text:
Awakening to Zen
The Teachings of Roshi Philip Kapleau
By Roshi Philip Kapleau
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When Roshi Philip Kapleau returned to the United States in 1966, after thirteen years of training in Japan with two of the country's greatest masters of Zen, he "did not come home empty-handed -- he brought us a living word of Zen," Kenneth Kraft has said. The first Westerner fully and naturally at home with Zen, Roshi Kapleau has made it his life's work to translate Zen Buddhism into an American idiom, to take Zen's essence and plant it in American soil. Four decades later, the seeds of Zen that Roshi Kapleau planted have blossomed. Zen flourishes and Roshi Kapleau continues to help people find enlightenment and fulfillment within, not outside, their daily lives. "True awakening," Roshi Kapleau has said, "is not a 'high' that keeps one in the clouds of an abstract oneness, but a realization that brings one solidly down to earth into the world of toil and struggle."
Kapleau has written a number of books in his lifetime, The Three Pillars of Zen the most well known among them, but the heart of his work, his teachings to his students, has never before been made available. Awakening to Zen extracts the vital threads of Roshi Kapleau's teachings and braids them into a strong yet supple cord that readers may follow toward a deeper understanding of the enlightened life. Roshi Kapleau's warm, sometimes humorous but always grounded lessons touch on every aspect of daily reality; they capture his power, too, to transform the lives of not just practicing Buddhists, but all people who seek to experience in a more authentic way the bond they share with the world around them. One way or another, Roshi Kapleau has spent the past forty-three years of his life helping make Zen practice and its fruits accessible to anyone of sincere intent. Awakening to Zen offers a crucial and never-before-published aspect of his life's work.
Living Zen in America
Rather than give you a detailed explanation of Zen doctrine and history, which could mislead and even bore, and in any case would be contrary to the spirit of Zen, let me put before you three typical Zen koans, or spiritual problems. These koans are Zen's method of demonstrating truth directly and concretely without recourse to logic or reason. Were you to reflect on them deeply and awaken to their innermost meaning, you would come to understand Zen.
Here is the first koan. A monk came to the Master Ummon (Yun Men in Chinese) and said, "Suppose you meet up with someone deaf, dumb, and blind. Since he couldn't see your gestures, couldn't hear your preaching, or, for that matter, ask you questions, you would be helpless. Unable to save him, you'd prove yourself a worthless master, wouldn't you?"
"Bow, please," said the master. The monk, though taken by surprise, obeyed the master's command, then straightened up in expectation of having his query answered. But instead of an answer he got a staff thrust at him and leaped back.
"Well," said Ummon, "you're not blind. Now approach closer." The monk did as he was bidden. "Good," said Ummon, "you're not deaf either. Well, understand?"
"Understand what, sir?"
"Ah, you're not dumb either."
On hearing these words the monk awoke as from a deep sleep.
Before going on to the next koan, let us reflect a moment on this one. Some people can never get away from theoretical, abstract questions, perhaps with the sense that the way to learn is to ask questions -- the more the better. Questions frequently asked me are "What does the Zen person think of the Vietnam War?" or "What does Zen think of sex?" or "What does Zen have to say about morality?" The "Zen person" is an abstraction; he or she doesn't exist; only a specific person with Zen training does. One person's enlightenment may be deeper and training more thorough. One person may be wiser, more compassionate, and steadfast. This is all you can say. So the questions are really meaningless. More often than not, such questions are a dodge, a subterfuge to avoid facing up to one's own life problems. When a Zen teacher hears such questions, he must quickly determine the state of mind of the person asking them and treat them accordingly.
Observe how masterfully Ummon handles this student. He wastes no words probing or analyzing his motives, engaging him in a Socratic dialogue, or challenging his sincerity. In a direct, concrete, existential manner that would be the envy of any contemporary pedagogue (and remember, this incident took place in ninth-century China), he makes the student realize that he has the power of sight, speech, and hearing: everything, in fact, he needs to save himself. Why, then, doesn't he do so and stop engaging in speculations? Moreover, this koan points out a fundamental doctrine of Zen, namely, that in our essential nature each one of us lacks nothing, but is like a circle to which nothing can be added and nothing subtracted. We are each of us whole, complete, perfect, and so is everything else. Even a blind man, as a blind man, lacks nothing.
Why then do we suffer? Why is there so much greed, folly, and violence in the world? The Zen answer is that because our bifurcating intellect and our five senses deceive us into postulating the dualism of self and other, we are led to think and act as though each of us were a separate entity confronted by a world external to us. Thus in our unconscious the idea of "I," or selfhood, becomes fixed, and from this arises such patterns as "I hate this," "I love that," "This is mine," "That's yours." Nourished by this fodder, ego -- and this is not the psychological ego whose healthy functioning is necessary, but the delusive sense of oneself standing apart from others, from the whole universe -- comes to dominate the personality, attacking whatever threatens its domination and grasping at anything that will enlarge its power. Antagonism, greed, and alienation -- in a word, suffering -- are the inevitable consequence of this circular process. To see through this mirage and grasp the ungraspable is to realize that "heaven and earth and I" are of the same root, to use a Zen phrase.
The Buddha, the master physician for the ills of the spirit and the heart, deeply understood this question syndrome. Replying to a monk who threatened to quit religious life unless his questions about whether the enlightened man exists after death were answered, he said, "It is as if a man had been wounded by an arrow thickly smeared with poison, and his friends and companions, his relatives and kinfolk, were to procure for him a physician or surgeon, and the sick man were to say, 'I will not have this arrow taken out until I have learnt whether the man who wounded me was tall, short, or of middle height, was from this or that village, town, or city, whether it was an ordinary arrow or claw-headed arrow.' That man would die without ever having learned this." At another time the Buddha stated, "The religious life does not depend on the dogma that the world is eternal or not eternal, infinite or finite, that the soul and the body are identical or different, or that the enlightened man exists or does not exist after death. It profits not, nor has it to do with the fundamentals of religion, nor does it tend to the absence of passion, to supreme wisdom, and nirvana."
Now for the second koan. One day a master was taking a walk in the woods with his disciple. Suddenly a pure white rabbit darted in front of him. The master, taking advantage of the moment, said to the disciple, "What would you say as to that?" The disciple gushed, "It was just like a god!" The master, looking at him in disgust, said, "You're a grown man but you talk like a child." "All right," said the student, slightly miffed no doubt, "What would you say about it?" "It's a rabbit!" replied the master.
A rabbit is a rabbit is a rabbit. How many truly see when they look, truly hear when they listen? Not many. The average person is perpetually weaving ideas and embroidering notions about what he sees or hears. An art student studying a painting probably analyzes the formal structures; another may try to recall what he had read or heard about the painting; to another the painting may turn the mind to the circumstances of the painter's life. A flash of lightning may set a person's mind to thinking, "What a dazzling sight!" If philosophically inclined, he might reflect, "Man's life is as brief as that lightning." If fear was his dominant emotion and he was looking out the window when the lightning struck, he could think, "I'd better pull my head in before I lose it!" The haiku poet Basho has a verse that goes, "How fortunate the man who sees a flash of lightning and does not think, 'How brief life is!'"
With each mental judgment or coloration the viewer or hearer is being taken farther and farther away from the object itself, the experience itself, so his knowledge becomes correspondingly weaker and more distant and limited. Truly to look at a painting, one has to see it with one's own eyes and ears, one's whole body.
Concert pianist Vladimir Horowitz tells about the time he played a dissonant contemporary composition at a private gathering. When he had finished, someone asked, "I just don't understand what that composition means, Mr. Horowitz. Could you please explain?" Without a word, Horowitz played the composition again, turned to his questioner, and announced, "That's what it means!"
The mind of the ordinary person is a checkerboard of crisscrossing reflections, opinions, prejudices, fears, and anxieties, so that his life, far from being centered in reality, is grounded instead in his notions of reality. The rabbit koan is urging us to empty our minds of all false values and notions and directly experience things in their wholeness and purity. To one who enters into every action with no separation, empty-minded, so to speak, yet filled with attention and awareness, a rabbit is the whole universe. Or if you like, it is everything and it is nothing. This koan celebrates a life of truth, a life of Zen, a life of full, undiluted participation at every moment and in every circumstance. It proclaims that to experience the core of a person or a thing we must ourselves be fully, wholeheartedly, present without reservation.
The responsible life is the responsive life. As long as we stand apart weighing, analyzing, and judging, people and things confront, even menace, us. So we feel, as the poet A. E. Housman wrote, like "a stranger and afraid in a world I never made." But embrace the whole world, take it and all things into your hara, your belly, and you have the Buddha's "Throughout heaven and earth I am the most honored one." With this realization birds fly in the sea, a cow gives birth to a calf on a flagpole, the Rocky Mountains stride over the Mississippi River. Is this not true, limitless creativity?
