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The Info List - Color
Color (American English) or colour (Commonwealth English) is the characteristic of human visual perception described through color categories, with names such as red, orange, yellow, green, blue, or purple. This perception of color derives from the stimulation of cone cells in the human eye by electromagnetic radiation in the visible spectrum. Color
Color categories and physical specifications of color are associated with objects through the wavelength of the light that is reflected from them. This reflection is governed by the object's physical properties such as light absorption, emission spectra, etc. By defining a color space, colors can be identified numerically by coordinates. The RGB color space
RGB color space for instance is a color space corresponding to human trichromacy and to the three cone cell types that respond to three bands of light: long wavelengths, peaking near 564–580 nm (red); medium-wavelength, peaking near 534–545 nm (green); and short-wavelength light, near 420–440 nm (blue).[1][2] There may also be more than three color dimensions in other color spaces, such as in the CMYK color model, wherein one of the dimensions relates to a color's colorfulness). The photo-receptivity of the "eyes" of other species also varies considerably from that of humans and so results in correspondingly different color perceptions that cannot readily be compared to one another. Honeybees and bumblebees for instance have trichromatic color vision sensitive to ultraviolet but is insensitive to red. Papilio butterflies possess six types of photoreceptors and may have pentachromatic vision.[3] The most complex color vision system in the animal kingdom has been found in stomatopods (such as the mantis shrimp) with up to 12 spectral receptor types thought to work as multiple dichromatic units.[4] The science of color is sometimes called chromatics, colorimetry, or simply color science. It includes the study of the perception of color by the human eye and brain, the origin of color in materials, color theory in art, and the physics of electromagnetic radiation in the visible range (that is, what is commonly referred to simply as light).
1 Physics
Physics of color
1.1 Spectral colors 1.2 Color
Color of objects
2 Perception
2.1 Development of theories of color vision 2.2 Color
Color in the eye 2.3 Color
Color in the brain 2.4 Nonstandard color perception
2.4.1 Color
Color deficiency 2.4.2 Tetrachromacy 2.4.3 Synesthesia
2.5 Afterimages 2.6 Color
Color constancy 2.7 Color
Color naming 2.8 Associations
3 Spectral colors and color reproduction
3.1 Additive coloring 3.2 Subtractive coloring 3.3 Structural color
4 Additional terms 5 See also 6 References 7 External links and sources
Continuous optical spectrum rendered into the sRGB color space.
The colors of the visible light spectrum[5]
Color Wavelength interval Frequency interval
Red ~ 700–635 nm ~ 430–480 THz
Orange ~ 635–590 nm ~ 480–510 THz
Yellow ~ 590–560 nm ~ 510–540 THz
Green ~ 560–520 nm ~ 540–580 THz
Cyan ~ 520–490 nm ~ 580–610 THz
Blue ~ 490–450 nm ~ 610–670 THz
Violet or Purple ~ 450–400 nm ~ 670–750 THz
Color, wavelength, frequency and energy of light
displaystyle lambda ,!
displaystyle nu ,!
(THz)
displaystyle nu _ b ,!
(μm−1)
displaystyle E,!
(eV)
(kJ mol−1)
Infrared >1000 <300 <1.00 <1.24 <120
Red 700 428 1.43 1.77 171
Orange 620 484 1.61 2.00 193
Yellow 580 517 1.72 2.14 206
Green 530 566 1.89 2.34 226
Blue 470 638 2.13 2.64 254
Violet or Purple 420 714 2.38 2.95 285
Near ultraviolet 300 1000 3.33 4.15 400
Far ultraviolet <200 >1500 >5.00 >6.20 >598
Electromagnetic radiation
Electromagnetic radiation is characterized by its wavelength (or frequency) and its intensity. When the wavelength is within the visible spectrum (the range of wavelengths humans can perceive, approximately from 390 nm to 700 nm), it is known as "visible light". Most light sources emit light at many different wavelengths; a source's spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, there are many more possible spectral combinations than color sensations. In fact, one may formally define a color as a class of spectra that give rise to the same color sensation, although such classes would vary widely among different species, and to a lesser extent among individuals within the same species. In each such class the members are called metamers of the color in question. Spectral colors The familiar colors of the rainbow in the spectrum—named using the Latin
Latin word for appearance or apparition by Isaac Newton
Isaac Newton in 1671—include all those colors that can be produced by visible light of a single wavelength only, the pure spectral or monochromatic colors. The table at right shows approximate frequencies (in terahertz) and wavelengths (in nanometers) for various pure spectral colors. The wavelengths listed are as measured in air or vacuum (see refractive index). The color table should not be interpreted as a definitive list—the pure spectral colors form a continuous spectrum, and how it is divided into distinct colors linguistically is a matter of culture and historical contingency (although people everywhere have been shown to perceive colors in the same way[6]). A common list identifies six main bands: red, orange, yellow, green, blue, and violet. Newton's conception included a seventh color, indigo, between blue and violet. It is possible that what Newton referred to as blue is nearer to what today is known as cyan, and that indigo was simply the dark blue of the indigo dye that was being imported at the time.[7] The intensity of a spectral color, relative to the context in which it is viewed, may alter its perception considerably; for example, a low-intensity orange-yellow is brown, and a low-intensity yellow-green is olive-green. Color
Color of objects The color of an object depends on both the physics of the object in its environment and the characteristics of the perceiving eye and brain. Physically, objects can be said to have the color of the light leaving their surfaces, which normally depends on the spectrum of the incident illumination and the reflectance properties of the surface, as well as potentially on the angles of illumination and viewing. Some objects not only reflect light, but also transmit light or emit light themselves, which also contributes to the color. A viewer's perception of the object's color depends not only on the spectrum of the light leaving its surface, but also on a host of contextual cues, so that color differences between objects can be discerned mostly independent of the lighting spectrum, viewing angle, etc. This effect is known as color constancy.
The upper disk and the lower disk have exactly the same objective color, and are in identical gray surroundings; based on context differences, humans perceive the squares as having different reflectances, and may interpret the colors as different color categories; see checker shadow illusion.
Some generalizations of the physics can be drawn, neglecting perceptual effects for now:
Light arriving at an opaque surface is either reflected "specularly" (that is, in the manner of a mirror), scattered (that is, reflected with diffuse scattering), or absorbed – or some combination of these. Opaque objects that do not reflect specularly (which tend to have rough surfaces) have their color determined by which wavelengths of light they scatter strongly (with the light that is not scattered being absorbed). If objects scatter all wavelengths with roughly equal strength, they appear white. If they absorb all wavelengths, they appear black.[8] Opaque objects that specularly reflect light of different wavelengths with different efficiencies look like mirrors tinted with colors determined by those differences. An object that reflects some fraction of impinging light and absorbs the rest may look black but also be faintly reflective; examples are black objects coated with layers of enamel or lacquer. Objects that transmit light are either translucent (scattering the transmitted light) or transparent (not scattering the transmitted light). If they also absorb (or reflect) light of various wavelengths differentially, they appear tinted with a color determined by the nature of that absorption (or that reflectance). Objects may emit light that they generate from having excited electrons, rather than merely reflecting or transmitting light. The electrons may be excited due to elevated temperature (incandescence), as a result of chemical reactions (chemoluminescence), after absorbing light of other frequencies ("fluorescence" or "phosphorescence") or from electrical contacts as in light emitting diodes, or other light sources.
To summarize, the color of an object is a complex result of its surface properties, its transmission properties, and its emission properties, all of which contribute to the mix of wavelengths in the light leaving the surface of the object. The perceived color is then further conditioned by the nature of the ambient illumination, and by the color properties of other objects nearby, and via other characteristics of the perceiving eye and brain. Perception
When viewed in full size, this image contains about 16 million pixels, each corresponding to a different color on the full set of RGB colors. The human eye can distinguish about 10 million different colors.[9]
Development of theories of color vision Main article: Color
Color theory Although Aristotle
Aristotle and other ancient scientists had already written on the nature of light and color vision, it was not until Newton that light was identified as the source of the color sensation. In 1810, Goethe published his comprehensive Theory of Colors in which he ascribed physiological effects to color that are now understood as psychological. In 1801 Thomas Young proposed his trichromatic theory, based on the observation that any color could be matched with a combination of three lights. This theory was later refined by James Clerk Maxwell
James Clerk Maxwell and Hermann von Helmholtz. As Helmholtz puts it, "the principles of Newton's law of mixture were experimentally confirmed by Maxwell in 1856. Young's theory of color sensations, like so much else that this marvelous investigator achieved in advance of his time, remained unnoticed until Maxwell directed attention to it."[10] At the same time as Helmholtz, Ewald Hering
Ewald Hering developed the opponent process theory of color, noting that color blindness and afterimages typically come in opponent pairs (red-green, blue-orange, yellow-violet, and black-white). Ultimately these two theories were synthesized in 1957 by Hurvich and Jameson, who showed that retinal processing corresponds to the trichromatic theory, while processing at the level of the lateral geniculate nucleus corresponds to the opponent theory.[11] In 1931, an international group of experts known as the Commission internationale de l'éclairage (CIE) developed a mathematical color model, which mapped out the space of observable colors and assigned a set of three numbers to each. Color
Color in the eye Main article: Color
Normalized typical human cone cell responses (S, M, and L types) to monochromatic spectral stimuli
The ability of the human eye to distinguish colors is based upon the varying sensitivity of different cells in the retina to light of different wavelengths. Humans
Humans are trichromatic—the retina contains three types of color receptor cells, or cones. One type, relatively distinct from the other two, is most responsive to light that is perceived as blue or blue-violet, with wavelengths around 450 nm; cones of this type are sometimes called short-wavelength cones, S cones, or blue cones. The other two types are closely related genetically and chemically: middle-wavelength cones, M cones, or green cones are most sensitive to light perceived as green, with wavelengths around 540 nm, while the long-wavelength cones, L cones, or red cones, are most sensitive to light is perceived as greenish yellow, with wavelengths around 570 nm. Light, no matter how complex its composition of wavelengths, is reduced to three color components by the eye. Each cone type adheres to the principle of univariance, which is that each cone's output is determined by the amount of light that falls on it over all wavelengths. For each location in the visual field, the three types of cones yield three signals based on the extent to which each is stimulated. These amounts of stimulation are sometimes called tristimulus values. The response curve as a function of wavelength varies for each type of cone. Because the curves overlap, some tristimulus values do not occur for any incoming light combination. For example, it is not possible to stimulate only the mid-wavelength (so-called "green") cones; the other cones will inevitably be stimulated to some degree at the same time. The set of all possible tristimulus values determines the human color space. It has been estimated that humans can distinguish roughly 10 million different colors.[9] The other type of light-sensitive cell in the eye, the rod, has a different response curve. In normal situations, when light is bright enough to strongly stimulate the cones, rods play virtually no role in vision at all.[12] On the other hand, in dim light, the cones are understimulated leaving only the signal from the rods, resulting in a colorless response. (Furthermore, the rods are barely sensitive to light in the "red" range.) In certain conditions of intermediate illumination, the rod response and a weak cone response can together result in color discriminations not accounted for by cone responses alone. These effects, combined, are summarized also in the Kruithof curve, that describes the change of color perception and pleasingness of light as function of temperature and intensity. Color
Color in the brain Main article: Color
The visual dorsal stream (green) and ventral stream (purple) are shown. The ventral stream is responsible for color perception.
While the mechanisms of color vision at the level of the retina are well-described in terms of tristimulus values, color processing after that point is organized differently. A dominant theory of color vision proposes that color information is transmitted out of the eye by three opponent processes, or opponent channels, each constructed from the raw output of the cones: a red–green channel, a blue–yellow channel, and a black–white "luminance" channel. This theory has been supported by neurobiology, and accounts for the structure of our subjective color experience. Specifically, it explains why humans cannot perceive a "reddish green" or "yellowish blue", and it predicts the color wheel: it is the collection of colors for which at least one of the two color channels measures a value at one of its extremes. The exact nature of color perception beyond the processing already described, and indeed the status of color as a feature of the perceived world or rather as a feature of our perception of the world – a type of qualia – is a matter of complex and continuing philosophical dispute. Nonstandard color perception Color
Color deficiency Main article: Color
Color blindness If one or more types of a person's color-sensing cones are missing or less responsive than normal to incoming light, that person can distinguish fewer colors and is said to be color deficient or color blind (though this latter term can be misleading; almost all color deficient individuals can distinguish at least some colors). Some kinds of color deficiency are caused by anomalies in the number or nature of cones in the retina. Others (like central or cortical achromatopsia) are caused by neural anomalies in those parts of the brain where visual processing takes place. Tetrachromacy Main article: Tetrachromacy While most humans are trichromatic (having three types of color receptors), many animals, known as tetrachromats, have four types. These include some species of spiders, most marsupials, birds, reptiles, and many species of fish. Other species are sensitive to only two axes of color or do not perceive color at all; these are called dichromats and monochromats respectively. A distinction is made between retinal tetrachromacy (having four pigments in cone cells in the retina, compared to three in trichromats) and functional tetrachromacy (having the ability to make enhanced color discriminations based on that retinal difference). As many as half of all women are retinal tetrachromats.[13]:p.256 The phenomenon arises when an individual receives two slightly different copies of the gene for either the medium- or long-wavelength cones, which are carried on the X chromosome. To have two different genes, a person must have two X chromosomes, which is why the phenomenon only occurs in women.[13] There is one scholarly report that confirms the existence of a functional tetrachromat.[14] Synesthesia In certain forms of synesthesia/ideasthesia, perceiving letters and numbers (grapheme–color synesthesia) or hearing musical sounds (music–color synesthesia) will lead to the unusual additional experiences of seeing colors. Behavioral and functional neuroimaging experiments have demonstrated that these color experiences lead to changes in behavioral tasks and lead to increased activation of brain regions involved in color perception, thus demonstrating their reality, and similarity to real color percepts, albeit evoked through a non-standard route. Afterimages After exposure to strong light in their sensitivity range, photoreceptors of a given type become desensitized. For a few seconds after the light ceases, they will continue to signal less strongly than they otherwise would. Colors observed during that period will appear to lack the color component detected by the desensitized photoreceptors. This effect is responsible for the phenomenon of afterimages, in which the eye may continue to see a bright figure after looking away from it, but in a complementary color. Afterimage
