Cut the fibreglass rods approx 10mm shorter than the rod pocket lengths.
Insert the fibreglass rods into the pocket using end caps if you have them. Then hand sew the ends of the rod pockets closed.
Space your cord rings no more than 35cm apart across the blind to spread the weight.
You will probably need a geared mechanism not a standard one, if using a chain pull to lift that weight blind.
My blind is 75cm width. I am using a blind kit, not sure what distance to allow between each ring widthways - would you advise 2 rings or 3 across.
We would usually use 2 cords for this width. However Kits in the UK should now be compliant with EU safety legislation and have break outs at the end of each cord. The fewer cords you have the more likely the break out is likely to release under the weight of the blind (interlined blinds are heavier than lined). So there could be an argument for using the number of cords supplied in the kit as these new breakouts will be design to only take a certain weight.
More info is written in the instructions in Step 8.
I have bought a 260cm wide roman blind rail kit but it didn't come with rods. What can i use instead i live in ireland and could not get the rail her. It cost me 45€ for delivery of the rail.
Your best bet is the internet to try and find some sets, we buy in England in bulk 3m lengths from a wholesaler and cut to size. Wooden dowels used to be used in blinds but we dont use them and i'm not sure if they come in 2.6m lengths.
I am using roman blind tape instead of forming rod pockets from the lining, should I sew both long edges of tape to the lining or just one. I'm not sure how to finish the tape to prevent it fraying. When it comes to attaching the cord to the bottom tape should I tie it on?
With tape you just sew one edge of the tape to the lining so the blind is only pulled along one line. There is some written information on how to deal with Rod pocket tape in the Lined Roman Blind tutorial. Note though that the lining on this interlined blind tutorial is shorter and attaches differently to the blind at the bottom.
Afetr inserting the rods into the tape you fold the excess tape over and sew closed.
With regard to how you attach the cord, if a breakout is legally required you will have to attach it with an approriate, tested breakout system. Otherwise toggles are better than tying as they allow you to adjust the length of the cords.
I have been told that when sewing on the rings you need to sew through liniing interlining and material (only very slightly) is this true?
Thats not how we sew the rings on. Our technique is shown fully in the videos.
Do you use a thicker thread to sew on the rings?
No we just use standard thread. The way we stitch the rings on is shown in the videos.
That is not an advert, it is the payment screen to unlock the tutorial videos.
What tool do you use to trim fibre glass rods? I made the mistake of attacking it with scissors and got some nasty splinters!
You can get a Fibreglass Rod Cutter to cut the rods, it is quite expensive though (about £78) the splinters are not nice gloves should be used, alternatively we hold them in a vice and use a hacksaw.
Our table is approx 270cm x 160cm, big is best but you need to be able to reach into the middle.
With some materials the fabric hangs a bit funny around the stab stitching sort of pulling even though I have smoothed the fabric etc. Is there any way of avoiding that?
This kind of problem usually comes from not smoothing the layers flat when laying them together during the making process.
When you say some materials, what kind of materials are they?
Quite light weight cotton ticking. I am doing my second blind with this fabric and the same thing happened with the first. I was pretty sure I flattened the fabrics out but maybe not.
Did you pin when stab stitching as in the videos?
I'm pinning. And Ive made loads of blinds before but this is just not cooperating at all! I will take another look at the videos. Just bought them for the month actually lets see how that goes.
I'm making a blind with a join in.
I can't get the rods through the join in the rod pocket as it keeps catching on the overlap of the join.
How do I join it so the rod goes through the joins please?
This is an eternal problem. we tack the seam open before sewing the rod pockets.
If you cant get it through, unpick the seam at the pocket, get the rod through, then slip stitch it closed.


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This can be the ideal opportunity for anyone that wants to break into the exciting field of dentistry and work in a practice that will give them room to grow and hone their skills. Attending dental assistant school can be the first step into a future where you have a professional career that is well-respected.
When you get training in dental assisting you instantly become a sought-after commodity. There is always a shortage of dedicated assistants, not just in Florida but around the US. This may be the opportunity you have been searching for. Bartram Dental Assisting School can open doors for you, so contact them today!


Hollis, this is fabulous! Love how that bust of George Washington emerges from the flames! Intuition is indeed a powerful thing.
Thanks Patricia! Tomorrow's post is even stranger and silly. I have a friend "in" astrology. She says tomorrow will be a very trying day for all of us. Let's all rely on our intuition!
Hollis, I just published a new post about this EXACT trying day, Friday, June 13th, when I drove up to Connecticut for the group show of metalwork!! It rained like I've never seen, nor did I think I would remain alive through that disaster of storms that NYC and New England had that day. Your friend in astrology must have a true gift—-the gift of accuracy!! Happy 4th of July to you!
Yeah, it's all been a strange series of days, hasn't it? But that one was a doosy, as they say.I can't wait to read your blog. I have been thinking about that show you had. Was hoping it went well!
This piece is so provocative Hollis. It screams a message that viewers must uniquely interpret based on their own situation at that moment. The way the two central images are juxtaposed (George on one side; the open mouth spewing out those objects) could carry so many different aspects of meaning. Speaking truth to power is what comes to mind for me. How often do we do that with boldness for fear our words might get us in trouble.
I know. Only too well. Good to hear from you, Eli! So glad things are busy for you!
This collage is fantastic! So perfect! Love it!
Thank you. Tomorrow's is built on the same "idea"? Kind of strange. Thank you for visiting this blog!
Oh yes, I've used my intuition many times to figure something out. Great piece, Hollis!
Thank you. I know you are so busy. This will be short. Thanks for doing this Spotlight thing. I better get working on my answers. Your first girl was spectacular! And quite a hit!
I'd like to think I could solve anything but some things can be tricky; they take a bit longer to work through. Gut instinct works for a lot of situations though. Interesting post, Hollis!
Seems like my intuition works best for me when I am awakened in the middle of the night. Things seem to get solved then. I have always dealt with things mostly from my gut feelings. Do like the post!
I think I mentioned I was much more wishy washy in person!
You are lucky you have such a reliable access to it like that: in the middle of the night!!!!
My mother in law used to say she did her best thinking at night! I think she was being sarcastic though!
Thank you for the great read. I look forward to reading much more. ~v.
Thank you! I like what you say as well!!!!


text:
namespace Packets
{

    class CLAskLogin : public Packet
    {
    public:
        CLAskLogin( ){} ;
        virtual ~CLAskLogin( ){} ;

        //公用继承接口
        virtual BOOL            Read( SocketInputStream& iStream ) ;
        virtual BOOL            Write( SocketOutputStream& oStream ) const ;
        virtual UINT            Execute( Player* pPlayer ) ;

        virtual PacketID_t        GetPacketID() const { return PACKET_CL_ASKLOGIN ; }
        virtual UINT            GetPacketSize() const
        {
            return sizeof(CHAR)*MAX_ACCOUNT+
                   sizeof(CHAR)*MAX_PASSWORD+
                   sizeof(UINT);

        }

    public:
        //使用数据接口
        const    CHAR*            GetAccount()    const;
        VOID                    SetAccount(CHAR*    pAccount);
        const    CHAR*            GetPassWord()    const;
        VOID                    SetPassWord(CHAR*    pPassWord);
        UINT                    GetVersion() const;
        VOID                    SetVersion(UINT version);

    private:
        //数据
        CHAR                    szAccount[MAX_ACCOUNT+1] ;    //用户名称
        CHAR                    szPassWord[MAX_PASSWORD+1];    //用户密码
        UINT                    uVersion;                    //客户端版本
    };

    class CLAskLoginFactory : public PacketFactory
    {
    public:
        Packet*        CreatePacket() { return new CLAskLogin() ; }
        PacketID_t    GetPacketID()const { return PACKET_CL_ASKLOGIN ; }
        UINT        GetPacketMaxSize() const
        {
            return    sizeof(CHAR)*MAX_ACCOUNT+
                    sizeof(CHAR)*MAX_PASSWORD+
                    sizeof(UINT);}
    };

    class CLAskLoginHandler
    {
    public:
        static UINT Execute( CLAskLogin* pPacket, Player* pPlayer ) ;
    };

};

using namespace Packets ;

#endif

redpajama_set_name: RedPajamaGithub


text:
Q: Why is my image located correctly in most browsers but not in IE? I have the following HAML:
%header
  .grid
    %a{:name => "top"}
      .logo
        %a{:href => root_path}
          =image_tag("logo3.png")
    .tagline
      .clearfloat
      %p Fast Facts About Your Website, Your Competitors And Best Practice

Which compiles to the following HTML:

Fast Facts About Your Website, Your Competitors And Best Practice

I also have the following SASS (inc Susy):
@import "compass/reset";
header {
  clear: both;
  padding: 1.25em;
  @include content-box;

  .grid {
    padding-bottom: 0em;
    padding-top: 0em;

    .logo {
      @include span-columns(3, 9);
      padding-left: 3.75em;
      margin: 0;
      height: 3.25em;
    }

    .tagline {
      @include span-columns(6 omega, 9);
      height: 3.25em;

      p {
        position:absolute;
        top: 3.25em;
        text-align: right;
        width: 50%;
      }}}}

.grid {
  @include container;
  padding-top: 3.75em;
  padding-bottom: 3.75em;
  padding-left: 1.25em;
  padding-right: 1.25em;
  }

.clearfloat {clear: both;}

This compiles to the following CSS:
body {
    margin: 0;
    background-image: url(/assets/background-15f6db398b101b42f0b97400986e777a.png);
}
.container {
    *zoom: 1;
    max-width: 86.25em;
    _width: 86.25em;
    padding-left: 3.75em;
    padding-right: 3.75em;
    margin-left: auto;
    margin-right: auto;
}
.container:after {
    content: "";
    display: table;
    clear: both;
}
header {
    clear: both;
    padding: 1.25em;
    background-image: url(/assets/subtle_dots3-4c8426c60999e17a694d2d04c7df3c1d.png);
    -webkit-box-shadow: #191919 3px 3px 6px;
    -moz-box-shadow: #191919 3px 3px 6px;
    box-shadow: #191919 3px 3px 6px;
}
header .grid {
    padding-bottom: 0em;
    padding-top: 0em;
}
header .grid .logo {
    width: 30.43478%;
    float: left;
    margin-right: 4.34783%;
    display: inline;
    padding-left: 3.75em;
    margin: 0;
    height: 3.25em;
}
header .grid .tagline {
    width: 65.21739%;
    float: right;
    margin-right: 0;
    #margin-left: -3.75em;
    display: inline;
    height: 3.25em;
}
header .grid .tagline p {
    position: absolute;
    top: 3.25em;
    text-align: right;
    width: 50%;
}
.grid {
    *zoom: 1;
    max-width: 86.25em;
    _width: 86.25em;
    padding-left: 3.75em;
    padding-right: 3.75em;
    margin-left: auto;
    margin-right: auto;
    padding-top: 3.75em;
    padding-bottom: 3.75em;
    padding-left: 1.25em;
    padding-right: 1.25em;
}
.grid:after {
    content: "";
    display: table;
    clear: both;
}
.clearfloat { clear: both }

On most browsers including Chrome, this correctly sticks my logo in the left portion of my header area, like this:

But on IE, inc 9 (I haven't tested 10), it mangles the location of the logo, placing it behind the tagline like this:

A: The HTML code is invalid. You can't nest an anchor (a) element inside another anchor element. Also, unless you use HTML5, you can't nest a block element (div) inside an inline element (a).
When different browsers parse it, they will have different ways to fix the invalid code. To get a consistent result you need to create valid HTML code.

