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text:
Taylor Swift >
Taylor Swift Stage Invader Denies All Charges
By WENN in Music / Festivals on 04 September 2015
Follow Taylor Swift
A Fan Who Invaded The Stage During A Taylor Swift Concert On Saturday (29aug15) Has Pleaded Not Guilty To All Charges Stemming From The Incident.
Picture: Taylor Swift - 2015 MTV Video Music Awards (VMA's) at the Microsoft Theater - Arrivals at The Microsoft Theater at L.A. Live - Los Angeles,...
Christian Ewing, 26, was arrested at the Petco Park venue in San Diego, California after he ran onstage while the Shake It off hitmaker was performing. He was tackled by security guards and hauled away.
Ewing appeared in a San Diego court on Wednesday (02Aug15) and Deputy District Attorney Jessica Coto accused him of jumping a fence at the concert and injuring a security guard in the onstage altercation.
He admitted being the stage invader but pleaded not guilty to two felony charges of assault with force likely to cause great bodily injury and battery with serious injury, as well as a misdemeanour count of giving police the wrong name. He also denies a municipal code violation for entering a restricted area.
Ewing's bail was set at $100,000 (£62,500) as he is considered a flight risk. He is next due back in court on 14 September (15).
Taylor Swift to release new song Only The Young
Taylor Swift's mother has brain tumour
Taylor Swift's award show run in with Kanye West affected her 'more than anyone knew'
Taylor Swift adapted touring schedule to care for mom
Taylor Swift serenaded by super fan on holiday
Glastonbury Festival urged to reduce noise levels
Taylor Swift 'can't forgive' people who hurt Selena Gomez
Taylor Swift to receive honour at 2020 GLAAD Media Awards
Taylor Swift thankful she didn't have instant success
Taylor Swift hired bodyguard on Cats set due to stalker fears
Taylor Swift enjoys birthday surprise
Taylor Swift's surprise from Judi Dench
Taylor Swift to headline Glastonbury Festival
The Giver Movie Review
Yet another teen sci-fi adventure, this movie may be sharply well-made but it struggles to...
The Giver Trailer
Author Lois Lowry talks about her dystopian sci-fi book 'The Giver' in a featurette ahead...
Jonas is a young man who lives in a community where everybody is the same....
Dr. Seuss' The Lorax Movie Review
Dr Seuss' eco-fable is transformed into a raucous adventure comedy in this colourful animated feature....
The Lorax Trailer
Ted is a young boy who lives in the perfect town: everything is clean and...
Valentine's Day Trailer
Watch the trailer for Valentine's Day *Chick Flick Alert* Valentine's Day is a romcom set,...
Hannah Montana The Movie Trailer
Watch the trailer for Hannah Montana The MovieHannah Montana has had the feature film treatment....

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Nisheeth Tak's Rasam is the jewel in South County Dublin dining, beloved by customers, critics and everyone who has crossed the threshold into its magical embrace.
For more than fifteen years, Rasam has made Glasthule, and south County Dublin, a better place in which to live, and eat. The elegance, authenticity and reliability of the cooking, and the voluble authority of the service from Mr Tak and his team, has meant that for very many southsiders, Rasam is, quite simply, their favourite restaurant. The expertise and deep-rooted techniques of the kitchen mean that Irish staples – chicken; scallops; cauliflower; potatoes – become utterly transformed through judicious spicing, and one of the pleasures of Rasam is to bring a friend for their first visit, and to see their astonishment at the mind-blowing sumptuousness and sensuality of the food. Superlative service means that everyone who eats at Rasam always has a special experience, and you leave feeling thrilled and uplifted, and determined to return, soon.
31 South Richmond Street, Portobello, Dublin 2.


text:
CAVALLI DIVORCE?
August 7, 2007 | 9:00am
IT may be splitsville for Roberto Cavalli and his long-suffering wife, Eva. The couple, who have been married for more than 20 years and have three children together, are said to be on the outs due to Eva's intensifying friendship with former Fashion Café founder and fraudster Tommaso Buti. A very close source said, "Roberto is always on the arms of other beautiful women, but he was very jealous when he came home one day and caught Eva on the phone, talking to someone very intimately. He dialed the number back, and it was Tommaso. There was a huge fight." Buti, who was once married to supermodel Daniela Pestova, is not allowed to leave Italy due to fraud convictions and describes himself as a "playboy with the Midas touch." A rep for Cavalli didn't return calls.
HILLARY FUND-RAISING IS FOOD FOR THOUGHT


text:
1 Emerging Journalism Models & Creative Commons
1.1 Propublica
1.2 Groundreport
1.3 Al Jazeera
1.4 Others uses of CC in journalism
1.4.1 Media observatories
1.5 Additional resources
Emerging Journalism Models & Creative Commons
Old models of news delivery are changing, being complemented, and even supplanted by entirely new models. Many of these new models leverage Creative Commons licenses, a simple, standardized way for authors to grant copyright permissions to their work in the digital age. Because the rights to copy, distribute, or adapt content are pre-cleared, news is more rapidly and widely disseminated, allowing innovative business models to emerge that rely on free and legal sharing and reuse.
Two examples of non-profit journalism ventures funded by foundations and/or other sponsors are Propublica and the Huffington Post Investigative Fund.
Led by Paul Steiger, the former managing editor of the Wall Street Journal, Propublica is an independent 32-person newsroom producing investigative journalism. Propublica encourages others to "steal"[1] its stories; it encourages other sites to reproduce their stories as long as they are credited and linked to under the Creative Commons Attribution-Noncommercial-No Derivative Works license (CC BY-NC-ND). Propublica also gives certain stories first to major news outlets, such as the New York Times and CNN, in order to maximize their impact. After a window of exclusivity, which can be anywhere from seconds to hours after the original publication depending on the agreement, these stories are also published on the Propublica site under CC BY-NC-ND.
Groundreport
Groundreport covers global news. It has over 5,000 contributors, citizen journalists from all around the world with various levels of experience, who submit articles, photos, and videos of news events, which are vetted by a staff of editors. Groundreport publishes stories on its site and through syndication partners such as Google News, the Huffington Post, and YouTube; and shares 50% of its advertising revenue with its contributors, based on unique traffic to posts. Reporters retain rights to their work and can choose which Creative Commons license to publish under.
Al Jazeera is the first major news source to use Creative Commons. Al Jazeera built a Creative Commons video repository consisting of broadcast-quality video of the war in Gaza and made it available to anyone for use under a Creative Commons Attribution license (CC BY). Because Al Jazeera had access to the region amidst scarcity of news footage available, the CC BY license enabled other news organizations report on the footage while crediting Al Jazeera—increasing both coverage of the war and Al Jazeera as the original news source. The International Herald Tribune states, "In a conflict where the Western news media have been largely prevented from reporting from Gaza because of restrictions imposed by the Israeli military, Al Jazeera has had a distinct advantage. It was already there."
Others uses of CC in journalism
code open source journalism projects: http://www.poynter.org/news/media-innovation/389914/24-pull-requests-the-journalism-edition/
Boing Boing (CC-BY-NC-SA 3.0 USA)
Global Voices (CC-BY 3.0)
Pragati - The Indian National Interest Review (CC-BY-NC-SA 3.0)
F News Magazine (CC-BY-NC-ND 3.0)
Category 5 (CC-BY Canada 2.5)
The New Inquiry (CC-BY-NC-SA)
WikiNews (CC-BY 2.5)
Chicago Stories (CC-BY-NC 3.0)
Democracy Now! (CC-BY-NC-ND United States 3.0)
Australian Broadcasting Corporation (ABC)
The Conversation (CC-BY-ND 4.0)
Torrent Freak (CC-BY-NC 3.0)
Agência Brasil (CC-BY Brazil 3.0)
Alternatives International (CC-BY-NC-ND 2.5)
Agência Livre Alternativa de Notícias (CC-BY-SA)
RioOnWatch (CC-BY-NC-SA 3.0)
Agência Pública (CC-BY-ND 4.0)
vozeRio (CC-BY-ND 4.0)
Nintendo Blast (CC-BY-SA 3.0 BR)
Media observatories
Observatório da Imprensa (CC-BY-NC-SA)
FAIR (CC-BY-NC-ND 3.0)
Poynter.org - Why Would Anyone Pay to Read The New York Times Online?
Data Journalism Handbook
Media Helping Media training resources (under CC BY-NC-SA)
Journalism related posts at the CC blog
Retrieved from "https://wiki.creativecommons.org/index.php?title=Journalism&oldid=115873"


