Analysts said the weakness of the dollar had caused the metal to increase.
Meanwhile, bulls are "eyeing $1,400," according to Kitco.com.
In a report, Goldman Sachs predicted gold futures will hit $1,650 in the next twelve months.


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Ellie Cook
Ellie is a product of the Blackburn Rovers Centre of Excellence and has grown into a strong, commanding presence as a centre back.
Her ability and fearlessness to put herself in harms way to protect the team's goal is what makes her stand out.
Now a regular fixture in the team, Ellie played a key part of Rovers 2016-17 FA Women's Premier League title win as well as retaining the Lancashire Challenge Cup against local rivals Fylde.
Rovers put four past Derby
Rovers Ladies returned to winning ways at the weekend with a comprehensive 4-0 victory over Derby County.
Derby will be a difficult game
Rovers Ladies defender Ellie Cook can't wait for Sunday's match against Derby County.
Ladies remain unbeaten
Blackburn Rovers Ladies continued their impressive start to the season with a 4-2 victory over Bradford City Women at Bamber Bridge on Sunday.
Ladies safely through to semis
Rovers Ladies progressed through to the semi-finals of the Lancs Cup with a 5-0 win over CMB Sports Club on Sunday.
Louis Khoury
Emma Rankin

redpajama_set_name: RedPajamaCommonCrawl


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Strategy 2020-2025 Overview
Core academic disciplines
Staff community
Informing decision makers
Empowering society
Support, processes and technology
Acting courageously
Developing this strategy
We will empower society through meaningful engagement and dialogue
A key part of our mission is to make our work accessible, relevant and responsive to the needs and insights of society.
We want to use our education and research in science, engineering, medicine and business to be a force for good in society – globally and locally – seeking not only to inspire, but also to collaborate and find solutions together. Our strategy for engaging with society means working in partnership at different levels – with schools, community groups and residents, patients and the public more widely. It means widening participation in our student and staff body, engaging the public in our research and being an anchor institution in our local communities. Above all, it means trying to listen as much as we try to inform.
Actions in detail
We will support schools in their mission of raising pupils' ambitions and attainment in STEM.
We will provide diverse staff role models for our students and increase diversity in our student body.
We will nurture a strong sense of social responsibility within our students.
We will be a trusted source of STEM expertise – locally, nationally and globally.
We will create innovative opportunities for more people to develop STEM skills and ideas.
We will embed public engagement in research projects and research culture at Imperial.
We will develop accessible and inspiring programmes and platforms that empower people in topical science issues.
We will develop the resources, infrastructure and governance to enable our staff and students to deliver effective public engagement.
We will foster an ethos of working in partnership with community, public groups and businesses to tackle shared societal challenges.
The Invention Rooms
The Invention Rooms is a unique community space at the heart of our White City Campus. Inside, you can find accessible workshops, design studios, a community café and interactive spaces for innovation and collaboration between the College, the local community and our partners.
Located in a diverse part of west London, The Invention Rooms offers an inclusive environment where people of all ages and backgrounds can learn new skills in science and technology and get directly involved in research and innovation to address both local and global challenges.
Programmes at The Invention Rooms include a digital literacy programme called What the Tech?! for elderly residents living nearby, and the innovative Maker Challenge programme where local young people aged 14–18 can turn their creative ideas into reality, from trainers that play music to a bedside lamp that turns itself off automatically when you fall asleep.
The space has also hosted workshops and activities designed to bring researchers and residents together to tackle societal challenges. These have included a 'hackathon' to develop solutions for elderly patients with partial hearing loss, and LOL-Lab where local people and researchers together try their hand at stand-up comedy under the guidance of a professional comedian.
The Invention Rooms is a new model for community innovation which has relevance across the UK. It has engaged more than 20,000 local people since it opened in 2017 and has been shortlisted for national awards including the Guardian University Awards 2019.
60,000 visitors at the Great Exhibition Road Festival in 2019
The Great Exhibition Road Festival is a three-day celebration of curiosity, discovery and exploration in South Kensington which brings together science and the arts in a unique programme of creative workshops, talks, exhibitions and performances
Professor Roger Kneebone leading a public simulation activity with a pop-up operating theatre
The first graduation of Agents of Change, a leadership programme driving social change in the north of Hammersmith and Fulham
Year 12 students prototyping their ideas in the Reach Out Makerspace at The Invention Rooms in White City
In numbers
Kombucha-inspired microbial mixture lets scientists create 'living…
10 times Imperial made us smile in 2020


Well-heeled downsizers and young professionals are the target market for the first phase of apartments at Glenveagh Marina Village, Greystones, built in the fashionable Co Wicklow town in a public-private partnership that also saw the construction of a new marina and harbour.
Some 96 out of the 158 houses planned for Marina Village have been sold since the development was launched in 2016. Yesterday, Glenveagh Properties released the initial 58 of the 200 apartments that will be built at the vast waterfront scheme, which is nestled on an inlet south of Bray Head.
The first tranche of apartments is set out in three main sections along the front of the marina. Some of the apartments will command uninterrupted views out across the Irish Sea.
Prices start at €425,000 for a standard 544-sq ft one-bed and at €535,000 for the two-beds, which range in size from 874 sq ft to 1,386 sq ft. Three-bed penthouses will be released later.
The O'Mahony Pike Architects-designed homes will be fitted with high-performance Scandinavian timber windows and front doors, all from NorDan. Inside, each open-plan living area will come with a terrace or winter garden.
Each kitchen will come from the Feel range at Nolte, the high-end German brand, and will be supplied by McNally Kitchens. The units are finished in a soft matt lacquer in papyrus grey and satin white, with Silestone Carrera worktops and appliances from De Dietrich and Whirlpool.
The bathrooms are fitted with Villeroy & Boch sanitaryware and porcelain tiles, and the BeSpace bedroom wardrobes have a handle-less finish. A heat recovery ventilation system provides fresh air all year round.
The marketing suite is on view by appointment today, tomorrow and Sunday.
During the first 75 years of the 18th century, Church of Ireland archbishops enjoyed some of the highest landed incomes in the country. Charles Cobbe, who arrived in Ireland from England in 1717 as chaplain to his cousin, the Lord Lieutenant of Ireland, had begun buying land on the Donabate peninsula in 1736.
The Elms in Swords is being built within a late-1990s development called Ridgewood, so unlike buyers in other new schemes, purchasers can benefit from all the landscaping and amenities that come with a mature estate.
Adare Manor Hotel and Golf Resort in Limerick picked up the Hotel of the Year 2018 accolade in the Virtuoso Best of the Best Awards last summer, just months after re-opening in the wake of JP McManus' multi-million euro renovation of the five-star estate.


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Taleporia tessellea är en fjärilsart som beskrevs av Adrian Hardy Haworth 1828. Taleporia tessellea ingår i släktet Taleporia och familjen säckspinnare. Inga underarter finns listade i Catalogue of Life.

Källor

Externa länkar

Säckspinnare
tessellea

redpajama_set_name: RedPajamaWikipedia


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People v. S.J. - LaScola Law Offices, Ltd.
Home » Cases » People v. S.J.
Outcome: Class A Speeding REDUCED to petty offense!!
Defendant charged with a Class A Misdemeanor Speeding (which is the highest class of misdemeanor speeding under the IL Vehicle Code). Despite the high rate of speed, Mr. LaScola convinced the assigned prosecutor in Lake County to amend his citation to a petty (standard) speeding of only 20 mph over the limit. Our client received Court Supervision and his driving record remains without a conviction!!!


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Q: two dimensional array increement I need to bin a hist variable like this, which is in a loop for p and bin,
hist[p][bin] = hist[p][bin] + 1;

When I comment this line, the code works( verified the p and bin variable print). However when I include this line the program terminates with segmentation fault. Further examining the bin variable gives me a huge negative integer ( -214733313 ), which leads to segmentation fault. The program runs normally when I comment this line and the bin variables are normal integer. Do I miss an obvious thing here?.
Thanks

A: If you're getting a -2147... you are basically reaching the max size of a signed integer, or 2^31 -1 (32 bits, 4 bytes, a C int).
If we assume this, then it's safe to say you're hitting memory where $FFFFFFFF is in it. I only ever see this in unallocated, generally random memory. It could be safe to assume then you are going out of bounds with your ask. You could have hist[p][bin] be the maximum memory of your array, and adding 1 is going out bounds.

redpajama_set_name: RedPajamaStackExchange


text:
Tag: BPS
BPS teachers, parents criticize in-person learning with COVID trending upward
The mayor delayed the second wave of students returning to in-person learning, but said that high-needs students who returned the week before would continue to come into school buildings.
Speakers and protesters at the rally expressed frustration and surprise that the school district had broken what the union said was an agreement that a positive test rate of 4 percent or above would halt all in-person learning.
Melonie Miller, a fifth-grade teacher at George Conley Elementary School, held a sign during the protest.Erin Clark/Globe Staff
"Four percent is what we agreed upon and that's what it should be," said Liv Chaffee, an art teacher who has taught in the BPS system for a dozen years.
She said the district is pressuring teachers by advancing the false narrative that those who choose not to teach in person are abandoning their students. Those teachers would prefer to be in the classroom
1-month into remote learning, BPS Board discusses personal report card
BPS Superintendent Dr. Kriner Cash said Wednesday he's not convinced shifting to hybrid learning right now is the best thing for the district, parents or students.
BUFFALO, N.Y. — Exactly a month since the start of the 2020 school year, the Buffalo Public School Board on Wednesday night reviewed the good and bad about its remote learning plan.
The board members discussed everything from curriculum changes to professional development, as well as how education after the COVID-19 pandemic will change.
For starters, even when kids return to brick and mortar schools, Superintendent Dr. Kriner Cash said online learning is likely here to stay.
"The goal was always to get better in the [online] modality," Dr. Cash said.
The board members said the flexibility that online learning has provided is a benefit to the district. Professional development was also called a success.
Dr. Cash cited improved bonds between teachers and building


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You have the really cool new mechanic in the Battle for Zendikar set called Devoid, which makes that card, no matter what colour it is, NOT count as a colour. It opens up some interesting plays and I hope to build a deck using it soon.
So which colours do YOU use?


