If we have super-chimney 5000 m high and diameter 1000m or 20m , wherein the temperature of air at the bottom is 30 °C and at 5000 m it is -20 °C 2.
We can expect the natural draft of air flow at the speed of 139.2 m/s. This translates into 109,357,369 m3/s of air going through the super-chimney (50,916 m3/s for 20m diamterer). As the air density equal 1.164 kg/m3 at 30°C2, we can calculate that 127,292,000 kg/s of air moves through the super-chimney(50,916 kg/s for 20m diameter).
Calculate amount of electric energy produced.
3. Calculation of amount of water condensate.
Suppose the relative air humidity at the bottom of the super-chimney is 30%, which is typical for deserts. Thus, the air contains roughly 9g of water per kg of air. At elevation of 5000m the temperature is roughly -20C and the pressure is about 55,000 Pa (and this is roughly half of the pressure existing at sea level). At such conditions, air can hold at most 1.7 g of water per kg of air (point of saturation). Therefore, once the air from the super-chimney is expelled out, water from the air will condensate in the amount of 7.3g per kg of air. In the given system, where 127,292, 000 kg/s of air is going through the super-chimney, this means that 929,231 kg of water condensate per second(371 kg for 20m diamterer).
4. Calculation of CO2 uptake by irrigated desert.
5. Calculation of number of super-chimneys needed to cool the atmosphere.
There are many factors to analyze. However, it is clear that in principle, the super-chimney will facilitate heat exchange and, given the enormous amount of air coming through the super-chimney, it will have effect on the heat balance of the Earth atmosphere. According to Kiehl3, annually Earth receives 492 W/m2 of radiation combined (direct solar and due to the green house effect) . Global Warming is attributed to the fact that the Earth is presently absorbing 0.85 ± 0.15 W/m2 more than it emits into space4 (Hansen et al. 2005). So the planet absorbs approximately 0.2% of radiation energy more than it should to maintain constant temperature.
According to Wikipedia, Earth surface heat captured by the atmosphere. More than 75% can be attributed to the action of greenhouse gases that absorb thermal radiation emitted by the Earth's surface. The atmosphere in turn transfers the energy it receives both into space (38%) and back to the Earth's surface (62%), where the amount transferred in each direction depends on the thermal and density structure of the atmosphere.5 The super-chimney will emit air at the 5000m, which is roughly the point in the atmosphere where half the amount of air is below and half is above. Thus, it can be assumed that re-absorption will be cut in half. So, instead of normal distribution we will have ~70 % of energy lost to space and only 30% reabsorbed into atmosphere. In other words, the air, which will go through the super-chimney, will loose 30% more heat than a normal air.
According to the above calculation 127,292, 000 kg of air will go through the super-chimney every second. In a year it comes to 4x1015kg . According to theNational Center for Atmospheric Research, "The total mean mass of the atmosphere is 5.1480×1018 kg...".
Therefore, annually 7.7 ×10-4 of the whole atmosphere will go through the super-chimney. As shown above, that air will lose 30% more heat than normal air. Thus, the whole atmosphere will lose 2.31×10-4 or 2.31×10-2% more heat than it would otherwise. Since the planet absorbs approximately 0.2% of radiation energy more than it should to maintain constant temperature, we can aproximate that 10 super-chimneys will offset Global Warming(25,000 for 20m diamterer).
1. Whether flexible chimney will hold its shape.
2. Whether it will be standing upright.
3. Whether it will withstand side winds.
1. Whether a flexible chimney will hold its shape.
In order to guarantee that chimney holds its shape, its theoretical mass needs to be less than pressure multiplied by inner area surface.
Thus we can estimate the additional pressure due to the flow of air in the chimney. It will be 8400Pa. It means that as long as each square meter of the surface weighs less then 840 kg, the chimney will hold its shape and can be standing upright.
There are three forces which will be pushing the chimney up: reaction force at the mushroom cap, buoyancy and drag force along the surface.The sum of these forces will be indicative of the maximum allowed weight of the chimney.
In order to overcome reactive force of the exiting air the chimney will need to be equipped with "Mushroom cap" where exits for air will be on the down facing surface of the cap. Such assembly will ensure that exiting air will be pushing chimney upwards.
F =p *v2 *A .
The air inside the chimney is warmer than the outside air. Yet, pressure is almost the same. Thus air inside is less dense. Therefore, chimney will act like a hot air balloon and support itself by buoyancy force. In order to average up our estimates for the whole system, we will calculate the buoyancy force for the chimney at the mid level altitude of 2500 m.
It is difficult to estimate air resistance as it will greatly depend on the inner surface property of the chimney. Since our objective to have a higher air flow, we will always try to keep friction force at minimum by providing smooth polished surface inside.
For the purpose of our calculations we will give it 0 value.
7. Erecting the chimney. Whether resulting buoyancy will be enough to support such structure.
In order to average up our estimates for the whole system we will calculate that buoyancy force for the chimney at the mid level altitude 2500 m and inside air at 70°C.


Job Opportunities - Just Kidding Theatre Company, Inc.
Just Kidding Theatre Company, INC is looking for a Lighting Designer for their production of Manuscript by Paul Grellong which is to go up at the Studio Theatre at Theatre Row in May of 2015. We are a young, start-up theatre company with two shows under our belt already. Right now we are looking for a Lighting Designer to join our team. Pre-production begins the second week of March with opening night happening May 8th. Besides some production meetings in March we would officially need you starting Tech Week on May 5th until strike on May 17th. Must be able to work with what is available at the theatre: Levitron 16 Channel 2 Scene Preset Lighting Board. 16 NSI Dimmers 600w each. Lighting instruments include: - (3) 3½" Altman Ellipsoidal - (8) 3" Fresnel - (4) Source 4 Parnel. Please submit only if you are available for those 2 weeks. Budget to work with/some pay. Email resumes to: JKTCinc@gmail.com. We look forward to hearing from you.
Just Kidding Theatre Company, INC is looking for a Set Designer for their upcoming production of Manuscript by Paul Grellong which is to go up at the Studio Theatre at Theatre Row in May of 2015. We are a young, start-up theatre company with two shows under our belt already. Right now we are looking for a Set Designer to join our team. Pre-production begins the second week of March with opening night happening May 8th. Besides production meetings in March and early April and the time you put into the set, we would officially need you starting Tech Week on May 5th until strike on May 17th. The play takes place in the bedroom of a Brooklyn Heights brownstone. Budget to work with/some pay. Email resume to: JKTCinc@gmail.com. We look forward to hearing from you.
Just Kidding Theatre Company, INC is looking for Stage Manager for their upcoming production of Manuscript by Paul Grellong in May 2015. The show opens May 8th at the Studio Theatre at Theatre Row on 42nd Street, with 2 shows on the 9th and then a show on the 14th, 15th and 2 shows again on the 16th. Load in and Tech would be on May 5th and May 6th with a dress rehearsal on May 7th. Load Out and Strike would happen on Sunday, May 17th. We would love to have you starting at rehearsals April 27th which is the week before Load In and have you join us for the first table read (TBD) and maybe 2 production meetings in either late March or early April so you have the opportunity to meet everyone. Please submit only if you are available for those 2 weeks in May. Must have a Fire Guard Certificate or be willing to get one (that we pay for). Wonderful group to work with, a small cast of three and some pay. Email resumes to: JKTCinc@gmail.com. We look forward to hearing from you.


