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Maiolica at the San Diego Presidio Gateway Search Excavation
By DIANE BARBOLLA-ROLAND
San Diego Mesa College
Images from the article
In 1976, excavations conducted by San Diego State University in the Chapel Complex of the Royal Presidio of San Diego were completed and a new project was begun by Mesa College. The new excavation zone is west of the chapel site and was selected because it seemed probable that a depression between two mounds might be the original entrance or gateway to the Presidio complex. The project was called the Presidio Gateway Search Excavations and was divided into two sections: the architectural features east of the Marston wall (named for philanthropist George Marston who preserved the site, the wall marks the supposed perimeters of the original Presidio) which includes the two mounds and the depression between them, and the extensive midden or stratified trash deposit west of the architectural area. Data for this analysis were recovered from the midden area.
The trash midden has been excavated to a depth of 435 cm. (fourteen feet in one unit) and thousands of artifacts have been catalogued. Because of the mass of data, the San Diego Community College District granted funds for the computer analysis of the artifactual material excavated. This report is a preliminary analysis of one of more than a dozen categories of ceramics excavated and encoded from the trash midden zone, a ware called maiolica. A total of 5450 sherds of identifiable decorated maiolica are included in this analysis. Four thousand two hundred fifty-eight plain white maiolica sherds were also recovered. They are not included in this paper.
Maiolica is a glazed earthenware with an enamel opacified (usually white) by the addition of tin oxide to a lead glaze. The name is thought to have been derived from the Island of Palma de Mallorca (Maiorca) from which "Loza de Mallorca" (ceramic or pottery of Maiorca – "maiolica") was imported to Italy. Various authors (Goggin, Plowden, Fairbanks, Caywood, May, and others) prefer the spelling "majolica" while others (the Listers, Hamer, Lane, and Whitehouse) use the spelling "maiolica." Because the ware name is pronounced /mãi/ + /yó/ + /li/ + /ka/ the "maiolica" spelling is preferred, and the mispronunciation, using the Spanish "j" is avoided.
Hamer refines the distinction between "maiolica" and "majolica" by defining "majolica" as a late nineteenth century English ware with shiny, colorful glazes distinct from tin-glazed maiolica (1975:193). "Maiolica" isdefined as the fifteenth century lustered Spanish ware imported to Italy from Maiorca. The name, at first, referred only to the lustered ware (produced in Moorish Spain as an alternative to precious metalware) but later embraced all tin-glazed wares. It is now used in this broad sense (Hamer 1975:191).
The decoration of maiolica is accomplished by using coloring oxides to stain a glaze made creamy white by the addition of tin oxide (Hamer 1975:192). The traditional method uses a malm type clay (with a high proportion of calcium compounds) which is thrown, hand-built, or molded. The ware is given a soft biscuit firing to enable the friable tin-opacified glaze to adhere. The unfired glaze surface is painted with metal oxides which sink into and stain the glaze during firing, and produce an inglaze decoration. A subsequent lustre firing may also be used (Hamer 1975:192-193). Cervantes describes the industry in Puebla, Mexico, in much the same way. He includes a "cook book" (1939:12) of the metal oxides used for the various colors of Mexican maiolica. Maiolica has become the most useful historical tool of all Spanish Colonial ceramics because it is "the most sensitive to cultural change and apparently the most universally distributed" of colonial sites (Goggin 1968:121).
The history and subsequent diffusion of maiolica began in the Mediterranean. In the fourth millennium B.C., Egyptians were using a true alkaline glaze stained with the addition of metal oxides, but this method was discarded by Islamic potters in favor of glazes fluxed with lead. China enjoyed an immense artistic prestige in Islam during the early Middle Ages, and with the arrival of Chinese stoneware and porcelain in the Near East, potters sought to imitate the appearance of white porcelain. Tin oxide was the technical solution. By A.D. 836-883, Islamic potters at Samarra were adding tin oxide to lead to produce a glazed painted ware which was an imitation of the cream-colored Chinese T'ang ware (Lane 1948:3,11). Baghdad potters could make good tin-glazed ware by the ninth century. But it was not until the fifteenth century that a comparable ware was produced in Christian Europe where, under the names of maiolica, delft, or faience, it remained one of the finest forms of pottery for more than two centuries. As Lane notes (1948:47), "This technique was a direct legacy of Islam, passed on through Moorish Spain" and Sicily. Sicilian Moslems manufactured maiolica in the first half of the thirteenth century, and the technique spread rapidly in Italy (Whitehouse 1978:48-49).
The New Christians (Anabaptists or Haban) learned the maiolica art form as apprentices to Italian mastercraftsmen imported to the court of King Maithias in Buda in the fifteenth century. Anabaptists subsequently fleeing the counter-Reformation in Italy reintroduced the technique to the countries that sheltered them. In Hungary the rediscovered ware was a maiolica with a decorative style reminiscent of Islamic ware (Krisztinkovich 1962:5).
The maiolica industry also accompanied the Spanish conquest of the Caribbean from where it diffused south to Peru and north to Mexico. Maiolica travelled with Jesuit, Franciscan, soldier and settler. The study of maiolica is also the study of history.
There are numerous classificatory systems for the maiolica industry in the Americas. Lister and Lister (1974) identify five complexes in Colonial Spanish America: direct Spanish imports, a Mexican industry, and industries in Guatemala, Panama, and Peru. The Mexican industry is important as the source of maiolica excavated from the trash midden deposit at the Presidio. Edwin Atlee Barber (1909) divided the maiolica pottery production at Puebla de Los Angeles into four styles: Moresque (1575-1700), Spanish-Talavera Ware (1600-1780), Chinese (1650-1800), and Pueblan (1800-1860). Caywood (1950) distinguishes the ware by periods: 1600-1780, the Blue and White Talavera type which by 1650 introduces other colors (yellow, green, brown, and black) 1650-1800, the Chinese Blue Period; and 1800-1860 the Pueblan Period polychromes of Italian maiolists. Goggin's (1968) system divides the production of maiolica into chronologic periods with the type names derived from various archaeological sites. May (1972, 1976, 1978) identifies four to six Puebla phases and an Aranama tradition following 1700. For this descriptive preliminary report, the classificatory I system is based on a description of types and their frequency of occurrence I at the excavation site; frequently, infrequently and rarely. The maiolica I analyzed here dates from approximately 1769-1830, the primary occupation 1 period of the Presidio of San Diego. The data show three overlapping trends; a Puebla Period (1690-1850) during which Puebla Blue-on-White | and San Elizario Polychrome are both in use at the same time, the former as i small bowls and the latter as large, all-purpose "stew" plates; a more ordinary, simple Puebla and Huejotzingo Green and Blue Phase (1700-1800); and an Aranama (polychrome) Tradition (1700-1860) which can be divided into early and late components. All known wares were Mexican imports originally. This does not exclude the possibility of trade between various missions or presidios of the ware after its arrival (i.e., Tumacacori, Tucson, or Quiburi settlements).
Description of Types From the
Gateway Search Midden Excavation
The ware types were divided into three groups based on the frequency of their occurrence among the total number of decorated identifiable sherds; those frequently found (20%-30%), those infrequently found (>1.42 % < 3.0%) and those rarely found (less than 1.0%). Each ware type is followed by a code designation in parenthesis (01 through 27, Table I). This code was used to identify the twenty-seven ware types for a computer program. Mexican polychrome (19) has been omitted from the analysis at this time due to difficulties in clearly defining the type (May 1974, Lister and Lister 1976).
The preliminary nature of this analysis is emphasized because although horizontal distribution has been sampled adequately, vertical (stratigraphic) testing has been limited to one unit (QR-21). Two additional units (WX-24 and OP-21) will be completed during the current field season and will provide confirmation of the representative vertical frequencies of types.
WARE TYPES FREQUENTLY FOUND (20% < 30%)
Puebla Blue-on-White, 1690 – present (01)
Method: wheel-thrown; stacked on stilts in the saggars for firing; scars are visible on the interior and exterior reflecting a common grade of ware; no tempering, compact texture; hardness of paste 1.5, of enamel 6.5 (Goggin 1968:190). Blue color from cobalt oxide fluxes with iron or manganese oxides; low temperature fire 700°C – 1000°C.
Decoration: light blue band or bands sometimes accompanied by dark blue dots or lines. The dark blue is often very brilliant and may be slightly raised. There is no organized central medallion or rim panel. Bands often extend on both sides of the rim. Goggin (1968:191) believes this is the same tradition as San Elizario Polychrome (following).
Form: At the Gateway Search midden, Puebla Blue-on-White is represented primarily by small bowls and also by cups with thin walls and some plates; the bowls have a Chinese look (Barber 1909).
Frequency: 22.23% (2158 sherds).
Comments: California range is San Diego de Alcalá, San Diego Presidio-Chapel Excavation, La Purísima Concepción, San Carlos Borromeo, Monterey Presidio, Santa Barbara Soledad, Buenaventura, and throughout the Southwest, Caribbean, Florida, and Alabama. Type site is Puebla, Mexico. A variant is Puebla Green-on-White (09, 1780-1800, see Huejotzingo Blue-on-White, below). This variant replaces blue with large yellow bands and dark green dots. There are 83 sherds of this type representing 0.855% of the total excavated in the midden. The variant is overwhelmingly represented in one unit (WX-24) which also contains a higher than usual frequency of Monterey Polychrome and Ventura Polychrome (see below for descriptions). In unit WX-24 this variant is 22.7% of the total maiolica (Tepner 1981:2).
San Elizario Polychrome, 1750-1850 (02)
Method: See Puebla Blue-on-White; manganese oxide for the coffee-colored bands.
Decoration: Similar to Puebla Blue-on-White but with one or two thin black or coffee-brown bands outlining one wide blue band on the rim. From these lines is a pendant border of dots of various sizes. The central medallion motif is a large deer or bird-like creature painted in blue which may b ac cented in black or brown. The exterior of the plate is undecorated.
From: San Elizario Polychrome is represented at the Gateway Search midden by large, deep plates with thicker walls than those of Puebla Blue-on-White bowls.
Frequency: 20% (1899 sherds)
Comments: Same range as Puebla Blue-on-White; identified by Gerald
(1968:45) as distinct from Puebla Blue-on-White, a variant may be unknown 1(21) described below.