Afterimage effects have also been utilized by artists, including Vincent van Gogh. Color
Color constancy Main article: Color
Color constancy When an artist uses a limited color palette, the eye tends to compensate by seeing any gray or neutral color as the color which is missing from the color wheel. For example, in a limited palette consisting of red, yellow, black, and white, a mixture of yellow and black will appear as a variety of green, a mixture of red and black will appear as a variety of purple, and pure gray will appear bluish.[15] The trichromatic theory is strictly true when the visual system is in a fixed state of adaptation. In reality, the visual system is constantly adapting to changes in the environment and compares the various colors in a scene to reduce the effects of the illumination. If a scene is illuminated with one light, and then with another, as long as the difference between the light sources stays within a reasonable range, the colors in the scene appear relatively constant to us. This was studied by Edwin Land in the 1970s and led to his retinex theory of color constancy. Both phenomena are readily explained and mathematically modeled with modern theories of chromatic adaptation and color appearance (e.g. CIECAM02, iCAM).[16] There is no need to dismiss the trichromatic theory of vision, but rather it can be enhanced with an understanding of how the visual system adapts to changes in the viewing environment. Color
Color naming Main article: Color
Color term See also: Lists of colors
Lists of colors and Web colors Colors vary in several different ways, including hue (shades of red, orange, yellow, green, blue, and violet), saturation, brightness, and gloss. Some color words are derived from the name of an object of that color, such as "orange" or "salmon", while others are abstract, like "red". In the 1969 study Basic Color
Color Terms: Their Universality and Evolution, Brent Berlin
Brent Berlin and Paul Kay describe a pattern in naming "basic" colors (like "red" but not "red-orange" or "dark red" or "blood red", which are "shades" of red). All languages that have two "basic" color names distinguish dark/cool colors from bright/warm colors. The next colors to be distinguished are usually red and then yellow or green. All languages with six "basic" colors include black, white, red, green, blue, and yellow. The pattern holds up to a set of twelve: black, gray, white, pink, red, orange, yellow, green, blue, purple, brown, and azure (distinct from blue in Russian and Italian, but not English). Associations Individual colors have a variety of cultural associations such as national colors (in general described in individual color articles and color symbolism). The field of color psychology attempts to identify the effects of color on human emotion and activity. Chromotherapy
Chromotherapy is a form of alternative medicine attributed to various Eastern traditions. Colors have different associations in different countries and cultures.[17] Different colors have been demonstrated to have effects on cognition. For example, researchers at the University of Linz in Austria demonstrated that the color red significantly decreases cognitive functioning in men.[18] Spectral colors and color reproduction
The CIE 1931 color space
CIE 1931 color space chromaticity diagram. The outer curved boundary is the spectral (or monochromatic) locus, with wavelengths shown in nanometers. The colors depicted depend on the color space of the device on which you are viewing the image, and therefore may not be a strictly accurate representation of the color at a particular position, and especially not for monochromatic colors.
Most light sources are mixtures of various wavelengths of light. Many such sources can still effectively produce a spectral color, as the eye cannot distinguish them from single-wavelength sources. For example, most computer displays reproduce the spectral color orange as a combination of red and green light; it appears orange because the red and green are mixed in the right proportions to allow the eye's cones to respond the way they do to the spectral color orange. A useful concept in understanding the perceived color of a non-monochromatic light source is the dominant wavelength, which identifies the single wavelength of light that produces a sensation most similar to the light source. Dominant wavelength
Dominant wavelength is roughly akin to hue. There are many color perceptions that by definition cannot be pure spectral colors due to desaturation or because they are purples (mixtures of red and violet light, from opposite ends of the spectrum). Some examples of necessarily non-spectral colors are the achromatic colors (black, gray, and white) and colors such as pink, tan, and magenta. Two different light spectra that have the same effect on the three color receptors in the human eye will be perceived as the same color. They are metamers of that color. This is exemplified by the white light emitted by fluorescent lamps, which typically has a spectrum of a few narrow bands, while daylight has a continuous spectrum. The human eye cannot tell the difference between such light spectra just by looking into the light source, although reflected colors from objects can look different. (This is often exploited; for example, to make fruit or tomatoes look more intensely red.) Similarly, most human color perceptions can be generated by a mixture of three colors called primaries. This is used to reproduce color scenes in photography, printing, television, and other media. There are a number of methods or color spaces for specifying a color in terms of three particular primary colors. Each method has its advantages and disadvantages depending on the particular application. No mixture of colors, however, can produce a response truly identical to that of a spectral color, although one can get close, especially for the longer wavelengths, where the CIE 1931 color space chromaticity diagram has a nearly straight edge. For example, mixing green light (530 nm) and blue light (460 nm) produces cyan light that is slightly desaturated, because response of the red color receptor would be greater to the green and blue light in the mixture than it would be to a pure cyan light at 485 nm that has the same intensity as the mixture of blue and green. Because of this, and because the primaries in color printing systems generally are not pure themselves, the colors reproduced are never perfectly saturated spectral colors, and so spectral colors cannot be matched exactly. However, natural scenes rarely contain fully saturated colors, thus such scenes can usually be approximated well by these systems. The range of colors that can be reproduced with a given color reproduction system is called the gamut. The CIE chromaticity diagram can be used to describe the gamut. Another problem with color reproduction systems is connected with the acquisition devices, like cameras or scanners. The characteristics of the color sensors in the devices are often very far from the characteristics of the receptors in the human eye. In effect, acquisition of colors can be relatively poor if they have special, often very "jagged", spectra caused for example by unusual lighting of the photographed scene. A color reproduction system "tuned" to a human with normal color vision may give very inaccurate results for other observers. The different color response of different devices can be problematic if not properly managed. For color information stored and transferred in digital form, color management techniques, such as those based on ICC profiles, can help to avoid distortions of the reproduced colors. Color management
Color management does not circumvent the gamut limitations of particular output devices, but can assist in finding good mapping of input colors into the gamut that can be reproduced. Additive coloring
Additive color
Additive color mixing: combining red and green yields yellow; combining all three primary colors together yields white.
Additive color is light created by mixing together light of two or more different colors. Red, green, and blue are the additive primary colors normally used in additive color systems such as projectors and computer terminals. Subtractive coloring
Subtractive color
Subtractive color mixing: combining yellow and magenta yields red; combining all three primary colors together yields black
Subtractive coloring uses dyes, inks, pigments, or filters to absorb some wavelengths of light and not others. The color that a surface displays comes from the parts of the visible spectrum that are not absorbed and therefore remain visible. Without pigments or dye, fabric fibers, paint base and paper are usually made of particles that scatter white light (all colors) well in all directions. When a pigment or ink is added, wavelengths are absorbed or "subtracted" from white light, so light of another color reaches the eye. If the light is not a pure white source (the case of nearly all forms of artificial lighting), the resulting spectrum will appear a slightly different color. Red
Red paint, viewed under blue light, may appear black. Red
Red paint is red because it scatters only the red components of the spectrum. If red paint is illuminated by blue light, it will be absorbed by the red paint, creating the appearance of a black object. Structural color Further information: Structural coloration
Structural coloration and Animal coloration Structural colors are colors caused by interference effects rather than by pigments. Color
Color effects are produced when a material is scored with fine parallel lines, formed of one or more parallel thin layers, or otherwise composed of microstructures on the scale of the color's wavelength. If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce Tyndall effect
Tyndall effect colors: the blue of the sky (Rayleigh scattering, caused by structures much smaller than the wavelength of light, in this case air molecules), the luster of opals, and the blue of human irises. If the microstructures are aligned in arrays, for example the array of pits in a CD, they behave as a diffraction grating: the grating reflects different wavelengths in different directions due to interference phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness. Structural color is studied in the field of thin-film optics. A layman's term that describes particularly the most ordered or the most changeable structural colors is iridescence. Structural color is responsible for the blues and greens of the feathers of many birds (the blue jay, for example), as well as certain butterfly wings and beetle shells. Variations in the pattern's spacing often give rise to an iridescent effect, as seen in peacock feathers, soap bubbles, films of oil, and mother of pearl, because the reflected color depends upon the viewing angle. Numerous scientists have carried out research in butterfly wings and beetle shells, including Isaac Newton
Isaac Newton and Robert Hooke. Since 1942, electron micrography has been used, advancing the development of products that exploit structural color, such as "photonic" cosmetics.[19] Additional terms
Color wheel: an illustrative organization of color hues in a circle that shows relationships. Colorfulness, chroma, purity, or saturation: how "intense" or "concentrated" a color is. Technical definitions distinguish between colorfulness, chroma, and saturation as distinct perceptual attributes and include purity as a physical quantity. These terms, and others related to light and color are internationally agreed upon and published in the CIE Lighting
Lighting Vocabulary.[20] More readily available texts on colorimetry also define and explain these terms.[16][21] Dichromatism: a phenomenon where the hue is dependent on concentration and thickness of the absorbing substance. Hue: the color's direction from white, for example in a color wheel or chromaticity diagram. Shade: a color made darker by adding black. Tint: a color made lighter by adding white. Value, brightness, lightness, or luminosity: how light or dark a color is.
Chromophore Color
Color analysis (art) Color
Color mapping Complementary color Impossible color International Color
Color Consortium International Commission on Illumination Lists of colors
Lists of colors (compact version) Neutral color Pearlescent coating
Pearlescent coating including Metal effect pigments Primary, secondary and tertiary colors
^ Wyszecki, Günther; Stiles, W.S. (1982). Colour Science: Concepts and Methods, Quantitative Data and Formulae (2nd ed.). New York: Wiley Series in Pure and Applied Optics. ISBN 0-471-02106-7. ^ R. W. G. Hunt (2004). The Reproduction of Colour (6th ed.). Chichester UK: Wiley–IS&T Series in Imaging Science and Technology. pp. 11–12. ISBN 0-470-02425-9. ^ Arikawa K (November 2003). "Spectral organization of the eye of a butterfly, Papilio". J. Comp. Physiol. A Neuroethol. Sens. Neural Behav. Physiol. 189 (11): 791–800. doi:10.1007/s00359-003-0454-7. PMID 14520495. ^ Cronin TW, Marshall NJ (1989). "A retina with at least ten spectral types of photoreceptors in a mantis shrimp". Nature. 339 (6220): 137–40. Bibcode:1989Natur.339..137C. doi:10.1038/339137a0. Archived from the original on 2008-12-08. ^ Craig F. Bohren (2006). Fundamentals of Atmospheric Radiation: An Introduction with 400 Problems. Wiley-VCH. ISBN 3-527-40503-8. ^ Berlin, B. and Kay, P., Basic Color
Color Terms: Their Universality and Evolution, Berkeley: University of California Press, 1969. ^ Waldman, Gary (2002). Introduction to light : the physics of light, vision, and color (Dover ed.). Mineola: Dover Publications. p. 193. ISBN 978-0-486-42118-6. Archived from the original on 2016-04-21. ^ Pastoureau, Michael (2008). Black: The History of a Color. Princeton University Press. p. 216. ISBN 978-0691139302. ^ a b Judd, Deane B.; Wyszecki, Günter (1975). Color
Color in Business, Science and Industry. Wiley Series in Pure and Applied Optics (third ed.). New York: Wiley-Interscience. p. 388. ISBN 0-471-45212-2. ^ Hermann von Helmholtz, Physiological Optics – The Sensations of Vision, 1866, as translated in Sources of Color
Color Science, David L. MacAdam, ed., Cambridge: MIT Press, 1970. ^ Palmer, S.E. (1999). Vision Science: Photons to Phenomenology, Cambridge, MA: MIT Press. ISBN 0-262-16183-4. ^ "Under well-lit viewing conditions (photopic vision), cones ...are highly active and rods are inactive." Hirakawa, K.; Parks, T.W. (2005). Chromatic Adaptation and White-Balance Problem (PDF). IEEE ICIP. doi:10.1109/ICIP.2005.1530559. Archived from the original (PDF) on November 28, 2006. ^ a b Jameson, K. A.; Highnote, S. M.,; Wasserman, L. M. (2001). "Richer color experience in observers with multiple photopigment opsin genes" (PDF). Psychonomic Bulletin and Review. 8 (2): 244–61. doi:10.3758/BF03196159. PMID 11495112. ^ Jordan, G.; Deeb, S. S.; Bosten, J. M.; Mollon, J. D. (20 July 2010). "The dimensionality of color vision in carriers of anomalous trichromacy". Journal of Vision. 10 (8): 12. doi:10.1167/10.8.12. PMID 20884587. ^ Depauw, Robert C. "United States Patent". Retrieved 20 March 2011. ^ a b M.D. Fairchild, Color
Color Appearance Models Archived May 5, 2011, at the Wayback Machine., 2nd Ed., Wiley, Chichester (2005). ^ "Chart: Color
Color Meanings by Culture". Archived from the original on 2010-10-12. Retrieved 2010-06-29. ^ Gnambs, Timo; Appel, Markus; Batinic, Bernad (2010). " Color
Color red in web-based knowledge testing". Computers in Human Behavior. 26: 1625–1631. doi:10.1016/j.chb.2010.06.010. ^ "Economic and Social Research Council – Science in the Dock, Art in the Stocks". Archived from the original on November 2, 2007. Retrieved 2007-10-07. ^ CIE Pub. 17-4, International Lighting
Lighting Vocabulary Archived 2010-02-27 at the Wayback Machine., 1987. "Archived copy". Archived from the original on 2010-02-27. Retrieved 2010-02-05. ^ R.S. Berns, Principles of Color
Color Technology Archived 2012-01-05 at the Wayback Machine., 3rd Ed., Wiley, New York (2001).
External links and sources
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Bibliography Database on Color
Color Theory, Buenos Aires University Maund, Barry. "Color". In Zalta, Edward N. Stanford Encyclopedia of Philosophy. "Color". Internet Encyclopedia of Philosophy. Why Should Engineers and Scientists Be Worried About Color? Robert Ridgway's A Nomenclature of Colors (1886) and Color
Color Standards and Color
Color Nomenclature (1912) – text-searchable digital facsimiles at Linda Hall Library Albert Henry Munsell's A Color
Color Notation, (1907) at Project Gutenberg AIC, International Colour Association The Effect of Color
Color OFF BOOK Documentary produced by Off Book (web series) Study of the history of colors The Color
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Colorfulness (chroma and saturation) Tints and shades Lightness
Lightness (tone and value) Grayscale
Color organizations
Pantone Color
Color Marketing Group The Color
Color Association of the United States International Colour Authority International Commission on Illumination
International Commission on Illumination (CIE) International Color
Color Consortium International Colour Association
List of colors: A–F List of colors: G–M List of colors: N–Z List of colors
List of colors (compact) List of colors
List of colors by shade List of color palettes List of color spaces List of Crayola crayon colors
history pencil colors marker colors
Color chart List of fictional colors List of RAL colors List of web colors
Vision Image processing Multi-primary color display
Quattron
Qualia Lighting Local color (visual art)
Category Portal Index of color-related articles
GND: 40164
How To Use theinfolist.com
The "Did you know" Game
How To Research a Report, Essay or Topic
Content is Copyleft
Website design, code, and AI is Copyrighted (c) 2014-2017 by Stephen Payne


