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Journal > Issues > Issue 3
Neocubism and Italian Painting Circa 1949: An Avant-Garde That Maybe Wasn't
Adrian R. Duran Methodologies of Exchange: MoMA's "Twentieth-Century Italian Art" (1949), Issue 3, January 2020
https://www.italianmodernart.org/journal/issues/methodologies-of-exchange-momas-twentieth-century-italian-art-1949/
This essay considers the category and style of "Neocubism" within the Italian avant-garde of the 1930s and 40s. A term applied to artists such as the Corrente group and Il Fronte Nuovo delle Arti, "Neocubism" became loaded with political and aesthetic connotations in the last years of Fascism and the first of the postwar period. These young Italian artists were deeply influenced by the work of the Cubists, but especially that of Pablo Picasso. His 1937 Guernica became an ideological touchstone for a new generation that had endured Fascism and joined in the partisan fight against Nazi occupation. This essay seeks to disentangle this knotted legacy of Cubism and point to the rapidly changing stakes of the surrounding discourse, as Italy transitioned from Fascist state to postwar Republic to Cold War frontier. Adding nuance and diversity to a term so often applied monolithically will allow for a truer sense of Italian Neocubism when and if it was manifested throughout this period.
To be found amidst a panorama of earlier, often better-known examples of Italian modernism on display at the Museum of Modern Art's 1949 exhibition Twentieth-Century Italian Art was a new generation of painters and sculptors, thrust into the spotlight of a discourse within which they had not yet found their place. Groups such as the Futurists and the Scuola Metafisica and individual artists, for instance Amedeo Modigliani, had already been integrated into the master narratives of early twentieth-century modernism. For the newly emergent generation, which MoMA named "The Younger Abstractionists; the Fronte nuovo delle arti," the narrative was still being written. Indeed, their young careers had already faced massive uncertainty – Fascism, World War II, the Resistance, and postwar recovery – and the last years of the 1940s were very much about establishing their historical place as a recently opened new frontier.
Looking back upon Twentieth-Century Italian Art, it is clear that curators Alfred H. Barr, Jr., and James Thrall Soby had an understanding of the postwar generation that was a work-in-progress, intimating certain a priori notions of modernism that had existed since the fin de siècle. That is to say, Barr and Soby did not see postwar Italian abstraction autonomously, but rather within an aesthetic and ideological matrix that was first enunciated by Barr's now legendary cover diagram of the catalogue for the 1936 exhibition Cubism and Abstract Art, but had undergone important revisions in the wake of World War II and the emergence of both the New York School of Abstract Expressionism and the wider phenomenon of global abstraction.1
With this essay, I hope to disentangle these narratives and reinvest postwar Italian art with some of its indigenous specificities, and to understand how its introduction into a paradigm of modernism such as that espoused by MoMA was as much an act of sublimation and obfuscation as it was a recognition of certain key actualities of the works on display. The goal here is not to undo MoMA's work, but rather to buttress it with documents and historical reframings that have come to light in the decades since. Indeed, this essay will attempt to do double duty: firstly as an augmentation of MoMA's exhibition, and secondly as an attempt to understand how and why MoMA's place in this exchange served to reify the broader dialogues surrounding painting and sculpture at midcentury.
A key wrinkle within the writing of this history is the idea of "Neocubism," a term that in the late 1940s seemed innocuously useful, but has since become something of an overdetermined red herring, and appears infrequently in recent critical discourse. Retrospectively, Neocubism reveals itself to be a misnomer in several ways. Cubism was but one among many sources for these artists, and it should not disproportionately obscure the importance of others. Further, and perhaps most interestingly, neo implies a second, later coming. This, too, is deceptive. Though a generation older than the youngest artists represented in MoMA's exhibition, Pablo Picasso continued to create influential works understood as Cubist into the 1950s, and he was often spoken of as a contemporary beacon rather than a past source.
Picasso and this new generation of Italian artists were exhibiting contemporaneously, and sometimes in the very same exhibitions. Though the focus of this essay will be on the years leading up to MoMA's groundbreaking exhibition, the years after witnessed as rich an exchange of influence and ideas from Picasso to Italy, with works such as Guernica (1937), Le Charnier (The Charnel House, 1944–45), and Massacre en Corée (Massacre in Korea, 1951) resonating well into the Cold War.
Additionally complicating this history is the very nature of the exchange. MoMA's 1949 exhibition was the most impactful view of Italian modernism assembled for American audiences to date. And, as press statements at the time reported, the exhibition's most recent works were sourced from a trip taken by Barr and Soby to the 1948 Venice Biennale and Rome Quadriennale – hardly a year before Twentieth-Century Italian Art opened at MoMA.
The central, and best documented, concern is how Cubism was absorbed by this new generation of Italian artists. By 1949, Cubism was known and regarded very highly by Italian artists. Indeed, the artists included in this younger generation had revered Picasso's Guernica since its unveiling. This history adds important nuance to Barr and Soby's categorization of Italian artists, revealing both its logic and inadvertent oversimplifications.
What the indigenous Italian discourse reveals is some indebtedness to Cubism. Certainly, the formal vocabularies and techniques of Cubism were imitated and integrated in various permutations, and the writings that surround the works reveal more pointedly ideological allegiances to Cubism, particularly in the hands of Picasso, particularly recently. This is, in part, the simple result of Picasso's works having been ideologically resonant during the Fascist years, when these artists were reaching their early maturity. Though they borrowed much from Cubism's formal innovations, their history with the movement was determined first, and most profoundly, by its intellectual and political tenets.
This history begins approximately a dozen years before MoMA's exhibition, during the mid-1930s, when the Milan-based anti-Fascist artists' group Corrente was pushing against the dominant strains of Fascist culture.2 Artists and intellectuals traveled widely throughout Italy, including Armando Pizzinato to Rome in 1936, where he met Scipione, Renato Guttuso, Mario Mafai, Giuseppe Capogrossi, Roberto Longhi, Cesare Brandi, and Elio Vittorini. The following year, painters Giuseppe Santomaso, Ennio Morlotti, Corrado Cagli, and Afro Basaldella visited Paris. Afro and Cagli, who were working on canvases for the Italian pavilion at the 1937 Paris International Exposition, might well have seen Guernica firsthand.3 In 1940, while in Rome, Guttuso received a postcard of the work sent by the critic Brandi, who had seen it in New York.4 Brandi was not the only critic distributing images. In a 1997 interview, militant critic Mario De Micheli recalled that
Picasso was the symbol of the intellectual opposition to Nazi-Fascism, beginning at the time of the war in Spain. His Guernica was the manifesto of the opposition. I went to the art library at Castello Sforzesco [in Milan] and I made myself a series of reproductions of Guernica, which I then distributed to my friends: we carried them at all times in our wallets, as the membership card of an ideal political party.5
To emulate Picasso was to embrace not only the most advanced formal vocabularies of modern painting – remember that this is a generation who came of age under Fascism – but to mobilize them in opposition to the oppressions of artistic freedom by totalitarian regimes, as many had done with their actions of the mid-1930s, including Sassu and Guttuso, who, while in Milan, had stolen Italian military weapons intending to distribute them to partisans before the former's arrest.6
In 1943, before its windows were shuttered by Fascist authorities and its membership dispersed to various Resistance factions, Corrente issued its "Primo manifesto di pittori e scultori" (First Manifesto of Painters and Sculptors), which claimed:
We look upon Picasso as the most authentic representation of he who has invested himself in life in the most complete sense, but we certainly do not wish to create of him a new academy. We see in the attitude of Picasso a surpassing of the intimism and subjectivism of the expressionists. We see reflected in the canvases of Picasso not his particular struggles, but those of his generation. The images of this painter are provocations and banners for thousands of men.7
These encomia continued into the next years, most notably in De Micheli's essay "Realismo e poesia" (Realism and Poetry),8 which began circulating in draft form in 1944; in letters to and from artists and critics (including one written on June 2, 1944, from Corrente veteran Renato Birolli to critic Giuseppe Marchiori, which stated: "If Guernica is an indication, we are saved. We will come to understand a historical turning point and how we will be at the head of the renewal. […] We will be among the pioneers of a vital idea");9 and in articles such as "Communist Picasso," in the October–November 1944 issue of Communist Party newspaper l'Unità, which reprinted excerpts from an interview originally published in the American weekly The New Masses, and, in the same issue, Guttuso's "Saluto al compagno Picasso" (Salute to Comrade Picasso), in which he referred to Guernica as "in its essence […] a new work, a cry of revolt and vendetta."10 Fellow Fronte Nuovo delle Arti member Ennio Morlotti's "Lettera a Picasso" (Letter to Picasso) was published in the same February 1946 issue of Il '45 as "Realism and Poetry" and was another call to arms:
We were all convinced that with Guernica painting had put itself in the fire, had returned to [the] depths of life. […]
In 1937 the people called Picasso and Picasso showed the way. […]
Dear Picasso, we were all convinced that with Guernica painting had found the way. This much brought us to absolute conviction. With Guernica we began to want to live, to leave the prisons, to believe in painting and in ourselves, to not feel ourselves alone, arid, the uselessly refused; to understand that also we painters existed in this world to act, that we were men amongst men, that we must receive and give. […]
You continue to break chains […] to defeat sadness, resignation, disorder […] you continue to give clarity, courage, and joy. You affirm and prove that the new civilization of free men exists. And we ask of these free men that they give to you new walls because with your words you can give the new images of the new reality.11
The first tectonic shifts of the postwar period came in the spring of 1946. In the March issue of Numero, in anticipation of a May exhibition organized at Milan's Caffè di Brera, a group of artists, including some members of Corrente, published the "Manifesto del realismo di pittori e scultori" (Manifesto of realism for painters and sculptors), better known as the "Oltre Guernica" (Beyond Guernica) manifesto.12 Despite its name, this manifesto is not overwhelmingly concerned with visual style or language. Instead, taking a cue from the painting for which it is named, the document emphasizes painting as an act of participation and political engagement.
"Oltre Guernica" coincided with the opening of Pittura francese d'oggi (French Painting of Today) at Rome's Galleria Nazionale d'Arte Moderna, an exhibition that featured a collection of color posters showcasing French modernism from Impressionism to Matisse and Picasso. It was Italy's first large-scale glimpse of the wellspring of twentieth-century painting that Barr and Soby's catalogue would refer to as Italian painting's "supplementary diet."13
October 1946 witnessed the founding of the Nuova Secessione Artistica Italiana (New Italian Artistic Secession), which would morph into the Fronte Nuovo delle Arti (New Front of the Arts) by November. In January 1947, six months before the group's debut exhibition at Milan's Galleria della Spiga, two of its founders, Birolli and Morlotti, endured a trip to Paris that, other than a brief visit with Picasso himself, seems to have been a total failure. The Milan debut was a financial disaster and the last straw with gallerist Stefano Cairola. Nonetheless, it set the groundwork for the group's appearance at the 1948 Venice Biennale and, thus, MoMA's 1949 exhibition. Moreover, it was one of the first issuances of a programmatic response regarding the influence of Cubism. Lead critic Giuseppe Marchiori's catalogue introduction and all but three of the twelve additional essays (one per participating artist) acknowledge the influence of Picasso and/or Cubism, and nearly every artist is positioned within a modernist avant-garde tradition.14
In addressing "Picassism" as a phenomenon, Marchiori in his introduction asks, "Is it possible to rid oneself […] of every memory? And what is tradition if not a record that manifests and affirms itself even in the most 'revolutionary' works?"15 Marchiori allows for indebtedness and influence, an acknowledged necessity given the collective estimation of Picasso and the centrality of his artistic and ideological innovations to the formation and membership of the entire Fronte Nuovo.
The artists of the Fronte Nuovo offered permutations of a basic formula: Cubism filtered through individual histories, allegiances, and nuances. Guttuso's work was heavily contoured by his studies with traditional Sicilian painters of horse-drawn carts, which he merged with his own interpellations of modernism – especially planar color, flattened geometries, and spatial collapse. He had already reached acclaim with works like 1941's Crocifissione (Crucifixion; figure 1), and he would go on to push deeper into social justice content while moving away from explicit representationalism. Certainly, as early as 1940, Guttuso's debt to the language of Cubism, through his interest in Cézanne, is evident. It is an early Cubism – the geometric landscapes and planar modelling of the first decade of the 1900s – that is the foundation here, not the more canonical Analytic and Synthetic Cubisms. Also, by 1941 Guttuso had seen images of Guernica. The Cubism of Crucifixion is, more than anything else, this kind of Cubism – the social justice, populist, antitotalitarian Cubism that emerged from the Spanish Civil War a short few years before Italy's own Resistance erupted.
Figure 1. Renato Guttuso, "Crocifissione" [Crucifixion], 1941. Oil on canvas, 78.7 x 78.7 in. (200 x 200 cm). Galleria Nazionale d'Arte Moderna, Rome.
Pizzinato's abstractions were simultaneously gestural and geometric, marked by a painterly expressionism and a palette reminiscent of Henri Matisse and Georges Rouault, mixing the thick, delineated brushwork of Picasso and Georges Braque with the dynamic geometries of Futurism. Flat areas of color overlap and counteract with more dryly applied areas of paint, the brushstrokes of which echo the dynamism of the intersecting geometries, from within which specific, recognizable imagery emerges.
