text:
Its That Time of Year Again, Oh no it isn't! Oh yes it is!
Beauty and The Beast,
Theatre Severn
December 10th to January 8th (See Brochure)
So the fields have turned to concrete and the water into stone. Deeply ensconced in the worst winter we have had for years, Shrewsbury panto goers were warmed by the hilarity and genius of this year's Pantomime, Beauty and The Beast. It appears laughter is as good as the central heating that we all used to be able to afford. The audience literally glowed with mirth as Brad Fitt and his crew lead us through the funniest pantomime that we have been fortunate to see at Theatre Severn, possibly since the Panto first opened its seasonal doors many years ago.
Initially one was rather surprised at the choice of story. Beauty and the Beast, right? Who knows the full story? Aware that Disney has brought this to the ready receivership of our young, us older curmudgeons may have wondered what they were in store for. However, one has learned to trust the writing of Paul Hendy. So unaware of the narrative was no deterrent and it took all of the opening few moments with the delightful Fairy Nuff (Jo Osmond) to win the audience over and one was; aware one was amongst pantomime brilliance.
The unique selling point of the Theatre Severn Panto is the annually recurring, hilarious gags and the understanding the audience has with regular Dame, Brad Fitt. Naturally there is a plethora of new gags but seeing Brad handle the classics is a joy..
This show is so beautifully cast that if one had use of Fairy Nuff's magic wand one could not have cast it better. It is hard to ignore the fact the Shrewsbury are so fortunate to welcome Brad Fitt back year on year, this reviewer has said it before he is possibly one of the funniest men on the planet and his one-man show had already dazzled audiences earlier on this year. People look forward to his return and I would defy anyone not to laugh at his incredible stage presence and that is even before he has said a word.
Of course, the show is about so much more than Brad, whilst he is a crucial part; the cast in general all brought something exciting and new to the stage. Belle played by Samantha Dorrance, brought her triple threat of acting, dancing and singing into the mix and one found oneself routing for her always. Kane Oliver Parry brought real pathos and sorrow to his poor entrapped Beast. He could move well and sing beautifully to boot.
One is delighted to say however that the dancing and singing from all players, be it principal or chorus is utterly superb, giving this already well acted show the gold seal that every panto should carry.
Panto is such a unique artform the only discipline on stage, that calls for both hilarity and serious drama. When we were aware that Beast was going to die, one was caught in the moment and moved by the tragedy. But of course, it's Christmas and there has to be a happy ending, one convention used to highlight that happiness is to bring a balance with an equally engaging darker drama too. Great to say, Hendy rarely fails to set this balance and brings to us a thoroughly modern show adhering to conventions as old as Comedia D'el Arte itself.
Long may the tradition of bringing such great Pantomime to Shrewsbury continue. No matter how our town changes with the times, isn't a lovely thought that for over a century or more of Saturday's leading up to Christmas, children have been taken into the town by their parents to watch the Pantomime. This isn't just a Christmas show this an art form and Shrewsbury's Theatre Severn is maintaining a tradition that needs to live forever. In the hands of this team of top designers, great musicians, wonderful wardrobe workers, stunning stagehands and a powerful production team, they have only gone and done it again. I wish five was a bigger number because this show is worth so much more than the five stars that I awarding. Next year is Jack and The Beanstalk and already this one reviewer cannot wait.
From myself, Owen J. Lewis and all at loveshrewsbury.com I want to wish you all a wonderful happy Christmas and a warm, warm New Year.
This is a Five Star Review
Owen J.Lewis
Owen J Lewis
Owen Lewis
Owen Lewis was born fifty something years ago in the land of the black puddings. For the geographically challenged that is in Lancashire. Moving to Shropshire From 1970 Owen was brought up in Church Stretton. His first real job was in radio. After starting on BBC Radio Shropshire he became known on Marcher Sound, broadcasting throughout the North West for several years. After a university degree course in Theatre, Owen became an actor and went on to play "Pirate Bill" in The Alton Towers Hotel. He also made several television appearances. Returning to university he took his PGCE enabling him to teach. That saw him on the Essex coast as a drama teacher and latterly as a Creative Educational Liaison Officer making films and creating new teaching methods to employ on children in need of more help in their fundamental learning skills. Three times Published playwright Owen ultimately wants a house boat in Amsterdam to focus on his work as Playwright and Poet. See more on www.ojlwritingservices.co.uk.
Read More from Owen Lewis


text:
Q: react native and parse, currentuser is null after login and cmd+R I'm having a problem with React Native and Parse JS SDK.
 And I'm using ParseReact
I have built a login, sign up and a main view, Sign up and log in works well but after i logged in -> directed to main view and when I refresh the app (CMD+R) in my simulator, it brings me back to the login view again, i should be brought to Main view.
As you can see I have set a state for initialComponent:
this.state = {
      InitialComponent : ((!currentUser) ? LoginView : MainView)
};

This allows my navigator to check for currentUser is null then load LoginView as initial component, else set Main View(user logged in)
'use strict';
var React = require('react-native');
var MainView = require('./MainView');
var LoginView = require('./LoginView');

var Parse = require('parse').Parse;
var ParseReact = require('parse-react');
Parse.initialize("mykey", "mykey");

var {
  AppRegistry,
  StyleSheet,
  Text,
  View,
  TextInput,
  TouchableHighlight,
  Navigator,
  Component
} = React;

class MyApp extends Component {
    constructor(props) {
      super(props);

      var currentUser = Parse.User.current();
      console.log('Current User:' + currentUser);

      this.state = {
        InitialComponent : ((!currentUser) ? LoginView : MainView)
      };
    }

   render() {
        return (
            <Navigator
              initialRoute={{
                 name : 'StatusList',
                 component: this.state.InitialComponent
              }}
              configureScene = {() =>{
                return Navigator.SceneConfigs.FloatFromRight;
              }}
              renderScene={(route, navigator) =>{
                if(route.component) {
                  return React.createElement(route.component, {navigator});
                }
              }}/>

        );
    }
}

AppRegistry.registerComponent('MyApp', function() { return MyApp });

In my Xcode console, i kept getting current user is null after each refresh even though i have previously logged in. On my parse app, I can see new session has been created.
In my LoginView.
'use strict';

var React = require('react-native');
var SignUp = require('./SignUp');
var MainView = require('./MainView');

var {
  AppRegistry,
  StyleSheet,
  Text,
  View,
  TextInput,
  TouchableHighlight,
  Navigator,
  AlertIOS,
  Component
} = React;

var styles = StyleSheet.create({
  container : {
      flex: 1,
      padding: 15,
      marginTop: 30,
      backgroundColor: '#0179D5',
   },
  text: {
    color: '#000000',
    fontSize: 30,
    margin: 100
  },

  headingText: {
    color: '#fff',
    fontSize: 40,
    fontWeight: '100',
    alignSelf: 'center',
    marginBottom: 20,
    letterSpacing: 3
  },

  textBox: {
    color: 'white',
    backgroundColor: '#4BB0FC',
    borderRadius: 5,
    borderColor: 'transparent',
    padding:10,
    height:40,
    borderWidth: 1,
    marginBottom: 15,
  },

  greenBtn: {
    height: 36,
    padding: 10,
    borderRadius: 5,
    backgroundColor: '#2EA927',
    justifyContent: 'center'
  },

  signUpButton: {
    marginTop: 10,
    height: 36,
    padding: 10,
    borderRadius: 5,
    backgroundColor: '#FF5500',
    justifyContent: 'center'

  },

  btnText: {
    color : '#fff',
    fontSize: 15,
    alignSelf: 'center'
  },

  buttonText: {
    fontSize: 18,
    color: 'white',
    alignSelf: 'center'
  },

   loginForm : {
      flex:1,
      marginTop:100
   }
});

class LoginView extends Component {

    constructor(props) {
      super(props);
      this.state = {
        username: '',
        password: ''
      };

    }

    checkLogin() {
        var success = true;
        var state = this.state;
        for(var key in state){
          if(state[key].length <= 0){
            success = false;
          }
        }

        if(success) {
          this._doLogin();
        } else {
          //show alert
          AlertIOS.alert('Error','Please complete all fields',
            [{text: 'Okay', onPress: () => console.log('')}]
          );
        }
    }

    goMainView() {
      this.props.navigator.push({
        title: "Home",
        component: MainView
      });
    }

    goSignUp() {
      this.props.navigator.push({
        title: "Sign Up",
        component: SignUp
      });
    }

    _doLogin() {
      var parent = this;
      Parse.User.logIn(this.state.username, this.state.password, {
        success: function(user) {
            parent.goMainView();
        },
        error: function(user, error) {
          AlertIOS.alert('Login Error', error.message,
            [{text: 'Okay', onPress: () => console.log('')}]
          );
        }
      });
    }

    onUsernameChanged(event) {
      this.setState({ username : event.nativeEvent.text });
    }

    onPasswordChanged(event) {
      this.setState({ password : event.nativeEvent.text });
    }

    render() {
       return(
          <View style={styles.container}>
            <View style={styles.loginForm}>
                <Text style={styles.headingText}>
                  MyStatus
                </Text>

               <TextInput style={styles.textBox}
                placeholder='Username'
                onChange={this.onUsernameChanged.bind(this)}
                placeholderTextColor='#fff'
                autoCorrect={false}
               >
               </TextInput>

               <TextInput style={styles.textBox}
                placeholder='Password'
                onChange={this.onPasswordChanged.bind(this)}
                placeholderTextColor='#fff'
                password={true}
               >
               </TextInput>

               <TouchableHighlight style={styles.greenBtn}
                  underlayColor='#33B02C'
                  onPress={this.checkLogin.bind(this)}>
                    <Text style={styles.btnText}>Login</Text>

                </TouchableHighlight>

                <TouchableHighlight style={styles.signUpButton}
                  underlayColor='#D54700'
                  onPress={this.goSignUp.bind(this)}>
                    <Text style={styles.btnText}>Sign Up</Text>

                </TouchableHighlight>
            </View>

          </View>
        );
    }
}

module.exports = LoginView;

Am I doing it the wrong way? Kindly advice. Or is it something wrong with parse localstorage/session?

