text:
(, ; officially stylized as amiibo; plural: Amiibo) is a toys-to-life platform by Nintendo, which was launched in November 2014. It consists of a wireless communications and storage protocol for connecting figurines to the Wii U, Nintendo 3DS, and Nintendo Switch video game consoles. These figurines are similar in form and functionality to that of the Skylanders, Disney Infinity and Lego Dimensions series of toys-to-life platforms. The Amiibo platform was preannounced to potentially accommodate any form of toy, specifically including general plans for future card games. These toys use near field communication (NFC) to interact with supported video game software, potentially allowing data to be transferred in and out of games and across multiple platforms.

Amiibo functionality can be used directly with the Nintendo Switch, Wii U, and New Nintendo 3DS consoles by using built-in NFC readers. In addition, the rest of the 3DS hardware line can use an official NFC adapter. By September 2016, Nintendo reported that 39 million Amiibo toys had been sold, along with more than 30 million Amiibo cards.
By September 2022, total sales reached 77 million toys.

History

Development

Toys for Bob and its parent company Activision had offered an opportunity for Nintendo to be a partner in a new video game franchise known as Skylanders, which would use RFID-equipped character figurines and a special reader component to interact with the game itself, and could store data on the figurine itself such as the corresponding character's statistics. While Nintendo passed on the exclusivity deal, the franchise itself quickly became one of Activision's most successful franchises upon its launch as a spin-off of the Spyro the Dragon series, and also resulted in competition from Disney Interactive Studios, who released a game with a similar concept known as Disney Infinity in 2013.

In March 2013, Nintendo unveiled Pokémon Rumble U, the first game for the Wii U to use the Wii U GamePad's near-field communications support to enable the use of its own interactive figurines. During an investors' meeting in May 2014, Nintendo presented a prototype of a more comprehensive figurine platform for its 3DS and Wii U consoles, which was designed so that the figurines could be used across multiple games. The new system was codenamed NFP, standing for either "Nintendo Figurine Platform" or "NFC Featured Platform", and was slated to be officially unveiled during E3.

On June 10, 2014, during E3 2014, Nintendo officially announced the Amiibo platform, and that Super Smash Bros. for Wii U would be among the first games to provide features integrating with Amiibo figurines.

In a corporate policy event after the launch of the Amiibo platform, Nintendo executive Shigeru Miyamoto addressed the platform's future by stating that the company was "now moving forward with projects that make use of NFC in a variety of unique ways. Nintendo is known as a video game company, but in fact, it is also a toy company."

Release

Super Smash Bros. Amiibo toys were first released in North America on November 21, 2014, in Europe on November 28, 2014, and in Japan on December 6, 2014, along with the release of Super Smash Bros. for Wii U.

The Super Mario series, featuring Mario, Luigi, Peach, Yoshi, Bowser, and Toad, arrived on March 20, 2015, for both regions.

In 2015, Nintendo began to extend the Amiibo line into new form factors; on February 27, 2015, Nintendo CEO Satoru Iwata revealed that the company had plans to release Amiibo-enabled trading cards. On April 1, 2015, Nintendo unveiled Animal Crossing: Happy Home Designer, a spin-off in the Animal Crossing series that utilizes cards. Nintendo also unveiled Amiibo yarn plushies as a tie-in for Yoshi's Woolly World.

During the E3 2015 Nintendo Direct on June 16, 2015, Activision revealed Bowser and Donkey Kong Amiibo (Hammer Slam Bowser and Turbo Charge Donkey Kong) and vehicles for use in Skylanders: SuperChargers. These toys are compatible with either the Skylanders games or Amiibo-compatible games by means of a mode switch on their bases. They will work across all Nintendo platform versions of Skylanders: SuperChargers. The Amiibo are also compatible with all Nintendo platform versions of Skylanders: Imaginators.

On August 27, 2015, an Amiibo toy of the titular character from the indie video game Shovel Knight was unveiled, which will unlock content exclusive to the 3DS and Wii U versions of the game and its future installments. It is the first Amiibo toy of a non-Nintendo character that is not associated with a first-party title; previous Amiibo toys of third-party characters were associated with Super Smash Bros. Additionally, production and distribution of the figurine will be overseen by the game's publisher, Yacht Club Games, rather than Nintendo (except in Japan where the latter is the publisher), although it will still officially be marketed by Nintendo as part of the Amiibo line as a form of brand licensing. Explaining the arrangement, a Nintendo representative stated that "we were like, what's one thing that Nintendo could do that nobody [else] could ever do?"

The Amiibo line for The Legend of Zelda initially began solely with the Wolf Link figurine, which is mainly used in The Legend of Zelda: Twilight Princess HD and later Breath of the Wild. It expanded with the 30th Anniversary collection (8-bit Link, Ocarina of Time Link, The Wind Waker Link, and The Wind Waker Zelda), and the Breath of the Wild collection (Archer Link, Rider Link, Zelda, Bokoblin, Mipha, Daruk, Revali, Urbosa and the Guardian figurine). At E3 2017, Nintendo unveiled several new Amiibo figurines, including wedding-themed Mario, Peach and Bowser figurines which coincided with the launch of the Nintendo Switch game Super Mario Odyssey, as well as figurines of Chrom and Tiki from the Fire Emblem series to tie in with the release of Fire Emblem Warriors on Switch and New 3DS systems. Two Metroid-themed Amiibo figures released alongside the 3DS remake of Metroid II, Metroid: Samus Returns, and figurines released later based around the four Champions in The Legend of Zelda: Breath of the Wild. Third-party software developer Bethesda Softworks announced that existing Zelda figurines would be compatible with the Nintendo Switch port of The Elder Scrolls V: Skyrim, allowing players to obtain select Zelda items and clothing for their Dragonborn, including the Master Sword, Hylian Shield and the Champion's Tunic from Breath of the Wild.

Collectibility and supply issues

Upon initial launch, the Amiibo line quickly spiked in popularity, with preorders selling out before the products became available to the public. While Nintendo CEO Satoru Iwata stated that Amiibo will be kept in stock, he also explained that some will be "limited-time offers which will cede their positions to new ones once they are sold out". The rarity of certain Amiibo figurines influenced the prices held by online retailers and auctions, of which most can be seen offering select items at prices above the retail price. In Nintendo's 3rd Quarter Financial Results Briefing for the Fiscal Year Ending March 2015, Satoru Iwata expressed surprise at such online auctions that offered "premium prices" of sold out Amiibo toys. A number of first-wave Amiibo toys with manufacturing defects were discovered and sold for notably high prices, such as a Samus figurine with cannons on both arms instead of one being sold on eBay for , and a defect of Princess Peach with missing legs being sold for .

On April 2, 2015, when preorders were being taken for the May 29 release of the Super Smash Bros. series Wave 4 and the Splatoon series, the US preorder process crashed both GameStop's website and in-store register system. Nintendo acknowledged these issues in early May 2015. Amazon forwent the entire preorder process for those waves; it instead blocked out specific time intervals on their release date during which the non-retailer exclusive Amiibo and the Super Mario series Silver Mario Amiibo were available. The retailer continued this practice with its exclusive release of the Palutena Amiibo as well as those released on September 11, 2015.

In May 2015 in the UK, a truck was stolen that contained preorders of the special edition of Splatoon, which included a rare Squid Inkling Amiibo as a preorder bonus: the only way to obtain the figure in the UK. As a result, Nintendo lacked the stock to supply the Squid Inkling Amiibo to those who preordered, and offered Inkling Girl or Inkling Boy Amiibo instead alongside a standard edition with a £10 refund, or full refunds.

In response to the lack of certain Amiibo toys in the United States, Satoru Iwata explained on February 17, 2015, that "an ongoing labor dispute on the west coast" has delayed the "discharge of cargo over the past six months", and is the cause of the absences of certain Amiibo toys intended to be delivered before its launch in November. Following this announcement, rarer Amiibo toys such as Wii Fit Trainer, Meta Knight, and Ike have been receiving limited re-releases in North America. For the US, the exclusive Best Buy release of the Dark Pit figurine, the retailer announced it would not take any preorders or online orders and the item would be limited to one per customer. While some news sources such as Kotaku came out in favour of Best Buy's practice, alternatively in response to this (and the difficulty of acquiring previous retailer-exclusives), others, such as Brian Altano, Jose Otero, and Peer Schneider of IGN's Nintendo Voice Chat podcast, have encouraged American collectors to import these hard-to-find items.

Hardware support
The Wii U, New Nintendo 3DS, New Nintendo 2DS XL, and Nintendo Switch contain integrated NFC support, and are Amiibo-compatible. On Wii U, toys are scanned using an NFC reader contained within the Wii U GamePad. Amiibo support was formally introduced to the consoles' firmware between November and December 2014; these updates added an Amiibo menu to the system settings area, allowing users to scan, register, and erase data from toys. The Nintendo Switch similarly features an NFC reader in both the Joy-Con R and Pro Controller.

A separate NFC reader accessory allows use of Amiibo on the original Nintendo 3DS, 3DS XL, and 2DS models; in Japan, released in "Summer 2015", and released alongside Animal Crossing: Happy Home Designer in North America. The New Nintendo 3DS, New 3DS XL, and New 2DS XL contain an integrated NFC reader utilizing the touch (bottom) screen.

Amiibo data communication
Supported games offer one of two kinds of Amiibo compatibility; the ability to access an Amiibo toy's NFC tag and store data, and read-only recognition. Each Amiibo toy largely corresponds to a specific game that can access its storage space, though some may have multiple games that can use it. However, each Amiibo toy can only store data from one compatible game at a time, meaning data must be deleted to use it with a different title. For example, a Mario Amiibo figurine containing data from Super Smash Bros. for Nintendo 3DS and Wii U must have the data for that game deleted to store data from Mario Party 10. Many games offer compatibility with specific Amiibo toys on a read-only basis, allowing for additional content to be unlocked in that game. For example, using certain figurines with Mario Kart 8 or Mario Kart 8 Deluxe unlocks Mii costumes based on the corresponding character. Multiple variations of the same character offer the same compatibility, although special variations can unlock unique content with specific games. Existing Wii U and 3DS games can receive updates for Amiibo functionality. Due to their co-development effort on Super Smash Bros. for Nintendo 3DS and Wii U, Bandai Namco Entertainment were the first third-party publishers to embrace the Amiibo concept in some of their own games.

List of Amiibo
The following list features all known NFC items branded under Amiibo, originally produced in the form of character figurines as of 2014, then cards as of 2015, and other types in the future. Nintendo designed all Amiibo characters to be cross-compatible with all games that support specific Amiibo characters, regardless of whichever model line these characters belong to; for example, Mario figurines from both the Super Smash Bros. and Super Mario series have the same functionality. Yoshi line are soft dolls instead of hard plastic figurines.

