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Review: 'Dombrovskis: journeys into the wild' at Monash Gallery of Art, Wheelers Hill, Melbourne
By Dr Marcus Bunyan Leave a Comment
Categories: Australian artist, beauty, colour photography, documentary photography, exhibition, existence, gallery website, landscape, light, Melbourne, memory, photographic series, photography, reality, space, time and works on paper
Tags: Ancient Nothofagus gunnil, Australian art, Australian artist, Australian history, Australian landscape photographer, Australian landscape photography, Bark of snow gum, Beach detail with shells, Bob Brown, Coastline north of the Pieman River, Cradle Mountain, Cradle Mountain from Hounslow Heath, Cradle Mountain Tasmania, Cradle Mountain-Lake St Clair National Park, Cushion plant mosaic, Cushion plants, Cushion plants Mount Anne, damming the Gordon and Franklin rivers, Dolerite tors on Mount Wellington plateau, Dombrovskis: journeys into the wild, Douglas Gorge, Douglas-Apsley National Park, Drying kelp at Sandy Bay, Du Cane Range, Du Cane Range Tasmania, Dunes and granite near Interview River, environmental movement, Franklin River, Freycinet National Park, Frost on snow berry, Fruiting lichen and ice, Gaultheria hispida, Giant kelp, Gordon River, Hasselborough Bay, Ice patterns Lake Elysia, Ice patterns on the Labyrinth, Icicles near Big Bend, Icicles on fire-killed snow gums, International Photography Hall of Fame, Jerusalem National Park Tasmania, journeys into the wild, Kelp detail Macquarie Island, Lake Dixon, Lake Oberon, Lake Oberon Western Arthur Range, Lake St Clair National Park, landscape photographs in Australian history, landscape photography, Lichen on dead eucalypt, Limestone pinnacles on Mount Api, Linhof Master Technika, Macquarie Island, Macquarie Island cabbage at Finch Creek, Macquarie Island Tasmania, Macrocystis and Hormosira seaweed, Maria Island, Monash Gallery of Art, Morning light on Little Horn, Morning mist, Morning mist in myrtle forest, Morning mist Rock Island Bend, Morning mist Rock Island Bend Franklin River, Mount Anne Tasmania, Mount Geryon from the Labyrinth, Mount Wellington, Myrtle tree in rainforest at Mount Anne, NO DAMS, Nothofagus gunnii, Olegas Truchanas, Painted cliffs Maria Island National Park, Pencil pine at Pool of Siloam, Peter Dombrovskis, Peter Dombrovskis Ancient Nothofagus gunnil, Peter Dombrovskis Bark of snow gum, Peter Dombrovskis Beach detail with shells, Peter Dombrovskis Coastline north of the Pieman River, Peter Dombrovskis Cradle Mountain from Hounslow Heath, Peter Dombrovskis Cushion plant mosaic, Peter Dombrovskis Cushion plants, Peter Dombrovskis Cushion plants Mount Anne, Peter Dombrovskis Dolerite tors on Mount Wellington plateau, Peter Dombrovskis Douglas Gorge, Peter Dombrovskis Drying kelp at Sandy Bay, Peter Dombrovskis Dunes and granite near Interview River, Peter Dombrovskis Frost on snow berry, Peter Dombrovskis Fruiting lichen and ice, Peter Dombrovskis Giant kelp Hasselborough Bay, Peter Dombrovskis Ice patterns Lake Elysia, Peter Dombrovskis Ice patterns on the Labyrinth, Peter Dombrovskis Icicles near Big Bend, Peter Dombrovskis Icicles on fire-killed snow gums, Peter Dombrovskis Kelp detail Macquarie Island, Peter Dombrovskis Lake Oberon Western Arthur Range, Peter Dombrovskis Lichen on dead eucalypt, Peter Dombrovskis Limestone pinnacles on Mount Api, Peter Dombrovskis Macquarie Island cabbage at Finch Creek, Peter Dombrovskis Macrocystis and Hormosira seaweed, Peter Dombrovskis Morning light on Little Horn, Peter Dombrovskis Morning mist in myrtle forest, Peter Dombrovskis Morning mist Rock Island Bend, Peter Dombrovskis Morning mist Rock Island Bend Franklin River, Peter Dombrovskis Mount Geryon from the Labyrinth, Peter Dombrovskis Myrtle tree in rainforest at Mount Anne, Peter Dombrovskis Painted cliffs Maria Island National Park, Peter Dombrovskis Pencil pine at Pool of Siloam, Peter Dombrovskis Polished quartzite above Irenabyss, Peter Dombrovskis Red phase of deciduous beech, Peter Dombrovskis Reflection pool, Peter Dombrovskis Reflections in mist, Peter Dombrovskis Richea scoparia in bloom below Halls Buttress, Peter Dombrovskis Rock and rapid below Pine Camp, Peter Dombrovskis Rock lichen (Crustose lichen), Peter Dombrovskis Rock platform, Peter Dombrovskis Shore lichen on granite, Peter Dombrovskis Snow gum on the Labyrinth, Peter Dombrovskis Snow on pencil pine, Peter Dombrovskis Snow-encrusted shrubbery, Peter Dombrovskis The quiet land, Peter Dombrovskis The rocking stone, Peter Dombrovskis Waterfall Valley, Peter Dombrovskis Web and dew, Polished quartzite above Irenabyss, political nature of landscape photography, Red phase of deciduous beech, Reflection pool, Reflections in mist, Richea scoparia in bloom below Halls Buttress, Rock and rapid below Pine Camp, Rock Island Bend, Rock lichen (Crustose lichen), Rock platform, Romantic landscapes, Shore lichen on granite, Snow gum on the Labyrinth, Snow on pencil pine, Snow-encrusted shrubbery, Southwest National Park, Tarkine Wilderness, tasmania, Tasmania's beauty, Tasmanian wilderness, the beauty of the Earth, the discipline of photography, the natural planet, The quiet land, The rocking stone, the sublime, Walls of Jerusalem National Park, Waterfall Valley, Web and dew, Western Arthur Range, Western Arthur Range Tasmania, Wilderness
Exhibition dates: 9th March – 12th May 2019
part of the CLIMARTE Festival: ART+CLIMATE=CHANGE 2019
Peter Dombrovskis (Australian, born Germany 1945-96)
Morning mist, Rock Island Bend, Franklin River, Franklin-Gordon Wild Rivers National Park, Tasmania
Courtesy of the National Library of Australia and the Estate of Peter Dombrovskis
A little too perfect
A few ideas that struck me at this exhibition.
1/ The large format 4 x 5″ colour transparencies must be near absolute perfect exposures…. everything is there in the exposure. It's as though the transparency is the finished print. Everything that Dombrovskis wanted to capture, he did. He was a perfectionist.
His previsualisation of the scene was exceptional. He knew what he wanted to capture, he was so focused on it. The beauty is there, but how do you make it sing? Only in a few images was I swept off my feet.
2/ His use of 'near far' is noticeable, taken from Ansel Adams most likely. In photographs like Morning light on Little Horn (1995), Cushion plants, Mount Anne (1984) and Mount Geryon from the Labyrinth (1986) your eye is led from the detailed foreground to the magnificent vista beyond.
3/ In photographs such as Lichen on dead eucalypt, Lake Dixon (1979) and Rock platform, Tarkine Wilderness (1995) the subject seems to dissolve into Abstract Expressionist compositions.
4/ The wall colours of the exhibition utterly failed the work, especially with the line colour change running through the image.
5/ I never really felt the "sublime" nature of the Tasmanian wilderness in these photographs. I wanted to be transported to the place that was pictured but it never happened.
6/ I suspect this has to do with a/ the perfection of the transparency b/ the size at which these contemporary photographs were printed, and c/ the almost scientific, analytical nature of the contemporary printing.
I had no sense or feeling for place or "atmosphere" that emanates from a truly great photograph. These large prints were wholly disappointing in that regard. They were nearly all printed at the same size, too big, with the same monotonous clarity of composition and balancing of print, one to the other. Almost a clinical printing with too much colour saturation with no room for chaos or vibration of energy.
When printing, I was taught to rack the enlarger up and down to find when the print becomes like a jewel. This is a felt response to the negative, and an image can have several positions or print sizes when this may occur. To print the bulk of these digital images at the same size goes against this very intuitive response to the work.
There are so many moves that can be justified by an objective argument when making a fine art print – but which still don't add up when you view the whole. Oh! to see five vintage prints in this exhibition, to see how Dombrovsksi would have printed them himself.
I really wanted to like these photographs but when you try and force something, it ain't ever going to happen.
Many thankx to Monash Gallery of Art for allowing me to publish the media photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Dr Marcus Bunyan, the artist and the Monash Gallery of Art.
'When you go out there, you don't get away from it all. You get back to it all. You come home to what's important. You come home to yourself.'
Peter Dombrovskis
'… we moved in a glittering, sun-splashed world where living assumed a clarity and intensity unknown in ordinary city-bound existence. Our bodies became attuned to rock and rapid, our senses easily absorbed the roar of white-water, the silent greens of the rainforest. My steadily growing skill at negotiating obstacles bolstered my self-confidence and eased the shyness of adolescence.'
Peter Dombrovskis in Jane Cadzow, 'A lasting image', Sydney Morning Herald, Good Weekend magazine, 22 March 1997
'An ethic of the land is needed because the remaining wilderness, that which makes this island truly unique, is threatened by commercial exploitation that will destroy its value to future generations. Machines are already shattering the silence of ages, invading the last forests and damming and drowning the wild rivers and gorges.'
Peter Dombrovskis, 'The quiet land' (Peter Dombrovskis Pty Ltd., Hobart 1977)
'We must try to retain as much as possible of what still remains of the unique, rare and beautiful. Is there any reason why … the ideal of beauty could not become an accepted goal of national policy? Is there any reason why Tasmania should not be more beautiful on the day we leave it than on the day we came? … if we can accept the role of steward and depart from the role of conqueror; if we can accept the view that man and nature are inseparable parts of the unified whole, then Tasmania can be a shining beacon in a dull, uniform and largely artificial world.'
Olegas Truchanas in Max Angus, 'The world of Olegas Truchanas' (Olegas Truchanas Publication Committee, Hobart 1975)
The photograph (above), Morning mist, Rock Island Bend, Franklin River, Tasmania (1979), is one of the most celebrated landscape photographs in Australian history. Commissioned by Bob Brown (later to become leader of the Greens Party), this image became synonymous with the successful campaign of the 1980s to prevent the damming of the Franklin River for hydro-electric development. It appeared on posters with the memorable yellow, triangular slogan 'NO DAMS' and showed Australians what would be lost under the waters of a dam should the hydroelectric scheme go ahead. Using his camera as a tool, Dombrovskis shared with society the riches that they would forgo if the environment was not protected.
The photograph below, Mount Geryon from the Labyrinth Cradle, Mountain-Lake St Clair National Park, Tasmania (1986) is an image that Bob Brown had in his office at a similarly large scale to provide an immediate and memorable talking point with visitors.
Many Australians encountered these images for the first time in prosaic settings: in a newspaper campaign advertisement, a diary used at work, a calendar on the side of the fridge, or a poster in a waiting room. Most of us will never visit the places he photographed, but into our ordinary everyday lives his images bring something of the beauty and the power of the wild places of Tasmania. Seldom in the history of photography has there been such a clear example of visual culture having such a political sway.
Exhibition label
Installation views of the opening of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill
Mount Geryon from the Labyrinth, Du Cane Range, Tasmania
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Coastline north of the Pieman River, Tarkine wilderness, Tasmania (1992); at centre Kelp detail, Macquarie Island, Tasmania (1984); and at right Drying kelp at Sandy Bay, Macquarie Island, Tasmania (1984)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Kelp detail, Macquarie Island, Tasmania (1984); and at right Drying kelp at Sandy Bay, Macquarie Island, Tasmania (1984)
Drying kelp at Sandy Bay, Macquarie Island, Tasmania
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, 'Macrocystis' and 'Hormosira' seaweed, Tasmania (1987); and at right Giant kelp, Hasselborough Bay, Macquarie Island, Tasmania (1984)
Installation views of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Douglas Gorge, Douglas-Apsley National Park, Tasmania (1989); and at right, Waterfall Valley, Cradle Mountain-Lake St Clair National Park, Tasmania (1990)
Installation detail of Peter Dombrovskis' photograph Waterfall Valley, Cradle Mountain-Lake St Clair National Park, Tasmania (1990)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Lichen on dead eucalypt, Lake Dixon, Tasmania (1979); and at right, Rock platform, Tarkine Wilderness, Tasmania (1995)
Installation detail of Peter Dombrovskis' photograph Lichen on dead eucalypt, Lake Dixon, Tasmania (1979)
Installation detail of Peter Dombrovskis' photograph Rock platform, Tarkine Wilderness, Tasmania (1995)
Peter Dombrovskis (1945-96) was one of the world's foremost wilderness photographers. His powerful, reflective and deeply personal images of the unique Tasmanian wilderness had a lasting impact, changing the way Australians think about their environment by making remote nature accessible through images.
Dombrovskis: journeys into the wild draws together a vast sweep of nearly 80 images, shown for the first time in Victoria. The exhibition was initially developed by the National Library of Australia from their comprehensive collection of Dombrovskis's work.
Through their use in environmental campaigns, Dombrovskis's images have become shorthand for environmental concerns in Australia. Particularly memorable was the image Morning Mist, Rock Island Bend that Bob Brown (later to become Leader of the Greens Party) used in the 'No Dams' campaign to save the Franklin River.
Seldom in the history of photography has there been as clear an example of visual culture bearing such political sway and prompting such passion in communities.
'Dombrovskis's ability to capture the sublime beauty of the Tasmanian wilderness led to his work becoming synonymous with the Tasmanian Wilderness conservation movement. Dombrovskis once commented "photography is, quite simply, a means of communicating my concern for the beauty of the Earth." His work was his voice and it powerfully evoked his passion for the environment which inspired the nation to work for its protection. MGA is thrilled to have an opportunity to showcase Dombrovskis's practice to Victorian audiences, and to inspire a new generation to embrace his unique vision and celebrate his legacy.' ~ Anouska Phizacklea, MGA Director