text:
SPORTS & SELF-DETERMINATION: Catalonia Football team to play in FIFA window for the first time ever, FC Barcelona stars Pique and Xavi to play
By Sports Editor, Barotseland Post
Catalonia National football team is this Monday scheduled to feature in FIFA window for the first time ever against Venezuela in a FIFA sanctioned international friendly, the Catalan News has reported. The Catalan men's XI are now preparing for their most important fixture in a decade
And former Spain internationals and FC Barcelona football star Gerard Pique, who stepped down from Spanish national team duty after last year's World Cup, and FC Barcelona football legend, Xavi Hernandez will represent the region in which they were born.
Other familiar names in the squad include Stoke City's Bojan Krkic, Oriol Romeu of Southampton and Marc Bartra of Real Betis.
After 26 months on the sidelines, Catalonia's clash with Venezuela on Monday will be the first match in their history to be held within the official FIFA window for international friendly matches.
Whatever the result in Monday's fixture, the match itself is a major victory for the Catalan Football Federation – whose national teams are not yet recognized by football's global governing body, FIFA, and so cannot qualify for the World Cup or European Championships, despite their ample supply of football talent.
Neymar Jr. completes record breaking move to PSG
It's official! Neymar the superstar signs for PSG from Barcelona for €222 million
The Ligue 1 giants have more than doubled the previous mark for a transfer set by Paul Pogba and Manchester United as they welcome the Brazilian.
Football for Self-determination: UNPO World Cup 17 June 2017
By Sibeta Mundia
UNPO Organises a Successful Football Cup for Unrepresented Nations.
On Saturday 17 June 2017, UNPO organized a football tournament for unrepresented nations in The Hague, the Netherlands.
Barcelona complete greatest comeback in Champions League history
Barca are the first side in Champions League and European Cup history to overturn a four-goal first-leg deficit, after defeating PSG 6-1 on Wednesday.
Barcelona made Champions League history on Wednesday, overcoming a four-goal first-leg deficit against PSG to advance to the quarter-finals.
Luis Enrique's side were the first in Champions League and European Cup history to rally back from four down after the opening match.
TEAM NEWS: MSN to start as Barcelona seek PSG Comeback
The trio will hope to overturn the Catalans' 4-0 first-leg defeat against their Ligue 1 counterparts, Luis Enrique opting for a 3-3-1-3 formation
Lionel Messi, Luis Suarez and Neymar will start for Barcelona as they aim to overturn their Champions League deficit against Paris Saint-Germain at Camp Nou on Wednesday.
'Separatist' flags at matches part of freedom of expression, Barcelona to appeal UEFA fine
European football's governing body, UEFA, fined the Blaugrana (Barcelona) over fans' use of the estelada flag - an unofficial flag typically flown by Catalan separatists to express their support for an independent Catalonia - during the Champions League, but the club will contest the charge.
Barcelona have vowed to appeal UEFA's decision to fine them €150,000 for displaying estelada flags during Champions League matches.
The Spanish champions' fans showed the estelada flags on more than one occasion throughout the 2015-16 campaign.
UEFA, however, considers the banner to be a form of ideological, political and religious propaganda, which is forbidden by European football's governing body, and therefore slapped Barcelona with a fine.
The Camp Nou side feels displaying estelada flags falls under the freedom of expression, though, and are ready to take legal action.
"The club has received notice of the sanction imposed by the UEFA Disciplinary Committee following the display of estelada flags at the Camp Nou at Champions League matches in the 2015-16 season," a statement on the club's official website reads.
"The club has been handed a €150,000 fine, of which €50,000 is suspended if the events are not repeated in the next two years.
"The club will appeal this sanction and will take all legal measures in order for the punishment to be revoked.
"Barcelona consider the punishment to be totally unjust and against the exercise of the freedom of expression." - GOAL.COM
Barotseland Post stands in solidarity with Barcelona, not just because they are the best football club in the world, but also because Catalonia like Barotseland are pushing for the right to exercise their indelible human rights of self-determination and freedom of expression violated by the mother states of Spain and Zambia respectively.

redpajama_set_name: RedPajamaCommonCrawl


text:
Author: admin Published Date: December 9, 2022 Leave a Comment on Martial Peak By Momo Chapter 110
Translator – Erza
Editor – Ben
The sword which had penetrated his chest caused a life threatening wound.
Yuan Lang could feel his heart constricting and the blood madly gushing out. Feeling his life draining away, he hurriedly turned his head around to look at Kai Yang behind him.
"Animal!" Yuan Lang shouted out, his expression highly grotesque, as he was so unwilling to meet his end here.
Kai Yang stayed silent and only moved to pull out the sword; bringing with it a warm stream of red blood, only to re-pierce his body.
After taking four direct blows, Yuan Lang couldn't endure any longer and directly fell onto the ground.
With his vision gradually fading away, Yuan Lang let out a bitter smile on death's door.
Fate is really is unfavourable and luck toys with you, ah! Originally he had thought that by standing at the entrance and blocking the female's path, he would be able to assert dominance over her. Contrary to that however, he was the one who was trapped in the end.
If it wasn't for the the location's special topography, how would he fall this easily?
Even if he couldn't beat them in a 1 vs. 2 fight, he would still be able to run right? But now, everything had been in vain.
Hunters, will eventually become the prey one day……..
"You're okay right?" Kai Yang looked at Xia Ning Chang.
In reality, before Yuan Lang had even discovered this little senior sister of his, Kai Yang had already been in the vicinity. He had just waited until Yuan Lang entered the cave to battle with Xia Ning Chang, thus exhausting himself, before mounting that ambush of his.
Although this method was somewhat despicable and Xia Ning Chang had been completely unaware of the situation. But in the end, it was the most energy efficient method.
"I'm fine, you……." Before Xia Ning Chang could finish her sentence, she saw the large gash on the side of his stomach and the bloody wound on his shoulder.
At this moment, the blood covered Kai Yang's expression was one of calmness and concern. He gave off a steady and reliable air that was exclusive to men. Completely different from his usual "too weak to even stand against the wind" look.
His ** body blocked the entrance of the cave, but his body was unwavering and appeared as sturdy as a mountain. Blocking all wind and tribulations, turning this isolated mountain cave into a peaceful, warm and safe harbor.
Walking a few steps forwards, her small hands shook as she reached out towards the stomach wound, yet she didn't dare to touch it. Xia Ning Chang was afraid that the slighted touch would be painful, which lead to her eyes turning red.
In these short four hours, what type of harsh battles did he have to endure in order gain such horrendous wounds? How much did he have to bleed in order for this much blood to cover him?
In this isolated cave, after confronting the ten or so beast like people, Xia Ning Chang and Kai Yang felt that they were mutually dependant on each other for their survival. So when she saw his miserable condition, how could her heart not be in pain?
There was no female that didn't have the dream of the hero saving the damsel.
(TL: There you go boys. Another method to help you pick up girls ???? Might not work though)
Although the person saving her wasn't some great hero, nor was it through some heroic deed. It was only an ordinary initial element stage junior brother. When compared to her own cultivation, their distance was tens of thousands of li apart. But regardless, the young lady's heart couldn't help but have a few ripples.
"Small injuries!" Kai Yang replied in an uncaring tone: "That's right, I discovered the Nine Yin Dew Crystals."
"Oh." Wiping her eyes, Xia Ning Chang didn't register the excitement within his voice.
"How do we actually capture those things? I think it's about time you told me." He asked, "Otherwise, when we find them again, I'm afraid we can only let them escape again."
"We don't need them anymore." Pulling on Kai Yang's hand gently, Xia Ning Chang motioned for Kai Yang to sit down.
"Why don't you need them?" This caused Kai Yang to furrow his brow. Suffering all those hardships and trials, wasn't it all for the Nine Yin Dew Crystals?
Ignoring his question, Xia Ning Chang began: "Sit down before we talk."
Looking at her suspiciously, Kai Yang then began to slowly sit down.
Bowing down her head, half kneeling in front of Kai Yang, she bit her lip. Then reaching into her dress, she began to fiercely rip her clothing to shreds. After tearing a long strip of cloth, she took out a bottle of medicine and smeared some onto the cloth. Then tentatively, she started to bandage the wound on Kai Yang's abdomen.
Kai Yang allowed her to fiddle with the bandage.
"We shall wait for sunrise here." As she said this, she was also bandaging Kai Yang's injury: "Once the sunrises, the Eight Locks Nine Clouds seal will come undone. When that time arrives, we shall leave this place!"
"But the reason why we came here….."
"We don't need it anymore!" Cutting off Kai Yang, Xia Ning Chang's words held a resolute tone, "It's not worth it for that!"
Looking at her in a pondering way, Kai Yang spoke up: "I know what you are thinking about. But I have already killed nine of them. There are only those two remaining."
"What?" Raising her head, Xia Ning Chang's pair of eyes contained her disbelief.
"They have two people, we also have two people. Are you afraid that they will do anything?" A flash of madness could be seen in Kai Yang's eyes, "Since they won't be merciful, then naturally we shall not be polite either! The Nine Yin Dew Crystals will not be spared either. We cannot do things halfway."
"You're joking right?" Xia Ning Chang delicately asked.
"Are you that easily tricked?" Kia Yang chuckled, but in doing so accidently tore his wound open a bit and couldn't help but let out a hiss of pain.
"They really only have two people remaining?"
"En. Only Long Hui and that person who injured you are left." He said nodding his head in response.
Xia Ning Chang stared blankly ahead. Previously Xia Ning Chang thought that when Kai Yang had left, he was chased madly by those wanting to kill them; thus receiving those wounds. She thought he was quite lucky to have escaped with his life. But in actuality, he had gone and killed nine people in four short hours!
There were quite a few at the separation and reunion boundary as well.
How did he achieve this?
"If they really only have two people remaining, then we really don't need to fear them." She said, knitting her eyebrows together: "My only worry is that true element boundary master. Once his true cultivation is restored and he is adamant about chasing us, then we will truly be unable to escape far."
Raising his eyebrows Kai Yang asked: "Once the seal breaks, his cultivation can return?"
"Then we have no choice!" Kai Yang's expression gradually turned cold and decisive.
If they don't kill that true element boundary master before the sun rises, then they would be the ones to be killed.
"But I have only recovered twenty percent of my strength. If we really encounter that powerhouse, then I'm afraid we would be in great danger." Xia Ning Chang sighed out.
"I have salvaged quite a lot of medicinal pills. Go look around for any that you can use." Taking out the pills he had looted from the corpses, he then went to search Yuan Lang's body.
Immediately he found a few bottles of pills. From the looks of it, Yuan Lang was quite wealthy more than the other disciples at least; from the amount of bills and money alone, he had a few folds more.
"With these Qi returning pills, I should be able to recover forty percent of my power." A small smile could be seen on Xia Ning Chang's petite face.
"Go restore your World Qi then. I shall stand guard for you." Kai Yang also needed a bit of time to recover. Although he hadn't used up all of his World Qi, he still needed to restore his physical and mental energy.
p.s. 1/3 is out. Look forward to tomorrow chappy then. Though I have to say, Kai Yang needs to visit our good friend the Psychatrist. All that madness flashing through his eyes whenever a potential pops up….Well good night guys


This photo of monster jam coloring pages free is really great coloring for your child. You have authorization to download for nothing by clicking the DOWNLOAD button under the photograph. It will give access to a new page. Do right click on the collection, then choose save picture as… After that you get permit to adapt the file name and the folder where you want to keep the file. Then click the save button.
Check out these snapshots connected to monster jam coloring pages free, enjoy it!.


