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Bokulich, Alisa. Distinguishing Explanatory from Nonexplanatory Fictions
2012, Philosophy of Science 79(5): 725-737.
Categories: Explanation, General Philosophy of Science, Science, Logic & Mathematics
Keywords: explanation, fiction, modelling, philosophy of science
Added by: Jamie Collin
Abstract: There is a growing recognition that fictions have a number of legitimate functions in science, even when it comes to scientific explanation. However, the question then arises, what distinguishes an explanatory fiction from a nonexplanatory one? Here I examine two cases - one in which there is a consensus in the scientific community that the fiction is explanatory and another in which the fiction is not explanatory. I shall show how my account of "model explanations" is able to explain this asymmetry, and argue that realism - of a more subtle form - does have a role in distinguishing explanatory from nonexplanatory fictions.
Comment: This would be useful in a course on the philosophy of science or the philosophy of fiction. It is particularly useful for teaching, as it is cutting edge in the philosophy of science but not particularly technical.
Recommended use: Further reading
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Bokulich, Alisa. How scientific models can explain
2009, Synthese 180(1): 33-45.
Categories: General Philosophy of Science, Models, Science, Logic & Mathematics
Keywords: explanation, fiction, models, philosophy of science
Added by: Laura Jimenez
Abstract: Scientific models invariably involve some degree of idealization, abstraction, or fictionalization of their target system. Nonetheless, I argue that there are circumstances under which such false models can offer genuine scientific explanations. After reviewing three different proposals in the literature for how models can explain, I shall introduce a more general account of what I call model explanations, which specify the conditions under which models can be counted as explanatory. I shall illustrate this new framework by applying it to the case of Bohr's model of the atom, and conclude by drawing some distinctions between phenomenological models, explanatory models, and fictional models.
Comment: Interesting paper about scientific modelling. It is easy to read and could serve as an introduction to the topic. The paper explores three approaches to Model Explanations: mechanist model explanations, covering-law model explanations, and causal model explanations. The explanatory function in models is illustrated with the example of Bohr's atom. This article is recommended for undergraduate students.
Recommended use: Introductory reading
Camp, Elisabeth. Two Varieties of Literary Imagination: Metaphor, Fiction, and Thought Experiments
2009, Midwest Studies in Philosophy 33 (1):107-130.
Categories: Aesthetic Imagination, Aesthetics, Fiction, Metaphilosophy, Metaphor, Metaphysics & Epistemology, Philosophy of Language, Philosophy of Literature, Thought Experiments, Value Theory
Keywords: aesthetics, fiction, pretense
Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Recently, philosophers have discovered that they have a lot to learn from, or at least to ponder about, fiction. Many metaphysicians are attracted to fiction as a model for our talk about purported objects and properties, such as numbers, morality, and possible worlds, without embracing a robust Platonist ontology. In addition, a growing group of philosophers of mind are interested in the implications of our engagement with fiction for our understanding of the mind and emotions: If I don't believe that Anna Karenina exists, can I really pity her, or hope or desire that she extricate herself from her tragic situation? And why is there no 'morality fiction,' analogous to science fiction? I suspect that philosophers have been especially comfortable thinking about fiction because it seems, at least prima facie, to employ the imagination in a way that conforms to a standard model of the mind. Specifically, contemporary philosophers tend to think of imagination as a form of mental pretense. Mental pretense can take two main forms: a cognitive attitude of supposing a set of propositions to be true (make-believe) or else an experiential state of imaging a scenario as if it were before one (imaging). Much of our pretense intertwines the cognitive and experiential modalities, of course. But both share a crucial common feature: all of one's imaginative effort is invested in pretending that certain contents obtain. In this sense, we can understand imagination as the 'offline' simulation of actual beliefs and perceptions (and perhaps other attitudes as well), where we analyze these in the normal way, as states individuated by their attitude and representational content. While I share the burgeoning interest in fiction, I want to suggest that we also have a lot to learn from poetry, and in particular from poetic metaphor. I will argue..
Coplan, Amy. Empathic engagement with narrative fictions
2004, Journal of Aesthetics and Art Criticism 62 (2):141-152.
Categories: Aesthetics, Fiction, Philosophy of Literature, Value Theory
Keywords: aesthetics, emotions, fiction, narration
Abstract: There is still little consensus among scholars regarding how best to characterize the relationship between readers of fictional narratives and the characters in those narratives. Part of the problem is that many of the explanatory concepts used in the debate - concepts like identification and empathy - are somewhat vague or ambiguous. In this article, I consider some recent relevant empirical research on text processing and narrative comprehension and argue for a pluralist account of character engagement, in which empathy plays an important role. In Section I, I review several empirical studies that strongly suggest that readers often adopt the perspective of one or more of the characters in fictional narratives. In Section II, I turn to the concept of empathy and provide an explanation of empathy based on models and research in empirical psychology. I focus in particular on self-other differentiation, a critical feature of empathy that has been underemphasized in the literature. Next I discuss two psychological phenomena that are closely related to empathy and often confused or conflated with it: emotional contagion and sympathy. In the final section of the paper, I employ the account of empathy developed in Section II to address Noel Carroll's objections to the view that readers typically empathize with fictional characters.
Elgin, Catherine. Understanding and The Facts
2007, Philosophical Studies 132: 33-42.
Categories: Epistemology, Metaphysics & Epistemology, Understanding
Keywords: exemplification, factive, fiction, idealization, models, understanding
Added by: Giada Fratantonio
Abstract: If understanding is factive, the propositions that express an understanding are true. I argue that a factive conception of understanding is unduly restrictive. It neither reflects our practices in ascribing understanding nor does justice to contemporary science. For science uses idealizations and models that do not to mirror the facts. Strictly speaking, they are false. By appeal to exemplification, I devise a more generous, flexible conception of understanding that accommodates science, reflects our practices, and shows a sufficient but not slavish sensitivity to the facts.
Comment: This paper could be used in an undergraduate or graduate course on epistemology, philosophy of science, or any area in which the nature of understanding is at issue. The paper is quite brief and not particularly technical. It makes a good case for a claim that initially sounds very counterintuitive, so can serve as a good prompt for a discussion.
Friend, Stacie. Believing in Stories
2014, in Greg Currie, Matthew Kieran, Aaron Meskin, and Jon Robson (eds), Aesthetics and the Sciences of the Mind, Oxford University Press: 227-48.
Categories: Aesthetics, Fiction, Value Theory
Keywords: aesthtics, fiction, moral education
Added by: Andrea Blomqvist
Summary: There is a widespread assumption that we can learn facts from fiction: ordinary empirical facts about history, geography, society, biology, and so on. Although nothing about the nature of fiction precludes the acquisition of empirical knowledge, learning facts from fiction is far from straightforward. Fictional texts usually contain a mix of truths and falsehoods and are rarely vetted for accuracy. Readers should tread carefully in forming beliefs from fiction. Do they? According to various psychological studies, they do not. The evidence indicates that for some information, readers are at least as likely to believe what they read in fiction as in non-fiction. Friend claims that these results cast greater doubt on the possibility of empirical knowledge from fiction than standard objections in the literature. Drawing on work by Williamson and Sosa, she proposes that we meet this challenge by appeal to the competences exercised in reading fiction.
Comment: This paper concerns how we can learn from fiction, and it would be suitable as a required reading in a module on that topic.
Friend, Stacie. The pleasures of documentary tragedy
2007, British Journal of Aesthetics 47 (2):184-198.
Categories: Aesthetic Experience, Aesthetic Pleasure, Aesthetics, Documentary Film, Paradox of Painful Art, Philosophy of Film, Value Theory
Keywords: aesthetics, fiction, pleasure, tragedy
Abstract: Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features.
Gendler, Tamar Szabó, Karson Kovakovich. Genuine Rational Fictional Emotions
2006, In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell 241-253.
Categories: Aesthetics, Aesthetics and Emotions, Literature and Emotion, Value Theory
Keywords: Kendall Walton, emotion, fiction, paradox, paradox of fiction
Added by: Simon Fokt
Abstract: The "paradox of fictional emotions" involves a trio of claims that are jointly inconsistent but individually plausible. Resolution of the paradox thus requires that we deny at least one of these plausible claims. The paradox has been formulated in various ways, but for the purposes of this chapter, we will focus on the following three claims, which we will refer to respectively as the Response Condition, the Belief Condition and the Coordination Condition.
Comment: This paper introduces the paradox of fiction, briefly discusses some challenges faced by those attempting to solve it, and offers a solution grounded in Damasio's research into the role of emotions in guiding action. It provides only a limited discussion of the previous debate, which makes it less suitable as an introductory text; it is best used in senior aesthetics classes or as a further reading. Its engagement with psychological literature means it can inspire discussions on the relations between philosophical and empirical explanations.
Full text See used
Keeshig-Tobias, Lenore. The Magic of Others
1990, In Language in Her Eye: Views on Writing and Gender by Canadian Women Writing in English, edited by Libby Scheier, Sarah Sheard and Eleanor Wachtel: Coach House Press
Categories: Aesthetics, Fiction, Philosophy of Literature, Social and Political Philosophy, Value Theory
Keywords: authenticity, cultural appropriation, cultural property, fiction, representation
Added by: Erich Hatala Matthes
Summary: In this short selection, Keeshig-Tobias (Ojibway) raises questions about representation and authenticity in fiction about Native people written by non-Native authors. With reference to certain Native belief systems, she contextualizes why the telling of a story could be viewed as theft in a way that might seem counter-intuitive to a liberal Western audience.
Comment: This is a useful piece to pair with any of the more theoretical writings on cultural appropriation. It articulates some Native perspectives on cultural appropriation that may be less familiar to students, as well as pointing out problems with some of the assumptions on which defenses of cultural appropriation sometimes depend.
Kind, Amy. The Puzzle of Imaginative Desire
2011, Australasian Journal of Philosophy 89(3): 421-439.
Categories: Aesthetic Imagination, Aesthetics, Imagination and Pretense, Metaphysics & Epistemology, Philosophy of Mind, Value Theory
Keywords: desire, fiction, imagination, mind
Added by: Nick Novelli
Abstract: The puzzle of imaginative desire arises from the difficulty of accounting for the surprising behaviour of desire in imaginative activities such as our engagement with fiction and our games of pretend. Several philosophers have recently attempted to solve this puzzle by introducing a class of novel mental states - what they call desire-like imaginings or i-desires. In this paper, I argue that we should reject the i-desire solution to the puzzle of imaginative desire. The introduction of i-desires is both ontologically profligate and unnecessary, and, most importantly, fails to make sense of what we are doing in the imaginative contexts in question.
Comment: Kind provides good arguments against accepting the existence of "i-desires". This article would be useful to teach in the context of philosophy of mind, as well as in philosophy of art and fiction, as it engages with some of the issues surrounding "make-believe".
Liao, Shen-yi, Gendler, Tamar Szabó. Pretense and Imagination
2011, Wiley Interdisciplinary Reviews 2 (1):79-94.
Categories: Aesthetics, Imagination, Imagination and Pretense, Imaginative Resistance, Metaphysics & Epistemology, Philosophy of Mind, Theories of Imagination, Value Theory
Keywords: fiction, imagination, imaginative resistance, mindreading, moral education, pretense, theory of mind
Abstract: Issues of pretense and imagination are of central interest to philosophers, psychologists, and researchers in allied fields. In this entry, we provide a roadmap of some of the central themes around which discussion has been focused. We begin with an overview of pretense, imagination, and the relationship between them. We then shift our attention to the four specific topics where the disciplines' research programs have intersected or where additional interactions could prove mutually beneficial: the psychological underpinnings of performing pretense and of recognizing pretense, the cognitive capacities involved in imaginative engagement with fictions, and the real-world impact of make-believe. In the final section, we discuss more briefly a number of other mental activities that arguably involve imagining, including counterfactual reasoning, delusions, and dreaming.
Comment: Imagination and pretense are closely related concepts. This article could be used in teaching to get students thinking about the relationship, as well as introduce them to the vast psychological research that has been done on pretense play.
Macdonald, Margaret. The Language of Fiction
1954, Aristotelian Society Supplementary Volume 28 (1):165-196.
Keywords: aesthetics, fiction
Abstract: The opening sentence of Jane Austen's novel Emma is a sentence from fiction. Emma is a work in which the author tells a story of characters, places and incidents almost all of which she has invented. I shall mean by " fiction " any similar work. For unless a work is largely, if not wholly, composed of what is invented, it will not correctly be called " fiction ". One which contains nothing imaginary may be history, science, detection, biography, but not fiction. I want to ask some questions about how an author uses words and sentences in fiction. But my interest is logical, not literary. I shall not discuss the style or artistic skill of any storyteller. Mine is the duller task of trying to understand some of the logic of fictional language; to determine the logical character of its expressions. How do they resemble and differ from those in other contexts? What are they understood to convey? Are they, e.g., true or false statements? If so, of or about what are they true or false? If not, what other function do they perform? How are they connected? These are the questions I shall chiefly discuss.
Morrison, Margaret. Fictions, representations, and reality
2009, In Mauricio Suárez (ed.), Fictions in Science: Philosophical Essays on Modeling and Idealization. Routledge.
Keywords: abstraction, fiction, idealisation, philosophy of science, representation
Summary: Uses Maxwell's model of the ether as a case study in accounting for the role of fictions in science. Argues that we should understand idealisation and abstraction as being different from fiction. Fictional models for Morrison are those that are deliberately intended to be such that the relationship between their structure and the structure of the concrete systems they model is not (immediately) apparent. This is different from mere idealisation, where certain structural features are omitted to make calculations more tractable.
Comment: Very useful as a primary or secondary reading in an advanced undergraduate course on philosophy of science (or perhaps on philosophy of fiction). It is philosophically sophisticated, but also treats the science in enough detail to provide students with some clear ideas about the nature of scientific representational practices themselves. Would be appropriate in sections on scientific representation or modelling.
Pointon, Marcia. Portrait, Fact and Fiction
2013, in: Portrayal and the Search for Identity, Reaktion Books, pp. 23-46.
Categories: Aesthetic Representation, Aesthetics, Depiction, Value Theory
Keywords: depiction, fiction, portrait, representation
Added by: Hans Maes
Summary: Considers portraiture an unstable, destabilizing, potentially subversive art through which uncomfortable and unsettling convictions are negotiated. As such, it is primarily an instrumental art form, a kind of agency. Also argues that there is an element of the fictive involved in all portrait representations. Explains how portraiture is a slippery and seductive art.
Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Garibaldi at Caprera, frontispiece of G.M. Trevelyan, Garibaldi and the Thousand, May 1860 (1931 edition)
A reproduction of a photograph of a copy of a many times copied portrait of the guerilla leader. Devoid of monetary or aesthetic value. Not very likely that Garibaldi looked like this or posed for the artist. The portrait works to endow the historical narrative with its illusion of a unified subject.
Robinson, Jenefer, Ross, Stephanie. Women, Morality, and Fiction
1990, Hypatia 5 (2):76-90.
Categories: Aesthetics, Feminist Aesthetics, Feminist Ethics, Fiction, Normative Ethics, Philosophy of Gender Race and Sexuality, Philosophy of Literature, Value Theory
Keywords: caring, fiction, moral reasoning
Abstract: We apply Carol Gilligan's distinction between a "male" mode of moral reasoning, focussed on justice, and a "female" mode, focussed on caring, to the reading of literature. Martha Nussbaum suggests that certain novels are works of moral philosophy. We argue that what Nussbaum sees as the special ethical contribution of such novels is in fact training in the stereotypically female mode of moral concern. We show this kind of training is appropriate to all readers of these novels, not just to women. Finally, we explore what else is involved in distinctively feminist readings of traditional novels