A: Because React Native only provides asynchronous storage, we're forced to make Parse.User.current() an asynchronous call that returns a Promise. Since you're already using Parse+React, it's really easy to handle this. Your component that changes based upon whether the user is logged in or not (MyApp) should subscribe to ParseReact.currentUser. This stays synchronized with the current user, and allows your component to automatically update the moment the user logs in or out. For a demo of this, look at the AnyBudget demo in the GitHub repo:

A: In react-native...
import Parse from 'parse/react-native';

Parse.User.currentAsync()
.then((currentUser)=>{
    if (currentUser) {
        Alert.alert('', JSON.stringify(currentUser))
    }
});

A: At first in my case I use ParseReact.Mutation that work perfectly.
After that I got a requirement that some field need to be unique, so I use Parse.Cloud to solve problem.
// For normally situaltion is work fine.
ParseReact.Mutation.Set(this.data.myObject, {
  normal_field: this.state.value
}).dispatch();

// But if I use Parse.Cloud. Is there any solution to sync data to ParseReact.currentUser?
Parse.Cloud.run('setUniqueField', {
  userID: this.data.user.id.objectId,
  uniqueField: this.state.value,
}, {
  success: function (response) {
    // It doesn't work!
    // ParseReact.currentUser.update();
    this.props.navigator.pop();
  }.bind(this),
  error: function (error) {
    console.log('[Parse Cloud Error]: ', error);
  }
});

A: @Andrew's solution (alone) didn't work for me.  In case anyone else is stuck, here's what was happening: subscribing to Parse.User.current() didn't work, and this.data.user was always null.
To fix this, I had to change:

var Parse = require('parse').Parse;
var ParseReact = require('parse-react');

to

var Parse = require('parse/react-native').Parse;
var ParseReact = require('parse-react/react-native');

then everything started working beautifully.  It was loading the browser version of the parse modules until I forced it to load the react-native versions.

redpajama_set_name: RedPajamaStackExchange


text:
Home ▸ Announcement regarding former Georgetown Provost, the late J. Donald Freeze, S.J.
Announcement regarding former Georgetown Provost, the late J. Donald Freeze, S.J.
Content Warning: This message contains information and discussion of clergy sex abuse and other topics that may be difficult or upsetting. Individuals are encouraged to reach out to the University for support and to be mindful of their own self-care.
Dear Members of the Georgetown University Community:
I am writing today to share actions taken in response to experiences shared with us by a former undergraduate student relating to deeply troubling and unacceptable behavior by the late J. Donald Freeze, S.J., who served in a variety of roles on campus, including as Provost from 1979-1991, and who was awarded an honorary degree in 1991.
I established a Working Group of the Board of Directors to oversee the University's response. I join the Members of the Working Group in sharing the update below to the University community.
We are writing today to share actions the University is taking relating to deeply troubling and unacceptable behavior by the late J. Donald Freeze, S.J.
While this behavior—which involved non-consensual kissing and touching—occurred more than 30 years ago, it is particularly egregious due to Fr. Freeze's role as both a member of the clergy and as our former Provost. We wish to acknowledge the courage of an alumnus in coming forward and to express our distress at the experiences that he has shared and the abuse of power that occurred. The Working Group of the Board of Directors was charged to address these allegations and advance our work with the regional province of the Society of Jesus (now the USA East Province) which assigns Jesuits to serve the Georgetown community. The Working Group, in collaboration with the alumnus, has helped to strengthen the work with the Province to ensure transparency and information-sharing between our institutions.
With the concurrence of our Board of Directors, Georgetown University expresses its deepest apology and has revoked Father Freeze's honorary degree as well as all other university-sanctioned recognitions.
In partnership with the alumnus and as part of our ongoing work to prevent and address sexual misconduct, we have engaged the USA East Province, which has now committed to readdress and strengthen its policies and processes for sexual misconduct perpetrated against adults, and to more fully share with Georgetown information regarding sexual misconduct of any kind.
We see these steps as the continuation but not the end of our work, and we are committed to continuing to partner with the alumnus to ensure that not only University policies but also Province policies are as strong as possible in supporting survivors. We will also continue our response to the clerical sex abuse crisis, hosting public convenings and conversations that build awareness and supporting research into the effects of clerical sexual abuse on survivors and how to improve screening and assessments of candidates for the seminary.
The safety of the Georgetown community is our first priority. In the years since Father Freeze was Provost, we have implemented strong policies and procedures to provide support for sexual abuse survivors, including survivors of clergy sex abuse, and programs to safeguard our community from sexual misconduct of any kind by any member of our University.
We are grateful to the alumnus who came forward with his experiences and we condemn in the strongest possible terms any clergy abuse. Campus Ministers and members of the Society of Jesus play a unique and trusted role in our community. We must continue to create a trusted environment that encourages survivors to come forward and provides them the best possible resources and support.
We understand that this information is deeply upsetting and we would encourage members of our community to reach out for support. We encourage all members of our community to report sexual misconduct and use the resources of the University to obtain support. Individuals can also report sexual misconduct by a Jesuit by contacting the province's victim advocate at ueaadvocacy@jesuits.org.
Georgetown remains deeply committed to preventing and responding to sexual abuse and to protecting the most vulnerable among us. Our community has and will continue to be built on care and trust, as well as accountability and action.
John J. DeGioia, President, Georgetown University
Bonnie W. Gwin, (F'82, MSFS'83), Member, Board of Directors Working Group
Tyree P. Jones, Jr., (L'86), Member, Board of Directors Working Group
Thomas A. Reynolds III, (B'74), Chair-Elect, Board of Directors, Member, Board of Directors Working Group

redpajama_set_name: RedPajamaCommonCrawl


text:
News Auto Repair & Service
Ottawa Shop Selected Carquest Award of Excellence Finalist
November 6, 2001 by Auto Service World
Carquest Auto Parts has announced that Roy Rump of Roy Rump & Sons Tire & Auto Centre, Ottawa, Ont., as a 2001 Carquest Excellence Award Finalist and the only Canadian location to be selected."CARQUEST is dedicated to the independent shop…
Gasket Training Goes On-Line
The Fel-Pro CounterPro training program for automotive parts counterpeople and other automotive professionals who sell or install gaskets is now available on-lineAccessible through the www.federal-mogul.com website, The Fel-Pro CounterPro training program offers in-depth technical information covering gasket design and performance…
Freudenberg-NOK Phasing Out Detroit Gasket in Favor of Corteco Identity
Freudenberg-NOK, the North American partner of the Freudenberg and NOK Group Companies, the world's largest supplier of original-equipment automotive gaskets and seals, today announced the alignment of its aftermarket product lines into a single business unit called Corteco. At the…
Bridgestone Brand To Be in CART in 2002
Championship Auto Racing Teams, Inc. and Bridgestone/Firestone, Inc., announced that the Bridgestone Potenza racing radial will be the tire all FedEx Championship Series competitors will be racing on in 2002. Bridgestone tires also compete in Formula One competition and will…
Canadian Tire Money Honored in Exhibition
October 25, 2001 by Auto Service World
Almost every Canadian has a few crumpled bills of Canadian Tire Money and this enduring icon of Canadiana is now be honored with an exhibition at the Currency Museum in the Bank of Canada in Ottawa, Ont.The Story of Canadian…
Michael Cardone, Jr. Receives Automotive Leader Award
The Automotive Warehouse Distributors Association presented Michael Cardone, Jr., president, CEO and COO of Cardone Industries with its "Automotive Leader of the Year" Award for his contributions to the automotive remanufacturing industry.Cardone, a 30-year veteran of the industry, is known…
Automotive Products and Technologies Honored at International Competition
Dignitaries and Automotive Journalists honored a wide range of products and technologies at the International Grand Prix for Technical Innovation at Equip Auto in Paris, France today.The awards recognized innovations in the aftermarket and Original Equipment levels of the automotive…
NGK Plug Pro Winners
NGK Spark Plugs of Canada has announced the first batch of winners in its Plug Pro contest.Each received a $100 certificate toward NGK Store Catalog merchandise. The contest asks members of the NGK Plug Pro aftermarket trade program to answer…
Genuine Parts Quarter Down, Automotive Up
Genuine Parts Company, which operates UAP Inc. in Canada, reported sales and earnings for the third quarter were down slightly over last year, while automotive performance was up.Larry Prince, chairman of the board of directors, announced that sales totaling $2.1…
U.S. Battery Recycling Remains Strong
Motorists continue to return spent car batteries for recycling at a high rate, according to a report issued today by Battery Council International (BCI). The BCI 1995-1999 National Recycling Rate Study tracks the lead recycling rate from spent (or used)…
Three Canadians Among Best in Technician Competition
Three Canadians were among the "best of the best" in ACDelco's Technician of the Millennium competition.After written and practical examinations, nine technicians were chosen from across North American to the international competition in Charlotte, N.C. Among the nine were Jeffery…
North American Suppliers Among Financial Leaders
A global management consulting firm says a number of North American automobile supplier companies have distinguished themselves by delivering leading financial performance in one of the world's most competitive industries.A.T. Kearney, a division of EDS, conducted a global study that…


