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Jesús Rafael Soto
(1923-06-05)June 5, 1923
Ciudad Bolívar
Escuela de Artes Plasticas y Aplicadas
Notable work
Penetrables
Kinetic and Op Art
Jesús Rafael Soto (June 5, 1923 – January 14, 2005) was a Venezuelan op and kinetic artist, a sculptor and a painter.[1][2]
His works can be found in the collections of the main museums of the world, including Tate (London), Museum Ludwig (Germany), Centre Georges Pompidou (Paris), Galleria Nazionale d'Arte Moderna (Roma) and MoMA (New York). One of the main museums of art in Venezuela, in his home town, has his name in tribute to him.
3 Influences
4.1 The first serial works
4.2 Incorporation of time and real movement
4.3 Dematerialization of form
4.4 The conformation of a new visual order
4.5 Space plenitude
6 Impact
8 Environmental Integrations
9 Individual exhibitions
10 Prizes
Jesús Rafael Soto was born in Ciudad Bolívar in Venezuela. The eldest of four children born to Emma Soto and Luis Garcia Parra, a violin player. From a very young age, Soto wanted to help support his family anyway he could, but art was the most interesting to him. He picked up the guitar and also began recreating famous pieces of art that he found in various books, magazines and almanacs.
At 16, Soto started his serious artistic career when he began to create and paint posters for the cinemas in Ciudad Bolivar. <<At that age -says the artist-, the only artists that I knew were the lettering painters. My family was very happy. I could earn some money, make lettering till the end of my days. Nobody looked further than that...>>
In 1938, Soto participates in a student group affiliated to surrealism ideas and publish in the local journal some poems that scandalize the society. In the group, Soto learns about automatic writing and charcoal drawing. <<I drew heads, portraits, I had a great technique. Finally, there were people that made a petition, the bishop asked to see it and he signed it. I got a scholarship…>>
In 1942 he received a scholarship[3] to study artistic training at the Escuela de Artes Plásticas y Artes Aplicadas (Plastic and Applied Arts School) in Caracas, finishing his studies in 1947.[4] Once there, he took classes in "pure art" and the "training course for instructors in art education history."[3] The director of the school, Antonio Edmundo Monsanto, was instrumental to Soto's career as well as other very important Venezuelan artist (Omar Carreño, Carlos Cruz-Diez, Narsico Deboug, Dora Hersen, Mateo Manaure, Luis Guevara, Pascal Navarro, Mercedes Pardo and Alejandro Otero) since he often brought inspirations from foreign countries to his students, including the latest from the avant-garde: cubism.
<<When I got in the Fine Arts School -says Soto-, the first thing I saw was the reproduction of a dead nature of Braque>>. This image caused such impact on him because <<...the color started to separate of the form>> and because of the multiplicity of the viewing points that he wanted to represent. For Soto, this was the starting point.
After Soto had graduated from Escuela de Artes Plasticas y Artes Aplicadas, receiving a teaching degree, he was then hired to be the director of the Escuela de Bellas Artes de Maracaibo from 1947 to 1950. When he was teaching there, he received a government grant to travel to France, and settled in Paris.[5]
In France, Soto discovered Paul Klee and Piet Mondrian's work, and the latter suggested the idea of 'dynamizing the neoplasticism'. This, joined with Soto's will to create a new sort of movement that would add to three dimensional art concluded in associations with Yaacov Agam, Jean Tinguely, Victor Vasarely, and other artists connected with the Salon des Réalités Nouvelles and the Galerie Denise René.[3]
In the beginning, Soto painted post-impressionist works, latter getting interested in Cubism. After getting in touch with Malevich, Mondrian and the constructivists, Soto started to experiment with optical phenomena and op art and then he began to make art that was more than just pictures.[5]
The first serial works
In the 50's, Soto experimented with serial art: the repetition of formal elements in the plan, the depersonalization of the work and the revelation of the relativity of the vision. He achieved the reproduction of vibratory phenomena and, above all, the rupture of notions like composition and equilibrium. Making the work of art a fragment of an infinite reality, that could be repeated without varying its essential structure. Without a beginning, an end, up, down, right, left. Helped by notions from the mathematics and music fields, Soto makes his serial art.
Incorporation of time and real movement
The next step on Soto's works was incorporating time and real movement through the treatment of the space. The work should be an autonomous object, where <<real>> situations were put into play, and not a plan where a determinate vision was projected. At the same time that the spectator was moving in front of the work of art, to obtain from it its optical vibrational effects, time and real movement were being incorporated. In his Dos cuadrados en el espacio (1953), Soto began a series retaking the approaches of Malevich, specially about adopting the square as the <<only valid form>>.
In his Desplazamiento de un cuadro transparente (1953–54) he created a spatial effect on a plane surface that latter was developed in a tridimensional way, superimposing two or more Plexiglas sheets, transparent but painted with straight or curved drawings that changed the way they were seen as the spectator moved, inviting the participation of the public. This work was the response to a discovery: the ambiguity of spatial perception
In 1955 Soto participated in the exhibition Le Mouvement, in the Denise René gallery, in Paris. Other artists being shown were Yaacov Agam, Marcel Duchamp and Victor Vasarely. The exhibition prompted the publication of the 'Yellow Manifest' about kinetic art and the visual researches involving spectators and stimulus. The kinetic art movement gained force in Europe and Latin-America after this exhibition.
Dematerialization of form
As results of the optical vibratory states that Soto achieves from the superposition of plans, a new situation appears: the outbreak of the solid body, its dematerialization in our retina, phenomena that is produced for the first time in Permutación (1956). In Estructuras cinéticas de elementos geométricos (1955-57) and Armonía transformable (1956) is added a new element that was relegated in his research: color. It is about the superposition of different plexiglass planes, where color frames are inscribed, introducing new vibratory elements. The real division of the plane that had previously undergone an unfolding is produced here. Its structure already suggests a true spatial dimension, as a consequence of the equivalence of its obverse and its reverse. The situation becomes more complex, due to the multiplication of different lines, colors and directions. Plexiglass, medium that had provided the possibility of conforming aleatory states, begins to be an impediment and the search for a new way of materializing vibration starts.
Brussels Mural, Jesús Soto (1958). Museo de Bellas Artes de Caracas.
The conformation of a new visual order
To the preoccupation of searching for a new way of materializing the vibratory states is added the concern to approach human scale, integrating Soto's works to architecture. This is how in Estructura Cinética (1957) the frames that had been drawn on plexiglass become real elements: metal rods welded between them. Soto's works become real special objects that visitors are able to penetrate.
In the 50's and beginning of 60's, starting from his basic concept of matter and space as different manifestations of energy, Soto had already structured the conceptual platform of his plastic language. Works like Escritura and Muro de Bruselas, both from 1958, already contain all the elements that will be developed later.
<<My work of art -as Soto says-, is totally abstract. It was born from a reflection about painting and the propositions of our biggest (artists). I don't copy nature, I isolate fundamental properties of the reality. For me, works are, before all, signs, no matter. It would be wrong to see in the work that is in front of you the object of my art, it isn't there if not as a witness, sign of another thing...>>
Penetrable amarillo. Museo Soto, Ciudad Bolivar.
Space plenitude
All of Soto's work, from start to end, answers to the same necessity of materialize his concept of the world as an impossible reality to measure in a human scale; vision where are vital the energy and space as essential situations inside nature. To reveal this situations in all of its complex dimension was the impulse that has fed his plastic research.
<<When you enter a penetrable, you have the sensation of being in a light swirl, a total plenitude of vibrations. The Penetrable is a kind of concretization of this plenitude in which I make people move and make them feel the body of space. Is a way of materializing what exist, is an immaterial state, one state that for me isn't irreal, but a reality. Reality exists all over the place and fill all the universe. Emptiness doesn't exist, anywhere. This is my basic line of thought.>>
link=File:Esfera_Caracas_%22Jesus_Soto%22.jpg
'Soto would set the bases for an art that transcended the conventional parameters of painting and sculpture.' [5] By inviting the spectator participate in the work, instead of merely looking from a distance, Soto more deeply engages the audience, and makes the experience more intriguing and stimulating.[5] Soto had a partner in this movement. On the other hand, his counterpart Carlos Cruz-Diez focused more on the way colours are perceived by the eye.[5] One of his series called Fisicromias (Physiochromies) shows how coloured light is perceived and displaced through one's eyes.[6] Another artist that participated in this style was Alejandro Otero. His series Colortions (Rhythmicolors) combine the same concepts of the perception of colour in the eye and participators' movement with the work, but gave greater attention to how the colours are controlled with vertical lines.[5]
Jesús Rafael Soto died in 2005 in Paris, and is buried in the Cimetière du Montparnasse.[7]
Like many other Venezuelan artists from this time, Jesus Rafael Soto and Carlos Cruz-Diez considered their works a response to what they felt the problems were in art of their time. They wanted to express a more universal process of art. Because of this, their works are contributions that continue to enrich the art world.[5] Their willingness to contribute and put themselves in a more universal approach to art, was a direct rebuttal to the traditional views of art in Latin America.[5] With Venezuela, this was a way for them to add what they felt was missing in the art of Latin America.
Painting, in history was an act of responding to the situation at hand in the mind of Soto and Cruz-Diez.[5] "Everything else was academic, an- achronistic, or as Alejandro Otero said, "the work of a man hiding behind time."[5]
August 25, 1973. Inauguration of the Museo de Arte Moderno Jesús Soto in Ciudad Bolívar, Venezuela
In 1973, the Jesús Soto Museum of Modern Art opened in Ciudad Bolívar, Venezuela with a collection of his work. Venezuelan architect Carlos Raúl Villanueva designed the building for the museum and Italian op artist Getulio Alviani was called to run it. Something that is different about this gallerie is that a large number of the exhibits are wired to the electricity supply so that they can move.[8]
Argentina Museo Nacional de Bellas Artes, Buenos Aires
Australia National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne
Belgium Musées Royaux des Beaux-Arts de Belgique, Brussels
Musée de Sculpture en Plein Air, Middelheim
Brazil Museu de Arte Contemporânea da Universidade de São Paulo
Canada Musée d'Art Contemporain de Montréal
Chile Museo de la Solidaridad Salvador Allende, Santiago
Colombia Museo de Arte Moderno La Tertulia, Cali
Cuba Casa de las Américas, La Havana
Denmark Louisiana, Humlebaek
Egypt Universal Graphic Museum, Giza
Finland The Museum of Contemporary Art, Helsinki
France Le Musée Martiniquais des Arts des Amériques- M2A2, Le Lamentin (Martinique)
Musée d'Art Contemporain, Lyon
Musée des Beaux-Arts de Nantes
Musée National d'Art Moderne, Centre Georges Pompidou, Paris
Fonds Départemental d'Art Contemporain, Val-de-Marne
