text:
Federal Judge orders White House to produce Mueller grand jury info to House impeachment probers…More….
October 25, 2019 By jamesb
This ruling was never in doubt….
Trump's stalling, a common legal tactic is going to fail him in the end on several fronts in his efforts to hold off Congressional oversight of his actions in office….
The problem for Trump on this is that the House investigations, led by the Democrats will NOW use Robert Mueller's evidence against Trump….
Trump will NOT have the Justice Department ( the Justice Department is representing Donald Trump personally against Congress) opinion against him being charged with criminal behaviour to hide behind in the impeachment inquiry and possible charges…
The judges ruling while significant?….
Is most likely to be appealed by Trump's legal people in another attempt to stall things….
A federal judge Friday ordered the Justice Department to release certain grand jury materials from former special counsel Robert S. Mueller III's investigation to the House Judiciary Committee amid its impeachment inquiry. The materials must be disclosed by Wednesday.
The Judiciary Committee had filed suit in July seeking a court order for the release of certain redacted portions of Mueller's 448-page final report on the investigation into Russian interference in the 2016 election, as well as grand jury materials cited or referenced by the report. The ruling said the House panel may also come back to court to seek additional material if needed.
"We are reviewing the decision," a Justice Department spokeswoman said.
In a 75-page opinion, Chief U.S. District Judge Beryl A. Howell of Washington cited a 1974 federal appeals court decision in Haldeman v. Sirica that upheld that congressional impeachment proceedings are excepted from normal grand jury secrecy rules.
"In carrying out the weighty constitutional duty of determining whether impeachment of the President is warranted, Congress need not redo the nearly two years of effort spent on the Special Counsel's investigation, nor risk being misled by witnesses, who may have provided information to the grand jury and the Special Counsel that varies from what they tell" the House, Howell wrote.
She found that a House impeachment investigation and Senate trial qualify under a grand jury material exemption that permits prosecutors to share information "preliminary to or in connection with a judicial proceeding."
At a hearing this month, Howell called "extreme" the arguments presented by Trump administration lawyers who opposed the House request for Mueller grand jury materials….
Note..
In the above ruling……
The Federal judge affirmed that the US House can set its own rules in an impeachment inquiry….
This throws out Republican efforts to derail the inquiry by saying it isn't following the rules….
The 'rules' are whatever the House decides they are and they are following past investigations…
Filed Under: Government, Law, Politics Tagged With: Congress, Donald Trump, Federal Judge ruling, House Trump investigations, Law, Mueller Grand Jury evidence, Politics, Trump impeachment inquiry
SUPRISE!
NO!….
Judge's ruling to be APPEALED….
The agency asked Chief District Judge Beryl Howell, an Obama appointee, to hold off on enforcing the Democratic subpoena while the case plays out.
In her Friday opinion, Howell rejected arguments by the DOJ that grand jury materials from former special counsel Robert Mueller's investigation must remain secret. She also ruled that the impeachment inquiry does not require a House floor vote….
The Hill….

redpajama_set_name: RedPajamaCommonCrawl


text:
<?php
/**
 * Created by PhpStorm.
 * User: faubert
 * Date: 08/08/15
 * Time: 23:27
 */

namespace BlogTest\FrontBundle\Controller;

use Symfony\Bundle\FrameworkBundle\Controller\Controller;

class PageRestController extends Controller
{
    public function getPageAction($idpage){
        $page = $this->getDoctrine()->getRepository('BlogTestCmsBundle:Page')->findOneBy($idpage);
        if(!is_object($page)){
            throw $this->createNotFoundException();
        }
        return $page;
    }
}

redpajama_set_name: RedPajamaGithub


text:
UN forum calls for greater investments in statistics to ensure no one, nowhere is left behind post COVID-19
Bangkok - 18 Jun 2020
Pixabay / Manuel Dario Fuentes Hernandez
Increasing investments in official statistics as well as empowering users will be a crucial factor to support post-pandemic socio-economic recovery in the Asia-Pacific region, underscored delegates at the close of a United Nations meeting today.
The Asia-Pacific Statistics Week, organized by the United Nations Economic and Social Commission for Asia and the Pacific (ESCAP), brought together more than 1000 participants representing governments, national statistics offices, central banks, academia and international organisations. 85 papers from 18 countries and eight international organizations were discussed at the four-day virtual forum.
"Official statistics are essential to trust, accountability and transparency. Asia and the Pacific is poised to build back better after COVID-19 with stronger, more empowered national statistical offices supporting inclusive societies. They are innovating and embracing digital transformations," emphasized United Nations Under-Secretary-General and Executive Secretary of ESCAP Ms. Armida Salsiah Alisjahbana at the closing session.
"Official statistics provide governments, businesses and civil society with the indispensable information they need to make good decisions. And they give people and their representatives the tools to have informed debates, to make choices and to hold decision makers to account. The Asia-Pacific Statistics Week is a wonderful example of the reach of official statistics in Asia and the Pacific," shared President of the International Association for Official Statistics Mr. John Pullinger.
The forum focused on progress made towards the Asia-Pacific Collective Vision and Framework for Action for advancing official statistics for the 2030 Agenda under five action areas. It discussed empowering national statistical systems to meet urgent and evolving statistical needs by strengthening statistical skills, modernizing statistical business processes, legal and institutional structures, and engaging users.
While the 2030 Agenda for Sustainable Development has placed greater demand for a wider scope of statistics, many countries in the region continue to struggle with getting the basics such as population and economic statistics right. Participants highlighted the increasing need for regional substantive support in this area, and for more data integration to support analysis of sustainable development issues. They also underscored the importance of engaging users to make national statistical systems more responsive and able to develop strategies for better-informed policy decisions.
Held annually since 2016, the Asia-Pacific Statistics Week is a key forum in the region that provides a platform for knowledge sharing among practitioners involved in the production and use of statistics.


Hi-Tech Cryogenic Oxygen/Nitrogen Plants is designed and built to the highest standards of reliability and efficiency to meet the most severe operating conditions. Each plant is assembled completely, thoroughly inspected and tested for performance under actual operating conditions to assure the highest level of quality. The modular design of the HTO Series plant minimizes transportation and handling expense and enables rapid on-site installation. Packaged for shipment in two 40' ISO containers, the plant can normally be installed and commissioned within two days, requiring only a simple foundation. On-site plants make the constant supply of nitrogen or oxygen less reliant on delivered liquid. Proven cryogenic technology combined with a robust control system makes our plants a source of reliable gas supply.
Completely Pre-Piped & Skid Mounted.
Full containerized shipments right from factory.
All Steel design suitable for Medical grade oxygen as per US or EN Pharmacopeia.
Designed in accordance with local standards.
On-site start-up Training and assistance by Hi-Tech's technicians anywhere in the World.
Our Plant Provides from 30 to 500 Nm3/hr of Oxygen Gas. Use the following Table to determine which model is most suitable to your application.
-Higher Capacity / Custom Built units also available, makeup with recirculated cooling water system, Specific power excludes cooling water system.


To fight at New Orleans.
And those who fighting fell.
Men shoot the buck or doe.
And only eight were slain.
Built from the swampy mold.
The bulldogs of the Crown.
Marked faintly in the white.
In many a heavy fold.
That swift and steady came.
With corpses of the slain.
Wait till your shots will tell!
See that you do it well!"
Before the floods of May.
Came to their work again.
It shows no sign of fear.
And on its march he led.
He led the fighting Third.
And take him to his rest!
I could not for my life.
Our foeman though he be.
The ranks in twain are cleft.
The soldiers of the Crown!
That mark'd your sires of old!"
And earch seemed all aflame.
The doom of men to speak?
Lies dead at New Orleans.
But where were his lieutenants?
Had they in terror fled?
And Gibbs as good as dead.
And he himself was slain.
Were seen to leave our shore.
That ran along the line.
And made us feel our power.
He passed upon his bay.
Had done their work on him.
Shone forth in glory there.


text:
Home NEWS INTERVIEWS 50 Cent Speaks On Tekashi 6ix9ine Plea Deal
50 Cent Speaks On Tekashi 6ix9ine Plea Deal
Remember not too long ago when 50 Cent and 6ix9ine were going back and forth on social media? It looks like that mentorship has run its course.
Last week, we learned that the Brooklyn rapper has plead guilty to nine charges, and is reportedly providing information to authorities on other crimes and matters.
50 Cent sat down with DJ Drama, where he discussed the case.
"I feel like he gon' tell on everything," he said. "The stuff that they're saying he's talking about is not in the indictment, so he's offering that along with everything else, and then they added those new people to the indictment."
He also addressed on how his music career would be able to recover.
"I think he can make music and people can hear it, but the original core and base that he tapped into won't rock," he said. "He would say, 'You let the little rainbow kid say that to you? You not gon' do nothing?' He had a personality and character that's interesting to watch."
Previous articleIt's here! Meek Mill released the video to this latest single Trauma
Next articleRoxanne Shante Talks New Netflix Movie With Jazz Po, DJ Saige, DJ Dana Lu, and DJ Stephcakes
Megan Rite Interviews the Cast of Game of Thrones
Opening A Supermodel Amusement Park