Now for the third and best-known koan, one that illustrates the Zen principle that from unity flow freedom and creativity, while from separateness come pain and confusion. A Zen master said, "Zen is like a man up in a high tree hanging from a branch with his mouth. His hands can't grasp a bough, his feet won't reach one. Under the tree is another man who asks him, 'What is the innermost truth of the Buddha's teachings?' If he doesn't answer, he evades his duty. What should he do?" Zen, we must remember, is not a philosophical game or a literary embellishment, but life itself, absolute life. The problem posed by this koan is central to every life, namely, when to speak and when to remain silent.
It's a vital problem between a teacher and pupil, a husband and wife, a parent and child, between friends and lovers. So much of our lives, personal and professional, is about communication, isn't it? What could be more vital to understand truly? In Zen, of course, there are dead words and there are live words. Words that merely analyze and explain are dead, while words that issue from the heart and gut, that stir our depths and fire the imagination, are alive. We feel their power. Every explanation, including this one, no matter how subtle, is but looking from a single side at something that has infinite dimensions. Overly long interpretation s and elucidations often tire the brain and leave us feeling torpid. One live word -- "Goddamnit!" for instance or even a real "Yes!" or a real "No!" -- uttered from the gut reveals more than a dozen words of explanation. The gut word is the true word, the word that cuts away all stratagems and makes us One.
Silence, while said to be golden, can also be yellow. Discretion may be the better part of valor, yet not to speak when our words may help another is craven. There are other situations involving words and silence. What do we do when we are unjustly accused or abused? Do we maintain a monumental silence, or do we stimulate further argument and abuse by fighting back? Or is there a middle way? The most creative silence is beyond speech and stillness, and it is really to this Silence that our koan points.
Please understand that I have merely talked about koans here, not given answers to them. To resolve a koan, one must be able to demonstrate one's understanding and not merely talk about it. Each of us, whether endowed with subtle intellect or little intelligence, whether male or female, whether physically or mentally handicapped, possesses as a birthright the primal source of all creativity, namely, Buddha-nature, or Mind. Now, what is Zen? Zen is another name for Mind, and Mind is the foundation of Zen. Zen therefore never provides creeds or dogmas. Zen is not something to be philosophically thought of or intellectually understood. It has to be a concrete fact personally attained by one's own realization experience. Until one has this experience, Zen is merely an idea, a concept, an image. The real life and spirit of Zen is in the spiritual experience attained by each individual. Zen is the doctrine of the true, living self. Conventional wisdom says, "Where there is smoke, there is fire." Zen wisdom says, "Where there is smoke, there is smoke."
From the ground of Mind each of us is creator even as we are the created. Each one embraces every world and every being. At every millionth of a second this unique being, arbitrarily defined as "John Jones" or "Jill Smith," is dying and being recreated. With the lifting of my finger I re-create heaven and earth. All existence is the creation of my own mind -- it therefore belongs to me as I belong to it. The energy of the cosmos is my energy; its sounds, my speech, its movements, my movements. The Rocky Mountains are not the Rocky Mountains. The Rio Grande is not the Rio Grande. The strength and grandeur of that incalculable conglomeration of protons, neutrons, and electrons we arbitrarily call the Rocky Mountains are my strength and my grandeur. The flow of the Rio Grande is myself streaming and gushing on. Were I to die, the Rio Grande would stop flowing, the Rocky Mountains crumble. Zen Master Eisai says, "Because I am, heaven overhangs and earth is upheld. Because I am, the sun and the moon go round; the four seasons come in succession, all things are created, because I am -- that is, because of mind." Shelley, the poet, says, "I am the eye with which the universe beholds itself and knows that it is divine."
To create, the painter needs paint, brushes, and canvas; the sculptor, wood, stone, or metal, and tools; the poet, words and a pen and paper -- or computer; the composer, sounds, notes, paper. But for one awakened to the nature of Mind, the entire universe is the canvas; hands, feet, emotions, and intellect the implements. Each moment is joy unbounded, ripe, and creative, when we are liberated from the enslaving notions of "This is my head, this is my body; this is my mind." Here, at the core of each of us, is creativity, here is the art of living. If the mission of the artist is "to make the invisible visible," in the words of Leonardo da Vinci, the purpose of Zen is to bring into consciousness the substrata of both the unconscious and the conscious.
The aim of Zen training is awakening, and the living of a life that is creative, harmonious, and alive. These "goal-less goals," for there really are no goals to attain, no place to get to, are brought into being through a process of concentration and absorption. In the sense of purging and freeing the mind from enslavement to fugitive, useless ideas, ideas that bog us down and limit us, Zen meditation, or zazen, might be called "brainwashing." Perhaps this statement will be clearer if I tell you briefly the experiences with zazen of two Americans in Japan. The first, after he had been practicing Zen a short while, said, "Zen discipline, I know, involves ridding the mind of all tightly held beliefs and values so that it becomes a clean slate. But look, I spent four years getting a good education at Harvard. This knowledge cost me a considerable effort and my parents much money. If you think I'm going to throw it all away for a pig in a poke called 'enlightenment,' you're crazy. To tell the truth, I'd rather read about Zen than practice it; that way I don't lose, I gain."
The second fellow, after longer training, said, "Some people ask me what I have gained from Zen practice. I must answer truthfully that I've lost, and that whatever gains I have made are the result of this loss. I have lost much that was not really myself, and as a result the burden of the false self which I was carrying around has become lighter. Unhappily I do not yet know who I really am, but I know better who I am not, and this means I can move about and flow more easily through life."
Our ordinary mind is an Augean stable of stale impressions, of theories, opinions, assumptions, standards, dogmas, prejudices, and facts in which our lives become mired. This is the stuff of mind we endlessly argue about and even fight for, bringing upon ourselves and others much pain and suffering, not to mention confusion. We sacrifice our inborn freedom to these abstract notions. When they are swept from the mind through zazen -- the concentrated sitting meditation particular to Zen -- our true Mind rises to consciousness in all its beauty and effulgence. Furthermore, through zazen, energies that were formerly squandered in compulsive drives and purposeless actions are preserved and channeled into a unity, and to the degree that the mind attains one-pointedness, it no longer disperses its force in the uncontrolled proliferation of idle thoughts. The entire nervous system is relaxed and soothed, inner tensions eliminated, and the tone of all organs strengthened.
In other words, by realigning the physical, mental, and psychic energies through proper breathing, concentration, and sitting, zazen establishes a new body-mind equilibrium. With the body and mind consolidated, focused, and energized, our emotions respond with increased sensitivity and purity, and our will exerts itself with clearer strength of purpose. No longer are we dominated by intellect or driven by unchecked emotions. Eventually daily zazen transforms our personality and character; dryness, rigidity, and self-centeredness give way to warmth, resiliency, and compassion. Self-indulgence and fear are, in time, transmuted into self-mastery and courage.
Let me close with some words on Zen by Bernard Philips, an old friend who trained with me for a time in Japan:
Zen is three things. First, externally and objectively considered, it is a sect of Buddhism. As such, it has its own history and institutionalized forms.
Second, from a deeper point of view, it is the heart and essence of Buddhism, having no doctrine or scriptures of its own but pointing to the ultimate source of all Buddhist teaching, namely, the enlightenment experience of the Buddha. On this level, it is a discipline oriented towards that illumination of mind, pacification of the heart, and freedom of action, in the context of a disciple's life, that the historical Buddha achieved through his enlightenment.
Third, and still more profoundly considered, Zen transcends the particulars of Buddhism as such and is not one religion so much as it is religion itself in its most universal intention. In other words, it is the life of truth, of authentic being, wherein the self has overcome its alienation from itself and from all other things. When Zen in this sense is fully concretized, there is no longer anything to be called Zen, and the uniqueness of Zen is that when it is realized, it bows out of being. Life in its unconditioned integrity calls for Zen no more than water calls for wetness or fire for heat.
Toward a Meaning of Buddhism for Americans
Zen Buddhism springs from the great awakening, or enlightenment, of the Buddha. What in the West we term Buddhism has its origin, historically speaking, in the person and life of Siddhartha Gautama, later to be known as the Buddha Shakyamuni. Among Buddhists he is revered not as a deity or a savior who takes upon himself the sins of others, but as a fully awakened, fully perfected human being who attained liberation of body and mind through his own efforts and not by the grace of a supernatural being. People often asked him, "Are you a god?"
>"No," he would answer.
"An angel?"
"A saint?"
"Then what are you?"
"I am awake," he would reply; and this indeed is the meaning of the term Buddha: one awakened or enlightened to his own Self-nature and all existence.
Upon his enlightenment, the Buddha is recorded as having said, "Wonder of wonders! Intrinsically all living beings are complete and whole, endowed with virtue and wisdom, but because of their delusive thoughts, they fail to perceive this." How truly marvelous that all human beings, whether clever or stupid, male or female, ugly or beautiful, are whole and complete just as they are. That is to say, the nature of every being is inherently without a flaw, perfect, no different in fact from that of the Buddha himself. Yet most people are restless and anxious, living half-crazed lives because the mind, heavily encrusted with delusive thoughts, is turned upside down. We need therefore to return to our original perfection, to see through the false image of ourselves as incomplete and sinful, and to wake up to our inherent purity and wholeness.
