text:
Get the #1 selling smart scale in the U.S. for just $71 — 'best scale for your money'
Amber Bouman
·Associate Editor, Parenting
Withings Body+ can sync with over 100 fitness and health apps. (Photo: Amazon)
With New Year's resolutions in full swing plenty of people are checking out tech devices that can help them meet their health and fitness goals. One of the best ways to stay on track is to use a smart scale, and the #1 selling smart scale in the U.S. is the Withings Body+.
Though it's usually $100, Amazon has the Withings Body+ smart scale is currently 22 percent off bringing it down to $78. That gets you a scale that offers a full body composition measuring weight, body fat, water percentage, and muscle and bone mass. Plus, the scale can track data from every weigh-in automatically – for up to 8 people!
If you're eager to try it out, make sure you're an Amazon Prime member – Prime members get two-day shipping on most items and also get discounts at Whole Foods, access to TV shows including thousands of fitness videos, and movies, music and audiobooks. You can sign up for a free 30-day trial here if you're not already a member.
$78 $100 at Amazon
The free Mate app can show you all the details from your weigh-in's and the position control technology can help you find the most correct position for a more precise result. And the Withings Body+can sync with more than 100 health and fitness apps including Fitbit and Google Fit, so you can view and track your health data there too.
The Withings Body+ smart scale also offers the ability to track all members of a family, with a pregnancy tracker that includes obstetrician-reviewed advice and a baby mode, as well as an Athlete mode. It can also help with other areas of wellness with a daily calorie budget, and the ability to work with Alexa to manage your weight goals.
Withings Body+
One impressed reviewer shares "It was a breeze to set up and it seems to give pretty accurate readings, never varying by more than a fraction of a pound…The Body+ is consistent with weigh-ins, and that's what's important for me. And the other features are handy too…I do like the auto-tracking and it easily linked up with my Fitbit account and my Weight Watchers account."
"Best scale for your money," proclaims a happy customer. "Setup was a breeze as well. Really neat! The scale itself [has a ] good quality build and looks even better in person.
Another reviewer declares "This is a great scale! Not only does it give weight to the tenth of a pound, it is a beautiful scale as well. The app has worked flawlessly with my iPhone and the amount of information is amazing…The Health Mate app syncs with the MyFitnessPal app for tracking food and shows trends with weight and activity data."
Amazon Fire TV 55-inch 4-Series 4K Smart TV, $380 (was $520), amazon.com
Insignia 32-inch F20 Series Smart Fire TV, $150 (was $200), amazon.com
Hisense 55-inch Class R6 Series 4K Roku Smart TV, $360 (was $600), amazon.com
Sony X85J 75-inch 4K Smart Google TV, $1,398 (was $1,800), amazon.com
JBL Tune 510BT Wireless On-Ear Headphones, $30 (was $50), amazon.com
Beats Studio3 Wireless Noise Cancelling Over-Ear Headphones, $200 (was $350), amazon.com
Sennheiser HD 450SE Bluetooth 5.0 Wireless Headphones, $144 (was $200), amazon.com
iLuv TB100 Wireless Earbuds, $25 (was $40), amazon.com
Fitbit Sense Advanced Smartwatch, $200 (was $300), amazon.com
Samsung Galaxy S20 FE 5G Factory Unlocked Android Cell Phone, $599 (was $700), amazon.com
NBA 2K22 for PlayStation 4, $25 (was $60), amazon.com
Nubwo G06 Wireless Gaming Headset, $50 (was $80), amazon.com
Minecraft Dungeons Hero Edition for Xbox One, $20 (was $30), amazon.com
Homall Gaming Chair, $95 with on-page coupon (was $150), amazon.com
Glorious Model O Gaming Mouse, $65 (was $85), amazon.com
Amazon eero 6 dual-band mesh Wi-Fi 6 system, $181 (was $279), amazon.com
Google Nest Thermostat, $97 (was $130), amazon.com
Esicoo Smart Plug, $20 (was $30), amazon.com
OKP Life K2 Robot Vacuum Cleaner, $119 (was $300), amazon.com
Hoover Windtunnel Air Steerable Bagless Upright Vacuum Cleaner, $120 (was $160), amazon.com
Hoover MAXLife Pet Max Complete Bagless Upright Vacuum Cleaner, $140 (was $180), amazon.com
Viomi V3 Max Robot Vacuum and Mop, $300 with on-page coupon (was $500), amazon.com
Ray-Ban Rb4171 Erika Round Sunglasses, $130 (was $138), amazon.com
Umyogo Women's Running Shoes, starting at $37 (was $49), amazon.com
Iuga High Waist Yoga Pants with Pockets, starting at $24 (was $30), amazon.com
Merokeety Women's Long Sleeve Soft Chunky Knit Sweater, starting at $42 (was $50), amazon.com
Joya & Co. 3-5 Pairs Womens Multicolor Thick Winter Crew Socks, starting at $17 (was $25), amazon.com
Instant Vortex 4-in-1 Air Fryer, $35 (was $60), amazon.com
Lodge L8SK3 10.25-inch Pre-Seasoned Skillet, $18 (was $27), amazon.com
Instant Vortex Plus 10 Quart Air Fryer, Rotisserie and Convection Oven, $100 (was $140), amazon.com
Umite Chef 33-piece Kitchen Cooking Utensils Set, $28 (was $44), amazon.com
Baimei Jade Roller & Gua Sha, $17 (was $25), amazon.com
Glo Skin Beauty Daily Hydration, $39 (was $64), amazon.com
Kitsch Velvet Scrunchies 5-pack, $8 (was $12), amazon.com
Olly Undeniable Beauty Gummy for Hair, Skin and Nails, $12 (was $20), amazon.com
Schick Hydro Silk Touch-Up Multipurpose Exfoliating Dermaplaning Tool 3-pack, $5 (was $7), amazon.com
Danjor Linens Queen Size Bed Sheets Set, $23 with on-page coupon (was $38), amazon.com
Ink+Ivy Full/Queen Imani Cotton Comforter Mini Set, $98 (was $140), amazon.com
Mellanni King Sheets, $38 (was $51), amazon.com
LuxClub 6-piece Queen Bamboo Sheet Set, $35 (was $57), amazon.com
Read More from Yahoo Lifestyle:
These sneakers are the 'only shoes' for active jobs, according to 3,000 reviewers — now just $30 at Amazon
The plant-based protein shakes that Amazon shoppers rave about are up to 55 percent off, today only
Electric deal! This wildly popular Philips Sonicare toothbrush is $90 off — but only 'til midnight


Report Highlights Economic Benefits of Wind Power in the U.S.
The American Wind Energy Association has just released its 2011 Annual Market Report, which shows the period registered double-digit growth. The market report highlights how market certainty has been key to the creation of a "positive feedback loop" which allowed for states to generate affordable wind power electricity at record levels.
Wind power has become one of America's fastest growing sources of Made-in-the-USA manufacturing jobs, which reduces costs even further.
South Dakota and Iowa were the top wind producers 2011, with wind accounting for more than 10 percent of their electricity in the period. Seven states have at least 4,000 wind jobs each. Kansas is at the top of the list for under construction wind projects.
• The wind industry brought in as much as $20 billion annually in private investment to the U.S.
• It created one of the largest providers of new American electric generation with 35% of all new power capacity, right behind natural gas.
• It drove technology advances that have made wind more affordable than ever. A typical wind turbine now generates 30% more electricity – all while driving down costs.
• The wind power industry created nearly 500 new American manufacturing facilities and employed 75,000 overall, including 30,000 in the manufacturing sector, from coast to coast.
The U.S. wind industry installed 6,816 megawatts (MW) in 2011, 31 percent higher than 201. There are more than 8,300 MW under construction. In total, there are 46,916 MW installed in the United States.


Our large financial services client located in Newark NJ is seeking a Senior UX Designer to join their dynamic UX team on a CONTRACT TO HIRE basis. This is a minimum 6 months contract with potential for perm for the right candidate. Develop the next generation of our digital experience. You will collaborate directly with a team of product owners, marketing managers, visual designers, and researchers to create intuitive web interfaces that balance user need with business goals. Responsibilities: • Define UX needs for all projects based on available data, competitive analysis, and developed personas. Demonstrate ability to sell your vision. • Partner with Product Owners & Marketing teams to define requirements, and provide functional, innovative solutions. • Create mockups, wireframes & visualizations as needed to communicate experience design and intent of ideas. • Work directly with visual design leads to ensure brand is applied properly to intended experience and document experience for our product and development team execution. • Prototyping with Sketch, InVision, deploying strong documentation and information architecture organizational skills. • Help maintain UX/UI style guides, in coordination with the interactive/visual guidelines. • Participate in testing designs for usability issues ahead of development. Education and Experience Requirements: • Bachelor's degree or foreign equivalent in Digital Arts related field plus five (5) years of progressively responsible experience in the position offered. • Alternatively, will accept a Master's degree or foreign equivalent in a related field plus two (2) years of experience in the position offered or a related position. Special Requirements: • Experience with designing experiences that deploy heavy data visualization. • Strong understanding of HTMLS, CSS, and Interaction design considerations that go in to experience solutions including utilizing function-level principles and concepts. • Experience with organizing or interpreting usability tests as well as participating in competitive or user research activity.