Mulch Delivery Local Experts provides the very best service for industrial and domestic Mulch in Nebraska. You'll find an exceptionally skilled team of contractors that offer Mulch in Nebraska at a budget friendly price. Mulch Delivery Local Experts is the very best service provider available with the most inexpensive costs. Contact us today at 800-472-2799.
You might want to choose Mulch Delivery Local Experts since we offer the high quality material, low prices, and expert guidance to provide. As soon as you give us a call at 800-472-2799, we'll address all your concerns with regards to Mulch in Nebraska and offer a quote to the price and timeline for your work. You will need an organization which will work quickly, helps you save cash, and provides skilled professional solutions. When you'd like outstanding consumer support and proven satisfaction, you've spotted it with our company. We will take great pleasure in succeeding as your best option for Mulch in Nebraska and so we stand behind all of our services. You're looking for a business which helps you to save costs while delivering five star Mulch solutions, and Mulch Delivery Local Experts will be that provider.
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How Your Battery Will Sell Energy to Your Neighbor's Car: The system for behind-the-meter device-to-device transactions is due out in a year.
EnSync is working on a version of peer-to-peer energy trading.
Wisconsin-based storage developer EnSync Energy Systems is working on a system that could allow your residential battery to sell energy to your neighbor's electric vehicle.
The device-to-device transaction system is designed to operate behind the meter, using DC links, and could be up and running within a year, according to Jim Koeppe, product manager for EnSync's distributed energy resources Flex Internet of Energy platform.
The first iteration of the system, called DER Flex, will monitor exchanges on DC meters and send the data to a cloud computing center where payments will be calculated and settled.
The platform would enable energy devices to communicate privately with each other and carry out transactions at pre-established prices, he said.
Around 20 DER Flex units will be sent out for alpha testing, he confirmed, with some going to strategic partners for use in residences in Hawaii, where EnSync has a large customer base. DER Flex will also be demo'd at the Solar Power International industry show this month.
The first generation of DER Flex will not allow neighboring battery systems to talk to each other.
But EnSync hopes it will be enough to open up small-scale energy trading for residential customers who might live in homes too small to warrant a PV installation or an independent power-purchase agreement (PPA).
Specifically, the company has designed the system so that it can help distribute C&I-scale PV and storage across residential communities, such as blocks of apartments.
There were "huge financial benefits" in being able to distribute energy across a community in this way, he said. EnSync is currently working on the cybersecurity and other network elements required to create such behind-the-meter energy trading networks, said Koeppe.
Numerous other companies are developing energy trading platforms, mostly based onblockchain And energy storage vendors such as sonnen have developed aggregation platforms to create virtual power plants and residential trading systems.
But these all rely on energy passing over the utility AC grid, said Koeppe. Only a few vendors are focusing on DC bus-based systems, he noted. And "when it comes to creating a physical network of power behind the meter, I have not seen that," he said.
Colleen Metelitsa, a grid edge analyst with Wood Mackenzie Power & Renewables, said EnSync is looking to achieve something akin to blockchain-based energy trading, but without blockchain.
"They are building a platform, but on different network and data protocols than blockchain companies," she said.
EnSync launched a home energy system in May with a press release claiming a "sizable order backlog" from customers, including the approximately 150-unit Keahumoa Place property in Oahu, Hawaii.
"EnSync will initially target the multi-residential property market for its solution, then broaden its market presence," said the company.
EnSync's residential modular battery offering has been in development for two years, starting at 9 kilowatt-hours of capacity and expanding in 9 kilowatt-hour increments up to 27 kilowatt-hours.
It comes with a 10-year system-level warranty and a battery guarantee of 10 years or 30 megawatt-hours of discharge, whichever comes first.
In May, EnSync was hoping to grow its residential 2018 order book from $5.5 million to $15 million with the launch of the residential system, according to reports.


text:
Stylaster flabelliformis is een hydroïdpoliep uit de familie Stylasteridae. De poliep komt uit het geslacht Stylaster. Stylaster flabelliformis werd in 1816 voor het eerst wetenschappelijk beschreven door Lamarck.

