clássico.

Turnê

A banda anunciou que seriam a atração principal do Honda Civic Tour em janeiro de 2008, o que ocupou a maior parte do começo da turnê do álbum. As bandas Motion City Soundtrack, The Hush Sound e Phantom Planet fizeram a abertura da turnê na América do Norte entre 10 de abril e 14 de julho. Entre outubro e novembro, a abertura foi feita por Dashboard Confessional e The Cab durante a Rock Band Live Tour, para promover o videogame Rock Band 2.

Como esperado ou previsto por várias publicações musicais, o Panic at the Disco adotou um estilo diferente para a turnê de suporte ao Pretty. Odd., em contraste com os palcos escuros e com elementos de circo do disco anterior. Cada show continha "peças de madeira, projeções de flora e fauna, e o microfone ficava enrolado em luzes e flores", e cada membro possuia um figurino especial. Sobre a natureza teatral da turnê de A Fever You Can't Sweat Out, Brendon Urie comentou que "nós fizemos isso e foi muito divertido, mas agora eu acho que nós queríamos algo mais íntimo, mais pessoal, e reduzimos o exagero um pouco." Ryan Ross explicou que "é mais sobre ter conexão com a audiência e ver o que acontece a cada noite. Não é como se tivéssemos um roteiro ou algo pré-planejado. Isso deixa tudo mais excitante para nós, e menos monótono a cada noite." Em 2 de dezembro de 2008, foi lançado o álbum ...Live in Chicago, que foi gravado em Chicago durante a Honda Civic Tour. Ele possuia um DVD extra com fotos da turnê, todos os videoclipes das músicas do disco e também os vídeos feitos durante a gravação dos discos e no camarim dos shows, o curta Panic at the Disco in: American Valley e o documentário baseado na turnê, All in a Day's.

A turnê do Pretty. Odd. também foi marcada pelo grande esforço para ser ecologicamente consciente. Durante ela, a banda trabalhou com duas ONGs ecológicas: Reverb, que facilitou uma turnê amigável ao meio ambiente; e Global Inheritance, que tenta inspirar mais ativismo pelo ambiente. Em uma entrevista em 2008, Ryan revelou que a banda estava viajando num ônibus a biodiesel, reutilizando plástico e reciclando mais nos camarins. Eles chegaram até mesmo a imprimir os folhetos dos shows em papel reciclado, com tinta de soja, e organizar uma "competição ecológica", onde a renda dos shows ia diretamente para as organizações ambientais.

Faixas

Ficha técnica

Músicos

Panic at the Disco
 Ryan Ross – guitarra, vocais, gaita, teclado, piano
 Brendon Urie – vocais, violão, piano, teclado, órgão, cravo, ukulele, baixo
 Jon Walker – baixo, violão, backing vocals
 Spencer Smith – bateria, percussão, backing vocals

Músicos adicionais
 Michael Davis – trombone
 Isobel Griffiths – contratante de orquestra
 Tony Kadleck – trompete
 Jeff Kievit – fliscorne, trompete piccolo, trompete
 Peter Lale – viola
 Chris Laurence – contrabaixo
 David Andrew Mann – clarinete, sax alto
 Hearth Rob Mathes – guitarras adicionais, teclados, bandolim, piano, arranjos orquestrais
 Perry Montague-Mason – violino
 Sandra Park – contratante de cordas, maestro
 Tony Pleeth – violoncelo
 Eric Ronick - wurlitzer (em "Mad as Rabbits")
 Roger Rosemberg – sax barítono
 Andy Snitzer – sax tenor
 Warren Zielinski – violino