Fall foliage on Maine's midcoast. Photo by PJ Walter Photography.
While many think that summer is the busiest time to visit inns along the Maine Coast, fall is actually equally busy. Why? Because this is the most colorful time of year, and visitors from throughout the world flock to Maine to witness the beautiful harvest hues. The reds, oranges and yellow leaves highlight those wonderful crimson cooked lobsters that you'll enjoy along the way too. Who says you can't get a lobster after Labor Day? Fall is a perfect time to enjoy lobster, lighthouses and fabulous Coastal Maine inns. Combine the Inns Along the Coast 7 Day Fall Foliage Tour with our Lobsters and Lighthouses Itinerary, and you've got everything you need for the perfect fall inn to inn vacation.
Just to entice you to consider an Inns Along the Coast autumn Maine getaway, we're going to give you a little insight into what you have to look forward to, and five big reasons why combining fall foliage with inns along the Maine Coast offer the ideal romantic Maine getaway.
1. Maine inns are absolutely beautiful at this time of year.
2. Friendly innkeepers are on hand to offer great leaf-peeping photo ops and a warm greeting at the end of the day.
Dave and Kelleigh, your smiling innkeepers at Brewster House Inn in Freeport.
3. You'll be fueled for a fabulous day of leaf peeping after enjoying the fabulous breakfasts that come with a stay at the Inns Along the Coast. And if you return hungry, you'll find fresh cookies, pie and other treats at the end of the day too!
Start the day with beautifully prepared fruit, like this broiled orange from Brewster House Inn.
Breakfast burrito served at Newcastle Inn. Photo by Christian Giannelli Photography.
Blueberry Crumb Cake served made with fresh Maine blueberries at the LimeRock Inn. Photo by PJ Walter Photography.
Berry Manor Inn's famous pie, served 27/7/365. Jumping Rocks photo.
4. The fall colors and leaf peeping along Maine's Coast is simply gorgeous. See where the ocean meets the sea, from atop Cadillac Mountain in Acadia National Park to Mount Battie State Park.
Sunrise from atop Cadillac Mountain in Acadia National Park. Photo by PJ Walter Photography.
Midcoast Maine during peak fall foliage. Photo by PJ Walter Photography.
Fall gardens add to the color, like this one at Granite Inn.
Fall decorations at Captain Jefferds Inn welcome fall guests.
5. Inns Along the Coast's fall foliage and Lobsters & Lighthouses itineraries make a Maine fall getaway just that much more colorful and delicious.
Rockland, Maine in all its fall splendor. Photo by PJ Walter Photography.
Fall foliage surrounds the Newcastle Inn.
Lobster is still in ample supply up and down the Maine Coast. Photo provided by the Maine Lobster Promotion Council.
We hope we have convinced you that fall is a wonderful time to come visit the Inns Along the Coast. To plan your Coastal Maine fall foliage getaway, simply start with www.InnsAlongtheCoast.com to plan the ideal inn to inn fall tour or combine some of our wonderful itineraries. Most importantly, remember, book now or forever hold your peep. Fall is a popular time to travel to Maine's coast.


text:
Sir Nigel Barnard Hawthorne (Coventry (Warwickshire), 5 april 1929 – Radwell (Hertfordshire), 26 december 2001) was een Engelse acteur.

Zijn volledige naam luidde Nigel Barnard Hawthorne. Reeds van kleins af aan wilde hij acteur worden. Hij groeide op in Zuid-Afrika en kwam in 1951 terug naar Engeland. Na enkele jaren zonder veel succes ging hij in 1957 weer naar Zuid-Afrika. Zijn in Groot-Brittannië opgedane ervaringen strekten hem daar tot voordeel en hij kreeg hoofdrollen in stukken van Pinter, Cocteau, O'Neill en Osborne. In 1962 was hij weer in Londen, waar hij veel theaterwerk verrichtte, en meespeelde in tal van televisieseries, waaronder de serie waarmee hij internationaal bekend werd: Yes, Minister, waarin hij de rol van de gewiekste Sir Humphrey Appleby speelde. Deze serie kreeg later een vervolg: Yes, Prime Minister. In 1977 kreeg hij een Laurence Olivier Award voor de beste bijrol in het toneelstuk Privates on Parade van Peter Nichols. Daarna won hij in de jaren tachtig onder meer viermaal een prijs van de BAFTA voor zijn rol als Sir Humphrey en de jaren negentig diverse andere prijzen, onder andere nogmaals een Laurence Olivier Award nu voor zijn rol als de gekke koning George III in het toneelstuk The Madness of King George III.

Hawthorne was na een chirurgische ingreep herstellende van alvleesklierkanker, maar overleed aan een hartaanval op tweede kerstdag van het jaar 2001.

Trivia
Hawthorne was vegetariër en leefde samen met partner Trevor Bentham.

Engels acteur

redpajama_set_name: RedPajamaWikipedia


text:
Q: Get contents of a tag with a particular class from a remote url in a different domain I am trying to get the current english premier league table from http://www.premierleague.com/en-gb.html but i dont want the whole website, i just want the league table only, if you look keenly at the page source the
 tag which has the league table doesnt have an id but has the class .leagueTable so i want just to get that table only.
This is my code

but nothing gets loaded on that div! Where am i going wrong?
I used the cross domain ajax jQuery plugin
UPDATE:
The current answer works perfectly as a webpage on the browser, but now i want this to be a chrome app instead of opening the browser and type the url,i added a manifest file with the relevant permissions but i hit a dead-end when i loaded my chrome app on to google chrome.
After several headaches and research i noticed that google chrome apps dont support ajax( or a flavour of it) calls i had to change my function to this but its not working
function loadEPLstandings () {
document.write("Sending request");
    var req = new XMLHttpRequest();
      req.open("GET", "http://www.premierleague.com", true);
      req.onreadystatechange = function() {
          if (req.readyState == 4) {
            if (req.status == 200) {
               var success =  $(res.responseText).find(".leagueTable")[0].innerHTML;
            $('#currentstandings').html(success);
                                       $("#currentstandings").contents().find("tr:has(p)").find("p").contents().unwrap();
            }
          }
        };
      req.send();
}

,where am i going wrong? Its not working as a webpage on the browser or as a chrome app?

A: I can only see a couple of things wrong with the code, which I've fixed here...
function loadEPLstandings () {
    $.ajax({
        url: 'http://www.premierleague.com/en-gb.html',
        type: 'GET',
        success: function(res) {
            var success =  $(res.responseText).find(".leagueTable")[0].innerHTML;
            $('#currentstandings').html(success);
        }
    });
}

Firstly, you were trying to filter res, but that's an object.  You need the property responseText.  Secondly, I've used find() instead of filter() as it was returning nothing.  Finally I added the [0].innerHTML to get the DOM element selected by jQuery and return the inner html value, so you can set it using html().

A: This is my final code, had to prune out all the
 tags
$(document).ready(function(){
loadEPLstandings();
});
    function loadEPLstandings () {
    $.ajax({
        url: 'http://www.premierleague.com/en-gb.html',
        type: 'GET',
        success: function(res) {
            var success =  $(res.responseText).find(".leagueTable")[0].innerHTML;
            $('#currentstandings').html(success);
            $("#currentstandings").contents().find("tr:has(p)").find("p").contents().unwrap();
        }
    });
}

redpajama_set_name: RedPajamaStackExchange


text:
Netflix releases first teaser trailer for Full House revival — watch
13-episode season to premiere on February 26th
It's been 13 years since the Tanner family last appeared on our TV screens. That'll change on February 26th, 2016 when Netflix's 13-episode revival, officially dubbed Fuller House, will be released.
Along with the series' release date, Netflix today shared the first teaser trailer. The brief one-minute clip takes viewers back inside the Tanner family's living room, where their dog Comet (or maybe his next of kin?) is eagerly awaiting to greet the family just outside the door. The clip cuts right when the door opens.
Fuller House will focus specifically on DJ Tanner-Fuller (Candace Cameron Bure). "Now a veterinarian and also a widow, DJ calls upon her extended family to help raise her children — the rebellious 12-year-old Jackson (Michael Champion), neurotic 7-year-old Max (Elias Harger), and her newborn baby, Tommy Jr.," notes Variety of the series' plot.
With the exception of the Olson twins, all of the show's original cast are set to return for the new series, including Jodie Sweetin (sister Stephanie Tanner), Andrea Barber (friend Kimmy Gibbler), John Stamos (Uncle Jessie), Dave Coulier (Uncle Joey), and Bob Saget (father Danny Tanner).
Update – Monday, December 21st at 12:05 p.m. CT: Netflix has shared another teaser for the show in which Candace Cameron Bure, Jodie Sweetin, and Andrea Barber do the Nae Nae.
Delta Spirit's Matthew Logan Vasquez shares new solo single "Maria" — listen
Radiohead's Nigel Godrich plays a Stormtrooper in Star Wars: The Force Awakens

redpajama_set_name: RedPajamaCommonCrawl


text:
```c
VFIO TCE IOMMU v2 owns IOMMU tables so when detach a IOMMU group from
a container, we need to unset those from a group so we call unset_window()
so do we unconditionally. We also unset tables when removing a DMA window
via the VFIO_IOMMU_SPAPR_TCE_REMOVE ioctl.

The window removal checks if the table actually exists (hidden inside
tce_iommu_find_table()) but the group detaching does not so the user
may see duplicating messages:
pci 0009:03     : [PE# fd] Removing DMA window #0
pci 0009:03     : [PE# fd] Removing DMA window #1
pci 0009:03     : [PE# fd] Removing DMA window #0
pci 0009:03     : [PE# fd] Removing DMA window #1

At the moment this is not a problem as the second invocation
of unset_window() writes zeroes to the HW registers again and exits early
as there is no table.

Signed-off-by: Alexey Kardashevskiy <aik@ozlabs.ru>
Reviewed-by: David Gibson <david@gibson.dropbear.id.au>
---

When doing VFIO PCI hot unplug, first we remove the DMA window and
set container->tables[num] - this is a first couple of messages.
Then we detach the group and then we see another couple of the same
messages which confused myself.
---
 drivers/vfio/vfio_iommu_spapr_tce.c | 3 ++-
 1 file changed, 2 insertions(+), 1 deletion(-)

```
#### [PATCH kvmtool v3] arm: Auto-detect guest GIC type
##### From: Andre Przywara <andre.przywara@arm.com>

```c
At the moment kvmtool always tries to instantiate a virtual GICv2
interrupt controller for the guest, and fails with some scary error
message if that doesn't work.
The user has then to manually specify "--irqchip=gicv3", which is not
really obvious.
With the advent of more GICv3-only machines, let's try to be more
clever and implement some auto-detection of the GIC type needed:
We try gicv3-its, gicv3, gicv2m and gicv2, in that order. The first one
succeeding wins.
For GICv2 machines the first two will always fail.
On GICv3 machines offering GICv2 compatibility we used to prefer a
virtual GICv2 in the guest, but these days the GICv3 support both in
guests and in KVM is equally mature and wide-spread, so we should use
the GICv3 emulation for the guest as well.

This algorithm is in effect is there is no explicit --irqchip parameter
on the command line. We still allow the GIC type to be set explicitly.

Signed-off-by: Andre Przywara <andre.przywara@arm.com>
---
 arm/gic.c                    | 16 ++++++++++++++++
 arm/include/arm-common/gic.h |  1 +
 2 files changed, 17 insertions(+)

```
#### [PATCH 1/5] vfio/type1: use pinned_vm instead of locked_vm to account pinned pages
##### From: Daniel Jordan <daniel.m.jordan@oracle.com>

```c
Beginning with bc3e53f682d9 ("mm: distinguish between mlocked and pinned
pages"), locked and pinned pages are accounted separately.  Type1
accounts pinned pages to locked_vm; use pinned_vm instead.

pinned_vm recently became atomic and so no longer relies on mmap_sem
held as writer: delete.

Signed-off-by: Daniel Jordan <daniel.m.jordan@oracle.com>
---
 drivers/vfio/vfio_iommu_type1.c | 31 ++++++++++++-------------------
 1 file changed, 12 insertions(+), 19 deletions(-)