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The Space Between Time by Charlie Laidlaw @claidlawauthor @RRBookTours1 @AccentPress #blogtour #promo #giveaway #ContemporaryFiction #DarkComedy #Preorder
Welcome to the month-long mega tour for Charlie Laidlaw's newest book, The Space Between Time, due for release on June 20th! There will be fantastic bloggers participating, who will be posting interviews, excerpts, reviews, and other exclusive content!
Additionally, there are loads of goodies being given away, so be sure to enter at the bottom!
Expected Publication Date: June 20, 2019
Genre: Contemporary Fiction/ Drama/ Dark Comedy
There are more stars in the universe than there are grains of sand on Earth…
Emma Maria Rossini appears to be the luckiest girl in the world. She's the daughter of a beautiful and loving mother, and her father is one of the most famous film actors of his generation. She's also the granddaughter of a rather eccentric and obscure Italian astrophysicist.
But as her seemingly charmed life begins to unravel, and Emma experiences love and tragedy, she ultimately finds solace in her once-derided grandfather's Theorem on the universe.
The Space Between Time is humorous and poignant and offers the metaphor that we are all connected, even to those we have loved and not quite lost.
Timescale for a closed universe
It wasn't an afternoon that I like to remember, and not just because of my shrieking tantrum. Once I'd calmed down, Mum told me I'd been very silly, because it was all make-believe on a cinema screen. I reminded her that she'd cried when Bambi's mum died, and that was a film and a cartoon. Mum said that it wasn't the same thing at all. But I wasn't being silly because I wasn't old enough to know the difference between pretense and reality.
Dad had looked pretty dead on the screen. The blood on his chest had looked pretty real. If it had been a different dead person, I would have been OK. Children don't really know where make-believe ends and the real world begins and, partly because of who I am, it's remained pretty hazy ever since. I also don't like to remember that film because it was the moment when I realised that our lives were about to change, and I didn't know if that would be a good thing.
Sounds strange, yes? Here's something stranger: I am a child of the sea, I sometimes think, and have done ever since we first moved to live beside it. I feel subject to its vagaries and tempers, with its foaming margins framed against a towering sky. I am familiar with its unchanging mood swings. That's how I like things; I find the familiar comforting. I find change threatening.
I am the daughter of someone who, not long after that ghastly cinema outing, became one of the most famous actors of his generation and, importantly for me, the granddaughter of a rather brilliant but obscure physics professor. But despite their over achievements, I have inherited no aptitude for mathematics and my father positively hated the idea of his only offspring following in his thespian footsteps. He knew how cruel and badly paid the profession could be. But I still look up to my grandfather and think of his ludicrous mustache with affection.
Gramps once told me that there are more stars in the universe than grains of sand on Earth. Just think of all those sandpits, beaches and deserts! That's an awful lot of stars. He then told me, his only grandchild, that I was his shining star, which was a nice thing to say and why I remember him talking about sand and stars. On clear nights, with stars twinkling, I often think about him.
I still believe in my grandfather, and admire his stoic acceptance in the face of professional disdain, because I believe in the unique power of ideas, right or wrong, and that it's our thoughts that shape our existence. We are who we believe ourselves to be.
I gave up believing in my father long ago because speaking other people's words and ideas seemed like a lame excuse for a job, even if he was paid millions, and met the Queen on several occasions. She must have liked him because she awarded him an OBE for services to film, theatre, and charity. Charity! Who the hell told the Queen that?
I stopped believing in him one Christmas Day, a long time ago, when he simply didn't turn up. It wasn't his presence that I missed, or even his presence, but the warm, fuzzy feeling of being important to him. During that day of absence and loss, I concluded that his wife and daughter couldn't much matter to him; otherwise, he'd have made a bigger effort to get home. That Christmas Day, my father was simply somewhere else, probably in a bar, immaculately dressed, his hair slicked back, the object of male envy and the centre of every woman's attention for miles around.
In that respect, Dad was more tomcat than father, except that by then his territory, his fame, stretched around the globe. I know this: by then he had a Golden Globe to prove it. He gushed pheromones from every pore, squirting attraction in every direction, and even women with a poor sense of smell could sniff him out.
I feel mostly Scottish, but am a little bit Italian. It explains my name, Emma Maria Rossini; my dark complexion, black hair, the slightly long nose, and thin and lanky body. Obese I am not, and will never be, however much pasta I eat, and I eat lots. It also explains my temper, according to some people, although I don't agree with them, and my brown cow's eyes, as an almost-boyfriend once described them, thinking he was paying me a compliment, before realising that he had just become an ex-almost-boyfriend.
But mostly I am a child of the sea. That's what happens if you live for long enough by its margins: it becomes a part of you; its mood echoing your mood until you know what it's thinking, and it knows everything about you. That's what it feels like when I contemplate its tensile strength and infinite capacity for change. On calm flat days in North Berwick, with small dinghies marooned on the glassy water, and loud children squealing in its shallows, it can make me anxious and cranky.
The sea, on those days, seems soulless and tired, bereft of spirit. But on wilder days, the beach deserted, or with only a hardy dog-walker venturing across the sand, with large waves thundering in, broaching and breaking, then greedily sucking back pebbles into the foam, I feel energised: this is what the sea enjoys, a roaring irresponsibility, and I share in its pleasure. We are all children of the sea, I sometimes think, or we should be – even those who have never seen an ocean or tasted its saltiness; I can stand for hours and contemplate its far horizons, lost within myself, sharing its passion. In the Firth of Forth is the ebb and flow of my past and my existence wrapped tight against the west wind. It is what I am, placid and calm, or loud and brash.
Giveaway Details:
I have 2 signed copies of The Space Between Time to giveaway, 3 fun coffee mugs featuring all 3 of Charlie Laidlaw's books, and 3 digital copies of the book in the winner's format of choice! Amazing right? Click the link below to enter!
*Open Internationally – Giveaway closes June 30
PRE-ORDER THE BOOK
I was born in Paisley, central Scotland, which wasn't my fault. That week, Eddie Calvert with Norrie Paramor and his Orchestra were Top of the Pops, with Oh, Mein Papa, as sung by a young German woman remembering her once-famous clown father. That gives a clue to my age, not my musical taste.
I was brought up in the west of Scotland and graduated from the University of Edinburgh. I still have the scroll, but it's in Latin, so it could say anything.
I then worked briefly as a street actor, baby photographer, puppeteer, and restaurant dogsbody before becoming a journalist. I started in Glasgow and ended up in London, covering news, features, and politics. I interviewed motorbike ace Barry Sheene, Noel Edmonds threatened me with legal action and, because of a bureaucratic muddle, I was ordered out of Greece.
I then took a year to travel around the world, visiting 19 countries. Highlights included being threatened by a man with a gun in Dubai, being given an armed bodyguard by the PLO in Beirut (not the same person with a gun), and visiting Robert Louis Stevenson's grave in Samoa. What I did for the rest of the year I can't quite remember.
Surprisingly, I was approached by a government agency to work in intelligence, which just shows how shoddy government recruitment was back then. However, it turned out to be very boring and I don't like vodka martinis.
Craving excitement and adventure, I ended up as a PR consultant, which is the fate of all journalists who haven't won a Pulitzer Prize, and I've still to listen to Oh, Mein Papa.
I am married with two grown-up children and live in central Scotland. And that's about it.
R&R Book Tours
Posted in Blog Tour, Book Reviews	contemporary fictiondark comedy
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San Diego, CA (May 1, 2018) – KAABOO Del Mar, the three-day live music and comedy,culinary, and lifestyle experience, just announced the full PALATE chef lineup for the 2018 event, along with the chefs competing in the 4th Annual Rock'n Chef Competition. The culinaryprogramming will take place on the PALATE Stage, presented in partnership with San Pellegrino, from September 14-16th, 2018 in Del Mar, CA. The 2018 PALATE program will feature Michael Mina (Mina Group; International Smoke, Cal Mare), Marc Forgione (Food Network's Chopped and The Next Iron Chef, Marc Forgione), Michelle Bernstein (MBC Michelle Bernstein Catering Company), Richard Blais (Bravo's Top Chef and San Diego-based Juniper & Ivy), Ludo Lefebvre (Trois Mec, Petit Trois and Trois Familia), Brian Malarkey (Searsucker, Herb & Wood),Daniela Soto-Innes (Cosme, Atla), Jessica Koslow (Sqirl), Evan Estrada (MasterChef Junior),Troy Johnson (San Diego Magazine Food Critic), and Aaron Caddel & Rene Montelongo of Mr. Holmes Bakehouse.
Headlining Chef Michael Mina is an award-winning culinary great, known for bold dining concepts that have shaped his restaurant empire as world-class epicurean destinations across the country. Mina will be bringing his vision to KAABOO Del Mar with participation across the culinaryplatform, including a presence in PALATE and on the PALATE Stage, an exclusive AMPLIFY (VIP) experience, and will be making a public appearance as a judge for the Chef's Roll Rock 'n Chef Competition.
Among the numerous Michelin-star and James Beard Award winning chefs participating in this year's event, several are making their festival debut. "I've always wanted to be a rock star so I'm thrilled to be a part of KAABOO which lets me get up on stage alongside music legends," added featured chef Marc Forgione. Jessica Koslow, owner and chef of the popular Los Angeles eatery, Sqirl, often stays behind the scenes, so KAABOO will be a rare opportunity for foodies to get a look at the master at work.
The 4th Annual Rock'n Chef Competition, presented in partnership with Chef's Roll, takes place all day Saturday, September 15, on the PALATE stage where chefs compete head-to-head for a "winner-takes-all" prize. The 2018 chefs participating include Claudette Zepeda-Wilkins (El Jardín), Tu David Phu (Hawker Centre), Dakota Weiss (Sweetfin) and Joe Sasto III (Cal Mare). The finalists earned their spots through several qualifying rounds in regional competition throughout Southern California. Past winners have included Alexander Suástegui (2017) and Steve Brown (2016).
Passes for KAABOO Del Mar 2018 are on-sale now at www.kaaboodelmar.com. All guests have access to the HUMOR ME comedy club; Southern California's largest on-site contemporary art fair in the indoor ARTWORK area plus daily viewings of live-action outdoor murals and installations; PALATE gourmet food and craft beverage tastings; CLUB ELEVATE, an on-site Vegas-Style nightclub (18+); and the ability to purchase a cabana or day pass to BASK Day Club, presented in partnership with MGM Grand's Wet Republic, which offers a prime poolside panorama of the GRANDVIEW stage.
HANG LOOSE (GA) passes are currently on sale for only $249, while HANG FIVE and HANG TEN (VIP) passes are currently at $849 and $3299, respectively. HANG FIVE features premium stage viewing; exclusive culinary options for purchase; private restrooms; access to the Thursday night AMPLIFY Sneak Peek Party featuring Kool & the Gang; and more. New this year,KAABOO is offering the HANG FIVE+ (Drink Package) option which features the original three-day HANG FIVE package but with an additional private lounge serving guests included pass beverages. The HANG FIVE+ pass is on sale for $1249. HANG TEN includes all the features of HANG FIVE plus access to on-stage viewing; exclusive meet and greet opportunities withKAABOO performers; complimentary beverages and food provided; golf cart access; and more. For those looking for an entirely immersive experience, KAABOO offers the ULTIMATE HANG pass. Get the full scoop at kaaboodelmar.com/ultimate-hang.
KAABOO is a curated three-day sound voyage that combines rock-n-roll music and tastemaking events in a modern wonderland on the warm shores of the pacific. Where every detail is designed for your enjoyment and clean, comfortable amenities inspire you to break from your busy life, let loose and enjoy the experience.