A: This might be a simple fix. Try this in your header, or wherever your other meta are.
<meta http-equiv="X-UA-Compatible" content="IE=edge" />

redpajama_set_name: RedPajamaStackExchange


text:
Penthoscapha gerhardschereri ist ein Käfer aus der Familie der Rüsselkäfer und der Unterfamilie Entiminae. Das Vorkommen der Gattung Penthoscapha ist auf Neuguinea beschränkt. Derzeit sind sechs Arten bekannt, die zur Gattung gerechnet werden.

Bemerkungen zum Namen
Die Gattung Penthoscapha wird 1914 von Heller aufgestellt. Heller erklärt den Namen nicht direkt, aber er gibt zwei Hinweise darauf, dass der Name in Anlehnung an den Gattungsnamen Rhinoscapha gebildet wurde. Heller beginnt die Beschreibung der neuen Gattung mit der Charakterisierung "Prope Rhinoscapha" (lat.:
Rhinoscapha nahestehend). Er beschreibt die Gattung nur, indem er sie gegen die Gattung Rhinoscapha abgrenzt. Weiter unten beschreibt Heller Penthoscapha lorenzi als einzige Art, also als Typus der neuen Gattung, und beginnt die Beschreibung des Käfers mit den Worten schwarz, etwas glänzend.

Die Gattung Rhinoscapha wird 1855 von Montrouzier aufgestellt. Montrouzier erklärt den Namen mit den Worten ce genre, dont le nom rapelle la forme canaliculée du rostre (ρίν trompe σκάφη bateau),.. (frz. diese Gattung, deren Name an die rinnenförmige Form des Rüssels erinnert..) Der Name ist demnach von altgr. ρις ρινός "rhis, rhinós" für "Nase, Rüssel" und σκάφος "skáphos" oder σκάφη, "skaphe"  für "Boot" oder "Trog" abgeleitet und bezieht sich auf die durch einen Längseindruck erzeugte rinnenförmige Form des Rüssels.

Während jedoch die Gattung Rhinoscapha in aller Regel durch sehr farbenprächtige Arten repräsentiert wird, betrachtet Heller einen schwarzen Käfer. Dies erklärt den Namensteil Pentho- von altgr. πένθος "pénthos" für "Trauer, Trauerbinde". Es ist in der Zoologie nicht unüblich, für (teilweise) schwarz gefärbte Tiere in Gattungsnamen den Namensteil Pentho-, als Artnamen das lateinische funēbris, funērĕus, funērulus oder funéstus für traurig oder den deutschen Namensteil Trauer- zu verwenden. Die sinnlose Wortkombination Pentho-scapha erklärt sich als Abkürzung von Pentho-Rhinoscapha.

Bezüglich des Artnamens schreibt Riedel: This species is named in honour of Mr. Gerhard Scherer (Rottweil), a passionate beetlecollector, on the occasion of his 70th birthday. This patronym is seen as a recognition of Mr. Scherer's family's most generous support of systematic research and biodiversity conservation through their donation to BIOPAT e.V. (Diese Art ist zu Ehren von Gerhard Scherer (Rottweil), einem passionierten Käfersammler, anlässlich seines 70. Geburtstages benannt. Das Patronym wird als Anerkennung für die sehr großzügige Unterstützung der Familie von Herrn Scherer für die Erforschung der Systematik und Erhaltung der Biodiversität durch ihre Spende an BIOPAT e.V. gesehen.)

Eigenschaften des Käfers

Auffällige Geschlechtsunterschiede
Männchen und Weibchen unterscheiden sich äußerlich deutlich. Die mehr gestreckt gebauten Männchen (Abb. 1) mit in Aufsicht nur wenig gerundeten Flügeldecken werden einschließlich Rüssel rund fünfzehn bis sechzehn Millimeter lang. Die Weibchen (Taxobild) haben sowohl seitlich als auch dorsal deutlich stärker gewölbte Flügeldecken. Sie messen in der Länge siebzehn bis zwanzig Millimeter. Die Männchen haben deutlich längere Beine und breitere Tarsen als die Weibchen. Die Weibchen tragen auf den Flügeldecken Flecken aus hellen Schuppenhaaren, die den Männchen fehlen. Die Farbe der Flecken variiert zwischen den einzelnen Individuen von rein weiß über hellrosa – möglicherweise mit eingestreuten grünlichen Schuppenhaaren – bis fast rostfarben.

Beide Geschlechter sind schwarz. Am Grunde der Gruben der Flügeldecken sondert die äußerste Schicht der Kutikula (Exocuticula) einen gelben Farbstoff ab, der in einer Weise der Exocuticula anhaftet, welche an ein Pilzmyzel erinnert. Dies ist jedoch nicht das Ergebnis eines Wachstums im biologischen Sinne, sondern nur das mechanische Ergebnis der Absonderung und Anlagerung (in Abb. 2 im vorderen Drittel der Flügeldecken unscharf zu erkennen). Die Struktur der Anlagerung degeneriert bei toten Tieren und ist bei den Weibchen weniger auffällig ausgebildet als bei den Männchen. Die restliche Oberseite ist in beiden Geschlechtern größtenteils kahl, die Unterseite spärlich behaart.

Kopf
Der Kopf des Käfers ist glänzend schwarz und fast kahl, beim Weibchen sind vereinzelt helle lanzettförmige Schuppenhaare vorhanden. Die Augen haben vertikal gemessen einen etwas größeren Durchmesser als horizontal gemessen. Sie sitzen seitlich am Kopf etwa einen Augendurchmesser vom Kopfhinterrand und vom Rüsselansatz entfernt. Die Wangen verlaufen annähernd parallel zueinander. Die Augen sind durchschnittlich das 1,26fache des senkrecht gemessenen Augendurchmessers voneinander entfernt. Sie sind nur mäßig gewölbt. Die Stirn ist kräftig längs gerunzelt, unregelmäßig und zerstreut punktiert und seicht längs eingedrückt. Auf dem Hinterkopf verläuft median eine scharf begrenzte Längsfurche (in Abb. 3 leider nicht erkennbar, da außerhalb des Schärfebereichs). Der flache Rüssel (Abb. 3) ist beim Männchen nur durchschnittlich 1,66-mal so lang wie an der Basis breit, beim Weibchen 1,55-mal so lang wie an der Basis breit. Er ist in beiden Fällen nur wenig länger als der Kopf und im Vergleich mit anderen Arten der Gattung relativ kurz. Die Fühler sind nahe der Rüsselspitze eingelenkt, die ausladenden Einlenkungsgruben sind von oben gut einsichtbar. Von den Einlenkungsgruben läuft eine Fühlerrinne in Richtung unter die Augen, die nahe der Einlenkungsstelle ebenfalls von oben einsichtig ist. Vor den Einlenkungsgruben erreicht der Rüssel die größte Breite und übersteigt dort um etwas mehr als ein Drittel die Breite an der Basis. Der Rüsselrücken ist seicht eingedrückt und mit einem sehr flachen Mittelkiel versehen. Er trägt grobe, unregelmäßige Längsfurchen. Das Grundglied der Fühler (Schaft) ist relativ lang, nach hinten gelegt reicht es über die Mitte der Augen hinaus. Der Schaft ist an der Basis schlank, erst im letzten Viertel verbreitet er sich etwas keulenartig. Die Geißel besteht aus sieben Gliedern. Der Schaft und die Geißel sind spärlich behaart. Die schmale Keule ist 3,3-mal so lang wie breit, Keule und Geißel sind bei den Männchen durchschnittlich 1,74-mal so lang wie der Schaft, bei den Weibchen beträgt die Länge von Geißel und Keule gemeinsam das 1,68fache der Länge des Schaftes.

Halsschild und Schildchen
Der Halsschild ist wenig breiter als lang, die größte Breite liegt in der vorderen Hälfte. Im basalen Drittel verlaufen die Seiten annähernd parallel. Beim Weibchen sind wieder vereinzelt längliche Schuppenhaare zu finden, die dem Männchen fehlen. Die Scheibe des Halsschilds ist tief quer gerunzelt, mit eingestreuten undeutlichen Punkten, kurz vor der Mitte befindet sich ein tiefer Längseindruck.

Das Schildchen ist vorhanden, aber weitgehend verdeckt.

Flügeldecken
P. gerhardschereri ist die einzige der bisher bekannten Arten der Gattung, bei der die Flügeldecken verwachsen sind. Die Hautflügel sind jedoch noch ausgebildet. Beim Weibchen sind die Flügeldecken rotbraun und zusammen etwas über zwei Drittel ihrer Länge breit. Die einzelne Flügeldecke ist durchschnittlich 3,86-mal so lang wie an den Schultern breit und an der breitesten Stelle 1,29-mal so breit wie an den Schultern. Beim Männchen sind die Flügeldecken schwarz und zusammen nur reichlich halb so breit wie lang. Die einzelne Flügeldecke ist 4,13-mal so lang wie an den Schultern breit und an der breitesten Stelle etwa 1,16-mal so breit wie an den Schultern.