The works of the Rome-based artist Afro in this moment also reveal the continued influence of Picasso, situating central forms across broadly brushed, loosely geometric backdrops. The linear subdivision of forms into constituent planes recalls works such as Picasso's 1937 painting La Baignade (On the Beach), in Peggy Guggenheim's collection.
The endeavors of the Fronte Nuovo were mirrored by those of the Roman group Forma 1, which issued its manifesto in March 1947, leading with a now famous sentence:
We declare ourselves to be Formalists and Marxists, convinced that the terms Marxism and Formalism are not irreconcilable, especially today when the progressive elements of our society must maintain a revolutionary avant-garde position and not give over to a spent and conformist realism that in its most recent examples have demonstrated what a limited and narrow road it is on.16
Wonderfully, Forma 1, which included artists Carla Accardi, Pietro Consagra, Piero Dorazio, Antonio Sanfilippo, and Fronte Nuovo member Giulio Turcato, among others, has received very recent attention within the Anglophone discourse, notably through the work of art historians Juan José Gómez Gutiérrez and Catherine Ingrams.
Following Ingrams, we should look at Forma 1 as a multifaceted reconsideration of the potentials for Italian modernism. Firstly, the movement is a telling, if less known, example of the emergence of abstraction in the postwar context, from Abstract Expressionism to Tachisme and Arte Informale. These associations, however, can be deceptive – as is the case, too, with the Fronte Nuovo. These artists engaged reality subjectively, and their artworks were intended as registrations of psycho-political experiences, manifesting responses to the rapidly changing landscape of mid-1940s Italy, as it shifted from Fascism to occupation, Civil War, invasion, reconciliation, and the republic. Abstraction, in short, was often realistic.
Beyond this, their debt to Russian Constructivism, as Ingrams argues, offers an alternative genealogy to those provided by Cubism, Futurism, or the Fascist ventennio. Ultimately, the results are much like those of the Fronte Nuovo – a vibrant new language built on the synthesis of an increasing inward flow of evidence from prewar European modernism, as filtered through the first-person experiences of an Italian nation that had just survived a bloody, turbulent decade. Unsurprisingly, the works are varied in tenor, resting on the knife's edge of abstraction and representation, a divide that would become the Achilles's Heel of its generation.
This division was revisited when, in the issue of Pravda published on August 21, 1947, Picasso was denounced on the grounds that his deformations of the human form were offensive to Soviet views on art.17 This prompted a heated response from Guttuso, who came to Picasso's defense in the pages of the November issue of L'Avanti.18 In the March 1948 issue of the Rassegna della Stampa Sovietica, Picasso was again criticized, this time by Soviet art historian and critic Vladimir Kemenov.19 These exchanges attest to how high-pitched the debate had become in the rising tensions of the Cold War. Picasso, who would soon be known as one of Europe's most conspicuous Communist artists, was still subject to the ebbs and flows of the doctrine being shared by Soviet Cominform with its European allies.
The 1948 Venice Biennale, the first such event in six years – the first since the end of the war and the fall of Fascism – would change everything. It offered one of history's great accumulations of modernist art, and included works by J. M. W. Turner, the Impressionists, Marc Chagall, Rouault, Braque, René Magritte, Henry Moore, Jacques Lipschitz, and Germaine Richier, plus the collection of the recently arrived Peggy Guggenheim, installed in the unused Greek pavilion.
The Biennale commission placed its hopes for the future in the Fronte Nuovo delle Arti.20 Responses were mixed. Luigi Bartolini referred to them as a group of "bean eaters" before demanding: "You degenerates of the Fronte Nuovo delle Arti, why do you love Picasso's Cat? Why do you love the bestial obscenity in every one of Picasso's works, that defiant matador of painting?"21 In many ways, said matador was the patron saint of the 1948 Biennale, a role confirmed by the first Picasso retrospective in Italy. Organized by Rodolfo Pallucchini, it assembled twenty-two paintings dating from 1907 to 1942, and included Pêche de nuit à Antibes (Night Fishing at Antibes; 1939), largely regarded by the Italians as his greatest masterpiece since Guernica.
Fittingly, Guttuso wrote the catalogue's introduction. Citing Paul Éluard's dedication in his book on Picasso, Guttuso speaks of the "'faith of man in man.' Young Italian painters have and have had this same faith – not abstract, not cultural, but human, of struggle and of hope – in the work of Picasso, during the years of their formation, which were [also] those of Fascism, the years of the progressive and methodic murder of culture, of liberty, of peace."22 He ends by calling for artists to rise above simplistic formal categories to embrace the larger moral and ideological conflicts at hand: "Picasso brings [us] back to this objective […] to a debate that is no longer between abstract and concrete, or figurative and nonfigurative, or formalism and naturalism, but of human and inhuman, ultimately between 'good' and 'evil.'"23
The group simply couldn't – and likely didn't feel obligated to – escape the shadow of Picasso. Enrico Gaifus called them picassini, or "little Picassos," claiming that "one can declare that Picassism has finished. It has finished badly, with a third-class funeral. It has died lonely."24 Three weeks later, Marchiori responded: "The few Cubist canvases by Picasso, collected at the Biennale, suffice to explode the legend of Italian 'Neocubism:' a denomination invented by certain poorly informed, or even completely blind, denigrators."25 This statement was set in the middle of a review of Picasso's retrospective at the 1948 Biennale, wherein Marchiori is most interested in distinguishing the various periods of Picasso's career so as to emphasize the differences between Guernica and Night Fishing at Antibes, casting the latter as a kind of hallucinatory Surrealism quite distinct from the anguished realism of its predecessor.
Interestingly, Ercole Maselli reviewed the Fronte Nuovo exhibition at that same Biennale, embracing a taxonomic approach much like Marchiori's. Ultimately, and anticipatory of Marchiori's objections, Masselli determines that the Cubism of these artists was overdetermined in the critical press: "Another current idea, mistaken, is that these young artists of the Fronte Nuovo are all Cubists or picassini." His only concession is an admission of the influence of Picasso on Renato Birolli – an assertion without doubt.26
The idiomatic heterogeneity exhibited at the Biennale was abundant. Guttuso exhibited the planar, color-driven studies of labor and life that would appear at MoMA. Armando Pizzinato and his fellow Venetian Emilio Vedova exhibited works driven by energetic explorations of planarity and color shot through with contemporary content and politics. Renato Birolli, Antonio Corpora, and Giuseppe Santomaso offered more moderated abstractions, certainly Cubist in heritage, but also full of other influences and autobiographical references. Giulio Turcato's work had found the most advanced languages of abstraction, though he would move closer to representation in subsequent years.
This diversity would soon become a liability: in October 1948, on the occasion of the First National Exhibition of Contemporary Art, at Bologna's Palazzo Re Enzo, Italian Communist Party (PCI) leader and ideologue Palmiro Togliatti called abstraction "scribblings and monstrous things" and demanded that PCI-affiliated artists return to a figuration informed by Soviet Socialist Realism.27
This, effectively, was where things were prior to MoMA 1949. Retrospectively, Barr and Soby's choices for the postwar period are easy to understand. Guttuso and Pizzinato were leading representatives of the Fronte Nuovo delle Arti as well as the interwoven Roman and Venetian scenes. Santomaso and Viani were also members. Included as well were two leaders of Rome's new school, Afro and Toti Scialoja; the work of the former was, according to MoMA's Twentieth-Century Italian Art catalogue, a representative of "non-representational" art. Bruno Cassinari, Renzo Vespignani, Marino Marini, Giacomo Manzù, Pericle Fazzini, Emilio Greco, Lucio Fontana, and Marcello Mascherini rounded out the cast.
Obviously, not all of these artists make sense within the notion of "Neocubism." Nonetheless, the connection of the new Italian avant-garde to Cubism is an unsurprising rhetorical strategy. They themselves had spilled much ink on the importance of Picasso to their agendas, and Picasso was the main attraction at the 1948 Biennale, visited by Barr and Soby, who had built an institution in many ways predicated on the centrality of Picasso and Cubism to all subsequent movements. To reiterate the role of Picasso for Italy was to validate the role of MoMA for modernism – smart and convenient.
The works, however, tell a more diverse story. Guttuso's Mangiatori di cocomero (Melon Eaters, 1948; figure 2) is typical of this moment. Its broad color planes and collapsed space belie a debt to early pre-Analytic Cubism, and the painting is as much about Cézanne as Guttuso's Sicilian upbringing and fascination with labor issues.28 Pizzinato sent Cantieri (Dockyards, 1948; figure 3), an excellent representation of his energetic Cubo-Futurist language, synthesizing his interests in painting, the poetry of Vladimir Mayakovsky, the industrialization of Venice, and socialist legacies. Santomaso, like Guttuso, was informed by a kind of Fauvist colorism and a tendency towards quotidian content. Viani's figurative sculptures were most commonly associated with Jean Arp and the ancients. Scialoja's Fabbriche sul Tevere (Factories on the Tiber), an expressionistic 1946 landscape built of heavily worked paint, is utterly unlike the abstractions that would bring him to greater prominence in the 1950s. Even Afro, the "non-representational" artist, employed a polyglot aesthetic. Whatever this alleged Neocubism was, monolithic it was not.
Figure 2. Renato Guttuso, "Mangiatori di cocomero" [Melon eaters], 1948. Oil on canvas, 35 x 45.6 in. (88.9 x 115.9 cm). Museum of Modern Art, New York.
Figure 3. Armando Pizzinato, "Cantieri" [Dockyards], 1948. Oil on board, 25 x 34 in. (63.5 x 86.6 cm). Peggy Guggenheim Collection, Venice.
Within this matrix of making, writing, and exhibiting, there is a more difficult story to tell, of exchange with the United States. What is clear is how much more visible the exchange was after MoMA's exhibition. The New York exhibition was discussed in an article in Venice's local paper, Il Gazzettino, that happens to sit in the Biennale archives adjacent to New York Times and New York Herald Tribune articles about a Pizzinato show at Catherine Viviano Gallery in New York. The latter seems to have been 5 Italian Painters, which also included Afro, Cagli, Guttuso, and Morlotti. Afro had a solo show at Viviano immediately after, one of many such links between the gallery and the peninsula. That same summer, the Museo Correr in Venice hosted the Jackson Pollock retrospective that gave birth to his famous "No chaos damn it!" quote.29
The 1950 Venice Biennale featured a Cubism exhibition of works by Picasso, Braque, Juan Gris, and Fernand Léger, organized by Douglas Cooper. In response, Lionello Venturi pointedly juxtaposed Picasso's legacy with the emergence of Renato Birolli, an ex-Frontista and one of Venturi's new Gruppo degli Otto (Group of the Eight).30 Similar gamesmanship was afoot in Albert M. Frankfurter's "International Report" in the September 1950 issue of Art News, for instance in his characterization of Guttuso and Pizzinato:
In the 1948 Biennale, such men as Guttuso and Pizzinato were justifiably hailed as among the best practitioners present of Picassoid abstraction in Italy. Since then the Party issued irrevocable orders for them to stop that sort of thing and paint pictures the masses would understand, pictures or posters of the coming revolution. Now they are here, as arid and dictated as the worst savings-bank mural any capitalist ever dictated. Here is the only place in living art where story-telling subject matter still goes on. The future of art, in other words, depends on which political side wins.31
By mid-1950, equating the styles of Guttuso and Pizzinato was increasingly difficult. Though they both embraced leftist politics and subjects, their visual languages continued to diverge: Guttuso began exploring wobbly-form colorism, while Pizzinato finished off a Cubo-Futurist phase that would soon give way to much more traditional figuration. Of course, to an Anglophone art audience newly familiar with the new landscape of Cold War Italy (Barr and Soby among them), these nuances were still developing. Over the course of the next decade, the exchange would become more constant, intense, and informative, laying the foundation for our current understanding. To quickly summarize an active period about which much work remains to be done, everyone was seeing a lot of everyone else.
Picasso's 1953–54 retrospective exhibition in Milan and Rome has been the source of much attention.32 To say the least, it was a major success, reminding the Italian public that Picasso's influence was decades long, had spanned the entire lives of this new generation, and would surely resonate into the future. Similarly, MoMA continued to acquaint itself with the most recent developments in Italian art. The 1950s are littered with overlaps, ranging from the exhibition The Modern Movement in Italy: Architecture and Design (1954), which included, for instance, imagery of Fontana's 1951 installation at the Milan Triennale, and also the Giuseppe Guerreschi work in the Recent Acquisitions show of 1958. In between were retrospectives of Modigliani (1951), Olivetti (1952), Giorgio de Chirico (1955), and a constant flow of acquisitions from Italian artists ranging from Futurist Umberto Boccioni to Frontista Emilio Vedova. We should also remember that 1958 saw the European and Italian iterations of MoMA's Jackson Pollock retrospective and the now infamous exhibition The New American Painting.
This momentum, however, was different back in Italy. In the first months of the 1950s, the Fronte Nuovo delle Arti would fragment under the pressure of Cold War politics, forced to choose between the languages of abstraction and realism, largely under the influence of Italian Communist leader Palmiro Togliatti and other party ideologues. Of course, the visual record tells a somewhat different story and, like it had done for decades, Italy's avant-garde found infinite variations within and between these languages of art. Once the Fronte Nuovo crumbled, it was swiftly replaced by groups such as Lionello Venturi's Gruppo degli Otto and the by-then global momentum of painterly abstraction, which swiftly came to be associated more with New York than the European examples to which this Italian generation looked for influence.33
By 1958, the generation of the Fronte Nuovo was entering middle age. They had evolved from "The Younger Abstractionists" to the generation soon to encounter, in the 1960s, an utterly different landscape for the arts. That history, to our great benefit, is traced in Germano Celant and Anna Costantini's book Roma–New York, 1958–1964 (1993).34 Now two and a half decades old, and still a reliable source, it offers an important reminder that we are always compelled to revisit established histories as we plot the path for future work.
