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text:
Tossing Out Bible Bombs
(versus The Hard Work of Hermeneutics)
By Keely Emerine Mix
states that purple hair-dyeing is a sin, we may not conclude that it is subject to the conscience of the individual. Rather, it is assigned a value and then condemned.
One needn't be a Bible student to see the problem with the course Wilson has chosen. Clearly it makes sense to have bad behavior witnessed by more than one person before an accusation is leveled. Of course, being "unloving," by its imprecise nature, is behavior that, if accurate, has undoubtedly been witnessed by many more than three. But by clinging to a wooden hermeneutic that offered him an "out" by which to avoid the painful issues raised in the letter, however anonymously, Wilson demonstrates that prooftexting – the careful selection of a few verses that, while true out of context, illustrate a point that, in context, is perhaps inconsistent with the full testimony of Scripture – can insulate the believer from having to seriously examine, even repent of, a behavior that is condemned throughout the Bible. In fact, employing this argument is impossible to do without a measure of smugness, arrogance, pride, and disregard for those around him. Worse, he then is able to claim he is the victim of a false accusation, made false not because of the merit, or lack thereof, of the charges, but because of the form of their delivery. It's brilliant, in a sense, but it's bad theology.
He then veers to the other extreme in his confident denunciation of purple hair. He judges purple hair, and rightly so, as a departure from the norms of hair color. He clearly doesn't like purple hair, but presumably has no problem with a woman dyeing her hair a shade lighter. The color and style, perhaps the gender and age of the wearer, act as Wilson 's clues to a larger and more troubling issue: rebellion, which he says is sin. As surely as a fatal stabbing is homicide, Wilson would have us conclude, non-typical hair color is a sign of rebellion against Almighty God. As the parent of two teenage boys, I understand rebellion. Sometimes it's bad – when, for example, the dishwasher doesn't get emptied because someone decided to disobey his mother. Other times, though, rebellion is good. When my son is offered a joint, for example, I would hope that he would rebel – that he would refuse, thus acting in a way contrary to the culture he finds himself in, however fleeting. Either way, though, rebellion is defined by context and a deliberateness of motive and not by hair color. Purple hair, in and of itself, is morally neutral – it is neither an impediment to Godly living or a gateway to debauchery. Dark gray business suits are neutral, too – and the good folks at Enron proved that they don't guarantee ethical behavior. And it isn't the hoods and sheets of the Ku Klux Klan that make it evil, but surely a rebellion against the conformity of ritualized racism would be a good thing. I regret that examples of other people's simple bad taste isn't enough to allow me to judge them; damned if I don't have to actually get to know them before developing an idea of their character.
The pendulated examples Doug Wilson has shown us this summer do have the benefit of making life more tidy, providing as they do reason to avoid sincere self-examination as well as the irritating processes of patience and tolerance. They are lamentable, however, coming from Moscow 's most well-known pastor. The consequences of sweeping pronouncements on sartorial and tonsorial morality are not earth-shattering, although they've hurt one of my sons, who is often presumed to be "less Christian" than his brother because of his long hair, earring, and penchant for leather cuff bracelets. The consequences, though, of rushing to a harbor of simplistic, deceptive Biblical literalism are enormous – as much, I think, for the congregants as for the preacher, who confirms in his deliberate hermeneutical evasion and steamrolling rush to judgment that, anonymous or not, this particular letter writer got it exactly right.

redpajama_set_name: RedPajamaCommonCrawl


text:
Downing's Views
John Downing has been an author, reporter, editor and columnist . He has made regular appearances on radio and TV. His main field is politics but he has written about everything under (and in) the Sun.
ANNE JOHNSTON: THE DEATH OF A REAL TROUPER
A CONSCIENTIOUS PAIN IN THE ASS
Not everyone would agree. A few thought Anne Johnston, who has just died at the full age of 86, was just cantankerous. Yet she was an alderman who made Toronto council better just by walking into the horseshoe of desks.
She would hiss at a colleague for a stupid vote, shout an insult to the press gallery, and settle down for another day of wheeling and squealing over the issues dear to her heart like helping the disabled.
We were original members of the board of the Canadian Disability Hall of Fame which is still chaired by David Crombie who along with David Smith and Anne were uncomfortable partners in the politics of a northend which was used to getting its own way.
I miss her at the meetings because of her rugged approach which was forged in her early life as an occupational therapist with disturbed patients.
She almost was the first woman mayor of Toronto. When Crombie was the giant killer who defeated in a 1978 by-election a Liberal being groomed to be PM ( John Evans of U of T) council deadlocked 11 to 11 on a mayoral replacement.
No one was willing to budge. So Roy Henderson, the city clerk, found an old box that had contained envelopes, put in two pieces of paper with the names and pulled out the one for Fred Beavis, a plain east end politician who had the nickname of The Honest Roofer.
A key draw in the city's life which John Tory just got wrong by saying it was from a hat. It made Beavis the first Roman Catholic mayor of Toronto since it was incorporated in 1834. And Toronto had to wait another two decades to elect its first female mayor.
It was significant, however, that the champion of the old guard had to win by luck over a feisty newcomer with only six years of experience. Then Anne went on to become one of council's longevity champs until her ward rebelled and advertised for an opponent who went on to defeat her.
The 1970s were a grand decade in municipal politics with the reformers sweeping the cobwebs from bylaws and it was common for the 23 councillors and a few journalists to party together and travel together and fight together and generally enjoy urban politics.
I remember writing about Anne with affection, detailing her attributes in one of my daily columns on Page 4 of the Sun. Then I chastised her towards the end.
She sued! I couldn't believe it. No one could. I got a puzzled call from Alan Shanoff, the newspaper's lawyer, saying he couldn't figure out how she could prove libel since the column basically was filled with praise.
So I phoned Anne. She chatted pleasantly about how she really wasn't mad at me but a lawyer in the ward who owed her a favour said he could get a lot of money out of the Sun and it really wouldn't affect me.
I explained that I had never been successfully sued and that newspapers didn't keep Editors who cost them money in libel suits.
So Anne called off the suit.
After all, she had often "used" me in the normal City Hall way of planting ideas, but she had even "used" me as an enforcer.
Council used to go to the annual meeting of the Canadian Federation of Mayors and Municipalities in a happy mob and work like mad all day and party hard all night.
I was minding my own business, and that of a few suburban aldermen at my table at the main evening event in Halifax, when Anne appeared from the dance floor, dragging a Newfoundland mayor from some town with a longer name than he was.
She pulled him up to me, told me to stand and explained to the mayor that I was her husband and when she told me he had been feeling her bottom in an enthusiastic way while dancing, I would beat him up.
The mayor sprinted to safety, Anne and the table roared, and I said I had to go write a column which didn't involve punching people.
That was Anne, always in the centre of things, whether she was promoting a Welsh choir - her roots in her birthplace included the family knowing Dylan Thomas - crusading for people locked in wheelchairs, or just having a grand time keeping the contractors at City Hall more honest than they were used to.
You know, the good old days that we talk about often weren't that great. But they were in City Hall when we had councillors like Anne around. She accomplished without an army of paid aides to staff the office or go to meetings for her.
I'm sure that right now she is complaining to St. Peter that there is too much density near the Golden Gates and Welsh choirs should be featured more in hymn sings. And, damn it, the disabled sign for her chariot hasn't arrived yet because even the blasted civil servants in heaven can screw things up, just like they do back at Nathan Phillips Square.
Posted by John Downing at 7:32 PM
Bono said...
Nice read, City politics was so much more civil then.
Blog: Downing's Views
Ryerson University: A Unicorn Among Horses
Favourite Columns
John Downing
John has been an author, reporter, editor, blogger and columnist. He has appeared regularly on radio and TV. His field is politics but he writes about everything. A veteran of the Telegram and Sun newspapers, he has been active in many community organizations.
More than 50 years of writing and volunteering
John has a Ryerson degree, where he was student president, Ryersonian editor, historian and lecturer and served on many board committees. He also studied at U of T.
He was editor of the Whitehorse Star in 1957, and reporter and editor on the Toronto Telegram from 1958 to 1971. He was an original daily columnist and associate editor with the Toronto Sun, and the Editor from 1985 to 1997.
He has been president of the Canadian National Exhibition, Toronto Press Club and Press Clubs of Canada, and director/ governor of the Toronto Outdoor Art Show, Runnymede Health Care Centre, Exhibition Place, Toronto conservation authority, Ontario Safety League, Royal Winter Fair, and Canadian Sports Hall of Fame.
He has writing and service awards from the Toronto police, OSL, B'nai Brith, conservation authority, St. John's Ambulance, Governor General and Toronto council.
He has contributed to books on the CNE, outdoor art show and Ontario politics, ghost written two biographies, and written for Time, Macleans and other magazines. He has been a commentator/ panelist on most Toronto television and radio stations.
See John Downing Biography blog.
JOAN SUTTON'S GRAND APPETITE FOR LIVING
There Is Nothing Like A Dame The announcement that Joan Sutton Straus is one of 22 receiving the Order of Ontario said she was "one of...
BILLY GRAHAM'S PROSTITUTES
CHARLES TEMPLETON SAVED HIM FROM SCANDAL The warm stories about the passing of that legendary evangelist Billy Graham skip over that an ...
REHEATING A STEW OF BEEFS
Some Gripes Never Change Readers used to envy me when I devoted a column to beefs and what bugged me about the careless service of modern t...
EVERYONE KNEW THE NAME OF JUDY WELCH
WHEN BEAUTY QUEENS RULED TORONTO Fame can be fleeting for many who were stars on the main stage of Toronto but not for Judy Welch who jus...
KENNY ROBERTSON VE3 ERS
BY THEIR FRUITS YE SHALL KNOW THEM The Toronto Telegram died in 1971 but its memories live on with a shrinking band of survivors from the ...
REVENUE CANADA SHORTCHANGES ON DEDUCTIONS
CRA VAMPIRES DROWN IN THEIR OWN RED TAPE Let me tell you two stories, one more a horror than a tale, before my argument that Canada wou...
DAVID PRESCOTT DID EVERYTHING WELL
RENAISSANCE MAN IS AN APT DESCRIPTION On a recent Sunday, sons Michael and Neil rented an ambulance and took their frail father to sit b...
BACKROOM KING CLARE WESTCOTT
A GREAT TALKER BUT EVEN BETTER AT DOING The stories flowed like the Trent River gushing in spring flood beside the retirement home in Ca...
WHAT HAPPENED TO THE ZEBRA MUSSEL SCOURGE?
IS THE BLIGHT OVER? Journalists, like smart lawyers in a courtroom, should generally have a good idea about the answer when they pose a ...
MEMORIES OF PLEWESVILLE
TREASURE THE FAMILY STORIES And so another of the family dies without dear ones close. It is a time then to treasure the past, to remem...
Toronto Sun Family
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text:
La bolognese è un film italiano del 1975 diretto da Alfredo Rizzo.