Highest Title: Won IPO titles in Europe!!
If there was one dog that requires a 5 star red carpet entrance it will be Zeus! Zeus makes you a believer in what an excellent family protection breed the pit bull is! Zeus is one of the best kid friendly dogs that we have seen in all of our 10 years as trainers and as a family! He has gone almost everywhere with us includes the mall, bank, errand runs, 4th of July firework shows - all while dropping jaws along the way. Control, Control Control is what has been instilled into Zeus. During his bitework training the decoy taps him with the sleeve while we tell him to leave him alone and he doesn't move a notch, but at the same time with the bite command he goes to bite with wanting to kill the threat and with the out command he releases and can be petted by that person again. That proves his even temperament and not a crazy dog that just wants to bite everyone and everything!!!
We have also instilled hand signals into Zeus. He can sit, down, stand and stay all from a distance with hand signals! Zeus is also the most laid back serious dog you will meet. He is very calm and relaxed, he will not move once you tell him to stay. The kids can pull on his tail, even mount him as a horse and he will just lick and kiss them. Zeus is the real representation of what a protection dog is . He is nuclear bomb when told to be or a big teddy bear when not to. He also does many more things, too many to list here. Has won many titles in diverse competitions. We have them to prove it!!!
Call or text us (818) 619-8400 .
""""" Real Deal Protection Dogs ; From Our Family To Yours """"""""


text:
// VexFlow - Music Engraving for HTML5
// Copyright Mohit Muthanna 2010
//
// This class implements various types of modifiers to notes (e.g. bends,
// fingering positions etc.) Accidentals should also be implemented as
// modifiers, eventually.

/**
 * @constructor
 */
Vex.Flow.ModifierContext = (function() {
  function ModifierContext() {
    // Current modifiers
    this.modifiers = {};

    // Formatting data.
    this.preFormatted = false;
    this.width = 0;
    this.spacing = 0;
    this.state = {
      left_shift: 0,
      right_shift: 0,
      text_line: 0
    };
  }

  // Static method. Called from formatNotes :: shift rests vertically
  var shiftRestVertical = function(rest, note, dir) {
    if (!Vex.Debug) return;

    var delta = 0;
    var padding;

    if (dir == 1) {
      padding = note.isrest ? 0.0 : 0.5;
      delta = note.max_line - rest.min_line;
      delta += padding;
    } else {
      padding = note.isrest ? 0.0 : 0.5;
      delta = note.min_line - rest.max_line;
      delta -= padding;
    }

    rest.line += delta;
    rest.max_line += delta;
    rest.min_line += delta;
    rest.note.keyProps[0].line += delta;
  };

// Called from formatNotes :: center a rest between two notes
  var centerRest = function(rest, noteU, noteL) {
    var delta = rest.line - Vex.MidLine(noteU.min_line, noteL.max_line);
    rest.note.keyProps[0].line -= delta;
    rest.line -= delta;
    rest.max_line -= delta;
    rest.min_line -= delta;
  };

  ModifierContext.prototype = {
    addModifier: function(modifier) {
      var type = modifier.getCategory();
      if (!this.modifiers[type]) this.modifiers[type] = [];
      this.modifiers[type].push(modifier);
      modifier.setModifierContext(this);
      this.preFormatted = false;
      return this;
    },

    getModifiers: function(type) { return this.modifiers[type]; },

    getWidth: function() { return this.width; },

    getExtraLeftPx: function() { return this.state.left_shift; },

    getExtraRightPx: function() { return this.state.right_shift; },

    getMetrics: function() {
      if (!this.formatted) throw new Vex.RERR("UnformattedModifier",
          "Unformatted modifier has no metrics.");

      return {
        width: this.state.left_shift + this.state.right_shift + this.spacing,
        spacing: this.spacing,
        extra_left_px: this.state.left_shift,
        extra_right_px: this.state.right_shift
      };
    },

    formatNotes: function() {
      var notes = this.modifiers['stavenotes'];
      if (!notes || notes.length < 2) return this;

      if (notes[0].getStave() != null)
        return this.formatNotesByY(notes);

      var notes_list= [];

      for (var i = 0; i < notes.length; i++) {
        var props = notes[i].getKeyProps();
        var line = props[0].line;
        var minL = props[props.length -1].line;
        var stem_dir = notes[i].getStemDirection();
        var stem_max = notes[i].getStemLength() / 10;
        var stem_min = notes[i].getStemMinumumLength() / 10;

        var maxL;
        if (notes[i].isRest()) {
          maxL = line + notes[i].glyph.line_above;
          minL = line - notes[i].glyph.line_below;
        } else {
          maxL = stem_dir == 1 ? props[props.length -1].line + stem_max
               : props[props.length -1].line;
          minL = stem_dir == 1 ? props[0].line
               : props[0].line - stem_max;
        }
        notes_list.push(
          {line: props[0].line,         // note/rest base line
           max_line: maxL,              // note/rest upper bounds line
           min_line: minL,              // note/rest lower bounds line
           isrest: notes[i].isRest(),
           stem_dir: stem_dir,
           stem_max: stem_max,          // Maximum (default) note stem length;
           stem_min: stem_min,          // minimum note stem length
           voice_shift: notes[i].getVoiceShiftWidth(),
           is_displaced: notes[i].isDisplaced(),   // note manually displaced
           note: notes[i]});
      }

      var voices = notes_list.length;

      var noteU = notes_list[0];
      var noteM = voices > 2 ? notes_list[1] : null;
      var noteL = voices > 2 ? notes_list[2] : notes_list[1];

      // for two voice backward compatibility, ensure upper voice is stems up
      // for three voices, the voices must be in order (upper, middle, lower)
      if (voices == 2 && noteU.stem_dir == -1 && noteL.stem_dir == 1) {
        noteU = notes_list[1];
        noteL = notes_list[0];
      }

      var voice_x_shift = Math.max(noteU.voice_shift, noteL.voice_shift);
      var x_shift = 0;
      var stem_delta;

      // Test for two voice note intersection
      if (voices == 2) {
        var line_spacing = noteU.stem_dir == noteL.stem_dir ? 0.0 : 0.5;
        // if top voice is a middle voice, check stem intersection with lower voice
        if (noteU.stem_dir == noteL.stem_dir &&
            noteU.min_line <= noteL.max_line) {
          if (!noteU.isrest) {
            stem_delta = Math.abs(noteU.line - (noteL.max_line + 0.5));
            stem_delta = Math.max(stem_delta, noteU.stem_min);
            noteU.min_line = noteU.line - stem_delta;
            noteU.note.setStemLength(stem_delta * 10);
          }
        }
        if (noteU.min_line <= noteL.max_line + line_spacing) {
          if (noteU.isrest)
            // shift rest up
            shiftRestVertical(noteU, noteL, 1);
          else if (noteL.isrest)
            // shift rest down
            shiftRestVertical(noteL, noteU, -1);
          else {
            x_shift = voice_x_shift;
            if (noteU.stem_dir == noteL.stem_dir)
              // upper voice is middle voice, so shift it right
              noteU.note.setXShift(x_shift + 3);
            else
              // shift lower voice right
              noteL.note.setXShift(x_shift);
          }
        }

        // format complete
        return this;
      }

      // Check middle voice stem intersection with lower voice
      if (noteM != null && noteM.min_line < noteL.max_line + 0.5) {
        if (!noteM.isrest) {
          stem_delta = Math.abs(noteM.line - (noteL.max_line + 0.5));
          stem_delta = Math.max(stem_delta, noteM.stem_min);
          noteM.min_line = noteM.line - stem_delta;
          noteM.note.setStemLength(stem_delta * 10);
        }
      }

      // For three voices, test if rests can be repositioned
      //
      // Special case 1 :: middle voice rest between two notes
      //
      if (noteM.isrest && !noteU.isrest && !noteL.isrest) {
        if (noteU.min_line <= noteM.max_line ||
            noteM.min_line <= noteL.max_line) {
           var rest_height = noteM.max_line - noteM.min_line;
           var space = noteU.min_line - noteL.max_line;
           if (rest_height < space)
             // center middle voice rest between the upper and lower voices
             centerRest(noteM, noteU, noteL);
           else {
             x_shift = voice_x_shift + 3;    // shift middle rest right
             noteM.note.setXShift(x_shift);
           }
           // format complete
           return this;
        }
      }

      // Special case 2 :: all voices are rests
      if (noteU.isrest && noteM.isrest && noteL.isrest) {
        // Shift upper voice rest up
        shiftRestVertical(noteU, noteM, 1);
        // Shift lower voice rest down
        shiftRestVertical(noteL, noteM, -1);
        // format complete
        return this;
      }

      // Test if any other rests can be repositioned
      if (noteM.isrest && noteU.isrest && noteM.min_line <= noteL.max_line)
        // Shift middle voice rest up
        shiftRestVertical(noteM, noteL, 1);
      if (noteM.isrest && noteL.isrest && noteU.min_line <= noteM.max_line)
        // Shift middle voice rest down
        shiftRestVertical(noteM, noteU, -1);
      if (noteU.isrest && noteU.min_line <= noteM.max_line)
        // shift upper voice rest up;
        shiftRestVertical(noteU, noteM, 1);
      if (noteL.isrest && noteM.min_line <= noteL.max_line)
        // shift lower voice rest down
        shiftRestVertical(noteL, noteM, -1);