```
#### [PATCH v2] s390: vsie: Use effective CRYCBD.31 to check CRYCBD validity
##### From: Pierre Morel <pmorel@linux.ibm.com>

```c
When facility.76 MSAX3 is present for the guest we must issue a validity
interception if the CRYCBD is not valid.

The bit CRYCBD.31 is an effective field and tested at each guest
level and has for effect to mask the facility.76

It follows that if CRYCBD.31 is clear and AP is not in use  we do not
have to test the CRYCBD validatity even facility.76 is present in the
host.

Fixes: 6ee74098201b ("KVM: s390: vsie: allow CRYCB FORMAT-0")
Cc: stable@vger.kernel.org

Signed-off-by: Pierre Morel <pmorel@linux.ibm.com>
Reported-by: Claudio Imbrenda <imbrenda@linux.ibm.com>
Acked-by: David Hildenbrand <david@redhat.com>
Acked-by: Cornelia Huck <cohuck@redhat.com>
Reviewed-by: Christian Borntraeger <borntraeger@de.ibm.com>
---
 arch/s390/kvm/vsie.c | 2 +-
 1 file changed, 1 insertion(+), 1 deletion(-)

```
#### [PATCH v3 1/4] kvm: Add memcg accounting to KVM allocationsFrom: Ben Gardon <bgardon@google.com>
##### From: Ben Gardon <bgardon@google.com>

```c
There are many KVM kernel memory allocations which are tied to the life of
the VM process and should be charged to the VM process's cgroup. If the
allocations aren't tied to the process, the OOM killer will not know
that killing the process will free the associated kernel memory.
Add __GFP_ACCOUNT flags to many of the allocations which are not yet being
charged to the VM process's cgroup.

Tested:
	Ran all kvm-unit-tests on a 64 bit Haswell machine, the patch
	introduced no new failures.
	Ran a kernel memory accounting test which creates a VM to touch
	memory and then checks that the kernel memory allocated for the
	process is within certain bounds.
	With this patch we account for much more of the vmalloc and slab memory
	allocated for the VM.

There remain a few allocations which should be charged to the VM's
cgroup but are not. In they include:
        vcpu->run
        kvm->coalesced_mmio_ring
There allocations are unaccounted in this patch because they are mapped
to userspace, and accounting them to a cgroup causes problems. This
should be addressed in a future patch.

Signed-off-by: Ben Gardon <bgardon@google.com>
Reviewed-by: Shakeel Butt <shakeelb@google.com>
---
 virt/kvm/coalesced_mmio.c |  3 ++-
 virt/kvm/eventfd.c        |  7 ++++---
 virt/kvm/irqchip.c        |  4 ++--
 virt/kvm/kvm_main.c       | 29 +++++++++++++++--------------
 virt/kvm/vfio.c           |  4 ++--
 5 files changed, 25 insertions(+), 22 deletions(-)

```
#### [PATCH] vfio/pci: Restore device state on PM transitionFrom: Alex Williamson <alex.williamson@redhat.com>
##### From: Alex Williamson <alex.williamson@redhat.com>

```c
PCI core handles save and restore of device state around reset, but
when using pci_set_power_state() we can unintentionally trigger a soft
reset of the device, where PCI core only restores the BAR state.  If
we're using vfio-pci's idle D3 support to try to put devices into low
power when unused, this might trigger a reset when the device is woken
for use.  Also power state management by the user, or within a guest,
can put the device into D3 power state with potentially limited
ability to restore the device if it should undergo a reset.  The PCI
spec does not define the extent of a soft reset and many devices
reporting soft reset on D3->D0 transition do not undergo a PCI config
space reset.  It's therefore assumed safe to unconditionally restore
the remainder of the state if the device indicates soft reset
support, even on a user initiated wakeup.

Implement a wrapper in vfio-pci to tag devices reporting PM reset
support, save their state on transitions into D3 and restore on
transitions back to D0.

Reported-by: Alexander Duyck <alexander.h.duyck@linux.intel.com>
Signed-off-by: Alex Williamson <alex.williamson@redhat.com>
---
 drivers/vfio/pci/vfio_pci.c         |   71 +++++++++++++++++++++++++++++++----
 drivers/vfio/pci/vfio_pci_config.c  |    2 -
 drivers/vfio/pci/vfio_pci_private.h |    6 +++
 3 files changed, 70 insertions(+), 9 deletions(-)

```

redpajama_set_name: RedPajamaGithub


text:
CBRE Completes Sale of Large Redevelopment Opportunity in Charlotte's University City
Charlotte, NC | October 5, 2018
CBRE has arranged the sale of University Place I & II, a 294,000 sq. ft. shopping center located on a 35.74-acre site at 8716 JW Clay Boulevard in the heart of Charlotte, North Carolina's dynamic University City submarket. Built in 1996, the shopping center is currently 44% occupied and is anchored by Ross Dress for Less, Michaels, Office Depot, Guitar Center and Rack Room Shoes.
CBRE National Retail Partners' Charlotte-based team of Mike Burkard and Steve Shields exclusively represented the seller in the transaction. The property was purchased by Dallas, TX-based developer and asset manager, EB Arrow.
"The University Place site is a prime spot for redevelopment with tremendous infrastructure and amenities including light rail, interstate accessibility, a 15-acre lake, convention hotel and access to greenways. With 35.74 acres of land, University Place I & II represents a rare opportunity to shape a large-scale redevelopment in a mature environment," says Mr. Burkard, senior vice president at CBRE.
The property is in close proximity to several of University City's major economic drivers including the University of North Carolina-Charlotte, University Research Park, Carolinas HealthCare System-University and the JW Clay Boulevard LYNX Blue Line Station.
"The opportunity at University Place offers tremendous potential to provide the local community with a more walkable and community connected mixed-use project," said Gregory Wattson SVP of Acquisitions and Development for EB Arrow. "We look forward to working with the local community to transform University Place into a generational asset."
Katrin Perkins


Tom grew up on the south coast of England where he spent the summers either swimming in the ocean or on the rugby field refining his kicking skills with his brothers. This is where he developed his passion in Rugby and Swimming. The team atmosphere with the physical contact in Rugby is what attracted Tom the most and idolizing Jonny Wilkinson.
Watching England win the World Cup in 2003 and the challenges they faced to become the Number 1 team in the world was exciting and ultimately drove Tom to want to succeed and be part of that winning environment.
Following his passion, Tom attended the University of Gloucestershire and graduated in 2012 with a Master of Science in Applied Sport and Exercise Science. While completing his Masters he was able to work with elite level professional athletes from a variety of sports such as Bob Skeleton and Soccer.
Once Tom graduated he had a desire to explore the world, experience different cultures and gain experience working with different level athletes, in different sports and learn from various Strength and Conditioning coaches. Australia, Singapore and Canada have all provided unique experiences and helped develop him as a coach. He is is always working towards helping all of his athletes achieve their goals and dreams while looking to develop himself.


