text:
Q: Owasp ESAPI class not discoverable as bean in spring I'm using ESAPI library to encode name variable in my code.And my project is implemented on spring.
ESAPI.encoder().encodeForSQL( new OracleCodec(), name);
    import org.owasp.esapi.ESAPI;
import org.owasp.esapi.codecs.Codec;
import org.owasp.esapi.codecs.MySQLCodec;
import org.owasp.esapi.reference.DefaultEncoder;
    import org.springframework.jdbc.core.support.JdbcDaoSupport;

    public class StringJdbcDao extends JdbcDaoSupport{

    public void execute(){
            BufferedReader r = new BufferedReader(new InputStreamReader(sqlDDL));
                        try {
                            // read the first line, skipping any '--' comment lines
                            boolean firstLine = true;
                            StringBuffer buf = new StringBuffer();
                            for (String line = r.readLine(); line != null; line = r.readLine()) {
                                **line = ESAPI.encoder().encodeForSQL(new MySQLCodec(MySQLCodec.MYSQL_MODE), line.trim());**
                                getSpringJdbcTemplate().execute(line);
    }
    }

I get the below error.

org.springframework.beans.factory.BeanCreationException: Error
  creating bean with name
  'org.sakaiproject.genericdao.test.GenericDaoTarget' defined in class
  path resource [spring-jdbc.xml]: Invocation of init method failed;
  nested exception is
  org.springframework.beans.factory.BeanInitializationException:
  Initialization of DAO failed; nested exception is
  org.owasp.esapi.errors.ConfigurationException:
  java.lang.reflect.InvocationTargetException SecurityConfiguration
  class (org.owasp.esapi.reference.DefaultSecurityConfiguration) CTOR
  threw exception.  at
  org.springframework.beans.factory.support.AbstractAutowireCapableBeanFactory.initializeBean(AbstractAutowireCapableBeanFactory.java:1338)
    at
  org.springframework.beans.factory.support.AbstractAutowireCapableBeanFactory.doCreateBean(AbstractAutowireCapableBeanFactory.java:473)
    at
  org.springframework.beans.factory.support.AbstractAutowireCapableBeanFactory$1.run(AbstractAutowireCapableBeanFactory.java:409)
    at java.security.AccessController.doPrivileged(Native Method)   at
  org.springframework.beans.factory.support.AbstractAutowireCapableBeanFactory.createBean(AbstractAutowireCapableBeanFactory.java:380)
    at
  org.springframework.beans.factory.support.AbstractBeanFactory$1.getObject(AbstractBeanFactory.java:264)
    at
  org.springframework.beans.factory.support.DefaultSingletonBeanRegistry.getSingleton(DefaultSingletonBeanRegistry.java:222)
    at
  org.springframework.beans.factory.support.AbstractBeanFactory.doGetBean(AbstractBeanFactory.java:261)
    at
  org.springframework.beans.factory.support.AbstractBeanFactory.getBean(AbstractBeanFactory.java:185)


text:
Galium shanense är en måreväxtart som beskrevs av Reba Bhattacharjee. Galium shanense ingår i släktet måror, och familjen måreväxter.

Artens utbredningsområde är Burma. Inga underarter finns listade i Catalogue of Life.