      // If middle voice intersects upper or lower voice
      if ((!noteU.isrest && !noteM.isrest && noteU.min_line <= noteM.max_line + 0.5) ||
          (!noteM.isrest && !noteL.isrest && noteM.min_line <= noteL.max_line)) {
        x_shift = voice_x_shift + 3;      // shift middle note right
        noteM.note.setXShift(x_shift);
      }

      // Format complete
      return this;

    },

    formatNotesByY: function(notes) {
      // NOTE: this function does not support more than two voices per stave
      //       use with care.
      var hasStave = true;
      var i;

      for (i = 0; i < notes.length; i++) {
        hasStave = hasStave && notes[i].getStave() != null;
      }

      if (!hasStave) throw new Vex.RERR("Stave Missing",
        "All notes must have a stave - Vex.Flow.ModifierContext.formatMultiVoice!");

      var x_shift = 0;

      for (i = 0; i < notes.length - 1; i++) {
        var top_note = notes[i];
        var bottom_note = notes[i + 1];

        if (top_note.getStemDirection() == Vex.Flow.StaveNote.STEM_DOWN) {
          top_note = notes[i + 1];
          bottom_note = notes[i];
        }

        var top_keys = top_note.getKeyProps();
        var bottom_keys = bottom_note.getKeyProps();

        var topY = top_note.getStave().getYForLine(top_keys[0].line);
        var bottomY = bottom_note.getStave().getYForLine(bottom_keys[bottom_keys.length - 1].line);

        var line_space = top_note.getStave().options.spacing_between_lines_px;
        if (Math.abs(topY - bottomY) == line_space / 2) {
          x_shift = top_note.getVoiceShiftWidth();
          bottom_note.setXShift(x_shift);
        }
      }

      this.state.right_shift += x_shift;
      return this;
    },

    formatDots: function() {
      var right_shift = this.state.right_shift;
      var dots = this.modifiers['dots'];
      var dot_spacing = 1;

      if (!dots || dots.length === 0) return this;

      var i, dot, note, shift;
      var dot_list = [];
      for (i = 0; i < dots.length; ++i) {
        dot = dots[i];
        note = dot.getNote();

        var props;
        // Only StaveNote has .getKeyProps()
        if (typeof note.getKeyProps === 'function') {
          props = note.getKeyProps()[dot.getIndex()];
          shift = (props.displaced ? note.getExtraRightPx() : 0);
        } else { // Else it's a TabNote
          props = { line: 0.5 }; // Shim key props for dot placement
          shift = 0;
        }

        dot_list.push({ line: props.line, shift: shift, note: note, dot: dot });
      }

      // Sort dots by line number.
      dot_list.sort(function(a, b) { return (b.line - a.line); });

      var dot_shift = right_shift;
      var x_width = 0;
      var last_line = null;
      var last_note = null;
      var prev_dotted_space = null;
      var half_shiftY = 0;

      for (i = 0; i < dot_list.length; ++i) {
        dot = dot_list[i].dot;
        note = dot_list[i].note;
        shift = dot_list[i].shift;
        var line = dot_list[i].line;

        // Reset the position of the dot every line.
        if (line != last_line || note != last_note) {
          dot_shift = shift;
        }

        if (!note.isRest() && line != last_line) {
          if (line % 1 == 0.5) {
            // note is on a space, so no dot shift
            half_shiftY = 0;
          } else if (!note.isRest()) {
            // note is on a line, so shift dot to space above the line
            half_shiftY = 0.5;
            if (last_note != null &&
                !last_note.isRest() && last_line - line == 0.5) {
              // previous note on a space, so shift dot to space below the line
              half_shiftY = -0.5;
            } else if (line + half_shiftY == prev_dotted_space) {
              // previous space is dotted, so shift dot to space below the line
               half_shiftY = -0.5;
            }
          }
        }

        // convert half_shiftY to a multiplier for dots.draw()
        dot.dot_shiftY += (-half_shiftY);
        prev_dotted_space = line + half_shiftY;

        dot.setXShift(dot_shift);
        dot_shift += dot.getWidth() + dot_spacing; // spacing
        x_width = (dot_shift > x_width) ? dot_shift : x_width;
        last_line = line;
        last_note = note;
      }

      this.state.right_shift += x_width;
      return this;
    },

    formatAccidentals: function() {
      var left_shift = this.state.left_shift;
      var accidentals = this.modifiers['accidentals'];
      var accidental_spacing = 2;

      if (!accidentals || accidentals.length === 0) return this;

      var acc_list = [];
      var hasStave = false;
      var prev_note = null;
      var shiftL = 0;

      var i, acc, props_tmp;
      for (i = 0; i < accidentals.length; ++i) {
        acc = accidentals[i];
        var note = acc.getNote();
        var stave = note.getStave();
        var props = note.getKeyProps()[acc.getIndex()];
        if (note != prev_note) {
           // Iterate through all notes to get the displaced pixels
           for (var n = 0; n < note.keys.length; ++n) {
              props_tmp = note.getKeyProps()[n];
              shiftL = (props_tmp.displaced ? note.getExtraLeftPx() : shiftL);
            }
            prev_note = note;
        }
        if (stave != null) {
          hasStave = true;
          var line_space = stave.options.spacing_between_lines_px;
          var y = stave.getYForLine(props.line);
          acc_list.push({ y: y, shift: shiftL, acc: acc, lineSpace: line_space });
        } else {
          acc_list.push({ line: props.line, shift: shiftL, acc: acc });
        }
      }

      // If stave assigned, format based on note y-position
      if (hasStave)
        return this.formatAccidentalsByY(acc_list);

      // Sort accidentals by line number.
      acc_list.sort(function(a, b) { return (b.line - a.line); });

      // If first note left shift in case it is displaced
      var acc_shift = acc_list[0].shift;
      var x_width = 0;
      var top_line = acc_list[0].line;
      for (i = 0; i < acc_list.length; ++i) {
        acc = acc_list[i].acc;
        var line = acc_list[i].line;
        var shift = acc_list[i].shift;

        // Once you hit three stave lines, you can reset the position of the
        // accidental.
        if (line < top_line - 3.0) {
          top_line = line;
          acc_shift = shift;
        }

        acc.setXShift(left_shift + acc_shift);
        acc_shift += acc.getWidth() + accidental_spacing; // spacing
        x_width = (acc_shift > x_width) ? acc_shift : x_width;
      }

      this.state.left_shift += x_width;
      return this;
    },

    formatAccidentalsByY: function(acc_list) {
      var left_shift = this.state.left_shift;
      var accidental_spacing = 2;

      // Sort accidentals by Y-position.
      acc_list.sort(function(a, b) { return (b.y - a.y); });

      // If first note is displaced, get the correct left shift
      var acc_shift = acc_list[0].shift;
      var x_width = 0;
      var top_y = acc_list[0].y;

      for (var i = 0; i < acc_list.length; ++i) {
        var acc = acc_list[i].acc;
        var y = acc_list[i].y;
        var shift = acc_list[i].shift;

        // Once you hit three stave lines, you can reset the position of the
        // accidental.
        if (top_y - y > 3 * acc_list[i].lineSpace) {
          top_y = y;
          acc_shift = shift;
        }

        acc.setXShift(acc_shift + left_shift);
        acc_shift += acc.getWidth() + accidental_spacing; // spacing
        x_width = (acc_shift > x_width) ? acc_shift : x_width;
      }

      this.state.left_shift += x_width;
      return this;
    },

    formatStrokes: function() {
      var left_shift = this.state.left_shift;
      var strokes = this.modifiers['strokes'];
      var stroke_spacing = 0;

      if (!strokes || strokes.length === 0) return this;

      var str_list = [];
      var i, str, shift;
      for (i = 0; i < strokes.length; ++i) {
        str = strokes[i];
        var note = str.getNote();
        var props;
        if (note instanceof Vex.Flow.StaveNote) {
          props = note.getKeyProps()[str.getIndex()];
          shift = (props.displaced ? note.getExtraLeftPx() : 0);
          str_list.push({ line: props.line, shift: shift, str: str });
        } else {
          props = note.getPositions()[str.getIndex()];
          str_list.push({ line: props.str, shift: 0, str: str });
        }
      }

      var str_shift = left_shift;
      var x_shift = 0;

      // There can only be one stroke .. if more than one, they overlay each other
      for (i = 0; i < str_list.length; ++i) {
        str = str_list[i].str;
        shift = str_list[i].shift;

        str.setXShift(str_shift + shift);
        x_shift = Math.max(str.getWidth() + stroke_spacing, x_shift);
      }

      this.state.left_shift += x_shift;
      return this;
    },

    formatStringNumbers: function() {
      var left_shift = this.state.left_shift;
      var right_shift = this.state.right_shift;
      var nums = this.modifiers['stringnumber'];
      var num_spacing = 1;

      if (!nums || nums.length === 0) return this;

      var nums_list = [];
      var prev_note = null;
      var shift_left = 0;
      var shift_right = 0;

      var i, num, note, pos, props_tmp;
      for (i = 0; i < nums.length; ++i) {
        num = nums[i];
        note = num.getNote();

        for (i = 0; i < nums.length; ++i) {
          num = nums[i];
          note = num.getNote();
          pos = num.getPosition();
          var props = note.getKeyProps()[num.getIndex()];

          if (note != prev_note) {
            for (var n = 0; n < note.keys.length; ++n) {
              props_tmp = note.getKeyProps()[n];
              if (left_shift === 0)
                shift_left = (props_tmp.displaced ? note.getExtraLeftPx() : shift_left);
              if (right_shift === 0)
                shift_right = (props_tmp.displaced ? note.getExtraRightPx() : shift_right);
            }
            prev_note = note;
          }

          nums_list.push({ line: props.line, pos: pos, shiftL: shift_left, shiftR: shift_right, note: note, num: num });
        }
      }