Road Tolls in Toronto? Fix Transit First.
Tolls will help bring in much needed money to be invested in the GTA's public transit.
Tolls will take some people off the roads by making it more expensive to make non-essential trips.
Tolls will encourage people to take public transit instead of driving, which will in turn help ease gridlock and protect the environment.
The problem with all these arguments is that they simply don't apply in today's Toronto: They would apply if we had an adequate, integrated, reliable public transit system. Until we do, road tolls will be just another way to tax working people.
Road tolls will not take cars off the road unless public transit provides viable alternatives.
The reality is that many communities in the GTA are inadequately served by the existing public transit network. For example, if you live in the Jane and Rutherford area in Vaughan and work in the Kennedy and Sheppard area in Scarborough, a one-way trip from your office to your home will take some 2 hours, and you will have to switch between several busses operated by two separate transit companies (YRT and TTC). Driving will take you less than an hour. Similarly, if you live in Newmarket and work in Unionville (Markham), getting to work using public transit will take you at least an hour and a half, while driving will take you some 45 minutes.
Now let's assume that you are a parent and your child goes to a licensed day care. Licensed day care centres in Ontario open at 7 am and close between 5:45 or 6 pm. A 2 hours commute means that you can't get to work before 9 am, and must leave by 3:45 pm. This leaves you with 6:45 hrs in which you have to do your work, even if you don't take a lunch break. Good luck finding an employer who will tolerate this.
So you will pay the new tolls and continue driving to work and back, because you will have no alternatives. Therefore, the road toll will be no better than a flat income tax increase – if you work, you must pay it. But unlike your personal income tax, it is not progressive: The bachelor CEO of your company who makes a 6-digit income will pay the same as the single mother / receptionist who barely pays the bills with her $25,000 annual income.
A road toll may reduce the number of occasional trips that people take, but this will have little or no impact. In reality, most traffic is caused by commuters, not by people taking occasional trips. The proof is the fact that traffic is heaviest in the time just before and immediately after regular office hours. Besides, who would, in the right state of mind, go on HWY 401 in Toronto at 8 am on Monday, unless they have to?
Improving the transit network does require a significant investment, but I don't know of a way to guarantee that the extra revenue generated by road tolls will actually be used to expand public transit.
Forgive my skepticism, but once the revenue from road tolls is flowing in, I expect to see a number of groups lining up to lobby that other causes should get a share of it first. They will make an argument that other causes are just as important – if not more important – than the public transit expansion. Different levels of government that finance public transit today may also be compelled to reduce their current contribution levels, arguing that other programs are in more urgent need of the funds (because the toll revenues will be available to plug the gap). In the end, there will again not be enough money left to finance a public transit expansion, and we will be told that expanding the transit will require further increasing the road tolls or increasing taxes in general. We will have road tolls, and our public transit will be no better.
I am not debating whether it is wrong or right to shift priorities and redirect revenues, neither am I suggesting that building a subway line should take precedence over, for example, essential healthcare projects. But if there is no way to guarantee that the revenue from road tolls will be spent on expanding the public transit network then road tolls are no different than old-fashioned taxes that we pay already. And if they are not different, then I don't understand why it is ok to introduce road tolls, but it is not ok to just increase income, property, or sales taxes (and make higher income earners pay more) – or even introduce a new carbon tax (and make owners of less fuel efficient vehicles pay more).
Road tolls will not take a significant number of cars off the road if people have no choice but to drive to work. They will not make people take public transit to work if public transit cannot take them there reasonably fast. I guess that most people for whom taking public transit to work is a viable option are using it already.
If road tolls don't take cars off the road, then they will obviously not help to reduce pollution. In fact, road tolls may make things worse. One of the ideas floating around is to introduce tolls on the 400-series highways in Toronto, plus on the Gardiner and DVP, but not on other streets. If this gets done, drivers will stay off major highways when they can, and will drive more on local street instead. This will free up the 400-series highways for those who are in a rush and don't mind paying, but those who don't want to pay will use local streets in nearby communities instead. These streets were never built to handle the traffic volume that goes through the highway today, so they will be constantly jammed. Since stop-and-go traffic on these streets is slower than on the highways, the cars that use them will burn more fuel, and will produce more pollution.
So what effects will road tolls have?
Without viable public transit alternatives, road tolls are nothing more than an unethical tax grab that will hit flatly everyone regardless of their income and situation. People traveling the same distance will pay the same toll to get to work and back, regardless of their income, family situation, or the vehicle they drive.
Road tolls will also increase the cost of living and doing business in Toronto and will cause overall price increases: Delivering food to local grocery stores will cost more, and companies must, in turn, pass the increased cost on to consumers in the form of price increases. Job seekers will have to factor into their salary expectations the increased cost of commuting to and from work, which will increase wage pressure. Road tolls will reverse some of the economic integration that has benefited the communities in the Greater Toronto Area and will make doing business here more expensive and less attractive.
By increasing the fixed portion of the cost of owning and operating a car, road tolls may also discourage some people from buying fuel-efficient or hybrid vehicles. If owning a car costs you $300 per month today, and you could save $60 per month by buying a fuel-efficient car, then your potential savings are 20% of your total car cost. This looks significant. Add extra $150 per month for road tolls (30 days times $5 per day) and your $60 potential benefit starts looking pretty meager. This is likely to discourage some people from investing into a more fuel-efficient vehicle: Who cares about saving $60, if you are already paying close to $500?
Road tolls – in one form or another – have already been introduced in other large cities around the world, and we can learn from their experiences. London introduced a congestion charge several years ago – which is, essentially, a flat fee that everyone driving into the downtown core must pay. In New York, people driving into Manhattan must pay a fee for using most bridges and tunnels.
What is different between London, New York and Toronto? Toronto's public transit system is no match for those of London and New York. In either of these two cities, you can get to most places using public transit in less time than it will take you to drive. This is why the road tolls of London and New York have the ability to change people's behaviour: They reward people who take public transit instead of driving. Exactly what kind of incentive are proponents of toll roads hoping to give Torontonians, given that transit can't take people where they need to go?
We need a public transit network that adequately serves the needs of all GTA residents before tolls are introduced. Once we have it, road tolls can be introduced as most – if not all – of the argument against road tolls will no longer apply. If people have the option to take the subway or a high-speed commuter train to work and back, then it makes sense to charge those who choose to drive. The problem in today's situation is that people don't have a choice: Driving to and from work is their only option.
But without road tolls, where will the money for building up public transit come from? If road tolls can generate enough revenue to pay for the expansion of the public transit network, then raising capital becomes a classical financing issue like the ones business leaders face all the time. Capital needs to be raised and then invested into public transit – and then paid back with the revenue generated by new road tolls and transit usage fees. Raising capital as part of a well thought-through business investment plan with clearly defined realistic ROI expectations is not something the public needs to be afraid of: It is an investment that Toronto requires, and that will pay for itself – rather than just a loan taken to pay everyday operating expenses. Governments typically have access to more and cheaper sources of capital than most businesses. Privatizing a share of the new assets, issuing government bonds, or even traditional borrowing are some of the options.
The bottom line is that we need a clear plan outlining what needs to be done to solve the problems of gridlock and pollution. Such plan should explain how each of the measures that it includes will contribute towards reducing traffic and pollution. Road tolls are likely to be part of it, and will make sense in the context of other measures. A sensible dialogue is needed, in which all arguments should be laid on the table and all aspects of the proposed solutions discussed.
Implementing road tolls is easy to do – but Toronto is not ready for them yet. There are many steps to be taken first, before road tolls have the capacity to change people's behaviour – and in doing so, solve some of the problems that we face. If road tolls are introduced but fail to change people's behaviour, we will be stuck with the same gridlock as today, the same pollution, and with one more tax that we don't have to pay today. Far from solving any of our existing problems, such new tax applied indisciminately across the board will do more harm than good. It will be bad for Toronto, its residents, and its economy.


text:
Răzvan Mihai Pop (* 20. Juni 1985 in Baia Mare, Rumänien) ist ein rumänischer Handballtorwart. Seine Körpergröße beträgt 1,88 m.

In Rumänien stand Pop zuletzt bei HC Minaur Baia Mare unter Vertrag und spielte mit diesem Verein in der Saison 2015/16 in der EHF Champions League. Ab Sommer 2016 war Pop vertragslos, bis ihn im Dezember 2016 der deutsche Erstligist TVB 1898 Stuttgart verpflichtete. Sein erstes Bundesliga-Spiel bestritt Pop am 7. Dezember 2016 gegen Frisch Auf Göppingen in der Stuttgarter Porsche-Arena. Pop verließ den TVB bereits nach drei Bundesligaeinsätzen wieder und wechselte zum CS Dinamo Bukarest, wo er noch in der Saison 2016/17 in der EHF Champions League eingesetzt wurde.

Weblinks
 Pop in der Datenbank von spox.com

Einzelnachweise

Handballtorwart (HC Minaur Baia Mare)
Handballtorwart (TV Bittenfeld)
Rumäne
Geboren 1985
Mann
Handballtorwart (Dinamo Bukarest)


text:
Q: Assigning to char *[50]? This is probably very simple, but I am trying to make something with has a variable defined like this:
char *temp[50];

And to change it I am doing things like:
strcpy(temp[1],"Hi");

However this segmentation faults.
I tried &temp[1], however this does not work. Could anyone point me in the right direction.
Edit: after reading comments and answers, I have decided to post some more information.
What I am trying to do is have 50 chars (so I could put char *temp1, char *temp2, etc) only in one, so it would go from char *temp1, char *temp2, etc to char *temp[50]

A: You only created an array of pointers that point to nothing in particular. You need to assign memory to temp[1], possibly via malloc, before strcpy.
temp[1] = malloc(3); /* Hi\0 */

A: The segfault occurs because temp[1] initially points nowhere(*). Do
temp[1] = malloc(sizeof("Hi"));
// check for errors
strcpy(temp[1], "Hi");

or, on a POSIX platform
temp[1] = strdup("Hi");

Don't forget to free the results of malloc and/or strdup!
(*) The pointers are either all NULL when temp is static or global, or contain random garbage.

A: use malloc() or fixed 2d array(actually 1d).
 char temp[10][50]={0};

 strcpy(temp[1],"Hi");

 printf("%s", temp[1]);

A: You declare array of pointers. You need to allocate the memory either on stack:
temp[1] = "Hi";

or on heap:
temp[1] = malloc(sizeof("Hi"));

Or you perhaps you wanted do declare only char array:
char temp[50];


A cool B&b like Sarphati, you will not find anywhere else when you don't have a lot of money to spend. Or… maybe here (if you're looking for the best B&B near Amsterdam's city centre & all main tourist attractions).
Your Amsterdam B&B innkeeper always wants you to have a great time at their Bed & Breakfast! But will they go out of their way to ensure that? What about flexibility towards the moment when you can drink your first cup of coffee any particular day? Or even the time you are allowed to take for your breakfast? Is there 24/7 someone of the staff available to answer your questions? Let me assure you: We don't try to be a regular B&B at the coolest hostel in town!
You really don't need to be experienced to know one B&B from another. We're not just a waffle bar;In Amsterdam we serve a proper breakfast for modern travellers.


MPs have been debating whether or not Britain should renew its nuclear weapons when Trident reaches the end of its lifespan.
New Prime Minister Theresa May laid out the case for renewing the deterrent, saying it would be a "reckless gamble" if Britain relied on other nations instead, while Jeremy Corbyn reinforced his view as a lifelong opponent of nuclear weapons.
Here are the most important quotes from the debate in Parliament before the vote.
"We cannot compromise on our national security, we cannot outsource the grave responsibility we shoulder for keeping our people safe, and we cannot abandon our ultimate safeguard out of misplaced idealism.That would be a reckless gamble; a gamble that would enfeeble our allies and embolden our enemies; a gamble with the safety and security of families in Britain that we must never be prepared to take."
"We're discussing eight missiles, 40 warheads with each warhead believed to be eight times as powerful as the atomic bomb which killed 140,000 people in Hiroshima in 1945. We're talking about 40 warheads, each one with the capacity to kill more than one million people. What is the threat that we're facing that over a million people's deaths actually deters?... I do not believe the threat of mass murder is a legitimate way to go about dealing with international relations."
"If Scotland is a nation, and Scotland is a nation, it is not a normal situation for the state to totally disregard the wishes of the people, and this Government has a democratic deficit in Scotland, and with today's vote on Trident it's going to get worse, not better. It will be for the Scottish people to determine whether we are properly protected in Europe and better represented by a Government that we actually elect - at this rate, that day is fast approaching."
"This (Adolf Hitler not using nerve gas against Allied troops in 1943) is a classic example of a dictator being deterred from using a mass destruction weapon by the mistaken belief that we could retaliate in kind when actually we could not do so. Such examples show in concrete terms why the concept of deterrence is so important in constraining the military options available to dictators and aggressors."
"In a world where it's uncertain, who a few years ago would have predicted the rise of Daesh (Islamic State)? Who a few years ago would have predicted what the Russians have done in the eastern Ukraine or indeed have done in the Crimea? The answer to that, as far as I can see in reading back then, is that nobody foresaw those events. And given that we're trying to predict what will happen over the next 40 or 50 years, why is it that in those circumstances a government will say: 'We will give up what we regard as the ultimate insurance policy in security for our nation in those circumstances'?"
"Nobody can stand in the missile compartment of a ballistic submarine without a sense of terrible awe. Our warheads have the capacity to destroy 40 million people, and I know all here hold that responsibility, feel that responsibility, extremely acutely."
"We have to constantly probe the Government, question them and ask whether we are getting good value for money. I accept the arguments, I have read the reports, I know that all the alternatives have problems with them, but we simply cannot give a blank cheque to the military industrial complex."
"Yes it is true that we face other threats such as Islamic terrorism and the uncertainty of global warming and economic uncertainty. Is there one silver bullet to face all these threats? No there isn't. But I'm quite clear the retention of our nuclear deterrent is vital to resist the resurgent Russia which is developing its nuclear weapons.
"To say the world is safer with nuclear weapons is akin to saying there would be less gun crime in the United States if there were more firearms."
"We have to be conscious that whilst Nato is dependent on mutual defence how confident are we that future United States' governments will continue to undertake 70% of the bill for Nato. How many people are confident that Donald Trump will put Europe's defence at the top of the list?"
"This is a colossal investment in a weapons system that will become increasingly vulnerable... I believe we will have to throw good money in order to secure it, tens of billions of it more than already estimated, to try and keep it safe in the years to come."
"The elephant in the room is that it is about status, not about safety".


text:
Q: Regex of plus sign and spaces I need to replace '+' and ' ' (space) signs in my string with ''; Have RegExp for spaces > /\s/g, need to add '+' symbol to this. Any help? Thanks.