Produção
 Jonathan Allen – engenharia de áudio
 Alex Venguer – engenharia de áudio
 Claudius Mittendorfer – engenharia de áudio
 Wayne Warnecke – engenharia de áudio
 Mark Gray – assistente de engenharia
 Lewis Jones – assistente de engenharia
 Peter Cobbin – mixagem
 Peter Hutchings – assistente de mixagem
 Richard Lancaster – assistente de mixagem
 Scott Hull – masterização
 Anthony Franco – estilista
 Alex Kirzhner – direção de arte, diretor criativo, ilustrações
 Connie Makita – ilustrações
 Tanapan "Bang" Puangpakdee – ilustrações
 Jennifer Tzar – fotografia
 Anne Declemente – A&R
 Pete Wentz – A&R
 Rob Mathes – produção

Paradas musicais

Certificações

Álbuns de pop rock
Álbuns de 2008
Álbuns de Panic! at the Disco
Álbuns lançados pela Fueled by Ramen

redpajama_set_name: RedPajamaWikipedia


text:
Making the Case for 4K
Wed, 07/24/2013 - 11:54 -- Nick Dager
Despite the fact that most of the digital cinema theatres around the world are projecting in 2K-resolution and that the vast majority of TV broadcasters in the world have not yet adopted even digital HD, a growing number of production professionals strongly advocate that all filmmakers shoot in 4K. One such advocate is Jeff Blauvelt, owner and founder of HD Cinema, a boutique rental house that also provides post-production services to a growing number of independent filmmakers from its two locations in Los Angeles and Westport, Connecticut. In Blauvelt's mind, shooting 4K digital cinema just makes good creative and business sense.
Blauvelt founded HD Cinema in 1998 with the goal of providing clients with premium gear, service and support for camera rentals and post-production services. Today the company, which has four fulltime employees, offers packages that include 2K, 4K and 3D digital cinema cameras and lenses and works with individuals and companies within the independent film community who produce feature films, documentaries, music videos, and TV programs.
"We're an unusual company," he said. In addition to offering a selection that includes an Arri Alexa, Red Epic and several Sony cameras and supporting lenses for them, HD-Cinema concentrates on service, especially post services. Blauvelt tells customers his, "We can manage your workflow and get your project into the form that distributors want."
Different by Design is a joint venture partner with HD Cinema and the companies share the same office in Los Angeles. They have teamed up to handle the post-production for a number of documentaries including 20 Feet From Stardom, which was a hit a Sundance last year and is in theatres now. They also worked on Rambler, a feature for which HD Cinema supplied an Arri Alexas and then supervised the editing in HD 1080 using Apple ProRes 422 HQ at 220 Mbs.
Just a few of the other recent movies that benefited from HD Cinema's support include:
Alexa cameras and Ultra Primes for The Ghost and the Whale (2014) director/writer/producer Anthony Gaudioso, director/producer James Gaudioso, unit production manager Kelli Kaye and DP Jayson Crothers.
Red Epic and Ultra Primes for Mary Loss of Soul (2013) director Jennifer B. White, producer Stewart Huey, DP Matthew Boyd.
And two Alexa camera packages for extra shooting days for Behaving Badly (2014) director Tim Garrick, producer Angela Sostre, unit production manager Joel Henry, DP Tony Richmond.
I recently spoke with Blauvelt to explore exactly why he believes strongly that 4K is a good production choice.
Digital Cinema Report: The majority of broadcasters around the world still work in standard definition and have yet to make the transition to HD. The theatres that have switched to digital for the most part project in 2K. Given that, make the case for working in 4K.
Jeff Blauvelt: For content creators it is easy to justify the incremental cost to at least acquire in 4K instead of HD if they believe their television program will appeal to a mass audience for many years to come. For feature films, images shot in 4K and projected in 2K will look better than those shot in 2K.
The concept to acquire the images with high quality on film really paid off in the transition to HD program distribution. Currently there is not an imperative to do an online editorial finish in 4K but the cost and ease of doing that improves every year, if not every few months.
DCR: What are the biggest challenges of shooting in 4K?
JB: The technical skills to operate 4K digital cinema cameras are easily learned by those already versed in HD and 2K production. The majority of the other vast creative and craft talents that are needed for content creation are largely unaffected.
Film has always been a medium with greater than 4K resolution but was scanned to lower resolution for television. With acquisition moving completely to digital cinema cameras in the next few years it merely is a matter of a year or two before there will be many other 4K acquisition options.