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411 -- in the scene. The ids for Z layers are generated by V3d_Viewer.
421 ---Purpose: Get Z layer id set for displayed interactive object.
423 -- the method returns -1.
467 -- value, SM_VIEW mode allows to define the sensitivity manually.
471 ---Purpose: Returns the selection sensitivity mode.
477 -- this local context according to the view size.
481 ---Purpose: Returns the selection sensitivity value.
487 -- this local context according to the view size.
491 ---Purpose: Returns the pixel tolerance.
499 -- and begins accumulation of new list by following AddToImmediateList()/Color()/Highlight() calls.
502 ---Purpose: Resets the transient list of presentations previously displayed in immediate mode.
508 ---Purpose: Stores presentation theMode of object theObj in the transient list of presentations to be displayed in immediate mode.
509 -- Will be taken in account in EndImmediateDraw method.
514 ---Purpose: Allows rapid drawing of the view theView by avoiding an update of the whole background.
517 ---Purpose: Returns true if Presentation Manager is accumulating transient list of presentations to be displayed in immediate mode.
645 -- The detected objects.
648 -- the sequence of detected interative objects.
650 -- current detected interactive object.
652 -- InitDetected(), MoreDetected(), NextDetected(), DetectedCurrentShape(), DetectedCurrentObject().


Sunset Hills Golf Course in St. Louis, MO is right across the street from one of the top public courses in the state, Tapawingo. However, the courses could not be any more different, starting with the typography. Tapawingo is hilly and Sunset Hills is as flat as my girl friend from middle school (as I recall). BUT . . . Tapawingo's greens fees are over twice as expensive as Sunset Hills'. So, each course has its place and compete for a very different golfer. Sunset Hills' grasses (tees, fairways and greens) are not in pristine condition, but for what it costs they shouldn't be. SHGC is a well laid out public course that is easy to play. I have never had the opportunity to play the course and I am very happy I did. I look forward to playing it again, hopefully during the fall since there is an abundance of trees bordering two sides of the course.


The regulator of brake forces (1) for the back bridge of front-wheel models is connected with the back bridge a spring (2) and приводным the lever (3).
At the left: the 5-cylinder engine is supplied by the additional vacuum pump (2) in addition strengthening lowered pressure in a hose from an inlet collector (1). Thus in a hose (4) in front of the pump to the amplifier (5) enough force for operation of brakes is provided. That разряжение it was not lost, before branch to the pump the return valve (3) is established.
On the right: here the vacuum pump is shown once again at a short distance. Figures correspond to the left illustration.
At front-wheel versions Audi 80 regulator of brake forces is located at the left arm of the bearing on the right on a course in front of the back bridge. It can reduce pressure of a liquid in back wheel cylinders.
It occurs depending on loading: at completely loaded car the back part of a body falls at small loading if in the car one or two person sits, the deflection of back springs is insignificant. Because of excessive pressure upon back wheels they are prematurely blocked, and the car at braking can develop across.
The regulator of brake forces receives through a spring connected with the back bridge, the information on a condition of loading of the car – depending on that, the back bridge has how much low fallen.
For fast check of action the assistant is required to you. The car should not be raised a jack.
Sharply squeeze out up to the end a pedal of a brake and quickly clean a foot.
Thus the lever of a regulator of brake forces should move.
At all-wheel drive models Audi 80 regulator of brake forces is located ahead near to block ABS in a motor compartment. It of more simple design. Blocking of back wheels prevents this regulator that he at all does not allow brake pressure of the back bridge to enter into a dangerous zone.


Four Tarrant County deputy constables were caught allegedly performing security duties for private clients while billing the public for their regular pay as they operated out of an office that was flagged for poor record keeping last year.
The deputies from the office of Constable Michael Campbell this week were charged with crimes related to the double dipping. The officers were alleged to have performed security services at Fiesta and Walmart while on the county clock.


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Blows your head really, but this is correct to some extent. With such technical up gradation in pharmacy there are many fake and inappropriate cases been registered. Part of the improvement in national health originates from conscious alterations in lifestyle ,however some is also attributable towards the availability of health enhancing medications.
You will either be given a call or free will happen. Many require math and science coursework, and prospective students should be aware of what those prerequisites are and if they meet them. Pharmacy Technician Certification Board Practice Tests.
1 teaspoon grated fresh ginger, or 1-2 lumps of preserved ginger, chopped. As a little entrepreneur, when was it time to raise prices like Netflix. According to the Bureau of Labor Statistics (BLS), pharmacists perform a lot a lot more than provide prescription drugs to patients.
Many pharmacies have automated calls that may call you on the phone and leave a message when your order is ready. So if you're looking to advance forward and embrace this new digital age and make your own E Commerce pharmacy I suggest you take a look at. You can do this at the PTCB website registration page or call 800-211-2754 to register for the ICPT exam.


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U.S. airports have a lot of infrastructure problems, and many need be renovated. But we're not sure American airports need indoor rainforests or virtual reality golf. That stuff is cute, but we think what travelers really want is on-time, reliable flights from clean, comfortable airports.


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text:
Su Shi (), né le  à Meishan, Sichuan, et mort le  à Changzhou, aussi connu sous le nom de Su Dongpo (), était un homme politique (mandarin) de la dynastie des Song du Nord (960-1127). Reconnu très jeune comme un homme d'exception par son brillant succès au concours de doctorat, ce lettré vite promu à des postes de responsabilité subit toute sa vie les aléas de la vie politique, entre l'exercice du pouvoir, les responsabilités à l'égard du peuple et la mise à l'écart, la prison et le bannissement.

Mais il est surtout connu pour son œuvre poétique et littéraire, ses écrits sur l'art en tant que lettré, calligraphe et peintre : il formula pour la première fois les principes de la « peinture de lettrés » ; avec un succès posthume considérable, et même fondamental pour la culture chinoise car il offrait, dans ses principes, une synthèse du confucianisme, du taoïsme et du bouddhisme chan. En effet, de formation confucéenne, il semble avoir été taoïste mais, avec des amitiés parmi les moines, il montra un réel intérêt pour le bouddhisme chan (zen en japonais). Au croisement de tous ces courants de pensée sa conception de l'expérience artistique et de la peinture de lettrés se retrouve dans ses écrits, lesquels furent, au cours des siècles suivants, l'objet d'innombrables commentaires dans le monde des lettrés érudits.

Il pratiqua accessoirement la pharmacologie, et c'était un fin gastronome. Son prénom social était Zizhan () son nom de pinceau Dongpo Jushi ().

Contexte historique et politique
Sous les Song du Nord (960–1127), avec l'établissement de la Dynastie des Xia occidentaux au royaume des Tangoutes, au début du , la Chine perd son accès direct à l'Asie centrale mais conserve toute la Chine centrale. Elle se replie sur elle-même dans un mouvement de « nationalisme culturel » : on tend à retourner aux sources, à restaurer le recrutement des lettrés, sous Yingzong (empereur: 1063-1067), dans des conditions plus équitables et avec des écoles dans les villes principales. Tous les domaines de la culture sont florissants. Cependant, la crise économique et sociale qui avait provoqué la chute des Tang aboutit alors à l'asservissement général de la population rurale. Les petits propriétaires se retrouvent de plus en plus dépossédés et réduits à l'état d'ouvriers agricoles traités par les possédants de latifundia comme s'ils étaient des esclaves. Dans le même temps le système de l'impôt qui s'appuie sur les masses paysannes appauvries apparait comme nécessitant une réforme profonde. Sous le règne de l'empereur Shenzong (1068-1085) le clan des réformateurs conduit par Wang Anshi arrive au pouvoir. Ces réformes sont imposées avec énergie, mais sapées par les grands possédants et sont inefficaces avec des prêts qui restent à 20 % contre les 50 % précédents, tout ceci produisant finalement plus de misère dans les campagnes. C'est contre ces réformes que Su Shi marque son désaccord en tant que membre du clan conservateur. Cette attitude lui vaut d'être envoyé en province de 1071 à 1079. Puis exilé à Hangzhou, où il vit dans une ferme. Ceci jusqu'au retour des conservateurs, après la mort de l'empereur en 1085 et sous l'impératrice douairière Kao (impératrice jusqu'en 1093). Quelques années après ce retournement, Su Shi devient la principale personnalité du parti conservateur, et son action semble avoir été heureuse. Ayant une bonne compréhension des problèmes de la population rurale, il cherche à réduire les barrières qui isolent de la population pauvre le pouvoir impérial et les ministres. Cependant sa franchise lui vaut à nouveau la disgrâce, il se retrouve notamment à Hangzhou. À la mort de l'impératrice douairière le jeune empereur Zhezong fait de nouveau appel aux réformistes. Le clan des conservateurs ne revient au pouvoir que quelques années : de 1106 à 1112, avec le souverain suivant, Huizong (1100 - 1125). Su Shi est réhabilité à la mort de Zhezong en 1100, mais il décède en 1101.