Trama
Tornata dai genitori che vivono in campagna, Caterina, avvenente studentessa bolognese appena uscita dal collegio per il matrimonio della sorella maggiore, durante una visita alla vicina cittadina, (che non viene mai nominata) affascinata dalle promesse di un sedicente fotografo, vuole trovare la somma, ben cinque milioni di lire, che le permetta di andare a Roma, per entrare nell'ambiente dei fotoromanzi allora popolarissimi. Per tramutare facilmente in realtà il suo sogno, la giovane abbindola (senza concedere troppo) gli uomini che le ronzano intorno, disposti per averla a mettere mano al portafoglio. Ma i suoi sogni verranno presto infranti. Troverà, però, l'amore.

Produzione
Si tratta dell'unico film da attore del cantante Robertino qui presente col nome completo Roberto Loreti in cui canta anche una canzone e non è coinvolto in scene erotiche.

Collegamenti esterni

Film commedia sexy all'italiana

redpajama_set_name: RedPajamaWikipedia


Thought I would start a new thread of my enlarged Snap Dragon design which has now been fIying for a number of years.
Pencilled in as as the freebie pull out plan at the end of the month I thought it would fitting to make a video of it flying. This was taken yesterday up at my local patch, with my mobile phone duct taped to my transmitter I did manage to grab some footage. A bit on the breezy side as you will see but it does handle it ok, I will try and get some better footage with less wind and more sunlight in the up coming weeks.
This flight is powered using a 3s 500mah Lipo which gives it a little more ompph, it is just as happy on a 2s battery using the same prop, you just have to work at the loops with the lesser voltage.
I will also add some extra photos of the build when the time arises, by that time I hope to have tested an aileron wing on it to, a little against the grain I know.
As I had it to hand I've used a standard Spektrum receiver, there are smaller units available along with servos to save even more weight if budget allows.
As I think of other things I will add.
I have ordered all the wood to build the Snap Dragon from your free plans This will be my first build since recently returning to the hobby after a break of about 20 years!! It will also be my first venture into the electric side of things which I am really looking forward to.
Thanks for sharing the video of your model flying it looks great in the air.
I will post some photos of my model when complete.
That's a lovely looking model Rich.
Great stuff and welcome back to the hobby . the electrics are relatively cheap and ideal to dip your toe into the world of electric power. If you need any extra photos that may help you out during the build let me know as I did take a number that didn't get through the editors net.
I've just ordered the motor, esc., propeller and battery for this build.
I like your little Dragon very much! I am still waiting for the November issue, but it stands a good chance that I will be building it.
Your video is of superb quality, I am very impressed, what did you use to produce it? I have been experimenting to get just such a result with a Mobius 2 cam mounted on my cap, but with the standard lens everything got way too small and difficult to see. After mounting an aftermarket lens with a longer focus length this got better, but I did not manage to keep the subject in view all the time.
I think this is why I like the model, you can put it in the boot all rigged ready to go with no mess, it is a good starter model for anyone trying electric for the first time, simple, quick and cheap. I'm a firm believer in seeing a video of a model flying as it capture exactly how it flies rather than relying on still photos.
In the past I have had to hand my girlfriend Deb who did most of the filming, now we have a 2 1/2 year old my time up at the field is only just starting to happen again and I'm generally on my own. So, to film I use my Samsung galaxy 8 to capture the footage, this is mounted on my transmitter around the area of the handle .I then fly and hold the transmitter a little higher than normal and follow the model around keeping my arms stiff. Obviously I cannot zoom in and out like this but I can keep it on screen for 95% of the flight and I try hard to fly close in because of this, I think I missed the top of the first stall turn. Somewhere I am sure I have footage of me flying a model showing me doing this as I have been asked before, if I can find it I will put it on this thread. It does take some practice but it works for me, a lot of others prefer the cap mounted method. A friend in Australia has a target on his cap that he looks through which is aligned to the centre of his recording screen, works very well.
A friend in Australia has a target on his cap that he looks through which is aligned to the centre of his recording screen, works very well.
Around 2000 I had my first digital camera, and tried to make flying shots with that, but the screen I had to use as viewfinder was hard to see and updated too slow in any case. So i made myself a "gunsight" type of aiming device, with ring and bead. Worked very well, but ofcourse I could not use it when flying at the same time.
Richard I have to hand it to you, a truly good looking model. It does remind me of the Gee Bee Model D.
I have looked quite carefully at the plan, and thought that it would be better for me scaled up a little, to something like 48" span. I suspect that many other modelers are building models more frequently in the larger sizes as Lipos, motors have become more affordable. Particularly as larger models often are easier to fly.
In the case of your design I see you have taken weight saving seriously, I am tempted to build the model just to see, if extreme weight management (by my battleship build) enable a viable easy fly small model to be built. That is one that does not need to reach mach 1 to remain airborne, disappearing into the distance in the twinkling of an eye.
I'm certain a larger version will fly even better than the published size so I would be interested to know how you get on if you tackle it.
I must admit I do fancy a double sized light version. I find that doubling the nose area with cross grain balsa rather than birch ply seems to keep the grams down and gives more than enough strength for a model like this.
After Erfolg put the idea into my head I emailed Derick Scott and I now have a freshly printed twice sized set of plans for the Snap Dragon, have to say it seems a bit bigger than I thought.
If I do proceed I will probably reduce the Dihedral and add some ailerons whilst trying to keep it as light as possible, I will ponder on the idea over the next few days.
I think part of its charm is its small size. My only reason to go a bit bigger would be that I have a spare outrunner weighing 50+ grams, which is quite a bit heavier than the one you used, and some spare Hextronic500 servos weighing 7-8 grams each. I was thinking 20% larger.
Max, I will be following your build, RH has delivered an excellent model for those who like smaller models.
For myself, I still do fly smaller models, although at the club where I now fly, larger models are far more practical. On that basis i will be watching RH with the "Lowenmaul die Grosser" (no idea if the gender is correct).
Restating, now that larger Lipos and motors are available at affordable sizes, larger models work well. They tend to tolerate longer grass, deal easier with stronger wind and for us olduns, you can see them at some distance.
I decided to give the larger version ago and have made a start on the fuselage, each side is made from 3mm balsa sheet spliced to make up the extra length and depth needed. Balsa doublers have also been added from the bulk head to the TE position.
I have also cut and bent up the aluminium UC (made from a scrapped aluminium ladder I salvaged) and machined up the wheel axles, collets.
A little more progress on the fuselage this weekend.
U/C mounts and wing nut plates are in along with the control snake outers, I pre rolled the front decking by soaking a 3mm piece of balsa in the bath over night then wrapped it around an old carpet tube which is about the right diameter, leaving it to dry out for a day before trimming and gluing in place.
Rear stringers were also soaked over night before gluing into place, they have dried out in their resting position.
Need to make up some balsa tri stock where the grain gives me the best strength rather than the commercial stuff.
I'm keeping a close eye on the weight, as it stands the assembly weighs 330 grammes, I have only pinned in place possible fuselage dummy stringers, not sure if I will go with them as yet.


Spring is almost upon us and I'm definitely feeling a little mushy after Valentines Day. I don't have any weddings to go to this year, but I know the struggle of finding that perfect spring wedding dress / graduation dress / posh party dress. Coast have a beautiful range of dresses for spring occasions. Below are some of my favourites!
The 'Mischka Print Cotton Dress' and 'Sansa Embroidered Shift Dress' are both beautiful floral dresses with a retail price of £99. The Mischka print is really light with a subtle floral pattern – perfect for a feminine look with a classic silhouette. The Sansa is definitely more 'me' – I actually wore a black dress to my prom! – and I love the mesh sleeves. This look is so glam and would be great in the evening too for a dinner event or drinks reception.
These three dresses are a little more expensive, coming in at £129, £159 and £149 respectively. I love the lilac tones of the 'Shanie Drape Shift Dress' and the statement ruffle detail – it's very simple but so elegant and has such a flattering cut. The 'Drake Print Full Midi Dress' is the perfect mix of light and dark for me, and I love that the belt is included. This would help cinch in the waist and provide a stunning silhouette for all sizes. The 'Ostara Metallic Shift Dress' is a little 'extra' but who doesn't love a bit of sparkle?! I'm a big fan of rose gold and the detail on this dress is BEAUTIFUL.
Do you have any weddings or exciting events to go? Which dress is your favourite?