The current offerings were dominated by Red, who now can offer 5K and now 6K technology. But now Sony has very aggressively moved to secure and expand their capabilities in 4K as has Vision Research with their Phantom Flex4K. Arri just announced they have a 4K camera in development. Canon has their C500, which can record 4K to outboard recorders from Codex, S2, AJA and Convergent Design. So a big challenge is sorting out which camera and recording format is best for the project at hand.
One might consider that the cost of the cameras that can record 4K could be a challenge. But it is hard to make that a case when these cameras cost less than a set of prime lenses or a couple of cinema quality zoom lenses; and far less than film cameras and even the top of the line HD cameras from just a few years ago. Surprisingly it is still display technology that is lagging in affordable professional 4K viewing options on set since consumer displays are already shipping.
The cost of re-usable media for 4K recording is dropping at a similar pace as happened with HD. Probably the one big challenge is the same as that in post-production, the variety of formats and the extremely high data rates, and with large amounts of storage and backup.
The use of high frame rates for slow motion effects is a popular trend. But for a different reason a case can be made that it would be wise to shoot at higher frame rates all the time now, because with 4K and higher resolution projection and display panels, the motion blur and judder associated with 24fps is so much more evident and thus distracting from the viewing experience.
There are patented techniques to recover that motion blur from adjacent frames to put that back into a movie in final post to retain a cinematic immersion for narrative storytelling. So another layer of post-production processing will likely be needed in the future similar to variable bit rate encoding for streaming efficiency may be necessary in the near future.
DCR: What are the biggest challenges of posting in 4K?
JB: 4K recording formats require a significant amount of time and effort to transcode footage into a file format that is easy for the leading systems from Avid, Final Cut, or Adobe to work with easily. To get the widest dynamic range and greatest resolution, RAW or Log files are captured, with very high data rates; which then need to be converted to other image data files. Data management for all the camera original, debayered and decoded intermediate formats, and then all the various deliverable formats at different stages requires complicated post workflows and large amounts of digital storage.
DCR: What are the most common questions your customers ask you about working in 4K versus more established formats?
JB: The most difficult questions will be those regarding the huge variety of digital standards and formats that already exist.
Choosing an aspect ratio to shoot and finish for a feature film is an important decision. The 16:9 framing for television production will remain the same for 4K, but perhaps derived from an aspect ratio chosen for theatrical exhibition. These deliverables of 4K for theaters will be similar to the requirements for 2K, with DCI files potentially needed in Academy, Full aperture, Anamorphic widescreen not to mention 3D stereo, along with specific encoding for the variety of digital servers and projectors that are in use.
The quality of the lenses used will remain important as well, as 4K will show any optical issues more than HD. However directors and producers still mostly just ask their DP, "Which camera should we use and can we afford it?" The DPs commonly have the same concerns with 4K as they did in HD and 2K with questions of how best to expose RAW and Log images to get the widest dynamic range; or which LUTs to use on set so there is a good looking picture easily viewed.
Editors and post supervisors have tons of questions about the current and newer Red Rocket cards, or render farms needed to accelerate 4K transcoding. Then there is the necessary color correction of the above mentioned RAW and Log files with questions of how to deal with the expanded new color spaces to consider.
DCR: What, if any, new 4K tools do you think are still needed?
JB: All post-production application software is constantly being revised and updated so that any tools needed eventually are created, so I don't have a wish list to answer that question other than all our clients would like a way to convert the RAW or Log files faster, both for 2K; but this will especially be needed for 4K.
Premiere Pro CS6 now has native support for footage from 4K-resolution camera systems: the Red Epic, the Red Scarlet-X; with Sony and Canon 4K file native formats imminent. A lot of processing power is needed to handle these files But Adobe uses its accelerated Mercury Playback Engine to speed up those processes using graphics cards.
Currently there are demands to deliver 4K Ultra HD at 3840 x2160 for the newest consumer television panels with a familiar 16x9 display ratio, as well as for cinema delivery. Thunderbolt 2 enables video streaming to a 4K monitor. But creating 4K files for a server for theatrical projection is very much more complicated. The DCI Digital Cinema Initiative has five different display aspect ratios as part of its standardization process.
HD Cinema
4K technology
distribution formats