Biographie

Su Shi est né à Meishan, au Sud-Ouest du Sichuan actuel, dans une famille citadine impliquée dans le commerce local de la soie. Son grand-père était excentrique, plus ou moins taoïste mais non lettré, et son père, Su Xun (1009-1066), ne commence ses études qu'après l'âge de vingt ans. En revanche la mère de Su Shi appartenait à une ancienne famille lettrée. Elle-même était cultivée et bouddhiste. Elle le fait entrer à quatre ans dans une école taoïste. Avec son jeune frère Su Zhe (1039-1112), il passe brillamment les examens de doctorat ou de « lettré présenté à l'empereur » en 1057 et tous deux deviennent « docteurs » (jinshi) l'année suivante. Ils ont des relations étroites avec les lettrés qui viennent de promouvoir, à cet examen, la nouvelle écriture qui sera ensuite l'écriture officielle en Chine impériale. Avec Ouyang Xiu, le promoteur de cette réforme, ils sont donc « réformateurs » à leur manière. Un poste est accordé dans le même temps à leur père, sans que celui-ci ne passe d'examen. Mais la mort de leur mère, en 1057, rappelle la famille dans le Sichuan. Ils sont de retour à Kaifeng, la capitale, en 1060. Su Shi est ensuite nommé à un poste de magistrat assistant, mais n'occupe pas sa charge. Il est, après son succès à un nouvel examen de haut niveau, nommé vice-gouverneur à Fengxian dans le Shaanxi où il demeure de 1061 à 1065. il n'hésite pas à critiquer l'étroitesse de vue de son supérieur, commence à découvrir la culture populaire et se rapproche de son cousin, le très célèbre peintre de bambous, Wen Tong. À l'occasion de la mort de leur père, les deux frères sont de retour dans leur ville natale, pour la dernière fois. Ils y demeurent jusqu'en 1068. De 1068 à 1071 Su Shi est fonctionnaire à la capitale.

La première femme de Su Shi est Wang Fu (王弗, 1039–1065). Lorsqu'ils se marient elle a seize ans et lui dix-neuf.

Or le réformateur Wang Anshi est nommé vice-Premier ministre par l'empereur Shenzong en . Su Shi appartient avec son ancien « examinateur », Ouyang Xiu, et plusieurs grands lettrés de l'époque au clan « conservateur », alors que les réformateurs détiennent le pouvoir. Opposé dès l'origine aux réformes menées par Wang Anshi (1021-1086), Su Shi est accusé de calomnie envers l'empereur. Après avoir été arrêté et emprisonné, il est envoyé en province à Hangzhou de 1071 à 1074, dans un milieu très cultivé en tant que vice-gouverneur. Il poursuit d'autres missions à Mizhou de 1074 à 1077, et recommence à écrire des mémoires à la cour très critiques mais reproche les tendances légistes des successeurs de Wang Anshi, plus radicaux qu'il ne l'avait été.

Il est ensuite en poste à Rongdao, puis à Xuzhou, au Jiangsu, de 1077 à 1079. Enfin à Huangzhou, une préfecture insignifiante au Hubei, où il est nommé sous-brigadier de la milice locale, sans traitement. Il achète un lopin de terre, le fait défricher et, apparemment, le cultive. Il a ses amis parmi les habitants et dans l'administration du lieu. À partir de son séjour à Huangzhou il se fait appeler Dongpo jushi (l'ermite ou le dévot laïque de la Pente de l'Est), du nom de ce potager abandonné qu'il acquiert. C'est ainsi que Su Shi désigne ce terrain « sur un flanc de la Pente de l'Est ». La Pente de l'Est: Dongpo ; d'où son surnom le plus connu : Su Dongpo. Il y fait construire la fameuse « Salle des neiges », qu'il couvre, « sur les quatre parois », de peintures « pendant les Grandes Neiges » : « un paysage ininterrompu ». Dans cette salle il lit, écrit et travaille. Sur ce lieu de résidence où il se plait, il pense « avoir trouvé sa place dans le monde ». C'est là qu'à l'automne et à l'hiver 1082 il écrit ses deux Fu de la Falaise rouge (Chibi fu), après deux visites sur les lieux de la bataille du même nom.

L'empereur Shenzong, mieux disposé à son égard, le mute au Henan et Su Shi peut rendre visite à Wang Anshi. Leur correspondance poétique témoigne de leurs désillusions respectives. Avec la mort de l'empereur, à trente-sept ans, la chute des réformateurs lui permet en 1085 d'être réintégré dans l'administration centrale, à la capitale, où il bénéficie de la protection de l'impératrice douairière. Mais il est écarté car il souhaitait préserver certaines réformes qui lui avaient semblé salutaires : en particulier le remplacement des corvées par une taxe. Il est alors l'un des deux précepteurs du jeune empereur Zhezong. Fuyant la guerre des factions, il demande un poste en province notamment à Hangzhou en 1089. Rappelé par l'impératrice, il est successivement nommé à plusieurs postes au sommet de la hiérarchie mais n'accède pas à la chancellerie. Calomnié, il doit à nouveau fuir. Zhezong, au pouvoir, rappelle les réformateurs : Su Shi est démis de ses fonctions et exilé, puis banni à l'Est de Canton, à Huizhou. Sa seconde femme, Wang Runzhi (王闰之, 1048–93), étant morte en 1093, il y arrive avec son second fils, Guo, et sa concubine, Nuage d'aube, qui mourra en 1096. Exclu du service public, il continue néanmoins à servir ses contemporains : parmi d'autres activités, il participe à l'élaboration d'un plan d'acheminement de l'eau potable à Canton. Et il commence à composer une grande série de cent dix poèmes qui répondent à ceux de Tao Yuanming. En 1097 il est banni plus loin encore : sur l'île de Hainan. Le climat y est extrêmement insupportable dans ce territoire des indigènes Li où l'administration est quasi absente. Avec très peu de ressources, il prend les habitudes locales et se fait de nouveaux amis dans la tribu des Li. En , la mort de l'empereur Song Zhezong (1086-1100) et la montée sur le trône de Huizong lui permettent de quitter son lointain exil : il se rend à Canton, Nankin, puis Changzhou dans le Zhejiang où il meurt en 1101, en essayant de revenir vers son pays natal.

Son père, Su Xun était un lettré de talent, ainsi que son frère Su Zhe ; ils formaient d'ailleurs un trio littéraire appelé « les trois Su ». Su Shi a fréquenté les éminents lettrés du temps, Ouyang Xiu mais aussi le réformateur Wang Anshi, bien qu'il se trouvât lui-même dans les rangs du parti conservateur. Son caractère franc, spontané et libre explique sans doute cette vie mouvementée dont il y a peu d'exemples dans l'histoire chinoise.

Su Shi s'est illustré dans tous les domaines culturels de son temps : littérature, politique, poésie, calligraphie et peinture. Haut fonctionnaire, esthète, en relation aussi bien avec les lettrés, les moines que les courtisanes, il est l'un des plus grands représentants de l'humanisme chinois.
 Classement
En son temps Su Shi est classé, par un certain Deng Chun, selon un principe où la peinture n'est pas l'œuvre de spécialistes mais l'expression d'une culture spirituelle. Il apparait au troisième niveau à côté de Li Gonglin, Huang Tingjian et Mi Fu, alors que le premier niveau est occupé par l'empereur Huizong, seul, et que le second niveau est occupé par les princes du sang. Ceci confirme non seulement sa notoriété mais aussi sa très grande proximité avec le cercle très étroit du pouvoir.

L'œuvre littéraire

Son œuvre poétique, de loin la plus célèbre par ses poésies classiques (shi), poèmes dans la forme de chansons (ci), ses fameux fu entre prose et poésie, ne doit pas occulter l'œuvre littéraire en prose dont ses soixante et une commémorations, plus de deux cents dissertations sur des sujets tirés de l'histoire antique, des notes brèves sur les évènements contemporains ainsi que des lettres dont certaines adressées à l'empereur, révélatrices de son caractère, proposant des réformes pour améliorer la condition des paysans. Sa très riche œuvre poétique en fait le poète le plus célèbre des Song et l'un des plus importants que la Chine ait connus. Son style n'est pas tant plein de subtilités descriptives que d'une grande nouveauté par les symboles évoqués.

Les commémorations
Le genre de la commémoration qui apparaît entre 220 et 589, sert à l'origine à rappeler, dans un texte court gravé sur une stèle, l'érection d'un bâtiment important. Puis le genre se diversifie. La Source aux fleurs de pêchers de Tao Yuanming (365-427) se révèle être une œuvre majeure et un modèle pour Su Shi. Le genre, mentionné précisément dans un ouvrage du début du , couvre alors le large champ de la correspondance, les mémoires présentés à l'empereur ou à un supérieur, et les notes. La commémoration implique alors d'exposer l'aspiration personnelle de l'auteur. Par le jeu des allusions, la commémoration de l'assassinat d'un enfant (qui prend l'allure d'un rapport d'enquête) ou la contemplation d'un beau point-de-vue peuvent amener à des considérations sur le bien-être des populations, et en conséquence, des réflexions sur la mission de l'homme de bien, ses vertus et ce que l'auteur entend par « sagesse ».