Källor

Måror
shanense

redpajama_set_name: RedPajamaWikipedia


text:
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RuPaul on 'Drag Race,' Brand-New Album & the 'Gayest' Show on TV
2/24/2015 by Keith Caulfield
Mathu Andersen
As the seventh season of RuPaul's Drag Race nears, we caught up with host and executive producer RuPaul to talk about all things Drag Race. The new season -- which premieres March 2 on Logo -- is "so good, so good!" says RuPaul, and the diva promises fans "will not be disappointed." During our chat, we discuss how the reality competition series is cast, how the show is about "the tenacity of the human spirit," changes to show's judging panel, a new Pit Crew lineup and so much more.
We also dish on RuPaul's new album Realness (due out March 2), favorite TV series ("Workaholics is the gayest show I've ever seen in my life"), love of music (Kiesza's album "was the best thing since sliced bread") and the possibility of going on tour.
What is it about the show that continues to be fresh and interesting for you? On one of your What's the Tee? podcasts I was listening to earlier, you were saying something about "staying engaged." So I'm wondering, what's keeping you engaged in Drag Race year after year?
Well, I love drag and I love people who gravitate toward it. Because the people who do drag are people who dance to the beat of a different drummer. And I think that's really the attraction for people who have tuned in year after year after year. It's a show about the tenacity of the human spirit. We see ourselves in each of those girls. Even if the people at home watching haven't followed through on their dream of doing some outlandish thing that they assume people laugh at them for, they still relate to the people who follow through. And that's what our girls are. That's who they are. And that's why they're so interesting. And that's why I stay interested.
(Above: the judges of RuPaul's Drag Race, season seven. Left to right: Ross Mathews, Michelle Visage, RuPaul and Carson Kressley. Photo credit: Denise Malone)
Is that what you find the most rewarding about the show? Seeing these girls come on and discover themselves and that kind of feedback you get from the audience? Or is there something more intangible about it that you're personally getting from it?
Well I certainly love that part of it, watching their personal breakthroughs and finding out that they could do things that they didn't even know they could do. But even more than that, watching them get propelled onto a world stage because of this show. I think that's what I'm the most proud of, because they are traveling the world. They're actually doing all the things that I had done when I got a lot of attention 20 years ago. And now I get to, through my career, pass that on to them.
Speaking of the queens on the show, when you're casting for the series, are you thinking of perhaps a vibe or blend of personalities? Are you looking for very specific things like, "I really need this kind of performer" or "I really need that kind of performer"? Or is it even too difficult to say, like it's an "X" factor thing that happens differently every year?
Well, when the show initially started, we wanted to get a cross-section of different genres of drag. And that was important for the people watching at home to be introduced to drag. Certain things that we introduced on the show years later couldn't have been introduced on the very first couple of years, because we needed the audience to get up to speed with what we knew of drag. But now what happens is, we look for the best, first. And then it sort of takes on this other criteria, where if two people are doing the same kind of a genre. If there are two ingenues who show lots of body, we choose the one that will actually fit in the ensemble the best. And the one who didn't make it, we keep her in mind for later. Because you know, a lot of people audition each year and didn't get on until this year. So we keep all of that in mind.
RuPaul Nets Highest Charting Album Ever, Plus A 'Drag Race' Chart History
Typically, how many people sent in audition tapes for this season that's about to start? Hundreds?
Yeah. There were hundreds… In fact anybody who has a pussycat wig and a pair of cha-cha heels…
…thinks that they can get up there and make it happen. But there's a lot more to it than that. And then on top of all of that, you know, you have to be a personality that pops on television. The first rule is: We are making a television show.
You know, when I was watching the trailer for season 7, what struck me is that in the past couple of seasons, you see more queens now that have learned drag -- or were sparked into doing drag -- by watching Drag Race. So now you see the contestants referencing earlier Drag Race catchphrases and winking and nodding at previous years. It's amazing that drag now has been influenced so much by what you've brought into the universe with the show itself, you know?
Yeah, I do. It was interesting when we first started seeing the Drag Race generation [start] to audition for the show. It was really weird. That's an ongoing tradition in drag, where drag samples pop culture. Drag has always been the thing you turn to, to remember to not take yourself too seriously. And that's why drag is so important in society. It's important to remember that you're born naked and the rest is drag. This is all like a play that we're collectively putting on. Drag breaks the fourth wall, which is why it's never been quite accepted, because nobody wants to be told that they are really a caricature of themself and to not take yourself too seriously. In fact, I have a new album coming out on March 2 also, and it's called Realness. And when drag talks about realness, it's always with a wink because, you know, here I am, a drag queen talking about looking and feeling real, which is the joke itself.
RuPaul Messages Pirates With Decoy Album: 'You Done Stole My Album! Uh Uh, No You Better Don't, Hooker!'
It's like a weird meta moment. The facade talking about facade.
Exactly. Exactly. That is the creed, that's the mantra, that is an ongoing storyline in drag. That's what makes it so interesting.
Because you mention it… you have a new album coming out? Is that a brand-new album? What can we say about it?
It's a brand-new album and it's a bit of a departure because Lucian [Piane, who produced RuPaul's last three albums] has only done two songs on this record and I've visited some old friends. Like, I'm reunited with Eric Kupper, 22 years later. [Kupper produced RuPaul's debut album, Supermodel of the World, which includes RuPaul's iconic single "Supermodel (You Better Work)."]
Wow. Wow! Crazy!
Well, 22 years from when we first got together. I think we did a few things on an album in the mid-'90s [Foxy Lady]. But yeah, he's great. He actually did the title track with me, "Realness."
I think that's the fastest that you've turned around an album. Your last album, Born Naked, came out last February. So it's been just a year, and normally we have to wait a couple of years, so I think people are going to be super stoked that they can get more RuPaul music on such a quick turnaround.
Yeah! Well, you know, we just basically perfected the process. Usually it's just Lucian and I. And then Lucian and I will do another album next year. But, you know, he's working on projects and he's just got two songs on this one.
What can we say about the album? Are there dance tracks? Are there ballads like last time [on Born Naked]?
Trust me. It's what's happening right now. I'm doing '90s house. [Laughs] I'm doing early '90s house/late '80s house beats. And Eric Kupper, you know, is the master of that. So we basically went back and took what was ours to begin with. You know, my marketing philosophy is: Someone turns 18 every single day… That's why the Kiesza album [Sound of a Woman] was so fresh to them.
Yeah, and Disclosure and Kiesza… they're referencing stuff from the past that's new to today's listeners, even though we know it's not that new. But it's still cool.
Right, right. So, the future belongs to those who can remember the past, and I certainly do.
I want to ask about the judges on the show, because the chemistry that you have with them obviously is super important -- especially with Michelle Visage. How much input do they have in the process of your decision making? We see a lot of the debate on the show, but at the end of the day, it's still your decision [which contestants are sent home]. Are they that influential on your ultimate decision?