In Zen the fundamental problem is not God but man. Not what is God, but what am I? How can I realize my original perfection? The religious question in Zen is, Why was I born, why must I die? What is my link with my fellow human and other beings? This is the primary concern in Zen. Dostoyevsky, in a letter to his brother, wrote, "How terrible to watch a man who has the Incomprehensible within his grasp, does not know what to do with it, and sits playing with a toy called God." Toys are for the amusement of children; they are not for adults. Zen demands maturity and responsibility of its adherents. It admonishes them to stand on their own two feet, not God's or anyone else's, and to respond wholly to what is most true in themselves and others. Our inborn freedom and spontaneity must not be fettered by attachment to God or Buddha.
So in Zen there is nothing to search for. Search implies some goal or object outside oneself and a subject "I" that does the searching, a dualistic notion that fractures our inherent Wholeness. But since our True-nature is like, as I have said, a circle to which nothing can be added and from which nothing can be subtracted, what is there to seek? Many people, proudly calling themselves seekers, become attached to the idea of searching, and so they never find.
Waking Up with Zen
An earlier form of this essay appeared as the introduction to Thich Nhat Hanh's Zen Keys in the mid-seventies. The essay has been rethought and revised, and I'm grateful for the opportunity to have given it new life here. I found it especially important to clarify the discussion of ego. The last twenty years have brought much greater sophistication to our thinking on this subject. Most importantly, we need to distinguish the psychological concept of ego from the spiritual one.
We live in a society where the object for so many is to do as little work as possible, where the workplace, whether office or home, is looked upon as a place of drudgery and boredom, where work, rather than being a creative and fulfilling aspect of one's life, is seen as oppressive and unsatisfying.
How different is Zen! In Zen everything one does becomes a potential vehicle for self-realization. Every act, every movement, done wholeheartedly, with nothing left over, is an "expression of Buddha," and the greater the pure-mindedness and unself-consciousness of the doing, the closer we are to this realization. For what else is there but the pure act itself -- the lifting of the hammer, the washing of the dish, the movement of the hands on the typewriter, the pulling of the weed? Everything else, such as thoughts of the past, fantasies about the future, judgments and evaluations concerning the work itself, what are these but shadows and ghosts flickering about in our minds? Right before us is life itself.
To enter into the awareness of Zen, to "wake up," means to free the mind of its habitual disease of uncontrolled thought and to return it to its original purity and clarity. In Zen it is said that much more power is generated by the ability to practice awareness in the midst of the world than by just sitting alone and shunning activity. Thus one's daily work becomes one's meditation room, the task at hand one's practice. This is called "working for oneself."
An opera singer is reputed to have responded to Descartes's famous phrase "I think, therefore I am" by saying, "I work, therefore I am." In Zen all labor is viewed with the eye of equality. Only a dualistically ensnared mind discriminates between agreeable and disagreeable jobs, between "creative" and "uncreative" work. It is, in part, to root out such weighing and judging that Zen novices are set to work pulling weeds by hand, licking envelopes, or doing other seemingly unimportant, "noncreative" work at the start of their training, and why the abbot himself often cleans the toilets. For true creativity is possible only when the mind is empty and totally absorbed in the task at hand. Only at the point where one is freed of the weight of self-consciousness is there transcendence and the joy of genuine fulfillment. In this natural creativity our intuitive wisdom and joy are released and brought into play.
All this does not mean, of course, that attempts at bettering working conditions and making work more meaningful are worthless. But for someone to constantly resent the work itself or his or her superiors, to become sloppy and slothful in working habits, and embittered toward life, these attitudes cause unnecessary harm and do little to change working conditions. When it's time to work, one works, nothing held back. When it's time to make changes, one makes changes; when it's time to revolt, one even revolts. In Zen everything is in the doing, a doing arising from Awareness, not in the contemplating.
There is one more area in which the untrained, ego-dominated mind plays thief to us, and this is in terms of energy. The fatigue that grips many at the end of the workday is not simply natural tiredness, but the product of a day filled' with wasted thought, with feelings of anxiety and worry; not to speak of anger and resentment, whether openly expressed or inwardly held. These negative mental states probably do more to sap energy than anything else. In contrast, the trained Zen person can move through the day aware and alert. The task at hand receives its due share of energy, but little is wasted in unnecessary anxiety fantasy; or smoldering resentment. Such a person is present, and so, even at the end of a full day's work, his or her store of energy, having not been destructively depleted, remains unexhausted.
Awareness -- and this is more than mere attentiveness -- is everything. A lack of awareness is responsible for so much of the violence and suffering in the world today. For it is the mind that feels itself separated from life and nature, the mind dominated by an omnipresent "I," which lashes out to destroy and kill in order to satisfy its desire for more and more -- at whatever cost. This unaware mind breeds insensitivity to people and things, for it doesn't see or appreciate the value of things as they truly are, only seeing them as objects to be used in satiating its own desires. The deeply aware person sees the indivisibility of existence, the rich complexity and interrelatedness of all life. Out of this awareness grows a deep respect for the absolute value of all things, each thing. From this respect for the worth of every single object, animate as well as inanimate, comes the desire to see things used properly; and not to be heedless, wasteful, or destructive.
To truly practice Zen therefore means not leaving lights burning when they are not needed, not allowing water to run unnecessarily from the faucet, not loading up your plate and leaving food uneaten. These unmindful acts reveal an indifference to the value of the object so wasted or destroyed as well as to the efforts of those who made these things possible for us: in the case of food, the farmer, the trucker, the storekeeper, the cook, the server. This indifference is the product of a mind that sees itself as separated from a world of seemingly random change and purposeless chaos. This indifference robs us of our birthright of harmony and joy.
From a Buddhist point of view, the teachings of impermanence and non-self hold the key to resolving the anxiety of a mind that sees itself as separated from a world of random change. Anyone alive to the realities of life cannot but acknowledge, for example, that impermanence is not a creation of mystical philosophers but simply a concretization of what "is." In the last hundred years this process of constant and explosive change on the social and institutional level has accelerated to a degree unknown to people of earlier ages. Almost daily the newspapers report new and dizzying crises in the world: famines and natural disasters, wars and revolutions; crises in the environment, in energy, and in the political arena; crises in the world of finance and economics; crises in the piling up of divorces and nervous breakdowns, not to speak of crises in personal health.
The average person looking out on this ever-changing world sees anything but natural karmic laws at work; nor does he perceive the unity and harmony underlying this constant and inevitable change. If anything, he is filled with fear and anxiety, with a feeling of hopelessness, and with a sense that life has no meaning. And because he has no concrete insight into the true character of the world or intuitive understanding of it, what else can he do but surrender to a life of material comfort and sensual pleasure?
And yet in the midst of all this seemingly meaningless chaos can calmly stand the Zen Buddhist. Her equanimity is proof that she knows there is more to life than what the senses tell her -- that in the midst of change there is something always permanent, in the midst of imperfection there is perfection, in chaos there is peace, in noise there is quiet, and finally, in death there is life. So without holding on or pushing away, without accepting or rejecting, she just moves along with her daily work, doing what needs to be done, helping wherever she can, or as the sutras say, "In all things one is neither overjoyed nor cast down."
NON-SELF
Like the law of impermanence, the teaching of non-self is no mere philosophical speculation, but the expression of the deepest religious experience. It affirms that, contrary to what we think, we are not merely a body or a mind. If not either or both, what are we? The Buddha's answer, stemming from his experience of Great Enlightenment, is ego-shattering: "In truth I say to you that within this fathom-high body, with its thoughts and perceptions, lies the world and the rising of the world and the ceasing of the world and the Way that leads to the extinction of rising and ceasing."
What could be grander or more reassuring? Here is confirmation from the highest source that we are more than this puny body-mind, more than a speck thrown into the vast universe by a capricious fate -- that we are no less than the sun and the moon and the stars and the great earth. Why, if we already possess the world, do we try to enlarge ourselves through possessions and power? Why are we afraid, at times self-pitying and mean, at other times arrogant and aggressive?
It is because our image of ourselves and our relation to the world is a false one. We are deceived by our limited five senses and discriminating intellect (the sixth sense in Buddhism), which convey to us a picture of a dualistic world of self-and-other, of things separated and isolated, of pain and struggle, birth and extinction, killing and being killed. This picture is untrue because it barely scratches the surface. It is like looking at the one-eighth of an iceberg above the water and being unaware of the seven-eighths underneath. For if we could see beyond the ever-changing forms into the underlying reality, we would realize that i
Roshi Philip Kapleau
Publisher: Scribner (January 9, 2009)
Religion > Buddhism > Rituals & Practice
Religion > Buddhism > Zen
Religion > Buddhism > History
Book Cover Image (jpg): Awakening to Zen
Trade Paperback 9781439155240