Musée des Beaux-Arts, Pau
Germany Josef Albers Museum, Quadrat, Bottrop
Museum Ludwig, Cologne
Sprengel Museum Hannover, Hanover
Kaiser Wilhelm Museum, Krefeld
Museum Wurth, Kunzelsau
Museum Morsbroich, Leverkusen
Sammlung Lenz Schönberg, Munich
Staatsgalerie, Stuttgart
Ulmer Museum, Ulm
Israel The Israel Museum, Jerusalem
Tel Aviv Museum of Art, Tel Aviv
Italy Fondazione Lucio Fontana, Milan
Galleria Nazionale d'Arte Moderna e Contemporanea di Roma
Fondazione Il Giardino di Daniel Spoerri, Seggiano (Grosseto)
Galleria Civica d'Arte Moderna e Contemporanea, Turin
Fondazione Calderara, Vacciago di Ameno
Japan Fukuoka Art Museum
Museum of Modern Art, Hokkaido
Itami City Art Museum, Itami
The Iwaki City Museum, Iwaki
Museum of Modern Art, Saitama
Hara Museum of Contemporary Art, Tokyo
Museum of Modern Art, Wakayama
Mexico Museo Rufino Tamayo, Mexico.
Nicaragua Museo de Arte Latino Americano Contemporáneo de Managua
Netherlands Mondriaanhuis, Amersfoort
Peter Stuyvesant Foundation, Amsterdam
Stedelijk Museum, Amsterdam
Rijksmuseum Kröller-Müller, Otterlo
Museum Boymans-van Beuningen, Rotterdam
New Zealand Auckland City Art Gallery, Auckland
Roumania Muezul de Arta Universala Burcuresti, Bucarest
South Korea Ho-Am Art Museum, Seoul
National Museum of Contemporary Art, Seoul
Tongyoung Nammang Open Air Sculpture Park,Tongyoung City
Spain Museo Luis González Robles, Universidad de Alcalá, Alcalá de Henares
Museo de La Asegurada, Alicante
Museo Nacional Centro de Arte Reina Sofía, Madrid
Fundación ARCO, Madrid
Centro Atlántico de Arte Moderno, Las Palmas, Grande Canarie
Fundación César Manrique, Teguise, Lanzarote (Canary Islands)
Sweden Malmö Konstmuseum, Malmö
Moderna Museet, Stockholm
Switzerland Museum für Gegenwartskunst, Basel
Kunstmuseum, Berne
United Kingdom Tate Gallery, London
U.S.A. Norton Museum of Art, West Palm Beach, Florida
Albright-Knox Art Gallery, Buffalo (New York)
Neuberger Museum of Art, Purchase (New York)
The Museum of Modern Art, New York
Solomon R. Guggenheim Museum, New York
Oklahoma City Art Museum, Oklahoma City, (Oklahoma)
Archer M. Huntington Art Gallery, Austin, (Texas)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Venezuela Fundación Galería de Arte Nacional, Caracas
Museo de Arte Contemporáneo de Caracas Sofía Imber, Caracas
Museo de Bellas Artes, Caracas
Museo de Arte Moderno - Fundación Jesús Soto, Ciudad Bolívar
Museo de Arte Moderno de Mérida Juan Astorga Anta, Mérida
Environmental Integrations
1957: "Structure cinétique", Ciudad Universitaria, Caracas, Venezuela
Teresa Carreño Cultural Complex
1958: "Wall of Brussels", I.V.I.C., Caracas, Venezuela (made for Universal Exhibition of Brussels, 1958). "Tour de Bruxelles", I.V.I.C., Caracas, Venezuela (made for Universal Exhibition of Brussels, 1958).
1967: "Volume suspendu", Expo 67, Pavililon of Venezuela, Montreal, Canada (ephemeral environment in the pavilion made by architect Carlos Raúl Villanueva for intégration of Soto's monumental artwork, Universal Exhibition in Montréal, 1967).
1968-69: ''Ephemeral Environment'' made for the end year festivities, Place Furstenberg, Paris, France.
1969: "Mur cinétique" (2), UNESCO, Paris, France. "Progresión a centro móvil", Torre Capriles, Caracas, Venezuela. "Paralelas vibrantes", Torre Capriles, Caracas, Venezuela. "Volumen cinético", Torre Capriles, Caracas, Venezuela.
1970: Hall, Deutsche Bundesbank, Francfort, Germany. "Extension et progression dans l'eau", Rethel college, The Ardennes, France. Hall, Faculté de Médecine et de Pharmacie, Rennes, France.
1971: "Vibración amarilla", I.V.I.C., Caracas, Venezuela.
1972: Hall, pharmaceutical Laboratory Sandoz, Basle, Switzerland.
1972-82: Complejo Cultural Teresa Carreño, Caracas, Venezuela.
1973: "El gran mural de las escrituras", Banco Central de Venezuela, Caracas, Venezuela. "Extension et progression dans l'eau", Paseo Ciencias, Maracaibo, V enezuela.
1973-95: "Penetrable", Parque García Sanabría, Santa Cruz de Tenerife, Spain.
1974: "Mur cinétique", International duOffice for Work, Geneva, Switzerland.
1975: Hall and restaurant of the personnel, Régie Renault, Boulogne- Billancourt, France. "Progression", CES (college), Moreuil, France.
1977: "Suspended Virtual Volume", Royal Bank of Canada, Toronto, Canada. "Mural Cavendes", Edificio Cavendes, Caracas, Venezuela.
1979: "Environnement", Reception, Cars-Motors, Caracas, Venezuela. "Gran escritura negra", Banco de Venezuela, Caracas, Venezuela. "Volumen virtual suspendido", Centro Banaven, Caracas, Venezuela. "Interférences vibrantes", West Deutsche Landesbank, Dortmund, Germany.
1982: "Progresión suspendida amarilla y blanca", Entidad de Ahorro y Préstamo, Puerto La Cruz, Venezuela.
1983: "Progresión amarilla", Metro Chacaíto, Caracas, Venezuela. "Cubo virtual azul y negro", Metro Chacaíto, Caracas, Venezuela.
1984: "Extensión azul y blanca", Seguros La Seguridad, Caracas, Venezuela. "Volumen virtual polícromo", Deutsche Eisenbahn Versicherung, Cologne, Germany.
1985: "Esfera Japón", Edificio Banco Lara, Caracas, Venezuela.
1987: "Cubo Meneven", Edificio Corpoven, Puerto La Cruz, Venezuela.
1988: "Ovoide Polar", Fundación Polar, Caracas, Venezuela. "Cubo Provincial", Banco Provincial, Caracas, Venezuela. "Mur Polychrome", CFDT, Paris, France. "Ecriture", CFDT, Paris, France. "Large Sphere of Seoul", Olympic Park, Seoul, South Korea (made for Olympiade of Arts during Olympic Games in Seoul, 1988). "Media esfera roja", Seguros La Seguridad, Caracas, Venezuela. "Cubo virtual", Torre Banco Provincial, Caracas, Venezuela.
1992: "Media esfera azul y verde", Seville, Spain (made for Universal Exhibition in Seville, 1992).
1993: "Dos cubos virtuales", Darier Hentsch & Cie., Geneva, Switzerland.
1993-94: "Cubo de Francia", Ambassade de France, Caracas, Venezuela.
1995: "Welcoming Flag", Dowa Fire & Marine Insurance Company Phoenix Tower, Osaka, Japan.
1989-1995: "Volume virtuel Air France", Air France Head Office, Roissy, France.
1997: Integration of four artworks, Hall, KPMG, La Défense (Paris), France. "Cube noir Penetrable", Fondazione Il Giardino di Daniel Spoerri, Seggiano (Grosseto), Italy. "Sphère bleue", Samsung Plaza, Gare de Suhyun (Megaport of Bundang), South Korea. "Penetrable of Tongyoung", Tongyoung Nammang Open Air Sculpture Park, Korea (1997). "Virtual Ellipsoids", Dresdner Bank Head Office, Berlin, Germany. "Esfera de Caracas", motorway Francisco Fajardo, Caracas, Venezuela.
1998-99: "La esfera de Margarita", Porlamar, Margarita Island, Venezuela.
2001: "Large ovale", new Chinese Petroleum Corporation Head Office, Taipei, Taiwan.
Individual exhibitions
1949 Taller Libre de Arte, Caracas, Venezuela.
1956 Galerie Denise René, Paris, France.
1957 Galerie Aujourd'hui, Palais des Beaux-Arts, Brussels, Belgium.
Museo de Bellas Artes, Caracas, Venezuela.
1959 Galerie Iris Clert, Paris, France.
Galleri Vallingatan, Stockholm, Sweden.
1961 Galerie Rudolf Zwirner, Essen; Galerie Brusberg, Hanover, Germany.
1962 Galerie Ad Libitum, Antwerp, Belgium.
Galerie Edouard Loeb, Paris, France.
1963 Museum Haus Lange, Krefeld, Germany.
1964 Galerie Müller, Stuttgart, Germany.
1965 Kootz Gallery, New York, U.S.A.
Signals Gallery, London, United Kingdom.
1966 Galerie Schmela, Düsseldorf;
Pfalzgalerie des Bezirksverbandes, Kaiserslautern, Germany.
Galleria del Naviglio, Milan, Italy.
Kootz Gallery, New York, U.S.A.
Galleria del Cavallino, Venice, Italy.
Centro Arte Viva-Feltrinelli, Trieste, Italy.
1968 Galerie Françoise Mayer, Brussels, Belgium.
Kunsthalle, Bern, Switzerland;
Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany; Stedelijk Museum, Amsterdam, Netherlands (1969); Palais des Beaux-Arts, Brussels, Belgium (1969); Musée d'Art Moderne de la Ville de Paris, France (1969).
Marlborough Galleria d'Arte, Rome, Italy.
Galleria Lorenzelli, Bergame, Italy.
1969 Galleria Notizie, Turin, Italy.
Galleria Flori, Firenze, Italy.
Galleria Giraldi, Livourne, Italy.
Estudio Actual, Caracas, Venezuela.
Svensk-Franska Konstgalleriet, Stockholm, Sweden;
Galerie Bonnier, Geneva, Switzerland (1970).
Marlborough-Gerson Gallery, New York, U.S.A.
Théâtre du Huitième, Lyon, France.
1970 Galleria de la Nova Loggia, Bologna, Italy.
Galerie Godard Lefort, Montreal, Canada.
Kunstverein, Mannheim;
Pfalzgalerie des Bezirksverbandes, Kaiserslautern; Ulmer Museum, Ulm, Germany.
Galerie Semiha Huber, Zürich, Switzerland.
Galerie Denise René, Paris, France.
Galerija Suvremene Umjetnosti, Zagreb, Yugoslavia.
Galerie Buchholz, Munich, Germany.
1971 Museum of Contemporary Art, Chicago;
Akron Art Center, Ohio, U.S.A.
Galerie Denise René/Hans Mayer, Düsseldorf, Germany.
Galleria Rotta, Milan, Italy.
Museo de Bellas Artes, Caracas, Venezuela;
Museo de Arte Moderno, Bogotá, Colombia (1972).
Kunstverein, Kaiserslautern, Germany.
Ariete Graphica, Milan, Italy.
Galería de Arte, INCIBA, Palacio de las Industrias, Caracas, Venezuela (1971-1972).
1972 Estudio Actual, Caracas, Venezuela.
Galerie Beyeler, Basle;
Galerie Alice Pauli, Lausanne, Switzerland.
Galleria Levi, Milan, Italy.
Formes et Muraux, Lyon, France.
Marlborough Godard, Toronto, Canada.
1973 Estudio Dos, Valencia, Venezuela.
Universidad Central de Venezuela, Caracas, Venezuela.
Galleria Corsini, Intra (Lake Maggiore), Italy.
Galleria Godel, Rome, Italy.
Galería Arte Contacto, Caracas, Venezuela.
1974 Solomon R. Guggenheim Museum, New York, U.S.A.;
Musée Boymans-van Beuningen, Rotterdam, Pays-Bas (1975); Hirshhorn Museum and Sculpture Garden, Washington D.C., U.S.A. (1975).
Galerie Denise René, New York, U.S.A.
1975 Galería Arte Contacto, Caracas, Venezuela.
1976 Galerie Watari, Tokyo, Japan.
1977 Galerie Bonnier, Geneva, Switzerland.
Centre International de Création Artistique, Sénanque, France.
Galería El Parque, Valencia, Venezuela.
Bibliothèque Municipale, Caen, France.
Galerie Valeur, Nagoya, Japan.
1978 Louisiana Museum, Humlebaek, Denmark.
Liljevalchs Konsthall, Stockholm, Sweden.
1979 Helsinki Kaupungin Taidekokoelmat, Helsinki, Finland.
Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.
Museo de Arte Contemporáneo de Caracas, Sala Ipostel, Caracas, Venezuela.
Universidad Simón Bolívar, Caracas, Venezuela.
Galerie Ferm, Malmö, Sweden.
1981 Galería de Arte Rolando Oliver Rugeles, Mérida, Venezuela.
Museo de Arte Contemporáneo Francisco Narváez, Porlamar, Venezuela.
Galería Témpora, Bogotá, Colombia.
Casa de Colón, Las Palmas, Grande Canarie, Spain.
1982 Palacio de Velázquez, Madrid, Spain.
Caja de Ahorros Provincial, Alicante, Spain.
Fundación Joan Miró, Barcelone, Spain.
Colegio de Arquitectos, Santa Cruz de Tenerife, Spain.
Galería Theo & Sala Celini, Madrid, Spain.
Galería Quintero, Barranquilla, Colombia.
Ateneo, Zea, Venezuela.
1983 Casa de la Cultura, La Victoria, Venezuela.
Museo de Arte Contemporáneo de Caracas, Venezuela.
Centro de Bellas Artes, Maracaibo, Venezuela.
Sala Luzán, Saragossa, Spain.
1984 Charles Cowles Gallery, New York, U.S.A.
1985 Galería Garcés Velásquez, Bogotá, Colombia.
Achenbach Art Consulting, Düsseldorf, Germany.
Center for the Fine Arts, Miami, U.S.A.
Hokin Gallery, Miami, U.S.A.
1986 Contemporary Sculpture Center, Tokyo;
Contemporary Sculpture Center, Osaka, Japan.
Expressions Art Gallery, Coconut Grove (Florida), U.S.A.
1987 Galerie Gilbert Brownstone, Paris, France.
1988 Ateneo, Boconó, Venezuela.
Elisabeth Franck Gallery, Knokke-le-Zoute, Belgium.
Instituto de Cultura Puertorriqueña, San Juan, Porto Rico.
Hyundai Gallery, Seoul, South Korea.
1989 Galerie Hermanns, Munich, Germany.
Museo de Arte, Coro, Venezuela.
1990 Galería Theo, Madrid, Spain.
Theospacio, Madrid, Spain.
Estudio Theo, Madrid, Spain.
Galerie Sapone, Nice, France.
Galleria Eva Menzio, Turin, Italy.
Museum of Modern Art, Kamakura;
Museum of Modern Art, Saitama; Iwaki City Art Museum, Iwaki; Itami City Museum of Art, Itami, Japan.
Galería Theo, Barcelona, Spain.
Galleria Art Valley 88, Forte dei Marmi, Italy.
Josef Albers Museum, Quadrat, Bottrop, Germany.
1991 Gallery 44, Kaarst, Germany.
Gallery 44, FIAC, Paris, France.
Humphrey Gallery, New York, U.S.A.
Galleria Arte 92, Milan, Italy.
1992 Galería Theo, ARCO, Madrid, Spain.
Abbaye Saint-André, Centre d'Art Contemporain, Meymac;
Le Carré/Musée Bonnat, Bayonne; Musée des Beaux-Arts, Pau, France (1993); Fundação de Serralves, Porto, Portugal (1993).
Altamira Fine Art, Caracas, Venezuela.
Museo de Bellas Artes, Caracas;
Museo de Arte Moderno - Fundación Jesús Soto, Ciudad Bolívar, Venezuela (1993).
1993 Altamira Fine Art, ART ASIA, Hong Kong.
Museo de Arte Contemporáneo de Maracay Mario Abreu, Maracay, Venezuela.
1994 Elisabeth Franck Gallery, Knokke-le-Zoute, Belgium.