Stylasteridae

redpajama_set_name: RedPajamaWikipedia


text:
« The Company Men, The Way Back, Barney's Version, William S. Burroughs: A Man Within & Great Directors Wildclaw Theater's Carmilla Steams up the DCA's Storefront Theater »
Feature Fri Jan 21 2011
Strike a Pose: Chicago's Thriving Underground Ball Scene
This story was submitted by Rachel Rabbit White. All photos by Edmund X. White.
It's a snowy December night on the South Side and the ballroom has filled up quickly. There are guys in tailored suits, girls in red-heeled Louboutins. There are pop-gothy capes and futuristic glasses. The crowd is gathered around a catwalk -- and everyone is young, black and queer.
This is a ball. An underground LGBTQ contest where participants compete by "walking" -- showing off themed outfits and voguing -- a stylized house dance that continues to evolve. They are competing for trophies and the hope to become "legendary" -- famous not only in Chicago but the entire community, which now spans the globe. Balls found fame with Paris is Burning, a documentary about the New York scene, but Chicago's had its own ball circuit for as long as New York -- one that has its own trends, culture and history. And as the Internet popularizes the community, Chicago is seeing another wave in the resurgence of balls.
Chicago's underground drag balls came into their own during the 1920s and '30s Harlem Renaissance. Aaron Enigma, a Chicago ballroom figure who has risen to the level of Icon in the community -- other honorifics include Star (a rising talent) and Legend (a veteran winner) -- has been researching ball history for years.
"Chicago had balls with a drag presence before New York," insists Aaron. "We had the First Ward Balls of the Levee District in the early 1900s at the Coliseum. New York just eventually threw the events in more lavish settings."
While New York's old school balls were upper class affairs, Chicago's balls were always more working class.
"Because of Chicago's history of segregation, the old school balls were relegated to the working-class black neighborhoods," Aaron says. "But they still provided a place for non-blacks and gays to mingle." This was during a time when most public spaces were segregated, so balls were some of the only sanctioned spaces. "The Harlem Renaissance was partly about adventurous Whites rubbing elbows with the black arts community on their grounds," he adds.
Tonight the ballroom looks a little different. The inter-racial mingling has quieted, with an audience that's about 97 percentblack. Balls are also no longer all about drag queens, with many "butch" categories. The butch-queens (simply gay males, not drag queens or trans women) were the switch from old style balls to the voguing balls today.
"Butch queens changed the balls because they forced them to expand beyond categories for just cross-dressers. So categories were created for a wide range of masculine 'drag': military, urban, collegiate and categories for male beauty," says Aaron.
It's also all about the dancing. Chicago is known as the voguing capitol of the Midwest. At the Escada ball there are vogue femme dancers, incorporating more fluid movements and ballet and modern dance, and some vogue dramatics with more complex tricks.
And the competition is ferocious. Grade Fs are flipped easily from the judges table. A dancer doesn't need to just be spectacular, but adhere perfectly to the rules of the category. The wrong color in your outfit and you are out -- chopped! Ball Houses are necessary for competition. At the December Ball, the crowd chanted their house name in time with the DJ. When one of their members walked, the room filled with "E-vis-u, E-vis-u." This way the judges know if someone from their house is walking -- no one denies nepotism has its place.
Twenty-five years ago the first Chicago-ball-house was formed: The House of Avant Garde. "A house is about competition, but firstly it is a group of individuals who come together and consider themselves a family." says Eric Eminence, a Chicago legend. "Usually there is a mother and father-figure and the rest are considered children. It's an alternative lifestyle family who you can talk to and confide in, who can understand the things you're going through. The parents, whom are typically older, give advice and guidance on being gay."
Today, Youtube is filled with ball videos and hundreds of comments -- undeniably the reason the scene is growing. This makes it easier for kids to discover the ballroom community and keep current with how everyone is voguing. "When Avant Garde began, VHS videos from New York is all we had to go on. We lived and breathed these 30 second clips." says Kenny Omni, an icon and the overall "father," or leader, of the House of Omni. Aaron agrees "It involved a lot of videotape trading and the occasional east coast visitor that revealed that they were a voguer in a club setting."
Without the network of the Internet, the ball kids were more alienated, even in their own communities. "Chicago had more rigid ideas about gender roles than New York, even within the gay community," Aaron explains. "This would result in everything from hiding the fact that you were a voguer from potential dates to having drinks spilled on you accidentally-on-purpose at dance clubs. People did not want to accept voguing until Madonna popularized it, and when she lost interest, the general attitude was, 'Why are you still voguing?' Madonna had managed to showcase the dance and trivialize it in one swell swoop."
The House of Avant Garde were voguing (before Madonna) and battling each other, but didn't have their first ball until 1991. This was when they met the late Willy Ninja, a would-be famous choreographer and subject from Paris is Burning. "We did a photoshoot with Willy. We took him out the club, he showed us how to get kids together," says Kenny. At the same time, Chicago house music was coming into its own, forming how Chicago vogued. Chicago also had its own fashion. "Because of Medusa's (Chicago's once under-age Industrial club) goth was the thing in Chicago -- long black coats, riding boots, black turtlenecks," Kenny says. The focus though, as always, was high fashion. Eric adds, "I wore designer clothes: Gucci, Prada, Hermes, Com Des Garcon, Jean Paul Gaultier, Chanel, Dolce & Gabanna, Vivienne Westwood. I walked the 'Labels' category. I had an image to uphold."
Like in so many scenes, the old school waxes nostalgic about how things were better in the beginning, more peaceful. "Back then, we were fighting a battle against the heterosexual community. Now we are fighting amongst our own group of people," says Kenny. "We didn't take the scene as serious as the kids take it now. We looked out for each other, even if we weren't in the same house. We would be able to go to the clubs together. We would go to each others houses to eat."
Another side-effect of the Internet is that the competition doesn't stop after a ball, it continues online. "You can blast someone easier from behind a screen name. And if you don't have anything else going on in your life you can lose yourself in the competition," says Will Omni, another father of the Avant Garde house.
Violence at balls has become a much-discussed problem in the community.
But this severe competitiveness is what Kenny calls a Chicago-specific trait. It's the Second City syndrome. "Chicago feels like they need to prove themselves. We need to show we are as good as New York. How kids choose to display that competitiveness is what matters. I like to see Chicago kids use their creative minds." Chicago legend Solomon Infiniti is infamous for this. Kenny re-tells stories of Solomon coming out on the runway in caskets, with doves flying out from his cape and how he once walked in a dress made entirely out of Popeye's chicken boxes. "Right after 9/11 Solomon walked. He re-created the twin towers and came out of them. Like blew them up and everything -- popping out."
At the December ball the categories are endless. For "thug realness" the boys are transformed into drug dealers riding the Blue Line at late hours of the night. Oiled up muscled bodies are trotted out for a body contest and executive realness brings guys in suits and alligator brief cases. The femme-queens in between are showstoppers in floor length gowns.
"They pay to get outfits made. You have to buy the fabric, pay the designer. It is expensive," says Will. Some of the spectators not only brought out their best outfits for the ball, they flew in for it. "For a lot of kids it's about how do I get what I am wearing to the next ball; how can I travel to that ball. The Internet feeds this. If you don't have the money, you can only get things one way -- stealing." Stealing or "crafting" has been an issue since the beginning of Chicago balls. It's one of the things that comes up again and again, along with HIV and kids being kicked out of their homes for being gay.
"It's hard watching generation after generation of ball kids... I hate to say... destroy themselves. But every year with the new set of ball kids we are faced with this question," says Kenny. "Homeless gay youth were a big problem when Paris is Burning came out and its a big problem now," adds Will. "Maybe even more so because these kids are coming out younger and younger. These kids are sleeping on trains. They can only make money through drugs or prostitution." The House of Omni tries to give the kids a place to stay, but can't offer much beyond crashing at Kenny's apartment temporarily.
When Paris is Burning focused on this issue, they got flack from the community. "Homeless youth is not a product of the ballroom community. Society at large needs to address this issue. People from within the ball community must take skills honed in the ball setting and apply them to the real world," prescribes Aaron.
The kids looking for a place to belong keep coming to the ballroom. A young member of The House of Omni stumbles into Kenny's living room, and offers some insight. "Gay youth seek the ball scene as a safe haven. When they are finding out they are gay, they'll go to someone in their community, someone at school or in their family, who they may have heard is gay. Then they will be directed to the ball scene."
Kenny and Will agree that the ball community is not accepted in the black community at large, however it seems it hasn't always been this way. Back in the '30s and '40s the Chicago balls thrown by Alfred Finnie were regularly covered in magazines like Jet and Ebony. The black community, it seemed, was proud of their ballroom stars.
According to Aaron, this changed decades later. "The Black Power Movement was divided on whether to combine forces or sever ties with gays in the struggle for civil rights," he explains. "It was feared that the association with gays would hinder advancement. Black gays were also being pressured to choose their allegiance-- color vs. sexual orientation. Then, the emergence of AIDS drove a deeper wedge. But in general, the black community is not as homophobic as it is historically portrayed in the media. Almost everyone knows or is related to someone who is gay. That focus has come from the black church's stance on homosexuality."
The ballroom scene continues to thrive, albeit underground, on a word-of-mouth basis. "You won't find it on Facebook, because about 40 percent of kids at balls are not out," says Kenny. Eric agrees. "Nowadays, it's easier to hide in a homo thug environment." It's rare that an underground scene so complex, so vibrant could remain shadowed for so long.
"Acceptance by anyone outside the ball community is mute," says Aaron. "As the overall societal attitudes towards the GLBTQ community evolve and ballroom veterans export their talents to the world at large, the level of interest in the ball community will ebb and flow."
It's hard to imagine how a scene without real names, with members who can't tell their friends and family about it, can continue to grow. But balls keep popping up all over the Midwest -- in Indiana, St. Louis, Ohio and Kentucky. The next Chicago ball everyone is abuzz about is in March; it's a best-of-the-year for the 40 major balls held in 2010 across the Midwest. There is now about a ball a month in Chicago and more and more kids keep getting turned on to the movement. Chicago's ballroom scene would do best to forget about competing with New York, and own being the destination for a majority of the country -- the place where all of the ball kids nearby look for inspiration and direction.
This feature is supported in part by a Community News Matters grant from The Chicago Community Trust and the John S. and James L. Knight Foundation. More information here.
Aaron Enigma / January 23, 2011 12:56 PM
Thanks Rachel for including me in this project! I need to add a small correction to one of my quotes- The First Ward Balls were from the EARLY 1900s. It was my error. Thanks!
Kelly Reaves / January 23, 2011 3:04 PM
Thanks, Aaron. Correction made.
TimSoFamous / January 26, 2011 9:11 PM
Great writing!! Very insightful.
Terrion Vanchartier / March 30, 2011 9:03 PM
This was a very informal and positive article on our world! more of these should and need to be published for the world to see and accept us for the charisma, uniqueness, & talents that we have.
Edwin Gentry / December 26, 2011 1:09 PM
This was a interesting article about the Chicago Ball scene, but it is missing a lot of information, including the horrors of the scene. Secondly, it also leaves out a lot of people that help to forge it. As the founder and house father of the House Of Andromeda, I have seen the negative side of the Midwest Ball Scene for more than 19 year. And that is why for my members, "we do not" attend most of these functions for those negative reason. Aaron touch on some issues, but this report is lacking serious and deadly information about the scene. Next time, maybe the author will interview MORE people instead of a small group. Again, I enjoyed the light shown on the ball scene in the Midwest, but I wish people will tell the truth about it, so that these young people know what they are getting into. Both sides must be told, not just the half that is somewhat good.
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text:
FROM phusion/passenger-ruby22:0.9.15

# Set correct environment variables.
ENV HOME /root

# Use baseimage-docker's init process.
CMD ["/sbin/my_init"]

# Clean up APT when done.
RUN apt-get clean && rm -rf /var/lib/apt/lists/* /tmp/* /var/tmp/*
RUN rm -f /etc/service/nginx/down

# Copy the nginx template for configuration and preserve environment variables
RUN rm /etc/nginx/sites-enabled/default
ADD webapp.conf /etc/nginx/sites-enabled/webapp.conf
ADD postgres-env.conf /etc/nginx/main.d/postgres-env.conf

# create the projects folder and set the workdir
RUN mkdir /home/app/webapp
WORKDIR /home/app/webapp

# copy the project to the containers folder and install gems

COPY Gemfile /home/app/webapp/
COPY Gemfile.lock /home/app/webapp/
RUN bundle install
COPY . /home/app/webapp