Associated Subcontractors of Massachusetts, Inc.
Fall River Electrical Associates, Co., Inc.
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ASM is the state's leading association for specialty contractors. Our business is helping you do yours!


text:
ON THIS DAY: Swinton Lions and Salford Red Devils met for the first time in 1880
By Beth Collinson on 4th December 2018 in Rugby League, Sport
Exactly 138 years to this day, on the 4th December 1800, Swinton Lions met Salford Red Devils for the very first time.
Swinton Lions were formed in 1866 and their rise to the top of rugby at the time was dramatic.
Between 1875 and 1878 they achieved three entire seasons unbeaten, which led them to the signing of England international Ted Beswick and their first match against local rivals Salford.
Salford were founded in 1873 under the name 'Cavendish'.
They also rose up the rugby ranks and met Swinton in 1877/78 for the first time, however the Lions were a much superior side for this tie and only fielded their reserve side.
In an effort to engage local support, Cavendish changed their name to Salford in 1879.
Try scorer Joe Mills
Swinton agreed to a match against newly renamed Salford on 4th December 1800, the Lions won the tie 2 goals to nil (there was no "points" scoring system at this time, and a goal was of superior value to any number of tries. If a try was "converted", then only the goal would count).
The two goals were kicked by full-back Billy Cooke, and tries were scored by Harry Hope and Joe Mills.
Hope was a forward from the Hazlehurst area of Swinton, whilst Mills went on to become one of Swinton's most famous names of its early history.
On the field he was named reserve half-back for England and captained Lancashire, before eventually chalking up 267 club appearances. Off the field he became a Local Councillor, a Magistrate, and was landlord of both The Football and Bull's Head pubs in Swinton.
Tags: on this day Rugby League Salford Red Devils Swinton
Written by Beth Collinson


Home Alone (NES) ENDING - 12 Games of Christmas SPECIAL!
Home Alone (NES) ENDING – 12 Games of Christmas SPECIAL!
AHHHHHHHHHHHHHHHHHH!! Cue the scream…rats…and ghosts…all bull – I hate this game now.
Home Alone for SNES – not good…BUT HAPPY HOLIDAYS!
Home Alone (NES) Pt 1 – 12 Games of Christmas SPECIAL!
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Next post: The Santa Clause 3 (GBA) – 12 Games of Christmas SPECIAL!


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redpajama_set_name: RedPajamaGithub


text:
Q: Sort linked list by using Quick sort in python I'm new to python. I have the following list of books stored on the linked list and I want to sort them by using quicksort but unfortunately, I'm stuck on a problem.
class Node:
    def __init__(self, data=None):
        self.data = data
        self.prev = None
        self.next = None

class DoublyLinkedList:
    def __init__(self):
        self.head = None
        self.tail = None

    def append_value(self, x):
        if not isinstance(x, Node):
            x = Node(x)
        if self.is_empty():
            self.head = x
        else:
            current = self.head
            while current.next:
                current = current.next
            current.next = x
            x.prev = current
        self.tail = x

    def length(self):
        count = 0
        current = self.head
        while current:
            count += 1
            current = current.next
        return count

    def is_empty(self):
        return self.head is None

    def __str__(self):
        to_print = ''
        current = self.head
        while current:
            to_print += f'{current.data} <-> '
            current = current.next
        if to_print:
            return f'[{to_print[:-5]}]'
        return '[]'

    def quick_sort(self, arr):
        if self.length() < 2:
            return self
        else:
            pivot = self.tail.data
            smaller, equal, larger = [], [], []
            current = self.head
            while current:
                if current.data < pivot:
                    smaller.append(current.data)
                elif current.data == pivot:
                    equal.append(current.data)
                else:
                    larger.append(current.data)
                current = current.next
        return self.quick_sort(smaller) + equal + self.quick_sort(larger)

This is the quicksort method but it's giving me RecursionError on 'return self.quick_sort(smaller) + equal + self.quick_sort(larger)'. How do I sort the linked list by using quicksort?
my_list = DoublyLinkedList()
my_list.append_value('In Search of Lost Time')
my_list.append_value('Ulysses by James Joyce')
my_list.append_value('Within a Budding Grove')
my_list.append_value('The Guermantes Way')
my_list.append_value('In Search of Lost Time')
my_list.append_value('Sodom & Gomorrah')
my_list.append_value('One Hundred Years of Solitude')
my_list.append_value('War and Peace')

print(f'List of Books: {my_list}')

print(f'Quick Sort: {my_list.quick_sort(my_list)}')

A: Indeed, the error occurs because you pass a standard list to quick_sort, while it expects the argument to be a doubly linked list instance.
Moreover, it would be strange if the use of lists were allowed in this algorithm, as then one may wonder why there is a doubly linked list in the first place. If you're going to use lists, then you might as well store the data in a list and sort the list. This cannot be the purpose.
Some other comments about the code:

*

*quick_sort is a method of the class, so it should not be necessary to pass the linked list also as argument. Instead, pass two arguments that identify the start and end node of a subsection in that linked list.

*The final return statement is problematic. If indeed quick_sort is going to return a linked list, then + is not an operator you can use on those. Moreover, Quick Sort is supposed to be an in-place sorting algorithm, while + suggests a new list being created. As it is in-place, you should be able to just return self.
So, ... you really need to solve this by walking through the linked list and manipulate it.
Here is one way to do it. First define two methods that allow inserting and deleting a node anywhere in the list:
def remove_node(self, node):
    if node.prev:
        node.prev.next = node.next
    else:
        self.head = node.next
    if node.next:
        node.next.prev = node.prev
    else:
        self.tail = node.prev
    node.next = node.prev = None
    return node

def insert_after(self, prev, node):
    if not isinstance(node, Node):
        node = Node(node)
    node.prev = prev
    if prev:
        node.next = prev.next
        prev.next = node
    else:
        node.next = self.head
        self.head = node
    if node.next:
        node.next.prev = node
    else:
        self.tail = node
    return self

The latter is in fact a more flexible method than the append_value you already had. You could actually make use of this new one to define yours:
def append_value(self, x):
    return self.insert_after(self.tail, x)

Then perform the quick sort as follows:
Take a start and end node as arguments. Extract (remove) the end node from the list and consider it the pivot. Let two references walk along this sublist towards each other, starting at the ends. When their values are at the good side of the pivot value, let that reference move closer. Once you have two references where the value is opposite from the pivot, swap the data that is in these two nodes. Once these two references cross each other you have identified the two partitions. Inject the pivot node back into the list, right between those two partitions. Finally, use recursion to do the same with the two partitions:
def quick_sort(self, start=None, end=None):
    if not start and not end:  # set default arguments:
        start = self.head
        end = self.tail
    if not start or not end or start == end or end.next == start:
        # The sublist is empty or has just one value
        return self
    # Extract the pivot node from the list
    end, pivot = end.prev, self.remove_node(end)
    pivotdata = pivot.data
    # Define two references that will walk towards eachother:
    right = end
    left = start
    while left and left.prev != right:  # While they didn't cross over
        if left.data <= pivotdata:
            left = left.next
        elif right.data >= pivotdata:
            right = right.prev
        else: # Swap values, not the nodes:
            left.data, right.data = right.data, left.data
            left = left.next
            right = right.prev

    # Insert the pivot node between the two partitions
    self.insert_after(right, pivot)
    # Sort the non-empty partitions recursively
    if start.prev != pivot:
        self.quick_sort(start, right)
    if end.next != pivot:
        self.quick_sort(left, end)
    return self