text:
It's Tuesday, and Álvaro Fernández is still a Seattle Sounder
By Richard FarleyJul 17, 2012, 5:00 PM EDT
TUKWILA, Wash. – A funny thing happened at Seattle Sounders practice on Tuesday: Álvaro Fernández showed up.
That may not sound remarkable. After all, Fernández is a Seattle Sounder player, but amid Monday rumors the Uruguayan attacker would be sent on loan to Colombia's Deportivo Cali, the appearance of "Flaco" was significant. If the 26-year-old's about to take a break from the Pacific Northwest, neither he nor the club are acting like it.
"I guess when you score a couple of goals, rumors start," head coach Sigi Schmid told media after Tuesday's practice, his team preparing for Wednesday's meeting with European champions Chelsea.
"[There's] nothing I'm aware of right now," Schmid said, having just finished a long conversation with general manager Adrian Hanauer and technical director Chris Henderson. "Everything's just rumors. [Fernandez has] two goals in our last two league games. He's done well from that stand point."
Rumor, innuendo, smoke – we still haven't seen fire around the Fernández speculation, though you can see why it's there. Seattle has filled their allotment of designated players with Fredy Montero, Mauro Rosales and Fernández. If the Sounders are to make a big move by the time the transfer window closes on July 27, they may need to free up a spot. While not every big move requires a designated player spot (see: all-star Eddie Johnson), the type of transactions that generate weeks of idle speculation require designated player caché. With Montero and Rosales integral to Seattle's 2012 plans, Fernández is the clear third of three.
But not being as important as Montero or Rosales, two all-star-caliber players, is a lot different than being in the bargain bin. As Schmid notes, Fernández has been productive of late, scoring the opening goal in Seattle's last two MLS matches. But those are Fernández's only goals of the season, and ranking 13th on the team in minutes played, Flaco carries the distinction of being one of the club's best compensated players ($300,000, this season) without being a lock for Schmid's starting XI.
Last year, Fernández's nine league goals were second on the club, with Flaco scoring every 215 minutes. This year, Fernández is scoring once every 460 minutes, leaving him fighting for time in a midfield picture crowded by the emergence of Alex Caskey and rookie Andy Rose. Fernández has made 14 league appearances. Caskey and Rose have each made 13.
Ultimately, Fernández's immediate future may have less to do with his play than his status. While he may not be performing to his $300,000 salary, that's not money Seattle's hurting to reclaim. The Designated Player spot, however, is scarce.

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What About This Artist's Music Speaks To You: The Newsboys music, more specifically the song "Shine", helped me come to Christ back in 1999. So many of their songs seem to be part of the soundtrack of my life and speak to things that are directly happening in my life currently.
Favorite Live Show Experience: Hanging out and getting to talk with Duncan and hear his heart at a Born Again Experience Show in TX.
Favorite Piece Of Merch/Item You Own From This Artist: Autographed tour drum head from WJ 2010 and drum stick.


I laugh at all the latest with Orange County Moms and suburbia Reality. I grew up in a wealthy bedroom community of Silicon Valley. When the time came to buy my own home, I railed against buying here. After all, I didn't want to become a Stepford! The more we resist, the more it persists. The best home for the cheapest price was in Los Gatos. And so here I am again.
And I am reminded of why. It's a fun place.
There's a bar in town Carry Nations that was designed by Gary Dahl (inventor of the pet rock).
The bar Mountain Charlie's has a colorful history.
In this blog, I'll discuss the history & the current reality of that which is Los Gatos.