Oh, absolutely! They will bring up things, important things, that I may not necessarily overlook, but I need to be reminded of. And also I love reading other people. They become sort of my sensors, my sensory devices. So yeah, they do influence me, and I pay attention. I pay attention to that.
Speaking of which, I love your cover of "New York City Beat" [with Visage] on the CoverGurlz2 album. It's so much fun and it's so good to hear a pumping dance track from the two of you. It's the perfect fun combination.
Thank you, thank you. I love it too. She and I have another song on my album, the Realness album, and it's a lot of fun too.
Good! While we're talking about the judges, you brought in two new judges this season: Carson Kressley and Ross Mathews. What prompted the change in the judging panel lineup?
Well, the intention was always to switch it up, change it up. We switch out the girls, we switch out the Pit Crew. We want to keep it fresh.
So everything's cool with [outgoing judge] Santino Rice? I see that he's a guest judge this season, so everything's still good?
Oh absolutely. Absolutely. In fact, we even bring back Merle Ginsberg [who was a judge during the first two seasons].
You mention the Pit Crew [Drag Race's barely clothed on-air assistants]. Are we going to see more of the Pit Crew… I mean, not literally. OK, maybe. But are we going to see more of them this season? They had a fun web series last year. Are you going try to incorporate more of them into the show?
Oh yeah! Well, they have a web series this year also. You know this is what we've learned from doing media in the 21st century. In 2015, you have to do it all. The music can't stand on its own. The TV show can't stand on its own. The web series… the podcast… you have to do it all. Because the audience is insatiable, and if they're with you, they want all of you. And so also because there's so much content out there, if you have an audience, you have to satisfy them and you have to service them. It's like having a husband, you know…
…you have to get over there and make sure he's happy
You're a full-service operation, Ru, that's really what you're saying.
Are there changes to the Pit Crew? You tweeted something about a potential new member. Is there a different lineup this year?
Yes, we've added Bryce [Eilenberg] who is a redhead, who is lovely. A sweet, lovely man. And he seems very innocent. [Laughs] I'll just say that... And he's absolutely gorgeous.
So we have five Pit Crew members still? The same four from last year, plus Bryce?
No, we have three. We have Jason [Carter], Miles [Davis Moody, both returning members] and Bryce. (See an exclusive image of the three Pit Crew members from an upcoming episode of Drag Race, below.)
Wow. Oh, no more Shawn [Morales]? Aww…
Yeah, Shawn was there for a long time. But you know, you have to switch them out. It's like Barker's Beauties on The Price Is Right.
Yeah, I know… change is good. It's all right.
No, change is very good! This is the thing about Drag Race though. Through different formats around the world, people are still just now discovering it. And it lives on Netflix around the world. So the other contestants, the other Pit Crew members, the other judges -- they're all still there. Time and space don't even really matter anymore. It's just really about putting out content that people will enjoy. And that's what I believe we've done.
Drag Race is obviously must-watch TV for many. What are some of your must-watch TV shows when you are not crazy-busy? What do you actually watch on TV?
Whether I'm busy or not, I always see Judge Judy and Jeopardy. Always… Right now I watch Empire, which I love, because I'm a big fan of Dynasty. And I love that sort of Dynasty/Dallas-style soap opera. I love the irreverent shows on Comedy Central, like Workaholics and Tosh.0. And I love It's Always Sunny In Philadelphia. Obviously I'm watching Scandal and How To Get Away With Murder. But that's about it… A lot of these things I'll buy on iTunes or something so I can watch it. Like Veep. I love Veep. It's so funny… It's very drag in its mentality. And so is Workaholics… Where we are in this post-modern art place in culture is, you know, people are cynical, people want to see what's beneath the surface. And all of the shows that I just named have those elements to them. Judge Judy cuts to the core. There's no bullshit. So, drag, which breaks the fourth wall, has always been about that. And all the shows I just named sort of spill the tea on life, on the facade and the hypocrisy that we all grew up with. You know, all the straight male comedy today deals with the taboo of being gay. So, Workaholics is the gayest show I've ever seen in my life. It's gayer than Drag Race. And the same with It's Always Sunny in Philadelphia. Same with Veep. And that's why Sex and the City was such a hit, because they took gay vernacular and put it in the mouths of straight women. So it took on this whole other acceptable irreverent spin that was refreshing. And it's continued, because as you well know, gay culture and the way gay people see things trickle down to mainstream culture years later. That's why all pop culture today is gay culture. And so you watch E! or any type of entertainment show or blog and they're all saying, you know, "Ooh, the shade!" "Oh, she threw shade at this one!" And the approach to the material is from an irreverent, gay, outsider point of view.
Adore Delano Sets 'Drag Race' Record
Switching gears for a second… are there any particular songs or albums that are must-gets for you right now?
Well, I have really, really, really been into the chopped and screwed movement…
…and that's what my new album is all about. It's songs that have been chopped and screwed, where you take a bridge and you turn a whole song into it. Like that Philip George song "Wish You Were Mine" [which reworks Stevie Wonder's "My Cherie Amour"]. I've been into those kinds of songs where a lot of the lyric is repeated over and over… And so you'll see that a lot on my new album. I absolutely love that. I can't get enough of that. So, in the car on the ride to the studio I'm listening jazz and Anita O'Day. Jazz people who are doing Burt Bacharach's catalog. When I'm at the gym I'm listening to boom-boom-boom, you know my dance music…
…I was gonna say, "Boom Boom (Let's Go Back to My Room)"!? Paul Lekakis?
[Laughs] …Well, he's on the playlist, but you know, all things like that. So lots of dance stuff. A lot of times, when I'm at the computer, I'm listening to soundtracks. Like Hans Zimmer's Interstellar soundtrack. Different music for different moods. Now, of course, as you well know, and I tweeted this, I was crazy-nuts for that Kiesza album. I thought it was the best thing since sliced bread. I had a list of my favorite singles from last year, which people didn't really pay attention to. Like, "I Was Gonna Cancel" by Kylie Minogue was just stellar. It was stellar. … That's one of our lip-sync for your life songs this year…
…That was really good.
Last thing. A lot of the girls from the show go on to mount their own tours. We had the Battle of the Seasons tour [with many Drag Race contestants touring together]. I haven't been fortunate enough to see you on tour. I would love to see some sort of RuPaul stage spectacle of some sort. Do you have any interest in touring or doing a stage production at all?
Yes, I do. In fact, I've been talking about doing it. It's just really a matter of time. You know, I've been in the business for a long time. And what happens is when things are hot for you, you have to strike it while it's hot. So, I've been working in television and it's been really good for me. So, that really does keep me in Los Angeles. And I do other TV shows as I do Drag Race. So, once I get a moment to actually go on tour, I will. I was actually talking to someone, a production person, about it just the other day. Because I'd want to do -- not nightclubs -- I'd want to do 2,500-seaters. 2,500- to 5,000-seaters. And do an actual multimedia storyline, where I bring people with me on a bus, where we wouldn't have to get on an airplane. That would make it so great.
I'd settle for three dates and you record it for TV. You know, like An Evening With RuPaul at the Wiltern.
And then air it on TV, you never know. It could happen!
No, no. It absolutely could! I would love it. I would love it. You know, put it on Amazon or Netflix.
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redpajama_set_name: RedPajamaCommonCrawl