This exhibition was initially developed by the National Library of Australia, Canberra. In 2007, the Library acquired over 3000 colour transparencies that make up the Dombrovskis archive. The photographs on display here, which are also part of the Library's Pictures Collection, were printed by Les Walkling on Canson Platine Fibre Rag paper by an Epson SureColor P20070.
Monash Gallery of Art and the National Library of Australia would like to acknowledge Peter's widow, Liz Dombrovskis, and thank her for her guidance and support for this project.
Press release from the Monash Gallery of Art website Cited 13/03/2019
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Cushion plant mosaic, Tasmania (1980); at middle, Macquarie Island cabbage at Finch Creek, Macquarie Island, Tasmania (1984); and at right, Web and dew, Waterfall Valley, Tasmania (1985)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing Myrtle tree in rainforest at Mount Anne, Southwest National Park, Tasmania (1984)
Myrtle tree in rainforest at Mount Anne, Southwest National Park, Tasmania
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Icicles near Big Bend, Mount Wellington, Tasmania (1992); at middle, Ice patterns on the Labyrinth, Cradle Mountain-Lake St. Clair National Park, Tasmania (1986); and at right, Ice patterns, Lake Elysia, Du Cane Range, Cradle Mountain-Lake St. Clair National Park, Tasmania (1987)
Installation views of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing Morning light on Little Horn, Cradle Mountain-Lake St Clair National Park, Tasmania (1995)
Morning light on Little Horn, Cradle Mountain-Lake St Clair National Park, Tasmania
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Snow gum on the Labyrinth, Du Cane Range, Tasmania (1988); and at right Shore lichen on granite, east Freycinet, Freycinet National Park, Tasmania (1989)
Installation detail of Peter Dombrovskis' photograph Shore lichen on granite, east Freycinet, Freycinet National Park, Tasmania (1989)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing Ancient 'Nothofagus gunnil', Cradle Mountain, Cradle Mountain-Lake St. Clair National Park, Tasmania (1986)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill with, at right, Polished quartzite above Irenabyss, Franklin River, Franklin-Gordon Wild Rivers National Park, Tasmania (1979)
Installation detail of Peter Dombrovskis' photograph Polished quartzite above Irenabyss, Franklin River, Franklin-Gordon Wild Rivers National Park, Tasmania (1979)
Pencil pine at Pool of Siloam, Walls of Jerusalem National Park, Tasmania
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing, at middle left, The rocking stone, south Mount Wellington, Tasmania (1995); and at right, Dolerite tors on Mount Wellington plateau, Hobart, Tasmania (1990)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing, at left, The rocking stone, south Mount Wellington, Tasmania (1995); and at right, Dolerite tors on Mount Wellington plateau, Hobart, Tasmania (1990)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing Dolerite tors on Mount Wellington plateau, Hobart, Tasmania (1990)
The rocking stone, south Mount Wellington, Tasmania
Dolerite tors on Mount Wellington plateau, Hobart, Tasmania
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing, at left, Painted cliffs, Maria Island National Park, Tasmania (1991); and at right, Painted cliffs, Maria Island, Tasmania (1991)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill with, at left, Beach detail with shells, Louisa Bay, Southwest National Park, Tasmania (1993); at middle, Abalone shell at New Habour, southwest Tasmania (1988); and at right, Native pigface, Tarkine Wilderness, Tasmania (1995)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing Rock and rapid below Pine Camp, Franklin River, Tasmania (1979)
Rock and rapid below Pine Camp, Franklin River, Tasmania
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Snow on pencil pine, Cradle Mountain-Lake St. Clair National Park, Tasmania (1990); and at right, Fruiting lichen and ice, the Labyrinth, Du Cane Range, Cradle Mountain-Lake St. Clair National Park, Tasmania (1987)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Cradle Mountain from Hounslow Heath, Cradle Mountain-Lake St. Clair National Park, Tasmania (1982); at middle, Snow-encrusted shrubbery, Central Highlands, Tasmania (1990); and at right, Icicles on fire-killed snow gums, south of Mount Wellington, Tasmania (1990)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing Dunes and granite near Interview River, Tarkine Wilderness, Tasmania (1990)
Peter Herbert Dombrovskis was born in a World War II refugee camp in Wiesbaden, Germany, in 1945 to Latvian parents. His father, Karl, went missing at the end of the war and in 1950 his mother, Adele, moved the pair of them to Hobart, Tasmania; as far from the war-torn Europe and the war as imaginable. Adele was a keen naturalist and encouraged Peter's photography, buying him a 35mm Zeiss camera to experiment with when he was just six.
In the early 1970s, Dombrovskis established a working pattern of making five or six two-week journeys into the wilds of Tasmania each year. His first calendar was produced in 1972, his first diary in 1976 and his first book The quiet land in 1977. He set up his own publication company, West Wind Press, in 1977. His second wife Liz, continued to run West Wind Press, producing calendars, books and diaries, until 2009. In 1996, while hiking and photographing near Mount Hayes in south-west Tasmania's Western Arthur Range, Dombrovskis suffered a heart attack and died. He was 51 years old.
The sublime
The photographs of Dombrovskis carry on a rich tradition of depicting the wild places of Tasmania as Romantic landscapes. Romanticism was a cultural movement in the late-eighteenth and early-nineteenth centuries that emphasised the senses, emotion and spontaneity at the expense of order, rationality and intellect. Particularly influential was the Romantic idea of the sublime. Unlike the picturesque landscape, which was attractive and charming but tame and unthreatening, the sublime landscape dramatises nature's overwhelming power and grandeur. It shows the natural world untouched and uncompromised by human intervention, provoking feelings of awe, even fear, and reminding the viewer that wilderness is a valuable resource to respect, not exploit. Dombrovskis's images demonstrate nature's powerful splendour but they also have a quiet, reflective quality that draws the viewer into an intimate conversation with the natural world. This is, perhaps, achieved through his habit of including the unexpected and sensitive details within a landscape, as well as the marvellous and dramatic vistas. Dombrovskis was passionate about the vast and rugged beauty of his adopted home, but also curious about nature, seeing it as both mysterious and welcoming.
The photographer most often connected with Dombrovskis is Olegas Truchanas. The two men shared backgrounds as refugees from war-torn Central Europe. Together the two would explore Tasmania, marvelling at and photographing the beauty of their natural surroundings. They were adventurers and photographers in equal measures and both died in pursuit of these passions. It was Truchanas who introduced Peter to the political nature of landscape photography. In the 1960s, he would stage slide-shows in the Hobart City Hall, pairing his images with classical music and speaking about society's responsibility for the natural planet. Many of Truchanas's slides were lost in a bushfire that took his home in 1967, and it was in 1972, when he was out rebuilding his archive of images of the south-west that he drowned in the Gordon River. It was Peter who found Truchanas's body in the water after days of searching.
'I like to think I'm carrying on where Olegas left off, in my own way, finishing the work that he started.'
Dombrovskis's photographic style was also influenced by the great American landscape photographers:
'I enjoy Ansel Adams for his finely controlled and logical composition; Edward Weston for his intense identification with subject matter; Brett Weston for his strikingly graphic structural forms; Paul Caponigro for images that intimate the mysterious and the unknowable; and Eliot Porter for compositional subtlety and delicate colour harmony.'
Dombrovskis's contribution to the environmental movement is profound but his technical ability and artistry as a photographer are equally celebrated. In February 2003, he was inducted into the International Photography Hall of Fame in Oklahoma City, an honour afforded to only 76 other innovators in the art form's history. He is the only Australian to be honoured in this way and sits alongside those who influenced him, such as Ansel Adams and Edward and Brett Weston and Eliot Porter. Dombrovskis's work has been acquired by several of Australia's major cultural institutions and is part of the collections of the National Library of Australia, National Gallery of Australia, National Gallery of Victoria, Tasmanian Museum and Art Gallery and Monash Gallery of Art.
Dombrovskis's preferred camera was the Linhof Master Technika. Requiring 4 x 5 inch film, almost 16 times larger than that used in a standard 35mm camera, the Linhof was heavy and cumbersome, forcing Dombrovskis to take more care and time in setting up his shots and making each of these images the result of physical and mental endurance, as well as involved decision-making.
'… because sheet film is expensive and loading it is slow and tedious, I seldom take more than one exposure of each subject. This occasionally leads to bitter regret when I misjudge exposure after spending, perhaps, an hour on a single image.'
Smaller 35mm or contemporary digital cameras would have allowed Dombrovskis ease of use and immediacy, but this would have come at the expense of the extraordinary detail he could achieve with his Linhof. When walking for a week in the wilderness, Dombrovskis carried the required supplies, as well as the camera and around 50 sheets of film; a heavy pack in rugged terrain.
'I took photographs for the simple pleasure of recording objects and places that were important to me, and because the discipline of photography increased my awareness of Tasmania's beauty and made me appreciate more clearly the value of its wilderness.'
The work of Dombrovskis helped to change perceptions of the Tasmanian wilderness. In 1982 the area that he photographed was inscribed on the UNESCO World Heritage List as part of the Tasmanian Wilderness World Heritage Area. His photograph Morning Mist, Rock Island Bend, Franklin River, Tasmania (1979), which is located at the beginning of this exhibition, was integral to the successful campaign to prevent the Tasmanian Hydro Electric Commission damming the Gordon and Franklin rivers.
Dombrovskis's photographs showed Australians what would be lost under the waters of a dam should the hydroelectric scheme go ahead, and many credit this image as helping to sway the Federal election in favour of Bob Hawke's Australian Labor Party, which promised to save the Franklin River. It is rare and noteworthy that a photograph might carry such social and political sway.
Exhibition label text
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing, at right, Rock lichen (Crustose lichen), Lake Rodway, Cradle Mountain-Lake St Clair National Park, Tasmania (1981)
Rock lichen (Crustose lichen), Lake Rodway, Cradle Mountain-Lake St Clair National Park, Tasmania
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Bark of snow gum, Cradle Mountain-Lake St. Clair National Park, Tasmania (1987); and right, Red phase of deciduous beech, 'Nothofagus gunnii', Cradle Mountain-Lake St. Clair National Park, Tasmania (1988)
Red phase of deciduous beech, 'Nothofagus gunnii', Cradle Mountain-Lake St. Clair National Park, Tasmania
Frost on snow berry (Gaultheria hispida) leaves, Milles Track, Mount Wellington, Tasmania, June 1990
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Limestone pinnacles on Mount Api, Sarawak, Borneo (1985); and at right, Reflections in mist, Walls of Jerusalem National Park, Tasmania (1994)
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing Limestone pinnacles on Mount Api, Sarawak, Borneo (1985)
Limestone pinnacles on Mount Api, Sarawak, Borneo
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Reflection pool, Walls of Jerusalem National Park,Tasmania (1990); and at right, Morning mist in myrtle forest, Cradle Mountain-Lake St Clair National Park, Tasmania (1981)
Lake Oberon, Western Arthur Range, Southwest National Park, Tasmania
Installation view of the exhibition Dombrovskis: journeys into the wild at Monash Gallery of Art, Wheelers Hill showing at left, Lake Oberon, Western Arthur Range, southwest Tasmania (1988); and at right, Richea scoparia in bloom below Halls Buttress, Walls of Jerusalem National Park, Tasmania (1992)
Richea scoparia in bloom below Halls Buttress, Walls of Jerusalem National Park, Tasmania
Cushion plants, Mount Anne, Southwest National Park, Tasmania
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Dr Marcus Bunyan
Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.
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Exhibition: 'Hold That Pose: Erotic Imagery in 19th Century Photography' at the Kinsey Institute, Bloomington, Indiana Part 2
Exhibition: 'Every Past Is My Past' (photographs from the Fortepan digital photo archives) at the Hungarian National Gallery (MNG), Budapest
Exhibition: 'Witness at a Crossroads: Photographer Marc Riboud in Asia' at The Rubin Museum of Art, New York
Review: 'How Nature Speaks' at Arc One Gallery, Melbourne
Photograph: 'PBY Blister Gunner, Rescue at Rabaul, 1944' by Horace Bristol (1908-1997)
american photographers
Australian artist
Australian cabinet cards and cartes de visite
Carleton Watkins
colour photography
cultural commentator
English artist
Fredrick White
gallery website
Heide Museum of Modern Art
Henry Fox Talbot
Japanese artist
Marcus Bunyan
Marcus Bunyan black and white archive
Paul Outerbridge
photographic commentator
photographic series
Polaroid photography
Rennie Ellis
Roman Vishniac
Tacita Dean
5B4: Photography and Books
ArtKritique
bLOGOS/ HA HA
Fredrick White Sculpture
Hey! Hot Shot
Lens Culture: Photography and Shared Territories
Marcus Bunyan [] Image Maker
Melbourne Art and Culture Critic
Melbourne Jeweller
Melbourne Museum of Printing
Rory Hyde architecture blog
The Theory of Nevolution