There are currently  Amiibo figurines, 3 Amiibo card series, and {{#expr:
1
+1
+1
+2
+2
+2
+2
+1
+1

+1
+3
+3}} noted variants on this list.

List of Animal Crossing Amiibo cards
The following is a list of all confirmed Amiibo cards for the Animal Crossing series of games. Series 1, 2, 3 and 4 consist of 100 cards each, while Series 5 consists of 48 cards. Additionally, there are five cards which aren't part of any series. After the announcement that New Leaf would receive an Amiibo update a new series of 50 Animal Crossing RV cards was announced plus an additional series of 6 cards based around characters by Sanrio. Later, after a Nintendo Direct on September 23, 2021, Nintendo confirmed on the official Animal Crossing Twitter account that a Series 5 of Amiibo cards was being produced and implied it may feature villagers introduced in Animal Crossing: New Horizons, as well as returning villagers. Series 5 was released on November 5, 2021.

Exclusives
In North America, Australia, and New Zealand, at launch some Amiibo were only available in selected retailers. In Australia and New Zealand, this practice is limited to Mario (Silver Edition), Dark Hammer Slam Bowser, and Dark Turbo Charge Donkey Kong being limited to EB Games, Mario (Gold Edition) being limited to Target in Australia and Mighty Ape in New Zealand, Animal Crossing: New Leaf – Welcome Amiibo Sanrio Collaboration Pack and Qbby Amiibo being limited to the Official Nintendo AU/NZ eBay Store; however, in North America it is much more widespread. Some characters, such as Villager, were originally non-exclusives, but later became exclusive to retailers during restocks.

See also

 Nintendo e-Reader
 GameCube – Game Boy Advance link cable
 Transfer Pak
 VMU

Notes

References

External links

Toy figurines
Nintendo 3DS
Nintendo accessories
Nintendo Switch accessories
Nintendo toys
Wii U
Toys-to-life games
Products introduced in 2014

redpajama_set_name: RedPajamaWikipedia


Hand crafted, blessed healing angel pendant. Silver plated brass, natural amber gemstone and crystal - measures approximately 1 inch in length.
Amber is a gentle stone that draws out negative energy from the body and purifies the spirit and heart. Amber also helps us discover ancient wisdom and knowledge.
Healing Attributes:Amber is used to treat those who suffer from respiratory ailments, throat infections, those who have bronchial disorders and are prone to asthma.
Meaning God's Light or Fire of God, illuminates situations, giving prophetic information and warnings. He is considered an archangel who helps us with natural disaster, perhaps because of his connections with Noah and the weather elements of thunder and lightening. Call upon Archangel Uriel to avert such events or to heal and recover in their aftermath. He provides us with Divine ideas and intellectual guidance and lights our pathway so we know which step to take next. Uriel is Defender of the Element of the Earth and the North, Angel of Nature, Visions and Instruction and Custodian of Prophecy.
The Color Associated with Uriel is Pale Yellow.
The Gemstone Associated with Uriel is Amber.


text:
"""
 Copyright (c) 2015 Michael Bright and Bamboo HR LLC

 Licensed under the Apache License, Version 2.0 (the "License");
 you may not use this file except in compliance with the License.
 You may obtain a copy of the License at

 http://www.apache.org/licenses/LICENSE-2.0

 Unless required by applicable law or agreed to in writing, software
 distributed under the License is distributed on an "AS IS" BASIS,
 WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 See the License for the specific language governing permissions and
 limitations under the License.

release model

Revision ID: f1e63d5fb3e1
Revises: a08ae00f2ba7
Create Date: 2016-03-01 10:15:03.689086

"""

# revision identifiers, used by Alembic.
revision = 'f1e63d5fb3e1'
down_revision = 'a08ae00f2ba7'
branch_labels = None
depends_on = None

from alembic import op
import sqlalchemy as sa

def upgrade():
    ### commands auto generated by Alembic - please adjust! ###
    op.create_table('users',
    sa.Column('id', sa.Integer(), nullable=False),
    sa.Column('name', sa.String(length=150), nullable=False),
    sa.Column('username', sa.String(length=150), nullable=False, index=True),
    sa.Column('active', sa.Boolean(), nullable=False),
    sa.PrimaryKeyConstraint('id'),
    mysql_engine='InnoDB'
    )
    op.create_index(op.f('ix_users_id'), 'users', ['id'], unique=False)
    op.create_table('releases',
    sa.Column('id', sa.Integer(), nullable=False),
    sa.Column('name', sa.String(length=255), nullable=False),
    sa.Column('date_created', sa.DateTime(), nullable=False),
    sa.Column('status_id', sa.Integer(), nullable=False),
    sa.Column('commit_id', sa.Integer(), nullable=False),
    sa.ForeignKeyConstraint(['commit_id'], ['commits.id'], ),
    sa.ForeignKeyConstraint(['status_id'], ['statuses.id'], ),
    sa.PrimaryKeyConstraint('id'),
    mysql_engine='InnoDB'
    )
    op.create_index(op.f('ix_releases_commit_id'), 'releases', ['commit_id'], unique=False)
    op.create_index(op.f('ix_releases_id'), 'releases', ['id'], unique=False)
    op.create_index(op.f('ix_releases_name'), 'releases', ['name'], unique=False)
    op.create_index(op.f('ix_releases_status_id'), 'releases', ['status_id'], unique=False)
    op.create_table('steps',
    sa.Column('id', sa.Integer(), nullable=False),
    sa.Column('name', sa.String(length=100), nullable=False),
    sa.Column('custom_id', sa.String(length=25), nullable=False),
    sa.Column('status_id', sa.Integer(), nullable=False),
    sa.Column('user_required', sa.Boolean(), nullable=False),
    sa.Column('release_id', sa.Integer(), nullable=False),
    sa.Column('sort_order', sa.Integer(), nullable=True),
    sa.ForeignKeyConstraint(['release_id'], ['releases.id'], ),
    sa.ForeignKeyConstraint(['status_id'], ['statuses.id'], ),
    sa.PrimaryKeyConstraint('id'),
    mysql_engine='InnoDB'
    )
    op.create_index(op.f('ix_steps_id'), 'steps', ['id'], unique=False)
    op.create_index(op.f('ix_steps_release_id'), 'steps', ['release_id'], unique=False)
    op.create_index(op.f('ix_steps_status_id'), 'steps', ['status_id'], unique=False)
    op.create_table('step_users',
    sa.Column('id', sa.Integer(), nullable=False),
    sa.Column('step_id', sa.Integer(), nullable=False),
    sa.Column('user_id', sa.Integer(), nullable=False),
    sa.Column('date_created', sa.DateTime(), nullable=False),
    sa.ForeignKeyConstraint(['step_id'], ['steps.id'], ),
    sa.ForeignKeyConstraint(['user_id'], ['users.id'], ),
    sa.PrimaryKeyConstraint('id'),
    mysql_engine='InnoDB'
    )
    op.create_index(op.f('ix_step_users_id'), 'step_users', ['id'], unique=False)
    op.create_index(op.f('ix_step_users_step_id'), 'step_users', ['step_id'], unique=False)
    op.create_index(op.f('ix_step_users_user_id'), 'step_users', ['user_id'], unique=False)
    op.create_table('step_user_comments',
    sa.Column('id', sa.Integer(), nullable=False),
    sa.Column('step_user_id', sa.Integer(), nullable=False),
    sa.Column('comment', sa.Text(), nullable=True),
    sa.ForeignKeyConstraint(['step_user_id'], ['step_users.id'], ),
    sa.PrimaryKeyConstraint('id'),
    mysql_engine='InnoDB'
    )
    op.create_index(op.f('ix_step_user_comments_id'), 'step_user_comments', ['id'], unique=False)
    ### end Alembic commands ###

def downgrade():
    ### commands auto generated by Alembic - please adjust! ###
    op.drop_index(op.f('ix_step_user_comments_id'), table_name='step_user_comments')
    op.drop_table('step_user_comments')
    op.drop_index(op.f('ix_step_users_user_id'), table_name='step_users')
    op.drop_index(op.f('ix_step_users_step_id'), table_name='step_users')
    op.drop_index(op.f('ix_step_users_id'), table_name='step_users')
    op.drop_table('step_users')
    op.drop_index(op.f('ix_steps_status_id'), table_name='steps')
    op.drop_index(op.f('ix_steps_release_id'), table_name='steps')
    op.drop_index(op.f('ix_steps_id'), table_name='steps')
    op.drop_table('steps')
    op.drop_index(op.f('ix_releases_status_id'), table_name='releases')
    op.drop_index(op.f('ix_releases_name'), table_name='releases')
    op.drop_index(op.f('ix_releases_id'), table_name='releases')
    op.drop_index(op.f('ix_releases_commit_id'), table_name='releases')
    op.drop_table('releases')
    op.drop_index(op.f('ix_users_id'), table_name='users')
    op.drop_table('users')
    ### end Alembic commands ###