Fry Me to the Moon.
Texas : Features : Humor : Column - "A Balloon In Cactus"
It is widely known that the shortage of cemetery plots worldwide roughly equals the longevity of bureaucratic plots in Washington.
A few years ago, Mexico City officials began encouraging families to cremate instead of bury. Now cremations are up 20 per cent at public cemeteries and 64 per cent at private cemeteries.
Many Roman Catholics still believe cremation is forbidden by the Church, but in 1963, the Vatican Council granted permission to cremate. Of course, if your ashes get blasted out of a cannon like the late, controversial author, Hunter Thompson, you ought to get to heaven faster.
Hunter Thompson's family is about to get his last wish fulfilled. The Aspen Daily News is accepting 100-word essays from the public on "Why you want Hunter Thompson shot out of your cannon." The writer's family will choose a winner who will bring his cannon to Colorado. The winning cannon will blast the legendary writer skyward, a distinctly creative way to go. Can we do less?
Rather than waiting for a cemetery plot in Mexico, Greece, or the U.S., where real estate is at a premium whether you're dead or alive, people are finding it more practical to be cremated like Thompson and are creating interesting things to do with cremated remains, or "cremains," as they're called in the death biz. Nobody wants to be scattered just any old place, and a few rebels are following Thompson's lead and getting quite creative with cremains.
Some want their ashes mixed into recycled paper with flower seeds in a greeting card for family members. Cards are $25.00 USD each, with a minimum order of 12. www.creativecremains.com.
Others put cremains in a loved one's favorite place, like dropping them into the ninth hole, stuffing them into couch cushions in front of the TV, or having friends smoke them.
Some cremains are stuffed into firework shells while others are mixed with concrete to form artificial reefs, assuming these reefs are in the ocean and not in your little kid's fish tank. A special edition of the comic book "Squadron Supreme" was printed using ink containing the ashes of Marvel Comics artist Mark Gruenwald, creating an ethical dilemma for his family: Is it proper to wash the ink off their hands after they read it? Will Daddy end up doing the last thing he ever wanted and swirling down the drain?
Ed Headrick chose to live on as a Frisbee so he could fly. Headrick, the man who invented the Pro Model Frisbee, wanted his ashes mixed with plastic and turned into a special edition Frisbee made by Wham-O. A "Steady" Ed memorial disc sells for $55. including shipping and handling. Farina Headrick, widow, probably enjoys flying hers in the park.
Don't like these choices? You can always relocate to New Orleans where they don't even embalm you. They just stick you in one of those tombs that look like Buckingham Palace on steroids. In the summer, the heat inside is 172 degrees Farenheit; it only takes a year to make an ash of yourself. Or you could have your relatives move you into a columbarium. That's a condo for cremains.
There's a great 10-story columbarium in downtown Mexico City where Maydeli Rosado Moreno visits her late mother on the 3rd floor. The building has a stained-glass facade and is filled with glass-windowed niches containing not only cremains, but favorite items of the departed, including jewelry, packs of cigarettes, and a music box that plays "Love Me Tender."
Even those who are still alive don't have what Rosado's unalive mother has. Rosado said she put her mother there because "There's parking."