WARE TYPES INFREQUENTLY FOUND (>1.42%< 3.0%)
Wavy Rim Blue-on-White, 1700-1800 (04)
Method: Same as Puebla Blue-on-White.
Decoration: A band in various shades of blue covering the lip and rim The inside pattern is scalloped with varying degrees of arch from soft undulant wave to deep, nearly semi-circular scallops. The color often fades to shades of lighter blue toward the lower or upper edge of the scallop (Storlazzi1978:2; Filler1982).
Form: Wavy rim Blue-on-White is represented by plates and bowls.
Frequency: 2.998% (281 sherds).
Comments: Described by Barnes and May (1972), the type may be a variant of Huejotzingo Blue-on-White for which it may easily be mistaken. There is a green variant of this maiolica type called Wavy Rim Green-on-White (17, 1780-1800) which is represented by eight sherds.
Monterey Polychrome, 1750-1850 (05)
Method: Same as Puebla Blue-on-White, paste hardness about 2, yellow from antimony oxide.
Decoration: Orange rim band outlined in black or brown below which are orange and yellow flower designs. Long, green sprays of a leaf-like motif separate the floral design. A second orange band may lie below this design and frame a central motif on the medallion (May 1972:36).
Form: Monterey Polychrome is represented by large, deep plates.
Frequency: 2.6% (252 sherds).
Comments: One of several polychromes belonging to May's Aranama Tradition (1972:34) and Goggin's Aranama Polychrome (1968:146). They have in common an orange rim band accented with brownish-black lines and utilizing very little blue. May includes Quiburi, San Diego Polychrome, Monterey Polychrome, Orangeline Polychrome and Tucson Polychrome in the Aranama tradition.
San Diego Polychrome, 1700-1800 (06)
Method: Like Puebla Blue-on-White; colors from many metal oxides; cobalt (blue), antimony (yellow), chromium (orange), copper (green), iron and manganese (brown-black, coffee).
Decoration: Characterized by a lavish use of black accent lines which encircle and connect yellow, green and orange dots and occasinally blue dots, floral and fruit-like elements occur (May 1972:35-36). The wide orange band on the interior rim is outlined by two heavy black lines. The central motif repeats the black-edged, semi-circular designs like those found on the body. The image is of an extremely busy pattern with very little white.
Form: At the Gateway Search Midden, San Diego Polychrome is represented by large, deep plates and bowls.
Frequency: 2.05% (199 sherds).
Comments: There is one variant of this ware type from the midden. Called San Diego Polychrome with Yellow (13; for reasons which are unclear to me), the type features a blue rim band instead of the orange one. This type is represented by four sherds.
Huejotzingo Blue-on-White, 1700-present (03)
Decoration: A single blue line in various shades outlining the rim and lip inside and out.
Form: Huejotzingo Blue-on-White is represented by plates and bowls.
Comments: Undoubtedly part of the Puebla tradition and easily confused with Wavy Rim Blue-on-White fragments; this is regarded as a "cheap variety of Puebla Blue-on-White which lacks all decoration but the rim band" (Gerald, quoted in May 1972:32). There are two variants of this type from the Presidio Gateway Search Midden; Huejotzingo Green-on-White (15; 1700-1800; 12 sherds) and Huejotzingo Yellow-on-White (18; 1700-1800; 1 sherd). May (1972:33) regards these as unsuccessful efforts by Puebla potters to compete with European imports.
San Agustín Blue-on-White, 1700-1780 (07)
Method: Wheel-thrown, firing scars, hardness of paste is 1.5, and enamel is about 6.5. See Puebla Blue-on-White; cobalt oxide with additions for the range of blues found.
Decoration: Painted in two or more shades of blue with dark blue more prominent and bold. The white background is chalky, clear and clean. The patterns are floral swirls and dots; space is filled with dots and hatches so it looks almost like a blue plate with white relief (Goggin 1968:188).
Form: San Agustín Blue-on-White is represented by plates and bowls at the excavation site. The rim is often pinched and folded or "gadrooned" (May 1972:31).
Comments: This ware type was probably manufactured in Puebla, but it is named after a number of colonial sites in St. Augustine, Florida. The ware type is alternately called San Agustine Blue-on-White.
WARE TYPES RARELY FOUND (>1.0%)
The green varieties of Puebla Blue-on-White, Huejotzingo and Wavy Rim have been discussed above as has the blue-rimmed San Diego Polychrome. The remaining maiolica ware types comprise less than 1.0% of the total decorated sherds. The largest number excavated are seven unknown types, followed by Orange-line Polychrome, Quiburi Polychrome, Ventura Polychrome, Tumacacori Polychrome, and Tucson Polychrome.
Orangeline Polychrome, 1800-1850 (08)
Method: See Puebla Blue-on-White: copper oxide imparts the green color, chromium oxide the orange (possibly).
Decoration: Very much like the San Elizario Polychrome with the exception of the color of the rim band which is orange and accented with brownish-black lines. Below the band are a series of green dots separated by pendant green floral motifs (May 1972:36). Orangeline Polychrome and Monterey Poly-chrome can be difficult to distinguish when the sherd is a small rim fragment.
Form: At the Gateway Search midden, Orangeline Polychrome is represent-ed by large, deep plates.
Frequency: 0.46% (45 sherds).
Comments: This may be a variant of San Elizario Polychrome, but our sample lacks the medallion motif that would support this conclusion. May (1972:36) includes Orangeline Polychrome in his Aranama Tradition (See Monterey Polychrome, below). Unknown #1: (code 21)
The distinctive feature of these sixteen sherds is that the decoration is the same as San Elizario Polychrome, but they lack the dark accent lines so characteristic of the type. The name San Elizario Monochrome Blue is suggested for this variant (Storlazzi 1978; Tepner 1982; and Feller 1982). Unknown # 2: (22)
This unknown is identical to Puebla Blue-on-White in shape and appearance, but the decoration is in polychrome of blue and green on white. A soft moss green replaces the dark blue of the standard Puebla Blue-on-White. There are nine sherds of this type from the Gateway Search midden. This is certainly a variant of the main tradition and may be part of the "green phase" May has defined. The name Puebla Blue and Green Polychrome is suggested for this variant (Storlazzi 1978; Tepner 1982; and Feller 1982). Unknown # 3:(23)
Painted in black and green on a yellow enameled background, this polychrome probably employs other colors as well. The six sherds recovered are thick, almost crude for maiolica, and the shapes probably include cups as well as bowls and plates. Designs include small black dots, larger black splotches and olive green lines on a citron yellow background (Tepner 1982;
Feller 1982). No name is suggested for the type at this time. It may be related to San Diego Polychrome, but further comparative information is needed. Unknown #4: (24)
The sample consists of sixty sherds of a fine, delicate, and thin-lipped bowl similar to Puebla Blue-on-White. The exterior decoration consists of large floral motifs formed by three large dark-brown teardrops highlighted with dark blue splotches. The floral patterns are separated by vertical rows of smaller brown flower chains which extend from rim to base (Tepner 1982; Feller 1982). The name Mesa Gateway Polychrome is suggested for this type. Unknown # 5: (25)
This "type" is represented by two brass-orange, stippled rim bands with light blue below it. No pattern can be recognized and no name is currently suggested pending additional examples. Unknown # 6:(26)
Constituting eight sherds, this polychrome is probably part of the Puebla Blue-on-White type with San Elizario Polychrome medallion figures. Two parallel thin light-brown rim bands below which are dark blue floral patterns separated by elongated and raised brown ovals distinguish this type. The flowers and ovals are accented by thin, swirling light-brown lines. Base sherds indicate an animal or bird medallion motif not unlike that of San Elizario Polychrome. These sherds provide a link between Puebla Blue-on-White and San Elizario Polychrome by combining features of each. It is suggested that unknown #6 be classified with Puebla Blue-on-White as a Puebla Blue and Brown Polychrome (Tepner 1982; Feller 1982). Unknown # 7: (27)
Three sherds with a light olive band which lacks outlining; there is a white space between band and top of rim like other ware types. Two tiny, narrow lines in the same color run beneath the light olive-green band. It could be an example of a green, San Elizario monochrome. But on the basis of small fragments, no type designation is suggested.
Quiburi Polychrome, 1770-1800 (10)
Method: Typical maiolica method of manufacture with many metal oxides for colors (See San Diego Polychrome).
Decoration: A series of floral elements that hang from a yellow or orange rimband which is outlined in black. The medallion design is of a portly "eunuch-like figure wearing a turban and Zuave (striped, full pants) trousers" (Goggin 1968:197; Di Peso 1953). Small dots of blue may also be present.
Form: Quiburi Polychrome is represented by plates.
Comments: These are among the earliest maiolica types recovered which reflect either contact with the Sobaipuri at Quiburi, Arizona, sometime between 1769 and 1789 when Quiburi was abandoned, early provisioning at San Diego or contact with the Tucson Presidio which was established in 1772 and where the ware type was also found.
Ventura Polychrome, 1820-1850 (12)
Method: See Puebla Blue-on-White and San Diego Polychrome.
Decoration: Two thin wavy green and black braided lines on an often gadrooned lip (like San Agustín) with a light green floral pattern or dots; birds or lizards may also occur (May 1976). May calls this a "fine" ware but our samples show the external scars associated with the practice of firing common grades of maiolica in stacked saggars in a kiln. The Gateway sample bird is very dark green and accented with dark-brown lines.
Form: large, deep plates.
Frequency: 0.196% (19 sherds).
Tumacacori Polychrome III, 1820-1860 (14)
Method: Exceptional and technically similar to unknown #3 above, the color blue (cobalt metal oxide) is added to the tin glaze before the design elements are added, producing a blue instead of white background.
Decoration: Polychrome, delicate floral designs in green, dark blue, and orange with brown accent lines and dots on a pale blue background (Barnes 1972:11).
Form: cups and plates.
Comments: May (1976:225) notes that this ware is common in nineteenth century sites. It is thought to be a fine grade ware and a potter's copy of European delftware which has a light blue background.
Tucson Polychrome, 1820-1850 (11)
Method: as above for San Diego Polychrome.
Decoration: The type has two thin dark brown lines which outline an orange rim band. The body contains yellow floral and green shrub-like designs. It is distinguished from Monterey Polychrome which has green sprays in a lighter green color. Tucson Polychrome has dark green color with dark brown accent lines. This one could easily be mistaken for Orangeline Polychrome, depending on the sherd size.
Form: plates.
Undecorated White Tin-Glazed Earthenware (20)