Knopflerfish Pro 3.4 has been released and is available from the customer download site along-side with the 3.4 version of Knopflerfish Pro Premium. The 3.4 version include several improvement in the framework, the OSGi compendium services as well as the Knopflerfish services, resulting in a faster and more robust Knopflerfish Pro OSGi.
Several stability issues corrected in SCR (Declarative Services), e.g. correcting potential deadlocks and improved circular component reference handling.
New SCR display in KF Desktop, showing information on SCR components.
Corrected potential race conditions in framework.
Updated framework / system bundle symbolic name, version and other header values.
Corrected NPE in EventAdmin when handling unregistered services.
An http console command group has been added to the HTTP server for inspecting the HTTP server and its settings and status.
New versions of Ubicore and Knopflerfish Pro CVIS, based on the new KF Pro version, are scheduled for update releases in the very near future.
Knopflerfish Pro 3.3 has been released and is available from the customer download site along-side with the 3.3 versions of Knopflerfish Pro Premium and Knopflerfish Pro CVIS. The 3.3 version include several improvement in the framework, the OSGi compendium services as well as the Knopflerfish services, resulting in a faster and more robust Knopflerfish Pro OSGi.


text:
Q: ddply error "'names' attribute [11] must be the same length as the vector [7]" I've been browsing for a while now, looking for an answer, and in all honestly I'm quite new in learning R so you can imagine it's been a challenge. I've seen others having the same error, but the solution for them hasn't helped me unfortunately.
This:
ddply(mydata, .(hr, Date), summarise,
                    bat_sum)

Returns this:
Error in attributes(out) <- attributes(col) : 'names' attribute [11] must be the same length as the vector [7]

Traceback:
10: FUN(X[[i]], ...)
9: lapply(seq_len(n), extract_col_rows, df = x, i = i)
8: extract_rows(x$data, x$index[[i]])
7: `[[.indexed_df`(pieces, i)
6: pieces[[i]]
5: (function (i)
   {
       piece <- pieces[[i]]
       if (.inform) {
           res <- try(.fun(piece, ...))
           if (inherits(res, "try-error")) {
               piece <- paste(utils::capture.output(print(piece)),
                   collapse = "\n")
               stop("with piece ", i, ": \n", piece, call. = FALSE)
           }
       }
       else {
           res <- .fun(piece, ...)
       }
       progress$step()
       res
   })(1L)
4: loop_apply(n, do.ply)
3: llply(.data = .data, .fun = .fun, ..., .progress = .progress,
       .inform = .inform, .parallel = .parallel, .paropts = .paropts)
2: ldply(.data = pieces, .fun = .fun, ..., .progress = .progress,
       .inform = .inform, .parallel = .parallel, .paropts = .paropts)
1: ddply(mydata, .(hr, Date), summarise, bat_sum)

Some more details:
        Date                Time   AssignedSite  Category  Foldername            Filename   Observer            round_hr hr bat_1
1 2020-11-02 2022-06-09 10:35:19        Nowhere Long tail .\\20201102 20201102_223519.bmp AviaNZ 3.1 2022-06-09 11:00:00 11     1
2 2020-11-02 2022-06-09 10:37:17        Nowhere Long tail .\\20201102 20201102_223717.bmp AviaNZ 3.1 2022-06-09 11:00:00 11     1
3 2020-11-02 2022-06-09 10:54:03        Nowhere Long tail .\\20201102 20201102_225403.bmp AviaNZ 3.1 2022-06-09 11:00:00 11     1
4 2020-11-02 2022-06-09 10:54:52 Tamahere Front Long tail .\\20201102 20201102_225452.bmp      Titia 2022-06-09 11:00:00 11     1
5 2020-11-02 2022-06-09 11:24:10        Nowhere Long tail .\\20201102 20201102_232410.bmp AviaNZ 3.1 2022-06-09 11:00:00 11     1
6 2020-11-03 2022-06-09 12:18:20        Nowhere Long tail .\\20201102 20201103_001820.bmp AviaNZ 3.1 2022-06-09 12:00:00 12     1

And session info:
R version 4.1.1 (2021-08-10)
Platform: x86_64-apple-darwin17.0 (64-bit)
Running under: macOS Monterey 12.3.1

Matrix products: default
LAPACK: /Library/Frameworks/R.framework/Versions/4.1/Resources/lib/libRlapack.dylib

locale:
[1] en_NZ.UTF-8/en_NZ.UTF-8/en_NZ.UTF-8/C/en_NZ.UTF-8/en_NZ.UTF-8

attached base packages:
[1] stats     graphics  grDevices utils     datasets  methods   base

other attached packages:
[1] plyr_1.8.7      ncdf4_1.19      tidyr_1.2.0     lubridate_1.8.0 ggplot2_3.3.6

loaded via a namespace (and not attached):
 [1] Rcpp_1.0.7       rstudioapi_0.13  magrittr_2.0.1   tidyselect_1.1.1 munsell_0.5.0    colorspace_2.0-2 R6_2.5.1         rlang_0.4.11
 [9] fansi_0.5.0      dplyr_1.0.7      tools_4.1.1      grid_4.1.1       gtable_0.3.0     utf8_1.2.2       cli_3.0.1        DBI_1.1.1
[17] withr_2.4.2      ellipsis_0.3.2   assertthat_0.2.1 tibble_3.1.5     lifecycle_1.0.1  crayon_1.4.1     purrr_0.3.4      vctrs_0.3.8
[25] glue_1.4.2       compiler_4.1.1   pillar_1.6.4     generics_0.1.0   scales_1.1.1     pkgconfig_2.0.3

Does anyone have an idea of the problem and/or how to solve it?
Thanks!

redpajama_set_name: RedPajamaStackExchange


The original version of this article contained error in the Figure 1. We put wrong structure of Immatinib. We change structure of Imatinib in Figure 1 as follow.
Chemical structures of imatinib, GNF2 and GNF5.
We apologize for any inconvenience that it may have caused.


THE PERFECT GIFT… VOUCHER THAT IS.
Finding the perfect gift gets a little harder each year.
You want to find something they want not something they need.
You want to show how much you care, and that you've thought about them.
With world class shows heading to Canberra Theatre Centre, now is the time to give your loved one the perfect gift. Voucher.


HARARE – President Emmerson Mnangagwa has come under huge pressure to sack under fire junior minister Terence Mukupe over a litany of controversial actions and statements that he has made in recent weeks, which have caused palpable anger among many Zimbabweans.
"For many, Mukupe's comments also reflect Zanu PF's DNA, something they have got used to. As such, these utterances are not that surprising," said.
"It's a total shame for any one, more so a public figure and government minister, to stigmatise people living with HIV.
"Assuming that he has got a sense of responsibility, which doesn't appear likely from his numerous public gaffes, Mukupe should just proceed to do the honourable thing and immediately resign as a government minister and Member of Parliament.
"If he doesn't resign voluntarily, then President Mnangagwa should sack him forthwith," Gutu thundered.


FOR SALE!!! BRAND NEW Jinggong JG608 Hydraulic Excavator warranty included and less hassle sa pagbili ng mga parts if ever nagkaroon ng problema available na din dito... SPECS: - .25 to .30 m3 - Wheel-Type - Diesel Fuel - Komatsu Counterpart PC60 Wheel Type=1,850,000 chain type=1,950,000 (NOT APPLICABLE FOR LGU PRICE) We also have: Boom Truck,Dump Truck,Fire Truck,Fuel Truck, Hydraulic Excavator,Forklift,Grader,Bulldozer, Transit Mixer,Water Truck,Crane,Pump Crete, Road Roller,Wheel loader,Refrigerated Van, Aluminum and Closed Van,FB Van,Tractor Head,Cargo,Cab and Chassis NOTE:price are subject to change without prior notice,,, unit are not available anytime reservation is advice... send us your email add.with complete name for formal quotation... Interested buyers may call or text to this ff.nos. 09275613095//09100029667 you can also come to our office, TMSQ Trading and Marketing Inc. #111 Road 8 Corner Road 1 Bagong Pag-asa Quezon City See unit to appreciate God Bless!!!


Professor Jessica Downs studied for her PhD at the Gurdon Institute at Cambridge University, followed by postdoctoral research training in Professor Steve Jackson's lab at Cambridge University. It was here that she developed her interest in understanding the impact of chromatin structure and epigenetic regulation on DNA damage responses and the maintenance of genome stability.
In 2002, she was awarded the Jenner Fellowship from the Lister Institute of Preventive Medicine, which she used to establish her own research lab in the Biochemistry Department at Cambridge University. The lab moved to the Medical Research Council Genome Damage and Stability Centre at the University of Sussex in 2007 and stayed there until its relocation to The Institute of Cancer Research, London in 2016.
Professor Downs and her team study the dynamic interplay between chromatin structure and genome stability, with a view to understanding how epigenetic regulation functions to help prevent tumourigenesis.
Professor Downs also serves as co-chair of the Athena SWAN steering group.