Marked by the Azorean culture, Imbituba is one of the most sought tourist destinations on the coast of the state of Santa Catarina. Located at 104 km (64.62 mi.) from Florianópolis, the capital of the state, Imbituba has in the beauty of its beaches its greatest attractions. Every summer, the town receives thousands of tourists and sports lovers looking for the waves of the famous Rosa Beach, ideal for surfing. But there are other beaches in Imbituba, all of them equally beautiful and considered as being very clean by the environmental body of the state. Some of them are almost wild, offering the perfect atmospheres for those who want to relax by the sea. In the town we also find ponds, dunes, rivers, and islands. The Ibiraquera pond is known as being a good place for shrimp fishing. In the islands of Sant'Ana de Dentro, Sant'Ana de Fora, Araras, Tacami, Ouvidor and Batuta, it is possible to take schooner rides and to hike in the ecological trails that lead to the beaches or ponds. Another important attraction in Imbituba are the right whales. Between the months of May and November, the coast of the town is the chosen location where the whales go to give birth and feed their calves. They can be seen very near the beach, dazzling both the local residents and the tourists. Imbituba is also known, both Nationally and Internationally because of its harbour, one of the largest harbours in the South Region of Brazil. To receive visitors, the town has a wide and modern infrastructure of hotels, bars, and restaurants, besides having varied stores.
The prevailing climate in Imbituba is temperate, with annual average temperatures between 18°C (64.4°F) and 30°C (86°F).
By Boat: since it is a harbour town, it is also possible to get to Imbituba by boat. Its coordinates are 28°14'24" of latitude and 48°40'13" of longitude.
By Road: To get to Imbituba by road, the best option is the BR-101 motorway.


North Park received its name from North Park University that built the Old Main building in 1894 along Foster Avenue west of Kedzie. The neighborhood is about nine miles northwest of the Loop. Click here to read more.
North Park homes for sale.
North Park area points of interest.


text:
Uk Protests To Spain Over Gibraltar Border Traffic Delays
By interestrateripoff, July 28, 2013 in The off-topic forum
interestrateripoff
Carry on banking.....
Location:Ponzi Land
http://www.bbc.co.uk/news/uk-23482549
The UK government has protested to Spain about long delays at the border with Gibraltar.
The Gibraltar government had said Spain created "deliberate hold-ups" to traffic travelling to and from the British territory and Spain over the weekend and Friday.
Foreign Secretary William Hague called the Spanish Foreign Minister on Sunday to express "serious concerns".
It follows earlier accusations of Spanish incursions into British waters.
This all seems a bit pointless over a bit of fecking rock.
God forbid anyone asks what the people who live there want!
It's almost as if the Spanish govt need a distraction from their economy.
SpewLabour
And heaven forbid the Spanish would return Ceuta, Melilla and Perejil to the Moroccans...
albimac
This is nothing new. Speaking to people who lived there in the 80/90s. I was told that the default practice for Spain during diplomatic tussles, was to cause traffic delays at the border.
Usually park up on the spanish side and walk over ...Its a pig parking in the gib anyway ...more cars than parking places
happy_renting
Virtue Signalling
Not been there, but I'm told it's an awful place, basically just a military garrison.
Unless anyone here knows better...
mikthe20
That's what I always say to Spaniards when they bring up Gibraltar (I have quite a few Spanish friends) - they soon go quiet. The local town of La Linea is pretty much economically dependent on Gibraltar also.
Still, traffic delays is nothing - I remember the days when the border was properly closed and families had to shout to eachother across no man's land just to keep in touch.
MrPin
Location:Aboard the Bridge of HMS Fishfinger
About Me:Sailing the seas of whelks, cockles, and mermaids
That sounds like Glasgow!
Funnily enough I had dinner with a Spanish colleague a week ago. He brought up Gibralter and asked when are we giving it back. He seemed to strongly believe a deal was done within one of the EU treaties, where running disputes had to be settled, Gibraltar, Cyprus and some other borders in Eastern Europe.
He said the Spanish press had been alive with talk of taking back Gib. Hinted at some kind of forced action and that "I would see!!".
Now I do know for a 100% fact that a TA Battalion was on 24hr notice to deploy to Gib during the 1991 Desert Storm period, fully tooled up, due to a build up of Spanish forces across the border. Nothing came of it, but these guys definitely see Gib as theirs and the latins have a very romantic/tragic view of their history, we were robbed etc, just like the Argies and the Falklands. Normally these ideas are best put to them in the press, cinema, tv when their government want to deflect the spotlight from economic issues.
I can see with so many young men out of work and the obvious diversionary benefits for Spanish population at large would be considerable. Also start of the MPs holiday season is the perfect time for a crisis...Hope the politicos don't overlook it and the shooting starts
Would we give up Gib? Wasn't there a referendum ?
I think they have had 2 and decided they want to remain as they are both times. Naturally if the EU is involved they'll be asked repeatedly until the correct answer is given?
The thing that's screwing Gibraltar is that because it's part of the UK and therefore it's not in Schengen so there has to be a defended border with all the checks that are associated with it. EU free movement still involves car and passport checks, it's Schengen that people are thinking of when it comes to driving across borders with zero intervention.
The UK likes the convenience of the military airstrip but many of the locals don't consider themselves British. Some of the UK-British-origin do, but the Spanish-type ones don't. I will get slaughtered for calling Gibraltarian people "Spanish-type" but they are the most Andalucian-Spanish people you could ever meet without them having a Spanish passport and there are 1000s of them. I have no idea why they all speak Spanish in public if they want people to think of them as British.
I don't see anything wrong with say 75 years of shared UK-Spanish sovereignty.
Maybe they will take it over then the UK will ban all travel and flights to Spain.
Spanish economy collapses and they get to blame the UK for it. Even though it was
going to anyway.
Civil uprising, they leave the euro, dictators, Top Gear Christmas Special, etc.
Gigantic Purple Slug
Surely every now and then they're going to have a crackdown, otherwise there wouldn't be any point having border controls in the first place. But the media has to dress it up as some sort of major issue ?
There has been a lot in the news recently about Spain and its incursions into gibralter territory. But just maybe the reason for that is that there is an increase in criminal activity, rather than issues over sovereignty.


"Ministry of Food" redirects here. For de tewevision programme, see Jamie's Ministry of Food.
An agricuwture ministry (awso cawwed an agricuwture department, agricuwture board, agricuwture counciw, or agricuwture agency, or ministry of ruraw devewopment) is a ministry charged wif agricuwture. The ministry is often headed by a minister for agricuwture.
Specific duties may rewate to reguwation, promotion, agricuwturaw research, price supports and agricuwturaw subsidies, pwant diseases and invasive species. Some countries have muwtipwe agricuwture ministries, devoting entire ministries to more specific powicy areas such as forestry and fisheries; ruraw affairs; food and food qwawity, security, and safety; consumer protection; and matters rewating to de environment.
^ a b c "Organizationaw Chart of Norf Korean Leadership" (PDF). Seouw: Powiticaw and Miwitary Anawysis Division, Intewwigence and Anawysis Bureau; Ministry of Unification, uh-hah-hah-hah. August 2016. p. 2. Retrieved 8 May 2018.
^ a b c "Chiefs of State and Cabinet Members of Foreign Governments: Korea, Norf - NDE". Centraw Intewwigence Agency. 19 January 2017. Retrieved 8 May 2018.
This page was wast edited on 16 January 2019, at 02:59 (UTC).


text:
Home > Articles > Volume 29 (2011) > Chapter 2 (February 2011) > Stocks & Commodities V. 29:2 (34-41): The Spearman Indicator For Technical Analysis by Dan Valcu
Stocks & Commodities V. 29:2 (34-41): The Spearman Indicator For Technical Analysis by Dan Valcu
Item# 025VALCPDF
The Spearman Indicator For Technical Analysis by Dan Valcu
This indicator is a very old statistical tool that even to this day helps determine trend strength and turning points. Here�s how to apply it to your trading.
echnical analysis can be considered both a science and an art; patterns and chart reading represent the artistic component, while technical indicators help us analytically understand trend strength, buy/sell pressure, and divergences. There are perhaps thousands of technical indicators, but few seem to deliver real analytical power and differentiation in this increasingly crowded landscape, especially since many can be perceived simply as intellectual exercises that produce little bottom-line impact. To narrow down this set of tools, statistics offer a great source of established knowledge for those who want to focus on more tangible and useful indicators. For instance, the tried-and-tested Z-score has become a classic in both statistics and technical analysis. In this article we will discuss an established concept in statistics originally proposed in 1904, with potential for use in technical analysis: the Spearman�s rank correlation coefficient, also known as the Spearman indicator.
SPEARMAN'S RANK CORRELATION COEFFICIENTS
Charles Spearman was a late 19th-century and early 20th-century British psychologist and mathematician with major contributions to factor analysis, theories of intelligence, and mental test theory. In 1904, he developed a statistical measure for the strength of association between two variables. It later became the foundation of the rank correlation coefficient bearing his name. Spearman�s rank correlation coefficient computes the degree of correlation between the ranks of the elements in two data groups of equal size.