Newcastle manager Rafa Benitez says that he needs clarify on his future before the end of the season as he seeks assurances over transfer funds.
The Spaniard is loved by Newcastle fans for managing to maintain the club's Premier League status despite a lack of backing from owner Mike Ashley. The Magpies are 10th in the Premier League.
Benitez only has 12 months left on his current deal at St. James' Park and talks have been ongoing for weeks, but the former Liverpool manager appears to be growing impatient with the lack of progress.
"I need clarity before the summer...as soon as possible," said Benitez, as quoted by the Newcastle Chronicle. "It's very clear. Everybody, the fans, they have the same feeling, and it's something that we need to clarify. I need the club to do the right things. To clarify our ambitions and go for that.
"This is a massive club and we want to compete in the Premier League at a good level. What we have to do is the right things, that's it. We cannot be thinking our position is seeing that we're safe."
Benitez's quotes have triggered panic among Newcastle fans, who fear that he will leave the club if he does not get the necessary assurances.
Newcastle travel to Tottenham on Wednesday before hosting Chelsea on the final day of the season.


Birdfair, aka British Birdwatching Fair, aka the Birdwatching Glastonbury, is jointly organised by the Leicestershire & Rutland Wildlife Trust and the RSPB.
These events will take place in the Events Marquee. To see more information about an event, click on the titles below.
The British Birdwatching Fair has come a long way from its humble beginnings in 1989.


Thread: Tree not found...then found!!
I am running Client491 sp1 on XP pro. Servers are NW6.0sp5 and NW6.5sp5.
found" error. I select "yes" for workstation login and I get to my desktop.
- I get logged in fine.
tree at Initial login? Thank you for your help.


text:
"""Tests for Inception V3 application."""