Mrs T: Mick went above & beyond his duties. I have limited vision and I felt safe with him. He helped me to my Appointment, back to the car and to my front door. He was excellent. Thank you so much to him and the service you provide.


text:
Chinese Government Dismisses International Concerns Over Missing Artist Ai Weiwei
Lu Qing, wife of missing avant-garde artist and outspoken government critic Ai Weiwei, listens during an interview in Beijing, China, Wednesday, April 6, 2011. In the week before renowned artist Ai was taken into custody, multiple visits by police to their home had triggered a sense of foreboding in him that this harassment was different, said Lu Wednesday. AP Photo/Ng Han Guan.
By Alexa Olesen,Associated Press
BEIJING (AP).- A state-run Chinese newspaper on Wednesday brushed aside international concerns over the fate of a prominent artist and activist missing since the weekend, calling him a maverick who lacks respect for the country's laws.
Human rights groups as well as the U.S., Britain and the European Union delegation in Beijing have expressed concern about Ai Weiwei, an avant-garde artist and outspoken government critic who was last seen early Sunday in police custody after he was barred from boarding a flight at a Beijing airport.
An editorial in the Global Times newspaper, published by the ruling Communist Party's flagship People's Daily, said the international outcry was a deliberate attempt to undermine social stability in China.
"The West's behavior aims at disrupting the attention of Chinese society and attempts to modify the value system of the Chinese people," it said.
The newspaper called the 53-year-old Ai a maverick and said he engaged in "legally ambiguous activities" and liked to do things ordinary people wouldn't dare to try.
Chinese law "won't bend to mavericks," said the newspaper, which didn't specify what laws Ai was suspected of breaking or confirm whether he had been detained.
Ai's disappearance comes as security services carry out a massive crackdown on lawyers, writers and activists following online calls for protests in China similar to those in the Middle East and North Africa. No public protests have emerged.
Dozens have recently been taken into custody with little word from authorities about where they are being held, who is holding them or what crimes they are suspected of committing.
The editorial was unusual for China, which rarely comments on detained dissidents before they are formally charged. The decision underscored Ai's high international profile and appeared to suggest that China is building a criminal case against him for his social activism.
Among China's best-known artists internationally, Ai recently exhibited at the Tate Modern gallery in London. As an activist, he has campaigned for an independent investigation into the deaths of thousands of children when schools collapsed in the massive 2008 Sichuan earthquake.
Ai's 78-year-old mother Gao Ying told The Associated Press by telephone that she's been sleepless since her son disappeared and on Tuesday sent out a mass text message appealing to the public to help find him.
"I am a mother who has lost her son, and has no place to look for him," she said. "Can someone tell me whether he has been detained, arrested and why? Where is the evidence of his crime? ... I don't understand why no one has contacted us, and why no one has explained anything to us."
Ai's father was one of China's most famous modern poets, Ai Qing, and that stature led many to believe Ai Weiwei was protected from serious attack or formal arrest. He had been courted by the government as a cultural ambassador before his advocacy on behalf of social activists apparently made him a target of Chinese authorities.
Growing up in a family that was "targeted and discriminated against" in the 1950s and 1960s for his father's alleged political crimes made Ai Weiwei particularly sensitive to injustice, his mother said.
"Issues like human rights, equality, democracy have been seeded in him since he was very, very young," Gao said.
Police searched Ai's home and studio shortly after his detention and removed computers and other items.
Ai's disappearance has sent a chill through the activist community and prompted many to rally for his release online by posting supportive Twitter messages or blog postings.
One rights campaigner posted an emotional YouTube video, pleading with authorities to understand that Ai's intentions were good and to free him. It was the first public statement issued by Zhao Lianhai, a Beijing writer jailed last year for protesting a massive tainted milk scandal, since he was released three months ago on medical parole.
"I've been in a very agonized state of mind these past few months seeing so many of my friends so severely persecuted and oppressed," Zhao said, his voice cracking. "In particular, a few days ago we found out that Ai Weiwei, our Old Ai, has also been made to disappear and so far there has been no clear declaration from the authorities about it."
In 2008, Zhao's 3-year-old son developed kidney stones after unscrupulous dairy manufacturers added the industrial chemical melamine to milk to artificially boost protein levels, prompting him to launch a compensation campaign for affected families. He ended up being sentenced to 2-1/2 years in prison for inciting social disorder.
Associated Press writer Isolda Morillo contributed to this report.
Copyright 2011 The Associated Press.
Christie's Backs Stubbs to Join Old Masters Elite, Painting Expected to Fetch $33 Million
Former Lawrence Salander Gallery Director Guilty in Case with De Niro as Witness
Sotheby's Sets Record for an Islamic Work of Art at Auction with £7.4 Million Sale
Museum of Modern Art Releases Free iPad App for Downloading MoMA E-Books
Museum of Fine Arts, Boston, Reaches Purchase Agreement for 17th-Century Tapestries
Westervelt Collection To Highlight Christie's American Paintings Sale May 18
Bonhams in London Hammers Bronze into Gold in Chinese Art Sale Next Month
Sotheby's London Sale of Contemporary Turkish Art Realises Total of £2.3 Million
Brooch that Belonged to Queen Victoria Reigns Over Bonhams Jewellery Sale
First Exhibition to Focus on Motif of the Open Window in 19th Century Art at Metropolitan Museum
New Version of the Two-Man Orchestra Led by Wilhelm Bruck and Matthias Würsch at Museum Tinguely
Asia Week New York 2011 Announces Sales Over $250 Million, Double and Triple Attendance
Silvio Berlusconi and Moroccan Teenage Lover Ruby on Auction at Milan Art Dealer
Kresge Foundation Launches Art X Detroit to Celebrate Artistic Excellence and the City's Creative Spirit
Exhibition at Topography of Terror Documentation Center Marks 50 Years Since Eichmann Trial
Revealed: Swiss Architect Peter Zumthor's Design for 11th Serpentine Gallery Pavilion
United States Library to Save Famous Baseball, Country Tunes
Antiquities, Arms and Armour, Arts and Crafts at Hermann Historica's 61st Auction
Plymouth State University Acquires Celebrated Poet Robert Frost's Letters to Pal
Exhibition of 17th-Century Floral Splendour at Rijksmuseum's Branch at Schiphol Airport
Hockney, Warhol, and Diebenkorn Highlight Bonhams & Butterfields' Fine Prints Auction
Melissa Martens Named New Director of Exhibitions at Museum of Jewish Heritage
Amy Brandt, Ph.D. Joins Chrysler Museum as McKinnon Curator of Modern and Contemporary Art
Isabella Stewart Gardner Museum Launches Newly Redesigned Website
Duelling Pistols at Bonhams: Objects of Beauty and Death
Germany Relaxes Restrictions on Reichstag Visits
Jordan Wants to Retrieve Major Christian Relics
Kurt Cobain Guitar Sculpture Dedicated in Washington

