text:
/*
    Calimero - A library for KNX network access
    Copyright (C) 2005 Bernhard Erb
    Copyright (C) 2006-2008 B. Malinowsky

    This program is free software; you can redistribute it and/or
    modify it under the terms of the GNU General Public License
    as published by the Free Software Foundation; either version 2
    of the License, or at your option any later version.

    This program is distributed in the hope that it will be useful,
    but WITHOUT ANY WARRANTY; without even the implied warranty of
    MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the
    GNU General Public License for more details.

    You should have received a copy of the GNU General Public License
    along with this program; if not, write to the Free Software
    Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, MA  02110-1301, USA.

    Linking this library statically or dynamically with other modules is
    making a combined work based on this library. Thus, the terms and
    conditions of the GNU General Public License cover the whole
    combination.

    As a special exception, the copyright holders of this library give you
    permission to link this library with independent modules to produce an
    executable, regardless of the license terms of these independent
    modules, and to copy and distribute the resulting executable under terms
    of your choice, provided that you also meet, for each linked independent
    module, the terms and conditions of the license of that module. An
    independent module is a module which is not derived from or based on
    this library. If you modify this library, you may extend this exception
    to your version of the library, but you are not obligated to do so. If
    you do not wish to do so, delete this exception statement from your
    version.
*/

package tuwien.auto.calimero.knxnetip.servicetype;

import java.io.ByteArrayOutputStream;

import tuwien.auto.calimero.exception.KNXFormatException;
import tuwien.auto.calimero.knxnetip.util.DeviceDIB;
import tuwien.auto.calimero.knxnetip.util.HPAI;
import tuwien.auto.calimero.knxnetip.util.SuppFamiliesDIB;

/**
 * Represents a KNXnet/IP search response.
 *

 * Such a response is used during device discovery and sent in reply to a search request.
 * It contains one server control endpoint and self description of the server device.

 * An answering server, supporting more than one KNX connections at the same time, sends a
 * single search response for each of its control endpoints, i.e. one response for one
 * control endpoint.
 *

 * Objects of this type are immutable.
 *
 * @author Bernhard Erb
 * @author B. Malinowsky
 * @see tuwien.auto.calimero.knxnetip.servicetype.SearchRequest
 */
public class SearchResponse extends ServiceType
{
	private final HPAI endpt;
	private final DescriptionResponse desc;

	/**
	 * Creates a new search response out of a byte array.
	 *

	 *
	 * @param data byte array containing a search response structure
	 * @param offset start offset of response in data
	 * @throws KNXFormatException if no search response was found or invalid structure
	 */
	public SearchResponse(byte[] data, int offset) throws KNXFormatException
	{
		super(KNXnetIPHeader.SEARCH_RES);
		endpt = new HPAI(data, offset);
		desc = new DescriptionResponse(data, offset + endpt.getStructLength());
	}

	/**
	 * Creates a new search response for the given control endpoint together with device
	 * information.
	 *

	 *
	 * @param ctrlEndpoint discovered control endpoint of the server sending this response
	 * @param device server device description information
	 * @param svcFamilies supported service families by the server
	 */
	public SearchResponse(HPAI ctrlEndpoint, DeviceDIB device, SuppFamiliesDIB svcFamilies)
	{
		super(KNXnetIPHeader.SEARCH_RES);
		endpt = ctrlEndpoint;
		desc = new DescriptionResponse(device, svcFamilies);
	}

	/**
	 * Returns the server control endpoint.
	 *

	 *
	 * @return discovered control endpoint in a HPAI
	 */
	public final HPAI getControlEndpoint()
	{
		return endpt;
	}

	/**
	 * Returns the device description information block of the server contained in the
	 * response.
	 *

	 *
	 * @return a device DIB
	 */
	public final DeviceDIB getDevice()
	{
		return desc.getDevice();
	}

	/**
	 * Returns the supported service families description information block of the server
	 * contained in the response.
	 *

	 *
	 * @return a DIB with the supported service families
	 */
	public final SuppFamiliesDIB getServiceFamilies()
	{
		return desc.getServiceFamilies();
	}

	/* (non-Javadoc)
	 * @see tuwien.auto.calimero.knxnetip.servicetype.ServiceType#getStructLength()
	 */
	short getStructLength()
	{
		return (short) (endpt.getStructLength() + desc.getDevice().getStructLength() +
			desc.getServiceFamilies().getStructLength());
	}

	/* (non-Javadoc)
	 * @see tuwien.auto.calimero.knxnetip.servicetype.ServiceType#toByteArray
	 *      (java.io.ByteArrayOutputStream)
	 */
	byte[] toByteArray(ByteArrayOutputStream os)
	{
		byte[] buf = desc.getDevice().toByteArray();
		os.write(buf, 0, buf.length);
		buf = desc.getServiceFamilies().toByteArray();
		os.write(buf, 0, buf.length);
		return os.toByteArray();
	}
}


text:
Q: Will the Java Memory Model permit the reordering of non-synchronized accesses of many atomic/volatile variables? I want to know if the JMM will permit an implementation to reorder the access to the ai and ada variables to behave differently than the intention shown in the code.
The intention is that the method perform ops is the next:

*

*gets the next index of an array of volatile items

*writes a number in the newly obtained index

*performs a spinlock waiting to be sure that older indexes of the array got it's value

*prints the sum of the array from the first index to the current obtained one.

What happens after the index reached 1000 is non-important to me. I actually want to use the array as a ring, but if this question gets answered I will be able to figure out how to do it.
Basically I want to avoid locks and rely on atomic and lock-free objects. I don't know however if in this specific case I still need implicit synchronization.
AtomicInteger ai = new AtomicInteger(0);
// let's say all values are null by default
AtomicDoubleArray ada = new AtomicDoubleArray(1000);
int rn = 4; // dice rolled...

void perfomOps(AtomicInteger ai, AtomicDoubleArray ada) {
   int i = ai.getAndIncrement();
   ada.set(i, rn);
   spinlock(ada, i);
   printSum(ada, i);
}

void spinlock(AtomicDoubleArray ada, int idx) {
// spinlock in case the other threads couln't write to older indexes yet
   if (idx > 0)
      for (int c = 0;c < idx; c++)
         while (i = ada.get(c) == null);
}

void printSum(AtomicDoubleArray ada, int idx) {
   double sum = 0;
   for (int i = 0;i < idx; i++)
      sum = sum + ada.get(i);
   Sytem.out.println(sum);
}

// thread 1
perfomOps(ai, ada); // lets say we get 4 printed

// thread 2
perfomOps(ai, ada); // lets say we get 8 printed

// thread 3
perfomOps(ai, ada); // lets say we get 12 printed

Other threads will keep doing the same, it can happen that the print order is not as expected, like 8, 12 and then 4. But assuming a next thread comes in, then it will see correct values and correctly print now 16.
All this fancy stuff is to avoid making explicit locks in order to measure which one performs better, the lockfree version or the synchronized one

A: The most important rule of the Java Memory Model is (§17.4.5):

A program is correctly synchronized if and only if all sequentially consistent executions are free of data races. If a program is correctly synchronized, then all executions of the program will appear to be sequentially consistent (§17.4.3).

If all shared variables are volatile or atomic, then there are no data races. That means sequential consistency is guaranteed. And that means, there will be no reorderings visible in the behaviour of the program.

redpajama_set_name: RedPajamaStackExchange


text:
The , also known as Mazda E-Series and the Ford Econovan, is a cabover van and pickup truck manufactured by the Japanese automobile manufacturer Mazda since 1966. The Bongo name was also used for the Bongo Friendee, which is not a cabover design.

It has been built with rear-, middle-, as well as front-mounted engines. It also formed the basis for the long running Kia Bongo range. It is named for the African Bongo, a type of antelope.

First generation (1966–1975)

Mazda first introduced its small van, the Bongo, in May 1966. It featured a rear-mounted 782 cc water-cooled OHV SA 4-stroke engine driving the rear wheels. The rear-engined Bongo was produced in two versions from 1968, as the F800 was joined by the bigger-engined F1000. This has a 987 cc PB overhead valve inline-four engine with  at 5500 rpm. The chassis code for the 1-litre model is FPA. Its dimensions were  long,  wide,  height, with a wheelbase of  and Vehicle weight of  (commercial delivery van)  (passenger coach) and  (cab-over truck). Mazda also showed an electrically powered version of the van, which could reach  and with a  range. but wasn't put into production and remained a prototype. The engines were shared with Mazda's Familia small car range. Production ended in 1975, due to Mazda suffering serious economic troubles and upcoming stricter emissions regulations for 1976, influenced by the original United States Federal Clean Air Act of 1963. This model retained the same body shape for its 10-year production life, the later models fitted with inertia-reel seat belts, and separate front parking indicator lights.

The rear-engined Bongos had a full chassis (using the same Mazda 1000 engine as other variants mounted to a four-speed transaxle at the rear) and were very strong and due to the low gearing, able to carry half a ton. Due to rust and poor maintenance, these Bongos are now rare. The 1000 pickup which was built for commercial uses, and the cargo and passenger vans all used a double wishbone and coil spring suspension for the front wheels, and a trailing-arm suspension and coil springs at the rear wheels.

Due to the popularity of the Bongo, Mazda decided to manufacture a minibus, called the Mazda Parkway starting in 1974 until 1997, shared with the larger Mazda Titan truck platform.