A: If you specifically want to replace spaces, you can just use a literal space in your regex pattern. \s is a character class that matches all whitespace characters (newline, carriage return, tab, etc).
To match both spaces and plus signs, you can create a character set with square brackets:
/[ +]/g
Demo: https://regex101.com/r/Lx2U2G/1


So Today it's my Birthday . . .
Ahh, another year has passed. Seems I'm standing athwart an avalanche of years these days — or an avalanche of days these years. Whichever works for you.
This birthday seems like it's going to be a good one. I just launched my first novel to some very strong reviews (stronger than I expected). I'm happy to see it's hitting the right notes with readers. In the argot of our times, people are like "whaa????", then they're like "nahhhhh!!!", then they're like "ohhhh. . . ", then they're like "hmmmm. . . " This is the sequence I had imagined all those years ago when the story first came to me–though I might have been better-spoken back then. I've regressed a bit in some ways.
I'm not looking at my book sales anytime soon. I know that at this stage, knowing my sales numbers is either going to excite me beyond all reason or depress and disturb me. I'll save those for later: Today's my birthday.
Anyway, I still have a party to put on to celebrate the launch! You're invited.
I can remember some good birthdays in the past and some that were kinda lame. A few others were downright hideous.
The good ones: Getting my first bike at the age of seven.
We were living in the motorhome back then and had been parking it in the lot of a K-Mart in El Toro, California most days. That was our front yard. We lived at K-Mart.
I had become fixated on bicycles about a year before. I had bicycles on the brain. My eyes had come to resemble two spinning, spoked wheels; my hair like plastic handlebar streamers. When I spoke, it sounded like the plaintive honk of a bulb horn.
So on my actual birthday my dad actually walked with me into the K-Mart that was our front yard and made the purchase of two items. The first was a half of one of their awful plastic-wrapped sub sandwiches with the onions and stale bread I can still taste. The second: A brand-new made-in-Taiwan 20″ banana-seat bike in white with red flames and chrome fenders.
"THIS IS THE HAPPIEST DAY OF MY LIFE!" shouted in the line at the cashier's. A woman behind us smiled and said something to my dad about how happy I looked. I really was happy. It probably was the happiest day of my life, actually. Up until that point, at least.
And so the journey on two wheels began that day — after I had crashed out on that brand-new K-Pro Schwinn knock-off at least a five or six times. I learned to ride it that day, by God. And the next day I started riding it down staircases. Kinda. Or trying to, at least.
I think that's about as far as I need to go with that one. Alcohol might have been involved. Few other things as well. Times were good. Probably too good. In some ways.
Then there were plenty of birthdays I just don't care to remember. I was sick or sad or had fallen into myself or felt alone enough with whomever I was supposed to be together with that I just wanted to be alone with myself for real.
I think that made sense. Read it again.
But I've gotten better now. Rent's paid, kid is feeling better, I'm getting a haircut at noon, Diamond-T might be distributed to Barnes and Noble in softcover, and life is good.
It's my birthday. I'm gonna have a good time.


text:
Q: Gabriel's theorem Need some help with Gabriel's theorem, doing the part "if a graph is of finite type, it must be a Dynkin graph" like this:
Let $\vec{Q}$ be of finite type. All representations is a direct sum of indecomposables representations.
Let $v\in \mathbb{Z}_+\times \cdots \times \mathbb{Z}_+=\mathbb{Z}_+^I$ where $I$ is the number of vertices of the quiver.
Exists a finite number of isomorphism classes os representations with dimension $v$. If $V_1,\cdots, V_s$ are the indecomposables representations, we have
$$V_1^{d_1}\oplus \cdots \oplus V_s^{d_s}.$$
We have only a finite number of choices $d_1,\cdots , d_s$ to have a representation with dimension $v$.
Then I have this property: two elements $x, x' \in R(v)$ define isomorphic representations of $\vec{Q}$ iff they are in the same $GL(v)$ orbit.
That give me this: the action of $GL(v)$ on $R(\vec{Q}, v)$ has only a finite number of orbits.
Then I have that exists a orbit $O_x$ with dim$O_x=$dim$R(v)$, so
$$\text{dim}GL(v)-\text{dim}O_x=\text{dim}G_x$$
then
$$\sum_{i\in I}v_i^2-\text{dim}R(v)=\text{dim}G_x$$
and
$$G_x=\{ g\in GL(v);g(x)=x \}.$$
Now we have that,
$$\sum_{i\in I}v_i^2-\sum_h v_{s(h)} v_{t(h)}\geq 1$$
$$\sum_{i\in I}v_i^2-\sum_h v_{s(h)} v_{t(h)}=<v,v>=q(v)\geq 1$$
then $q$ is positive defined, so $\vec{Q}$ is dinkyn.
This all is true for $v\in \mathbb{Z}_+\times \cdots \times \mathbb{Z}_+=\mathbb{Z}_+^I$, how do I show that it's true for $v\in \mathbb{Z}\times \cdots \times \mathbb{Z}=\mathbb{Z}^I$?