Die Flügeldecken sind über die ganze Länge tief grubig und grob quer gerunzelt, die Skulpturierung verflacht nicht zum Flügeldeckenende hin. Hinten fällt die Flügeldecke annähernd senkrecht ab (Abb. 2). Dieser Absturz setzt an der Flügeldeckennaht und dem jeweils unmittelbar daneben liegenden Intervall etwas verzögert ein, von der Seite gesehen bildet der Knick der Flügeldeckennaht einen nach hinten vorstehenden runden Knauf (Abb. 4 grüner Pfeil), der beim Weibchen markanter ausgebildet ist als beim Männchen. Nur beim Weibchen endet der Absturz in einem kleinen, spitzen Apikalzahn auf dem Intervall neben der Naht (Abb. 4 blauer Pfeil). Die Mikrostruktur des Flügeldeckenabsturzes ist ledrig, nicht gekörnt. In der Seitenansicht sind die Flügeldecken bis zum Absturz konvex (Abb. 2), es wird nicht durch eine stärkere Krümmung in der Mitte ein stumpfer Winkel angedeutet wie bei Penthoscapha lorentzi. Die Punktreihen sind grubig vertieft. Die Intervalle sind quer gerunzelt, die Querrunzeln benachbarter Intervalle gehen teilweise ineinander über, so dass eine unregelmäßige netzförmige Struktur entsteht. Die Intervalle der Flügeldecken sind nicht gleich, sondern das dritte, fünfte und siebte Flügeldeckenintervall ist jeweils rippenartig erhöht.

Beine
Die Beine sind lang und schlank, beim Männchen schwarz, beim Weibchen rotbraun und kürzer als beim Männchen. Die Schenkel sind kaum gekeult und nur mäßig lang, die Schenkel des hinteren Beinpaars erreichen beim Weibchen gerade die Mitte des 5. Hinterleibssegments, beim Männchen sind sie länger, reichen jedoch nicht bis zum Flügeldeckenende. Die Schienen sind auf der Unterseite apikal beim Männchen schwach, beim Weibchen im unteren Bereich deutlich gezähnelt (in Abb. 2 am Hinterbein des Männchens gut erkennbar). Die Hinterschiene endet schräg abgeschnitten. Die Schiene des Hinterbeins ist am Ende schräg abgestutzt, die Schräge wird von wenigen zahnähnlichen Borsten begrenzt und endet auf der ventralen Seite in einem Fortsatz (Mucron). Ein solches Mucron besitzen die meisten Arten der Gattung, es fehlt jedoch bei Penthoscapha pulverea und bei Penthoscapha similis. Beim Männchen ist am mittleren Beinpaar das erste Tarsenglied 2,4-mal so lang wie breit, das zweite Tarsenglied 1,1-mal so lang wie breit, beim Weibchen ist das erste Tarsenglied 1,8-mal so lang wie breit, das zweite ist bereits etwas breiter als lang.

Verbreitung
Die Art kommt endemisch in Papua-Neuguinea vor. Die Art wurde bisher nur dreizehn Mal gefunden (sieben Männchen, sechs Weibchen), alle Funde lagen in Höhen zwischen 3300 Metern und 3450 Metern im Jayawijaya-Gebirge.

Biologie
Die Käfer wurden in subalpiner Höhenlage beim Öffnen von Kissenpolstern gefunden.

Quellen
Alexander Riedel: "Revision of the genus Penthoscapha Heller (Coleoptera, Curculionoidea, Entiminae, Eupholini) with notes on the genera of Eupholini from New Guinea" Zootaxa ISSN 1175-5326 (print edition), ISSN 1175-5334 (online-edition)