Or Su Shi bouscule les habitudes, en littérature comme en politique ou en peinture, et il étend considérablement la nature des sujets qu'il aborde dans ses commémorations, tandis que son implication personnelle y est toujours manifeste. En particulier, on y trouve des textes qui peuvent être considérés comme de petits essais sur la peinture, ou des dissertations sur des sujets politiques. Dans ce dernier cas Su Shi ne construit pas de théorie mais il réagit et s'efforce, par ses textes de corriger les effets négatifs entraînés par l'activisme produit par les réformes. Mais ce sont surtout les excès des continuateurs de Wang Anshi qui sont visés. Souvent ces écrits sont le prétexte de dépeindre des hommes de bien, modèles de conduite et objets de réflexions. La franchise est l'une de ces vertus auxquelles il est très attaché, quoi qu'il en coûte ensuite. Il revendique son indépendance d'esprit, et se considère seul juge de sa conduite. En héritier de Confucius, dans la lignée du Mencius, il fait du peuple - qu'il évoque en parlant de « l'empire » : les administrés - le fondement de toute activité politique. Mais la pratique harmonieuse du bon administrateur doit tenir compte de ses informateurs et, en conséquence, toute réforme doit s'appuyer sur ce qu'il est possible de faire appliquer sans risque pour le peuple.

Fu à la falaise rouge

Su Shi écrit deux textes en prose poétique (ou fu) à La falaise rouge pendant son séjour à Huangzhou. Les deux fu témoignent du taoïsme qui imprégnait sa culture. Le poème évoque les sentiments qui émeuvent l'auteur lorsque, par une belle nuit, se promenant sur le Yangzi au lieu de la bataille de la Falaise Rouge, il se remémore ce moment décisif qui mit un terme à l'aventure héroïque de Cao Cao. C'est en effet ici, sur le Yangzi Jiang, au pied de cette Falaise rouge, que Cao Cao à la fin de la dynastie Han, ayant unifié la Chine du Nord, fut défait et quasiment vaincu dans cette bataille navale (en 208) par les chefs de guerre alliés contre lui pour rétablir l'ancienne dynastie Han. Le poète se remémore avec nostalgie cette bataille décisive et son héros, non sans une pensée pour l'homme qui a su s'opposer à une dynastie déclinante, celle des Han, au moment où lui-même se retrouve écarté en raison de son opposition au parti au pouvoir du Premier ministre Wang Anshi. Peut-être sent-il cette dynastie Song sur son déclin, elle aussi; ce qui était bien le cas néanmoins.

Ces deux fu ont inspiré plusieurs peintres et calligraphes :
 Une peinture attribuée à Zhu Rui (), puis à Wu Yuanzhi, (fin du , sous la dynastie Jin) : "Chibitu" (La Falaise Rouge) au Musée national du palais, Taipei : Illustration du premier fu à La falaise rouge. Rouleau en longueur, encre sur papier. 50,8 × . Cette peinture de Wu Yuanzhi représente les hautes falaises qui s'élèvent à la verticale sur la ligne horizontale des eaux. Un fleuve traverse le paysage : plein de tourbillons dans les défilés rocheux, tranquille ensuite dans le paysage plus large. On distingue une petite barque et ses voyageurs. Sur les notes d'une simple flute Su Shi chante dans la nuit, sous la lune.
 Une peinture attribuée à Qiao Zhongchang (actif  moitié du ) : Illustration du deuxième fu à La falaise rouge. Rouleau en longueur, encre sur papier. 29.85 × . New York Nelson-Atkins Museum of Art. Au bord du Yangzi Jiang, entre 1080 et 1084. Su Shi se rend en barque, une nuit de pleine lune, jusqu'à la Falaise rouge, non loin du lieu où, au , a été détruite la flotte de Cao Cao.
 Le premier fu a été calligraphié par Shen Zhou (1427-1509), Wen Zhengming (1470-1559, dynastie Ming).
 Le texte intégral du dernier fu a été gravé sur un bateau sculpté à partir d'un noyau d'olive en 1737 par Chen Zuzhang.
 Le peintre de manhua, Zhao Bosu (ca. 1123-1182, dynastie Song), dont il reste une copie par Wen Zhengming (1470-1559, dynastie Ming) : « Ode tardive sur la falaise rouge »

Autres œuvres calligraphiées

L'œuvre peinte

Œuvres peintes attribuées

Ces sujets, bambous, rochers et vieux arbres, produits du pinceau comme par une extension de la calligraphie, constituent un ensemble de peintures qui symbolisent l'homme idéal, selon James Cahill. Cette interprétation s'applique en effet à des « paysages » composés de représentations de rochers, d'arbres et de plantes en vue rapprochée. Ces éléments naturels incarnent des valeurs morales, dans la culture des lettrés. Su Shi les appelle « les gentilshommes d'encre » : ainsi le bambou incarne la sobriété et la permanence en dépit des pires circonstances. Il symbolise le lettré, élégant mais ferme : il plie mais ne cède jamais. Pins, bambous et pruniers sont aussi appelés « les trois amis de l'hiver » : le pin incarne longévité et force, le prunier avec ses premières fleurs à la sortie de l'hiver symbolise la fermeté et le courage dans l'adversité.
 Arbre desséché et rocher bizarre  (kumu guaishi tu) (Withered tree and strange rock). Musée de Shanghai (?)
 Bambou et rochers (kumu zhushi) (Bamboo and Rocks). 23,4 × . Musée de Shanghai (?)
 Bambou et roche. Rouleau horizontal, encre sr soie, 28 × . Pékin, Galerie des Beaux Arts.
 Wang Tingyun : copie d'une œuvre attribuée à Su Shi : Bambou solitaire et arbre vieilli  (reproduite dans l'article consacré à ce peintre)

Sa conception picturale : la spontanéité

Regard d'un contemporain sur sa peinture : Son contemporain et ami, Mi Fu (1051-1107), interprète les vieux arbres tordus et les pierres étranges qu'il voit dans les peintures de Su Shi comme des signes que « dans son esprit, tout est trouble et confusion ». Ceci s'explique dans la conception de la peinture de lettrés qui se forge à cette époque et où le peintre doit être à l'unisson du monde, sa peinture n'étant plus la reproduction de celui-ci mais une représentation qui en manifeste les principes. La méditation pratiquée par Su Shi, doit amener le peintre dans un état de vide intérieur, à être plus réceptif sinon même « habité » par les mouvements de l'univers. Il laisse alors agir en lui le Dao, en ayant, selon la formule explicite, « collines et ravins en son sein ». C'est dans ce contexte qu'il faut interpréter la phrase de Mi Fu, en résonance avec celle de Huang Tingjian, toujours à propos de son ami Su Shi : C'est parce qu'il avait en son sein collines et ravins qu'il a pu ainsi réaliser ce vieil arbre tordu sous le vent et le givre.

Notons par ailleurs que dans la conception chinoise traditionnelle l'encre elle-même est trouble et confusion.

On ignore s'il subsiste encore des œuvres de Su Shi mais l'on sait en revanche qu'il affectionne particulièrement les bambous et les vieux arbres, thème qu'à sa suite ses nombreux disciples adoptent presque tous. En réalité, le sujet traité a moins d'importance que les qualités formelles liées au pinceau dont toutes les ressources sont mises en jeu, à l'encre, de la plus pâle à la plus foncée, de la plus sèche à la plus humide, qui doit assurer un large éventail des textures, et au papier, partie prenante dans la richesse de la surface picturale. « Pour peindre le bambou, il faut l'avoir entièrement en soi », écrit-il. « Saisissez le bambou, regardez intensément le papier, puis évoquez ce que vous allez peindre. Suivez votre vision, levez votre pinceau et poursuivez immédiatement ce que vous voyez ». Car, ajoute-t-il encore : « la poésie et la peinture naissent de la même loi, de l'œuvre du ciel et de la spontanéité ».

Le rapport de la réalisation à la spontanéité tel qu'il a été formulé de cette manière plus ou moins idéale reprend la formule de la peinture - ou de la plante et du paysage - à peindre comme ayant au préalable poussé dans l'esprit du peintre. C'est alors qu'« il faut saisir son pinceau aussi promptement qu'un faucon qui fond sur le lièvre prêt à bondir ». Or la réactivité du peintre à sa vision, voire la spontanéité de l'exécution de la peinture que célèbre Su Shi ne suppose ni absence de savoir-faire dans le travail du pinceau (comme tout grand calligraphe) ni absence de travail - mental - préalable : il s'agit bien de saisir ce qui s'est construit mentalement avant de saisir le pinceau. Par contre il semble supposer s'abstenir de ces nombreux essais qui permettent alors au peintre professionnel ou académicien de faire disparaître l'aspect laborieux de l'exécution. Procédés qui ralentiraient la mise en forme de l'idée sur le papier. Ces conceptions picturales n'ont jamais fait l'objet d'un traité systématique de la part de leur auteur ; elles sont éparses dans une masse considérable d'écrits divers, courts essais, écrits de circonstance et surtout, innombrables inscriptions de peintures.

La spontanéité dans la peinture de lettré a fait l'objet d'un analyse qui en pointe l'aspect mythique. En effet si les quelques peintures attribuées à Su Shi peuvent légitimement prétendre à une exécution rapide, sans essai préalable, ce n'est pas le cas pour l'immense majorité des peintures de lettrés. Celles-ci ne peuvent même pas avoir été exécutées en un seul jour en raison de l'accumulation des lavis qui nécessitent un séchage complet entre chaque passage. Par contre il faut alors entendre cette spontanéité comme un acte continu dans son rapport à la vision initiale. Mais la durée de la réalisation n'est plus prise en compte de manière objective après la mise en place du mythe lettré de la spontanéité, après les Yuan.