redpajama_set_name: RedPajamaCommonCrawl


text:
Toyota Kirloskar Motor takes giant strides towards achieving Zero Carbon Emission manufacturing facility
India Blooms News Service | @indiablooms | 25 Mar 2019, 04:04 pm
#CarbonEmission, #Toyota
Kolkata, Mar 25 (IBNS): Guided by Toyota's 'Global Environmental Challenge' 2050 in line with the United Nations Sustainable Development Goals, till January '19 - car manufacturing giant Toyota Kirloskar Motor (TKM) successfully sourced 87% of electricity from renewable source of energy for its operations in Bidadi facility.
With key focus on its energy challenge, Toyota has been swiftly moving from non-renewable to renewable sources of energy across its business operations, as electricity consumption being one of the major sources of energy in manufacturing sector.
TKM has been able to prove its eco commitment with continuous improvements in remarkable green energy sourcing trends year-on-year. Toyota Kirloskar Motor's vision, philosophy and guidelines are true reflections of its commitment for a sustainable future.
Its focused on achieving harmony between its manufacturing activities and the environment based on the concept of 'a plant that optimally utilizes natural resources while operating in harmony with the natural environment, thus working towards one of the national issues of energy security.
Toyota being a leader in the environmental stewardship started its journey towards greening its energy source since 2015-16 and has made substantial step-up over the years.
TKM has gradually increased Green Energy Procurement and Investment in renewable energy sector to meet its energy requirements. The company has installed in-house solar power plants at roof tops and ground in its facility at Bidadi, which has a combined capacity of 8.4 MW of electricity. Toyota Kirloskar Motor has explored various possible avenues to increase its renewable energy share including inhouse solar parks, outside solar parks, open access sourcing etc.
The renewable energy sourcing has increased from 15% in FY 15-16 to 65% in FY 17-18. The below reference tables showcase TKM's energy source patterns over the years, towards optimization of renewable power usage at its plant facility.
Coal and other fossil fuels, which have taken three million years to form, are likely to deplete soon. Indian power sector being highly dependent on the coal based thermal power plants is one of the major sources of CO2 emission.
For sustainable development, there is an urgent need to adopt energy efficiency measures with renewable energy sources such as wind, solar, etc. [replacing fossil fuels], being priority choices by wide varieties of manufacturing sectors. With these restructuring of energy supplies, we aim to reduce the emissions & its implications on the climate change. Also increasing renewable energy significantly allows to achieve cost effectiveness, providing economic advantage.
Speaking on Toyota's commitment to environment protection and sustainability, Masakazu Yoshimura, Managing Director – Toyota Kirloskar Motor said, "Business can play a significant leadership role in accelerating the transition to a lower-carbon economy, we see renewable energy to be a key component of climate action efforts. As a responsible corporate citizen, we at Toyota strongly believe in the philosophy of "Respect for the Planet". Reiterating our commitment to enable greener environment, TKM sources clean energy and adopts smart manufacturing systems towards Toyota's ultimate global mission of 'Zero Carbon Emission".
"Over the years, TKM has been stringently working towards reduction of dependency on non-renewable energy resources by implementing various energy management procedures to achieve environmental sustainability. Our renewable energy strategies prioritize energy efficiency and policy advocacy, well aligning with Government's initiatives. I am very proud to declare that during October 2018, we achieved 100% renewable power source for our energy requirements. Through such significant goals, TKM could effectively contribute towards emission reduction by over 51,000 tons of Co2 during first three quarters of FY 2018-19," he added.
In addition to these efforts, TKM has also devised strategies to reduce the Co2 emissions at its manufacturing facilities through energy "Consumption Reduction" and "Conversion Efficiency". Under Conversion Efficiency enhancement approach, TKM aims to improve the operational efficiency by transforming energy from one form to another form through continuous improvements which has been contributing effectively towards maximization of green energy adoption at TKM's manufacturing plant.
Additionally, through various initiatives like adoption of reverse refrigeration system, centralized control of chillers, adoption of smart ACs, TKM has been reducing significant quantity of Co2 releases over the years. The company has also been vesting enormous efforts to reduce its energy consumptions through controlling and reducing daily energy consumption in each of the operational processes instilling stringent & systematic monitoring to track energy usages.
Recognising these efforts on reduction of emission in TKM's manufacturing plant with key contributor being optimisation of renewable energy, TKM was recognised as a "Model Plant" under its "Zero Co2 plant" challenge among the Toyota Asia-Pacific affiliates.