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text:
Two poems on a single theme
"The Two Trees," from The Rose, by W. B. Yeats:
Beloved, gaze in thine own heart,
The holy tree is growing there;
From joy the holy branches start,
And all the trembling flowers they bear.
The changing colours of its fruit
Have dowered the stars with merry light;
The surety of its hidden root
Has planted quiet in the night;
The shaking of its leafy head
Has given the waves their melody,
And made my lips and music wed,
Murmuring a wizard song for thee.
There the Loves a circle go,
The flaming circle of our days,
Gyring, spiring to and fro
In those great ignorant leafy ways;
Remembering all that shaken hair
And how the wingèd sandals dart,
Thine eyes grow full of tender care:
Beloved, gaze in thine own heart.
Gaze no more in the bitter glass
The demons, with their subtle guile,
Lift up before us when they pass,
Or only gaze a little while;
For there a fatal image grows
That the stormy night receives,
Roots half hidden under snows,
Broken boughs and blackened leaves.
For all things turn to barrenness
In the dim glass the demons hold,
The glass of outer weariness,
Made when God slept in times of old.
There, through the broken branches, go
The ravens of unresting thought;
Flying, crying, to and fro,
Cruel claw and hungry throat,
Or else they stand and sniff the wind,
And shake their ragged wings; alas!
Thy tender eyes grow all unkind:
Gaze no more in the bitter glass.
"Bond and Free," from Mountain Interval, by Robert Frost:
Love has earth to which she clings
With hills and circling arms about–
Wall within wall to shut fear out.
But Thought has need of no such things,
For Thought has a pair of dauntless wings.
On snow and sand and turf, I see
Where Love has left a printed trace
With straining in the world's embrace.
And such is Love and glad to be.
But Thought has shaken his ankles free.
Thought cleaves the interstellar gloom
And sits in Sirius' disc all night,
Till day makes him retrace his flight,
With smell of burning on every plume,
Back past the sun to an earthly room.
His gains in heaven are what they are.
Yet some say Love by being thrall
And simply staying possesses all
In several beauty that Thought fares far
To find fused in another star.
Tagged as Robert Frost, Yeats
Take 'Em Away / Our Town
Two songs with essentially the same tune:
"Take 'Em Away" by Old Crow Medicine Show
and "Our Town" by Iris DeMent
Filed under Music
Tagged as Iris DeMent, Old Crow Medicine Show
The Kalam Argument
The next argument for God on my list is the Kalam Argument — the argument that the universe cannot always have existed and therefore must have been created. Kreeft & Tacelli summarize it as follows:
Whatever begins to exist has a cause for its coming into being.
The universe began to exist.
Therefore, the universe has a cause for its coming into being.
In establishing the first premise, K & T rest content with the dubious assertion that most people "outside of asylums and graduate schools" consider it obvious — a one-liner which (to quote C. S. Lewis, who was speaking of someone who had named his country after himself) "was meant to be witty but really only showed his conceit."
For the second premise, the argument is as follows:
Time elapses finite step by finite step — one day at a time.
No number of finite things can add up to something infinite; therefore, it is impossible for an infinite amount of time to elapse.
But if the universe is infinitely old, an infinite amount of time must have elapsed before the present.
Therefore, the universe is not infinitely old.
So something must have caused the universe to come into existence. And that something must be outside of the universe, non-spatial and non-temporal in nature, and must therefore exist eternally. But is the cause personal? Can we really call it God? K & T argue that it must be personal.
Suppose the cause of the universe has existed eternally. Suppose further that this cause is not personal: that it has given rise to the universe, not through any choice, but simply through its being. In that case it is hard to see how the universe could be anything but infinitely old, since all the conditions needed for the being of the universe would exist from all eternity. But the kalam argument has shown that the universe cannot be infinitely old. So the hypothesis of an eternal impersonal cause seems to lead to an inconsistency.
Is there a way out? Yes, if the universe is the result of a free personal choice. Then at least we have some way of seeing how an eternal cause could give rise to a temporally limited effect.
I was very impressed with this part when I first read it, since it's the first real argument I've found for the paradoxical idea of free will — of causation without determinism. If the rest of the kalam argument holds, then, yes, it would seem to follow that the universe must be the result of free will. It must have been caused by conditions which could just as well not have caused it — by conditions which did in fact hold for an eternity without causing the universe to come into existence, but which then suddenly did cause the universe to come into existence. (The very same conditions, mind you. Nothing changed. Nothing could have changed, since we are talking about non-temporal things here.) This sounds an awful lot like complete gibberish, a gross abuse of the word cause, but it nevertheless has two things going for it: (1) it fits with many people's intuitive idea of "free will" and (2) it seems to be the only way out of the corner the kalam argument paints us into.
But is the kalam argument valid? Here are a couple of criticisms.
Does everything that begins have a cause?
Certainly it's common sense that every change has a cause, and that the change from no-universe to universe should be no exception. But in fact it's not clear that the logic of change and causation really applies in this particular case.
If the universe (that is, the system of space-time and matter-energy) had a beginning, that means that time itself had a beginning. The commonsense idea of causation (which is what is being appealed to here) is that any given change must have caused by something which took place before the change occurred. But if we're talking about the creation of the universe, there was no "before the change occurred." The logic of causation — that B was preceded by A, and that B would not have happened if it had not been preceded by A — simply doesn't apply here. No time, no causation — at least, not as we understand it. There may of course be some obscure atemporal mechanism which is analogous to causation, but if that's what we're talking about K & T need to make a case for it; it's not enough to appeal to the common knowledge of all non-institutionalized persons.
Does time need to "elapse"?
We experience time as "passing," but actually (according to one theory) time is just another dimension, not fundamentally different from the spatial dimensions. A particular dimension can be infinite, even if it is not possible for any actual thing to traverse an infinite distance. No "traversing" needs to have taken place.
A temporally infinite universe is no more or less problematic than a spatially infinite one. Of course the latter is problematic as well, since there are philosophical problems with the idea of an actually existing infinity. All in all, I think I agree that the universe probably has to be finite (I'm not entirely confident in that judgment) — but K & T's particular argument for its temporal finiteness is not a good one.
Filed under God, Philosophy, Time
Tagged as Peter Kreeft, Ronald K. Tacelli
After a break of a few months, it's time to get back to my project of evaluating Kreeft & Tacelli's 20 arguments for God. Since I'm not feeling up to plowing through the Kalam Argument at the moment, I'll jump ahead a bit to the shortest argument in the series: the 17th, the Argument from Aesthetic Experience.
Here it is in its entirety, as it appears in K & T's book:
There is the music of Johann Sebastian Bach.
Therefore there must be a God.
You either see this one or you don't.
And if you don't (this is what the "argument" not-so-subtly implies), you're a philistine. If Bach's music doesn't move you at a metaphysical level, forcing you to rethink the ontology of the universe, you are obviously incapable of appreciating the full power of his art.
Well, I readily grant that I am a musical philistine, one who has received more genuine pleasure and inspiration from third-tier rock-and-roll acts than from most of the greatest music ever composed. After several unsuccessful attempts to cultivate a taste for classical music, I wear my Midas-ears, if not with pride, at least with a certain resignation.
(Bach himself may be the one exception. When I give his music my full attention, the reaction it induces in me is extraordinary, though I'm not sure I'd call it "aesthetic.")
Anyway, I'm not one of the people who automatically "see this one." I'm not even sure it's intended to be a serious argument. Does anyone really believe that God's existence somehow logically follows from whatever intense aesthetic experience they may have had, or is this just a way of saying that Bach is awesome, an upmarket version of "Clapton is God"?
At the risk of making a fool of myself, I'm going to give K & T the benefit of the doubt, treat this as a serious argument, and try to make sense of it. Even if the argument is mostly just a joke or a pose, the fact that people can be expected to get the joke — the fact that people naturally understand the underlying idea that the existence of awesome things proves there is a God — suggests that this line of thinking has some grounding in common sense and may therefore be based on some underlying, unarticulated logic.
Here are some possible ways of unpacking K & T's elliptical little syllogism.
Our capacity for intense aesthetic experience, especially when induced by things that have nothing to do with inclusive fitness, makes no evolutionary sense. Therefore we must have been created with said capacity by a God, perhaps as a means of increasing our happiness or of giving us intimations of heaven.
Intense aesthetic experience is spontaneously interpreted in otherworldly terms, and we naturally reach for otherworldly metaphors when we try to describe it. Instincts generally have some grounding in the way things really are.
Bach was a serious Christian who dedicated all his music to the glory of God. So were many other great musicians and other artists. That has to mean something.
The feelings that Bach induces in some people are so powerful and so unlike ordinary feelings that it is reasonable to hypothesize that they come from some out-of-the-ordinary — supernatural, even — source.
The existence of God is part of the content of some aesthetic experiences. They are as inseparable from the idea of God's existence as a visual image of a tree is inseparable from the idea of that tree's existence. No bridge of induction from one to the other is necessary.
If anyone has any other ideas for possible "Bach, therefore God" arguments, I welcome comments. I'll try to evaluate the various arguments in a later post.
Filed under God, Music, Philosophy
Is universal suffrage effective?
Since the enfranchisement of women in 1920, have the decisions of the American electorate tended to be better or worse than those it used to make before women had the vote?
Of course it's impossible to give a definitive or objective answer to that question, but in an attempt to get something at least marginally more objective than my own personal impressions, I looked at the results of the popular vote in presidential elections both before and after the passage of the 19th amendment. Wikipedia's Historical rankings of Presidents of the United States article lists the results of 16 different surveys in which historians were asked to rank the presidents from best to worst, and I used those results to decide whether the decision made by a given popular vote should be considered a good one or a bad one. A "good" president is one who made the first or second quartile in every single survey in which he was considered; a "bad" president is one who never made first or second quartile; "average/disputed" covers the rest.
The numbers represent elections, not presidents, and the popular vote is what counts. For example, Andrew Jackson only served two terms but is counted three times because he won the popular vote in three different elections; George W. Bush, who also served two terms but only won one popular vote, is only counted once. Candidates who won the popular vote but never served as president (Samuel J. Tilden and Al Gore) are ignored, since we have no way of knowing how good or bad they would have been at the job.
Here's what the resulting numbers look like:
Prior to 1920, the voters made "good" choices 59% of the time. After the enfranchisement of women, that figure dropped dramatically to 33%. There are numerous reasons to take those numbers with large quantities of salt — the pre-/post-1920 division is too simplistic (women in a few states were enfranchised much earlier), there are innumerable confounding variables which can't be controlled for, and the underlying data about presidential "goodness" are inherently subjective — but it still gives one pause for thought.
But even if the data were indisputable — if, hypothetically, it could be conclusively proven that universal suffrage tends to produce poorer decisions than male-only democracy — I doubt it would matter to most people. The case for universal suffrage (and for democracy generally) is rarely put in utilitarian terms. (There are presumably few who honestly believe the absurdity that holding a popularity contest in which everyone's opinion is given equal weight is the most effective way — or even an effective way — of ensuring that good leaders are chosen.) Most Americans take it for granted that women's suffrage is a good thing, not because they think women are better at making decisions, and that we will be better governed if women are involved in choosing our leaders, but because they have come to think of the franchise as a basic human right, to be granted indiscriminately as a matter of principle regardless of the consequences.
Details, for those who care:
The good presidents represented in the above charts are: Washington (2), John Adams (1), Jefferson (2), Madison (2), Jackson (3), Polk (1), Lincoln (2), Cleveland (3), Theodore Roosevelt (1), Wilson (2); and, after female suffrage, Franklin D. Roosevelt (4), Truman (1), Kennedy (1), and Lyndon B. Johnson (1). The average/disputed presidents are: Monroe (2), Van Buren (1), Grant(2), McKinley (2), Taft (1); and, after female suffrage, Eisenhower (2), Reagan (2), George H. W. Bush (1), Clinton (2), and George W. Bush (1). The bad presidents are: William Henry Harrison (1), Taylor (1), Pierce (1), Buchanan (1), Garfield (1); and, after female suffrage, Harding (1), Coolidge (1), Hoover (1), Nixon (2), and Carter (1). The following presidents (mostly bad) never won the popular vote and so are not counted: John Quincy Adams, Tyler, Fillmore, Andrew Johnson, Hayes, Arthur, Benjamin Harrison, and Ford. Obama is also excluded because his overall performance can't be judged until he has finished his term.
Filed under America, Politics
Lon Milo DuQuette
I don't tell fortunes, but the study of fortune-telling methods has been a hobby of mine for a long time, so when I saw Lon Milo DuQuette's Book of Ordinary Oracles on sale for a couple of dollars at a secondhand bookstore, I figured why not.
Mr. DuQuette is, apparently, something of a big shot among people who think magic is spelt with a k. Wikipedia says that he's the U.S. Deputy Grand Master of Ordo Templi Orientis, an Archbishop of the Ecclesia Gnostica Catholica, and a faculty member at the Omega Institute for Holistic Studies; according to the blurb on the back of the book, "He has studied the occult for over 30 years, and is in great demand as a lecturer."
So, whatever the merits or lack thereof of his field of study, he ought to know it inside out, right?
As the title suggests — and the subtitle: Use pocket change, popsicle sticks, a TV remote, THIS BOOK, and more to predict the future and answer your questions — Mr. DuQuette's book is primarily about whimsical non-traditional divination techniques using things you probably have around the house. However, he does also deal briefly with more time-honored methods, like tarot cards and the I Ching.
I first began to suspect his expertise when I got to the tarot section and was treated to a rather garbled history of the cards. The author implies that the 22 trumps (sic) were used by themselves in a popular Italian game, Tarocchi, and that this game was later combined with "a Turkish card game called Mamluk" to create the tarot deck. He uses all the right words here, but misunderstands the connections in a way that reminds me of the student history paper (qv) that says "The Ides of March killed [Caesar] because they thought he was going to be made king." But at least he gets the basic idea right — that tarot was created in 15th-century Europe and incorporated older playing cards used by the Mamluks — instead of saying the cards came from ancient Egypt or something, which is what a lot of tarot writers do. The bar for accuracy is pretty low when it comes to the history of tarot cards, and it's not like you need to know anything about their history to read them effectively anyway.
The I Ching, though, is another story. Here Mr. DuQuette absolutely disqualifies himself as a competent commentator by showing complete ignorance of the fundamentals: the eight trigrams. Here's a table of the trigrams from Mr. DuQuette's book, with my annotations:
That's right, he identified only one of the eight trigrams correctly. I'm still trying to figure out how he did that. I mean, either you know the trigrams or you don't. If you know them, you get them right — or at least get most of them right — and if you don't, you look them up and copy them down. You might make a mistake in copying, but you'd at least expect it to be a systematic mistake — copying the translations in reverse order, or transposing everything one space to the right, or something like that. But there's nothing like that here. I have tried in vain to find any connection whatsoever between Mr. DuQuette's mapping and the correct one. Was he reading the trigrams upside down? Did he read yin for yang and yang for yin? Did he list the trigrams in one of their established orders and the captions in another (for example, the Earlier Heaven and Later Heaven arrangements)? No, no, and no. This is a truly random pairing of trigrams with translations.
Is it possible that he thought he knew the trigrams without looking them up but made a few mistakes? I don't think so. Mistakes are easy to make — I don't think I could identify all eight trigrams from memory with perfect accuracy — but some mistakes are simply impossible for anyone with any knowledge at all. All-yang is Heaven, and all-yin is Earth; how hard can that possibly be to remember? At least he got Heaven right.
But complete and utter ignorance isn't an adequate explanation, either. The trigrams themselves are listed in their standard order, for one thing. I couldn't do that from memory, and I'm sure it couldn't be done by someone who thinks the 坤 trigram represents a lake. And each of the eight translations is the correct translation for some trigram, so he at least knows that the trigrams are a set including Heaven, Earth, Fire, Water, and so on. Someone with no knowledge of the trigrams at all could never have produced this chart — but neither could someone with any knowledge of the trigrams at all! A paradox.
I'm beginning to think that the only possible explanation is that Mr. DuQuette did this on purpose, presumably just because he could, and because it's fun to shit with one's readers. I suppose a more charitable explanation would be that Mr. DuQuette is so utterly sincere that he consulted one of his "ordinary oracles" (flipping a coin, for instance) to determine which trigram was which, and was confident that the answers he received would be correct.
The kicker is that Mr. DuQuette ends his book with "The I Ching of Mi-Lo: A Highly Personal, Mildly Vulgar, and Not-at-All Scholarly Rendering of the Classic Text." That's right, this clown who doesn't know one trigram from another, and doubtless doesn't read a word of Chinese either, has taken it upon himself to translate the I Ching! Even with the "not-at-all scholarly" disclaimer, this is taking chutzpah to new heights. It would be like having Tom Sawyer (who thought the first two disciples called were David and Goliath) translate the New Testament.
What's sadder than wasting 30 years of your life becoming an expert on the occult? Wasting 30 years of your life not becoming an expert on the occult.
Still, I suppose there's something to be learned from Mr. DuQuette. The secret to being a successful fortune-teller is absolute and unshakable self-confidence, even to the point of chutzpah — an implicit trust in your own intuitions, and rules be damned. The Tzaddi-is-not-the-Star attitude. I used to lurk at a forum for tarot-readers, and they were always advising one another to "burn the little white book" that comes with the cards and explains what they mean. Mr. DuQuette is certainly a shining example of that ethos.
Filed under Occult
Tagged as I-Ching, Lon Milo DuQuette
Dark arts of rhetoric illustrated
In my post on the dark arts of rhetoric, I proposed the following rule:
If X is the real target of your scorn, don't compare X to something worse; instead, find excuses to compare other things to X in a way that presupposes a negative opinion of X.
Today I ran across a perfect example of this technique (from a student essay, quoted with permission).
Psalmanazar was a complicated character. There was a sense in which he was a sort of 18th-century Ward Churchill, basing his entire life around fraudulently posing as a member of an exotic race. Yet there was more to him than that; Samuel Johnson — no mean judge of character — once called him the best man he had ever known.
Secret: The point here is to slam Churchill, not to say anything in particular about Psalmanazar. The reader sees "nuanced assessment" (of GP) when actually it's an extreme assessment of WC.
Footnote for those not in the know: George Psalamanazar was an 18th-century European, probably a Frenchman, whose whole life was an elaborate hoax in which he posed as a native of Formosa. (Wikipedia sums him up best. "Occupation: memoirist. Known for: being an outrageous impostor.") Ward Churchill is a professional jackass and former professor of ethnic studies whose greatest accomplishment to date has been getting tenure via affirmative action by pretending to be an American Indian.
Filed under Rhetoric
Tagged as George Psalmanazar, Ward Churchill