Second generation (1977–1983)

After a two-year hiatus, the next Bongo van appeared in September 1977. It was a mid-engine rear wheel drive vehicle. Ford sold this version of the van as the Ford Econovan, while Mazda sold it for export as the E1300, E1400, and E1600, depending on engine size. Beginning in October 1979 a 2.2-litre diesel engine was also available in commercial versions, sold in export as the E2200. This appeared in the passenger version "Bongo Multi Wagon" in February 1980. The Bongo Multi Wagon had originally been sold with a 1.8-liter petrol engine only. As the E1600, this model went on sale in Great Britain in 1982, only a year before being replaced. The British market only received the long wheelbase 1-tonne panel van version with small, twinned rear wheels. The UK model has a five-speed manual gearbox with a column mounted shifter.

This generation was also manufactured by Kia in South Korea, as the Kia Bongo and Ceres. The Bongo/Ceres underwent a number of facelifts and was still available as late as 1999.

The original version has round headlights and no grille; after a facelift the second generation Bongo/E-series had rectangular headlights and a more traditional grille. This took place in January 1981. This generation Bongo was the best-selling Mazda vehicle from its introduction until 1981, when it was surpassed by the front-wheel drive Mazda Familia.

In Australia, rebadged versions were sold as the Ford Econovan as a SWB petrol van (with and without side windows), LWB petrol van (with and without side windows), and LWB diesel van guises (windowless). SWB and LWB window petrol vans also sold in passenger-carrying Ford Econowagon form. Luxury-oriented passenger models were sold under the Ford Spectron name as high-roof eight-seaters.

Engines
 1977–October 1979 1272 cc TC,  /  JIS (Japan) – BA2T8
 1977–1983 1586 cc NA, 80 PS (59 kW) /  JIS (Japan) – BA2N9
 October 1978–198? 1769 cc VC,  JIS (Japan) – BA2V8/BA2V9
 October 1979–1983 1415 cc UC,  /  JIS (Japan) – BA2U9
 October 1979–1983 2209 cc S2,  /  JIS (Japan) - BA2S9

Third generation (1983–1999)

The Bongo was redesigned in 1983 with new engines. It was also sold by Ford in Asia as the "Spectron" (passenger version) or as the "J80" (cargo model). In Australia, the Bongo was sold by Mazda as the E-series, with Ford also retailing the commercial version as the "Ford Econovan" and the passenger version as the "Ford Spectron" (1983–1990). From 1994 onwards, the Bongo was also sold by Nissan as the Vanette. In South Korea this was built as the Kia Wide Bongo. In South Africa, it was sold as the Ford Spectron.

During the 1980s, Toyota, Nissan, and Mitsubishi all sold versions of their utility vans in the United States, however none achieved any real market success and so Mazda decided not to bring the Bongo to the US. Instead, they created the more passenger car-like MPV for the American market.

Australia
In Australia, it was sold as the Mazda E-series and the Mazda Traveller   and also as the Ford Econovan and Ford Spectron. The entry-level Econovan offered a  length, 1.8-litre petrol engine, five-speed manual of four-speed automatic, single rear wheels, in three-seater steel-sided or six seater XL window-sided forms. Prior to 1986, there was also a 1.4-litre engine and five-speed manual option available as a steel-sided van with single- or dual-rear wheels, and as a passenger-carrying XL van with single-rear wheels.

The  long Econovan Maxi offered a high roof, 2.0-litre petrol engine with five-speed manual or four-speed automatic, single rear wheels, and three-seater steel-sided or six seater XL window-sided forms. Dual rear wheels were available for the 2.0-litre petrol or a 2.2-litre diesel, both with five-speed manual and as steel-sided vans.

The  long Econovan Maxi van was also high roofed, but steel-sided only. Powertrain and rear wheel setups were the same as the 4.4-metre Maxi. In 1986, four-wheel drive became an option for the 4.7-metre long model in conjunction with the windowed body work, manual transmission, and 2.0-litre engine. A cab chassis version was offered on the 4.7-metre chassis, with 2.0-litre petrol engine with five-speed manual. It was available as a two-door, three-seater model with  payload and as a four-door, six-seater "Crew Cab" with  payload.

In December 1985, Ford updated the Econovan in Australia to upgrade the engines for unleaded petrol. The petrol engine fitted to 4.0-metre Econovan increased in displacement from 1.4 to 1.8 litres, and the 4.4-metre Maxi had its petrol engine increased from 1.8 to 2.0 litres. The 4.0- and 4.4-metre Econovan also gained the availability of four-speed automatic, previously fitted only to the Spectron vans. The 4.7-metre Maxi van, previously available only with dual rear wheels, was now also available with single rear wheels, although crew cab and cab chassis models remained as dual rear wheel propositions. Ford stated that all petrol manuals and the 4.4-metre petrol automatic Maxi were designed to run on both leaded and unleaded fuel, although the 4.0-metre petrol automatic will run only on unleaded. At the same time as these powertrain updates, Ford also made some cosmetic changes to the Spectron. The low-roof Spectron added colour-keyed bumpers and a new side stripe, matched to a new beige cloth interior trim, and on the XLT the old beige interior colour switched to grey.

Engines
Petrol
 1984–1985 1415 cc UC
 1983–1988 1789 cc F8
 1983–1988 1998 cc FE

Diesel
 1984–1995 1998 cc Diesel
 1984–1995 2184 cc R2 Diesel
 1984–1995 1998 cc RF Diesel

Bongo Brawny
A new long-wheelbase version known as the Bongo Brawny was also introduced, three months before the regular Bongo. The Brawny was larger than the regular Bongo in by all key measures (wheelbase, length, width, height, and weight). In export markets this model was again sold as the E-series. In Australia, Ford differentiated the long-wheelbase versions with the "Econovan Maxi" identifier. In Korea, it is also known as Kia Wide Bongo for truck variant and Kia Besta for van variant

Fourth generation (SK/SL; 1999–2020)

In June 1999, a new generation of Bongo vans and trucks went on sale, which were also rebadged as the Mazda E-series, Ford Econovan, Mitsubishi Delica Van/Truck, and Nissan Vanette. This model adopted the SK platform which was based on the previous generation SS/SE model. This was sold at various Mazda, Mazda Anfini and Mazda Autozam dealers. In August 20, 2010, an upgraded Bongo truck/van were officially released in Japan.

Mazda's difficult business environment at the time meant they could not afford to build a full brand new platform. A petrol 1.8-litre EGI F8-E with  and a diesel 2.2-litre R2 with  were available. Mazda announced that this is the last generation of in-house designed Bongo vans and trucks in March 2012. Mazda discontinued the Bongo in 2020 and it will focus on fuel efficient passenger cars.
 November 1999: the Mitsubishi Delica Cargo was Rebadged and released in Japan only.
 December 2003: A new common rail direct fuel injection diesel model was introduced.
 November 2005: Minor updates on exterior lighting.
 2006: the Australian-market E1800 (SKW0) is discontinued.
 August 2007: DPF introduced for diesel engine models. Power windows and central locking were also introduced for all truck models.
 May 2009: due to Nissan's in-house NV200 Vanette, sales of the 2WD petrol models were stopped.
 August 2010: Minor updates for the entire range include the introduction of a new 1.8-litre L8 petrol engine. This required a larger center console box which reduced seating capacity. New model codes (SKP2T/SKP2L) were applied.
 2011: The New Zealand market E1800 (SKW0) was discontinued.
 October 2011: The rebadged Mitsubishi Delica model was discontinued. and shifted to the Nissan NV200 Vanette model.
 March 2012: Mazda announced that this would be the last generation of in-house designed Bongo vans and trucks. They withdrew from commercial vehicle production to focus on fuel efficient passenger cars.
 June 2012: Minor safety updated. Rear decal renewed. MAZDA decal deleted (van only).
 February 2016: Minor updated. New engine tune-up and increase fuel economy, Auto now became five-speed, dual-rear wheels model discontinued, 4W-ABS and Keyless entry for all models, new model codes SLP2V/SLP2M applied.

Bongo Brawny (SK; 1999–2010)
The longer version of the Bongo, the Bongo Brawny was released in June 1999. This model also adopted the SK platform which is based on previous generation SS/SE model. Like the previous generation, the Bongo Brawny was larger in all key dimensions. It was available in both regular 2400 mm and long 2600 mm wheelbases. The Brawny retained many of the parts of the previous generation, such as the sliding side doors, and looks rather similar to the previous generation model. The E-series label continued to be used in export markets, although they were now fewer than before. The Bongo Brawny was discontinued in August 2010.

 November 1999: the Mitsubishi Delica Cargo was Rebadged and released in Japan only.
 October 2000: The truck model was discontinued due to the introduction of the Mazda Titan Dash 1-ton.
 December 2004: Minor changes include the introduction of a new Common rail direct injection diesel 2.0 RF-CDT engine and new model codes SKF6 applied for diesel models.
 November 2005: Minor updates include the addition of exterior lighting.
 2006: The E2000 MWB(SKX0) and E2000 LWB(SKY0) is discontinued in Australia.
 August 2007: 4WD and GL Super trim levels are discontinued.
 August 2010: The New Zealand-market Bongo Brawny, E2000 (LWB), a rebadged Mitsubishi Delica Cargo, was discontinued.

Bongo Friendee (1995–2005)

The Bongo Friendee was introduced in June 1995 and is based on the SG platform. It was an eight-seater minivan and it was also sold in the Japanese home market as the Ford Freda.

They are usually (but not exclusively) available in automatic transmissions, and come in 2WD (SGL3) and 4WD (SGL5) versions. The 2.5-litre turbo-diesels are common in Japan, although there is a 2.5-litre V6 petrol version available.

The Mazda Bongo Friendee is an eight-seater minivan. Some had Mazda factory-fitted kitchens installed. Many have also been imported to the UK and converted to camper vans. All of them have fold down seats downstairs to make a double bed, and on many models there is also an "Auto Free Top" elevating roof which can sleep two more people. Flat-top versions were also available.