redpajama_set_name: RedPajamaGithub


text:
Costs and Health Reform Home
Health A-Z Home
WebMDRx Savings Card
Top 12 Topics
Ruptured Achilles Tendon
Psoriatic Arthritis Symptoms
Types of Crohn's Disease
A to Z Guides
Save for a Rainy Medical Day.
Imagine being able to go to any doctor you choose
From the WebMD Archives
July 19, 2001 -- Imagine being able to go to any doctor you choose and pay for services out of your own pocket using funds accumulated in a tax-deferred account.
That, in essence, is the vision behind medical savings accounts.
MSAs are an innovative form of health insurance that advocates say side steps the cumbersome third-party insurance reimbursement that has dominated American healthcare for decades. In doing so, MSAs promise to lower healthcare costs by making individuals responsible for paying for their own care -- and hence more cost-conscious.
At the same time, advocates say that MSAs promise to return to individuals their right to seek out care from any healthcare provider they wish, without the restraints of managed care.
"Patients can have more control over their own resources," says health policy analyst Greg Scandlen. "They have no restrictions on who you can see and not see, and many physicians are willing to provide discounts in return for instant payment. Just as important, it helps to restore the doctor-patient relationship by empowering patients to deal directly with their physicians."
Scandlen is with the National Center for Policy Analysis in Dallas, which has been a major proponent of MSAs.
Here's how they work: Purchase a low-cost, traditional indemnity (non-managed care) insurance plan with high deductibles. Then use the savings from paying a lower premium to make deposits into a tax-deferred MSA. While the insurance company would still pay for high-cost medical episodes, such as lengthy hospitalizations, the individual could use the MSA to pay out of pocket for lower-cost routine care.
The virtues of MSAs were extolled in a 1994 book called Patient Power written by health economist John Goodman, PhD, president of the National Center for Policy Analysis." The vision gained considerable momentum in the years following the Clinton Administration's failure to reform the national health system. Even the American Medical Association voiced their support for MSAs.
In 1996, federal legislation to promote MSAs was enacted as part of HIPAA, the Health Insurance Portability and Accountability Act.
Since that time, however, the vision of MSAs seems to have withered somewhat. Many health policy analysts saw the idea as an innovative one with many virtues -- possibly attractive to some individuals -- but full of shortcomings when it came to answering the larger problem of spiraling healthcare costs.
Len Nichols, PhD, a health economist at the Urban Institute in Washington, says the outstanding flaw in MSAs is that they are likely to appeal only to the youngest, healthiest, and wealthiest of the population. Left behind in the traditional insurance market would be the older and sicker population, for whom costs would likely rise.
"The difficulty is that health expenditures are extremely skewed," Nichols tells WebMD. "One percent of the population accounts for 30% of all expenditures."
Additionally, some have feared that MSAs could be used by the very wealthiest -- who can pay out of pocket for even the most expensive care -- simply as a tax shelter.
Partly in response to these criticisms, the HIPAA law capped the number of allowable MSAs at 750,000 and limited them to self-employed individuals or employers with less than 50 workers. It also imposed minimum deductible requirements and restrictions on amounts that could be contributed to accounts.
Since that time, less than 100,000 MSA accounts have been formed. Scandlen says the restrictions have inhibited the growth of MSAs unnecessarily. He also disputes the notion that such accounts are only for the wealthy and healthy, citing research by the Rand Corporation showing that MSAs have broad appeal across income groups.
Now, there is reason to believe that the vision of MSAs may not have faded entirely. One patients' bill of rights proposal, sponsored by Republicans in the House of Representatives, contains a provision that would remove the restrictions currently imposed on MSAs. And during his campaign, President George W. Bush expressed support for medical savings accounts.
Scandlen also says that some businesses confronting high employee healthcare costs are beginning to develop MSA-like products for their workers -- even if they are not being called medical savings accounts.
"The same notion is taking on different forms," Scandlen says. "When HIPAA first passed, most [employers] were moving toward managed care. In the past five years, that attitude has changed dramatically. Now large employers are thinking that some kind of cash account for employees to pay directly for services makes sense."
Still, he acknowledges that only 20-25 insurance companies are offering MSA products -- most of them small companies that still offer indemnity-style insurance. "Until the big guys get in, I don't see a lot of growth," he says.
So while they are not the hot ticket they were five years ago, MSAs should probably be kept in sight -- if only out of the corner of one's eyes.
Are they good for you?
"They are good for the wealthy, and they are relatively good for the healthy as long as they remain lucky and don't get sick and can accumulate enough to cover their deductibles," Nichols tells WebMD. "There are some cases where people who have a chronic illness but have relatively low expenses can benefit because the premium is lower and the contribution is tax deductible."
WebMD Feature
© 2001 WebMD, Inc. All rights reserved.
Manage Your Migraine
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MS and Depression: How Are They Linked?
Your Guide to Understanding Medicare
Health Insurance Cost Calculator from WebMD
How Health Reform Affects Insurance Costs
Prescription Drug Costs and Health Reform: FAQ
Health Reform: How Much Will You Pay?
Why You Can't Afford to Put Off Paying Your Premium
Health Reform and Insurance Costs: Premiums, Purchasing Plans, and More
Health Care Law: Avoid the Penalty and Get Affordable Insurance
Costs and Health Reform Topics
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Depressed, Guilty Feelings After Eating?
Symptoms of binge eating disorder.
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10 Secrets to a Sparkling Smile
7 Ways You're Wrecking Your Liver
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Type 2 Diabetes: Early Warning Signs
What Is Schizophrenia?
Fungal Infections: What You Should Know
11 Surprising Superfoods for Your Bones
Foods That Help Enhance Your Brainpower
Breast Cancer Signs & Symptoms
Constipated? Avoid These Foods
Lung Cancer Risks: Myths and Facts
Causes of Erectile Dysfunction
Tips for Living Better With Migraine

redpajama_set_name: RedPajamaCommonCrawl


text:
« Movie March – Nausicaä of the Valley of the Wind
Movie March – Sound! Euphonium »
Movie March – The Little Mermaid
Cartoons, Movie March, Reviews
Dinglehoppers, a gal's best friend
Welcome back to Movie March! All month long, we'll be looking at and reviewing animated films from both the east and the west. We did a classic eastern before from Japan's Disney, so… why not a classic western from actual Disney?
The Little Mermaid marked the start of the "Disney Renaissance", an era where they would produce a lot of their best known films, including Aladdin, Lion King and Mulan. It was also, alongside Fantasia, one of the Disney films that had an impact on my early childhood. I still remember saving newspaper coupons to get a cassette tape of some of the songs. That was over 20 years ago now though, so it's time to see how The Little Mermaid holds up in modern times.
The plot is very much the archetypical Disney romance… though I guess this was before it was archetypical… Anyway, Ariel (I spelt her name many ways in my notes, that was not one of them) is a mermaid and princess of the sea, and the more free-spirited of all King Triton's daughters, being endlessly intrigued by human society despite an age-old conflict (never explained).
One day she happens upon a boat which is carrying, amongst others, Prince Eric, and falls in love at first sight. So when the boat gets struck by lightning, she saves his life and carries him to shore, with him only getting a fleeting glimpse and the memory of her song, leading him to fall for her as well.
Which is fine, I believe love at first sight is perfectly possible, but it is hard to buy into the relationship of these two at the best of times. Eric does next to nothing until the final moments except look pretty, and Ariel doesn't fare much better, having a few quirks such as that free-spritiedness, but that's about it.
Rounding out the rest of the good guy cast is the usual assortment of animal sidekicks, and… well, they're okay. They all do enough to justify their roles in the film, but none of them are particularly memorable. Flounder is a scaredy-cat fish who is a good friend to Ariel, Sebastian a conductor crab who is meant to supervise Ariel but just ends up getting dragged along with it all, and Scuttle a seagull who is the mercast's guide to humanity… except he knows nothing so just makes it up as he goes along. His charisma is endearing though, and his presence does create some of the funnier moments in the film.
As for our villain, we have Ursula, the Sea Witch. Ostracised from the underwater court ages past, she became constantly embittered and loves to make people suffer as a result, aiming to stab at the heart of King Triton. Having her merhalf be that of an octopus really helps her stand out and look more sinister than others, and she also seems to share some design traits with Hades, the villain from Hercules which would come out a few years later.
Perhaps the biggest surprise of the film were her minions, Flotsam and Jetsam, who besides having awesome fitting names and a cool glowing eye each, also buck a lot of animated film trends by being competent. In fact that may be underselling it. They're downright devious, capable of being just as manipulative as their master. What's more, Ursula clearly respects and trusts them, and is clearly upset when the two get destroyed. It's refreshing for a company that would go on to make most of their underlings goofballs.
Going back to the rest of the plot and how the two end up together, Ariel makes a deal with the devil as it were, sacrificing her voice for three days of humanity, where she has to kiss Eric to seal her new life. No, she never writes anything down, that'd be the easy solution. The two spend time together and he falls for her all over again, and despite some attempts at meddling and a really interesting finalé where Ursula looks sure to have won… true love prevails.
I'm skimming over a lot, obviously, but it's not like there's a huge amount of drama outside of "just kiss already". Ariel's wonder for the human world comes across well, and Ursula plays her role to perfection, but a lot of it just feels bland. Again, I get that that's a modern perspective, but it'd be nice if a bit more actually happened.
In terms of the other big Disney movie hallmark, the songs, there's some good'uns and some duds, though nothing as memorable as Let It Go or Make A Man Out Of You. Under The Sea is pretty fun, as is Part Of Your World, but I really didn't need several minutes of Sebastian running away from a French chef or hoards of animals singing to try and get the two leads to kiss in something that feels almost like sexual harassment. It's not even the first instance, with Ariel being very touchy-feely earlier in the film.
And how does nobody notice the talking animals? Like, I'm not trying to be picky here, there are some cool narrative callbacks such as using a fork to comb your hair and I feel the villains are well written, but it never feels like the leads really have to work to achieve anything. Ariel even goes back to being human come the end, destroying any chance of a "humans and merfolk working together" plot hook that could've been interesting.
What I can't complain about is the visuals. Underwater scenes manage to be a riot of colour, fish and other wildlife look full of life and expression, and Ariel's goshdang hair is a dream. That last one probably sounds weird, but this might be some of the best animated hair I've ever seen. While works like Moana and Free have improved on the aquatic experience, this never feels particularly outdated or a step backwards.
It's a weird one, then. I can see how at the time this became so popular, offering a fresh and exciting experience. But almost 30 years later, a lot of what The Little Mermaid does has been done far better elsewhere, often by Disney themselves. That doesn't necessarily make the film bad… though having the two lovers be so bland in so many respects pushes it… but it does mean I wouldn't go out of my way to watch it again, like I would other Disney movies. I guess it's best left UNDAH THA SEA hahaha I'll show myself out.
Six down! Which means there's just one more western and eastern film to go. What'll they be? You'll have to wait and see…


text:
DECLARE_int32(rtsp_log_level);
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#define RTSP_LOG_DEBUG                   \
  if ( FLAGS_rtsp_log_level < LDEBUG ) ; \
  else LOG_DEBUG << "[rtsp] "
#define RTSP_LOG_INFO                           \
  if ( FLAGS_rtsp_log_level < LINFO ) ;         \
  else LOG_INFO << "[rtsp] "
#define RTSP_LOG_WARNING                                                \
  if ( FLAGS_rtsp_log_level < LWARNING ) ;                              \
  else LOG_WARNING << "[rtsp] "
#define RTSP_LOG_ERROR                                                  \
  if ( FLAGS_rtsp_log_level < LERROR ) ;                                \
  else LOG_ERROR << "[rtsp] "

#define RTSP_LOG_FATAL LOG_FATAL << "[rtsp] "

namespace streaming {
namespace rtsp {

enum DecodeStatus {
  DECODE_SUCCESS, // RTSP request or response read successfully
  DECODE_NO_DATA, // not enough data to read request
  DECODE_ERROR,   // bad data in stream. You should abort reading RTSP request.
};
const string& DecodeStatusName(DecodeStatus status);