text:
(335) Roberta es un asteroide perteneciente al cinturón de asteroides descubierto el 1 de septiembre de 1892 por Anton Staus desde el observatorio de Heidelberg-Königstuhl, Alemania.
Está nombrado en honor de Karl Robert von Osten-Sacken (1828-1906), entomólogo ruso.

Véase también
 Lista de asteroides del (301) al (400)

Referencias

Enlaces externos

Asteroides del cinturón principal
Objetos astronómicos descubiertos desde el Observatorio de Heidelberg-Königstuhl
Objetos astronómicos descubiertos en 1892
Wikiproyecto:Asteroides/Artículos de asteroides


text:
Vikas Kumar "Vicky" Uppal (1 January 1986 – 30 June 2007) was a native and resident of India, said to be India's tallest man until his death on 30 June 2007 when he died during a failed brain tumor operation in Delhi. In 2004, The Tribune reported him to be  tall and still growing, being in his late teens.

Vicky Uppal was from the Rohtak district in the Indian state of Haryana. He was photographed for The Hindu in September 2006 at a rally held by the Indian National Lok Dal. He was purported by some to be  tall, but other sources claimed he was  tall. He could have been considered the world's tallest living man, but the Guinness Book of Records has strict verification criteria; hence, Guinness did not measure Uppal. He also had been said to have hands  long and feet  long, and appears in photographs to be proportionate, not obviously a pathological (acromegalic, for example) giant. He also acted in a Bollywood movie, Rang De Basanti.

References

See also
 List of tallest people
 Dharmendra Pratap Singh - tallest living Indian

1986 births
People with gigantism
2007 deaths
People from Rohtak district


text:
1 Capitol Police officer in critical condition, up to 60 injured after riots
By Niv Elis - 01/07/21 02:28 PM EST
One Capitol Police officer is in critical condition and 15 were hospitalized after up to 60 officers were injured after a violent pro-Trump mob stormed the Capitol on Wednesday.
"I'm livid about the whole thing," said Rep. Tim Ryan Timothy (Tim) RyanCapitol officer claims MAGA hat was part of ruse to rescue colleagues: report Tim Ryan, Rosa DeLauro giving free coffee and donuts to National Guard stationed at Capitol Agency IGs to probe breakdown in response to Capitol riots MORE (D-Ohio), who added that several police were hit in the lead with lead pipes.
Ryan chairs the Appropriations subcommittee that funds the more than 2,000-member police force. The panel has opened investigations into the security failure that led to protesters supporting President Trump Donald TrumpIran convicts American businessman on spying charge: report DC, state capitals see few issues, heavy security amid protest worries Pardon-seekers have paid Trump allies tens of thousands to lobby president: NYT MORE breaching the Capitol. That included entering the Senate chamber.
The Ohio Democrat said police were able to hold off the violent mob for an hour and fifteen minutes, but backup such as the National Guard did not arrive in time to prevent the crowds from overtaking law enforcement.
Ryan said that the up to 1,500 Capitol Police present plus another 1,000 D.C. Metropolitan Police were overwhelmed by an estimated crowd of over 10,000 people.
"These were violent people who were swinging lead pipes at cops," Ryan said. "They were hell-bent at bum-rushing the cops."
Police said four people at the Capitol died, including a 12-year Air Force veteran who was shot after she tried to climb through glass broken by protesters near the House chamber.
Top security officials have been under pressure by the security failure after Democratic and Republican lawmakers were left shell-shocked by the threat to their safety in a building considered to be impenetrable.
Capitol Police Chief Steven Sund defended the Capitol Police's response to Wednesday's riots, saying the department had a "robust plan" in place ahead of the demonstrations.
Democratic leaders have called for the resignation of top members of the Capitol's security team following the breach.
--Updated at 2:45 p.m.
Tags Donald Trump Tim Ryan Capitol breach Capitol police