redpajama_set_name: RedPajamaStackExchange


text:
GAME OF THRONES' FINAL SEASON: WHEN OUR GREAT EXPECTATIONS ARE ILLEGITIMATE [SPOILERS]
May 21, 2019 by aestheticsforbirds	3 Comments
What follows is a guest post by Sean T. Murphy. Those who haven't finished the series should beware of spoilers below!
Legitimate Artistic Expectations
"Almost nothing [showrunners David] Benioff and [D.B.] Weiss do will be enough to please (or appease) everyone." So says critic Tim Goodman in a recent article in the Hollywood Reporter. It became clearer by the week just how great everyone's expectations were for the final season of HBO's Game of Thrones. Anyone taking a quick peak at Twitter following any episode this season could see fans breathing more fiery criticism, and wreaking more havoc on the show than Drogon did on King's Landing. On the one hand, this is not surprising. After waiting two years for the series finale, there was no stopping the heights to which our expectations were ascending (although you would have thought that the lackluster seventh season would have tempered them a bit). And yet, after it became clear that episodes were not meeting those expectations, I found myself less angry at the show, and more intrigued by the viewers' responses. And so I started to think about what was going on, and whether or not these great expectations were legitimate. I had to ask: What is, in fact, legitimate to expect of art? And where lies the flaw when a work of art fails to meet expectations? Is it in us, or the work?
Of course, I can't give all-encompassing responses to these questions in this short piece, and not least because I myself have only just started thinking about these issues. But I am going to take a stab at figuring out what makes an expectation of art legitimate, and apply this loose notion to the final season Game of Thrones. If you don't like what I have to say, and want to stab me back one, two, maybe five times, then at least have the decency to have The Red Woman on speed-dial to bring me back.
Human beings expect innumerable things from art: entertainment, enlightenment, pleasure, escape, a glimpse at true beauty, you name it. Moreover, what someone expects of art will likely depend substantially on how they conceive of what art is, what its ends ought to be, and, most importantly, on the type of art in question. Additionally, you might think that our expectations of art should be thought to be analogous—if not reducible—to our expectations of artists. If you lean this way, then you can simply import the ordinary framework for thinking about expectations that human beings have of each other to the expectations that human beings have of art.
Art is brought about by the action of some agent, i.e., an artist. And just as we form expectations of ordinary agents and their actions, we can do the same of artists. Therefore, what we can expect of art might in some respects be analogous to what we can expect of other agents in our everyday interactions with them. But I don't want to carry this analogy too far. Instead, I just want to point out that thinking about the issue this way can help zero in on the kind of expectation that people have of art. The expectation in question is a normative expectation. It is this normative element that talk of "legitimacy" is meant to capture. And just as only some of our expectations of others are legitimate, the same goes for art.
In his essay "Music Discomposed," philosopher Stanley Cavell explains why thinking about art often bleeds into thinking about people. For Cavell, human beings treat artworks in a very "special way." He continues: "we invest them with a value which normal people otherwise reserve only for other people—and with the same kind of scorn and outrage." Cavell's view here nicely captures the normative component of our expectations of art. We form such expectations because artworks "mean something to us, not just the way statements do, but the way people do." I don't know if Cavell was right in claiming that artworks carry meaning in the same way that people do (it is always right to reject any view that assimilates people to things), but I do think that something like this attitude is lurking behind the moral outrage people are directing at Game of Thrones (more on this in a moment).
And so you see, I am already worried that the issues my initial question raises are too multifarious for us to make any progress on. As happens in philosophy (and especially in the philosophy of art), it seems that to answer one question, you have to answer them all. But philosophy that paralyzes is no fun. So risks must be taken.
The risk I will take is to suggest this: an expectation of art is legitimate when it has some basis in the internal structure of the artwork itself. This means that something in the artwork's structure makes it appropriate that its audience should form that expectation of the artwork. Let's call this a legitimate artistic expectation. Briefly, by "internal structure" I mean the artistic elements that normally figure in the composition of artworks of a certain type. I like this way of looking at things for a few of reasons.
The first is that, in cases where our expectations have been frustrated, we know where to look to find out whether they were legitimate expectations of the artwork, namely, in the art itself. If the work supports our expectation(s), then it is legitimate. If it doesn't, then it isn't.
Second, this way of approaching the issue allows for diversity—maybe a kind of context-dependence—in what counts as a legitimate artistic expectation. Many expect of a stoner comedy that it provide cheap laughs. According to what I have said, this is a legitimate artistic expectation, since levity is a feature of most stoner comedies. However, suppose that someone expected that a stand-up set performed by one of the actors from such a comedy would provide cheap laughs too. Suppose they then went on to criticize the stand-up set when it did not provide cheap laughs. This expectation, and the resulting criticism, would not be legitimate; it has no basis in the comic's stand-up set, neither present nor past.
Third, it nicely allows for us to distinguish between legitimate artistic and legitimate non-artistic expectations. The latter is an expectation that has no basis in the internal structure of the artwork itself, but does have some basis in social practices and conventions surrounding artworks of that type. An example of this sort would be expecting of this year's Whitney Biennial that it show artworks from across the gender spectrum. This would be an expectation based in recent museum practice, not in any particular artwork itself. It could also be that any expectation directed at the artist, rather than the artwork itself, is also a legitimate, but non-artistic expectation.
I hope this way of thinking about what counts as a legitimate expectation of art has at least some ring of truth to it, even if not a very loud one just yet. But the only way to see if what I have been saying is any good is to turn to a particular case. So goodbye general framework, and hello White Walkers, dragons, revenge, deviant love, and claims to the throne!
The fact is that many fans and critics seem wildly dissatisfied with the way things shook out in this final season of Game of Thrones. A way to explain their dissatisfaction and its accompanying negative artistic evaluation is to say that things did not turn out as expected. The criticism that has followed in the wake of these frustrated expectations centers on flaws in the development of significant characters and questionable plot choices that many see as inconsistent with the show's internal logic. Nowhere is this clearer than in the case of Daenerys and her actions in the penultimate episode "The Bells" (although the season finale can give "The Bells" a run for its money in terms of "huh?" moments).
Why would a character who has spent years liberating cities from tyranny, a character who locked away her own children for killing the innocent child of another, a character who promised to be a better ruler, go on to murder thousands of innocents within the walls of King's Landing? These questions all take as their starting point the expectation, or—even stronger—the demand that things should have turned out differently for Dany. To see if this is a legitimate artistic expectation, we have to look at the work itself.
The narrative structure surrounding Dany's development as a character gave us good grounds to expect that the way in which she claimed the throne would be in keeping with her prior principles, principles that were on display when, for instance, she took Meereen from the Masters. But it is also a part of her narrative that the benevolent choices that she made were undertaken as much in the name of self-interest as in the name of loving-kindness for subjugated peoples of the Seven Kingdoms. Nothing in the show's internal structure, therefore, rules out the particular course of action she took in "The Bells." Maureen Ryan, another critic at the Hollywood Reporter, acknowledges that many of Dany's actions were often the product of strategic choices done in the name of self-interest, but goes on to suggest that this case is different. Since we are dealing with her final act, the act for which all the previous self-interested ones were undertaken, it does not make sense for her to secure the throne in such a ruthless way. But why should that be true? Well, perhaps because you think Dany would want there to be something left of the throne on which she will sit as ruler (though recall her vision from Season 2 of the throne room destroyed). Or you might think that she ought to be true to her word, and rule with love, not fear. On the surface, these look like good reasons for thinking she should have acted differently. More importantly, they are based in the internal structure of the artwork, and so the expectations they support are legitimate artistic expectations.
What if you expected Dany to secure the throne in the ruthless way that she did? I think this is an equally legitimate artistic expectation. In fact, despite the initial uproar, a good number of pieces have come out showing that Dany's decision was adequately foregrounded. In her article in The Boston Globe, Jaclyn Reiss reminds us that Maester Aemon flat-out said, mournfully, of Dany: "A Targaryen alone in the world is a terrible thing"; Lady Olenna told her to "Be a dragon"; and her best friend, Missandei, took her last breath to utter "Dracarys."
What about expectations of other characters? Take Jaime Lannister and Brienne of Tarth. There is a general complaint with the arcs of these characters. The audience expected Jaime to achieve full moral redemption. And yet we saw him leave Brienne crying in the rain and head back to die in Cersei's arms. The show's treatment of Brienne, meanwhile, belied several seasons' worth of forming her into one of the show's more honorable and strong-willed characters. This, of course, speaks to one of the show's major flaws, namely its treatment of female characters. Brienne, who for several seasons defied classic gender tropes, was transformed into a helpless, love-drunk woman, thus thwarting the expectation that her character arc would be wrapped up in a way befitting her development throughout the show.
The show therefore fails to meet a legitimate artistic expectation in the case of Brienne, and is artistically flawed for that reason. The case of Jaime is perhaps a bit more complicated. Earlier in the show, he says that he wants to die in the arms of the woman he loves, and, as it turned out, that woman was Cersei. And while it would've been nice to believe that he was heading back to King's Landing to kill her, that hunch never had much support from the show itself. Jaime's and Brienne's narrative arcs, like Dany's, reveal something interesting about our artistic expectations of narrative or temporally extended artworks. That the characters develop in some way is virtually always a legitimate artistic expectation. However, the more particular expectation that a character will develop one way, rather than another, is sometimes illegitimate. Usually these particular expectations are the ones being met or frustrated. So it would seem that our expectations can be directed at different levels of the artwork, and that their legitimacy depends on just what internal structural features makes them legitimate. There might be general legitimate artistic expectations of character development that are determined by genre that do not always count as legitimate when applied to a particular work of art.
Did Game of Thrones Owe the Audience Anything?
I am not sure if I have made my idea any clearer, but maybe that speaks to the messy territory we enter when we start asking normative questions about art. The thing is that, beyond certain very general expectations (like that an artwork will not be a fake, or that it will be "good"), we often do not even know what our expectations of art are until they have been frustrated. Why is that? I think it attests to our respect for the creative process, and for the work that results. Here again is something that makes Cavell's thoughts, touched on above, seem right. We hold certain attitudes toward art that we otherwise only hold toward people. We respect and take artworks seriously, and we expect that the artworks (and the artists behind them) will respect and take us seriously in return.
It can therefore be especially frustrating when artworks do not return that respect. And here lies the problem with the final season of Game of Thrones. When art calls for our serious attention, it is appropriate to expect that it will in turn merit our attention by taking us seriously. But is this a legitimate artistic expectation? I hesitate to say it is, for two reasons. First, it would allow the audience to encroach too far onto the artist's side of things; second, there is a lot of art that derives its artistic merit from the fact that it does not take the audience seriously (think of wonderful absurdist television, like The Eric Andre Show). But all this shows is that perhaps legitimate non-artistic expectations are the most important expectations that we have of art.
A.O. Scott, film critic for the New York Times, recently gave voice to this thought when, referring to the problems faced by the final season of Game of Thrones, he said that "fan service is surely the enemy of art." If what Scott means is that during the creative process artists are under no obligation to consider the reasons the audience has for engaging with art, then perhaps he is right. Too much intermingling of this sort may in fact explain the backlash to the final season: Benioff and Weiss paid too much attention to what they thought the audience expected, and in the process failed to meet those very expectations! (Of course, it does not help that George R.R. Martin allegedly was supposed to have finished the books by now.) But there are other ways to understand what he means by "fan service."
One of those ways is to think that art ought to take us—the audience—seriously, and that we often expect that it will. This is not the claim that art must serve us in the sense of giving us just what we want: far from it. It is the milder idea that art, when it is good, serves its fans' desire for a meaningful intellectual activity. According to the view I am suggesting here, this would be a legitimate non-artistic expectation of art. But it is related to legitimate artistic expectations, since sometimes a legitimate artistic expectation can be thwarted in such a way that we feel like the artwork or artist is not taking us seriously. This sort of thing seemed to happen to many fans of Game of Thrones. Choices the writers and producers made to move the plot along were called out for lacking the subtlety of prior seasons. Some of them were just flat-out bad. (Dany went north in Season Seven just to give The Night King a dragon?) In this case, not only did they fail to meet a legitimate artistic expectation, but they also failed to meet an important non-artistic expectation. The show's staff took us for dumb. So not all fan service is bad news.
Still, Scott does have a point. In its strongest form, his point is that you, entitled audience member, are not the end toward which art aims. (So much for Malcolm Budd's theory of artistic value.) But this merits the immediate rejoinder: "What would art be without someone like me to engage with it?" I don't know how to answer this. Maybe it is the right way to respond. However, it is not my intention to reprimand anybody for the expectations they had going into this finale season of Game of Thrones, nor to offer a total defense of the show (of course it could have been better). All I have tried to do is suggest a way for you to check to see whether your expectations were legitimate and relevant to the quality of the show itself. As it turns out, I don't think many of them were. This does not mean that you were mistaken in having them. It just means that the show is not artistically flawed for failing to meet them.
Let me end by not ignoring the dragon in the room. The show's final season had many flaws. As I already noted above, one of its biggest is the poor treatment of its female characters. Again, take Dany. After her death we are left to consider whether she did what she did because she was forever stricken by mental illness (something hardly foregrounded). And then add to that the show's deplorable final verdict on a woman's pursuit of political power. Certainly the show should come under criticism for these decisions. What I have tried to do here is show, however, that not every normative expectation of art is a legitimate artistic expectation. Many of them will be legitimate, but non-artistic. Of course, that leaves it open for an artwork to be deemed bad for failing to meet non-artistic expectations. But to see why would take me deep into the weeds of the ethical criticism of art—not some place I can venture today.
Notes on the Contributor:
Sean T. Murphy is a PhD. candidate at Indiana University Bloomington. He specializes in 19th century German philosophy (especially Schopenhauer), ethics, and aesthetics. His research in aesthetics is focused on the philosophy of literature, artistic cognitivism, and aesthetic normativity.
Categories: Current Events, Guest Posts | Tags: aesthetics and artists, artistic expression, expectations, game of thrones | Permalink.
3 thoughts on "GAME OF THRONES' FINAL SEASON: WHEN OUR GREAT EXPECTATIONS ARE ILLEGITIMATE [SPOILERS]"
Jim H.
I tweeted the following immediately after the show: "By the way, the devolution from an embattled throne forged magically from the swords of conquered enemies to a prototype wooden wheel chair seating an emasculated visionary is at least a politically interesting statement, even if achieved oligarchically."
I would simply add, after five or six seasons of complicated interweaving plotlines, the writers reduced the whole series to a Hollywood-style romance tragedy. It's as if a historical novelist ended a WW2 saga by focusing on the doomed Hitler/Eva Braun relationship. That is not the center. It betrays, as you say, the legitimate artistic expectations set up by the show itself.
Niels Nijsingh
Thank you for an interesting perspective. Conceptually, I think you're spot on; I think the concept of legitimate (non-)artistic expectations offers handles to approach a lot of what is going on when art fails to meet expectations. And I think that analysis is particularly relevant in the case of series, which are essentially extended in time – and thus leave ample opportunity for thwarted expectations. But the example (GoT) is poorly chosen.
As Tyrion would be able to explain to you, stories matter. And the maker of the story in this instance (GRRM) is not the same as the maker of the series (B&W), a fact which you brush over way too quickly. GRRM is a great storyteller. B&W… are not. Especially the earlier seasons (which kept close to GRRM's story) were great, because they presented a complex story on the unpredictability and intractability of social processes – and also because it seemed to completely ignore the viewers' expectations, especially where these were formed by Hollywood storytelling. As the series progressed however, the story line became more and more detached from A song of ice and fire, blending or eliminating characters and events. This was understandable, because to do justice to the entire story would presumably have cost too much time and money, and would furthermore probably require too much of the audience in keeping up with all the different characters. But it did come at a cost. A lot of the complexity that made the earlier seasons interesting was diminished. Once the series surpassed the books, this effect was, again understandably, but regrettably, exacerbated. And this simply ruined the story. You mention Dany, and Jamie. But what about Varys, the master of whisperers, having served all kinds of psychopathic kings and always keeping his cards close, but now suddenly throwing all caution in the wind? Or Arya, who after seasons of seeking revenge is suddenly convinced by a paternalising speech by the Hound that there are downsides to that approach? Greyworm, a dedicated warrior who knows no fear, who is standing there like a sulking child when it is decided that Bran should be the king, and should decide what happens next, thus trampling all over the remembrance of his Queen? Yara, who sits there, practically nodding agreement when Sansa announces that the North will secede? The list goes on… And none of it makes any sense. That is, the outcomes of all these storylines are fine. I could imagine a story where Dany would snap and turn out to be a genocidal maniac, etc. But this simply wasn't it: the series didn't bring the story where it was supposed to end.
Which brings me to my point, that the sloppy way in which B&W worked towards an end that could have been *artistically* worthwhile is a form of artistic destruction: there will not be another opportunity like this to make a series out of this particular story for many years to come and as a consequence an intriguing and beautiful story was spoiled. It is not quite as bad as the Buddhas of Banyam (insert winking emoticon or some such), but it is a form of artistic destruction, in my view. Maybe comparable to the discontinuation of Carnivale.
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►►RCMP spied on Canadian academic Northrop Frye. Speaking on spying on Canadians…newly released archival records show the Royal Canadian Mounted Police's Security Service relied on a secret informant to compile a 142-page file on the esteemed University of Toronto professor Northrop Frye, who died in 1991. Dr Frye's 'crime': He campaigned for an end to the Vietnam War and against South Africa's apartheid system.