Casa de la Cultura Juan Félix Sánchez, Mérida;
Ateneo Jesús Soto, Tovar, Venezuela.
Festival International de Biarritz, France.
Gallery Seomi, Seoul, South Korea.
In Khan Gallery, New York, U.S.A.
1995 Durban-Segnini Gallery, ART MIAMI '95, Miami, U.S.A.
Galería Exedra, Quito, Ecuador.
Galería Durban, FIA, Caracas, Venezuela.
"Espacio Soto", Galería Durban, Caracas, Venzuela.
1997 Galerie nationale du Jeu de Paume, Paris, France;
Stiftung für Konkrete Kunst, Reutlingen, Germany; Museu de Arte Contempôranea da Universidade de São Paulo, Brazil.
Gallery Hyundai, Seoul, South Korea.
Galerie Denise René, ART 28'97, Basle, Switzerland.
Galería Durban, Caracas, Venezuela.
Fairmate Art Gallery, Taipei, Taiwan.
J.G.M. Galerie, FIAC, Paris, France.
National Central University, Chung-Li, Taiwan.
1998 Museu de Arte Moderna da Bahia, Salvador (Bahia), Brazil.
Riva Yares Gallery, Scottsdale (Arizona), U.S.A.
Museo Nacional de Artes Visuales, Montevideo, Uruguay.
Espacio Cultural PDV, Caracas, Venezuela.
Centro Cultural del Conde Duque, Madrid, Spain.
Riva Yares Gallery, Santa Fe (Nouveau Mexique), U.S.A.
Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
Casa Andrade Muricy, Curitiba (Paraná), Brazil.
Durban Segnini Gallery, Coral Gables (Florida), U.S.A.
1999 Banque Bruxelles Lambert, Brussels, Belgium.
Galerie Schoeller, Düsseldorf, Germany.
Sala de Arte Telefónica, Santiago, Chili.
Galería de arte La Previsora, Caracas, Venezuela.
Galerie am Lindenplatz AG, Vaduz, Liechenstein.
Galería de Arte Ascaso, Valencia, Venezuela.
2000 Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan.
Museo de Arte Contemporáneo de Monterrey, Mexico.
Allianz Versicherungs-AG, Berlin, Germany.
Fundación Corp Group Centro Cultural, Caracas, Venezuela.
Galerie Denise René, FIAC, Paris, France.
2001 Riva Yares Gallery, Scottsdale (Arizona), U.S.A.
Museo de Arte Moderno de Bogotá, Colombia.
Riva Yares Gallery, Santa Fe (Arizona), U.S.A.
Fondation Veranneman, Kruishoutem, Belgium.
2002 Joan Guaita Art, Palma de Majorque, (Baleareic Islands), Spain.
Dan Galeria, São Paulo, Brazil.
Centro de Arte de Maracaibo Lía Bermúdez, Maracaibo, Venezuela.
Galería de Arte Ascaso, Caracas, Venezuela.
2003 Museo de Arte Contemporáneo de Caracas, Venezuela.
Centro Cultural Metropolitano, Quito, Ecuador.
2004 Galería Dimaca, Caracas, Venezuela.
Joan Guaita Art, Palma de Majorque, (Baleareic Islands), Spain.
Galerie Denise René, Paris. France.
Sicardi Gallery, Houston (Texas), U.S.A.
Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil.
Instituto Tomie Ohtake, São Paulo, Brazil.
Museu Oscar Niemeyer, Curitiba (Paraná), Brazil.
Artespacio, Santiago, Chili.
Museo Tamayo Arte Contemporáneo, Mexico, Mexico.
MoLAA Museum of Latin American Art, Long Beach (California), U.S.A.
Galería de Arte Nacional, Caracas, Venezuela.
Museo de Arte Coro, Coro, Estado Falcón, Venezuela.
2006 Instituto de Estudios Superiores de Administración IESA, Caracas, Venezuela.
Centro de Arte la Estancia, Caracas, Venezuela.
Trasnocho Cultural, Caracas, Venezuela.
Fundación Proa, Buenos Aires, Argentina.
GAMEC, Galleria d'Arte Moderna e Contemporaneo, Bergamo, Italy.
Pablo Goebel Fines Arts, Ciudad de Mexico, Mexico.
Galeria Theo Spacio, Madrid, Spain.
2008 Galería Elvira Gonzalez, Madrid, Spain.
Leon Tovar Gallery, « Now on view », New York, U.S.A.
Robert Sandelson and Contemporary International Art, Londres, United Kingdom.
2009 Galerie Max Hetzler, "Jesús Rafael Soto", Berlin, Germany.
2010 Galerie Denise René espace marais et rive gauche, "Les harmonies combinatoires", Paris, France.
2011 Haunch of Venison Gallery, "Jesús Rafael Soto", New York, U.S.A.
2012 NYU Grey Art Gallery, "Soto: Paris and beyond", New York, U.S.A.
Galeria Cayon, "Soto: negro sobre blanco - blanco sobre negro", Madrid, Spain.
Galería de arte Ascaso, " Soto : Color sobre color ", Caracas, Venezuela.
Musée de l'Hospice Saint-Roch, " Pénétrable BBL bleu ", Issoudun, France.
Bosi contemporary gallery, " Soto unearthed : a 1968 film and selected early work ", New York, U.S.A.
2013 Galerie Denise René, Rive gauche, " Soto", Paris, France.
Centre Pompidou, Mnam, " Soto – dans la collection du Musée National d'Art Moderne ", Paris, France.
Stand galería Cayón, " ARCO ", Madrid, Spain.
2014 MFA Houston, "Soto, The Houston pénétrable", Houston, U.S.A.
Art institute of Chicago, "Jesús Rafael Soto : Pénétrable de Chicago", Chicago, U.S.A.
2015 Galerie Perrotin, "Soto : Chronochrome", New York, U.S.A.
Galerie Perrotin, "Soto : Chronochrome", Paris, France.
Ascaso Gallery, "Soto Estático Dinámico", Caracas, Venezuela.
Musée Soulages, "Soto – Une rétrospective", Rodez, France.
2016 Galería Cayón, " Jesús Soto – Virtual Soto ", Madrid, Spain.
2017 León Tovar Gallery, « Jesús Rafael Soto. Dans son jus", New York, U.S.A.
Université catholique de Lyon, "Pénétrable de Lyon", Lyon, France.
Cecilia Brunson Projects, "Jesús Rafael Soto : Sound Mural ", London, United Kingdom.
2018 Galería Odalys, " Soto ", Madrid, Spain.
Galería Cayón, " Soto Múltiple ", Madrid, Spain.
Espace Louis Vuitton Tokyo, "Jesus Rafael Soto - Penetrable BBL Bleu. Selected works from the collection", Tokyo, Japan.
2019 Hauser & Wirth Gallery, " Soto Vibrations, 1950-1960 ", New York, U.S.A.
1957 "Premio de Pintura Abstracta", Galería Don Hatch, Caracas, Venezuela.
1960 "Premio Nacional de Pintura", Venezuela..
1963 "Premio de la 2a Bienal Reverón", Caracas, Venezuela.
"Premio Wolf", Bienal de São Paulo, Brésil.
1964 "David E. Bright Foundation Award", XXXII Biennale Internazionale d'Arte di Venezia, Italie.
"Premio Gobierno de Córdoba al Autor de la Mejor Obra Extranjera", II Bienal Americana de Arte, Córdoba, Argentine. "Premio de la Ciudad de Córdoba", Argentine.
1965 "Primer Premio del Primer Salón Panamericano de Pintura", V Festival Nacional de Arte, Cali, Colombie.
1967 "Medaglia d'Oro del XVIe Convegno Internazionale Artisti, Critici e Studiosi d'Arte", Rimini, Italie.
Remise des clés de la ville de Ciudad Bolívar, Venezuela.
1968 "Chevalier de l'Ordre des Arts et des Lettres", France.
1969 "3e Prix du Festival International de la Peinture", Cagnes-sur-Mer, France.
1970 "Premio Apollonio, 1a Bienal del Grabado Latinoamericano", San Juan, Porto Rico.
1972 "Orden Andrés Bello en Primer Grado", Caracas, Venezuela.
1978 "Doctor Honoris Causa de la Universidad de Oriente", Venezuela.
"Orden Mérito al Trabajo en Primer Grado", Caracas, Venezuela.
1979 "Conseiller d'Honneur Vitalice", Association Internationale des Arts Plastiques (UNESCO), Paris, France.
1980 "Intergraphik Preis 1980", Berlin, Allemagne.
1981 "Prix d'Achat, 14e Biennale d'Art Graphique", Ljubljana, Slovénie.
"Médaille Picasso", UNESCO, Paris, France.
1982 "Gold Medal", 6. Norsk Internasjonal Grafikk Biennale, Fredrikstad, Norvège.
1983 "Prix d'Achat", 15e Biennale Internationale de Gravure, Ljubljana, Slovénie.
"Orden Francisco de Miranda en 1er Grado", Venezuela.
1984 "Premio Nacional de Artes Plásticas", Consejo Nacional de la Cultura (CONAC), Venezuela.
"Miembro Honorario", Sociedad Bolivariana de Arquitectos, Caracas, Venezuela. "Profesor Honorario del Instituto Pedagógico de Caracas", Venezuela.
1985 "Orden Nacional Miguel Antonio Caro-Rufino José Cuervo", Bogotá, Colombie.
1986 "Membre Titulaire", Académie Européenne des Sciences, des Arts et des Lettres, Paris.
"Orden Municipalidad del Distrito Sucre", Consejo Municipal del Distrito Sucre, Caracas, Venezuela.
1988 "Orden Samán de Aragua", Gobernación del Estado Aragua, Aragua, Venezuela.
"Medalla Círculo de las Fuerzas Armadas", Caracas, Venezuela.
1989 "Orden Doctor Tulio Febres Cordero Primera Clase", Asamblea Legislativa del Estado de Mérida, Mérida, Venezuela.
"Medalla de Honor", Instituto Venezolano de Investigaciones Científicas (IVIC), Caracas, Venezuela. "Médaille d'Argent des Arts Plastiques", Académie d'Architecture, Paris, France.
1990 "Médaille Picasso" (Vermeil), UNESCO, Paris, France.
"Doctor Honoris Causa en Arquitectura", Universidad de Los Andes, Mérida, Venezuela. "Visitante Ilustre", San Fernando, Venezuela.
"Orden Antonio José de Sucre en su Primera Clase", Cumaná, Venezuela. "Orden Ciudad de Mérida Primera Clase", Consejo del Municipio Libertador, Mérida, Venezuela.
"Santiago de los Caballeros de Mérida", Mérida, Venezuela. "Medalla Universidad de Los Andes", Mérida, Venezuela.
1991 "Mitglieder der Akademie der Künste", Berlin, Allemagne.
"Diploma", Consejo Cultural Mundial, Canberra, Australie.
1993 "Commandeur de l'Ordre des Arts et des Lettres", France.
"Orden General de División Francisco Esteban Gómez (Clase Oro)", Nueva Esparta, Venezuela. Remise des clés de la ville de Maracay, Venezuela.
1994 "Doctor Honoris Causa", Universidad Nacional Experimental de Guayana, Ciudad Bolívar, Venezuela.
"Hijo ilustre de la Bienal de la Ciudad de Cuenca", Equateur. "Amigo de Venezuela", Fundación Venezuela Positiva, Caracas, Venezuela.
1995 "Premio Distrital de Artes Plásticas 'Pedro Angel González'", Caracas, Venezuela.
"Grand Prix National de la Sculpture", France. "Miembro Honorario de la Casa de la Cultura Ecuatoriana Benjamín Carrión", Quito, Equateur.
1996 "Miembro Honorario de la Fundación Orquesta Filarmónica Nacional", Caracas, Venezuela.
"Orden Congreso de Angostura en grado de Gran Collar", Ciudad Bolívar, Venezuela. "Orden del Libertador en grado de Gran Cordón", Venezuela.
1999 "Gran Premio Asociación Española de Críticos de Arte" (AECA), ARCO '99, Madrid, Espagne.
"Doctor Honoris Causa de la Universidad de Carabobo", Valencia, Venezuela. "Orden Arturo Michelena en su Unica Clase", Alcaldía de Valencia, Venezuela.
"Premio de la Crítica en la especialidad de Artes Visuales Internacional", El Círculo de Críticos de Arte, Santiago, Chili.
Abadie, Daniel. Entrevista para el catálogo de la Exposición Soto: cuarenta años de creación, Museo de Arte Contemporáneo de Caracas, 1983
Abadie, Daniel; Gómez, Hannia; Nordmann, Agnés and Pierre, Arnaud. Soto A Gran Escala. Published by MACCSI. ISBN 980-272-232-4
Boulton, Alfredo. Jesús Soto. Editorial Armitano, 1973[9]
Brodsky, Estrellita and Rich, Sarah. Soto: Paris and Beyond, 1950-1970. New York University, 2012. ISBN 978-0934349161
Clay, Jean. Rostros del Arte Moderno. Monte Avila Editores, Caracas, 1971
Cuevas, Tatiana, Obrist, Hans Ulrich, Santoscoy, Paola. Jesús Rafael Soto. "Visión en Movimiento", 2007. ISBN 987-21336-3-8
Hernández D'Jesus, Enrique. Entrevista publicada em el suplemento especial del Diario de Caracas, 1993
Huerta, Ninoska. Soto Classical and Modern. Fundación Corp Group Centro Cultural, Caracas, 2000. ISBN 978-980-6334-42-7
Jiménez, Ariel. Texto para el catálogo de la exposición retrospectiva de Jesús Soto. Francia, Abbaye Saint André Centre d'Art Contemporain Meymac. 1992
Jiménez, Ariel. Texto para el catálogo de la exposición SOTO: Re-pensar lo visible, Museo de Arte Contemporáneo de Maracay Mario Abreu, 1993
Jiménez, Ariel. Jesús Soto in Conversation with Ariel Jiménez. Fundación Cisneros/Colección Patricia Phelps de Cisneros ISBN 978-0982354469
Joray, Marcel and Sot,o Jesús Rafael. Soto. Éditions du Griffon, Paris, 1984. ASIN: B0018PFZBK
Lemaire, Gerard-Georges. Soto (Serie Mains et merveilles). Editions La Difference, Paris, 1997 ISBN 978-2729111137
Messer, Thomas M., Renard, Claude-Louis, Soto, Jesús. Soto: A Retrospective Exhibition, catalogue published to coincide with the exhibition. Accompanying text in English, French and Spanish, Published by: The Solomon R Guggenheim Museum, New York, 1974.
National Prize of Plastic Arts of Venezuela
^ http://www.rogallery.com/Soto_Raphael/soto-bio.html
^ Edelist, Sydney (June 22, 2011). "Photos: Kinetic Art Of Jesus Rafael Soto". Huffington Post.
^ a b c "Bibliography of Jesus Rafael Soto". widewalls.ch. 2017-11-15.
^ Jesus Rafael Soto Marlborough Fine Art.
^ a b c d e f g h i j Olea, Hector. Inverted Utopias. Yale University Press. p. 572.
^ "Physicromie". Carlos Cruz-Diez. 2017-12-15.
^ "Jesus Rafael Soto". Guggenheim.org. 2017-11-16.
^ "Jesus Rafael Soto". Art Discover.
^ Soto, Jesus. Jesús Soto. Editorial Armitano. Retrieved 26 December 2012.
Artist's official Website
Getulio Alviani
Edna Andrade
Richard Anuszkiewicz
Gerhard von Graevenitz
Andrzej Nowacki
Arnold Alfred Schmidt
Francisco Sobrino
Julian Stanczak
Gregorio Vardanega
Grazia Varisco
Jean-Pierre Yvaral
Figure–ground
Hard-edge painting
M. C. Escher
AAG: 2137
RKD: 74005
SNAC: w6st7wck
VIAF: 17691
WorldCat Identities (via VIAF): 17691
People from Ciudad Bolívar
20th-century Venezuelan sculptors
Burials at Montparnasse Cemetery
Avant-garde art