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PEARLAND, TX (KTRK) -- A Pearland family of eight whose home was damaged by fire late last month is still living there despite having no electricity.
Rosaura Hernandez family tells Eyewitness News they have no other options right now for her six children, ages 1 to 18 years old.
On June 29, a fire tore through a backyard shed and the family vehicle, melting all the electrical wiring. According to the Pearland Fire Marshal's Office, a transformer blew causing the fire in the 2200 block of O'Day Road. While the transformer has been replaced, the family can't afford to replace the wiring.
They have been living with no electricity, which also means no air conditioning. A plastic kiddie pool and fans powered by borrowed electricity provide some comfort, but it's not what the struggling parents want for their children.
"I know it's not good for the kids, but I don't have any other place to go where we can stay with the kids," said Hernandez.
The Fire Marshal's Office ruled the fire an accident.


There was a large law enforcement presence at the Mt. Pleasant Super Eight Motel at about 7:30 Wednesday morning. So far Mt. Pleasant Police have confirmed there was a domestic situation and one person was arrested. Lt. Lyle Murray said more information will be released later today.


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text:
Japan ramps up row with South Korea, removing favored export status |
Japan ramps up row with South Korea, removing favored export status
Agence France-Presse / 02:44 PM August 02, 2019
Japan's Economy, Trade and Industry Minister Hiroshige Seko answers a question during a press conference at the ministry in Tokyo on August 2, 2019. (Photo by Toshifumi KITAMURA / AFP)
TOKYO — Japan's government on Friday decided to rescind South Korea's favored export partner status, prompting fury from Seoul over the "reckless" act and concern about security ties between the US allies.
The move comes with the countries mired in a long-running dispute over the use of forced labor during World War II, but Japan insists the move is related to national security and is not retaliatory.
Tokyo moved ahead with the decision despite US calls for its allies to calm tensions and a warning from South Korea of "grave consequences" including a review of bilateral security ties.
"The government at a cabinet meeting today approved a revision to the export control law… South Korea, the only Asian nation on the list, will be removed," Japan's Trade Minister Hiroshige Seko told reporters.
South Korean President Moon Jae-in called the move "reckless", warning without elaborating that "responsibility for what is going to happen next also lies squarely with the Japanese government."
The decision makes South Korea the first country ever to be dropped from Tokyo's list of nations granted minimal constraints on exports of products that could be diverted to military use.
The move, expected to take effect on August 28, means hundreds of products listed as sensitive will be subject to tighter export controls, though experts said the effect would be more symbolic than economic.
It "will only have a limited impact on the South Korean economy," said Hajime Yoshimoto, senior economist at Nomura Securities, in part because Japanese exporters can obtain special permission to ship to non-white-list countries with simplified procedures.
Many major Japanese exporters already have that special permission, according to the trade ministry.
'Not an export embargo'
Tokyo had already tightened rules last month on exports of three products key to South Korea's chip and smartphone industries, raising fears for global supply in the sectors.
"I'd like to make it clear that this is not an export embargo," Seko said Friday.
"We believe stripping South Korea of preferential treatment does not affect the global supply chain or have a negative impact on Japanese companies."
The measure was the latest blow to ties between South Korea and Japan, which have plunged to new lows over a long-running dispute on forced labor during World War II.
A string of South Korean court rulings ordering Japanese companies to compensate forced labor victims has infuriated Japan, which argues the issue was resolved when the two countries normalized ties.
Japanese officials said both the specific export restrictions imposed last month and the white list removal are not a "retaliation" though they have cited a "loss of trust" in ties with Seoul.
They said South Korea has repeatedly violated the rules governing sensitive exports and the moves are necessary for "national security."
The row has alarmed Washington and US Secretary of State Mike Pompeo is expected to hold trilateral talks with his Japanese and South Korean counterparts, Taro Kono and Kang Kyung-wha, later Friday on the sidelines of the ASEAN summit in Bangkok.
Kono and Kang talked Thursday, but the meeting appeared frosty, with little sign either side was moving towards a compromise.
Ties 'at rock bottom'
And on Friday Kang slammed Japan's "unilateral and arbitrary decision" in remarks quickly rebutted by Kono, who said the measure put South Korea on the same footing as many other ASEAN nations.
"I have not heard any complaints from our ASEAN friends," he said.
"Japan's necessary and legitimate review of its export control is fully compatible with the free trade regime, including the WTO agreement."
Hidehiko Mukoyama, a senior economist at Japan Research Institute, warned the outlook was grim.
"This is in effect a de facto sanction against South Korea," he told AFP, predicting retaliatory measures from South Korea, where public boycotts of Japanese goods and cancellations of exchanges with Japan have already taken hold.
"For South Korea, it must feel like a pinpoint assault to the heart," he said. "The bilateral relation is at rock-bottom." /kga
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The National Plan for Music Education (NPME), published in November 2011, sets out the four core roles and three extension roles which, locally, Music Education Hubs are responsible for delivering with schools.
1. Ensure that every child aged 5-18 has the opportunity to learn a musical instrument (other than voice) through whole-class ensemble teaching programmes for ideally a year (but for a minimum of a term) of weekly tuition on the same instrument.
2. Provide opportunities to play in ensembles and to perform from an early stage.
3. Ensure that clear progression routes are available and affordable to all young people.
4. Develop a singing strategy to ensure that every pupil sings regularly and that choirs and other vocal ensembles are available in the area.
1. Offer CPD to school staff, particularly in supporting schools to deliver music in the curriculum.
2. Provide an instrument loan service, with discounts or free provision for those on low incomes.
3. Provide access to large scale and / or high quality music experiences for pupils, working with professional musicians and / or venues.
How does the Derbyshire Music Education Hub meet these roles?
How does the Derbyshire Music Education Hub meet the core and extension roles of the National Plan for Music Education (NPME): The Importance of Music?


CHECK OUT OUR REVIEW OF THE GAME'S 'DOCUMENTARY 2'!
People often say controversy sells and with The Game, there's obviously a lot of that going on. Between well-known recent beefs with Lil Durk, Young Thug, 40 Glocc and his run ins with the LAPD, the Game has his hands full. Lets not forget he's reppin' the red side all day, so you know what comes with that territory.
See, beyond the beef, the Game has consistently put out platinum albums. Moreover, he's selling records and even gives back to the community with his $1,000 giveaways.
For this The Documentary 2, the Game has assembled an all-star line-up that rivals the original down to a return to the studio with his mentor Dr. Dre. The Game's lengthy list of collaborators include several legends solidifying his place in the West Coast Mt. Rushmore of Hip-Hop. Features on the project include Dr. Dre, Ice Cube, Snoop Dogg, Kendrick Lamar, Kanye West, Diddy, Drake, Future, DJ Premier, Will.i.am, Mike Will, Cool and Dre, AB Soul, Jelly Roll, Dej Loaf and many more.
Before you even press play on the album, we've already been told by a host of people that this might be one of the Game's best albums yet - a classic. But is it? Having seen the introspective documentary on the recording of the album itself, the intrigue is 100% there. We take a venture through the album - track by track.
This song was released this week and as you know samples Erykah Badu and features a super smooth Kendrick verse harmonizing with Erykah's "On & On" track. We've heard Kendrick and Erykah collab in the past and on this one the Game found a way to bring that vibe back. There's some a capella on the song and judging by the way Kendrick and Game trade verses, its clear the Game's lyrical ability is on display for this project and he rises to the occasion. The Game, Kendrick and Dr. Dre - this is VERY dope.
"On Me" segues into the Dej Loaf song sampling Gang Starr's "Step Into The Arena." The "step up" cuts are well-known from Tupac's "I Get Around" but they fit in nicely on this song. Dej adds her familiar harmonizing on this one, singing the same melody from Brandy's "I Wanna Be Down." The song features an accompanying video and so far, no fillers here. This song is a dope throw back type joint, he's keeping it Hip-Hop 1000%. 90's Hip-Hop.
The song sonically takes you on a ride of twists and turns just like will.i.am describes in the flick. From the Dre intro to the 70's pimpish bass line that sits right in pocket, this keeps the album moving along in a fun way. Cube drops a new verse that mimics his classic sh*t, while Dre seems to channel some of his Chronic 2001 verses letting you know they still got it. This beat switches up like 5 times.
Another sample on this track, starting to become a theme. If you don't mind revamped songs then its cool, but if you prefer 100% original tracks then this one adds to your skepticism. Diddy jumps on this one with the overdubs, while Game talks that mess. Game kinda channels some Biggie on this one with his use of diction, timing and similar phrases B.I.G. may have used. They stuntin on this track, it's a single and the video will be CRAZY if they decide to do it.
This song has a crazy beat. Game shouts out all the gangs in LA in the beginning, if you're from LA you know about some of them, but Game shatters this beat. The hook is perfect and then AB blesses this one with a verse that describes the hustle from the beginning. This track is perfect. The story of Game's life from the streets to the rap game is as real as it gets and this song reminds us of why we respect and have loved Game's music over the years.
The Game has always had an ability to adapt to the changes of the music world and this song proves his versatility and ability to get on really almost any song. Future Hendrix hooks this one up with a smooth extension of the Dirty Sprite 2 project. This one is on repeat this weekend and fits right in with the R&B music we've been hearing all over.
Game and Yeezy step up as the originators on this one, looking over a world of critics and haters. The track has real airy vibe and its a similar vibe to other Yeezy songs that are somewhat somber in mood. Game goes in on this one dissing the "sour faced" people in the world that diss Game and Kanye.
We've all heard this song, the video was fresh, this song is a BANGER and it still hasn't gotten old yet. Game again makes it clear that the people who matter support his music. These two have had their share of beef respectively so its pretty dope to hear them to talk about how they've kept it 100. Drakes verse has gems throughout.
Game gets controversial on this one evoking religious lyrics and his take on the police brutality in our country. "Some things never make sense like Magic and AIDS," the Game says as he kills this one. This is Game's take on the shortcomings of society, a societal critique so to speak.
Blue and Red come together on this track that is combined with the vibes of Fergie and will.i.am on the hook and production. This one is another LA anthem that that has some dope funk undertones. At the end of the day this one is big given the 100 days 100 nights violence going on in LA. If Game and Snoop can come together the streets can do it too. We got a glipse of this song's recording process from the movie as will.i.am and the Game work on this song during the film.