Einzelnachweise

Weblinks

Entiminae (Käfer)
Entiminae

redpajama_set_name: RedPajamaWikipedia


text:
What Do Marxists Have To Say About Art?
Richard Clarke introduces some of the main Marxist insights into the nature and value of art, and its links to political and economic realities.
Most Marxists would say that the value of a work of art such as a painting, or the pleasure they get from it - in its original or as a reproduction - is above all else an individual matter, not something that 'experts' (Marxist or otherwise) can or should pronounce upon. At the same time experts can enhance that pleasure, for example by explaining the technique and methodology of the composition of a painting. Again, this is no more the exclusive province of a Marxist than (for example) a commentary on the technical skills embodied in the design or manufacture of a washing machine.
However a Marxist approach may help to deepen the appreciation or understanding of an art work by revealing the historical context of its production and the relation of a work of art or of an artist to society. Art, just as any other human activity, is always created within a specific social and historical context, and this will impact on the art work itself. This is why Marxists argue that one can only begin fully to appreciate and understand a work of art by examining it in relation to the conditions of its creation.
Here a fruitful starting point for discussion is a materialist view – looking at the production and consumption of art, the position of artists in relation to different classes, and the conflicts embodied in a work of art and in the history of which it is a part. For example, Ernst Fischer's seminal essay The Necessity of Art (1959) is a Marxist exposition of the central social function of art, from its origins in magic ritual through organised religion to its varied and contradictory roles within capitalism and its potential in building socialism.
The Marxist art critic John Berger in his Ways of Seeing (a 1972 four-part television series, later adapted into a book, Ways of Seeing) was hailed by many people for helping to deepen their understanding of art. Berger argued that it was impossible to view a reproduction of 'old masters' (generally paintings by European artists before 1800) in the way they were seen at the time of their production; that the female nude was an abstraction and distortion of reality, reflecting contemporary male ideals; that an oil painting was often a means of reflecting the status of an artist's patron; and that contemporary advertising utilises the skills of artists and the latest artistic techniques merely to sell things for consumption in a capitalist market.
Berger's work remains controversial and has been revisited many times, particularly since his death in January 2017. Many have argued that he over-simplifies and that he incorporates the deeper perceptions of others such as Walter Benjamin, working at the interface between Marxism and cultural theory. Some have asked (for example) why there is no reference to feminist theorists in Berger's chapter on the 'male gaze'. However Berger's work needs to be seen in context as a polemical response to the 'great artists' approach which characterises much establishment art history and 'art appreciation' typified by Kenneth Clark's (1969) Civilisation television series.
What is clear is that cultural expression (art, lower case) is characteristic of all human societies and that while art and society are intimately connected, the former is not merely a passive reflection of the latter. The relationship is a dialectical one. As Marx declared in A Contribution to the Critique of Political Economy: 'The object of art, like any other product, creates an artistic and beauty-enjoying public. Production thus produces not only an object for the individual, but also an individual for the object'.
A distinction is often made between the performing arts (including music, theatre, and dance) and the visual arts (such as drawing, painting, photography, film and video). Performing arts are of their nature ephemeral, and as Robert Wyatt, the communist percussionist of the '60s psychedelic rock group Soft Machine, declared, 'different every time'. The performance is the initial product, although it may be recorded, reproduced and subsequently sold.
'Art' (as in painting, on canvas) is sometimes presented as the highest point in the development of 'civilised' culture. Jean Gimpel, an historian, diamond dealer, and expert in art forgery, attacked the concept of 'high art' in his book The Cult of Art (subtitled Against Art and Artists). He argued that the concept of Art - especially oil paintings, on transportable framed canvas - is specifically a product of capitalism, personified in the Florentine artist Giotto 'the first bourgeois painter' of the Renaissance and his successors.
Under the patronage of the Medici and other nouveau riche Italian patrician families, the 'artisan' workmanship of frescos on church walls or decorated altarpiece was superseded by the movable (and marketable) canvas. In short, it was commodified. 'People no longer wanted a 'Madonna' or a 'Descent from the Cross' but a Leonardo da Vinci, a Michelangelo or a Bellini.' The cult of art and the artist was born.
Yet it was not until the eighteenth century that the distinction between 'artisan' and 'artist' became fixed. Even today people can be heard asking – of everything from the Lascaux cave paintings to some suburban topiary — 'but is it Art?' High art of course also produced its supposed antithesis - the artist in his garret (women artists were to a degree excluded from the equation), suffering, sometimes starving in the cause of art unless they are lucky enough to be 'discovered', often only after death. With capitalism, for the first time the artist became a 'free' artist, a 'free' personality, free to the point of absurdity, of icy loneliness. Art became an occupation that was half-romantic, half-commercial.
Dire Straits' 'In The Gallery' is a song about the conversion of use-value (the worth the artist or her audience see in an art work or the pleasure they get from it) into exchange value. Harry is an ex-miner and a sculptor, 'ignored by all the trendy boys in London' until after he dies, when, suddenly, he is 'discovered' (too late for Harry, of course) – the vultures descend to make profit from his work.
Don Mclean's 'Starry Starry Night' carries a similar message. The principal difference (beyond the tempo of the songs) is that Harry is politically engaged, very much of this world whereas tormented Vincent (Van Gogh) was 'out of it' - unlike his post-impressionist erstwhile friend, Paul Gauguin, who asked his agent what 'the stupid buying public' would pay most for and then adjusted his output accordingly.
Vincent (Starry Starry Night)
Irrespective of their recognition or fame, art and artists are frequently presented as apart from, sometimes above, society. For Marxists it is clear that the arts and artists are an integral part of society. In terms of aesthetics and policy however, Marxists would suggest caution - the history of art within socialism is a mixed one. The early flowering of post-revolutionary Soviet avant-garde art is well known. Constructivism strived to put art at the service of the people. The subsequent rise of socialist realism as 'official' art was an attempt to make art more accessible (and it existed alongside a flourishing variety of unofficial art forms).
Left: Gustav Klutsis – Workers, Everyone must vote in the Election of Soviets! Right: Russian Propaganda Poster
In the United States modern art was promoted as a weapon in a cultural cold war with the Soviet Union and its 'socialist realist' art forms. In the 1950s and 1960s, through the Congress for Cultural Freedom, the Farfield Foundation, and other covers, the CIA secretly promoted the work of American abstract expressionist artists - including Jackson Pollock, Willem de Kooning and Mark Rothko - in order to demonstrate the supposed intellectual freedom and cultural creativity of the US against the ideological conformity of Soviet art.
Jackson Pollock, Autumn Rhythm (Number 30)
Even when art is oppositional, capitalism has an uncanny knack of appropriating it. The Royal Academy's 2017 exhibition of Russian revolutionary art was accompanied by vicious and ignorant curating – presumably to disabuse any who might otherwise have been inspired by the works on display. Banksy's graffiti, a determinedly uncommercial form of art 'for the people' (maybe a modern equivalent of the Lascaux cave paintings?) is now 'in the gallery' – decidedly a collector's item with a price tag to match. Another (dead) graffiti artist, Jean-Michel Basquiat's 1981 depiction of a skull was auctioned in May this year for more than $100 million. Banksy's own comment on this is conveyed on a wall of the Barbican where a posthumous exhibition of Basquiat's work runs until January 2018 (admission £16). City of London officials are currently considering whether (and how) this fresh graffiti might be preserved.
Within capitalism, as its crisis deepens, 'high art' (provided it is portable, saleable, in a word, alienable) is – next to land and other property – one of the best investments that there is. A recent example is Sir Edwin Landseer's 'Monarch of the Glen', 'saved' for the nation in March 2017 at a cost of £4 million, through a fund raising exercise to pay its owner, Diageo. This multinational drinks conglomerate (profits last year £3 billion on net sales of £10.8bn, 15% up on the previous year; CEO Ivan Menezes' salary £4.4m) graciously agreed to accept just half of the paintings 'estimated value' of £8 million. More than half of this money came from the National Lottery - itself sometimes described as a 'hidden tax on the poor'.
Edwin Landseer,The Monarch of the Glen
Gaugin's Nafea Faa Ipoipo? ('When Will You Marry'?), painted in 1882 and, like his others, presenting a romanticised view of Tahiti, sold for $300 million in 2015 — just topped by de Kooning's Interchange the following year. A 24ct gold bracelet, designed by Ai Weiwei, the Chinese 'dissident' and 'champion of democracy', inspired by the 2008 Sichuan earthquake (the deadliest earthquake ever, 90,000 dead, between 5 and 11 million homeless) sells for a modest £45,500 from Elisabetta Cipriani, (ElisabettaCipriani). The majority of artists and their artworks of course, never reach such dizzy heights.
The role of the artist in society remains a controversial subject. In the meantime it is clear that art and artists can and do play a vital role and that artistic freedom and license are crucial. Perhaps a good model is that followed in the former Yugoslavia and other socialist countries (as today in Cuba). Artists were not paid or employed as such by the state, although the arts in general were and are given generous state support. As in capitalist countries artists had to make their living through commissions, though these would be more likely to come from community associations, trades unions, local councils and the like, rather than from wealthy patrons or investors. Many would have to supplement their incomes by teaching, or by doing other jobs. But their social position was recognised and their social security contributions were paid so that on ill-health or retirement they would not suffer.
In both the appreciation, understanding and, indeed, production of art, and whether you love or loathe his own designs, one assertion that all socialists would surely agree with is that of the communist William Morris, who declared 'I do not want art for a few; any more than education for a few; or freedom for a few...', (Hopes and fears for art). What is certain is that art - of all types - can enrich our lives. It can also be galvanising, a force for social progress. But it is also clear that art that is subject to capitalist market forces involves a chronic distortion of the artistic product and process in which art works are valued for their price tag rather than their intrinsic quality. A Marxist approach can deepen our understanding of art provided that we avoid dogmatism and accept that this is an area of debate - one to which we can all contribute.
An abbreviated version of this article was first published in the Morning Star on 14 August 2017.
A Coverlet of Green: In Memoriam John Berger
A COVERLET
OF GREEN
by David Betteridge
The bare and barren tree
can be made green again...
- Antonio Gramsci
¶ A boy cried.
His bedside cup,
brimful with milk
before he slept, was empty
now, at morning-time.
Not one drop he'd drunk.
How, then, no milk?
The culprit mouse,
her creamy lips a give-away,
felt sorry for the boy.
And still he cried.
She thought:
I'll get the cattle
to make good his loss.
But no: Today our milk's
dried up.
Field, asked the mouse,
have you some juicy grass
to give?
Sorry, the field explained,
I'm parched.
Will you fetch water
from the well?
Brokenly, the well demurred.
My rim's caved in;
I need repaired.
¶ Mason, will you take the job?
Apologetically,
I'm short of stone,
the mason said.
¶ Next, to a bleak hill.
I've granite here
enough to build a town,
but not a single sett will go
to humankind.
Aggrieved, the hill refused
the mouse's plea.
Imagine -
mouse to hill -
imagine that you feel
the balm of maple trees
where you are bare.
If you give the mason stone,
the boy whose milk I took
will come to you a man -
you have my word -
and he will work for you
this remedy I plan.
¶ The hill relented;
the mason fixed the well;
water by the bucketful
was raised;
the pasture greened;
the cattle's udders
swelled, and cups
and bellies
soon were filled.
Strong as a bull,
the boy grew,
a farmer-forester.
The mouse, her children,
and theirs as well,
in turn, each year
reminded him:
a promise had been made.
¶ Hectare on hectare now,
gladdening the hill,
a coverlet of green extends
its shade, a living tribute
to the mouse's will.
A note on its sources, which are a Sardinian folk-tale, Antonio Gramsci, Hamish Henderson, Gordon Brown, and John Berger.
"A Coverlet of Green" is derived from a folk-tale from Sardinia. This folk-tale was written down in the mid-1930s by the Marxist philosopher and political activist, Antonio Gramsci, in a letter to his son. The letter was smuggled out of one of Mussolini's gaols, where Gramsci had been imprisoned, "to stop his brain from functioning". (In fact, his brain functioned all the more powerfully.)
Later, during the Second World War, Hamish Henderson, the Scottish poet, singer, folklorist, teacher, and lots of other things, came across Gramsci's writings, including his prison letters. Henderson was at that time an intelligence officer in the British Army, and one of his duties was to make contact with Italian partisans opposed to Mussolini. One such group called itself the Antonio Gramsci Brigade. It was they who acted as the link between the philosopher's ideas and the soldier. Henderson's translation of Gramsci's letters were published two decades later by a students' printing press at Edinburgh University, edited by a radical (even revolutionary) student leader who went on to pursue a noteworthy career in politics, although rather less radical, one Gordon Brown.
Later still, John Berger discovered Hamish Henderson's translation of Gramsci's re-telling of the Sardinain folk-tale. He so liked it that he re-told it himself in an essay about Gramsci called "How to Live with Stones", published in an essay-collection The Shape of a Pocket. He also re-told the tale in a radio interview on BBC Radio 3. It was this broadcast version that sparked my own attempt at a re-telling, in "A Coverlet of Green".
John Berger's death on 2nd January, just two months after his 90th birthday, leaves a great gap in literature and cultural politics. My poem, with Bob Starrett's lovely green evocation of new growth - maple leaves lit by sunshine - was intended for publication as a birthday greeting, but it missed that deadline. Now it can serve as an In Memoriam.
John Berger: an appreciation
David Betteridge offers an appreciation of the late, great John Berger.
There are some authors whose way with words not only reflects a way of living, but also excites it. It has a moral force as well as an aesthetic sense. John Berger, who died on 2 January, was an author of this kind.
Year on year, since he began his writing career with art criticism for the New Statesman in the 1950s, an increasingly wide world of readers has been delighted as his latest essay, article, review, novel, memoir, letter, play, film, tale, poem, or whatever was published. I say "whatever" because it is a feature of Berger's work that it is varied in its scope, and more than that: it is also varied in its mixing of genres within a single text. A novel may contain drawings; an essay may do the same, and then veer into memoir; philosophy and politics crop up everywhere, as do poems, in glorious profusion.
Looking back over Berger's career, which included such notable achievements as Permanent Red (1960), a collection of the first decade of his art criticism; A Fortunate Man (1967), a study of a country doctor, including photographs by Jean Mohr; Ways of Seeing (1972), a TV series about art history, and also a book, never out of print; G (1972), a novel, winner of that year's Booker Prize; A Seventh Man (1975), the most mixed of his mixed-genre books, "composed" jointly with Jean Mohr as an investigation into the lives of migrant workers in a Europe that was hungry, and is still hungry, for cheap labour; To the Wedding (1995), a story of multiple loves, lived under a sentence of death from AIDS; and, fast-forwarding to 2016, A Sparrow's Journey, a study of, and celebration of, and continuation of the storytelling genius of Andrey Platonov - looking back over this career, I am reminded of Coleridge's wild fig-tree, its old roots deep in a rock, "still starting up anew, with the playfulness of the Boy..."
Berger achieved his evergreen feat "amid the profoundest and most condensed constructions of hardest Thinking." And not just thinking: feeling, too. Both are in constant play in his writing, each animating the other. There are times when his prose has the articulate energy and sensuous beauty of poetry. Take this little extract (slightly edited), for example, from his story "The Accordion Player", from Once in Europa (1983), which is the second of his Into Their Labours trilogy, set in the mountains of Haute-Savoie where Berger spent much of the second part of his life:
The milking finished, he entered the kitchen. He had closed the shutters... to keep the room cool. Light from the sunset filtered between their slats. On the window sill was the bunch of flowers he had picked. On seeing them he stopped in mid-stride. He stared at them as if they were a ghost... He pulled a chair from under the table, he sat down and he wept... Odd how sounds of distress are recognised by animals. The dog approached the man's back and, getting up on its hind legs, rested its front paws on his shoulder blades. He wept for all that would no longer happen...
Berger said of himself, in a recent interview with Kate Kellaway (Guardian, 30 October, 2016), that "If I'm a storyteller it's because I listen". Yes, he listened; and, just as importantly, he looked. He looked as intently as a field naturalist, or an artist - which Berger was, all his days – drawing someone's portrait, or his favourite philosopher, Spinoza, practising his trade as a lens-grinder, or "la vigie - the lookout guy on a boat", as he told Kate Kellaway. He looked, and he saw more than most of us.
The very titles of some of Berger's books confirm this commitment to closely examining things in all their minute particulars. There is The Look of Things (1972), About Looking (1980), The Sense of Sight (1993), as well as the already mentioned Ways of Seeing.
If you have watched Berger on TV and heard him speak, you will have detected the way that so long an immersion in his Haute-Savoie neighbours' French had inflected his native English voice. More significantly, if you have read the many poems that he translated from other languages, you will understand the way that a wide world of inspiration had inflected his thought. Aime Cesaire, Bertolt Brecht, Nazim Hikmet, Mahmoud Darwish, and others: the labour of wrestling their meaning into alternative expression served to broaden Berger's already broad internationalism. He was the least insular of Englishmen, the least Eurocentric of Europeans. He was a world-citizen, viewing as he did the pages of literature "as if it were a place, an assembly point": a sort of convivial commons.
All of the titles that I have listed above, plus the many more that I have omitted that I might equally well have listed, are open doors to such places. It is sad to think that their maker and sharer has written his last.