redpajama_set_name: RedPajamaCommonCrawl


text:
Evansville Barnes & Noble Hosting Holly Dunn Book Launch January 13th
On the night of August 29th, 1997, Evansville native, Holly Dunn, and her boyfriend at the time, Chris Maier, were a couple of students at the University of Kentucky walking along a set of train tracks on their way back to a party they had attended earlier when they encountered a man that would impact both their lives forever.
That man was Angel Maturino Resendiz, also known as The Railroad Killer. A man who the FBI later believed was linked to at least 15 murders near railroad tracks across the country. On that night, Resendiz killed Chris before viciously beating, raping, and leaving Holly for dead.
Of course, Holly didn't die. After regaining consciousness after the attack, she made her way to a nearby home where she was able to get help. She spent five days at the University of Kentucky hospital being treated for a broken jaw and eye socket, as well as numerous cuts and scrapes. She is believed to be the only survivor of The Railroad Killer's spree.
As most of us in the Tri-State know, Holly took this horrific, life-altering experience and used it to help victims of both sexual and domestic abuse when she opened Holly's House in what was once the North Branch Public Library off First Avenue on Evansville's north side.
She shared her story with the CBS news magazine program, 48 Hours, in 2013, and on November 7th of this year, released a book detailing the events of that night and how they shaped her future called, Sole Survivor: The Inspiring True Story of Coming Face to Face with the Infamous Railroad Killer.
Since its release, Holly has hosted book launches in New York City, Washington, D.C., Lexington, and Louisville. On Saturday, January 13th, she'll make her way to Barnes & Noble on Green River Road on Evansville's east side for a launch right here in her hometown.
The launch runs from 2:00 until 4:00 p.m. and will feature remarks from Holly, a Q&A session, plus the opportunity to have your copy of the book signed.
Sole Survivor is available now at Barnes & Noble, as well as Amazon.
For more information on Holly's House, visit HollysHouse.org.