# set permissions for the passenger user for this app
RUN chown -R app:app /home/app/webapp

# expose the port
EXPOSE 80


text:
Aaron P. Dunbrack, Senior Astronomy Major, elected to Phi Beta Kappa
Congratulations to Aaron P. Dunbrack, a senior in the Astronomy Department undergraduate program. He has been elected to Phi Beta Kappa this year. Aaron, everyone in the Astronomy Department extends their best wishes to you. We are all proud of your accomplishments.
UMass Amherst Astronomers Find Unexpected, Dust-obscured Star Formation in Normal Distant Galaxy
http://www.umass.edu/newsoffice/article/umass-amherst-astronomers-find-unexpected
Astronomy Department Public Events Announcements
If you would like to receive emails about the UMass Amherst Astronomy Department public events (e.g.; Sunwheel, open observing dates, public talks, etc.), please contact Connie Milne at cmilne@astro.umass.edu.
UMass Amherst Sunwheel and Sky-Watching Events Mark the Spring Equinox on March 20
AMHERST, Mass. - The public is invited to witness sunrise and sunset on the day of the spring equinox among the standing stones of the UMass Amherst Sunwheel on Monday, March 20 at 6:40 a.m. and 6 p.m. These Sunwheel events mark the astronomical change of seasons when days and nights are nearly equal in length around the world. Rain or severe weather cancel the events.
At the hour-long gatherings, which have attracted more than 10,000 visitors over the past 19 years, UMass Amherst astronomer Stephen Schneider will discuss the astronomical cause of the sun's changing position. He will explain the seasonal positions of the sun, moon and Earth, and answer questions about astronomy. If the skies are clear, the third-quarter moon will be visible during the morning session and an extremely thin crescent Venus may be visible just above the horizon after sunset. A solar telescope will be available to safely observe the sun before sunset.
The exact time of the spring or vernal equinox in western Massachusetts this year is at 6:29 a.m. Eastern Daylight Time on Monday, March 20. This ushers in the beginning of spring and is also the day the sun rises into the sky to be visible for six months as seen from the North Pole, and the day it sets for six months as seen from the South Pole. An observer located on the Earth's equator will see the sun pass directly overhead at local noon. On any day other than the equinox, either the earth's Northern or Southern Hemisphere is tilted towards the sun.
On the equinox, Latin for equi "equal," and nox "night," the sun rises due east and sets due west and stays up for 12 hours and down for 12 hours (except for observers at the poles). From the Sunwheel in Amherst, observers standing at the center of the standing stones see the sun rise and set over stones placed to mark the equinoxes. Other structures around the world mark this astronomical change. For example, the Mayans built staircases at their main pyramid at Chichen Itza at such an angle that on the equinox, sunlight cases a shadow that looks like a giant snake descending the stairs.
The UMass Amherst Sunwheel is located south of McGuirk Alumni Stadium, just off Rocky Hill Road (Amity St.) about one-quarter mile south of University Drive. Visitors to the Sunwheel should be prepared for especially wet footing this year. Donations are welcome and will be used to help with the cost of additional site work at the Sunwheel and future events.
Professor Stella Offner awarded 5-year faculty early career development (CAREER) grant from NSF
Professor Stella Offner was recently awarded a five-year, $429,000 faculty early career development (CAREER) grant from the National Science Foundation(NSF). She plans to use it not only to study how stars are born, but also to develop interactive online astronomy "tours" to enhance K-12 science education in local schools.
Remembering Adair Payson Lane, Astronomy PhD '82
Adair Payson Lane, UMass Astronomy PhD 1982, passed away at her home in Centerville, MA, this February. Adair Lane was a graduate of Wellesley College (1970) and came to work as a research technician at UMass Amherst. She subsequently enrolled in the graduate program, where her research was in radio astronomy, and her supervisor was Nobel Laureate Joseph Taylor. After graduating, she had positions at the National Radio Astronomy Observatory, Boston University, and the Harvard-Smithsonian Center for Astrophysics, doing research in radio astronomy and teaching at Boston University. While at the Center for Astrophysics, she played a leading role with the Antarctic Submillimeter Telescope and Remote Observatory (AST/RO), traveling to Antarctica twice. Over her career, she authored or co-authored more than 100 articles and abstracts on planetary science, stellar masers, and the interstellar medium. Her early paper on the lunar albedo continues to be cited in current publications.
Dr. Christina C. Williams awarded NSF Postdoctoral Fellowship
Former UMass Astronomy Department graduate student, Dr. Christina C. Williams (University of Arizona) has been awarded the NSF Postdoctoral Fellowship.
UMass Amherst Leads International Astronomical Camera Project
The UMass Amherst Astronomy Department's TolTEC Project is in the news.
Dr. Darby Dyar, 2016 GSA G.K. Gilbert Award Winner
Dr. Darby Dyar, Professor of Astronomy at Mt. Holyoke College, was recently awarded the G.K Gilbert Award from the Planetary Geology Division of the Geological Society of America for "outstanding contributions to the solution of a fundamental problem(s) of planetary geology". http://geosociety.org/pgd/gilbert.html
APS Conference for Undergraduate Women in Physics
The APS Conference for Undergraduate Women in Physics (CUWiP) is a three day conference for undergraduate physics majors to provide undergraduate women with information, resources, and motivation to support your pursuit of a physics major and a career in physics.
Food and accommodation is provided by the conference.
https://sites.google.com/site/harvardcuwip/index


NEW HAVEN, Conn. (AP) — Bacteria lodged deep in Ella Balasa's lungs were impervious to most antibiotics. At 26, gasping for breath, she sought out a dramatic experiment — deliberately inhaling a virus culled from sewage to attack her superbug.
"I'm really running out of options," said Balasa, who traveled from her Richmond, Virginia, home to Yale University for the last-resort treatment. "I know it might not have an effect. But I am very hopeful."
Pitting one germ against another may sound radical, but it's a sign of a growing global crisis. Increasingly people are dying of infections that once were easy to treat because many common bugs have evolved to withstand multiple antibiotics. Some, dubbed "nightmare bacteria," are untreatable. Now scientists are racing to find novel alternatives to traditional antibiotics, a hunt that is uncovering unusual ways to counter infection, in unusual places.


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WASHINGTON, D.C. — An animated U.S. Supreme Court heard oral arguments March 20, in a case likely to be important to pro-life Crisis Pregnancy Centers (CPC's) across the nation. The outcome could not only affect the freedom of speech for every American, but it could also save innocent lives.
California's Reproductive FACT Act (Freedom, Accountability, Comprehensive Care, and Transparency Act) forces pro-life pregnancy care centers to provide free advertising for the abortion industry. The law requires licensed medical centers that offer free, pro-life help to pregnant women to post a disclosure saying that California provides free or low-cost abortion and contraception services.
The disclosure must also include a phone number for a county office that refers women to Planned Parenthood and other abortionists. The law also forces unlicensed pregnancy centers to add large disclosures about their non-medical status in all advertisements, even if they provide no medical services. The notices must be in at least 48-point type and in 13 languages. Other courts have invalidated or mostly invalidated similar laws in Austin, Texas; Montgomery County, Maryland; Baltimore; and New York City.
National Institute of Family and Life Advocates is an association representing many pro-life centers in California. The trial court and the 9th Circuit Court of Appeals ruled against them. Alliance Defending Freedom (ADF) has been leading the legal effort and its CEO Michael Farris argued the case before the Supreme Court on Tuesday morning, opposed by Joshua Klein, Deputy Solicitor General of California.
Sotomayor fought valiantly to rehabilitate Solicitor Klein, giving him 3-4 opportunities to say the billboard would not require the multi-lingual notice. But his final declaration was an admission that the billboard would require the disclaimer. Justice Sotomayor didn't like that answer and said it seemed "more burdensome and wrong," but the State of California is stuck with it.
There is reason to hope that most justices will find the law is, indeed, wrong, because it targets and burdens free speech of pro-life citizens.
Jon and Mike Whitehead attended the oral argument as allied attorneys with ADF. They often serve pro-life organizations, including Missouri Baptist Convention, Rachel House in Kansas City, MO, and Alliance for Life Missouri.
Article written by Jon and Mike Whitehead.