For the late John Berger, art criticism was a revolutionary practice. The following article by Robert Minto, outlining Berger's theory of art, is republished with the kind permission of the Los Angeles Review of Books, lareviewofbooks.org
Early in his career, John Berger's weekly art criticism for the New Statesman provoked outraged letters and public condemnation. Once, the British Council issued a formal apology to Henry Moore because Berger had suggested his latest work showed a decline. Nor was the hostility limited to such comic passive-aggression. Berger's politics were deemed so objectionable that his publisher was compelled to withdraw his first novel, A Painter of Our Time (1958), from circulation.
At 90, Berger is harvesting a sudden flowering of praise. It is well deserved. For more than half a century, he has been our greatest art critic — as well as a superior novelist, a poet, and the star and screenwriter of one of the best art documentaries ever made, Ways of Seeing. Most of the writers currently rushing to canonize him, however, avoid dwelling on the heart of Berger's point of view — his Marxism. No doubt avoiding this disfavored topic makes eulogy easier, but it reminds me of something Berger wrote about Frederick Antal: "the importance of his Marxism tends to be underestimated. In a curious way this is probably done out of respect for him: as though to say 'He was brilliant despite that — so let's charitably forget it.' Yet, in fact, to do this is to deny all that Antal was." To make such a denial about Berger should no longer be possible after the publication of Landscapes: John Berger on Art.
Landscapes and its companion volume, Portraits: John Berger on Artists (Verso, 2015), are the best summation to date of Berger's career as a critic. Both volumes were edited by Tom Overton. In Portraits, Overton made selections from decades of essays on the whole historical gamut of art, from the prehistoric cave paintings of Lascaux to the work of 33-year-old Randa Mdah, and organized them chronologically into a history and appraisal of the art of painting. To read it was to be reminded of Berger's unique virtues: the clarity of his writing, the historical and technical erudition of his insight, and above all his unique focus on each artist's way of looking. What Landscapes in turn makes clear, through its assemblage of more programmatic pieces — book reviews, manifestos, autobiography — is that Berger is a rigorous thinker with a theory of art. That theory evolved considerably between the 1950s and the 2010s. Yet two threads hold it together with the tenacity of spider silk: a critique of the political economy of art and a sophisticated account of its human value, each rooted in a committed but elastic Marxism.
A Marxist art criticism of any real subtlety has to be elastic, because it must deal with a problem Marx himself diagnosed but failed to solve. Berger puts it like this:
A question which Marx posed but could not answer: If art in the last analysis is a superstructure of an economic base, why does its power to move us endure long after the base has been transformed? Why, asked Marx, do we still look towards Greek art as an ideal? He began to answer the question […] and then broke off the manuscript and was far too occupied ever to return to the question.
Berger takes up the thread where Marx broke off. He is not, of course, the first Marxist to address the question of art, and he is familiar with most of those who tried before him, sorting through and furthering their legacy.
The most famous of Berger's influences, Walter Benjamin, wrote the essay "Art in the Age of Mechanical Reproduction," from which came most of the ideas in Berger's documentary, Ways of Seeing. But Landscapes reveals that his most important influence as a practicing art critic was Max Raphael.
Raphael, an undeservedly obscure theorist, located the value of art in the activity of the artist. According to him, an artist performs two operations. On the one hand, the artist turns raw material into artistic material by shaping it to represent an idea or an object; this is true both of Michelangelo shaping a block of marble into David and of Jackson Pollock embodying the rhythms of jazz in drip paintings. On the other, the artist turns his perception into something external and objective, a representation. The work of art is the result of these two transformations, of raw stuff and of subjective perception into an art object. For Raphael, the point of art is these two transformations: they are the artist's way of "undoing the world of things" and constructing "the world of values."
So Raphael's answer to Marx's problem — why is art enduringly moving even though it merely reflects its social context? — is to say that art doesn't merely reflect its social context. It does reflect it, because the artist's material, style, the things they want to represent, even the way they see, are historically conditioned; but it doesn't merely reflect it, because the transformed material speaks of something deeper and more voluntary. It speaks of humanity's ability to make its own world, to become the subject and not merely the victim of history. "The function of the work of art," Berger sums up Raphael, "is to lead us from the work to the process of creation which it contains."
Anyone familiar with Berger's own writing will sit up with a shock of recognition. Here is a theory of art directly correlated to his practice of criticism. Berger takes art out of the sanitizing temples where we store it and drops it firmly back onto the easel, in a messy studio, where a sweaty artist bites her lip and stores her way of looking in an object. Over and over again, he asks us to imagine the artist at work. Many have attributed this to his own training as a painter, which might have inspired his fascination with technique, as I, an amateur pianist, am fascinated by the technique of my favorite recording artists. But I think his admiring discussion of Raphael suggests a much deeper reason. If Berger believes that the most important meaning of art is what it shows us of our ability to create the world we want, it turns out that his criticism is connected to his Marxism much more fundamentally than through the borrowing of a few insights from Walter Benjamin.
For Berger, art criticism is a revolutionary practice. It prepares the ground for a new society. In Landscapes, Overton includes a translation by Berger and Anya Rostock of a poem by Bertolt Brecht. It includes this passage:
Yet how to begin? How to show
The living together of men
That it may be understood
And become a world that can be mastered?
How to reveal not only yourselves and others
Floundering in the net
But also make clear how the net of fate
Is knotted and cast,
Cast and knotted by men?
[…] only he who knows that the fate of man is man
Can see his fellow men keenly with accuracy.
How to begin? Berger answers: In art. There we find proof and prophecy of a different world. In another essay, he writes:
We can no longer "use" most paintings today as they were intended to be used: for religious worship, for celebrating the wealth of the wealthy, for immediate political enlightenment, for proving the romantic sublime, and so on. Nevertheless, painting is especially well suited to developing the very faculty of understanding which has rendered its earlier uses obsolete: that is to say, to developing our historical and evolutionary self-consciousness.
This is the promise, the positive function of art. By looking at it, we are, in effect, looking through an artist's eyes, entering into a concretized instance of their gaze. We are looking at a looking. And from within an artist's looking, we learn about the capacities of our kind and the possibilities of our future:
A classical Greek sculpture increases our awareness of our own potential physical dignity; a Rembrandt of our potential moral courage; a Matisse of our potential sensual awareness.
At the same time, Berger is of the opinion that the modern history of art is a history of failure. He won't compromise on this point, and it is undoubtedly the reason for the stiff resistance that he has often met.
In modern times, Berger believes, the art world has hosted a titanic battle between two conceptions of art. One conception declares that art is valuable because it bodies forth the vision of an artist; it is a good in itself just to the degree that it succeeds at this task. This is Berger's conception, and it is large enough to embrace all the varying and contradictory proclamations and provocations of the successive factions of modern art. The other conception declares that art is valuable because it is expensive — that, fundamentally, art is property:
Since 1848 every artist unready to be a mere paid entertainer has tried to resist the bourgeoisation of his finished work, the transformation of the spiritual value of his work into property value. This regardless of his political opinions as such. […] What Constructivism, Dadaism, Surrealism, and so on, all shared was their opposition to art-as-property and art-as-a-cultural-alibi-for-existing-society. We know the extremes to which they went […] and we see that their resistance was […] ineffective.
In other words, artists, like all other workers, are victims of a capitalism that alienates them from the fruit of their labor. Berger has nothing but scorn for the commercialization of art: "If you could fuck works of art as well as buy them," he writes, dealers "would be pimps: but, if that were the case, one might assume a kind of love; as it is they dream of money and honour." Everything about the modern art world is constructed on the assumption that art is precious in proportion to its price. Even among those who profess a genuine love of art, that passion is often tainted by its ideological function:
A love of art has been a useful concept to the European ruling classes for over a century and a half. The love was said to be their own. With it they could claim kinship with the civilisations of the past and the possession of those moral virtues associated with "beauty". With it they could also dismiss as inartistic and primitive the cultures they were in the process of destroying at home and throughout the world.
Museums, those seemingly democratic institutions for the dissemination of art appreciation, come in for withering critique: "Anybody who is not an expert entering the average museum today is made to feel like a cultural pauper receiving charity." From a man who has spent so much time in museums, these are harsh words. Everything about our museums' operations reveal a slavish dedication to the conception of art as property: from the choice of what to show and what to store, to the obsession with provenance. Provenance is an important question for owners of art-as-property, for whom the price of a work of art, which to them is equal to its value, is directly dependent upon its rarity and authenticity. The museum teaches us that we are paupers in two senses: too poor in money to do anything but stand abjectly before this display of wealth, and too poor in taste to grasp the reason these objects are so highly prized. Before museums can even begin to be useful, believes Berger, "it is necessary to see works of art freed from all the mystique which is attached to them as property objects."
Berger's opinion of museums reveals something: our greatest art critic for the last half-century has been conducting a smuggling operation. The bulk of his work as a critic has been a plainspoken attempt to enunciate the meaning of works of art — the process of their creation — under the eyes of their guards. From his perspective, the regime of property has an interest in suppressing his work, not just because art has functioned so well as a form of wealth and an ideological tool, but because its real meaning is dangerously emancipating.
Tom Overton and Verso have provided a real service by supplementing the praxis, the well-known criticism, of the increasingly famous John Berger with his theory. All those who love his writing and profess to take him as a teacher owe it to themselves to peruse Landscapes, and to grapple frankly with the discomforting, clear, and urgent message of his work:
[I]t is necessary to make an imaginative effort which runs contrary to the whole contemporary trend of the art world: it is necessary to see works of art freed from all the mystique which is attached to them as property objects. It then becomes possible to see them as testimony to the process of their own making instead of as products; to see them in terms of action instead of finished achievement. The question: what went into the making of this? supersedes the collector's question of: what is this?
'Work For It!' John Berger at 90
John Berger was born on 5th November 1926. To celebrate his 90th birthday, we republish some of his poems, an interview, and some of his quotations.
One of the people who was due to attend the Teeside International Poetry Festival in 2015 was John Berger, the Marxist art critic, essayist, novelist, artist and poet. He could not come in the end, due to severe arthritis, but he appeared via Skype at one of the sessions, and recited some poems from his recent collection, published by Smokestack Books.
Collected Poems reflects Berger's longstanding concerns with art and politics, love and war, history and memory, and the life of the peasantry around him (he used to live in the Haute Savoie, in the French Alps). They demonstrate an enduring commitment to the extraordinary lives of ordinary people.
You can tell from the poems that the writer is a fine draughtsman and artist. Each one of them is like a perfectly framed image, a painted still life, sensual, honest and plain. They are sketches of hard lives, caught between the provisional nature of language and the permanence of things. Here are five of the poems.
16.45h The Firing Squad
The dog carried the day in her mouth
over the fields of the small hours
towards a hiding place
which before had been safe.
Nobody was woken before dawn.
At noon
the dog sprawling in the shade
placed the pup between her four paws
and waited in vain
for it to suck.
A line of prisoners
hands knotted
into the grave they have dug.
Belly to the earth
the dog carries the day
which has never stirred
back to its dark.
Under the stars the bereaved
imagine they hear
a dog howling too
on the edge of the world.
This piteous day was born
stone-deaf and blind.
Mother let me cry
not letterpress
nor telex
nor stainless speech
announce disaster
with impunity -
but the pages of the wound.
Mother let me speak
not adjectives
to colour
their maps of wretchedness
nor nouns to classify
the families of pain -
but the verb of suffering.
My mother tongue taps
on the prison wall
Mother let me write
howling in the falls.
The pulse of the dead
as interminably
constant as the silence
which pockets the thrush.
The eyes of the dead
inscribed on our palms
as we walk on this earth
Seven Levels of Despair
To search each morning
to find the scraps
with which to survive another day.
The knowledge on waking
that in this legal wilderness
no rights exist.
The experience over the years
of nothing getting better
only worse.
The humiliation of being able
to change almost nothing,
and of seizing upon the almost
which then leads to another impasse.
The listening to a thousand promises
which pass inexorably
beside you and yours.
The example of those who resist
being bombarded to dust.
The weight of your own killed
a weight which closes
innocence for ever
because they are so many.
Pewter pock-marked
moon of the ladle
rising above the mountain
going down into the saucepan
serving generations
dredging what has grown from seed
thickened with potato
outliving us all
on the wooden sky
of the kitchen wall
Serving mother
of the steaming pewter breast
veined by the salts
fed to her children
hungry as boars
with the evening earth
engrained around their nails
and bread the brother
pour the sky steaming
with the carrot sun
the stars of salt
and the grease of the pig earth
pour soup for our days
pour sleep for our night
pour years for my children
As well as being a major poet, John Berger is a cultural critic who has challenged and changed the way we see the world, in countless essays and in books such as Ways of Seeing, Permanent Red, Pig Earth, and the novel G.
During the Skype session at the Festival, he answered some questions about art and politics. I followed this up with a telephone interview with him, and exchanged some texts, and below I set out the questions he was asked, and the answers that he gave.
Q. What constitutes good art?
A. Good art is like a lorry: it transports.
Q. Are poets, as Shelley famously suggested, the unacknowledged legislators of the world?
A. Poets are not legislators themselves, but they can be great agents of change. They evoke the need for a new politics by being able to envision the world, to summon up the past and future, to make them present, thus making it clearer how things could be different.
Q. Auden said that poetry changed nothing, and Brecht said that art is a hammer with which to change reality. Can poetry make useful political interventions, and change reality?
A. Well you have to remember that reality is not just some outside, fixed given, it includes our experience of what's out there. With that in mind, it seems to me that poetry can indeed change people, because we all know how a good poem alters, no matter how slightly, our perceptions of the world around us. Those perceptions lead to us making hundreds of different choices, including political choices. So its effect is continuous, and multiple. It can also encourage disobedience, and demonstrate that language is not necessarily the meaningless crap by which we are surrounded!
Q. You have produced many kinds of writing, including art criticism, novels, essays, and poems. Which discipline do you prefer the most?
A. Nearly all my work has involved collaborations with other people. For example, Ways of Seeing, for which most people know me best, was a collaboration with several others, and this tends to get forgotten. So I would say that I don't have a preferred genre as such, but I do have a preferred mode of creativity, and that is collaboration. For me, collaboration is a kind of solidarity, in fact it creates solidarity, and that is for me a very important principle of working.
Q. You spoke of the ability of poetry to envision the world. How should teachers and academics approach poetry, what should they do with it, and how should it be taught?
A. Students and people generally should be encouraged to surround themselves with poetry, with the sounds and forms and silences that are in poems.
Q. What impact do you think the internet has had on the arts and society generally?
A. The internet is a fast, effective way of sharing a lot of information. It thus helps expose and clarify the present structures of power in the world. It makes it clearer how globalised capitalism works, how the world is run by decisions taken by giant transnational corporations, by tiny elites of capitalists.
I think many young people see this clearly, partly because of the ease with which they handle new technology, but also because they are one of the main victims of unemployment, low pay and insecure employment.
Politicians have lost power, or perhaps it has become clearer how little power they ever really had. But they won't admit it, and this leads to great folly and doublespeak in the use of language, which alienates people, it makes us feel lost and desperate. But we can resist it when we realize where power comes from, and as I say, the internet and new technology generally can help clarify where real power lies.
Q. What would be your parting message be to us?
A. We live in a dark age. Art has existed for at least 30,000 years. Another age of hope will come.
Work for it!
Some Quotes from John Berger
'the issue is between a total approach to art which attempts to relate it to every aspect of experience and the esoteric approach of a few specialised experts, who are the clerks of the nostalgia of a ruling class in decline. In decline, not before the proletariat, but before the new power of the corporation and the state.'
'I now believe there is an absolute incompatibility between art and private property, or art and state property, unless the state is a plebeian democracy. Property must be destroyed before imagination can be developed any further.'
'My aim has been to try and destroy this bourgeois society'
'The poverty of our century is unlike that of any other. It is not, as poverty was before, the result of natural scarcity, but of a set of priorities imposed upon the rest of the world by the rich. Consequently, the modern poor are not pitied...but written off as trash. The twentieth-century consumer economy has produced the first culture for which a beggar is a reminder of nothing.'
Displaying items by tag: Architecture