The DANGER Report recently released by the National Association of Realtors® rocked the Real Estate community at large. Enclosed within its 166 pages were 50 startling revelations of impending disaster on the horizon facing the Realtors® of the future.
Sadly, instead of receiving this report with open arms, and an equally open mind, many practitioners were quick to point out flaws, or varying opinions that they had. Unfortunately, all the opinion in the world cannot change the very real fact that our industry is changing.
For the Agent, The DANGER Report from the National Association of Realtors® should be a "wake up call." A clarion call to action to increase your skill level. Of all the Top 10 Dangers that Realtors® face, every one of them can be controlled by becoming a powerful salesperson.
If there is one thing I have discovered in the past 19 years of this business, is that to guarantee your future as a powerful Investing/Realtor®, or wholesaler, is you must learn how to sell.
Learning the "Art of Sales" isn't as difficult as many may think it is. One doesn't need to be a "born salesperson!" In fact, there are really no "Born Salespeople" at all. They are all simply trained.
However, the question then comes up; "What value, does learning how to sell really have for my business? I mean, at the end of the day.. they are gonna take what they are gonna take right?" Nothing could be further from the truth!
Learning how to sell is much more artistic than that. It is the ability to create a sales environment. A sales environment, is where two parties consider the solution to a problem. In a real estate context, it is the scenario where you, and the other party are talking about you buying, or selling real estate.
Your ability to successfully create those environments frequently, and successfully close them, determines your financial future. In short… how well you manage the sales environments determines your income!
In order to get yourself plenty of opportunities to improve your skills, gain marketshare, and improve profitability; there are two areas that you must initially master. Lead Generation, and Lead Conversion skills.
If you are able to generate leads quickly, effectively, an cheaply, then you are more likely to be able to convert them. However, these two activities are completely different, and require different skill-sets altogether.
By learning how to generate leads quickly, you are virtually making your business "recession proof" . By learning how to generate them inexpensively, and at high quality, then your opportunities to assist a motivated Seller with their property sale.
By learning how to convert the leads you generate effectively, you will be making good use of both yours, as well as your client's time. Trust me when I tell you, your clients do NOT want to spend more time on the market then they need to! They want to get moved!
How much longer can this go on? We are poised on the precipice of a major disruption in our business. Yet we as a profession do nothing about it.
There are too many real estate agents that are simply not qualified to the level they should be.
Furthermore, there are no meaningful educational initiatives on the table to raise the national bar for real estate agents across the board.
And while this lack of agent knowledge is a significant danger in itself, when combined with a lack of basic competency it could be destructive and harmful to both the industry and the consumer.
I for one, am ready to help do my part.
If you are a newer Realtor® or Investor, and you are wanting to learn how to sell, or how to improve your ability to get more deals done quickly, then I invite you to attend the next Prospecting Academy!
The Prospecting Academy is designed to do two things… First, teach you how to generate motivated Seller leads quickly, cheaply, and predictably. Secondly, to teach you how to convert the leads you find, into real, salable contracts.
If you are a slow learner, then that's no problem. Your one time tuition guarantees you free access to every Prospecting Academy class I have in the future! Take it time and again to make sure you get the latest and greatest techniques, tips and closing skills!
Ugh.. if there is one thing I hate more than anything else… it's that "We want to think about it!" Would it help you in your business if you knew how to handle this one objection alone?
There's just no stopping you when you know the answers to all their objections in advance! After this 8 week workshop, you will be well equipped for ANY sales situation you encounter.
No matter what the future of real estate holds… you will be prepared…why?
Because you know how to SELL!!
Good analysis, completely agree about the large amount of incompetent agents out there. If NAR is worried about these agents, why do they keep standards so low?
Because the cost of requiring agents to be better, or have minimum standards (i.e. 25 deals per year minimum) is too high for them to enact.
← Should You Start a Real Estate Team?


ATIS Elementary sports days took place from Monday March 5 through Wednesday March 7 for respective grade levels. Students and parents enjoyed the well - organized events, thanks to the great effort of the PE department, the class teachers and the Teaching Assistants who ensured the smooth running of the program.
Students received their well- deserved certificates of participation at the end of their sports day.


text:
Curve Fit
The Curve Fit command will find the best fit of a smooth curve through a previously plotted set of data points using unweighted least squares. Chose the data to be fitted from the list of plots at the left. Note that data can be plotted from the Parametric, Lookup, Arrays, or Integral table with the New Plot or Overlay Plot commands. The names and units used in the plot will be displayed. You can edit the information in the variable names and units if you wish. The first and last point will be displayed for the selected plot. You can change these values if you wish to curve fit a subset of the data.
Select the form of the curve fit by clicking the appropriate radio button. A sample of the equation form will appear in blue in the box at the bottom of the dialog window. The first four buttons correspond to commonly used equation forms for which linear least squares can be used to determine the unknown coefficients. The Enter/Edit Equation button allows you to enter any equation form or to edit a previously entered equation. The equation you enter may be linear or nonlinear in the unknown parameters. You will have to supply guess values and (optionally) bounds for the unknown parameters.
Click the Fit button (or press the Enter key). The fitted equation will be displayed in red in the box at the bottom of the dialog window.
The Fit button will now have changed into the Plot button and the default plot line color will appear below the button. Click in the plot line color box under the Plot button to change the color of the line that will be plotted using the curve fit equation when the Plot button is clicked.
Note that if the plotted variables have units, the coefficients in the curve fit will also have units, which are included with their values. If the curve fit is copied into Equations window with the units information, EES will not display unit warnings. If you do not want to have the units included in the curve fit equation, clear the Units edit boxes for both the X and Y variables before clicking the Fit button or uncheck the Include units checkbox. Note that units for the coefficients are not determined for the Enter/Edit equation option.
A Stats button will appear. Click the Stats button if you wish to see statistical information relating to the curve fit, such as the standard error of the parameters and the root mean square error of the fit. Click the Plot button to overlay the curve fit equation on your plot. If the Place equation on plot check box is checked, a legend containing the equation will be created and displayed on the plot. The curve fit equation will be copied to the Clipboard if the Copy Equation to Clipboard check box is selected when either the Plot or Exit button is selected.
The curve fit command will regress any plotted variable as a linear or non-linear function of any other single variable. The Linear Regression command in the Tables menu provides linear regression capability for one to 15 independent variables.
See also: Curvefit1D


text: A website with a blog

redpajama_set_name: RedPajamaGithub


Tutorial quote: This tutorial describes how to install a Linux print server with CUPS. It also covers the installation and configuration of printer drivers on the print server as well as the printer setup on a Windows 2000 client.
Tutorial quote: This tutorial shows how to set up network-address-translation (NAT) on a Linux system with iptables rules so that the system can act as a gateway and provide internet access to multiple hosts on a local network using a single public IP address. This is achieved by rewriting the source and/or destination addresses of IP packets as they pass through the NAT system.
Tutorial quote: ASSP stands for Anti-Spam SMTP Proxy. The ASSP server project is an Open Source platform-independent transparent SMTP proxy server that leverages numerous methodologies and technologies to both rigidly and adaptively identify spam. In short ASSP is the most kickass solution that is both free and works great. It reduced spam to an absolute minimum for me.
Tutorial quote: Racoon Roadwarrior is a client that uses unknown, dynamically assigned IP addresses to connect to a VPN gateway (in this case also firewall). This is one of the most interesting and today most needed scenarios in business environment. This tutorial shows how to configure Racoon Roadwarrior.
Tutorial quote: BixData is a system, application, and network monitoring tool which allows you to easily monitor nearly every aspect of your servers. The newly released version 2.6 is the only application that has the ability to control both Xen and VMware virtual machines. You can control both VM Hosts (the computer that's running the VM software) and VM Guests (the virtual machines running on the hosts).
Tutorial quote: Build your own talking clock, using Bash and some common *nix utilities like sox. Articluates the time at random once an hour and hour and with a random pitch.
Includes very basic short scripts to get you going on basic bash coding and then puts it all together to produce the finished item.
Takes time out to explain as much as possible to a large audience.
Tutorial quote: Perl 6 FAQ featuring over 100 answers to questions about Perl 6, including changes since Perl 5 and new features such as junctions, multi subs, hyper operators and the new class and object system. Also includes a step-by-step guide to writing your first Perl6 program.
Tutorial quote: SSH is one powerful tool. You can do just about everything under the sun using an SSH login to a remote computer. SSH works very well in low-bandwidth situations like dialup, or satlinks.
But wakeup, we're no longer in the 80s - people want GUIs, let's give them fancy-pants graphics, bouncing cursors and silly linux wizards. Remotely.
Tutorial quote: A Bourne Shell Programming/Scripting Tutorial for learning about using the Unix shell. Learn linux / Unix shell scripting by example along with the theory. We'll have you mastering Unix shell scripting in no time!


When you want to give your dog a tasty and healthy treat, give him mouth-watering jerky fillets he'll love from Betsy farms. The chicken jerky is made with natural ingredients and real meat for protein that all dogs need. They are also free of wheat, artificial preservatives, colors and flavors.


text:
Q: How does mass conservation work in the MCU Ant-Man movie? In Ant-Man, it's (briefly) explained that the Pym particle reduces the distance between molecules, allowing a person to shrink while retaining his mass and strength.
Much of the movie is consistent with this explanation. For example:

*

*While ant-sized, Ant-Man falls from the edge of bathtub onto a tile floor, cracking the tile as though with the weight of a full sized human.

*He falls from a rooftop onto a car, denting the roof.

*He punches full sized humans, and they respond as though hit by a real punch.

*Another character, while tiny, is hit by a speeding toy train. The train is knocked aside as though it hit a full sized human.

