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Handel: Alcina, HWV 34
Alcina (HWV 34) is an opera seria by George Frideric Handel. Handel used the libretto of L'isola di Alcina, an opera that was set in 1728 in Rome by Riccardo Broschi, which he acquired the year after during his travels in Italy.
Alcina (HWV 34) is an opera seria by George Frideric Handel. Handel used the libretto of L'isola di Alcina, an opera that was set in 1728 in Rome by Riccardo Broschi, which he acquired the year after during his travels in Italy. Partly altered for better conformity, the story was originally taken from Ludovico Ariosto's Orlando furioso (like those of the Handel operas Orlando and Ariodante), an epic poem. The opera contains several musical sequences with opportunity for dance: these were composed for dancer Marie Sallé.
Alcina was composed for Handel's first season at the Theatre Royal, Covent Garden in London. It premiered on 16 April 1735. Like the composer's other works in the opera seria genre, Alcina fell into obscurity; after a revival in Brunswick in 1738 it was not performed again until a production in Leipzig in 1928.
The Australian soprano Joan Sutherland sang the role in a production by Franco Zeffirelli in which she made her debut at La Fenice in February 1960 and at the Dallas Opera in November of that year. She performed in the same production at the Royal Opera House, Covent Garden, in 1962. It was given as part of the Ledlanet Nights festival in Scotland in 1969. A major production was the one directed by Robert Carsen and originally staged for the Opéra de Paris in 1999 and repeated at the Lyric Opera of Chicago. Both stagings featured Renée Fleming in the title role.
The opera was given a concert performance on 10 October 2014 at the Barbican Centre in London. Joyce DiDonato sang the title role under Harry Bicket with The English Concert. Alice Coote, Christine Rice and Anna Christy sang other significant roles. The group toured to the European continent with performances in Pamplona, Madrid, Vienna, and Paris and then to Carnegie Hall in New York on 26 October.
Voice type
Premiere cast, 16 April 1735
Conductor: George Frideric Handel
Alcina, a sorceress soprano Anna Maria Strada del Pò
Morgana, her sister soprano Cecilia Young
Oberto, a boy searching for his father boy soprano William Savage
Ruggiero, a knight mezzo-soprano castrato Giovanni Carestini
Bradamante, Ruggiero's betrothed, disguised as her own brother, the knight Ricciardo contralto Maria Caterina Negri
Oronte, lover of Morgana tenor John Beard
Melisso, former tutor of Ruggiero bass Gustavus Waltz
The background of the opera comes from the poem Orlando Furioso. The heroic knight Ruggiero is destined to a short but glorious life, and a benevolent magician is always whisking him away from the arms of his fiancée, Bradamante. Bradamante is not the type to put up with the constant disappearance of her lover, and she spends vast portions of the poem in full armor chasing after him. Just before the opera begins she has rescued him from an enchanted castle, only to have her flying horse (a hippogriff) take a fancy to Ruggiero and fly off with him. Ruggiero and the hippogriff land on an island in the middle of the ocean. As the hippogriff begins to eat the leaves of a myrtle bush, Ruggiero is startled to hear the bush begin to speak. The bush reveals that it was once a living soul named Sir Astolfo, and the island belongs to the sister sorceresses Alcina and Morgana. The beautiful Alcina seduces every knight that lands on her isle, but soon tires of her lovers and changes them into stones, animals, plants, or anything that strikes her fancy. Despite Astolfo's warning, Ruggiero strides off to meet this sorceress – and falls under her spell.
Bradamante, again searching for her lover, arrives on Alcina's island with Ruggiero's former tutor, Melisso. Dressed in armor, Bradamante looks like a young man and goes by the name of her own brother, Ricciardo. She and Melisso possess a magic ring which enables the wearer to see through illusion, which they plan to use to break Alcina's spells and release her captives.
The first person they meet is the sorceress Morgana. Barely human and with no understanding of true love, she immediately abandons her own lover Oronte for the handsome 'Ricciardo.' Morgana conveys the visitors to Alcina's court, where Bradamante is dismayed to discover that Ruggiero is besotted with Alcina and in a state of complete amnesia about his previous life. Also at Alcina's court is a boy, Oberto, who is looking for his father, Astolfo, who was last seen heading toward this island. Bradamante guesses that Astolfo is now transformed into something, but she holds her peace and concerns herself with Ruggiero. Bradamante and Melisso rebuke Ruggiero for his desertion, but he can't think of anything except Alcina.
Meanwhile, Oronte discovers that Morgana has fallen in love with 'Ricciardo,' and challenges 'him' to a duel. Morgana stops the fight, but Oronte is in a foul mood and takes it out on Ruggiero. He tells the young man exactly how Alcina treats her former lovers and adds that, as far as he can tell, Alcina has fallen in love with the newcomer, Ricciardo (Semplicetto! A donna credi? Nr. 12). Ruggiero is horrified and overwhelms Alcina with his jealous fury. Things get even worse when 'Ricciardo' enters and pretends to admire Alcina. Alcina calms Ruggiero (Sì, son quella Nr. 13), but Bradamante is so upset at seeing her fiancé wooed before her very eyes that she reveals her true identity to Ruggiero (La bocca vaga, quell'occhio nero Nr. 14). Melisso hastily contradicts her and Ruggiero becomes very confused.
Alcina tells Morgana that she plans to turn Ricciardo into an animal, just to show Ruggiero how much she really loves him. Morgana begs Ricciardo to escape the island and Alcina's clutches, but 'he' says he'd rather stay, as he loves another. Morgana believes that this other person is herself, and the act ends with Alcina's aria "Tornami a vagheggiar". (In some productions. this aria is sung by Morgana.[5])
Melisso recalls Ruggiero to reason and duty by letting him wear the magic ring: under its influence, Ruggiero sees the island as it really is—a desert, peopled with monsters. Appalled, he realizes he must leave, and sings the famous aria "Verdi prati" ("Green meadows") where he admits that even though he knows the island and Alcina are mere illusion, their beauty will haunt him for the rest of his life.
Melisso warns Ruggiero that he cannot just leave; Alcina still wields immense power, and he should cover his escape by telling her that he wishes to go hunting. Ruggiero agrees, but, thoroughly bewildered by the magic and illusion surrounding him, he refuses to believe his eyes when he at last sees Bradamante as herself, believing that she may be another of Alcina's illusions. Bradamante is in despair, as is Alcina. Convinced of Ruggiero's indifference, she enters to turn Ricciardo into an animal, and Ruggiero has to pull himself together quickly and convince the sorceress that he does not need any proof of her love. It is at this point that the audience realises that Alcina genuinely loves Ruggiero; from now until the end of the opera, she is depicted sympathetically.
Oronte realizes that Ricciardo, Melisso and Ruggiero are in some sort of alliance, and Morgana and Alcina realise they are being deceived. But it is too late: Alcina's powers depend on illusion and, as true love enters her life, her magic powers slip away. As the act ends, Alcina tries to call up evil spirits to stop Ruggiero from leaving her, but her magic fails her.
After this the opera finishes swiftly. Morgana and Oronte try to rebuild their relationship; she returns to him and he rebuffs her but (once she is offstage) admits he loves her still. Ruggiero returns to his proper heroic status and sings an aria accompanied by high horns; Oberto is introduced to a lion, to whom he feels strangely attached, and Alcina sings a desolate aria in which she longs for oblivion.
Bradamante and Ruggiero decide that they need to destroy the source of Alcina's magic, usually represented as an urn. Alcina pleads with them, but Ruggiero is deaf to her appeals and smashes the urn. As he does so, everything is both ruined and restored. Alcina's magic palace crumbles to dust and she and Morgana sink into the ground, but Alcina's lovers are returned to their proper selves. The lion turns into Oberto's father, Astolfo, and other people stumble on, "I was a rock," says one, "I a tree" says another, and "I a wave in the ocean..." All the humans sing of their relief and joy, and Alcina is forgotten.
Composer: Handel 1735
Opus/Catalogue Number:HWV 34
Duration: 2:40:00 ( Average )
Genre :Opera
Mozart 1756.1.27
Chopin 1810.2.22
Tchaikovsky 1840.5.7
Vivaldi 1678.3.4
Beethoven 1770.12.17
Bach 1685.3.21
Handel 1685.2.23
Brahms 1833.5.7
Mahler 1860.7.7
Schubert 1797.1.31
Debussy 1862.8.22
Haydn 1732.3.31
Update Time:2018-12-11 17:45
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Q: Should I reverse order a queryset before slicing the first N records, or count it to slice the last N records? Let's say I want to get the last 50 records of a query that returns around 10k records, in a table with 1M records. I could do (at the computational cost of ordering):
data = MyModel.objects.filter(criteria=something).order_by('-pk')[:50]

I could also do (at the cost of 2 database hits):
# assume I don't care about new records being added between
# the two queries being executed
index = MyModel.objects.filter(criteria=something).count()
data = MyModel.objects.filter(criteria=something)[index-50:]

Which is better for just an ordinary relational database with no indexing on the criteria (eg postgres in my case; no columnar storage or anything fancy)? Most importantly, why?
Does the answer change if the table or queryset is significantly bigger (eg 100k records from a 10M row table)?