text:
Home Shop PLASTIC MODELS Armor 1/35 Military Miniature Russian Main Battle Tank T-55A
Russian Main Battle Tank T-55A
W/Aber Pe Parts/Gun Barrel
Sale Price: $40.00 MSRP: $117.00
Production of the T-55 began in 1958 at a time of high tensions between the West and the Soviet Union. The tank was easy to produce and featured a compact hull and a ... Learn more
Production of the T-55 began in 1958 at a time of high tensions between the West and the Soviet Union. The tank was easy to produce and featured a compact hull and a dome-shaped turret equipped with a 100mm main gun. In the early 1960's, the T-55A with anti-radiation equipment was developed. T-55 and T-55A were also license built by Czechoslovakia and Poland and some received various improvements resulting in many sub-types. T-55 production continued until the late 70's and they equipped the armies of over 40 countries. They were used in various conflicts such as the Middle-East Wars and the Gulf War.
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This model comes with photo-etched parts and a metal gun barrel made by acclaimed Polish aftermarket parts manufacturer Aber®. The photo-etched parts include fine details such as engine grille, equipment fasteners, and commander's hatch area. The aluminum gun barrel provides the model with a heightened level of precision.
1/35 scale T-55A plastic assembly kit model with photo-etched parts and metal gun barrel from Aber®. ★Length: 259mm. ★Accurately reproduces the tank's low-profile silhouette. ★In addition to the T-55A from Russian and Czechoslovak Armies, T-55 and T-55A equipped with a DShk-M machine gun from Russian and Polish Armies can also be reproduced. ★Engine grille, fuel drums, and complex road wheels have all been reproduced. ★Comes with a commander figure and 5 marking options.
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"The keys to brand success are self-definition, transparency, authenticity and accountability.
Before you tell the world who you are, you have to know who you are. Through comprehensive assessment & development, together we'll align who you are with what you present (or would like to be) in all areas of your outward-facing communications.
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text:
Q: Find the area of the surface of revolution generated by revolving about the $x$-axis the hypocycloid $x=a\cos^3\theta$, $y=a\sin^3\theta$ Find the area of the surface of revolution generated by revolving about the $x$-axis the hypocycloid $x=a\cos^3\theta$, $y=a\sin^3\theta$ ($0 \leq \theta \leq \pi$)
I know you have to integrate $2\pi y ds$ for the limits $0$ to $\pi$ and I know that $ds$ is the square root of the sum of each derivative squared but I'm stuck on the integration, how do we do it? Please help!