text:
Bulletin of the Department of Labor, Ediția 22,Părțile 92-94
RELATIVE LEVEL OF WEEKLY WAGES IN SPECIFIED CITIES OF THE UNITED STATES
AS COMPARED WITH NEW YORK CITY.
New England towns:
Boston..
Brockton.
Fall River.
Lawrence..
Lowell.
Other Eastern towns:
Baltimore.
Newark.
Paterson.
Philadelphia.
Central towns:
Cincinnati.
Cleveland.
Detroit..
Louisville..
Muncie.
Middle West towns:
Chicago..
Milwaukee.
Minneapolis-St. Paul.
St. Louis.
Southern towns:
Atlanta..
Augusta.
Birmingham.
Memphis.
New Orleans.
These comparisons are restricted to occupations common to nearly all cities. The rates of wages ascertained for these occupations show in general no very marked divergence and, according to the report, the differences are "certainly not greater than those shown to exist as between the towns of England and Wales."1 In some towns, in he Middle West especially, the New York rates are exceeded in certain occupations. Omitting New York, the highest general wage levels occur in the Middle West towns, the lowest in the New England group.
A conspicuous feature of the situation commented on in the report is the rough apportionment of the tasks of unskilled labor on the one hand to the immigrant classes, largely to those of more recent arrival, and on the other hand to the colored race. The absorption into the ranks of the unskilled or semiskilled of the greater part of immigrant labor tends, according to the investigators, to leave skilled labor comparatively unaffected by the competition of foreigners. This fact, combined with the size, wealth, and comparatively recent development of the country, tends, in the opinion of the investigators, to maintain the rates for skilled labor at their present high level. The report further notes as a special characteristic of the unskilled labor supply that, owing partly to the comparatively modern char
See also page 562 of this Bulletin.
acter of urban development in the United States and partly to the large influx of labor that is physically sound and morally enterprising, the proportion of deteriorated labor unfit for employment is relatively small. The mobility of labor is noted as unusually great. In fields of employment that are well known as centers toward which great numbers of foreigners drift and in which much of the labor is unskilled, in which organized relationships are almost absent, and in which the work is especially laborious, as in iron and steel works, or especially intermittent, as in the stockyards and packing houses of Chicago, the constantly changing stream of labor that passes through is a conspicuous feature of the situation.
UNITED STATES AND ENGLAND AND WALES COMPARED. The predominant rates of weekly wages in the printing, engineering, and building trades of the United States (industries which were found in all of the cities investigated) are in the following table brought into contrast with the rates of weekly wages paid in similar trades in England and Wales. The wages for the United States, it will be observed, relate to February, 1909, while the corresponding data for England and Wales are for October, 1905.
The wages as given for England and Wales are, as is shown by the first report of the series, that relating to cost of living in the United Kingdom, exclusive of London. PREDOMINANT WEEKLY WAGES OF ADULT MALES IN CERTAIN OCCUPATIONS IN ENGLAND AND WALES (EXCLUSIVE OF LONDON) AND IN THE UNITED STATES COMPARED.
1 The wazes stated for the building trades are for a full week in summer in both countries.
. In arriving at the trade and general index numbers, bricklayers and stonemasons have been regarded as one occupation, and carpenters and joiners and fitters and turners as two, respectively, as in the earlier foreign inquiries.
The level of wages in the building trades was, according to the report, the same in England and Wales in 1909 as in 1905, but the rates in the engineering trades had been raised by about 1} per cent between October, 1905, and February, 1909, and those of compositors by about 2} per cent. The effect of these changes would be to lower the mean ratio for the combined trades represented in the above table from 232:100 to 230:100.
In the building trades, the rates for the United States are based upon actual returns from employers, but many of these returns embody the locally accepted standard rates in the relatively highly organized group.
In the case of the engineering trades, the English wages are the standard time rates recognized by the unions concerned. The American ranges, on the other hand, are based, in the absence of standard rates, on reports obtained from employers of actual earnings in an ordinary week, and consequently the two sets of figures are, according to the report, not strictly comparable.
In the printing trades, the rates for hand compositors engaged on job printing are given. The American figures represent predominant time rates ascertained to be paid in practice, while those for England and Wales are, as in the case of the engineering trades, the standard time rates recognized by the trade unions.
In no case in the table are the comparative ranges seriously complicated by the distinction as between time and piece rates, and in the case of the building trades and the printing trades, not at all. Neither are the comparisons invalidated by differences in the character of the work done by those who fall into similar classes in the two countries. It will be seen that in the building trades the mean of the predominant range in the United States is in no case less than double that of the corresponding English grade of wage earners. For the whole group, the wages in the United States are 143 per cent above those in England and Wales. In the engineering trades, the index numbers are in no case less than double the English figure, and the combined figure is 113 per cent above the English figure. For the compositors, wages in the United States are 146 per cent above the English level, as compared with 132 per cent for all of the occupations included in the table. It will be remembered that these figures are subject to slight modification, in view of the different dates to which the reports relate, as previously noted.
In regard to the question as to whether the foregoing figures fairly represent the level of wages for adult males in the cities investigated in the United States as compared with the cities covered by the corresponding investigation in England and Wales, or whether the ratio based upon the same occupations as have been used in the preceding international comparisons is one that may either exaggerate or minimize the existing difference, the report concludes as follows:
While the combined ratio yielded by the figures in the above table appears to give an approximately correct general indication of the relative rates of remuneration for town occupations as between the two countries, so far as they can be determined within the limits of the present inquiry, the comparative figures appear to be somewhat weighted in favor of the United States and should not be pressed to an undue extent. It must be remembered that the position of the building trades in the United States involves a selection of a group of occupations for comparative purposes that is probably slightly favorable to the United States, and the whole basis of comparison is not a very wide one. The proportion of unskilled or of semiskilled labor employed in industry in the United States is greater than in this country and it may be noted that this fact would affect the comparison of trades as a whole, while it is clear that, in order to ascertain the comparative level of wages in the two countriestaking into account the proportions employed at high and low rates in both cases-a general census of wages would be required.
"Although the proportion of those who may be roughly classed as the unskilled or semískilled in comparison with the skilled workers is greater in the United States than in England and Wales, it should be observed that the evidence of the town reports indicates that the proportion of men in the community who in an industrial classification would fall below any of these three classes as representing a class of relatively unemployable labor, be it through premature deterioration or through old age, is smaller than in this country. The comparatively recent character of American urban development and a rapid growth of population, largely due to the influx of those in the prime of life or who, having passed the more uncertain years of childhood, have not yet reached their prime, are the main general considerations that underlie the above conclusion.
HOURS OF LABOR.
The weekly hours of labor for the individual occupations and cities have been shown in connection with the rates of wages in a preceding table. The hours stated below summarize the conditions for all of the cities taken together and show the number of cities with each specified number of hours per week, exclusive of intervals and without overtime. In the case of the building trades the hours are for a full week in summer. In other cases they refer to February, 1909.
WEEKLY HOURS OF LABOR OF ADULT MALES IN CERTAIN OCCUPATIONS IN THE
UNITED STATES IN 1909.
[The hours of labor of Negroes have been excluded.]
Number Number of towns in which the usual hours of labor of towns
per week (excluding intervals) were-
Occupation.
to which
From 44
relate.
BUILDING TRADES.1 Bricklayers.
2 12 Stonemasons.
1 Stonecutters.
10 Carpenters.
3 Plasterers.
1 1 Plumbers.
2 2 Structural iron workers.
1 Painters....
1 1 Hod carriers and bricklayers' laborers... 18 4
1 3 ENGINEERING TRADES. Iron molders.
27 Machinists (fitters and turners).
28 Blacksmiths.
24 Pattern makers.
25 Laborers.
22 PRINTING TRADES. Hand compositors (job work)..
1 The hours of labor stated for the building trades are for a full week in summer.
2 Detroit, where the hours are 48 and 60, has been included here.
UNITED STATES AND ENGLAND AND WALES COMPARED. In the table which follows a comparison is made of the hours of labor in the United States and in England and Wales. As in the other international comparisons of this report the figures for the United States relate to February, 1909, while those for England and Wales refer to October, 1905.
WEEKLY HOURS OF LABOR OF ADULT MALES IN CERTAIN OCCUPATIONS IN
ENGLAND AND WALES AND IN THE UNITED STATES COMPARED.
· The hours of labor stated for the building trades are for a full week in summer in both countries.
86026°—Bull. 93—11-14