} // namespace rtsp
} // namespace streaming

#endif // __MEDIA_RTP_RTSP_COMMON_H__


A mithai boutique, Kesar has a rich legacy of offering gourmet sweets in Jaipur and across the globe. Our penchant for innovation drives us to deliver the finest mithai ranging from traditional to exotic. The luscious delicacies infused with contemporary and international flavours are customized according to our client's taste.
We take pride in adding grandeur to your special occasions and celebrations with our exquisitely handcrafted mithai. Our luxury sweets wrapped elegantly and tastefully, always leave a lasting impression. Be it a celebration, a gift or just an indulgence, at Kesar, we have something exclusive for everyone and every occasion!
Our love for fusion translates into creation of our most delectable combinations & flavours. Some of our popular picks are Kaju Katli Bateel, Flavoured Ghevar and the Ferrero Rocher Laddoo.
Indulge in richness of Cashew nut, Almond and Pista sweets, handmade with the finest quality of dry fruits. Both rich and healthy, these sumptuous treats make exceptional gifts.
Kesar is known for its selection of Indian mithai made with the purest ghee and mawa, combined with expertise of traditional Indian Sweets. Ghewar and Bengali sweets are a part of our classic assortment.
Made to order, Mithai Cakes are the perfect choice to celebrate those who love traditional Indian mithai and also great for the elderly who dislike cakes. Dry fruit and Mawa cake are some of our bestsellers.
At Kesar, we have an exquisite selection of authentic Arab sweets such as Baklavas, Bateels and more. Fresh ingredients and richness of taste offer a palette of flavors from the Middle East.
Embark on a voyage of senses with dessert teas such as Caramel Apple, Cacao Irish Dream, Truffle Berry and Spicy Pine Mango. The creations spring to life after a long series of combinations tried and tasted to create the perfect cup of tea.
Discover the savoury side of Kesar with a unique selection of salted bites. The assortment includes different flavors of Mathri, Mini Samosas, Dry Fruit Kachori, Namkeen Mixtures and much more. Mix and match to create a customized platter for your loved ones.
Kesar's assortment of flavoured dry fruits are infused with the most interesting flavour combinations. Some of the bestsellers include Trail Mixes, Wasabi Nuts, Chocolate Coated Almonds. You could even give us your choice of flavour and we'll customize your order.
The elegance of our bespoke packaging, filled with our sweet and savoury assortments, makes it a perfect gift. Show your guests how much they mean to you or treat your loved ones with our delightful specialties, Traditional mithai, and our fusion creations. Customize our selection for Weddings, Birthdays, Baby Showers, Events, Party Favors, Corporate Gifts or any other celebration.
Over the years, we have collected special memories with our clients. Here are some of our most celebrated customized orders.
When it's chocolate vs. Mithai, we like to call truce and do both! Given the client's fondness of Ferrero Rocher, we created a special fusion laddoo with premium hazelnuts, almonds and chocolate for a wedding party.
Now who would think dates and oreo would go together? Our chefs made it happen and it was the most exquisite birthday giveaway ever created.
When clients who owned vineyards came to us for wedding giveaways, we couldn't help but create something inspired by blackcurrants. The unique blackcurrant burfi was made using the finest blackcurrants brought over from their farms.
Inspired by Sunita Shekhawat's 'Padampriya' collection, the Rose Petal Laddoo and Thandai Pistachio Laddoo were specially created for the launch of the collection. The exotic sweets were created using delicate flavors of rose petals, cardamom, thandai and pistachio, originating from the Royal Kitchens of Rajasthan.
Indian Embassy got in touch with Kesar to create a special giveaway as a token of friendship to the Italian Embassy in March 2016. Taking inspiration from the Easter season, our chefs created mithai that looked like easter eggs!
The inspiration for blackberry flavoured laddoo came from a bride who believed in healthy eating and just could not stop munching on granola. So for her special day, we decided to create a sugar-free, healthy wedding giveaway made with organic dried blueberries, chia and melon seeds.


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Beyonce Sips 'Lemonade' On Her Way To #1 Album On Billboard 200
Beyonce can't lose.
Garfield Hylton
Beyonce can't lose. After taking the world by storm with her HBO special, Lemonade, then later releasing an album under the same name, she set the entire internet on fire. Articles discussing the albums messages, it's importance to black women, whether Jay-Z was cheating, and only God knows what else in between, crowded blogs and publications for almost the entire week after its airing. As they say in show business, "all publicity is good publicity." And it seems like Beyonce rode all of that publicity right into the number one album in the country.
"Beyoncé's sixth solo studio record is also her sixth solo studio record to debut atop theBillboard 200. The mag's site reported Sunday that Lemonade notched 653,000 equivalent album units (485,000 of those as pure album sales) in its first week, and, consumption-wise, has so far enjoyed the best first week of any 2016 release."
Even more impressive, Beyonce took the top spot away from Prince, whose music has covered several spots on the list. Prince's Best Of… album is at #2, with several other albums (Purple Rain, The Hits/The B-Sides, Ultimate, and 1999) round out the top ten.
The #Beyhive should be pleased.
SOURCE: Vulture | PHOTO: Beyonce Album Cover
Beyonce Snatched Edges During The Formation World Tour Opener
beyonce	, Jay Z	, lemonade	, Prince


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FAQ Friday: What is Soapstone?
Soapstone is similar to granite, marble & limestone. Yet it has some distinct and unique characteristics that put it in a category of it's own.
The name 'Soapstone' is used to describe many different kinds and colors of stone that are primarily made up of Talc. These forms of soapstone are used for carving due to its softness.
The talc in soapstone feels soft to the touch, it gives the smooth feeling of rubbing a piece of dry soap. Thus the name. No, it doesn't lather up and isn't good to wash with. :)
Soapstone countertops and gorgeous sink. Designed by Anthony Catalfano Interiors.
The architectural grade of Soapstone (that we use for countertops, etc) is technically called a Steatite. It's still primarily composed of talc but it also contains other minerals, like magnesite, dolomite and chlorite, which makes it a harder and more dense formation of the stone.
Soapstone is generally 300-400 million years old depending on what country it is quarried from. It is quarried from all over the world. The Soapstone we use here in Utah is primarily from Brazil.
The Cristo Redentor in Rio de Janeiro is made of Soapstone & reinforced concrete.
True Soapstone is inert. Alkalis and acids won't affect or etch the surface like they do with the calcium based stones (marble, limestone, travertine). Many people think of Soapstone as the surface used in science classrooms and labs. This is due to it being inert and it's longevity.
You will also see Soapstone widely used in wood stoves, fireplace liners, masonry heater fireplaces, pizza ovens, etc. It has remarkable natural heat retention. It heats up quickly and then slowly radiates the heat evenly for hours on end, even after the fire has gone out!
Traditional Kitchen design by Philadelphia General Contractor Current Works Construction Inc.
Historically Soapstone has been used around the world for tools, vases, sculptures, carafes, goblets, fireplaces, bed warmers, building blocks, urns, grave markers and more.
Currently the most popular ways to use Soapstone are for countertops, sinks, ovens, fireplaces and stoves.
Photo: House Beautiful
A lot of people think Soapstone is really porous because it's soft to the touch. This isn't true. Any stains or discolorations are just off the surface. This means they can be cleaned, scrubbed and/ or sanded off.
This includes the mineral oil that you put on it. If you decide you don't like the darker appearance it can be refinished and the Soapstone will go back to looking like it did in it's natural state.
Contemporary Kitchen design by Boston Architect Frank Valdes
I highly recommend using mineral oil or beeswax on Soapstone countertops. This is purely cosmetic. Soapstone will naturally darken with age. By using mineral oil or beeswax on Soapstone it brings out the dark, rich colors in the stone. Treating it initially just speeds up the aging process. The mineral oil or beeswax will also work as a protective sealing layer to the surface of the stone.
That being said...some people never apply anything to the stone, it does eventually take on it's own natural patina with regular use.
Photo: Dorado Soapstone
If I were to design my next kitchen today my countertops would be Soapstone. Hands down. I love the beauty, simplicity and the natural/living look of it.
If you are considering Soapstone please contact us for a free estimate. We are also happy to talk through any questions and/or concerns you may have.
Brought to you by Steph@TheGraniteGurus on Friday, November 02, 2012
Labels: backsplash, FAQ Friday, kitchen sinks, kitchens, soapstone


Award winning builder Scott Salisbury Homes has taken home a Master Builders Australia National Excellence Award.
The iconic SA builder won the prestigious Toyota National Display Home $350,000 to $500,000 for their 'Harrison' display home at the National Excellence in Building and Construction Awards in Adelaide on the weekend.
Denita Wawn, CEO of Master Builders Australia said it was no surprise to see Scott Salisbury Homes again being recognised for their prowess.
"The Harrison adopts a visionary approach to luxury living, thoughtfully designed and expertly crafted to the highest standard. It boasts elegant living areas throughout, whilst exhibiting iconic trademark innovation with bold and contemporary finishes and textures," Denita Wawn said.
Exceptionally designed with stunning street appeal, the Harrison has lofty 3m ceilings, a large entry void, full height commercial windows and a unique Skillion roof design assisted in amplifying the home's scale and to optimise natural light.
"This home is a credit to the Scott Salisbury team as well as the external stakeholders, with project delivery exceeding expectations. Through careful site management, coordination of tradespeople and services, The Harrison was completed eight weeks earlier than anticipated, achieving an outstanding twenty-week build time," Denita Wawn said.
"Scott Salisbury Homes are deserving winners of their National Display Home award and their quality workmanship and attention to detail embodies the excellent outcomes that Master Builders provide to their clients," Denita Wawn said.


Take an online course – Nowadays, you can take an online course in virtually anything. From school counseling masters degrees to BA degrees in accounting and economics, there is no end to the number of qualifications you can attain online today. This is something you can use to your advantage as a blogger. From marketing to photoshop courses, take skills that will help you to achieve more from your blog. Investing in yourself is important in any career or business, and blogging is no different.
Find a niche – If you haven't already, one of the best ways to become a better blogger is to find your niche. If your blog is not distinctively different from what is out there at the moment, this means you are lacking in identity, and this consequently means that you are going to struggle to build a loyal and dedicated viewership. You really need to understand what your niche is and the sort of content you want to share. What is going to set you apart? What makes you different? It does not have to be the subject you write about, it could be your style!
Think like a business, act like a business – One of the biggest mistakes that a lot of bloggers make today is downplaying their efforts and what they have to offer. Yes, you may have started your blog as a hobby, but it is now a business. If one of your goals is to monetize your blog, then you have a business, and you should treat your blog as such. This means having a business plan. if you do not have a plan, start working on one today and you will be surprised by how much more you achieve as a result.
Outsource – Outsourcing has its pros and cons. However, once your blog grows to a certain level, there becomes a stage whereby you simply cannot do everything in-house anymore. It does not matter whether you outsource guest posts or you need someone to take over the bookkeeping side of your business, it is important to recognise that outside assistance can be useful. It allows you to focus on what you do best: blogging!
As you can see, there are many different ways you can enhance what you have to offer as a blogger. Success is always hard to attain, but maintaining high standards is just as difficult. By investing in yourself and constantly improving your blogging skills, you will give yourself the best opportunity to continue growing and achieving more with your blog.