A: The standard formula for rotation about the $x$-axis, through an angle of $2\pi$-radians, when $x$ and $y$ are given as functions of $\theta$ is
$$A = 2\pi \int_{\theta_1}^{\theta_2} y\sqrt{\left(\frac{\mathrm{d}x}{\mathrm{d}\theta}\right)^{\!\!2} + \left(\frac{\mathrm{d}y}{\mathrm{d}\theta}\right)^{\!\!2}}~\mathrm{d}\theta$$
In your case $x=a\cos^3\theta$ and $y=a\sin^3\theta$. It follows that
\begin{eqnarray*}
\left(\frac{\mathrm{d}x}{\mathrm{d}\theta}\right)^{\!\!2} + \left(\frac{\mathrm{d}y}{\mathrm{d}\theta}\right)^{\!\!2} &=& \left(-3a\cos^2\theta\sin\theta\right)^{\!2}+\left(3a\sin^2\theta\cos\theta\right) \\ \\
&=&9a^2\cos^4\theta\sin^2\theta+9a^2\sin^4\theta\cos^2\theta \\ \\
&\equiv& 9a^2\cos^2\theta\sin^2\theta
\end{eqnarray*}
Since $0 \le \theta \le \pi$ we need to take care because $\cos\theta$ changes sign. We have
\begin{eqnarray*}
A &=& 2\pi\int_0^{\pi} a\sin^3\theta\sqrt{9a^2\cos^2\theta\sin^2\theta}~\mathrm{d}\theta \\ \\
&=& 6\pi a^2 \int_0^{\pi} \sin^3\theta \cdot |\cos\theta| \cdot |\sin\theta|~\mathrm{d}\theta
\end{eqnarray*}
Since $\sin \theta \ge 0$ for all $0 \le \theta \le \pi$ we have $|\sin\theta| \equiv \sin\theta$. However, $\cos\theta \ge 0$ for all $0 \le \theta \le \frac{\pi}{2}$ and $\cos\theta \le 0$ for all $\frac{\pi}{2} \le \theta \le \pi$. Hence $|\cos\theta| \equiv \cos\theta$ for all $0 \le \theta \le \frac{\pi}{2}$, while $|\cos\theta| \equiv -\cos\theta$ for all $\frac{\pi}{2} \le \theta \le \pi$. It follows that
\begin{eqnarray*}
A &=& 6\pi a^2 \int_0^{\pi/2} \sin^4\theta\cos\theta~\mathrm{d}\theta - 6\pi a^2\int_{\pi/2}^{\pi} \sin^4\theta\cos\theta~\mathrm{d}\theta \\ \\
&=& 6\pi a^2\left[\frac{1}{5}\sin^5\theta\right]_0^{\pi/2}-6 \pi a^2\left[\frac{1}{5}\sin^5\theta\right]_{\pi/2}^{\pi} \\ \\
&=& \frac{12}{5}\pi a^2
\end{eqnarray*}

A: Hint: We assume $a\gt 0$. Minor modification can be made if $a\lt 0$.
We have $\frac{dx}{d\theta}=-3a\cos^2\theta\sin\theta$ and $\frac{dy}{d\theta}=3a\sin^2\theta\cos\theta$.
Square, add, simplify a bit. We get $9a^2\cos^2\theta\sin^2\theta$.  Now take the square root. Here we have an opportunity to make a major error. One should get $3a|\sin\theta\cos\theta|$.
Multiply by $2\pi a\sin^3\theta$, and integrate. You will need to split into two parts. For each part, make the substitution $u=\sin\theta$.
Remark: I would rather exploit symmetry, by finding the surface area from $0$ to $\frac{\pi}{2}$, and doubling the result.