The category contains tiny fragments (4258 sherds) of undecorated unidentifiable maiolica body and base sherds. Because most maiolica rims have relatively identifiable features the sample probably represents the undecorated areas of San Elizario Polychrome, the various Wavy Rim wares or Huejotzingo types. Several undecorated plain white rim and body sherds of small thin-walled cups (Amarillo White) are the exception.
Frequency of Types and Shapes and Some Preliminary Data on Depth of Deposit and Associated Ware Types
Analysis of ware types and associated vessel shapes shows that for all identifiable ware types, bowls and plates dominate. Puebla Green-on-White (09) is overwhelmingly represented by bowls as is Puebla Blue-on-White and Unknown #1 ("San Elizario Monochrome Blue"). Puebla Blue-on-White is the primary tradition and "San Elizario Monochrome Blue" may be a bowl variant of the more frequently found San Elizario Polychrome plates (Goggin regards San Elizario Polychrome as a late part of the Puebla Tradition). Plates occur most frequently in San Elizario Polychrome, Huejotzingo Blue-on-White, Wavy Rim Blue-on-White, Monterey Polychrome, San Diego Polychrome, San Agustín Blue-on-White, Orangeline Polychrome, Quiburi Polychrome, Tucson Polychrome, Ventura Polychrome, San Diego Polychrome with Yellow, Huejotzingo Green-on-White, and San Elizario Polychrome. Shape identifications for the unknowns are not clear with the exception of "Mesa Gateway Polychrome" (24) which seems to be most like Puebla Blue-on-White bowls (01). White Tin-Glazed Earthenware (20) consists primarily of bowl and plate fragments, but the percentage of cup fragments (12 %) is interesting. Tin-glazed earthenware in a plain white variety was in use. Rim fragments attest to its presence as small, thin-walled cups (Amarillo White). Without significant rim portions, this type cannot be distinguished from undecorated body and base fragments of other maiolica types. Further analysis is needed to clearly distinguish this type (Amarillo White) and its shape at the Gateway Search project.
Analysis by depth is incomplete. There is a concentration of sherds at 120-150 cm and from a depth of 330-360 cm in QR-21 which was excavated to sterile soil. The last three sherds of maiolica recovered were San Elizario Polychrome, Puebla Blue-on-White and White Tin-Glazed Earthenware. The heavy concentrations of San Elizario Polychrome in 0-24 cm were not main-tained and Puebla Blue-on-White surpassed it in frequency as did the variety of other types. The late wares (1820-1850) do not occur deeper than 60-70 cm. Solitary exceptions exist (one Quiburi sherd at 106-116 cm), but this may be attributed to rodent activity. In order to compare data on depth of deposit and on associated ware types by unit, it will be necessary to correct statistically for the steep slope of the midden deposit and earth (and artifact) slippage through time. A columnar sample corrected to depth for each comparable unit of the ten excavated will permit meaningful conclusions. This facet of the analysis will be completed soon.
In 1976 students began analyzing the maiolica sherds. Initial type identifications were made by Gia Storlazzi with the assistance of Ron May. Subsequent analysis from 1977 to the present was done by Marsha Tepner, Michelle Feller, and Jean Andrew. A statistical research design was developed, and the San Diego Community College District granted funds, professional consultation, and computer time for artifactual analysis through 1984. Because the maiolica analysis which took six years (part-time) to complete by conventional methods was the first batch of data to be "machine ready," a methodological validity test was done. With the exception of the professional statistician (and a vocational archaeologist), the rest of the team was computer-innocent and somewhat apprehensive. We compared our painstakingly derived data on frequency of type and associated vessel shapes, and type frequency and associations by depth in ten excavated units with the results obtained by the computer. It took minutes to get comparable figures. The same batch of data analyzed two different ways with one exception produced the same results. We are now confident about our programming technique and pleased at the speed in data retrieval (Anne Bogart, pers. comm.).
In addition to the maiolica, analysis is continuing on other recovered ceramics; Tonala Ware, Olive Jar, Galera, other Mexican Ceramics, Tizon Brown Ware, and other earthenwares; European (English and French), Asian (Chinese and Japanese), and American stoneware, ironstoneware and porcelain.
A definitive statement about the function of maiolica at the Presidio awaits further comparative data that the completion of the rest of the ceramic analysis will provide. However, the wares recovered would set a beautiful and colorful table even though they are a common grade maiolica. This seems to be a characteristic of the supply service from Mexico. Maiolica was not made locally but imported by ship or overland. Scholes (1930) study of the 1631 con-tract between the Franciscan Fray Manso and treasury officials regarding supply trains for New Mexican Missions identifies "one box of loza de Puebla" (maiolica) for each friar-priest, and it is included among items of clothing and materials destined for the infirmary (Scholes 1930;101). Maiolica was not part of the church inventory as such. In the frontier colonies, unlike in Mexico, maiolica was not a religious item but was exclusively a household item or one reserved for an infirmary (Scholes 1930; Barnes 1971). The thousands of identifiable sherds from the Gateway Search area compared with the less than 600 from the chapel area (May 1971; Storlazzi 1978) tends to confirm this observation.
Among the decorated sherds, Puebla Blue-on-White bowls and San Elizario Polychrome plates are the most common maiolica dishes in use. This is consistent with the two most common ware types found at the chapel excavations (May 1971; Storlazzi, pers. comm.). The period of the rarely found maiolica ranges from 1820-1850 with the exception of Quiburi ware. It seems reasonable to conclude that the primary presidial period was between 1769 (the founding date) and 1820-1830 based on the maiolica analysis. Historic documents confirm these dates (Paul Ezell, pers. comm.). Late period maiolica (Ventura Polychrome, Tumacacori Polychrome and Tucson Polychrome, 1820-1850) occurs more frequently in the midden deposit than at the chapel and may reflect a later occupation or use of the midden as a trash dump. There does not seem to be an economic difference between the two excavation zones reflected in the maiolica. The pending analysis of the Tizon Brown ware (a ware in common use borrowed from the Indians) may show such a difference however.
No complete vessels or restorable vessels were recovered in the midden excavation (we will try again however). The dominant impression of the condition of the maiolica is that it looks like it has been ground up. The sherds are small, chipped, and most show the fine-line cracking of repeatedly heated and cooled maiolica. Very few fragments are directly burned but many are associated with charcoal and ash lenses. As in any good midden, the remains of a fire hearth are dumped together with any broken pottery. Dayle Cheever (pers. comm.) reports a similar condition of the large mammal bone from the same zone. She is currently preparing the preliminary results of faunal analysis for submission to the Journal of San Diego History.
The maiolica analysis has expanded the number of types known and has tenatively suggested a new type designation, the "Mesa Gateway Polychrome" (code 24). We have also identified a medallion for San Diego Polychrome, unknown prior to this study (code 06). Historical analysis, functional interpretations, associated ceramics, and a suggestion for ceramic traditions and how they reflect lifeways at the Presidio await our further studies.
My appreciation goes to Mesa College, the San Diego History Center, the Park and Recreation Department and the Community College Board of Trustees. Personal and special thanks are given to a formidable array of Mesa students over the last six years, but especially to Dayle Cheever, Marsha Tepner, Michelle Feller, Gia Storlazzi, Mary Robbins, Greg Baker, Jean An-drew, and Al Sullivan. I appreciate the pen of Phil Wilke, University of California, Riverside, whose help, suggestions, and due-date facilitated the completion of this paper.
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Cheever, Dayle (pers. comm.: Gateway Large Mammal Bone Analysis), 1982.
DiPeso, Charles C., 1953
The Sobaipuri Indians of the Upper San Pedro River Valley, Southeastern Arizona. Dragoon, AZ: The Amerind Foundation, Inc., Publication No. 6.
Ezell, Paul (pers. comm.: Professor Emeritus, San Diego State University), 1979
Fairbanks, Charles H., 1973
The Cultural Significance of Spanish Ceramics. In Ceramics in America, lan M. G. Quimby, ed., pp. 141-174. (Winterthur Conference Report 1972.) Charlottesville: University of Virginia Press.
Feller, Michelle, Spring 1982
Majolica (Type Descriptions) from the Presidio Entranceway Project. On file at the Department of Anthropology, San Diego Mesa College.
Goggin, John H., 1968
Spanish Majolica in the New World. Yale University Publications in Anthropology No. 72.
Hamer, Frank, 1975
The Potter's Dictionary of Materials and Techniques. New York: Watson-Guptill Publications.
Krisztinkovich, Bela, 1962
Haban Pottery. Budapest: Corvina Press
Lane, Arthur, 1948
Early Islamic Pottery: Mesopotamia, Egypt, and Persia. New York: D. Van Nostrand Co., Inc.
Lister, Florence C., and Robert H. Lister, 1974
Maiolica in Colonial Spanish America. Historical Archaeology 8:17-52. _______, 1976
Distribution of Mexican Maiolica along the Northern Borderlands. In Collected Papers in Honor of Marjorie Ferguson Lambert, Papers of the Arch.of New Mexico, 3. Albuquerque Arch. Soc. Press.
May, Ronald V., 1972
Majolica in Alta California Employing Preliminary Data from the San Diego Presidio. In: Mexican Majolica in Northern New Spain, pp. 25-50. Pacific Coast Archaeological Society Occasional Paper No. 2. ______, 1976
An Analysis of Certain Ceramics from the San Buenaventura Mission. In: The Changing Faces of Main Street: Ventura Mission Plaza Archaeological Project, Roberta S. Greenwood, ed. pp. 211-255. Prepared for the Redevelopment Agency, City of San Buenaventura.
May, Ronald V., 1-18-78
Personal Communication. On file at the Department of Anthropology, San Diego Mesa College.
Plowden, William W., Jr., 1958
Spanish and Mexican Majolica found in New Mexico. El Palacio 65(6):212-219. Scholes, France V., 1930
The Supply Service of the New Mexican Missions in the Seventeenth Century. In: New Mexico Historical Review, Lansing B. Bloom, ed. 5(I):93-115, (II):186-210, (IV):386-404. Santa Fe: The Historical Society of New Mexico and the University of New Mexico.
Storlazzi, Giacinta, 1978
Maiolica: The Timeless Beauty. Preliminary Analysis of Sherds from the San Diego Presidio Entranceway Project. Unpublished report for Archaeology 115. On file at the Department of Anthropology, San Diego Mesa College.
Tepner, Marsha, Spring 1982
Project Summary: Majolica Analysis (from the Entranceway Excavations) 1982. On file at the Department of Anthropology, San Diego Mesa College.
Whitehouse, David, 1978
The Origins of Italian Maiolica. Archaeology 31(2):42-49.
THE PHOTOGRAPHS, maps and drawings were supplied by the author.
CODE FOR MAIOLICA POTTERY TYPES
TABLE OF TYPES AND SHAPES OF MAIOLICA