text:
MPR News Reflections and observations on the news
Strib: Super Bowl freebies violated ethics code; reimbursement paid
Bob Collins March 1, 2018, 3:43 PM Mar 1, 2018
#tbt to last year's #superbowl media party…I ate like 30 oysters 😂😂 #stayhungry pic.twitter.com/qDIFHIXQ0o
— Natasha Geigel (@NatashaFox26) February 8, 2018
When a big, national event rolls into town — a national political convention, for example — a host committee will almost always have a party for the thousands of representatives of the media beforehand.
That's the way it worked at the Super Bowl in Minneapolis last month, too. The exclusive party at the Mall of America was for credentialed media only.
It's a "splendid evening on someone else's dime," as SB Nation called it in 2014.
It's also an "ethical disaster that will haunt us for some time to come," a member of the Star Tribune's union said in a post Super Bowl performance survey that showed wide disagreement among journalists on the question.
The complaint, however, caught the attention of management at the newspaper. On Wednesday, newsroom executives announced in an internal memo that the newspaper will reimburse the Super Bowl Host Committee for the cost of providing the perk to employees who attended.
During our coverage of the Super Bowl, more than two dozen staffers attended a media party sponsored by the Super Bowl host committee. Because we provide readers coverage of the committee, this conflicted with our code of business conduct and ethics, specifically "avoiding behavior or actions that could be a real or perceived conflict between your personal interest and the interests of the company."
As a result, we have reimbursed the host committee for each staffer's attendance. Doing so was a significant cost, but it was ethically important for us to pick up the tab, particularly for those who were part of our impressive coverage team.
We will be doing some additional reviews of how well we are adhering to our own standards. This is a good time for all of us to review our Code of Conduct, posted on StribNet Info & Policies. if you have any particular questions or issues, please share them with us or your AME.
"I always think that the tendency these days is to obsess over the appearance of a conflict of interest, even if it doesn't really exist, on the grounds that the press has to be like Caesar's wife because someone will call out any journalist who they see as being bought and paid-for," says Jane Kirtley, who directs the Silha Center for the Study of Media Ethics and Law at the University of Minnesota.
"Most journalists would insist that they wouldn't be influenced, but again, it's about perception as well as reality. And one must ask: why does the host committee sponsor a bash like this if it doesn't think it will benefit from it?"
And it's not just the host committee that presents a potential conflict. Thirteen people planned the the Super Bowl Media Party, most of them as representatives of corporations looking for "activations."
In the practical world, a free drink or a game of air hockey isn't going to to sway a good journalist. But in the real world, the appearance of a conflict of interest is serious business. The Star Tribune has led the way among news organizations trying to pry the secret details of the deal between the NFL, the host committee, and the city and state.
Free food and alcohol can look like an invitation to look the other way on the things that authorities wanted to keep secret and an appearance of a conflict of interest can ruin trust between journalist and reader.
"It's great that the Strib is doing the right thing," Kelly McBride, the vice president of the Poynter Institute, said in an email.
"If the party had a ticket price and there was no journalistic reason to be there, then it's right to reimburse the Super Bowl committee," McBride said. "This isn't an ethical disaster by any stretch. But public actions like this go a long way in setting expectations for the journalists who work at the newspaper. Next time someone gets a valuable gift at work from an outside organization, it will be impossible to "forget" what the company's standards are."
Media Media ethics Super Bowl LII
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Bob Collins retired from Minnesota Public Radio in 2019 after 12 years of writing NewsCut and pointing out to complainants that posts weren't news stories. A son of Massachusetts, he was a news editor 1992-1998, created the MPR News regional website in 1999, invented the popular Select A Candidate, started several blogs, and every day lamented that his Minnesota Fantasy Legislature project never caught on.
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This past week I set out to implement client side interpolation for player movement and to make progress on a first defining game mechanic. I got the basic interpolation done, but didn't do a great job of making time to work on the first mechanic. A combination of a friend's moving out party, a busier than usual week at my job, and just feeling all around sluggish left me falling short. That's alright, better luck this week!
The authoritative game server sees the world as a grid of tiles. It has no notion of players' exact x, y and z coordinates in the 3d world. Just their current tile.
Since the game mechanics will be based around tile locations we can let clients handle the interpolation between an old and new tile positions.
Right now we're pushing all client locations to all other clients, regardless of whether or not they're nearby. Pushing unnecessary data quickly becomes an issue when more than a handful of people are playing. We don't have this problem yet, but we'll lean on space partitioning when we need do.
Another issue is that right now we're linearly interpolating clients towards the next tile. This works fine when the next tile is adjacent, but quickly breaks if, say, we start allowing clients to move two tiles in one game tick. As always, we'll address this when it's an issue.
This week I'll be focusing on implementing a first defining mechanic. I'll be sitting down and thinking through the emotions and feelings that I want to invoke in order to have a good framework for experimentation.
So far I know that I want the environment and game tiles to feel important, but I'm not yet sure how that will look.
Last week I played around with clients damaging other entities by attacking their game tile rather than the actual entity. This was only "visible" by inspecting the game's state object, and that held my imagination back a little bit. I'll have to work on some minimal visuals for the mechanics that I'm experimenting with. Just enough to get a basic sense of how things feel.


The IPDA TEG has met in Bremen to discuss overall pending issues related to PDAP access, PDS and Registries. Results for the meeting will be discussed at the overall SC meeting.
The meeting span from 13:00 to 17:30 on Wed 14 Jul 2010.
Dan Crichton talked on current status of Registries project.
Pedro Osuna gave an overview of current existing Registry standard in the IVOA, and showed life demo of EuroVO Registry with proposals to evolve further.
Christophe Arviset presented an overall view of IVOA under the section "Other Interoperability efforts"
During the meeting several recommendations were put forward.


Spring clip type is standard for small pitch chains through size #60.
Similar to the pin link, except that the detachable plate is slip-fitted to the pins and retained by a spring clip.
Cotter type is standard for #80 chain through #240 chain.
Similar to the pin link except that the detachable plate is slip-fitted to the pins and retained by cotter pins.
Similar to the cotter type connecting link, except the detachable plate is retained by one single long cotter pin.
When a strand of chain consists of an odd number of pitches, an offset link is needed to assemble the chain. Assembly is simple, and chains can be custom fit to your power transmission needs. (Also known as a half link).
Consists of two offset link plates, one special pin, one bushing and one roller. The pin is slip-fitted and retained by a cotter pin.
Consists of an offset link and a roller link permanently riveted together. The Pin is press fitted to the offset link plated. Standard for 1/4 inch pitch (Ansi#25) and smaller chains.
Consists of two bushings press fitted to each of the link plates and two rollers. Just enough clearance is provided for the rollers to turn freely over the bushings. The same roller links are used for both single and multiple strand chains.
Permanent outside link that cannot be removed. Consists of a U-link (two pins and two pin link plates assembly) and a press fit plate. The pins are press fitted to both plates and riveted after assembly.