In September 2001, a facelift version appeared with a revised bodystyle and different engines, although the 2.5 turbo-diesel continued unchanged. Air conditioning, climate control is fitted as standard and electronic blinds and electric side door are commonly fitted options.

Engines
Petrol
 2.0 L FE SOHC I4
 2.5 L Mazda J engine#J5 V6

Diesel
 2.5 L WL-T turbo-diesel (the same engine is found in the Mazda B-series Pickup truck)

Fifth generation

Bongo Van and Bongo Truck (S400; 2020–present)
The Bongo was reintroduced in July 2020 in Japan and based on the Daihatsu Gran Max. It is available in van and truck model.

Bongo Brawny (H200; 2019–present)
The Bongo Brawny was reintroduced in April 2019 in Japan as a badge engineered fifth-generation Toyota HiAce. Unlike the previous model, it is intended to be a larger commercial van as opposed to a passenger van.

References

External links

Bongo
Cab over vehicles
Rear-wheel-drive vehicles
Minivans
Vans
Minibuses
Vehicles introduced in 1966
Pickup trucks

redpajama_set_name: RedPajamaWikipedia


As a guide, Chris starts from £300.
Chris is a highly experienced performer and entertainer for over 25 years who has worked nationally for top class venues and clients. A full member of the British Actors' Equity Association. She has an easy going manner with the talent and skills to ensure that your guests are delighted and entertained!


text:
Artemisia Gentileschi Cleopatra
Fondazione Cavallini Sgarbi
Exhibit Artwork
Artwork Details
The painting was first mentioned in 1945 when the writer Antonio Baldini (Rome, 1889-1962) published an article in the popular weekly magazine "L'Europeo" recording the restoration work in which the veil that was added afterwards to cover the figure was removed. The revelation of the original forms of Cleopatra then believed a work by Guido Cagnacci, inspired the writer to a literary digression about female beauty, which is most certainly linked to the curvaceous sensuality of the image. Roberto Longhi preserved a copy of the work which he kept in the folder dedicated to Guido Cagnacci in his photo library. There it was seen and attributed to Artemisia with great delight by Gianni Papi, who published the news on "Paragone" in 1994 (Papi 1994, p. 197). Despite the real origin of the work being quite evident, it was strangely left unnoticed in R. Ward's monograph (1999). The writer identified the work in a Roman house in the early 90s'. Yellow tones blurred and softened their plastic power and seemed to support the traditional attribution to Cagnacci until a simple cleaning brought back the original characteristics of energy and realism that were typical of Artemisia. The feminine figure with almost defiant heaviness and ungainly physical form is elegantly contained by a bright red drapery, closely related to the cold style of her father, Orazio. However, this is a contrast since everything in this female figure speaks of senses and sensuality. Not only her body, which has never been so shameless or excessive even in Caravaggio's crudest subjects, but also her languid and lustful face. This Cleopatra is a paradigm of realism: the lesson of the full maturity of the father is overwhelmed by her real love for Caravaggio's art, without indulging in the subjects. Or better still, with a sexual reversion. The naked and lascivious bodies of Caravaggio's paintings are comprehensively masculine; from Amor Vincit Omnia to St. John the Baptist. Artemisia translated this inspiration into the feminine figure. The impact is even stronger and more evident, both compared to the figures of Venus or Danae by Titian (not to mention Bronzino's nude figures) and those of her contemporaries Guido Reni, Guercino and Orazio himself. We might remember the very classic Cleopatra by Guercino at Palazzo Rosso in Genoa and its elegant languor, an artistic equivalent of melodrama. Artemisia changes everything. Her realism is absolute, imminent, without any lyrical on intimist concessions. Even Caravaggio shows more prudence, while Cagnacci represents intellectual sensuality, in a more sophisticated manner. Rarely has a nude figure given up in form and pose to any external pleasantness. From this Cleopatra, we can sense the smell, the sweat, the stench. It is not easy to conceive the excessive volumes in the arms and belly of this Cleopatra, who has never been less regal. She is a woman and nothing else, body before soul, existence before essence. Artemisia paints her manifesto, not with the idea of psychological independence of a woman, but with freedom of the body, and freedom to lose harmony. Then the head thinks and suffers. Death is coming, the senses are abandoned, and the consciousness fades. Almost unconscious Cleopatra feels a distant pain. In her body and her head, the animal responds. Every other similar image of the same period, compared to this, shows a grace, an intention to make the extreme gesture almost forgotten, in the measure of forms, in the delirium of an actress who is playing her part. Artemisia's Cleopatra is a woman who is dying and has no time to think about the elegance of her body or to look graceful. Pain is physical, not the idea of pain. There is perhaps an autobiographical transposition in this face that recall Artemisia's other works. The beauty of the face turns into a grim, the lust of the body into the abandonment of the flesh. Certainly, there is no uncertainty, there is no hesitation in the gesture of this determined Cleopatra, without languor and who is indeed courageous and not feminine at all. This attribution to a woman of noble attitudes, usually referring to the masculine world, is a novelty element in painting, also for its chronology and relation to the work of Orazio, starting around 1620. For his reason, it can be compared to Lucrezia of the Pagano collection in Genoa (see Garrard 1989, pp. 54-55, 501, not counting the previous bibliography, and the document of G. Contini, Artemisia 1991, pp. 160-162), which is equally explicit and superb in its 'extra-feminine' virtue.
Artist Details
View All From Artist
Artemisia was the daughter of a Tuscan artist, Orazio Gentileschi.
Her mother died when she was very young and she had her first artistic training in her father's workshop, whose style represented the late Mannerism, and who had investigated Caravaggio's revolutionary representation of light. Orazio gave her daughter very brief and strictly limited training in his workshop, where Artemisia practiced copying prints, drawings and replicas in his father's study. In the 17th century painting and sculpting were hardly practiced by women, who were kept away from male artists to avoid contacts which would be considered indecent and not conforming to the morals of the time.
Artemisia's first important work was Susanna and the Elders from circa 1610, where the young artist shows that she had learned well Caravaggio's style and the representation of realistic figures - however, still very much linked to the classicist examples of Carracci – and contrasts of chiaroscuro, influenced by Orazio's teachings.
The following year, in 1611, Gentileschi wanted to continue his daughter's education for her great artistic talent. He hired his friend, a quadrature painter Agostino Tassi, to give Artemisia lessons in painting, teaching her perspective, in which he was specialized. Tassi's difficult character did not worry Orazio, who entrusted his young daughter to him. However, Tassi abused her in her own home.
Artemisia immediately told her father the terrible gesture, which not even a reparatory marriage - a common solution used at the time in such cases - could have resolved, as in fact, Tassi was already married. Horace filed a case against the rapist, which was a tough test for Artemisia to pass. In fact, someone questioned the truthfulness of the young woman's story at the trial, creating suspicion that she herself had actually consented at the time of the rape. Artemisia was repeatedly subjected to invasive examinations, both from physical and psychological point of view, as well as to an interrogation using torture called "tortura dei sibilli", to be sure that she was telling the truth. This meant, that her thumbs were tied and slowly pressed more and more with an instrument until they were almost crushed and she risked losing her fingers.
She passed the terrible test and the trial ended with Tassi being sentenced, which, however, was never delivered. He was protected by powerful Romans and bribed testimonies who would spread false rumors about Artemisia and so Tassi continued his normal life and artistic activities in Rome.
It was also for this reason that Gentileschi left Rome and went to Florence after the trial, where she married a modest painter named Antonio Stiattesi, in a reparatory marriage. In this period Artemisia painted the first version of the subject that would recur in her works, Judith Beheading Holofernes, preserved today at the museum of Capodimonte, characterized by raw and bloodthirsty realism and violent representation of the murder. Artemisia achieve a great success in Florence. The court of Grand Duke Cosimo II de' Medici, to whom she was introduced by her uncle Aurelio Lomi, brought her important commissions and close to famous figures such as Galileo Galilei and Michelangelo Buonarroti. In 1616 she became the first woman to be admitted to the prestigious Academy of Drawing Arts. In Florence Artemisia painted another version of Judith and her Maidservant with the Head of Holofernes (1618-1619), preserved today at the Galleria Palatina of Palazzo Pitti and the famous Judith Beheading Holofernes of the Uffizi Galleries.
In 1620 Artemisia returned to Rome, forced to face her unhappy marriage and disastrous economic situation, worsen by the birth of her four children. In Rome she was free from her demanding father and she was able to distinguish herself in modern artistic and cultural circles and she met other Caravaggesque painters, such and French Simon Vouet, José de Ribera, Antiveduto Gramatica and Massimo Stanzione.
Between 1627 and 1630 Artemisia moved to Venice, then perhaps to Genoa, where her father Orazio was staying. In 1630 she went to Naples, which she left for a brief stay in England, at the court of King Charles I, where she met her father who had moved to England. Artemisia died in Naples in 1653, where she had painted important works such as the three canvases for the cathedral of Pozzuoli, dedicated to Saint Proculus, several self-portraits and where she had close relationships with important active artists in the city at the time, some of which she had already met in Rome, such as Ribera and Stanzione.
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The Cavallini Sgarbi Foundation was founded in 2008 by the couple Caterina "Rina" Sgarbi and Giuseppe "Nino" Sgarbi and their daughter and son, Elisabetta and Vittorio.
It is located in Ro Ferrarese, in their family home, which is now owned by the Elisabetta Sgarbi Foundation and it houses hundreds of works of art – paintings and sculptures from the 13th to the 20th century – that have been acquired in more than thirty years of passionate collecting.
The Cavallini Sgarbi Foundation promotes culture and research and works in collaboration with public and private institutions, organizes exhibitions inspired by rigorous scientific projects. The museum activity includes preservation, valorization and the possible increase of the art collections. The Foundation encourages the art education through training activities and support studies on the history of medieval and modern art with a particular attention to minor contexts and Italian artistic geography.
In addition to its art collection, the Foundation preserves a remarkable library, with sources of art and local stories, starting from the 16th century. For the will of its founders, the works of the collection and the library are accessible to art enthusiasts and scholars.
After having acquired, since 1976, 2800 titles of the 3500 works listed by Julius Schlosser in his Letteratura Artistica, Vittorio Sgarbi understands that "paintings and sculptures could be more convenient and enjoyable than the rarest book". This illumination came from his encounter with Mario Lanfranchi, a master collector, the first of many persons he met after abandoning the university dogma that led him to "look artworks as spiritually universal goods, only materially unavailable".
Thus, in 1983 while crossing San Domenico di Niccolò dell'Arca, Sgarbi decides that he would no longer "buy things that are possible to find, whose existence could be presumed, but things that were not known to exist for their unusual nature, or things that were even unthinkable".
As he himself says "the hunt for paintings has no rules or goals, it is unpredictable. You don't find something you're looking for; you look for what you can find. Sometimes it is far beyond desire and expectations". From this unstoppable impulse, which was closely connected to the love for beauty and the homeland, from this "rhapsodic, original collecting, that aspires to exclusive relationships with artworks as if they were living persons" arose a real summa of Italian art, between painting and sculpture, from the 13th century to our days: a cultivated assortment that reflects the broad and multifaceted culture of those who have found, acquired, studied and ultimately protected the precious pieces that built it.
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Happy Birthday, Hayao Miyazaki!
January 5, 2012 Matt Blum
Hayao Miyazaki. Photo: Natasha Baucas, via Wikimedia Commons
Today marks the 71st birthday of legendary animator and director Hayao Miyazaki. Sometimes referred to as "Japan's Walt Disney," Miyazaki is responsible for some of the best animated films of the last 30 years, including (but certainly not limited to) My Neighbor Totoro , Princess Mononoke , Ponyo , and the brilliant Spirited Away — which remains the only film produced outside the English-speaking world to have won the Academy Award for Best Animated Feature.
Growing up, Miyazaki had wanted to be a Manga artist, but reportedly shifted his focus to animation during high school. After working as an animator in other studios in his twenties and thirties, Miyazaki came into his own with 1984′s Nausicaä of the Valley of the Wind , the first feature he both wrote and directed. The next year saw the founding of Studio Ghibli with fellow director Isao Takahata, and the animation studio quickly gained a reputation as one of the best in the world.
Beginning with Princess Mononoke in 1999, Disney has released most of Miyazaki's films in the United States with dubs done by prominent actors and actresses. While that film did poorly at the box office, likely mostly due to lack of marketing, later releases such as Spirited Away and Ponyo have done quite well. Next month Disney will release a similarly-dubbed version Studio Ghibli's The Secret World of Arrietty , the first Ghibli film distributed by Disney that was not directed by Miyazaki, but rather by his protégé Hiromasa Yonebayashi.
So please join all of us at GeekDad in wishing Hayao Miyazaki a very happy 71st birthday, and many more to come!
Tagged Hayao MiyazakiMiyazakiPrincess MononokeStudio Ghibli
A Google-a-Day Puzzle for Jan. 6
One Face Book That Kids Are Sure to Like
June 13, 2012 Dave Banks
Support GeekDad and GeekMom: Pledge $1 a Month (Or More!) on Patreon to Keep Us Blogging
January 28, 2018 January 27, 2018 Ken Denmead
Voice Acting With Wreck-It Ralph
October 19, 2012 Jim MacQuarrie