Sa philosophie du poème à la peinture

Le lettré idéal
Parmi les poètes, Huang Tingjian, calligraphe réputé, est, avec Su Shi et Mi Fu, l'un des hommes qui ont le plus contribué à définir les conceptions esthétiques des lettrés. Pour Su Shi, le peintre lettré (shiren) est essentiellement un poète. S'inspirant de sa propre expérience, il dit : « J'écris pour donner pleine expression à mon esprit. Je peins pour satisfaire en moi l'idée, et c'est tout ». Il établit une relation étroite entre l'homme et l'œuvre : si l'homme n'a pas de valeur spirituelle son œuvre, même de qualité, ne vaut rien.

Dans un texte connu Su Shi indique que le peintre véritable ne doit pas s'arrêter à l'apparence (xing) des choses mais qu'il doit se référer à leur principe (li): la « forme constante » des hommes, animaux, édifices… et le « principe interne » aux monts, pierres, bambous, arbres… ce qui les fait être ce qu'ils sont. Une bonne culture lui en donnera les moyens. Mi Fu (1051-1107), contemporain de Su Shi mais de la génération suivante, reprend cette idée. Pour les hommes, animaux et objets, une copie rapide suffit mais la copie ne convient pas au paysage: il faut le contempler paisiblement, d'un esprit détaché, alors la faculté d'invention s'élève et le paysage sera réussi, car son authentique saveur aura été transcrite. L'état de détachement est essentiel : Su Shi donne ce conseil à un ami de la famille impériale :L'"homme supérieur" (junzi) peut laisser ses pensées se poser momentanément sur les choses, mais il ne doit pas permettre à ses pensées de se laisser retenir par elles. Qui laisse sa pensée se poser momentanément sur les choses, un rien suffit à le réjouir, alors que même une chose importante ne suffit pas à l'affecter.

Ailleurs il souligne la nécessité d'avoir la culture d'un lettré de haut niveau (qui le place dans la proximité de l'aristocratie dirigeante). En effet celui-ci aura lu « dix mille livres » et aura parcouru « dix mille li » (dans l'exercice de ses fonctions administratives et dans des randonnées qu'il fait seul ou entre amis) : il porte alors en lui « des monts et des vallées ». C'est-à-dire « le rythme primordial ». C'est ce rythme primordial qui est manifeste dans la peinture, comme le battement des ailes des grues « de bon augure » au-dessus du palais impérial dans une célèbre peinture de l'empereur Song Huizong. C'est aussi le rythme des peintures de paysages que Huizong préférait et qui se retrouve dans cette vue panoramique dont l'empereur aurait lui-même donné l'idée et surveillé l'exécution : Mille lis de rivières et montagnes, de Wang Ximeng en 1113, peu après la mort de Su Shi.

Le lettré et le paysage, les arbres et les bambous
Ces « lettrés des monts et des vallées » (qiuhuozhishi) ont coutume de se rendre visite. À ces occasions ils échangent peintures ou beaux objets. Ils peuvent écrire un poème sur le paysage qui s'échange, et quand ils sont plusieurs amis chacun peut écrire le sien. peinture et poésie sont donc en rapport étroit. Bien que ce sentiment ait été ressenti sous les Song du Nord, avant lui, Su Shi a été le premier à formuler la relation d'équivalence entre la poésie et la peinture à propos d'un poème de Wang Wei. Il l'exprime aussi sous une autre forme en parlant de poèmes comme de peintures invisibles, et des peintures comme des poèmes muets.

Les qualités de l'homme de bien se retrouvent dans les poèmes et les peintures de Su Shi et de ses amis, dont Wen Tong. Sur une peinture de ce dernier Su Shi y inscrit un poème qui célèbre ces bambous, qui « plient sans céder » signes de leur intégrité comme de celle du peintre. Véritables « gentilshommes d'encre » : « d'une vertu constante, sobres, stricts, [sachant] endurer le givre et l'automne » : les aléas de l'adversité. Autre qualité « humaine » du bambou, dans une commémorations de Su Shi à une salle construite par Wen Tong pour accueillir ses peintures :  le bambou prospère sans arrogance. S'il ne prospérait pas il dépérirait sans honte. Quelques années plus tard le célèbre Zhu Xi (1130-1200), à l'origine du néoconfucianisme, appose sur une peinture de Su Shi représentant des arbres et des rochers un colophon qui établit la correspondance entre « la vertu constante [...] du pin et du cyprès » et le peintre, « gentilhomme comme le bambou, ami des roches ».

Le lettré taoïste et le bouddhisme chan

Su Shi a laissé de nombreux signes de son appartenance au taoïsme, mais il a manifesté plusieurs fois son intérêt pour le bouddhisme chan. Par ailleurs, en tant que lettré, donc calligraphe, il avait une formation confucéenne poussée, laquelle reconnaissait la valeur expressive de la calligraphie. Il mit à profit ces trois domaines essentiels de la culture chinoise pour sa conception de l'expérience artistique.
 Le confucianisme et la manifestation de l'être profond de l'artiste. La théorie courante jusque-là veut que la représentation picturale provoque pensées et sentiments équivalents à ceux que provoqueraient la présence des objets ou les scènes représentés. Toutefois nombre d'œuvres non orthodoxes, à la capacité expressive indéniable, battaient en brèche, depuis des siècles, cette théorie. Dans la seconde moitié du , apparaît une nouvelle théorie esthétique, qui tient compte de ce phénomène. Elle est l'œuvre d'un cercle de lettrés, pratiquant la peinture, au premier rang desquels Su Dongpo. De formation confucéenne ces lettrés qui pratiquent la peinture considèrent, conformément à l'esprit des textes de Confucius, que tout bon calligraphe manifeste son être profond dans le travail du pinceau. Or un nouveau style de peinture, « sans contrainte » offrait la même liberté expressive que la calligraphie. Ces lettrés affirmèrent alors que la ressemblance n'était plus un critère déterminant de la qualité d'une peinture, mais plutôt la manière, parfois excentrique, dont se manifestait l'état d'esprit de son auteur à l'instant de la création.
 Le bouddhisme chan. Sous les Song, les deux écoles bouddhistes Caodong et Linji poursuivent leur développement. Le mouvement de l'Illumination silencieuse (mochao) naît de la première, et le kanhua chan de la seconde. Le mochoa chan est quiétiste, le kanhua chan, tout au contraire, met l'accent sur le caractère soudain de l'Éveil. L'influence du Chan sur la poésie est considérable à partir du milieu de la dynastie Tang. Si l'apport du Chan à l'esthétique chinoise est aussi évident dans le domaine de la peinture que dans celui de la poésie, il l'est surtout à partir de l'époque Song. « Depuis les temps anciens, écrit Su Shi, les peintres ne sont pas des peintres ordinaires. Leur intuition merveilleuse de la réalité se manifeste de la même manière qu'en poésie ».
 Taoïsme, confucianisme et chan. Su Dongpo (Su Shi) a deux amis : un autre lettré, Huang Tingjian, et le moine chan Foyin. Ils apparaissent sur des peintures qui témoignent de leur amitié avec des titres comme les Trois goûteurs de vin aigre. Les deux lettrés, Su Dongpo et Huang Tingjian, ont été très influencés par le bouddhisme chan. Confucéens de formation, imprégnés de taoïsme, Su Shi et Huang Tingjian, donnent une place importante à la méditation, sous l'influence du bouddhisme chan, dans sa variante subitiste, et du taoïsme. Huang Tingjian fait souvent référence au bouddhisme chan, tandis que Su Shi, dans une période de disgrâce, en 1080, s'adonne à la méditation dans un temple bouddhiste au sud de Hangzhou ou dans un autre temple, taoïste.

La peinture de Su Shi, tout comme son écriture, recherche la spontanéité, en vue d'exprimer l'être intérieur, au détriment de la perfection technique et de la ressemblance, apanage des calligraphes académiciens. L'ivresse, libérant l'élan créateur, est une aide à cette spontanéité. Cette attitude est aussi celle du peintre Mi Fu, ami de Su Shi, et l'on mentionne l'une de leurs rencontres au cours de laquelle ils échangèrent des coupes tout en se livrant à un jeu d'écriture. Ils suivaient, en cela, une ancienne tradition qui remonte au moins aux Sept Sages de la forêt de bambous. Sous la dynastie Jin (265-420), ceux-ci se sentant menacés, (c'était aussi le cas de Su Shi) se seraient réunis pour une joute poétique, sous les bambous, inspirée ou dynamisée par « l'esprit du vin ». Avec Huang Tingjian et Mi Fu, Su Shi n'hésite donc pas à utiliser le laid ou le bizarre dans ses peintures

Son influence sur les valeurs artistiques

Ses jugements sur l'art et ses attitudes exercent ensuite une influence considérable sur les valeurs artistiques prônées par un grand nombre de lettrés. Une grande part du bagage fondamental de la culture artistique chinoise, jusqu'à nos jours, tire son origine de ses écrits et c'est à lui que revient l'honneur d'avoir énoncé les principes du « wenren hua » (文人畫 en caractères traditionnels, 文人画 en caractères simplifiés) : la « peinture de lettrés ». Il contribue, en effet, à dégager la notion d'un art pictural affranchi des exigences de la figuration traditionnelle, et il s'attache à faire correspondre la peinture à une image qui vient de l'esprit, en exprimant l'élan intérieur du peintre. Cette théorie porte la marque de sa formation confucéenne, selon laquelle les diverses manifestations artistiques — poésie, musique, calligraphie et peinture — sont les véhicules de l'être profond de leurs auteurs. Le taoïsme et le bouddhisme chan qui imprègnent sa peinture tant sur le plan pratique que par leurs références font de son œuvre peinte une référence essentielle pour les peintres qui vécurent entre la Cour et les monastères bouddhiques du chan comme Liang Kai. , ou des peintres profondément religieux comme Wu Zhen au  et plus tard auprès des

Il a d'ailleurs une phrase assassine pour ceux qui ne partagent pas son point de vue : « Toute personne qui parle de ressemblance en peinture, est bonne à renvoyer chez les enfants ». Or un nombre considérable de peintures étaient commandées et appréciées en fonction de leurs relatif degré de « ressemblance », même si l'art chinois n'a réservé une forme de « naturalisme » que pour des sujets très précis et fort peu nombreux. Les élites aristocratiques et les temples appréciaient la ressemblance avec le modèle naturel ou réel et avec les codes traditionnels. Il faut donc imaginer que cette phrase, sous le pinceau de Su Shi, visait à marquer profondément sa différence, qui coïncidait avec un certain élitisme dans le monde des lettrés de haut vol, monde auquel il appartenait; même s'il fut contraint de vivre, un temps, à la campagne.