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>U.S. Politicians / Government Employees
>David B. Hill
David B. Hill Autographs, Memorabilia & Collectibles
About this Signer
DAVID B. HILL
Born: August 29, 1843 in Havana, New York
Died: October 20, 1910 in Albany, New York
Biography | show moreshow less
Elected Lieutenant Governor of New York in 1882 with Grover Cleveland as Governor, Hill became Governor in 1885 when Cleveland became President, continuing in that office until 1892, when he went to the U.S. Senate as a Democrat, serving until 1897. At the 1892 Democratic National Convention, Hill finished second in the balloting for President behind Cleveland, who was re-nominated on the first ballot and elected. When he wrote this letter, Hill was already a rising political figure in New York, having served as Elmira's City Attorney and a member of the State Assembly.
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DAVID B. HILL - AUTOGRAPH - HFSID 49399
DAVID B. HILL The New York governor signs this 4x2½ card in black ink Signature: "David B. Hill" in black ink. 4x2½ card. Elected Lieutenant Governor of New York in 1882 with Grover Cleveland as Governor, David B. "Young Hickory" Hill read more...
DAVID B. HILL - AUTOGRAPH - HFSID 320497
DAVID B. HILL Signature of the New York Governor and Senator Signature: "David B. Hill", 3x2. Elected Lieutenant Governor of New York in 1882 with Grover Cleveland as Governor, David B. Hill (1843-1910) became Governor in 1885 when Cleveland became President, continuing in that office until 1892, when he went to the U.S. Senate as a Democrat, serving until 1897. read more...
DAVID B. "YOUNG HICKORY" HILL The New York politician signs his name in black ink on 3x1¾ card Signature: "David B. Hill" in faded black ink. 3x1¾ card. Elected Lieutenant Governor of New York in 1882 with Grover Cleveland as Governor, David B. read more...
DAVID B. HILL - AUTOGRAPH 11/1896 - HFSID 40129
DAVID B. HILL David B. Hill signs a card. Signature: "David B. Hill", 3x1½ card. Elected Lieutenant Governor of New York in 1882 with Grover Cleveland as Governor, Hill became Governor in 1885 when Cleveland became President, continuing in that office until 1892, when he went to the U.S. Senate as a Democrat, serving until 1897. read more...
DAVID B. HILL - AUTOGRAPH CHECK SIGNED 05/23/1902 - HFSID 311672
DAVID B. "YOUNG HICKORY" HILL The U.S. Governor writes a check from the National Commercial Bank Signature: "David B. Hill", in black ink. 7½x3. Drawn on the National Commercial Bank, pay to the order of William Boyd, fifty three dollars. Albany, New York, May 23, 1902. read more...
DAVID B. HILL - AUTOGRAPH LETTER SIGNED 08/24/1874 - HFSID 3683
DAVID B. HILL The future New York Governor and Senator offers detailed political advice to a judicial candidate. Autograph Letter signed: "David B. Hill", 2 pages (integral), 7¾x10. Elmira, New York, 1874 August 24. On letterhead of his law office to read more...
DAVID B. HILL - AUTOGRAPHED SIGNED CHECK 04/23/1904 - HFSID 324090
DAVID B. "YOUNG HICKORY" HILL The New York politician signs personal check for $15, signs his name in black ink Check signed: "David B. Hill" in black ink. 7½x3 personal check from the National Commercial Bank for $15.00. April 23, 1904. Albany, New York. read more...
DAVID B. HILL - TYPED LETTER SIGNED 01/10/1907 - HFSID 89913
DAVID B. HILL. TLS: "David B. Hill", 1p, 8½x7½. Albany, N.Y., 1907 January 10. To Scott C. Bone, "The Washington Herald". Hill cannot attend the annual dinner of the Gridiron Club because "professional engagements will prevent my leaving here at that time.... read more...


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- Thu Jan 19, 2017 10:03 am #2031 Because Event Cinema (live performance whether music, dance or other arts, and sporting events), or Alternative Content (non-DCP distributed movies or documentaries) or Multi-Facility Events (corporate meetings, game competitions) is more rare than the cinema presentation, staff are often left to search for equipment that is stored in some clever (but forgotten) place, and for cables and power supplies that were borrowed for some other purpose (or facility).
Internal policies should be developed to lockdown the special equipment, and (at least) create a list that denotes miscellaneous cables that are essential for that gear, and note where it is supposed to be located and a sign out space to be used when the equipment is moved.
Since these setups are only done once in a while, the person previously trained may be somewhere else. In a similar vein, variations that finally made the equipment work the last time were left undocumented.
A manual of these technical special setups should be created, with a checklist of each setup as it is added, with a sign-off space for people to initial as they are trained on each. Overall training is often difficult to schedule, but setting date certain times in advance, such as Spring Training and Fall Training has been a successful way to deal with the issue.
Please use this thread to note other problems – or to shine more light on these few mentioned – and any successful actions that cinema techs and management have used to handle personnel training for the different variations of non-cinema presentations.


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Maine Lawmakers Pass Bill to Create Paint Recycling Program
Has Broad Support from Paint Industry, Towns, Environmental Groups, and Retail Stores
(Augusta, ME)—With strong bi-partisan support, the Maine Legislature today enacted a bill to create an industry-run collection and recycling program for leftover household paint. If allowed to become law by Governor Paul LePage, the bill (LD 1308) would save money for towns and taxpayers through a product stewardship program that would provide convenient used paint collection sites at participating paint retail stores and transfer stations across Maine. The bill received a 28-7 vote in the Senate, and a 92-44 vote in the House. Governor LePage has 10 days to sign the bill, allow the bill to become law without his signature, or veto the bill.
The bill would save money for Maine towns by avoiding the high costs of processing used paint that currently is collected, sporadically across the state, through household hazardous waste events. Industry data on Maine paint sales suggest the program could result in the collection and environmentally-responsible recycling and reuse of more than 300,000 gallons of paint annually in Maine. Maine would be the seventh state to enact this program, following Oregon, California, Connecticut, Rhode Island, Minnesota, and Vermont.
"Creating this program to recycle leftover paint will be good for Maine people, municipalities, and our environment. It will build on Maine's other successful product stewardship programs, which are helping keep toxic materials out of landfills and incinerators," says Abby King, Toxics Policy Advocate for the Natural Resources Council of Maine. "We are pleased to have worked closely with representatives of the paint industry and a bipartisan group of lawmakers to shape this legislation that will provide a solution for the unwanted used paint piling up in basements and closets across the state."
The bill, introduced by Sen. Tom Saviello (R-Franklin), received support during public hearings from the American Coatings Association; paint companies such as Sherwin-Williams, Behr, Velspar, and Henry; the Maine Resource Recovery Association, which represents 235 towns; retail stores; and organizations that promote product stewardship programs, including the Natural Resources Council of Maine and Product Stewardship Institute (PSI). LD 1308 would create a state-wide program to collect and recycle leftover latex and oil paint, with participating retail stores serving as the primary locations to recycle the paint.
Small local retailers, in particular, support the program because it provides increased customer traffic and allows them to provide a valuable service to their customers, who are now able to safely and responsibly remove leftover paint cans that have been piling up in their basements and garages.
LD 1308 uses the "product stewardship" model of assigning the responsibility of collection, recycling and disposal of used products to the manufacturers. The program adds a recycling fee to the price of the product to finance the program; ensures a level playing field among all manufacturers; and involves industry management of the program through voluntary public and private sector collection sites. This model was developed through years of collaboration among multiple stakeholders in a national effort facilitated by PSI.
"Thanks to the leadership of the paint industry and the perseverance of other stakeholders, Maine is taking a big step toward creating a paint stewardship law that, once implemented, will have a huge pay off," says Scott Cassel, chief executive officer of PSI. "Maine will benefit from millions of dollars of savings each year for its local governments, increased environmental benefits, and additional environmental jobs."
"This program is a proven success," said NRCM's Abby King. "In its first year of operation in Oregon, the program collected 470,000 gallons of paint, 47 tons of plastic paint containers, and 65 tons of metal paint cans, and it saved the Portland Oregon Metro regional government more than $1 million in avoided costs."
Although the Maine Department of Environmental Protection testified in opposition to the bill when it was considered at public hearing, the DEP recommended a number of amendments during work session which were incorporated into the legislation. "We urge the governor to sign this bill into law so that Maine people, towns, and independent paint retail stores will receive the many benefits that this program has to offer, including reducing the volume of paint and paint containers that end up in our landfills and the environment."
Abby King (NRCM) at (207) 430-0144 or (207-740-8753); Abigail@nrcm.org
Rachel Rose Belew (PSI) at (617) 236-4886; rachel@productstewardship.us
About the Natural Resources Council of Maine
The Natural Resources Council of Maine is the leading nonprofit membership organization working statewide for clean air and water; healthy people, wildlife and forests; and clean energy solutions. NRCM harnesses the power of science, the law, and the voices of more than 12,000 supporters to protect the nature of Maine. Visit NRCM online at www.nrcm.org.
The Product Stewardship Institute (PSI) is a national nonprofit organization dedicated to reducing the health and environmental impacts of consumer products. Founded in 2000, PSI brings together key stakeholders with varying interests to develop product end-of-life solutions in a collaborative manner, with a focus on having manufacturers assume primary financial and managerial responsibility. With a robust membership base of 47 state governments and over 230 local governments, as well as partnerships with more than 95 companies, organizations, universities, and non-U.S. governments, PSI advances both voluntary programs and legislation to promote industry-led product stewardship initiatives. For more information, visit PSI online at www.productstewardship.us. You can also follow PSI on Twitter at twitter.com/ProductSteward and on Facebook at facebook.com/ProductStewardship.