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Home Homepage Interview | Gryphon Rue on Calder Stories
Interview | Gryphon Rue on Calder Stories
Calder Stories at the Centro Botín, Spain, is a major exhibition spanning five decades of Alexander Calder's career, curated by Hans Ulrich Obrist, and organised in collaboration with the Calder Foundation, New York.
The exhibition, which considers little-known works within Calder's oeuvre, includes a custom-finished series of 'object ballets' on screen and headphone. These can be described as 'notations' which Calder made for ballets from abstract objects.
Gryphon Rue, sound experimentalist and great-grandson of Alexander Calder, selected and produced the audio for the exhibition using composed works and pieces of sound-art. I asked him some questions about his choices and process.
At what stage did you come into the project? Were the animatics were already produced?
I entered at an early stage, joining an investigation into the provenance and meaning of the ballet notations. I had seen an initial stab at timing the animatics, evaluating the effects of various speeds among many other factors. I was part of the team determining appropriate durations, the crucial basis of the animatics. The music came after, and, as we shaved a few seconds off here and there, I edited the music accordingly.
What triggers did you use to source the sounds? Did you have original documentation of what sounds might be wanted. How much were you trying to realise your great-grandfather's idea, what you knew of it, and how much were you following your own instincts and preferences as a musician/sound artist?
From the beginning, there were a number of questions. Should the music come from the 1930s and 1940s, the period when Calder composed the motions of the ballets? Should it draw from composers Calder felt closest to, such as Edgard Varèse and Pierre Boulez, or mirror other projects such as Work in Progress (1968), for which Calder chose electronic and tape music? The amount of information for each notation varied greatly—we worked with unfinished material.
Alexander Calder. Untitled (maquette for 1939 New York World's Fair), 1938
Sheet metal, wood, wire, string, and paint
14 3/4 x 9 3/4 x 9 3/4 in.
Calder Foundation, New York
© 2019 Calder Foundation, New York / VEGAP, Santander
In some cases, there are single drawings, with notes that apparently refer to theatre design, and others with no timing or written indications, remaining open questions. In the mid-1930s there was a proposed collaboration with the composer Harrison Kerr that never materialized, and some of these drawings are probably related. The ballet notations often indicate proportional timing; "1-100" is the scale, and numbers on vectors indicate where a particular object is supposed to be at a given moment, e.g. "65" on the vector of a red sphere corresponds to whatever duration is set for the ballet. (If the ballet lasts for 100 seconds, the sphere appears in that spot at 65 seconds).
Ultimately, I chose music that vivifies the animatics, also to honour the multivalence of Calder's relationship with sound art, noise in sculpture, and experimental music. I wanted to challenge typical narratives about Calder and music. He had a pretty well documented love of samba, jazz, and swing era music, and collected loads of 78 rpm records from around the world. The selection for the animatics is eclectic, but generally comprised of post-war and contemporary electroacoustic and electronic music.
Do the choices you have made reflect your general interest in sound artists or were they tracks you selected and put together for this particular project without relating to your usual work?
They are particular to this project, but I resonate strongly with all of it. I'm skeptical about the connotations of "sound artist" because the label tends to exclude composers of recorded music intended for private consumption. Perhaps we can extend its meaning, but it can be confining and often dry. Even Haroon Mirza, who creates installations for museum and gallery settings, I call an "object composer."
Alexander Calder. Guava, 1955
Sheet metal, rod, wire, and paint
71 1/4 x 146 1/2 x 46 1/2 in.
© 2019 Calder Foundation, New York / VEGAP, Santander. Photo: Tom Powel Imaging
Is this the first time you've worked selecting archival material by sound-makers or do you often work with historical pieces?
I've had several opportunities, and if I'm fortunate enough with freedom and access, I'm fond of using archival material to undermine calcified narratives. For the animatics I selected music that had oblique relationships to Calder's work, by a mix of living and dead composers who come from quite different places, in every sense. Nothing was kept that didn't enliven the visuals. Every once in awhile the Calder Foundation produces a micro-festival exploring a theme in Calder's practice, with multimedia art in a non-hierarchical design. This was an opportunity to do a similar sleight of hand. Nearly all of my projects require historical research, even if the outcome isn't about telling a story underpinned by historical events.
Do you have a theory of sound art and its relationship to visual material? How does this relate to your great-grandfather's ideas? Do you feel a connection between your work and his, and if so, did this deepen over the course of this project?
Calder would be thrilled by the music for these ballets. He considered noise, or sound, to be equal to colour, material, and form, for the purpose of "varying" a work of art, adding "disparity" to a composition. In fact, Small Sphere and Heavy Sphere (1932/1933), the first hanging mobile, is a real-time chance-based composition with repurposed objects. My group Rue Bainbridge performs audiovisual improvisation; we work with electroacoustic music and light drawings. I follow Michel Chion's ideas about sound and image, but recently I've been interested in Henry Bryant's philosophy of live performance syncopated against silent visual media, the rhythms of silence.
Sphere Pierced by Cylinders, 1939.
Wire and paint
83 x 34 x 43 in.
Calder Foundation, New York. Photo Courtesy of Calder Foundation, New York / Art Resource, New York.
Photo: Tom Powel Imaging. ©2019 Calder Foundation, New York / VEGAP, Santander
I notice you have selected several tracks by Moondog. Is he an artist that you admire and why?
Moondog is one of the best interpreters and icons of New York City. We need a statue on 6th avenue! Calder's Ballet In Four Parts called for music by a single composer, as it depicts four linked sequences. This animatic ended up being unique for this reason. I experimented with works by several composers, and the different pieces by Moondog have the right combination of variety and sonic identity.
I love the David Tudor track you selected, 'Pulsers' from 'Three Works for Live Electronics'. As someone who plays a lot of vintage electronics, I was pleased to have the opportunity to hear that piece.
Yes! "Pulsers" is so simple in a way, some speed adjustments by Tudor on a coughing analogue oscillator. Later in the piece Toshi Ichiyanagi plays some Hendrixy wah-violin. Psychedelic!
How much do you feel that Cage's ideas of indeterminacy are at play with these musical selections and how much do you feel that these ideas relate to your great-grandfather's work?
Cage's ideas are not at play in the selections. Remarkably, Calder anticipated Cage's first forays in indeterminacy in the late 1940's with Small Sphere and Heavy Sphere. Works of Calder (1949/1950) is a beautiful film by Herbert Matter featuring music by Cage for prepared piano; this is the most important overlap between the two artists.
Alexander Calder. Rouge triomphant, 1963
110 x 230 x 180 in.
In the process of your research did you encounter any new pieces and/or composers that have made a deep impact on you and feel may have an influence on your future work?
I was familiar with most of the works aside from a couple Moondog deep cuts (Invocation and Perpetual Motion). In terms of my own practice, I'm indebted to the microtonal work of Folk Rabe and Phill Niblock, and the fusion of Roberto Musci.
What projects have you got coming up in your own output?
Rue Bainbridge was just awarded the Shigeko Kubota Foundation's inaugural Video Art Prize, which is helping us grow our site-specific performance style into a compact touring show. We're playing at the Hepworth Wakefield for the Yorkshire Sculpture Park Festival in late July. I'm finishing a solo album of singing saw drone and "off-planet" music. Hopefully that comes out soon on Soap Library. Also, I edited / composed a book called Strange Attractor coming out this fall (co-published by Inventory Press and Ballroom Marfa).
Calder Stories is on at the Centro Botín in Santander, Spain, from 29 June – 3 Nov 2019. For more information, visit the Centro Botín website.
Interview by Jude Cowan Montague.
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It's Oscar Week and we're sharing lessons every filmmaker can learn from this year's nominees. Here, the artists behind the films nominated for the Makeup & Hairstyling award discuss their inspiration and their process.
It takes a lifetime of work and dedication to elevate your craft. Few know that better than our nominees for Makeup & Hairstyling. These artists have worked in the world of Harry Potter and the Star Wars universe, for directors including Francis Ford Coppola, David Fincher, James Cameron and Clint Eastwood. But everyone has to start somewhere. So we asked some of them where they began their journeys and if they had words of wisdom for building a career.
My first job was on Anatomie 2, and I followed my supervisor to London College of Fashion, where he taught. After one year of university, I became a trainee on Harry Potter, and I never looked back. I've been working in my field ever since.
I took a night course in theatrical makeup when I was 17. My teacher hired me as an assistant on a commercial. I knew nothing, but he could see I had an eye.
I was working in a salon when a film came to shoot in my hometown of Cleveland. After I worked on that, I had the opportunity to follow them back to LA to work on another movie, and that got me in the union. I didn't realize then how important that would be, but of course, it was.
I started in TV, on a series called Pennies from Heaven with Bob Hoskins.
Follow what makes you happiest. Whatever makes you happiest in your heart, keep doing that.
Practice and always be working on your technique. Especially when you don't have formal training, you have to put in the time to develop great technique.
Take every job, even if it seems boring or outside what you want to do. You'll learn something and get better with every job you do. Learn the fundamentals of your trade and practice, practice, practice!
Keep up your enthusiasm for your craft and for the people you work with. It can be an incredibly rewarding career if you let it.
Keep your eyes open and look at everything. See it for what it is and store it in your memory — you never know when you'll need it! Always be looking.