Végétarisme

Su, pour expliquer ses inclinations végétariennes, a déclaré qu'il n'avait jamais été disposé à tuer des animaux pour les manger à sa table, mais qu'il avait une soif de certains aliments, tels que les palourdes, auxquelles il ne pouvait pas renoncer. Mais quand il a été emprisonné, il abandonna toutes ses opinions et attitudes carnistes :

Notes et références

Notes

Références

Bibliographie

Traductions
 .
 .
 Su Dongpo, Un ermite reclus dans l'alcool et autres rhapsodies (1037-1101), trad. Stéphane Feuillas, Éditions Caractères, 2004
 Su Dongpo, Sur moi-même, trad. Jacques Pimpaneau, Philippe Picquier, 2003
 .
 . Rééd. 2009, 345 pages,
  . Rééd. 1978, coll. « Poésie », 570 pages. Rééd. 1982, coll. « Poésie », 613 pages,  .
 Ouvrage jeunesse
 Su Dongpo, illustré par Sara, Un bon fermier, traduit du chinois par Chun-liang Yeh, éd. HongFei Cultures, 2013

Documentation
Romans
 . Collection dirigée par J.-B. Pontalis. Su Shi est le personnage principal du roman, qui est aussi autobiographique.
 . Chronique de l'exil de Su Shi à Huangzhou inspirée de sa correspondance.

Histoire de la littérature

Ouvrages sur la peinture et la culture chinoise

 . 15 occurrences
 .
 .
 . 22 occurrences
 .

Articles et publications en ligne
  Farzeen Baldrian-Hussein, « Taoist Beliefs in Literary Circles of the Sung Dynasty - Su Shi (1037-1101) and his Techniques of Survival », Cahiers d'Extrême-Asie, 1996, volume 9,  9,
  Cheng Ch'ien, « Liu Yung and Su Shih in the Evolution of Tz'u Poetry » (Translated by Ying-hsiung Chou), Renditions, numéros 11-12, 1979
  Ku Sui, « Interpretation of Su Tung-p'o's Tz'u » (Translated by Huang Kuopin and Teresa Yee-wha Yü), Renditions, numéros 11-12, 1979

Voir aussi

Articles connexes
 Ci (poésie)
 Les Cinq Sens et les quatre éléments
 Peinture de lettrés
 Porc Dongpo, nommé d'après le poète

Liens externes

 Vue rapprochée du rouleau L'observance de l'alimentation froide sur le site du Musée National du Palais, Page du Musée National du Palais : Collection : Su Shi.</
  Sélection d'anecdotes sur Su Shi et Mi Fu, sur le site de la Bibliothèque numérique mondiale
 Recueil des échanges poétiques entre les frères Su et leurs disciples, sur le site de la Bibliothèque numérique mondiale
 Bambou et rochers (kumu zhushi) (Bamboo and Rocks). 23,4 × 50,9 cm. Musée de Shanghai (?)
 Le « Jardin des trois Su ». sur le site de Cultural-China.com Banlieue de Meishan, au Sud-Ouest de Chengdu : Su Shi, son père et son frère, tous poètes, ont vécu dans ce lieu. Le jardin a conservé approximativement son agencement initial. Mais les bâtiments et les éléments du paysage ont changé. Les inscriptions dues à Su Shi ont été regravées.

Peintre chinois du XIe siècle
Écrivain chinois du XIe siècle
Poète chinois du XIe siècle
Calligraphe chinois du XIe siècle
Naissance en 1037
Décès en 1101


text:
Q: Seeming contradiction of the tertium non datur principle through a logic problem The problem is as follows.
There is a group of three people (A,B,C) who are perfect logicians, and A is a thief.
We say that a person recognises another one if the former knows whether the latter is a thief or not.
Every logician knows that ther is only one thief in the group and that the others are perfect logicians as well.
Moreover every logician can ask another one if the latter recognices the other two, and the answer will always be sincere (yet they cannot know if the other logicians have already asked questions because, say, they are in different rooms and they communicate through sms).
Eg. If B knows that A is a thief then he also knows that C is not (from the first rule), and furthermore, now A and C know that B has recognised A and C.
Now, A, being the thief, surely knows that B and C are not thief.
So B and C know that A has recognised B and C.
The question is: if one person recognises everyone, can we infer that this person is a thief?
Well, if we can, then B would recognise A and C but then C would infer that B is a thief, a contradiction.
Yet, if we cannot, the only person who could recognise everyone else would be the thief so you could actually infer that this person is a thief, another contradiction.
Does this contradiction imply that we can't say if the statement "A recognises B and C" implies "A is a thief"?

A: There does indeed appear to be some form of paradox here, but it is very subtle.
To be completely clear, I'm assuming the game proceeds in rounds. In each round, a neutral umpire randomly chooses one of the players and directs him to tell another random player whether he knows yet who the thief is. The recipient of that information then immediately makes all the inferences he can from this knowledge before the next round. The third player, who was not party to the communication does not know what was said and does not even know a round took place.
First off, a few simple facts: If you know you're innocent, and you hear anyone else say they don't know who the thief is, then by elimination you now know that the third person is the thief. Therefore if you ever tell anybody "I don't know", the only thing they can subsequently tell you is "I know who it is". So that won't make you any wiser.
Now, let us ask:

(1) If you know you are innocent and the first thing that happens to you in the game is that someone tells you "I know who the thief is", can you conclude anything?

Of course it is possible that the person who spoke to you is the thief, so the real question is whether it is possible that he is innocent. A priori it sounds conceivable that the two other guys may have communicated without you noticing, such that the innocent among them now knows.
However, how could that communication go? One of them must have spoken first. If the innocent one spoke first, then (as argued above) he will never get any information out of the thief that's useful to him, so he will not end up knowing.
On the other hand,  if the thief spoke first, then the innocent guy would have found himself in exactly the situation described by (1) above. And now we're in trouble:
If the correct answer to (1) is "yes", then it is possible that the other innocent guy learned from the thief who the thief was, and therefore you can subsequently be told by either the thief or the other guy that they know. Therefore the correct answer to (1) is "no".
On the other hand, if the correct answer to (1) is "no", then there is no way the other innocent guy could ever know who the thief is, as long as you haven't communicated with either of them. And therefore if one of them admits to knowing, they must be the thief. So the correct answer to (1) is "yes".
Thus, the answer to (1) can be neither "yes" nor "no". A paradox!

I think the resolution to this is that this reasoning depends critically on the assumption that nobody ever knows whether the first communication they are part of is the first round of the game or not. That's a critical part of the argument that the answer to (1) depends on a previous answer to the same question.
On the other hand if somebody knows it's the very first round of the game when someone tells them "I know who it is", then they can comfortably conclude that they must be the thief.
And contrariwise, therefore, if somebody knows it's the second round of the game when they're told that, then they know they can't conclude anything.
So really what enables the paradox is the assumption that time is continuous (or at least dense): no matter how quickly after the game starts we get a message, it is in principle possible that the two other guys may already have talked.
Thus, we might categorize the paradox as a time-reversed cousin of the surprise exam paradox.
Further, I suspect that trying to formalize the paradox (in some appropriate variant of temporal+epistemic logic) will run into trouble with expressing the assumption that everyone are perfect logicians, and everyone knows that everyone else are perfect logicians, and everyone knows that too, et cetera ad infinitum. Even defining what "perfect logic" should mean seems to require a powerful enough reasoning system that Gödelian incompleteness kicks in and tells us that in that case there is no such thing as a perfect logician, at least not one that can be reasoned about.