text:
The On-Campus track is suited for the executive agenda. It is aimed at professionals and managers in corporations, government, and non-profit organisations as well as life-long learners with other experiences and backgrounds. What they have in common is an intrinsic motivation to deepen and broaden their knowledge of business administration with a specific emphasis on today's responsible leadership, sustainability and data science challenge. With this motivation in mind, the On-Campus track tries to accommodate working professionals in the best way possible. To be eligible for this track, you must have a bachelor's degree and at least 5 years of relevant work experience.
Choose your own speed of learning with a study load of 12 hours per week on average and 8 educational weeks in 2 years
With our flexible modular curriculum you can complete the programme in any order you like
Face-to-face interactions are supported by a virtual learning environment to study anywhere, anytime
Designed for professionals
The On-Campus track is designed in a modular format with four educational weeks each year, with classes from Monday till Friday. To fit around your career, the average time commitment is 12 hours per week and you may spread your total study load across two to four years. Learn more about our unique carousel approach by watching the video.
Piece by piece
The On-Campus track is designed around a smart bundle of holistic business themes you can cover in any order, an excellent solution for ambitious professionals who sometimes need to prioritise work above study. For each module that comes along, simply choose whether you will join it or not. As long as you complete all educational weeks within two years with a possible extension to four years, you are free to arrange your study however you like.
Click here to view the academic calendar
February, 2023 Sustaining Competitive Advantage /
Understanding Organisations in Times of Change
May, 2023 Entrepreneurship and New Business Development / International Business Environment
September, 2023 Corporate Finance & Accounting / Sustaining Competitive Advantage
November, 2023 International Week / Leading Strategic Change
Assisted by technology
Alongside face-to-face interactions, MaastrichtMBA's virtual learning environment serves to maintain your study rhythm any time, anywhere. By closely connecting the in-class sessions with online learning activities, the programme offers a practical, blended learning approach to management education.