text:
Joseph Liouville
Saint-Omer, France
Joseph Liouville is best known for his work on transcendental numbers. He constructed an infinite class of such numbers.
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Joseph Liouville's father was an army captain in Napoleon's army so Joseph had to spend the first few years of his life with his uncle. His father was certainly fortunate to survive the wars and after Napoleon was defeated he retired to live with his family. The family then settled in Toul where Joseph attended school. From Toul he went to the Collège St Louis in Paris where he studied mathematics at the highest levels. After reading articles in Gergonne's Journal he proved some geometrical results which he wrote up as papers although they were never published.
Liouville entered the École Polytechnique in 1825 and attended Ampère's Cours d'analyse et de mécanique Ⓣ
(Course on analysis and mechanics)
in session 1825-26. He also attended courses by Arago at the École Polytechnique as well as a second course by Ampère at the Collège de France. Although Liouville does not seem to have attended any of Cauchy's courses, it is clear that Cauchy must have had a strong influence on him. Liouville graduated in 1827 with de Prony and Poisson among his examiners.
After graduating from the École Polytechnique Liouville entered the École des Ponts et Chaussées. However his health suffered when he had to undertake engineering projects and he spent some time at his home in Toul recovering. By now Liouville was set on an academic career and he found it impossible to study away from Paris. After a number of periods of leave, one of which allowed him to marry and have a few days honeymoon, it became clear to him that he must resign from the École des Ponts et Chaussées. This he did in October of 1830 but even at this stage he had written a number of papers which he had submitted to the Paris Academy on electrodynamics, partial differential equations and the theory of heat.
In 1831 Liouville was appointed to his first academic post, as assistant to Claude Mathieu who had been appointed to Ampère's chair at the École Polytechnique. He was also appointed to a number of private schools and to the École Centrale. It is remarkable that during this period of his life Liouville taught between 35 and 40 hours a week at the different institutions. Perhaps with a schedule this heavy it is not surprising that some courses would not go particularly well and it appears that he lectured at too high a level for some of the less able students.
In 1836 Liouville founded a mathematics journal Journal de Mathématiques Pures et Appliquées. This journal, sometimes known as Journal de Liouville, did much for mathematics in France throughout the 19th century. Liouville had already gained an international reputation with papers published in Crelle's Journal but at the same time the quality of Crelle's Journal made him aware of deficiencies in the avenues for mathematical publications which there were in France. Certainly he was unhappy with the style of the Paris Journals for he wrote in 1836:-
.. a peculiar spirit of emigration has seized some critics and we have seen them heap abuse on one after the other of the men who in various fields of science have honoured France with great dignity. ... this sharp and peremptory style ... will never be mine, for it dishonours both the character and talent of those who adopt it.
Liouville became favourite to fill the chair at the École Polytechnique which fell vacant when Navier died in 1836. However, after a close competition, Duhamel was appointed. In 1837 Liouville was appointed to lecture at the Collège de France as a substitute for Biot. In 1838 Liouville was appointed Professor of Analysis and Mechanics at the École Polytechnique.
The following year he was elected to the astronomy section of the Académie des Sciences but this was only after strong opposition from Libri. In fact the quarrel between Liouville and Libri intensified after his election to the Académie. In 1840, after a vacancy resulting from the death of Poisson, Liouville was elected to the Bureau des Longitudes.
In many ways 1840 was a turning point in Liouville's career. As Lützen writes in [4]:-
Before 1840, Liouville had pursued some clear paths to secure his own career; during the following twenty years, the promotion and development of other mathematicians' ideas became the central issue.
Life for Liouville developed into a year with two distinct parts. During the long summer period, spent at Toul, he undertook research, wrote papers and carried out editing duties. From November to July he lived in Paris and carried out his teaching and administrative duties.
Not everything went Liouville's way however. When Lacroix died in 1843, Liouville applied for his chair at the Collège de France where he lectured only as a substitute for Biot. However after a close election Libri was appointed. Liouville immediately resigned from the Collège de France, writing in his resignation letter:-
I am profoundly humiliated as a person and as a geometer by the events that took place yesterday at the Collège de France. From this moment it is impossible for me to lecture at this institution.
Another aspect of Liouville's life was his involvement in politics. One of his friends, and mathematical colleagues, was Arago who entered the Chamber of Deputies in 1831 and became leader of the Republican Party. Other mathematical colleagues had also become involved with the political events of the time, for example Catalan, whose political views were similar to the republican views of Liouville, had damaged his mathematical career. Liouville certainly never let his political views hold him back as he advanced his mathematical career, unlike Cauchy who had refused to swear the oaths of allegiance to the King that Liouville and even Arago had been prepared to do.
Encouraged by Arago, Liouville stood for election to the Constituting Assembly in 1848. In his recommendation of Liouville as a candidate Arago wrote:-
... Mr Liouville is one of my best friends. He is a very eminent man, a patriot, an experienced republican. God grant that the National Assembly will contain many members of this calibre.
Elected on 23 April 1848, Liouville took his seat among the moderate republican majority. However there was unrest in Paris as workers felt that their revolution had been taken over by the bourgeoisie. When Arago tried to address the crowds a heckler shouted the telling comment:-
Mr Arago, you have never been hungry.
Liouville continued his political career by being renominated for the Assembly elections in 1849 but the tide had turned against the moderate republicans and he was not elected.
The election defeat proved another turning point in Liouville's life. As Lützen writes in [4]:-
The political defeat changed Liouville's personality. In earlier letters, he was often depressed because of illness, and could vent his anger towards his enemies such as Libri, but he always fought for what he believed was right. After the election in 1849, he resigned and became bitter, even towards his old friends. When he sat down at his desk, he did not only work, ... he also pondered his ill fate. ... his mathematical notes were interrupted with quotes from poets and philosophers...
Libri escaped from France during the 1848 revolution, not for political reasons, but to avoid a prison sentence for stealing precious books and manuscripts. His chair at the Collège de France was declared vacant in 1850 and Cauchy and Liouville competed for the post. In a close contest Liouville triumphed and began his lectures at the Collège de France in 1851.
Although Liouville's mathematical output had been greatly reduced while he was involved with politics, it picked up again in the 1850s despite health problems. In fact 1856 and 1857 were two of Liouville's most productive years. However after being appointed to the chair of mechanics at the Faculté des Sciences in 1857 his teaching load began to take its toll on him. Not only did he have a high teaching load but Liouville was a perfectionist which meant that when he felt that he could not devote all the time necessary to give the best possible lectures he began to suffer. He continued to publish but mostly results he had discovered during his highly productive year of 1856 and these without the proofs which now he could not find time to polish.
Another blow to Liouville was the death of Dirichlet in 1859. This was a serious blow to him mathematically for, as well as losing a close friend, he lost his main mathematical correspondent.
Liouville's mathematical work was extremely wide ranging, from mathematical physics to astronomy to pure mathematics. One of the first topics he studied, which developed from his early work on electromagnetism, was a new topic, now called the fractional calculus. He defined differential operators of arbitrary order DtD^{t}Dt. Usually ttt is an integer but in this theory developed by Liouville in papers between 1832 and 1837, ttt could be a rational, an irrational or most generally of all a complex number.
Liouville investigated criteria for integrals of algebraic functions to be algebraic during the period 1832-33. Having established this in four papers, Liouville went on to investigate the general problem of integration of algebraic functions in finite terms. His work at first was independent of that of Abel, but later he learnt of Abel's work and included several ideas into his own work.
Another important area which Liouville is remembered for today is that of transcendental numbers. Liouville's interest in this stemmed from reading a correspondence between Goldbach and Daniel Bernoulli. Liouville certainly aimed to prove that eee is transcendental but he did not succeed. However his contributions were great and led him to prove the existence of a transcendental number in 1844 when he constructed an infinite class of such numbers using continued fractions. In 1851 he published results on transcendental numbers removing the dependence on continued fractions. In particular he gave an example of a transcendental number, the number now named the Liouvillian number
0.1100010000000000000000010000...
where there is a 1 in place n!n!n! and 0 elsewhere.
His work on boundary value problems on differential equations is remembered because of what is called today Sturm-Liouville theory which is used in solving integral equations. This theory, which has major importance in mathematical physics, was developed between 1829 and 1837. Sturm and Liouville examined general linear second order differential equations and examined properties of their eigenvalues, the behaviour of the eigenfunctions and the series expansion of arbitrary functions in terms of these eigenfunctions.
Liouville contributed to differential geometry studying conformal transformations. He proved a major theorem concerning the measure preserving property of Hamiltonian dynamics. The result is of fundamental importance in statistical mechanics and measure theory.
In 1842 Liouville began to read Galois's unpublished papers. In September of 1843 he announced to the Paris Academy that he had found deep results in Galois's work and promised to publish Galois's papers together with his own commentary. Liouville was therefore a major influence in bringing Galois's work to general notice when he published this work in 1846 in his Journal. However he had waited three years before publishing the papers and, rather strangely, he never published his commentary although he certainly wrote a commentary which filled in the gaps in Galois's proofs. Liouville also lectured on Galois's work and Serret, possibly together with Bertrand and Hermite, attended the course.
In number theory Liouville wrote around 200 papers, working on quadratic reciprocity and many other topics. He wrote over 400 papers in total.
A Poster of Joseph Liouville
R Taton, Biography in Dictionary of Scientific Biography (New York 1970-1990). See THIS LINK.
Biography in Encyclopaedia Britannica. http://www.britannica.com/biography/Joseph-Liouville
J Lützen, Joseph Liouville 1809-1882: Master of Pure and Applied Mathematics (New York- Berlin, 1990).
B Belhoste and J Lützen, Joseph Liouville et le Collège de France, Rev. Histoire Sci. 37 (3-4) (1984), 255-304.
C Berg and J Lützen, J Liouville's unpublished work on an integral operator in potential theory : A historical and mathematical analysis, Exposition. Math. 8 (2) (1990), 97-136.
G Chrystal, Joseph Liouville, Proc. Royal Soc. Edinburgh 14 (1888), 83-91.
J Lützen, Joseph Liouville's Contribution to the Theory of Integral Equations, Historia Mathematica 9 (1982), 371-391.
J Lützen, Joseph Liouville's Work on the Figures of Equilibrium of a Rotating Mass of fluid, Rev. Hist. Sci. 30 (1984), 113-166.
J Lützen, The birth of spectral theory - Joseph Liouville's contributions, in Proceedings of the International Congress of Mathematicians (Tokyo, 1991), 1651-1663.
J Lützen, Joseph Liouville und die nach ihm benannten Sätze, NTM Schr. Geschichte Natur. Tech. Medizin 26 (2) (1989), 5-17.
J Lützen, The geometrization of analytical mechanics : a pioneering contribution by Joseph Liouville (ca. 1850), in The history of modern mathematics II (Boston, MA, 1989), 77-97.
J Lützen, Sturm and Liouville's work on ordinary linear differential equations : The emergence of Sturm - Liouville theory, Arch. Hist. Exact Sci. 29 (4) (1984), 309-376.
E Neuenschwander, The unpublished papers of Joseph Liouville in Bordeaux, Historia Math. 16 (4) (1989), 334-342.
E Neuenschwander, Joseph Liouville (1809-1882) : correspondance inédite et documents biographiques provenant de différentes archives parisiennes, Boll. Storia Sci. Mat. 4 (2) (1984), 55-132.
J Peiffer, Joseph Liouville (1809-1882) : ses contributions à la théorie des fonctions d'une variable complexe, Rev. Hist. Sci. 36 (1983), 209-248.
D Stander, Makers of modern mathematics : Joseph Liouville, Bull. Inst. Math. Appl. 24 (3-4) (1988), 59-60.
Other pages about Joseph Liouville:
Heinz Klaus Strick biography
Other websites about Joseph Liouville:
Dictionary of Scientific Biography
Encyclopaedia Britannica
Honours (show)
Honours awarded to Joseph Liouville
Fellow of the Royal Society 1850
Fellow of the Royal Society of Edinburgh 1875
Lunar features Crater Liouville
Paris street names Rue Joseph Liouville (15th Arrondissement)
Cross-references (show)
History Topics: A history of set theory
History Topics: Doubling the cube
History Topics: Extracts from Thomas Hirst's diary
History Topics: Fermat's last theorem
History Topics: Orbits and gravitation
History Topics: The abstract group concept
History Topics: The development of Ring Theory
History Topics: The development of group theory
History Topics: The real numbers: Attempts to understand
History Topics: The real numbers: Stevin to Hilbert
Student Projects: Sofia Kovalevskaya: Chapter 13
Other: Earliest Known Uses of Some of the Words of Mathematics (D)
Other: Earliest Known Uses of Some of the Words of Mathematics (F)
Other: Earliest Known Uses of Some of the Words of Mathematics (G)
Last Update October 1997