Spectrophotometer Hach DR2800. Range of absorbance of 340 to 900 nm. Operating mode: absorbance, transmittance and concentration. Bandwidth < 8 nm. Memory for 500 measurements. Includes test samples of Iron, Ammonium, Nitrites, Chlorine and color. Manual of instructions.


Al-Sager Clinic held its annual celebrations on 21 and 22 March at the clinic's premises in Al-Adaliyah area with a wide range of festivities that were attended by distinguished guests, doctors and medical staff, as well as a large gathering of families from the area.
The event began with a speech by renowned medical practitioner Dr. Hamed Hanafi, which was followed by speeches delivered by other dignitaries at the function.
An interesting one-act play by students of Adaliya Primary Girls School was followed by appreciation and presentation to ideal employees from each department. A two-day exhibition on herbal medicine, food supplements and medical equipment was held on the sidelines of the celebrations. Also, as part of the celebrations, a marathon was held for students at the local school, which was sponsored by Bubiyan Bank and gift hampers were handed out to helpers at the clinic in appreciation of their services.


Circumnavigation of Rab with visits to Sv. Grgur, Prvic, Goli Otok and Zavratnica Bay on the Croatian mainland.
Thanks so much for sharing Lopar with us on a wonderful one-day trip. It was a great introduction to sea kayaking for our 8-year-old, and being able to see the secluded beaches and slower pace of the "hidden" Croatia was wonderful. I feel restored after just one day, so I am hoping to join you on a multi-day trip in the future!
As a professional canoeist I was looking for a "professional" sea-kayak provider when I found Jogi's website. As it turned out, it was not just a really informative website. Jogi helped me organizing everything for my 9 days stay in Croatia.From the pick up at and transfer back to the airport, the accommodation, the complete sea-kayak equipment for my amazing multiday-tour among beautiful islands including planning and guiding me through the tour like with interesting spots, daily weather updates and many other things. The very best of all was from my point of view that I got welcome in his family as it was mine.Many many thanks for all these. I definitely will come again!
I can't begin to tell you how much I enjoyed my trip to your beautiful Croatia. The country itself was spectacular, but you two really made the trip memorable! You were like a stand-up comedy show, even though that was not your intent. I loved the way you two bantered back and forth. On the serious side, I always felt safe and secure with the two of you in charge. You had a great way of looking out for everyone, even those of us with less skill! Also, my birthday cake was so sweet. Who else but you could concoct a "cake" in the wilderness and then decorate the box and top with flowers and stones. I will never forget it! I have been kayaking at our lake house in Vermont this summer quite a bit. There is no comparison to sea kayaking, though!
Last summer a group of 9 us went Sea Kayaking around the island of Rab. It meet all of our expectations and more. It was beautiful and we all had a fantastic time. We had a tailor made package for 2 and a half days and it was fantastic value for money. A great time was had by all and I would defiantly recommend it to anyone. Fab!!
We've been wanting to sea kayak in Croatia for some time and decided to go with a small, local company rather than a large tour operator. What a great decision that was! The 8-day expedition to the Kornati Islands with Sea Kayak Adventure completely lived up to its promise. It was, in every respect, a fabulous adventure. Our guide, Bafo, became more than just an excellent leader, he became a friend as did the other people in our small group. The kayaking was superb, despite some 'weather' and the scenery was breath taking. You need to be someone who can cope with roughing it a bit to do this trip as the camping facilities are basic yet entirely adequate. For us, this was just part of the whole experience and simply added to the sense of adventure. The supplied equipment was very good quality, but we took a pair of extra thick sleep mats, which was a good idea. We're definitely up for another trip.
© 2008 - 2017 Sea Kayak Croatia. All Rights Reserved.


Dakota Donovan is the pseudonym of a ghostwriter for the rich and famous who lives in Los Angeles. She's had many wild and crazy experiences while working with celebrities to tell their life stories, and some of these strange but true tales appear in her Hollywood Ghostwriter Mysteries — starting with the first novel in the series, L.A. SLEEPERS. In her other incarnations, she's written novels, plays, screenplays, and television scripts. Dakota is currently working on the second book in the Hollywood Ghostwriter Mystery series, L.A. DREAMERS.