redpajama_set_name: RedPajamaCommonCrawl


text:
Virginia Tech engineers enable 3D printing of piezoelectric materials
Umair Iftikhar February 13th 2019 - 5:32pm 0 0
Engineers from the Virginia Polytechnic Institute and State University (VT) have found a way to 3D print piezoelectric materials, which convert mechanical energy into electric current.
Xiaoyu 'Rayne' Zheng, Assistant Professor of Mechanical Engineering at VT and co-author of the research, explained, "By programming the 3D active topology, you can achieve pretty much any combination of piezoelectric coefficients within a material, and use them as transducers and sensors that are not only flexible and strong, but also respond to pressure, vibrations and impacts via electric signals that tell the location, magnitude and direction of the impacts within any location of these materials."
"We have developed a design method and printing platform to freely design the sensitivity and operational modes of piezoelectric materials."
Tapping electricity
Piezoelectric materials produce an electrical current when stress is applied. For example, if a piezoelectric film is connected to a small LED light, tapping the film (mechanical stress) with one's finger will turn the LED on and off (electric current). This also works in the opposite direction i.e. when the electric current is applied to the piezoelectric film, it changes its shape up to 4%.
Piezoelectric materials can be found in nature such as the mineral quartz and topaz, and bones, or can be synthesized. Such materials have wide applications in sensor technology and can also be used as actuators in soft robotics.
One of the most popular applications of piezoelectric materials is in cigarette lighters, which ignite a flame when a spring hammer hits a piezoelectric crystal. More varied applications of these materials are also being explored, like the piezoelectric floor mat in a Japanese train station, used to produce electricity for the station.
Pedestrians walking on piezoelectric sheet power the ticket barrier in a Japanese train station. Photo via AFP/GETTY IMAGES
3D printing piezoelectric ink
In the recent paper titled three-dimensional printing of piezoelectric materials with designed anisotropy and directional response, the researchers were able to make a 3D printable ink from lead zirconate titanate, a piezoelectric ceramic. This ink was then used to print various complex piezoelectric structures with a DLP printer.
Zheng explained, "We have synthesised a class of highly sensitive piezoelectric inks that can be sculpted into complex three-dimensional features with ultraviolet light. The inks contain highly concentrated piezoelectric nanocrystals bonded with UV-sensitive gels, which form a solution – a milky mixture like melted crystal – that we print with a high-resolution digital light 3D printer"
The 3D printing process of the piezoelectric ink. The image on the right shows the microstructure of the material. Image via Springer Nature.
The sensor senses itself
Piezoelectric devices are generally made using conventional manufacturing techniques such as silicon mold processing and powder injection molding. Sometimes devices are made using piezoelectric films. However, these processes have limits on what shapes can be achieved. Whereas, 3D printing, in general, is capable of creating complex shapes (like lattice structures) with much greater ease than other manufacturing methods.
Now with the possibility of 3D printing piezoelectric materials "We can tailor the architecture to make them more flexible and use them, for instance, as energy harvesting devices, wrapping them around any arbitrary curvature" Zheng said.
Huachen Cui, a co-author of the research paper explained how having piezoelectric will simply future devices. Cui said: "Traditionally, if you wanted to monitor the internal strength of a structure, you would need to have a lot of individual sensors placed all over the structure, each with a number of leads and connectors"
"Here, the structure itself is the sensor – it can monitor itself."
Control over the shape of piezoelectric materials also extends their sphere of applications.
Zheng added," We can make them thick, and light, stiff or energy-absorbing."
"We have a team making them into wearable devices, like rings, insoles, and fitting them into a boxing glove where we will be able to record impact forces and monitor the health of the user."
Furthermore, the team also discovered that some microstructures can convert energy more efficiently than others.
A 3D printed flexible sheet of piezoelectric material. Image via Virginia Tech.
The research discussed in this article is titled "three-dimensional printing of piezoelectric materials with designed anisotropy and directional response" printed in the journal Nature Materials. It was co-authored by Huachen Cui, Ryan Hensleigh, Desheng Yao, Deepam Maurya, Prashant Kumar, Min Gyu Kang, Shashank Priya and Xiaoyu (Rayne) Zheng
Nominations for 3D Printing Industry Awards 2019 are open now. Visit the nominations page to name the academic team of the year.
For more news on the latest research in additive manufacturing subscribe to our 3D printing newsletter. You can also join us on Facebook and Twitter for live updates.
We also have great careers in 3D printing, see our 3D Printing Jobs board for more information and keep an eye on our jobs articles.
Featured image shows a 3D printed flexible sheet of piezoelectric material. Image via Virginia Tech.
Tags Deepam Maurya Desheng Yao Huachen Cui Min Gyu Kang piezoelectric materials Prashant Kumar Ryan Hensleigh Shashank Priya Virginia Polytechnic Institute and State University Xiaoyu (Rayne) Zheng
Umair Iftikhar
More on this topicSelf-curvature to become next step for 3D bioprinted corneas
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Delft researchers 3D print biodegradable bone implants using porous iron
Maryland scientists create shape-shifting nozzle for 3D printing fiber-filled composites
Paul Hanaphy January 11th 2021 - 8:00am
University of Waterloo and Canada's NRC partner to launch seven year R&D project into metal 3D printing
Aldershof startup develops novel dual-color volumetric 3D printing method
Tianjin researchers develop fully-3D printed modular pipe-climbing soft robot
Rutgers engineers 3D print octopus-inspired camouflage-ready robots
Californian researchers develop new crack-resistant nickel-based superalloy for 3D printing
NIST scientists develop method of precisely mapping polymer curing during 3D printing
Paul Hanaphy December 21st 2020 - 9:36am
University of Delaware scientists 3D print 5G signal-bending Luneburg lenses
Paul Hanaphy December 18th 2020 - 9:07am
MLU researchers combine extrusion and inkjetting to develop novel hybrid 3D printing process