Leyard, a global leader in visualisation products, is the world's best selling brand in the $4.5 billion LED video display market, and also the fastest growing $1.6 billion narrow pixel pitch LED video wall segment, according to two reports by Futuresource Consulting.
The analyses, which compared the 2017 performance of all major video wall brands, confirmed Leyard's number one position, in addition to the company's increasing share and growth in the highly competitive market.
Leyard was the market share leader in the narrow pixel pitch LED video display market in 2017, following years of leadership and share dominance in this category, which the company pioneered. Leyard also captured the top position in the broader LED display market that includes all pixel pitch sizes, including indoor and outdoor products, covering a wide range of applications and customer segments.
LED video wall displays featuring front serviceability and a creative stackable design eliminating cabinet-to-cabinet cabling. Further, the launch of the Leyard ® VersaLight ™ Series introduced a versatile family of modular LED displays available in pixel pitches ranging from 2.5 to 8 millimeters and designed with flexibility to support a wide range of indoor and outdoor applications.
Futuresource announced its findings in two reports: the 2018 Futuresource Video Wall Display Solutions Report and the Futuresource Global LED Display Market Report. The Futuresource Video Wall Display Solutions Report for 2018 covered narrow pixel pitch LED, narrow bezel LCD and rear-projection solutions while the Futuresource Global LED Display Market Report for 2018 reviewed narrow pixel pitch LED solutions, as well as rental, standard and large indoor and outdoor LED display technologies.
According to the Futuresource Video Wall Report, the overall video wall market stands at $6.4 billion and grew 47 percent from 2016 to 2017.
Planar, a Leyard Company, was also named the leader in the Americas Control Room segment (34 percent market share) and the Americas Corporate Vertical (35 percent market share) for narrow bezel LCD video wall solutions.


Discussion in 'Rivatuner Statistics Server (RTSS) Forum' started by dezo, Jan 13, 2019.
Don't know if it is possible in game detection code, but it would be handy to specify game profiles by more attributes in addition to just the executable name - like full or partial path to the executable, executable size, date or something like that to differentiate between them. Some games use the same executable name (i.e. xrEngine.exe in Stalker CS and Stalker CoP) and it is impossible to create different RTSS profiles in this case. I am currently using bat scripting with *.cfg profiles copying before executing these games, because even changing the executable name is not possible (game engine would not start). I think that better profile detection would be more elegant than my solution.
And for the opposite side - grouping more game profiles into one section with specific RTSS settings would be also handy. One group of games would use one specific settings, another group other settings etc, instead of creating the same profile for multiple individual games.


As a songwriter for megastars like Drake and Rihanna, Starrah never has to worry about where or how to distribute her work. But as a singer and rapper in her own right, she's like any other independent artist -- eager to push her music on streaming services without going through costly, cumbersome middlemen.
So far, Spotify has been the most aggressive of the streaming platforms in launching direct-to-artist tools. In October, the service invested in DistroKid, which could soon allow artists who use Spotify to post the same content on rivals like Apple Music and Tidal. And earlier in 2018, Spotify offered to give six-figure advances to managers to license their artists' music directly to the service. Although Spotify stock has wobbled with the recent stock-market fluctuations, investors have rewarded the company whenever it reveals these kinds of deals. "We expect these tools to help us continue to provide the largest opportunity for the widest group of creators and artists," said Spotify CEO Daniel Ek in a November third-quarter earnings call.
Other platforms are following suit: In December, Apple Music bought Platoon, a London startup offering lesser-known artists tools for funding, distributing and marketing their music; and last summer, YouTube started Premieres, which allows acts to hype new releases without having to use other social media. Universal Music, the world's biggest record label, has yet to sell its 5 percent stake in Spotify and supports any investor enthusiasm to drive up the stock; Sony Music still holds half of its original stake as well. But major-label executives are watching the streaming giants' artist-courting efforts warily, sweetening their own deals to sign acts while promising that labels can offer resources far beyond upload and playlist tools.


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Pat Toomey Is a Strong Candidate. Will That Be Enough in 2016?
Toomey. (Bill Clark/CQ Roll Call)
By Stuart Rothenberg
Posted March 3, 2015 at 5:00am
Yes, I know Pennsylvania Democrats don't have a 2016 Senate candidate who excites the entire party yet . I also know the election is 20 months away — plenty of time for them to rally around a nominee.
GOP Sen. Patrick J. Toomey's re-election prospects in Pennsylvania next year depend to a large extent on the state's political environment when voters go to the polls. If it is like 2010 or 2014, he is likely to win. If it's like 2006 or 2008, he is likely to lose. But if 2016 is a more normal year — or , if you prefer, a more neutral one — Toomey's prospects will depend on the races he and his opponent run.
"When I first met Toomey during his 1998 race for Congress, I found him to be bright, articulate and extremely personable," I wrote in May 2009, about a year and a half before the then-former representative defeated the Democratic nominee, Rep. Joe Sestak, in a tight Pennsylvania Senate election.
"He has been in and around politics and fundraising for more than a decade, and I don't think anyone should dismiss him or his abilities out of hand. In fact, I can imagine circumstances under which he could win the Pennsylvania Senate race," I continued cautiously.
Toomey was no sure thing back then, primarily because the political landscape (both in the state and nationally) looked terrible for Republicans in the spring of 2009.
President Barack Obama's job approval stood at 61 percent in the April NBC News/Wall Street Journal poll , and a remarkable 43 percent of those polled in that survey said the country was headed in the right direction — a dramatic improvement from where it stood in the low and mid-teens during President George W. Bush's last months.
A year later, circumstances had indeed changed. Voters had turned against the president. Obama's job approval in the June 2010 NBC News/Wall Street Journal poll slipped to 45 percent, and only 29 percent said the country was headed in the right direction.
In the last survey before the election, conducted Oct. 28-30, 2010, Obama's job approval also stood at 45 percent, though the percentage who said the country was headed in the right direction had inched up to a still unimpressive 31 percent.
Under those circumstances, perhaps it isn't surprising Toomey eventually squeezed out a 2-point win over Sestak, a Philadelphia-area congressman and former naval admiral who ran to the left and suffered from an exaggerated sense of his own importance.
Still, Toomey's uncomfortably narrow margin in the Republican wave year of 2010 can't be ignored. Republican challenger Ron Johnson defeated Sen. Russ Feingold, D-Wis., by almost 5 points that year, and Republican Rep. Mark S. Kirk won an open Senate seat in reliably Democratic Illinois by almost 2.5 points.
Toomey, a former president of the Club for Growth, certainly is a true believer when it comes to conservative political theology on taxes and spending. But the Harvard-educated Republican doesn't convey the unbridled zealotry (or carry the political baggage) that some of his conservative colleagues do.
And maybe even more important for a Keystone State Republican, Toomey doesn't push hot-button social issues the way another conservative Pennsylvania Republican senator, Rick Santorum, did.
Toomey worked with Sen. Joe Manchin III, D-W.Va., to expand background checks on gun purchases, and his allies insist there is plenty more in his record to help him woo moderate and swing voters.
Moreover, the senator's style is more Manhattan (where he once worked in investment banking) than Pittsburgh or Scranton, which could be an asset in the Philadelphia suburbs, a crucial area of the state that is increasingly difficult territory for Republican nominees.
But the polished Toomey, who represented Lehigh (Allentown) and Northampton (Bethlehem) counties in the House for three terms, is going to need to roll up big margins in central Pennsylvania and carry western Pennsylvania if he is going to win a second term.
Of course, the dynamics of a presidential year can't be ignored by Republicans. The GOP presidential nominee hasn't drawn as much as 47 percent of the vote in the Keystone State since 1988 (when George Bush carried it), so it is certainly possible the senator will have to run well ahead of the top of his party's ticket to win a second term.
But while Toomey almost certainly will have a tough fight on his hands, he doesn't need to rely on a miracle to survive.
He has shown himself to be politically savvy, and his campaign ended December 2014 with over $5.8 million in the bank. Given his past fundraising success (he raised more than $17 million for his 2010 race) and his ties to the Club for Growth, you can bet Toomey will have all of the money he needs to run a first-class operation.
Pennsylvania Democrats will need a capable nominee and at least a neutral political environment to deny Toomey a second term. Given the state's fundamentals, and the closeness of the 2010 contest, it is certainly possible they can accomplish that.
But the burden of proof is on them — and on the person they eventually nominate.
Why Early Senate Polling Is Usually Useless
Senators Confirm Re-Election Bids for 2016
First Senate Race Ratings Revealed
10 Races to Watch in 2016: Pennsylvania Senate
Pennsylvania Democrats Hesitate on Sestak Senate Bid
Roll Call Results Map: Results and District Profiles for Every Seat
Be the first to know about Rothenberg & Gonzales Political Report/Roll Call race rating changes with our new Roll Call politics app!


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Former Dawson County Chief Magistrate dies
Payne served county for more than 40 years
Funeral services for the man that served Dawson County for over 40 years as justice of the peace and chief magistrate judge will be Friday at Bearden's Funeral Home.
Paul Payne, 76, of Dawsonville, died at his home Tuesday, Aug. 26, following a period of declining health.
A native of Dawson County, Payne served as justice of the peace from 1965-1982 when the grand jury appointed him to the chief magistrate judgeship.
As the community gathered in December 2004 to pay tribute to his years of service, Payne said he enjoyed his years of servitude to his hometown. "I thought maybe I could make a difference," he said. "I did my best. I have enjoyed it."
For many years, Payne ran the magistrate's office from his downtown Dawsonville property, where he also owned and operated a service station.
"He was the true vision, the true definition of a public servant," said Johnny Holtzclaw, who has served as Dawson County Chief Magistrate since Payne retired in 2004.
He is survived by his wife Margaret Payne of Dawsonville, stepdaughters Sandra Gilleland and Karen Chester and sister, Betty Thompson of Gainesville. Several stepgrandchildren, stepgreat-granddaughter, nieces, nephews and other relatives also survive.
The family will receive friends at the funeral home tonight from 7-9 p.m. and Thursday from 2-4 p.m. and 7-9 p.m.
Funeral services will be 2 p.m. Friday, Aug. 29 at Bearden Funeral Home Chapel in Dawsonville, with the Revs. Glenn Byrd, Cory Gilleland and Roger Holley officiating.
Interment will follow at the Mill Creek Baptist Church Cemetery.


Town Councillors are required to sit on a wide variety of committees in the community. Committee responsibilities are assigned as fairly as possible to share the time requirements and workload.
More than 20 committees require the attention and involvement of Councillors. Some committees meet monthly, some less often, and some on an as needed basis. In some cases, two or more Councillors may be members of certain committees.
Following the October 21 Municipal Election, members of Town Council met on October 29 for an organizational meeting where one item on the agenda included the discussion and assignment of Committees of Council. Councillors volunteered for committees of interest to them and the remaining committees were distributed in an equitable manner.
These assignments will be posted on the Town website, on the Committees of Council page, and updates or adjustments will be made on that page as necessary.