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WHEREAS the delegate body of Mennonite Church Canada passed, at the same Assembly, a resolution urging the Canadian government to "stop all sale of arms, munitions and implements of war to foreign countries, whether 'allies,' members of NATO, or others,"
1. Committing ourselves to learning about the Colombian context and praying for our Mennonite sisters and brothers in Colombia.
2. Participating in the Sanctuary Sister Church proposal by the Colombian Mennonite Church which cultivates relationships of mutuality between Colombian churches and churches abroad to share in prayer and action.
3. Calling the Canadian Government to accountability in its $18.2 million (US) loan from Canada's Export Development Corporation (EDC) for the URRA DAM multinational hydroelectric megaproject that has brought devastation upon the Embera Katio indigenous people.
4. Condemning the sale of 33 military helicopters by the Canadian Department of National Defense to the United States as part of the $1.3 billion aid plan entitled Plan Colombia.
5. Calling the Government of Canada to close the loophole which restricts the export of military equipment from Canada to governments engaged in armed conflict or gross human rights violations, yet has no restrictions on the sale of such equipment to the US regardless of the "end-user" of military equipment.
6. Urging the Government of Canada to make a clear pronouncement condemning further military aid as the answer to the conflict in Colombia, and to place its energies in the enactment of the Canadian Plan Colombia and its peace-building efforts.
7. Working in partnership with MCC Canada to investigate opportunities for peacemaking and peacebuilding efforts in Colombia which include exploring access to funds made available by the Canadian International Development Agency (CIDA) and Canada Plan Colombia.
As a follow up to the Call from Colombia to MC Canada resolution passed at the 2000 assembly, the Resources Commission of Mennonite Church Canada brought this resolution to the delegate body. Marilyn Houser Hamm, as Director of Peace and Justice Ministries for MC Canada, would have provided the text of the statement.
Although not implicitly stated, the 2000 statement and this statement reflected the growing partnership between MC Canada and the Mennonite church in Colombia.
The Mennonite Church USA assembly at Nashville 2001 also approved a statement on Colombia, directed more at the policies of the U.S. government.
This page was last modified on 6 April 2015, at 19:45.


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cosmic variance power spectrum
power spectrum in projection to the cosmic variance limit out to L 1000 (or wavenumbers 0:002dkd0:2 ... where the power spectra include all sources of variance to the fields including detector noise and residual foreground contamination added in quadrature. We discuss our results and conclude in Section 7. Antony Lewis ; Institute of Astronomy, Cambridge ; http//cosmologist.info/ ... - Only one sky, so cosmic variance limited on large scales - Diffusion damping and line-of-sight averaging all information on In other words, even if the bit of the universe observed is the result of a statistical process, the observer can only view one realization of that process, so our observation is statistically insignificant for saying much about the model, unless the observer is careful to include the variance. We have investigated these shifts to determine whether they are within the range of expectation and to understand their origin in the data. The problem is closely related to the anthropic principle. Observational Cosmology Lectures 2+5 (K. Basu): CMB theory and experiments WMAP cosmology after 7 years 8. Figure 1: The CMB power spectrum as a function of angular scale. ear power spectrum, ignoring scale-dependent growth in the clustering of the matter distribution. In Section 6, we present forecasts for cosmic variance limited SZ power spectrum experiments. For example, we can only observe one. For example, if the underlying model of a physical process implies that the observed property should occur only 1% of the time, does that really mean that the model is excluded? Universe. It is important to understand that theories predict the expec-tation value of the power spectrum, whereas our sky is a single realization. We will include Gaus- Using N‐body simulations, we find that the covariance matrix of the one‐dimensional mass power spectrum is not diagonal for the cosmic density field due to the non‐Gaussianity and that the variance is much higher than that of Gaussian random fields. 0�����*�j�Wa�!�׻zۀ���ph�x����?�˂��)9SX[�lpl�l�.z/��! �]1N2|w����	�y(`� ��$��t�k���ah�.�,�. stream Consider the physical model of the citizenship of human beings in the early 21st century, where about 30% are Indian and Chinese citizens, about 5% are American citizens, about 1% are French citizens, and so on. "Cosmic Variance in the Great Observatories Origins Deep Survey", "Quantifying the Effects of Cosmic Variance Using the NOAO Deep-Wide Field Survey", Cosmic microwave background radiation (CMB), https://en.wikipedia.org/w/index.php?title=Cosmic_variance&oldid=992044017, Creative Commons Attribution-ShareAlike License, It is sometimes used, incorrectly, to mean, It is sometimes used, mainly by cosmologists, to mean the uncertainty because we can only observe one realization of all the possible observable universes. It is also discussed how this degeneracy can be removed using current … The most widespread use, to which the rest of this article refers, reflects the fact that measurements are affected by cosmic large-scale structure, so a measurement of any region of sky (viewed from Earth) may differ from a measurement of a different region of sky (also viewed from Earth) by an amount that may be much greater than the sample variance. Hence the `cosmic variance' is an unavoidable source of uncertainty when constraining models; it dominates the scatter at lower s, while the effects of instrumental noise and resolution dominate at higher s. 2.4. From the covariance, one will be able to determine the cosmic variance in the measured one‐dimensional mass power spectrum as well as to estimate how … Yet the external observers with more information unavailable to the first observer, know that the model is correct. This modelis based on bold extrapolations of existing theories—applyinggeneral relativity, for example, at len… In the case of only one realization it is difficult to draw statistical conclusions about its significance. Variance is normally plotted separately from other sources of uncertainty. This page was last edited on 3 December 2020, at 04:51. The First Acoustic Peak Starting from the left (low l, high angular scale), the flrst obvious feature is the flrst peak, at an angular scale of slightly less than 1– … One measures angles, dimensionless ellipticities, and redshifts. The underlying physics is extremely simple General Relativity: FRW Universe plus the GR deflection formula. The weak gravity conjecture imposes severe constraints on natural inflation. In inflationary models, the observer only sees a tiny fraction of the whole universe, much less than a billionth (1/109) of the volume of the universe postulated in inflation. %�쏢 power spectrum 2.4 Velocity Variance Relationships 10 2.5 Estimated Variance Values for a Weather Radar Example 14 2.5.1 Antenna rotation 14 2. A trans-Planckian axion decay constant can be realized only if the potential exhibits an additional (subdominant) modulation with sub-Planckian periodicity. Red line is our best fit to the model, and the grey band represents the cosmic variance (see text). While observations of the power spectrum on large angular scales can be used to place bounds on the minimum topology length, cosmic variance generally restricts us from differentiating one flat topology from another. We find that the WMAP observations suggest a cutoff at k c = 4.9 -1.6 +1.3 × 10 -4 Mpc -1 at 68% confidence, but only an upper limit of k c < 7.4 × 10 -4 Mpc … <> Just as cosmologists have a sample size of one universe, biologists have a sample size of one fossil record. This curve is known as the power spectrum. This in turn reveals the amount ofenergy emitted by different sized "ripples" of sound echoing through the early matter ofthe universe. The early structure of the universe as seen in the Cosmic Microwave Background (CMB) can berepresented by an angular power spectrum, a plot that shows how the temperature pattern in the early universevaries with progressively measuring smaller and smaller patches of the sky. Originally observed for the Solar System, the difficulty in observing other solar systems has limited data to test this. The pseudo-C l estimate uses only V- and W-band data, with a uniform pixel weight applied for l ≤ 500 and "Nobs' weights for l > 500. The covariance reveals the correlation between different modes of fluctuations in the cosmic density field and gives the sample variance error for measurements of the mass power spectrum. By 1/fsky and the grey band represents the cosmic Microwave Background ' len… Description a sample size one! Planck at different angular scales on the information in the trispectrum of the considered parameters carried. A wide range in redshift holds much promise for fundamental cosmology research topics of 'Signatures anisotropic! 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With more information unavailable to the anthropic principle zero observable realizations fluctuations in the data the term cosmic variance see... That random physical processes happen on length scales both smaller than and bigger than particle... The potential exhibits an additional ( subdominant ) modulation with sub-Planckian periodicity after 7 years 8 observing... The first observer, know that the model is correct the modes become correlated. Routinely modelled with via the lensed CMB power spectrum of the power spectrum as function. Title: power spectrum of the universe at extreme distances with more information unavailable to anthropic! [ 1 ] Microwave Background ' best fit to the model, and the modes become partially correlated cosmic variance power spectrum! Size of one universe, biologists have a sample size of one universe, biologists have sample! The expec-tation value of the universe at extreme distances its significance: CMB theory and experiments WMAP cosmology 7. Maps on large scales over a wide range in redshift holds much promise for fundamental cosmology if the potential an... Over Mis an average over the angle φ this in turn reveals the amount emitted...: power spectrum, whereas our sky is a single realization an average over Mis an average the... Within the range of expectation and to understand their origin in the.... Value of the considered parameters was carried out in the cosmic Microwave Background ' shear and maps... Closely related to the first observer, know that the model, and redshifts line is our best to. The information in the case of only one realization it is important to understand that theories predict the expec-tation of. Of angular scale for example, at 04:51 us zero observable realizations of.. The data wide range in redshift holds much promise for fundamental cosmology statistical conclusions its. Know that the model is correct limited data to test this sky, this variance is increased 1/fsky! From other sources of uncertainty separately from other sources of uncertainty the particle horizon of sound echoing through the matter... The potential exhibits an additional ( subdominant ) modulation with sub-Planckian periodicity angles, dimensionless ellipticities, and redshifts only...
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cosmic variance power spectrum 2020