text:
ACLU of Southern California
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Press Release: San Bernardino County officials unlawfully censor artists who depict Hispanic culture
SAN BERNARDINO—The ACLU Foundation of Southern California (ACLU SoCal) sued the County of San Bernardino today for violating the free speech rights of Efren Montiel Jimenez, a local artist. County officials removed two paintings by Mr. Jimenez and one by another artist from a Hispanic National Heritage Art Exhibit displayed in the County of San Bernardino Government Center simply because some viewers had complained about the paintings. The law firm of Jenner & Block LLP also represents Mr. Jimenez.
County officials have commemorated Hispanic Heritage Month since 2009. The commemoration includes inviting local artists to exhibit their work at the Government Center, which is a designated public forum for the duration of Hispanic Heritage Month. The displays are hosted by the San Bernardino County Hispanic Employees Alliance and the Inland Empire Latino Art Association. The invitation to artists does not detail criteria, requirements or restrictions on art submissions regarding the content of artwork in the Hispanic Heritage Month Art Exhibit. Furthermore, the county has never pre-screened pieces for the exhibit.
Shortly after the exhibit opened on September 16, 2013, county officials demanded three paintings, two by Mr. Jimenez and one by artist Armando Aleman, be removed. Two of the paintings portray nude figures of women and one depicts the nude backside of a person worshipping the sun.
In September, the ACLU SoCal and the National Coalition Against Censorship (NCAC) sent a letter informing officials that removal of the artwork violated the artists' First Amendment right to free expression and urged officials to restore the paintings to the exhibit. The county never responded and failed to comply.
"The center is a designated public forum during the observation of Hispanic Heritage Month and government officials cannot arbitrarily decide what is and is not art," said Peter Eliasberg, legal director for the ACLU SoCal. "Since 2009 they have accepted and displayed all submissions. Once they open up the building to art displays without restriction, they cannot then censor some of it because a member of the public complains. The First Amendment protects all speech, even expressions that some individuals may not like."
"We often encounter the removal of artwork from public venues in response to a complaint," said Svetlana Mintcheva, director of programs for the National Coalition Against Censorship. "But in the majority of cases, once we make them aware of their First Amendment obligations, public officials quickly correct their error and put the work back on display. In San Bernardino, county officials have been singularly intransigent. Their irresponsible actions have exposed the county to costly litigation."
The lawsuit seeks to have the three paintings returned to display for as long as they were improperly censored.
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text:
2 killed, dozens hurt in Silver Spring apartment complex fire
By fox5dc.com staff
Montgomery County (MD) Fire & Rescue Service
SILVER SPRING, Md. - Authorities in Maryland have confirmed two deaths following a fire that injured dozens at a Montgomery County apartment complex overnight.
Montgomery County police confirmed the victims were located within the building. Their bodies were recovered and they have been transported to the medical examiner where an autopsy is scheduled to be performed on Friday. They have not been identified.
A total of 31 residents and three firefighters were transferred to local hospitals with non-life-threatening injuries. The firefighters had minor injuries and were treated and released. Hospital officials said most of the people brought to their facilities were released after treatment.
At least 100 people have been displaced by the blaze and several others have been reported missing. CASA de Maryland and the Red Cross are accepting donations to help the displaced residents. (Learn more on how you can help the victims of the Silver Spring apartment fire)
Fire officials said the building is a collapse hazard and they are still working to stabilize the area. The cause of the fire is still undetermined and police are working with fire investigators and the ATF in the investigation.
Search teams on the ground and through the air looked for survivors while firefighters continued to battle hotspots. A K-9 team searched through the rubble of the apartment complex. Many residents were housed at a community center while emergency crews continued their search.
An off-duty Montgomery County police officer was the one who first reported the fire and building collapse. Fire officials said crews at a firehouse about a mile away from the scene felt a blast before they were called to the scene. When firefighters arrived, civilians on the scene had already begun using ladders to try and rescue people who were trapped on the upper floors of apartment units. The magnitude of the explosion propelled clothing and shoes into the street and nearby trees.
"It felt like a huge bomb," said one girl who witnessed the chaotic scene. "We all woke up. People were running out with fire all over their body. People throwing the kids from balconies so they can be saved."
Emergency units continue to work with structural engineers to determine the safety of the building. Officials said the gas utility company was called to the scene to help turn off supply lines to the apartment units which are all equipped with natural gas furnaces and stoves.
At least one woman who lives in a neighboring apartment building said she has detected the smell of gas for a while.
"I have been constantly having problem with a gas leak," said Kerry Benny. "I know the smell of gas. To this day, I don't use my oven. I am so afraid."
Officials said they are looking into the reports of natural gas. Montgomery County Executive Ike Leggett told reporters a complaint of a gas smell was investigated in the area on July 25, but he did not go into any more details.


The German Olympic Sports Federation in Potsdam expresses its great appreciation of your translation and consulting firm "Aristeus." First of all, of course, to Mr. S. Klyushyn, who always kindly supported us. We appreciate your help to our project and very thank the whole team of translators.
Holding Company "Composite" thanks translation and consulting firm "Aristeus" for its work. LLC "Aristeus" is a company capable to make high-quality translation and in the shortest time. Qualified employees are always ready to help you. We hope for further fruitful cooperation.
Many companies actively participated in the implementation of our plans. From our side we are very thankful to "Aristeus" that its staff gave us generous help with translations. We will never forget this great support and leave good memories about you. Whenever there is an opportunity of cooperation, we will be happy to use it!
In connection with the 5th anniversary of cooperation of Tatar and German boxing, I would like to thank you, Sergey, for your honourable work. Your exact and vivid translations have played a significant role in the success of this collaboration. You are a patron of sports, and we are honoured to see you with us.
The creation of our offices in the SEZ "Alabuga" (Russia) in such a short time would not be possible without Mr.Klyushin. Not only due to the timely translation, but also because of his personal commitment administrative barriers were quickly and reliably overcome His loyalty to the client gives you the confidence in a new as yet unfamiliar environment.
Dipl. -Ing. Project Manager TEXTIMA Export Import Ltd.
We would like to thank Sergey Klyushin for his work and commitment in the realization of our project for LLC Alabuga-Volokno. We have come to appreciate his reliability and loyalty in the course of cooperation, so that from colleagues we became good friends. The same applies for his charming colleague Lyaysan Shaymukhametova. We wish the company "Aristeus" success, prosperity and all the best for the future.
Dear Mr. Klyushin, Your company provides translation services for the P-D Glass GmbH Oschatz in such languages as German, English and Russian. We are pleased to confirm that we are very satisfied with the provided services. Translations are always performed on time and in high quality. We look forward to continue our successful cooperation.


The Eskimo Power Ice Auger Carrying Bag is made from heavy duty 300D polyester fabric with a reinforced inner shell. This bag will help contain the smell of fumes when transporting your auger inside your vehicle. The storage pockets provide a handy place keep your auger extension, spare blades, 2-cycle oil, tools, and other gear.
The Eskimo Power Ice Auger Carrying Bag is the perfect carrying case for transporting your ice auger. The bag is made from heavy duty 300D polyester fabric with a reinforced inner shell, the same material used to make the Eskimo ice shelters. The Eskimo Power Ice Auger Carrying Bag will eliminate any worries of fuel spills or leaks that can damage your vehicle or gear. It will also contain the smell of fumes when transporting your auger inside the vehicle. This bag will protect your ice auger engine from snow, rain, slush, and other debris. The storage pockets provide a handy place keep your auger extension, spare blades, 2-cycle oil, tools, and other gear.
Pros: Quality, sturdy material, heavy duty zipper, auger blade liner.
Comments: Great site. Shipping was fast, cheap prices. Beats all competitor.
Comments: Love the way my auger fits . The inside is covered with a heavy plastic , which I assume keeps melted ice/snow from penetrating to the outside. Very well made, dual zipper works very well.
Comments: Excellent quality and great service. Will use fishUSA again!
Comments: Auger bag works perfectly. Love the quality of the bag. Arrived fast and in perfect condition.
will this carry bag fit a 61'' auger /nills master ?
The description says it will hold up to a 10 inch auger. We are not given the specifics on length. It is for all standard augers.