text:
Home Industries Nonprofit Renaissance Theaterworks moving from Broadway Theatre Center to Next Act Theater
Renaissance Theaterworks moving from Broadway Theatre Center to Next Act Theater
Company has outgrown 99-seat theater
Lauren Anderson
Suzan Fete and Lisa Rasmussen of Renaissance Theaterworks.
Last updated on July 11th, 2019 at 01:39 pm
Professional theater company Renaissance Theaterworks will move its performances from its home at Broadway Theatre Center in Milwaukee's Historic Third Ward to the Next Act Theater building in Walker's Point for its 2020-21 season.
After its 15-year residency at 158 N. Broadway, the theater company said it has outgrown the space.
"We've grown beyond the capacity of the 99-seat Studio Theatre at the Broadway Theatre Center and we are excited to seize this moment and embrace the demand for more opportunities for the community to experience RTW," said Lisa Rasmussen, managing director of Renaissance Theaterworks. "This bold move will allow us to continue on a positive trajectory for many years to come."
Renaissance Theaterworks, which is in its 27th season, will perform all of its 2019-20 productions at the Broadway Theatre Center and open its next season at the Next Act Theatre building, 255 S. Water St., in fall 2020. The theater company's administrative offices will remain on the fifth floor of the Broadway Theatre Center.
Renaissance Theaterworks, which was founded in 1993, is Milwaukee's only women-founded, women-run professional theater company.
"The Broadway Theatre Center has been the perfect incubator for our art, allowing us to grow over the years. We are grateful for our 15-year residency we've had there. It has been marked by camaraderie, cooperation, and artistic partnership with Skylight Music Theatre, Milwaukee Chamber Theatre, and more recently, Joseph Property Development," said Suzan Fete, RTW co-founder and artistic director. "We look forward to collaborating with them in new ways in the future."
In February 2018, Skylight Music Theatre sold the Broadway Theatre Center to developer Robert Joseph and entered into a 50-year leaseback deal with him.
Next Act Theatre opened its home at 255 S. Water St. in 2011. The building is owned and managed by David Winograd and LCM Funds.
The theater features a recently-installed state-of-the-art hearing loop system, handicapped parking and an accessible ground-level layout, RTW said in a news release.
"Next Act Theatre has designed an intimate, accessible theater that will open up more possibilities for production and technical needs for RTW while remaining a close-knit and intimate atmosphere, a quality that Renaissance patrons will be happy to know will not be lost in this move," Fete said.
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Professional theater company Renaissance Theaterworks will move its performances from its home at Broadway Theatre Center in Milwaukee's Historic Third Ward to the Next Act Theater building in Walker's Point for its 2020-21 season. After its 15-year residency at 158 N. Broadway, the theater company said it has outgrown the space. "We've grown beyond the capacity of the 99-seat Studio Theatre at the Broadway Theatre Center and we are excited to seize this moment and embrace the demand for more opportunities for the community to experience RTW," said Lisa Rasmussen, managing director of Renaissance Theaterworks. "This bold move will allow us to continue on a positive trajectory for many years to come." Renaissance Theaterworks, which is in its 27th season, will perform all of its 2019-20 productions at the Broadway Theatre Center and open its next season at the Next Act Theatre building, 255 S. Water St., in fall 2020. The theater company's administrative offices will remain on the fifth floor of the Broadway Theatre Center. Renaissance Theaterworks, which was founded in 1993, is Milwaukee's only women-founded, women-run professional theater company. "The Broadway Theatre Center has been the perfect incubator for our art, allowing us to grow over the years. We are grateful for our 15-year residency we've had there. It has been marked by camaraderie, cooperation, and artistic partnership with Skylight Music Theatre, Milwaukee Chamber Theatre, and more recently, Joseph Property Development," said Suzan Fete, RTW co-founder and artistic director. "We look forward to collaborating with them in new ways in the future." In February 2018, Skylight Music Theatre sold the Broadway Theatre Center to developer Robert Joseph and entered into a 50-year leaseback deal with him. Next Act Theatre opened its home at 255 S. Water St. in 2011. The building is owned and managed by David Winograd and LCM Funds. The theater features a recently-installed state-of-the-art hearing loop system, handicapped parking and an accessible ground-level layout, RTW said in a news release. "Next Act Theatre has designed an intimate, accessible theater that will open up more possibilities for production and technical needs for RTW while remaining a close-knit and intimate atmosphere, a quality that Renaissance patrons will be happy to know will not be lost in this move," Fete said.
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Keep up with the issues, companies and people that matter most to business in the Milwaukee metro area.


Etching Techniques for Jewellery: Weekend Course.
– On this course we introduce you to a range of etching techniques for jewellery and their application, especially in relation to pattern-making and texturing.
We will discuss the pros and cons of various mordants and resists, and the associated health and safety issues relating to their usage.
As well as exploring traditional mordant / resist applications used in etching (Acids to dissolve the metal, varnishes, stencils, tapes to stop out the surface), we will also experiment with a form of photo etching which allows for the transfer of a photographic image to act as a resist for stopping out acid erosion of the metal surface. We'll cover electro etching too – a relatively safe method for etching non precious metals at home..
On the second day you may wish to concentrate on producing a finished piece of jewellery such as a bangle or pendant. Alternatively you may wish to concentrate on producing as many exploratory samples as possible in the time given.
The course fee covers the cost of all materials. Metals available for your use include brass, copper and gilding metal.
You may also bring your own precious materials to work with.
Can I get my work hallmarked?
We are able to offer a hallmarking service for precious jewellery made at Flux. So if you would like to have your work hallmarked with the Flux Studios hallmark this can be arranged at cost price.
We'll provide you with tea, coffee and light refreshments throughout the weekend. You'll need to bring some lunch.


A longtime target of the Utah football program has finally committed to the Utes.
Four-star wide receiver Delon Hurt of Servite High School in Anaheim, Calif. announced his pledge to Utah as part of its 2018 recruiting class on Friday evening via Twitter.
Listed by Scout.com at 6 feet and 190 pounds, Hurt was also primarily considering Washington State and BYU.
Hurt's commitment comes after a pair of prospects recently decommitted from the Utes. Mosiah Nasili-Liu did so Nov. 15 and announced his commitment to Washington on Nov. 23, while Kenyon Sims decommitted on Thursday night.
Utah now has seven prospects committed as part of its 2018 class.


All applications are submitted online at the Graduate Studies Office and are due by December 15 for the following academic year.
The Math Graduate Admissions Committee will review the applications, and recommendations for admission are sent to the Graduate Studies Office. The official offer of admission comes from the Graduate Studies Office via email though the online application system, generally during the month of February. Students must respond to our offer by April 15th.
Please visit the Graduate Office for Frequently Asked Questions regarding admissions.
Financial support for math graduate students is guaranteed for 5 years, provided the student is making satisfactory academic progress. Students are generally supported by a Graduate Teaching Assistantship for the academic months (October - June) and either by a Graduate Research Assistantship or math department fellowship for the summer months (July - September). All assistantships and fellowships include a full tuition grant and monthly stipend to cover living expenses. All support is independent of whether the student is domestic or international. Graduation is expected by June of the 5th year of study, so financial support is not covered for the summer after the 5th year.
There are special fellowship for students who meet certain criteria, and the department will work with students to apply for such funding opportunties. Examples of criteria include US citizens, female, under represented minorities, and/or Southern California residents.


text:
WHO IS PAUL A. FREEMAN?
Paul A. Freeman works as a teacher of English in Abu Dhabi, in the Middle East. He lives there with his wife Ashai and their three young children - Kimberly, Hazel and Tony.
In his spare time he writes short stories (mostly crime and horror fiction), though he is also the author of several published and unpublished crime novels and children's books.
He is currently working on his 'new' Canterbury Tales project and has written several Chaucerian narrative poems with a medieval setting.
How it all Started, and Where it all Headed
While working in an African 'bush' school I wrote my debut novel Rumours of Ophir. This murder mystery - set amongst the gold mines and commercial farms of central Zimbabwe - was published in 1998 by College Press, an imprint of Macmillan, Africa. Described as 'one of the most intriguing detective stories to come out of Zimbabwe', it is actually the only detective story to come out of the country, and is currently a set literature book in the Zimbabwean high schools.
Every writer believes in luck. So it was fortunate that as part of her studies into the portrayal of women in African literature, a German PhD student picked up Rumours of Ophir at the Harare Book Fair. She passed the book on to her friend, Frank Nowatzki, owner of the crime noir publishing house Pulp Master, and in 2007 Die Legenden von Ophir - the German translation of Rumours of Ophir - hit the streets of Berlin.
The Element of Luck Continues
Since Rumours of Ophir was published under the umbrella of Macmillan Africa (a 'respectable' publisher), I therefore fulfilled the membership requirements of the Crime Writers' Association. As such, I was eligible to submit work to the CWA's annual anthology. Thus my 150-word short story The Document saw the light of day in Comma Press's I.D.: Crimes of Identity. In his review of the book in the Observer, Peter Guttridge 'loved the formal experimentation of Paul A. Freeman's four-paragraph story'.
In the following year's Comma Press / CWA anthology, titled M.O.: Crimes of Practice my short story The Nether World earned the description of 'spine-chilling'.
2008 saw arguably my biggest crime short story hit when David Stuart Davies selected my 5,000-word short story Written in Stone (a mystery tale set in modern day Sudan) for inclusion in Wordsworth Editions Crime Scenes, an anthology of contemporary crime fiction.
From Crime to Rhyme
The road from 'crime to rhyme' began in 2007 - in February to be exact - when I toiled through the Canterbury Tales module of a master's degree in creative writing. One minute I was writing detective mysteries, the next I was branching out into narrative poetry. How this came about was a bit of a mystery in itself.
Although I had written predominantly crime fiction up until 2007, I never stuck rigidly to that single genre. I also wrote horror, humour, occasionally even sci-fi. Meanwhile, on the poetry front, I was proving no mean writer of sonnets (poems whose meter and rhyming patterns are the building blocks of narrative poems). So by merging my abilities as a short story teller and a narrative poet, I was able to resurrect a form of writing that Chaucer popularised 600 years ago, but which had largely faded away since then.
The vehicle by which my narrative poetry came to be noticed, was the bizarre-sounding anthology of zombie poetry, Vicious Verses and Reanimated Rhymes. My 1,100-word poem, Payback Day, bookended the poetry volume. Furthermore, my name featured prominantly on the back cover and Payback Day in particular received a positive review at Horrornews.net.
At about this time the editor of Vicious Verses, A.P. Fuchs asked me if I could write an 18,000 - 20,000-word novella in Chaucerian style. Once again Lady Luck had cast her capricious favour on me. The only question now, was what was I going to do about it?