text:
BY Hermione Hoby	in Features | 26 FEB 20
Lynda Benglis Pours One Out
As major exhibitions at Nasher Sculpture Center, National Gallery of Art and the Museum of Cycladic Art honour the iconoclastic sculptor, novelist Hermione Hoby reflects on her six-decade career
BY Hermione Hoby in Features | 26 FEB 20
The beach may have been in Italy or France, and I may have been four or five years old, but the tactile fact I remember distinctly is this: there was black sand, made larvic and gloopy by the tide, and it could be scooped up between cupped hands, then dripped out of the crevice between palms, to solidify, instantly, into globular rivulets where it fell. If you kept doing this, allowing layers of oozing matter to fall into strange, drippy heaps, you could form biomorphic mini-monuments. The whole thing was supremely satisfying. That afternoon, whenever and wherever it was, I couldn't stop: I made a whole metropolis of those weird sandcastles along the shore.
This is the memory that comes back to me when I think of the forms for which 78-year-old American artist Lynda Benglis is most famous. It's not just that her large, poured sculptures in wax, latex, polyurethane and metal – works she calls 'frozen gestures' – resemble these childhood sandcastles. (They do.) The more resonant association is a non-visual one: namely, that her work tends to thrum with the same unalloyed pleasure in materiality most of us only feel as small children armed with fistfuls of gloop; the joy of touching things, forming them into new shapes and, in so doing, having our bodily materiality reaffirmed.
Lynda Benglis, Phantom, 1971, phosphorescent pigmented polyurethane foam, 2.4 × 10.6 × 2.4 m. Unless otherwise stated, all images courtesy: © Lynda Benglis, Thomas Dane Gallery, London, Cheim & Read, New York, Pace Gallery, New York, Blum & Poe, Los Angeles, and DACS, London; photograph: Henry Groskinsky
'Essentially, I repeat ideas of nature and I process them and interpret them,' Benglis said in a short documentary produced by Art21 in 2015. 'I realized what we learn to do is repress our titillations, our feelings about what we see, and we call it taste.' Fuck taste, in other words. Hence her spumous wall pieces that glow in the dark like radioactive spillages – 1971's Phantom, for example, in which phosphorescent pigments are combined with polyurethane. Or her ongoing series of 'Sparkle Knots', smaller-scale sculptures made with glitter. (Glitter! Those minimalists must have clutched their pearls.) Benglis makes things for one reason, as she said in that same documentary: 'Because I'm curious. It's exciting for me to feel that same excitement I felt as a kid.'
Benglis has yoked a childlike vision – that numinous, instinctual talent for colour and form – to a deep, interrogative engagement with art history. In so doing, she has proved one of the most ground-breaking artists of her generation. Her famous 'Fallen Paintings' of the late 1960s, in which paint seems to have slipped from the bounds of the canvas and taken three-dimensional form on the floor, are both rebuke and homage to abstract expressionism; a one-upwomanship of Jackson Pollock's celebrated drip technique, they merge wry wit with bold aesthetic delight. Benglis was a pioneer in the realm of video art, too, with performance-based works like Female Sensibility (1973), in which she kisses her friend Marilyn Lenkowsky, and Now (1973), in which she interacts with a pre-recorded image of herself and poses questions like: 'Do you wish to direct me?' These works, combined with the early 1970s photographs she referred to as 'Sexual Mockeries' (self-portraits featuring a pastiche of porn and pin-up iconography), have cast her as a feminist lodestar.
Lynda Benglis, ETA, 1972, aluminium wire mesh, cotton bunting, plaster, acrylic, sparkles, 102 × 46 × 36 cm. Courtesy: © Lynda Benglis, The Hepworth Wakefield and DACS, London; photograph: Nick Singleton
Surveying her career, however, there appear to be two distinct artists at work. There is Benglis the sculptor, an artist delighting in pure abstractions of colour, shape and form, whose works provoke sheer pleasure – the way a child might love the sight of green slime or squished berries. Then, there is Benglis the provocateur, a statement-maker hyperliterate in the charged signifiers of gender and power. This is the auteur of the notorious 1974 Artforum advertisement, that cultural touchstone of a photograph, in which Benglis, wearing only white-rimmed cat-eye sunglasses, oiled and tanned but for the white triangular marks of a bikini, full-bushed, hips thrust, appears to penetrate herself with a sizeable double-ended dildo. In 2019, T Magazine anointed it as one of the 25 works of art that 'define the contemporary age'. Cindy Sherman, encountering the piece in her early 20s, called it: 'One of the pivotal moments of my career.' What connects these two Benglises – the one working in the realm of abstraction, the other overtly political? It comes down to the artist's need to affirm herself as both a physical being in a physical world and as a woman and an artist in a sexually hypocritical and censorious profession.
I meet Benglis in New York on a very cold day at the end of the year, when the whole city seems both terminally exhausted and jangled with the pre-holiday rush. Reaching this point has involved a sort of madness. First, we were to convene in Athens or Naples, where retrospectives of Benglis's work had recently opened at the Museum of Cycladic Art and Thomas Dane Gallery, respectively. Flights are booked, but plans are changed, and it is decided that we will meet, instead, at Benglis's New York home. (When she's not there, she's in Ahmedabad, Kastellorizo or Santa Fe.) Steps away from the subway entrance, on my way to her place in SoHo, my phone rings. It's her studio manager, calling to rearrange for tomorrow. The next day, in the same spot, my phone rings again. It's her studio manager again: 'I have Lynda on the line.' I panic, thinking there's been some misunderstanding. Now, Benglis is in my ear, announcing that she's hungry – have I eaten, could I bring her some soup? Her studio manager, still on the call, interrupts, with audible weariness, to tell Benglis that she'll take care of the soup. When I reach her building, I buzz to no answer. Finally, someone else lets me in, but, at her front door, there's still no answer. When, after some long minutes, the door at last opens, there is Benglis frowning and asking why I didn't buzz. Her dog, an irrepressible miniature dachshund called Cleo, skitters around the large loft and pees herself with excitement. While Benglis is clearing this up, she dispatches me to answer the door downstairs. It's an enormous holiday gift delivery from Pace Gallery, who announced their representation of Benglis in January. And so, once again, I find myself standing outside the door to her loft for several minutes, only this time with an unwieldy box beside me.
Lynda Benglis painting the floor with 40 gallons of pigmented latex, University of Rhode Island, 1969. Photograph: Henry Groskinsky
'Let's open some champagne! Do you know how to open champagne? Would you like some?' Benglis offers when we're finally settled, her tone slightly nasal and deadpan. Spaced along the white wall behind the couch where we sit are three bulging eggs the colour of Jolly Rancher sweets: a deep and vivid green; a syrupy, milky white; and a sour lemony chartreuse. I want to eat them. 'That's good,' Benglis chuckles in a slow huh-huh. She mentions the lollipops she used to buy as a child and says: 'I'm interested in getting the most out of an image as possible, so that there's a discovery, always, from the viewer. Certain colours have certain information. Sometimes this piece …' she cranes to look over her shoulder at her middle egg, the milky one, 'interestingly enough, disappears. And people have their favourites; this one seems to just grow, the green one.'
We talk about pleasure, a notion art critics seem a little afraid of. 'Everyday life gives me pleasure,' she says, with a grin. Sheepishly, I tell her about the sandcastles, and how it seems to me her work is full of one specific pleasure, that of viscosity. 'Yes, yes,' she says emphatically. She's very alert in this moment, staring right at me with her wide eyes. I ask if the making of the thing is as important as the thing made. 'They're one and the same,' she says. 'The process.' Then she begins reminiscing about her childhood in Louisiana's swampy Lake Charles, about building treehouses and playing with sacks of grain feed, the quicksand-like mud that surrounded her high school. 'I was always interested in how things became material, how my grandmother could go into her kitchen and make these incredible cakes […] For me, everything was plastic. Mutable.' And so, as a girl: 'Everything got connected and it allowed me to move about with certainty. I felt the whole world was related – and I continue to feel that way.'
It's hard to coax Benglis away from the subject of her early childhood; we slip back into it time and again. Her speech seems to follow the same sort of movements as much of her sculpture: one recollection cedes to the next in a continuous flow, particularly once she's reclined on her sofa among cushions and rugs, with her feet kicked up and her gaze on the ceiling. Perched on the edge of the adjoining sofa with a notebook on my lap, I realize we've entered the respective attitudes of analyst and patient. It makes sense that childhood should loom large for an artist like Benglis, in all her disinhibited tactility and curiosity. There is also a small, sore truth lurking in the room: the distant past should come back vividly for a person who, though in good health, is nonetheless in her late 70s. It's only natural that a mind reflecting on the end should turn back to the beginning.
Lynda Benglis, The Graces, 2003–05, installation view, Museum of Cycladic Art, Athens, 2019, commissioned by NEON. Photograph: Panos Kokkinias
These days, Benglis has been thinking about what might be her 'gift or legacy to other artists'. She's considering turning her studios over to future generations of artists after she's gone: 'I developed these properties everywhere for my pleasure, but also with the thought that other artists should have the [same] advantage. So, at some point, I'm going to have to decide what should be more permanent and what should be left to how history unveils itself.'
Benglis's large sculptures and 'pours' are hefty in appearance, but they also demand literal muscle. There are terrific pictures of her making The Wave of the World (1984), her first sculpture in bronze, created for the New Orleans World's Fair. Aloft on the black wings of a sublime and frightening creation, clad in a gas mask to guard against the noxious fumes, she looks like a fantastical demiurge. Better known, however, are the bravura images of Benglis from a 1970 Life magazine spread, which ran under the headline 'Fling, Dribble and Dip', showing her lunging with enormous, weighty cans of pigmented liquid latex, mid-pour, as huge, concentric spills of colour spread out around her. These images helped enshrine the central tenet of process art: that the physicality of making is as important as the materiality of what is made.
Benglis clearly always knew what a photograph could do. The invitation for her 1974 show, 'Metallized Knots', at Paula Cooper Gallery depicts the artist slouched against her silver Porsche, hair slicked back like a greaser, arm thrown jauntily over the car. The butch strut of the image makes an excellent companion to Joan Didion's famous, ultra-femme shot from 1988, in which the writer stands in a long dress in front of her Corvette, shoulders hunched, vulnerable and wary, frail arm pulled tightly across her midriff. With her Porsche image, Benglis was playing with the notion of 'macherin', a coinage of hers melding 'macho' and 'feminine'. Such ideas became overt – indeed, explicit – that same year, in the photograph for which she's most famous. Learning that Artforum planned to run a profile on her, Benglis submitted the sunglasses-and-dildo image, asking that they use it to illustrate the piece. When they refused to print it, she paid US$3,000 to run it as an advertisement – for herself and her selfhood – in the magazine.
Lynda Benglis, Hills and Clouds, 2014, cast polyurethane with phosphorescence and stainless steel, 3.1 × 5.5 × 5.5 m. Photograph: Jerry L. Thompson
In 2014, to mark the 40th anniversary of the image's publication, New York magazine asked 25 female artists to comment. The painter Mickalene Thomas said that, when she first encountered the image 20 years after it was published, she exclaimed: 'All right, fucking rock on!' For the 50th anniversary, perhaps someone could compile a book of the letters sent to the then-editor of Artforum, most of which remain unpublished. Professor Martin Ries of Long Island University, for example, offered this critique: 'The oeuvre of Lynda Benglis is fascinating, her mammary glands are exquisite, and her glutei maximi delightful, but her cock is too big.'
Speaking to New York in 2014, Benglis said of Artforum's editors: 'I felt I had set a trap for them. They were out of another century.' We are now in yet another century, one in which sex positivity is seen as proper, at least for my generation. But try posting Benglis's advertisement on the infamously nipple-shy Instagram and see how long it lasts. Time and again, prudishness proves itself one of America's enduring traditions.
After the shoot, Benglis hung the dildo in her shower. (As she once said, with an audible shrug: 'There was nowhere else to put it.') Since then, the advert has been, well, the dildo in the room in every interview she's done. She must be sick of talking about it. 'Yeah,' she says, then shoots: 'What do you think? What does it mean to you?' I venture that it seems to suggest something different each time I see it – which is probably the mark of a great work of art.
In Susan Krane's Dual Natures (1991) exhibition catalogue, Benglis stated: 'My intention was to mock the idea of having to take sexual sides: to be either a male artist or a female […] The idea of a hermaphrodite is ideal because then you employ and embody without contradicting. The condition is a contradiction itself.' Now, she tells me with finality: 'I felt very strongly that my thinking was correct. Any time I do anything, usually I'm motivated to do it symbolically,' she continues. 'I abstract information and, in this case, it was the particular feminist wave that I felt I was riding. I didn't want to go to political meetings. I had no particular partner that was disagreeable [for whom] I had to make rules of the household. I wanted to have some humour. I didn't have an axe to grind and I think I was brought up to be independent. And even if I wasn't brought up to be independent, I was independent, and I was already making judgements about what I liked in art.'
Lynda Benglis, For Carl Andre, 1970, pigmented polyurethane foam, 1.4 × 1.3 × 1.2 m. Courtesy: © Lynda Benglis, Modern Art Museum of Fort Worth and DACS, London
The eldest of five kids, Benglis grew up in a house on stilts, living 'a fantasy American life'. She was 'kind of a tomgirl', she says. She studied ceramics at Newcomb College in New Orleans and then, in the summer of 1964, moved to New York where, promptly, she met everyone and was cowed by no one. In 2012, she told the Financial Times that – in palling around with Eva Hesse, Donald Judd, Sol LeWitt, Barnett Newman, Robert Rauschenberg and Andy Warhol – she realized: 'There was nothing to be afraid of in art.' It takes a glorious repletion of self-assurance to have been the woman to tell Robert Ryman to paint directly onto the wall or to instruct Dan Flavin to ditch the boxes to which he'd been attaching his fluorescent light sculptures. She dedicated one of her earliest foam works, For Carl Andre (1970), to the artist, since he was one of the first to visit her studio. Benglis made explicit her own galvanizing blend of reverence and irreverence in the title of one 1969 piece: Odalisque, Hey, Hey, Frankenthaler, which she produced shortly after seeing a Whitney Museum of American Art retrospective of Helen Frankenthaler's famous, gentle-hued washes: paint 'pours' very different from her own.
Deploying luscious colour during a moment of revered monochrome or making sculptures with glitter at a time of minimalism suggests a contrarian impulse, as does Benglis's enduring love for the florid and carnivalesque. 'There's really no such thing as good or bad taste,' she shrugs, 'It's contextual.' In 1969, Marcia Tucker curated a show at the New Museum called 'Anti-Illusion: Procedures/Materials', which included austere works by Andre and Richard Serra. Benglis contributed Contraband (1969), a ten-metre 'pour' in shameless shades of tangerine, green and cobalt blue, unbound as a bayou oil slick. 'What I was making was a floor painting and I was very clear about that,' she recalls. The museum, however, wanted to install the work on an elevated ramp. Benglis withdrew it in protest. 'I was standing up for my rights and the way I intended the piece to be seen.' With some sweet vindication, the Whitney acquired the work in 2009.
'I think artists should know what they're trying to do and have a purpose in what they're doing,' she says. 'Otherwise you end up making confusion. I felt that I was a product of art history and thinking, and I was definitely glad that I had some philosophy behind me.' She adds: 'I think most artists who get recognition get it because they're not just making objects to be seen, they're making their beliefs as they feel them. And it's very important to realize you can feel ideas. That's why we do art.'
Asked if she feels she's made a difference to the world, Benglis responds: 'I've made a difference in how we think and feel about texture and sight and what stimulation is, that it's both texture and colour.' She has always been, as she puts it, 'very aware of having some kind of mission in life'. Now: 'I can say that the energy that I have, and that I will continue to have as long as I'm thinking, needs to be realized. I'm constantly making that effort to be as true to myself and that energy as I can. I don't want to fail the energy if I have it. That's all.'
This article first appeared in frieze issue 209 with the headline 'Lynda Benglis Pours One Out'.
Lynda Benglis is an artist based in New York, USA, East Hampton, USA, Santa Fe, USA, Walla Walla, USA, Ahmedabad, India, and Kastellorizo, Greece. 'In the Realm of the Senses', her exhibition at the Museum of Cycladic Art, Athens, Greece, commissioned by NEON, is on view until 15 March. 'Spettri' (Spectra), her solo show at Thomas Dane Gallery, Napels, Italy, is on view until 14 March. Later this year, she will have solo exhibitions at the National Gallery of Art, Washington, D.C., USA (2 April-24 January 2021), Nasher Sculpture Center, Dallas, USA (9 May-20 August), and Pace Gallery, New York.
Main Image: Lynda Benglis, Baby Contraband (detail), 1969, pigmented latex, 4 × 200 × 51 cm
HERMIONE HOBY
Hermione Hoby is the author of Neon in Daylight (2018).
Michael Armitage on his Kenyan Roots and the Painting that Traumatized his Imagination Forever
With a new show, 'Paradise Edict' at the Haus der Kunst, Munich, Jane Ure-Smith chats to the artist about his influences and the power parallels between modern politics and historic Christian art
BY Jane Ure-Smith | 02 DEC 20
Dawoud Bey on His Powerful Photographs of Black American Life
As an exhibition of his work heads to the Whitney Museum of American Art in New York, the photographer speaks to poet Simone White about the changing landscape of Harlem and US institutions
BY Simone White | 29 OCT 20
In the Studio with Edmund de Waal
How does a sculptor focussed on 'passing things on' prepare for a new exhibition when 'touch has gone away'?
SPONSORED BY Deutsche Bank
Dorothy Iannone and Juliette Blightman's Daily Pleasures
A joint presentation at Arcadia Missa, London, centres female desire, from Iannone's erotic (Ta)Rot Pack to Blightman's sensual Instagram stories
BY Róisín Tapponi | 21 OCT 20
Paving the Way for Institutional Changes
A look at Germany's exhibition landscape shows the importance of identifying blind spots
BY Mahret Ifeoma Kupka | 30 SEP 20
Why Germany Is In Need of a Racial Turn
Germany's Green Party wants to get rid of the word 'race' in the German constitution. Natasha A. Kelly writes about what actually needs to change in Germany
BY Natasha A. Kelly | 30 SEP 20
Blackness and Post-Cinema: John Akomfrah and the Otolith Group in Conversation
During the turbulent summer of 2020, the filmmakers met to discuss contemporary filmmaking and decentring the human
BY John Akomfrah | 23 SEP 20
A Brief History of Disinformation
Stephen Squibb on the tactics of untruth, from Martha Rosler to Hito Steyerl
BY Stephen Squibb | 15 SEP 20
Nancy Baker Cahill's Ghostly Monuments
The artist's augmented-reality works are freeing public sculpture from the 'ideology of control'
BY Elvia Wilk | 15 SEP 20
Glitching the Master's House: Legacy Russell and Momtaza Mehri in Conversation
The author of Glitch Feminism on correcting the cyberfeminist canon, the Black trauma at the root of memes and why online space is still 'real'
BY Momtaza Mehri | 19 AUG 20
Thinking Through Bollywood's Class Consciousness
Shiv Kotecha on the long career of playback singer Asha Bhosle
BY Shiv Kotecha | 20 NOV 20
Otobong Nkanga Excavates Material Histories
Her work – currently on view in solo exhibitions at Gropius Bau, Henie Onstad Kunstsenter and Middlesbrough Institute of Modern Art – pulls tragedy from landscape
BY Skye Arundhati Thomas | 30 OCT 20
Jean-Luc Godard Continues to Reinvent Cinema
John Kelsey on how the French iconoclast rewrites film history, one image at a time
BY John Kelsey | 30 OCT 20