Ebola rears its ugly head again and eliminates Troy from the Den of Inequity. And with that a special guest host dropped by for a couple words of wisdom.
Looking back at the match against FC Dallas and ahead to the Dynamo coming to town.
Little in the way of extra talk, so good for only a one way bus trip.
That game against San Jose yesterday could have gone better. Way better.
The Pow Wow discusses what REALLY happened and why things went so poorly for the Sounders. There are stories and beratings to be had.
What a great way to start the season! Let's keep it up boys!
Katy doesn't join us in studio (it was a lunch time show) but Neil does and that makes all the difference.
With the first week of Fantasy League in the books, Jonathon's whining has begun (oh, glory...).
We're back in the Den of Inequity with another show of too much talk, not much substance and opinions up the kazoo.
So glad you could join us for talk of the Seattle Sounders and Major League Soccer and the foibles thereto.


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Peggy Saunders
is honored with a Brick from Rod and Terri Driskell and family and Mark and Jeannine Saunders and family.
This is a tribute to the heroine in our lives, Peggy Saunders. Peggy is a Mother, a Grandmother, a Friend and a Woman who has been battling breast cancer for nearly a decade. Yet, Peggy doesn't appear to be involved in any sort of battle whatsoever. She is stunningly optimistic, and continues to hardily embrace each and everyday. Following are quotes from her children, Mark Saunders and Terri Driskell. They know the words that describe their brave and wonderful mother.
From Terri:
"She's an inspiration to others because of her strong sense of faith and positive attitude."
"She never lets cancer run her life; she lives her life as she wants."
"She sees her cancer as an inconvenience, not a 'death sentence.'"
"In spite of her physical struggles she remains a constant support to her family."
From Mark:
"Even when she feels less than perfect she always has a smile and an outreached hand to help someone."
"She effectively deals with her circumstances every single day. Better than I ever could."
"She has the courage and perseverance to continue to lead a full and productive life."
"She is willing to give unto others without putting herself first."
"She's the only person that I know that could die tomorrow and say I have no regrets about my life."
Though I won't quote all the others who adore her, her six grandchildren, daughter and son-in-law, sister, brother-in-law, nieces and nephews and countless others who are friends, fellow church members and fellow employees, there is one thing we can say collectively: We love her and we are truly blessed to have such an unassuming, loving, compassionate, and heroic woman like Peggy Saunders in our lives.
Submitted by Jeannine Saunders
A tribute to Peggy Saunders is located in section C02. She has been honored with a Brick.
Click on the Plaza image above to locate the Brick honoring Peggy Saunders .


Vedic Knowledge "As It Is"
Bhagavad-gita is also known as Gitopanisad. It is the essence of vedic knowledge and one of the most important Upanishads in vedic literature.
Bhagavad-gita is universally renowned as the jewel of India's spiritual wisdom. Spoken by Lord Krishna, the Supreme Personality of Godhead, to His intimate devotee Arjuna, the Gita's seven hundred concise verses provide a definitive guide to the science of self-realization. Indeed no work even compares in its revelations of man's essential nature, his environment and ultimately his relationship with God.
His Divine Grace A. C. Bhaktivedanta Swami Prabhupada (right), the world's foremost vedic scholar and teacher, represents an unbroken chain of fully self-realized spiritual masters beginning with Lord Krishna Himself. Thus, unlike other editions of the Bhagavad-gita, Srila Prabhupada conveys Lord Krishna's profound message "As it is" - without the slightest taint of adulteration or personally motivated change. Replete with sixteen full-color plates(pages), this new edition is certain to stimulate and enlighten any reader with its ancient yet thoroughly timely teachings.
"In the morning I bathe my intellect in the stupendous and cosmological philosophy of the Bhagavad-gita, in comparison with which our modern world and its literature seem puny and trivial."
"I owed a magnificent day to the Bhagavad-gita. It was the first of books; it was as if an empire spoke to us, nothing small or unworthy, but large, serene, consistent, the voice of an old intelligence which in another age and climate had pondered and thus disposed of the same questions which exercise us.
When I read the Bhagavad-gita, the only question left is how God created the universe. Everything else seems to be superfluous.


text:
$LOAD_PATH.unshift File.expand_path('../../lib', __FILE__)
require 'hatebu_entry'
require 'fakeweb'

module HelperMethods
  def fixture(name)
    File.read("#{__dir__}/support/#{name}")
  end

  def mock_hatebu_entry_api(uri, fix='hatebu_entry.jsonp')
    response ||= fixture(fix)
    FakeWeb.register_uri(:get, uri, :body => response)
  rescue Errno::ENOENT
    response = fixture("no_entry.jsonp")
    retry
  end
end

RSpec.configuration.include(HelperMethods)


text:
Q: Is there a way in springboot/hibernate to automatically detect when a related entity is updated, similar to the @PreUpdate annotation? I'm looking to keep a record of different fields of a entity for use in some business logic, which can be easily done using the @PreUpdate annotation. However, this is only triggered when fields that are directly on the entity are changed, but not on related entities. Here an example entity User class:
@Entity
public class User {

    @Transient
    private User loadState;

    @Column
    private String phoneNumber;

    @Column
    private LocalDate phoneNumberChanged;

    @OneToMany(cascade = CascadeType.ALL, orphanRemoval = true)
    List<Address> addresses;

    @Column
    private LocalDate addressesChanged;

    @PreUpdate
    public void updateRecords() {
        keepLastPhoneNumber();   // save date that phone number was changed
        keepLastAddresses();     // save date that addresses were changed
    }

    @PostLoad
    private void storeState() {
        loadState = new User();
        loadState.setphoneNumber(this.getPhoneNumber());
        loadState.setAddresses(new Address(this.getAddresses()));
    }

    private void keepLastPhoneNumber() {
        if (!loadState.getPhoneNumber().equals(this.getPhoneNumber())) {
            this.setPhoneNumberChanged(LocalDate.now());
        }
    }

    private void keepLastAddresses() {
        if (!loadState.getAddresses().equals(this.getAddresses())) {
            this.setAddressesChanged(LocalDate.now());
        }
    }
}

So here when phoneNumber is changed the updateRecords() function is run, but when the addresses field is changed it is not. Is there a way to run that function when a change is done on any fields of User, including the related fields? If there is a way beyond the typical JPA annotations I would love to learn about it.
EDIT: below a bit more details and added more fields to the above entity to make it clearer.
So if I were to change only the phoneNumber field, the updateRecords() function would automatically run because of the @PreUpdate annotation, and then would update the phoneNumberChanged field because the logic has checked that phoneNumber is indeed different from the one from loadState.
If I were to change both phoneNumber and addresses fields then the updateRecords() function would also automatically run, which would see that both addresses and phoneNumber were changed and alter the fields accordingly.
However, if I change only addresses the PreUpdate would not be triggered and so the addressesChanged field would not be updated, even though the addresses list has been changed. I am looking for a way to detect when changes are made to any field of the User entity, so that function can be called and run properly.

redpajama_set_name: RedPajamaStackExchange


text:
Q: What happens behind the scene of PHPs foreach? Experiments in PHP 7.1 (docker image nanoninja/php-fpm:7.1)
In next piece of code everything clear:
$arr1 = [1, 2, 3];

foreach ($arr1 as &$value) {
    $value *= 2;
}

We have array $arr1 and multiply all values by 2. Result:
array(3) {
  [0]=>
  int(2)
  [1]=>
  int(4)
  [2]=>
  &int(6)
}

But what happens in this statement:
$arr1 = [1, 2, 3];

foreach ($arr2 = $arr1 as &$value) {
    $value *= 2;
}

Result of both arrays $arr1 and $arr2 will unchangeable:
array(3) {
  [0]=>
  int(1)
  [1]=>
  int(2)
  [2]=>
  int(3)
}

Why is it happens? I know that in PHP > 7 foreach works with copy of array but with copy of which array it works in this case $arr1 or $arr2. And why & don't work?

A: foreach only works with a copy of the array in the normal by-value mode, not in by-reference mode. So that change in PHP 7 is not relevant to this code.
But in your second code block, you're not using a variable as the array to iterate over, so there's nothing to make a reference to. Instead, you have an expression, and the value of the expression is a copy of the array. It's essentially equivalent to doing:
$temp = $array1 = $array2;
foreach ($temp as &$value) {
    $value *= 2;
}

This will update $temp, but not $array1 or $array2.


The firm has an excellent record representing clients in antitrust and related claims. In each case handled by the firm, such claims have been successfully defended.
Thomson, Rhodes & Cowie's lawyers strive to get to the heart of antitrust disputes as quickly as possible so that they can focus upon essential areas of proof to support well considered legal arguments.
Through this approach, we have been successful in numerous antitrust cases in having allegations dismissed prior to trial.
© Copyright 2002-2018 Thomson, Rhodes & Cowie, P.C.


Jill obtained her Bachelors of Science in Health Studies from the University of Waterloo, and Masters of Science and Doctorate from the University of Toronto. Prior to joining the department, Jill spent two years at the Toronto Rehabilitation Institute as a CIHR funded post-doctoral fellow. Her primary research interest is to examine the experiences of family members who assume the role of informal caregiver for individuals with disability. Jill's aim is to understand caregivers' needs and develop timely and relevant programs to assist them with their care-giving activities and pursuit of other valued activities and interests. She has conducted research in the area of stroke, critical illness, mental health, heart failure, and advanced cancer. Jill holds a 5-year Ministry of Health and Long-term Care Career Scientist Award to continue to emphasize her family caregiver program of research. Recently, Jill has received a Faculty of Medicine, Graduate Faculty Teaching Award - Excellence in Graduate Teaching (Early Career), a 5-year CIHR New Investigator Award, and Ministry of Research and Innovation Early Researcher Award.


text:
Q: Vacuous Truths and Continuity at a Point Where a Map is Undefined I understand that a conditional statement is said to be vacuously true in the case that its antecedent is false, in which case the conditional statement is, itself, true. However, what about the following:
Let $A$ and $B$ be sets such that $A \subseteq B$. Let $f: A \to \mathbb{R}$ be a map. Let $b \in B$ such that $f(b)$ is not defined. Fix an arbitrary $\varepsilon > 0$ and consider the following statement:
$$
f(b) < \varepsilon.
$$
Is this true or false? The more I think about it, the more ambiguous it seems. After all, if it is true then its negation
$
f(b) \geq \varepsilon
$
should be false, yet this makes no more sense than for
$
f(b) < \varepsilon
$
to be false in the case that $f(b)$ is undefined. Is there another term for this besides vacuous truth?
Edit: The context in which this question arises is if a function can be considered continuous at a point at which it is not defined.
Let $X$ and $Y$ be metric spaces. Let $A \subseteq X$. Let $a \in A$. Let $f : A \to Y$ be a map.
Then, define the phrase "$f$ is continuous at $a$'' to mean the following:
$$
\forall \varepsilon > 0, \hspace{1mm} \exists\hspace{1mm} \delta > 0 \ni \hspace{4mm} x\in N_\delta^X(a)\cap A \implies d_Y (f(x), f(a)) < \varepsilon
$$
where $N_\delta^X(a)$ denotes a neighborhood in the metric space $X$ of radius $\delta$, centered at $a$, and $d_Y$ denotes the metric of $Y$. So, if we apply this to an $x\in X \setminus A$, $f(x)$ is undefined and $x \in N_\delta^X(a)\cap A$ is false. Does it then follow that the conditional statement in the definition of continuity at $x$ is vacuously true. Hence, $f$ is continuous at at point $x$ for which $f(x)$ is undefined.
So, in the original question, $f$ is like $d_Y$ and $b$ is like the pair $(f(x), f(a)) \in Y \times Y$. Analytic definitions aside, the heart of the question is this: If an implication is characterized by a false antecedent and a consequent which is neither true nor false. Is the implication itself true?
Thank you.