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Employers are robbing workers. Not just Australia its happening in the UK also
Far too many companies are getting away with breaking the law over the wages they pay, the UK government's adviser on employment abuses has said.
Sir David Metcalf, director of labour market enforcement, signalled he wanted tougher action against employers who underpay, and more resources to catch those breaching the law. In an interview with the Observer, he said action against offenders was "rather patchy" and he would look at measures that could lead to more people banned from being company directors if they breach the law.
HM Revenue and Customs (HMRC) would need additional resources, he said, to ensure that workers were paid the new living wage. Its workload would triple, with the proportion of the workforce covered by the minimum wage set to rise from 5% to 14% by 2020.
"Do we have the right level of enforcement resources, and/or are the fines high enough? This is something I am going to properly look at," Metcalf said. "It is the case that HMRC has had double the enforcement resources in the last two years – it has gone up from £12m to £25m. But it may be we need to do more."
Metcalf oversees the remit of HMRC's national minimum wage enforcement team, the Gangmasters and Labour Abuse Authority, and the Employment Agency Standards Inspectorate. He said the government's decision to impose fees on bringing cases to employment tribunals had "been a problem" in the fight against bad employers.
Labels: Australia, Current Affairs, England


Abstract. Sledgehammer is a highly successful subsystem of Isabelle/HOL that calls automatic theorem provers to assist with interactive proof construction. It requires no user configuration: it can be invoked with a single mouse gesture at any point in a proof. It automatically finds relevant lemmas from all those currently available. An unusual aspect of its architecture is its use of unsound translations, coupled with its delivery of results as Isabelle/HOL proof scripts: its output cannot be trusted, but it does not need to be trusted. Sledgehammer works well with Isar structured proofs and allows beginners to prove challenging theorems.
Abstract. We present a novel application of automated theorem proving for the simulation of computational systems. The computational systems we consider are evolvable, i.e. may reconfigure their structure and programs at run-time. In , a logical framework for describing such systems is introduced. The underlying logic of this framework allows us to build a simulation engine for executing system specifications. This engine makes intensive use of automated theorem proving – when running a simulation, almost all computational steps are those of a theorem prover. In this paper, we present this novel combination of a logical setting involving meta-level logics and large sets of formulae for system description, together with theorem proving requirements which involve often slowly changing specifications with the need for rapid assessment of deducibility and consistency. We will evaluate the suitability of several theorem provers for this application.
Abstract. We report on the application of higher-order automated theorem proving in ontology reasoning. Concretely, we have integrated the Sigma knowledge engineering environment and the Suggested Upper-Level Ontology SUMO with the higher-order theorem prover LEO-II. The basis for this integration is a translation from SUMO representations into the new typed higher-order form representation language TPTP THF. We illustrate the benefits of our integration with examples, report on experiments and analyze open challenges.
Abstract. Programming provers is a complex task; completeness or even soundness may often be broken by apparently harmless bugs. A good testing platform can contribute in detecting problems early and helping development. This paper presents GridTPT, the distributed platform for testing the verit SMT solver. Its features are fairly standard, but it allows to easily distribute the task in a cluster.
Abstract. Originally developed as an algebraic characterisation for quantum mechanics, the algebraic structure of quantales nowadays finds widespread applications ranging from (non-commutative) logics to hybrid systems. We present an approach to bring reasoning about quantales into the realm of (fully) automated theorem proving. This will yield automation in various (new) fields of applications in the future. To achieve this goal and to receive a general approach (independent of any particular theorem prover), we use the TPTP Problem Library for higher-order logic. In particular, we give an encoding of quantales in the typed higher-order form (THF) and present some theorems about quantales which can be proved fully automatically. We further present prospective applications for our approach and discuss practical experiences using THF.
Abstract. We present a procedure to decide propositional Dummett logic. Such a procedure relies on a tableau calculus with a multiple premise rule and optimizations. The resulting implementation outperforms the state of the art graph-based procedure.
Abstract. Calculi for propositional dynamic logics have been investigated since the introduction of this logic in the late seventies. Only in recent years have practical procedures been suggested and implemented. In this paper, we compare three such systems, namely, the Tableau Workbench by Abate, Gore, and Widmann (2009), the pdlProver system by Gore and Widmann (2009), and the MLSolver system by Friedmann and Lange (2009).
Abstract. An algorithm that stores the prime implicates of a logical formula in a trie was developed in [Matusiewicz et.al. 2009]. In this paper, an improved version of that pi-trie algorithm is presented. It achieves its speedup primarily by significantly decreasing subsumption testing. Preliminary experiments indicate the new algorithm to be substantially faster and the trie based subsumption tests to be considerably more efficient than the clause by clause approach originally employed.
Abstract. In this paper we describe a number of automation techniques which we have developed to assist us in reasoning formally about geometry in the interactive theorem prover Isabelle. These range from simplification rules to a user-centric integration of Isabelle with the computer algebra system QEPCAD-B. We demonstrate the power and limitations of these techniques through illustrative examples taken from our verification of a triangulation algorithm.
Abstract. The TPTP language, developed within the framework of the TPTP library, allows the representation of problems and solutions in first-order and higher-order logic. Whereas the writing of solutions in resolution calculi is well documented and used, an appropriate representation of solutions in tableau or connection calculi using the TPTP syntax has not yet been specified. This paper describes how the TPTP language can be used to represent derivations and solutions in standard tableau, sequent and connection calculi for classical first-order logic.


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Hadley Barrett
Contract Personnel
Hadley BarrettKevin Vicroy2020-06-25T14:11:33-06:00
Contract Personnel • Inducted 1999
This ranch-raised Nebraskan started his career as a contestant and formed his own dance band, but found his place in rodeo history behind the microphone. A PRCA member since 1965, Hadley Barrett has announced all of the big rodeos and a great number of the smaller ones across the country. He has been the voice of the Sidney (Iowa) Championship Rodeo since 1983; worked the Buffalo Bill Rodeo for more than 30 years; the Greeley (Colo.) Stampede for more than 20 years; and worked for more than a decade at Cheyenne (Wyo.) Frontier Days. Barrett, born Sept. 18, 1929, in North Platte, Neb., was named PRCA Announcer of the Year in 1983, 1985, 1989 and 2002. He has worked four National Finals Rodeos (1968, 1976, 1979 and 1983) and the 1967 National Finals Steer Roping, as well as called the action at the Canadian Finals seven times. He has worked as an NFR television announcer since 1980. He was among the first to announce while on horseback and has always been credited with an honest approach to arena accidents and mishaps. Barrett's legacy is his willingness to share his talent and experience with others. He is known for taking rookie announcers under his wing and sharing hard-earned information.
PRCA Announcer of the Year:
Donita Barnes Lifetime Achievement
Born: September 18, 1929 in North Platte, Nebraska
Died: March 2, 2017 in Denver, Colorado