from __future__ import absolute_import
from __future__ import division
from __future__ import print_function

import numpy as np

from tensorflow.contrib.keras.python import keras
from tensorflow.python.platform import test

class ImageNetUtilsTest(test.TestCase):

  def test_preprocess_input(self):
    # Test batch of images
    x = np.random.uniform(0, 255, (2, 10, 10, 3))
    self.assertEqual(
        keras.applications.imagenet_utils.preprocess_input(x).shape, x.shape)
    out1 = keras.applications.imagenet_utils.preprocess_input(
        x, 'channels_last')
    out2 = keras.applications.imagenet_utils.preprocess_input(
        np.transpose(x, (0, 3, 1, 2)), 'channels_first')
    self.assertAllClose(out1, out2.transpose(0, 2, 3, 1))

    # Test single image
    x = np.random.uniform(0, 255, (10, 10, 3))
    self.assertEqual(
        keras.applications.imagenet_utils.preprocess_input(x).shape, x.shape)
    out1 = keras.applications.imagenet_utils.preprocess_input(
        x, 'channels_last')
    out2 = keras.applications.imagenet_utils.preprocess_input(
        np.transpose(x, (2, 0, 1)), 'channels_first')
    self.assertAllClose(out1, out2.transpose(1, 2, 0))

  def test_obtain_input_shape(self):
    # input_shape and default_size are not identical.
    with self.assertRaises(ValueError):
      keras.applications.imagenet_utils._obtain_input_shape(
          input_shape=(224, 224, 3),
          default_size=299,
          min_size=139,
          data_format='channels_last',
          require_flatten=True,
          weights='imagenet')

    # Test invalid use cases
    for data_format in ['channels_last', 'channels_first']:
      # input_shape is smaller than min_size.
      shape = (100, 100)
      if data_format == 'channels_last':
        input_shape = shape + (3,)
      else:
        input_shape = (3,) + shape
      with self.assertRaises(ValueError):
        keras.applications.imagenet_utils._obtain_input_shape(
            input_shape=input_shape,
            default_size=None,
            min_size=139,
            data_format=data_format,
            require_flatten=False)

      # shape is 1D.
      shape = (100,)
      if data_format == 'channels_last':
        input_shape = shape + (3,)
      else:
        input_shape = (3,) + shape
      with self.assertRaises(ValueError):
        keras.applications.imagenet_utils._obtain_input_shape(
            input_shape=input_shape,
            default_size=None,
            min_size=139,
            data_format=data_format,
            require_flatten=False)

      # the number of channels is 5 not 3.
      shape = (100, 100)
      if data_format == 'channels_last':
        input_shape = shape + (5,)
      else:
        input_shape = (5,) + shape
      with self.assertRaises(ValueError):
        keras.applications.imagenet_utils._obtain_input_shape(
            input_shape=input_shape,
            default_size=None,
            min_size=139,
            data_format=data_format,
            require_flatten=False)

      # require_flatten=True with dynamic input shape.
      with self.assertRaises(ValueError):
        keras.applications.imagenet_utils._obtain_input_shape(
            input_shape=None,
            default_size=None,
            min_size=139,
            data_format='channels_first',
            require_flatten=True)

    assert keras.applications.imagenet_utils._obtain_input_shape(
        input_shape=(3, 200, 200),
        default_size=None,
        min_size=139,
        data_format='channels_first',
        require_flatten=True) == (3, 200, 200)

    assert keras.applications.imagenet_utils._obtain_input_shape(
        input_shape=None,
        default_size=None,
        min_size=139,
        data_format='channels_last',
        require_flatten=False) == (None, None, 3)

    assert keras.applications.imagenet_utils._obtain_input_shape(
        input_shape=None,
        default_size=None,
        min_size=139,
        data_format='channels_first',
        require_flatten=False) == (3, None, None)

    assert keras.applications.imagenet_utils._obtain_input_shape(
        input_shape=None,
        default_size=None,
        min_size=139,
        data_format='channels_last',
        require_flatten=False) == (None, None, 3)

    assert keras.applications.imagenet_utils._obtain_input_shape(
        input_shape=(150, 150, 3),
        default_size=None,
        min_size=139,
        data_format='channels_last',
        require_flatten=False) == (150, 150, 3)

    assert keras.applications.imagenet_utils._obtain_input_shape(
        input_shape=(3, None, None),
        default_size=None,
        min_size=139,
        data_format='channels_first',
        require_flatten=False) == (3, None, None)

if __name__ == '__main__':
  test.main()