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The Best Thing About Joe Romm…
AGW catastrophism Climate Change Culture Freedom Global Warming History Omniclimate Policy Politics Science Skepticism
Joe Romm
…is his ability to carry people over with him towards the realm of pure silliness.
Of course I still think that Gavin Schmidt should be considered as the best thing that ever happened to climate skeptics. But while Schmidt's innate ability is to undermine his own arguments to no end (I am sure they guy would lose a debate about UFOs against an astrologer), Romm is becoming an inspiration for a great number of his followers to go along wherever he takes them.
There we have, for example, Tom Friedman's obsession with praising Dick Cheney (!) and China (who cares about its treatment of journalists, when it's investing in "clean energy"?). Yes, Friedman believes every word Romm says. Now however the game is reaching new heights, so to speak, with the most incredibly stupid rhetorical attack this side of Philipp II of Macedon threatening Sparta. The attack, that is, against solidly-warmist Scientific American for the one and only reason of having spoken about Judith Curry.
Romm takes a long long road around the problem, of course, but the main trouble (what? An article about Curry?) is never far…suffice it to say that the article's own author, writing in Climate Central of all places, goes straight to the point, and tries to justify why he "wrote about Judith Curry" and if it is "irresponsible to discuss Curry's views" (rather than deal with Romm's empty complaints about online polls and the use of the IPCC AR4 report).
Lemonick keeps hammering on and on about his crystal-clear orthodoxy…of course, Curry's "valid points" are "often points the climate-science community already agrees with". And of course, "some of her other points are not very persuasive at all". So for Lemonick, Judith Curry either talks trivial, or stupid. Tertium non datur. We're back among miracles.
None of that will ever be enough now that Romm is on the case. And his believers: Salon.com wonders about a "new barbarism" (cue the usual, trite conspiracy theory), whilst the FAIR blog denies there is any (any) "worthy argument" ever made by any climate skeptic (or Judith Curry). So for Jim Naureckas Scientific American did something pretty bad, as "skepticism" is "not a respectable scientific position" because everything the mainstream scientists do is right from day one, and everything the non-mainstream scientists do is wrong by definition. This will go into the miracles list as well.
I tell you, one day Romm or somebody in his coterie will come up with the equivalent of the GIA's 1996 declaration that the whole of Algerian society (apart from a few people) were to be massacred as some kind of "fake Muslims". Even Osama bin Laden could not stomach as much, and we only have to wait until even the most rabid AGWers will have their "Zouabri" moment and wake up to the only possible consequence of Romm's scorched-earth policy: complete and absolute inaction about anything that is climate-related.
And that's why Romm's attack against Scientific American is so incredibly stupid.
Romm's "Smoking And Cancer" Fallacy
carbon emissions Joe Romm lung cancer smoking statistics
Joe Romm is not the only one making the absurd analogy between the smoking-lung cancer link and the carbon emissions-global warming connection:
Everyone knows you can't make a direct connection between carbon emissions and this January in Vancouver which is so damn warm it crushed the record set so long ago that toddlers can't even remember it. It's just a coincidence that we are now in the warmest winter globally in the satellite record.
It's just like that chain-smoking guy who got lung cancer. The fact that he smoked two packs a day is a coincidence. You can't prove it — so keep smoking, already. Sure the statistics show the warming footprint — Record high temperatures far outpace record lows across U.S. — but individual events are just coincidence. I'm telling you.
Romm's sarcasm is wholly inappropriate. The Relative Risk (RR) of developing lung cancer is around 23 for habitual (male) smokers. There is no reasonable "you can't prove it" argument: indeed, here's a checklist of what is needed to understand a phenomenon where most data are of a statistical nature:
Epidemiology should find a strong association (i.e. a high value for RR, e.g. above 3)
A very specific disease should be involved
There should be a consistency between studies and with data from laboratory work, disease incidence trends and other sources
The results should be preferably not involve a rewriting of biology and physics
(you can read more about the complexity of dealing with a statistical understanding of the world at this link)
In the case of smoking and lung cancer, every single point of the checklist is fulfilled. In the case of carbon emissions and global warming:
Point 1 is still ill-defined – notably, the fork between maximum and minimum expected warming has not decreased between the IPCC TAR and AR4. That's a far, far cry from a RR of 23…
Point 2 is still ill-defined – we are given very generic statements "it's going to get warmer", "it will likely be a warm winter", "the likelihood of heavier snowstorms and rainfalls will increase", almost value-free if there's no number attached to them
No need to talk about points 3 and 4. If there's no well-defined data to work on, everything else is a moot point. All in all, it is sad to see just how misinformed somebody like Romm can be, when one is unwilling to find the time to understand the topic at hand. Hasn't he got anybody helping investigating his own arguments???
Be Good At Christmas – Help Save The AGWer
AGW Climate Change Culture Freedom Global Warming Humor IPCC Omniclimate Skepticism
AGWers Al Gore Bill McKibben COP15 Copenhagen Gavin Schmidt james hansen Joe Romm Kevin Trenberth Michael Mann Phil Jones Rajendra Pachauri
(Love the WWF)
If the consensus disappears then it will be game over for the AGWer.
Act now. Adopt now. Adopt an AGWer. With your continual support we can do more to help the AGWer in its struggle for survival.
ADOPT your AGWer HERE
Start giving a regular donation today and you'll receive your adoption pack within the next couple of weeks. It contains an irresistibly fluffy Al Gore doll, skeptic bag, certificate, photos and a greetings card. We'll also send you three updates through the year, letting you know how your donations are helping. An AGW Skeptical Adoption would make a great present, so why not give the gift that makes a big difference!
Photos of AGWers
Don't forget you can also keep track of our group of AGWers, with our special online tracker. You will find all the details of this in your adoption pack.
Last minute gift?
No problem! If you are worried the adoption pack might not arrive in time, you will be able to print or email a gift certificate to give on the day.
A continuous struggle…
Reality is causing the Global Warming consensus to melt and what remains is thinner and more treacherous. AGWers need the consensus to hunt so they are having to travel further and further to reach their prey. As the consensus melts the area is also opened up to proper debate and free discussion and scientific exploration adding independent thinking to the many threats the AGWers already face.
Adult AGWer with two members of the public (AGWers-in-the-making)
…AGWers shelter the public from independent thinking in the safety of their "the debate is over" dens when they go hunting for skeptics. But as the consensus melts, these dens are collapsing – leaving the public vulnerable to skepticism and exposed to extreme discussion conditions.
…experts predict that Global Warming consensus could disappear completely in summer by 2011.
AGWer adoption/gift/present pack
Adopt an AGWer today…
…by adopting an AGWer you can help us save the AGWer and its home from the effects of reality and free discussion.
We must act now to try and save the AGWer from extinction.
What Ever Remains Of Joe Romm?
AGW Climate Change Culture Freedom Global Warming Omniclimate Policy Politics
Climateprogress Joe Romm Stoat William Connolley
Earlier today I posted a comment at Stoat's "Oh no! More snarking" blog. Little I imagined how quickly the situation would evolve in the expected direction.
This is my first comment (#14):
People defending Romm (and I don't mean the way Connolley has mentioned the Caldeira miquote "incident") remind me of that old saying, "He May Be a Bastard, But He's Our Bastard".
I have stopped reading Romm long ago when I realized his only goal is to preach to the converted. I might be missing "much on the political aspect of AGW or on the solutions" but then it is a fact that it is very hard to understand when Romm is right and when he is wrong, given that all critical replies have to be searched via Google (this is a problem on RC as well). And to anybody with Usenet 1990's experience, vitriolic attacks must surely appear supremely boring.
I don't mind if people want to become the Pope of AGW but given the size of the climate problem, I just do not see how any "useful truth" can be produced by somebody's utter unhelpfulness in bringing people together rather than split them in "144k vs the damned".
What can be in Romm's future, in fact, if not more occasions to "overreach" against more and more people, as soon as they will say anything not of his liking. Just wait…one of this days, it will happen to Connolley too.
And so it is just a matter of time before Romm will only be talking to himself.
And there we went in fact. Romm intervened (#26) in what quickly became a disaster, as pointed out by Connolley in his inline replies.
Basically, Romm has been caught providing "out-of-context quotes", so much so "that no-one is going to trust [him] any more" (presumably Connolley just referred to not trusting Romm any more about quoting, but there's little preventing one from expanding the lack of trust to whatever topic about which Romm over-reacts)
Romm has also been found wrong about a remark by Keith Kloor, and invited to stay quiet rather than being impolite. So as somebody keeps claiming, Romm is still "not a liar" but it looks like the only thing saving Romm's (AGW) soul at this point is his "substance".
Climate Is Weather When It Is Not Climate, Weather Is Climate When It Is Not Weather. Or Not?
AGW catastrophism Climate Change Cooling Culture Global Warming Omniclimate Policy Science Skepticism
Andrew C Revkin climate forecasts Climateprogress Joe Romm Met Office
or…"Climate Belief In Disarray"
Front-page article today by Andrew C Revkin on the International Herald Tribune about the problem of "selling" any urgency for warming-stopping CO2 emission cuts to the public in a non-warming planet (now that that concept has been accepted even by the hardest climate integralist).
Parts of what is reported by Revkin is interesting as it appears there is no shortage of scientists providing all sorts of opinions on why the world has not been warming as expected. Trouble is, if the recent 10-year-long set of observations showing "non-warming" cannot be used to falsify AGW, then no 10-year-long set of any observation showing anything can be used to demonstrate AGW either.