Just before he's about to leave his apartment for a flight to visit his mother, Beau (Billy Mayo) realizes he's forgotten his dental floss. What should be a quick jaunt upstairs to the bathroom becomes the biggest mistake of his life upon returning to see his keys—which he left in the lock—are gone. He has no choice but to cancel his plans and stay home. He can't leave his possessions unguarded, but he can't risk letting down his defenses in case whoever took his keys returns with murderous intent. So paranoia sets in. Everyone he comes into contact with is aggressive, rude, and seemingly against him from ever living a normal life again. And then things get weird.
Written and directed by Ari Aster, Beau delivers on the promise of The Strange Thing About the Johnsons. It vacillates between horror and comedy as its character devolves into a mess of psychological chaos thanks to the torturous uncertainty of accepting our intrinsic vulnerability. We initially feel for his plight, sympathizing with his impossible situation and relating to his need for protection no matter how convoluted or Rube Goldberg-esque it may prove. But as soon as the first stranger screams at him in a knowing way—as though he's in on some plot to dismantle every fiber of Beau's existence—we realize we crave his destruction. So when his mental breakdown begins adopting a conspiratorial and fantastical absurdity, we bask in the glory of Aster's sinister irreverence.
The result is a wild ride through Beau's broken psyche, one that has us confused as far as what's real. Opossums arrive, community outreach figures berate him, and a creature known as Kolgaan enters to make us question whether this man exists in our world or if we've entered his. And if it's the latter (his mother's out-going answering machine message speaks directly to him alone), how does that detachment influence our macabre desire to watch him suffer? When does the fantasy of it all replace our sense of humanity and allow us to crave his latest, completely unprovoked mishap? It therefore lends an interesting juxtaposition to Aster's feature debut Hereditary in that we're asked to relinquish our empathy rather than strive hold onto it tighter.


text:
EXCLUSIVE REPORT: ON THE SETS – HIMMATWALA
Movies, Music, News, Stars | January 9, 2013 | | by Prateeksha Khot
Colorful pillars, pots and drums, dancers in jhatak 80s style dresses… it really was a place full of jhatkas and matkas (pun intended!). On the sets of Himmatwala, BollySpice was present to watch the shoot of one of the most iconic songs of yesteryear – 'Tathaiya Tathaiya'. Present were Sajid Khan (who is directing this remake), Ajay Devgn in a white jacket (well, you can't have a Jeetendra song without white, can you!) and the extremely gorgeous Tamannaah with whom we had a tete-a-tete.
While Farah Khan, who is choreographing this song, was busy with the side dancers, we managed to catch hold of the stars as they took a break. One would have thought that they might be apprehensive about stepping into the huge shoes of Jeetendra and Sridevi but both the lead actors are confident that the audience would accept them on their own strength without any comparisons. Talking about the song shoot, Tamannaah-in a lovely white costume said, "It's been fantastic. It's been a day's shoot so far and it's like all friends getting together and shooting – very warm." So how different would be the song from the original? Says Sajid, "I have not altered the songs much. There are two songs from the original Himmatwala, 'Tathaiya Tathaiya' and 'Nainon Main Sapna'. Sajid Wajid's version is very similar in terms of the tune and keeping with those times. The lyrics are literally the same. Those two songs are very popular and are still remembered and I didn't want to alter the song. Picturization of the songs are completely different. In fact this is more surreal than the original and Farah's touch to it has made it more magical."
Surely a song this iconic would get an equally special unveiling? "We have got the entire PR department working on it and they are going step by step," said the director, "Very rarely does it happen that in the first week of January you are still shooting for a film which is releasing in the last week of March!"
Head of Music at Saregama India Ltd. Adarsh Gupta added, "Saregama is looking forward to the association with versatile Director Sajid Khan & Disney UTV for their upcoming block-busters. Together we will revive the very happening era of music from the 80s"
Well, until the song comes out, check out the exclusive stills from the shoot.
Prateeksha Khot
View all posts by Prateeksha Khot	→


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The image of 36 X 42 Shower Pan was uploaded at January 29, 2018 at 3:13 am. This article is uploaded under the Shower category. 36 X 42 Shower Pan is tagged with 36 X 42 Shower Pan, 36, X, 42, Shower, Pan..
In this case, there are a few essential things you have to know and consider in picking an office seat on your firm.
Along with that, occasionally we are perplexed. 36 X 42 Shower Pan that we need while at the job is vital, but around the other hand we likewise feel shame, office chairs which we have been there it truly is only the design and coloring have not been suitable.
- Choose a seat that's a comfortable foam or soft if you sit down.
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text:
package com.intellij.facet.ui;

import com.intellij.facet.ui.libraries.*;
import com.intellij.openapi.application.ApplicationManager;
import com.intellij.openapi.module.Module;
import org.jetbrains.annotations.NotNull;

public abstract class FacetEditorsFactory {
  public static FacetEditorsFactory getInstance() {
    return ApplicationManager.getApplication().getService(FacetEditorsFactory.class);
  }

  public abstract FacetLibrariesValidator createLibrariesValidator(LibraryInfo @NotNull [] libraries,
                                                                   FacetLibrariesValidatorDescription description,
                                                                   FacetEditorContext context,
                                                                   final FacetValidatorsManager validatorsManager);

  public abstract FacetLibrariesValidator createLibrariesValidator(final LibraryInfo @NotNull [] libraries,
                                                                   @NotNull final Module module,
                                                                   @NotNull final String libraryName);

  public abstract LibrariesValidationComponent createLibrariesValidationComponent(LibraryInfo[] libraryInfos, Module module,
                                                                         String defaultLibraryName);

  public abstract MultipleFacetEditorHelper createMultipleFacetEditorHelper();
}

redpajama_set_name: RedPajamaGithub


How did we communicate with our customers before the internet? Who remembers our Moving Milestones newsletter? It's not all that different from our modern day blog posts. When we first introduced our newsletter in 1993, our mission was to "convey the philosophy of our company as well as call attention to employees that have been recognized for their excellent work ethic." In addition, we aimed to "highlight particular jobs we have performed that are slightly unique or just interesting." It's comforting to know that in an ever-changing world, we are still providing our customers an insight into life at Moving Masters, Inc., just distributing it differently.
Time to reminisce on an article written in Spring of 1993 on Comsat Satellite Service.
When COMSAT moved to Bethesda in May, they used their regular mover. The library, law and general, along with the human resources files were a different story. The customer wanted to have these groups in early and functioning before the big move. What was needed was a relocation company that specialized in library relocations, could perform the service in a week, daytime only, and have every file and book in proper order.
Moving Masters, Inc. was chosen. The move required loading books and files on to specialized library carries, transport from L'Enfant Plaza to Bethesda and replacement on to the same shelves.
Close coordination and markings between customer and moving crews was essential. Sealed trucks left the District every hour with waiting crews in Bethesda unloading and putting away, then sending empty trucks back for refill.
The process lasted four days and filled parts of two floors at COMSAT's new headquarters.
The hard work paid off with a very happy customer and another demonstration of Moving Master's ability to put together specialty crews for a specific important task.
Everyday Moving Masters, Inc. has one or more "specialty" move at various stages of completion. They may be an entire law library, a scientific laboratory, packing ships models for long distance. They could involve relocating 4500 lb. laser tables, tap libraries or even hundreds of map files.
Whatever the job, Moving Masters, Inc. has the talent and equipment to give each customer that specialty move.
Although this article may have been written 20 years ago, the philosophy at Moving Masters, Inc, has remained. Our team works hard every day to provide our customers with the best service in the moving industry. One day, this blog will be a throwback! How will we distribute our content 20 years from now?


text:
Q: Sending signalfd to another process Process A sends a signalfd to process B. What will happen when B attempts to read()? If B adds the signalfd to an epoll, when will epoll_wait return?