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GINA PHILLIPS
April 19 – May 31, 2014
Installation ViewSelected WorksThumbnailsBack
PRESS RELEASE ::: GINA PHILLIPS --- 'Stronger Than Dirt'
JONATHAN FERRARA GALLERY is proud to announce Stronger than Dirt, new paintings and mixed media work by artist GINA PHILLIPS. The exhibition will be on view from 21 April through 31 May, 2014 with an opening reception on Saturday, 3 May from 6-9pm.
For her latest solo exhibition at the gallery, Phillips returns to painting, her first medium. She started her career as a painter and over the years has increasingly incorporated fabric and thread into her work. Now circling back to painting, the most common narrative characteristic that runs through her entire body of work is tragicomedy. The people, animals and memories that tell the story often embody a magical realism.
Phillips says of Stronger than Dirt:
The combativeness of cleanliness forms the seed of inspiration for a new body of work by Gina Phillips. The title of the show, Stronger Than Dirt, comes from the original slogan for Ajax cleaning powder. A laundry sprinkler named Little Yellow Miss and her partner in grime, The Old Dutch Girl cleanser character, are the two main characters struggling against the savage forces at work around them. On hand is an arsenal of colorful, sculpted laundry sticks to help them chase out the dirt. Santa, sad bears, sinuous corn stalks, oversized birthday cakes and industrious ants round out a dichotomous narrative revolving around civilized and savage forces at work. In a departure from the mixed-media fabric work she has become known for, Phillips' new work includes paintings on paper and panel, and sculpted wood forms and installation elements that include found objects and heaps of bricks and rubble.
Gina Phillips is a mixed-media, narrative artist who grew up in Kentucky and has lived in New Orleans since 1995. Her work is influenced by the imagery, stories and characters of both regions. Phillips has a BFA from University of Kentucky and an MFA from Tulane University's Newcomb College. Her work has been exhibited in galleries and museums across the country including at Pepperdine University, Tulane University, Ballroom Marfa and the Asheville Art Museum. In addition, her work has been featured at the PULSE Art Fair in Miami and Los Angeles, Texas Contemporary, Houston and VOLTA8 Art Fair, Basel, Switzerland. Phillips' work has been featured in Art in America, The Times-Picayune and ARTNews, among others. She was selected as one of twenty-seven international artists featured in Prospect.2 Biennial of Contemporary Art curated by Dan Cameron. Her work was most recently featured at the Ogden Museum for a mid-career retrospective entitled, I Was Trying Hard to Think About Sweet Things.
Her work is in numerous collections including University of Kentucky, Lexington; NASA; New Orleans Museum of Art; Ogden Museum of Southern Art; 21c Museum, KY; the Drake Hotel, Toronto; The Frederick R. Weisman Art Foundation; Tulane University and House of Blues (various locations across US.); and the collections of Marilyn Oshman, Thomas Coleman and Josh Rechnitz.
Gina Phillips lives and works in the Lower Ninth Ward in New Orleans, LA.