      // Sort string numbers by line number.
      nums_list.sort(function(a, b) { return (b.line - a.line); });

      var num_shiftL = 0;
      var num_shiftR = 0;
      var x_widthL = 0;
      var x_widthR = 0;
      var last_line = null;
      var last_note = null;
      for (i = 0; i < nums_list.length; ++i) {
        var num_shift = 0;
        note = nums_list[i].note;
        pos = nums_list[i].pos;
        num = nums_list[i].num;
        var line = nums_list[i].line;
        var shiftL = nums_list[i].shiftL;
        var shiftR = nums_list[i].shiftR;

        // Reset the position of the string number every line.
        if (line != last_line || note != last_note) {
          num_shiftL = left_shift + shiftL;
          num_shiftR = right_shift + shiftR;
        }

        var num_width = num.getWidth() + num_spacing;
        if (pos == Vex.Flow.Modifier.Position.LEFT) {
          num.setXShift(left_shift);
          num_shift = shift_left + num_width; // spacing
          x_widthL = (num_shift > x_widthL) ? num_shift : x_widthL;
        } else if (pos == Vex.Flow.Modifier.Position.RIGHT) {
          num.setXShift(num_shiftR);
          num_shift += num_width; // spacing
          x_widthR = (num_shift > x_widthR) ? num_shift : x_widthR;
        }
        last_line = line;
        last_note = note;
      }

      this.state.left_shift += x_widthL;
      this.state.right_shift += x_widthR;
      return this;
    },

    formatFretHandFingers: function() {
      var left_shift = this.state.left_shift;
      var right_shift = this.state.right_shift;
      var nums = this.modifiers['frethandfinger'];
      var num_spacing = 1;

      if (!nums || nums.length === 0) return this;

      var nums_list = [];
      var prev_note = null;
      var shift_left = 0;
      var shift_right = 0;

      var i, num, note, pos, props_tmp;
      for (i = 0; i < nums.length; ++i) {
        num = nums[i];
        note = num.getNote();
        pos = num.getPosition();
        var props = note.getKeyProps()[num.getIndex()];
        if (note != prev_note) {
          for (var n = 0; n < note.keys.length; ++n) {
            props_tmp = note.getKeyProps()[n];
            if (left_shift === 0)
              shift_left = (props_tmp.displaced ? note.getExtraLeftPx() : shift_left);
            if (right_shift === 0)
              shift_right = (props_tmp.displaced ? note.getExtraRightPx() : shift_right);
          }
          prev_note = note;
        }

        nums_list.push({ line: props.line, pos: pos, shiftL: shift_left, shiftR: shift_right, note: note, num: num });
      }

      // Sort fingernumbers by line number.
      nums_list.sort(function(a, b) { return (b.line - a.line); });

      var num_shiftL = 0;
      var num_shiftR = 0;
      var x_widthL = 0;
      var x_widthR = 0;
      var last_line = null;
      var last_note = null;

      for (i = 0; i < nums_list.length; ++i) {
        var num_shift = 0;
        note = nums_list[i].note;
        pos = nums_list[i].pos;
        num = nums_list[i].num;
        var line = nums_list[i].line;
        var shiftL = nums_list[i].shiftL;
        var shiftR = nums_list[i].shiftR;

        // Reset the position of the string number every line.
        if (line != last_line || note != last_note) {
          num_shiftL = left_shift + shiftL;
          num_shiftR = right_shift + shiftR;
        }

        var num_width = num.getWidth() + num_spacing;
        if (pos == Vex.Flow.Modifier.Position.LEFT) {
          num.setXShift(left_shift + num_shiftL);
          num_shift = left_shift + num_width; // spacing
          x_widthL = (num_shift > x_widthL) ? num_shift : x_widthL;
        } else if (pos == Vex.Flow.Modifier.Position.RIGHT) {
          num.setXShift(num_shiftR);
          num_shift = shift_right + num_width; // spacing
          x_widthR = (num_shift > x_widthR) ? num_shift : x_widthR;
        }
        last_line = line;
        last_note = note;
      }

      this.state.left_shift += x_widthL;
      this.state.right_shift += x_widthR;
      return this;
    },

    formatBends: function() {
      var bends = this.modifiers['bends'];
      if (!bends || bends.length === 0) return this;

      var last_width = 0;
      var text_line = this.state.text_line;

      // Format Bends
      for (var i = 0; i < bends.length; ++i) {
        var bend = bends[i];
        bend.setXShift(last_width);
        last_width = bend.getWidth();
        bend.setTextLine(text_line);
      }

      this.state.right_shift += last_width;
      this.state.text_line += 1;
      return this;
    },

    formatVibratos: function() {
      var vibratos = this.modifiers['vibratos'];
      if (!vibratos || vibratos.length === 0) return this;

      var text_line = this.state.text_line;
      var width = 0;
      var shift = this.state.right_shift - 7;

      // If there's a bend, drop the text line
      var bends = this.modifiers['bends'];
      if (bends && bends.length > 0) {
        text_line--;
      }

      // Format Vibratos
      for (var i = 0; i < vibratos.length; ++i) {
        var vibrato = vibratos[i];
        vibrato.setXShift(shift);
        vibrato.setTextLine(text_line);
        width += vibrato.getWidth();
        shift += width;
      }

      this.state.right_shift += width;
      this.state.text_line += 1;
      return this;
    },

    formatAnnotations: function() {
      var annotations = this.modifiers['annotations'];
      if (!annotations || annotations.length === 0) return this;

      var text_line = this.state.text_line;
      var max_width = 0;

      // Format Annotations
      var width;
      for (var i = 0; i < annotations.length; ++i) {
        var annotation = annotations[i];
        annotation.setTextLine(text_line);
        width = annotation.getWidth() > max_width ?
          annotation.getWidth() : max_width;
        text_line++;
      }

      this.state.left_shift += width / 2;
      this.state.right_shift += width / 2;
      // No need to update text_line because we leave lots of room on the same
      // line.
      return this;
    },

    formatArticulations: function() {
      var articulations = this.modifiers['articulations'];
      if (!articulations || articulations.length === 0) return this;

      var text_line = this.state.text_line;
      var max_width = 0;

      // Format Articulations
      var width;
      for (var i = 0; i < articulations.length; ++i) {
        var articulation = articulations[i];
        articulation.setTextLine(text_line);
        width = articulation.getWidth() > max_width ?
          articulation.getWidth() : max_width;

        var type = Vex.Flow.articulationCodes(articulation.type);
        if(type.between_lines)
          text_line += 1;
        else
          text_line += 1.5;
      }

      this.state.left_shift += width / 2;
      this.state.right_shift += width / 2;
      this.state.text_line = text_line;
      return this;
    },

    formatGraceNoteGroups: function(){
      var gracenote_groups = this.modifiers['gracenotegroups'];
      var gracenote_spacing = 4;

      if (!gracenote_groups || gracenote_groups.length === 0) return this;

      var group_list = [];
      var hasStave = false;
      var prev_note = null;
      var shiftL = 0;

      var i, gracenote_group, props_tmp;
      for (i = 0; i < gracenote_groups.length; ++i) {
        gracenote_group = gracenote_groups[i];
        var note = gracenote_group.getNote();
        var stave = note.getStave();
        if (note != prev_note) {
           // Iterate through all notes to get the displaced pixels
           for (var n = 0; n < note.keys.length; ++n) {
              props_tmp = note.getKeyProps()[n];
              shiftL = (props_tmp.displaced ? note.getExtraLeftPx() : shiftL);
            }
            prev_note = note;
        }
        if (stave != null) {
          hasStave = true;
          group_list.push({shift: shiftL, gracenote_group: gracenote_group});
        } else {
          group_list.push({shift: shiftL, gracenote_group: gracenote_group });
        }
      }

      // If first note left shift in case it is displaced
      var group_shift = group_list[0].shift;
      for (i = 0; i < group_list.length; ++i) {
        gracenote_group = group_list[i].gracenote_group;
        gracenote_group.preFormat();
        group_shift = gracenote_group.getWidth() + gracenote_spacing;
      }

      this.state.left_shift += group_shift;
      return this;
    },

    preFormat: function() {
      if (this.preFormatted) return;

      // Format modifiers in the following order:
      this.formatNotes().
           formatDots().
           formatFretHandFingers().
           formatAccidentals().
           formatGraceNoteGroups().
           formatStrokes().
           formatStringNumbers().
           formatArticulations().
           formatAnnotations().
           formatBends().
           formatVibratos();