redpajama_set_name: RedPajamaCommonCrawl


Michael's Genuine Food & Drink is possibly one of the best food experiences Miami has to offer. Set in the funky Design District, Chef/Owner Michael Schwartz has created a casual bistro, which is an ode to "Genuine Food & Drink".
Michael Schwartz is a leader in the farm to table movement and was recently awarded the prestigious 2010 James Beard Foundation Award for Best Chef: South.
Schwartz's passion for the freshest, finest ingredients is evident in the truly superb fare he has to offer. Each dish is composed in honor of every component that has been utilized. The results are just divine.
I love that there are no pretensions here. People come here to enjoy simple New American, ingredient-driven cuisine at really affordable prices and I'm all about that!


text:
Adrien Barnabé Athanase Recurt, est né à Lassales (Hautes-Pyrénées) le  et est mort à Lévignac-sur-Save (Haute-Garonne) le . C'est un militant républicain et un ministre de la Deuxième République.

Biographie
En 1822, il devient médecin. Il s'affilie à la Charbonnerie. Il vient s'établir à Paris où il combat pendant les Trois Glorieuses de . Hostile à la Monarchie de Juillet, il est impliqué dans le complot des insurgés d'avril mais est acquitté. Militant républicain il participe à la campagne des banquets de 1847 et 1848 qui aboutit au  renversement de  pendant la révolution de février 1848 et il est nommé adjoint au maire de Paris.

Élu à l'Assemblée nationale en , pour les Hautes-Pyrénées, il en devient le vice-président. Il devient ministre de l'Intérieur de la Commission exécutive et il seconde le général Louis Eugène Cavaignac lors de la répression des l'insurrection parisienne de Juin 1848. Le , il devient ministre des Travaux publics dans le gouvernement du général Cavaignac. Le , il devient préfet de la Seine, fonction qu'il exercera moins de deux mois. Louis Lazare, directeur de la Revue municipale, commentera cette nomination en ces termes : « Un médecin préfet de la Seine. Caligula n'eut pas mieux fait ! ». Après l'élection à la présidence de Louis-Napoléon Bonaparte le , il abandonne la vie politique.

Sources

Liens externes

Notes

Député des Hautes-Pyrénées
Ministre de la Deuxième République
Membre de l'Assemblée constituante de 1848
Ministre français de l'Intérieur
Ministre français des Travaux Publics
Préfet de la Seine
Naissance en juin 1798
Naissance dans les Hautes-Pyrénées
Décès en novembre 1872
Décès en Haute-Garonne
Décès à 74 ans


It's that time of year – the holidays are coming and it is time to see what are the hottest trends in Asics footwear. Get ready for a year of futuristic inspiration and retro throwbacks. From the Limited Edition Kayano 25 to the popular ASICS GEL-DS Trainers, discover the best online Asics sales in Australia and the most stylish sneakers on the planet. Originality and style come together with this year's most exciting lines. Only the best, only ASICS.
Get ready for the latest trends from South Korea. The exclusive Casestudy shop has the go-to in street fashions, including the latest special GEL-Kayano 25 according to the latest international sneaker news. The GEL-Kayano 25 "dad shoe" in navy has unique black and gold accents, including the sneaker boutique's branding. This is a very limited edition created for the Seoul Fashion week, so hot that it will burn. Look for this sneaker this fall.
If you are into retro trends, look no further than the Classic ASICS training shoe. The GEL-DS Trainer is enjoying a new re-release that brings the 1990s back en vogue. The comfortable sneaker comes in a classy black, red, and burgundy pattern that is a throwback to the past. But like all ASICS footwear, the GEL-DS Trainer has contemporary technology, ensuring comfort, protection, and support in all the right places. The future of running is in the past!
For the martial arts enthusiast and serious athlete, the ASICSTIGER Welcome to the Dojo Pack is an alluring combo of yellow and black style. Meant to promote creativity, the line is a distinct combination of style and performance. The Welcome to the Dojo Pack includes the retro GEL-DIABLO and the classical Onitusuka Tiger MEXICO 666, as a nod to vintage marital arts movie history. Enjoy more contemporary models, too, with the latest in sneaker tech. Check out the GEL-QUANTUM 360 shoes and accompanying active wear, perfect for every serious martial artist and creative mind.
The 1991 ASICS GEL-Saga sneakers are returning in the Foot Patrol and ASICS shoe collaboration. The original design for the footwear was inspired by the Gundam Wing anime series, a famous series from the 1990s. The Japanese mecha anime series was a futuristic tale of war, space colonization, and technology. The shoe has white mesh and light grey suede. The overall style is inspired by the Gundam suit colors. Borrowing from the overall color scheme is an additional nod to the cherished series. Accents are in metallic blue, with pink lace tips that have a mech-style number. Find the shoes in London and Paris, as well as online retailers.
Want to find out the latest in contemporary shoe fashion? Look no further than ASICS footwear. From martial arts style to classic anime trends, ASICS is bringing on the heat this season with some of the most original and exciting sneaker lines. Keep up to date on the latest ASICS news to discover what is next.