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EU Food Safety Authority says pesticides contribute to killing bees
TOPICS:BeesEU Food Safety
Bee Swarm, Photo: pixabay.com
Posted By: Gerard Taylor 1. March 2018
A new study from the EU Food Safety Authority confirmed that nicotine-like pesticides threaten a variety of bees.
The EU body came to the same conclusion five years ago, but then the study was rejected as having little credibility by companies producing the current pesticides.
On Wednesday, the EU Food Safety Authority (EFSA) presented a new study confirming that most pesticides of this kind pose a risk to wild bees, and honey bees.
"All in all, we have confirmed that they pose a risk to the three types of bees we have considered," said EFSA expert, José Tarazona.
The three bees are hummer, lone bees, and honey bees.
So-called 'neonototinoids' have been linked to a sharp decline in the number of bees worldwide, which has led to serious concern for future food production,as bees play an important role in pollination of many types of crops.
EFSA's study comprises three types of 'neonicotinoids'': 'klothianidine', 'imidacloprid', and 'thiamethoxam'. Following the findings in 2013, the EU has introduced severe restrictions on these.
EFSA's latest findings will now be forwarded to the EU Commission and EU countries,which will decide whether to introduce even more stringent restrictions on the use of the pesticides in question.
Plant protection products are manufactured by Bayer and Syngenta, and Monsanto among others. Five years ago, they rejected the EFSA's findings because they believed they were poorly supported.
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Has anyone ever told you that you couldn't do something because of your lack of sight? Ericka Short explains the impact mentors and a supportive faith community have had on her throughout her life. She regularly volunteers in her church, teaching, reading and advocating for people with disabilities, giving tips and tricks for how you can, too.
June 28, 2017 in Community/Volunteerism, Faith.
February 27, 2014 in Advocacy, Community/Volunteerism, Getting Around/Mobility.


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LEAKED: Mario Draghi And His Triumvirate Shut Up German Finance Minister To Keep Cyprus From Blowing Up The Eurozone
– LEAKED: Mario Draghi And His Triumvirate Shut Up German Finance Minister To Keep Cyprus From Blowing Up The Eurozone (ZeroHedge, Jan 28, 2013):
The state-sponsored chorus about the end of the debt crisis in the Eurozone has been deafening. It even has feel-good metrics: the Euro Breakup Index for January fell to 17.2%—the percentage of investors who thought that at least one country would leave the Eurozone within twelve months. In July, it stood at 73%. For Cyprus, the fifth Eurozone country to ask for a bailout, the index fell to 7.5%. "A euro breakup is almost no issue anymore among investors," the statement said.
Just then, in a fight over whether or not to bail out Cyprus, top Eurocrats exposed what a taxpayer-funded con game they thought these bailouts really were—and how fragile the Eurozone was.
A debate has been raging in Germany about Cyprus. Not that the German parliament, which has a say in this, wouldn't rubberstamp an eventual bailout, as it rubberstamped others before, but right now they're not in the mood. Cyprus is too much of a mess. Bailing out uninsured depositors of Cypriot banks would set a costly precedent for other countries. And bailing out Russian "black money," which makes up a large portion of the deposits, would be, well, distasteful in Germany, a few months before the federal elections.
For the tiny country whose economy is barely a rounding error in the Eurozone, it would be an enormous bailout. At €17.5 billion, it would amount to about 100% of GDP: €10 billion for the banks, €6 billion for holders of existing debt, and €1.5 billion to cover budget deficits through 2016. The new debt, a €2.5 billion loan that Russia extended in 2011, and other debt would amount to 150% of GDP, according to Moody's. Unsustainable. So haircuts would be necessary. But whose hair would be cut?
As always, there is never an alternative to a bailout. "It's essential that everybody realizes that a disorderly default of Cyprus could lead to an exit of Cyprus from the Eurozone," said Olli Rehn, European Commissioner for Economic and Monetary Affairs. "It would be extremely stupid to take any risk of that nature."
A risk German Finance Minister Wolfgang Schäuble would be willing to take. He'd been saying publicly that it wasn't certain yet that a default would put the Eurozone at risk—"one of the requirements that any bailout money can flow at all," he said. Cyprus simply wasn't "systemically important." In fact, there were alternatives.
Heretic words. He needed to be shut up, apparently. And that happened at the meeting of Eurozone finance ministers a week ago, details of which sources just leaked to the Spiegel.
The meeting was marked by the transfer of the Eurogroup presidency from Jean-Claude Juncker to the new guy, Dutch Finance Minister Jeroen Dijsselbloem. Cyprus was also on the agenda, but not much was accomplished, other than an agreement to delay the bailout decision until after the Cypriot general elections in February. The government has resisted certain bailout conditions, such as the privatization of state-owned enterprises and the elimination of cost-of-living adjustments for salaries. Now, everyone wanted to deal with the new government.
But what didn't make it into the press release was that ECB President Mario Draghi, bailout-fund tsar Klaus Regling, and Olli Rehn, all three unelected officials, had formed a triumvirate to gang up on Schäuble.
That Cyprus wasn't "systemically important" was something he kept hearing everywhere from lawyers, Draghi told Schäuble at the meeting. But it wasn't a question that can be answered by lawyers, he said. It was a topic for economists.
A resounding put-down: Schäuble, a lawyer by training—not an economist—wasn't competent to speak on the issue and should therefore shut up!
The two largest Cypriot banks had an extensive network of branches in Greece, the triumvirate argued. If deposits at these branches weren't considered safe, Greek depositors would be plunged again into uncertainty, which could then infect Greek banks and cause a serious relapse in Greece.
If Cyprus went bust, they contended, it would annihilate the flow of positive news that has been responsible recently for calming down the Eurozone.
For weeks, all signs have pointed towards an improvement, they argued. Risk premiums for Spanish and Italian government debt have dropped significantly, and balances between central banks, which had risen to dangerous levels, have been edging down. If the money spigot were turned off, this recovery could reverse, they argued. Contagion would spread and could jeopardize Ireland's and Portugal's return to the financial markets.
Further, Cyprus was carrying its portion of the bailout funds and therefore had a right to its own bailout—a legal argument even a mere lawyer should be able to grasp.
And so, letting tiny Cyprus default could tear up the rest of the Eurozone, they argued—saying essentially that bailouts were a delicate con game, and that Schäuble, by digging in his heels, was blowing it up.
It made for another bitter Eurozone irony: the democratically elected finance minister of a country whose taxpayers have to pay more than any other for the bailouts got shut down by unelected Eurocrats who, in a continued power grab, postulated that Cypriot banks, their bondholders, their depositors, even their uninsured depositors, even Russian "black money" depositors had a "right" to the German money (and anyone else's). And if Schäuble refused, it would blow up the entire Eurozone. Schäuble's response hasn't bubbled to the surface yet. And bailout queen Chancellor Merkel, who is trying to avoid tumult ahead of her elections, has a new headache. Read… Russian "Black Money" Threatens To Boot Cyprus Out Of The Eurozone.
Categories Global News, Politics Tags Cyprus, EU, Europe, Germany, Global News, Mario Draghi, Politics Post navigation
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Pammy Blogs Beauty: Roc's You and Improved Challenge: Vote Now!
Roc's You and Improved Challenge: Vote Now!
The RoC® You and Improved Challenge is now officially open! Through the power of RoC® RETINOL, four finalists who already saw the look of lines and wrinkles fade from their faces received a head-to-toe makeover – courtesy of the RoC® Style Squad- to match their newfound confidence.
Roc asked their Facebook fans to tell us why THEY deserved to win a transformation to look 10 years younger, and now the top Finalists are revealed!
So, go vote for who you think should win the RoC® You and Improved contest! The Roc winners will receive expert skincare advice from dermatologist Dr. Erin Gilbert and a styling session with celebrity stylist Marcellas Reynolds as part of the grand prize.
To vote, just go here and click on a finalist's entry and click the "Cast Your Vote!" button; you may vote for one finalist once per day. Voting ends at 12:00 pm EST on June 20, 2012.