But then there are things that appear totally inconsistent with "mass stays the same":

*

*Ant-Man is constantly running and climbing around on surfaces (air vents, ant tunnels, etc.) that couldn't possibly support the weight of a 200 lb man on a footprint the size of an ant.

*The toy train, when expanded to the size of a real train, is heavy enough to rip through a wall and crush a police car.

*
 Hank Pym carries a shrunken tank in his pocket on a keychain. It obviously doesn't weigh as much as a tank, but it does when expanded to full size.

*Another character, while tiny, gets swatted with a (normal sized) table tennis paddle, and goes flying like an insect.

Obviously the out-of-universe explanation is that mass behaves in whatever way is most convenient at the moment because it's just for fun.
But I'm curious: is there any in-universe explanation, either hinted at in the film itself or in the comic books, as to why mass is conserved sometimes but not always?

A: To add a little to the other answers, according to the Marvel Cinematic Universe wiki, Pym particles work by transferring matter to another dimension:

The Particle's ability to warp mass and size can transport said mass, and also objects and living beings, into what is known as the Quantum Realm, a subatomic dimension of space, that holds any mass of those who have shrunken with the use of the Particles. The mass, while still part of the shrunken subject, is shunted inside the Quantum Realm until returned.

This is similar to what the Marvel wiki says, and of course, has no citations, as there is no source other than the film. As far as I can tell, it is simply using data taken from other universes (as pointed out in the comments, my original answer pertained to the wrong universe), as it isn't covered to this level of detail in Earth-199999 yet.
This of course doesn't really explain any other behaviour observed in the MCU, or previous Ant-man canon.
We can either therefore assume that Pym lied, simplified for the audience/in-film characters, or that it simply doesn't hold up.

A: TL;DR - It doesn't.
The basic idea for the way that the Ant-Man suit works out of universe is a bastardisation of the Sqaure-Cube Law, which is the idea that as a shape grows in size, its volume and mass grows quicker and as such bones and muscles have to be exponentially stronger (and therefore larger and heavier) in order to survive the significantly higher loads that they are dealing with. This law also means that smaller animals are comparatively stronger when compared to larger animals, which makes for a fairly cool superpower premise.
But it's probably worth pointing out that even in the examples you give as the basic conservation of mass idea working in Ant-Man, it doesn't actually work. You say that "He falls from a rooftop onto a car, denting the roof", but I'm fairly certain that something as dense as Ant-Man when shrunk would have gone straight through the roof of the car - let's remembers that this is effectively just a 200lb object that is only an inch or so long and it's largest, probably making Ant-Man one of the densest objects on Earth (and certainly unable to ride on a flying ant named Anthony).
Towards the end of the film, we see;

 Scott throw a weapon that enlarges objects, which accidentally hits an ant, making it the size of a large dog. At this stage, the ant either takes on an appropriate mass (meaning it would be crushed to death under it's own weight thanks to its basic design not being sturdy enough at larger sizes/weights) or it remains the same weight as a normal ant and gets blown away in the first mild breeze.

In short, the given in universe explanation (that the distance between atoms is reduced, meaning objects get smaller but retain the same mass) is pure nonsense from the demonstrations of it that we have seen.
However, this maybe true even in universe, as we see Scott;

 shrink down into the "quantum realm", smaller than the size of molecules and atoms

which shouldn't be possible if the only change is the distance between atoms, so there is the potential that Hank simply lied to Scott (or is incorrect) about how the Pym Particles work.

A: He loses his mass, but is as strong as a human
I think the comic explanation is, that the Pym Particles make his mass vanish (to another dimension or something) so he really only weighs as much as an ant. This explains all the feats he has interacting with ants.
How can he punch people around? The suit somehow makes it possible for him to retain his human muscle power. This is explicitly addressed in the movie when he is training with Hank Pyms daughter. She says "The force of a human punch on the area of a bullet" So his miniaturized muscles can still exert the full force of a grown human. The only hand-wavy thing is conservation of momentum - if he is practically weightless, he should more punch himself back than the other one forward. But if we accept the fact that he can somehow release his original mass if he uses his muscles and attacks or hits something, then this would work.
And this could also explain the cracks in the floor/dent in the car. Ant-Man seems to have a solid background in parcour/climbing and falling. So he will naturally have reflexes to hit the floor with his arms and dissipate energy on hitting the ground like most martial artists (Just watch videos how judo people fall and hit the ground with their free arm when thrown). If Ant-Man has this reflex and hits the ground when falling he will punch a solid dent into the floor - not from his mass, but from using his muscles to hit the floor from old reflexes.

redpajama_set_name: RedPajamaStackExchange


Gallant Productions Inc. is currently doing research on the use of video production in the classroom. This reseach is being done through Royal Roads University with the help of Lethbridge College, The University of Lethbridge and the Canadian Wildlife Federation.
Gallant Productions Inc. recently completed producing the feature film titled Common Chord. For more information, and where you can see it visit www.commonchordmovie.com or visit our facebook page and youtube channel to get up to date info on the is project.


Another sandstorm is reported in the vicinity.
We captured three insurgents, when this sandstorm kicks up.
نحن القبض على ثلاثة مسلحين، عند هذه عاصفة رملية ركلات تصل.
There must have been a sandstorm during the night.
Lugging you for 6 miles in a sandstorm?
Only a princess would think she could outrun a sandstorm.
Murray's going to conjure up the biggest sandstorm you've ever seen.
نصف كتيبته كانت تتنزه في عاصفة رملية.
We all told her that it was just a sandstorm, a little wind, but she had seen its face.
أخبرناها جميعاً أنّها لم تكن سوى عاصفة رمليّة، رياح خفيفة، ولكنّها رأت وجهه.
In three nights time, the meteorological service is predicting a likely sandstorm in Ma'an.
The biggest sandstorm in history uncovered the resting of what we believe, is the tomb of Princess Amanphur.
أكبر عاصفة رملية في التاريخ كشفت قبر، او ما نعتقد أنه هو مقبرة الأميرة (أمون بور).
you'll be taking fire from the left or to the right or there's even going to be a sandstorm?
There's a sandstorm kickin' up between them and us right there.
What was weird is that the edge of the billboard was worn, almost like it was in a sandstorm.
Through constant dialogue and through respecting and accepting our differences, we should all ensure that no sandstorm of passions buries that edifice which has been so laboriously constructed.
وعبر الحوار المتواصل، واحترام اختلافاتنا والقبول بها، ينبغي لنا جميعا أن نضمن أنه ما من عاصفة رملية من العواطف يمكنها أن تدفن ذلك الصرح الذي أنشئ بجهد شاق.
النتائج: 276. المطابقة: 276. الزمن المنقضي: 77 ميلّي ثانية.


Are you tired of struggling and are unsure if a network marketing program is really all that it's cracked up to be?
You know... collecting all of the mlm information possible: the ridiculous 3 foot rule, pestering your family and friends, talking to any thing that breathes and stands on two feet, traveling 5 hours one way to attend mlm training and financing network marketing opportunity meetings at your local hotel.
I know when many of you started in your network marketing program(just as I) were told to use many of the same mlm tools and strategies that were used back in 70's, make a list of 100 people, call all 100, to find out who wants residual income.
Until you find yourself deliberately avoided by people you know, not until then do you immediately look for other network marketing business systems, when you asked for other recruiting strategies, all your upline tells you to do is to talk with more people.
This only lead you to immobilizing frustration, maxed out credit cards, total confusion and disbelief.
Now as you are nearly out of money, and have very little to show for months and others years of diligently pounding the concrete you are now wondering if someone spiked your punch or are you just stuck on stupid.
Why would I spend so much of my time and money in a mlm business that is generating such minuscule returns?
Then just as the thought entered your mind of giving up on another network marketing program, you come across some information that is considered to be the "life saver" for you.
This life saver I speak of is a video of Robert Kiyosaki's explanation of the importance of a homebased business.
Robert explains why a network marketing business is the easiest, quickest way to earn massive residual income with a low-cost start-up starting part time.
How to get paid like the wealthy!


text:
Q: Active Directory: Find out which users belong to a Group Policy Object I want to make sure that certain users are available in a group from the windows domain. I installed "Group Policy Management" and can open the Forest, the Domain. But then I am not sure what I am searching. I can select a link to a Group Policy Object (GPO). In Settings i see the Drive Maps and I know them. But how can I display a list of users that use this GPO? Right-click, Edit... is disabled.
net group my_gpo
does not work since I am not on a Windows Domain Controller. Any possibility to find out anyway?

A: Group Policies and groups are two completely different things.
And yes, I know the names are misleading.
A Group Policy Object is a set of policies linked to one or more Organizational Units in Active Directory; they will affect all computer and/or users in that container and below (there are exceptions, but this is the core concept).
A group is, just like the name implies, a collection of users, computers or other groups; it can be located anywhere in AD, and its members also can be located anywhere. It's mainly used for security, because assigning permissions to a group is a lot easier than doing the same for each individual user (but it can also act as a mail distribution list where Exchange is in use).
To manage Groups Policies, you use the Group Policy Management Console.
To manage groups (or users, or computers, or Active Directory in general) you use Active Directory Users and Computers.
If you need to check who is member of a given group, ADUC is the right tool to use; GPMC will not tell you anything about that, because it's not its job.
ADUC is always present on Domain Controllers, and can be installed on Windows Server systems as a feature (part of AD DS Tools).
If you want to use it on a client system, you'll need to install Remote Server Administration Tools.

Addendum: the net group command applies to groups, which as I said above are different from GPOs. It doesn't make any sense to run net group my_gpo.