A: This one is going to be very slow
 data = MyModel.objects.filter(criteria=something)[index-50:]

Why because it translates into
 SELECT * FROM myapp_mymodel OFFEST (index-50)

You are not enforcing any ordering here, so the server is going to have to calulcate the result set and jump to the end of it and that's going to involve a lot of reading and will be very slow. Let us not forgot that count() queries aren't all that hot either.
OTH, this one is going to be fast
data = MyModel.objects.filter(criteria=something).order_by('-pk')[:50]

You are reverse ordering on the primary key and getting the first 50. And the first 50 you can fetch equally quickly with
data = MyModel.objects.filter(criteria=something).order_by('pk')[:50]

So this is what you really should be doing
data1 = MyModel.objects.filter(criteria=something).order_by('-pk')[:50]
data2 = MyModel.objects.filter(criteria=something).order_by('pk')[:50]

The cost of ordering on the primary key is very low.

redpajama_set_name: RedPajamaStackExchange


Collection Plate Used in University Chapel [manuscript] 1901.
Silver plated plate with wooden center covered in green felt. The plate is engraved "University of Virginia 1901."
On verso: 2225; Quadruple Plate; Meriden Conn; Wilcox Silver Plate Co.
University of Virginia Chapel Collection Plate, 1901, RG-30/19/1.441, Special Collections, University of Virginia Library, Charlottesville, Va.
a| University of Virginia. b| Chapel.
a| Collection plate used in University Chapel h| [manuscript], f| 1901.
a| Silver plated plate with wooden center covered in green felt. The plate is engraved "University of Virginia 1901."
a| On verso: 2225; Quadruple Plate; Meriden Conn; Wilcox Silver Plate Co.
a| University of Virginia Chapel Collection Plate, 1901, RG-30/19/1.441, Special Collections, University of Virginia Library, Charlottesville, Va.
a| University of Virginia x| Collectibles.
a| Wilcox Silver Plate Co.


text:
World Photography Organisation (WPO) ZEISS Photography Award 2020
Tagged: World Photography Organisation (WPO) ZEISS Photography Award 2020, ZEISS Photography Award 2020
Launched in 2016 by the World Photography Organisation and ZEISS, the ZEISS Photography Award rewards the world's most distinctive image-makers creating outstanding series showing their individual way of seeing the world.
Photographers are challenged to submit bodies of work responding to a particular theme. The 2020 brief is "Seeing Beyond – Discoveries" and the submissions will be judged by three experts in the photography industry. The ZEISS Photography Award seeks out to celebrate those photographers pushing the creative boundaries of the medium while demonstrating a strong visual narrative.
Since 1890, ZEISS lenses have been writing history: they are not only used by the most sophisticated photo and film artists, they also documented pioneer achievements of mankind, such as the first moon landing in 1969.
ZEISS Photography Award Rules.
The Competition is free to enter.
The ZEISS Photography Award is open to all Photographers entering a body of work between 5 to 10 images.
All entrants must be over 18.
Images should be no smaller than 1MB and no larger than 5MB. Images should be JPEG files
All images must be saved in the sRGB colour model and EXIF data must be left in the image file.
All entrants must be able to supply a high-resolution image suitable for printing in exhibitions should the image be required.
ZEISS Photography Award Prizes.
Winner of the ZEISS Photography Award receives:
A range of ZEISS camera lenses of their choice worth a total of €12,000
€3,000 to cover travel costs for a photo project
Flights and accommodation to attend the Sony World Photography Awards night and the exhibition opening in London in April 2020
ZEISS will also invite the winner to their headquarters in Germany to enjoy a behind-the-scenes tour of the factory and the chance to test out a variety of ZEISS lenses
The winner will also have the chance to collaborate directly with ZEISS and the World Photography Organisation for future projects
A selection of shortlisted series will also be on show at London's Somerset House during the Sony World Photography Awards Exhibition. Dates of the exhibition to be announced in early 2020.
ZEISS Photography Award Key Dates.
15 October 2019, 11am CET: Competition open for submissions
4 February 2020, 2pm CET: Competition closed for submissions
31 March 2020: Shortlist published and Winner announced
16 April 2020: Award ceremony and gala dinner London
17 April to 4 May 2020: The winning photo series and selected photos from the shortlist exhibited at Somerset House in London
How to Enter ZEISS Photography Award Competition.
For the 2020 ZEISS Photography Award photographers are asked to respond to the theme Seeing Beyond – Discoveries.
Throughout time the human race has been driven to make discoveries. This might be a personal revelation, a scientific and technological breakthrough or an idea that has led to social change – a new way of thinking that's revolutionised our everyday lives. Since photography's inception, many great individuals have seen the camera as a tool to explore and question the world, and used the power of the image to shed light on something new.
Epiphanies, inventions and transformations from the known to the unknown, we want to see something new. Submissions exploring the landscape, humans, science, political or economic changes, or even something more conceptual, are all welcome.
While all creative responses are encouraged, submissions must actively explore the topic of the brief. The series should be between five to ten images, have a clear narrative that aligns with the brief (Seeing Beyond – Discoveries) and visual consistency.
Entrants can submit all different types of photography – be that in technique or subject matter. All submissions must be accompanied by a supporting statement which outlines the story behind the work.
DEADLINE FOR SUBMISSIONS: 13:00 (GMT), February 4, 2020