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Episode 289: That Hoffman Woman
December 19, 2013 August 1967, Malcolm Marmorsteinbooks, candles, coffin, tinkling, trespassing, weatherDanny Horn
"I'm all right. Just call me Miss Jitters of 1967."
Okay, you're not going to believe this, but today's episode of Dark Shadows begins with Victoria Winters looking out the window. There's a storm outside, and when the lightning flashes, she starts, as if she's seen something upsetting. Then she walks over to her bedside table and opens that damn music box again. Then Carolyn comes in, and they talk about the music box, and the weather, and then we cut to Barnabas standing outside, staring up at Vicki's window.
In other words: This is a mash-up of the beginning of every episode from the last five days. It's like they realized during the dress rehearsal that they'd forgotten to write the first act, so they just tore a page out of all the other scripts this week and now we have to watch it.
Vicki goes to bed, and they make a point of showing her winding the alarm clock. It's 11:38pm.
They do a little cross-fade to the window, and then back to the clock, which is now showing 1:35am. That means that Barnabas has been standing outside in the rain for at least two hours. He must be drenched.
Barnabas appears in the room and goes over to Vicki's bed, ready to bite her. Then she moves in her sleep, and her face catches the moonlight, and he loses his nerve again. They already did this scene two episodes ago, but it's an important character moment, so they're doing it twice.
So instead of biting her, he just opens the music box and leaves the room. That's probably the most pointless thing that he could possibly do, because she listens to that music box every five seconds anyway.
The music box wakes Vicki up, and then Carolyn comes in, and they sit on the bed and talk about the storm, and the music box, and how the lights have gone out, and the storm, and how Vicki feels like someone was in the room just now, and the music box, and the storm, and so on.
You know, everybody says that two girls in bed together is super hot. It turns out that this is not always the case.
Vicki and Carolyn go downstairs, and they find Julia reading by candlelight, because trouble never sleeps.
Carolyn goes to the kitchen to get coffee, and Julia strikes up a conversation.
Julia: What's that you have?
Vicki: It's a music box.
Julia: Oh! It's quite beautiful.
Vicki: It belonged to Josette.
And holy cow, has Julia not seen the music box until now? She must be the only person in a five-mile radius who hasn't heard all about it. This isn't even their first Josette-related conversation.
Vicki plays the music box, and Julia agrees that it's a beautiful melody.
Then Vicki says, "I especially love the tinkling sound it makes," which is one of those lines that makes you wonder if today's script was translated, as Tom Baker would say, from the fucking Albanian.
But the point of the scene is that Julia makes an important connection.
Julia: It does have a tinkling quality to it. Someone recently was trying to describe a melody to me, it was a — it was a tinkling melody. Just like this one…
A minute later, Vicki mentions that Josette had a favorite perfume.
Vicki: It was jasmine.
Julia: Jasmine… that's a rather strong fragrance, isn't t?
Vicki: Yes, very strong, and very unforgettable. Mr. Collins let me wear some the night of the party.
Julia: Mr. Collins — had some?
Vicki: Yes, in a bottle in Josette's room.
Julia: A strong fragrance, and a tinkling melody. How very, very interesting.
This is an interesting moment, because Julia is referring back to a therapy session that she had with Maggie more than a week ago.
Bringing back memories from her abduction, Maggie remembered a tinkling sound, and a sweet fragrance. But nobody's mentioned it since then, and Julia doesn't explain the connection now.
This is a crucial plot point — a moment of insight, when Julia suddenly understands exactly what happened to Maggie — but if you weren't watching the show last Tuesday, it sails right over your head. This contradicts all the usual laws of soap opera writing. Julia should be recapping like crazy right now, to make sure that everybody's following the plot.
And stepping back for a second — that's exactly what I'm doing right now. I don't know if you've read all of these blog entries, or if you just showed up and this is your first one. So I'm making a point of linking back to last week's episode, and explaining the whole thing slowly, just in case. Which means that I'm recapping more than a 1967 soap opera.
The Dark Shadows writers must be incredibly confident right now, if they feel like they can refer back to a specific episode, and expect that the audience will follow it.
Then Julia pushes things too far.
Julia: Mr. Collins allows you to wear Josette's dress and perfume, fills you in on her history, and gives you the music box.
Vicki: What are you trying to say?
Julia: Wouldn't it seem that he's trying to… recreate Josette?
Vicki: No! Absolutely not.
Vicki gets up, and crosses the room.
Vicki: I think that that's an absurd notion.
Julia: Well, it's just a thought, an impression I had.
Vicki: Well, I don't like what you're insinuating.
Startled and offended, Vicki walks out of the room, just as Carolyn is coming in with a tray.
Carolyn: Vicki, here's the coffee.
Vicki: I'm tired. I don't want any.
Vicki walks out of the room and goes upstairs.
Carolyn: She seemed upset.
Julia shrugs, and they sit down together.
Julia: Mmm, the coffee smells good. I guess it must have been the storm that upset her.
Which means that the rules of the show have just changed in the last few minutes.
When this episode started, it was Vicki's story. She had feelings about the storm, and we were expected to care about them. We watched her wind a clock before getting into bed. Obviously we find her fascinating.
But now Vicki is upset, and she's gone back upstairs — but we don't follow her. "Old" Dark Shadows would have gone upstairs to the bedroom for more talky scenes about her feelings. We stay downstairs with Julia, who shrugs it off and moves on with her day.
I think the show has changed, and it's not "old" Dark Shadows anymore. Welcome to the new show.
And just to prove that point, as soon as Carolyn turns her back, Julia grabs her coat and heads out to the Old House.
Julia lurks outside the window, eavesdropping on the vampire, because that is the kind of television show that we're watching now.
Barnabas is sending Willie to Portland on a shopping trip, but he wants him to get back as soon as possible.
Barnabas: I want you to look after the house with great care.
Willie: Well, I do.
Barnabas: But Miss Winters was here the other day.
Willie: You said she could come any time she wanted to.
Barnabas: I know, but she came with that Hoffman woman. I don't really know who she is, but she asks too many questions. I don't want her around here.
And he's right, obviously.
Willie leaves for Portland, Barnabas goes downstairs to his coffin, the sun comes up, and that Hoffman woman climbs in through the window.
Not wasting any time, Julia heads downstairs and finds Barnabas' coffin. Without a moment's hesitation, she opens the coffin…
… and finds Barnabas, resting in peace.
Which is incredible, and this isn't even the Friday cliffhanger. Things are about to change.
Tomorrow: The Ancient Truce.
In the first scene, Vicki closes the music box when Carolyn knocks on the bedroom door. The music keeps playing for a few seconds after the box is closed.
Dark Shadows episode guide – 1967
← Episode 288: The Unreflected Episode 290: The Ancient Truce →
18 thoughts on "Episode 289: That Hoffman Woman"
That is a subtle, but critical, moment when Vicki goes upstairs but the focus stays on Julia. Thanks for pointing that out.
I also liked her dismissive excuse for Vicki's mood.
I bloody love Julia.
You're absolutely right. This is where the show changed its protagonist, and for the better.
Thanks for writing this blog! As someone who does not normally watch soaps, reading these posts have been a crash course in the art of the soap opera genre. And its been a fascinating learning experience.
Julia is so cool. She knows she got to Vicki and didnt have to press the issue. Brilliant.
ann rychlik says:
How were they able to make coffee when the power was out?
Mary Jane Z says:
Wow that is a good point. I totally missed that.
I'm so gullible, just call me Vicki
Margaret Foreman says:
Cold brew?
sstosite says:
In a percolator on a gas stove.
A gas stove. You just light the pilot with a match. I've done it myself when the power went out.
TD says:
Regarding the coffee, you also have to remember that coffee would have almost certainly been made on a stove in 1967. There were no electric drip coffee makers until Mr. Coffee came on the market in 1972. Julia also says the coffee is "perking," which refers to a percolator, which in everyday use is done on a stove. So it's no big leap to assume it's a gas stove.
Percys Owner says:
Electric percolators have been around since the 1950s. I remember my parents perking their coffee in them back then.
Yes, it is true there were electric percolators, but a stove percolator was much more typical for everyday use, as I said. (My parents had an electric percolator too, but it was used when we had company.) The point is that it shouldn't be at all surprising that Mrs. Johnson made coffee when the electricity was out since with a gas stove, if you had it (and many did at the time), everyday coffee-making on a stove percolator was not at all unusual. These days (in the age of coffeemakers), stovetop percolating is very unusual, and most people would wonder how to make coffee without electricity.
Nonchalant says:
Probably even since the 1930s.
Nonchalance says:
Wood stove? Fireplace? Phaser? ;-p
Barry Williams says:
The sheer redundancy of storm after storm at Collinsport–I would think that somebody might think that the world is coming to an end. It all seems so apocalyptic there. And while I am thinking about this, I wanted to ask if anyone can tell me if the show actually follows traditional seasons like the rest of the world? Is there a fall or winter and do they ever celebrate the soaps' favorite time of year, Christmas? I can only imagine how juicy it would be to see Willie and Barnabas setting up a Christmas tree and decking the halls……lol
The "Miss Jitters of 1967" line is, on the face of it, one of the most bizarre sentence constructions ever produced,
Welcome to the new show.
Thanks, pleased as a claret cup to be here!
Now things start to get exciting.
Presenting… Julia
She's got mad skills
rschaefer1231 says:
Best line today…"This dude kills people with his teeth!"
Jeff Satterfield says:
Caninus interruptus.