redpajama_set_name: RedPajamaCommonCrawl


text:
Valada Parker Flewellyn
 Photo Gallery
Valada's Bio
VALADA'S BOOKS
"A Pilot Lights the Way..." Brochure
Documentary Premiere, Washington, DC
University of Central Florida >
Oakmonte Village Veterans Day Reception >
Capt. Thomas Hudner Jr. Reception
Warbird Adventures Museum, Kissimmee, Florida
Orlando Sanford International Airport >
Promotional Venues
Centennial Tour 2012 >
Hattiesburg, Ms. AA Military Museum >
"A Pilot Lights the Way..." Reception
National Naval Aviation Museum
Enter Colored Hats: Poetry & Presence
AHH...MOMENTS
My Celery Soup Experience
, "For thValada Parker Flewellyn
Author, Poet, Storyteller, Exhibit Curator
Author/Storyteller
Her books include: "Poetically, Just Us" (c.1990), "Yours Truly" 1994, "Jack & Jill of America into the New Millennium" (c.2000),"African Americans of Sanford" an Arcadia Publication. (c.2010) . Her most recent publication is"For the Children: The History of Jack and Jill of America Incorporated" (c.2018), the history of the oldest African American family organization.
Valada has been a presenter at several Walt Disney World venues: The Disney Market Place, The Grand Floridian, and Epcot. Her children's book, "The Mosquito" was first introduced in a one women show at the Disney Institute, 1997.
For many years Valada has supported the Zora Neale Hurston festival as a performer, as the Zora Special Places tour guide and as a volunteer. She played the role of "Juel" in the festival's first production of Zora's play, "From Sun to Sun" presented at the Annie Russell Theatre, on the campus of Rollins College, Winter Park, Florida. Due to the racial prejudice of the time, 1930s, Zora Hurston and her troupe were not allowed to perform on the theatre stage, but was relegated to the school's cafeteria.
Documentaries include : Goldsboro: An American Story, 2006 and Ensign Jesse Leroy Brown the first African American Naval Fighter Pilot, 2011. We Are Still Here, 2016.
IF Only You Knew: Icabod Flewellen: Father of the African American Museum.
Premiered at the Washington Shores Prebyterian Church, September 22, 2019 and Presented at the Association for the Study of African American Life and History (ASALH) Conference in Charlston, South Carolina. October 2-6, 2019.
Exhibit Curator:
"Enter Colored Hats: Poetry & Presence"Seminole County Museum, Sanford Florida
"Enter Colored Hats" University of Central Florida Library, Sanford Museum.
"A Pilot Lights the Way: A tribute to Ensign Jesse Leroy Brown & Blacks in Aviation" opened at the Univ. of Central Florida Library and traveled to the following venues:
Oakmonte Village, Lake Mary, Fl
Florida Institute of Technology (FIT), Melbourne, Fl,
The Warbird Adventures Museum, Kissimmee, Fl
Orlando Sanford International Airport, Sanford, Fl
(Items from exhibit is currently on display)
The African American Military Museum, Hattiesburg, Ms
The National Naval Aviation Museum, Pensacola, Fl
(2011 as a part of the U.S. Navy's 100th Anniversary of Naval Aviation Celebration)
The Sanford Museum, Sanford, Fl
"PRAISE, REACH & TEACH: The Legacy of Joseph N. & Wealthy Crooms," founders of Crooms Academy, the first Negro High School in Sanford, Florida. Sanford Museum, Sanford, Florida (2015)
"He Shook Hands With MLK", Seminole County Museum
"Celebrating the Purdy's" , Oakmonte Village, Lake Mary, FL
"The National Black Golf Hall of Fame: Celebrating Golf's Black History" June 2014 St. Augustine, Florida
*Note: Valada Flewellyn is the Historian & Archivist for the National Black Golf Hall of Fame"
"Dr. Myron Moorehead: A Man, A Moment, A Movement" University of Central Florida Library, (February 2017)
Professional and Social Justice memberships include:
The Association for the Study of African American Life & History
Central Florida Dorothy Turner Johnson Branch
The Association of Black Women Historians
The Association of African American Museums
Sanford Historical Society
The National Association for the Advancement of Colored People (NAACP)
The Society of Florida Archives
Bridging the Color Divide
Truth and Justice 2.0, (An affiliate of the Equal Justice Initiative)
The Charles Wright Museum
Valada has penned commemorative poems for:
Meharry Medical College, 125th Anniversary
Seminole County's 65th Anniversary
Jack & Jill of America, Incorporated, 60th Anniversary
Liberty Bank, New Orleans, 25th Anniversary
News Orleans, Zulu King & Queen of Mardi Gras, 1999
Lucille O'Neale's graduation, Bethune Cookman College
Miss America, Erika Dunlap's Coronation Celebration
Dedication at Bethune Cookman College
Closing of Naval Base Hospital in Orlando
Orange County Equal Justice Iniative Lynching, Soil Collection
Congresswomen Corrine Brown (Coretta Scott King Memorial)
and a host of friends and relatives.
Valada was appointed to the Sanford Historical Advisory Board by the Sanford City Council, she is former president of The Sanford Historical Society and on the board of the Crealde School of Art and the Hannibal Square Heritage Center, Winter Park, Florida.
She served on the Advisory Board of Creative Sanford Incorporated producers of the folk play, Celery Soup's, "Touch & Go". Valada was an actor in the Inaugural production. The story of Valada's first childhood experience with race was among the central themes in the play written by Jules Courier.
Valada is Historian for the Central Florida Dorothy Turner Johnson Branch of the Association for the Study of African American Life and History.
Valada is Poet Laureate of Jack & Jill of America, Incorporated and co-author of the organization's 2nd history book , and author of the most recent history book , "For the Children..." (c2018).
Valada is an Honorary Member of Alpha Kappa Alpha Sorority, Incorporated. (Orlando, 2002)
Valada and her husband Thomas are active members of Washington Shores Presbyterian Church, Pastor Erika Rembrandt Smith. She enjoys music, art, history and tennis.
When image is important remember EYESEEIMAGES.COM