redpajama_set_name: RedPajamaGithub


text:
Japans right to whaling is legally justified
Japans right to whaling is legally justified - Essay Example
From the above discussion, it can be suggested that Japan is legally justified to continue with its whale hunting for scientific research work, despite strong opposition from anti-whaling groups. There are no scientific evidences that whales are near extinct, even though the NGOs may claim otherwise. …
Level: Ph.D.
Pages: 12 (3000 words)
Author: williamsonalyci
Extract of sample "Japans right to whaling is legally justified"
Download file to see previous pages Whaling remains one of the most hotly debated topics amongst various global issues related to environmental protection, and revolves around the main question as whether humans should keep up the practice of hunting whales. Even though the scientists believe that under current wildlife protection management system it is unlikely that whales will become extinct, the practice of whaling is still widely condemned (Nagasaki, 1993). The anti-whaling sentiments took form mainly during the late 1970s when many anti-whaling and non-whaling countries joined the International Whaling Commission (IWC), in order "to provide for the proper conservation of whale stocks and thus make possible the orderly development of the whaling industry" (International Whaling Commission, The Convention, 2003). In 1982, IWC members voted with three-fourth majority that brought forth a break on commercial whaling. In this context the text (paragraph 10(e)- classification of stocks) that implement ban on commercial whaling states "Notwithstanding the other provisions of paragraph 10, catch limits for the killing for commercial purposes of whales from all stocks for the 1986 coastal and the 1985/86 pelagic seasons and thereafter shall be zero" (International Whaling Commission, The Convention, 2003). The 1986 moratorium banning commercial whaling led to the formation of a strong opposition against countries like Iceland, Norway and Japan that continue to hunt whales, which they claim to be primarily for scientific research work. Here the opposition to whaling now relates to a compete banning of whale killing in any form, commercial or for scientific reason. Countries like Australia and the US along with NGOs like Greenpeace claim that with some species of the whales being in list of endangered animals, whaling in any form must be banned. ...Download file to see next pagesRead More
Hunting Debate
Killer Whales
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Some people may go for months without experiencing any symptoms of asthma and seemingly quite out of the blue be struck down with an acute asthma attack (brittle asthma). Others may find the sensations of breathlessness almost continuous.
The severity of your condition can generally be measured by how it affects everyday activities and how easily it is controlled. Mild to moderate asthma may limit your ability to play sport without needing reliever medication. Severe asthma may turn normally effortless tasks like climbing stairs into a mission. When asthma is very severe even talking can leave you breathless.
Generally the stronger the medication required, or the more severe the attacks (even if rare), the more severe the asthma.
Some people may be relatively symptom free and only rarely get asthma attacks. These people usually classify themselves as mild asthmatics, however they are often the ones most at risk of a life-threatening attack.
A Buteyko Breathing Clinics course can help you manage your asthma, whatever the severity.