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Home CRIME Paris Police Reports March 31, 2021
CRIMEMPT InstaNews
Paris Police Reports March 31, 2021
by MyParisTexas April 1, 2021
by MyParisTexas April 1, 2021 0 comment
Paris Police responded to a theft in the 900 block of Clarksville St at 7:50 P.M. on March 31, 2021. Officers detained Derwin Louis Hardison, 56, of Paris. Hardison was found to have an outstanding parole violation warrant. During the investigation, Hardison was found to be concealing four packages of fish inside his jacket. Hardison was arrested on the parole violation warrant. It was later found that Hardison had at least two prior theft convictions therefore, this new theft charge was enhanced to a felony. Hardison was later transferred to the Lamar County Jail.
Paris Police stopped a vehicle in the 1200 block of Fitzhugh Ave at 12:44 A.M. on April 1, 2021 for speeding. The driver, 61 year old Bobby Charles Richards, of Paris, was found to be intoxicated. During the arrest, Richargds was also found to be in possession of a controlled substance. The officer later found that Richards had two previous convictions for driving while intoxicated and enhanced this charge to a felony. Richards was processed and later transferred to the Lamar County Jail.
Kelly Don Brown, 43, of Paris, was arrested at 10:27 P.M. on March 31, 2021 on a felony assault warrant. The warrant stemmed from an investigation where it was reported on March 18, 2021 that he assaulted his girlfriend. Brown was booked and then transferred to the Lamar County Jail.
At 1:33 A.M. on April 1, 2021, Paris Police responded to an assault in the 3500 block of NE Loop 286. During the investigation, Officers located over 7 grams of methamphetamine, marijuana, and drug paraphernalia consistent with the selling of narcotics. Richard Lee Dodd, 58, of Deport, and Jamie Sue Aubrey, 51, of Pattonville, were arrested and charged with manufacturing or delivering a controlled substance of more than 4 grams but less than 200 grams. Dodd was additionally charged with family violence assault and Aubrey was charged with possession of marijuana. Both were booked into the city jail before being transferred to the Lamar County Jail.
At 2:36 A.M. on April 1, 2021, Paris Police observed a male pushing a bicycle in the middle of the roadway in the 2600 block of Lamar Ave. Upon making contact with the person, the male admitted to being in possession of marijuana. Further investigation found that he was also in possession of methamphetamine. Cory Lane Roberts, 24, of Paris, was arrested and charged with possession of a controlled subastance and possession of marijuana. He was later transferred to the Lamar County Jail.
Paris Police responded to 74 calls for service and arrested 8 persons on March 31, 2021.
DPS Trooper dies in line of duty shooting
Kenneth Wayne Lackey of Powderly, Texas
Cinnamon Toast Crunch Popcorn arrives at Sam's...
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Free First Responder breakfast scheduled for Saturday,...


Came into stock: In Stock and available – 29th April 2013.
Restoration Status: Recently fully serviced (2012) but KSR to service once sold & prior to shipping to new owner.
Remarks: An ultra-rare instrument from the Italian Farfisa company from 1978 – the Polychrome. It's a combo synth/strings/organ/vocal, and percussive instrument, that is not like anything coming out of USA or Japan at that time (Korg Trident/Arp Quadra etc). There are believed to be only a couple of hundred ever made, so certainly rare.
Fully polyphonic using octave-divider technology, and features an inbuilt analogue Phaser and Ensemble for effects. Particular fame was the chorus section, which many comment as being the most beautiful sounding of all analog synths from these era and reason enough to want to own one.
Another great feature of the keyboard is what Farfisa call the "Touch Brilliance" operation. This provides 3 aftertouch settings to control the Chorus Section and all the tone colours for; Electric Guitar, Brass, Reed and Strings. It's a nice 'Touch' so to speak and offers a level of playable control that really makes this instrument sing.
The keyboard is supplied with its original Farfisa Carry Bag, legs and music stand….very nice!
Availability: This Polychrome is now SOLD as at 10th October 2013.
Restoration Status: KSR will undertake full restoration once in receipt of instrument from RL Music in early July.
Remarks: We're excited to be able to get hold of this super condition CS70M as they really are quite magnificent synths for a whole number of reasons. These were proper old-school designed analogue systems made in the early 80s, and it wasn't long after these came out that the DX7 was introduced, which seems hard to believe really.
The CS70M has for many people been overlooked, or perhaps overshadowed by it's bigger brother – the CS80, but time is a funny thing and we think this synth is about to become highly sought after.
6 Voice, dual channel (stereo), aftertouch, 30 memories, ring-mod, fully programmable and with a 4 channel polyphonic sequencer…sweet!
Those in the know will already tell you that this is one of the finest analogue polys ever made, and a work of audio art in its own right. It shares much of the same technology at the CS80 and many of the characteristics and tonal qualities as well. The other big 'Hello' is also the fact you can get really close to the CS80 sound for a lot less money…this makes it even more appealing.
Availability: This CS70M is now SOLD on deposit, as at 24th June 2013.
Images of actual instrument below, higher resolution images will become available post-restoration.
Remarks: If you are after the Arp Odyssey Sound, need MIDI but don't need a keyboard then this customised Mk3 is the one for you.
This is actually a fantastic modification and we have never seen one done like this before. Our customer, the current owner, said he bought it like it is now but the work was clearly done by a professional in the past as the MIDI is full spec and the audio-out is by XLR only.
Made to look like an Arp 2600, this now desktop synth is a perfect musicians tool and the overall condition is very good, but cosmetically it's got some wear. Having said that, this has been modified to work perfectly with a DAW or any MIDI keyboard, so it's an every-day useable synth, and sounds perfectly like a MK3 Arp Odyssey.
Guide Price Post-Servicing: £2190 GBP.
Remarks: Much has been written on these incredible synthesizers and its understandable when you use them as they really can deliver a thick analogue wall of sound, and are perfect pad and brass sources just for starters.
The Xpander lineage includes the Matrix 6 and 12, and is a fully midi configured, 6 voice Polysynth – an excellent addition to any analogue set-up and has to be heard to be believed. he Xpander offers a deep programmable architecture for those of you into tweaking but can also be very user friendly hands-on preset machine. This means they sit between that digital and analogue medium perfectly and are arguably the best of the hybrid technology of the early to mid 1980's.
This Oberheim Xpander has come to us from a long standing RL Music customer who is downsizing his synth collection, which is all in fantastic condition. We're very pleased to be able to offer this wonderful synthesizer as a Brokered deal, and we will be fully servicing it and selling it with a 3 month warranty.
Guide Price Post-Servicing: £2490 GBP.
Availability: This Oberheim Xpander is now SOLD on deposit as at 7th June 2013.


text:
Trump Admits Campaign Promises Are Meaningless
Posted in U.S.
by Tim Preuss
Tim Preuss U.S.
August 21, 2017 Tim Preuss
President Donald Trump took to the podium just hours ago to announce his new plan with regards to American presence in Afghanistan. While most of the media was focusing on what the new strategy is, when it will take place, and how many additional troops will be sent to the troubled country, there was a remark made in the beginning of Trump's address that was completely overlooked. It shows what many knew all along – Donald Trump is a lying politician just like the rest of them.
"Nearly sixteen years after September 11th attacks, after the extraordinary sacrifice of blood and treasure, the American people are weary of war without victory. Nowhere is this more evident than with the war with Afghanistan: the longest war in American history. Seventeen years.
Who made THAT mistake? First it's "nearly sixteen", then a sentence later it becomes "seventeen". Whoops!
"I share the American people's frustration. I also share their frustration over a foreign policy that has spent too much time, energy, money, and most importantly, lives, trying to rebuild countries in our own image, instead of pursuing our security interests above all other considerations.
That is why shortly after my inauguration I directed Secretary of Defense Mattis and my national security team to undertake a comprehensive review of all strategic options in Afghanistan and South Asia. My original instinct was to pull out and historically I like following my instincts, but all my life I've heard that decisions are much different when you sit behind the desk in the Oval Office; in other words – when you're President of the United States."
Donald Trump's original instinct was exactly what he campaigned on. Rarely, if ever, did he mention that the decisions he would make when behind the desk in the Oval Office would be different than his instincts which he campaigned on.
If reading the Art of the Deal, or viewing his interviews, or reading his tweets, or looking back in time and comparing his positions then and now, were all not enough for people to second guess this President, hopefully this is. In plain English, the Donald openly admitted that what he campaigned on, his instincts, will not be the way he addresses foreign policy matters.
Game. Set. Match.
afghanistan, donald trump, ISIS, middle east, war
Tim Preuss is the founder and CEO of Preuss Media LLC. Along with writing for PreussPodcast.com, he hosts the Tim Preuss Podcast Monday through Friday, available on iTunes, and regularly interviews prominent personalities within the liberty community. View all posts by Tim Preuss


ProMax is well known for its ability to accurately predict BTEX and VOC absorption and emissions from oil and gas facilities. ProMax comes with a variety of tools to facilitate reporting emissions of these compounds as well as HAPs, Greenhouse Gases, and Global Warming Potential. These tools work seamlessly with your ProMax models to combine process simulation and environmental reporting in one software package. Microsoft Excel® connectivity facilitates automation and customizable reporting. See our training section for information on a free specialized course in Air Emissions.
ProMax is used by several regulatory agencies around the United States to help protect natural resources and promote public health. Contact us today to see if your state's agency uses our software for their environmental needs!
ProMax can estimate working, breathing and loading losses using AP 42 methods. In addition, accurate flash emission calculations for oil and gas facilities has long been a strength of ProMax.
As a full-fledged process simulator, ProMax allows you to study how process changes affect emission rates and to estimate emissions from current operating profiles. Shown here is a typical use of ProMax to estimate emissions from a glycol dehydration unit vent stream.
ProMax can estimate emission reductions from flares, thermal oxidizers and provide data for accurate flare sizing.