redpajama_set_name: RedPajamaCommonCrawl


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Mayilam
Thiruchenthur
Swamimalai
Palamuthircholai
Chennimalai
Jnanamalai
Kathirgamam
Kumara Kottam
Kumara Kovil
Sikkal
Siruvapuri
Thirupporur
Thiruvavinankudi
Vallakkottai
Valliyur
Mailam: A Murukan temple at the crossroads of myth and local culture
மைலம் முருகன் ஆலயம் புராணக் கதை: அதன் வளர்ச்சி
The more recent temples are, the greater the chances of discovering a few historical elements and thus of knowing the conditions of their foundation. This is the case with the Mailam temple, which is not earlier than the beginning of the eighteenth century. The study of this temple enables one to observe interactions between well-known and established mythical traditions and local realities, as well as showing how these two aspects intervene both in the story and in the iconography.
Mailam is located fifteen kilometres from Tindivanam and thirty from Pondicherry. The temple, situated on a small hill (fig.1), is connected with a village on the Coromandel coast, Bomayapalaiyam, very near Pondicherry, where a Vera Saiva mutt is found (fig.2). According to the name, bomma or bomme, derived from brāhmana.1 This was a village donated to Brahmans, as is confirmed by the sthala purāna in which Bomayapalaiyam is also named Brahmapuram. The street leading to the mutt is still called agrahāra.
It is known from the private diary of Ananda Ranga Pillai, the dubash under Dupleix, that Dupleix visited, in 1744, the head of the mutt and offered him a few yards of cloth and bottles of rose water.2 In another passage, dating from 1746, Ananda Ranga Pillai mentions that the swāmi of the mutt cities three pontiffs during this twenty-four year period. Be that as it may, of interest is what Ananda Ranga Pillai has to say regarding the succession to the swāmi. First, he states that a certain Turaiyar Pachai Kandappaiyur, who was leading an ascetic life in Palani, was installed as head of the mutt.4 However, four days later, he corrects himself to say that Turaiyur Pachai Kandappaiyur, who had come to install the new pontiff of the mutt, desired to visit Pondicherry before returning to Turaiyur.5 This shows that Palani had control over the mutt. All the heads of the Bomayapalaiyam mutt are named Śivañāna Bāla Siddha, which calls clearly to mind that Palani is a hill inhabited by siddha-s and devoted to Murukan, or more specifically, to Murukan in his form of ascetic and young (bāla) god. These two aspects are generally concomitant, probably on the basis of their connotation of innocence and purity.
According to the sthala purāņa of Mailam, it was the duty of Şaŋkugaņa, a gaņa in Śiva's following, to stand guard at the grove where Pārvatī was bathing. He failed in this task as he did not prevent Śiva from entering and, because of this, he was cursed by Śiva, who announced that he would have to fight with Murukan and teach the vedasaivāgama-s for many years.
Mayilam Murugan Temple gopuram
Having been thus cursed, the gaņa, in the form of a young child named Bālasiddha, descended to earth, to the village of Bomayapalaiyam. Knowing that he could be liberated only by Murukan, and following the advice of Nārada, he went to Mailam, the hill whose name is linked to the peacock of the god (mayil), for it was there that the asura Sūrapadma assumed the form of a peacock so as to obtain liberation from Murukan. Despite the intervention of his consorts, Vaḷḷi and Devasenā, Murukan refused to do away with the malediction weighing upon Saŋkugaņa because it had come from Śiva. By way of reprisal, Murukan's consorts slipped away from him and became siddha kanni-s (abstinent ascetics), taking refuge in their palace. Disguised as a hunter, Murukan attempted to enter the palace and confronted Saŋkugaņa. The guardian very soon recognized the god, who immediately rid him of the curse and asked him to remain on Mailam hill. Murukan married Vaḷḷi and Devasenā, and Saŋkugaņa, for his part, asked Murukan to always remain present at Mailam with his wives in the form of bridegroom (kalyāņa kolam).
This theme of the separation of consorts is a motif at once aesthetic and religious, which is sometimes expressed in a quite pronounced erotic mode. In Mailam, it appears in the ten-day brahmotsava in the month of Paŋkuni. The fourth day is devoted to the amorous quarrel, tiruvūt@al, in the course of which Vaḷḷi refuses to meet Murukan. Contrary to the Śiva temples where Sundarar is customarily the mediator, in Mailam, it is Brahmā.
According to this account of the sthala purāņa, it appears that Saŋkugaņa is an asura created for the occasion, an asura with neither personality nor consistency, as is clearly shown by his name, saŋkha or saŋku, conch. He may simply be one among the numerous gaņa-s blowing conches, as is very common on the wooden chariots. Moreover, his story is borrowed from another one, that of Gaņapati, guardian of Pārvatī's privacy. In fact, this is the classical from of any, asura to whom the god, in his avatara form, accords liberation subsequent to violent combat.
Most important is that Saŋkugaņa is explicitly said to be Bālasiddha. This is the main link which, not withstanding a mythical presentation, shows that the temple was created by a head of the mutt. The conclusion of the sthala purāņa is clear in this matter: Bālasiddha also asks Murukan to remain as Kalyāņa Kolam in Mailam and in Bomayapalaiyam, in the mutt created by him.
Figure 3: Sankugana discovers Śiva and Parvati
The iconography
Several features in the iconography of the Mailam temple testify to this duality. The temple possesses two processional chariots that are used for the brahmotsava in Paŋkuni. They are decorated with sculpted panels representing diverse forms of Śiva: Bhikśāt@ana, Gajasam@hāramūrti, Kalāntaka, etc., and Sarasvatī Kāma, Kriśņa, among other deities of the pantheon. The other panels, linked with local history, are of two types. There are, first, panels connected with both Murukan and the mutt and, second, panels relating solely to the mutt.
Two panels represent episodes of Saŋkugaņa fighting against Śiva, and then against Murukan. In the first scene involving Śiva, the representation deviates singularly from the story. Śiva, bearded and wearing a turban, is in the process of copulating with his consort, while Saŋkugaņa, the guardian's club in his hand, reaches up to "save" the latter and pulls her by her hair (fig 3). The second scene is more allusive and the wives of Murukan do not appear: only Murukan seizes the guardian who joins issue, his arm raised as a sign of combat.
It is certainly because Saŋkugaņa is reincarnated as a young child that the birth of Murukan is represented. This is a rare scene, with the exception of Darasuram where amidst reeds, his place of birth, the baby god is taken by Śiva, who returns him to Pārvatī. In the next scene, she is giving him her breast (fig. 4).
Figure 4: Śiva gives Bala Murugan to Parvati Figure 5: Lotus bearing six-headed Murukan
In Mailam, the krittikā-s hold six small Murukan's in their arms, seated on lotuses. On an adjacent panel, at Śiva's side, Pārvatī gathers a long and Nandikesvara as lotus bearing a six-headed Murukan (fig5). On a third panel, between Pārvatī and Nandikesvara as worshippers, Śiva is standing, bearded and armed with his trident, the kettle-drum and fire, and holds the child Murukan on his arm (fig.6).
Figure 6: Śiva holds child Murukan Figure 7: Murukan teaches His father Śiva Figure 8: Śiva listens respectfully to Murukan
Another type of representation, also quite rare, is Murukan teaching, a form of the god related to his activities as well as those of the head of a mutt. One scene is on Gaņapati's chariot and another on that of Murukan. In one case, Murukan is seated on a pedestal with a book in his hand, giving a lesson to Śiva, who is standing with joined hands (fig.7). In the other, Subrahmaņya, again on a pedestal, is making the gesture of teaching in front of Śiva, who stands in respectful attitude of listening, one hand before his mouth (fig.8)
A third representation is the illustration of a passage from the Tamil Skanda Purāna recounting the incarceration of Brahmā as a consequence of his inability to recite the Vedas. The prison is a frame spiked with thorns in which Brahmā is held, kept watch over by a mustached guard, dagger in hand. Next to this, a walking Subrahmaņya is in the process of imprisoning Brahmā (fig.9).
Figure 9: Subrahmanya imprisons BrahmĀ Figure 10: Alamma Prabhu
Five panels bear vīra saiva figures. On the first panel, the identity of one of them, who is wearing a tiara and seated on a throne beneath a canopy, is engraved in Tamil on a step of throne: Alamma Prabhu (fig.10). The latter was a spiritual master from the twelfth century known for his ascetic rigour and was contemporaneous with Basava. On the adjacent panel, three men standing with joined hands are certainly worshippers of Alamma Prabhu. The inscription, Prakās'a Praveśa Vēlaya, must be the name of the central personage, who is larger than the two others (fig.10).
On the third panel, a sage is seated on a throne beneath a canopy (fig.11). he has a beard and moustache and long hair scattered on his shoulders and wears around his neck a necklace of rudrākśa and a linga. One hand is in abhaya-mūdra and the other holds the linga of the vīra saiva-s. Beneath is an inscription: "Bāla siddha Saŋkugaņar", confirming the assimilation of the two personages. Its date is 4245 of the Kali era, that is, 143 AD: this is obviously a mythical date suitable for a founder.
Figure 11: Bāla Siddha Sankuganar Figure 12: Siddha seated on Singhāsana Figure 13: Installation of the 18th Balaya Swami
On the fourth panel, a siddha, flanked by two worshippers, is seated with crossed legs on a throne in the form of recumbent lion (fig.12). He has the chignon of an ascetic, a moustache and beard and wears a linga around his neck. The inscription gives his name: Pāvala Cuvāmi, and the date is 3245 of the Kali era, or 1143 AD, which is more or less the period of Basava and of Alamma Prabhu. As the dates, ten centuries in the past, are similar, it is possible that the second, historical, date had determined the choice of the first.
On the last panel, a figure is standing, dressed in a dhoti, shoulders covered by a large scarf. He has rudrākśa-s and a liŋga around his neck and is wearing the sandals of an ascetic (fig.13). He is holding the staff of the pontiffs and near to him are offerings placed on a low table. The inscription indicates that it is matter of the installation (makut@a abhiseka) of the eighteenth Bālaya Swāmi. The date in Arabic numerals is 25.2.28, quite obviously 1928, as it is known from the documents of the mutt that he died in 1965 and that he was succeeded by the present pontiff, the nineteenth, who was installed in 1965.
The Mailam temple, as doubtlessly most temples, is anchored in a very particular cultural idiom that comprises its originality.
M. Chidanandamurthy, "Names of villages donated to brahmanas", Studies in Indian Place Names, vol. 2, Mysore 1981, P. 60.
The Private Diary of Ananda Ranga Pillai, Dubash to Joseph François Dupleix, Governor of Pondicherry. A Record of Matters Political, Historical, Social and Personal from 1736-1761. Asian Educational Services, New Dehli 1985. vol. 1, p. 264.
idem, vol. 2, p. 32.
Francoise L'Hernault is a research fellow with the Ecole Française d'Extrēme-Orient in Pondicherry (French Institute for Oriental Studies) who has specialized in the architecture and the iconography of South India. She has undertaken studies on the Darasuram, Gangaikondacholapuram and Tiruvannamalai temples and on the iconography of Subrahmanya in Tamilnadu.
This paper was presented at the First International Conference Seminar on Skanda-Murukan, December 1998
Index of research articles on Skanda-Murukan
Other articles about Kaumara Iconography and Art History:
Iconography of Skanda-Murukan'Iconography of Murugan' by Raju Kalidos"Trimurti in Medieval South India""Iconography of Somaskanda""Palani Andavar Idol: A Scientific Study""Rare Image of Brahmasasta""Kinetic Iconography of Murukan"The Iconography of Goddess Kaumārī"Painting of Murugan, Subrahmanya or Karthikeyan" "Significance of Kaumara Icons""Mailam Murukan temple""7th cent. Murukan image discovered""Vallakkottai Murukan Temple""Karttikeya Images of Ancient Java""Skanda Images in Ancient Cambodia""17 Iconographical Aspects of Subrahmanya"19th Century Bengali Watercolor of KarttikeyaSkanda upon Peacock, 11th-12th Cent Chola Granite
Galleries of Kaumara Iconography
Gallery One: Tiruvavaduthurai AdheenamGallery Two: 1920's – 40's collectionGallery Three: early to late 20th century Gallery Four: 1930-50 lithographsAru Padai Veedu paintingsPaintings of famous temple moolavars
Karttikeya in ancient Cambodia
Karttikeya in ancient China
Skanda in Chinese Buddhism