text:
/** \file
 * \brief The ANTLR3 C filestream is used when the source character stream
 * is a filesystem based input set and all the characters in the filestream
 * can be loaded at once into memory and away the lexer goes.
 *
 * A number of initializers are provided in order that various character
 * sets can be supported from input files. The ANTLR3 C runtime expects
 * to deal with UTF32 characters only (the reasons for this are to
 * do with the simplification of C code when using this form of Unicode
 * encoding, though this is not a panacea. More information can be
 * found on this by consulting:
 *   - http://www.unicode.org/versions/Unicode4.0.0/ch02.pdf#G11178
 * Where a well grounded discussion of the encoding formats available
 * may be found.
 *
 */
#include    <antlr3.h>

/** \brief Use the contents of an operating system file as the input
 *         for an input stream.
 *
 * \param fileName Name of operating system file to read.
 * \return
 *	- Pointer to new input stream context upon success
 *	- One of the ANTLR3_ERR_ defines on error.
 */
ANTLR3_API pANTLR3_INPUT_STREAM
antlr3AsciiFileStreamNew(pANTLR3_UINT8 fileName)
{
    /* Pointer to the input stream we are going to create
     */
    pANTLR3_INPUT_STREAM    input;
    ANTLR3_UINT64	    status;

    if	(fileName == NULL)
    {
	(pANTLR3_INPUT_STREAM) ANTLR3_FUNC_PTR(ANTLR3_ERR_NOFILE);
    }

    /* Allocate memory for the input stream structure
     */
    input   = (pANTLR3_INPUT_STREAM)
		    ANTLR3_MALLOC(sizeof(ANTLR3_INPUT_STREAM));

    if	(input == NULL)
    {
	return	(pANTLR3_INPUT_STREAM) ANTLR3_FUNC_PTR(ANTLR3_ERR_NOMEM);
    }

    /* Structure was allocated correctly, now we can read the file.
     */
    status  = antlr3readAscii(input, fileName);

    /* Call the common 8 bit ASCII input stream handler
     * Initializer type thingy doobry function.
     */
    antlr3AsciiSetupStream(input, ANTLR3_CHARSTREAM);

    /* Now we can set up the file name
     */
    input->fileName = input->strFactory->newStr(input->strFactory, fileName);

    if	(status != ANTLR3_SUCCESS)
    {
	ANTLR3_FREE(input);

	return	ANTLR3_FUNC_PTR(status);
    }

    return  input;
}

ANTLR3_API ANTLR3_UINT64
antlr3readAscii(pANTLR3_INPUT_STREAM    input, pANTLR3_UINT8 fileName)
{
    ANTLR3_FDSC		    infile;
    ANTLR3_UINT64	    fSize;

    /* Open the OS file in read binary mode
     */
    infile  = antlr3Fopen(fileName, "rb");

    /* Check that it was there
     */
    if	(infile == NULL)
    {
	return	(ANTLR3_UINT64)ANTLR3_ERR_NOFILE;
    }

    /* It was there, so we can read the bytes now
     */
    fSize   = antlr3Fsize(fileName);	/* Size of input file	*/

    /* Allocate buffer for this input set
     */
    input->data	    = ANTLR3_MALLOC((size_t)fSize);
    input->sizeBuf  = fSize;

    if	(input->data == NULL)
    {
	return	(ANTLR3_UINT64)ANTLR3_ERR_NOMEM;
    }

    input->isAllocated	= ANTLR3_TRUE;

    /* Now we read the file. Characters are not converted to
     * the internal ANTLR encoding until they are read from the buffer
     */
    antlr3Fread(infile, fSize, input->data);

    /* And close the file handle
     */
    antlr3Fclose(infile);

    return  ANTLR3_SUCCESS;
}

/** \brief Open an operating system file and return the descriptor
 * We just use the common open() and related functions here.
 * Later we might find better ways on systems
 * such as Windows and OpenVMS for instance. But the idea is to read the
 * while file at once anyway, so it may be irrelevant.
 */
ANTLR3_API ANTLR3_FDSC
antlr3Fopen(pANTLR3_UINT8 filename, const char * mode)
{
    return  (ANTLR3_FDSC)fopen((const char *)filename, mode);
}

/** \brief Close an operating system file and free any handles
 *  etc.
 */
ANTLR3_API void
antlr3Fclose(ANTLR3_FDSC fd)
{
    fclose(fd);
}
ANTLR3_API ANTLR3_UINT64
antlr3Fsize(pANTLR3_UINT8 fileName)
{
    struct _stat	statbuf;

    _stat((const char *)fileName, &statbuf);

    return (ANTLR3_UINT64)statbuf.st_size;
}

ANTLR3_API ANTLR3_UINT64
antlr3Fread(ANTLR3_FDSC fdsc, ANTLR3_UINT64 count,  void * data)
{
    return  (ANTLR3_UINT64)fread(data, (size_t)count, 1, fdsc);
}

redpajama_set_name: RedPajamaGithub


NORTHWEST CORNER of Wallace imagemap is shown. Clicking on appropriate sides or corners takes you to adjacent sections. Clicking on a business gives its street address, phone number, additional information, and in many cases, an opportunity to proceed to a website or inquiry form. Some unmarked spaces are also clickable, giving information about available buildings for sale or rent, as well as details about the town and the roads leading out of town. Also indicated are locations used in the 1996 filming of the volcano disaster movie Dante's Peak, starring Pierce Bronson and Linda Hamilton. Can you find them all?


One pair of single function hand grips. Suitable for use with any Bowflex® Power Rod® based home gym.
These replacement handgrips fit Bowflex Revolution®, Revolution® FT, and Revolution® XP models. Can be used with Power Rod gyms, however may not be suitable for all exercises. Sold as a pair.


text:
Abasa Aremeyaw (born 15 August 2003) is a Ghanaian professional footballer. His primary position is centre-back, and with his height, he has an impact in set pieces in addition to possessing speed and agility.

Club career

Early years
Aremeyaw began his youth career with Žilina Africa, a Ghana-based affiliate club of Žilina of the Slovak Fortuna Liga.

Žilina
Aremeyaw joined Žilina in September 2021, initially playing for the club's under-18 and under-19 youth teams. Shortly thereafter, he was promoted to Žilina B, which was playing in the Slovak second division, the 2. liga. Aremeyaw made his debut for Žilina B on 18 September 2021 in a 1–0 victory over Humenné. He played 7 games that season for Žilina's reserve side.

On 30 November 2021, Aremeyaw made his Fortuna Liga debut for Žilina as a substitute in a 2–2 draw against Senica.

Aremeyaw also made six appearances for Žilina's under-19 team that competed in the UEFA Youth League in the 2021–22 edition of the tournament. He played every minute of each match, playing a role in helping the team reach the round of 16, falling to eventual finalists Red Bull Salzburg in a penalty shoot-out.

Philadelphia Union
On 4 August 2022, Amereyaw signed for the Philadelphia Union of Major League Soccer on a contract until 31 December 2024, with a club option for an additional two years. He took up an international slot in the team's roster. He and Philadelphia mutually agreed to terminate his contract with the club on 8 February 2023.

References

External links
 MŠK Žilina official club profile

 Futbalnet profile

 Philadelphia Union profile

2003 births
Living people
Ghanaian footballers
Ghanaian expatriate footballers
Association football defenders
MŠK Žilina Africa F.C. players
MŠK Žilina players
Slovak Super Liga players
2. Liga (Slovakia) players
Expatriate footballers in Slovakia
Ghanaian expatriate sportspeople in Slovakia
MŠK Žilina Africa players
Philadelphia Union players
Ghanaian expatriate sportspeople in the United States
Expatriate soccer players in the United States