text:
marine science, Natural Science, Science, sharks
Shark Thrillers as Old as Time – The Tales We Told before Jaws
Posted on June 28, 2016 by Guest Writer
Mareike Dornhege is currently finishing up her PhD on shark fisheries in Japan. She is based in Tokyo at Sophia University and after seeing no sharks many times were there should be sharks on reefs all around the world she wanted to dig deeper and find out when we lost them, why and where. She is trying to reconstruct baselines by looking at the history of sharks and humans, talking to old fishermen and of course modern data as well. And she really loves going on that shark-feeding dive about 90 minutes south of Tokyo!
The latest shark thriller The Shallows just hit theaters—coincidentally with Shark Week around the corner – and is latest in a long line of shark thrillers. In the grand, yet predictable fashion of movies like Deep Blue Sea, The Reef or Open Water, it fuels our fear of the sleek ocean predators that was first awakened by the mother of all shark movies, Jaws, in 1975. Or, was it? It is only since the Jaws theme that got stuck in our heads, even if we are just paddling around in a swimming pool at dusk, and images of dangling legs under water, that we got so irrationally scared and obsessed with the well-designed teeth of these fish after all, right?
Actually no. During my research on the history of shark and men I came across some hair-raising anecdotes of monster sharks from the Caribbean and man-hunting mantas that are just a bit older. A few centuries that is. This fishermen's yarn must be the pre-digital equivalent of this youtube video of a megalodon shark caught on tape, real mermaids, and dragon footage. Let's look at what they say and then at what the real science behind these stories is.
This story from 1559, written down by a Spanish explorer in the New World, Las Casas, tells us of the sharks in the Caribbean:
"The tiburones (sharks) have admirable teeth and seize a man or a horse by the leg or by
the arm or any other part, and taking him deep, they kill him there, and eat him on their own time."
So far, nothing special here. Now, let's talk about the marrajos:
"The 'marrajos' are very much larger (than sharks) and have great mouths, and they can swallow a man on the first gulp."
In his story, Las Casas describes how a pearl diver was attacked by such a monstrous fish. Witnessing this, his boat mates baited it with a hook and pulled it onto land:
"The Spaniard feeling that the fish was hooked, gave it enough line, and slowly returned towards the beach in his canoe or boat. Jumping to the land, he called for people to help him, they landed the beast, giving blows with axes and rocks or whatever they had, and killed it, opening its belly they found the unfortunate Indian and took him out, the Indian gave two or three gasps and he died there."
Another Spaniard described the "marrajos" like this in 1535:
"The marrajo is a larger animal than the tiburón (shark) and fiercer, but not as swift (…). Of these I have seen some with nine rows of teeth…"
(all accounts from "On the origins of the Spanish Word "Tiburon" and the English Word "Shark" by Jose I. Castro, 2002)
Early rival to the Jaws movie poster: Native Latin American depiction of a shark with a human foot sticking out of its mouth. Note the correct number of fins, tail shape and triangular teeth (from Seler, 1902)
First off, the marrajo was probably a great white shark (Carcharodon carcharias). In the Caribbean, in the tropics? No way, you might wonder. But in the 16th century, Caribbean beaches were still inhabited by large colonies of the Caribbean monk seal (monachus tropicalis). Like seal colonies in Australia, South Africa or California, the monk seal aggregations probably attracted white sharks which patrolled the waters here. The Caribbean monk seal became so scarce by 1880 that is was considered almost mystical and finally went extinct in the 1950s, due to hunting pressure. And with it disappeared the great whites most likely.
You have never imagined the Caribbean like this! Sun-tanning monk seal on a white sandy beach. (from "The Fisheries and Fisheries Industries of the United States", by George Brown Goode (1887)
Next up in the story, swallowed a man whole on the first gulp, so that he can be cut out of the shark's belly unharmed again? This would be the first confirmed account of a shark attack where a shark actually wholly swallows a human. The majority of shark attacks result in the shark not taking any flesh at all. In most cases, sharks might bite, realize that we are not as tasty as their actual prey and let go again.
Steno's 1668 drawing of the head of a white shark does do the term "dogfish" honor.
There seems to be a sawfish (Pristidae) in every shark tank in aquaria around the world. Which is sadly also why many are not aware of how endangered this unique family of rays (yes, the are also known as carpenter sharks but they are actually rays) is in the wild. And apparently evil too:
"Among the dangers of the pearler in the Persian Gulf, the dreaded saw-fish may be mentioned as the chief enemy. This shark-like creature is furnished with a formidable weapon in the shape of a flat projecting snout, reaching a length of perhaps six feet, and armed along its edges with strong tooth-like spines. In the presence of such a terrific weapon the diver is almost powerless, and instances are recorded in which the poor fellows have been completely cut in two."
(extract from the book "Travels in Arabia" – a record of the travels of Lieutenant J. R. Wellsted published in 1838)
No, sawfish do not cut people in half. They aren't even dangerous unless provoked. The saw – or rostrum – is packed with sensors known as ampullary pores which can detect electric fields, which helps the fish to locate prey. However, sawfish can reach a length up to 7m, which is rather impressive and could have certainly scared ill-equipped skin divers two centuries ago. Habitat destruction and fishing pressure, both from by-catch and for ornamental purposes (people sadly want to get their hands on that rostrum – the sawfish saw), have decimated numbers so severely that it is unlikely for us today to encounter such large specimens anymore. But two centuries ago the population was most definitely larger and the sawfish larger, possibly growing up to their impressive maximum size.
Sawfish doing what they actually do – sniffing out small fish prey (Image from Nationalgeographic.com)
But everyone loves manta rays, right? Gentle giants, majestic filter-feeding rays flying through the oceans. Wrong again. Listen to this, written down by de Ulloa in 1748:
"The mantas squeeze them [the fishermen], enveloping them with their bodies or putting all their weight against them on the bottom; it seems that, not without reason, that the name manta [Spanish for blanket] was given to these fishes, from its shape and properties, the shape being as extensive and big as a blanket, it has the same purpose, of enveloping the man or other animal that it catches, squeezing it in such manner, that it makes [the victim] exhale its last breath by being compressed."
(from "On the origins of the Spanish Word "Tiburon" and the English Word "Shark" by Jose I. Castro, 2002)
: I would be very careful around that blanket manta (Image by Steve Dunleavy from Lake Tahoe, NV, United States from https://commons.wikimedia.org/w/index.php?curid=18640084)
Mantas suffocating divers on purpose? I beg to differ. Mantas are known to sometimes tangle with mooring lines or boat anchor lines. So, it is likely that one of these gentle giants, swimming through the multiple lines dangling from a fishing boat, could catch one of the lines and pull an unfortunate diver against its side or pull it down, giving the appearance of enveloping the diver and dragging him to the depths.
So in the end, it was not Jaws after all that is to blame. The fear and the fear-mongering stories were already out there before, but confined to those who lived and worked around the sea. But with people starting to swim in the ocean for leisure and the new medium cinema things got blown out of proportion. If there is one thing we learnt, and keep on learning is that the more we know, the less we need to fear. Today we know that sharks don't stalk humans, sawfish rostra are sensory organs and not superweapons and that mantas don't want to drown people, as we learnt more about their behavior and biology. Let's hope that shark week gets infused with a lot of that as well to put things back into balance.
And some of us wiser than others already knew this 2,000 years ago, as Pliny the Elder already stated in the 1st century A.D: "(…) a dog-fish is as much afraid of a man as a man is of it (…)."
Shark Celebrity Auction
Shark Science Monday: Grant Galland discusses sharks and marine protected areas
Shark Science Monday: Sally Whatmough discusses SCUBA diver attitudes towards sharks
Shark Science Monday: Barry Bruce discusses great white shark behavior
Jaws sharks in literature
Sink Your Teeth into Elasmobranch Science: A Primer on Shark Teeth
#JacquesWeek Debrief: The Silent World


text:
Sullivan: It's not resistance, it's reporting
By Margaret Sullivan/The Washington Post
As the Brett Kavanaugh nomination turmoil rages on, the mainstream press is under fire. And not just from the predictable right.
Jeff Greenfield, the former CBS correspondent, described some of the news media Sunday as slanted against President Donald Trump and Kavanaugh - "a kind of resistance."
Two Columbia Journalism Review writers deplored the "media bullying" of Christine Blasey Ford, who has accused the Supreme Court nominee of sexual assault.
And the social-media world went on the attack when the New York Times opinion section published (and then deleted) an insensitive Twitter poll on whether Ford was credible.
Some of this criticism is valid and deserves airing.
But to focus on it exclusively is to miss a larger point: Recent journalistic digging into Kavanaugh's life in high school and college has been impressive, and, overall, the press is performing its crucial watchdog role in a way that citizens should appreciate.
"The last few days of news coverage about Kavanaugh's past have shown how important and valuable the media can be when it practices old-fashioned gumshoe reporting," Tim O'Brien, executive editor of Bloomberg Opinion, told me.
The press criticism, from all sides, reminds me of the oft-quoted quip about democracy: "the worst form of government except for all the others."
So, too, American journalism in 2018.
Let's pause for a minute to consider where we would be without the mainstream media - the reality-based press, as I prefer to call it - in the matter of Brett Kavanaugh.
The short form is that Kavanaugh already would be confirmed to a lifetime appointment on the nation's highest court. That, of course, is exactly what some would have liked, their idea of justice well-served.
The longer form is that a great deal about Trump's nominee would never have come out.
And not just about his alleged sexual misconduct or the misstatements - lies, if you will - that he has made under oath.
Christine Blasey Ford's complaint would have been swept under the rug, with swift rightward strokes.
Without her reluctant decision to go public in an interview with The Washington Post's Emma Brown, we would never have heard from other accusers. Not from Deborah Ramirez, who spoke to Jane Mayer and Ronan Farrow of the New Yorker; and very likely not from Julie Swetnick, the client of Stormy Daniels's lawyer, Michael Avenatti.
Each of these cases has built on what Ford, during last week's hearing, described as the relationship of trust she had built up with Emma Brown, after initially making an anonymous call to The Post's tip line in July.
What The Post and the New Yorker did is the very basis of good journalism. So is the important reporting from the Times and elsewhere on the extreme limits of the new FBI investigation, as dictated by the White House.
Post Executive Editor Martin Baron's celebrated description of his paper's approach to journalism in the Trump era - "We're not at war, we're at work" - addresses this point.
I'll dare to add: It's not resistance, it's reporting.
The best work in recent weeks has been the determined and skilled digging about Kavanaugh's past, unearthing classmates, finding his old pal Mark Judge, and comparing his sworn statement to credible reports from elsewhere. "The fact pattern emerging from that work has raised pivotal questions about Kavanaugh's character and honesty, which are crucial to forming a view about how well suited he is to sit on the Supreme Court," O'Brien said.
"You can call it the resistance, but it's not - I reject that label," said Susan Glasser of the New Yorker, pushing back against Greenfield's assertion on CNN's "Reliable Sources" program Sunday and making the case that the press is doing its job of trying to get at the truth. (Greenfield significantly softened his critique by allowing that the political situation may justify what he perceives as an anti-Trump slant on CNN and elsewhere, not only in covering Kavanaugh but over Trump's past two years: "It may be that the facts justify it.")
So here's where we stand.
If Kavanaugh is confirmed, press scrutiny will at least have let us know what we're getting: A conservative jurist with all the right credentials who is willing to mislead while under oath, who vents his anger in blatantly partisan terms, and who apparently lacks the judicial temperament required for the job.
If he withdraws, or is voted down, the press no doubt will be blamed for ruining a life and a career. That will be not only unfair but ungrateful.
Legitimate journalists and respectable news organizations get things wrong, no doubt.
They make factual errors (and almost always correct them).
They damage their own credibility by blurring the line between opinion and news.
They're highly distractible.
They're guilty of tunnel vision, arrogance and groupthink.
Even so, they might be American democracy's best hope at the moment.
Margaret Sullivan is The Washington Post's media columnist.