Barr, Alfred H., Jr., and James Thrall Soby. Twentieth-Century Italian Art. New York: Museum of Modern Art, 1949.
Bartolini, Luigi. "Lettere dalla Biennale di Luigi Bartolini." Il progresso d'Italia (Bologna). December 2, 1948.
Bedarida, Raffaele. "Operation Renaissance: Italian Art at MoMA, 1940–1949." Oxford Art Journal 35, no. 2 (June 2012): 147–69.
Ben-Ghiat, Ruth. "The Politics of Realism: Corrente di Vita Giovanile and the Youth Culture of the 1930s." Stanford Italian Review 8, no. 1–2 (1990): 139–64.
Bottinelli, Giorgia. "The Art of Dissent in Fascist Italy: The Bottai Years, 1936–43." PhD diss., The Courtauld Institute of Art, 2000.
Braun, Emily. "The Juggler: Fontana's Art under Italian Fascism." In Lucio Fontana: On the Threshold, edited by Iria Candela, 29–39. New York: The Metropolitan Museum of Art, 2019.
Celant, Germano, and Anna Costantini. Roma–New York, 1958–1964. Milan and Florence: Edizioni Charta, 1993.
Costantini, Costanzo. Ritratto di Renato Guttuso. Brescia: Camunia editrice, 1985.
De Micheli, Mario. Arte contro. 1945–1970 dal realismo alla contestazione. Milan: Vangelista Editore, 1970.
De Micheli, Mario. L'Arte stotto le dittature. Milan: Giangiacomo Feltrinelli Editore, 2000.
De Micheli, Mario, ed. Corrente. Il movimento di arte e cultura di opposizione 1930–1945. Milan: Palazzo Reale, 1985.
Duran, Adrian R. Painting, Politics, and the New Front of Cold War Italy. Farnham, U.K.: Ashgate, 2014.
Frankfurter, Alfred M. "International Report." Art News 49, no. 5 (September 1950): 14–19, 57.
Gaifus, Enrico. "La Biennale riapre i battenti." Alto Adige (Bolzano), June 6, 1948.
Gendel, Milton. "Guttuso: A Party Point of View." Art News 57, no. 2 (April 1958): 26–27, 59–62.
Golan, Romy. "The Critical Moment: Lionello Venturi in America." In Artists Intellectuals and World War II: The Pontigny Encounters at Mount Holyoke College, 1942–44, edited by Christopher Benfey and Karen Remmler, 122–35. Amherst: University of Massachusetts Press, 2006.
Gutiérrez, Juan José Gómez. "The Politics of Abstract Art: Forma 1 and the Italian Communist Party, 1947–1951." Cercles. Revista d'història cultural, 15 (2012): 111–35.
Guttuso, Renato. "Pablo Picasso e le guardie bianche." L'Avanti (Milan), November 13, 1947.
Hunter, Sam. "Contemporary Italians: Guttuso and de Chirico." The Magazine of Art 43, no. 7 (November 1950): 266–71.
Ingrams, Catherine. "'A Kind of Fissure': FORMA (1947–49)," Object, no. 20 (2018): 59–81.
Marchiori, Giuseppe. "Realismo magico di Picasso." Il mattino del popolo (Venice), June 29, 1948.
Marchiori, Giuseppe. Renato Birolli. Milan: Edizione di Comunità, 1963.
Marchiori, Giuseppe. Il Fronte Nuovo delle Arti. Vercelli: Giorgio Tacchini Editore, 1978.
Maselli, Ercole. "Il Fronte nuovo dell'arte." Avanti (Rome), October 10, 1948.
Miracco, Franco. "Dalle avanguardie storiche al Fronte Nuovo delle Arti." In Modernià allo specchio. Arte a Venezia (1860–1960), edited by Toni Toniato, 197–212. Venice: Supernova, 1995.
Misler, Nicoletta. La via italiana al realismo. La politica culturale artistica del P.C.I. dal 1944 al 1956. Milan: Gabriele Mazzotta Editore, 1973.
Morlotti, Ennio. Questa mia dolcissima terra: Scritti 1945–1992. Florence: Casa Editrice Le Lettere, 1997.
Pizziolo, Marina, ed. Corrente e oltre. Opere dalla collezione Stellatelli, 1930–1990. Milan: Palazzo della Permanente, 1998.
Pucci, Lara. "Fighting Fascism in the Kitchen: The Domestic Context in Visconti's Ossessione and Guttuso's Still Life Series." Immediations 3 (2006): 61–77.
Schwarz, Arturo [Tristan Sauvage, pseud.]. Pittura italiana del dopoguerra. Milan: Schwarz Editore, 1957.
Talvacchia, Bette L. "Politics Considered as a Category of Culture: The Anti-Fascist Corrente Group." Art History 8, no. 3 (September 1985): 336–55.
Togliatti, Palmiro [Roderigo di Castiglia, pseud.]. "Segnalazioni." Rinascita. Rassegna di politica e cultura italiana 5, no. 11 (November 1948): 424.
Villari, Anna. "Picasso alla XXIV Biennale. La Critica e le reazioni in Italia." In Picasso 1937–1953: Gli anni dell'apogeo in Italia, edited by Bruno Mantura, Anna Mattirolo, and Anna Villari, 143–53. Rome: Galleria Nazionale d'Arte Moderna, 1998.
Vittorini, Elio. Gli anni del "Politecnico." Lettere 1945–1951. Edited by Carlo Minoia. Turin: Giulio Einaudi editore, 1977.
XXIV Biennale di Venezia. Venice: Edizioni Serenissima, 1948.
Adrian R. Duran, "Neocubism and Italian Painting Circa 1949: An Avant-Garde That Maybe Wasn't," in Raffaele Bedarida, Silvia Bignami, and Davide Colombo (eds.), Methodologies of Exchange: MoMA's "Twentieth-Century Italian Art" (1949), monographic issue of Italian Modern Art, 3 (January 2020), https://www.italianmodernart.org/journal/articles/neocubism-and-italian-painting-circa-1949-an-avant-garde-that-maybe-wasnt/, accessed [insert date].
To this point, and directly related to this topic, is Raffaele Bedarida, "Operation Renaissance: Italian Art at MoMA, 1940–1949," Oxford Art Journal 35, no. 2 (June 2012): 147–69.
The individual politics of Corrente and its affiliated artists were, naturally, diverse. And, it is certain that the group took advantages of the connections and protections afforded them by Ernesto Treccani's father, Giovanni, a senator and count as well as the force behind the Enciclopedia Italiano di Scienze Lettere ed Arti, first published in 1929. Nonetheless, many of those associated with the group – including Aligi Sassu, Renato Guttuso, Emilio Vedova, and Armando Pizzinato – were involved in partisan actions as early as the mid-1930s. For more on Corrente, see Ruth Ben-Ghiat, "The Politics of Realism: Corrente di Vita Giovanile and the Youth Culture of the 1930s," Stanford Italian Review 8, nos. 1–2 (1990): 139; and Bette L. Talvacchia, "Politics Considered as a Category of Culture: The Anti-Fascist Corrente Group," Art History 8, no. 3 (September 1985): 336–55. Giorgia Bottinelli's doctoral thesis, "The Art of Dissent in Fascist Italy: The Bottai Years, 1936–43" (Courtauld Institute of Art, 2000), provides incredibly valuable context. See also the exhibition catalogues Corrente. Il movimento di arte e cultura di opposizione 1930–1945, ed. Mario De Micheli (Milan: Palazzo Reale, 1985); and Corrente e oltre. Opere dalla collezione Stellatelli, 1930–1990, ed. Marina Pizziolo (Milan: Palazzo della Permanente, 1998). I deal with the group in-depth in the first chapter of my book Painting, Politics, and the New Front of Cold War Italy (Farnham, U.K.: Ashgate), 2014. Another fascinating example is that of Lucio Fontana, who was able to play the shifting terrain of Fascism to his advantage. See Emily Braun, "The Juggler: Fontana's Art under Italian Fascism," in Lucio Fontana: On the Threshold, ed. Iria Candela (New York: The Metropolitan Museum of Art, 2019), 29–39.
Their trips to Paris are discussed in Franco Miracco, "Dalle avanguardie storiche al Fronte Nuovo delle Arti," in Modernità allo Specchio. Arte a Venezia (1860–1960), ed. Toni Toniato (Venice: Supernova, 1995), 204; and Mario De Micheli, L'arte sotto le dittature (Milan: Giangiacomo Feltrinelli Editore, 2000), 119.
Costanzo Costantini, Ritratto di Renato Guttuso (Brescia: Camunia, 1985), 182 and 214.
Marina Pizziolo, "Mario De Micheli," in Pizziolo, Corrente e oltre, 79. Unless otherwise noted, all translations are the author's.
See chapter 1, "Corrente, Italian Art under Fascism, and the Resistance," in Duran, Painting, Politics, and the New Front of Cold War Italy, especially 11–12. By the mid-1940s, a number of Corrente-affiliated artists were partisans, including Vedova, Pizzinato, Leoncillo Leonardi, Giulio Turcato, and Mirko Basaldella.
See Arturo Schwarz [Tristan Sauvage, pseud.], Pittura italiana del dopoguerra (Milan: Schwarz Editore, 1957), 222.
Originally published in Il '45 1, no. 1 (December 1946), the text is reprinted in Mario De Micheli, Arte contro. 1945–1970 dal realismo alla contestazione (Milan: Vangelista Editore, 1970), 283–88; and Nicoletta Misler, La via italiana al realism. La politica cultural artistica del P.C.I. dal 1944 al 1956 (Milan: Gabriele Mazzotta, 1973), 240–49.
Giuseppe Marchiori, Renato Birolli (Milan: Edizione di Comunità, 1963), 34–35.
Renato Guttuso, "Saluto al compagno Picasso," l'Unità, December 24, 1944. Quoted in Misler, La via italiana al realism, 196.
Ennio Morlotti, "Lettera a Picasso," Il '45 1, no. 1 (February 1946): 33–34. Reprinted in Ennio Morlotti, Questa mia dolcissima terra: Scritti 1945–1992 (Florence: Casa Editrice Le Lettere, 1997), 21–28.
"Oltre Guernica" was signed by Giuseppe Ajmone, Rinaldo Bergolli, Egidio Bonfante, Gianni Dova, Ennio Morlotti, Giovanni Paganin, Cesare Peverelli, Vittorio Tavernari, Gianni Testori, and Emilio Vedova. The manifesto was originally published in Numero 2, no. 2 (March 1946). It can also be found in the original Italian in Sauvage, Pittura italiana del dopoguerra, 232–33; and as a photostat of the original in Misler, La via italiana al realismo, 254.
James Thrall Soby and Alfred H. Barr, Jr., Twentieth-Century Italian Art (New York: Museum of Modern Art, 1949), 31.
The exhibition catalogue Prima mostra del Fronte Nuovo delle Arti (Milan: Galleria della Spiga, 1947) is reprinted in its entirety in Giuseppe Marchiori, Il Fronte Nuovo delle Arti (Vercelli: Giorgio Tacchini Editore, 1978).
This unpaginated catalogue is reprinted in toto in ibid.
For more detail on Forma 1, see Catherine Ingrams, "'A Kind of Fissure': FORMA (1947–49)," Object, no. 20 (2018): 59–81; and Juan José Gómez Gutiérrez, "The Politics of Abstract Art: Forma 1 and the Italian Communist Party, 1947–1951," Cercles. Revista d'història cultural, 15 (2012): 111–35.
See also Guglielmo Pierce, "Fischi a Picasso," l'Unità, February 2, 1946. Reprinted in Misler, La via italiana al realismo, 236–37.
Renato Guttuso, "Pablo Picasso e le guardie bianche," L'Avanti (Milan), November 13, 1947. See also Misler, La via italiana al realismo, 56–59 and 212. The denunciation of Picasso was also the subject of a letter of October 3, 1947, from Elio Vittorini to painter Paolo Ricci, published in Elio Vittorini, Gli anni del "Politecnico." Lettere 1945–1951, ed. Carlo Minoia (Turin: Giulio Einaudi, 1977), 134–35.
Kemenov's critique was published as "La pittura e la scultura dell'Occidente borghese," in Rassegna della Stampa Sovietica 3 (March 20, 1948). See also Misler, La via italiana al realismo, 212. One imagines that this text is a translation of a Russian original. Indeed, it matches some of the language originally used in Kemenov's "From Aspects of Two Cultures," originally published in the VOKS bulletin by the U.S.S.R. Society for Cultural Relations with Foreign Countries (Moscow) in 1947; translation available at this link (last accessed October 28, 2019). For a deeper sense of the interchange between the Italian and other Communist Parties, including Moscow's Cominform, see also chapter 5, "The Communist Politics of Abstraction and the Onset of the Cold War," in Duran, Painting, Politics and the New Front.
By the time of the Biennale, the group's membership included painters Renato Birolli, Antonio Corpora, Renato Guttuso, Ennio Morlotti, Armando Pizzinato, Giuseppe Santomaso, Giulio Turcato, and Emilio Vedova; sculptors Pericle Fazzini, Nino Franchina, and Alberto Viani; and ceramicist Leoncillo Leonardi.
Luigi Bartolini, "Lettere dalla Biennale di Luigi Bartolini," Il progresso d'Italia (Bologna), December 2, 1948.
Renato Guttuso, "Pablo Picasso," in XXIV Biennale di Venezia (1948), 189. It is also worth noting that Eluard's writings had been published by the journal of Corrente, to which Guttuso belonged.
Ibid., 190.
Enrico Gaifus, "La Biennale Riapre i Battenti," Alto Adige (Bolzano), June 6, 1948.
Giuseppe Marchiori, "Realismo magico di Picasso," Il mattino del popolo (Venice), June 29, 1948.
Ercole Maselli, "Il fronte nuovo dell'arte," Avanti (Rome), October 10, 1948.
Togliatti published the review under his pseudonym. See Roderigo di Castiglia, "Segnalazioni," Rinascita. Rassegna di politica e cultura italiana 5, no. 11 (November 1948), 424.
Lara Pucci has done much to shed light on the significance of otherwise innocent-looking domestic objects in these works. See her "Fighting Fascism in the Kitchen: The Domestic Context in Visconti's Ossessione and Guttuso's Still Life Series," Immediations, no. 3 (2006): 61–77.
Pollock's response was to a review by Bruno Alfieri, as noted in the Time magazine article "Chaos, Damn It!" (November 20, 1950).
Venturi's time in the U.S. in the early 1940s is chronicled in Romy Golan, "The Critical Moment: Lionello Venturi in America," in Artists Intellectuals and World War II: The Pontigny Encounters at Mount Holyoke College, 1942–44, ed. Christopher Benfey and Karen Remmler (Amherst: University of Massachusetts Press, 2006).
Alfred M. Frankfurter, "International report," Art News 49, no. 5 (September 1950): 14–19 and 57. This Cold War discourse is markedly common in American responses to Italian painting with Communist sympathies. See also Sam Hunter, "Contemporary Italians: Guttuso and de Chirico," The Magazine of Art 43, no. 7 (November 1950): 266–71; and Milton Gendel, "Guttuso: a Party point of view," Art News 57, no. 2 (April 1958): 26–27 and 59–62.
Regarding the Picasso retrospective, see first and foremost Bruno Mantura, Anna Mattirolo, and Anna Villar, eds., Picasso 1937–1953: Gli anni dell'apogeo in Italia (Rome: Galleria Nazionale d'Arte Moderna, 1999).
For more on this context, see chapters 5 and 6, "The Communist Politics of Abstraction and the Onset of the Cold War" and "The Rise of Realism and the Demise of The New Front of the Arts," in Duran, Painting, Politics and the New Front.
See Germano Celant and Anna Costantini, Roma–New York, 1958–1964 (Milan and Florence: Edizioni Charta, 1993).
Adrian R. Duran is Associate Professor of Art History at the University of Nebraska at Omaha. He is a specialist in Italian modernism and the author of Painting, Politics, and the New Front of Cold War Italy (Abingdon, Oxfordshire; New York, NY: Routledge, 2018. ©2014), a study of the discourse of art and politics in the years between 1935 and 1950. Duran recently edited an issue of the Journal of Latino-Latin American Studies focused on Art of the Latinx Diaspora. He will be the 2020–21 Dorothy K. Hohenberg Chair of Excellence in Art History at the University of Memphis.
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David Zurawik
Rabia Chaudry writing book on 'Serial's' Adnan Syed
By David Zurawik
Nov 24, 2015 | 12:16 PM
Rabia Chaudry, the friend and advocate for Adnan Syed who brought his story to the attention of public radio's Sarah Koenig, is writing a book about his case.
Syed, who was convicted of the 1999 murder of Woodlawn High School senior Hae Min Lee, his former girlfriend, has been imprisoned in Maryland ever since.
"Serial," Koenig's podcast about the case, became a pop-culture sensation as the most down-loaded podcast in history.
This month, a Baltimore judge granted a motion to reopen post-conviction proceedings, which will allow new evidence to be introduced on behalf of Syed.
Chaudry, a Maryland lawyer, started her own podcast, "Undisclosed," once "Serial" ended. (Read my interview with Chaudry and a review of her podcast here.)
The book, which is scheduled for publication in September, 2016, by St. Martin's Press, is titled "Adnan's Story: Murder, Justice, and the Case That Captivated a Nation."
"I'd like to add that the book will also include parts of the investigation never aired on our podcast, 'Undisclosed,' which now has 50 million listens," Rabia wrote in an email to The Sun today confirming the book deal, which was first reported by "Entertainment Weekly."
Hae Min Lee
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Impeachment providing a stress test for major media outlets. Here are some with top grades | COMMENTARY