*Graphic Design of advertisement for Faculty Technology Showcase - March 2019.
*Conceived and produced by Maren Patterson for The Center for Learning with Technology.
While employed as an Instructional Designer at Harding University in April 2019, I produced (recorded, edited, feature talent) the following video to introduce and market the services of the Center for Learning with Technology at Harding University.
*Current progress and development of the Harding University Multimedia Studio in The Center for Learing with Technology - March 2019.
A very basic and entry level multimedia suite for instructional digital media content development, requested by Harding University. Based on the 3D model presented below.
*Conceived and developed by Maren Patterson in December 2018.
A 3D rendering of a potential interior for a very basic and entry level multimedia suite for instructional digital media content development, requested by Harding University, and created based on their specific request and needs.
Southern Methodist University Guildhall requested that I publish the following two sketches for thier review.
*Conceived and produced by Maren Patterson in 2018 (copyright 2017/2018).
*Conceived and produced by Maren Patterson (based on Maren's medu Content Management System concept - rebranded for Harding University).
While employed as an Instructional Designer at Harding University in 2018, I designed and developed the Tech Tools Resource website and CMS. You may access the beta demo by clicking the button below (I'm still working on the rebranding changes from the medu CMS origin).
While employed as an Instructional Designer at Harding University in July 2018, I produced (scripted, recorded, edited, feature talent) the following video to introduce and market the services of the Center for Learning with Technology at Harding University.
While employed as an Instructional Designer at Harding University in June 2018, I presented the MyDevPro app to Harding University Center for Learning with Technology to stream line and simplify the course design process for the University.
*Conceived and designed by Maren Patterson for enhanced website presence and course development resource.
While employed as an Instructional Designer at Harding University in May 2018, I presented the website redesign to Harding University Center for Learning with Technology to increase the online presence, enhance presentation, and stream line and simplify the course design process for the University.
This is a simple photoshop rendering I developed for contemplation and interpretation.
This series provides motivational insight to how the present day Christian lives in the current culture. We discuss topics relevant to our community, and provide a spiritual resolve to help continue positive progress in our culture. We take a step away from the pulpit and get out in the community to review real life challenges and situations.
I always enjoy making progress on a project, developing digital media that both educates and entertains. On this page I have displayed above a few of the current projects I am working on. I will attempt to keep adding more new projects. Please feel free to send me an email and let me know what you think. For more detail about me and my background, please visit the profile and resume page of my website.
*Just in case you were wondering, I am available for freelance work too!