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Q: Proof that, if $f$ and $|f|$ are analytic, then $f$ is constant I am trying to show that assuming for an analytic $f$ we have $|f|$ is also analytic. That the original f must be constant.
My original thought was to use the Cauchy Riemann equations to try and show that the partial derivatives are equal to their negatives. I am unsure how to carry this out however, as I am struggling to express the partial derivatives of $|f|$ in terms of the partial derivatives of $f$.
Could someone please let me know if I'm on the right track, or else give me a nudge in the correct direction.
Thanks in advance

A: If $f$ and $|f|$ are both analytic (in the whole complex plane $\mathbb C$),  $g:=\frac{f}{1+|f|}$ is analytic in the whole complex plane and $|g|< 1$. So $g$ is constant $f=c(1+|f|)$ and, in particular, $|f|=|c|(1+|f|)=|c|+|c||f|$ and $|f|=\frac{|c|}{1-|c|}$ and you have that $|f|$ is constant. Then, using that $f=c(1+|f|)$, you'll get that $f=c\left(1+\frac{|c|}{1-|c|}\right)$ which is a constant.

A: $|f|=|u+iv|=\sqrt{u^2+v^2}$ is analytic, $u=u(x,y), v=v(x,y)$.
$\implies |f|=U+iV; U=\sqrt{u^2+v^2}, V=0$
$U_x=V_y\implies uu_x+vv_x=0$
$U_y=-V_x\implies uu_y+vv_y=0$
From the analyticity of $f$, we have $u_x=v_y, u_y=-v_x;$
$\implies uu_x-vu_y=0$
$\implies uu_y+vu_x=0$
$\implies (u^2+v^2)u_y=(u^2+v^2)u_x=0$
For non-trivial solution, $u^2+v^2\neq0$
$\implies u_x=u_y=v_x=v_y=0$

A: Assume $f,|f|$ are analytic in the connected open set $U.$ If $f\equiv 0,$ we're done. Otherwise, using continuity, there is a disc $D(a,r)\subset U$ where $f$ is nonzero. Now $|f|$ analytic implies $|f|^2= f\bar f$ is analytic. Thus in $D(a,r),$ $(f\bar f)/f = \bar f$ is analytic. Now use the CR equations (this is easy) to see $f$ must be constant in $D(a,r),$ hence constant in $U$ by the identity principle.


HAILEY, Idaho (KLIX) Two people had to be sent to the hospital after a two-vehicle crash when one driver tried to avoid elk near Hailey last week. According to the Blaine County Sheriff's Office, the crash happened January 2, a little after 2:30 p.m. when one driver made a quick stop to avoid hitting an elk and was rear-ended by another car that couldn't stop in time. The sheriff's office says several drivers had to hit their brakes to avoid a herd of elk crossing the Highway 75 near Alturas Drive north of Hailey.


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Mark Dragotta November 20, 2008 4:00AM
When self-pity is easier than humor, laughter is suddenly invested with a courageous strength of character. That's what makes VOX PHAMALIA: Tales From the Crips such an extraordinary event. Written by eight physically disabled writers, Tales takes an honest and darkly funny look at what it's like living with a disability. "I think there's never been anything like it done before," says director Edith Weiss. "It's a combination of song parodies, scenes and monologues. It's all originally written. It's not for kids, because it's rather dark humor."
More irreverent skits include PHAMALY Jeopardy with categories like tasteless jokes about Helen Keller, incontinence supplies and the game "Cripple or a Road Cone," wherein contestants guess which choice a clue describes. You'll also hear a parody of Andrew Lloyd Webber songs, including a satire of Jerry Lewis and his telethon. "Some of it is just a really honest look at living with disabilities — like getting up a wet ramp when the wheelchair starts to slide," says Weiss. "The most surprising thing is their sense of humor about these situations."
Tales opens tonight at 7:30 p.m. at the Pluss Theatre in the Mizel Arts and Culture Center, 350 South Dahlia Street; it runs again tomorrow at 6:30 p.m. Admission is a suggested $10 donation. For more information, call 303-575-0005 or go to www.phamaly.org.
Sat., Nov. 22, 7:30 p.m.; Sun., Nov. 23, 6:30 p.m., 2008
Mark Dragotta
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Продолжительность: 12 мин, 22 сек.
The kind old keeper was popular at City Zoo. He never locked the animals up and they roamed the zoo visiting each other for a chat, or spent their days playing with one another. All the animals were fed and protected by their faithful zookeeper, who worked tirelessly to take care of their needs and keep the zoo running smoothly. Not many people visited the zoo as it was old and in disrepair but all the animals lived contented and extremely lazy lives.
One day Billy Big Ears the bat was hanging around the zookeeper's office snoozing. Bats like to slumber during the day. Nothing much happened at this zoo, so Billy was surprised to be woken with a start by the telephone ringing. "Hello, City Zoo," said the keeper, smiling. The keeper's smile left his face as he listened to the person on the other end of the line. "What will become of the animals? They will have to be separated and sent off to other zoos. I hadn't realized the zoo was that badly in debt. I could never raise so much money myself!"
The keeper listened intently and then, sighing sadly, he said, "Well, I guess the zoo will have to close, then." The kind old zookeeper, not knowing Billy was in the office, put his head on the office desk and muttered to himself, "How will I ever be able to tell the animals this sad news?" Billy Big Ears silently soared through the open window of the office and rushed off to tell the other animals this shocking news.
Hearing Billy's story, the animals held a meeting with the Wise Old Owl as the chairman. "I now call this meeting to order," said Wise Old Owl. "The topic for the meeting will be how to save the City Zoo." He hooted with much authority, "Does anyone have any suggestions?" The animals all fell silent as they concentrated on this problem, until many moments later, the bat Billy Big Ears piped up, "I know, we can find some money for the kind Old keeper and give it to him." The other animals all smiled and nodded in agreement, until Horrace Hippo, with a puzzled look on his face, asked, "What's money and where can money be found?"
By now the Wise Old Owl had heard enough; he knew the animals were not knowledgeable of the outside world but could not help feeling impatient at the time it was taking them to arrive at an answer. Puffing up his feathers as he always did when feeling exasperated at the other animals ignorance he hooted, "You don't find money! Money is something you earn by getting a job!" The animals all looked at one another, appearing none the wiser, and finally Percy Pelican rather timidly asked, "What is a job?" "A job is doing something useful to help others. Sometimes it's done voluntarily and other times special colored paper, called money, is paid to the worker," Hooted Owl, adding, "Money is what the zoo keeper uses to buy us the things we need."
The animals seemed quite satisfied with Owl's explanation. The answer to their problem was now obvious: they would all go outside City Zoo and get jobs. As the animals were of many different sizes and shapes, the meeting lasted late into the night as they discussed with the Owl the sorts of work that would best suit their individual attributes. At the close of the meeting the animals went to their cages to sleep and prepare for the big day that lay ahead.
The next day the animals rose early to start their first day at work. The keeper couldn't work out the reason for the animals departure, they had never desired to leave the confines of the zoo before. He waved goodbye as they paraded out of the main gate, a puzzled look on his face. "Be sure to be home in time for dinner!" he yelled after them.
The two cheeky chimps and Big Bertha the Elephant set up a car wash in a nearby car park. The nimble Chimps scampered about scrubbing the dirty cars clean, making a game of the work at hand. Big Bertha, loading her trunk with water from a bucket, rinsed the soap suds off the now gleaming cars. The chimps and Bertha the Elephant made a great car washing team.
Sylvia Snake spent her days helping a local plumber. Sylvia slithered down plug holes, helping the plumber clear blocked drains. This was hard work for Sylvia, but work a slithering snake could do well. The plumber was delighted with Sylvia's work and paid her well.
Russell Rhino, heavy and strong with his big rhino horn, applied for work at a building firm. Russell was well suited to his new career, charging headlong through brick walls demolishing old buildings. Rhinos love to charge at things and to be paid to do this was a dream come true for Russell.
At the end of each day, the animals made their way home to the zoo, tired but happy that they were secretly helping the keeper save the zoo from closing. All the animals gave their money to the wise old owl, who was their accountant, and he worked late into the night counting their hard-earned money.
Finally the big day arrived, and the animals gathered around the kind old keeper and presented him with the money needed to save the City Zoo.
Needless to say the keeper was overcome with joy and thanked the animals, adding, "Now I know what you all were getting up to when you left the zoo."
The animals raised so much money that enough was left over to renovate the zoo. The animals were no longer lazy; they liked to work and set about transforming the zoo.
The keeper looked on in amazement as the animals made City Zoo beautiful. People of the city soon heard news of this and visited in great numbers, assuring the Zoo of its future. The kind keeper and all the animals lived happily ever after.