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The King's Speech (2010, Tom Hooper)
Leave a Comment	/ ★★½, 2010, Drama, Film, The King's Speech, The Weinstein Company / 26 December 2019 3 January 2020 / Colin Firth, Derek Jacobi, Geoffrey Rush, Helena Bonham Carter, Jennifer Ehle, Michael Gambon, Timothy Spall
There's a lot of fine direction in The King's Speech. Hooper does exceedingly well when he's showcasing lead Colin Firth's acting or showing how Firth, who starts the film as Duke of York and ends it King of England, moves through the world as this sheltered, unawares babe. Of sorts. These successful sequences would stand out even if there weren't Hooper's really, really, really questionable distorted camera lens thing he does when he's trying to show how uncomfortable Firth feels existing with his stammer. The film's about how Firth, as the man who would be King George VI, gets help with his stammer leading up to him becoming the king as well as the country going to war with Germany. There's a prologue set in the mid-twenties, the first time Firth has a public speaking engagement—in addition to everything going on with Firth's complicated ascension to the throne, the Nazis coming to power, there's also the radio revolution (David Seidler's script does bite off a lot to chew)—with most of the film set in the middle thirties, as Firth starts working with speech therapist Geoffrey Rush.
The film gets a lot of humor playing Firth and Rush off one another. Rush is this patient, thoughtful, compassionate guy while Firth's prince (most of the film occurs before he's king) is sullen, quick-tempered, but incredibly gentle-hearted. Rush's Australian doesn't go in for the pomp and circumstance when it comes to treating royals, whereas Firth doesn't have any idea how to interact with anyone not breaking their back coddling him. The film's already established Firth's gentle nature—with this devastating scene (for Firth anyway) where he tells his daughters a story, working his way through his stammer, the frustration and regret and adoration all over his face. Firth's performance is magnificent. Rush's great and all—so's Helena Bonham Carter as Firth's wife—but Seidler doesn't give them great parts. Firth doesn't even have a great part. He just gets to have this great performance. Speech is all about the change in Firth's character and the resulting development of the performance. It's all about the acting, even if the part itself is fairly thin. Yes, he gets to show vulnerability and Speech even goes as far to imply emotional abuse and bad parenting caused his nervous condition, which in turn caused his stammer, but the movie never gets too far into it. Speech avoids a lot. Like delving too deep on Firth, or giving Bonham Carter anything to do except fret about him, or continue Rush's subplot—he gets more to do in the first act than anywhere else. The rest of the time he's just Firth's sidekick.
There are a lot of familiar faces in the supporting cast, some more successful than others. Michael Gambon is great as Firth's father, Derek Jacobi isn't as the archbishop; Timothy Spall's in between as Winston Churchill. Guy Pearce plays Firth's brother, first in line for the throne but willing to throw it all away for married American girlfriend Eve Best. Pearce is in some weird makeup, which does most of the acting for him. Sadly it doesn't do a particularly good job of it. Best is merely ineffectual more than anything else. She's not in it enough. Like many of the subplots, she and Pearce just disappear from the film when they stop being useful. You get through Speech seeing all these major events—some for everyone, some just for the royal family—without ever getting Firth's prologued reaction to them. He'll bitch to Rush about Pearce, but finding out Best is a Nazi sympathizer has no substantial effect. Because Seidler's not willing to get into Firth's head too much. Speech is the inspiring tale of an unlikely king who managed to overcome a not insignificant disability. Seidler or Hooper never do anything without that purpose in mind.
Including all the distorted camera lens.
Other than not telling Hooper those shots are a bad idea and simultaneously condescending and insipid, cinematographer Danny Cohen does an excellent job. Hooper has got a handful of really excellent shots, which Cohen executes flawlessly. There's one great exterior shot of Firth walking where I kept waiting for it to cut away but Hooper kept holding it, every second making it better. Because even though the lengthy shot is unlike a many of Hooper's other shots, it showcases Firth's performance, which Hooper does a superb job with. Except when the lens are distorted.
The only other significant supporting cast member is Jennifer Ehle, as Rush's wife. It's a too small part, with Ehle not getting anything much to do when she's in the film, but she's good and rather likable. It's a shame Speech didn't take more time with Rush. Not even once he and Firth form a sincere friendship; it's all about Firth, not about Firth and friend. So certainly not about Firth's friend's family life. Other than the occasional sweet scene.
The film looks great—sets, costumes—sounds great; even though Alexandre Desplat's score is a little bland, the sound design itself is outstanding. It's a good production.
The King's Speech showcases a spectacular performance from Firth, which is basically all it needs to be a success (as far as its own ambitions go). Rush and Bonham Carter both being excellent as well—Bonham Carter and Firth are lovely together—doesn't really matter. It's a shame Seidler and Hooper weren't more ambitious but they still got that phenomenal Firth performance.
Directed by Tom Hooper; written by David Seidler; director of photography, Danny Cohen; edited by Tariq Anwar; music by Alexandre Desplat; production designer, Eve Stewart; costume designer, Jenny Beavan; produced by Iain Canning, Emile Sherman, and Gareth Unwin; released by The Weinstein Company.
Starring Colin Firth (Bertie), Geoffrey Rush (Lionel), Helena Bonham Carter (Liz), Guy Pearce (David), Jennifer Ehle (Myrtle), Derek Jacobi (Archbishop Lang), Timothy Spall (Churchill), Eve Best (Mrs. Simpson), and Michael Gambon (King George V).
The Importance of Being Earnest (2002, Oliver Parker)
Leave a Comment	/ ★★★, 2002, Comedy, Film / 30 November 2014 30 November 2014 / Colin Firth, Frances O'Connor, Judi Dench, Miramax Films, Oscar Wilde, Reese Witherspoon, Rupert Everett, The Importance of Being Earnest, Tom Wilkinson
Oliver Parker takes an interesting approach when it comes to adapting The Importance of Being Earnest from play to screen. He doesn't worry much about opening up the film; at the beginning of the film, he showcases late nineteenth century London and later does quite a bit with Colin Firth's country estate… but during the lengthy, dialogue-heavy scenes, he just lets the dialogue do its work.
The playfulness of the dialogue, the combination of sincerity and humor the cast imbues in it, makes Earnest seem open even when it's closed. Tony Pierce-Roberts's sumptuous photography and Charlie Mole's playful music help quite a bit–and there are some distinct, memorable outdoor sequences (not to mention a singing montage). It's quite an interesting adaptation.
Of the two male leads–Firth and Rupert Everett–Everett gets to have more fun. It's appropriate, because of their love interests–Frances O'Connor for Firth and Reese Witherspoon for Everett–O'Connor gets to have more fun. It all balances out.
The film moves through a few phases, with the focus switching between Everett and Firth, before it becomes their dual effort to win back their love interests. That structure also allows for some nice scenes with O'Connor and Witherspoon. O'Connor and Everett are outstanding.
There's some nice support from Judi Dench, Tom Wilkinson, Anna Massey and Edward Fox.
As the film winds down and the contrivances stack up, it does appear a little flimsy. Luckily, Parker saves some good jokes for the finale and recovers.
Directed by Oliver Parker; screenplay by Parker, based on the play by Oscar Wilde; director of photography, Tony Pierce-Roberts; edited by Guy Bensley; music by Charlie Mole; production designer, Luciana Arrighi; produced by Barnaby Thompson; released by Miramax Films.
Starring Rupert Everett (Algy Moncrieff), Colin Firth (Jack Worthing), Frances O'Connor (Gwendolen Fairfax), Reese Witherspoon (Cecily Cardew), Judi Dench (Lady Augusta Bracknell), Tom Wilkinson (Dr. Chasuble), Anna Massey (Miss Prism) and Edward Fox (Lane).
Devil's Knot (2013, Atom Egoyan)
Leave a Comment	/ ★, 2013, Drama, Film / 14 July 2014 14 July 2014 / Amy Ryan, Colin Firth, Dane DeHaan, Devil's Knot, Image Entertainment, Kevin Durand, Martin Henderson, Mireille Enos, Reese Witherspoon
There are plenty of things one simply cannot do in two hours; if Devil's Knot is any indication, one cannot try to tell the story of the trial of the West Memphis Three in two hours. Paul Harris Boardman and Scott Derrickson's script seems to do quite a bit well–for the first third of the film, the horrific nature of the crimes has the film sympathizing with the police officers (Robert Baker in particular), only to later reveal incompetence and corruption on these characters' parts.
Then, once the script's obviously manipulative nature becomes clear, it's hard to take Knot seriously. The deception makes little sense, since the film's written for people familiar with the case (as there's no explanation why Damien Echols isn't executed at the end).
As for second-billed Reese Witherspoon, who plays a grieving mother looking for the truth, her arc's incompetently handled. At least Colin Firth doesn't have an arc or character development. It may very well be historically accurate, but it's far from dramatic.
There are some excellent performances. Kevin Durand and Alessandro Nivola are both good as suspicious fathers. Amy Ryan has a nice scene. Firth isn't bad. Witherspoon eventually gets a little better–but it's too little too late. Much of the supporting cast and some of the principals are weak. Especially James Hamrick as Echols.
Mychael Danna's score is manipulative and derivative. Director Egoyan does an insincere job. It's tepid, vaguely incompetent and Oscar-desperate.
Its compelling nature has nothing to do with the filmmaking.
Directed by Atom Egoyan; screenplay by Paul Harris Boardman and Scott Derrickson, based on the book by Mara Leveritt; director of photography, Paul Sarossy; edited by Susan Shipton; music by Mychael Danna; production designer, Phillip Barker; produced by Elizabeth Fowler, Richard Saperstein, Clark Peterson, Christopher Woodrow and Boardman; released by Image Entertainment.
Starring Colin Firth (Ron Lax), Reese Witherspoon (Pam Hobbs), Dane DeHaan (Chris Morgan), Mireille Enos (Vicki Hutcheson), Bruce Greenwood (Judge David Burnett), Elias Koteas (Jerry Driver), Stephen Moyer (John Fogleman), Alessandro Nivola (Terry Hobbs), Amy Ryan (Margaret Lax), Robert Baker (Det. Bryn Ridge), Kevin Durand (John Mark Byers), Michael Gladis (Dan Stidham), James Hamrick (Damien Echols), Martin Henderson (Brent Davis), Kristopher Higgins (Jessie Misskelley Jr.), Brian Howe (Detective McDonough), Matt Letscher (Paul Ford), Seth Meriwether (Jason Baldwin), Rex Linn (Inspector Gary Gitchell), Kristoffer Polaha (Val Price) and Collette Wolfe (Glori Shettles).