Fresh off her 29th birthday Sunday (Sep 12), singer/actress Jennifer Hudson poses at Public School 111 in New York City Wednesday (Sep 15) during the launch of Weight Watchers' "Lose for Good" charitable campaign, which teaches families how to prepare not only healthy, but low-cost meals in an effort to help fight hunger and obesity.
Hudson still hasn't gotten used to seeing her slimmer reflection in the mirror. "I go into the store and they try to put me in 4s and 6s and I'm like [she looks over both shoulders] 'Who are you trying to talk to?'" says the former size 16 star. "My mind hasn't caught up yet." But no matter what, "I've always been a person who's comfortable with myself whether it's plus-size, small size it doesn't matter," says Hudson.
Good for you Jen! Lookin good too!!!


text:
.class final Lcom/android/settings/Utils$5;
.super Ljava/lang/Object;
.source "Utils.java"

# interfaces
.implements Landroid/view/animation/Animation$AnimationListener;

# annotations
.annotation system Ldalvik/annotation/EnclosingMethod;
    value = Lcom/android/settings/Utils;->setViewShown(Landroid/view/View;ZZ)V
.end annotation

.annotation system Ldalvik/annotation/InnerClass;
    accessFlags = 0x8
    name = null
.end annotation

# instance fields
.field final synthetic val$view:Landroid/view/View;

# direct methods
.method constructor <init>(Landroid/view/View;)V
    .locals 0

    iput-object p1, p0, Lcom/android/settings/Utils$5;->val$view:Landroid/view/View;

    invoke-direct {p0}, Ljava/lang/Object;-><init>()V

    return-void
.end method

# virtual methods
.method public onAnimationEnd(Landroid/view/animation/Animation;)V
    .locals 2

    iget-object v0, p0, Lcom/android/settings/Utils$5;->val$view:Landroid/view/View;

    const/4 v1, 0x4

    invoke-virtual {v0, v1}, Landroid/view/View;->setVisibility(I)V

    return-void
.end method

.method public onAnimationRepeat(Landroid/view/animation/Animation;)V
    .locals 0

    return-void
.end method

.method public onAnimationStart(Landroid/view/animation/Animation;)V
    .locals 0

    return-void
.end method

redpajama_set_name: RedPajamaGithub


It was a quiet, windy Friday night in the midst of a lackluster New York Fashion Week schedule. When the fashion crowd showed up for the debut of an unknown Japanese costume designer, they weren't sure what to expect. What unfolded, however, was one of those rare, magical fashion moments that takes the whole room's breath away.
Gwendoline Christie closes the show in a colorful rainbow gown.
Koizumi's New York Fashion Week debut was a parade of dreamy, cloud-like gowns in a spectrum of striking colors. But it was also a modern-day fashion fairytale. Stylist Katie Grand discovered the Japanese designer's work while scrolling Instagram last month and immediately reached out to see if he wanted to do a show. The rest is history.
Bella Hadid walks the show in a blue and green design.
Editors and industry insiders squeezed into the lower level of Marc Jacobs' Madison Avenue store, a space Jacobs had offered for the show. Pat McGrath did the makeup, Guido Palau the hair. The music was quiet, but the over-the-top tulle gowns did all the talking.
Rowan Blanchard opens the show.
Koizumi is not a trained fashion designer. According to a WWD profile, he's a self-taught costume designer from Tokyo, where he works with just one assistant. This week marks his second-ever visit to New York and his first time meeting Grand in person. Neither she nor Koizumi know what the designer's future looks like in the fashion industry, but the stylist felt passionate about sharing his work at New York Fashion Week.
"We know what's going to happen every season or what the process is. It's quite nice to just do something spontaneous and last minute," she told WWD, "We're very conscious of images and television and films being digested at a rate. This does seem to sum up something that's going on at the moment, but I can't quite put my finger on what. You can spend six months on a campaign and swipe right on Instagram and you get six images in less than 30 seconds."
Will we all be wearing Koizumi's extravagant gowns next season? Probably not, but that wasn't quite the point. At a time when the fashion week format seems stale and uninspired, a staircase filled with colorful, joy-sparking gowns from a young designer was a much-needed reminder that the runway can still be a magical place. Especially when you have Jacobs and Grand as your fashion fairy godparents.
Emily Ratajkowski walks the show in a white tulle dress.


text:
Home Blu-ray Disc 'Ex Machina' Blu-ray, DVD & Digital Release Dates Revealed
'Ex Machina' Blu-ray, DVD & Digital Release Dates Revealed [Updated]
Universal Pictures and A24 have revealed the release dates for the science fiction film Ex Machina on Blu-ray Disc, DVD, and Digital HD. The film will hit stores in the US on Tuesday, July 14, 2015. (Residents of the UK will get the film earlier on June 1st.) [Update: Ex Machina was released early to Digital HD.]
[Update: Bonus material includes a five-part making-of featurette, eight behind-the-scenes vignettes, and Q&A with cast and crew. Blu-ray is formatted in 1080p at 2.40:1 widescreen aspect ratio with DTS-HD Master Audio 7.1 soundtrack.] Disc specs haven't been revealed yet, nor any information on possible bonus content, but we're hoping to get more details soon.
Ex Machina was written and directed by Alex Garlan, who also wrote 28 Days Later, Dredd, and novel "The Beach" that was adapted for screen.
The film currently has a rating of 91% on Rotten Tomatoes, and a 7.9/10 on IMDB. NY Times critic Nick Bilton calls Ex Machina "Enthralling," while LA Times critic Kenneth Turan calls the film a "compelling directorial debut for novelist and screenwriter Alex Garland."
Ex Machina is an intense psychological thriller in which Caleb (Domhnall Gleeson), a 24 year old coder at the world's largest internet company, wins a competition to spend a week at a retreat belonging to the company's reclusive CEO, Nathan (Oscar Isaac). But when Caleb arrives he finds that he will have to participate in a fascinating experiment with the world's first true artificial intelligence, housed in the body of a beautiful robot woman, Ava (Alicia Vikander). Truths, emotions and motives are blurred as the relationship between Caleb, Ava and Nathan intensifies.
'Rocketman' Blu-ray & Digital Release Dates &…
Black Panther Blu-ray, 4k Blu-ray & Digital Release…
'Captain Marvel' Blu-ray, Digital, Release Dates &…
'Terminator: Dark Fate' Blu-ray, 4k Blu-ray, &…
'Star Wars: The Last Jedi' release dates on 4k UHD,…
'Avengers: Infinity War' Release Dates & Blu-ray Art…
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text:
Lily Tomlin, Jane Fonda Aren't Happy About 'Grace & Frankie' Pay
In the new Netflix comedy Grace and Frankie, Lily Tomlin and Jane Fonda star as two women who "form an unlikely bond after their husbands reveal they are gay and leave them for each other."
The show is called Grace and Frankie, and Tomlin & Fonda are its main stars. But apparently, the show's male actors (Sam Waterston and Martin sheen) are getting paid just as much as they are – and this doesn't exactly sit well with either.
Speaking at a press event before the premiere of the show, Fonda and Tomlin sounded off about a hot button issue as of late – the gender pay gap.
"Lily found out Sam and Martin are getting the same salary that we are," said Fonda. "That doesn't make us happy."
"No. The show is not Sol and Robert — it's Grace and Frankie," said Tomlin.
Both Tomlin and Fonda clearly feel as though they should be earning more than their male counterparts, since they are the main focus of the show.
Wow, some of you started watching @GraceAndFrankie at midnight on Friday! Truly amazing! Touched by your kind feedback.
— Jane Seymour Fonda (@Janefonda) May 10, 2015
Charlize Theron recently negotiated a deal to be paid as much as her Snow White and the Huntsman co-star Chris Hemsworth.
"'I have to give them credit because once I asked, they said yes," she says. "They did not fight it. And maybe that's the message: That we just need to put our foot down. This is a good time for us to bring this to a place of fairness, and girls need to know that being a feminist is a good thing. It doesn't mean that you hate men. It means equal rights. If you're doing the same job, you should be compensated and treated in the same way," she said.
And Jennifer Lawrence also reportedly won a fight to be paid more for an upcoming film.
All 13 episodes of Grace and Frankie are now available to stream on Netflix. So far, the show has received mixed reviews.
Tags Gender gender pay gap Grace and Frankie jane fonda lily tomlin Money Netflix pay TV
Eva Longoria Dishes on 'Go Sebastian Go!' and Its Subject, the Boy 'With the Golden Voice' Who Graciously Faced His Racist Haters
Lindsay Lohan: 125 Hours of Community Service in 20 Days, or Face Jail Time--Will She Do It?