While every software tool explained in this article explains the purpose and importance of each it is wise that any company interested in deploying such a tool should select the proper fit for them. We have curated a list of the 20 best POS systems for restaurants below so that you can find the software that fits your requirements perfectly. Take into consideration the ease of use, technical knowledge required, support provided, security of your data, and their list of integrations when choosing the best POS system for your restaurant. Loyverse offers a free POS system for small businesses which works on both iOS and Android mobile devices.
POSGuys – POSGuys offers a wide range of products for retailers, restaurants and salons. It provides a complete picture of your business, from inventory to real-time accounting. This inconvenience is however offset by the fact that credit and debit card data is far less vulnerable to hackers, unlike when payment cards are processed through the POS system where security is contingent upon the actions taken by end-users and developers.
With this in mind, let's take a closer look at POS systems costs for different business types. Manage your business and maximize your space from the front of the store to the back office with this compact, yet powerful retail system. POS systems for restaurants are designed to streamline certain tasks and help you run a smooth operation. Interested businesses can give Quickbooks' POS a free trial and pricing is dependent on the hardware and software bundle a business opts for.


Most people, chefs especially, do not appreciate overuse of the 'F' word. It's considered low class, facile and insulting. Even though the 'F' word was all the rage several years back, nowadays most diners have experienced both good and bad fusion cooking and can discern the difference.
One of the best fusion setups in Phuket is Tatonka restaurant, run by well-travelled über-chef Harold Schwarz. Open since 1996, Tatonka has a dedicated following of both locals and regular visitors from overseas.
'Tatonka' is the North American Indian word for a buffalo and the restaurant follows through this theme with tepee-like textile ceiling hangings, Indian wall leitmotifs, pastel shades, soft lighting and natural stone flooring.
To the side, a vine-covered alfresco dining space provides a breezy alternative while the inside is fan-cooled.
The 50-cover restaurant makes clever use of space and features an open kitchen.
As befitting a chef who has travelled and worked far and wide, the atmosphere at Tatonka is quietly cosmopolitan. And as the restaurant has many repeat clients, it buzzes with life later on, yet is never over rushed or frenetic.
Tatonka sits back, away from the road so there is no unwanted noise and this allows country-tinged background music to complement table conversation.
A 20-label wine list derived from several suppliers handles things nicely while a very reasonably priced Italian house wine served by glass and carafe goes well with the fusion dishes.
We sample a Spanish Syrera Rosados 2007 which, despite being full bodied, does not take over in the same way as a full red would.
Several countries are represented on the list, even Austria, with an interesting Grüner Veltliner and the list is divided not by nationality but by grape type.
Chef Harold's menu is totally based on local produce with the exception of imported Australian beef. With a strong Cajun (southwest USA) influence as well as fusion between Asian and Western tastes and preparation it's a safe bet to say that Tatonka is an absolute one-off, unique culinary experience.
Seared-blackened tuna with honey-based wasabi with crispy Vietnamese-style rolls along with crab cakes start the evening off impressively while pomello-and-prawn salad is light and refreshing.
A plate of Saigon beef, green mango and bacon packs an explosive taste and is followed by spiced gazpacho with an eggplant cookie served with creamy goat cheese and sun-dried tomatoes.
Next up is a barramundi, a giant sea perch, served filleted on a bed of hydroponic Thai water cress and this recently popularised fish is perfectly presented and prepared. All this varied food is excellent and certainly tasty so we decide to return another time to check out Tatonka's well-recognised dessert menu.
Like other top-range restaurants in Phuket, Tatonka is not only about the food – which is excellent – it's about a memorable dining experience.
From the owner down, staff members at this restaurant and unfailingly courteous, efficient and friendly and this makes for an agreeable and memorable, feel-good evening out.
Tatonka is situated in stylish Tinlay Place, just outside the Laguna Complex, near Bang Tao Beach. Technically speaking, Tatonka is in Cherng Talay, some three kilometres from Surin Beach.
If you are staying at one of the Laguna Hotels either catch a shuttle bus to complex's gates or call Tatonka for a free lift. If coming from the other direction, turn at the traffic lights by the police station in Cherng Talay.


text:
Filming the forgotten resistance at sea
The Forgotten Space Trailer
From The Guardian
Allan Sekula photographer's new film, about global maritime trade, has been hailed by Occupy activists. Its maker has spent a life challenging new forms of capitalism.
Water has always played a large part in the photographer Allan Sekula's life.
As a student in San Diego at the end of the 1960s, he used to wander downtown and gaze up at the flophouse hotels through whose windows he could see money being exchanged between prostitutes and sailors
"It was Edward Hopper on military steroids," he recalls.
"That was the time of Vietnam, and there were even mutinies on some ships – especially among African-American sailors who were protesting against racism in the navy.
Young guys my age from the west coast were being dehumanised and turned into a few good men."
They'd come to the fence of the Marine Corps Recruiting Depot and say: 'If I can get over this fence will you meet me at the laundromat down the street in an hour with a car?'
We managed to get some of them out.
But often the shore patrol and navy police would come and pull them away.
They'd be taken to brigs, assigned to a motivation platoon, and beaten up.
The depot was next to an international airport on the waterfront, and some of the recruits were so desperate to escape they'd tried to get away by running across the runways, where they'd be hit by planes and be killed.
This never appeared on the news."
Sekula, who had grown up in the Los Angeles harbour town of San Pedro, was learning that the maritime world, far from being a realm of pleasure cruises and play, was riven by struggle and class conflict.
Since then much of his extraordinary body of experimental work has been devoted to chronicling the social, economic and political dynamics of life on the oceans.
His latest exercise in hydropoetics, a cine-essay entitled The Forgotten Space that he co-directed with Noël Burch, uses the statistic that 90% of cargoes today are carried by ship as its cue to develop a wide-ranging thesis about containerisation, globalisation and invisible labour.
Seas are fascinating, Sekula argues, because of the counter-orthodoxies and refutations they offer to modern political thought. "
In Alain Tanner's Les Hommes Du Port, a documentary about dockworkers in Genoa, he says: 'The time of the sea runs counter to the lie.' He doesn't say what the lie is. But you know: it's everything about neoliberalism. The sea is all about slow time – things move slowly, there's a lot of waiting – and as such it contradicts all the mythologies of instantaneity perpetuated by electronic media."
Sekula believes that seafaring work, like many other forms of manual labour, is ignored by many journalists whose own class status predisposes them towards fixating on white-collar and mental labour.
But, as The Forgotten Space shows to haunting effect, this invisibility is also structural: containerisation has depeopled the bustling port cultures of previous eras and left in their wake automated landscapes.
Sekula, who was born in 1951 and whose grandfather migrated to the US from Poland, thinks that America has a particular amnesia regarding its relation to the sea.
"We've always focused on the frontier hypothesis of US history. In spite of the takeover of the Panama Canal and the annexing of Hawaii, the sequential opening of western space has mainly been seen as a matter of terrestrial dominion. Today the function of the US navy is to protect the sea lanes of the world – that's free trade. And it's America's technical and legal innovations that have made the globalisation of sea trade possible."
This kind of systematic analysis, allied with deep, almost ethnographic research, is also present in Sekula's influential book Fish Story (1995), which he describes as "a sort of experimental essay in words and pictures that sometimes reads like fiction, sometimes like an essay, sometimes journalism, sometimes prose-poetry".
Its photo-text form recalls earlier investigations of immiserated labour such as George Orwell's The Road to Wigan Pier (1937) and James Agee and Walker Evans's Let Us Now Praise Famous Men (1941), both of which Sekula admires."
I'm more sympathetic to traditions of critical realism than a lot of people in the art world," he admits.
"They treat journalism as a bad object and always think that when they intervene it's without the naivety of the journalist. That doesn't seem fair to what the best journalism and non-fiction has been."
Sekula's search for what the film historian Edward Dimendberg has called an "honest materiality" is informed by his own upbringing in San Pedro (a working-class town).
His first major work, Aerospace Folktales (1973), featured interviews with his father, a chemical engineer at Lockheed, who had lost his job. "
Being working class gives you a bitter sense that all the promissory notes of the American Dream are rarely cashed in. You see failure and blockages all around you."
At San Diego, he took classes with the Frankfurt School philosopher Herbert Marcuse and conceptual artist John Baldessari, and studied alongside Martha Rosler, who would later come to prominence for her interest in questions of geopolitical infrastructures and social exclusion.
He also read essays on photography by John Berger and Roland Barthes, and as a result began to theorise his future work. "
I wanted to explore the discursive split between art and documentary, the myth of Alfred Stieglitz against the myth of Lewis Hine."
(Stieglitz was a revered figure in the development of art photography. Hine, by contrast, used his camera as a tool in the service of social reform.)
Sekula was sceptical of the romanticism and love of metaphors he discerned in the work of Stieglitz. "
I saw the path of symbolism as one that led to hermeticism or a retreat from the social," he recalls. "
I was trying to defend a critical social realism."
His success at doing this, both in his often-cited study Photography against the Grain: Essays and Photoworks 1973–83 (1984) and recent films such as The Lottery of the Sea (2006), has won him many admirers.
Among them is the American maritime historian Marcus Rediker, co-author with Peter Linebaugh of The Many-Headed Hydra (2000): "The old national stories just aren't making much sense to people any more. Once you start thinking transnationally, you're led to the sea: the ship is the first great instrument of globalisation.
Allan's idea that you can observe the compression of time and space in the modern world from the decks of a containerised cargo vessel is brilliant."
It's certainly an idea that has considerable potency in the present climate, when growing numbers of people all around the world are questioning the capitalist orthodoxies they've been fed by economists and politicians.
In Barcelona last year, a gallery that screened The Forgotten Space was visited by many of the indignados who were protesting nearby.
In Oakland, Occupy activists planned to show a pirated version of the film on a temporary screen they installed after blocking some of the streets in the port area.
This kind of resistance reminds Sekula that his collaborator Noël Burch had "hoped the film could 'be completed by other means – and of necessity it would have to be completed by different means'.
He meant by self-organised political means on the part of the people.
The sea has often been thought of as recuperative; that more and more dockers and working people are insisting on not being moved on or not being swept away by the forces of efficiency and rationalisation gives me grounds for optimism."
Afterall : Material Resistance: Allan Sekula's Forgotten Space
Stills : Ships fools
Posted by Peio at 1:34 AM
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All the images that once were, are now conveyed by the light that permeates the sky and enters in. All the things in the house exist simultaneously, overflowing with the scent of life, drawing near in an instant. With light and whiteness a space with a spiritual dimension is created, revealing the essence of everything we have seen.
Please prepare your own toothbrush and tooth paste. If you need to change bedding or towel, please notice our staff.