A: In set-theoretic foundations, the statement is false. The problem is the distinction between logical functions and set-theoretic functions. If $f$ is a (unary) logical function (i.e. a function symbol in our theory), then $f(x)$ is always defined.1 To this end, your question wouldn't make sense.  However, it is clear that you intend a set-theoretic function (at least assuming you are using a set-theoretic foundation) and so a function is a set, i.e. an individual of set theory. To this end, $f(x)$ is not a term at all, instead the formula $f(x)=y$ is shorthand for $(x,y)\in f$. Your formula: $f(b)<\varepsilon$ expands to $\exists y.(b,y)\in f\land y<\varepsilon$ which is simply false when $b\notin A$.
1 There are some logics that have an inherent notion of a not fully defined function, but those are non-standard.


text:
// Licensed to the .NET Foundation under one or more agreements.
// The .NET Foundation licenses this file to you under the MIT license.
// See the LICENSE file in the project root for more information.

using System.ComponentModel.Composition;
using System.Diagnostics.CodeAnalysis;
using System.Threading;
using Microsoft.CodeAnalysis;
using Microsoft.CodeAnalysis.CSharp.Extensions;
using Microsoft.CodeAnalysis.Editor.Shared.Utilities;
using Microsoft.CodeAnalysis.Text;
using Microsoft.VisualStudio.Commanding;
using Microsoft.VisualStudio.Editor;
using Microsoft.VisualStudio.Language.Intellisense.AsyncCompletion;
using Microsoft.VisualStudio.LanguageServices.Implementation.Snippets;
using Microsoft.VisualStudio.Shell;
using Microsoft.VisualStudio.Text;
using Microsoft.VisualStudio.Text.Editor;
using Microsoft.VisualStudio.Text.Editor.Commanding.Commands;
using Microsoft.VisualStudio.Utilities;

namespace Microsoft.VisualStudio.LanguageServices.CSharp.Snippets
{
    [Export(typeof(ICommandHandler))]
    [ContentType(CodeAnalysis.Editor.ContentTypeNames.CSharpContentType)]
    [Name("CSharp Snippets")]
    [Order(After = PredefinedCompletionNames.CompletionCommandHandler)]
    [Order(After = CodeAnalysis.Editor.PredefinedCommandHandlerNames.SignatureHelpAfterCompletion)]
    internal sealed class SnippetCommandHandler :
        AbstractSnippetCommandHandler,
        ICommandHandler<SurroundWithCommandArgs>
    {
        [ImportingConstructor]
        [SuppressMessage("RoslynDiagnosticsReliability", "RS0033:Importing constructor should be [Obsolete]", Justification = "Used in test code: https://github.com/dotnet/roslyn/issues/42814")]
        public SnippetCommandHandler(IThreadingContext threadingContext, IVsEditorAdaptersFactoryService editorAdaptersFactoryService, SVsServiceProvider serviceProvider)
            : base(threadingContext, editorAdaptersFactoryService, serviceProvider)
        {
        }

        public bool ExecuteCommand(SurroundWithCommandArgs args, CommandExecutionContext context)
        {
            AssertIsForeground();

            if (!AreSnippetsEnabled(args))
            {
                return false;
            }

            return TryInvokeInsertionUI(args.TextView, args.SubjectBuffer, surroundWith: true);
        }

        public CommandState GetCommandState(SurroundWithCommandArgs args)
        {
            AssertIsForeground();

            if (!AreSnippetsEnabled(args))
            {
                return CommandState.Unspecified;
            }

            if (!CodeAnalysis.Workspace.TryGetWorkspace(args.SubjectBuffer.AsTextContainer(), out var workspace))
            {
                return CommandState.Unspecified;
            }

            if (!workspace.CanApplyChange(ApplyChangesKind.ChangeDocument))
            {
                return CommandState.Unspecified;
            }

            return CommandState.Available;
        }

        protected override AbstractSnippetExpansionClient GetSnippetExpansionClient(ITextView textView, ITextBuffer subjectBuffer)
        {
            if (!textView.Properties.TryGetProperty(typeof(AbstractSnippetExpansionClient), out AbstractSnippetExpansionClient expansionClient))
            {
                expansionClient = new SnippetExpansionClient(ThreadingContext, Guids.CSharpLanguageServiceId, textView, subjectBuffer, EditorAdaptersFactoryService);
                textView.Properties.AddProperty(typeof(AbstractSnippetExpansionClient), expansionClient);
            }

            return expansionClient;
        }

        protected override bool TryInvokeInsertionUI(ITextView textView, ITextBuffer subjectBuffer, bool surroundWith = false)
        {
            if (!TryGetExpansionManager(out var expansionManager))
            {
                return false;
            }

            expansionManager.InvokeInsertionUI(
                EditorAdaptersFactoryService.GetViewAdapter(textView),
                GetSnippetExpansionClient(textView, subjectBuffer),
                Guids.CSharpLanguageServiceId,
                bstrTypes: surroundWith ? new[] { "SurroundsWith" } : new[] { "Expansion", "SurroundsWith" },
                iCountTypes: surroundWith ? 1 : 2,
                fIncludeNULLType: 1,
                bstrKinds: null,
                iCountKinds: 0,
                fIncludeNULLKind: 0,
                bstrPrefixText: surroundWith ? CSharpVSResources.Surround_With : CSharpVSResources.Insert_Snippet,
                bstrCompletionChar: null);

            return true;
        }

        protected override bool IsSnippetExpansionContext(Document document, int startPosition, CancellationToken cancellationToken)
        {
            var syntaxTree = document.GetSyntaxTreeSynchronously(cancellationToken);

            return !syntaxTree.IsEntirelyWithinStringOrCharLiteral(startPosition, cancellationToken) &&
                !syntaxTree.IsEntirelyWithinComment(startPosition, cancellationToken);
        }
    }
}


One hundred twelve unilateral upper extremity amputees who were registered at the Okayama Prefectural Rehabilitation Center were studied. There were 5 shoulder disarticulations, 28 upper arm amputations, one elbow disarticulation, 56 forearm amputations and 22 wrist disarticulations. Ninety-four percent of the cases were caused by trauma, such as labor accidents, traffic accidents and war injuries. The phantom limb was recognized in 59 percent. Seventeen percent complained of phantom at all times and showed psychological suppresive tendencies. Although phantom pain was reported in 24 percent, they had no trouble in daily activities. Ninety-five percent had a cosmetic prosthesis, of which 90 percent actually used it, i.e., 52 percent used the prosthesis not only for cosmetic reasons, but also in daily activities, and 38 percent used it for cosmetic reasons only. Fifty percent had a working arm (Arbeitsarm), and 95 percent of them actually used it. Ttey had 1.4 terminal devices on the average, and used the devices according to the kind of labor: such as ploughing, driving a tractor or carpentering. On the other hand, 12 percent had a functional prosthesis, but only 54 percent of them used it. Because there has been a lack of integrated rehabilitation for upper extremity amputees in Japan, functional prostheses have not been used widely. The answers to a questionaire about the upper extremity prosthesis indicated that 21 percent of the amputees should be enlightened as to the usefulness as well as the functional restriction of the upper extremity prosthesis. Moreover, it is necessary to improve the socket and the component.


text:
Art Cologne Slams Germany's Art Protection Law
Art fairs have now joined the growing list of critics.
Henri Neuendorf, February 22, 2016
Art Cologne 2015.
Photo: Koelnmesse
Koelnmesse, the organizers behind the German art fairs Art Cologne and Cologne Fine Art have written an open letter expressing their opposition to the amendment of Germany's cultural protection act.
"If the current version of the draft is passed, not only will galleries, art dealers, auction houses, private collectors, and museums be negatively affected, but also the entire German art fair landscape," Gerald Böse, CEO of Koelnmesse said.
"The impending export ban of artworks classified as 'national patrimony' and the appraisal process carried out by the authorities will massively restrict the art trade in Germany, and thus the art fairs as an independent platform for the trade of art," he added.
German Culture Minister Monika Grütters (2009)
Photo: monika-gruetters.de
The legislative changes which have been massively criticized by everyone from artists, to galleries, dealers, museums, collectors, and now, art fairs, aim to regulate the export of nationally significant artworks, facilitate the repatriation of foreign and illicit cultural goods, and protect against the trade in illicit artifacts.
The section of the current draft that nearly everyone involved in the German art market takes issue with is the requirement of individual artworks older than 70 years or valued over €300,000 to undergo a government appraisal process before they may be exported to another European country.
According to Böse, "Many of our exhibitors view the latest developments as a serious risk to their business. In the long run, German art fairs will no longer be competitive in comparison to their international counterparts."
Meanwhile, commentators in Germany have noted the increase in the number of works by German impressionists and expressionists that are finding their way to foreign auction houses, and speculate whether this is a measure taken by German collectors ahead of the law's implementation.
Furthermore, as the open letter asserts, the proposed draft law would require more stringent due diligence, documentation, and disclosure obligations, as well as provenance guarantees.
Gerald Böse, CEO of Koelnmesse, sharply criticized the government's measures.
Photo: Koelnmesse Blog
The extent of the required bureaucracy would make it impossible for market segments dealing in the fields of Tribal, Asian, and ancient art to operate effectively due to the significant administrative burden, Koelnmesse point out.
The letter stresses that the authorities will demand such information not only from dealers and galleries, but also from private collectors and individuals for all exports regardless of whether they relocate abroad, loan an artwork for an exhibition, or sell.
For individuals without the legal know-how, the paperwork and bureaucracy envisaged by the proposed broadening of the legal framework could prove unmanageable. The associated legal fees add another signifiant cost to the maintenance of an art collection.
While Koelnmesse—which opens the 50th edition of Art Cologne in April—said the it "Welcomes the intention to prevent the illegal trade in cultural property," it called on German culture minister Monika Grütters and the relevant minister of North Rhine-Westphalia, Christina Kampmann, to "carefully examine the bill and its implications for German art fairs and the cultural destination of Germany."
Henri Neuendorf
Specialist, Post-War and Contemporary Art
Retired Museum Directors Launch 11th Hour Bid to Stop German Art Law
By Henri Neuendorf , Jul 6, 2016
German Cabinet Approves Controversial Cultural Heritage Protection Law
By Henri Neuendorf , Nov 6, 2015
Leading Liberal Politician Attacks Germany's Cultural Protection Law
By Henri Neuendorf , Sep 24, 2015
Major British Artists Donate Works to 10th Annual Royal Academy Auction