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Rifts is a pen and paper RPG by Palladium Books. I don't know much about it, but the Coalition States appears to be a large fascist anti-magic faction. Their ground soldiers are called Deadboys.
While the concept of "Storm troopers meets skeletons and a few spikes" isn't groundbreaking, I haven't really seen it used anywhere else. Sure, there has probably been a lot of gritty, dark, skull faced character designs used in games. The Deadboys however feature a quite clean design, and are organized into large armies. At any rate, I've always been a sucker for both skeletons and high contrast color schemes.
These concepts are not super faithful. I've done some redesigning.
Star Frontiers is an old sci-fi RPG from the early 80's. This is my take on the main playable races. I changed a few things, like varying the length of the legs of the bug-like Vrusk to smoothen the transition into the torso. 4+4 equal sized legs felt crowded and pointless.
The Yazarians are some kinda tall flying squirrel-monkey. I thought they looked a bit too squat in the original artwork, and I changed the anatomy of the gliding wings to better accommodate for worn gear and melee combat.
The Dralasites are perhaps the most fun of the playable races. They're amoebas, but appear to have a preference for a sort of humanoid, tripod shape.
There are actually two kinds of worms, the S'sessu and Sathar. They remind me a bit of the Ur-Quan. Perhaps there's a connection.
I don't like my Mechanon drawing. It's too greebly and unfocused. The Mechanon's faces are sort of similar to the Mechan's of Starflight. The Mechanon were introduced along with a few other races in one of the expansions I think (Zebulon's Guide to the Frontier?).
I also drew a Queequeg, because it reminded me of a Lovecraft creature. I don't like how my version of it turned out though. There's another similar looking creature that's kinda fun, the Edestekai.
I wanted the Osakar to be more alien, so I moved the upper torso down. The Ifshnit were generic Dwarves which didn't seem to fit the setting. I changed them into beard-owls. The Humma were plain kangaroos. I didn't know what to do with them, but I thought they should look less like animals trying to handle human equipment. I added some sideburns and SWAT-gear, and erected the pose. Perhaps with some Raptor claws they could be good at close combat.
Yazirians are sort of squat and weird in the original art so I turned them into slender Ork-bats. The Sathar (worms) could use a mobile suit, perhaps, like a Dreadnaughty. A mysterious race has engineered Vrusk hybrids and Shoggoth-like Dalasoths? A TTA ship sneaks by.
In the 80's, there was a Swedish PnP RPG called Mutant. It was based off an American game called Gamma World. The Swedish version mutated into games like Mutant 2089, and Mutant Chronicles. I liked the silly setting of the older version though. I often played as a duck, so I try to force ducks into my settings whenever I can. The termite on my concept here is based on an old drawing that Erol Otus did for Gamma World, and so is the cover (Gamma World's GM screen).
Maximilian is an memorable robot character from The Black Hole (1979 movie). On my version here, the smaller auxiliary arms doubles as shoulder guards. I'm still unsure about the head placement and design. Yeah, that's segment arms again. I do them a lot.
The original design is quite modern somehow. I'm pretty sure I've seen variants of its hover legs in modern mecha anime. Maximilian is almost like a Swiss army knife with all the little appendages which can pop out. I speculate that Maximilian inspired the makers of 'Berzerk' (Old Arcade / Atari2600 game).
I'm quite comfortable with my process now. I spend almost no time doing labor, such as: like, coloring inside the lines, cleaning up, rubbing lines in, etc.
I wish Photoshop would let me do transformation (move, scale, skew, etc) changes in all layers though. Maybe it can, but right now the method I use is to switch through all layers and use the keyboard shortcut for repeating the last transformation. It's pretty fast but not as fast as I'd like. Also, the repeat thing doesn't work with Warp transformations it seems, or liquefy. There might be a work around, like a macro or saving the change...mesh thing, but it's too slow.
So, if I feel like I need to do a really big global change, and that I'm sure about the colors, then I might flatten and do the change. In some cases I can do a new layer and correct stuff on top, or start rendering.
In this particular case I didn't need to flatten though. It can be worth keeping the layers if you get a new idea for a color scheme.
Someone mentions Hardware. I remember how awesome that skull was. I re-watch movie. Ok, the robot body wasn't all that (it looks like a squatting duck), but the skull is still awesome. Gather screenshots.
The movie mentions specs for the M.A.R.K-13, and also shows lots of schematics. Most of the stuff is "sound-cool" nonsense. I decide to redesign the body since I don't like it much (hence the 14).
I also research the comic the movie is based on, SHOK! Walter's Robo-Tale. I don't like it and the skull design looks uninteresting. I begin to wonder if, since we're in the Judge Dredd universe here, I should pay homage to ABC warriors, or re-read the robot wars / Call me Kenneth comics for visual guidelines. I read some Wikipedia page about Mega-City One instead.
I also encounter the script for the sequel, but only get a few lines in. There are mentions of microwave weapons and dismemberment tools. I decide that the robot needs those. Well, I was gonna put that stuff on him anyways, but still, it's a confirmation. I start thinking about how my own sequel would look, and write brief synopsis.
Oh, yes, the drawings. Thumbnails with mechanical 0.5 pencil and 160 grams copy machine paper. At first I forget about the whole multiple arms thing. The shapes came out alright. I put the extra arms/tools on the back, and it starts looking like a ninja. Much too humanoid though - as such, it lacks that... unique memorable thing, the pop. It also needs to be able to... stand bent over people, and a long neck jutting forward would look wrong on a regular humanoid body. It needs to flow into the rest of the body.
I try something with multiple arms but it's an immediate failure.
I get some ideas for the rough shape with the next thumbnail, but decide to start a new clean one to explore it further.
I play around with the round shoulder pads / shields which I have already used on some other concepts. I finally think that I have something which comes close to the mental image that I had early on, but it's late and I decide to let it rest for the night. I circle it and make a note (arrow) to move the legs a bit to the left.
The next steps didn't take too long, compared to the research.
I scan and scale up. Adjusting placement of things, and watching out of skewness (my figures are always skew in some way, something with my eyes). Fade to light gray (sometimes light blue).
I start throwing lines onto it. I feel that details are not as important as the masses / silhouette of the thumbnail. Still, I don't like seeing details which doesn't work well together, lacking a theme in form. I end up going for... somewhat clean shapes with a roundness to them, without being organic. Bulky rounded shapes crudely mimicking organics, perhaps.
Anyways, I have a lot of liberty here to play around arbitrarily, but there were some considerations which I felt I had to make. I put armor plating at the front, covering the biceps for example. Exposed wires are so tempting to add, but this is a military unit and I decide that it needs to feel durable and solid.
I turn the rearmost arms into some kind of mantis / pterodactyl arms. Now it has swords, a drill and a buzz saw, and two main cannons.
I gave it two mandibles which offer some protection for the poisonous goatee syringes. I didn't draw a close up of the syringe device, but it could be like a little revolver with different poison canisters. It can also swing back in under the skull when the unit is not in a close combat situation.
I decide to add some markings here and there, with the loin cloth having decorations similar to Dredd's badge thing. The flag was of course sprayed on by the girl in the movie, and not part of the original design, but I decide that it's what makes the design appealing to me, so I keep it.
With line art done in black over the light gray, I can use levels to remove the light gray and make the black dark gray.
Coloring didn't take too long. I use the magical wand with a tolerance about 50-100, select the figures (which is possible because my lines are ararely broken). I then create a new layer, paint bucket in white, lock transparency. I make two layers like this, shadow and color. I block in colors / shades with a Pencil brush, because I don't need aliasing. Being able to paint bucket and manipulate the colors without getting residues of aliased edges is quite useful. I don't like spending time cleaning up.
I go for a warm gray base color because warm is the feel of the Cursed Earth. I decide that I need a second material color, and pick a lighter complimentary silver (cold).
I leave the girl gray because she's just for scale.
I end up having to go back and adjust markings, the chest design and color placements. I decide that it's finished because I have other things to do.
I later notice that the skull is too big compared to the girl, but don't feel like fixing it. Also thinking that the chest/belly area needs a rework, a... pop feature, not just some plating. Still, it might need to be simple (quiet, not gritty) though, because the head and arms will overlap it often. I had an idea of the Sternum being able to open up, revealing a console / interface.
As for the self repair functions, it would make sense to put them in the head, since that's where the brain and eyes are. I'm thinking that some kind of stiff cables could spring out from the neck area, like spider legs / arms.
I read the book (listened to the audio book, rather) but didn't like it much (although I can appreciate its at the time ground breaking synopsis). I felt like there were too few battles and hardly any descriptions of the character and creature/monster designs. Most of the book was a big one sided argument about how military vets should run society, how the military should be run, and how children need some discipline. The various Mary Sue professors and other 'wise' characters seem to be poorly disguised Heinleins (although I'm not sure if that is actually the case). The main character is rather ignorant so the various Mary Sues can get their chance to lecture.
The old board game has some ref images, but I ended up going my own route. The movie designs were pretty good I think, but I didn't like the idea of unarmed bugs. I also wanted to see some Shirow'esque mobile suits.
Board Game Geek has some reference images.
One day when I was doing nothing in particular, a few notes from the V intro tune bubbled up from the misty depths of my mind. I watched it in the 80's when I was a kid, and I fondly remember many of the designs and characters. For some reason I started drawing space shuttles... not really getting anywhere. I wrote a little thing about spaceship design btw.
Diana from V. I always liked her better than the blonde one. I think I had a crush on her, face still on.
Yet another sort of dark treatment of Alice in Wonderland.
A scrap parts robot loosely inspired by the Borg Consensus of Parts from the Andromeda sci-fi series. Drawn with a felt tip pen and colored digitally.
I tried to draw an Idrian from Iain Banks' Consider Phlebas, but the mental image that I had of it keeps eluding me.
Flash Gordon scribbles, based on the older B/W material. The 80's movie was fun too.
Inspired by the cover of "Slaves to the metal Horde". I like pill bots.
These are redesigns of old cartoon characters. The Goon (apparently the origin of the term) is a female monster which scared kids (parents) so much that the design had to be changed. Uran from Astroby probably inspired the Tron Bonne design. I tried to give Betty Boop a more regular head.
Characters inspired by an old Dutch comic series called Suske en Wiske (but you probably knew it as something else). Ref.
Once upon a time, Il était une fois, Det var en gång.
Star Gentle Uterus! Well, ok, that wasn't actually Saturn's attack. Her Glaive splits in two, like those gentleman canes with a hidden sword inside. I like Saturn's shoulder pads. I don't know much about her person, but visually she's totally my fav.
Wonder Woman. Did a photo paint-over, using the design from the older chibi figures.
Ancient robots from my favourite movie, Moontrap.
Ancient fossilised pilot from my favourite movie, Alien.
In my headcanon, this unfortunate thing was surgically operated into the control throne (like Farscape's "Pilot") and could not leave the ship. It was part of a crew of explorers. An Alien got on board on LV426 or before and everyone died. Aliens set up shop in cargo hold. In my interpretation, the atmospheric film over the eggs was set up by the aliens after realising they might be waiting for a long time, again. And Nostromo just stumbles upon the signal. Ash & Mother had many special, dormant directives and one of them applied. Meaning, Alien features the first encounter. The colony in Aliens was /sort of/ accidental in my mind. Story ends there.
I ran out of paperspace drawing this thing based on an old racing car, so that dictated the design/pose a bit.
I did this for a guy on Youtube who had designed a neat walking hexapod, but he ended up using a different design.
When I found an old toy catalog, Leksakslandet 1986, I decided to draw some robots. Pencil+digital roughs of toy robots.
I was never into action figures as a kid, but I recall seeing (expensive) He-Man and Star Wars figs on the toy shelves, perhaps secretly wanting one. It's kind of silly how the He-Man figs were just repaints of musclemen. I think the most fun/striking ones are Skeletor, yellow skin Evil-Lyn (not a fan of the pale skin version), and the best henchmen are Spikor, Trapjaw and Spout Snout. His main henchmen are pretty boring I think, and so are most of the good guys.
The new "classic" display figs has a nice Webstor and Cobra Kahn, and even the regular palace guards are sort of nice. Shadow Weaver is neat too.
This was my first time drawing the characters, so I just had fun and tried to dance with what I thought was the core idea of the figure. I think I prefer the smaller legs of the old figures. It brings focus on the more characteristic upper part, and it agrees with my small-leg fetish. Each character has some sort of thing about it that I eventually will have to find and exaggerate / focus on / make a shape-theme.