Therefore there is no meaning in the just-released climate forecasts by the Met Office talking about "the odds of a 15-year pause" after analysing "how often decades with a neutral trend in global mean temperature occurred in computer modelled climate change simulations" (my emphasis).
In fact, some are fond to say that climate is a 30-year-long average of weather. Well, if that is true, all we should be scientifically able to talk about with any amount of knowledge, is the climate trends for… 1979.
Everything else is (interesting, but just) speculation.
ps Dr Mojib Latif says he "gives about 200 talks to the public, business leaders and officials each year". There are 365 days, in most years. At what times during the year is then "climate science" studied at the Leibniz Institute of Marine Sciences at the University of Kiel, Germany? And shall we worry about the absence of private life for AGW scientist-advocates?
pps Shame to Revkin for publishing this absurdist remark by Joe Romm: "We need all the unmuffled warnings we can get". Why? Because Romm is a known "muffler" himself.
How Much Wrong Can Joe Romm Be? That Moon Hoax Again…
AGW catastrophism Climate Change Global Warming History Omniclimate Politics Science Skepticism
Alfred L Wegener Apollo Moon Hoax Barry Marshall Climate Progress conspiracy Galileo Galilei J Harlan Bretz J. Robin Warre Joe Romm Johann Ludwig Wilhelm Thudichum Reg Sprigg Sir Gilbert Walker
I have already blogged some time ago about the flawed comparison between AGW skeptics and people believing in the Moon landing hoax. It takes just a sentence: the Apollo mission are historical events (i.e.: they belong to the past, they have already happened), global warming is a forecast projection (i.e.: it is about the future, it has not happened as yet).
Or to explain it the way of Donald Rumsfeld: arguing if an apple that is already on the ground, is on the ground, is absolutely different than arguing if apple that is still on the tree, will or will not eventually be on the ground.
With the usual bottom scraping and blatant headline-following that characterizes his blog, it is now Joe Romm's turn to recycle the same logic-free pontificating, on the back of the 40th anniversary of the first Apollo lunar landing. Only this time, the point appears to be about an "overall conspiracy".
According to Romm in fact, claims for a "large conspiracy" would be needed to keep AGW skeptical arguments alive, just as they are fundamental to all Moon-hoax accusations. Citing Harold Ambler by way of Anthony Watts, Romm writes:
Watts approvingly reprints denier manifestos that claim global warming "is the biggest whopper ever sold to the public in the history of humankind" — see here. As I've written, such a statement is anti-scientific and anti-science in the most extreme sense. It accuses the scientific community broadly defined of conspiring in deliberate fraud
But that is simply not true: it is just a form of reductio ad absurdum (as if one needed any more evidence of Romm's inability to properly argue a point without infantile rhetorical attempts).
In general, the fact that people sell a "whopper" does not necessarily mean they are knowingly participating in a conspiracy and/or committing fraud: otherwise, jails the world over would be full of astrologers, wizards, sorcerers, and most probably experts in homeopathy and chiropractic practitioners.
And very pertinent to the AGW skepticism case is that the history of Science is full of examples where quite large "whoppers" have been "sold to the public" by scientists building up and then defending a flawed consensus. Perfectly honest scientists, one can safely assume, with a deeply-held belief that their consensual understanding of the world was the right one.
We know now that such a "consensus" attitude has hindered the scientific careers of scientists, among them Galileo Galilei, Alfred L Wegener, J Harlan Bretz, Sir Gilbert Walker, Johann Ludwig Wilhelm Thudichum, Reg Sprigg. Recent Nobel Prize winners Barry Marshall and J. Robin Warren may have been just lucky to see their consensus-busting findings recognized whilst still alive.
Still, the fact that scientists fall repeatedly and across the centuries in the trap of "consensus" needs no conspiracy. It cannot be interpreted in any other way than as demonstration that scientists are human beings and that like all other human beings they introduce their subjective feelings, emotions, tribal drive, and who knows what else in the purportedly objective scientific process.
Nobody needs a "large conspiracy" to explain why it is so difficult to publish anything that does not include the customary "this may be caused by global warming" statement. All it takes is a large enough amount of scientists and science-related people convinced of the "truth" of Anthropogenic Global Warming, determined to read and to support only whatever confirms their prejudices.
The "consensus" behavior in AGW is exacerbated further by so many AGWers living under the impression that they are saving the planet. Under those circumstances, the esprit de corps is understandably as strong as it can be (this explains the existence of anti-skeptic rants such as Romm's).
All in all, it is deeply ironical to find that it is Romm's statement the one "anti-scientific and anti-science in the most extreme sense", deep in its core. Because if there is one thing everybody in the scientific community should be well aware of, it is that whatever they will tell the public, it is likely to be wrong one way or another. As per this Bertrand Russell quote:
Although this may seem a paradox, all exact science is dominated by the idea of approximation. When a man tells you that he knows the exact truth about anything, you are safe in inferring that he is an inexact man. Every careful measurement in science is always given with the probable error… every observer admits that he is likely wrong, and knows about how much wrong he is likely to be.
Nothing to Show: AGWers' Big Stumbling Block
Abrupt AGW catastrophism Climate Change CO2 Emissions Culture Data GHG Global Warming IPCC Omniclimate Policy Politics Science Skepticism
AGW Movement Andrew C Revkin Climate Feedback Climate Progress DotEarth environment environmentalims Heliophage Joe Romm Nature New York Times
UPDATE NOV 29: William M Connolley says he is not impressed by Romm's list either
There's an underlying feeling of desperation in Joe Romm (ClimateProgress)'s "What are the near-term climate Pearl Harbors?", a list "of what might drive action strong enough to avoid the worst".
The list includes the Arctic "ice-free before 2020", "superstorms like Katrina", "a heatwave as bad as Europe's 2003" , and the 2012 IPCC Fifth Assessment Report (perish the thought it might be less catastrophiliac than the Fourth Assessment Report…).
Note that Romm's blog has been echoed by Heliophage, on Andrew Revkin's Dot Earth, and in Nature's Climate Feedback. An unwise move, if you ask me: one wonders what people would make if they knew that those claiming to work towards saving Planet Earth, are actively hoping disasters of all sorts befall upon us.
Talk about striving for unpopularity!!!
The desperation is evident in the fact that a person allegedly as well-informed on climate stuff as Romm, comes up with wholly inappropriate examples. Katrina was a big storm but not more superstorm than other hurricanes (Romm even acknowledges this point), and the destruction of New Orleans was evidently a matter of bad engineering and incompetent relief management. Didn't he have anything better to put forward?
Likewise for the European heatwave of 2003. And even more importantly: neither Katrina, nor the European heatwave, can be linked to Climate Change and/or Global Warming. And so if, say, another heatwave will materialize, it will tell us absolutely nothing about Climate Change and Global Warming.
Actually, looking at the list of 9 items posted by Romm, the only ones that may provide ammunitions to the AGW cause may be the ice-free Arctic, and "accelerated mass loss in Greenland".
Most likely, Romm is simply and perhaps unwittingly acknowledging the fact that for all the huffing and all the puffing, there is very little that AGWers can show to support their claims.
Look at when Revkin (a journalist I am grudgingly but steadily learning to respect) makes a very clear point to Romm:
As I [Revkin] wrote in 2006 ("Yelling Fire on a Hot Planet") problems that get people's attention (and cause them to change) are "soon, salient and certain" and the dangerous aspects of human-forced climate disruption remain none of those things
In other words, the dangers of AGW are not about to happen, they are not strikingly conspicuous, and they are not sure or inevitable.
And what has Romm got to reply to that? Very little. Actually, almost nothing: he spells out some kind of humanitarian deathwish, a desire for a big climate crisis; makes a critical point against journalists (who doesn't); and decries how he understands things but most people don't:
Multi-hundred-billion-dollar-sized government action happens only when there is a very, very big crisis […] labeled as such by very serious people who are perceived as essentially nonpartisan opinion leaders […] bad things must be happening to regular people right now […]
Better journalism would help. […] We simply don't have a critical mass of credible nonpartisan opinion leaders who understand the nature of our energy and climate problem.
Revkin's "soon, salient and certain", by the way, is a quote originally from "Helen Ingram, a professor of planning, policy and design at the University of California, Irvine".
Won't Prof. Ingram be excited upon hearing that salience is not a problem, but persons not being bright enough is…
The supreme pinnacle of irony, in the Romm/Revkin exchange, lies in the former's misunderstanding of the latter's point about "certainty". In 2006, Revkin noted that:
Projections of how patterns of drought, deluges, heat and cold might change are among the most difficult, and will remain laden with huge uncertainties for a long time to come […]
While scientists say they lack firm evidence to connect recent weather to the human influence on climate, environmental campaigners still push the notion […]
Romm's reply? Another accusation, refusing to acknowledge Revkin's first point (emphasis in the original):
You [Revkin] understand this but you don't convey this to your readers: Doing nothing or doing little eliminates the uncertainty.
Romm's near-term climate Pearl Harbors post, actually, does look suspiciously as a way of "pushing a notion" the non-scientific notion of connecting recent weather to (future?) climate change.
The above doesn't look very promising for the AGW movement.
I am actually starting to think that the problem is in the fact that most AGWer haven't grasped the nature of the issue they are concerned about. And so they use the tools learned to protect pandas or clean up the Hudson river. And for most intents and purposed, they fail: because, as Revkin has realized, Anthropogenic Global Warming, aka Climate Change, truly is a completely different beast.