I have updated to the latest cups-filters version to fix the bug as described by bug report #1579905 but I still get that Ubuntu takes very long to shutdown.
For now, I have simply disabled cups-browser and I manually start it up every time I need to print something.
as Till has described in #1579905. I tried to download and compile the upstream version at BZR as suggested for Debian but I ended up not being able to print anymore and instead went back to the current version in the package distribution.
Hopefully, there is an easy fix for Ubuntu 16.04 as well.
On many machines the shutdown will take unusually long, typically the 90-second timeout after which a hanging process gets killed. One case where this easily happens is if you have a remote CUPS server sharing printers which your local cups-browsed picks up and your local CUPS is not listening on localhost:631 (usually when it does not share printers). cups-browsed also tries to access the local cupsd on localhost:631 and hangs.
Take two machines in one local network (can also be VMs), one being a CUPS server with at least one print queue being shared, another a client with CUPS and cups-browsed running but not sharing local queues and not listening on localhost:631. It picks up the server's queues but when trying to shut down cups-browsed, cups-browsed hangs. The fixed package (cups-filters 1.8.3-2ubuntu3.2) solves this problem as its cups-browsed shuts down correctly.
The patch is not small, but it does only small and simple changes, not replacing big bunches of code by other big bunches of code, so the regression potential is rather low. The changes in the patch are also all backported from the working upstream code of cups-filters.
Uploaded a fixed package to xenial-proposed. As soon as it gets approved instructions for testing it will get posted here. Please test it and report back here as your feedback is required for the package getting into the official updates for Xenial.
For the SRU team: debdiff attached.
Accepted cups-filters into xenial-proposed. The package will build now and be available at https://launchpad.net/ubuntu/+source/cups-filters/1.8.3-2ubuntu3.2 in a few hours, and then in the -proposed repository.
I've tested cups-filters 1.8.3-2ubuntu3.2, but the problem (90 sec delay on shutdown) remains.
thank you very much for the update. Unfortunately, it doesn't work for me either. I just tested it an hour ago.
Did you restart CUPS at some point (while cups-browsed was still running)? For example via a "kill -HUP ..." or a "sudo systemctl restart cups"/"sudo systemctl reload cups"?
Please also post the output of "lpstat -v" with cups-browsed running and without cups-browsed running.
please find attached the desired files. Unfortunately, there is no /var/log/cups/cups-browsed_log, but only a access_log. I attached this one instead in case it helps.
I never restarted cups, only the computer itself to test it.
Sorry for the spam. I couldn't figure out how to attach multiple files.
Sorry, cups-browsed did not have debug logging yet in 1.8.3. So there will be no /var/log/cups/cups-browsed_log.
Reboot and after that attach the cups-browsed.log file here (should be in your home directory).
If the delay does not always happen, please attach a cups-browsed.log from a delayed shutdown and one from a shutdown where the delay did not happen.
Please find attached the the log file. Remember to start cups-browsed again via sudo systemctl start cups-browsed so that you are connected to the cups server once more.
The delayed shutdown always happens when I am connected to the network that has cups printers. When I am not connected to any cups server it is fine.
don't know why, but if I stop cups-browsed and restart it (with the commands below), all work fine.
I've the 90 seconds delay again.
I have uploaded a new version of this SRU now, cups-filters_1.8.3-2ubuntu3.3, in addition to the first version it contains an additional fix against delayed shutdown, namely not scheduling failed operations for repeating during shutdown.
In addition, I have added a patch for optional time-stamped debug logging into a file. Thia should help to find the cause of delayed shutdowns if this SRU still does not solve the problem.
So please test this version as soon as it gets available in xenial-proposed and appropriately announced here in this bug report. As always your feedback is required to make this an official update for everyone.
If you observe the delayed shutdown again in the future, please attach your /var/log/cups/cups-browsed.conf file to this bug report. Thanks.
Attached is the debdiff of all changes to fix this bug, including the first version of this SRU and the updated version.
Accepted cups-filters into xenial-proposed. The package will build now and be available at https://launchpad.net/ubuntu/+source/cups-filters/1.8.3-2ubuntu3.3 in a few hours, and then in the -proposed repository.
As a part of the Stable Release Updates quality process a search for Launchpad bug reports using the version of cups-filters from xenial-proposed was performed and bug 1670436 was found. Please investigate this bug report to ensure that a regression will not be created by this SRU. In the event that this is not a regression remove the "verification-failed" tag from this bug report and add the tag "bot-stop-nagging" to bug 1670436 (not this bug). Thanks!


Roundtable: Who is the greatest Penguin -- Sidney Crosby or Mario Lemieux?
Sidney Crosby broke Mario Lemieux's mark for career postseason points. Has Sid the Kid also surpassed Super Mario in the pantheon of Penguins greats?
Penguins owner Mario Lemieux explains to Linda Cohn why Sidney Crosby was a major reason the Penguins won the Stanley Cup again this year and how good of a job Mike Sullivan did coaching this team.
The evolution of Sidney Crosby has not been without bumps along the way -- the concussions, the accusations of being a whiner -- but after his second straight Cup and Conn Smythe, there's no doubting that his legacy is cemented.
Can Crosby top Lemieux's legacy in Pittsburgh?
If Sidney Crosby were to win a third Stanley Cup, he'd have one more than Penguins legend/savior Mario Lemieux. But surpassing No. 66's status in Pittsburgh is about more than trophies.
The Penguins are chasing another repeat championship. Sidney Crosby & Co. share many similarities with their hallowed predecessors from the early '90s.
Before they became a civic institution in Pittsburgh and landed Mario Lemieux, the Penguins were a humble expansion franchise with an ill-fated live mascot and loud, loyal fans.
Never mind all the bargaining tactics, the rhetoric and the grandstanding: The NHL and its players will be participating in the 2018 Winter Olympics in South Korea. Book it.
The collision of current and future legends doesn't happen often. So when it does -- like Tuesday's clash between Sidney Crosby and Connor McDavid -- we need to make sure we appreciate it.
Will Canada-Russia clash reignite rivalry?
Russia and Canada could add another epic chapter to their rich rivalry when they meet in the World Cup semis, some 29 years after they faced off in a Canada Cup series that still reverberates.


Army officers can now play tactical war games on simulators involving virtual reality and robotics to hone their skills as part of training as Secunderabad-based Simulator Development Division of the Indian Army has recently inducted a tactical simulator and a virtual reality-based training system.
The system was inducted last year and is a step ahead of the kind of simulators which are being used for firing practice and other war exercises. The Simulator Development Division (SDD) which received a citation for outstanding performance has developed world class products, including niche products like first tactical simulator for mechanised forces, first virtual reality-based training system, integration of various simulator domains and others.
He also said that Army Training Command has stepped up simulator training for various divisions as part of an effort to boost training and to avoid the cost of using ammunition, rockets, missiles, helicopters and others. "Around 30% to 40% of the cost can be saved by using simulators. The rockets and missiles cost lakhs and crores of rupees. These need not be fired for training purpose. It also gives them exposure," he added. "Earlier, simulation meant projecting different scenarios on a screen. Now, it has gone beyond. The helicopter simulator now has the sound of the engine in trouble, the title and other movement," he added.
Lt Gen M M Naravane gave away the prestigious Unit Citations to four Category 'A' Establishments for their outstanding performance during the training year 2016-17. The recipients of this year's prestigious GOC-in-C ARTRAC Unit Citation were Army Service Corps (ASC) Centre & College, Bengaluru, Combat Aviation Army Training School (CAATS), Nashik, Simulator Development Division (SDD), Secunderabad, and Special Forces Training School (SFTS), Nahan.


Graham Norton…James Bond Special! | Did You Watch It?
With a lineup featuring Daniel Craig, Dame Judi Dench and Javier Bardem it had the big three from Skyfall. I am a big fan of the James Bond films and I really like Graham's shows but I don't really enjoy these 'infomercials' masquerading as TV shows, blatantly promoting a single film.
They often tend to be boring as they are so focused on what is being promoted, but they can't really talk about the film for fear of giving away the plot. So you end up with a promotion but you don't even get details of what is being promoted.
It wasn't all bad, Dame Judi Dench is always good in things like this. Years in the business means she has so many anecdotes and obviously has done so many chat shows over the years so she's always at ease.
Daniel Craig was personable enough and got into the spirit of things. Javier was also charming although I found his English somewhat halting.
As always the contributions from the audience are the highlight of the show, and despite the prescence of all the Bond big guns it was the same this evening. The 'what's your Bond Girl name' segment was hilarious….Majorie! really, and the Red Chair segment never lets the programme down.


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