Eastgardens is a city in New South Wales. So far we have accumulated 10 streets in Eastgardens and on these streets we have added 337 real estate properties.
Eastgardens is a suburb in the Eastern Suburbs of Sydney, in the state of New South Wales, Australia. Eastgardens is located 9 km south of the Sydney central business district and is part of the City of Botany Bay. It has a large shopping centre, Westfield Eastgardens at the corner of Wentworth Avenue and Bunnerong Road. Eastgardens is surrounded by the suburbs of Pagewood, Maroubra, Hillsdale and Banksmeadow.


text:
Lapprendimento ancorato è un paradigma didattico basato sulle tecnologie, che prevede la soluzione di problemi (problem solving) attraverso l'uso di ancore, ovvero indizi presi da contesti reali e rappresentativi di problemi autentici. Uno degli aspetti importanti dell'apprendimento ancorato è che lo studente non deve semplicemente risolvere il problema indicato, ma riflettere anche sui processi di pensiero necessari per arrivare alla soluzione.
Tale paradigma didattico è stato sviluppato dal Gruppo Cognizione e Tecnologia (CTGV) dell'Università di Vanderbilt (Stati Uniti).

L'apprendimento ancorato utilizza il video come mezzo principale di rappresentazione dei problemi che lo studente deve risolvere. Ogni video è una narrazione che contiene non solo il problema ma anche tutti gli elementi da tenere in considerazione per la sua risoluzione. Queste narrazioni hanno una struttura reticolare che permette allo studente di seguire percorsi alternativi che lo porteranno ad individuare soluzioni alternative.