Gaming Innovation Group Inc. will release its first quarter 2018 results before market opening on Thursday 3 May 2018.
CEO Robin Reed will present the company`s results at 10:00 am CET at Høyres Hus Konferanse & Selskapslokaler, Stortingsgaten 20, 0161 Oslo. The presentation will be given in English and transferred via webcast at https://www.gig.com/ir/join-webcast/ and http://webtv.hegnar.no/presentation.php?webcastId=83479364.


ANCRAMDALE — Mary Comstock, 97, a five-year resident of Ancramdale and formerly of Millerton, died peacefully on June 9, 2018, surrounded by her loving family.
Mary was the medical records supervisor at Wassaic Development Center for more than 30 years, retiring in 1980.
Born Sept. 26, 1920, in Sharon, she was the daughter of the late Anna (Broadsky) and Ben Gansowski.
Mary graduated from Roe Jan High School in Hillsdale and received her master's degree in hospital administration from the State University of New York at New Paltz.
She was a member of the Friends of the Millerton Library, Taconic Learning Center and Cary Arboretum in Millbrook.
Mary is survived by her nephews, Stosh Gansowski and his wife, Carol, Thomas Gansowski and his wife, Louise, and John, David and Benay Gansowski; and her loving caregiver, Betty Shufelt.
She was predeceased by three brothers, Ben, Stanley and John Gansowski; and two nieces, Carol McCann and Mary Lynn Gansowski.
Graveside services and burial will take place on Thursday, June 14, at 11 a.m. at St. Bridget's Cemetery in Cornwall.
Arrangements are under the direction of the Scott D. Conklin Funeral Home in Millerton.
Memorial donations may be made to the Northeast/ Millerton Library, 75 Main St., Millerton, NY 12546.
To send an online condolence, go to www.conklinfuneralhome.com.


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Home > Event > The V2 and Marden
The V2 and Marden
Alex Geeves
We believe this talk by enthusiasts, Colin and Sean Welch, taking place at Marden Primary School on Thursday 21st November at 7.00 pm will be of great interest to Business Forum members and their families. These were the experts who excavated the Chainhurst V2 remains, a few months ago and who now return to present their findings on this and other local flying bomb sites.
There is no charge for entry but any donations would help towards the Welch brothers' travel expenses and also the running costs of our award-winning village Heritage Centre.
The V2 rocket attacks – and in particular the recent excavation of a rocket that was launched early on Friday 9 March 1945 from The Hague and impacted near Marden six minutes later.
A presentation about the V-weapons and a journey of discovery. Exhasutive archive work and archaeology. The talk will feature a digital film which catalogues the entire V-weapon offensive into Great Britain, plotting every recorded impact accurately in an animated mapping. A compelling visual description of the progression of the offensive and the countermeasures.
Featuring an unravelling of the Marden V2 impact and the work to discover its archaeology. There will also be an exhibition of the finds.


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Using JSL script, I want the first cell value in "Intercept" column to Fill to end of table with the same value in first cell. Can anyone show me how to write it in script?
but that doesn't seem very useful. Because a formula column is computed, JMP will not allow you to edit one of the cells therein.
What if my value in first row can change from time to time instead of having a fix value? Can I script it in a way that it will always use the first row value (not a fix value) to fill up the rest of the rows in that column?
Ian is correct in his answer to your question. I have at times wanted to do the OTHER thing in the menu image you showed (Fill to row ...), which is also pretty simple by just using the Row Index functions to select the cells you want to fill.


The Tax & Customs Museum is the national museum of the history of taxation in the Netherlands. Its display illustrates the historical development of tax laws and tax administration as well as the history of Dutch customs.
Since it started as a private collection in 1937, the Tax & Customs Museum has been renewed regularly and the last renovation in 2012, turned it into a modern museum of the twenty first century with many interactive displays: it is very much 'hands on'. The museum visitor, who is also a tax payer, discovers the how & why of the Dutch tax system over many centuries. By visiting the museum the visitor will find answers to the questions: Why do I pay taxes? To whom do I pay taxes? And what are the sanctions if I don't pay my taxes? The personal, everyday life of the museum visitor is the starting point of the presentation in the new Tax & Customs Museum. After a visit to the museum visitors will have a clear insight in the historical evolution of the Dutch tax system and the important role taxes play in everyday life and society.
The Netherlands Customs are part of the Tax Administration. As the museum is based in Rotterdam, the harbour, field of work for Dutch customs, is just around the corner. But the history of the borders with Germany and Belgium is also presented in the museum. Every year, two major exhibitions are organized. Educational programs are run throughout the year. The museum's collection of artefacts and works of art illustrates the evolution of one of the cornerstones of the Dutch society: taxes & customs.


Applications for RIM bursaries are now open to South African graduates and under graduates.
Robben Island (RI) is described as the "University of Life" for it is here where strategies for a future society based on tolerance; respect and non-racialism were nurtured and implemented by political prisoners.
The emphasis on education, debate and lifelong learning is testimony to the fight for justice.
The bursary is open to South African graduates and under graduates who have applied independently to a South African University for the 2019 academic year.
The bursary is open to successful applicants who are registered to study accredited courses related to Museums and Heritage studies, Social Science, History or Oral History and Heritage.
The bursary is limited to R33,000, per successful applicant, to partially cover tuition fees.
Successful applicants will be required to do an Internship and Research programme at RIM Public Heritage Education Department (RIM PHED).
Successful applicants will be required to participate and offer assistance in various RIM programmes.


One of the most beloved ways to open a bottle of wine, is with the wing bottle opener. It is easy to use and limited force is needed due to the wings gearing.
A tool inspired by the very name of the product, and the movement of the bird like wings.
The bird's head gives you a good grip when the spine helps you unscrew the cork.


This entry was posted on Wednesday, February 13th, 2013 at 9:24 pm and is filed under How-Tos, Tools. You can follow any comments to this entry through the RSS 2.0 feed. You can skip to the end and leave a comment. Pinging is currently not allowed.