"This was nice. We can meet again another time and have more fun" said the girl leaned to the right a bit in a charming little bow.
"Sure, we can go to places." answered Ovolon.
"Have a nice trip. We'll meet again for sure" smiled Ovolon and did a courteous bow himself.
She waved at him and turned around taking the road to her home along with her blue friend.
A few days passed and the sky became the color of ripe tangerines. The meadow was painted blue and filled with thigh high grass, while flocks of constant grasshoppers leaped around, giving movement to the otherwise motionless environment.
She was particularly happy today and not for a specific reason. She had just woken up fresh and rested and with a ribbon of adventurous mood around her head. Maybe it was the orange sky to blame, which made her mind flowing with creative vitality, or maybe a glimpse of a possible future shown to her in a dream the night before seeded her motivation. Either way, now she was slipping around her tree hill in a speedy way looking around the soil and searching the holes for something bigger than a grasshopper.
"Oh there you are mister!" she exclaimed triumphantly and with both hands pulled out of a hole a small frog. She held him in front of her face and looked him in the eyes. "Hullo!" she said with a silly voice trying to make a frog-face. The frog looked her back and changed his hue to the color of the girl's skin. This kind of frogs are the most suitable for the job, she thought. Using their camouflage they can slip away the predating flying squallors, since they are literally passing in front their beaky faces. With the frog still in hand, she reached a big root under her tree, leaned under and pulled out an elaborate mechanical contraption the size of her head. It was made out of bolts and gears and featured a revolving ratchet lever on one side, two curly metal springs set side to side in the middle and a convoluted sum of many calibrating gears on the other side. She placed the contraption on the ground and carefully mounted the frog on, fitting his legs inside the metal springs.
"Alright, now you wait here for a while. I won't be long." she said and returned to the tree's roots. The frog turned his gaze away indifferently, looking down to this petty talk. He was here solely for business and his haughty attitude would continue as long as his price wasn't payed. In advance of course. The particular line of work includes many dangers to it's practitioners and Mr Frog had a family, and might have mental anguish expenses to cover.
After a while the girl returned with a paper note in one hand and a glass jar, in which a mosquito of the genus of worthwhiles buzzed, in the other.
"Here you go Mr. Frog, enjoy your delicacy" said the girl opening the jar, and as the mosquito skyrocketed to freedom it, met a sticky green tongue which pulled it right inside Mr. Frog's mouth. She rolled the piece of paper in her hand, pulled an orange ribbon from inside her hair and tied it around the little green projectile's neck, while he still savored the sweet taste of the mosquito combined with a bitter metallic taste of blood. That's how I like my payment, helpless and with a full stomach, thought Mr. Frog and licked his swollen lips.
She spend a few minutes revolving the gears and rearranging their place on the side of the contraption. From time to time she stopped to carefully look at the distance and slightly swift the position of her messaging device to the right or to the left.
"Done!" she said after a while with a victorious look, proud of herself for her impeccable calibrating skills. She started giving the ratchet lever some turns with increasing speed, counting in her head backwards from one hundred and thirty-eleven good ways, which she calculated was the distance needed for her message to reach the receiver. Then, she abruptly stopped and the cogs started spinning, giving momentum to the metal springs and launching Mr. Frog towards the horizon.
"Off you go! Have a nice flight! She waved as the frog turned orange and disappeared into the orange sky.
Ovolon took the frog right in the face.
Startled and temporarily blinded, he stepped back and stumbled on the pot of stew he was preparing, throwing it over and drenching himself with the steaming soup. "Aaaah." he cried and fell on the ground in an X position, with the frog, who was now changing his color from orange to fleshlike, still stuck on his face. Nothing moved. After a brief moment of total stillness, he removed the frog with a swift thrust of his hand and opened wide all his facial holes, gasping for air.
"Woah, some precise mail that is." he admitted after he got himself together.
He took the rolled paper off Mr. Frog's neck and bid him farewell.
He raised his right brow and turned his gaze in wonder towards the horizon as he carefully unrolled the letter.