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At Hartford HealthCare, we're committed to health equity and bringing our experts where they are needed most. Hartford HealthCare Neighborhood Health.
See how our Neighborhood Health team provides "whole-person" care:
More access to health experts in your community
Our Neighborhood Health initiative is designed to bring more health prevention services and support directly to the people and communities we serve. It's part of Hartford HealthCare's larger commitment to helping all people live their healthiest lives by providing more outreach and healthcare opportunities throughout Connecticut.
Our mobile "CareVans" visit and operate daytime health clinics several times a month at specifically chosen locations. They offer a variety of health services including screenings, mental health counseling, medical referrals, education and support. Pfizer and Moderna vaccines are also offered at select locations and dates.
A partnership
Neighborhood Health was developed in collaboration with trusted community partners throughout the state. These groups and individuals helped determine the health needs and priorities for their residents and communities. These innovative health clinics will be adaptable, flexible, and open to feedback to ensure access to needed services and programs.
We are currently offering clinics in Hartford, Torrington, Winsted and Thomaston, and plans to expand services to locations statewide over time.
Our Neighborhood Health clinics...
serve people of all ages (12 and older for Pfizer vaccine)
welcome walk-Ins
provide onsite financial assistance; insurance is accepted but not required
are safe - face masks are required and provided if needed
Our CareVan Clinics offer the following services:
Address various urgent needs (not limited to):
Common cold/flu
Stomach aches
Ear aches/infections and foreign body removal
Abscess incision and drainage
Minor burns, minor lacerations, minor sprains and small fractures
Rashes and insect bites
Medical Screenings:
Blood pressure, Blood sugar, Urinalysis and Urine pregnancy
Lab tests:
A1C, Cholesterol, Hepatitis C, Hemoglobin, HIV, Flu, symptomatic COVID-19
Referrals, Follow-up Care:
Social Services, Behavioral health, Primary Care/Specialist
Immunizations: Tetanus (Tdap), Pneumonia, Shingles, Hepatitis B, Meningitis, Gardasil, Polio, Flu
COVID-19 Pfizer Bivalent Vaccine (ages 12+ for vaccine)
CareVan
Covenant Soup Kitchen
220 Valley Street, Willimantic
2/9/2023 10:00am - 3:00pm Hands on Hartford
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590 Park Street, Hartford
2/22/2023 9:00am - 4:00pm Beckish Senior Center
188 CT-Route 66, Columbia,
Operation Overflow
115 Spencer Street, Winsted
2/6/2023 9:00am - 2:00pm Otis Library
261 Main Street, Norwich
2/23/2023 10:30am - 1:00pm Rushford
883 Paddock Avenue, Meriden
1/20/2023 9:00am - 3:00pm Salvation Army
716 Main Street, Winsted
South Church
277 Main Street, Hartford
2/28//2023 9:00am - 3:00pm St. Vincent DePaul
120 Cliff Strreet, Norwich
2/27/2023 10:00am - 3:00pm Torrington Soup Kitchen
220 Prospect St, Torrington
2/20/2023 9:00am - 1:00pm Torrington Towers
52 Summer Street, Torrington
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202-C Scott Road, Willimantic
1/9/2023 10:00am - 2:00pm Winsted Senior Center
80 Holabird Avenue, Winsted
2/2/2023 11:00am - 3:00pm Eastern CT Veteran's Center
47 Crescent Street, Willimantic
Hartford HealthCare and its community partners are also offering Health Fairs at locations across Connecticut. These walk-in welcome events are free to the public ages 16 and older. No appointments needed.
Check back again soon for an updated schedule.
Give to the Neighborhood Health Fund
Your charitable donations will help us bring more health prevention services and support directly to the people and communities we serve.
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A Live In Part Time Spanish Speaking Nanny is required by a family in Chalk Farm. The family have a toddler. The Nanny would be needed up to 35 hours a week, three days a week including two nights babysitting per week.
The family would like the candidate to speak Spanish to help improve the child's writing and speaking skills in the language. The Nanny would be provided with their own double bedroom on the top floor with a private balcony.