L'uso del video è diverso da quello del semplice documentario. Infatti attraverso il video il docente definisce un macrocontesto interessante, creando una storia che contiene gli elementi problematici e tutti gli strumenti necessari a risolverli. Allo studente è lasciato il compito di individuare le soluzioni.

L'apprendimento ancorato è un formato didattico fortemente interdisciplinare dal momento che per la soluzione del problema lo studente deve usare conoscenze che provengono da domini diversi.

Principi di design

Formato Generativo
Il video fornisce un macro-contesto ed ha dei punti di divergenza (ad es. esistono più finali legati al percorso che lo studente ha scelto di seguire per risolvere un certo problema).

Formato di rappresentazione basato sul video
È il formato principalmente usato nell'apprendimento ancorato. Esso si è rivelato molto utile, ad esempio, con chi ha difficoltà nella lettura. I filmati sono vividi, efficaci ed immediati. Permettono anche di inserire delle informazioni di background che lo studente può scegliere di approfondire a seconda del suo percorso didattico.

Formato narrativo
Il video è progettato per descrivere personaggi, eventi, situazioni ecc. La vera novità, però, sta nel fornire allo studente il senso di realtà del problema, l'impressione di 'mettere le mani sulle cose'.

Progettare dati embedded
Si tratta di dati contenuti nel formato. Tutto ciò che serve a risolvere il problema, sta nel video stesso.

Complessità del problema
È difficile progettare il punto di equilibrio fra ciò che è autentico e un livello di ricchezza che consente di tenere alta l'attenzione. Uno degli obiettivi è evitare l'ipersemplificazione del problema, assegnandogli invece un certo livello di complessità anche se questo fosse superiore alle competenze attuali dei discenti. In questo modo si può attuare uno scambio dialogico in cui gli studenti si confrontano e si aiutano per risolvere insieme il problema.

Collegamenti tra i curricula
Progettare un percorso fra più materie è certamente un obiettivo importante. L'uso di narrazioni individua dei punti di contatto fra le diverse materie, facendo sfumare quei confini che le separano l'una dall'altra.

Progettare le ancore
Le ancore devono catturare l'immaginazione. Devono essere percepite come importanti da chi apprende e devono legittimare il contenuto disciplinare che implicano. Al tempo stesso devono sposarsi con i vari stili di apprendimento del target di utenza.

Educazione

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Submitted Photo Fredonia Chamber Choir with Dr. Vernon Huff.
Highlighting the festival will be a concert on Saturday, Feb. 16, at 4 p.m., in King Concert Hall. Music will include European composers Maurice Durufle (France), Ola Gjeilo (Norway), Felix Mendelssohn (Germany) and Francis Poulenc (France) performed by the student ensembles –Fredonia Chamber Choir, under the direction of Dr. Vernon Huff; the Fredonia College Choir, directed by Dr. Melvin Unger; and the Fredonia Camerata, directed by Dr. Adam Luebke.
Tickets to the concert are $6 for general admission, free to Fredonia students with ID, and are available at the Fredonia Ticket Office in the Williams Center, and by calling 673-3501.
Mr. Gibbs will also direct each choir — as well as the combined choirs — in a performance of his music. The world premiere of Gibbs' arrangement of "Lil David Play on Your Harp" will be sung by the all-female Camerata.


HMRC have published their Employer Bulletin: April 2019, a bi-monthly magazine for employers and agents giving up-to-date information on payroll topics.
•Reporting payroll when your normal payday falls on a non-banking day.
View the Employer Bulletin: April 2019.


