text:
Arts & Culture » Arts
Spiritual Dearth
Though they depict religious themes, these works are strangely ambivalent
by Ivy Cooper
In addition to Contemporary American Jesuit Artists, St. Louis University Museum of Art is exhibiting Doctors of the Church, a collection of iconic portraits of saints by St. Louisan Ann Torrini.
Contemporary American Jesuit Artists
Call 314-977-3399.
Among the first lessons any student of art history learns is that art and religion have been strongly aligned throughout world history. Indeed, for much of the history of Western civilization, art was in the direct or indirect service of the church. This shifted, of course, with the rise of capitalism, and eventually, in the modern era, artists broke away from the patronage system altogether, further changing the relationship between art and religion. In the late nineteenth and early twentieth centuries, particularly among the avant-garde of expressionist artists, any religious content in art was explicitly challenged (as in the work of Paul Gauguin), celebrated and modernized (as with Marc Chagall) or supplanted altogether by concerns for superreligious "spirituality" (as in the work of Wassily Kandinsky and other abstract artists).
This rehearsal of the historical relationship between religion and art seems appropriate for a thorough examination of Contemporary American Jesuit Artists, a new exhibition at the St. Louis University Museum of Art. (This exhibition has opened in concert with the Collection of the Western Jesuit Missions, on permanent display at the museum, and a series of paintings by Ann Torrini of Doctors of the Church, though each exhibition is housed in a separate gallery and each is featured independent of the others.)
Contemporary American Jesuit Artists offers itself as an opportunity to consider recent art produced by members of this particular order of the Catholic Church. The ten artists in this exhibition hardly represent the sum total of approaches to religious art in this country, but their works do indicate something about the current state of art coming from one of the world's significant organized religions. But before we turn to the exhibition itself, a few more historical observations appear to be in order.
In this country, contemporary art with religious content is more often than not the stuff of hot controversy -- one need only remember the brouhaha surrounding Chris Ofili's "Virgin Mary" when it was exhibited at the Brooklyn Museum of Art, or Andres Serrano's still-notorious cibachrome "Piss Christ," or even the much less extreme suggestions of Martin Scorsese's Last Temptation of Christ. Although endless arguments can be made about the relative artistic merits of these works, one thing they shared was the ability to spark dialogue and reveal the reactionary stance of many of those in this country who identify themselves as Catholic. (Even non-Catholics in droves protested these works as blasphemous, offensive to human decency and morality.)
Many, though not all, of the artworks in Contemporary American Jesuit Artists contain overt religious content. Not one of these works will ever be denounced as blasphemous. None could be called an affront to decency or the morals of any religion. In fact, it would be startling if any of these works elicited any response whatsoever. They appear entirely ambivalent on the subject of religion itself, and offer no point from which meaningful dialogue might begin.
Case in point: the oil paintings by Mark George. His four canvases in this collection, "Resurrection," "Crucifixion/Resurrection," "Agony in the Garden" and "Pieta" (all from the 1990s), are extraordinarily tepid depictions of some of the most sensational events described in the life of Christ. George is a modern painter, to be sure, working with a spare artistic vocabulary. But his brand of expression operates at the expense of any emotion or drama. Working in a comparable expressionist manner, Gauguin managed incredibly dense religious symbolism in the late nineteenth century, and the German painter George Baselitz was able to electrify scenes of the life of Christ in the 1980s.
Perhaps what is missing in work such as this might be called critical transformation, pure and simple. Baselitz, by depicting his figures upside down, performed a profound gesture that asked viewers to question their relation to the subject. George, on the other hand, performs no such transformation, asks no particular questions and therefore leaves viewers essentially unchanged and guessing as to the artist's position. (It's a lot to ask an artist to change a viewer's mind about something. But when the subject is no less than death and resurrection, it seems the artist should at least try to rise to the task.)
At first glance, Dennis McNally's paintings seemed to offer some kind of transformation of a familiar religious aesthetic. In works such as "The Trinity" and "Saint Anne," McNally clearly draws on the style of Byzantine icons and thirteenth-century painters such as Cimabue and Duccio. His figures have the flattened features and enormous, staring eyes of that stark aesthetic. McNally, however, has charged the imagery by using unexpectedly modern colors, exaggerating the already striking quality of the tripartite arrangements. But to what end? It's not altogether clear.
Also unclear is the message behind McNally's "Cimabue Crucifix," by far the strangest work in the entire exhibition. Christ's all-too-muscular, too-pink body hangs from the crucifix; a group of birds suspends a sky-blue swag across his genitalia. The painting makes obvious reference to traditional Crucifixion scenes, but the passages of pastel are altogether out of place. If this work attempts a critical engagement with thirteenth-century aesthetics and iconography, the terms of the engagement are beyond this critic's grasp.
Mildly more interesting are the abstractions by Josef Venker and Dennis Leder. Leder's "Adam and Eve XY-XX" and "Synthesis: Male-Female-Life-Death-Infinity" combine graphic symbols and codes into small, complexly ordered hybrids that represent multiple elements simultaneously. "Tsadi (Hebrew Symbol of Righteousness and Humility)" and "Prologue (Stations of the Cross)," Venker's mixed-media works on paper, are larger in scale but perform a similar gesture. A drawback to these works is their literalness -- they remain tied to conventional symbols even in the attempt to transcend them. By comparison, efforts at a truly metaphysical, spiritual language by Kandinsky and Kasimir Malevich are far more successful.
Several works in this exhibition contain no obvious religious content, and, were they stronger, they might be at home in any other gallery context. Michael Flecky's cyanotype constructions are nice; Don Doll's black-and-white photographs of Native Americans, taken from 1974 to the present, would be more interesting were they printed better.
An entire gallery is devoted to Don Doll's Vision Quest: Men, Women, and Sacred Sites of the Sioux Nation, an enormous group of photographs and text panels that is in fact a separate exhibition within this exhibition. No doubt Vision Quest is a laudable undertaking, a quasi-comprehensive archive of the Sioux nation, in true National Geographic style. But its sheer size and overwhelming presence strain its relationship to the other works in Contemporary American Jesuit Artists.
This brings us back to the exhibition itself. It is fraught with problems, the most disturbing of which may be the complete lack of criticality from which these artists are working. No, this does not mean that art has to criticize religion to be good. Rather, criticality suggests that the artist (or author, or otherwise) recognizes his or her historical position vis-à-vis the subject and offers up a knowing, perhaps productive, new way of understanding it. Marc Chagall often represented his religion in his art with a joy and brilliance rarely seen; Chagall possessed criticality. It's a cause for concern that these works contain none. They uphold nothing more than the status quo, and that's the worst thing any artist can do.
Arts Reviews Marc Chagall Mark George Dennis McNally Paul Gauguin


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What's the deal with... Artifact, the Dota 2 card game?
Chris Higgins
on October 22, 2018 10:47 AM
From release date and price to gameplay, everything you need to know about Dota's card game spin-off Artifact.
Artifact, the Dota 2 card game spin-off from Valve, is finally starting to show its hand. We don't know everything about the collectible card game yet, but there's enough out there to form a picture of the sort of deck we're dealing with. So far we know how to play Artifact, which Dota 2 cards feature in it, a potential release date for the game and that it definitely isn't free-to-play. Here's what the deal is with Artifact.
Artifact gameplay
If you're familiar with how Dota 2 works then Artifact may seem a little similar to you. The card game plays out over three lanes as you use your deck, featuring five heroes, to try and attack the opponent's towers. On top of these five powerful hero cards, there are also weaker minions, like the lane creeps that mindlessly run to their own doom, crashing against the enemy structures until it or they die.
© Valve Corporation
Obviously to win you're going to have to knock down your opponent's towers, but balancing your aggression across three separate game boards will be key to not losing your own. Each tower on the three lane boards has 40 health and winning the game means destroying at least two of them OR knocking down one of them which opens the way to the Ancient. The Ancient replaces any fallen tower on its lane board and has 80 health, so if you're really rolling down mid you can go all-in for the game win.
As with most card games, especially those sharing the same heritage of Artifact and Magic: The Gathering designer Richard Garfield, every action costs mana. You begin with three mana points and increase by one after every turn, however minion kills also grant you gold – in that time-honored MOBA tradition. Gold functions as a currency for a second action, chiefly buying and equipping new items, weapons and armor for your hero cards and placing other cards into play.
To add just one more layer of complexity to proceedings, each card is given a color from Artifact's logo: red, green, blue or black. These colors determine whether you can play them in lane, and to do so you must have a hero card of the same color in the lane. For the most part, the card colors also represent what kind of spell they'll cast: black for single-target strong spells, blue for other strong spells, red for heroes that have high attack damage but are weak to spells and green for buffs and creep-focused spells.
Artifact release date
There is currently no hard release date set for Artifact, but Valve have suggested a couple of release windows. The PC version of Dota 2's card game will appear in late 2018, and if it's anything like its MOBA predecessor that will come with a lengthy beta release so be on the lookout for keys. Artifact's announcement was made during The International, the biggest tournament of the year for Dota fans, so expect at least some more information at the end of August this year when TI8 takes place in Seattle.
As for the iOS/Android version of Artifact, Valve have suggested it will take at least another year after the PC version appears for it to arrive on mobile devices. That means the final version of the Dota 2 card game could appear on your tablets and phones sometime in late 2019, thought obviously game development cycles mean even this broad release window is open to shifting around a little.
Artifact price
As for the price, well Dota 2 being a free-to-play game may be setting you up for a shock here as Valve have indicated that the Artifact card game will have an upfront cost. After buying the initial game, there will also be additional in-game purchases for card packs which can either be for real money from the store or via the Steam marketplace for funds in your Steam wallet from trading or selling other cosmetic items.
It's unknown how you'll get cards in other ways, so buying card packs might not be the only option for expanding your collection, but at the moment that looks like an awkward proposition from Valve.
Chris is the captain of the good ship AllGamers, which would explain everything you're seeing here. Get in touch to talk about work or the $6 million Echo Slam by emailing chris.higgins@allgamers.com or finding him on Twitter.