      // Update width of this modifier context
      this.width = this.state.left_shift + this.state.right_shift;
      this.preFormatted = true;
    }
  };

  return ModifierContext;
}());


text:
Home > 2008 > A foundation is sti...
A foundation is still looking for people who saved jews during the Holocaust
Although the purpose comes from the process against Adolf Eichmann, at the beginning of the 60s, during the last times the searching for the saviours of jews from the nazi persecution began to take more power. Those are the Rightous Among the Nations, those who in a terrible situation like the Holocaust, took the risk to help jews people from the extermination plan.
The first commission to recognize to the Rightous was run by the jurist Moshe Landau, who had been in the tribunal that judged and condenmed Eichmann.
But this governmental institution does not have the order to search for them, but just to receive the petition, and a commission presided by a member from the Tribunal Supremo issues the dictamen, based on testimonies from saved people and witnesses.
The saviour by automanasia is the swedish diplomat Raoul Wallenberg, who during the war stopped the deportation of the two ghetos from Budapest, with its 100 thousand inhabitants.
In 1997, the latest american death congressman Tom Lantos – saved bye Wallenberg–, and the argentinean ecumenic leader Baruj Tenembaum created the International Raoul Wallenberg Foundation, with branches in Buenos Aires, New York and Jerusalem.
To work "for the light". "We created the foundation because many people talk about the holocaust and they mention the concentration camps, the destruction. It is the black, dark part, of the era, explain Tenembaum.
"We work with the light, the white part. And we take care of the saviors because they are there. We find them because we search for them. The saviors are there, not only from the Holocaust, but also from the latinamericans military dictactorship, from Yuyoslavia and the Darfur"
"Our times also have some Wallenberg. Certainly, there are several. They may be diplomats or housewifes. Who are they? Those who are there", said Tenembaum.


I had a different experience today. I'm not one to be afraid of change or to be uncomfortable in unusual places, but today was a landmark day. Today was the first day a teacher had to have "the talk" with me about my child's behavior. It's not a mother's shining moment, I can assure you.
I love my kids and their wonderful and unique personalities. I enjoy laughing and playing with them and discipline them when life calls for it. Are there things I would change? Probably not. Those are the quirks that make them individuals. Do I wish that they would act more civil sometimes? Absolutely.
Oh yeah, that's the look. It says, "You think I'm a precious little angel, but just wait until you turn your back... I'm gonna tear this place to shreds." And so it was at school today. My sweet boy who I thought only acted like a maniac in the privacy of our home showed his true colors. Maybe it's that scar under his eye that makes him think he is sooooo cool.
And he is cool. He's different. I'm just not a fan of the kind of different that makes preschool teachers think they better warn me about his shenanigans. The good news? He's so wiped from all the hoopla that he's already zonked out. You might also call this post a sequel to my recent post entitled, "Fast, but Thankfully Not Furious." It's going to be a long parenthood.