Is it Time to Replace Your Furnace?
Replacing your furnace is a significant investment, and we know that many homeowners labor over the decisions. After all, replacing your furnace usually means not doing other work that needs to be done in and around your home. At some point, though, you just need to get it done. Knowing for sure that you will be warm all winter long is worth a lot.
If you're struggling with this decision, here are some things to think about.
How Much are you Spending on Repairs?
While most problems with a furnace can be repaired, at some point you will spend more getting these repairs done than your furnace is worth. In fact, you can spend several times the cost of a new furnace just replacing parts on the old one.
At Lion Home Service, we don't like to see you waste your money this way. After all, we value your business and we want you to call us back whenever you need us. That's why we'll always tell you when we can get you a new furnace for less than what you would spend to repair your current one. The final decision is always yours, but we will tell you what we'd do in your place.
At some point, most furnaces become dangerous. If you have let yours go without tune ups for a while or you move into a home where the furnace hasn't been cared for, there are all kinds of things that can happen. Gas leaks, fires, and carbon monoxide poisoning are just a few of the things that can happen.
We don't want you or your family to suffer any ill effects from your furnace. We'll let you know if we notice anything potentially dangerous about your furnace, and we'll tell you what needs to be done to fix it. We always work with the safety of you and your family first and foremost in our minds, so we'll be sure to tell you if anything hazardous is going on.
Most furnaces are made to last 10-20 years. Sure, some end up going a lot longer than that, but you never can tell when yours is going to go out. Many families choose to replace their furnace before it dies, to avoid the frustration and bother of waking up without heat one morning. If you have the means and you like to stay warm, this might be the right choice for you.
When we tune up your furnace, we'll let you know if we think it's on its last legs. We'll tell you what could happen, then we'll let you decide if it's time to replace it.
In the end, it's usually up to you as to whether it's time to replace your furnace, or whether you want to perform needed repairs, or wait and see what happens. When you call Lion Home Service, know that we will give you all of the relevant information, then let you make the final decision.
It's cold outside and you need your furnace to work. Whether you've just moved in or you've been in the same place for a while, it's a good idea to get your furnace checked out every year. We offer a comprehensive furnace tune up that does just that. We'll make sure everything is running smoothly, diagnose any problems before they cause your furnace to stop heating entirely, and make sure you stay warm all winter long.
Not sure if you need this service? Here are some signs that it's time to call for your tune up today.
It's been at least a year since you had one. Most furnace manufacturers recommend getting your furnace tuned up at least once a year. Some actually want you to do it twice! Check out the manufacturer's guidelines in your manual or online, and we'll come out and do the work according to their specifications. If your furnace is under warranty, it's even more important that you get this done. Some warranties are voided if you don't have regular tune ups.
Your furnace is old. Most furnaces last between 10 and 20 years. If yours is 10 years old or older, it's a good idea to get it checked out more frequently. This can head off any problems before they affect the temperature of your home.
Your energy bills are high. Do you pay more than you used to when you run your furnace? If so, then there's a good chance that something isn't working as well as it could. We'll diagnose the problem, which is often solved simply by servicing the unit. If it needs more work, we'll let you know that, too.
Your furnace makes unusual noises. Most furnaces run almost silently. If yours is making banging noises or any other noises, it's time to get it check out. We'll perform routine maintenance and, in the process, determine what is making the unusual sound. Then, we'll get it fixed before your house gets cold.
Changing the temperature on the thermostat doesn't help. If you feel like you're constantly turning up the heat but your house isn't getting any warmer, let us know. Part of our tune up involves checking your thermostat and making sure it's still properly connected to your furnace and is correctly reflecting the temperature in your home. If there's a problem, we'll let you know.
Your furnace turns off and on frequently. Your furnace should turn on, run until your home is warm, then turn off again. If it's turning off and on more frequently than that, it's time for a tune up. We'll service the unit and see if that helps. If it doesn't, we'll figure out what else is going on and get it all working again.
When it's time for a tune up, call us at Lion Home Service. We'll send out a professional furnace service expert to perform standard maintenance on your unit according to the manufacturer's specifications. We'll also help you get any problems fixed, so you and your family aren't left out in the cold.
Nobody likes spending a lot of money on heating. After all, there are a lot of things you want to do, so those dollars can always be spent on something a little more interesting. However, most homeowners don't really know what they can do that will help.
If this is you, don't worry. You don't have to spend an exorbitant amount of money to keep your home warm and your family cozy this winter. No matter how big your home and how efficient your furnace, here are some good ways to save money on energy.
Most people want to wake up warm, so they keep the temperature inside their house up all night. However, this doesn't save money. Instead, get a programmable thermostat if you don't already have one. If you've got one, start using it.
The ideal temperature for sleeping is between 60 and 65 degrees, which is a lot cooler than most people keep their houses overnight. Program your thermostat to go down overnight, so it doesn't have to work as hard to keep your house warm when you don't need it. Then, program it to warm back up just before you get out of bed.
You can also save money by turning your thermostat down when you're not home. If there's nobody in the house all day, while you're at work and your kids are at school, program the thermostat lower. Once again, tell it to heat things up right before everyone gets home. You'll save on energy and still be comfortable at home.
Your home loses heat and lets in cold air through drafts in and around your windows. If you don't have double or triple paned windows, consider installing them. However, windows can be expensive and not everyone will choose to invest in their home that way.
Even if you don't get new windows, though, you can always insulate the ones you already have. Most home repair stores sell window kits. These have a film that will stick to your windows and help keep cold air out. It takes a bit of work to figure out how to put the film on, but after that you will lose less energy that way.
Finally, be sure to fill or cover any cracks. Sometimes, you can feel cold air coming in around your windows even though you can't see a crack or anything else. Fill in the gaps with caulk, or place a blanket or insulating tape around the place where your window meets your wall, until you can't feel the cold air anymore.
If your furnace is old, it's probably not working efficiently. It surprises many homeowners that they can save money on energy simply by installing a more efficient furnace. If you're interested, call us today. We'll help you find the right furnace for your home and get it in, so you can start saving today!