Have we gone too far with our political correctness? Do we need some form of approval or professional advice before we take action? We seem to continually hear words like "you can't do that" or "you can't say that" or "can't go there, "you must have at least two people present" or "that would be too risky for them to do". Have we lost the run of ourselves, can't we be honest with people and call it as it is. Whole professions and services have grown up and developed over the years to advise or consult on what one can do or can't do. Where and when does the right thing to do come in play for us and others we interact with. Are we using sledge hammers to crack nuts, have we gone beyond where we need to go in some areas. Why do we allow situations to go on unchallenged?
It is happening everywhere, in our workplaces, our community, our society and on our political agenda. Where is common sense and doing what is right gone from our lives? Just look around you at what is happening now in your own envirnoments.
A farmer with a small holding of only 17 milking cows wrote his own Last Will & Testimony. He did not seek any advice on the matter. When he died and the Will was read, he had left the following to his surviving wife, son and daughter. ½ the cows to his wife, 1/3 of the cows to his son and 1/9 of the cows to his daughter. Now with 17 cows this could be an issue. So a neighbouring farmer lent the wife one cow. She how had 18 cows so she proceeded to divide the cow according to the instructions in the Will. ½ of 18 is 9 so she got 9 cows. 1/3 of 18 is 6 so the son got 6 cows. Finally 1/9 of 18 is 2 so the daughter got 2 cows and 9+6+2 = 17. She then gave the neighbouring farmer back his cow.
How do you look upon the Day?


Lionel Messi and his Argentina team which struggled to qualify will play World Cup debutants Iceland as well as a dangerous Croatia outfit and Nigeria.
Some of the greatest England footballers seem to have come under the grip of the Ashes fever, getting together at the BT Sports studio for a game of cricket. And expectedly, there was a good deal of merriment.
Wayne Rooney's true worth as a player has not been properly appreciated, according to England football great Gary Lineker.
Many from the sporting world came ahead to voice their opinion after Leicester City manager Claudio Ranieri was sacked on Thursday.
UEFA on Friday dropped a doping case against Liverpool and France international defender Mamadou Sakho.
Barcelona forward Lionel Messi has been sentenced to 21 months in jail and fined 2 million Euros for his involvement in three tax crimes.
Twitteratti once again were at their best trolling England football team and their manager for once again failing to come good at the big stage.


text:
Q: How to prove the SOP and POS are equivalent to one another in XOR Funtion? Write two Boolean expressions for the Exclusive-OR function, one written in SOP form and the other written in POS form. Simplify both expressions using Boolean algebra reduction and show that the two expressions are equivalent to one another. Draw the simplified circuit diagram for this function.
So, I've got
A B Output
1 1 0
1 0 1
0 1 1
0 0 0
SOP: A(B)'+(A)'B
POS: ((A)'+(B)')(A+B)
How to show that A(B)'+(A)'B = ((A)'+(B)')(A+B)

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text:
Coleman Hawkins Encounters Ben Webster ist ein Jazz-Album von Coleman Hawkins, aufgenommen am 16. Oktober 1957 und veröffentlicht 1959 auf dem Verve-Label.

Vorgeschichte des Albums
Coleman Hawkins Encounters Ben Webster steht im Kontext des am Vortag ebenfalls für Verve aufgenommenen Ben Webster-Albums Soulville in fast identischer Besetzung sowie dem Album The Genius of Coleman Hawkins,
ebenfalls mit dem Oscar Peterson Quartet als Begleitgruppe. Das Encounters-Album gehört so in eine Reihe von Jazz-Alben, in denen Norman Granz das Quartett Oscar Petersons als Begleitband zahlreicher erfolgreicher Aufnahmen einsetzte, wie Roy Eldridges Album Roy and Diz 1954, Stan Getz and the Oscar Peterson Trio 1957, Lester Youngs Laughin to Keep from Cryin 1958 und Ben Webster Meets Oscar Peterson 1959, die heute zu den klassischen Alben des Mainstream Jazz gehören.

1957 war für den Swing-Tenoristen Hawkins ein gutes Jahr: Im Februar entstand ein Capitol-Album mit Streicher-Begleitung (The Gilded Hawk), im März nahm er mit Jay Jay Johnson, Idrees Sulieman und Hank Jones The Hawk Flies High für Prestige auf, gefolgt von Sessions mit so unterschiedlichen Künstlern wie Henry "Red" Allen oder Thelonious Monk und John Coltrane ("Monk's Music") im Juni. Im Oktober entstanden die Aufnahmen für Norman Granz' junges Verve-Label, bei denen u. a. das Encounters-Album eingespielt wurde. Danach wirkte Hawk bei einer Reunionsession des Fletcher Henderson Orchesters mit; im Dezember trat Hawkins im Fernsehen in der Sendereihe "The Sound of Jazz" auf. Außerdem ging Hawkins für Jazz at the Philharmonic auf Tournee; in diesem Zusammenhang entstanden ebenfalls im Oktober Live-Aufnahmen (Coleman Hawkins and Roy Eldridge at the Opera House).

"Es war ein indirektes Lehrer-Schüler-Verhältnis", das Hawkins und Webster verband seit jenen Tagen, da Webster in der Fletcher-Henderson-Band dessen Stelle übernommen hatte: "Denn wo die Geschichte des Tenor-Saxophons mit Hawkins begonnen hatte, da war Webster der erste, der sie kreativ weiterschrieb, und so war es denn auch mehr als nur eine der ... »Der und der meets den und den«-Sessions, als der sensible Lyriker und der bisweilen feuerspeiende Drache am 16. Oktober 1957 endlich zum ersten Mal zusammen ins Studio gingen."

Editionsgeschichte
Das Album erschien unter den Nummern Verve MGV 8377 bzw. 2304169. Die erste CD-Edition (823 120-2) enthielt das Original-Album; die spätere, 1997 veröffentlichte Neuauflage zusätzlich die abgebrochenen Takes von "Blues for Yolande", in denen man die Entstehung des Titels beobachten kann. Zwei weitere bei dieser Session aufgenommene Titel, "Maria" und "Cocktails for Two", erschienen auf CD zunächst auf diversen Hawkins-Kompilationen wie "Compact Jazz" oder "Verve Jazz Masters" sowie auf dem Album Hawkins and Confrères (Verve 835255-2), gekoppelt mit 1958 entstandenen Aufnahmen Hawks mit dem Trompeter Roy Eldridge.

Titel
 "Blues for Yolande" (C. Hawkins)
 "It Never Entered My Mind" (Rodgers und Hart)
 "La Rosita" (Haenecken und O'Keefe)
 "You'd Be So Nice to Come Home To" (Cole Porter)
 "Prisoner of Love" (Columbo/Gaskill/Robin)
 "Tangerine" (Mercer und Schertzinger)
 "Shine On, Harvest Moon" (Norworth und Bayes)

Musikalische Analyse und Bewertung des Albums
Digby Fairweather im "Jazz Rough Guide" bezeichnet das Encounters-Album als "das klassische musikalische Treffen zweier früherer Giganten"; Ralf Dombrowski bewertet es als ein ebenso unspektakuläres wie charmantes "Highlight der swingenden alten Schule". Für den Hawkins-Biographen Teddy Doering ist das Album "eine Sternstunde nicht nur von Hawk, sondern auch von Webster. Beide Tenoristen teilen sich fast alle Soli, und das Peterson-Quartett sieht sich in der Rolle einer perfekt spielenden Begleitung". Hawkins und Webster kennen sich seit den 1930er Jahren; und so ist diese Session "von einer gegenseitigen Bewunderung geprägt, aber auch von Respekt und Nähe. Dies wird immer dann deutlich, wenn einer vom anderen das Solo übernimmt, oder besser fortsetzt. Bis auf zwei Ausnahmen hat Hawk das erste Solo, Ben hat Zeit zuzuhören, und er geht dann, wenn die Reihe an ihm ist, auf das vorher Gespielte ein." In Never Entered My Mind und You'd Be So Nice To Come Home To eröffnete Webster mit dem ersten Solo. "Beide stellten ihre Geläufigkeit hintan und konzentrierten sich darauf, vor allem durch Ton, Liniengestaltung und solistische Dramaturgie zu glänzen." Bis auf das erste Stück der Platte, eine Blueskompistion von Hawkins, wählten sie dafür Stücke aus dem Great American Songbook.