text:
Gulliver's Travels, a.k.a. Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of Several Ships by Jonathan Swift was first published on this date in 1726. Swift claimed that he wrote Gulliver's Travels "to vex the world rather than divert it". The book became popular as soon as it was published. John Gay wrote in a 1726 letter to Swift that "It is universally read, from the cabinet council to the nursery." I first read it when I was 12 as a set book in my 2nd year of high school, and to this day I cannot fathom what the South Australian education department was thinking when they assigned it to children of that age. I imagine they thought it was a children's book of tall tales and nothing else. I grasped the broad idea, but had no clue about the satire, nor any clue why Swift was at such pains to describe physical features and bodily functions in alarming detail.
These days, I might describe the book as proto-anthropology. Swift is obviously raising questions about the nature of humanity and society, setting out his answers in marked contrast to the opinions of his contemporaries, such as Defoe and Hobbes. Gulliver's Travels is quite obviously not anthropology in the sense that the cultures Gulliver encounters are not real cultures, but, rather, parodies of English culture of his day. I might call the book "imagined ethnographies" – a genre that in some respects other authors have continued, notably through science fiction, but also fantasy. In Swift's time, actual travelogues published by the likes of William Dampier http://www.bookofdaystales.com/william-dampier/ were popular, as were fictional tales of travel, prompted primarily by Robinson Crusoe, which was enormously successful when it was published (and believed by many readers to be a genuine account of a castaway).
In modern times, the voyage to Lilliput is probably the best known, more because of its imagery of people who are six inches tall than anything else. I have always been captivated by the voyage to Laputa, which is much less well known. Laputa is a floating island kingdom that uses magnetism to hover above the land below. The island of Laputa is described as being exactly circular and 4.5 miles (7.2 km) in diameter, giving an area of 10,000 acres (4,000 ha). The island is 300 yards (270 m) thick, comprising a bottom plate of adamant 200 yards thick, above which lies "the several minerals in their usual order", topped with "a coat of rich mould 10 or 12 ft deep".
In shape the upper surface slopes down from circumference to center, causing all rain to form rivulets into the center where four large basins half a mile in circuit lie 200 yards from the absolute center. In the center of the island itself is a chasm 50 yards in diameter continuing down into a dome extending 100 yards into the adamantine surface. This dome serves as an astronomical observatory, and also contains the lodestone which enables the island to fly and move above the realm.
Laputa's population consists mainly of educated people, who are fond of mathematics, astronomy, music and technology, but fail to make practical use of their knowledge. Servants make up the rest of the population. The Laputans have mastered magnetic levitation. They also are very fond of astronomy, and discovered two moons of Mars. (This is 151 years earlier than the recognized discovery of the two moons of Mars by Asaph Hall in 1877.) However, they are unable to construct well-designed clothing or buildings, because they take measurements with instruments such as quadrants and a compass rather than with tape measures.
The clothes of Laputans are decorated with astrological symbols and musical figures. They spend their time listening to the music of the spheres. They believe in astrology and worry constantly that the sun will go out. The Laputan houses are badly built, without accurate right angles. Due to their fervent intellectual pursuits, Laputans are also depicted as becoming so lost in thought that they cannot function in everyday life unless constantly struck by a bladder full of pebbles or dry peas, for which every one of them is escorted by one or two servants, called "clappers". Many of their heads have become stuck reclined to one side, and they often suffer from strabismus: one eye turns inward and the other looks up "to the zenith." The Laputans' oddly-focused eyes are Swift's parodies of the microscope and telescope. The Laputans are so intent on their scientific studies that they cannot function in the everyday world, or even perceive it, and without their clappers, are in constant danger of running into a tree or a ditch when walking.
Laputa is a male-dominated society. Wives often request to leave the island to visit the land below; however, these requests are almost never granted because the women who leave Laputa never want to return. The Laputan women are promiscuous and adulterous, and, whenever possible, take on lovers out of visitors from the lands below. The Laputan husbands, who are so abstracted in mathematical and musical calculations, might discover that their wives are adulterous, but as long as they have no clapper around, they don't notice the adultery even should it occur right before their eyes.
Laputa is primarily a satire of the members of the Royal Society who, in Swift's day, were making great strides in the sciences and mathematics, yet were not putting these advances to practical use. The primary technological applications did not occur until a century later when the Industrial Revolution cranked up. The reason that Swift's depiction of Laputa appeals to me is that, with suitable adjustments, he might well be describing people in the modern world who are so fixated on their smartphones, video games and other technology that they lose track of the world around them. Go to YouTube to see compilations of people walking into lampposts or falling down potholes because they are riveted to their phones and oblivious to their physical environment.
Here is Swift's description of a meal on Laputa:
My dinner was brought, and four persons of quality, whom I remembered to have seen very near the king's person, did me the honour to dine with me. We had two courses, of three dishes each. In the first course, there was a shoulder of mutton cut into an equilateral triangle, a piece of beef into a rhomboides, and a pudding into a cycloid. The second course was two ducks trussed up in the form of fiddles; sausages and puddings resembling flutes and hautboys, and a breast of veal in the shape of a harp. The servants cut our bread into cones, cylinders, parallelograms, and several other mathematical figures.
This ought to give you plenty of scope. Have a Laputa-themed dinner party, and be creative with the shape of the food.
Posted by admin at 8:41 pm	Tagged with: food, laputa, Royal Society
Food and History No Responses »
Today is the birthday (1632) of Sir Christopher Michael Wren PRS, one of the most highly acclaimed English architects in history. He was accorded responsibility for rebuilding 52 churches in the City of London after the Great Fire in 1666, including his masterpiece, St. Paul's Cathedral, on Ludgate Hill in London, completed in 1710 (see http://www.bookofdaystales.com/great-fire-of-london/ ). What many people do not realize is that Wren was a notable anatomist, astronomer, geometer, and mathematician-physicist, as well as an architect, and was instrumental in founding the Royal Society, the prime scientific society in Britain to this day. His scientific work was highly regarded by Isaac Newton and Blaise Pascal.
Here's a small gallery of Wren's major architectural works just so that I do not ignore that aspect of his life completely.
Now, however, I would like to outline his accomplishments outside of architecture. On 25 June 1650, Wren entered Wadham College, Oxford, where he studied Latin and the works of Aristotle. There was no formal scientific education at Oxford at that time, but there was a circle of scientists who worked together outside their formal studies. Wren became closely associated with John Wilkins, the Warden of Wadham. The Wilkins circle was a group whose activities led to the formation of the Royal Society, consisting of a number of distinguished mathematicians, and experimental natural philosophers (physicists, biologists and chemists), including Robert Boyle and Robert Hooke (see http://www.bookofdaystales.com/robert-hooke/ ). He graduated with a B.A. in 1651, and two years later received his M.A. At Oxford then, as now, the M.A. is awarded after 2 years without further study. The degree system is based on the old trade guilds where apprentices become bachelors of the guild, and having pursued their craft for 2 years become masters by producing a "masterpiece."
Having received his M.A. in 1653, Wren was elected a fellow of All Souls College in the same year and began an active period of research and experiment in Oxford. His days as a fellow of All Souls ended when he was appointed Professor of Astronomy at Gresham College in London in 1657. He was provided with a set of rooms and a stipend and was required to give weekly lectures in both Latin and English to all who wished to attend; admission was free. Wren took up this new work with enthusiasm. He continued to meet the men with whom he had frequent discussions in Oxford. They attended his London lectures and in 1660, initiated formal weekly meetings. It was from these meetings that the Royal Society, England's premier scientific body, was to develop. He undoubtedly played a major role in these meetings; his great breadth of expertise in so many different subjects helping in the exchange of ideas between the various scientists.
In 1662, they proposed a society "for the promotion of Physico-Mathematicall Experimental Learning." This body received its Royal Charter from Charles II and "The Royal Society of London for Improving Natural Knowledge" was formed. In addition to being a founder member of the Society, Wren was president of the Royal Society from 1680 to 1682.
In 1661, Wren was elected Savilian Professor of Astronomy at Oxford, and in 1669 he was appointed Surveyor of Works to Charles II. From 1661 until 1668 Wren's life was based in Oxford, although his attendance at meetings of the Royal Society meant that he had to make occasional trips to London.
The main sources for Wren's scientific achievements are the records of the Royal Society. His scientific works ranged from astronomy, optics, the problem of finding longitude at sea, cosmology, mechanics, microscopy, surveying, medicine and meteorology. He observed, measured, dissected, built models, and employed, invented and improved a variety of instruments. It was also around these times that his attention turned to architecture. One of Wren's friends, another great scientist and architect and a fellow Westminster Schoolboy, Robert Hooke said of him "Since the time of Archimedes there scarce ever met in one man in so great perfection such a mechanical hand and so philosophical mind."
When a fellow of All Souls, Wren constructed a transparent beehive for scientific observation; he began observing the moon, which was to lead to the invention of micrometers for the telescope. He experimented on terrestrial magnetism and had taken part in medical experiments while at Wadham College, performing the first successful injection of a substance into the bloodstream (of a dog).
In Gresham College, he did experiments involving determining longitude through magnetic variation and through lunar observation to help with navigation, and helped construct a 35-foot (11 m) telescope with Sir Paul Neile. Wren also studied and improved the microscope and telescope at this time. He had been making observations of the planet Saturn from around 1652 with the aim of explaining its appearance. His hypothesis was written up in De corpore saturni but before the work was published, Huygens presented his theory of the rings of Saturn. Immediately Wren recognized this as a better hypothesis than his own and De corpore saturni was never published. In addition, he constructed an exquisitely detailed lunar model and presented it to the king. Also his contribution to mathematics should be noted; in 1658, he found the length of an arc of the cycloid using an exhaustion proof based on dissections to reduce the problem to summing segments of chords of a circle which are in geometric progression.
A year into Wren's appointment as a Savilian Professor in Oxford, the Royal Society was created and Wren became an active member. As Savilian Professor, Wren studied mechanics thoroughly, especially elastic collisions and pendulum motions. He also directed his far-ranging intelligence to the study of meteorology: in 1662 he invented the tipping bucket rain gauge and, in 1663, designed a "weather-clock" that would record temperature, humidity, rainfall and barometric pressure. A working weather clock based on Wren's design was completed by Robert Hooke in 1679.
In addition, Wren experimented on muscle functionality, hypothesizing that the swelling and shrinking of muscles might proceed from a fermentative motion arising from the mixture of two heterogeneous fluids. Although this is incorrect, it was at least founded upon observation and may mark a new outlook on medicine: specialization.
Wren contributed to optics. He published a description of an engine to create perspective drawings and he discussed the grinding of conical lenses and mirrors. Out of this work came another of Wren's important mathematical results, namely that the hyperboloid of revolution is a ruled surface. These results were published in 1669. In subsequent years, Wren continued with his work with the Royal Society, although after the 1680s his scientific interests seem to have waned: no doubt his architectural and official duties absorbed more time.
It was a problem posed by Wren that serves as an ultimate source to the conception of Newton's Principia Mathematica Philosophiae Naturalis. Robert Hooke had theorized that planets, moving in a vacuum, describe orbits around the Sun because of a rectilinear inertial motion outward from the Sun and an accelerated motion towards the Sun. Wren's challenge to Halley and Hooke, for the reward of a book worth thirty shillings, was to provide, within the context of Hooke's hypothesis, a mathematical theory linking the Kepler's laws with a specific force law. Halley took the problem to Newton for advice, prompting the latter to write a nine-page answer, De motu corporum in gyrum, which was later to be expanded into the Principia.
Wren also studied other areas, ranging from agriculture, ballistics, water and freezing, light and refraction, to name only a few. Thomas Birch's History of the Royal Society is one of the most important sources of our knowledge not only of the origins of the Society, but also the day to day running of the Society. It is in these records that most of Wren's known scientific works are recorded.
It was probably around this time that Wren was drawn into redesigning a battered St Paul's Cathedral. Making a trip to Paris in 1665, Wren studied the architecture, which had reached a climax of creativity, and perused the drawings of Bernini, the great Italian sculptor and architect, who himself was visiting Paris at the time. Returning from Paris, he made his first design for St Paul's. A week later, however, the Great Fire destroyed two-thirds of the city.
Additionally, he was sufficiently active in public affairs to be returned as Member of Parliament for Old Windsor in 1680, 1689 and 1690, but did not take his seat.
By 1669 Wren's career was well established and it may have been his appointment as Surveyor of the King's Works in early 1669 that persuaded him that he could finally afford to take a wife. In 1669 the 37-year-old Wren married his childhood neighbour, the 33-year-old Faith Coghill, daughter of Sir John Coghill of Bletchingdon. Little is known of Faith's life or demeanor, but a love letter from Wren survives, which reads, in part:
I have sent your Watch at last & envy the felicity of it, that it should be soe near your side & soe often enjoy your Eye. … .but have a care for it, for I have put such a spell into it; that every Beating of the Balance will tell you 'tis the Pulse of my Heart, which labors as much to serve you and more trewly than the Watch; for the Watch I beleeve will sometimes lie, and sometimes be idle & unwilling … but as for me you may be confident I shall never …
This brief marriage produced two children: Gilbert, born October 1672, who suffered from convulsions and died at about 18 months old, and Christopher, born February 1675. The younger Christopher was trained by his father to be an architect. It was this Christopher that supervised the topping out ceremony of St Paul's in 1710 and wrote the famous Parentalia, or, Memoirs of the family of the Wrens. Faith Wren died of smallpox on 3 September 1675. She was buried in the chancel of St Martin-in-the-Fields beside the infant Gilbert. A few days later Wren's mother-in-law, Lady Coghill, arrived to take the infant Christopher back with her to Oxfordshire to raise.
In 1677, 17 months after the death of his first wife, Wren married once again. He married Jane Fitzwilliam, daughter of William FitzWilliam, 2nd baron FitzWilliam and his wife Jane Perry, the daughter of a prosperous London merchant.
She was a mystery to Wren's friends and companions. Robert Hooke, who often saw Wren two or three times every week, had, as he recorded in his diary, never even heard of her, and was not to meet her till six weeks after the marriage. As with the first marriage, this too produced two children: a daughter Jane (1677–1702); and a son William, "Poor Billy" born June 1679, who was developmentally delayed.
Like the first, this second marriage was also brief. Jane Wren died of tuberculosis in September 1680. She was buried alongside Faith and Gilbert in the chancel of St Martin-in-the-Fields. Wren was never to marry again; he lived to be over 90 years old and of those years was married only nine.
The Wren family estate was at The Old Court House in the area of Hampton Court. He had been given a lease on the property by Queen Anne in lieu of salary arrears for building St Paul's.[8] For convenience Wren also leased a house on St James's Street in London. According to a 19th-century legend, he would often go to London to pay unofficial visits to St Paul's, to check on the progress of "my greatest work". On one of these trips to London, at the age of ninety, he caught a chill which worsened over the next few days. On 25 February 1723 a servant who tried to awaken Wren from his nap found that he had died.
Wren was laid to rest on 5 March 1723. His remains were placed in the south-east corner of the crypt of St Paul's beside those of his daughter Jane, his sister Susan Holder, and her husband William. The plain stone plaque was written by Wren's eldest son and heir, Christopher Wren, Jr. The inscription, which is also inscribed in a circle of black marble on the main floor beneath the centre of the dome, reads:
SUBTUS CONDITUR HUIUS ECCLESIÆ ET VRBIS CONDITOR CHRISTOPHORUS WREN, QUI VIXIT ANNOS ULTRA NONAGINTA, NON SIBI SED BONO PUBLICO. LECTOR SI MONUMENTUM REQUIRIS CIRCUMSPICE Obijt XXV Feb: An°: MDCCXXIII Æt: XCI.
Here in its foundations lies the architect of this church and city, Christopher Wren, who lived beyond ninety years, not for his own profit but for the public good. Reader, if you seek his monument – look around you. Died 25 Feb. 1723, age 91.
It turns out that Wren had some interest in cookery as evidenced by a recipe for gooseberry wine recorded by the diarist John Evelyn. Among his manuscripts, now in the British Library, is a volume of "receipts" (recipes): for the stillroom, the sickroom and the kitchen. Those of cookery are now printed in this book:
http://books.google.com/books?id=AWd4__mqEBkC&pg=PA156&lpg=PA156&dq=Christopher+Wren+recipe&source=bl&ots=YW2BurEsxd&sig=0cudt1WFQPyBznNU8cJ_Q3dfRHY&hl=en&sa=X&ei=xu5EVMv-KrG_iQLEmYCIBQ&ved=0CD4Q6AEwBQ#v=onepage&q=Christopher%20Wren%20recipe&f=false
The recipes range wide over the repertoire of the seventeenth-century household; from liver puddings to excellent syllabubs. They include items picked up on his travels in Europe, as well as favorites given him by friends, including that for gooseberry wine contributed by Sir Christopher Wren.
Living in southern China does not make it exactly easy for me to get hold of this book, so I have had to compromise. Go here and you will find an excellent recipe .http://www.theguardian.com/lifeandstyle/allotment/2011/jun/09/allotments-gardens It is more complex than Wren's, I have no doubt, but fruit wines are all made in basically the same way: mash up the fruit, boil it, when cooled add yeast and sugar, let ferment, strain and bottle. Worth a shot.
Posted by admin at 11:12 pm	Tagged with: anatomy, Christopher Wren, geometry, gooseberry wine, mathematics, physics, recipe, Royal Society