text:
Waist size 63 is the new 32
Peter Brant relaxes in his art museum
WSJ: Unemployed men snacking more, getting fatter.
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Coming soon to a Stamford tower near you?
Buyers sue Newport luxury condominium project for refunds.
Carnegie Tower
By Christine Dunn
Journal Staff Writer
PROVIDENCE –– Three new lawsuits seek the return of deposits for luxury condominiums at the 22-story tower which opened in June at the exclusive Carnegie Abbey resort and golf club in Portsmouth.
The plaintiffs include Dr. James Yashar of Florida, a physician who formerly lived in Providence's East Side; Richard J. and Jody E. Martin of South Salem, N.Y.; and John R. Ranelli and G. Ashley Davis-Ranelli of Niantic, Conn.
All three complaints claim the right to refund because the developer issued a "Supplement to a Public Offering Statement" on July 15, 2009.
The complaints state that under Rhode Island law, the buyers "have the absolute right to cancel" their purchase agreements within 10 days of receipt of an amended statement; and that all the plaintiffs exercised their rights to cancel on July 21.
"We're not going to be able to comment … on the advice of legal counsel," said Edward T. Lopes, Jr., senior vice president of development for O'Neill Properties Group. Lopes guided the tower construction, which cost in excess of $80 million.
A similar lawsuit brought earlier this year by noted Democratic Party fundraiser Mark S. Weiner and his wife, L. Susan Weiner, of East Greenwich, appears to have been settled out of court. The Weiners had sued for the return of their $219,300 deposit.
To date, only one of the 79 condos at the Carnegie Tower has been sold; unit 805 closed on Sept. 2 for $1.6 million.
(hat tip, Pat M)
Tagged as Newport hits the skids
Google adds more real estate information to its maps
I haven't tried it yet but according to Information Week, it is supposed to bring a little more competition to Zillow.com and the like. That sounds good. Zillow has been getting better and better, but competition should speed up that improvement.
Tagged as Google real estate, Zillow.com
Ford employees commit economic suicide
Reject wage concessions, leaving Ford to try to compete with government-owned competitors paying lower wages. All I can figure is that these bozos hope Ford will fail so that they, too can become government employees. I'm really not going to feel sorry for them when they go down.
Tagged as Ford, UAW and reality
Sign thief is cooling his heels in the new police holding cell
Field Club member waits for squash partner
No word on identity (any interested reader can call down and find out – it's a public record) but word is the cops nabbed someone last night at the Lake Avenue circle. He was stealing signs of both political parties, apparently fueled by a desire to beautify his neighborhood and, possibly, a few too many scotches. He couldn't post bail, which is why he is being held until Monday, and his lack of ready cash makes me wonder if he's not a Round Hill Road resident. Ric? Walt? You guys still at home?
Tagged as Sign thief nabbed
Just what poor India needs: a growing communist insurgency
Tough enough to try raising a billion people from poverty, now India has to fight off bombers and madmen. It's always something.
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Tagged as India and communists
In the WSJ: an appreciation of White & Strunk's "The Elements of Style"
It's been in print fifty years and still going strong. I loved it, tried hard to use its advice and have given copies of "the little book" to my own children. Come to think of it, I'm going to order more copies from Amazon and give them to them again. It's obvious I'm no E.B. White, but this short, simple book improved my writing when I first encountered it in high school and has (usually) kept me from committing long, flowery sentences. If your own kids don't have a copy, I'd recommend it to anyone over 12. I also recommend it to anyone in business who'd like to write clearly and concisely. Don't blame the book for my own failures in that regard – just imagine how bad I'd be had I never read it.
Tagged as White & Strunk Elements of Style
Short sale or foreclosure?
This WSJ columnists addresses a reader's question on the subject. I particularly like his third option: pay your debt, you dead beat! There's a writer who'll never work for The New York Times.
Tagged as short sale or foreclosure
I've got a permanent link to the site over on the right under "Useful Links", "Greenwich Sales Data", but if you haven't seen it, check out Raveis's statistic pages. Quite informative and I can promise you, no salesman will call. Besides, would I steer you away to a competitor? Good data.
UPDATE: Raveis also has an excellent mapping tool, showing homes for sale (not just theirs), distance to schools, train, highways, etc., and lots of other good stuff, if you play around with it. It's a rainy day, go for it!
UPDATE II – Retired IB'R asks whether the data is massaged – it isn't; even if I no longer work for Bill Raveis I still respect and like him – always have, and he has worked hard at producing useful, accurate data because of his vision that the future of realtors lies in being a dispenser of information, not its gatekeeper. But I notice some houses aren't listed – that's not Raveis' fault, that's the fault of certain companies who refuse to release their information. The sales statistics are complete – they come from the MLS (but beware the "sales to ask ratio" of, say 88% – MLS uses last asking price, not original), but the mapping feature is a little less than 100%. You'll still get a pretty good idea of what's out there, though.
Here's an irony, by the way: I left Raveis because his legal department wanted me to indemnify the firm from any law suits that might arise from my blog, a $100,000 or so liability I was unwilling to assume, especially when I can defend myself for free. A friend who's still there tells me that they are now pushing their agents to start blogs as a marketing tool! I offered, many times, to give classes on blogging, just to be a team player. Never accepted but now that they forced me out, someone in marketing looked around and said, "gee…". Heh.
Tagged as Raveis, sales statistics
Can't we just slip them a little bubonic plague, instead?
While school children outside of Washington D.C. wait, Gitmo terrorists will receive swine flu vaccine. Since I lump swine flu right up there alongside global warming I'm not all that concerned that only the politically connected and terrorists are deemed worthy of protection from this mythical bug, but as a bit of symbolism, it's interesting.
Tagged as Got flu?
Tea Party's first victory
Scozzafava drops out. When Obama named my Pal Nancy's old flame, John McHugh of Watertown, NY to be the Secretary of the Army, he freed up a Congressional seat that has gone Republican for the past 120 years and set off a race between a liberal Democrat and a liberal Republican, Dede Scozzafava. Tea Party types objected and got behind the independent candidacy of Doug Hoffman, who promptly started out-polling Ms. Scozzafava. Today, she quit. Rockefeller Republicans, if there are any left, must be choking on their gin and tonics.
Republican Dede Scozzafava has suspended her bid in next Tuesday's NY 23 special election, a huge development that dramatically shakes up the race. She did not endorse either of her two opponents — Conservative party candidate Doug Hoffman or Democrat Bill Owens.
The decision to suspend her campaign is a boost for Hoffman, who already had the support of 50 percent of GOP voters, according to a newly-released Siena poll, and is now well-positioned to win over the 25 percent of Republicans who had been sticking with Scozzafava.
Scozzafava has "probably made her last campaign appearance between now and Election Day," spokesman Matt Burns told POLITICO. "She's releasing her support to the two other candidates."
"I had a discussion with her last night, and we made the decision after I spoke with her. We talked about it, what this came down to was spending. It came down to the ability to defend herself from the get-go. And that's the reality. She was unable to define herself where the people didn't know her."
POLITICO has the full story on Scozzafava's surprise decision here.
Tagged as Dede Scozzafava, Doug Hoffman
Lavery proves she's a Demmerkrat
Never Mind!
And has thoroughly read the Bill Clinton playbook. The lady sends out a flier stating that her opponent appointed his close friend to the position of "dockmaster", at an exorbitant salary, and gave him a brand new boat. Turns out that Tesei didn't know the guy, the position in question is that of Harbor Master, the salary is all of $750 a year and the boat in question is an old Boston Whaler already owned by the town.
Says our would-be First Selectman when confronted with the fact that her mailer was completely, 100% inaccurate, "Let's move on, we're beating a dead horse here."
Tagged as Lin Lavery - speaking mistruth to power
From the fine folks who brought you the Spanish Inquisition, a warning
Halloween is the Devil's play yard. Ooooh, scary!
Tagged as Pope {ious: It's always 1490 in Catholic Land!
Food fight moves to Town Hall
Frankie Fudrucker compliments Livvy Floren on her dress
The great debate of 2009 focused on the Harbor Master yesterday and the going got tough. Lyn Lavery bitch-slapped an inebriated Livvy Floren for calling Lyn's homeboy, Frankie the Fud, a "loser" whereupon Peter Crumbine jumped out of retirement and knocked Lavery sprawling on the floor. Selectman Tesei huddled under a desk while Jimbo Himes stood on it above him pleading, "please, people, can't we all just get along?"
I'm told the whole fracas was recorded and is on the Chanel 12 news loop this weekend. Bring popcorn.
Tagged as Blood in the streets - Greenwich politics get hot
Hurricanes end, world continues
Last September 1st I linked to an amateur weather watcher, Sea Blogger's prediction that we'd see no hurricanes hit the eastern seacoast this year due to a persistent wind current pattern. Not only did that prove accurate, we've had the calmest hurricane season since 1997 and we are in fact at a thirty year low. Does this prove that global warming is disproved? Not in my book, but it should put a stick in the spokes of Al Gore and his fellow religionists who proclaim that global warming causes bad storms. If, as Gore maintains, the presence of hurricanes proves global warming, then their absence disproves it, no?
Regardless, it will be fun to watch all those NEA members who frightened millions of school children with forced viewings of "A Simple Truth" now hold new assemblies where they recant the error of their ways and explain that they really can't blame local weather (or earthquakes or Jacko's over-due death) on global warming. I'm guessing we won't be hearing os such assemblies for quite a while – there are still trillions of dollars to milk from this scam.
UPDATE: Even some global warmers seem to agree: Exaggerated claims undermine drive to cut emissions, scientists warn.
Exaggerated and inaccurate claims about the threat from global warming risk undermining efforts to cut greenhouse gas emissions and contain climate change, senior scientists have told The Times.
Environmental lobbyists, politicians, researchers and journalists who distort climate science to support an agenda erode public understanding and play into the hands of sceptics, according to experts including a former government chief scientist.
Excessive statements about the decline of Arctic sea ice, severe weather events and the probability of extreme warming in the next century detract from the credibility of robust findings about climate change, they said.
Such claims can easily be rebutted by critics of global warming science to cast doubt on the whole field. They also confuse the public about what has been established as fact, and what is conjecture.
The experts all believe that global warming is a real phenomenon with serious consequences, and that action to curb emissions is urgently needed.
They fear, however, that the contribution of natural climate variations towards events such as storms, melting ice and heatwaves is too often overlooked, and that possible scenarios about future warming are misleadingly presented as fact.
"I worry a lot that NGOs [non=governmental organisations] are very much in the habit of doing exactly that," said Professor Sir David King, director of the Smith School for Enterprise and the Environment at the University of Oxford, and a former government chief scientific adviser.
"When people overstate happenings that aren't necessarily climate change-related, or set up as almost certainties things that are difficult to establish scientifically, it distracts from the science we do understand. The danger is they can be accused of scaremongering. Also, we can all become described as kind of left-wing greens."
Well yes, yes you can.
Tagged as Global warming bunkum
The NYT reports that Obama used his visit to dead soldiers as a photo-op, until wiser editors intervened
The sentence that was in the New York Times, until it was not.
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There can't be a crisis if we keep it under the rug, eh?
Federal banking regulators issue new guidelines permitting banks to hide non-performing loans. Your borrower's loan is due? The assets securing his loan has fallen to 30% of its original value and he can't refinance it or pay you back? Hey, don't worry – the government doesn't want to alarm folks by showing the destruction of value of bank's portfolios so now you can just "restructure the loan in a prudent fashion" and presto! No problem, pal.
Just don't count on ever getting paid back.
Federal bank regulators issued guidelines allowing banks to keep loans on their books as "performing" even if the value of the underlying properties have fallen below the loan amount.
The volume of troubled commercial real-estate loans is skyrocketing. Regulators said that the rules were designed to encourage banks to restructure problem commercial mortgages with borrowers rather than foreclose on them. But the move has prompted criticism that regulators are simply prolonging the financial crisis by not forcing borrowers and lenders to confront, rather than delay, inevitable problems.
Critics say the new rules are yet another example of a head-in-the-sand approach by regulators, pointing to the relaxed accounting standards last year that enabled banks to avoid marking the value of the loans down. This is doing long-term damage to the economy, they say, because it ties up bank capital, preventing them from resuming lending.
Critics say a wiser approach would be for regulators and banks to deal with problems quickly like the Resolution Trust Corp. did in the early 1990s during the last commercial real-estate crash. Back then, the RTC helped purge the financial system of toxic mortgages.
The new guidance "gives people a long time to figure out they're not going to pay it back," said Douglas Durst, a leading New York City developer. "We are in a period where nothing is happening," he said, adding that banks are "not making any new loans because they have this bad debt on their books and not writing it down and getting rid of it."
Tagged as whistling past the graveyard
Missing the trees for the forest
Tesei Manor, Belle Haven, circa 2008
Republicans whine that Demmerkrats are stealing their roadside campaign signs. If they are, well good for them – I just wish they'd take their own down too. But while Peter Tesei is knotting his underpants over this non-issue, he remains blissfully unaware of what's really going on in town: the Democrats are passing out street money to down-and-out Republicans to wreak havoc on Tuesday.
Oh yes,I know this. Frankie Fudrucker is, of course, the Democrat Boss here in town and I've witnessed a steady stream of wan, haggard men, reeking of gin and dressed in whale pants and blazers with the faint outlines of the RHC crest ripped from the breast while being expelled for nonpayment of dues, shuffling into our offices, collecting some folding money from Fudrucker and heading back to Augie's. It's pathetic.
And what will these former financiers do? They'll be getting out the vote, of course. Those whose Beemers haven't been repossessed will drive their carless colleagues to the poll, with a promise that a vote for Lavery will get them a shot and a beer afterwards. Oh, the humanity!
And if I were the Republicans, that's what I'd be yelling about.
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Tagged as Dirty Demmerkrat tricks
Big Government crushing small businesses
The blogosphere, particularly Walter Olson's Overlawyered.com, has been alive with stories of how the new Consumer Product Safety Improvement Act (CPSIA) is wiping out used book sellers, motorbike manufacturers and the like, but maybe the New York Times finally taking notice of the issue and profiling this small handmade toy maker being snuffed out will convince our politicians to be reasonable. So far, both the Consumer Product Safety Commission and Congress act exactly as our own Franklin Bloomer does when confronted with an absurd and punishing result of Greenwich's FAR regulations: "so what?"
[M] akers of small toys and owners of toy resale shops and boutique stores — say their livelihood is being threatened by federal legislation enacted in the last year to protect children from toxic toys through more extensive testing. Big toymakers, including those whose tainted imports from China led to the recall of 45 million toys and spurred Congress to take action, have more resources and are able to comply with the new law's requirements.
"This is absurd," said Mr. Woods, whose toys are made of maple, walnut and cherry and finished with walnut oil and beeswax from a local apiary. He estimates it would cost him $30,000 — a figure he calculated from having to pay $400 in required tests for each of the 80 or so different items he produces — to show that they are not toxic.
"I use beeswax," Mr. Woods said. "The law was targeted at large toymakers using lead. There was no exclusion for benign products."
These homegrown toymakers are banding together to portray themselves as victims of bureaucrats and consumer advocates, and have started letter-writing campaigns to Congress.
The Handmade Toy Alliance, which has a section of its Web site titled "Countdown to Extinction," sponsored a march on Washington last April and continues to buttonhole members of Congress. Still others have hired the Washington lobbying firm of Rudy Giuliani.
"The law is flawed," said Rob Wilson, a director of the Handmade Toy Alliance, which wants Congress to reopen the 2008 legislation to new amendments. "It reflects decision-making that in a sane world makes no sense."
"The law isn't making toys more safe, but is making everything more convoluted," added Mr. Wilson, owner of Challenge and Fun, an Ashland, Mass., company that sells organic toys from Europe. "We're all losers, including the consumer."
The law, the Consumer Product Safety Improvement Act, was overwhelmingly passed by Congress in August 2008. For the first time, it set out mandatory safety standards for products used by children under the age of 12 and required toy manufacturers to test their products to prove that they were safe.
New regulations will not go into effect until February, but many of the big toy companies are not waiting — they are already testing toys in their labs, which have been certified by the Consumer Product Safety Commission, or through third parties.
The government estimates that $22 billion worth of toys are imported each year, mainly from big toymakers with plants overseas.
Before this law was passed, testing of toys was not required, and compliance with safety standards was voluntary. But the furor over the sale and importation of toys containing lead and other toxic materials, which led to widespread toy recalls in 2007 and 2008, assured its passage.
Some major companies lobbied to shape it, including toy manufacturers, like Mattel, andExxon Mobil, a maker of phthalates, substances used in many toys that are largely banned by the law.
The issue has put small toymakers at odds with consumer groups, which oppose any efforts to have Congress tinker with the new law out of fear that larger companies will try to gut its core provisions.
The nut jobs, too are unrelenting:
"This is landmark legislation," said Nancy A. Cowles, executive director of Kids in Danger, a nonprofit that focused on safety in children's products that supported the measure.
"These groups are not above using the small crafters to reopen the legislation and get the changes they want."
Ms. Cowles also said parents needed to be assured that their children's toys were safe, regardless of who made or sold them.
"From a product safety standpoint, it doesn't make a difference whether the toy comes from a local store or a national chain," said Ms. Cowles. "A child doesn't know the difference and parents have the right to expect a safe product."
The fact that an hysteric like Nanny Cowles, who can't distinguish beeswax from petroleum, is head of a lobbying group says all I need to know about lobbying groups. We're being regulated by morons.
Tagged as CPSIA
The good news, Honey, is that I got us Series tickets
Woman arrested for offering to swap sex for two World Series tickets, one for her, one for her husband. I consider my myself both an open-minded kind of guy and a baseball fan, but I'm not sure I'd approve of my wife, if I had one, going quite this far.
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Registrations opened today along with the release of the program for the Clean Energy Council's 2018 Wind Industry Forum, the leading technical event for the Australian wind industry.
Clean Energy Council Director of Energy Generation and Strategic Development Anna Freeman said next year's event will bring together wind industry professionals to share knowledge and learn from the best in the business.
"The wind industry is flourishing and there is a massive thirst for knowledge from technical staff who want to be at the leading edge of industry developments. The record year we have had in renewable energy has given the entire sector a real sense of momentum," Ms Freeman said.
"The Wind Industry Forum is the premier event for technical staff in the industry which allows wind professionals to create valuable new connections while placing themselves at the forefront of knowledge and innovation.
Given the success of previous sold-out events and the increased interest in renewables, Ms Freeman strongly encouraged people to secure their spot early to avoid disappointment.
The forum will be held on 7 March 2018 from 9.00 am – 5.00 pm at the Pullman Melbourne on The Park, and comprise both technical conference sessions and networking drinks with industry counterparts.
Full details of the program and registration details are available on our website.
The Clean Energy Council would like to thank Goldwind Australia, the major sponsor for the Wind Industry Forum 2018.