redpajama_set_name: RedPajamaCommonCrawl


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Yurukill: The Calumniation Video Game, Publisher, Wiki, Characters, Release Date
Yurukill: The Calumniation Video Game, Publisher, Wiki, Characters, Release Date, Country Origin, Platform, official website, Purchasing site, Developer and Many More
Yurukill: The Calumniation game delivers a twisted, multifaceted story in Yurukill. It is a video game.
Game Yurukill: The Calumniation
Online/Video Video Game
Release Date 7 April 2022
Publisher Nippon Ichi Software
Developer IzanagiGames
Country Origin Japan
Platform Nintendo Switch,
Microsoft Windows,
Website Yurukill: The Calumniation Game
An escape adventure and bullet hell shoot 'em up game based on an original story by Kakegurui: Compulsive Gambler author Homura Kawamoto, with a scenario by his younger brother Hikaru Muno. Features character design from Hiro Kiyohara, known for his work on Valkyria Revolution, and a soundtrack from Yuko Komiyama, who worked on the Monster Hunter series. The shoot 'em up elements were developed by veteran studio, G.Rev.
Sengoku Shunju
Sengoku was imprisoned for a mass murder case in which 21 people burned to death. He is sociable and considerate. He has protested his innocence for over 10 years, and vows to emerge from the Yurukill Games victorious with his teammate, Rina.
Rina Azami
Rina is strikingly pretty but has trouble expressing herself, and is brusque and cold to everyone she meets. She often shows extraordinary hatred towards Sengoku. Her reasons for taking part in the Yurukill Games are unknown.
Futa Yamada
Futa is the eldest of twins found guilty of a robbery-murder case. He may seem blunt and prone to violence, but he also has a kind, caring side. Before starting high school, he was sent to a youth detention center after a violent outburst. Since then he has been estranged from his younger brother. He insists he is innocent and intends to win the Yurukill Games along with his twin.
Raita Yamada
Raita is the younger of twins found guilty of a robbery-murder case. In contrast to his older brother who easily gets upset, he is calm and gentle. Before being imprisoned, he was a top-flight company employee. He claims that he was falsely accused and intends to win the Yurukill Games together with his twin.
Kagura Kagutsuchi
Kagura is a seemingly trashy teen with a penchant for slang. Even after learning that the Prisoners, Futa and Raita, have been convicted of murder, she doesn't seem to care. She is a cheerful and laid-back girl. She says that she's taking part in the Yurukill Games to get rich.
Gentoku Omuro
Gentoku is the son of Yurukill, Inc.'s CEO. He feigns being mild-mannered, but inside is malicious, cold-hearted, and abusive. He's unable to suppress his instinctive "tut" whenever he gets annoyed. He's taking part in the Yurukill Games as part of a deal with his father.
Izane Akegarasu
Izane works for Yurukill, Inc. as Gentoku's chaperone. She is mysterious and doesn't leave much of an impression, and it's difficult to tell how old she is. You could say she was in her teens or in her thirties and no-one would bat an eyelid. She is extremely timid, and prone to bouts of sobbing. Yet she sometimes makes sly remarks to her teammate, Gentoku.
Hanaka Ichirin
Hanaka is an underground pop star imprisoned for a particularly sensational incident. She's sweet and genuine, and cares about her fans. She knew her teammate Oka before taking part in the Yurukill Games. The other participants often don't know what to make of the pair's unique, energetic interactions.
Keiichi Oka
Keiichi is a diehard fan still devoted to Hanaka despite her serving a prison sentence. He is easily excitable when it comes to Hanaka, but gentlemanly, and respectful of the distance between fan and pop star. He is taking part in the Yurukill Games to help Hanaka prove her innocence.
Allan Poe Akechi
Private detective, alias: Allan Poe Akechi. He claims to be a talented investigator, but his powers of deduction are somewhat questionable. Apparently, he was arrested for peeping during an investigation and claims to be falsely accused. His real name is Benitaro Barahabara.
Kristina Kobayashi
Kristina Kobayashi is a private detective and works as her brother's assistant. He refers to her as "Young Kobayashi," and she has a lot of love and respect for him. She supports Allan Poe with all her heart whenever he's in need. Her real name is Beniko Barahabara.
Binko
Binko is Yurukill Land's kimono-clad, mask-wearing guide. She is polite, and old-fashioned in her speech, yet when dealing with the Prisoners, she's sharp-tongued and quick to ridicule. Variations of the phrase, "bin-bin," are her trademark. Under the auspices of Yurukill Inc., she oversees the games offering the Prisoners a chance for acquittal at Yurukill Land.
If you want to know anything else about the Yurukill: The Calumniation. Please comment below we will try to provide information.
Relayer Video Game, Publisher, Wiki, Characters, Release Date
Curse of the Sea Rats Video Game, Publisher, Wiki, Characters, Release Date


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ArtistsExhibitionsPublicationsArt FairsNews & ViewsRecent AcquisitionsAbout
Jack Delano
Barber shop in Bayamon, 1941
Jack Delano (1914-1997) was born Jacob Ovcharov in Kiev, Ukraine, but his family moved to Philadelphia when he was a young child. He took the name "Jack" from the boxer Jack Dempsey and "Delano" from a schoolmate. Delano began to study music and photography/graphic arts at the Settlement Music School. His natural talent and skill was recognized quickly and within four years of enrollment Delano was offered an art scholarship at the Pennsylvania Academy of Fine Arts (PAFA). After graduating, he was hired in 1940 as photographer for the Farm Security Administration Photography program. Delano and eight other photographers, including the legendary Dorothea Lange, Walker Evans and Arthur Rothstein, helped to visually document the devastation and anguish that was widespread across the country as a result of the Great Depression and Dust Bowl. Delano was assigned the task of capturing the lives and working conditions of people living on the eastern seaboard and in Puerto Rico, where he permanently settled in 1946 after falling in love with the complex ethos of the island and its' people.
With his wife Irene (a second cousin to fellow photographer, Ben Shahn) he worked in the Community Division of the Department of Public Education producing films and composing music. Delano directed Los Peloteros, a Puerto Rican film about poor rural children and their love for baseball. The film remains a classic in Puerto Rican cinema.
Featured Works Thumbnails
Main Gallery December 14, 2017 – January 27, 2018
Main Gallery August 9 – September 8, 2012
Farm Security Administration 1935-1940
South Gallery September 14 - October 23, 2010
Recent Press (July 9-15)
A roundup of recent HGG related press items.
HOWARD GREENBERG GALLERY
All images copyright of the Artist or their Estate
info@howardgreenberg.com


Anchored by the flagship KDU Penang University College campus, Utropolis Batu Kawan is Penang's first university metropolis. It is spread across 44.3 acres of prime land with residences, flexible office and retail spaces as well as a hotel, making Utropolis a self-contained integrated development.
At Utropolis Batu Kawan, you will find residential suites that fit the needs of urban dwellers – compact yet comfortable spaces in the middle of a growing Central Business District with easy access to retail and entertainment outlets.
Office and retail spaces at Utropolis help complement the strong industrial base at Batu Kawan. Residences will also be able to enjoy the major shopping and entertainment attractions across the road as well as lifestyle retail shops – everything you need, is just a stone's throw away.
You will find everything you need here at Utropolis Batu Kawan. This flourishing university township is a self-contained integrated development with key features that make Utropolis a coveted property project.
Getting to Utropolis Batu Kawan is effortless as it is close to the North-South Highway and Penang 2nd Bridge.
Utropolis is strategically located in Batu Kawan which has a strong industrial base and various major attractions like IKEA and Design Village Outlet Mall nearby.
Flexible office and retail spaces that grow with your business needs.
Connected to KDU Penang University College campus which brings along a lively foot traffic from students to businesses at Utropolis.


It's always nice to pick up an award for the great work you do, especially when the recognition comes from your peers. It's also a good benchmark to where your agency sits within the industry and an indication that you're producing brave ideas that break the boundaries. Results driven ideas that are good for both client and the agency.


text:
'use strict'

var test = require('tape')
var syncthrough = require('./')
var Readable = require('readable-stream').Readable
var Writable = require('readable-stream').Writable
var Buffer = require('buffer-shims')
var fs = require('fs')
var eos = require('end-of-stream')
var pump = require('pump')
var through = require('through')

function stringFrom (chunks) {
  return new Readable({
    read: function (n) {
      this.push(chunks.shift() || null)
    }
  })
}

function stringSink (t, expected) {
  return new Writable({
    write: function (chunk, enc, cb) {
      t.equal(chunk.toString(), expected.shift().toString(), 'chunk matches')
      cb()
    }
  })
}

function delayedStringSink (t, expected) {
  return new Writable({
    highWaterMark: 2,
    write: function (chunk, enc, cb) {
      t.equal(chunk.toString(), expected.shift().toString(), 'chunk matches')
      setImmediate(cb)
    }
  })
}

function objectFrom (chunks) {
  return new Readable({
    objectMode: true,
    read: function (n) {
      this.push(chunks.shift() || null)
    }
  })
}

function objectSink (t, expected) {
  return new Writable({
    objectMode: true,
    write: function (chunk, enc, cb) {
      if (expected.length) {
        t.deepEqual(chunk, expected.shift(), 'chunk matches')
      } else {
        t.ok(false, `unexpected chunk "${chunk}"`)
      }
      cb()
    }
  })
}

test('pipe', function (t) {
  t.plan(3)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = stringSink(t, [Buffer.from('FOO'), Buffer.from('BAR')])