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Star Trek: Deep Space Nine – Covenant (Review)
Posted on July 12, 2017 by Darren
Covenant is a flawed and fascinating episode.
In its own way, although obviously a much less extreme manner than The Siege of AR-558, this is an episode that could only have been produced on Star Trek: Deep Space Nine. This is not simply down to matters of continuity, and how the episode ties into the mythology of the series. More specifically, it is an exploration of religious themes and ideas that is only really possible within the framework of this particular Star Trek spin-off. It is difficult to imagine Star Trek: The Next Generation or Star Trek: Voyager tackling the idea of religious cults so effectively.
Altaring his plans.
Part of this is down to a lingering suspicion that the other Star Trek shows subtly (or not so subtly) consider all religions to be cults. After all, shows like The Return of the Archons, The Apple, For the World is Hollow and I Have Touched the Sky, Justice, Who Watches the Watchers? and Devil's Due left little room for ambiguity. The other Star Trek series seem downright hostile to the idea of religious belief, even if episodes like The Cloud and Sacred Ground might suggest a more open-minded approach to spirituality.
Deep Space Nine has generally been more willing to engage with the idea of religious belief as something that is worthy of exploration and consideration, something that is for an individual to determine on their own terms. Some characters on Deep Space Nine are explicitly atheist, like Jadzia Dax or Odo. Some characters hold strong religious beliefs, like Kira or Nog. Some characters believe in spiritual traditions without ever seeming particularly devote, like Worf. Some characters even evolve over the course of the series, like Sisko.
Preach out and touch faith.
This willingness to accept multiple facets and forms of religious belief allows Deep Space Nine to construct a story like Covenant. In any other Star Trek series, Covenant would seem like a knee-jerk dismissal of religious faith and organised belief, the tale of how a group of Bajorans were swindled by a charismatic leader with tragic consequences. It would be read as a generic condemnation of religious belief, an endorsement of an atheistic worldview that has developed beyond the need for such superstition.
Instead, Covenant is something more interesting and nuanced than that. It is an episode about a particular kind of belief, about a particular sort of religion. It is an episode about the dangers of a very particular form of worship. It is an episode about the perils of religious cults, but one which understands the distinction between that and other forms of spirituality.
He hasn't a prayer.
Filed under: Deep Space Nine | Tagged: belief, covenant, cults, deep space nine, faith, gul dukat, milton, religion, star trek, star trek: deep space nine, Television, the pah-wraiths |	9 Comments »
Millennium – Beware of the Dog (Review)
Posted on May 4, 2015 by Darren
This May and June, we're taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.
Beware of the Dog opens with the shot of the same comet discussed at the start of The Beginning and the End, just in case viewers thought that The Beginning and the End was somehow a fluke or a deviation. The Beginning and the End was not a freak occurrence, it was not some random divergence from the rest of Millennium. It was very much a new beginning for the series, harking in a bold new direction utterly unlike that marked out by The Pilot. The second season of Millennium was a new breed of animal.
And so a lot of Beware of the Dog is devoted to reinforcing this new direction – convincing the viewers at home that Millennium had reinvented itself from the ground up. Part of what is interesting about Beware of the Dog is the way that the basic structure and beats of the episode hark back to the formula and themes of the first season, but in a way that makes it quite clear that things have changed. Beware of the Dog embraces the pulpy absurdity of a show about millennial fears and anxieties, about the nature of good and evil in the world.
Beware of the Dog is a very weird piece of television. It is resoundingly and unapologetically odd. It is nowhere near as quirky and eccentric as the second season would become in episodes like The Curse of Frank Black or Jose Chung's "Doomsday Defense" or The Time is Now, but decidedly more surreal than the first season had allowed itself to be – even in episodes like Force Majeure or Powers, Principalities, Thrones and Dominions. This is an episode which takes the first season's "serial killer of the week" format, and substitutes in packs of wild dog.
The result is a piece of television that is quite difficult to classify and quantify, but which feels fresh and exciting. As with The Beginning and the End, there is a playfulness and fun to Beware the Dog that was sorely lacking from extended stretches of the first season. Indeed, it seemed unlikely during the first season that Millennium would ever be classed as "playful" or "fun." That sense of energy and vibrance imbues the second season with life, helping to carry the show across some admittedly rough episodes later in the year.
Filed under: Millennium | Tagged: apocalypse, beware of the dog, cult, cults, death hounds, dogs, family, frank black, freemasons, Glen Morgan, James Wong, Mafia, millennium, millennium group, mystery, peter watts, territory, the old man |	2 Comments »
The X-Files – The Field Where I Died (Review)
Posted on February 10, 2015 by Darren
This February and March, we're taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.
Morgan and Wong's four scripts for the fourth season of The X-Files are utterly unlike any other stories in the show's nine-season run. Experimental, bold, confrontational; these four stories stretch and pull at The X-Files, as if eager to see just how far the hit show will bend.
The Field Where I Died is probably the weakest of these four episodes, but it is also the most ambitious. It is a script with big ideas and a willingness to commit to those ideas. There is no modesty here, no hesitation. There is a sense that Morgan and Wong are committing wholeheartedly to their themes and their concepts. The Field Where I Died is an episode that rubs quite a lot of people the wrong way, for a number of different reasons; however, the episode never pulls its punches. It never holds back. It never tries to be anything that it is not.
There is a lot to admire here. The Field Where I Died is not an episode with a simply formulaic concept or a conventional structure. It looks and feels completely unlike any other episode of the show. Even when the show touched on similar themes in its final season, the result was radically different. Hellbound is a much more conventional episode than The Field Where I Died. More than Home or Musings of a Cigarette-Smoking Man or Never Again, this is an episode that really seems like an odd fit for The X-Files.
Then again, that may be the beautiful thing about The Field Where I Died, for all its many flaws. It is utterly unlike anything else on television in the nineties. The fact that it can produce an episode of television so unique and incomparable is ultimately what makes The X-Files feel like The X-Files. The fact that The Field Where I Died feels so unconventional and eccentric is precisely what makes it a worthy episode of The X-Files.
Another roaring success for Mulder…
Filed under: The X-Files | Tagged: Civil War, cults, david karesh, death, fate, Glen Morgan, James Wong, jonestown, kristen cloke, love, meaning, mulder, nineties, past lives, Reincarnation, religion, Rob Bowman, souls, the x-files, waco, x-files |	4 Comments »
Millennium – Gehenna (Review)
Posted on February 9, 2015 by Darren
Written by Chris Carter and directed by David Nutter, Gehenna feels very much like a continuation of The Pilot.
More to the point, it feels like a restatement of many of the key themes of The Pilot, an attempt to reinforce many of the core ideas in that first episode, and hint at something larger. In many ways, it is about ensuring that Millennium retains its identity as it transitions from a pilot that had a relatively relaxed schedule and high budget into a weekly (well, eight-day) production schedule. Gehenna is about Carter and Nutter proving that Millennium can do what it wants and needs to do week-in and week-out, while also indicating towards larger threads.
Touching (or, at least, seeing) evil…
This isn't a bad way to approach the first regular episode of a television series. Indeed, Carter had done something similar with The Pilot and Deep Throat on The X-Files, structuring the episodes as a one-two punch of reinforced themes and world-building. Gehenna is very much about convincing the audience that The Pilot was not just a flash in the pan, and that the series has a long clear arc ahead of it. Much like Deep Throat really sketched the outline of the alien conspiracy only hinted at in The Pilot, Gehenna features more than a few nods towards a larger evil at work in Frank's world.
There are points where Gehenna feels a little bit too forced, and a little bit too eager to restate and repeat the themes and ideas of The Pilot. However, it is an interesting episode that does hint towards the show's future in a number of interesting ways.
Ear today…
Filed under: Millennium | Tagged: aum shinrikyo, bob beltcher, capitalism, catherine black, chris carter, cults, David Nutter, demons, doomsday, evil, frank black, gehenna, Hell, men, millennium, pilot, Russia, san francisco, symbolism, Television, totalitarianism |	2 Comments »
The X-Files (Topps) #8-9 – Silent Cities of the Mind (Review)
Posted on November 4, 2014 by Darren
This November (and a little of December), we're taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.
Silent Cities of the Mind is a very "comic book" story – it's a story that might easily seem outlandish or ridiculous if committed to film, but which works very well within its medium. After all, the plot centres around a bunch of ancient Aztec priests who built an elaborate underground city that could project itself above ground as a mirage. Indeed, the story seems to accept this as a given, with Scully instead spending most of the adventure questioning whether memories can be transmitted via cannibalism.
It's a concept that could easily seem ridiculous, and it's a testament to writer Stefan Petrucha and artist Charles Adlard that it works as well as it does. Silent Cities of the Mind is a decidedly pulpy adventure, but that lends the story an undeniable charm. It's a story packed to the brim with clever and fascinating ideas – from ancient aliens to ritual cannibalism to hidden cities to crystal skulls. All this is crammed tightly into two issues, meaning that everything moves so fast there's no real time to stop and nitpick it all.
It's all in the mind…
Mulder is negotiating with survivalists! There are memories transferred through the act of ritual cannibalism! Mulder and Scully are shot down over Alaska! Mulder is trapped with a cannibal! There's a hidden Aztec city buried underground! Mulder has discovered ancient Aztec mythology! There's an army rescue team that isn't a rescue team! There's a macguffin that allows its wearer to commune with the gods! There's a stand-off!
It's all rather exhausting, but in a fun and exciting sort of way. Silent Cities of the Mind is perhaps the best example of how Petrucha and Adlard were writing The X-Files as a comic book, positioning the show's tropes and iconography within the framework of comic book conventions.
Bonfire of the vanities…
Filed under: Comics, The X-Files | Tagged: Alaska, Aztec, aztecs, barnum, cannibalism, Charles Adlard, Comics, cults, Enoch, hoaxs, mulder, mytholgoy, Phantom City of Glacier Bay, ritual cannibalism, scully, silent cities of alaska, silent cities of the mind, silent city of alaska, Stefan Petrucha, survivalists, the x-files, Topps, topps comics, x-files |	Leave a comment »
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text:
Arnnon Geshuri (born 1969 or 1970) is an American corporate executive. He was vice president of human resources at Tesla, Inc. from 2009 until 2017, senior director of human resources and staffing at Google from 2004 to 2009, and vice president of people operations and director of global staffing at E-Trade Financial Corporation circa 2002. In January 2016, he briefly served on the Wikimedia Foundation's board of trustees before stepping down after opposition arose due to his involvement in anti-competitive employer collusion in Silicon Valley.