Well, just look at my manners! I've completely forgotten about publicly thanking everyone who helped me put up this page.
Since the list of all these persons' would be a bit big, I'd like to thank you all together. You know who you are.
So, here's a big "thank you" to all whom I called, mailed, IRC'd or otherwise bugged about setting up a server and a page – even if you were just a filter for my outbursts when I almost quit.
At the same time I'd like to thank the FOSS communities for making, maintaining and documenting all the great software that made this possible.
Yea, I know, it seems like a lot of for a simple homepage, but it's importaint to remember who made what possible at some time. And there would be a lot less quality contents on the internet if there wasn't people like that.


Rich, luscious and sumptuous, this pasta dish is perfect for a romantic dinner or even just an ever so slightly upscale weeknight dinner. It's amazing what cashews can do to marinara. Folding soft-baked cauliflower, salty olives and bright peas into the creamy marinara, you've got a pasta dish built for comfort. While ideal for warming the belly on a winter night, this easy dish can be made year-round and is great the next day for lunch or oven-baked as a casserole dish for a potluck. Enjoy with a colorful salad and you're set.
Place your cashews in a heat-proof container like a glass measuring cup and heat your 1 cup of water. When it's almost boiling, pour over the cashews, cover, and let this sit for an hour or so.
Spread the onion and the cauliflower on a baking sheet lined with parchment paper. Pour on the broth and 1 tablespoon of the tamari, then the basil, garlic, fennel and red pepper flakes. Gently distribute into the cauliflower and onions. Bake for 20 minutes, then remove from the oven, stir in the remaining tamari, and bake another 15 minutes.
Meanwhile, start a large pot of water for your pasta. Cook according to directions. Drain and return to the pot with the cauliflower mixture.
Place the drained cashews and the marinara in a high-speed blender. If you don't have a high-speed blender, a regular one will do as well but you may need to blend longer to achieve creaminess.
Pour the marinara over the pasta and cauliflower with the peas and olives. If the sauce is thicker than you prefer, add some vegetable stock. Warm until heated through and enjoy!


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text:
Top 5 ASCII Games on Linux
by Zeeman Memon
ASCII graphics have been admired by most players especially those who prefer large pixels and old-school gaming. Even with the visually impressive games such as the Rise of the Tomb Raider or Forza Horizon 3, there are some classic ASCII games still out there which are more popular. This article is for all those who either already love ASCII games or would like to try these out for a change.
Want to find out which of these ASCII games are the most addictive? Here is a list of all of the most addictive ASCII games which are bound to keep you hooked in front of the computer screen for hours in a row:
1. Curse of War
Curse of War rightfully deserves its place as the first one on our list. You might not be able to understand it very well for the first few times you play the game. However, in just a few tries you will get the hang of it after which you will find just how addicting it can get.
Instead of using control units, for the most part of the game you will be gathering infrastructure, collecting resources, and guiding an army to take action. Since it is a strategy game rather than a fighting game, you will be pushing your skills as a planner who manages, gathers and handles resources for an upcoming war. How you manage these resources and how you guide your army to fight is what will determine the output of the war. The output of the war is naturally what determines your score in the game.
Instead of jumping right into the action, spend a few minutes learning about the game. The rules, tricks and the techniques which will help you play the game can be easily found on the official website for Curse of War. You will also find the instructions to install it into your computer on this official link.
It runs as a single player game by default. If you want to play the game with another person, you can do so easily by connecting two servers and using the following commands:
$ curseofwar -E 2
$ curseofwar -C <server's IP>
Downloading the Curse of War is very simple. You just need to type in the following command:
sudo apt install curseofwar
2. ASII Sector
Another truly addicting ASCII game is ASCII sector. This is a free trading/space combating game with lots of exploration and action. Although the game itself is influenced with the original version called Wing Commander, it makes it even more interesting to play. If you have played Wing Commander you would know that the player is casted as the owner of an old space ship. You explore space, make alliances and complete missions to raise your reputation. ASCII sector is simply a replication in the ASCII environment which surprisingly makes it even more addicting.
In game you have an aerial view of the space with a small avatar of you in a spaceship. You own a basic space ship initially which upgrades as you complete quests and trade goods. The ASCII version of the game keeps alive the theme of the original version of the game. However, the missions, characters, capabilities of the spaceship have improved considerably.
Besides completing quests built by others, you can also create a fully customized quest on your own. Creating your own quest isn't hard at all with the simple syntax and the built-in compiler. Although the game isn't available in the repository, you can download it just as easily from the official website of ASCII sector.
3. VMS Empire
With VMS Empire consider yourself an emperor and the computer is another emperor. Besides being emperors, you are also each other's rivals. You and the computer both play using the same set of rules with the ultimate mission to destroy each other.
It is a classic text-based game which incorporates the use of characters to represent the world inside the game. The commands to play the game are also sent in the form of characters selected on the keyboard.
The interface is a large rectangle with cities, seas and land. At the start of the game, you and the computer are each given a single city to control. As you expand your empire, your cities will be marked by O while those which belong to the computer will be marked by an X. Your mission is simple: destroy everything owned by the enemy and capture everything else.
You can download the game here. At the same link, you will also find instructions to play it.
4. DoomRL
Have you enjoyed the famous first person shooter game, Doom? Although the game is a blast, you might have played it too many times to find it interesting any more. Here is a variant for you based on ASCII characters.
In DoomRL (or Doom, the Roguelike), the player is the single marine that survives in a squad. This squad was sent in response to a distress call from Phobos. Your mission is to investigate the scenario, locate the evil mastermind and end it.
The game features a simple interface and multiple difficulty levels. You will never be bored owing to the continuous developments in the game and with the total of 25 levels which you have to complete. The final level is the most exciting one since you will encounter the Cyberdemon and two other rivals you have to end.
Download the game here.
5. Dwarf Fortress
Another highly addicting ASCII game is this single player game called dwarf fortress. In the game, you have to control a team of dwarfs who are on an adventure in a randomly generated world. You have to provide shelter, sustenance and comfort for each of the dwarfs, defend your fortress and gather wealth. You can even customize the game by adding new plants, weapons, creatures and objects by modifying the text files of the game. You can download the game here.
ASCII might not be your first thought when it comes to linux computer games, but if you prefer the terminal in general you might want to trying ASCII gaming.
Zeeman Memon
Zeeman is a freelance content marketer, software engineer and tech blogger who loves to blog on his tech blog in his free time.