The Center for Teaching & Learning supports campus-wide events, guest speakers, and pedagogical/training activities that offer unique opportunities to our faculty and staff for ongoing professional development. We believe that in order to serve our students well, we must first serve our faculty and staff and demand that they hold themselves and each other to a rigorous standard for teaching, scholarship, and university/community service.
This summer, students can experience an innovative model of instruction during a month-long residential program for which they can earn up to 15 credit hours from Colorado State University-Pueblo. CSU-Pueblo will offer the "MAESTRO" Summer Program from July 9 - August 10 for a maximum of 40 students interested in earning college credit while participating in a unique, hands-on curriculum and exploring the Southwest during day-long Saturday excursions.
Integrating Writing, Creating Success! Join us in the Center for Teaching Learning for a discussion of easy and effective methods for using writing to increase student learning. Incorporate writing assignments that are not only easy to assess and suitable for your discipline, but also encourage critical thinking and teach course content. Learn how the CTL can help you design new writing exercises or revise existing ones. Free books for attendees! RSVP to the CTL at 719.549.2290 or ctl@csupueblo.edu.
Thursday, 1:00 pm - 4:00 pm The Center for Teaching and Learning invites you to a workshop about the "Domain of One's Own" project." The CTL is piloting a faculty learning community to explore web tools for college classes across disciplines. Learn to set up your own web site which you can control. Teach your students to do the same and use open source tools for online writing, publishing and media curation. Bring your own laptop. Stay as long as you can.
Check out our Archive to learn more about past CTL speakers and events!


text:
Q: HTML5 Canvas: Код кнопки, ведущей на веб-страницу Добрый день!
Делаю рекламный баннер, но модерация Яндекс.Дисплея не пропускает, так как переход на целевую веб-страницу с баннера осуществляется всеми кнопками мыши, когда нужно только левой.
Adobe animate предлагает следующий фрагмент кода для кнопки, ведущей на веб-страницу (при нажатии любой кнопкой мыши):
/* Нажмите для перехода к веб-странице При нажатии на указанный
экземпляр символа производится загрузка веб-страницы в новом окне
обозревателя. Инструкции:
1. Замените http://www.adobe.com на адрес желаемой веб-страницы. Не удаляйте кавычки ("").
*/ this.button_2.addEventListener("click", fl_ClickToGoToWebPage); function fl_ClickToGoToWebPage() { window.open("http://google.ru",
"_blank"); }

Подскажите, пожалуйста, как изменить его, чтобы переход осуществлялся только левой копкой мыши.
P.S. замена click на onСlick не работает. В итоге переход вообще не осуществляется.

A: Событие Canvas срабатывает при клике на любой кнопке мыши, но можно получить стандартный объект события MouseEvent и выяснить, какая кнопка мыши были нажата. Если нужна только левая, то ее код равен нулю.
this.button_2.addEventListener("click", fl_ClickToGoToWebPage);

function fl_ClickToGoToWebPage(event)
{
    if(event.nativeEvent.button == 0)
    {
        window.open("http://google.ru", "_blank");
    }
}

A: Нашла еще одно решение проблемы. В HTML-документе вставить следующий код:

<title>HTML5_Ad_Demo</title>

redpajama_set_name: RedPajamaStackExchange


Good news for Fates and music fans! On 27th April 2016, Nintendo will be releasing the Fire Emblem if (Fates) Original Soundtrack in Japan in partnership with Tablier Communications inc.
Like the official Awakening soundtrack that came before it, Fates's soundtrack comes in a beast of a package. For starters, it contains all 134 tracks from the game across 7 CDs and includes a bonus, bumper-packed DVD.
Similarly, Yusuke Kozaki–the artist of Awakening and Fates–again provides the glorious cover illustration, this time depicting Azura's iconic performance at the Opera House.
The goodies don't end there: First-print copies of the soundtrack will be bundled with a pair of those increasingly popular can badges featuring male and female Corrin.
Note: Songs denoted with an asterisk (*) do not have an official translation.
05. What Can You Do?
04. How Can That Be?
I can neither confirm nor deny my anticipation for this.
Uh, as with any Japanese soundtrack, it's just the Japanese tracks.
Oh ok thanks I'm hoping for a US one soon.
To be honest, I wouldn't hold your breath. Games rarely release soundtracks in the west.
Alright thanks maybe I will pick this up then I love the soundtrack regardless.
You can probably import it, but it'll leave a 6800 Yen + shipping hole in your wallet!
Where can we preorder this from?
I don't think it's up for preorder anywhere quite yet. I didn't see it on my usual locations for importing. I didn't check Amazon JP, but you probably can't import it from there without a mail proxy.
CD Japan! They are amazing!
Oh no, I can already feel the pain in my bank account… But I HAVE to get this!
I need this. Also, is there any new on the Live Orchestral DVD? When will that be out?
It should have released on 24th February, assuming there were no delays.
this abysmal stock especially since you cannot buy imports from amazon.jp.
You actually can buy DVDs, CDs, and Books from Amazon.co.jp if you're an international customer. Just not really anything else. They only have express shipping though, but considering it usually starts at CD Japan's SAL prices… Regardless, their listing still hasn't started accepting preorders yet.
I pre ordered this on amazon but im debating on whether I should wait to see if it gets an English release because it will have the Japanese singers and while I do like them I do prefer the dub singer what do you think?
If you can afford it, get both. FEA soundtrack sold out super quick and was on eBay for $300+ before they re-released it, so don't take any chances. If the English one does come out, then perhaps sell it. I'll probably get both, I reckon they'll do an English one.
I love this so much! It contains 134 songs from the first 7 discs, then another 100+ as well as movie file son the data disc. Perfect for a collector and huge fan of the series!
I think the track list is actually incorrect. I have the soundtack here and there are 19 tracks on the 7th disc. The last track on the booklet says it is the ENISHI track. Just wanted to point that out.
It isn't missing, it is just misplaced. However this post is missing about 100 songs on the bonus DVD in the instrumental and Ver.AC folders.
That is true. I am frankly in awe of how much damn music is in this set!
Is there a list of the composers in English? I'm not sure if Google Translate is very accurate.
I have bought this set and on the DVD there are 2 versions of the cutscene with Sakura and 2 of the one with Elise, but I can not find anything different between the 2. Am I missing Something?
The Onee-san/Onii-san depending of the Avatar's gender is the only difference i can hear.
Disc 7 has 19 tracks. What's the title of the 19th track?
It's Enishi, the Sakura and Elise duet.


text:
Q: How to increment the variable name in PYQT initUI function? this is my code below:
class Example(QWidget):

    def __init__(self, fname):
        self.fname=fname
        super().__init__()
        self.initUI()

    def initUI(self):

        #self.cb1 = QCheckBox('all',self)

        self.cb2 = QCheckBox('a',self)
        self.cb3 = QCheckBox('b',self)
        self.cb4 = QCheckBox('c',self)
        #for x in range(1, 13):
         #   locals()['self.cb{0}'.format(x)] = QCheckBox('a',self)

        bt = QPushButton('submit',self)

        self.resize(300,200)
        self.setWindowTitle('sheets selction')

I am trying to increment the self.cb by input amount of loop, so I want to increment the self.cb in the loop like self.cb1,  self.cb2, self.cb3 ..., I tried to use locals(), it works out of the PYQT, but when I try to use it in the initUI, it doesnt work, does anyone know how to increment it?