  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(stream).pipe(sink)
})

test('multiple pipe', function (t) {
  t.plan(3)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })

  var stream2 = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toLowerCase())
  })

  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = stringSink(t, [Buffer.from('foo'), Buffer.from('bar')])

  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(stream).pipe(stream2).pipe(sink)
})

test('backpressure', function (t) {
  t.plan(3)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })

  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = delayedStringSink(t, [Buffer.from('FOO'), Buffer.from('BAR')])

  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(stream).pipe(sink)
})

test('multiple pipe with backpressure', function (t) {
  t.plan(4)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })

  var stream2 = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toLowerCase())
  })

  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar'), Buffer.from('baz')])
  var sink = delayedStringSink(t, [Buffer.from('foo'), Buffer.from('bar'), Buffer.from('baz')])

  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(stream).pipe(stream2).pipe(sink)
})

test('objects', function (t) {
  t.plan(3)

  var stream = syncthrough(function (chunk) {
    return { chunk: chunk }
  })
  var from = objectFrom([{ name: 'matteo' }, { answer: 42 }])
  var sink = objectSink(t, [{ chunk: { name: 'matteo' } }, { chunk: { answer: 42 } }])

  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(stream).pipe(sink)
})

test('pipe event', function (t) {
  t.plan(4)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = stringSink(t, [Buffer.from('FOO'), Buffer.from('BAR')])

  stream.on('pipe', function (s) {
    t.equal(s, from, 'pipe emitted on stream')
  })

  sink.on('pipe', function (s) {
    t.equal(s, stream, 'pipe emitted on sink')
  })

  from.pipe(stream).pipe(sink)
})

test('unpipe event', function (t) {
  t.plan(2)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var from = new Readable({ read: function () { } })
  var sink = stringSink(t, [Buffer.from('FOO')])

  sink.on('unpipe', function (s) {
    t.equal(s, stream, 'stream is unpiped')
  })

  from.pipe(stream).pipe(sink)
  from.push(Buffer.from('foo'))
  process.nextTick(function () {
    // writing is deferred, we need to let a write go syncthrough
    stream.unpipe(sink)
    from.push(Buffer.from('bar'))
  })
})

test('data event', function (t) {
  t.plan(3)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var expected = [Buffer.from('FOO'), Buffer.from('BAR')]

  stream.on('data', function (chunk) {
    t.equal(chunk.toString(), expected.shift().toString(), 'chunk matches')
  })

  stream.on('end', function () {
    t.pass('end emitted')
  })

  from.pipe(stream)
})

test('end event during pipe', function (t) {
  t.plan(3)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = stringSink(t, [Buffer.from('FOO'), Buffer.from('BAR')])

  stream.on('end', function () {
    t.pass('end emitted')
  })

  from.pipe(stream).pipe(sink)
})

test('end()', function (t) {
  t.plan(2)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var expected = [Buffer.from('FOO')]

  stream.on('data', function (chunk) {
    t.equal(chunk.toString(), expected.shift().toString(), 'chunk matches')
  })

  stream.on('end', function () {
    t.pass('end emitted')
  })

  stream.end(Buffer.from('foo'))
})

test('on(\'data\') after end()', function (t) {
  t.plan(2)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var expected = [Buffer.from('FOO')]

  stream.end(Buffer.from('foo'))

  stream.on('data', function (chunk) {
    t.equal(chunk.toString(), expected.shift().toString(), 'chunk matches')
  })

  stream.on('end', function () {
    t.pass('end emitted')
  })
})

test('double end()', function (t) {
  t.plan(1)

  var stream = syncthrough()
  stream.end('hello')
  stream.on('error', function (err) {
    t.equal(err.message, 'write after EOF')
  })
  stream.end('world')
})

test('uppercase a file with on(\'data\')', function (t) {
  t.plan(1)

  var str = ''
  var expected = ''

  var stream = syncthrough(function (chunk) {
    return chunk.toString().toUpperCase()
  })

  stream.on('data', function (chunk) {
    str = str + chunk
  })

  var from = fs.createReadStream(__filename)
  from.pipe(new Writable({
    write: function (chunk, enc, cb) {
      expected += chunk.toString().toUpperCase()
      cb()
    }
  })).on('finish', function () {
    t.equal(str, expected)
  })
  from.pipe(stream)
})

test('uppercase a file with pipe()', function (t) {
  t.plan(1)

  var str = ''
  var expected = ''

  var stream = syncthrough(function (chunk) {
    return chunk.toString().toUpperCase()
  })

  stream.pipe(new Writable({
    objecMode: true,
    write: function (chunk, enc, cb) {
      str += chunk
      cb()
    }
  }))

  var from = fs.createReadStream(__filename)
  from.pipe(new Writable({
    write: function (chunk, enc, cb) {
      expected += chunk.toString().toUpperCase()
      cb()
    }
  })).on('finish', function () {
    t.equal(str, expected)
  })

  from.pipe(stream)
})

test('works with end-of-stream', function (t) {
  t.plan(1)
  var stream = syncthrough()
  stream.on('data', function () {})
  stream.end()

  eos(stream, function (err) {
    t.error(err, 'ends with no error')
  })
})

test('destroy()', function (t) {
  t.plan(1)
  var stream = syncthrough()
  stream.destroy()

  // this is deferred to the next tick
  stream.on('close', function () {
    t.pass('close emitted')
  })
})

test('destroy(err)', function (t) {
  t.plan(1)
  var stream = syncthrough()
  stream.destroy(new Error('kaboom'))
  stream.on('error', function (err) {
    t.ok(err, 'error emitted')
  })
})

test('works with pump', function (t) {
  t.plan(3)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })

  var stream2 = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toLowerCase())
  })

  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = stringSink(t, [Buffer.from('foo'), Buffer.from('bar')])

  pump(from, stream, stream2, sink, function (err) {
    t.error(err, 'pump finished without error')
  })
})

test('works with pump and handles errors', function (t) {
  t.plan(3)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })

  stream.on('close', function () {
    t.pass('stream closed prematurely')
  })

  var stream2 = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toLowerCase())
  })

  stream2.on('close', function () {
    t.pass('stream2 closed prematurely')
  })

  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = new Writable({
    write: function (chunk, enc, cb) {
      cb(new Error('kaboom'))
    }
  })

  pump(from, stream, stream2, sink, function (err) {
    t.ok(err, 'pump finished with error')
  })
})

test('avoid ending the pipe destination if { end: false }', function (t) {
  t.plan(2)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = stringSink(t, [Buffer.from('FOO'), Buffer.from('BAR')])

  sink.on('finish', function () {
    t.fail('finish emitted')
  })

  from.pipe(stream).pipe(sink, { end: false })
})

test('this.push', function (t) {
  t.plan(5)

  var stream = syncthrough(function (chunk) {
    this.push(Buffer.from(chunk.toString().toUpperCase()))
    this.push(Buffer.from(chunk.toString()))
  })
  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = stringSink(t, [Buffer.from('FOO'), Buffer.from('foo'), Buffer.from('BAR'), Buffer.from('bar')])

  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(stream).pipe(sink)
})

test('this.push objects', function (t) {
  t.plan(7)

  var stream = syncthrough(function (chunks) {
    return chunks
  })
  var from = objectFrom([{ num: 1 }, { num: 2 }, { num: 3 }, { num: 4 }, { num: 5 }, { num: 6 }])
  var mid = through(function (chunk) {
    this.queue(chunk)
  })
  var sink = objectSink(t, [{ num: 1 }, { num: 2 }, { num: 3 }, { num: 4 }, { num: 5 }, { num: 6 }])
  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(stream).pipe(mid).pipe(sink)
})

test('backpressure', function (t) {
  t.plan(7)
  var wait = false

  var stream = syncthrough(function (chunk) {
    t.notOk(wait, 'we should not be waiting')
    wait = true
    this.push(Buffer.from(chunk.toString().toUpperCase()))
    this.push(Buffer.from(chunk.toString()))
    setImmediate(function () {
      wait = false
    })
  })

  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = delayedStringSink(t, [Buffer.from('FOO'), Buffer.from('foo'), Buffer.from('BAR'), Buffer.from('bar')])

  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(stream).pipe(sink)
})

test('returning null ends the stream', function (t) {
  t.plan(1)

  var stream = syncthrough(function (chunk) {
    return null
  })

  stream.on('data', function () {
    t.fail('data should not be emitted')
  })

  stream.on('end', function () {
    t.pass('end emitted')
  })

  stream.write(Buffer.from('foo'))
})

test('returning null ends the stream deferred', function (t) {
  t.plan(1)

  var stream = syncthrough(function (chunk) {
    return null
  })

  stream.on('data', function () {
    t.fail('data should not be emitted')
  })

  stream.on('end', function () {
    t.pass('end emitted')
  })

  setImmediate(function () {
    stream.write(Buffer.from('foo'))
  })
})

test('returning null ends the stream when piped', function (t) {
  t.plan(1)

  var stream = syncthrough(function (chunk) {
    return null
  })
  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = stringSink(t, [])

  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(stream).pipe(sink)
})

test('support flush', function (t) {
  t.plan(4)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  }, function () {
    return Buffer.from('done!')
  })
  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var sink = stringSink(t, [Buffer.from('FOO'), Buffer.from('BAR'), Buffer.from('done!')])