Legislators in Wisconsin and New York have appealed to USDA to force Canada to reverse actions that have restricted exports of U.S. products to the Canadian market. These changes have caused at least two processors in Wisconsin and New York to lose significant contracts, forcing them to cut off as many as 100 producers as of May 1.
U.S. Senators Charles Schumer (D-NY), Tammy Baldwin (D-WI) and Kirsten Gillibrand (D-NY) have called on the Trump Administration to act on the restrictive Canadian trade barriers they say are hurting American dairy farmers and processors.
The Senators sent a letter to Acting U.S. Trade Representative Stephen Vaughn, Commerce Secretary Wilbur Ross and Acting Secretary of Agriculture Michael Young, detailing the negative impact these unfair trade practices are having on America's dairy industry and urging the Administration officials to immediately address this issue with the Canadian government and launch an investigation into these trade actions.
Current Canadian trade barriers have already started to hinder development and growth of the Upstate New York dairy industry. Companies like O-AT-KA and Cayuga Milk Ingredients, along with Ideal Dairy Farm, rely on trade with Canada for a significant percentage – millions of dollars – of their revenue. As the country's third largest milk producing state, a significant impact on New York's ability to tap into key foreign markets could also impact farmers in surrounding states. Therefore, any reductions in export sales could impact New York dairy manufacturers and their supplying farms, which are already struggling with depressed milk prices.
The letter text is available online here.
A Wisconsin delegation that includes Speaker Paul Ryan, Governor Scott Walker, Republican Senator Ron Johnson and Democratic Senator Tammy Baldwin in addition to several other Wisconsin Congressmen added their own request to Vaughn, Ross and Young.
"This situation underscores how Canada's new pricing policies are not only undermining trade with the United States but are displacing fresh milk produced by hard-working dairy farmers in Wisconsin and around the country," the letter states. "We urge you to take immediate action to address this dire situation where apparent unfair trade practices are putting Wisconsin dairy farmers' livelihoods at risk."
Canada has responded to trade allegations, saying that the U.S. is at fault for not regulating production.


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Q: Book about humans as mercenaries for an alien. NOT Nuttall book There was a book I read that humans were used to fight for another race. They were trapped on an alien ship with a really twisted being. The humans fooled him into allowing them to build weapons for training and eventually take over the ship. I don't believe it was a Chris Nuttall book though.

A: Might this be "The Excalibur Alternative" by David Weber?

*

*Humans were used to fight for other races

They were actually used to fight for companies, rather than races specifically - because advanced races and weaponry could not be used against low-tech worlds by law, but using other low-tech races as proxies was not forbidden.  The companies were all owned, and staffed, by members of "advanced" races (who were by treaty part of the galactic federation), and served by members of 'protectorate' races (who were essentially exploited and used as servants).  There was a Roman Leigon who had been taken for this purpose in the past by another company, but the novel follows part of a 14th century English army taken from a fleet in a storm (so their loss would be covered up).

*

*They were trapped on a ship with a twisted being

The commander of the ship which took them was called the 'demon-jester', both for its grotesque appearance and its lack of empathy.  It is the only one of its species on the ship, since mostly the humans interact with other servant species.  However, it is in control and can force compliance through its technology and through the use of other servant races used for security.

*

*The humans allowed them to build weapons for training

They had to argue and explain the weapons, tools, and training they needed to be effective - including horses, arms, and armor.  They also explain, or trick the demon-jester into providing, for psychological comforts including a certain amount of independence (camping in the open instead of on ship where possible).  This later allows them the degree of freedom needed to plot against the demon-jester and company.

*

*They eventually take over the ship

This was done in combination with one of the other servant races, they cooperate to pool knowledge and resources.  It was possible because of their limited independence, giving them areas not under surveillance with which to plot.  They manage to kill the demon-jester, overcome the other security forces, and take over the ship.

 Later they use the ship as a base from which to build a civilization, since returning home would alert the federation what had happened and risk their homelands.  Instead, they build themselves up in secret so when their homeworlds are threatened, they have enough resources to come to their aid.

A: Another possibility is "Starstrike" by W Michael Gear. Goodreads
An alien creature picks up a crew of American, Russian, and Israeli soldiers for an attack on a space station. The humans do eventually trick the alien(s) and take over the ship.


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Home > For Researchers > TechLab Incubator > The University of Michigan's TechLab at Mcity Unveils 2023 Startup Cohort and Opens Student Application
The University of Michigan's TechLab at Mcity Unveils 2023 Startup Cohort and Opens Student Application
TechLab at Mcity, Experiences, TechLab Incubator
Each year the Center for Entrepreneurship recruits a select group of early-stage (Seed-Series A funding) startups to participate in the program. The 2023 cohort will be the eighth for the program, which has recruited companies from all over the world and played a significant role in attracting leading tech companies to have a presence in Southeast Michigan. This past summer, the CFE was aided by collaborations with Ann Arbor Spark and the State of Michigan's Office of Future Mobility and Electrification in recruiting impressive companies to the program that are tackling noteworthy technical and commercial challenges related to the broader adoption of connected and autonomous vehicle technologies.
"TechLab at Mcity has become a key resource for startups in the CAV space to gain access to incredible talent, unique resources, and support from one of the world's most important autonomous vehicle ecosystems," said Nick Moroz, Director of Entrepreneurial Practice at the Center for Entrepreneurship, Director of the TechLab programs. "Roughly 50% of the students who have participated in the program and graduated from U-M are now employed in the CAV industry directly or supporting industries. It's a real testament to the success of the program in providing students access to impactful career opportunities in a strategic and important field."
Each company in the 2023 cohort will participate in the year-long program with a student team of four focused on exploratory technical projects targeting the development, demonstration, and deployment of key autonomous vehicle technologies.
The student application for the 2023 cohort is now also live. If you are a U-M student that is interested in starting a career in the CAV industry, strongly consider applying.
Baraja Lidar (Sydney, Australia) – Baraja is returning for its second year in TechLab at Mcity. Baraja is a deep technology company that has reinvented LiDAR for self-driving vehicles. Their Spectrum-ScanTM platform uses patented technology to set new benchmarks for precision, range and reliability. The team plans to build off of the work of the previous student cohort, which gathered in-field data to test the limitations at long range of the proprietary solid-state LiDAR.
P3Mobility (Ann Arbor, USA) – P3Mobility partners with local governments to deploy smart infrastructure that increases safety, mobility, and sustainability. Their proprietary software platform facilitates the revenue generation necessary to finance smart road and connected vehicle services. They license their platform to insurance companies, public jurisdictions and/or fleet operators. The goal of this project will be to expand on the work done in P3Mobility's 2022 TechLab cohort. In 2022, the student team generated Proxy-Personal Safety Messages (PSMs) using computer vision and camera sensor data at smart intersections to identify pedestrians. The 2023 cohort will further develop baselines and gather data, moving toward analysis of the messaging through the lens of an insurance provider.
XenomatiX (Leuven, Belgium) – XenomatiX is the first company to offer true solid state lidar sensors based on a multi-beam lasers concept and risk-free, scalable, semiconductor technology. XenomatiX has recently developed its own 4D-AI labeling and training software and neural network which can already detect objects in 7 classes (cars, vans, bicycle, pedestrians, motorcycles, and trucks). The goal of this project is for students to use 4D-AI software tools to identify objects of interest not already trained in the Xenomatix network, and take relevant datasets for training, label said datasets, and finally test detection performance live in the vehicle.
Gatik (Mountain View, USA) – Gatik, the leader in autonomous middle mile logistics, delivers goods safely and efficiently using its fleet of light and medium duty trucks. The company focuses on short haul, B2B logistics for Fortune 500 retailers such as Walmart, Georgia-Pacific, and Loblaw, and in 2021 launched the world's first fully driverless commercial delivery service with Walmart. Gatik's class 3-6 autonomous box trucks are commercially deployed in multiple markets including Texas, Arkansas, Louisiana, and Ontario. This project intends to contribute to the advances in multisensor perception for autonomous vehicle systems — involving the use of Machine Learning for multi-modal object detection and classification.
Büyütech (Ankara, Turkey) – Büyütech was founded in 2011 to develop smart cameras and computer vision technologies for many different industries such as industrial machine vision, consumer electronics, retail, defense, and currently has more than 87K cameras operating in more than 120 countries. Büyütech's main aim is to remove the biggest barrier of autonomy by creating a new category, Podar (Passive Only Detection and Ranging); a scalable ultimate solution that enables vehicles to perceive the world in 3D. The goal of this project is to develop a precise and cost-effective ultimate perception solution that can detect all kinds of objects in all weather conditions and determine their position in 3D by using different spectra sensors in stereo.
Retrospect Technology (Ann Arbor, USA) – Retrospect develops methods to assure and improve safety in automated vehicles from development through deployment. Their technology product is a software toolset which implements our patented safety monitoring methodology. In AV development, it helps customers identify latent safety issues. In use in AV deployment, it helps customers pick up on clues of latent safety issues whose low occurrence rates make them nearly impossible to catch in development and yet impossible to not encounter in mass deployment. The goal for this project is for the student team to contribute to the emerging field of autonomy safety measurement and validation by collecting new datasets at Mcity, testing various safety-driven driving scenarios.
Lidar autonomous vehicle cav driverless
CFE Hosting Coffee Meet-ups for Alumni in Bay Area