A method for using a doorbell system can block a first electricity that is less than a first threshold from entering an electronic chime. By blocking the first electricity from entering the electronic chime, the electronic chime is not allowed to emit a notification sound. The method for using the doorbell system can also allow a second electricity that is greater than the first threshold to enter the electronic chime. By allowing the second electricity to enter the electronic chime, this can allow the electronic chime to emit a notification sound in response to a visitor being present.
Various embodiments disclosed herein relate to doorbell systems. Certain embodiments relate to doorbell electrical methods.
Buildings often have doorbells located at points of entry so visitors can alert occupants of the building of the visitor's arrival. The doorbells typically have chimes inside the building that emit a notification sound in response to a visitor pressing a doorbell button. Oftentimes, the chimes are available as analog chimes and digital chimes.
Analog chimes typically include two flat metal bar resonators, which are struck by plungers operated by two solenoids. Analog chimes typically require electricity for a short duration of time to produce the notable "ding-dong" sound, which is the result of the plungers striking the metal bars.
Digital chimes often employ a circuit board containing music data and a speaker. As such, digital chimes can be capable of playing a wider variety of sounds over the typical "ding-dong" sound. To achieve this, the digital chimes may require electricity over a longer period of time than their analog predecessors.
However, the notification sound emitted by analog and digital chimes can typically only be heard within a short distance from the chime itself. For example, a homeowner located remotely from her home likely would not be able to hear the notification sound, and thus, would not be aware that a visitor is ringing her doorbell. Thus, there is a need for devices and methods that are compatible with analog and digital chimes to alert remotely located individuals that a visitor seeks the attention of the building occupant.
The disclosure includes embodiments that include a doorbell system that comprise an electronic doorbell comprising a camera and a button, wherein the camera is configurable to visually detect a visitor and the button is configurable to enable the visitor to sound an electronic chime, an electronic switch assembly electrically coupled to the electronic doorbell and a transformer, and an electronic chime electrically coupled to the electronic switch assembly, wherein the electronic chime comprises a speaker configurable to emit a notification sound in response to the visitor pressing the button of the electronic doorbell. The electronic switch assembly may define a first state and a second state. The first state may occur in response to a first electricity that is less than a first threshold, and the second state may occur in response to a second electricity that is greater than the first threshold. In the first state the electronic switch assembly may block the first electricity from passing through the electronic chime so that the electronic chime does not emit a notification sound. In the second state the electronic switch assembly may allow the second electricity to pass through the electronic chime so that the electronic chime emits the notification sound.
In several embodiments, the electronic chime may comprise a digital chime having a first printed circuit board configured to enable the electronic chime to emit the notification sound from the speaker based on digital music data. The electronic doorbell may also comprise a second printed circuit board configured to block the second electricity from entering the second printed circuit board of the electronic doorbell in response to the visitor pressing the button.
In the first state, the electronic switch assembly may allow the first electricity to pass through the electronic switch assembly. In several embodiments, the electronic switch assembly may be mechanically coupled to the electronic chime. Some embodiments of the doorbell system may comprise a plastic housing. The electronic chime and the electronic switch assembly may be located inside the plastic housing. The electronic doorbell may be located outside of the plastic housing and in a remote location relative to the plastic housing.
In some embodiments, the electronic switch assembly comprises a first electronic switch, a second electronic switch electrically connected to the first electronic switch, and a third electronic switch electrically connected to the first and second electronic switches, wherein in response to the first electricity: 1) the first electronic switch allows the first electricity to flow through the electronic switch assembly and does not allow the first electricity to flow to the electronic chime, and 2) the second and third electronic switches do not allow the first electricity to flow to the electronic chime. As well, in response to the second electricity: 1) the first electronic switch does not allow the second electricity to flow through the electronic switch assembly, and 2) the second and third electronic switches allow the second electricity to flow to the electronic chime. In several embodiments, the first electronic switch comprises a first single pole, single throw switch, the second electronic switch comprises a second single pole, single throw switch, and the third electronic switch comprises a third single pole, single throw switch.
In several embodiments, the method may further include mechanically coupling the electronic switch assembly to the electronic chime. As well, some embodiments may include configuring an electrical circuit so that a third electricity passes from a transformer to the electronic doorbell to the electronic switch assembly and then back to the transformer without entering the electronic chime in response to the third electricity being less than first threshold. Some embodiments may also include configuring the electrical circuit so that a fourth electricity passes from the transformer to the electronic doorbell and to the electronic switch assembly. The fourth electricity may be diverted from the electronic switch assembly into the electronic chime and then back into the electronic switch assembly in response to the fourth electricity being greater than the first threshold. The electronic doorbell and the electronic switch assembly may be in series in the electrical circuit.
In many embodiments, the electronic chime comprises a digital chime having a first printed circuit board, and the method may further include configuring the first printed circuit board to enable the electronic chime to emit the notification sound from the speaker based on digital music data. In several embodiments, the electronic doorbell comprises a second printed circuit board, and the method may further include routing at least a portion of the first electricity through the second printed circuit board of the electronic doorbell. The method may further include blocking the second electricity from entering the second printed circuit board of the electronic doorbell in response to the visitor pressing the button. As well, the method may include causing the second electricity to be greater than the first threshold in response to the visitor pressing the button of the electronic doorbell.
In several embodiments the doorbell system comprises a plastic housing. The method may further include placing the electronic chime and the electronic switch assembly inside the plastic housing. As well, the method may include placing the electronic doorbell outside of the plastic housing and in a remote location relative to the plastic housing.
In some embodiments, the doorbell system may include a plastic housing, and the electronic chime and the electronic switch assembly may be located inside the plastic housing and the electronic doorbell may be located outside of the plastic housing and in a remote location relative to the plastic housing.
FIGS. 14-16 illustrate flow-charts of various methods of using a doorbell system, according to some embodiments.
Buildings often have doorbell buttons located at points of entry. The doorbell buttons may be electrically connected to a chime located inside the building. Accordingly, when a visitor presses the doorbell button, this may cause a notification sound to be emitted from the chime to thereby alert the building occupants of the visitor's arrival. It should be appreciated that the chime may be available as an analog chime or digital chime.
Digital chimes may include a circuit board containing music data and a speaker configured to play a song. Digital chimes may require electricity over a longer period of time than analog chimes. Accordingly, digital chimes may require additional electrical components that may not be available in an analog chime system. As such, various embodiments described herein provide methods of use and systems of electronic doorbells and digital doorbell chimes.
Furthermore, the second state may occur in response to a second electricity 452 that is greater than the first threshold. In the second state the electronic switch assembly 410 may allow the second electricity 452 to pass through the electronic chime 412 so that the electronic chime 412 emits the notification sound 430. In other words, the electronic switch assembly 410, or printed circuit board, may be configured to allow the second electricity 452 that is greater than the first threshold to enter the electronic chime 412. The second electricity 452 may cause the electronic chime 412 to emit the notification sound 430.
Referring now to FIG. 5, the switch assembly 410 can be placed inside of a housing 415, which can also contain the electronic chime 412. The switch assembly 410 and the electronic chime 412 can be mechanically coupled to the housing 415. The housing 415 can be a plastic housing with a hollow internal portion that contains the electronic chime 412 and the switch assembly 410. At least one screw can mechanically couple the switch assembly inside of the housing 415.
The electronic doorbell (e.g., the security system 202) can be located outside of the housing 415. In some embodiments, the electronic doorbell is placed outside of a building 300 (shown in FIG. 3) while the housing 415 is placed inside of the building 300. The electronic doorbell and the housing 415 can be coupled to walls of the building 300. The electronic doorbell can be in a remote location relative to the housing 415 (e.g., the doorbell is located outside while the plastic housing 415 is located inside of the building). The doorbell, the electronic chime 412, and the switch assembly 410 can all be configured to be electrically coupled to the same building power supply 420 even when the doorbell is located in the remote location relative to the housing 415.
As well, the position of the first, second and third switches 414 b, 416 b and 418 b, may be dependent on the position of the other switch(es). For example, as shown in FIG. 11, when the first electronic switch 414 b is in the closed position, the second and third electronic switches 416 b and 418 b may each be in the open position. Furthermore, as illustrated in FIG. 12, when the first electronic switch 414 b is in the open position, the second and third electronic switches 416 b and 418 b each may be in the closed position.
In some embodiments, the doorbell system comprises a housing and the electronic chime 412 and the electronic switch assembly 410 are located inside the housing. As well, the security system 202 may be located outside of the housing, in a remote location relative to the housing. For example the security system 202 may be located adjacent a doorway or an entry or point of a building, such as along an exterior wall adjacent a door. However, it should be appreciated that either or both the security system 202 and the housing may be located inside or outside the building. As well, in some embodiments, the housing is a plastic housing. However, it should be appreciated that the housing may comprise any type of material configured to safely house electronic components inside or outside a building.
As well, in several embodiments, the information may include a predetermined amount of time that the second electricity is maintained above the first threshold. In other words, the predetermined amount of time may determine the amount of time the electronic chime 412 emits the notification sound 430. For example, if the notification sound 430 is a song, the predetermined amount of time may determine the amount of time that the song plays when a visitor has pressed the button of the security system 202. It should be appreciated that the predetermined amount of time may be any amount of time, such as 3 seconds, 5 seconds, 10 seconds, 30 seconds, 60 seconds, or any other amount of time.
Furthermore, the method may include electrically coupling the electronic doorbell 202 to the electronic switch assembly 410 (at step 704). As well, some methods may include configuring the electronic switch assembly 410 so that a first electricity 450 that is less than a first threshold passes through the electronic switch assembly 410 without entering the electronic chime 412 (at step 706). In this manner, the first electricity 450 may not cause the electronic chime 412 to emit the notification sound 430. As such, in response to the first electricity being less than the first threshold, the electronic switch assembly 410 may block the first electricity 450 from passing through the electronic chime 412.
Some embodiments may further include configuring the electronic switch assembly 410 so that the electronic switch assembly 410 causes a second electricity 452 that is greater than the first threshold to pass through the electronic chime 412 (at step 708). In this manner, the second electricity 452 may cause the electronic chime 412 to emit the notification sound 430. The electronic switch assembly 410 may be configured to allow the second electricity 452 to pass through the electronic chime 412 in response to the second electricity 452 being greater than the first threshold. It should be appreciated that the first threshold may be an electricity value that is required by the electronic chime 412 in order to emit the notification sound 430.
It should be appreciated that embodiments described in this disclosure are not limited to the first and second electricity 450 and 452. For example, several embodiments may further include a third and a fourth electricity. Some embodiments include configuring an electrical circuit, such as the doorbell system 400, so that the third electricity passes from the transformer 424 to the security system 202, and to the electronic switch assembly 410, and then to the transformer 424 without entering the electronic chime 412 in response to the third electricity being less than first threshold. As well, several embodiments include configuring the electrical circuit so that a fourth electricity passes from the transformer 424 to the security system 202 and to the electronic switch assembly 410 in response to the fourth electricity being greater than the first threshold. In this manner, the fourth electricity may be diverted from the electronic switch assembly 410 into the electronic chime 412, and then back into the electronic switch assembly 410. It should be appreciated that the security system 202 and the electronic switch assembly 410 may be connected in series in the electrical circuit. However, it should also be appreciated that the security system 202 and the electronic switch assembly 410 may be connected in parallel.
The electronic chime 412 may comprise any type of digital device configured to emit a notification sound 430 in response to the visitor pressing the button of the security system 202. For example, the electronic chime 412 may be a digital chime having a first printed circuit board. In several embodiments, the method may further include configuring the first printed circuit board to enable the electronic chime 412 to emit the notification sound 430 from the speaker based on digital music data.
Several embodiments may include configuring the printed circuit board 410 so that the printed circuit board 410 allows a first electricity 450 to pass through the printed circuit board 410 in response to the first electricity 450 being less than the first threshold (at step 806). As well, the method may include configuring the printed circuit board 410 so that the printed circuit board 410 blocks the first electricity 450 from entering the electronic chime 412 in response to the first electricity 450 being less than the first threshold (at step 808). Accordingly, the first electricity 450 does not cause the electronic chime 412 to emit the notification sound 430.
Several embodiments may further include configuring the printed circuit board 410 so that the printed circuit board 410 causes a second electricity 452 that is greater than the first threshold to enter the electronic chime 412 to cause the electronic chime to emit the notification sound 430. As such, the printed circuit board 410 may cause the second electricity 452 to pass through the electronic chime 412 in response to the second electricity 452 being greater than the first threshold.
Furthermore, the printed circuit board 410 may be described as a first printed circuit board, and the security system 202 may comprise a second printed circuit board. Similar to the method illustrated in FIG. 14, the method disclosed in FIG. 15 may further include routing at least a portion of the first electricity 450 through the second printed circuit board of the security system 202. As well, this method may further include configuring the second printed circuit board to block the second electricity 452 from entering the second printed circuit board of the security system 202 in response to the visitor pressing the button. Stated differently, these steps may allow all of the transformer electrical power to be blocked from entering the security system 202 and diverted to the electronic chime 412 so that the chime may have enough electrical power to emit the notification sound 430.
Several embodiments include yet another method for using the doorbell system 400. As illustrated in FIG. 16, the method includes obtaining the security system 202 (at step 900). Similar to the methods illustrated in FIG. 14, many embodiments also include mechanically coupling the printed circuit board 410 to the electronic chime 412 and electrically coupling the printed circuit board 410 to the electronic chime 412 (at step 902). As well, several embodiments include electrically coupling the security system 202 to the printed circuit board 410 (at step 904). With continued reference to FIG. 15, in response to the second electricity 452 being greater than the first threshold, many embodiments also include configuring the electronic switch assembly 410 so that the electronic switch assembly 410 causes the second electricity 452 to pass through the electronic chime 412 to cause the electronic chime 412 to emit the notification sound 430 (at step 906).
using the electronic switch assembly to divert the transformer electrical power from the electronic switch assembly into the electronic chime while the second electricity is greater than the first threshold.
2. The method of claim 1, wherein the electronic chime comprises a digital chime having a first printed circuit board, the method further comprising configuring the first printed circuit board to enable the electronic chime to emit the notification sound from the speaker based on digital music data.
causing the second electricity to be greater than the first threshold in response to the visitor pressing the button of the electronic doorbell.
placing the electronic doorbell outside of the plastic housing and in a remote location relative to the plastic housing.
5. The method of claim 1, wherein the first threshold is a first electrical power threshold.
6. The method of claim 1, wherein the first threshold is a first electrical voltage threshold.
7. The method of claim 1, wherein the first threshold is a first electrical current threshold.
once the second electricity is greater than the first threshold, the method further comprises maintaining the second electricity above the first threshold for the predetermined amount of time.
wherein the electronic chime and the electronic switch assembly are located inside the plastic housing and the electronic doorbell is located outside the plastic housing and in a remote location relative to the plastic housing.
configuring the second printed circuit board to block the second electricity from entering the second printed circuit board of the electronic doorbell in response to the visitor pressing the button.
in response to the second electricity being greater than the first threshold, using the electronic doorbell to maintain the second electricity above the first threshold for the predetermined amount of time.
using the electronic switch assembly to divert the electrical power from the electronic switch assembly into the electronic chime while the second electricity is greater than the first threshold.
14. The method of claim 12, further comprising maintaining the second electricity above the first threshold for a predetermined amount of time.
sending the predetermined amount of time wirelessly from the remote computing device to the electronic doorbell.
16. The method of claim 1, wherein the electronic doorbell is located remotely relative to the electronic chime.
17. The method of claim 9, wherein the first threshold is at least one of a first electrical power threshold, a first electrical voltage threshold, and a first electrical current threshold.
configuring the electrical circuit so that a fourth electricity passes from the external power supply to the electronic doorbell and to the electronic switch assembly, wherein the fourth electricity is diverted from the electronic switch assembly into the electronic chime and then back into the electronic switch assembly in response to the fourth electricity being greater than the first threshold, wherein the electronic doorbell and the electronic switch assembly are in series in the electrical circuit.
19. The method of claim 9, wherein the electronic chime comprises a digital chime, the method further comprising configuring the printed circuit board to enable the electronic chime to emit the notification sound from the speaker based on digital music data.
21. The method of claim 9, further comprising causing the second electricity to be greater than the first threshold in response to the visitor pressing the button of the electronic doorbell.
wherein the printed circuit board causes the second electricity to pass through the electronic chime in response to the second electricity being greater than the first threshold.
blocking the second electricity from entering the second printed circuit board of the electronic doorbell in response to the visitor pressing the button.
24. The method of claim 12, wherein the electronic doorbell is located remotely relative to the electronic chime.
AC Adapter Spy Camera—Downloaded on Jun. 24, 2014 from ahdcameras.com.
CellNock about founder page—downloaded on Nov. 18, 2013 from http://cellnock.com/index.html; The website says CellNock is "patent pending".
CellNock index page—Originally downloaded on Sep. 23, 2013 from http://cellnock.com/index.html; The website says CellNock is "patent pending".
CellNock Index—Downloaded on Sep. 23, 2013 from http://cellnock.com/index.html.
CellNock learn more page—Downloaded on Nov. 18, 2013 from http://cellnock.com/learn—more.htm; The website says CellNock is "patent pending".
CellNock product page—Downloaded on Nov. 18, 2013 from http://cellnock.com/products.htm; The website says CellNock is "patent pending".
CellNock—Downloaded on Sep. 23, 2013 from http://cellnock.com/products.htm.
Doorbot "fact sheet"—Downloaded on Nov. 18, 2013 from http://cdn.shopify.com/s/files/1/0247/6501/files/DoorBotMediaKit.pdf?17037.
Doorbot "features kit"—Downloaded on Nov. 18, 2013 from http://cdn.shopify.com/s/files/1/0247/6501/files/DoorBot—Features—Kit.pdf?17037.
Doorbot users manual—Downloaded on Nov. 18, 2013 from http://static.mydoorbot.com/DoorBot%20Users%20Manual%201.0.pdf.
Doorbot website—Downloaded on Nov. 18, 2013 from http://www.getdoorbot.com/.
DoorBot—Downloaded on Jun. 14, 2013 from https://christiestreet.com/products/doorbot.
Doorbot—Downloaded on Nov. 18, 2013 from http://thenextweb.com/insider/2012/12/10/satisfaction-lies-in-hardware-for-siminoffs-christie-street-platform-and-doorbot-video-streaming-doorbell/; prior art publication at least as of Dec. 10, 2012.
Doorbot—Downloaded on Nov. 18, 2013 from http://www.craigncompany.com/home-tech-doorbot/; prior art publication at least as of Jun. 10, 2013.
Doorbot—Downloaded on Nov. 18, 2013 from http://www.digitaltrends.com/lifestyle/doorbot-camera-see-visitors-smartphone/; prior art publication at least as of Dec. 9, 2012.
Eyetalk for Home—Downloaded May 24, 2013 from http://www.revolutionaryconceptsinc.com/forhome.html.
iChime Customizable Digital Chime System—Downloaded on Nov. 7, 2014 from http://www.ichime.com/.
iDoorCam—A Wi-Fi Enabled, Webcam Doorbell—Downloaded on Sep. 3, 2013 from http://www.idoorcam.com/.
Kevo Lock-Installation guide-Downloaded on Oct. 10, 2014 from http://s7d5.scene7.com/is/content/BDHHI/Kwikset/Websit%20Content/Kevo/installation-guide.pdf.
Kevo Lock—Installation guide—Downloaded on Oct. 10, 2014 from http://s7d5.scene7.com/is/content/BDHHI/Kwikset/Websit%20Content/Kevo/installation—guide.pdf.
Langer Doorbell Button Sized Light-Downloaded on Sep. 16, 2013 from http://www.youtube.com/watch?v=u9nNCm4tSY1.
Langer Doorbell Button Sized Light—Downloaded on Sep. 16, 2013 from http://www.youtube.com/watch?v=u9nNCm4tSY1.
Langer Doorbell Light—Downloaded on Nov. 18, 2013 from http://www.youtube.com/watch?v=u9nNCm4tSYl; published at least as early as Apr. 2013.
MySkyBell.com—Part 1 (previously iDoorCam.com)—Downloaded on Nov. 18, 2013 from http://www.myskybell.com/.
MySkyBell.com—Part 2 (previously iDoorCam.com)—Downloaded on Nov. 18, 2013 from http://www.myskybell.com/.
MySkyBell.com—Part 3 (previously iDoorCam.com)—Downloaded on Nov. 18, 2013 from http://www.myskybell.com/.
MySkyBell.com—Part 4 (previously iDoorCam.com)—Downloaded on Nov. 18, 2013 from http://www.myskybell.com/.
MySkyBell.com—Part 5 (previously iDoorCam.com)—Downloaded on Nov. 18, 2013 from http://www.myskybell.com/.
Philips InSight Baby Monitor—Originally downloaded on Jul. 24, 2013 from http://www.amazon.com/Philips-B120-37-InSight-Wireless/dp/B00AALO9Z6/ref=sr—1—3?ie=UTF8&qid=1384808431&sr=8-3&keywords=philips+insight.
Philips InSight Wireless HD Baby Monitor—Downloaded on Jul. 24, 2013 from http://www.amazon.com/Philips-InSight-Wireless-Baby-Monitor/dp/B00AALO9Z6/ref=sr—1—2?ie=UTF8&qid=1374704204&sr=8-2&keywords=philips+insight+wi-fi+baby+monitor.
SmartBell—A Doorbell for Smartphones, published by Scrambled Brains Tech, LLC., Oct. 1, 2013.
Squaritz IDS—Intelligent Doorbell System—Downloaded on Aug. 15, 2013 from http://www.indiegogo.com/projects/squaritz-ids-intelligent-doorbell-system.