Frugal Mom and Wife: Free SunRype Fruit Strip Product Coupon! First 10,000!
Free SunRype Fruit Strip Product Coupon! First 10,000!
Simply follow the link below and click "print" after you make sure your printer is ready.


text:
using System;
using System.Collections.Generic;
using Windows.UI.Xaml.Controls;
using BasicMediaCasting;

namespace SDKTemplate
{
    public partial class MainPage : Page
    {
        public const string FEATURE_NAME = "BasicMediaCasting";

        List<Scenario> scenarios = new List<Scenario>
        {
            new Scenario() { Title="Basic Media Casting", ClassType=typeof(Scenario1)},
            new Scenario() { Title="Casting Using Casting Picker", ClassType=typeof(Scenario2)},
            new Scenario() { Title="Casting Using Custom Picker", ClassType=typeof(Scenario3)},
        };
    }

    public class Scenario
    {
        public string Title { get; set; }
        public Type ClassType { get; set; }
    }
}


Steve Martin opened his performance with Steep Canyon Rangers by thanking the audience for being there—saying that he knew asking us to join him for a night of bluegrass was like Jerry Seinfeld asking his fans to join him for a night of bassoon. It wasn't what any of us expected—or necessarily wanted—from him, and he hoped we liked it.
So do artists crossover to their audiences or do their audiences crossover to them? And why do some audience members follow and others flee?
In Brooks' case, he crossed over to the audience. In Dylan's case, the audience members interested in his new focus crossed over to follow him.
For those artists with audiences that crossover, how do they make it happen? What gets their fans to check out their other projects?
Steve Martin's reputation is why I went to see Steve Martin & Steep Canyon Rangers perform. I can listen to him sing about King Tut all day and The Jerk always makes me giggle. I loved him in the remake of the Spencer Tracy Father of the Bride films and ripped his New Yorker columns out of gym-and-doctor-office magazines when I was in college and too broke to buy the mag. And when he started with the books, I came along—made sense for the music, too.
So I'm the rabid fangurl type—who'd try anything from an artist she respected.
I'm also that person who tries something new based on a valued recommendation.
Martin didn't call me up with a personal rec for Steep Canyon Rangers—the fact that he was playing with them was enough for me.
I left the performance ready to buy Martin & Steep Canyon Rangers' new album Rare Bird Alert. I was a crossover for Martin and a new audience member for Steep Canyon Rangers .
My husband falls into that group that will check out something new based on a rec, too, but in his case, he also reps the group that didn't make the crossover. He can recite every line of Planes, Trains, and Automobiles, but bluegrass music? Not so much his thing. I was glad he gave it a shot—and though he won't be groovin' to their sounds anytime soon, he has a greater respect for Martin and now knows about Steep Canyon Rangers, too.
A few weeks back, Jeff Sexton wrote about Steve Pressfield's un-crossover, and Steve wrote a piece this past week, asking readers to consider a crossover.
It's hard to go to your audience and ask them to join you for a night of bassoon, but as artists, you do it and hope for the best—and you try to make access easy, hence the bundling of The Warrior Ethos and The War of Art audio books.
And as someone promoting crossovers, you bite your nails and ask people to give a new project or different side of an artist a shot—and you do it in a passive aggressive manner because you don't want to sound like a PR spin-meister, which is what so many people think you are. You are aggressive in letting others know that you believe so hard in this one artist, that this isn't about spin, but that you know there's something amazing going on and if they'll just give it a shot . . . And, though a few might walk out pleased, but not a buyer like your husband, you know that you'll have still reached success because another side of the artist was presented and there's those people who did sign up for a longer trip. And that might not translate into all the sales you hope for, but it means some of the non-crossovers liked what they saw enough to rec. it to others, which is good stuff and movin' in the right direction, too.
It's hard to make the crossover. As artists, you want it, and encourage it, but there's that bit about connecting with others, and developing new audiences, too.
Martin's reputation is why I checked out Steve Martin & Steep Canyon Rangers music. They are all why I became a crossover fan.
***Last week I asked if book videos work. Here's a new one by Steve Martin & Steep Canyon Rangers. Check it out. This one worked for me, hence the sharing . . .
And if you've never seen Martin's "King Tut" check this one out—he did it with Steep Canyon Rangers, too.
The Warrior Ethos and The War of Art are both non-fiction – it's not really crossing over to buy those two.
The Basson analogy is a very accurate. Steve's work really has two completely different audiences and it's been interesting to see how this blog tries to appeal to both. Just guessing but I'd assume that the "Do the Work" audience is more likely to follow a blog than Steve's more traditional audience.
I'm part of the DtW audience but I also have two sons in the Marines so Steve's military work is of interest to me as well. I jumped at the opportunity to get the audio book for the Warrior Ethos and an audio version of Do the Work for essentially a discounted price for either of them.
The cross-over idea is a good one and I hope you'll let us know how it goes.
Thanks to everyone involved in this blog for letting us peak behind the curtain.
I think The Profession is a better one to pair with the War of Art for first intro. While I am still in mid-savor of the new novel, I already see "practice what you preach" teaching moments all throughout the book. I'm entertained with it, learning a bit more about military equipment and the like than a gardening, soap maker normally would. Heaven forbid we step out of comfort zones and learn something new.
at your own risk. it uncommonly long half life and lack of human trials would make me think twice about it, for sure.note: oral 5ar blockers should never be used with deca-durabolin. it can actually promote hair loss in this situation….


text:
// Copyright (c) 2003-present, Jodd Team (jodd.org). All Rights Reserved.

package jodd.lagarto.adapter;

import jodd.lagarto.Tag;
import jodd.lagarto.TagAdapter;
import jodd.lagarto.TagVisitor;
import jodd.util.CharUtil;

/**
 * URL Rewriter tag adapter.
 *
 * todo add more util methods for easier URL parsing
 */
public abstract class UrlRewriterTagAdapter extends TagAdapter {

	public UrlRewriterTagAdapter(TagVisitor target) {
		super(target);
	}

	@Override
	public void tag(Tag tag) {
		if (tag.getType().isStartingTag()) {
			CharSequence tagName = tag.getName();

			if (tagName.length() == 1 && CharUtil.toLowerAscii(tagName.charAt(0)) == 'a') {
				CharSequence href = tag.getAttributeValue("href");

				if (href != null) {
					CharSequence newHref = rewriteUrl(href);

					if (newHref != href) {
						tag.setAttribute("href", newHref);
					}
				}
			}
		}
		super.tag(tag);
	}

	/**
	 * Rewrites URLs. Returns input value when no rewriting is needed.
	 */
	protected abstract CharSequence rewriteUrl(CharSequence url);