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Viva archived INTERVIEW!
Ben Danger, Viva, Mary "Freakin" Feaster
Last night I held an unofficial music staff drink beers-listen to music "meeting" at my place. I got to catch up with my new assistant music director, Molly Young, and got to say "oh brother, you're the worst" to my old assistant, Ben Danger, who has moved up in the radio world to WECB's programming department. I got that nasally nostalgia feeling when I thought about the time Ben and I traveled to Jamaica Plain last semester to see Brooklyn rocker-babe Viva. We met a man named surly dave, ate some pizza, and got to interview Viva in her van after the show. Mr. Danger wrote an awesome review, and transposed our interview. We never posted it but nows the time. Trust me, Viva is a wildly fantastic character and this is the interview to prove it. -margaret
Ben:You've got a very interesting singing style, it kind of reminds me of Joni Mitchell meets the B-52s meets like a million other people, so, how did you develop it?/What are your main singing influences?
Viva: Well, you know I was touring a lot with Beat the Donkey and I used to lose my voice, so I kinda came out of an idea like, you know, I'm not really gonna study singing but I actually found that that didn't work for me very well and I had a friend who was a really great singer, I was in a band with her for a minute. She's now, like, singing with the Scissor Sisters, but she's an awesome singer, and so she's like "you should go to my voice teacher," who's this crazy little Greek lady in the East Village, who like became my guru and really helped so that now I can go on the road and like sing night after night. It's really nice. I recommend people, if they're gonna be singers, to get some training because, you know, if you're gonna sing every night in rock clubs and stuff. You belt it and if you wanna deliver that every night… you can. You can if you take care of it…it's really pretty cool cause for a lot of people, you know it's hard for them, I know, like a lot of my favorite singers, I don't want to mention any names but they get in trouble, you know, and I mean, I lost my voice so I had to go take some. But I copy everyone, I loooove obviously David Bowie, but we're doing a tribute at Joe's Pub in like a week for Barbara Streisand. But I mean, even like Bowie was a mime, you know, before he did it. One of the things I think made him so great was the theatrical element. I like Freddie Mercury obviously, in rock, it's probably Freddie Mercury you know. Yeah we were at the website, electric-viva.com and there's that Freddie Mercury comparison, and the "she plays guitar like a flaming sword" part… That's the Duke Ellington song "Flaming Sword" if I ever got a tattoo, I would get one…it's really beautiful, it's kind of mellow but I just love the idea of a flaming sword, and it's like, you know, a pretty classic tattoo, I'd get one right on my forehead.
Ben: What's your writing process like? Do you sit down and say you're gonna write a song or does it just come out?
Sometimes it develops out of playing live, sometimes I copy songs…I wrote a new song after being inspired by seeing Patti Smith sing "you light up my life" on youtube which I recommend going to check out. So I just sat down and wrote a song called music in my life (sings a few bars) "When there's music in your life/you can handle almost anything/or maybe/it's true/you can handle anything" So it's kind of like Pattie Smith is just such an icon of punk and music and doing this kind of arguably cheesy song, but you know, there's no cheesy songs, only cheesy musicians, but you could say like, in other words, you know, like a really straightforward song, it's a good song…sometimes I write, I copy stuff, you know Rock and Roll Lover is kinda, you know, I did Rock and Roll Suicide (David Bowie) and when I first heard that song I just cried and cried and cried and cried. I just couldn't, it was so beautiful, that song, so Rock and Roll Lover is kind of dedicated to all the people that are just Rock and Roll lovers, its like about sex and a sexual lover you have but its also about people who love rock and roll. And it's a place, and I think, you know Bowie's certainly one of my heroes, but it's not like, I don't think the song Rock and Roll Lover sounds 50s-y, but it doesn't end up sounding like, you know? No, it's timeless in a way. Even if I try to copy, I think, its hard for me sometimes, like, I like cover bands. I joined a Guns N' Roses cover band and I'm playing it tomorrow night, that's why I have to go back. It's totally awesome, but even, no matter, and I have a lot of respect for people in cover music. I like that. The Great American Songbook, all the way to Guns N' Roses. But no matter what I do, it sounds like me so its not like a lot of Jersey bands are hiring me to come and play the exact solo that so-and-so played, but it can be good when you're going to write a song, cause then you're just like, I could even copy writing someone's song exactly and it still wouldn't sound it. It's this collaboration of influences and it becomes something new every time, and it should be something new every time. Ideally, you know, like that's, where you get, like real inspiration from someone else. Like I don't mind if someone copies my song, or ever plays my song, or "steals" my song, it doesn't bother me. Even though, I believe that people should own their songs and be paid for them. I also don't mind if someone, you know cause it means they like it so much they wanna like yeah, and if they make it better or if they make it personal, like Somebody Else, that actually groove was from Beat the Donkey, it was a samba in 6/8 but it ended up sounding Afrobeat, but I wrote that particular groove to go with the groove we did in Beat the Donkey, but then I just loved that groove so I kept it and then it took me a long time to find the words. You have to be fearless to be an artist, I think to live, to be alive, to do this, I mean, you know there's Mary fuckin Feaster from the Bronx. It's hard
Margaret: What are you thinking?
Mary "Freakin" Feaster: What am I thinking?
Margaret: Yeah, cause you were rockin that bass crazy girl
M: well its just you know its always fun to play with Viva its sweet. I really enjoy her songwriting, I enjoy the energy in the band. And umm, you know, just to get out there. Yeah, you really get each other. Yeah we, kind of me through mutual friends who were you know musician friends who I played with and she played with and we started playing together and it was just one of those things that, you know, you can play with, you know, musicians of, you know, amazing caliber, but sometimes, you know, there's just some people that just you have chemistry with I think that's just kind of like anything in life and we just happened to have a really good chemistry. It's been a really nice thing to find. Because you don't always do and, and good music to boot.
V: That was kind of exciting about Joe. You never know, like he popped up there and then we just had all this chemistry and it was just like, you know, cause we went and checked him out online and were like "oh he's good, we should ask him to come sit in with us" but it just seemed like, you know, too much to ask but then, you know, we, once he was there he seemed so nice and everything so we just grabbed him and then it just seemed like "wow this is, we got really lucky." I think being open and just trusting your vibrations and you're umm, you're intuition cause music is all vibration and same with singing, it's like you're head is the resonator, that's whats interesting about singing s youre basically sending a big thing of air through your skull. So your skull resonates and that's what makes the sound, like a string, or the body of a guitar, or the bell of a horn. So your skull is like the bell of a horn, and that's whats sort of fun about singing for me.
Ben: You seem very involved in the burlesque scene. Can you tell us how you got involved and what its like to be a member of the burlesque community?
It's fantastic, I got involved as friends with this woman who plays in a saxophone quartet called The Tiptons and I went to see them one night and her girlfriend Ms. Saturn was, is a hoolahoop artist, and she actually, like, is not so much in burlesque now, but she just got up and she did hoolahooping to the music, with like, she does tricks, with like 50 hoops or 5 hoops all over the thing and I was like, soooo mesmerized by the way the hoops looked and I said anytime you wanna hoop, I want my band to play while you hoop. And she said "well I don't do that much anymore" cause she does a lot of parties and she teaches hoolahooping. So, so she said "but I used to work at this place called The Slipper Room, and I could probably call them up and maybe get us a gig there." I was like "ok" so we called them up and they were like "man, we got a cancellation next week, can you come in?" and it was just like, this was in May 2009 and so they had a cancellation the next week, we had the band together already, Darlinda, like that song Go-Go Boots, so she recommended Darlinda just Darlinda Clam's Casino and uh Darlinda's like "I'll do Go-Go Boots" so then she did this whole go-go boots where she starts off really depressed, she's like smoking a cigarette and it's like, and then someone hand's her go-go boots and she gets all happy and then in the end she goes in the crowd, takes of all her clothes, and then hugs people. And so it was just, and then, oh, I was in this David Bowie cover band, its like all tribute bands, kind of like in Flight of the Concords, Parsley and Sage, so I was already doing Moonage Daydream and she already, Saturn already had an act to Moonage Daydream and so she did that and at the end she did the hoolahoops with like a glow-in-the-dark hoolahoop and the lights were all out cause she's Ms. Saturn so its like all cosmic so we already had like practically half the show was practically well set to Moonage and then Darlinda and the song Rock and Roll Lover I had already written and it was pratically perfect for a burlesque show, it wasn't written for a burlesque show but it fit perfectly so and it was great because The Slipper Room so then I met Juliette les-Muse who was on the back cover of the record so we had this, that version of Natural Woman that I do sort of like Jimi Hendrix does the National Anthem to kind of like deconstruct it well we were doing that one and Jule was like "ooo, I have this wolf head" it was like a big plastic wolf head mask "I'll come out in that" and so she comes out and does some improvised, you know, dance wearing a wolf mask and so we just had a way of, we did one show and we basically got a monthly gig there and it was awesome because in New York its hard to find steady work. Especially for a large band and a weird project and original music and all of a sudden we just had it and it was really…
Ben:What's it like not having brass section with you? How does that affect your performance?
M: each one has its like special thing like when you get to play with a horn section it adds this whole other melodic and harmonic level to the music that really takes it to this other place its really big and full, its sort of like driving a really big exciting car and you know but its like you can't really go a lot of places, different directions, and then when we go out with the trio, or, as tonight, the duo you have more freedom in your improvising and songs can go all these different places that they might not go otherwise. Each one has its merits and its really good things about it you know I don't know if I would say I like one over the other
V: No, I always get torn. I mean, for touring its like impossible to go with that large of a band so it's a no-brainer. You can't take seven people on the road. You know, but umm, definitely it can be fun artistically to have a smaller group and have it be more, what were you saying? It's like a big car. In a seven piece band you got like this huge bus and its like you can stand up in it, move around, and its lush and you know the trio's more like a sports car, youre like I wanna change lanes, boom, all of a sudden you're in the other lane you know.
M: go offroading
V: yeah. You don't have to stop and go to the bathroom as much also, when theres only a few people.
Ben:What's the gender ratio of shows generally?
We need more data in terms of attendance, but the Slipper Room was always interesting because it was very mixed. And that was nice
M: One of the interesting things was it was a very interesting destination of bachlorette parties. For some reason they would go to the Slipper Room, so we often had a lot of young ladies in the audience and how they reacted to the burlesque thing was always really fun.
V: I think about, maybe, I mean I like things that are on the cusp, and I like transitional things so I mean its always like I get torn cause I just think the guitar is a great instrument and its like I love all the great guitarists and just people that aren't even famous or anything. I love Jimi Hendrix and Eddie Van Halen, etc, blah blah blah, and I love the one guy I play with in this other band and you know what I mean, I just think the guitar is a cool instrument.
M: and its usually such a male dominated thing but you rock the shit outta that guitar
V: I mean, I would still play the guitar if I was a dude but I do like playing guitar as a female because I think that music, that's why I put the Line in there that's like "I need electrified strings to play the hook dude, and make your molecules sing" there's an old latin musician Bobby Sanabria when I went to see Santana was talking about how music will change your molecular structure and I think all music, it changes you and that's that transformation and me personally, I am interested in that and changing people's perception of what a musician is in terms of gender and all I have to do is just play guitar I don't have to sing about it specifically because I know a lot of really great female guitarists and of course there's Bonnie Raitt, and Nancy Wilson, just phenomenal female guitarists that are really, you know Carol Kay on the bass and Joni Mitchell. The guitar itself is like a hermaphroditic intstrument because its like a penis on the body of a woman and it's a very interesting intstrument its interesting that its perceived as male because its so female I think and I just think the whole thing's exciting, its almost like I don't need to think about it hugely specifically its just sexually exciting and I think that people find the guitar sexy and that's always exciting. A lot of my favorite artists, and a lot of the greatest artists just, so I was listening to this Axl Rose singing "You're Crazy" and I got chills all over my body cause I was like "oh my god, he sounds just like Janis Joplin" and he really does in a way that's not copying. In a way that's just like he felt the same spirit that she did and even the words of that song are like about. And I think that's interesting there is a thing where gender is becoming more fluid and music is a place for that to happen.
Ben: I love your lyrics on universal radio about band geeks and glockenspiel. Did you have any interesting high school band stories you wanted to tell us?
Heres the thing, so I went to this weird experimental Montessori School and I played, we had a band and we played songs we played at the county fair and all that stuff then I got to like a public grade school and they had a jazz band and I kinda tried to play guitar and I was still kinda hangin on and you see my Montessori teacher got arrested for tax evasion so the school got shut down we got put in public school and it was all there it was like very status and clique-y and stuff and our school had been very small we all just kind of got along, we played band and we played football we used to play tag football and so it was really culturally shocking but I hung on with music and I played in the band with guitar and then it was really specifically that and then when I got to high school there was only marching band and I stopped playing music and I wished that I'd picked up the glockenspiel or the drums cause you know, you could have a marching guitar band but you know.
M: well its interesting cause I think there's like been a whole resurgence of like all of these great street marching bands in New York there's this one band called the Hungry March Band that a lot of friends of ours are in and its just it can be as little as 10 people or as big as 50 people its kind of this crazy thing and they have sort of like people that dance with them and they'll go and do all sorts of street events and parties and stuff.
V: The Mermaid Parade
M: Oh yeah! The Mermaid Parade. There's just like one band and a whole range of them and theres like something that happens up here, The Honk Festival that's like all these marching street bands.Its kind of like all these people that like loved to be in high school band its like they found a way to take it to this other level.
V: Anyway, I wish that I'd, I wish I hadn't gave up music then, so anyway its also kind of like, I think its great that there are high school bands I love it when there's support for music and like I volunteer for the Willy May Rock Camp, and I think, even though I think rock is an outsider music, I think you have to be strong and fierce and decide to do it on your own, but I think its good that the culture would support music and education whether its rock or big band and I, they didn't have band and I stopped playing music and didn't start again til college so…
Listen to Viva's "Rock and Roll Lover"
Posted by: Music Department
Labels: Band Interview, Ben "Danger", viva
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text:
Система дизель-насосного агрегата представляет собой сборную систему впрыска дизельного топлива высокого давления, которая тесно связана с насосом-форсункой, и предназначена для использования на коммерческих грузовых автомобилях с дизельными двигателями.