A: The greyed out Edit button may be caused by rights issue, make sure that you have the correct permissions to edit the GPO.
To see the users who'll be affected by this GPO, check the "security filetering" groups. the users in that group should be affected by your GPO (provided the're in the correct linked OU)

A: It's not totally clear to me what you're asking but in the GPMC you can select the GPO in the left pane and see where it's linked on the Scope tab in the right pane and see what security filtering is being applied to the GPO. Based on that information you can deduce which users will have this policy applied based on their location in your AD structure and what security groups they're members of (are they in the Site, Domain, or OU where the GPO is linked and are they in a group that is being used to filter the GPO).


text:
Q: Upload multiple pictures in Symfony 2.8 I'm working on Symfony 2.8, I've made a form to upload 1 picture, and it's working fine. But the problem I have now, is that I want to make this form allow us multiple pictures.
Here is what I tried, which was with no result yet !
Image entity :
<?php

namespace AppBundle\Entity;

use Doctrine\ORM\Mapping as ORM;
use Symfony\Component\Validator\Constraints as Assert;
use Symfony\Component\HttpFoundation\File\File;

/**
 * Image
 *
 * @ORM\Table(name="image")
 * @ORM\Entity(repositoryClass="AppBundle\Repository\ImageRepository")
 */
class Image
{
    /**
     * @var int
     *
     * @ORM\Column(name="id", type="integer")
     * @ORM\Id
     * @ORM\GeneratedValue(strategy="AUTO")
     */
    private $id;

    /**
     * @var string
     *
     * @ORM\Column(name="path", type="string", length=255)
     */
    private $path;

    /**
     * @ORM\Column(type="string")
     *
     * @Assert\NotBlank(message="Please, upload the product name as a image file.")
     * @Assert\File(mimeTypes={ "image/jpg", "image/jpeg" ,"image/png"})
     */
    private $name;

    /**
     * @var \DateTime
     *
     * @ORM\Column(name="create_time", type="datetime", nullable=false)
     */
    private $createTime;

    /**
     * @var \DateTime
     *
     * @ORM\Column(name="change_time", type="datetime", nullable=true)
     */
    private $changeTime;

    /**
     * @ORM\ManyToOne(targetEntity="UserBundle\Entity\User", cascade={"persist"})
     * @ORM\JoinColumn(referencedColumnName="id", nullable=false)
     */
    private $createUser;

    /**
     * @ORM\ManyToOne(targetEntity="UserBundle\Entity\User", cascade={"persist"})
     * @ORM\JoinColumn(referencedColumnName="id", nullable=true)
     */
    private $changeUser;

    /**
     * Get id
     *
     * @return int
     */
    public function getId()
    {
        return $this->id;
    }

    /**
     * Set path
     *
     * @param string $path
     *
     * @return Image
     */
    public function setPath($path)
    {
        $this->path = $path;

        return $this;
    }

    /**
     * Get path
     *
     * @return string
     */
    public function getPath()
    {
        return $this->path;
    }

    /**
     * @return mixed
     */
    public function getName()
    {
        return $this->name;
    }

    /**
     * @param mixed $name
     */
    public function setName($name)
    {
        $this->name = $name;
    }

    /**
     * @return \DateTime
     */
    public function getCreateTime()
    {
        return $this->createTime;
    }

    /**
     * @param \DateTime $createTime
     */
    public function setCreateTime($createTime)
    {
        $this->createTime = $createTime;
    }

    /**
     * @return \DateTime
     */
    public function getChangeTime()
    {
        return $this->changeTime;
    }

    /**
     * @param \DateTime $changeTime
     */
    public function setChangeTime($changeTime)
    {
        $this->changeTime = $changeTime;
    }

    /**
     * @return mixed
     */
    public function getChangeUser()
    {
        return $this->changeUser;
    }

    /**
     * @param mixed $changeUser
     */
    public function setChangeUser($changeUser)
    {
        $this->changeUser = $changeUser;
    }

    /**
     * @return mixed
     */
    public function getCreateUser()
    {
        return $this->createUser;
    }

    /**
     * @param mixed $createUser
     */
    public function setCreateUser($createUser)
    {
        $this->createUser = $createUser;
    }

}

ImageType :
<?php

namespace AppBundle\Form;

use Symfony\Component\Form\AbstractType;
use Symfony\Component\Form\Extension\Core\Type\FileType;
use Symfony\Component\Form\Extension\Core\Type\SubmitType;
use Symfony\Component\Form\FormBuilderInterface;
use Symfony\Component\Form\SubmitButton;
use Symfony\Component\OptionsResolver\OptionsResolver;

class ImageType extends AbstractType
{
    /**
     * @param FormBuilderInterface $builder
     * @param array $options
     */
    public function buildForm(FormBuilderInterface $builder, array $options)
    {
        $builder
            ->add('name', FileType::class, array("label" => "Files",
                "required" => FALSE,
                "attr" => array(
                "multiple" => "multiple")))
            ->add('path')
            ->add('Upload', SubmitType::class)
        ;
    }

    /**
     * @param OptionsResolver $resolver
     */
    public function configureOptions(OptionsResolver $resolver)
    {
        $resolver->setDefaults(array(
            'data_class' => 'AppBundle\Entity\Image'
        ));
    }
}

ImageController :
public function UploadAction(Request $request)
{

    $product = new Image();
    $form = $this->createForm(ImageType::class, $product);
    $form->handleRequest($request);

    if ($form->isSubmitted() && $form->isValid()) {

        /** @var UploadedFile $file */
        $file = $product->getName();

        $fileName = md5(uniqid()).'.'.$file->guessExtension();

        $file->move(
            '/var/www/html/master_c/web/images/',
            $fileName
        );

        $product->setName($fileName);
        $em = $this->getDoctrine()->getManager();
        $em->persist($product);
        $em->flush();

    }

    return $this->render('AppBundle:Image:upload.html.twig', array(
        'form' => $form->createView(),
    ));
}

upload.html.twig :
{{ form_start(form) }}
    {# ... #}

    {{ form_row(form.name,  { 'attr': {'multiple': 'multiple' }}) }}
{{ form_end(form) }}

A: Creating multiples upload you need to create a collection type in your form type and make JavaScript to add multiple upload in front end. More detail you can check the doc.
http://symfony.com/doc/current/reference/forms/types/collection.html

A: you need to change this "multiple" => "multiple" to
'multiple' => true

you should have something like this
->add('name', FileType::class, array("label" => "Files",
                'required' => false,
                'multiple' => true))


text:
Upon invitation of Dean of Kaunas faculty of Vilnius University (on 401 place within the rank of world universities) colleague Assoc. Prof. Dr Kestutis Driaunys held a speech at the graduation ceremony of students of VU Kaunas faculty on 16.6.2017 at 3 p.m.
(CEST time - BiH time: 2 p.m.).
It was an honor to address to the students of so highly ranked University
Straight from the airport Vilnius to Archeological Museum in Kernave and to see medieval capitol of Lithuania in Kernave and to Kaunas faculty of Vilnius university in Kaunas. My host was Livija Grikietis, colleague from VU Kaunas faculty.
Visit to LITHUANIAN ETHNOCOSMOLOGY MUSEUM
and the area around it...nature, lakes, intriguing beauty of Lithuania
My host was colleague Prof. Dr Jadvyga Kruminiene, Vice-dean of VU Kaunas faculty and her friends Rima and Kestutis
Visit to BIRŠTONAS SPA and Kaunas sea
My host was colleague Assoc. Prof. Dr Vilma Tamuliene, Head of Programme Committee of double degree programme MARKETING AND TRADE MANAGEMENT of Kaunas faculty, Vilnius University: https://www.facebook.com/2mdoubledegree/
Visit to HILL OF CROSSES, a site of pilgrimage about 12 km north of the city of ŠIAULIAI, in northern Lithuania and KRAŽIAI COLLEGE in KRAŽIAI, the oldest secondary school in Lithuania known as well as Jesuit College (est. 1616). My host was colleague Dr. sci Giedrius Romeika from Kaunas faculty, Vilnius University, with his wife Irina.


text:
Q: Detecting Assignment I'm trying to write a regex to detect assignment in a script (=), when it should be equality (==). I have the following in Java:
Pattern p = Pattern.compile("[^=]=[^=]");

This returns true:
p.matcher("a=b").matches();

This returns false:
p.matcher("a = b").matches();

I'm stumped as to what is happening here, can anyone tell me why the second expression doesn't match?
Thanks!

A: [^=] will only match one character that is not an =, you probably want to match one or more, like this:
[^=]+=[^=]+

The + after the character class means repeat the previous element one or more times.

A: [^=] matches exactly one character in the class. You want "[^=]+=[^=]+".
edit in response to comment: If you just want to skip whitespace, you could have something like "[^\s=]+\s*=\s*[^\s=]+"

A: Matcher.matches() only tests against the entire input string.
You want Matcher.find(), which will locate a partial match.

A: The "problem" here is that Java is matching against the complete string, it is as if in other languages the Start and End anchors are given (^[^=]=[^=]$).
You have to know that and adjust the pattern accordingly.
"[^=]=[^=]" matches 3 characters.

*

*"a=b" ==> obvious

*"a = b" the a is matched from the [^=] then the pattern requires a = ==> the pattern fails.


For a number of years now, we have been providing our friends and neighbors in the Five Dock area with only the best electrical services available directly from Mr. Sparky in Sydney. Covering residential and commercial projects alike, our talented and trained experts have everything available expected to take on any project you can imagine.
Almost every single day, our master electricians are out in the local Five Dock community working hard to take care of commercial and residential electrical projects.
Whether we are called into handle upgrading electrical equipment in major businesses, overhauling old wiring, bringing older businesses up to code and making sure they are able to take advantage of new electrical and energy-efficient technology – or working hard to make sure that Five Dock area homeowners have all of their electrical services, upgrades, and emergencies taken care of quickly and inexpensively, we here at Mr. Sparky have you taken care of!
All things considered, our Five Dock electricians are here to make sure that you don't ever need to panic about your electrical system failing you in any way whatsoever.
You'll never have to worry about paying any extra for labor, any extra for materials, or any extra for customer service when you choose to take advantage of our Five Dock electrical services.
We have been helping our neighbors and fellow business owners here at Five Dock with all of their electrical needs a long time now.
100% locally owned and operated, we know that our friends and our neighbors are the ones most likely to take advantage of our Five Dock services. We have earned our sterling silver reputation and look forward to continuing to earn the trust on a daily basis.
We have all of the necessary licenses, trade qualifications, and full insurance to protect you and give you the assurance you need to move forward with our Five Dock electrical services.