redpajama_set_name: RedPajamaWikipedia


text:
The Cybersecurity Imperative
Managing Risks
Economics of Cybersecurity
Pulse Report
Roadmap to Excellence
Managing cyber risks in a world of rapid digital change
"We are in a cybersecurity arms race, and the hackers are winning. Over the years, we have tested thousands of companies. There is always a way in."
Kevin Mitnick, Chief Hacking Officer, KnowBe4
By 2021, cybercrime is likely to cost the world $6 trillion annually*—more than the combined GDP of the UK and France. As companies embrace the latest digital solutions and respond to rising regulations, cybersecurity has become a top management priority across industries and markets.
But cybersecurity is a moving target: as companies embrace new technologies, so do hackers. The reluctance of firms to share cybersecurity information makes benchmarking and planning more challenging.
To fill this gap, ESI ThoughtLab joined with WSJ Pro Cybersecurity and a group of prominent organizations to launch The Cybersecurity Imperative, a thought leadership program drawing on rigorous global research and analysis. As part of this program, we surveyed 1,300 organizations across industries and countries, conducted advisory meetings and interviews with leading experts and practitioners, and developed analytical tools to benchmark approaches and assess performance impacts.
*According to Cybersecurity Ventures
New Global Research Shows that Digital Transformation Heightens Risk of Costly Cyber Attacks
The Economics of Cybersecurity
"As companies put everything on a digital platform and introduce IoT-operated devices, they create more attack points - which can have critical impacts on business beyond just personally identifiable information."
Scott Laliberte, Managing Director, Protiviti
Digital innovation is a double-edged sword: while it improves business results, it also exposes organizations to greater cyber threats. These risks rise as companies embrace new technologies, such as AI and Internet of Things, as they move to open platforms and cloud-based systems.
Attacks from apps
The Cybersecurity Imperative Pulse Report
In April-May 2019, ESI ThoughtLab surveyed 467 firms to gain insights into their latest cybersecurity perspectives, plans, and practices (see research background on next page). The survey revealed that on average CISOs are increasing their cybersecurity war chests by 34% in the next fiscal year, after raising investments by 17% the previous year. Some industries, such as financial services and industrial manufacturing, plan to boost spending by as much as 40% next year, and companies with over $10 billion in sales will bolster their budgets by a hefty 49%.
Download the ESI ThoughtLab Pulse Survey
Download the WSJ Pro Pulse Survey
Cyber risks with the largest growth over the next two years
Although the most common attacks are now malware/spyware and phishing, the growing use of supplier ecosystems, embedded systems, and mobile and web applications will escalate risks.
Executives expect to see huge growth in attacks through third parties with network access (+247%), and also the reverse: attacks on partners and vendors through their own systems (+284%).
Attacks through supply chain
Web application attacks
Attacks through embedded systems
The Cybersecurity Benchmarking Tool
"Great cybersecurity programs are not built in a month. They're built over a span of years. You have to be willing to play the long game."
Ron Mehring, VP, Technology and Security, Texas Health
We asked executives to rate their company's progress across five key cybersecurity categories: identify, protect, detect, respond, and recover. Based on these rankings, we calculated composite scores by industry, region, and other groupings. These scores reflect how companies in these segments fared against a mean score of 100.
Explore the cybersecurity benchmarking tool
The Cybersecurity Benchmarking Database
To cope with rising cyber risks, companies are increasing their cybersecurity investment 7% this year and 14% next year. On average, companies with revenue between $250m-$1b will spend $2.9m next year; $1b- $5b ($5.7m); $5b-$20b ($10.7m); and $20b+ ($16.8m). Next year, these firms plan to allocate 39.3% of their cybersecurity budgets to technology, 30.7% to process, and 30% to people. To learn more, take a look at our new database, Cybersecurity Benchmarks 2018
Download the Cybersecurity Benchmarks Database
Building a Roadmap to Excellence
"First, make sure you're a continuous learner. You shouldn't be in security if you're not inquisitive. It's a fast-paced environment that requires people who have a thirst for knowledge and learning..."
David Estlick, CISO, Starbucks
The Cybersecurity Imperative presents our key findings, along with insights into best practices, performance metrics, and calls to action.
Cybersecurity is still more of an art than a science. So we spoke to chief information security officers (CISOs), cybersecurity experts, technologists, and even former hackers, to learn more about the state of the art.
Don't miss opportunities where The Cybersecurity Imperative has been featured.
Managing Cyber Risks - Protiviti Webinar
Follow ESI ThoughLab's social media accounts for the latest information on The Cybersecurity Imperative and be sure to join the conversation.
@ESIThoughtLab
linkedin.com/company/esi-thoughtlab/
Download our social media tiles
Companies boost budgets to fight evolving cyberattacks
Budgets will increase 34% next year, according to a global survey conducted by ESI ThoughtLab and WSJ Pro Cybersecurity . . .
US and Canada lead the world in cybersecurity maturity
A report from ESI ThoughtLab and The Wall Street Journal - in collaboration with consultancy partners Protiviti and Willis Towers...
Most executives around the world see untrained staff as the greatest cyber risk
The majority of executives (87%) around the world cite untrained staff as the greatest cyber risk to their business...
Why digital transformation puts you at greater risk for cyberattacks
Companies that do not keep up with their digital transformation initiatives may see a $1 million or more...
Damage to cybercrime can run in billions
Due to rapid digitization, cybersecurity risks are increasing rapidly and companies can hardly keep up.
ESI ThoughtLab on the Economics of Cybersecurity
ESI ThoughtLab released new data on corporate cybersecurity this week, with a conclusion that may not be new, but is no less alarming...
Executives expect to see 247% spike in cyberattacks through third party access over the next two years
Third parties are the fastest growing of the many significant cyber risks revealed by ground-breaking new global study...
Digital transformation increases risk of cyberattacks
The drive to digital transformation is exposing companies to higher and more costly cyber risks according to a new study of over 1,300 businesses...
We would like to thank our sponsors and research partners for supporting this ground breaking thought leadership program. They graciously provided valuable direction and research input throughout the course of the study. Without them, this program would not have been possible.
At ESI ThoughtLab, we are committed to creating visionary thought leadership and evidence-based decision support to keep organizations at the forefront of market change. For more information, please contact us.
Lou Celi
Lceli@esithoughtlab.com


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VOLUNTEER: Volunteer of the Year, Robyn Kelly, Crystal Brook, is pictured with sponsor, Flinders News editor Dylan Smith.
A GRADE: Best and fairest, Broughton-Mundoora's Jordy McCallum and runner-up Peta Fay, Orroroo.
TEAM: Back, Peta Fay, Carly Barnes, Rebekah Rasheed, Alison Henderson,Carly McCallum, front, Jordy McCallum, Carla Hook, Gabby Dennis, Alice Kelly.
PRESENTATION : Enjoying Monday night's netball presentation dinner were Carly Pavy, Carla Hook and Gabby Dennis, from Crystal Brook Netball Club.
MAVIS CRAWFORD MEMORIAL SHIELD: Orroroo Netball Club's Rebekah Rasheed and Peta Fay accepted the shield as minor premiers for season 2018.
B GRADE: Jamestown-Peterborough's Maddi Kitschke and Orroroo's Reilly Nutt were awarded Best and Fairest. Absent: Mel Slimming, Orroroo, runner-up.
F GRADE: Jamestown-Peterborough's April O'Dea was awarded Best and Fairest while runner-up went to Broughton-Mundoora's Sophie Burt.
C GRADE: Broughton-Mundoora's Joelene Anderson was awarded Best and Fairest while runner-up went to BMW's Toni McCallum.
D GRADE: Southern Flinders' Brenna Andrews was Best and Fairest. Absent: Leah Keller, BMW, runner-up.
E GRADE: Jamestown-Peterborough's Abbey Wehrmann was awarded Best and Fairest. Absent: Kate Bellman, Broughton-Mundoora, runner-up.
NANA PRESENTATION NIGHT: Enjoying the netball celebrations were Trudie Kitschke, Robyn Kelly and Bern Schmidt.
NANA PRESENTATION NIGHT: Mary Hewett, Meridee Groves Tammi Kitschke and Nickie Mead had Monday's presentation night running smoothly.
Broughton-Mundoora Netball Club's Jordy McCallum was the toast of the Northern Areas Netball Association after being crowned this year's Northern Argus A grade best and fairest.
McCallum polled 28 votes, eight ahead of runner-up Peta Fay, from Orroroo, to claim the top prize at Monday night's presentation dinner hosted by the BMW Netball Club in Melrose.
Clearly stunned by taking out the honour, McCallum paid tribute to her biggest supporter, her mother.
The Eagles player, a centre, said the association was home to many great players.
She thanked Bea Stringer and Carly Barnes for their support.
"They believed in us the whole year," she said.
McCallum was also awarded the Delma Noonan Perpetual Trophy for the highest number of senior votes with 28 votes.
NANA president Mary Hewett and website coordinator assistant, Meridee Groves, ran the event, counting votes from round nine for each senior grades until winners were determined.
The Flinders News Volunteer of the Year Award was also presented on the night, which was awarded to a very surprised, Robyn Kelly from Crystal Brook Netball Club, acknowledging her work within her home club and association. To close the night the 2018 NANA A Grade Team of the Year was presented with top three premiership contenders Orroroo, Southern Flinders and Broughton Mundoora well represented.
Goals: Jordie Harrison (Broughton Mundoora), Alison Henderson (Southern Flinders), Rebekah Rasheed (Orroroo).
Brook), Alice Kelly (Jamestown Peterborough), Carly McCallum (BMW).
Defence: Carly Barnes (Broughton Mundoora), Peta Fay (Orroroo), Renae Kretschmer (Southern Flinders).


Simon Spurrier is among the best comic writers working today. His creator-owned titles (published primarily by Boom! Studios) are an example of amazing world building and great stories. The Spire – which he created alongside Jeff Stokely and André May, and which ended recently after 8 issues – are among his best titles.
In the titular Spire, a vertical city-state in the middle of a wasteland, the Baron, its ruler, dies after a long life. During the celebrations for the passing of title to his oldest daughter, a string of murders takes place. The victims are all people who were connected to the court. There's a conspiracy afoot – and it's up to the chief of police, the amnesiac Shå, to solve it, with the help of her underlings, Milk and Pug the messenger garg.
Shå and Pug are one of the Sculpted (or Skews, as the many racists in the Spire call people like her) – people whose ancestors were modified to perform certain functions that helped the city-state survive. Proud stands the Spire, and all that. Sadly, as is typical for humanity, the different-looking (often very different-looking) people living low on the social ladder and performing necessary functions society wouldn't survive without – are oppressed and looked down upon. The deceased Baron used to be benevolent towards the Sculpted (he's the one who gave Shå her job), but with the changing of the guard a change for the worse seems imminent.
And yet the Spire citizens seem progressive compared to the Zoarim – a quasi-religious warband of nomads traveling the wastelands. They consider the Sculpted a plague that needs to be cleansed – including the city "tainted" with their presence. Worse, as we learn early on, they somehow managed to get an ancient weapon of mass destruction working – and they're more than willing to use it.
Shå has problems of her own. She and Meera, the little sister of the new Baroness, are in love, but due to staggering difference in positions Shå knows it simply won't be allowed. A more optimistic Meera disagrees and wants to tell her Mother, the late Baron's wife.
Spurrier masterfully tells a political thriller in a fantastical world. Shå is an amazing, imperfect protagonist, that I wish we could see more of. But what we got is still a great comic, amazingly drawn by Stokely and May, both of whom Spurrier worked with on an earlier venture, Six-Gun Gorilla. The world somehow manages to mix Mad Max, Blade Runner and Dark Crystal influences with an effect reminiscent of the New Weird aesthetic. It's a terrific comic, definitely worthy of your attention.
The Spire is written by Simon Spurrier, drawn by Jeff Stokely and colored by André May. The collected comic is set to be released on December 20.


I love Phoenix and OMG I'm just OVER the Lincoln and Violet love, connection thing. Please that needs to be resolved in the next book otherwise I'm not going to be able to handle it. Overall, I really did enjoy this book. It was reasonably paced and kept me reading for answers. Chapters ended on mini-cliffhangers so it was an addictive and fast read. I love Spence and Phoenix they're my baes but please just resolve the love, connection thing. It's driving me mad!
I am undone. UNDONE. I WANT THINGS THAT VIOLET WILL NOT ALLOW AND IT UPSETS ME. GET OVER IT, GIRL. YOU NEED EACH OTHER.AlsoWHAT THE HECK I WAS NOT EXPECTING THAAAAAT AT ALL.*ahem*Anyway. I'll try for a full review soon. But if not, just know that I love this book and really enjoy the series as a whole and I cannot wait to read the next onnnne!!!!