A: You can use setattr to create an attribute with the desired name directly.
The code you commented out should read:
for x in range(1, 13):
    setattr(self, f"cb{x}", QCheckBox('a', parent=self))

According to the code you posted, I believe this is closer to what you want:
for x, string in enumerate("all a b c d e f g h i j k".split(), start=1):
    setattr(self, f"cb{x}", QCheckBox(string, parent=self))

It is equivalent to
    self.cb1 = QCheckBox('all', self)
    self.cb2 = QCheckBox('a', self)
    self.cb3 = QCheckBox('b', self)
    self.cb4 = QCheckBox('c', self)
    ...
    self.cb12 = QCheckBox('k', self)

A: I am gonna share my idea. What about storing the checkboxes in list? or even dictionary:
self.checkboxes_dictionary = {}
self.checkboxes_list = []
names = ["a", "b", "c", "d"]
for name in names:
    self.checkboxes_dictionary[name] = QCheckBox(name, parent=self)
    self.checkboxes_list.append(QCheckBox(name, parent=self))


Buy De Wit 4 prong digging fork:

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Sharp and strong, this high-quality 4 tine fork from De Wit is a great all-round tool for digging, lifting, turning and aerating soil, as well as harvesting potatoes and other root crops.

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 Every tool is hand-forged in the Netherlands from tough boron steel - shaped, sharpened and burnished for durability, giving it the same blackened patina as traditional Edwardian tools. Each is fitted with an FSC-certified solid ash handle for ultimate strength and shock resistance, oiled to provide first-class protection against the elements.

All De Wit tools come with a lifetime guarantee against manufacturing defects, making them a truly once in a lifetime purchase.
Sharp and strong, this high-quality 4 tine fork from De Wit is a great all-round tool for digging, lifting, turning and aerating soil, as well as harvesting potatoes and other root crops.
Forged from robust carbon steel, the sharp tempered tines slide into soil with little effort, making it easier to turn over your plot.
The strong but lightweight ash hardwood handle has natural elasticity, allowing the fork to bend without breaking when working in heavy soil.
Excellent tool. Will last us many many years.
is this fork made out of 1 piece of steel or are the tins welded on ??
Hello, the fork is made out of one piece of steel. I hope this helps.
Hello, I have asked our warehouse supervisor to measure this and he has said that the total length of the fork is 114cm - including the tines, which are 25.5cm long.


text:
Emma Watson Reveals If Her Relationship With Tom Felton Has Ever Turned Romantic
Emma Watson and Tom Felton both admitted that they've 'always loved each other' during the 'Harry Potter 20th Anniversary' special, and Emma weighs in about whether or not she's ever been in a romantic relationship with Tom.
Despite their Harry Potter characters being at odds, Emma Watson and Tom Felton have a close bond after spending so many years working together. During the Harry Potter 20th Anniversary: Return to Hogwarts special, Emma and Tom open up about their love for each other. "Emma and I have always loved each other, really," Tom says.
Emma also explains the moment on set when she actually "fell in love" with Tom. "I walked into the room where we were having tutoring," she says. "The assignment that had been given was to draw what you thought God looked like, and Tom had drawn a girl with a backward cap on a skateboard. And… I just don't know how to say it, I just fell in love with him."
Emma Watson and Tom Felton in 2011. (Alan Davidson/Shutterstock)
Emma admits that she "used to come in every day and look for his number on the call sheet. It was #7 and if his number was on the call sheet it was an extra exciting day." Tom gushes that he "became very protective over" Emma because he's 3 years older and has "always had a soft spot for her and that continues to the day."
But has their relationship ever taken a romantic turn? "Nothing has ever, ever, ever, ever happened romantically with us. We just love each other. That's all I can say about that," Emma reveals.
For Emma, she's always felt that she could be "more vulnerable" with Tom than any other person. Tom calls their relationship a special "kinship."
Emma Watson and Tom Felton as Hermione and Draco. (Warner Bros/Everett Collection)
Emma and Tom met after they were cast as Hermione Granger and Draco Malfoy in Harry Potter and the Sorcerer's Stone. They starred in all 8 movies together over a decade. They may be done filming the Harry Potter movies and have been for a decade, but their relationship is truly a bond that can never be broken. Harry Potter 20th Anniversary: Return to Hogwarts is now streaming on HBO Max.
China welcomes 2022 with worst COVID week since taming virus
'Sensational' crowd catch stops BBL


Hola from Honduras! I just landed here in the capital city, Tegucigalpa, and I'm about to head over to a friend's place for Christmas dinner, but I thought I'd give a quick introduction. My name is Stacey Chiu and I'm a junior at USC majoring in Sociology and minoring in Public Health. I'm currently working on my undergraduate thesis, a transnational comparative study of the differences in the gendered division of household labor in Honduran families and Honduran immigrant families living in Southern California. I'm also developing a gender component that will be added to existing Global Brigade (GB) programs.
"Global Brigades is the world's largest student-led global health and sustainable development organization. Comprised of secular, international service programs, we mobilize student volunteers and professionals to empower communities in developing countries with programs that improve quality of life while respecting local culture.
This winter break, my GB partner and I will be conducting preliminary research to get a better sense of the gender heirarchy and power structures within the rural communities that GB works in. After doing much research on gender programs, we've realized that there is no "one size fits all" model. Rather, programs are only effective if they take into account the local culture and current conditions in the area.
Ok, well my ride is here so I have to go. Happy Holidays!!


text:
Q: Why doesn't $E = mc^2$ contradict the conservation of mass principle? I was watching this very interesting video: The mathematics of weight loss
and at 12:35 the presenter says: "(...) people think that you can turn atoms into energy. It's one of the founding principles of modern chemistry: you cannot turn atoms into pure energy. It's called the conservation of mass."
Einstein's famous equation immediately came to my mind: $$E = mc^2.$$
Isn't that equation saying you can turn mass into energy and vice versa? Doesn't that contradict the conservation of mass principle then?

A: There is no conservation of mass principle. Mass is approximately conserved in chemical reactions, the context of the remark.
Actually, a better way of stating the notion that the speaker is trying to get across in chemistry is to state it stoichiometrically: the number of atoms of each and every elemental species making up reactants and reaction products is unchanged by chemical reaction. If you have 20 hydrogen atoms and 10 oxygen atoms (making up ten hydrogen molecules and five oxygen molecules) before their reaction, and they combine to make water, then you still have 20 hydrogens and 10 oxygens after the reaction, only they are in 10 water molecules.
In the hundred years since science thought that mass was conserved, mass has become a less and less important notion in physics. Mass now has only one rigorous use in physics as the notion of rest mass:

*

*The rest mass $m_0$ of a system equals the total energy of that system measured from a frame that is at rest relative to the system (in natural units - in SI units we have $E = m_0\,c^2$). "At rest" means that the system's total momentum is nought in this frame;

*Newton's second law becomes $\mathbf{F} = \frac{\mathrm{d}\mathbf{P}}{\mathrm{d}\,t}= \frac{\mathrm{d}(m_0\,\mathbf{u})}{\mathrm{d}\,t}$, where $\mathbf{F}$ is the four force and $\mathbf{u}$ the four velocity.

But even rest mass is not conserved, and it is not linearly additive for composite systems. For example, two photons, each of energy $E$ moving in opposite directions relative to our frame, each have a rest mass of nought. But the system as a whole, from a frame where the two have equal momentums (which happens to be ours), has a rest mass of $2\,E/c^2$.
For everyday systems undergoing chemical reactions, conservation and linear additivity for composite systems are both good approximate properties of the mass notion.
Nuclear reactions change that idea altogether. Typically products of an exothermic nuclear reaction have a few percent mass deficit compared to the reactants. Even in chemical reactions there are differences between the masses of reactants and products,  but the differences are tiny.
Mass only seems to be constant, because if a system only changes its rest mass significantly by releasing / taking on quantities of energy that are far greater than we see in the everyday world.

A: It's true, it does violate the conservation of mass.
This conservation of mass principle was established before Einstein showed his famous equation of $E=mc^2$. So today we say that in a closed system mass-energy is conserved. That is the sum of mass and energy in a closed system is constant.
( If you still like to think of the conservation of mass then think that mass and energy are equivalent and hence if you say that mass, which is equivalent to energy is conserved then the principle still holds).
And also it's not true that you can't turn atoms into pure energy, you absolutely can. You just collide them with equal mass of antimatter. As almost everything around is matter hence it makes sense that in practice it is very difficult to turn atoms into pure energy.