  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(stream).pipe(sink)
})

test('adding on(\'data\') after pipe throws', function (t) {
  t.plan(1)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })

  var sink = new Writable()

  stream.pipe(sink)

  t.throws(function () {
    stream.on('data', function () {})
  })
})

test('multiple data event', function (t) {
  t.plan(4)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var expected1 = [Buffer.from('FOO'), Buffer.from('BAR')]
  var expected2 = [Buffer.from('FOO'), Buffer.from('BAR')]

  stream.on('data', function (chunk) {
    t.equal(chunk.toString(), expected1.shift().toString(), 'chunk from 1 matches')
  })

  stream.on('data', function (chunk) {
    t.equal(chunk.toString(), expected2.shift().toString(), 'chunk from 2 matches')
  })

  from.pipe(stream)
})

test('piping twice errors', function (t) {
  t.plan(1)

  var stream = syncthrough()
  stream.pipe(new Writable())

  t.throws(function () {
    stream.pipe(new Writable())
  })
})

test('removing on(\'data\') handlers', function (t) {
  t.plan(2)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var expected = [Buffer.from('FOO'), Buffer.from('BAR')]

  stream.on('data', first)
  stream.on('data', second)

  stream.removeListener('data', second)

  stream.write('foo')

  stream.once('drain', function () {
    stream.removeListener('data', first)
    stream.on('data', first)
    stream.write('bar')
  })

  function first (chunk) {
    t.equal(chunk.toString(), expected.shift().toString(), 'chunk matches')
  }

  function second () {
    t.fail('should never be called')
  }
})

test('double unpipe does nothing', function (t) {
  var stream = syncthrough()
  var dest = new Writable()

  stream.pipe(dest)
  stream.unpipe(dest)
  stream.unpipe(dest)

  stream.write('hello')

  t.end()
})

test('must respect backpressure', function (t) {
  t.plan(3)

  var stream = syncthrough()

  t.notOk(stream.write('hello'))

  stream.once('error', function () {
    t.pass('stream errors')
  })

  t.notOk(stream.write('world'))
})

test('pipe with through', function (t) {
  t.plan(3)

  var stream = syncthrough(function (chunk) {
    return Buffer.from(chunk.toString().toUpperCase())
  })
  var from = stringFrom([Buffer.from('foo'), Buffer.from('bar')])
  var th = through(function (data) {
    this.queue(data)
  })
  var sink = stringSink(t, [Buffer.from('FOO'), Buffer.from('BAR')])

  sink.on('finish', function () {
    t.pass('finish emitted')
  })

  from.pipe(th).pipe(stream).pipe(sink)
  th.resume()
})

redpajama_set_name: RedPajamaGithub


Salia is a premie reborn vinyl reborn doll kit by Olga Auer. She is a tiny little thing measuring between ten and eleven inches when complete. Salia will include a body made for her and an Open Edition Certificate from Olga.


Microsoft has received hundreds of harassment and discrimination complaints from female employees in recent years, according to court documents made public this week.
Women at Microsoft (MSFT) filed 238 complaints with the company's HR department between 2010 and 2016, including 108 complaints about sexual harassment and 119 about gender discrimination, according to a filing. There were also eight complaints of retaliation and three about pregnancy discrimination, it said.
Two other Microsoft employees, Holly Muenchow and Dana Piermarini, later joined the suit. The attorneys representing them are seeking class-action status for the case. No trial date has been set.
The lawsuit calls the number of harassment and discrimination complaints "shocking" and describes the response from Microsoft's employment relations investigations team as "lackluster."
In particular, the lawsuit says that only one of the 118 gender discrimination complaints was considered "founded" by the investigations team, known as ERIT.
In a statement provided to CNN, Microsoft said it has a "fair and robust system in place to investigate employee concerns and take appropriate action when necessary."
"Diversity and inclusion are critically important to Microsoft," the company said. "We want employees to speak up if they have concerns and we strive to make it easy for them to do so."
The claims in the lawsuit come at a time when the tech industry, like much of corporate America, is under scrutiny for its treatment of women in the workplace.
Uber was rocked by sexual harassment allegations last year. Top venture capitalists have resigned amid charges of harassment. And Google has found itself in the crosshairs of the Labor Department over gender pay disparities.


2.	Put the other 2 tbsp olive oil into the pan, add 1 finely chopped onion, 2 chopped carrots cook on a gentle heat until soft, about 20 mins.
3.	Increase the heat and add the beef mince back to the pan and add 450ml beef stock.
4.	Bring to a simmer and cook uncovered for 45 minutes. So the sauce thickens and has the same consistency to gravy. Season well.
5.	Meanwhile, make the mash. Boil 750g peeled and chopped potatoes, in salted cold water, bring to the boil and simmer until tender.
6.	Drain the potatoes and then allow to steam-dry for a few minutes. Then mash well with the milk and butter. Season well with salt and pepper.


text:
Home Economic Policy Robert Rubin and Enron
Robert Rubin and Enron
by Dean Baker
The New York Times reports that former Treasury Secretary Robert Rubin may take over as CEO of Citigroup on an interim basis following the departure of its current chairman, Charles O. Prince III. The article notes that Mr. Rubin's reputation may have been tarnished in recent years because he has been associated with the decisions of Mr. Prince, which have led to large loan write-offs for the bank. In this respect, it would have also been appropriate to note Mr. Rubin's involvement with Enron. As the NYT previously reported, when the collapse of Enron was imminent, Mr. Rubin phoned a former associate at the Treasury Department to see if he would ask the credit rating agencies to delay downgrading Enron's debt. Citigroup held hundreds of millions of dollars of Enron's debt at the time. Since there may be important ethical and legal questions surrounding Citigroup's dealings with structured investment vehicles and exotic financial instruments, this piece of Mr. Rubin's background would seem highly relevant at the moment.
--Dean Baker
Blog: Beat the Press
Dean Baker is senior economist at the Center for Economic and Policy Research in Washington, D.C. He is the author of several books, including 'Rigged: How Globalization and the Rules of the Modern Economy Were Structured to Make the Rich Richer.'
Read more by Dean Baker
Fortify your mind! Join the Prospect today
Support The American Prospect's independent, nonprofit journalism by becoming a member today. You will stay engaged with the best and brightest political and public policy reporting and analyses, and help keep this website free from paywalls and open for all to read. Our membership levels offer a range of perks including an opt-in to receive the print magazine by mail.
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text:
Yamagata Masao (; geboren 4. Januar 1898 in Tōkyō; gestorben 3. März 1981 daselbst) war ein japanischer Schiffbauingenieur.

Leben und Wirken
Yamagata Masao schloss 1921 sein Studium an der Universität Tōkyō ab. Er trat ins Ministerium für Post und Kommunikation (逓信省, Teishinshō) ein, wechselte 1943 ins Transportministerium (運輸通信省, Un'yu tsūshin-shō), wo er Direktor der Abteilung für Schifffahrt (船舶局, Sempaku-kyoku) wurde und dann Direktor der Schiffahrts-Versuchsabteilung (舶試験所, Haku-shikenjo).

Von 1947 bis 1958 wirkte Yamagata als Professor an der Universität Tōkyō, an der er von 1956 bis 1958 Dekan der Fakultät für Ingenieurswesen war. Er wurde als "Meiyo Kyōju" verabschiedet.

Yamagata führte grundlegende Untersuchungen durch zur Gestaltung des Schiffrumpfes und legte damit den Grundstein zur raschen Entwicklung des japanischen Schiffbaus. Er wirkte als Vorsitzender der "Gesellschaft für Schiffsbau" (造船協会, Zōsen kyōkai), als Berater des "Komitees für Atomenergie" (原子力委員会, Genshiryoku iinkai), als Vorsitzender der "Japanischen Gesellschaft für Seewesen"  (日本海事協会, Nihon kaiji kyōkai) und als Vorsitzender der "Japanische Zentralgesellschaft für Schiffsbautechnik" (日本造船技術センター会, Nihon zōsen gijutsu center-kai). Er setzte sich ein für eine nationale Entwicklung für Schiffe mit Atomantrieb. Er war Mitglied der Akademie der Wissenschaften.

1967 wurde Yamagata als Person mit besonderen kulturellen Verdiensten geehrt und im gleichen Jahr mit dem Kulturorden ausgezeichnet.

Zu Yamagatas Werken gehört die "Schifftyp-Lehre"  (船型学, Senkei-gaku).

Anmerkungen

Literatur
 S. Noma (Hrsg.): Yamagata Masao. In: Japan. An Illustrated Encyclopedia. Kodansha, 1993. ISBN 4-06-205938-X, S. 1727.

Weblinks
 Biografien Yamagata Masao in der Kotobank, japanisch

Schiffbauingenieur
Japaner
Person mit besonderen kulturellen Verdiensten
Träger des japanischen Kulturordens
Geboren 1898
Gestorben 1981
Mann

redpajama_set_name: RedPajamaWikipedia


text:
Q: Matplotlib: Equal aspect ratio for one subplot only I would like to plot an image and along with traces along two of its axes. I want shared axes (x for one trace and y for the other), no space between the plots but also an equal aspect ratio for the image. I work in Python 3.6.
With GridSpec (I have also tried with subplots), I can accomplish the first part:

However, if I force an equal aspect ratio on the image, I get this

It seems I cannot figure out how to have a square image with no spaces around...
Here is the relevant part of my code (I also have a version using subplots):
    h, w = plt.figaspect(1)
    fig = plt.figure(figsize = (h, w))
    grid = fig.add_gridspec(nrows = 2, ncols = 2,
              hspace = 0, wspace = 0, width_ratios = [2, 1],
              height_ratios = [1, 2])
    ax = fig.add_subplot(grid[1,0])
    ay = fig.add_subplot(grid[0,0], sharex = ax)
    az = fig.add_subplot(grid[1,1], sharey = ax)
    plt.setp(ay.get_xticklabels(), visible = False)
    plt.setp(az.get_yticklabels(), visible = False)

    # Add this for square image
    ax.set_aspect('equal')

Any help?