}


text:
Take Vern's Issue Survey
Congressman Vern Buchanan
Representing the 16th District of Florida
Buchanan Announces More Than $1.9 Million Awarded to Mote Marine
Funding Dedicated to Combatting Red Tide
SARASOTA – Congressman Vern Buchanan today announced that the National Oceanic and Atmospheric Administration (NOAA) has awarded more than $1.9 million to Mote Marine Laboratory in Sarasota for red tide research.
"This funding announcement is great news for our community," Buchanan said. "Mote Marine works tirelessly to counter red tide and improve Florida's water quality. I will continue my push in Congress to deliver resources to fight the plague of red tide and protect Southwest Florida's environment."
Specifically, the funding for Mote Marine comes as a part of the NOAA's National Centers for Coastal Ocean Science Competitive Research Program. In 2018, a Buchanan proposal to increase NOAA's competitive external research for red tide by $8 million was signed into law.
The project will occur under the direction of Dr. Michael P. Crosby, president and CEO of Mote Marine.
In July, Buchanan joined Dr. Crosby and other medical specialists at Sarasota Memorial Hospital to discuss the health effects of red tide. The group praised Buchanan's amendment passed by the U.S. House instructing the National Institutes of Health to designate $6.25 million to research the long-term health effects of red tide and other Harmful Algal Blooms on humans.
Buchanan is also a co-sponsor of the Coastal Communities Ocean Acidification Act, which requires the National Oceanic and Atmospheric Administration (NOAA) to examine the impacts of ocean acidification and instructs the secretary of commerce to determine which communities will suffer economic damage.
Last year Florida suffered one of the worst bouts of red tide in the state's history. The bloom, which finally dissipated this past February, had plagued the coast for more than 15 months. Southwest Florida is uniquely vulnerable to red tide, as it has seen this algae bloom more than twice as often as any other area in the state.
In July, Buchanan also toured the Robinson Preserve in Manatee County to monitor the blooms impacting the area.
In February, Buchanan chaired a hearing on some of the most pressing water quality issues affecting the Sunshine State. Last year, Buchanan also backed a proposal that was signed by President Trump to provide more than $100 million to combat Harmful Algal Blooms such as red tide.
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Today is the last day of high school for my oldest son, Tyler.
to the university that he'll be attending this Fall. What an answer to prayer!
at the Athletic Banquet last week.
Eh-hum, in our family we don't call it being a leader, we call it being BOSSY haha!
featuring Hello Cupcake...you just may receive the entire collection for your very own!
By taking a simple 6x6 sheet of patterned paper, I made these cute and functional goodie bags!
Hint: Score your top at 1" and fold over to showcase the other pattern; trim with handmade crepe fringe or other trim. Bags measure 2.75"W x 5" H. And not many projects get by me these days without using the i-top punches to create whimsical embellishments.
little banner. I use a star punch to create the dovetail on the ends!
To finish off, I embellished with party hats that I hand-cut from one of the patterned papers.
I topped them with mini pom poms. For the handles, I used a very small gauge pipe cleaner.
to eat 'em up! And of course, I couldn't resist a few polka-dotted buttons!
with an orange grosgrain ribbon!
Now isn't this just a bunch of yumminess?
Hello Cupcake is the perfect collection for any of your party planning and layouts!
You must be so proud of your son! Congrats to him! Love your projects. They are beautiful!!!
Congrats to your son, you must be so proud! LOVE all of your projects! They are amazing!
Congrats to your boy, you're right to be a proud mom!!
And your projects...oh my goodness, they are stunning girl!! I love every little detail!
your creativity amazes me!! congrats to your son!
congrats to your boy and I guess I don't have a huge wheel in MN to take a photo on!! love your projects as always!! they are amazing! oh and beautiful new blog!
And about your projects ... they are stunning!!!! I love them all! and the way you photographed them, wow! against that bikewheel .. fabulous!! Thanks for the inspiration girl!
Great projects. I know what you mean about "bittersweet" of your son graduating. It was for me too when my children graduated. Nice looking son by the way. Tell him Congratulations on his award and his Graduation.
Congrats to your son =) Love your colorful projects.
Congrats to your son! Those are some amazing accomplishments! There isn't anything wrong with being bossy either, as long as he is being a good boss, lol! At least, that is what I always tell myself.


text:
Deer Management Plan
DMG Meetings and minutes
Public well-being
The DMG is located to the east of Fort William. It is bounded to the north by the A86 from Spean Bridge to Laggan and the A889 to Dalwhinne. Then the north west shores of Loch Ericht and the eastern boundary of Camusericht Estate to the Bridge of Ericht. The southern boundary follows the River Gaur and around the Cruach march between Cruach Estate and Black Corries Estate. The southern boundary continues along the southern shores of the Blackwater reservoir and the southern boundaries of Caolasnacon and the Aonach Eagach ridge.
The DMG have recently agreed to extend the western boundary to follow the shores of Loch Leven and Loch Linnhe. This would mean land around north Ballachulish, Onich and Glenrigh would be included within the Mid-West DMG.
Membership is open to anyone who owns or manages land with the boundaries of the DMG where wild deer occur.
To view the boundary plan, please click here.
Copyright © 2016 Association of Deer Management Groups, Scotland | Website by Aerovision IT | All rights reserved.


It was a lot of work and I had little time. But now the photos of my trip to Tibet in January 2018 are published. Finally! I wrote already a blog about this travel. So you can read the details of this trip in the blog Traveling to Alpine eastern Tibet (January 2018). And now you can enjoy the pictures.
What I want to emphasize in this blog is that taking photos in winter time in Tibet isn't really easy. Neither outside on the streets or in nature. Or inside buildings like monasteries. I will explain why not. In wintertime it's mostly very sunnny at daytime. The sun has a lot of power. And that's the reason the light is very bright and hard. Hard light makes distinct, hard-edged shadows. The difference between the lights and the shadows in the photos is great. You almost can't get it right. I had this problem for instance when in was in Lhasa in the Jokhang Temple and made photos of the debating monks. Half of the monks were sitting in the shadow (in the dark) and the other half were sitting in the sunlight. But thankfully I could edit this photos at home with Photoshop and get a better result. Also landscapes with ice and snow give these problems.
Another problem is taking pictures inside the monasteries. In the chapels it's often quite dark. I never use flash. I find it very important to catch the right atmosphere of a place. And you don't get that with flash in my opinion. And I also don't use a tripod. On my travel I don't have time to set up a tripod. For me it's a case of catching the (right) moment. So it's important for me to hold my camera quite firm in order to get sharp, unmoved pictures. But sometimes showing people have movement in the picture makes the picture more alive. I'm always grateful for my camera, a Sony A77 SLR. I think I make wonderful pictures with this camera.


text:
package service

import (
	"fmt"
	"strings"

	"github.com/docker/cli/opts"
	"github.com/docker/docker/api/types/container"
	"github.com/docker/docker/api/types/network"
	"github.com/docker/docker/api/types/strslice"
	"github.com/docker/go-connections/nat"
	"github.com/docker/go-units"
	"github.com/docker/libcompose/config"
	composeclient "github.com/docker/libcompose/docker/client"
	composecontainer "github.com/docker/libcompose/docker/container"
	"github.com/docker/libcompose/project"
	"github.com/docker/libcompose/utils"
	"golang.org/x/net/context"
)

// ConfigWrapper wraps Config, HostConfig and NetworkingConfig for a container.
type ConfigWrapper struct {
	Config           *container.Config
	HostConfig       *container.HostConfig
	NetworkingConfig *network.NetworkingConfig
}

// Filter filters the specified string slice with the specified function.
func Filter(vs []string, f func(string) bool) []string {
	r := make([]string, 0, len(vs))
	for _, v := range vs {
		if f(v) {
			r = append(r, v)
		}
	}
	return r
}

func toMap(vs []string) map[string]struct{} {
	m := map[string]struct{}{}
	for _, v := range vs {
		if v != "" {
			m[v] = struct{}{}
		}
	}
	return m
}

func isBind(s string) bool {
	return strings.ContainsRune(s, ':')
}

func isVolume(s string) bool {
	return !isBind(s)
}

// ConvertToAPI converts a service configuration to a docker API container configuration.
func ConvertToAPI(serviceConfig *config.ServiceConfig, ctx project.Context, clientFactory composeclient.Factory) (*ConfigWrapper, error) {
	config, hostConfig, err := Convert(serviceConfig, ctx, clientFactory)
	if err != nil {
		return nil, err
	}

	result := ConfigWrapper{
		Config:     config,
		HostConfig: hostConfig,
	}
	return &result, nil
}

func volumes(c *config.ServiceConfig, ctx project.Context) []string {
	if c.Volumes == nil {
		return []string{}
	}
	volumes := make([]string, len(c.Volumes.Volumes))
	for _, v := range c.Volumes.Volumes {
		vol := v
		if len(ctx.ComposeFiles) > 0 && !project.IsNamedVolume(v.Source) {
			sourceVol := ctx.ResourceLookup.ResolvePath(v.String(), ctx.ComposeFiles[0])
			vol.Source = strings.SplitN(sourceVol, ":", 2)[0]
		}
		volumes = append(volumes, vol.String())
	}
	return volumes
}

func restartPolicy(c *config.ServiceConfig) (*container.RestartPolicy, error) {
	restart, err := opts.ParseRestartPolicy(c.Restart)
	if err != nil {
		return nil, err
	}
	return &container.RestartPolicy{Name: restart.Name, MaximumRetryCount: restart.MaximumRetryCount}, nil
}

func ports(c *config.ServiceConfig) (map[nat.Port]struct{}, nat.PortMap, error) {
	ports, binding, err := nat.ParsePortSpecs(c.Ports)
	if err != nil {
		return nil, nil, err
	}

	exPorts, _, err := nat.ParsePortSpecs(c.Expose)
	if err != nil {
		return nil, nil, err
	}

	for k, v := range exPorts {
		ports[k] = v
	}

	exposedPorts := map[nat.Port]struct{}{}
	for k, v := range ports {
		exposedPorts[nat.Port(k)] = v
	}

	portBindings := nat.PortMap{}
	for k, bv := range binding {
		dcbs := make([]nat.PortBinding, len(bv))
		for k, v := range bv {
			dcbs[k] = nat.PortBinding{HostIP: v.HostIP, HostPort: v.HostPort}
		}
		portBindings[nat.Port(k)] = dcbs
	}
	return exposedPorts, portBindings, nil
}