Системы используют индивидуальные насосы ТНВД, установленные на блоке двигателя для каждого цилиндра, в первую очередь предназначен для двигателей с одним распределительным валом, расположенном в головке или в блоке цилиндров. Топливные насосы приводятся в действие от дополнительного кулачка распредвала, где каждый насосный агрегат подключен к форсунке через топливо-провод, в отличие от насос-форсунки, которая сочетает в себе насос и инжектор в компактном устройстве.

Обе системы оснащены электронным управлением через электромагнитные клапаны для выбора точной фазы газораспреденления и количества впрыскиваемого топлива, регулируемые для каждого цилиндра.

Известными производителями коммерческого транспорта с использованием системы являются Mack (прекратил установку), Liebherr,Mercedes-Benz и её дочерние компании Freightliner, BharatBenz и Western Star. Так, например, двигатель MBE 4000 производства Detroit Diesel, имеет эту систему.

Примечания

Ссылки
 Delphi запускает электронные насосные агрегаты
 Freightliner Adds MB Power for Heavy-Duty Trucks

Устройство дизеля

redpajama_set_name: RedPajamaWikipedia


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Q: Issue with observe livedata in adapter - android I'll give you some hint of my app , maybe help with my issue .
I have an Api an with retrofit I'll get this data . after that insert all data in roomdatabase .
In my main screen with a recyclerview I display all this product (data) .
Near each of this product I have a button to send product to the cart fragment .also have a value(textview) to save each button is pressed to show how many items gone to cart fragment .
I use a upsert(transaction) for insert or update the product to cart fragment .
and after that use a obvserver livedata to display the amount value of products that is send to cart .
First i need A way to implement the observe live data in my main screen instead of adapter / and also is my upsert query is correct ? sometimes when click on products button the other products value changes .
Here is my code :
Dao :
    // this is for Maintable

    @Query("SELECT * FROM main")
    fun getalldata(): LiveData<List<Roomtable>>

// cart Table

    @Query("SELECT * FROM Cart")
    fun getAllFromCart(): LiveData<List<CartTable>>

    @Query("SELECT * FROM Cart WHERE id  = :int")
    fun GetAllFromCart(int: Int): LiveData<List<CartTable>>

    @Insert(onConflict = OnConflictStrategy.IGNORE)
    fun insertToCart(model: CartTable): Long

    @Query("UPDATE cart SET amount = amount+1 WHERE id = :int")
    fun updateCart(int: Int)

    @Transaction
    fun upsert(model: CartTable) {
        val id = insertToCart(model)

        if (id == -1L) {

            model.id?.let {

                updateCart(it)

            }

MainAdapter :

class RecyclerAdapterMain(

    private val product: List<Roomtable>,
    val context: Context,
    private val viewlifecyclerOwner: LifecycleOwner

) :

    RecyclerView.Adapter<RecyclerAdapterMain.ViewHolder>() {

    val viewModel: ViewModelRoom by lazy {

        ViewModelProvider.AndroidViewModelFactory(Application()).create(ViewModelRoom::class.java)

    }

    inner class ViewHolder(itemview: View) :
        RecyclerView.ViewHolder(itemview) {

        val title: TextView = itemview.product_txt

        val price: TextView = itemview.price_product

        val imageproduct: ImageView = itemview.product_image

        val btn_add_product: Button = itemview.btn_add_product

        var amount_value: TextView = itemview.amount_value

    }

    override fun onCreateViewHolder(parent: ViewGroup, viewType: Int): ViewHolder {

        val layoutview =
            LayoutInflater.from(parent.context).inflate(R.layout.product_items, parent, false)
        return ViewHolder(layoutview)

    }

    override fun getItemCount(): Int = product.size

    override fun onBindViewHolder(holder: ViewHolder, position: Int) {

        var products = product[position]

        holder.title.text = products.title
        holder.price.text = products.price
        Picasso.get().load(products.image).into(holder.imageproduct)

        holder.btn_add_product.setOnClickListener {

            products.amount++

            viewModel.upsert(
                CartTable(
                    holder.adapterPosition,
                    products.title,
                    products.price,
                    products.image,
                    products.amount
                )
            )

            viewModel.GetallFromCart(holder.adapterPosition).observe(viewlifecyclerOwner, Observer {

                if (it != null) {

                    for (item in it) {

                        holder.amount_value.text = item.amount.toString()

                    }

                }

            })

        }

Main Activity :

class HomeActivity : AppCompatActivity(){

    val viewModel: ViewModelRoom by lazy {

        ViewModelProvider(this).get(ViewModelRoom::class.java)

    }

    @RequiresApi(Build.VERSION_CODES.M)
    override fun onCreate(savedInstanceState: Bundle?) {
        super.onCreate(savedInstanceState)
        setContentView(R.layout.home_activity)

        loadProduct()

    @RequiresApi(Build.VERSION_CODES.M)
    private fun loadProduct() {

        swipeRefreshMain.isRefreshing = true

        if (hasNetworkAvilable(applicationContext)) {

            viewModel.setup()
            viewModel.products.observe(this, Observer {

                loadrecycler(it)

            })

        } else {

            Toast.makeText(
                applicationContext,
                "برای بروز رسانی محصولات اینترنت خود را روشن کنید",
                Toast.LENGTH_LONG
            ).show()
            viewModel.getalldata().observe(this, Observer {

                if (!it.isNullOrEmpty()) {

                    loadrecycler(it)

                } else {

                    val builder = AlertDialog.Builder(this)
                        .setView(R.layout.customalertdialog)
                        .setPositiveButton("Ok", null)
                        .create()
                        .show()

                    val constraint = Constraints.Builder()
                        .setRequiredNetworkType(NetworkType.CONNECTED)
                        .build()
                    val workmanager: WorkManager = WorkManager.getInstance(this)
                    val workRequest = OneTimeWorkRequest.Builder(UploadWorkerClass::class.java)
                        .setConstraints(constraint)
                        .build()
                    workmanager.enqueue(workRequest)

                }

            })

        }
    }

    fun loadrecycler(product: List<Roomtable>) {

        val swipeRefreshLayout: SwipeRefreshLayout = findViewById(R.id.swipeRefreshMain)
        val recycler: RecyclerView = findViewById(R.id.recycler_main)

        recycler.apply {

            layoutManager = GridLayoutManager(this@HomeActivity, 2)

            adapter = RecyclerAdapterMain(
                product, this@HomeActivity, this@HomeActivity )

            Handler(Looper.getMainLooper()).postDelayed({

                swipeRefreshLayout.isRefreshing = false

            }, randomInRange(1, 3) * 1000.toLong())

        }
    }

}


text:
Q: DataGridView CellPainting drawing text with ampersand displays weirdly I have implemented a CellPainting event handler that uses TextRenderer.DrawText and it has worked great up until a cell had an ampersand in it. The cell shows the ampersand correctly while editing the cell, but when editing is done and it is drawn, it shows up as a small line (not an underscore).

using System;
using System.Drawing;
using System.Windows.Forms;

namespace StackOverFlowFormExample {
    public partial class DataGridViewImplementation : DataGridView {
        public DataGridViewImplementation() {
            InitializeComponent();
            this.ColumnCount = 1;
            this.CellPainting += DGV_CellPainting;
        }

        private void DGV_CellPainting(object sender, DataGridViewCellPaintingEventArgs e) {
            if (!e.Handled && e.RowIndex > -1 && e.Value != null) {
                e.PaintBackground(e.CellBounds, false);
                TextRenderer.DrawText(e.Graphics, e.Value.ToString(),
                                      e.CellStyle.Font, e.CellBounds,
                                      e.CellStyle.ForeColor, TextFormatFlags.VerticalCenter);
                e.Handled = true;
            }
        }
    }
}

//creating the datagridview
public partial class MainForm : Form {
    public MainForm() {
        InitializeComponent();
        DataGridViewImplementation dgvi = new DataGridViewImplementation();
        this.Controls.Add(dgvi);
        dgvi.Rows.Add("this is a & value");
    }
}

replacing
TextRenderer.DrawText(e.Graphics, e.Value.ToString(),
                      e.CellStyle.Font, e.CellBounds,
                      e.CellStyle.ForeColor, TextFormatFlags.VerticalCenter);

with
e.PaintContent(e.ClipBounds);

shows it correctly, of course I want to be able to customize the painting of the content though.
I've also tried using
e.Graphics.DrawString(e.Value.ToString(), e.CellStyle.Font, Brushes.Black, e.CellBounds);

but it doesn't draw it the same as
e.Paint(e.ClipBounds, e.PaintParts);

I use e.Paint in my actual code when a cell is being painted that doesn't need my customized painting.
How can I get e.Graphics.DrawString to look the same as e.Paint or get TextRenderer.DrawText to display the ampersand correctly?

A: You want to use the TextRenderer version since DrawString should really only be used for printing:
TextRenderer.DrawText(e.Graphics, e.Value.ToString(),
                  e.CellStyle.Font, e.CellBounds, e.CellStyle.ForeColor,
                  TextFormatFlags.NoPrefix | TextFormatFlags.VerticalCenter);

The NoPrefix flag will show the ampersand correctly.