redpajama_set_name: RedPajamaStackExchange


text:
Vietnam News Today (November 27): HCM City Tightens Travel, Accommodation Management
Vietnam News Today (November 27): Vietnam reports 13,109 new Covid-19 cases; HCM City tightens travel, accommodation management; CAAV proposes operating domestic flights normally from 2022; Vietnam to become fastest growing e-commerce market in SEA by 2026.
Rosie Nguyen
ngtrang12.ftu@gmail.com November 27, 2021 | 06:39
Vietnam News Today (November 27) notable headlines
Vietnam reports 13,109 new Covid-19 cases
HCM City tightens travel, accommodation management
CAAV proposes operating domestic flights normally from 2022
Vietnam to become fastest growing e-commerce market in SEA by 2026
HCMC win seventh consecutive national women's football title
Vietnam praised for contribution to IAEA's technical co-operation schemes
Vietnam remains seventh largest tea supplier to US
President Phuc begins official visit to Switzerland
Vietnam Online Shopping Day to open on December 3
A man has sample taken for Covid-19 testing. Photo: VNA
The Ministry of Health announced 13,109 new cases of Covid-19 in Vietnam on November 26, bringing the national tally since the start of the pandemic to 1,181,337.
Another 137 casualties were also reported, raising the country's death toll to 24,544.
Of the new cases, 7,288 were found in the community and 15 were imported.
Ho Chi Minh City tops the daily case list again with 1,809 new cases, followed by Can Tho city (897) and Binh Duong (707).
The capital city of Hanoi recorded 253 new cases, cited VNA.
The other infections were found in Tay Ninh (655), Ba Ria - Vung Tau (653), Dong Thap (601), Bac Lieu (566), Dong Nai (556), Vinh Long (536), Ben Tre (501), Binh Thuan (496), Soc Trang (493), Kien Giang (418), An Giang (387), Ca Mau (374), Tra Vinh (309), Binh Phuoc (271), Hau Giang (238), Khanh Hoa (216), Dak Lak (181), Bac Ninh (153), Ha Giang (143), Binh Dinh (132), Tien Giang (123), Nghe An (117), Thua Thien Hue (113), Lam Dong (112), Quang Nam (95), Dak Nong (92), Da Nang (92), Quang Ngai (80), Long An (75), Vinh Phuc (62), Quang Tri (57), Thanh Hoa (55), Hung Yen (47), Lang Son (44), Phu Tho (38), Nam Dinh (38), Ninh Thuan (31), Phu Yen (30), Tuyen Quang (28), Quang Binh (28), Quang Ninh (25), Thai Binh (25), Thai Nguyen (22), Gia Lai (21), Ha Tinh (19), Ninh Binh (18), Bac Giang (16), Ha Nam (10), Hai Duong (8 ), Cao Bang (7), Kon Tum (6), Hai Phong (4), Hoa Binh (4), Dien Bien (4), Lao Cai (2) and Yen Bai (1).
The Ministry of Health also reported that 12,368 more patients have now fully recovered from COVID-19, bringing the total number of people given the all-clear to 955,256.
Vietnam has so far administered more than 116.3 million doses of vaccines. More than 47 million citizens are now fully inoculated.
In wake of rising Covid-19 cases, Ho Chi Minh City will strengthen the review of people coming from other localities and those commuting among districts.
As requested by Deputy Chairman Duong Anh Duc on Tuesday, authorities in each district and Thu Duc City must tighten control of those entering their territories as a proactive Covid-19 response.
Senior Colonel Le Manh Ha, deputy head of HCMC Police Department's Office of the Chief of Staff, said functional forces will not only monitor people's movement from one place to another, but also tighten management of all those who permanently or temporarily reside in a locality.
For the new duty, the city will not set up checkpoints as before but send forces over to each ward and district to check the number of people in each household to better serve the process of contact tracing and isolation in case infections are detected, Ha said.
A police officer scans a QR code on a man's phone to see if he violates the social distancing rule in HCMC's Binh Thanh District, August 2021. Photo: VnExpress
"Such monitoring allows health authorities to have a grasp of the pandemic situation and build suitable response plans."
This will also help the city better prepare vaccines to inoculate migrant workers who return to work in the city after leaving for their hometown during the latest outbreak, according to VnExpress.
District authorities have also kicked off plans to have police inspect people that usually travel between districts.
Nguyen Dong Tung, chairman of Phu Nhuan District, said as many as 90 percent of recent Covid-19 cases recorded in the district include such commuters.
Police in 13 wards of Phu Nhuan have requested hotels, restaurants, and coffee shops to ensure customers complete health declarations via QR code.
In Binh Thanh, deputy chairwoman Thai Thi Hong Nga said the district has recently received many migrants returning to work, and police have increased inspections at hotels and boarding houses to keep track of the number of permanent or temporary residents.
In Cu Chi, chairwoman Pham Thi Thanh Hien said everyone entering the district must complete health declaration procedures. Migrants who have got one vaccine dose in their hometown will get support to be fully vaccinated.