text:
The Art of Non-Measured Geometry
October 16, 2020 by WTP comments (0)
Photo credit: Kerry Kehoe Photography
Tom Martinelli was born in New York City. His artwork has appeared in numerous solo and group exhibitions in New York, Santa Fe, Albuquerque, Boston, Chicago, Dallas, Atlanta, Los Angeles, and Pittsburgh, as well as internationally in Vienna, Austria, London, and Manchester, England. Martinelli, who now lives in New Mexico, has been a recipient of numerous grants and fellowships, including the Pollock-Krasner Foundation Award and a New York Foundation for the Arts grant in photography. His artwork has been reviewed in New York magazine, ARTnews, Modern Painters, New York Times, and Art + Auction. He holds an MFA from Hunter College and a BFA from the School of Visual Arts. His work appears in WTP Vol. VIII #6.
Interview with Tom Martinelli
By Jennifer Nelson, WTP Feature Writer
Nelson: Your signature as an artist seems very much the geometric. What initially led you to this focus in your work, and how does this precise mathematical instrument guide your practice?
Martinelli: I've worked with geometric shapes in some manner since I started painting. The paintings that are current and which I've made over the last few years are different from the more systematic and patterned paintings which preceded them. The forms I work with now are mostly non-idealized and non-measured geometry and often exhibit a certain amount of irregularity— bump and wobble—a kind of casual, handmade geometry. The shapes often have some mathematic reference in terms of their size and proportion, but the placement of shapes is determined intuitively. I've come to respond to them as if they have a kind of subtle gravitational or magnetic attraction/repulsion field around them, and in juxtaposition to their neighboring shapes.
Tom Martinelli, Big Venus, 2020. Acrylic on canvas, 60" x 46"
Nelson: What processes do you use to create such abstract paintings as "La Dolce Vita" and "Big Venus"?
Martinelli: I usually approach a painting with a basic idea for a composition. I'll sometimes make small preparatory paintings on paper around a particular arrangement of shape or color. During the process the painting idea usually just pops. I get into a certain state of mind and an idea sparks. "La Dolce Vita" is on a 9-foot-tall canvas. It's part of a group of works that I refer to as the "Orb paintings." The painting started with a general idea and with no preliminary drawing in this case, but with a firm hit about the scale and an interest in working with an intense red ground. I knew upfront that I wanted the large white shape, which I thought had a strong and spacious presence. I've worked with similar shapes often, and so have developed a good sense of their potential weight, density, movement and personality, as well as the environment needed to hold them. But even with a game plan, after I put the first form on the canvas, I might change my mind about what's next.
I usually work with stencils to paint forms. Stencils are shapes cut out of a material, in my case thin sheets of Mylar. Paint is applied through the stencil—similar to silk screening or the printing process. The stencil allows me mobility and responsiveness when moving a form around on the canvas. I also work with foam paint rollers, which can cover a broad area of canvas with a few decisive gestures.
With "Big Venus," I had a compositional idea regarding the mirroring of top and bottom shapes. But again, I'm not seeking mathematical exactness, so all is approximate. It is more felt than measured. Sometimes I'll make one shape a slightly different size than its partner shape, so they are intentionally not a perfect match. I think a viewer can sense such small inconsistencies and this provides a subtle entrée into the present moment by way of careful observation. As I worked on the painting, the relationships between the concentric circular shapes developed gradually. Each inner circle took on a different spatial quality. For example, the large white shapes are totally flat, and the smaller circular shapes within the white shapes have a light-to-dark gradient which implies a direction, or a potential curving or recession of space. The smallest inset circles then become a sequence of flat primary colors and facilitate a more schematic way of dividing and graduating a painted area. These different ways of depicting the spaces develop during the course of painting.
Tom Martinelli, La Dolce Vita, 2019. Acrylic and fluorescent acrylic on canvas, 108" x 60"
Nelson: Can you talk about how you came to your vertical stripe paintings, quite different from your current work?
Martinelli: The Vertical Stripe paintings were from the late '80s and early '90s. At the time, I was looking for a more structured way to paint than previously. When I was in school, I made paintings that were a hybrid of geometry and landscape, using a lot of brushstroke and gesture. I didn't find it a fully satisfactory way of working as I never actually knew with certainty when a painting was done. I began making paintings that were more systematic and with a set number of procedural steps. When these steps were completed the painting was finished. The stripe paintings were among those paintings.
All the stripe paintings had the same pattern and game plan. The only elements that varied from painting to painting were the colors and the paint handling. After applying a ground color, I would work from the left or right edge, moving towards the center. The paint was very loose and watery and acted like a stain on the canvas by soaking in and running off, rather than sitting on the surface. After each step, I would flip the canvas upside down and continue the process with the directions now in reverse. This would, in effect, impact the actual direction of the paint flow. The process provided a back-and-forth balance and rhythm. Eventually the layers met in the center and the work was more or less complete. I tried to keep the paint layers thin enough so the viewer could see through the painting, but that didn't always happen. I was using so much water to make the paint fluid that my studio was like a swamp. Paint would, at times, leak through the floor to the sweater factory below. Occasionally, they came upstairs and banged on my door. I wouldn't always answer.
Tom Martinelli, Untitled VS (no.9101), 1991. Acrylic on canvas, 18" x 18"
Nelson: What followed the stripe paintings?
Martinelli: Following the stripe paintings, I worked intensively for several years with patterned fields of circles, building up layers of overlapping circular shapes. I referred to these as "dot paintings." Each layer was painted with transparent color, which, after all the transparencies overlapped, transformed into a color that became close to black. At the time I was very interested in field painting, influenced by painters such as Larry Poons, Morris Louis, and Barnett Newman, as well as Jasper Johns' Crosshatch Paintings. I was also thinking of the halftone dots in newsprint and how a pattern of dots can create a field of space made of small independent parts or modules. Like the stripe paintings, the dot paintings were systematic, based on a plan of construction which established a certain number of steps. This was where I began my use of stencils, a tool I have relied upon ever since. Some of the codified aspects of these paintings—the overlapping of transparent layers and use of expansive spaces—have stayed with me through much of the work I've made over the years.
Tom Martinelli, Blick, 1999. Acrylic on canvas, 18" x 14"
Nelson: Your black-and-white works on paper are intriguing—in many, there's a spontaneity that's surprising, not only where you seem to break out from the geometric, but in your use of acrylics, lending them a fluidity. How did you come to this series?
Martinelli: While working on paper, I either explore a compositional idea or take a no limits free-for-all approach. Both are important methods of working. The work on paper can sometimes function as a kind of practice session for a painting. Sometimes I'm honing a compositional idea but I'm also getting a feel for the forms I'm working with and their relationship to each other. It can be a way of developing an understanding of the shapes I use. When I work with a range of forms over a period of time, they become like the words of a visual language.
Regarding the free-for-all approach, there is not much linear thought there, just quick responsive movement and a tactile, physical way of knowing things. Some of my best ideas come from working this way. There's a time for the mind and a time for no-mind. No-mind, with the addition of touch and velocity, can materialize in beautiful and unusual ways. I put these works on my site because I value the role they play in telling a story about process, however nonlinear it may be. Acrylic on paper is particularly good for working this way. Also, working in black and white removes decision-making regarding color choices. Since I am slow and deliberate with making color choices black and white becomes a quicker way to realize certain ideas.
Tom Martinelli, Untitled B/W-01, 2018. Acrylic on paper, 24" x 18"
Collection of the artist
Nelson: Did growing up in Queens with a father who worked in offset printing impact your decision to become an artist, and if so, how?
Martinelli: Most of my interest in art was Grandpa-inspired. Grandpa Felix had a keen eye for creation and aesthetics. He was a savvy Northern Italian guy. If anyone moved me in the direction of art making, it was him. I did, though, spend a lot of time with my father in offset printing plants in Manhattan and grew to love the process. The hundreds of feet of mis-registered offset print leader coming off a printing press was fascinating as were the vague patches of color coalescing into an image.
Tom Martinelli, Airport, 2001. 35mm photograph, variable size
Nelson: What enticed you to branch out to photography, and can you talk about your varied subjects—some which seem to echo your fascination with the geometric, but others that resonate of something else entirely?
Martinelli: I took a trip to New Mexico in about 2002 and had a nice accident that got me working with cameras. I had been playing with cheap cameras, some plastic, as they often had quirks and distortions in how they captured images, which appealed to my painter's sensibility. One extremely hot New Mexico day I inadvertently left a camera on the car dashboard. I didn't realize it at the time, but the camera's electronic innards got cooked and probably reduced to slag. The shutter opened, but I assumed the film was baked. In any case, I went ahead and developed the roll, and when it came back, I got something unexpected—distorted, blurry images that were fantastic to my painter's eye. I totally loved them. The photo "Airport" is from that roll. This accident got me going on periodic bursts of photographic activity over the next few years.
Tom Martinelli, Saw, 2001. 35mm photograph, variable size
At one point, I was doing a lot of multiple exposure film photography by reloading 35mm color film into a camera several times. I kept a notebook and numbered the rolls. I'd carry around about 20 rolls that had passed through the camera already two, three, four times. Then I'd randomly pop one in the camera after consulting the notebook regarding the sequences I had been working with. Pass #1 might be clouds. Pass #2 color planes. Pass #3 shadows, and so forth. The system had a homegrown logic—a John Cage-like chance operation with no control as to how the images might be juxtaposed or how they might overlap each other. The process also reflected something about the painting procedures I'd been working with up until that time.
There were a number of other photographic periods. I accumulated a large catalogued library of image bits including cracks, circles, junctures, Jesuses, blurs, light leaks, and food. I'd then assemble them into multi-panel compositions, sometimes based on a theme, sometimes on a throwing-the-I-Ching type of process. Really though, I've never thought of myself as having any fixed identity when I work with a camera. It's primarily a tool for open exploration. I think of myself mostly as a painter with a camera.
Nelson: How do you see your artwork evolving in the future?
Martinelli: I'm not very good at predicting the future. As far as my work goes, I think (and hope) it will continue to manifest. But as far as a direction forward, I never really feel like I'm done with the past, so I'll likely continue to revisit past work, as has been my tendency. My interests seem to spiral back and forth in time—so in some way aspects of the past might become part of the future, but hopefully deeper and richer.
Tom Martinelli, BB Blue, 2016. Acrylic on canvas, 17" x 13 ¾"
Exploring History Through Clutter
A Winter Scene