Personal life

Geshuri was born in 1969 or 1970. His father, Yosef Geshuri, is a clinical psychologist with a Ph.D. in psychology. In Arnnon Geshuri's early life, his father worked at Northwest Missouri State University in Maryville, Missouri, and he attended elementary school there at the university until the fifth or sixth grade. In 1980 his family moved to Porterville, California, a small town in central California's San Joaquin Valley, where he attended high school and a community college. He has a younger brother Oren and an older sister Dorrit, both of whom also graduated with university degrees. Geshuri was described in a local newspaper article as loving Porterville and glad to have been raised in a small town, saying "I'm proud of where I'm from." He said that during high school he had already planned to work for a large company, saying he was "interested in how people work and how big corporations work", so he "wanted to work in a big corporation and understand human behavior in the corporate setting".

His wife's name is Rebecca Geshuri. They were married in 1997 or 1998.

Education

Geshuri graduated from Monache High School in 1987, and Porterville College in 1989. He received a bachelor's degree in psychology from the University of California, Irvine, and a master's degree in industrial and organizational psychology from San Jose State University.

Career and controversies

E-Trade and earlier career
Geshuri was the Vice President of People Operations and Director of Global Staffing at E-Trade Financial Corporation. He also worked at Applied Materials (a major supplier of equipment and services for high-technology manufacturing), was an organizational effectiveness consultant for New United Motors Manufacturing, Inc. (an automobile manufacturing joint venture of General Motors and Toyota that was purchased by Tesla in 2010 to become the Tesla Factory), and in 2002 he co-founded ACI Technical (Analytical and Control Instrumentation Technical Services, a startup company for analysis of water and gas quality based in Edenvale, Gauteng, South Africa).

Google and "Do Not Call" non-recruiting policy (2004–09)

He was the senior director of human resources and staffing at Google, where he worked from 2004 to 2009 and oversaw all aspects of recruitment. While working at Google, Geshuri was involved in activities that later became the subject of the High-Tech Employee Antitrust Litigation case that resulted in a settlement of $415 million paid by Adobe, Apple, Google and Intel. In one incident, after hearing of a complaint from Steve Jobs of Apple, Geshuri told Google's chairman Eric Schmidt that a recruiter for Google who had tried to hire an Apple employee would be "terminated within the hour" for the action, pursuant to what Schmidt called "a policy of no recruiting from Apple". Geshuri said that such terminations were taking place "every six months or so", despite efforts to make sure recruiters were aware of the policy. Geshuri maintained what he called a "Do Not Call list" of companies Google would avoid recruiting from.

Tesla (2009–17)
He was the vice president of human resources at Tesla Inc. from November 2009. Geshuri said the company was committed to bringing manufacturing jobs "back to California". In 2015, Geshuri led a hiring spree for Tesla. Geshuri placed an emphasis on hiring military veterans in large numbers. He left Tesla in May 2017, with Tesla saying he would be "taking a short break before moving on to a new endeavor".

Wikimedia Foundation (January 2016)

Geshuri was appointed to the Wikimedia Foundation's board of trustees in January 2016 for a two-year term. Following controversy among Wikimedia volunteers, including a "no confidence" petition, due to his historical involvement in the collusion over recruiting practices at Silicon Valley corporations that resulted in prosecution by the U.S. Department of Justice, Geshuri stepped down.

References

1969 births
Living people
Google employees
People from Porterville, California
San Jose State University alumni
Tesla, Inc. people
University of California, Irvine alumni
Wikimedia Foundation Board of Trustees members
People from Maryville, Missouri

redpajama_set_name: RedPajamaWikipedia


text:
Emil Rüster (* 8. April 1883 in Augsburg; † 16. Dezember 1949 in Berlin) war ein deutscher Architekt, Baubeamter und Hochschullehrer.

Emil Rüster studierte Architektur an der Technischen Hochschule Stuttgart und der Technischen Hochschule München. Nach seinem Abschluss als Diplom-Ingenieur im Jahre 1906 war er zunächst als Assistent, später als Bürochef für Friedrich von Thiersch und Richard Riemerschmid in München tätig. Von 1913 bis 1921 lebte er in Leipzig. Im Stadterweiterungsamt des Rates der Stadt Leipzig war er ab 1914 als Stadtbauinspektor und später als Stadtbaudirektor und Technischer Leiter der sozialen Wohnungsbaugesellschaft im Einsatz. 1921 bekleidete er das Amt des Stadtbaurats für das Hochbauwesen in Stettin. Im selben Jahr wurde er ordentlicher Professor der Technischen Hochschule Berlin mit Lehrauftrag für das Entwerfen von Hochbauten, Baugeschichte der neueren Zeit und Gebäudelehre. 1945 nach Kriegsende wurde er Mitglied der Kommission für die Wiedereröffnung der ehemaligen Technischen Hochschule.

Siehe auch
 Siedlung am Fischtalgrund

Weblinks
 Baudenkmal in Berlin - 'Haus der Deutschen Zahnärzte'

Architekt (München)
Hochschullehrer (Technische Universität Berlin)
Stadtbaurat
Geboren 1883
Gestorben 1949
Mann
Deutscher


The Green Industry Political Action Committee (GIPAC) was created for the purpose of soliciting and contributing voluntary funds to candidates for state and federal elective offices who are supportive of the Illinois nursery and landscape industry, in addition to cultivating legislative initiatives, public policy programs and advocacy efforts. Your generous support will help sustain the viability of the PAC and ensure that we continue to have a strong voice in both Washington and Springfield on critical matters.
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GIPAC is an important tool for the entire green industry, and it's needed now more than ever, as our industry is increasingly under attack by government regulators, policy makers and lawmakers.
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