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Gabriel Boric, a former student activist, is elected Chile's youngest president
At 35, Boric will be the nation's youngest leader and by far its most liberal since President Salvador Allende, who died by suicide during the 1973 military coup that ushered in a brutal 17-year dictatorship.
By: New York Times | Chile |
Chile's President elect Gabriel Boric, of the "I approve Dignity" coalition, gestures to his supporters after his victory in the presidential run-off election in Santiago, Chile, Sunday, Dec. 19, 2021. (AP Photo/Matias Delacroix)
Written by Pascale Bonnefoy and Ernesto Londoño
Chileans on Sunday elected Gabriel Boric as their next president, entrusting the young leftist lawmaker with helping to shape the future of a nation that has been roiled by protests and is now drafting a new constitution.
Explained |Gabriel Boric, the former student leader who is set to be Chile's youngest president
He will assume office at the final stage of a yearslong initiative to draft a new constitution, an effort that is likely to bring about profound legal and political changes on issues including gender equality, Indigenous rights and environmental protections.
Capitalizing on widespread discontent with the political factions that have traded power in recent decades, Boric attracted voters by pledging to reduce inequality and promising to raise taxes on the rich to fund a substantial expansion of the social safety net, more generous pensions and a greener economy.
The president-elect defeated José Antonio Kast, a far-right former lawmaker who sought to portray Boric as a radical communist who would put Chile on a ruinous path, by destroying one of the region's most solid economies. Boric's coalition includes the Communist Party.
Kast conceded the race, saying he had called Boric to congratulate him.
"From now on, he is the president elect of Chile and deserves all our respect and constructive collaboration," Kast wrote on Twitter.
With more than 98% of ballots counted, Boric had won more than 55% of the vote and Kast had 44%. The margin surprised political observers because recent polls suggested the race was tighter.
"I am going to give the best of me to rise to this tremendous challenge," Boric said during a televised video call from the outgoing president, Sebastián Piñera, which continued a tradition in Chilean politics.
Boric also said that he hoped to unite the nation after a hard-fought race. "I will be the president of all Chileans."
Piñera said he was pleased "democracy worked, and you were a part of that."
The race was the most polarizing and acrimonious in recent history, presenting Chileans with starkly different visions on issues including the role of the state in the economy, the rights of historically marginalized groups and public safety.


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Regulator queries Network Rail's risk controls after injuries rise
Open-access content Tuesday 25th July 2017
In its Annual Health and Safety Report of Performance on Britain's Railways, published last week, the ORR has raised concerns over Network Rail's risk management strategies.
"The lack of improvement in Network Rail's risk management maturity, allied with the stalled improvements in performance indicators, give the strongest illustration yet of the potential vulnerability of its safety management record of recent years", the report says. "ORR will continue working to secure targeted improvements, particularly in assurance activities, in order to promote more reliable and sustainable risk control."
The rate of major injuries to mainline workers in 2016/17 was 16.4 per 200 million hours worked (16 in 2015/16), reflecting a total of 166 such injuries. Trips and falls at stations represented the highest contribution at 26%, though this is a 39% decrease on the year before.
The overall rate of workforce fatalities and harm (including major and minor injuries, and shock and trauma) was 27.9 per 200 million hours worked (26.8 in 2015/16).
One worker was killed during the 12-month period, compared with zero deaths the previous year. A Network Rail construction manager died in a car crash in June 2016 as he drove to work.
The latest figures show that incidents reported under the Reporting of Injuries, Diseases and Dangerous Occurrences Regulations 2013 (RIDDOR) increased to 90 in 2016/17 from 72 in the previous 12 months. Major injuries to infrastructure workers on running lines rose 21% to 72, half of which involved slips, trips and falls.
The rail operator missed its lost-time injury frequency rate (LTIFR) target of 0.447, the report says, though it ended the year with its best ever rate of 0.450.
Of the 16 improvement notices served by the ORR in 2016/17, nine were handed to Network Rail over failures relating to risk assessments, guarding dangerous parts of machinery, manual handling of liquefied petroleum gas canisters, and hand-arm vibration syndrome (HAVS).
One hundred health cases were reported to the ORR under RIDDOR in 2016/17, up from 29 in the previous year, with reports for HAVS (85) and carpal tunnel syndrome (12) dominating the figures. Most of the cases were in the mainline railway department (see table).
The report says: "Despite progress in some areas, ORR continues to see a mismatch between the occupational health policies and procedures developed by Network Rail centrally and consistent delivery in the Network Rail routes."
Disease cases reported to ORR under RIDDOR from across Britain's railways (most relate to the mainline railway)
Disease type
HAVS
Occupational cancers
Occupational dermatitis
This year Network Rail has been fined £4.87m in prosecutions brought by the ORR. This includes a £4m penalty over a fatality at the Gipsy Lane pedestrian level crossing in August 2011, and an £800,000 fine for an incident in June 2014 when a track worker was struck by a train in Surrey.
In addition, West Coast Railways was ordered to pay £200,000 for an incident in March 2015 when one of its steam locomotives passed a signal at danger at Wootton Bassett junction in Wiltshire, and London Underground (LU) was handed a £500,000 fine after a maintenance worker fell from a tower scaffold while cleaning a former lift shaft.
On the LU, the ORR found there were 24 RIDDOR-reported major injuries amongst operations staff and 1,302 minor injuries -- a 2.2% increase compared with 2015/16 but lower than any other year since 2011/12. There were eight major and 289 minor injuries among its infrastructure workers. There were no fatalities.
Britain's railways are among the safest in Europe, the report highlights, with overall mainline passenger and public harm on trains and at stations at one of the lowest levels in the past ten years during 2016/17. In addition, overall harm to workforce is at the second-lowest level over the past decade.
"However," said Ian Prosser, director of railway safety at ORR and chef inspector of railways, "2016/17 has shown a plateauing of performance with positive developments taking place against a backdrop of incidents and accidents which show that the industry is still some distance from excellence."


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ArticlesMoneyTaxesUS News
Obama And DNC To Taxpayers: Thanks For The Lift!
Peter Fricke January 10, 2015 1 View
The Democratic National Committee spent nearly $2 million flying President Obama to campaign events during the 2014 election cycle — and taxpayers shouldered some of the cost.
According to Open Secrets, the DNC spent $1,792,668 on "White House airlift operations," most of which went to reimburse the government for the cost of transporting Obama to campaign-related events on Air Force One and Marine One.
On the surface, this may seem like an exercise in fiscal responsibility, but as the Washington Examiner points out, "federal election law requires the DNC … to pay for these presidential perquisites at just a fraction of the costs—the equivalent of a commercial airline ticket."
Judicial Watch reports that flight expenses for two previous Obama family vacations amounted to more than $200,000 per hour. The largest single airfare expenditure by the DNC, in comparison, was just $78,427 for an entire trip. (RELATED: Anna Wintour Hosting Another Obama Fundraiser)
In addition to that discount, the Examiner claims, "Obama tends to piggyback official events onto fundraising trips," further reducing expenses for the DNC, which is only required to pay the share of travel expenses directly related to campaign activities. The formula for calculating reimbursement rates for these mixed trips "is complicated and opaque, confounding even the most experienced federal election law experts." (RELATED: White House Won't Say How Much Taxpayers Pay for Obama Fundraising)
Meredith McGehee, policy director at the Campaign Legal Center, told the Examiner that, "The White House counsel seems to hold the key to this in every administration," but Obama has so far followed the lead of his predecessors in refusing to divulge details about the process.
In some cases, the "official business" loophole might even suffice to get campaign funds off the hook entirely. (RELATED: Group: Obama Wasn't Technically Fundraising for Us)
During the 2012 election campaign, for instance, The New York Times reported that taxpayers could pick up the full tab for a trip to Florida, during which Obama delivered one "nonpolitical" speech attacking Republicans for supporting tax cuts, and attended "three overtly partisan fund-raisers that accounted for the bulk of his time along the south Florida coast."
A spokesperson for the Obama campaign asserted at the time that, "The campaign will follow all rules and pay for the portion of travel that relates to political events," but because the fundraisers did not involve additional air travel, it is unclear whether the campaign was required to reimburse the government at all for the trip.
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Peter Fricke
Peter Fricke is a contributor to The Daily Caller Foundation and Freedom Outpost. Follow Peter on Twitter.
Puerto Rico's Former Education Chief & 5 Others Busted In Corruption Probe
The IRS continues to pillage the populace with little-known 'inheritance' scheme