text:
Q: How do you find a specific tag based on parents in capybara and rspec? Currently I have two tests that each individually test for a button_click within a form on the same page with no ids but both have the same text Go.  So what is happens is capybara/rspec only tests the first instance of the Go button for both tests.   Is there a way to find something based on the parents? I don't want to have to modify my functional code by adding an id just for the sole purpose of testing.  I was thinking of something like test_form > input[type='submit'] but that doesn't work.
Current code:
let(:submit) {"Go"}

describe "with valid information" do
  before do
    fill_in "email",        with: "stuff@example.com"
    fill_in "password",     with: "stuff"
  end

  it "should create a user" do
    expect {click_button submit}.to change(User, :count).by(1)
  end
end

Current Gems:
rails 3.2.6
rspec-rails 2.10.1
capybara 1.1.2

A: You can specify within which selector you want your button, see doc


Lincoln, the latest effort from Director Steven Spielberg, follows Abraham Lincoln and his attempts, during January 1865, to pass the 13th Amendment (which would eventually pass, thus abolishing slavery.) While the majority of his cabinet felt that he should instead focus on the end of the Civil War, Lincoln felt it imperative that this amendment pass as he didn't want former slaves to become slaves once more following the end of the Civil War. Along the way, Lincoln finds some Republicans, known as the Radical Republicans, being led by Thaddeus Stevens (Tommy Lee Jones), fearing the amendment will not pass. The rest of the film deals with this, as well as the final four months of his life, ultimately leading up his to assassination. What results is nothing short of yet another brilliant effort by Spielberg, featuring a rather impressive performance by Lewis.
Going back as far as The Last of the Mohicans, I've found myself continuously enthralled by Daniel Day-Lewis and his method acting. Not only is he able to methodically act out each and every scene, but his performances transform the audience back to whatever time period the character lives in. This trend continues in Lincoln. Here portraying quite possibly one of the most famous men in all of history, Lewis captures (one can assume based on history) the utter essence of who and what Lincoln was. Calm in one scene, serious in the next, Lewis is method acting is all about. In one of the included features below, Producer Kathleen Kennedy discusses how Lewis amazed her and Spielberg each and every day. "He's very immersed into the character, in each and every scene." While there are numerous other excellent performances here, Lewis defines this movie, making it, quite possibly, Spielberg's finest film to date.
Lincoln arrives with a 2:40:1 framed, AVC MPEG-4 encoded transfer, one of which brilliantly captures long-time Spielberg collaborator Janusz Kaminski's visions. The film in and of itself has quite the dark look and feel to it, with a majority of sequences being shot with very little artificial light. While some may find scenes hard to make out, I found it actually helped to bring home the thematic elements of what Lincoln was both emotionally and psychically going through. With that said, Kaminski has a very keen eye for how he wanted this film to stylistically look. Low lit sequences, as I had mentioned, dominate here, however, detail is never lost. Close-ups result in fine texture details and the image as strong contrast levels. We can easily make out the fabrics on the coats worn by the varying characters. Anomalies like that of print damage, scratches and what not, are obviously absent here. Kaminski and Spielberg's vision for Lincoln results in a truly splendid transfer.
The film's included DTS-HD Master Audio 7.1 mix is excellent. Dialogue is, as one might expect, well reproduced via the center channel. Even though dialogue does dominate many sequences, atmosphere is still quite impressive. We continuously hear background activity, whether dialogue or little, intricate effects from John Williams' sweeping score. Speaking of the score, I found this particular Williams effort to be one of his recent best. The score is touching at times when called upon, yet epic in tone when need be. LFE delivers, again, thanks in part to the splendid use of Williams' score. Even though there aren't many 'demo' sequences, I was still very pleased with what Disney has produced here. All in all, like the video presentation, the film's lossless effort is one of the best of the early 2013 titles.
The Journey to Lincoln – Spielberg and his collaborators discuss the challenges and excitement of bringing this story to the big screen.
A Historic Tapestry: Richmond, Virgina – Spielberg discusses the historical significance of Richmond, Virginia, and why he chose to shoot the film there.
In The Company of Character – Daniel Day-Lewis, and his portrayal of Lincoln, are discussed here via cast and crew interviews.
Crafting The Past – Here we get to examine the re-creation of Lincoln's era through authentic period details in production design, costume and makeup.
Living With Lincoln – Spielberg, and his cast and crew, discuss the battle at Jenkins' Ferry, as well as the epic 13th Amendment showdown in the House of Representatives.
In Lincoln's Footsteps – The film's sound design, film editing, and score by John Williams is touched upon.
Digital Copy – A Digital Copy of the film has been included on a separate disc, playable in iTunes.
DVD – A DVD of the film has been included on a separate disc.
Simply put, Spielberg and co have created an epic film, highlighted by an excellent performance by Daniel Day-Lewis. Disney's Blu-ray is perfect as well, with a truly fine technical presentation, as well as a few features. While I would've liked to hear a commentary by Spielberg or Lewis, I can't overly fault this release. Highly, highly recommended!


text:
Home Special Features Longform
Living In An India Where Godse Temple Is A Reality But Releasing Movies Is A Headache
Anshul Gandhi Updated: Nov 22, 2017, 13:59 IST
"Be it caste or communal violence, they stall the growth of the nation. Let us affirm that we will be free from these tensions."
This is a test. It's a great quote, actually. Threatening violence just because of caste or communal differences does take us backwards as a society. We are better than this, right? I like to think we are. Now, just take a moment here and guess whose quote it is. Difficult? Okay, let me make it easier. The quote is by a seasoned politician, with a bright future. Try and guess again and keep it to yourself. It's a test, remember. Read on.
The controversy around 'Padmavati' has well and truly erupted in the past couple of days. It's been so crazy that I've personally not managed to keep account of all the bounties on the heads of Ranveer, Deepika and Bhansali himself. Is it Rs. 5 crores for deepika's hands or 10 crores for Ranveer's head? And who are these incredibly rich people who are outbidding and sponsoring murders direct on national television?
© BCCL
What we're witnessing in 'Padmavati' protests is the silent extreme majority, that's not silent anymore. And this is not just a one-off. There have been warning signs we've ignored for a few years now. It's a continuation of the dilution of the Indian culture to suit the extremist views of the right wing. We've seen it in other forms earlier - you eat meat, you die; you speak out against the establishment, you're anti-national; you marry outside your religion, it's love jihad. For a country that prides itself for being incredibly tolerant, the evidence points otherwise.
While artists, journalists and anyone with liberal set of values are labelled inconsequential in regards to this new idea of India, the likes of Hindu Mahasabha and Karni Sena are allowed to run amok. Recently, in one of the most bashful displays of power, the Hindu Mahasabha established a 32-inch tall bust of Nathuram Godse, the assassinator of Mahatma Gandhi at its office in Daulatganj, Gwalior City. For them, Godse was a nationalist and the 'temple' at their office is a matter of pride.
"Nobody should have any objection to this as we have set up the temple in our own space. It is Mahasabha's own property," said Mahasabha's Vice-president Jaiveer Bharadwaj, justifying his organisation's actions.
To understand the current political environment of the country, it's important to know what feeds this kind of hate and activism. India is going through an economic downturn. After a massive blow to the Indian economy because of outlandish and brutal policies that were executed badly, the government lead by Narendra Modi is facing unprecedented backlash from its core group of supporters. Be it jobs or the promise of bringing structural reforms to labour laws, the gulf of difference between what was promised and what's been delivered is slowly changing the mood at the ground level. It's not scary enough for an upset in the upcoming state elections but it will definitely be an issue if the tide doesn't turn soon.
Therefore, the current wave of nationalism and cultural protectionism is a quick-fix way to divert attention from issues that truly matter. It's a master-stroke by the government in power but there's a thin line between insanity and genius. Historically, whenever the government of the day muddles in issues that flame communal hatred or pit particular communities against each other, it doesn't end well. Be it Indira Gandhi in Kashmir in 1983 or the Sangh Parivar's agenda of Hindutva now, political parties looking to further their vision of a 'new-age' India with societal controls often blows up with horrendous circumstances.
In contrast then, the hullabaloo surrounding Sanjay Leela Bhansali's magnum-opus 'Padmavati' is intriguing to say the least. The Rajput community contests that some scenes in the movie depict Rani Padmini as the love interest of Khalji, the bashful Muslim ruler who is supposed to have courted Rani Padmini during his conquests in north India. But according to Bhansali himself, that's not the case because the controversial 'dream sequence' was never filmed. This statement from Bhansali must have cleared all such doubts but somehow it snowballed into a bigger controversy thereafter.
"This movie embroiled into so many controversies because of some rumour. Rumour is this, in the movie a dream scene has been filmed between Rani Padmavati and Alauddin Khilji. I have already rejected this claim and also given a written proof of this. Today again, I am reiterating through this video that in our movie there is no such scene between Rani Padmavati and Alauddin Khilji, which would hurt the sentiments of anyone," Bhansali had said in his attempt to clear the rumours.
That there's no dream sequence in the movie is abundantly clear from Bhansali's statement as well as the special screening that was held for a handful of media persons. But still, the release of the movie seems to have been deferred. What is it then that makes the story of 'Padmavati' controversial?
In order to understand the historical account of this story, it's important to note that Khilji defeated the Rana of Chittor in 1303 and subsequently died in 1316. The story of 'Padmavati' though first appears in 1540, in a book of poetry by Malik Muhammad Jayasi, a sufi poet. That there's no mention of Padmavati for 224 years when she's supposed to have committed jauhar to save her honour against a Muslim ruler shows that the Khilji-Padmavati romance theorists did actually got it wrong. Why haven't then the filmmakers made sure that the true story comes out? Were the protests being seen as a good marketing vehicle for a movie with considerable investment?
In hindsight, 'Padmavati' the movie doesn't deserve to be released. In fact, it should be banned. The government, by default, should take steps to stop its screening, now or in future, just because we know how inept it was in stopping all the protests and madness around it. If you are not against it, then you are for it, surely. The makers of the movie have given in to threats and political statements that amount to extortion, even though they can objectively convey that there's not even a single frame with both the characters of Padmavati and Khilji onscreen. They have chosen to take a step back and allow a theatre of threats and lunacy to play and sort itself. It puts up a lot of question marks over their beliefs and priorities because if they can't even stand up for their own work, then why should the audience risk a viewing amidst a threatening and violent environment?
And so, we come back to what it means for India. What it means for a country where installing a statue of a murderer is tolerable but releasing a movie with stories of characters that might actually be fictional, is a headache? Can we continue to call ourselves modern when every difference of opinion is labelled anti-national?
It's all inconsequential. Why? Read that quote once again.
-Narendra Modi
See the irony now?
Modi is essentially a politician PM. And the problem with politicians is that they want us to affirm that we will be free from these tensions (communal, caste violence) but only when it suits their agenda. Other than that, be it Padmavati or Bajirao, Godse or Bhindrawale, they're going to leave you at the mercy of the mob because fear is the best form of social control and that is all they crave, especially when they are in power.
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Kevin Clary was on fire during the September 18 Men's League. Kevin won first place and CTPs on 2, 5 and 7. He won skins on 3, 4 and 7. David Walker finished in second place.
Congratulations to Levi West, 1st place on September 25th. Ray Allen had CTP on holes 2 and 7, and Kevin Clary had CTP on hole 5. Kevin had skins on holes 3 and 6 and Levi had a skin on hole 8.
Plans are to continue league play until the time change but starting times are being bumped up in hopes of finishing before dark.
The annual fall members meeting will be held Saturday, October 20 at the clubhouse. The fall membership special is available and for more information call the proshop at 417.926.4378.
Golfers are taking advantage of the beautiful fall weather. Come visit Wedgewood and enjoy a round of golf.


text:
Free research essays on topics related to: oedipal complex
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text:
Q: Back button not working in fragments I have a MainActivity and some fragments and am using WebView to load some site in all the fragments. Before I wasn't able to go to previous page on press of back button but now I am able to. I have everything working but I can't get a fragment to load on startup. If I add this code in the MainActivity to load a fragment automatically, it works but it breaks the back key navigation in other fragments,
getFragmentManager().beginTransaction()
                .replace(R.id.content_frame
                        , new aboutus())
                .addToBackStack(null).commit();