On the day known in the industry as the unofficial end of the Toronto International Film Festival, the festival felt like one of the great ones, if only for the day.
The best Iraq movie so far (closely nipping Nick Broomfield's Battle For Haditha) and the best new American film at TIFF that I have seen this year is Kathryn Bigelow's Hurt Locker, which really isn't so much an Iraq War film as it is a war film that happens to be in Iraq. Mark Boal's screenplay does what so many screenplays dealing with big subjects do not… it narrows the field down to a subject that can be contained by 2 hours, offering full, rich, human emotion on the playing field, which in this case is the Iraq War.
In many ways, Hurt Locker is like a third half of Kubrick's Full Metal Jacket. Bigelow, who does her best career work here, isn't quite the magician that Kubrick was – and who is? – but she brings her own style to the proceedings and does not, almost surprisingly, ever cross over into excess style. (There is, actually, one exception… in an early explosion, there were, for my tastes, one too many cool slo-mo shots… especially after we learn where the movie is going. I think the operatic style of the images there undermines the lack of same style later in the film. But this is a nitpick.) Along with Boal's script, Bigelow chooses make the characters say little and to let their choices define them when the hard moments come.
The film uses three acting-celebrity cameos in an interesting way, I think trying to unbalance the audience a bit so we don't know what to expect. I certainly don't want to give it away, though I can guess now that a certain movie by a certain director will be referenced in over 75% of reviews when the movie is ultimately released.
The central trio of the film is made up of Jeremy Renner, Anthony Mackie, and Brian Geraghty. Bigelow and Boal conspire to make sure that we never know what might happen to any one of the three, from the first time they are in a scene together to the last. The wild man in the trio is Jeremy Renner, who plays his role perfectly. He has so internalized his work as a bomb tech that he has no fear when faced with a situation, no matter how insane being fearless might be. But his sense of honor is equally unshakeable and leads him down some dark alleys.
The only downside to Renner being so real in the role is that not being a movie-star charismatic makes you wonder what the commercial potential is for the film. He's handsome, but it's a doughy-faced kind of handsome. He seems fit, but not strikingly tall or cut or lithe. He is what you might expect the real guys who do these jobs to look like. And it would be dead wrong to criticize the movie for not taking the easy way out. But you kinda want everyone to see this one and now and again, the craving for a little stunt casting creeps up on you.
Anthony Mackie, who killed in Half Nelson, is uptight here, an intellectual stuck in a harsh, ugly war zone. He gets is right, much of his dialogue shouted through helmet-to-helmet mics, like poetry or a rock song or Shakespeare, it demands a certain precision and he gets it – and the emotions behind it – just right. My guess is that he is the most likely stand-in for the film's audience.
Brian Geraghty is the innocent. And he another character who could so easily have gone someplace irritatingly obvious, but does not.
In many ways, the film is of the Michael Mann oeuvre, with half a dozen or so major set pieces that are complex, dramatically compelling, and make you feel like you are experiencing the moment first hand. The drama between the set pieces is not as stylized as Mann's, but in this case, that raw energy feels dead right.
Hurt Locker is looking for distribution here and while it seems riskier – given the industry's heightened fear of Iraq-related movies – that The Wrestler at $4 million, the opportunity to buy a movie that you know carries some real impact is undeniable. I also have a strong feeling that the film will actually get better on multiple viewings.
Meanwhile… the rich just get richer.
Fox Searchlight has had a very quiet 2008, but they started to prep to bring just The Secret Lives of Bees here… added Slumdog Millionaire a few weeks ago… and now leave with a third fall film in The Wrestler. All of a sudden, they have a very muscular and busy fall/holiday season to come.
But back to Slumdog Millionaire.
Dumping this film… or simply acknowledging that they don't know how to market it… or don't get it… will stand for a long time as one of the great embarrassments of Warner Bros' history.
Just a great movie movie.
The story is basic… classic. Our central character has won big on India's Who Wants To Be A Millionaire, in spite of not appearing to have the education to pull it off. He is interrogated as to how he cheated, because they are convinced that he did. And as he explains how he answered each of the questions, his story unfolds… starting with childhood.
And what a tale of survival it is. I don't want to give away details, but a significant portion of the film is about kids, followed by their teen selves, and then as young adults. The stories of the luck and trouble and joy and horror they go through are so theatrical, yet never veer into storybook fantasy.
It's an amazing journey into adulthood, almost Wizard of Oz, but you know how they say, truth is odder than fiction. This fiction feels like the oddest of truths. And that is a great tribute to Simon Beaufoy and Danny Boyle, the writer and director.
Boyle is at his absolute best here. You can go back to Trainspotting and Shallow Grave to see the origins of the skills he brings to bare here, but unlike those, this never feels like a young director trying to show off. There is a rugged self-assurance in creating some amazing images, pushing the editing (via editor Chris Dickens), and mostly, telling the tale in a remarkably efficient and entertaining way.
The casting – you'll recognize no one but the great Irfan Khan – is spectacular. All three age groups are dead on and completely compelling. The boys fit the evolving story of their personalities. And we hope that Freida Pinto can get over her debilitating ugliness some day.
But mostly, it is a romp through some of the most disturbing terrain on the planet. It is, in many ways, an Indian version of City of God with a lot of Dickens and Dumas to boot. It's funny. It's scary. It's romantic. It's horrible. It's violent. And did I mention… it's very funny.
If this weren't a film set in India, it would be explosively commercial. But instead, it should just be a well-sold, modest hit for Searchlight, standing up honorably for telling a story that is richer than it absolutely has to be. We are all richer for it.
It's interesting that it is getting Oscar buzz in Toronto. Perhaps people are deluding themselves because the fest has been so sparse. But perhaps not. I do think for this film to get there, a domestic gross of over $50 million is absolutely mandatory… and I don't know that $50m is possible. But it should be. So maybe living in hope isn't so bad. Just as Slumdog Millionaire.


Designed by Vanessa and Angela Simmons, daughters of Hip Hop legend Joseph 'REv Run' Simmons and starts of hit MTV show Run's House.
The recipe of Pastry's success is a delicious mix of urban style, splashes of colour and a frosting of fashionista flair.
Their philosophy when cooking up new designs is always 'for girls, by girls', offering up a flirty alternative to the male dominated sneakers scene.
All the Pastry sneakers are available at Foot Locker, for the price of +/- €65,00.


1 x Abstract Spot Selma Tie Dress has been added to your shopping bag.
The Selma silhouette has been refreshed with an of-the-moment spot print. Cut in a shirt shape, it comes with a cinched in waist, with long sleeves and a grown-up collar. Wear with everything from trainers to ankle boots this spring-summer.


If you have been wondering why you can't buy alcohol on Sundays, Christmas, and New Year's Day the answer goes back almost 100 years.
In a NewsWest 9 story, the Christmas Day rule came in 1967 in a ruling which also included New Year's Day and Thanksgiving also.
If the holidays fall on a Sunday then the ban will roll over to Monday meaning you will have to go two days without liquor.
Liquor sale bans date back to the days of prohibition in the 1920's, and when prohibition was lifted in 1933, Texas lawmakers put the Sunday rule in place in 1935.
But Texas is not the only state with this rule, about half of the country bans liquor sales on Christmas Day.