A: Maybe there's some clever way of avoiding this problem altogether, but as a quick solution you could just use subplots_adjust:
import matplotlib.pyplot as plt

h, w = plt.figaspect(1)
fig = plt.figure(figsize = (h, w))
grid = fig.add_gridspec(nrows = 2, ncols = 2,
          hspace = 0, wspace = 0, width_ratios = [2, 1],
          height_ratios = [1, 2])
ax = fig.add_subplot(grid[1,0])
ay = fig.add_subplot(grid[0,0], sharex = ax)
az = fig.add_subplot(grid[1,1], sharey = ax)
plt.setp(ay.get_xticklabels(), visible = False)
plt.setp(az.get_yticklabels(), visible = False)

# Add this for square image
ax.set_aspect('equal')

# Adjust subplots
plt.subplots_adjust(top=0.9)

Though you'll want to alter the ticks somewhat, this gave me:

redpajama_set_name: RedPajamaStackExchange


text:
Christmas Dinner at Mount Vernon
Roast pig, boiled rockfish, and apple pie were among the dishes George and Martha enjoyed during the holiday in 1797. Here are some actual recipes.
2 years ago By Edwin S. Grosvenor
George and Martha were married on January 6, the "Twelfth Night" in the Christian celebration of the nativity of Jesus.
Christmas was an especially meaningful holiday at Mount Vernon. George and Martha Washington were married on Twelfth Night in 1759, and throughout their lives they tried to spend the Christmas holiday season together. Even during the Revolution, Martha Washington traveled the winter roads with a military escort to join the General in his winter quarters.
"Gentlemen ... I have a cook who never asks whether the company has come, but whether the hour has come."
Dinner at Mount Vernon was customarily served at three o'clock in the afternoon—an hour about which the General was altogether precise. He was likely to tell late guests, "Gentlemen ... I have a cook who never asks whether the company has come, but whether the hour has come." (Martha was equally punctual. In 1790, she concluded an evening party promptly at nine o'clock by rising and announcing to her company, "The General always retires at nine, and I usually precede him.")
Visitors to Mount Vernon today can take a "holiday dinner tour" to see how the Washingtons' meal was prepared and served.
In the prevailing fashion, dinner was served in three courses and on two tablecloths. One cloth was removed between each course, and the fruit, nuts, and wines were served on the bare table. In the center of the table was an elegant epergne, and handsome platters containing meats and fish were placed symmetrically about the table—with a suitable assortment of vegetables and "corner dishes" of sauces, relishes, and preserves located at other appropriate spots.
Dinners were customarily concluded with toasts around the table. In 1789 William Maclay, a senator from Pennsylvania, was guest at a dinner party with the President and Mrs. Washington, Vice-President and Mrs. Adams, and several others. At the end of the meal, Maclay reported, "the President, filling a glass of wine with great formality drank to the health of every individual name by name round the table. Everybody imitated him, charged glasses, and such a buzz of 'health, sir,' and 'health, madam,' and 'thank you, sir' and `thank you, madam,' never had I heard before. Indeed, I had liked to have been thrown out in the hurry; but I got a little wine in my glass, and passed the ceremony. The ladies sat a good while, and the bottle passed about; but there was a dead silence almost. Mrs. Washington at last withdrew with the ladies."
The list of Christmas foods that follow is a composite of meals served at Mount Vernon, made up of dishes that were available there in winter. Visitors to Mount Vernon were given to incomplete accounts, like that of Amariah Frost, who dined with the Washingtons in 1797 and reported, "The dinner was very good, a small roasted pigg, boiled leg of lamb, roasted Fowles, beef, peas, lettice, cucumbers, artichokes, etc. puddings, tarts, etc. etc." In compiling this menu the etceteras have been replaced by recourse to various guests' reports, garden books, farm records, and invoices of goods ordered from merchants.
CHRISTMAS DINNER - DISHES SERVED AT MOUNT VERNON
An Onion Soup Call'd the King's Soup
Oysters on the Half Shell
Broiled Salt Roe Herring
Boiled Rockfish
Roast Beef and Yorkshire Pudding
Mutton Chops
Roast Suckling Pig
Chestnut Stuffing
Round of Cold Boiled Beef with Horse-radish Sauce
Cold Baked Virginia Ham
Baked Squash
Baked Celery with Slivered Almonds
Hominy Pudding
Cantaloupe Pickle
Spiced Peaches in Brandy
Spiced Cranberries
Mincemeat Pie
Chess Tarts
Plums in Wine Jelly
Indian Pudding
Great Cake
Plum Pudding
Fruits Nuts Raisins
Port Madeira
Mixed Bits: The True History of Chop Suey
by Andrew Coe
Once the most famous Chinese dish in America, chop suey helped spur the growth of Chinese restaurants. A Smithsonian curator is now criss-crossing the country to research its beginnings.
In Search of Real Barbecue
by Sylvia Lovegren
American barbecue is more than a way of cooking — it's myth, folklore, and history
FDR's Favorite Dish: "Country Captain"
by Edwin S. Grosvenor
Daisy Bonner, who cooked for Franklin Roosevelt for twenty years in the Georgia White House, recalled his favorite dish.
Cornflake Crusade
by Gerald Carson
A history of the food reformers and cereal kings who made Battle Creek the center of a revolution in Americans eating habits
Washington's Boyhood Home Found
by Frederic D. Schwarz
On the morning of October 17, 1781, an officer emerged from the British lines holding a white handkerchief
"A Representative of America"
by Arnold Whitridge
Vain, snobbish, distinctly upper-class in his libertine social habits, Gouverneur Morris nevertheless saw himself justifiably as "A Representative of America"
George Washington In Love
by Thomas Fleming
The vivacious Sally Fairfax stole the young man's heart long before he met Martha
"slice Of Pie And A Cup Of Coffee—that'll Be Fifteen Cents, Honey"
A last look at an American institution


text:
1. "Runnin' with the Devil"
2. "Eruption"
3. "You Really Got Me"
4. "Ain't Talkin' 'bout Love"
5. "I'm the One"
6. "Jamie's Cryin'"
7. "Atomic Punk"
8. "Feel Your Love Tonight"
9. "Little Dreamer"
10. "Ice Cream Man"
11. "On Fire"
Van Halen II
1. "You're No Good"
2. "Dance the Night Away"
3. "Somebody Get Me a Doctor"
4. "Bottoms Up!"
5. "Outta Love Again"
6. "Light Up the Sky"
8. "D.O.A."
9. "Women in Love..."
10. "Beautiful Girls"
1. "And the Cradle Will Rock..."
2. "Everybody Wants Some!!"
4. "Romeo Delight"
7. "Take Your Whiskey Home"
1. "Mean Street"
4. "Hear About It Later"
5. "Unchained"
7. "So This Is Love?"
Diver Down
1. "Where Have All the Good Times Gone!"
6. "(Oh) Pretty Woman"
9. "Little Guitars"
11. "The Full Bug"
1. "1984" (instrumental)
2. "Jump"
3. "Panama"
5. "Drop Dead Legs"
6. "Hot for Teacher"
7. "I'll Wait"
© 2016 Panama - Van Halen Tribute
1. "You're No Good" 2. "Dance the Night Away" 3. "Somebody Get Me a Doctor" 4. "Bottoms Up!" 5. "Outta Love Again" 6. "Light Up the Sky" 8. "D.O.A." 9. "Women in Love..." 10. "Beautiful Girls"


If you find the information for Pastel Cleaners is incorrect, please click the "Send" button below. If miscategorized, please click "New Category". You may wish to view other businesses in our Clothing or Laundry & Dry Cleaners categories. To do so click the links above. You can reach Pastel Cleaners at (773) 925-3513 or visit their location at 2753 W 71st St in Chicago. Be sure to tell them how you found their listing! Please click on the "Claim your free listing now" image on the left of this page if you are the business owner. Driving directions and a printable map to 2753 W 71st St to find Pastel Cleaners are easily done by clicking on the "View Larger Map" link below!


text:
DRYAD, eller med det fullständiga namnet DRYAD Numeral Cipher/Authentication System (KTC 1400 D), är ett krypteringssystem som den amerikanska militären använder för autentisering och kryptering av korta, numeriska meddelanden.

Varje enhet med radio får en uppsättning kodblad, där varje blad är giltigt en begränsad tid, oftast 6 timmar. Kodbladet innehåller 25 eller 26 rader med omkastade bokstäver. Varje rad korresponderar till en bokstav och raderna med bokstäver är slumpmässigt omkastade. Varje rad innehåller bokstavskombinationer som är grupperade i tio kolumner, märkta 0-9. Kolumnerna 0, 1, 2 och 5 har fler bokstäver än övriga kolumner, som bara har två.

DRYAD är ett relativt primitivt system för kryptering, men har fördelen av att vara snabbt, enkelt och inte kräva någon extra utrustning. Orsaken till att vissa kolumner har fler bokstavstecken än de andra är att göra chiffret mer svårforcerat. Men den huvudsakliga säkerheten ligger i de korta kryptoperioderna, i regel sex timmar.

DRYAD används i två lägen, autentisering och kryptering.

Autentisering
För att autentisera väljer en utmanande station en slumpmässig bokstav från kolumnen längst till vänster följt av en andra slumpmässigt utvald bokstav i samma rad som den först valda bokstaven. Stationen som utmanas autentiserar sedan genom att välja bokstaven under raden och positionen för den andra valda bokstaven.

Genom att använda chiffer-bladet till höger och NATO:s bokstaveringsalfabet skulle exempelvis Jason kunna utmana Peggy genom att sända "autentisera Alfa Bravo". Peggys korrekta respons skulle då vara "autentisera Yankee".