Is there any other way by which I can load a fragment by default on startup? Here is my MainActivity (including the code to open fragment automatically) ,
package com.science.s11;

import android.os.Bundle;
import android.support.design.widget.NavigationView;
import android.support.v4.view.GravityCompat;
import android.support.v4.widget.DrawerLayout;
import android.support.v7.app.ActionBarDrawerToggle;
import android.support.v7.app.AppCompatActivity;
import android.support.v7.widget.Toolbar;
import android.view.Menu;
import android.view.MenuItem;

public class MainActivity extends AppCompatActivity
    implements NavigationView.OnNavigationItemSelectedListener {

@Override
protected void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.activity_main);
    getFragmentManager().beginTransaction()
            .replace(R.id.content_frame
                    , new aboutus())
            .addToBackStack(null).commit();
    Toolbar toolbar = (Toolbar) findViewById(R.id.toolbar);
    setSupportActionBar(toolbar);
    DrawerLayout drawer = (DrawerLayout) findViewById(R.id.drawer_layout);
    ActionBarDrawerToggle toggle = new ActionBarDrawerToggle(
        this, drawer, toolbar, R.string.navigation_drawer_open, R.string.navigation_drawer_close);
    drawer.setDrawerListener(toggle);
    toggle.syncState();

    NavigationView navigationView = (NavigationView) findViewById(R.id.nav_view);
    navigationView.setNavigationItemSelectedListener(this);
}

@Override
public boolean onCreateOptionsMenu(Menu menu) {
    // Inflate the menu; this adds items to the action bar if it is present.
    getMenuInflater().inflate(R.menu.main, menu);
    return true;
}

@Override
public boolean onOptionsItemSelected(MenuItem item) {
    // Handle action bar item clicks here. The action bar will
    // automatically handle clicks on the Home/Up button, so long
    // as you specify a parent activity in AndroidManifest.xml.
    int id = item.getItemId();

    //noinspection SimplifiableIfStatement
    if (id == R.id.action_settings) {
        return true;
    }

    return super.onOptionsItemSelected(item);
}
@Override
public void onBackPressed() {

    if (aboutus.mWebView!= null) {
        if (aboutus.mWebView.canGoBack()) {
            aboutus.mWebView.goBack();
        } else {
            if (getFragmentManager().getBackStackEntryCount() > 1) {
                getFragmentManager().popBackStack();
            }else{
            finish();}
        }
    }

    else if(amp.mWebView!= null){
        if ( amp.mWebView.canGoBack()){
            amp.mWebView.goBack();
        }else {
            if (getFragmentManager().getBackStackEntryCount() > 1) {
                getFragmentManager().popBackStack();
            }else{
                finish();}

        }
    }
    else if(ask.mWebView!= null){
        if ( ask.mWebView.canGoBack()){
            ask.mWebView.goBack();
        }else {
            if (getFragmentManager().getBackStackEntryCount() > 1) {
                getFragmentManager().popBackStack();
            }else{
                finish();}

        }
    }
    else if(feedback.mWebView!= null){
        if ( feedback.mWebView.canGoBack()){
            feedback.mWebView.goBack();
        }else {
            if (getFragmentManager().getBackStackEntryCount() > 1) {
                getFragmentManager().popBackStack();
            }else{
                finish();}

        }
    }
    else if(subscribe.mWebView!= null){
        if ( subscribe.mWebView.canGoBack()){
            subscribe.mWebView.goBack();
        }else {
            if (getFragmentManager().getBackStackEntryCount() > 1) {
                getFragmentManager().popBackStack();
            }else{
                finish();}

        }
    }
    else{
        super.onBackPressed();
    }
}

@SuppressWarnings("StatementWithEmptyBody")
@Override

public boolean onNavigationItemSelected(MenuItem item) {
    // Handle navigation view item clicks here.
    int id = item.getItemId();
    android.app.FragmentManager fragmentManager = getFragmentManager();

    if (id == R.id.nav_aboutus) {
        fragmentManager.beginTransaction()
                .replace(R.id.content_frame
                        , new aboutus())
                .addToBackStack(null).commit();
        // Handle the camera action
    } else if (id == R.id.nav_amp) {
    fragmentManager.beginTransaction()
        .replace(R.id.content_frame
                , new amp())
            .addToBackStack(null).commit();
    } else if (id == R.id.nav_ask) {
        fragmentManager.beginTransaction()
                .replace(R.id.content_frame
                        , new ask())
                .addToBackStack(null).commit();
    } else if (id == R.id.nav_feedback) {
        fragmentManager.beginTransaction()
                .replace(R.id.content_frame
                        , new feedback())
                .addToBackStack(null).commit();
    } else if (id == R.id.nav_subscribe) {
        fragmentManager.beginTransaction()
                .replace(R.id.content_frame
                        , new subscribe())
                .addToBackStack(null).commit();
    }

    DrawerLayout drawer = (DrawerLayout) findViewById(R.id.drawer_layout);
    drawer.closeDrawer(GravityCompat.START);
    return true;
    }
}

Here is a sample code which I have in all my fragments
package com.science.s11;

import android.app.Fragment;
import android.content.Context;
import android.graphics.Bitmap;
import android.net.ConnectivityManager;
import android.os.Bundle;
import android.view.KeyEvent;
import android.view.LayoutInflater;
import android.view.View;
import android.view.ViewGroup;
import android.webkit.WebSettings;
import android.webkit.WebView;
import android.webkit.WebViewClient;
import android.widget.LinearLayout;
import android.widget.ProgressBar;
import android.net.NetworkInfo;

public class aboutus extends Fragment {

public static WebView mWebView;

public ProgressBar progressBar;
public LinearLayout layoutProgress;

@Override
public View onCreateView(LayoutInflater inflater, ViewGroup container,
                         Bundle savedInstanceState) {

    View v = inflater.inflate(R.layout.aboutus, container, false);
    mWebView = (WebView) v.findViewById(R.id.aboutuswebView);
    progressBar = (ProgressBar) v.findViewById(R.id.progressBar);
    layoutProgress = (LinearLayout) v.findViewById(R.id.layoutProgress);
    mWebView.setVisibility(View.GONE);
    mWebView.getSettings().setCacheMode(WebSettings.LOAD_DEFAULT);
    WebSettings webSettings = mWebView.getSettings();
    webSettings.setJavaScriptEnabled(true);
    mWebView.getSettings().setCacheMode(WebSettings.LOAD_CACHE_ELSE_NETWORK);
    WebSettings settings = mWebView.getSettings();
    settings.setSupportMultipleWindows(true);
    settings.setBuiltInZoomControls(false);
    settings.setSupportZoom(false);
    settings.setDisplayZoomControls(false);

    mWebView.setWebViewClient(new WebViewClient() {

        @Override
        public boolean shouldOverrideUrlLoading(WebView view, String url) {
            view.loadUrl(url);
            return true;
        }

        @Override
        public void onPageFinished(WebView view, String url) {
            mWebView.setVisibility(View.VISIBLE);
            layoutProgress.setVisibility(View.GONE);
            progressBar.setIndeterminate(true);
            super.onPageFinished(view, url);

        }

        @Override
        public void onPageStarted(WebView view, String url, Bitmap favicon) {
            layoutProgress.setVisibility(View.VISIBLE);
            progressBar.setIndeterminate(false);
            super.onPageStarted(view, url, favicon);
        }

    });

    if (isOnline()) {
        mWebView.loadUrl("http://science19.com/index.php");
    } else {
        mWebView.loadUrl("file:///android_asset/cti.html");
    }
    return v;
}
public boolean onKeyDown(int keyCode, KeyEvent event) {
    if ((keyCode == KeyEvent.KEYCODE_BACK) && mWebView.canGoBack()) {
        mWebView.goBack();
        return true;
    }
    return onKeyDown(keyCode, event);
}
public static boolean canGoBack(){
    return mWebView.canGoBack();
}

public static void goBack(){
    mWebView.goBack();
}

public boolean isOnline() {
    ConnectivityManager cm = (ConnectivityManager)  getActivity().getSystemService(Context.CONNECTIVITY_SERVICE);
    NetworkInfo netInfo = cm.getActiveNetworkInfo();
    return (netInfo != null && netInfo.isConnected());
}

}

EDIT (added explanation): I actually want to show a fragment on startup of app, the fragment contains WebView. I can do that using this code,
getFragmentManager().beginTransaction()
            .replace(R.id.content_frame
                    , new aboutus())
            .addToBackStack(null).commit();

But I even have other fragments and each and everyone has the ability to go back to previous page on back press. Whenever I use this code, I can't go back to previous page on back press on other fragments, it just works in the fragment which is opened using the code, here it is aboutus. So, why is this actually happening and how can I fix it?

A: With AppCompatActivity use
getSupportFragmentManager()

instead of
getFragmentManager()


I bit of a Hollywood drag this is. The larger part of the film is alright. Jeremy Reins wakes up in some glass cage that appears to be in the back of a car. Almost the whole film we only see Jeremy in this small space trying to figure out what is happening to him and to the world around him. He has contact with someone in the same position, with his kidnappers and later with more people. Such a claustrophobic setup is no longer unique since films such as "Phonebooth" and "Cosmopolis", but not badly executed. Then, towards the end, comes the obligatory moment in which the audience has to be surprised and the film makes a 'duh' turn and then another film-shattering one. The last 10 minutes are awfull! The point that the story contains a couple of serious "goofs" does not help either. Then there is this other thing that the viewer trying to find out what is up together with Jeremy is completely given away on IMdB and the box. Read nothing more about it if you are still interested to watch this film.