This is the third review of sausages from L'Authentique. This French inspired company makes great sausages. They are chunky and wholesome eating and the flavours are well melded to create morsels of deliciousness. This time the sausage sampled was Traditional Toulouse. The Traditional Toulouse is made from free-farmed New Zealand pork, along with free-farmed bacon. There are also elements of garlic and parsley.
I decided to test my leg in the hills as part of the rehabilitation process. The forecast was not great, so I decided on a quick jaunt to Field Hut in the Tararuas. Temperatures were between minus thirteen and minus fifteen at Kime so I expected it to be a bit chilly on the way to Field Hut. From Otaki Forks there was a light steady drizzle as I climbed the ridge. When I got closer to Field Hut this turned to gentle wafting snow, There was no wind so the snowflakes fluttered on their way down.
When I got to Field Hut there was an English backpacker who was trying to generate heat from the log burner, with limited success. He was cutting a log with a bow saw that was in the hut, He commented that he has used butter knives that were sharper than that saw.
While in the hut I ate the Traditional Toulouse sausage which is a meat sausage, The pork and bacon complement each other and the bacon adds elements of smoke and sweetness to the meat. Meat is the dominant flavour, the garlic and parsley are background flavours on the palate. Although the sausage was cold and had been on the snow, the enjoyment was immense.
As I headed back to Otaki Forks I mused about the range of L'Authentique sausages. Whatever one you select you will be impressed by the flavour.
It has been a couple of weeks since I wrote this post, and since then L'Authentique has won two golds at the Devro Great New Zealand Sausage Competition. Congratulations to the team at L'Authentique on winning gold in the Pork category for their Pure Pork Sausage, along with a matching gold in the Traditional category for the Pork and Fennel Sausage.


THE SHELL SERVICE STATION IN EINDHOVEN FOR TRUCKS!
Are you looking for a service station for trucks in south-east Brabant? Truckstop 8 is just what you need! Truckstop 8 is a Shell service station in Eindhoven which offers you more than standard and alternative fuels alone. We have much more to offer: a restaurant with long opening hours and varied menu, a shop, a modern truck wash, plenty of parking spaces and shower facilities. In other words: this Shell service station nearby Eindhoven Airport offers more than just fuel!
When filling up with standard fuels at Truckstop 8, payment is extremely simple when using the business euroShell Card (which can be requested here). When you require CNG, the following methods of payment can be used: the Fuwell Energy Group B.V. fuel card (can be requested via www.fuwell.nl), your debit card, the Multi Tank Card, the Travelcard and your Maestro/Mastercard.


text:
Q: How to convert bytes to mp3 and how to send data over UDP 1) I am able to input and send my file name from my client to my server. but once it reaches my server I am unable to access the file even though the location and name of the file is correct.
2) since I am limited to 1500 bytes per transmission, I have to send my data in small 1500 byte packets. but I am facing problems sending data with more than 1500 bytes. this could also be because I am using a byte array.
3) I am unable to convert the mp3 file that I have read and converted to bytes back to an mp3 file
I have tried using other files to see if I made a mistake, but no matter what kind of file I use the result is always the same.
import java.io.*;
import java.net.*;
import java.util.*;
class UDPClientThreads {
 public static void main(String args[]) throws Exception
 {
   String ul;

   Scanner cin = new Scanner(System.in);

   System.out.print("Enter uname: ");
   ul = cin.nextLine();

   long tstart = System.currentTimeMillis();

   DatagramSocket clientSocket=new DatagramSocket();
   InetAddress IPAddress=InetAddress.getByName("localhost");

    byte[] sendData=new byte[1500];
    byte[] receiveData=new byte[1500];