En annan metod som används går ut på att välja den tredje bokstaven till höger om den andra bokstaven som valdes av den utmanande stationen (Jasons bokstav "Bravo"). Både riktningen (upp, ner, vänster eller höger) och det numeriska värdet kan ha andra värden än i exemplen, men båda parterna måste vara överens och förstådda med vilka värden som har valts innan autentisering.

Ett problem som uppstår är att en fientlig imitatör har en chans på 25 att gissa den korrekta responsen (24 om en bokstav är vald från samma rad.) En lösning på detta är att Jason låter Peggy autentisera två gånger, vilket minskar imitatörens odds att gissa rätt till en chans på 625. Nackdelen med denna metod är en minskad livslängd på nuvarande DRYAD-blad, eftersom bladet används dubbelt så mycket i jämförelse med att bara autentisera en gång.

Referenser

Noter

Kryptologi
Datasäkerhet
National Security Agency


When the head of a school is named National Principal of the Year, you know its students are going to shine. And boy do they at Morgan County High School in Madison, Georgia!
Not only did this student body initiate our popular "Write America" program, which involved hand-writing letters (and sending DVDs of Darius Goes West) to 25,000 high schools across the country, they also found time to organize a benefit concert for DGW, plus sell DVDs at the event, raising a whopping $3,000 for DMD research.


text:
Android hardware fails more than iPhone, BlackBerry; repairs cost carriers $2 billion
By Todd Haselton
Repairs to Android smartphones cost wireless carriers $2 billion per year according to a new year-long WDS study that tracked 600,000 support calls around the globe. Android's popularity and the introduction of a number of low-cost smartphones has put a strain on the wireless business model, WDS noted in its report. "Deployment by more than 25 OEMs and lower-cost product coming to market is leading to higher than average rates of hardware failures and, in turn, return and repair costs." 12.6% of all technical support calls related to Android in the study were for hardware failures related to the touchscreen, buttons, speakers, microphones and battery performance. Just 9.3% of Windows Phone, 8% of iOS calls and 5.5% of BlackBerry calls were related to hardware failures. Read on for more.
"One thing we must be absolutely clear on is that our analysis does not find any inherent fault with the Android platform," WDS vice president of Marketing Tim Deluca-Smith said. "Its openness has enabled the ecosystem to grow to a phenomenal size, at a phenomenal rate, and it's this success that is proving challenging … The Android customer experience differs enormously between devices and this means that the way in which Android devices are retailed and supported must consider factors such as the hardware build and quality of components."
WDS's study took place between July 2010 and August 2011 in Europe, North America South Africa and Australia. The full press release follows below.
Android Device Returns Cost Operators USD$2 Billion Per Year
WDS study finds operators struggling to keep pace with rapidly growing Android ecosystem
Poole, UK – 3rd November 2011: The return and repair of Android smartphone devices is costing mobile operators as much as USD$2 billion per year as they try to evolve their customer service strategies to keep pace with the rapidly growing ecosystem.
These are the key findings of a study – "Controlling the Android" – by wireless experience management experts WDS. The study analyzes over 600,000 technical support calls that the WDS teams around the world have handled in the last 12 months.
Taking a comprehensive view of the four leading mobile operating systems, the study finds that fragmentation has led to a higher than average propensity for hardware failure on Android-based devices: 14% of technical support calls on Android relate to hardware, versus 11% for Windows Phone, 7% for iOS and 6% for BlackBerry OS.
"One thing we must be absolutely clear on," says Tim Deluca-Smith, Vice President of Marketing at WDS, "is that our analysis does not find any inherent fault with the Android platform. Its openness has enabled the ecosystem to grow to a phenomenal size, at a phenomenal rate, and it's this success that is proving challenging."
The report found that the introduction of low-cost hardware, a variety of software customizations and the process for delivering OS updates to consumers were all resulting in operators' retail operations and their return and repairs processes being stretched.
"Many operators are treating Android as a standard implementation with a consistent customer experience. Given its nature, this of course isn't the case. The Android customer experience differs enormously between devices and this means that the way in which Android devices are retailed and supported must consider factors such as the hardware build and quality of components," adds Deluca-Smith.
Impact of returns on device profitability
Hardware faults are of particular concern to carriers because they are very expensive to fix. Software or configuration faults can typically be rectified by the customer service representative remotely, either through manual configuration or an over-the-air update. However, hardware faults often result in the device being returned and entered into an expensive reverse logistics process for repair or replacement.
"Android features heavily in almost all operators' smartphone strategies. It's clear from the evidence in this study that if they are to maximize their investment they must better manage how they bring Android products into their network, retail them and support them," concludes Deluca-Smith.
In the short term, operator profitability can be improved by implementing the following changes:
Improving device testing and the on-boarding processes when ranging Android products to minimize risk of hardware failure and assess the Total Cost of Ownership
Analyzing and understanding the propensity for a hardware failure pre-launch to ensure customer support channels are populated with accurate support documentation and returns procedure
Educating customers from the beginning of the sales process to better manage expectation of experience, minimizing technical support calls
The "Controlling the Android" study is available to download here. The study took place using the WDS GlobalMine™ knowledge platform between July 2010 and August 2011 and covered 600,000 technical support calls taken by WDS across Europe, North America, South Africa and Australia.
WDS provides managed services dedicated to optimizing the mobile customer experience. The company works with more than 100 of the industry's best known brands, helping the
Tags: Android, BlackBerry, failure, Hardware, iOS, study, Windows Phone
So many people don't realize that the coronavirus spreads this way
By Chris Smith 23 hours ago
A mutant coronavirus strain that's never been seen before was found in the US
By Chris Smith 1 day ago


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The Renault Megane GT hatch is now complemented by a wagon version that offers more in terms of space and practicality without compromising performance and handling. Here are 10 things you would want to know about it.
1. The GT is one of three wagon variants that, along with two sedan models, joined the Megane hatch in July, making it the first time all three Megane body shapes have been on sale together in Australia at the same time.
2. The Wagon is 267mm longer than the Hatch with a 42mm longer wheelbase and 37mm more rear legroom.
3. Renault Megane GT Wagon's 4CONTROL all-wheel steering works in two ways depending on speed. At speeds below 60km/h (80km/h in Sport mode) the rear wheels turn up to 2.7-degrees in the opposite direction of the front wheels for hatch-like manoeuvrability. At higher speeds the front and rear wheels steer in the same direction for greater stability, with the rear turning by up to one degree.
4. 4CONTROL calculates the angle of the rear wheels 100 times per second and adjusts them as necessary.
5. The Megane GT wagon's Sport driving mode reduces the steering inputs needed by 40 percent.
6. Like the hatch, the Megane GT wagon is powered by the 1.6 litre turbocharged TCe 205 petrol engine that produces 151kW of power and 280Nm of torque at just 2400rpm.
7. It can sprint to 100 km/h in 7.4 seconds, just 0.3sec slower than the hatch.
8. The GT also features Multi-Downshift Control, an advanced downshifting gear change system and Launch Control, which provide racecar-like starts.
9. It is built at Renault's Palencia factory in northern Spain.
10. The wagon bodies are made in an almost fully automated assembly shop crewed by more than 350 robots and just 14 people.


text:
<?php

namespace Google\AdsApi\AdManager\v202205;

/**
 * This file was generated from WSDL. DO NOT EDIT.
 */
class TeamErrorReason
{
    const ENTITY_NOT_ON_USERS_TEAMS = 'ENTITY_NOT_ON_USERS_TEAMS';
    const AD_UNITS_NOT_ON_ORDER_TEAMS = 'AD_UNITS_NOT_ON_ORDER_TEAMS';
    const PLACEMENTS_NOT_ON_ORDER_TEAMS = 'PLACEMENTS_NOT_ON_ORDER_TEAMS';
    const MISSING_USERS_TEAM = 'MISSING_USERS_TEAM';
    const ALL_TEAM_ASSOCIATION_NOT_ALLOWED = 'ALL_TEAM_ASSOCIATION_NOT_ALLOWED';
    const INVALID_TEAM_ASSIGNMENT = 'INVALID_TEAM_ASSIGNMENT';
    const ALL_TEAM_ACCESS_OVERRIDE_NOT_ALLOWED = 'ALL_TEAM_ACCESS_OVERRIDE_NOT_ALLOWED';
    const CANNOT_UPDATE_INACTIVE_TEAM = 'CANNOT_UPDATE_INACTIVE_TEAM';
    const UNKNOWN = 'UNKNOWN';

}


Haggerty, Christopher M; Restrepo, Maria; Tang, Elaine; de Zélicourt, Diane A; Sundareswaran, Kartik S; Mirabella, Lucia; Bethel, James; Whitehead, Kevin K; Fogel, Mark A; Yoganathan, Ajit P (2014). Fontan hemodynamics from 100 patient-specific cardiac magnetic resonance studies: A computational fluid dynamics analysis. Journal of Thoracic and Cardiovascular Surgery, 148(4):1481-1489.
This list was generated on Fri Apr 19 14:42:06 2019 CEST.