"Unübertroffenes Meisterwerk der beiden ist "Blues for Yolande"; nach der rollenden, bluesbetonten Einleitung von Peterson hat erst Hawkins drei Chorusse, in denen er sich Schritt für Schritt steigert, bis zu jenem quietschenden Höhepunkt am Anfang des dritten Chorus. Dann kommt Webster, ganz verhalten zunächst, um nun seinerseits eine Steigerung zu unternehmen, aber nicht wie Hawk vom Ton her, sondern mit der Phrasierung."

Webster "bläst seinen Mentor Coleman Hawkins schlicht an die Wand", so urteilte Bob Blumenthal, Jazz-Autor unter anderem für den "Boston Phoenix", in seiner Rezension, "für mich war das die Periode, in der sich Webster auf dem Höhepunkt seiner Ausdrucksfähigkeit befand." Richard Cook und Brian Morton verliehen im Penguin Guide to Jazz dem Album die Höchstnote. In einer BBC-Hörerumfrage wurde das Album auf den 32. Platz unter den 100 besten Jazzplatten aller Zeiten gewählt. Im "Rolling Stone Record Guide" erhielt das Album mit fünf Sternen die Höchstbewertung.

Literatur/Quellen
 Ian Carr, Digby Fairweather, Brian Priestley: Rough Guide Jazz. Der ultimative Führer zum Jazz. 1800 Bands und Künstler von den Anfängen bis heute. 2., erweiterte und aktualisierte Auflage. Metzler, Stuttgart/Weimar 2004, ISBN 3-476-01892-X.
 Richard Cook, Brian Morton: The Penguin Guide to Jazz on CD. 6. Auflage. Penguin, London 2002, ISBN 0-14-051521-6.
 Teddy Doering: Coleman Hawkins. Waakirchen, Oreos, 2001.
 Ralf Dombrowski: Basis-Diskothek Jazz (= Reclams Universal-Bibliothek. Nr. 18372). Reclam, Stuttgart 2005, ISBN 3-15-018372-3.

Weblinks
 www.answers.com

Anmerkungen

Album (Jazz)
Album 1959

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text:
Home > Physics > Published Research > Kenneth Bloom Publications > 93
Research Papers in Physics and Astronomy
Kenneth Bloom Publications
Measurement of the W boson mass with the Collider Detector at Fermilab
T. Affolder, Ernest Orlando Lawrence Berkeley National Laboratory, Berkeley, California
Kenneth A. Bloom, University of Nebraska-LincolnFollow
Collider Detector at Fermilab Collaboration
Published by American Physical Society. Phys. Rev. D 64, 052001 (2001). http://prd.aps.org. Copyright © 2001 American Physical Society. Permission to use.
We present a measurement of the W boson mass using data collected with the CDF detector during the 1994–1995 collider run at the Fermilab Tevatron. A fit to the transverse mass spectrum of a sample of 30115 W→eν events recorded in an integrated luminosity of 84 pb-1 gives a mass Mw=80.473±0.065(stat) ±0.092(syst) GeVc2. A fit to the transverse mass spectrum of a sample of 14740 W→μν events from 80 pb-1 gives a mass Mw=80.465±0.100(stat) ±0.103(syst) GeV/c2. The dominant contributions to the systematic uncertainties are the uncertainties in the electron energy scale and the muon momentum scale, 0.075 GeV/c2 and 0.085 GeV/c2, respectively. The combined value for the electron and muon channel is Mw=80.470±0.089 GeV/c2. When combined with previously published CDF measurements, we obtain Mw=80.433±0.079 GeV/c2.
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This is an alternative to the standard greek decks and it's very spell heavy, with some counterspells. Draw cards are Divine intervention and Wind elemental. Rush decks are still good against this deck, anyway it got a really good winrate, because Greeks are one of the strongest pantheons I think. No Hades, Artemis, Kraken, Apollo and Arachne for I find them very annoying, but they could be played in other decks of course. Athena and Poseidon were too strong anyway and not that annoying as the others.


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The RoughDeck QC is a hostile environment, stainless steel floor scale customized for food, chemical and other demanding washdown applications. The RoughDeck QC's exclusive gas-shock design provides easy lifting and soft closing of the 3/16 inch top plate. Also included is a manual drop-in-place support bar for use during extended underdeck cleaning.
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The rugged design incorporates 304 stainless steel construction and four welded seal load cells with PTFE cable designed for high temperatures and washdown areas.


The light reflection from the surface of the moon is (in a good approximation) only diffuse.
This tutorial covers per-vertex diffuse reflection.
It's the first in a series of tutorials about basic lighting in OpenGL 2.x. In this tutorial, we start with diffuse reflection from a single directional light source and then include point lights and spotlights. Further tutorials cover extensions of this, in particular specular reflection, per-pixel lighting, two-sided lighting, and multiple light sources.
When appropriate, we'll use the same conventions as in OpenGL 1.x, so that people upgrading their OpenGL knowledge will feel at ease.
Diffuse reflection can be computed using the surface normal vector N and the light vector L, i.e. the vector to the light source.
The moon exhibits almost exclusively diffuse reflection (also called Lambertian reflection), i.e. light is reflected into all directions without specular highlights. Other examples of such materials are chalk and matte paper; in fact, any surface that appears dull and matte.
In the case of perfect diffuse reflection, the intensity of the observed reflected light depends on the cosine of the angle between the surface normal vector and the ray of the incoming light. As illustrated in the figure to the left, it is common to consider normalized vectors starting in the point of a surface, where the lighting should be computed: the normalized surface normal vector N is orthogonal to the surface and the normalized light direction L points to the light source.
In the case of normalized vectors, the lengths |a| and |b| are both 1.
denote color vectors and the multiplications are performed component-wise (which they are for vectors in GLSL), this equation also applies to colored light. This is what we actually use in the shader code.
Should the equation be implemented in the vertex shader or the fragment shader? We try the vertex shader here. In the tutorial on smooth specular highlights, we will look at an implementation in the fragment shader.
In which coordinate system should the equation be implemented? We chose world space, so that lights are described in the same coordinate system as positioned objects.
is available as light0.diffuse. We get the surface normal vector in object coordinates from the attribute v_normal. Since we implement the equation in world space, we have to convert the surface normal vector from object space to world space as discussed in the tutorial on silhouette enhancement.
For now we only create one directional light source in the scene.
While there is no attenuation of light for directional light sources, we should add some attenuation with distance to point and spot light source. As light spreads out from a point in three dimensions, it's covering ever larger virtual spheres at larger distances. Since the surface of these spheres increases quadratically with increasing radius and the total amount of light per sphere is the same, the amount of light per area decreases quadratically with increasing distance from the point light source. Thus, we should divide the intensity of the light source by the squared distance to the vertex.
The factor attenuation should then be multiplied with light0.diffuse to compute the incoming light; see the complete shader code below. Note that spot light sources have additional features, which are discussed in the next section.
This allows for wider (smaller spotExponent) and narrower (larger spotExponent) spotlights.
What diffuse reflection is and how to describe it mathematically.
How to implement diffuse reflection for a single directional light source in a shader.
How to extend the shader for point light sources with a linear attenuation.
How to further extend the shader to handle spotlights.
about transforming normal vectors into view space, you should read the tutorial on silhouette enhancement.
about uniform variables provided by the compatibility profile, you should read the tutorial on Shading in View Space.


This is the seventh episode in a series I am calling The Bible Mountain Parables. In this series, we are addressing some of the most basic and fundamental questions that we as human beings should answer. In today's episode we will discuss meaning.
Fifth episode: Does God have the right to tell us what to do?
Sixth episode: What happens when we die?
Once upon a time a meteor came streaking through the night sky and landed right in the middle of the East square. The next day, all the motorists driving through the square were agitated because they had to drive around this big obstacle. On the same night, three cousins were killed by a drunk driver in the middle of the West square. Their grieving grandfather put a big rock at the spot of the incident to memorialize them, and even though everyone had to drive around this rock, no one minded because they knew who put the rock there and why.
Once upon a time two brothers signed up for a jog-a-thon fundraiser. The goal was to run as many miles as they could in 4 hours. The older brother trained for weeks ahead of time and on the day of the event he managed to run 27 miles in less than 4 hours. The younger brother did not train ahead of time, and at the event he was only able to run half a mile. At the end of the jog-a-thon the older brother had a sense of accomplishment because he had worked hard and achieved something very few people can achieve: he ran a marathon. On the other hand, the younger brother felt like the jog-a-thon was a waste because he had not achieved anything: anyone can run half a mile.
Once upon a time, two neighbors decided to build sheds in their backyards. The first neighbor used top quality materials and put a lot of time, effort, and care into building his shed. The second neighbor used cheap, flimsy materials and slapped his shed together as fast as he could. That night, a violent storm came through and destroyed the flimsy shed, but the solid shed survived with no damage. The next morning the second neighbor looked out, noticed his shed was gone, and realized the time and effort he had spent building his shed was wasted. Meanwhile, the first neighbor was very satisfied with his work because he had proof his shed would last a long time.
Just as the first neighbor was satisfied with his work because he built something that will last, so too our lives have meaning if we accomplish something that has long term value. And just as the second neighbor realized his efforts to build a shed were a waste, so too our lives will be a waste if all our accomplishments only have short term value.
So what is the conclusion from this?
Life has meaning if we know why we exist, if we achieve things that take effort, and if we achieve things that have long term value. The reason people exist is because God created us; therefore, life has meaning if we acknowledge and submit to the authority that is inherent in God's position as the Creator. Serving God is not easy and it is not the popular thing to do; but the difficulty of obedience means it is rewarding and fulfilling to serve and obey God. As far as long term value, the ultimate long term value is eternal value, and serving and obeying God is the only way to achieve a reward that has value beyond life here on earth.