    System.out.println("sent: "+ul);
    sendData=ul.getBytes();
    DatagramPacket sendPacket=
     new DatagramPacket(sendData, sendData.length,IPAddress, 12313);
    clientSocket.send(sendPacket);
    DatagramPacket receivePacket=
     new DatagramPacket(receiveData, receiveData.length);
    clientSocket.receive(receivePacket);

    System.out.println(receivePacket.getData().length);

   clientSocket.close();
 }
}

import java.io.*;
import java.net.*;
import java.util.*;
import java.nio.file.Files;
public class UDPServerThreads {

  public class UDPClientHandler1 implements Runnable {

   byte[] bytesFromFile;
   InetAddress address;
   int port;

   public UDPClientHandler1(byte[] bytesFromFile, InetAddress address, int port) {
    this.bytesFromFile=bytesFromFile;
    this.address=address;
    this.port=port;
   }

    public void run() {
     byte[] sendData=new byte[1500];
     try{
      String threadName =
      Thread.currentThread().getName();
      String message="in HandleClient";

      long cstarttime = System.currentTimeMillis();
      System.out.println("before csocket");
      DatagramSocket csocket=new DatagramSocket();

      sendData= bytesFromFile;
      DatagramPacket sendPacket=
        new DatagramPacket(sendData, sendData.length, address, port);
      csocket.send(sendPacket);
      System.out.println("after send in thread "+"IPAddress="+address+" port="+port);
      long cendtime = System.currentTimeMillis();
      System.out.println("time="+(cendtime-cstarttime));
     }
     catch (IOException e) {}
    }
 }

  public void nonStatic(byte[] bytesFromFile, InetAddress address, int port) {
   Thread t = new Thread(new UDPClientHandler1(bytesFromFile,address,port));
     t.start();
  }

 public static void main(String args[]) throws Exception
  {
    UDPServerThreads udpserver= new UDPServerThreads();
    try {
     DatagramSocket serverSocket=new DatagramSocket(12313);
     byte[] receiveData=new byte[1500];
     int count=0;
     while(true)
     {
      DatagramPacket receivePacket=
       new DatagramPacket(receiveData, receiveData.length);
      serverSocket.receive(receivePacket);
      System.out.println("after rcv in server");
      String udpmessage=new String(receivePacket.getData());
      System.out.println("sentence"+udpmessage);

       try
    {
      File f = new File(udpmessage);
      byte[] bytesFromFile = Files.readAllBytes(f.toPath());
      System.out.println(bytesFromFile.length);

      InetAddress address=receivePacket.getAddress();
      int port=receivePacket.getPort();
      udpserver.nonStatic(bytesFromFile,address,port);
      count++;
      System.out.println("after start thread"+count);
    }
    catch(Exception e)
    {
      System.out.println("not working");
    }

     }
   }
   catch (IOException e) {}
 }
}

At the end I expect my server to send the mp3 file to my client then my client will create an mp3 file that can be opened and played.

redpajama_set_name: RedPajamaStackExchange


text:
Q: ggplot geom_errorbarh error (wants discrete when entered as continuous, but wants continuous when entered as discrete) I am working on creating a forest plot for a meta analysis using ggplot2.
Here is what an earlier version/incomplete graph looked like.
My problem is now that I'm going to back to work on it some more, everything works except I cant get the error bars with geom_errorbarh.
Data: Here is a data file from dput on my dropbox. For the life of me, I can't figure out how to get it to paste direct on here in a way that would copy-and-paste into R without having problems. Anyway, if you just save that file (q.df) and run df.forest <- dget("your-path/q.df"), you'll have a usable df. (Note: this is parsed down from the full df that I'm working with to only include the variables needed for this particular plot, but if something doesn't make sense, just let me know and I'll try to clarify.)
So this much works and produces the graph I want, except the error bars.
ggplot(df.forest, aes(y=ID, x=g,  shape = iv.domain, size = plot.weight))+
 geom_point(aes(size = iv.domain))+
 scale_shape_manual(name = "IV Domain",
                 values = c(15, 16, 17, 5),
                 labels = c("Abstraction", "Social", "Temporal",
 "Summary\neffects"))+
 ylab("Refrence")+
 scale_x_continuous(limits=c(-1.5,2.5), name='Effect size (g)')+
 geom_vline(xintercept=0, color='dark grey', linetype='dotted')+
 facet_grid(dv.level~., scales= 'free', space='free')+
 theme_bw()+
 theme(panel.grid.major=element_blank(),
    panel.grid.minor=element_blank(),
    panel.border=element_blank(),
    axis.line=element_line(),
    text=element_text(family='Times'),
    plot.caption=element_text(hjust = 0, vjust = -7),
    plot.margin = unit(c(.25,.25,.75,.25), "cm"))+
 guides(size = FALSE) +
 scale_size_discrete(range = c(1.5,4.5))

But if I add: + geom_errorbarh(aes(xmin=gLL, xmax=gUL),height=.3), (where gLL and gUL are numeric values representing the 95% CI lower/upper limits), it gives me an error:
Error: Continuous value supplied to discrete scale.
However, if I enter factorized versions of gLL and gUL: + geom_errorbarh(aes(xmin=gLL.f, xmax=gUL.f),height=.3), it give me the opposite error:
Error: Discrete value supplied to continuous scale.
I've searched high and low, and can't seem to find where anyone has had problems with a function saying something is supposed to be discrete when you enter it as continuous, but saying something is supposed to be continuous when you enter it as discrete.
Moreover, I don't have a clue why it worked yesterday, yet won't work today. I've restarted R/cleared my environment, and gone back through my whole script line by line to make sure nothing leading up to this error was off, but I can't find anything. I've tried adding the aes() from geom_errorbarh to the ggplot(aes()) instead, but that doesn't change anything either. And again, if I run these lines without geom_errorbarh, it makes the exact graph I want minus the error bars, so the error is definitely in that line.
Any help at all would be greatly appreciated!
Cheers!
Edit: Thanks to @eipi10 I figured it out. I had overlooked where I had changed what my size aes() variable was  (and didn't think about it since it ran just fine until you added in the geom_errorbarh line). That also explains why it was making me use scale_size_discrete which wasn't making sense, but it worked, so I went with it. Anyway, once I deleted the aes() within geom_point(), and changed scale_size_discrete to scale_size, it worked!! Thank you! -AE

A: This is occurring because you have two size mappings, size = plot.weight in the main ggplot call and size=iv.domain in geom_point. The first is continuous and the second is discrete. You can have one or the other, but not both, and the scale_size_*** call has to match the type of variable (continuous or discrete) that you map to size.


IBM ThinkPad T43/ T43p Audio Driver Download. IBM ThinkPad A22m/ A22e Video Driver ( ATI Mobility- M) M6. Learn more Learn more Version. 12 Windows XP IBM ThinkPad Video Driver ( ATI Mobility- M) M6. 12 W Windows XPPlatform : Free DriverLicense : M6. Lenovo Global Support Home. Ibm thinkpad t43 vga drivers free download.
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This page contains the list of device drivers for IBM ThinkPad T43 ( 2669W5B). To download the proper driver, first choose your operating system, then find your device name and click the download the latest IBM ThinkPad T43 driver for your computer' s operating system.
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text:
Carlos Stack (; * 15. Dezember 1997) ist ein thailändisch-australischer Fußballspieler.

Karriere
Carlos Stack stand bis Mitte 2019 beim Phatthalung FC unter Vertrag. Mit dem Verein aus Phatthalung spielte er in der Southern Region der vierten Liga. Im Juli 2019 ging er zum Chainat Hornbill FC. Für den Verein aus Chai NatChainat spielte er in der zweiten Mannschaft. Die Zweite spielte in der vierten Liga, der Thai League 4. Hier trat Chainat in der Western Region an. Nach einer Saison wechselte er im Juli 2020 in die Hauptstadt Bangkok. Hier schloss er sich dem Drittligisten Bangkok FC an. Mit dem Verein spielte zuletzt in der Bangkok Metropolitan Region der dritten Liga. Zu Beginn der Saison 2021/22 unterschrieb er einen Vertrag beim Zweitligisten Udon Thani FC. Sein Zweitligadebüt gab Carlos Stack am 17. November 2021 (14. Spieltag) im Auswärtsspiel gegen den Customs Ladkrabang United FC. Hier wurde er in der 60. Minute beim Stand von 6:2 für Udon Thani für David Haas eingewechselt. Udon Thani gewann das Spiel 9:3. Das war auch sein einziges Zweitligaspiel. Mitte Dezember 2021 unterschrieb er einen Vertrag beim Drittligisten Muang Loei United FC. Der Klub aus Loei spielte in der North/Eastern Region. Am Ende der Saison feierte er mit Loei die Meisterschaft der Region. In den Aufstiegsspielen zur zweiten Liga konnte man sich nicht durchsetzen. Zu Beginn der Saison 2022/23 unterschrieb er im Juni 2022 einen Vertrag beim Zweitligaaufsteiger Krabi FC. Nach drei Zweitligaspielen wurde sein Vertrag bei dem Verein aus Krabi im Dezember 2022 aufgelöst. Im gleichen Monat unterschrieb er einen Vertrag beim Drittligisten Nonthaburi United S.Boonmeerit FC. Mit dem Verein aus Bangkok spielt er in der Bangkok Metropolitan Region der Liga.

Erfolge
Muang Loei United FC
 Thai League 3 – North/East: 2021/22

Weblinks

Einzelnachweise

Fußballspieler (Phatthalung FC)
Fußballspieler (Chainat Hornbill FC)
Fußballspieler (Bangkok FC)
Fußballspieler (Udon Thani FC)
Fußballspieler (Muang Loei United FC)
Fußballspieler (Krabi FC)
Fußballspieler (Nonthaburi United S.Boonmeerit FC)
Thailänder
Australier
Geboren 1997
Mann


Mango season in the Northern hemisphere is April to October. One does not need special skills to eat the ripe fruit. Simply peel the fruit and bite into its juicy flesh.
Many love to eat the raw skin of the fruit as well. Myself personally, I have never tried to eat the peel. Now days you can find the mango dried, or frozen. In both cases the mango is still sweet in flavor. You can juice the mango, which I have with fresh blueberries, what a yummy smoothie.
You can make mango salsa and even in India they make Mango Jam. Mangoes do not grow in mild to cooler climates, they are grown in tropical regions of the earth. In 2012 the consumption of mangoes by Americans was up 30% over the prior 5 years.
If you are familiar with NPR or National Public Radio (USA), they had a report the morning of April. 9, 2013 entitled "Demand Is High For Mexico's Magnificent Mangoes".
Take a moment to listen. Just Click Here to listen to the 1 1/2 minute NPR Report – another window will open to here report.
Remove from heat and let cool. Mix in the mango and garnish with chopped macadamia nuts.
Ingredients: A Note on Green Mango and Green Mango Powder. From The Archives.
Kiwi, Mango, Pineapple, Coconut, and Kale. Wow that's a mouthful.
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