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Training Workshop held on Journalists' Safety During Conflicts
admin2022-04-28T06:47:59+00:00April 27th, 2022|
Faculty of Humanities and Department of Mass Communication holds a Training Workshop on Journalists' Safety
Faculty of Humanities and Department of Mass Communication hosted a four-day workshop on "Journalists' safety During Conflicts and Working on Sensitive Issues", from 19th April 2022 to 22nd April 2022. The trainers of the workshop were; Dr Altaf Ullah Khan (Dean of Humanities and Professor of Mass Communication at FCCU), Dr. Abeer Saady (an internationally recognized war correspondent, researcher, and media trainer), as well as Mr. Umer Farooq who is a journalist working for Voice of America (VOA).
On the first day of the workshop, Ms. Rachel Hasan (Chairperson Department of Mass Communication) gave a welcome speech to all the participants and trainers including journalists and academicians from various parts of Pakistan. Dr Altaf Ullah Khan also shared a keynote speech at the commencement.
All the training sessions throughout the four days were conducted by Dr Abeer Saady with various reflections and inputs shared by Dr Altaf Ullah Khan which also gave a local perspective on the conflict reportage in Pakistan. Dr Abeer Saady stressed over the importance of digital securing in the current age and shared various tips to deflect threats faced by journalists. She stated, "safety comes first; good shots or scoops are not worthy at the cost of your life." A training session was given on situational awareness in times of conflict and Dr Abeer Saady reflected that, "at times when a foreign reporter or a parachute journalist visits a conflict zone, he/she provides a perspective which was there, but could not be spotted by local journalists or fixers in the conflict zone since they have become accustomed to the conflict and everything is normalized for them. Thus, a foreign eye into conflicts is also important and necessary." When discussing reportage from tribal areas within Pakistan, Mr Umer Farooq added, "while covering tribal areas in Pakistan, at times you don't have any signals in some places, so you should always have someone you trust at the back end who would contact your editorial board to help locate you if you do not contact for more than 24 hours."
Moreover, Dr Abeer Saady shared all the considerations a reporter must take before going into or while in the conflict zone; like having a travel checklist, personal preparation, methods to evade surveillance and going through checkpoints etc. Dr Altaf Ullah Khan added his insights into this discussion and shared, "when covering tribal areas in Pakistan journalists should blend in with the people, but it should not be overdone as there is ethnic homogeneity and it is easy for the militants and terrorists to identify an outsider."
Finally, smear campaigns, online harassment and ways to deal with threats were also shared. Dr Abeer highlighted the psychological issues faced by journalists due to this with the participants. Participants were also given various group activities throughout the training which gave them a chance to put their learnings to practice.
On the final day, the closing ceremony was inaugurated by Dr Altaf Ullah Khan, Dr Jonathan Addleton (Rector, FCCU) and Dr. Douglas Trimble (Vice Rector, FCCU).
After a concluding speech by all the speakers, certificates were distributed among the participants.
Overall, this training was very informative and insightful for academicians, journalists and students willing to cover conflict zones in future. We hope to see more of such workshops in future.
Dept of Psychology Conducts Synopsis Poster Presentations
FCCU Update for Students: 27 March
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Transcript Request Procedure For Overseas Mailing
Please follow the procedure below to apply for your transcript:
The student will send a request to the Academic Office at (academicoffice@fccollege.edu.pk ). The subject should be "Request for an Official Transcript". The email should clearly mention the name, roll no. and the delivery address.
The Academic Office will send the Transcript Request Form to the student who will then send it back to the Academic Office, after depositing the requested fee. Proof of payment (scanned copy) must be attached.
We will only process the requests after verifying all payments and dues are clear (including the fee for Transcript).
Standard processing time is 3 weeks. Urgent requests are processed within 2 weeks.
Sealed transcripts will be dispatched and a confirmation e-mail will be sent to the student.


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KINOKUNIYA SINGAPORE PART TIME JOBS
WebAug 04, · In addition, the new labor law rules meaning that I time out of jobs every years and have to find a new place to start again, which keeps wages and paid holidays forever low these days. And this whole Covid thing has really made the systemic xenophobia impossible to ignore, though everyone continues to pretend it is not there and that they. WebWHSmith (also written WH Smith, and known colloquially as Smith's and formerly as W. H. Smith & Son) is a British retailer, headquartered in Swindon, England, which operates a chain of high street, railway station, airport, port, hospital and motorway service station shops selling books, stationery, magazines, newspapers, entertainment products and . WebDec 13, · Use some time there to find the rarest orchids among the 60, plants and be amazed at the huge size of the flowers. Take the English guided tour and learn more about the characters of the different kinds of orchids. VISITOR INFORMATION: Singapore Botanic Gardens is located along Cluny Road. It is accessible by private car, taxi, bus, .
What it's like to work Part-time job in SINGAPORE
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Want to get a job at Kinokuniya Book Stores of Singapore Pte Ltd - check company vacancies, reviews, contacts. WebTalk about the perks of being a meREWARDS member!Go on, try out these delectable and decadent treats the next time you need a break from your shopping sprees at Vivocity or Takashimaya!The oasis in the dessertcafe Q classified (Takashimaya)Address: Orchard Road # Takashimaya S.C., Ngee Ann City Singapore Opening Hours: . WebThe latest Lifestyle | Daily Life news, tips, opinion and advice from The Sydney Morning Herald covering life and relationships, beauty, fashion, health & wellbeing. WebDon't Miss: 30/11/ Vietnam gold price drops despite global gain (General); 30/11/ Samsung might be expanding its self-service repair program to include more devices (Electronics); 30/11/ Musk suggests that he wants to "go to war" against Apple, starts lobbing "tweet grenades" (General); 30/11/ Top analyst sees demand for iPhone . WebDec 06, · Singapore (Singapura, 新加坡) is a city-state in Southeast Asia that became independent from the British in and is now one of the world's leading economic centre in shipping and banking. Combining the skyscrapers and subways of a modern, affluent city with a mix of Chinese, Malay, Arab, and Indian influences alongside a tropical climate, . Part-Time Retail Assistant. Books Kinokuniya. Other jobs like this. full time. www.sculptura-spb.ru 31 Aug The Job. KINOKUNIYA BOOK STORES OF SINGAPORE is now hiring on FastJobs! KINOKUNIYA BOOK STORES OF SINGAPORE 1 job available Part-time Retail Assistant. Part Time work arrangement | days per week | 9am - 1pm | Immediate | Flexible work arrangement | Entry level Job scope: • Maintain the 4 days ago. Kinokuniya Book Store pays an average salary of $31, per year or $ per hour. Kinokuniya Book Store pays the lowest earners $20, a year, while the top.
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Ennio Morricone Dead at 91
The prolific composer Ennio Morricone died earlier today, July 6, following complications from a fall last week, per The New York Times. He was 91 years old.
The Italian composer—who won an Oscar for scoring Quentin Tarantino's The Hateful Eight—wrote over 500 film scores including Cinema Paradiso, The Good, the Bad and the Ugly and The Untouchables. He was also the recipient of an honorary Oscar in 2007 for his contributions to music in film, and he won 11 of Italy's David di Donatello Awards for film.
Morricone began writing music at the age of six while growing up in Rome, playing the trumpet as his primary instrument. By the 1960s, Morricone had joined Italy's contemporary music scene, scoring his first film—Il Federale—in 1961. His scores, specifically his spaghetti westerns, were famous for using strange sounds to replicate aspects of the film's environment, such as his famous recreation of a coyote howl in the iconic soundtrack for Sergio Leone's The Good, The Bad and the Ugly.
A host of celebrities have already begun sharing their condolences and memories:
Ennio Morricone a unique sound magnificent melodies,a major influence & constant source of inspiration: Love and respect.Ennio Morricone un son unique, des mélodies magnifiques, une influence majeure et une source d'inspiration constante: avec amour et respect.#EnnioMoriconepic.twitter.com/H9oiCXk0qa
— Jean-Michel Jarre (@jeanmicheljarre) July 6, 2020
RIP Ennio Morricone https://t.co/DBBhIMAWqj
— Chance The Rapper (@chancetherapper) July 6, 2020
With great sadness, we say goodbye to a big master of cinema. His music will keep playing in our memories. Rest in peace #EnnioMorricone. pic.twitter.com/KWwJbfHzRx
— Antonio Banderas (@antoniobanderas) July 6, 2020
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The Fest Postponed to 2021, More Bands Added