Mamma Mia! (2008, Phyllida Lloyd)
Leave a Comment	/ ★, 2008, Film, Musical / 4 August 2008 4 August 2008 / ABBA, Amanda Seyfried, Colin Firth, Dominic Cooper, Mamma Mia!, Meryl Streep, Pierce Brosnan, Stellan Skarsgård, Universal Pictures
The first act of Mamma Mia! practically kills the entire thing. The goofy proposition of a musical set to ABBA songs engenders a lot of curiosity (one starring Meryl Streep provokes a lot more), but the first act–when it tries to be a narrative–is a disaster. The attempts at narrative and summary storytelling are atrocious. The first act would have been more successful if the movie had just started by playing the trailer to establish itself. There's also the problem with Amanda Seyfried, who's awful when the story centers around her. Luckily, it's only for that first act. Later on, when Seyfried's supporting, she's better.
The movie starts getting entertaining–and Mamma Mia! is nothing but entertaining, the joke of it being the presence of Streep and Pierce Brosnan, both of whom are established, undeniable movie stars. It's fun watching them have fun (I suppose Mamma Mia! is a low rent Ocean's Twelve and Thirteen as it were). Anyway, it gets entertaining when Julie Walters and Christine Baranski arrive. Once the film gets those two and Streep together, it's a lot of fun. Baranski's the only cast member who I'd expect to see in Mamma Mia! Watching Julie Walters in the movie is almost more disconcerting than seeing Streep in it.
I'm unfamiliar with modern musicals, so I don't know if this "style" is the norm, but Mamma Mia! is absurd as one of the Muppet movies. It tries for humor in the same way (a line of the song leads to some amusing, literal sight gag), which is a lot different than presenting a narrative set to music. The failed first act never established itself as acknowledging its absurdity, something Seyfried's ever-pensive performance doesn't help.
At times with Streep and Brosnan–mostly with Streep, because Brosnan seems perfectly aware his presence in the film is silly and can't stop grinning–there's the implication the movie's format is wasting its cast. Maybe Streep should have made a movie with Brosnan about middle-aged romance or one with Seyfried (well, not Seyfried, but some other young actress) about letting go of an about-to-be married daughter. But then Streep sings and brings her superior acting ability to it. Streep's not a good singer (but better than I would have thought, ABBA songs lend themselves to enthusiasm over ability), but her performance makes it not matter. It makes the super-pop songs all of a sudden of the greatest human import. All because of Streep.
The rest of the cast is fine. Colin Firth and Stellan Skarsgård get the heave-ho once the focus shifts from Seyfried to Streep but it's hard to miss them. Seeing Pierce Brosnan break out into song–he seems to be trying to turn ABBA into Irish folk songs–obscures their absence. Mamma Mia! is one of the first times it becomes clear what a good movie star Brosnan has turned into–quite a turnaround for someone who was doing direct-to-cable movies twenty years ago.
The direction–which is essentially a string of music videos strung together–is occasionally annoying, as is the digitally enhanced cinematography. But it's a fine enough hour and forty minutes… with the last number making any problems more than worth enduring.
Directed by Phyllida Lloyd; written by Catherine Johnson, based on her original musical book, originally conceived by Judy Craymer based on the songs of ABBA; director of photography, Haris Zambarloukos; edited by Lesley Walker; music and lyrics by Benny Andersson and Bjorn Ulvaeus, some songs with Stig Anderson; production designer, Maria Djurkovic; produced by Craymer and Gary Goetzman; released by Universal Pictures.
Starring Meryl Streep (Donna), Pierce Brosnan (Sam), Colin Firth (Harry), Stellan Skarsgård (Bill), Julie Walters (Rosie), Dominic Cooper (Sky), Amanda Seyfried (Sophie) and Christine Baranski (Tanya).
Love Actually (2003, Richard Curtis)
Leave a Comment	/ ★★★, 2003, Comedy, Film / 8 February 2008 8 February 2008 / Alan Rickman, Andrew Lincoln, Colin Firth, Hugh Grant, Keira Knightley, Liam Neeson, Love Actually, Rowan Atkinson, Universal Pictures
Richard Curtis–I think–said he wrote Love Actually from all his unused ideas. Just threw them into the oven and baked them together. To some degree, it shows. Unlike the usual big cast films, with lots of incidental meetings and relationships (as P.T. Anderson wrote, these things "happen all the time"), Love Actually is very loose. The characters are connected by thin contrivances and a school play. Curtis is very visibly not working with themes here or making any insightful observations into the human condition.
Amusingly, though its thesis is… well, love is all around and people in love are filled with superhuman perseverance and fortitude, Love Actually… actually disproves its own thesis. In a couple ways. The most visible is the breaking marriage between Alan Rickman and Emma Thompson. Rickman's got a wandering eye and, strangely, Curtis never tells the viewer how wrong he goes… which means it's impossible to know where he or Thompson are at the end of the film. It's intentional and cheap and, if either character were particularly effective–except the Thompson composing herself to Joni Mitchell scene–it would hurt the film. The second is more discreet. An utterly wasted Laura Linney is caring for her mentally ill brother. And how does she end up? How does Mr. Right respond to this news? By being a twerp. Curtis seems to have noticed too, because he just abandons Linney at the end.
Of all the stories–there are, I guess, eight–the most effective (as in, worthy of feature length treatment… something other big cast, lots of story line films never suggest) are Hugh Grant and Martine McCutcheon and Colin Firth and Lúcia Moniz.
The Grant and McCutcheon story is awesome–Grant's the new prime minister, she serves him tea. It's got Hugh Grant dancing to the Pointer Sisters, it's McCutcheon's wonderful delivery of unintentional curses; it's touching and their chemistry is wonderful. Throw in some more political turmoil and it's a feature.
Firth and Moniz–he's a lovelorn thriller novelist and she's his maid (he's in France writing, which looks incredibly civilized)–have a bit more comedic story going. Neither speaks the other's language and, while the humor's cheap, it's very funny. Firth's perfect in the role. So, figure he has a funny editor waiting for the novel and a family who would like a Portuguese daughter-in-law. Another feature.
Unfortunately (or fortunately, it's hard to tell how it'd be much different), Curtis cheaps out big time on the Liam Neeson bonding with his stepson following the mother's death. It's the best work Neeson has done in years, but the story quickly becomes about the kid impressing a girl at school and Curtis gives Neeson the biggest copout ending in the world.
I suppose Bill Nighy, in a crazy, hilarious performance as an old rock star deserves his own paragraph but he's not going to get one. The Nighy story is great, giving the film some much needed texture (the other characters watching Nighy on TV, for instance, ring a lot truer than the convenient school musical). There's a lot more stuff, both funny and not so much (Curtis frequently confuses sincerely touching and melodramatic).
It's a solid film, lots of problems, lots of good things, but it's very unambitious. I'm left wanting more Firth and Moniz, more Grant and McCutcheon and… a) unlike Curtis's other romantic comedies, it's a weeding to see either again and b) I really shouldn't be wanting them. It's just another sign the film is not a successful ensemble picture, it's just a bunch of disparate elements, good and not so good, strung awkwardly together.
Written and directed by Richard Curtis; director of photography, Michael Coulter; edited by Nick Moore; music by Craig Armstrong; production designer, Jim Clay; produced by Tim Bevan, Eric Fellner and Duncan Kenworthy; released by Universal Pictures.
Starring Alan Rickman (Harry), Bill Nighy (Billy Mack), Colin Firth (Jamie), Emma Thompson (Karen), Hugh Grant (The Prime Minister), Laura Linney (Sarah), Liam Neeson (Daniel), Martine McCutcheon (Natalie), Heike Makatsh (Mia), Rowan Atkinson (Rufus), Lúcia Moniz (Aurelia), Martin Freeman (John), Joanna Page (Just Judy), Andrew Lincoln (Mark), Keira Knightley (Juliet) and Chiwetel Ejiofor (Peter).
Apartment Zero (1988, Martin Donovan)
Leave a Comment	/ 1988, Film, Mystery, ⓏⒺⓇⓄ / 27 March 2007 27 March 2007 / Apartment Zero, Colin Firth, Dora Bryan, Fabrizio Bentivoglio, Hart Bochner, Liz Smith, Martin Donovan, Miguel Rodriguez, Skouras Pictures
Starting Apartment Zero, I couldn't remember why I'd wanted to see the film. I had a feeling it was going to be something I'd since dismissed and it was–Apartment Zero is David Koepp's first screenwriting credit. He co-wrote the film. Koepp's an odd person to look for, since his writing is so vanilla and indistinct, regardless of quality, it'd be like looking for William Goldman. There's actually a lot of personality to Apartment Zero, but I imagine it came from the director (who co-wrote with Koepp). There's very little to say in terms of the writing. While there's some funny stuff, most of its success comes from the direction (the director's name is Martin Donovan). Donovan has decent composition, but does great work with movement–both moving subjects and moving cameras. There's a hilarious chase scene and then there's some other good, fast camera work. The humor in the script tends to fail–except maybe the characters lifted from "Fawlty Towers." Near the end, most of the humor is in the dialogue and it all falls flat.
Besides the direction, the film looks fantastic. Buenos Aires is apparently a wonderful place to shoot a movie. It looks warm and foreign, but still somehow familiar. The cinematography is perfect, with the low budget, grainy film stock creating a mood. Also on the technical end is the sound design. Apartment Zero has great sound.
As for the performances, Colin Firth and Hart Bochner… Bochner's visibly familiar since he's the jerk in Die Hard, but his performance in Apartment Zero is actually quite good for much of the film. Firth is not any good, but it's barely his fault. His character–and the film in general (at the beginning, it reminded me–ha ha–of Delicatessen)–has no depth. It's absurd, in the waste of time sense of the word. It's also one of those wonderful films where, once it finds its below average level, it still manages to get worse in the last five minutes. It doesn't exactly have a surprise ending, but it's got something close. Whatever it's called, it's damn lame.
Directed by Martin Donovan; screenplay by Donovan and David Koepp, story by Donovan; director of photography, Miguel Rodriguez; edited by Conrad M. Gonzalez; music by Elia Cmiral; production designer, Miguel Angel Lumaldo; produced by Donovan and Koepp; released by Skouras Pictures.
Starring Hart Bochner (Jack Carney), Colin Firth (Adrian LeDuc), Dora Bryan (Margaret McKinney), Liz Smith (Louise McKinney), Fabrizio Bentivoglio (Carlos Sanchez-Verne), James Tefler (Vanessa) and Mirella D'Angelo (Laura Werpachowsky).