// Convert converts a service configuration to an docker API structures (Config and HostConfig)
func Convert(c *config.ServiceConfig, ctx project.Context, clientFactory composeclient.Factory) (*container.Config, *container.HostConfig, error) {
	restartPolicy, err := restartPolicy(c)
	if err != nil {
		return nil, nil, err
	}

	exposedPorts, portBindings, err := ports(c)
	if err != nil {
		return nil, nil, err
	}

	deviceMappings, err := parseDevices(c.Devices)
	if err != nil {
		return nil, nil, err
	}

	var volumesFrom []string
	if c.VolumesFrom != nil {
		volumesFrom, err = getVolumesFrom(c.VolumesFrom, ctx.Project.ServiceConfigs, ctx.ProjectName)
		if err != nil {
			return nil, nil, err
		}
	}

	vols := volumes(c, ctx)

	config := &container.Config{
		Entrypoint:   strslice.StrSlice(utils.CopySlice(c.Entrypoint)),
		Hostname:     c.Hostname,
		Domainname:   c.DomainName,
		User:         c.User,
		Env:          utils.CopySlice(c.Environment),
		Cmd:          strslice.StrSlice(utils.CopySlice(c.Command)),
		Image:        c.Image,
		Labels:       utils.CopyMap(c.Labels),
		ExposedPorts: exposedPorts,
		Tty:          c.Tty,
		OpenStdin:    c.StdinOpen,
		WorkingDir:   c.WorkingDir,
		Volumes:      toMap(Filter(vols, isVolume)),
		MacAddress:   c.MacAddress,
		StopSignal:   c.StopSignal,
		StopTimeout:  utils.DurationStrToSecondsInt(c.StopGracePeriod),
	}

	ulimits := []*units.Ulimit{}
	if c.Ulimits.Elements != nil {
		for _, ulimit := range c.Ulimits.Elements {
			ulimits = append(ulimits, &units.Ulimit{
				Name: ulimit.Name,
				Soft: ulimit.Soft,
				Hard: ulimit.Hard,
			})
		}
	}

	memorySwappiness := int64(c.MemSwappiness)

	resources := container.Resources{
		CgroupParent:      c.CgroupParent,
		Memory:            int64(c.MemLimit),
		MemoryReservation: int64(c.MemReservation),
		MemorySwap:        int64(c.MemSwapLimit),
		MemorySwappiness:  &memorySwappiness,
		CPUShares:         int64(c.CPUShares),
		CPUQuota:          int64(c.CPUQuota),
		CpusetCpus:        c.CPUSet,
		Ulimits:           ulimits,
		Devices:           deviceMappings,
		OomKillDisable:    &c.OomKillDisable,
	}

	networkMode := c.NetworkMode
	if c.NetworkMode == "" {
		if c.Networks != nil && len(c.Networks.Networks) > 0 {
			networkMode = c.Networks.Networks[0].RealName
		}
	} else {
		switch {
		case strings.HasPrefix(c.NetworkMode, "service:"):
			serviceName := c.NetworkMode[8:]
			if serviceConfig, ok := ctx.Project.ServiceConfigs.Get(serviceName); ok {
				// FIXME(vdemeester) this is actually not right, should be fixed but not there
				service, err := ctx.ServiceFactory.Create(ctx.Project, serviceName, serviceConfig)
				if err != nil {
					return nil, nil, err
				}
				containers, err := service.Containers(context.Background())
				if err != nil {
					return nil, nil, err
				}
				if len(containers) != 0 {
					container := containers[0]
					containerID := container.ID()
					networkMode = "container:" + containerID
				}
				// FIXME(vdemeester) log/warn in case of len(containers) == 0
			}
		case strings.HasPrefix(c.NetworkMode, "container:"):
			containerName := c.NetworkMode[10:]
			client := clientFactory.Create(nil)
			container, err := composecontainer.Get(context.Background(), client, containerName)
			if err != nil {
				return nil, nil, err
			}
			networkMode = "container:" + container.ID
		default:
			// do nothing :)
		}
	}

	tmpfs := map[string]string{}
	for _, path := range c.Tmpfs {
		split := strings.SplitN(path, ":", 2)
		if len(split) == 1 {
			tmpfs[split[0]] = ""
		} else if len(split) == 2 {
			tmpfs[split[0]] = split[1]
		}
	}

	hostConfig := &container.HostConfig{
		VolumesFrom: volumesFrom,
		CapAdd:      strslice.StrSlice(utils.CopySlice(c.CapAdd)),
		CapDrop:     strslice.StrSlice(utils.CopySlice(c.CapDrop)),
		GroupAdd:    c.GroupAdd,
		ExtraHosts:  utils.CopySlice(c.ExtraHosts),
		Privileged:  c.Privileged,
		Binds:       Filter(vols, isBind),
		DNS:         utils.CopySlice(c.DNS),
		DNSOptions:  utils.CopySlice(c.DNSOpts),
		DNSSearch:   utils.CopySlice(c.DNSSearch),
		Isolation:   container.Isolation(c.Isolation),
		LogConfig: container.LogConfig{
			Type:   c.Logging.Driver,
			Config: utils.CopyMap(c.Logging.Options),
		},
		NetworkMode:    container.NetworkMode(networkMode),
		ReadonlyRootfs: c.ReadOnly,
		OomScoreAdj:    int(c.OomScoreAdj),
		PidMode:        container.PidMode(c.Pid),
		UTSMode:        container.UTSMode(c.Uts),
		IpcMode:        container.IpcMode(c.Ipc),
		PortBindings:   portBindings,
		RestartPolicy:  *restartPolicy,
		ShmSize:        int64(c.ShmSize),
		SecurityOpt:    utils.CopySlice(c.SecurityOpt),
		Tmpfs:          tmpfs,
		VolumeDriver:   c.VolumeDriver,
		Resources:      resources,
	}

	if config.Labels == nil {
		config.Labels = map[string]string{}
	}

	return config, hostConfig, nil
}

func getVolumesFrom(volumesFrom []string, serviceConfigs *config.ServiceConfigs, projectName string) ([]string, error) {
	volumes := []string{}
	for _, volumeFrom := range volumesFrom {
		if serviceConfig, ok := serviceConfigs.Get(volumeFrom); ok {
			// It's a service - Use the first one
			name := fmt.Sprintf("%s_%s_1", projectName, volumeFrom)
			// If a container name is specified, use that instead
			if serviceConfig.ContainerName != "" {
				name = serviceConfig.ContainerName
			}
			volumes = append(volumes, name)
		} else {
			volumes = append(volumes, volumeFrom)
		}
	}
	return volumes, nil
}

func parseDevices(devices []string) ([]container.DeviceMapping, error) {
	// parse device mappings
	deviceMappings := []container.DeviceMapping{}
	for _, device := range devices {
		v, err := parseDevice(device)
		if err != nil {
			return nil, err
		}
		deviceMappings = append(deviceMappings, container.DeviceMapping{
			PathOnHost:        v.PathOnHost,
			PathInContainer:   v.PathInContainer,
			CgroupPermissions: v.CgroupPermissions,
		})
	}

	return deviceMappings, nil
}

// parseDevice parses a device mapping string to a container.DeviceMapping struct
// FIXME(vdemeester) de-duplicate this by re-exporting it in docker/docker
func parseDevice(device string) (container.DeviceMapping, error) {
	src := ""
	dst := ""
	permissions := "rwm"
	arr := strings.Split(device, ":")
	switch len(arr) {
	case 3:
		permissions = arr[2]
		fallthrough
	case 2:
		if validDeviceMode(arr[1]) {
			permissions = arr[1]
		} else {
			dst = arr[1]
		}
		fallthrough
	case 1:
		src = arr[0]
	default:
		return container.DeviceMapping{}, fmt.Errorf("invalid device specification: %s", device)
	}

	if dst == "" {
		dst = src
	}

	deviceMapping := container.DeviceMapping{
		PathOnHost:        src,
		PathInContainer:   dst,
		CgroupPermissions: permissions,
	}
	return deviceMapping, nil
}

// validDeviceMode checks if the mode for device is valid or not.
// Valid mode is a composition of r (read), w (write), and m (mknod).
func validDeviceMode(mode string) bool {
	var legalDeviceMode = map[rune]bool{
		'r': true,
		'w': true,
		'm': true,
	}
	if mode == "" {
		return false
	}
	for _, c := range mode {
		if !legalDeviceMode[c] {
			return false
		}
		legalDeviceMode[c] = false
	}
	return true
}


Open Source has a problem with diversity. GitHub recently conducted a survey which revealed that 95% of the respondents were identifying as male. This is even worse than in the tech industry overall, where the percentage is only about 76%. Every other week, there seems to be another case of a maintainer engaging in targeted harassment against minorities. People somehow deem it completely okay to let these things slide, though.
Fortunately, there's a couple of things we can do to make it easier and more comfortable for people that have never contributed to any open source project before, to contribute to our projects.
This might seem like one of the easiest steps to do, but it actually requires a lot of dedication to pull through with. Basically, a Code of Conduct is a document detailing what is and what isn't acceptable behavior in your project. A good Code of Conduct also details enforcement procedures, that means how the person violating the Code of Conduct gets dealt with. This is the point at which I've seen a looooot of projects fail. It's easy enough to copy-paste a Code of Conduct into your project, but it's more important to be clear on how to enforce it. Inconsistent —or worse, nonexistent— enforcement is just going to scare off newcomers even more!
The most widely adopted Code of Conduct is the Contributor Covenant. It's a very good catch-all document, but it is a bit light in the enforcement section, so I'd recommend to flesh it out by yourself, be it by means of adding contact information or expanding the enforcement rules.
No matter which Code of Conduct you pick, the most important thing is to actually read it for yourself. The worst thing in open source is a maintainer that doesn't know when they've violated their own Code of Conduct.
The problem that puts people off the most is incomplete or missing documentation, as revealed through GitHub's open source survey. A very popular myth in programming is that good code explains itself, which might be true, but only for the person writing it. It's important, especially once you put your project out there for the world to see, to document not only your code, but also the process by which you maintain it. Otherwise, it's going to be extremely hard for newcomers to even figure out where to begin contributing to your project.
Jekyll has an entire section of its docs dedicated to information on how to contribute for this very reason. Every documentation page has a link to directly edit and improve it on GitHub. It's also important to realize that not all contributions are code. It can be documentation, it can be reviewing pull requests, but it can also just be weighing into issues, and all of this should be recognized in the same way. At Jekyll, out of 397 total merged pull requests in the last year, 204 were documentation pull requests!
These issues are designed to be taken on only by someone who has had little to no exposure to contributing to open source before, and additionally, project maintainers offer support in case a question arises.
Jekyll is a very big and popular open source project, and we hope that with these special issues, we can help people who haven't contributed to open source before to catch a footing in these unsteady waters.
I know this is a cliche and a overused phrase, but really, it works if you pull through with it. Come to terms with the fact that some people aren't as fast or reliable as you might want to think. Don't get angry when a contributor takes a day longer than you might like them to. Treat new contributors to your project with respect, but also with hospitality. Think twice before you send that comment with slurs in it.
I've been contributing to open source for about 4 years now, and I've had my fair share of horrible, horrible experiences. But Jekyll has historically been a project that has always valued the people contributing to it over the code itself, and I hope we can keep it that way. I also hope that other project maintainers read this and take inspiration from this post. Every project should be more diverse.