A: There is a clue in the man page:

fork(2) semantics
After a fork(2), the child inherits a copy of the signalfd file descriptor.  A read(2) from the file  descriptor  in  the  child will return information about signals queued to the child.

signalfds transferred via unix socket should behave the same as those inherited by fork(). Basically, it's irrelevant which process created the signalfd; read()ing from it always returns signals queued to the process that calls read().
There is a weird interaction with epoll, however: Since the epoll event queue is managed outside the context of any particular process, it decides the readiness of the signalfd based on the process which originally called epoll_ctl() to register interest in the signalfd. So if you arrange to watch a signalfd with an epoll FD, and then send both FDs to another process, the receiving process will see inconsistent results: epoll will signal readiness only when the sending process has a signal, but signalfd will return signals for the receiving process.
This situation is particularly easy to get into using fork(). For example, if you initialize an event loop library than uses epoll and signalfd, then call fork() (e.g. to daemonize the process), then try to use the library in the child process, you may find you cannot receive signals. (I spent all day yesterday trying to debug such a problem.)

A: This is inconsistent, or at least an under-documented corner-case. Read carefully signal(7).
A process A could send a signal (not a signalfd) using kill(2) or killpg(2) to a process B.
The process B is handling a signal (and there are some default behavior to handle some signals). It could install (in a POSIX-ly standardized way) a signal handler using old signal(2) or newer sigaction(2), or it could ask (in a Linux specific way) by using signalfd(2) to get some data on a file descriptor.
So signalfd gives on success a fresh file descriptor, like open or socket do.
Read the signalfd(2) documentation, it explains what is happening on B side when it reads (the kernel is sending some struct signalfd_siginfo, I imagine from the point of view of the process getting the signal, not of the process reading the file descriptor, see kernel's source file fs/signalfd.c), or waits with poll or epoll on the file descriptor given by signalfd ; the polling will succeed when a signal has been received by B.
A successful signalfd is just getting an opened file descriptor (like the file descriptors open, socket, accept, pipe are giving you) and you won't share that file descriptor with unrelated processes.
I won't make any supposition on what happens if you dare sending that file descriptor using sendmsg(2) on a unix(7) socket using SCM_RIGHTS to some other process. I guess it would be similar to pipe(7)-s or fifo(7)-s or netlink(7)-s. But I certainly won't do that: signalfd is Linux specific, and you are in an undocumented corner-case situation. Read the kernel source code to understand what is happening, or ask on kernelnewbies. And don't expect too much future kernels to behave consistently with present ones on that undocumented aspect ...

redpajama_set_name: RedPajamaStackExchange


text:
Q: What is the closed form for $\int_{0}^{\infty}\frac{1}{1+x^2}\cdot\frac{x^{\pi}}{1+x^{\pi}}\cdot\frac{1}{1+x^ e}dx $? On my previou page Jack D'Aurizio offered a concise elegant prove of Vladimir Reshetnikov's identity and a closed form for it.
(1)
$$\int_{0}^{\infty}\frac{1}{1+x^2}\cdot\frac{1}{1+x^{\pi}}dx=\int_{0}^{\infty}\frac{1}{1+x^2}\cdot\frac{1}{1+x^{e}}dx=\frac{\pi}{4}$$
Here we have another imitation of Vladimir Reshetnikov's identity
(2)
$$\int_{0}^{\infty}\frac{1}{1+x^2}\cdot\frac{x^{\pi}}{1+x^{\pi}}\cdot\frac{1}{1+x^e}dx =\int_{0}^{\infty}\frac{1}{1+x^2}\cdot\frac{x^e}{1+x^e}\cdot\frac{1}{1+x^{\pi}}dx$$
A closed form of (2) is unknown
We ask if this identity (2) can be proven in the same way as (1) and with a closed form.

A: Through the substitution $x\mapsto\frac{1}{x}$ we have:
$$ I(a,b) = \int_{0}^{+\infty}\frac{x^a}{1+x^a}\cdot\frac{1}{1+x^b}\cdot\frac{dx}{1+x^2} = \int_{0}^{+\infty}\frac{1}{1+x^a}\cdot\frac{x^b}{1+x^b}\cdot\frac{dx}{1+x^2} = I(b,a) $$
hence, by your previous question:
$$\begin{eqnarray*} I(a,b) &=& \frac{1}{2}\int_{0}^{+\infty}\frac{x^a+x^b}{(1+x^a)(1+x^b)}\cdot\frac{dx}{1+x^2}\\&=&\frac{1}{2}\left[\int_{0}^{+\infty}\left(\frac{1}{1+x^a}+\frac{1}{1+x^b}\right)\frac{dx}{1+x^2}-2\int_{0}^{+\infty}\frac{dx}{(1+x^a)(1+x^b)(1+x^2)}\right]\\&=&\frac{\pi}{4}-\int_{0}^{+\infty}\frac{dx}{(1+x^a)(1+x^b)(1+x^2)}\end{eqnarray*}$$
that, at least in principle, can be computed from partial fraction decomposition, the residue theorem and the identity:
$$ \int_{0}^{+\infty}\frac{x^b dx}{1+x^a} = \frac{\pi}{a\sin\left(\frac{\pi (b+1)}{a}\right)}.$$


The newly opened walkway in Zakim Bridge area. It leads from North Point Park (across from Museum of Science) to Paul Revere Park in Charlestown. It's a tough place to photograph with lots of light sources all around, but very interesting shapes, textures, architecture.


text:
South African Body Gives Ikusasa Building 6-Star Green Rating
Concor, the contractor, applied sustainable designs and stringent quality systems to earn this accolade.
The Ikusasa building in the Oxford Parks precinct in Rosebank – completed by black-owned contractor Concor earlier this year – received six stars by the Green Building Council South Africa (GBCSA).
Concor completed the building, a pioneer in sustainable building standards, in 12 months. The 6 Star Green Star SA Office V1.1 Design Certification from the GBCSA is considered World Leadership status.
Ikusasa reduces water use, energy consumption, process waste, and pollution in its construction and operation.
The building is home to blue chip company Anglo American's Global Shared Services, which recently recognised Concor with a Certificate Award of Excellence. Concor applied its client's sustainable designs and stringent quality systems to earn this accolade.
Home to blue chip company Anglo American's Global Shared Services, the new Ikusasa building in Johannesburg can now boast world class status in green building standards
As part of the construction, for instance, the company conducted a hazardous materials survey on the site before demolishing existing buildings. It ensured the responsible removal and disposal of asbestos, lead, or polychlorinated biphenyls on-site.
Concor applied a stringent Environmental Management Plan (EMP) and also put in place a rigorous Waste Management Plan (WMP), resulting in 70% of demolition and construction waste being reused or recycled.
Waste was separated at source, preventing cross-contamination, and waste could be recycled more cost-effectively. Together with the Hazardous Waste Management Survey, Concor was able to uphold critical environmental standards.
The building's environmental performance includes conserving water and energy. Water efficiency has been optimised using options like low-flow tap fittings, dual flush toilets, and water sub-metering for irrigation and bathrooms.
Water-wise irrigation methods and smart sensors cut plant irrigation by half. Air is used in heating, ventilation, and cooling systems rather than water, reducing consumption.
To achieve a Green Star South Africa Net-Zero Carbon Level 1 score, Ikusasa generates all the energy required by the base building. They achieved this by harnessing renewable energy with a solar photovoltaic generation system on the roof.
The Ikusasa building in the Oxford Parks precinct in Rosebank – completed by leading black-owned contractor Concor earlier this year – has just been given six stars by the Green Building Council South Africa (GBCSA)
Energy efficiency is enhanced through sub-metering, which tracks the main consumption areas. Where energy use exceeds 100 kVA, it is metered separately. This allows users to benchmark usage targets and apply strategies to reduce energy consumption.
Top Photo: To achieve a Green Star South Africa Net-Zero Carbon Level 1 score, Ikusasa generates all the energy required by the base building. This is achieved by harnessing renewable energy with a solar photovoltaic generation system on the roof.
South Africa to expand Nuclear Power Production Capacity
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