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Home » Newspapers » #special issue: Make Film Politically /2007/
#special issue Make Films Politically
Posted in #special issue: Make Film Politically /2007/ | 0 comments
This special issue of Chto Delat? (DE/EN) is published in the framework of the exhibition
"The Electrification of Brains"
Idea and realization: Dmitry Vilensky (Chto Delat /What is to be done?)Special thanks to all artists, authors, translators, and friends who made this publication possible.
Dmitry Vilensky /// What Does It Mean to Make Films Politically?
01. Old Questions
All those who understand that aesthetics, politics, and economics form a vital nexus believe that art can reveal with particular force the most acute problems of social development. History is a clash between different groups who defend not only their right to speak out, but also their vision of the future. If we wish to continue the political project today we must first pose the old question: Who is the subject of historical development and knowledge? And we must actualize the simplicity of the old answer: the struggling, oppressed class itself (Benjamin).
Contemporary political art strives to be consonant with the search for this subject, not with the mythic subject of previous social revolutions. As in the mid-19th century, we are once again hard pressed to say what this subject will be like. Nowadays we should, rather, speak of a fidelity to the old answer. This doesn't mean that filmmakers, intellectuals, and artists should personally keep faith with the current anti-capitalist movement. They should remain faithful, rather, to the space of subjectivity that gave rise to the movement.
Peter Watkins /// From "The public alternative process and practices"
Published at https://www.mnsi.net/~pwatkins/public.htm
Analysis and knowledge > Direct political action > Creating alternative media
If we can somehow develop the idea that individuals and community groups – i.e., the public – can and should play a greater role in deciding and creating what they (we) see on the mass audiovisual media (MAVM), then we will have taken a major step forward.
Central to this proposal is the concept that the ideas and initiatives of the public, if absorbed into the creation of the mass audiovisual media, would help break down many of the existing hierarchical forms and practices.
Igor Chubarov /// Participation and/or Manipulation: The Communicative Strategies of Eisenstein and Vertov in the LEF
It's all a matter of confronting the visual elements one way or another. It's all a matter of intervals.
Dziga Vertov, "Kinoks: Revolution"
The journal of the Left Front of the Arts, LEF, was where the fathers of Soviet and world cinema, Sergei Eisenstein and Dziga Vertov, first announced their theoretical projects. It was still difficult, however, to sense in these brief manifestos ("Montage of Attractions" and "Kinoks") the principal differences in how the two men saw the nature and tasks of (Soviet) cinema. These would become apparent later, in the late twenties, and would be impartially discussed in the pages of New LEF.
Their approaches might be crudely summarized as affective-manipulative (Eisenstein) and machinic-democratic (Vertov).
These stances made absolute two discrete aspects of the aesthetic doctrine of productionist art as developed within the LEF—namely, a notion of art's goal as the sensual manipulation of the emotions of the viewer, listener, and reader versus the view of art as life-construction involving the creative participation of everyone.
Florian Zeyfang /// "The Two Avant-Gardes…"
If one approaches the ubiquitous Jean-Luc Godard from the "other side," the other of Peter Wollen's "Two Avant-gardes," it seems that the experiment is what made it possible (for Godard and others) to make film politically in an ideal film world. What did this mean to experimental filmmakers? In how far is (and was) their work political?
In "The Two Avant-gardes," an essay that appeared in Studio International in November 1975, Peter Wollen describes the discussions between two avant-garde movements. The filmmakers – he mentions the auteurs in France and a few Germans – are on one side, while the co-ops – experimental filmmakers who come from art, most of them from New York and England – are on the other. For the purposes of this small contribution, the debate between these two side can be summed up as follows: the filmmakers accused the co-ops of being elitists; the co-ops refuted this with an attack on the traditional form, whose retention would make real change impossible.
Christiane Post and Michael Schwarz /// The Desire for Industrialization or the Quest for Happiness
In one of his essays [1], Jacques Rancière asks: what type of fiction is the genre of documentary film? His answer is that a documentary is not the opposite of a feature film only because it presents images of everyday life or evidence from archives instead of falling back on actors interpreting a fabricated story. It is rather a different mode of cinematographic fiction, a different way of constructing a plot, breaking down a story into sequences or assembling shots to form a story, of prolonging or condensing time. According to Rancière, a documentary film is both more homogenous and more complex. More homogenous because the person who conceives the film is also the one who realizes it, documentary cinema is thus the epitome of the author film; and more complex because sequences of heterogeneous image material are usually connected.
Our piece combines sequences from Dziga Vertov's films "ENTHUSIASM (The Donbass Symphony)" (1930) and "THREE SONGS ABOUT LENIN" (1934) with images from Aleksandr Medvedkin's FILM-TRAIN (1932 / 33) and his feature film "HAPPINESS" (1934), setting them in relation to one another by means of montage. [2]
Oliver Ressler /// "More visibility to activist practices…"
I began to make films because of I was interested in forms that allow the presentation of artwork beyond the boundaries of art, a field I sometimes find restrictive. The majority of my films could be understood as attempts to afford more visibility to activist practices and social movements by describing actions, organizational forms, possibilities of agency, and underlying theories from the perspectives of the protagonists involved. Since my films do not take a "neutral" stance, they are often accused of being "partisan," and this is something people often hold against me. However, I doubt that this "neutral" stance is even possible, since the very definition of "neutrality" derives from social power relations.
Kerstin Stakemeier /// Revolutionary Reproduction – Productivism and its Recession
Tom Sherman /// Vernacular Video
What Are the Current Characteristics of Vernacular Video?
― Displayed recordings will continue to be shorter and shorter in duration, as television time, compressed by the demands of advertising, has socially engineered shorter and shorter attention spans. Video-phone transmissions, initially limited by bandwidth, will radically shorten video clips.
Hito Steyerl /// The Uncertainty of Documentarism
I vividly remember a strange broadcast a few years ago. On one of the first days of the US invasion of Iraq in 2003, a senior CNN correspondent was riding in an armored vehicle. Jubilantly, he stuck a direct broadcast cell phone camera out of the window. He exclaimed that never before had this type of live broadcast been seen. And that was indeed true. Because one could hardly see anything on these pictures. Due to the low resolution, the only things in sight were green and brown blotches, slowly moving across the screen. Actually, the picture looked like the camouflage of combat fatigues; one could only guess at what these abstract compositions were supposed to depict.
Are these documentary images? If we use a conventional definition of the documentary, the answer to this question is obviously no. They bear no similarity to reality; we have no basis for judging whether reality is being shown here in any objective way. But one thing is clear: they seem real enough. No doubt many people in the audience think they are documentary images. Their aura of authenticity is a direct result of their unintelligibility.
Ashley Hunt and Katya Sander /// But you, you're not cinema. (Sorry I have to tell you this)
If you catch these thieves, you might ask them how vision is affected by the mass-distribution of images — images captured by cameras, framed by lenses, operated by camera operators and directed by directors and paid for by producers, translated into emulsion, magnetic waves or digital bits, edited by editors and distributed massively by entities with an enormous reach into the spaces we inhabit and travel through?
>>> You're not talking about seeing a camera, you're talking about just seeing, right? Do you mean how they see the world differently because of the images that exist in it as well as of it? In-and-of the world?
>>> And the structure of those images. What they picture and what they conceal; what they postulate and what they shut down; where they place you and who they ask you to be. Similarly, how do these technological images in turn structure how we see the world? Is our vision technologized?
>>> Okay, I'll do that. Should I record their answers?
>>> Please.
Gal Kirn on Alexander Medvedkin: cinema, train and communism – XX. century
Alexander Medvedkin: cinema, train and communism – XX. century[1]
(Theses on Feuerbach-Materialist Cinema)
1. Intro: I will try to answer on a core questions of the Conference: how is Medvedkin's cinema related tot he Marxist theory and practice? Following Badiou and Godard we can argue that considering the history of 20th century cannot be done without two signifiers: cinema and communism, which both speak about certain emancipatory promise, passion of the Real. This class coalition becomes very clear in times of Russian revolution, strengthened under the slogan of Lenin that names film as the most important art of revolution. For Medvedkin's particular contribution in this "transformative" period, I would like to add another signifier to the 20th century chain – TRAIN, or what can be named communist cinema-train.
Interview with Chris Marker
Marker Direct
A rare interview with one of cinema's most secretive filmmakers.
By Samuel Douhaire and Annick Rivoire
Originally published in Libération, March 5, 2003.


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Kitchen : Charming Types Of Lightings Large Ceiling Lights Popular Lighting Fixtures New Sink Faucet Recessed In Small Black Pearl Granite Best Fluorescent Light For ~ Kioscopedia Inc.
Published at Wednesday, September 12th, 2018 - 13:55:36 PM. Kitchen. By Aiglentina Julien.