In Phil Robertson's twisted mind, the only way one can be good is if one follows his faith and his interpretation of its dictates. As atheists, we are assumed to be without morals. We all know this is crazy. But he says it while pandering to a bunch of Christians, and they lap it up.
I'm no victim Phil. Your fantasy actors would find a big scary man ready to give as good as he gets. And, I'd have no trouble judging your behavior and heart. In fact, I can do it now. Your heart is black. Your behavior is reprehensible and counter to the message of Christ.


text:
using System;
using Microsoft.Windows.Design.Metadata;
#if NETFX_CORE
using Windows.UI.Xaml;
#else
using System.Windows;
#endif
namespace MyControlsSDK.Design.Types
{
	public class PlatformTypes
	{
		public static readonly Type DependencyObjectType = typeof(DependencyObject);

		public static readonly Type EditorBrowsableAttributeType = typeof(System.ComponentModel.EditorBrowsableAttribute);

		/// <summary>
		/// Used by MetadataRegistrationBase to get the browsable state
		/// </summary>
		/// <param name="editorBrowsableAttribute">This parameter must be of type 'System.ComponentModel.EditorBrowsableAttribute'</param>
		/// <returns></returns>
		public static bool IsBrowsable(object editorBrowsableAttribute)
		{
			if (editorBrowsableAttribute is System.ComponentModel.EditorBrowsableAttribute)
				return (editorBrowsableAttribute as System.ComponentModel.EditorBrowsableAttribute).State !=
					 System.ComponentModel.EditorBrowsableState.Never;
			return true;
		}

		public static class Control
		{
			public static readonly TypeIdentifier TypeId = new TypeIdentifier("http://schemas.microsoft.com/winfx/2006/xaml/presentation", "Control");
			public static readonly PropertyIdentifier BackgroundProperty = new PropertyIdentifier(TypeId, "Background");
			public static readonly PropertyIdentifier BorderBrushProperty = new PropertyIdentifier(TypeId, "BorderBrush");
			public static readonly PropertyIdentifier BorderThicknessProperty = new PropertyIdentifier(TypeId, "BorderThickness");
		}

		public static class FrameworkElement
		{
			public static readonly TypeIdentifier TypeId = new TypeIdentifier("http://schemas.microsoft.com/winfx/2006/xaml/presentation", "FrameworkElement");
			public static readonly PropertyIdentifier MarginProperty = new PropertyIdentifier(TypeId, "Margin");
			public static readonly PropertyIdentifier HorizontalAlignmentProperty = new PropertyIdentifier(TypeId, "HorizontalAlignment");
			public static readonly PropertyIdentifier VerticalAlignmentProperty = new PropertyIdentifier(TypeId, "VerticalAlignment");
			public static readonly PropertyIdentifier HeightProperty = new PropertyIdentifier(TypeId, "Height");
			public static readonly PropertyIdentifier WidthProperty = new PropertyIdentifier(TypeId, "Width");
		}

		public static class TextBlock
		{
			public static readonly TypeIdentifier TypeId = new TypeIdentifier("http://schemas.microsoft.com/winfx/2006/xaml/presentation", "TextBlock");
			public static readonly PropertyIdentifier TextProperty = new PropertyIdentifier(TypeId, "Text");
		}

		public static class ContentControl
		{
			public static readonly TypeIdentifier TypeId = new TypeIdentifier("http://schemas.microsoft.com/winfx/2006/xaml/presentation", "ContentControl");
			public static readonly PropertyIdentifier ContentProperty = new PropertyIdentifier(TypeId, "Content");
		}

		public static class Panel
		{
			public static readonly TypeIdentifier TypeId = new TypeIdentifier("http://schemas.microsoft.com/winfx/2006/xaml/presentation", "Panel");
		}
	}
}


This Makita PW5001C wet polisher/grinder is being used with an alpha 3-inch flexible backer pad and a 4-inch polishing pad to polish the inside of an under-mount sink. The undersized backer pad allows the outside of the pad to bend and get into hard-to-reach places.
I recently wrote about the tooling and basic techniques used to polish concrete countertops. Now, I will explain in further detail about sink polishing and edge profiling.
Although many concrete countertop fabricators use silicone or edge forms to create their edge profile, there is another way. We have router bits called Eagle Brazed Diamond Profilers with a 5/8-11 thread that are made to be used on the same water-feed polishers that you use for polishing. They have a plastic bearing that rides on the top surface of the countertop and a metal bearing on the side. The plastic bearing keeps the bit from grinding too far down and the metal bearing keeps it from grinding too far in. This enables you to build your forms and skip the silicone, foam and edge forms. When the concrete has cured and you release it from the form, it will be square and ready for the profiler.
There are many different size and profile options to choose from. The advantage of this process is the quality of your edge and the speed with which you will be able to accomplish it. For example, a standard 3/8-inch radius on a 6-foot edge takes about one minute. Run them down your edge until both bearings are touching and it's done. When the desired profile has been achieved, you will be able to look down your edge and see no ripples or lines, just a perfect edge every time. The only possible downfall to using these bits is that they will expose aggregates in the mix. If you are just polishing the cream then using these profilers might not be your best choice. If you are exposing aggregate or your mix only has fine sands, these bits are by far the best way to create different edge profiles on concrete countertops.
Sink polishing can be a bit tricky but there are a few things that can simplify the process. When doing an under-mount sink, you will first need to round over the top edge with a 3/16-inch Eagle Brazed Diamond Profiler. Once the inside of your sink is ready to polish, it's important to have the right set-up. Take the handle off of your polisher; it will only get in the way. Then use a 3-inch flexible backer pad with 4-inch polishing pads. Using the 3-inch backer pad will allow the outside of the 4-inch pad to bend over the edge of the backer. This gets you into the inside radius of the sink. It's important to have a good flexible polishing pad; the Dura-Plus Diamond Polishing Discs are my personal favorite. Start at 100 grit or 200 grit if you are exposing aggregate and at 400 grit or 800 grit if you are not. If you are just polishing the cream then you will need to make sure that your sink knock-out is perfect. Any ripples, lines, or bumps will make it very difficult to create a quality sink opening that looks consistent.
Integral sinks are even harder to polish, but once again, the right equipment can save you a lot of headache. If you have an air compressor, then using an air polisher will be a huge step in the right direction. Air polishers are about one-third the size and half the weight of electric polishers. They are much easier to get into tight areas and the RPMs can be turned way down for fine-tuned polishing. I would take the handle off and use the same pad and backer setup as I would for an under-mount sink. Air polishers need 16 cfm of air to run the machine. Once you try an air polisher, you will not want to go back to electric — but make sure you have the right setup because using a compressor that is undersized can ruin your equipment.
If your sink design does not allow you to polish the whole thing with a machine, then I would recommend polishing strips. They are very similar to hand pads except they do not have the foam. They are very flexible and come in the same grits as normal polishing pads.


text:
The Conversation on Eastern Traditions of Science That Needs to Happen But Won't
By The Conversation not exerting its editorial rights from the start and then hastily taking down a piece, an important conversation was prevented from happening.
At the Jantar Mantar, New Delhi. Credit: rosshuggett/Flickr, CC BY 2.0
The first time I had come to know of the eminent physicist Thanu Padmanabhan was through an e-mail exchange with his colleague at IUCAA Pune, Jayant Narlikar.
The e-mail from him was angry but polite. At this time I was involved with the editorial of an international science magazine in India. Narlikar felt he had been short changed by one of its editors based in New York. Unburdened by this history, I had dropped a line sounding him out for contributions.
In a terse e-mail, Narlikar wrote that there was work he and his colleague, a Padmanabhan, had done which wasn't properly credited – despite their writing to the magazine. It seems at first the editor said it would be corrected and then, after several months had gone by, said too much time had passed to carry a clarification. A fait accompli.
That exchange was more than five years ago. It was by chance that I came across the radio interview of Padmanabhan recently. I had later worked with him on an article. Both that experience and the manner in which he had done up his website, with a quirky brand of humour meshed with aphoristic tales and an unmistakeable streak of independence, appealed to me. I wanted to listen to this guy.
The radio interview does not disappoint. He is gentle but unsparing. At one point he is asked about a previous statement he made in 2012, according to the presenter, that "my work gets recognised globally, but very often it is recognised in India only after it gets honoured in the West. That's a worrying trend and that needs to change."
Do you see that changing, the interviewer asks.
"No," he replies flatly, later adding that "we'd rather work on the wrong ideas of other people in the West than work on wrong ideas of our own. We do not stand up for Indian science. We hide it behind it oh science is international, laws of nature are universal etc… But it doesn't work that way… deserving science needs support…"
This reminds me of a conversation with Spenta Wadia, former director of the International Centre for Theoretical Sciences (ICTS), Bengaluru, where he lamented the lack of leadership in Indian science. The India-based Neutrino Observatory, for which the national academies of science never spoke up and for which a neutrino physicist in Delhi said had "no Godfather" existed, are only other symptoms of this inability to speak up as a group or carry weight with the political establishment.
That conversation was early in 2015, not long after that the Indian Science Congress had held what can only be called a hallucinatory session on ancient Indian aircraft. The scientists were ducking, not just because this was atrocious but because it distracted from what needed to be promoted as real achievements.
Mayank Vahia at the Tata Institute of Fundamental Research, Mumbai, who has keen interest in ancient Indian history, wrote an impassioned plea in DNA saying that "These attempts are self-defeating, but they also drag down more than just themselves. They bring down the morale of the conventional scientists and divert attention and resources away from conventional science and technologies."
That history is, of course, worth celebrating in of itself. Beyond that, it is also clear that in a way textbooks were colonial projects in which, at least where there is a reasonable preponderance of evidence, changes can be made.
The logo for ICTS, as Wadia pointed out, is actually a pictorial proof of Pythagoras' theorem by a Bhaskara II. As the mathematician and Fields Medallist Manjul Bhargava has stated, what are called Fibonacci sequences were known to Carnatic musicians deriving from their Sanskrit origins. Yet I cannot recall any mention of this in my textbooks.
It is true that we can't keep looking to the past. As a quote attributed to the Irish playwright, George Bernard Shaw puts it, "We are made wise not by the recollection of our past, but by the responsibility for our future." And yet something is lost when the past is once-removed.
In the narrative of science, at least in the modern era, much of the East is excluded. When the Higgs boson was discovered, the physicist Gordon Kane gave a quote for an article I wrote – that the discovery represents a "marvellous achievement, the cornerstone of 400 years of efforts to explain what we observe in the universe." It is also 400 years from which the East is largely excluded.
At the same time, the 400 years-streak can't be wished away. If one were to go by some of the oldest journals from the Royal Society, like Philosophical Transactions, they continue to publish, albeit with their stature diminished. Comparatively newer journals like Nature and Science publishing for over a hundred years from the UK and the US are still the journals where researchers want to get in – so much so that a fake journal by the title Nature and Science had come up – if you publish in one you can claim to have published in both.
The astronomer Neil DeGrasse Tyson inadvertently showed the skew when he mentioned that if the science was robust in a country then it would get naming rights for newly-found phenomena. Proper names aside, what if the language of the scientist was Bengali or Tamil?
There is always a tussle between those who say a fact is objective and those that challenge its frame of reference. Such a relativistic view may be called postmodern. But it may be possible to ask a separate question, what if both are true? Following this, it may also be realised that certain questions have no real answers—such as where the wheel was first invented. The other part of such an approach could be to use relativistic views as ways of decentering a discourse even if their objective truth is disputed.
It is in this context that I come to a recent article by C.K. Raju that was unceremoniously taken down from the website The Conversation. For at least a few accomplished old hands like Roddam Narasimha (writing in Current Science) the figure of Pythagoras is seen to be elusive but it very much cannon for the West.
Leaving aside the actual claims which I cannot gauge on my own, I sense several of the old dynamics – at least the power structures – at play. An editorial decision was taken because it could be implemented. The broader point is that conversation was shut down. It is unclear why. The line accompanying the retraction gives no explanation, not even to the readers, save an email address to direct further inquiries at.
The work would have gone through an editor before being published. If so, several of the issues could be resolved there. I believe controversial views from people who are not simply publicity-hungry and have a semblance of reasoning should be aired because there is something to be learnt from them always.
For example, if the noted physicist Freeman Dyson is a climate skeptic – first, it can be stated at the outset that this is far from the consensus of most climate scientists. Dyson agrees that anthropological climate change is a fact but disagrees with the modelling of it. But then, two, perhaps he can explain why? And then it gets more interesting. Having seen videos of Dyson explain his position, it seem he knows the equations on which climate modelling is based but believes that we're not quite there yet in terms of, say, modelling cloud formation. Completely cutting him off would've left us not knowing this nuanced, even reasonable, position.
So, by The Conversation not exerting its editorial rights from the get-go and then hastily taking down a piece, a real conversation and one that needed to happen was prevented from happening.