The Civil Aviation Authority of Vietnam (CAAV) has proposed the resumption of normal operations on all domestic routes from the beginning of 2022.
According to the proposal submitted to the Ministry of Transport, the number of two-way flights on Hanoi – Ho Chi Minh City, Hanoi – Da Nang, and HCM City – Da Nang routes will be increased to 16 per day per route during December 1-14, and to 20 per day per route from December 15-31. Meanwhile, the number of two-way flights on other routes will be no more than nine flight per day per route.
Planes of Vietnamese airlines. Photo: VNA
The CAAV also proposed adjusting regulations on transferring passenger information from the PC-COVID application directly between the Ministry of Information and Communications and localities. Airlines do not need to transfer passenger destination information to the local authorities.
With this proposal, localities can update passenger information by themselves every 30 minutes from the PC-COVID application, reported VNA.
The current flight plan is only applicable until November 30, so airlines would have difficulty in planning their operations in the winter 2021/2022 flight schedule, especially during the Lunar New Year of 2022, the agency said.
At present, most domestic routes can only operate one flight per day.
The US' website Fiber2Fashion ran an article on November 25 stating that Vietnam is expected to be the fastest growing e-commerce market in Southeast Asia by 2026, with e-commerce gross merchandise value hitting US$56 billion, representing a 4.5 fold-rise of the estimated value this year.
This information was unveiled in the annual SYNC Southeast Asia report released by Facebook and Bain & Company.
The Vietnamese market is currently at the forefront of driving changes and seizing upon opportunities to thrive based on digital transformation as the world moves into the post-pandemic era, the report noted.
The study, which surveyed roughly 16,700 digital consumers and more than 20 C-level employees across six Southeast Asian countries, including 3,579 local participants, described Southeast Asia as a leader of digital transformation in the Asia-Pacific region, with the nation hailed as one of the best performers.
Photo: VOV
Domestically, a total of seven out of 10 consumers enjoy digital access, with the country set to have 53 million digital consumers by the end of the year, Vietnamese media cited the report as saying.
The report went on to outline that the number of goods categories purchased by local consumers online this year went up by 50% compared to 2020, while those being made by online stores domestically also rose by 40% on-year, thereby resulting in a 1.5-fold rise in total online retail sales across the country, cited VOV.
Furthermore, approximately 49% of Vietnamese consumers switched to a new online marketplace within the last three months based on considerations of price incentives, at 45%, product quality, at 34%, and availability of goods, at 33%, according to the report.
The report points out that for the first time, payments using cash are at risk of being dethroned with a significant decrease from 60% in 2020 to only 42% last year. Safety, privacy, and service fees represent the three main concerns of Vietnamese consumers when considering these types of payment.
This year has seen local people spend the majority of time make use of social media, texting, watching videos, shopping online, and emailing, the report said, adding that they used 72% of their time for regular activities at home instead of going out.
A 2-0 victory over Hanoi Watabe on Thursday helped HCMC I WFC claim the national women's football championship for the seventh time in a row.
Before the game, Hanoi were leading the table with the same points as HCMC but had more goals. They only needed a draw to win the championship. Therefore, Hanoi chose a defensive approach to the game. However, with HCMC's strong firepower, Hanoi couldn't achieve their target.
HCMC I WFC players pose with the national women's football championship cup on November 25, 2021. Photo by Vietnam Football Federation. Photo: VnExpress
The star in this game was striker Huynh Nhu, who netted two goals to secure the trophy for HCMC.
In the 16th minute, Nhu opened the score with an easy tap-in. Hanoi were forced to attack and seek an equalizer but failed to do so. They conceded another goal early in the second half. This time, Nhu headed it in from a freekick. She scored seven goals in the tournament, VnExpress reported.
This is HCMC's seventh consecutive national title. They also leveled the record of Hanoi with 10 titles won. Previously, they had also lifted the national cup.
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People sometimes ask where we got the interesting log table at the front of the UC Library, which we use to display books on a particular theme. My understanding is that it was made from a tree on the U of T campus that was cut down years ago. But I don't know where on the campus the tree stood — if anyone does, I'd love to hear about it.
Here's a photo of the table, with our latest display: books related to Chinese-Canadian Studies.