text:
Category Archives: Count of Monte Cristo
Count of Monte Cristo: Sad News and Sandwiches
Posted on March 13, 2020 by wehappyfewdc
NOTE: I began writing this blog before we knew that the run of Count of Monte Cristo would be cancelled, but I had too much fun writing about sandwiches for a thousand+ words to not share it with you all, and I figured that now was as good a time as any for some levity. So I'm sorry that this isn't like a history of infectious disease and its relation to the theatre or something, sorry I couldn't write up an essay about London theatres being closed during epidemic outbreaks or how the action of Ben Jonson's The Alchemist is predicated on the city being emptied of its wealthiest inhabitants out of fear of the Plague. Hopefully in the future I'll have more lead time and can put something like that together. -KH, Blogslave
Last week I shared with you all the historical context essential to the understanding of The Count of Monte Cristo, not only because it is my job to give you the audience the information that you will need to appreciate the show that my friends and I worked so hard to create for you, but also because history is one of my great passions. History is something I care about and trouble myself to understand deeply, because knowing and understanding history makes me feel connected to humanity at large. I'm a traditionalist sort of guy [sneak in to a pitch meeting some time to see just how boring, backwards and basic old-fashioned my show suggestions tend to be -KH] and the study of history gives me a comforting sense of continuity and fellowship with mankind.
This week, in an incredibly inadequate replacement for the Opening Night we were supposed to have tonight, I want to share with you another of my great passions, one about which I feel at least as strongly, and which comforts me at least as deeply, as the study of history. I am talking, of course, about sandwiches. And specifically, the Monte Cristo sandwich; what it is, how to make it, and arguably most importantly for the blog of a theatre company, what in the Sam Hill it could possibly have in common with our new show other than the name. Of all our shows in the past 9 years, this is the first time I have been able to shoehorn in a sandwich discussion [and I've been trying, believe-you-me -KH], and I'm certainly not going to let an opportunity like this go to waste. Please indulge me.
First things first: What is it? The Monte Cristo is one of a handful of sandwiches whose name is not self-explanatory, like Egg Salad or Beef on Weck or BLT or Turkey-Swiss Panini or Sausage Egg & Cheese McMuffin. It instead shares the cryptic naming convention of the Reuben, the Elvis, the Club, or that lovely French couple, Mr. and Mrs. Crunch themselves, the croque monsieur and croque madame. The Monte Cristo also defies simple description; it is one of the more…complicated sandwiches that I can think of, and as you might imagine from what you've read already I spend a lot of time thinking about sandwiches. It has three slices of bread, two kinds of meat, mandatory compression (an element shared only by the panini and archaic internet darling the Shooter's Sandwich), egg batter, and is pan-fried [if you're a Food Sinner it also has powdered sugar and raspberry jam -ed.] The best comparison I can make is a grilled cheese combined with a club sandwich, made with French toast.
So, second things second: how do you make it? [In case this wasn't clear, this will indeed be one of those "three paragraphs of nonsense before the recipe" recipe. You know, those things everybody hates? But instead of being supposed to be a recipe, this is supposed to be an essay about what Monte Cristo sandwiches have to do with the Alexandre Dumas novel The Count of Monte Cristo, and We Happy Few's adaptation thereof, so really this is the meaningless paragraph, not the previous ones -ed.] You start with the bread. Three slices, ideally brioche or something else rich and/or spongy. Like with French toast a little stale is fine, perhaps even ideal; my girlfriend taught me that in France French toast is called pain perdu, 'lost bread', because it is a way to use bread that you wouldn't ordinarily eat, so dont fret about the freshness. Spread one slice with dijon mustard, then top with a slice of swiss cheese and two slices of deli turkey. If you like to mix sweet and savory, spread the next slice of bread with raspberry jam, then top with another slice of swiss cheese and two slices of ham. If you're a good person use more dijon instead of jam. Put on the final slice of bread and smoosh it down real good. Cut off the crusts and press the edges together to seal everything in. Leave the sandwich weighted down while you prepare the batter; whisk together an egg and a splash of milk, maybe an ounce or two, and add in salt, pepper, nutmeg, and garlic. Dredge your sandwich in the batter (coat in breadcrumbs and re-dredge if you're feeling fancy), place in a buttered frying pan over medium-low heat, cover and cook for 5 minutes. Flip and cook for 4 more, then remove and slice on the bias. If you're anything like me both sides of the sandwich will be dark brown tending towards black but somehow the cheese won't have melted yet; if you're a good cook it will be golden brown and perfectly cooked through. If you used jam dust the sandwich with powdered sugar. Eat and enjoy!
Now, the real question. What does this have to do with our (cancelled) play? The name seems to be a misnomer, not used until the middle of the 20th century. It was apparently chosen because it sounded mysterious, fancy, and French-like. It did not seem to be intentionally chosen in reference to Dumas' book, but it nevertheless has a number of similarities. The first I have already mentioned; the secret hidden by the name Monte Cristo. Just as Edmond Dantes hides his true name in order to seek his revenge, so does the sandwich conceal its ingredients behind a name. The second I have referred to as well; Monte Cristo, both for the sandwich and for Dantes himself, is a name that suggests fanciness. Dantes started as a simple sailor, and the sandwich begins with basic deli meats and old bread, but it sounds much more exotic and exciting to say "Monte Cristo" than to say "Edmond Dantes" or "Pan-fried Turkey, Ham, and Swiss Egg-Battered Sandwich with Raspberry Jam", which we can all agree is a mouthful [but the bad kind, not the good kind, like the sandwich. -KH] The third is closely tied to the second; wealth and richness. Just as the Abbe Faria passes on the lost wealth of the Spadas to Dantes and gives him untold riches, so does the sandwich become much richer when you add the batter and fry it in butter.
There, unfortunately, we have it. Usually I would just now be swapping my Dramaturgy Chains for my Box Office Hat [MUCH prettier but, unfortunately, just as heavy. -KH] However, due to the unfortunate global outbreak of the Coronavirus we have cancelled our upcoming run of The Count of Monte Cristo. In lieu of my normal request that you purchase tickets to our upcoming show, I would instead ask that you keep yourselves safe and healthy in this uncertain time. And that, should you find yourself with excess coin after ensuring your own stability, you send a little of it our way as well. Times will be tight for us, as you might imagine, and every little bit helps us to pay our actors, designers, and technicians so we can keep making art for you.
Stay healthy, everyone. I hope to see you soon,
Keith and the team at We Happy Few
Posted in Alexandre Dumas, art, behind the scenes, Cancellation, Count of Monte Cristo, Distancing, dramaturgy, Food Blogging, France, Literature, Sandwiches, Uncategorized | Tagged Alexandre Dumas, Cancellation, Count of Monte Cristo, dramaturgy, English, French, History, Literature, Pandemic, Sandwiches | Leave a reply
Count of Monte Cristo History Lesson: The Long 19th Century in France, Part 1
Posted on March 2, 2020 by wehappyfewdc
Hello again everybody! I am tremendously pleased to announce that we have finally made it through February, the worst month of the year, and it is now March, when good things start happening again. Good things like March Madness, the High Holy Days of the basketball calendar. Good things like DC's cherry blossoms starting to bloom. Good things like the Landmark Theaters' Studio Ghibli Festival (though I haven't seen any announcements about that yet, which is bumming me out a little). Good things like spring, and sun, and warm weather. And, of course, the goodest thing of all; shows from everyone's favorite independent theatre company We Happy Few! Our first show of 2020 will be another of our fan favorite Classics-in-Action, an in-house adaptation of Alexandre Dumas' revenge adventure The Count of Monte Cristo.
As is my wont, I…will not be telling you much about the show itself or the particulars of our adaptation yet, to not spoil anything about the story or bias you with my own interpretation (and also I haven't been to any rehearsals yet so I don't have any valuable insights on this production). Instead I am pleased to offer you another entry in my History Lesson series, the only time in my life I get to make use of my Bachelor's Degree in History. Fortunately for you all, my specialization was the 1800s, because I was so interested in the massive social, political, economic, cultural, technological, and demographic changes that occurred in the century. And one of the first things I learned about it was that you couldn't discuss any of those changes without addressing the French Revolution, which began a little over a decade before the 19th century, in 1789. Historians also couldn't wrap up the themes of the century neatly at 1900; the logical endpoint, and beginning of a new era in world history, was the First World War in 1914. This period, from the French Revolution to the outbreak of World War I, is referred to historiographically as the Long 19th Century. And I think it is important for us to discuss the first third of it, specifically in France, to get some context for our story. Let's get learning!
It is difficult to imagine a nation that underwent more changes of government, in less time, than France did between 1789 and 1815. In that 26 years France was an Absolute Monarchy, a Republic, a Dictatorship, an Empire, briefly a Constitutional Monarchy, even more briefly an Empire again, and then stabilized as a Constitutional Monarchy. This arrangement wobbled in 1830 during a second revolution (you may have heard about it in Les Miserables), which maintained a Constitutional Monarchy of the Bourbons but moved the crown to another branch of the family, but then stabilized for about 30 years, until the revolution of 1848 established another Republic, which would be suborned into another Empire three years later. But since The Count of Monte Cristo was finished in 1846 we don't have to worry about that part.
France Pre-Revolution.
Briefly: At the end of the 18th century the Kingdom of France was ruled by the Bourbon family, who held the throne and maintained their authority by Divine Right. However, due to, among other things, an inability to effectively levy taxes, particularly on the nobility, the cost of maintaining rivalries with Great Britain, Spain, and Austria, a handful of poor harvests, and the cartoonish extravagance of the Sun King Louis XIV a few generations before [cf. The end of the Spanish Golden Age -ed.], the kingdom was all but bankrupt. So in 1789, the first time in almost 200 years, the Estates General were invoked to find a way to make France solvent. The Estates General was an advisory body to the monarchy composed of three groups: the First Estate, the clergy, the Second Estate, the nobility, and the Third Estate, the "commoners", although part of the requirement to participate in the Estate was a minimum tax payment. The vast majority of the Third Estate's representation was actually drawn from the bourgeoisie, what we would call the upper middle class; lawyers, merchants, and non-noble landlords. With the aid of much of the First Estate and a few of the more liberal-minded of the Second, [most notably to my biased mind Hero of the American War of Independence and professional Revolutionary Gilbert du Motier, the Marquis de La Fayette -KH] the Third voted to rename the convocation the General Assembly and established its intention to create a Constitution for the nation which eliminated the feudal privileges of the nobility, dispossessed the Church of its holdings and wealth, and established a meritocratic and above all equal society. When the King attempted to dissolve the Assembly by dismissing its head, the Swiss financial expert Necker, and locking the representatives of the Third Estate out of their meeting hall, the people reacted…poorly. On July 14th partisan street fighters stormed prison/armory/Bourbon stronghold the Bastille, and we were off to the races. King Louis XVI lost his head to Madame La Guillotine a few years later and after some uncertainty France was officially a Republic in 1792.
"Une Exécution capitale, place de la Révolution", by Pierre-Anton Demachy, 1793.
This Republic didn't last long. Internal factionalism, paranoia, and radicalism from the sans-culottes [literally 'without pants', confusingly referring to the fact that laborers wore trousers instead of the knee-length breeches of the nobles -ed.], lower class laborers and peasantry, led to a series of massacres, show trials, and public executions initially targeting the nobility and clergy, and then spreading to moderates and critics of the sans-culottes in what is alarmingly but accurately referred to as the Terror. Under the influence of Maximilien Robespierre the radically leftist (even for revolutionaries) Committee of Public Safety oversaw the execution of almost twenty thousand and the arrest of over a quarter million more; the victims ranging from dispossessed nobles and noble sympathizers to political and personal enemies of the Committee. The Terror ended in 1794 in what is known as the Thermidorian Reaction; so named for the Revolutionary Month of Thermidor, mid-July to mid-August, when it took place. A coup by more moderate elements of the Revolution captured and executed Robespierre and a score of his allies, establishing in its place the Directory, a less radical but equally unpopular ruling council that was in its turn overthrown by Napoleon in 1799.
While this was happening in Paris the armies of the Revolution were fighting wars on just about all their borders. Austria, concerned by the precedent set by commoners guillotining their king and outraged by the execution of French queen and Austrian princess Marie Antoinette, declares war on Revolutionary France in 1792 and is joined by Prussia. [France actually preemptively declared war on THEM, presumably in order to have the initiative in the upcoming conflict, but since Austria was obviously preparing for war I am comfortable muddying the waters a little. This is why I don't use my history degree that much; because I'm bad at it -KH] Spain, Portugal and Great Britain join the coalition the following year, and France suffers serious defeats in the Netherlands and the south of France. In 1794 the French armies, having instituted a universal draft and employing the unheard-of policy of promoting by merit instead of selling commissions, turned it around. By 1798 the French have established puppet client republics in the Netherlands, Belgium and Northern Italy, reached the gates of the Austrian capital of Vienna, and beaten the British so thoroughly at sea that Napoleon was free to invade British holdings in Egypt.
"Napoleon Crossing the Alps", by Jacques-Louis David, 1801. I have a copy of this painting above my couch.
Since I've now mentioned him twice and he's a fairly important figure in both the history of France and specifically in our story I should probably discuss him. Napoleon Bonaparte, a young Corsican artillerist who capitalized on the army's new willingness to promote for merit, risen rapidly through the ranks, and been tremendously successful leading the Republican Army in Italy, seized the position of Consul in 1799 from the unpopular Directory. A few years later, like Caesar before him, he believed he should be Emperor instead. Unlike poor Caesar, however, the Senate of France agreed, and Napoleon was crowned Emperor of France in 1804. He promptly went back to war, that being what he was best at. He changed the policy of Revolutionary France's warmaking from securing borders and supporting the causes of/establishing republics to the more Imperial goal of conquest. He conquered most of Western, Southern, and Central Europe until he found himself stymied in Spain by Arthur Wellesley and humiliated in Russia by General Winter. Napoleon was driven into exile on the Isle of Elba when the Allies (Great Britain, Spain, Russia…the rest of Europe) captured Paris in 1814, and Louis XVIII, the younger brother of the executed Louis XVI, was placed on the throne. But Napoleon, who had been tremendously popular as Emperor, not least for maintaining the Republican ideals of equality and meritocracy, escaped from exile less than a year later. He rallied his army for another try at conquering the world in the Hundred Days, only to be defeated again by Wellesley, now Duke Wellington, at Waterloo. With his defeat and second exile, this time to St. Helena in the middle of the Atlantic Ocean, the Bourbon Restoration finally took and France was left to the (relative) stability of a constitutional monarchy under Louis XVIII. In 1815 the old order has been re-established, the nobility and the Church are returned to their previous positions of power, and all traces of Napoleonic or Revolutionary sentiment are ordered purged. A brief interruption in 1830 shifted the crown from one branch of the Bourbon family to another, but after that the body politic remained stable for almost twenty years.
This period of upheaval is the immediate backdrop to The Count of Monte Cristo, which begins literally days before Napoleon returns from Elba in 1815 and ends in 1839. France's entire power structure has been inverted, twice, and it has conquered and subsequently lost most of Europe. It has shown the common people of France (and, indeed, the rest of Europe) that power is available for seizure, and that it could be maintained, even if all the world stood against them. It has taught the nobility that THEIR power is not as unassailable as they may have imagined. It has expelled religion entirely from the public sphere. And it has put the theories of the previous century's Enlightenment into practice, radically leveling the field and explicitly enforcing the notion that all men are equal. That many of these changes were reversed by the Bourbon Restoration doesn't mean they hadn't happened, however much the King and his courtiers may wish it was so. Also worth noting is that the experience turned France into a Nation, with a coherent national identity beyond "the holdings of nobles owing allegiance to a king". It maintains this identity even after the monarchy has been restored, with the new Bourbons referring to themselves as "King of the French" instead of "King of France". This nascent proto-nationalism is the first whisper of the political movement that would define the Long 19th Century, and while it isn't ESPECIALLY relevant to Monte Cristo it is still worth knowing.
I hope this helps to give you all some context for what is happening in and to France in the period immediately before our story starts. If this laughably incomplete history of France isn't enough foreknowledge for you and you think it would help you understand the story if you've read it first, I would strongly encourage you to start right now, as the unabridged Count of Monte Cristo is about 1300 pages long. If you don't want to read half a million words and you're comfortable with trusting us to tell you the story, and you should be, the tickets are available now!
Posted in Adventure, Alexandre Dumas, Count of Monte Cristo, dramaturgy, France, French Revolution, Geography, Historiography, History, Loneliness, Napoleon, Republic Restoratives, Revolution, Romanticism, Spain, Spanish Golden Age, table work, Uncategorized | Tagged Alexandre Dumas, Bourbon Restoration, Count of Monte Cristo, dramaturgy, France, French, French Revolution, Historiography, History, Literature, Napoleon | Leave a reply
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One of the many benefits of belonging to The Natural Healing Center's family is the knowledge and expertise and the many methods of helping on your wellness journey. Our sister company OM Yoga Studio offers classes for all abilities. From our Silver Sneakers Chair Yoga and Tai Chi to the Heated Power Flow we will be able to guide you through and customize your wellness plan that includes Yoga.