text:
Mozilla Security Blog
OCSP Stapling in Firefox
David Keeler
OCSP Stapling has landed in the latest Nightly builds of Firefox! OCSP stapling is a mechanism by which a site can convey certificate revocation information to visitors in a privacy-preserving, scalable manner.
Revocation information is important because at any time after a certificate has been issued, it may no longer be appropriate to trust it. For instance, maybe the CA that issued the certificate realizes it put incorrect information on it. Maybe the website operators lose control of their private key, or it gets stolen. More benignly, maybe the domain was transferred to a new owner.
The Online Certificate Status Protocol (OCSP) is one method for obtaining certificate revocation information. When presented with a certificate, the browser asks the issuing CA if there are any problems with it. If the certificate is fine, the CA can respond with a signed assertion that the certificate is still valid. If it has been revoked, however, the CA can say so by the same mechanism.
OCSP has a few drawbacks. First, it slows down new HTTPS connections. When the browser encounters a new certificate, it has to make an additional request to a server operated by the CA. Second, it leaks to the CA what HTTPS sites the user visits, which is concerning from a privacy perspective. Additionally, if the browser cannot connect to the CA, it must choose between two undesirable options. It can terminate the connection on the assumption that something is wrong, which decreases usability. Or, it can continue the connection, which defeats the purpose of doing this kind of revocation checking. By default, Firefox currently continues the connection. The about:config option security.OCSP.require can be set to true to have Firefox terminate the connection instead.
OCSP stapling solves these problems by having the site itself periodically ask the CA for a signed assertion of status and sending that statement in the handshake at the beginning of new HTTPS connections. The browser takes that signed, stapled response, verifies it, and uses it to determine if the site's certificate is still trustworthy. If not, it knows that something is wrong and it must terminate the connection. Otherwise, the certificate is fine and the user can connect to the site.
If Firefox requests but does not receive a stapled response, it falls back to normal OCSP fetching. This means that while OCSP stapling protects against mistakes and many basic attacks, it does not prevent attacks involving more complete network control. For instance, if an attacker with a stolen certificate were able to block connections to the CA OCSP responder while running their own server that doesn't do OCSP stapling, the user would not be alerted that the certificate had been revoked. A new proposal currently referred to as "OCSP-must-staple" is intended to handle this case by giving sites a way of saying "any connection to this site must include a stapled OCSP response". This is still in development.
OCSP stapling works with all CAs that support OCSP. OCSP stapling has been implemented in popular web servers including nginx and Apache. If you run a website, consider turning on OCSP stapling to protect your users. If you use Firefox Nightly, enjoy the increased security, privacy, and performance benefits!
Categories: Security, TLS
Koen wrote on July 30, 2013 at 7:06 am :
I fail to see how exactly this will enhance privacy, except in the case where the 'new owner' of a private key could gather information about you.
In most cases I think this will degrade privacy, since it will give CA's a lot of information about who (who here is at least an IP, but probably more) visits which sites.
Having said that, sounds interesting none the less.
// Koen
Lincoln DeCoursey wrote on July 30, 2013 at 11:10 am :
There's two things here. OCSP is what involves doing the realtime lookup to see if a certificate has been revoked. This has already been around and is what causes the privacy concern. OCSP Stapling is the thing that's new here. Stapling allows the domain owner to self-host the revocation query. This basically addresses the privacy concern.
dkeeler wrote on August 2, 2013 at 1:25 pm :
Thanks for the clarification, Lincoln!
sep332 wrote on August 1, 2013 at 11:14 am :
I know the examples are hard-coded into the images by now, but in future, please use "example.com" instead of site.com, since site.com is a real website. Thanks!
Done – thanks for the tip!
More from David Keeler
BrowserID
CA Program
Crypto Engineering
security-bytes-podcast


text:
Rev Your Engines with the Carnot Cycle
How to Calculate a Spring Constant Using Hooke's Law
How to Calculate Angular Momentum
How to Calculate Displacement in a Physics Problem
How to Calculate Acceleration
U Can: Physics I For Dummies
By Steven Holzner, Daniel Funch Wohns
The Carnot Cycle is an important concept in physics. No heat engine is 100 percent efficient. The amount of work you get out of a heat engine is always less than the heat that goes into the engine. The second law of thermodynamics says that the most efficient possible heat engine can't convert all the input heat into work. Real heat engines always have some losses due to friction or interaction with their environment.
A theoretical heat engine that has no such losses is known as a Carnot engine — and even a perfect Carnot engine can't convert all the input heat into work. A Carnot engine consists of a gas, a hot reservoir, and a cold reservoir. The gas repeatedly heats and cools and expands and contracts in a cycle known as the Carnot cycle.
The Carnot cycle has four steps:
The gas expands isothermally (at constant temperature).
The gas absorbs heat from the hot reservoir. As the gas expands, it does work on its surroundings equal to the heat it absorbs. The temperature of the gas is equal to the temperature of the hot reservoir in this stage.
The gas cools adiabatically (with no heat flow).
The gas continues to expand, doing work on its surroundings, cooling as it transfers internal energy to those surroundings. Adiabatic cooling and heating can be very nearly achieved if the walls of the container holding the gas are well insulated.
Once it reaches the temperature of the cold reservoir, the gas begins to expand isothermally.
The surroundings do work on the gas, and heat is transferred into the gas.
The gas compresses and warms up adiabatically.
The surroundings continue to do work on the gas, but no heat is transferred into the gas during this stage. The stage ends when the temperature of the gas reaches the temperature of the hot reservoir again.
You can see how the pressure and volume change during the Carnot cycle. The work done in one cycle is the shaded area of the graph.
Pressure and volume in the Carnot cycle.
The gas is back at the temperature, pressure, and volume it started at, ready for the cycle to start all over again. If you want a heat pump rather than a heat engine, no problem — the ideal Carnot cycle is completely reversible, so you just need to run your heat engine in reverse.


text:
Q: Undefined variable error but what i want is working fine I'm getting Undefined variable error except that everything is working fine.
What i was trying to make is the output of top 10 race winners, it works with this code but showing Undefined variable for $ID
Here is the code
<?php
$query = $koneksi->prepare("SELECT `user`, `RaceWon` FROM `pdata` WHERE `banned`=0 ORDER BY `RaceWon` DESC LIMIT 10");
$query->execute();
if($query->rowCount() == 0)
{
    echo "
No rows found
";
}
while($data = $query->fetch())
{
    $ID++; //<- Undefined variable but the function works what i wanted
    echo "
".$ID."	";
    echo "".$data['user']."	";
    echo "".$data['RaceWon']."
";
}
?>

Any help would be appreciated..
Thanks

A: you need to initialize $ID before the loop.
$ID = 0;
while ($data = $query->fetch())
{
    $ID++;
    ...
}

It works anyway because when you try to use an unitialized variable as a number, it's automatically converted to 0. But it still prints the warning because it was initially undefined.

A: Try this:
<?php
$query = $koneksi->prepare("SELECT `user`, `RaceWon` FROM `pdata` WHERE `banned`=0 ORDER BY `RaceWon` DESC LIMIT 10");
$query->execute();
if($query->rowCount() == 0)
{
    echo "
No rows found
";
}
$ID = 0;
while($data = $query->fetch())
{
    $ID++; //<- Undefined variable but the function works what i wanted
    echo "
".$ID."	";
    echo "".$data['user']."	";
    echo "".$data['RaceWon']."
";
}
?>


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Gionee Marathon M2 Mini is an Android smartphone that is targeted at budget-conscious buyers. It came into the Nigerian markets some weeks ago and few of mobile users are aware of this. It features a 4-inch TFT capacitive display, a quad-core processor, a decent 1GB RAM with Android 5.1 (Lollipop) and a massive 3000mAh battery that offers up to 24 hours talk time which cannot be compared with InnJoo Fire or Tecno Y4.
Gionee M2 Mini sports a rather small 4-inch TFT capacitive touchscreen display that gives support for multi-touch with a resolution of 480 x 854 pixels. While a pixel density of 196 ppi is a bit manageable, the touchscreen in focus here is best suited for those constrained by financial resources to acquire a better-spec'ed alternative.
The cameras are also not that out of the world either, but decent. On the rear of the device is a 5-megapixel sensor with LED flash, Features – Geo-tagging, scene detection, face recognition, panorama, best shot, smile shot, HDR options and capable of capturing image of about 3264 x 2448 pixels. It can be used to record HD (720p) videos. You also get a 0.3-megapixel selfie camera for your money.
Considering the successor to the Gionee Marathon M2, the Gionee M2 Mini is driven by a quad-core processor (Cortex-A7) like its predecessor.
You get similar RAM of 1GB capacity which does not sound like a lot these days – you need to moderate your multitasking expectation from this device. Gionee M2 Mini runs on the latest Android 5.1 Lollipop operating system, showing that you get what you pay for most of the time.
Power is supplied by a massive 3000mAh battery that cannot be compared with some other device in same price range. Gionee surprisingly promises that the battery will offer up to 24 hrs talk time without charge.
Marathon M2 Mini has the Amigo v3.0 UI. Control center, beautiful music player, HotKnot, nice phone dialer. Integrated storage memory sported on the Gionee Marathon M2 Mini has doubled that of its predecessor as it comes with an 8 GB built in storage. Thankfully, you will be able to add up to 32 GB more using a microSD card. The smartphone supports three-band 3G connectivity for super-fast browsing and downloading experience.
Other connectivity options include Wi-Fi 802.11 b/g/n, Wi-Fi Direct, hotspot Bluetooth – v4.0, A2DP, A-GPS, FM radio, microUSB v2.0, USB Host.
Gionee Marathon M2 Mini is now available in Nigeria. You can buy it at leading online stores in Nigeria. Gionee Marathon M2 Mini price in Nigeria starts at around N13,500 – N15,000 depending on your location in the country.
Info about m2 mini is correct but the pix is not same. There some shape smoothness on the mini that gives it a better appeal. When was it produced?
while the picture is M2, not M2mini. but the other info of this article is right.


It's crazy peoples entitlement to a debris field that they were not in a position to collect it all.
You could time your recyclers, but maybe you don't get the hit.
But commenting on someone else spending money on their account to make their rebuild easier after all the time they put into someone just makes my head hurt.
Hopefully the attacker can get over himself and carry on.
Good luck on the rebuild defender, hopefully you don't get pushed out of the game, we definitely don't need that.
He will be pushed out of the game, just glad he spent his cash before he leaves.
This hit was 6 systems away from my moon, good sir.
DM compensates for bad play.
Just spend €200 and you can polish it away by insta buying recyclers and taking all DF.
Spy and fly hits are a MAJOR part of this game and they are not viable anymore due to pay 2 win features. That means this game is not viable anymore.
Ah, so instead of buying accounts to scrap push yourself in Cosmos you decide to buy one here to....what? Prove that your wallet is deeper? It very well might be.Of course no one could imagine you building an account on your own so that makes perfect sense.
PLEASE PLEASE come to Bellatrix, APEX took out the other Balkan allies already.
I suppose the other option is a a bit controversial .......... learn how to play ?
Holy crap! It is 10 am and I have not had my coffee yet.
You troublemakers! *Whips cane around in the air* Relax you guys!
DM purchases are legitimate thing these days. I don't agree with the insta recs yet they are still a part of it all.
Congrats on the hit! Lemme know within 7 days if you would like it moved!
No cursing, just wanna let you guys know. This is not a carnival now.
Also, no using the momma's boy/daddy's boy as an insult. We all had a mom at some point and dad at some point. Using it as an insult is considered a crutch.
Fair enough but the [D_bears] crew just makes better hits. Step up your game and we might give you some love.
People have their grievances with the system. I can sort of feel their pain about insta recs. It is more like "the circumstances of the hit would be different if the player did not have this ability to create something so quickly and then jet off to grab the debris." There are many ways to say that of course.