text:
IPTV Times
I've finally had a chance to read the executive summary of the Digital Britain report and will gradually work my way through the remaining 250 pages.
Mostly, it resonated with me as someone who lives some of his life in a valley in Wales where there is no analogue or digital radio or TV signal - but still has to pay the ridiculous licence fee. I kept on asking myself - how will this change things? And the report does, reassuringly, seem to emphasise the lot of the 'have nots' in our digital era.
In my own summary, here are the good and the bad points in the report:
universal broadband provision
rollout of dab radio
recognition of the importance of micro-payments in the future
chipping away at the licence fee monopoly
support for local news
emphasis on 'digital skills'
appointing Sir Tim Berners-Lee to look at data protection online
the hope that the government's online presence can be rationalised
naivety around file sharing
support for the gaming industry, which crashed and burned a long time ago in the UK
outright support for the BBC's monopoly
support for the licence fee
fudge over Channel 4's position
government making public data available 'publicly' - so, can we now have postcode data for free, please ?
Overall, the report is most disappointing for what it doesn't say or do. Tucked away pieces of legislation like the TV Without Frontiers proposal from the EU have had, and will have, significantly more impact, as will minor operational changes by companies like BT and Google.
Indeed, the unstated consequence of the report, as I see it, is the ongoing, unhealthy support for virtual monopolies like BT, NewsCorp, the BBC and Google, with an unwillingness to be bold, radical and ethical in the implementation of existing regulations and law.
digital britain report
The Rot
This was going to be a tweet, where, my dear followers, you will know I post my rantiest rants (with thanks for your indulgence). But I've elevated this thought since I've started to question how we got here, with an incompetent megalomaniac and his college mates running the country and killing tens of thousands of people and still enjoying 45% approval ratings. This is Mussolini - he was a journalist too. We've had some bad 'uns in British politics, but Nick Clegg must be the biggest chancer ever. He propped up a dreadful Tory regime and is now is in charge of Global Affairs and Communication at Facebook. Let's get this right. Along with propping up the most disastrous government in British history that broke the country through 'austerity' at a time of record low interest rates, when Keynsian investment was the obvious thing to do, then contrived to take us out of Europe (and probably will break up the union as a result). He was duly kicked out by his electorate, but was surely
Predicting The Future
If you're a non exec or Chair of a company your role obviously have fiducial duties - making sure the management are behaving themselves, maximising shareholder returns and thinking through their plans and strategies. But I firmly believe that there is another key role for Board advisors to play. Looking to the future. The management is, quite rightly, in the here and now. They have a plan and they need to execute and achieve their numbers. So who is looking at the big picture and thinking about the impact of bad things, good things, opportunities and threats ? I have always thought of my own key competence as futurology, not entrepreneurship. In that spirit I have prepared a mind map of the likely outcomes of the current crisis once the economic impact starts to take effect this summer. I - and anyone looking at this - could probably write a dissertation at the very least on it. Obviously there are parts of some sectors that will be badly hit, eg car sales,
It's A Penalty Try For Rugby TV Rights Holders During the Pandemic
Well, it's a Saturday and I would, in normal times, be down the pub watching rugby, but that's a distant dream now. In looking for the alternatives it has become apparent that there is a massive gap in the market for a sports Netflix. Let me summarise what is available for me to watch on a rainy Saturday in the UK: BBC - two Scottish internationals from the last century ITV - nothing Channel4 - nothing Five - nothing S4C (Welsh language TV) - two Scarlets games and a lockdown show about rugby players Netflix - nothing Amazon Prime - decent doc on the All Blacks but no games BT Sport - a decent set of ''extended highlights" Now TV - I have cut my sports subs since they never had on demand sports Premier Sports - a good few full length games from the last season Yes, I could cobble together a sad day's viewing, but come on... The lack of imagination and enterprise at TV services beggars belief, especially when there is no particular cost or restriction to making content available on on
(c) Iolo Jones,


VERMILLION, S.D. – The University of South Dakota Asian American Student Association hosts the third annual Lunar New Year Celebration Feb. 17 from 6-8 p.m. in the Muenster University Center Grand Ballroom.
The event celebrates different Asian cultures and includes games, entertainment and different Asian cuisines.
The event is free for USD students and $7 for staff and community (children under 10 are free).


text:
=============================
sitechantment
=============================

.. image:: https://travis-ci.org/mmessmore/sitechantment.png?branch=master
    :target: https://travis-ci.org/mmessmore/sitechantment

.. image:: https://pypip.in/d/sitechantment/badge.png
    :target: https://pypi.python.org/pypi/sitechantment

Check a site for spelling errors in a way that can be integrated with your testing

Why?
----

I wanted a way to add spellchecking to a suite of tests for a Flask-based
site.  I saw some windows tools, using a combination of lynx/curl/wget and
i/a/hunspell.

But I just want a way to get a +/- test and a list of misspelled words.

How
---

So sitechantment is a command line utility to do just that.  You can pass it a url
to crawl, an optional additional list of words, language, etc.  It will crawl the
site (not wandering off to another host/port) spellcheck every page and give you a
list of words that are "misspelled".

You have the ability to run with a --update flag to automatically add all words to
a personal word list so they aren't flagged on the next run.

It is also available as a class sitechantment.SiteCheck, that can be used inside a
test suite.  You can even pass it a flask test client instead of using requests
and be able to crawl a site inside of py.test or whatever is being used to unit
test a flask application.  (Really anything can be used as long as it supports
handling uri's with a get() method).


Washington Gov. Jay Inslee has raised more than $112,000 since October for a federal political action committee (PAC) that will allow him to explore a possible run for president in 2020, something the two-term Democrat said he's actively considering and will decide by April.
"Yes, I had a good talk with Tom," Inslee said without providing details from the meeting.
Inslee said he has not spoken with former President Barack Obama, but that he hopes to "at some point." Last month, Texas Congressman Beto O'Rourke met with Obama, adding to speculation that he is gearing up for a run for president despite his recent loss to U.S. Sen. Ted Cruz.
"It will not shock you that if I'm traveling, it will be to early primary states as a priority," Inslee said, adding that he has no immediate plans on his schedule.
On Thursday, Rep. Jim Walsh, Republican from Aberdeen, pre-filed a bill for the 2019 legislative session to limit taxpayer money to pay for Inslee's security detail to travel with him on campaign-related trips.
A recent report by the Northwest News Network and the Seattle Times found that Inslee's travels as Democratic Governors Association chair put a strain on the budget of the Washington State Patrol unit that protects him and First Lady Trudi Inslee. The state patrol has requested an additional $1.3 million in the next two-year budget to pay for an additional trooper and overtime costs. The budget request anticipates that Inslee's travel will increase, not decrease, over the next two years.
"We have to act now, there is no acting tomorrow, this is a today emergency, if you will, and it's doubly so because we have a climate denier in the White House," Inslee said referring to President Donald Trump, who has signaled plans to withdraw from the Paris climate treaty and is rolling back environmental regulations put in place during the Obama administration.
This week, climate scientists described a sudden rise in global greenhouse gas emissions as a "speeding freight train" and warned that significant consequences of global warning could be little more than a decade away.
Inslee plans to unveil a series of new state-level policies next week to address climate change. Inslee wouldn't discuss details in the interview, but he did signal a move away from trying to put a price on carbon following the defeat in November of Initiative 1631. The initiative, backed by labor and environmental groups, would have imposed a per-ton fee on carbon emissions from the largest polluters, including oil refineries. Nearly 56 percent of voters rejected the measure.
Undeterred by that defeat, and his inability to pass a carbon tax measure in the Legislature in recent years, Inslee said there are "multiple tools" beyond carbon pricing that could be employed to combat carbon emissions.
Inslee noted that Washington ranks high as a good place to do business and a good place to be a worker. "That's a very unique accomplishment, and I think it's a template for economic growth for the United States," Inslee said.
In recent years, Washington state adopted a higher minimum wage, as well as legislation dealing with equal pay and paid family and medical leave. Soon, the state will require more employers to pay overtime. At the same time, Washington's economy has continued to expand at a rapid pace and the state's unemployment rate has reached an all-time low.
Nonetheless, Republicans and the business community frequently criticize Inslee for his policies and note that Washington has high workers' compensation and unemployment insurance costs. Last January, the Association of Washington Business warned that Inslee's efforts to price carbon would cost jobs and hurt the economy.
"Those additional costs would also further erode the state's global competitiveness, possibly moving jobs and industries to locations outside of Washington, or even the U.S., without a carbon tax and the stringent environmental protections our state has in place," the business association said in a press release.
Inslee critics also point to the state's track record on mental health, including the recent loss of federal accreditation at Western State Hospital which is costing the state $53 million a year in federal funding. Next week, as part of his budget rollout, Inslee will release a plan to address the state's mental health crisis. Previously, he has called for moving all civil commitment patients out of the state's hospitals.
"I had the judgment, the foresight, the understanding to stand four square against it early and forcefully and judgment counts in foreign policy," Inslee said.
If he does run for president, Inslee faces a potentially crowded Democratic field with higher profile candidates, as well as competition from fellow Westerners like Oregon Sen. Jeff Merkley, California Sen. Kamala Harris, Colorado Gov. John Hickenlooper and Montana Gov. Steve Bullock. But Inslee is undeterred, noting that two of the four former presidents in attendance at Wednesday's memorial for President George H.W. Bush, Jimmy Carter and Bill Clinton, were both unknown governors when they launched their longshot campaigns.
Inslee also pointed to his success as chair of the governors association. Democrats in November picked up seven governorships, including five in Midwestern states, including Wisconsin and Michigan. Inslee said that proves that Democrats can still win "in the heartland" despite Trump's win in 2016.
"That is very important in my view for the future of the Democratic Party to demonstrate the capability of winning voters who have economic anxieties, and we did that," Inslee said referring to last month's election.
"That has sharpened my focus on what is necessary to protect my grandchildren and our country so, yes, it has increased my willingness to potentially enjoy the rigors of a presidential campaign," said Inslee, who is 67.
Early donors to Inslee's federal Vision PAC include Amazon general counsel David Zapolsky, travel guru Rick Steves and the Swinomish Tribe, according to a report filed Thursday with the Federal Election Commission. The maximum contribution allowed is $5,000 per person.
Inslee, who has not ruled out a run for a third term as governor, said that even if he doesn't run, he intends to use his PAC to make climate change a "front-and-center issue" for the 2020 presidential race.
In what's being called a significant step for tribal communities, Washington state has a new law seeking to address the epidemic of missing and murdered Indigenous women. House Bill 1713 requires the State Patrol to write best practices for how to investigate those crimes. The new law also creates two state patrol positions to work on cases of missing Native people.
Today, automakers Toyota, Honda, Hyundai and Mercedes make hydrogen fuel cell electric cars in very limited numbers. None of their Pacific Northwest dealers currently stock or sell those models to local drivers. Nevertheless, Toyota is laying the groundwork to bring its hydrogen-powered vehicles to the Northwest. Continue Reading Is There Room For Hydrogen-Powered Cars In A Future That Looks Electric?


WhatApp Messenger is one of the more popular messengers today. Thanks to a slim and attractive interface, a number of finely tuned features and a loyal fan base this messengers is the first choice of messengers to millions around the world. Based around identification stemming from the smartphone's actual phone number, there is no anonymous accounts which make this app eminently safe for children. In other words, no adult content.
The useful features WhatApp has range from group conversation, automatic connection with anyone of your contacts who installed the app, notifications for received and read messages, ability to share files and pictures and location reports and even a brand new ability to easily record a voice message to be automatically sent to the selected contact.
One of the best things about WhatsApp is its simple and attractive interface. Our testers from nannies to teens had no problem whatsoever in mastering.
There are a very few small problems, with messages that take half an hour to travel to a smartphone one mile away or read notifications to messages that haven't even been opened, but the collective opinion of our testers is that these are small things indeed.
Score: This App gets a very solid 5 out of 5.
Description: An instant messaging app, this hugely popular Android and iOS app rightfully desrves being one of the best instant messaging apps currently available. It uses your smartphone's number to uniquely identify you and your friends and then, with a very simple yet clever interface it allows you to communicate easily with everyone. You can send images, create groups, receive notifications for read messages and online availability of your friends, it is literally an app that never leaves your smartphone once installed.
Bad Points: There really aren't any worth speaking off. Perhaps the only one is that WhatsApp cannot be installed on desktops or tablets, probably because it needs the phone number for unique identification, though it could have used the MAC address to identify the tablet or desktop.
Experience: Installation was easy and simple. There were a few upgrades over the time of use but nothing that made the app un usable. We've been using it every day for hundreds of messages, images and what not. There have been no crashes and almost no problems, except for (very rarely) messages that take half an hour to reach their recipient.
Longevity: Excellent. We've been using it everyday for more than a year and have no intention of ever uninstalling it.