text:
The Anglican Clergy in the Novels of Barbara Pym
Isabel Ashe Bonnyman Stanley, University of Tennessee - Knoxville
Norman J. Sanders
Richard Penner, B. J. Leggett, Martha L. Osborne
Barbara Pym, a mid twentieth-century British novelist of manners, peoples her twelve novels and shorter works with Anglican clergymen and the "excellent women" of a certain age who are their parishoners. This study examines the development of clerical types in her novels, shows how these types are descended from earlier writers such as Jane Austen, the Brontës and Anthony Trollope and traces the fortunes of the mid twentieth-century Anglican Church in her work.
My research was facilitated by having access to Barbara Pym's letters, journals and personal papers in the Bodleian Library, Oxford, and by having the opportunity to interview her sister, Hilary Pym Walton, in Oxford.
In her earliest novels Pym depicts the Anglican clergy as ineffectual and humorous but central to community life. In her middle and later work she traces the decline of the Anglican Church and the rise of the Welfare State, which does not fill the void left by the Church. Pym examines the question, what creates a sense of community and purpose in the modern world? Pym's friend, the poet Philip Larkin, who looks at some of the same issues in his work, shared ideas with her over the years via a large collection of letters, which shed light on the methods both writers were employing.
Barbara Pym finds that the Anglican Church has lost much vigor but does still serve in a modest way as a state church and source of cohesion.
Stanley, Isabel Ashe Bonnyman, "The Anglican Clergy in the Novels of Barbara Pym. " PhD diss., University of Tennessee, 1990.
English Language and Literature Commons


text:
Q: mysql blob image displaying with php/html After two days of search I come here with the hope of finding a solution.
I am actually trying to store files in the database (mysql), I know how bad it is, but we actually need to do a footprint of the application, so we can't store them with the sources.
I use 3 files:

*

*my form (classic html/php file)

*a php file who process data from form in order to put them into the DB

*another php file in order to get an image from the DB, sending a ID with GET
The problem is that I can't display my image.
the form->
<?php
    echo (''); //The display line
    ?>
    <form method="POST" action="upload_profil_pic.php" enctype="multipart/form-data">
        <input type="hidden" name="MAX_FILE_SIZE" value="250000"/>
        Selectionnez une photo: <input type="file" name="avatar"/>

        <input class="ui-button" type="submit" value="Envoyer"/>
        Formats accéptés: .png/.jpeg/.jpg/.gif | Taille max: 250ko
    </form>

Where the data form the form are processed->
<?php
require_once ('bdd.php');
require_once ('cookie.php');

$dCookie = check_cookie(1);
$maxSize = 250000;
$extensions = array('.png', '.gif', '.jpg', '.jpeg');

// On verifit que le transfert s'est bien deroule et donc que l'image est bien stocke     en tmp
if (!isset($_FILES['avatar']) || !is_uploaded_file($_FILES['avatar']['tmp_name'])) {
    echo('Probleme de transfert');
    die();
}

$pData = $_FILES['avatar'];
$pName = basename($pData['name']);
$pType = $pData['type'];
$pSize = filesize($pData['tmp_name']);

// Verification de l'extension et de la taille
if (!in_array(strrchr($pName, '.'), $extensions) || ($pSize > $maxSize)) {
    echo('Fichier non valide.');
    die();
}
// anihilation des ' ' et des accents.
$pName = strtr($pName, 'ÀÁÂÃÄÅÇÈÉÊËÌÍÎÏÒÓÔÕÖÙÚÛÜÝàáâãäåçèéêëìíîïðòóôõöùúûüýÿ',      'AAAAAACEEEEIIIIOOOOOUUUUYaaaaaaceeeeiiiioooooouuuuyy');
$pName = preg_replace('/([^.a-z0-9]+)/i', '_', $pName);

//avant d'uplaoder une nouvelle image on supprime l'ancienne si il y a (en fonction de l'uid_owner
$reqCheckOldPic = $GLOBALS['bdd']->prepare('DELETE FROM num_profil_picture WHERE uid_owner   = :uid_owner;');
$reqCheckOldPic->bindParam(':uid_owner', $dCookie['uid']);
__log($dCookie['uid'], 'DELETE', array('QUERY' => $reqCheckOldPic->queryString, 'VALUE' =>    array(':uid_owner' => $dCookie['uid'])));
$reqCheckOldPic->execute();
$reqCheckOldPic->closeCursor();

// On prepare l'upload / recuperation du contenu binaire ET echappement du contenu binaire
$pBlob = file_get_contents($pData['tmp_name']);
$reqUpload = $GLOBALS['bdd']->prepare('INSERT INTO num_profil_picture (uid_owner,
                                                                    img_nom,
                                                                    img_taille,
                                                                    img_type,
                                                                    img_blob)
                                                            VALUE (:uid_owner,
                                                                    :img_nom,
                                                                    :img_taille,
                                                                    :img_type,
                                                                       :img_blob);');
$reqUpload->bindParam(':uid_owner', $dCookie['uid']);
$reqUpload->bindParam(':img_nom', $pName);
$reqUpload->bindParam(':img_taille', $pSize);
$reqUpload->bindParam(':img_type', $pType);
$reqUpload->bindParam(':img_blob', addslashes($pBlob));
__log($dCookie['uid'], 'INSERT', array('QUERY' => $reqUpload->queryString,
'VALUE' => array(
    ':uid_owner' => $dCookie['uid'],
    ':img_nom' => $pName,
    ':img_taille' => $pSize,
    ':img_type' => $pType,
        ':img_blob' => $pBlob)));
$reqUpload->execute();
$reqUpload->closeCursor();
header("Content-type: " . $pType);
echo ($pBlob);
?>

And here it is the display->
<?php

require_once('bdd.php');
require_once('cookie.php');

$reqGetPic = $GLOBALS['bdd']->prepare('SELECT img_type, img_blob FROM num_profil_picture WHERE uid_owner = :uid_owner;');
$reqGetPic->bindParam(':uid_owner', $_GET['uid_owner']);
$reqGetPic->execute();
$pic = $reqGetPic->fetch();

header("Content-type: " . $pic[0]);
header('Content-transfer-encoding: binary');
echo ($pic[1]);
?>

A: Ok i found out the solution, using data URI. If you are in trouble, go here for more info: php: recreate and display an image from binary data.

redpajama_set_name: RedPajamaStackExchange


text:
Q: sed not able to print matching regex grop only I have some key value pair arguments. I need to print them as is.
Example.
echo $X
(a=b) (c=d) (e=f)
echo "$X" | sed -E 's/([a-zA-Z0-9_]*=[a-zA-Z0-9_]*)/match/1'
echo "$X" | sed -E 's/([a-zA-Z0-9_]*=[a-zA-Z0-9_]*)/\1/1'
echo "$X" | sed -E 's/([a-zA-Z0-9_]*=[a-zA-Z0-9_]*)/\1/2'
echo "$X" | sed -E 's/([a-zA-Z0-9_]*=[a-zA-Z0-9_]*)/\1/3'

Post the above expresion, I wanted to print matching groups one by one. using .* in pattern matching is greedy and is printing either first or last matching groups only. How can I print any matching group in this way.
Here is my expected output.
a=b
c=d
e=f

A: This grep one-liner will do:
grep -o '[^(]*=[^)]*'

example:
kent$  grep -o '[^(]*=[^)]*' <<<'(a=b) (c=d) (e=f)'
a=b
c=d
e=f

A: Replace ) ( with a newline and remove the remaining parentheses.
echo "$X" | sed 's/) (/\n/g;s/[()]//g'

To print the $nth line, you can pipe the output to
sed -n "$n p"