The Mesa Pageant, Jesus the Christ, retells the story of Jesus Christ's birth, ministry, selfless death, and miraculous Resurrection. The show runs March 24 to April 3. See www.easterpageant.org for more information.
Manti's The Mormon Miracle Pageant intertwines the stories of the Restoration of the gospel, the witness of the Book of Mormon, and the journey of the faithful pioneers to the Sanpete Valley. The show runs June 17 to 26. See www.mormonmiracle.org for more information.
The Nauvoo Pageant, A Tribute to Joseph Smith, celebrates the restored gospel, the prophetic mission of Joseph Smith, and the legacy of early Latter-day Saints in Nauvoo. The show runs July 6 to July 31. See www.nauvoopageant.org for more information.
The Hill Cumorah Pageant, America's Witness for Christ, retells the Book of Mormon story, including the trials of Lehi's family and his descendants, the climactic visit of Jesus Christ to the Americas, and Joseph Smith's discovery of the plates. The show runs July 9 to 17. See www.hillcumorah.org for more information.
The Castle Valley Pageant is an elaborate outdoor historical drama that portrays the settling of a pioneer village in Castle Dale, Utah. The show runs July 29 to August 7. For more information call 1-435-687-2403. The Castle Valley Pageant alternates every other year with the Clarkston Pageant, Martin Harris: The Man Who Knew, in Clarkston, Utah.
This year's deadline for members to submit original music and theatrical works to be considered for publication or performance by the Church is only a few weeks away. Submissions are due by March 31, 2010.
Selected music is presented in the Church Music Festival, and selected scripts and poetry are shared in the Cultural Arts Submission Presentation. Occasionally works are selected for future publication on the Church Web site or in the Church magazines. Music submissions include songs, children's songs, hymns, anthems, hymn arrangements, and instrumental and other works.
Cultural arts submissions have been theatrical scripts including dramas, comedies, and musicals. Poetry and oratorios with performance value have also been accepted.
The works submitted should be suitable for use in Church units, teach gospel principles in uplifting ways, be doctrinally correct, and accurate if historically based. Submissions are welcome in all languages.
For more information and cultural arts submission guidelines, call 801-240-6492.
Guidelines for music submissions can be found at www.lds.org/churchmusic. Click on Music, then Other Music, then Church Music Submissions, or call 1-801-240-6439.
Two copies of the script and any applicable music on 8 1/2 x 11 inch (22 x 28 cm) paper.
A cover letter with the piece's title; author's name, address, phone number, and e-mail address; central theme; synopsis; and cast requirements.
The names of all contributors should appear on the cover letter, script, and signed statement. Authors of productions accepted by the committee may be asked to grant the Church a nonexclusive, perpetual license for unlimited use.
Salt Lake City, Utah, 84150-0020, USA.