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UN refugee chief urges more support for vulnerable Lebanese, Syrian refugees
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text:
Armour of God (1986)
Guest Contributor	November 20, 2013
by guest contributor James John Armour of God First off, Jackie Chan in this film does a good job being, well, Jackie Chan! By 1986 he was a global superstar, 32 years old and still in his physical prime. He was a Cantonese Buster Keaton, all visual, even the gags, that is why he was able to crack the language ...
Scorpion King (1992)
Amardeep Sidhu	November 19, 2013
Scorpion King Sammo Hung has produced a movie here (also known as Operation Scorpio) that has been hailed as a classic! We venture into a territory that is not only unusual, but also pretty refreshing and noteworthy! Cast Chin Kar-Lok plays the dreamer Yuk-su, new comer Won Jin plays the scorpion king, Sonny. ...
Tony Jaa to appear in "Sha Po Lang 2".
Brad Curran	November 19, 2013
As 2014 approaches, the coming New Year will see Thai action star Tony Jaa will make his Hollywood and Hong Kong debuts side-by-side. Already hard at work on "Fast and Furious 7", Jaa has just signed on to appear in the upcoming sequel to Donnie Yen's 2005 hit "Sha Po Lang". The film was released in English-speaking ...
Interview with David Sepulveda Low
Raj Khedun	November 18, 2013
A modern-day ninja... Ever wondered about those mysterious, stealthy, light-footed warriors called Ninjas? Having trained in Spain and Japan, we now get a glimpse into the life of a rather unusual and distinctive martial artist: David Sepulveda Low. He possesses a notable wealth of martial experience; a sustained, ...
"Ninja: Shadow of a Tear" headed to DVD/Blu-ray on New Year's Eve!
http://www.youtube.com/watch?v=RnddBOTuedc. Isaac Florentine and Scott Adkins' seventh collaboration, "Ninja: Shadow of a Tear" will arrive just in time for the coming New Year! The sequel to the duo earlier film "Ninja" will see Adkins returning to the role of American Ninjutsu master Casey Bowman, an expecting ...
Tom-Yum-Goong (2005)
Tom-Yum-Goong is the original name of the film, whilst Warrior King is the UK name; it's also known in the US as The Protector. This is Jaa's second movie in a starring role, after the international success of his first movie - the legendary Ong-Bak. Cast Tony Jaa plays Kham, a good natured man who loves his pet ...
Trailer for "The Raid 2: Berandal" arrives!
It's been a long time coming, but the trailer for The Raid 2 finally arrives! http://www.youtube.com/watch?v=3MuXrN8L9ro Martial arts fans rejoice - the first teaser trailer for the highly anticipated sequel to Gareth Evans "The Raid: Redemption" has arrived online! Set to be theatrically released in the West in ...
Dragons Forever (1988)
Dragons Forever DVD cover Hailed as one of the greatest Hong Kong action movies not just of the eighties, but of all time. We observe the last time the terrific trio worked together on a major, highly successful movie project. Cast Jackie Chan, Sammo Hung, and Yuen Biao all star in this blockbuster movie. ...
Volvo Trucks – The Epic Split feat. Jean-Claude Van Damme
Elliot Richards	November 16, 2013
Action superstar Jean-Claude Van Damme has done a little work for Volvo trucks where he gets to perform one of his famous splits. Since it was published two days ago (14th November) it has racked up over 13 million views! http://youtu.be/M7FIvfx5J10 Take a look at the behind the scenes, it's very ...
Chocolate (2008)
The team behind the earth-breaking martial arts sensation Ong-Bak returns with Chocolate - another Thai, bone-crushing, high-flying, street-sign-balancing, masterly-choreographed-extravaganza with an end scene for the history books! The film is released on DVD and Blu-ray in the UK via Showbox's Cine-Asia label, and ...
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The Eight Diagram Pole Fighter DVD cover Has any cinematic martial arts hero ever been as closely associated with the image of the peaceful, bald warrior monk as Gordon Liu has? Not likely, but who would want it any other way when the role fits him like a glove? Still one of the Shaw Brothers' Studios go-to ...
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by guest contributor Volcan Kacar DVD cover Some know him as the 'Muscles from Brussels' and others know him simply as Jean-Claude Van Damme. Once a kickboxing champion, now a big time action hero performing his own signature heavyweight 360 helicopter kicks! But have you ever wondered how the Van Damme ...
Raging Phoenix (2009)


text:
Landmark 'meal ticket' case sets the tone for lifelong maintenance claims during divorce
You are here: Home » Latest News » Landmark 'meal ticket' case sets the tone for lifelong maintenance claims during divorce
In a recent high profile divorce case, the High Court clearly restricted claims for future maintenance payments from post-separation earnings.
The case involved Mr and Mrs Waggott, a wealthy couple who were married 21 years before their divorce in 2014.
Both agreed that their capital resources (housing, cars, savings etc.) should be split equally, with Mrs Waggott awarded a £9.76m sum and £175,000 maintenance per year for the rest of her life.
Despite this, she felt entitled to more, making a claim that she came to regret.
After appeals from the couple, Mrs Waggott ended up with a reduced sum of £8.4m, receiving her £175,000 maintenance payments up until 2021 only.
She was also awarded an additional £1.4m for deferred income post separation, whilst her husband received £7.8m overall.
As this shows, getting expert legal advice before or during a divorce can have an invaluable effect on the outcome, particularly if an appeal is made.
On top of this, there are a number of other key lessons that anyone going through a divorce can learn from.
Mrs Waggott's barrister claimed that maintenance payments of £190,000 would be a fairer share of her husband's income
She felt that Mr Waggott's earning capacity was a matrimonial asset to be shared (as it had built up during their marriage) and claimed for 35% of his net bonuses
Mr Waggott also appealed, arguing his earning capacity is not an asset to divide up
His barrister favoured a clean break between the parties and suggested maintenance payments should only be for a fixed period, giving Mrs Waggott time to adjust
The barrister also suggested that Mrs Waggott should return to work
Mrs Waggott's appeal was rejected by the court whilst her husband's appeal was accepted
Maintenance payments were ruled to end after just three years, due to concerns over the lack of 'financial incentive' for her to earn money
This maintenance period would allow for adjustment, allowing Mrs Waggott to avoid "undue hardship" when the payments end
Earning capacity was not shared as a matrimonial asset, as Mrs Waggott's needs could be met by her own earned income or captial
To summarise, Mrs Waggott's wish to gain a 'meal ticket for life' was not granted
Key lessons
An appeal can leave you in a much less favourable position than you were in beforehand
To claim on your spouse's future earnings, you must be able to prove that you need it
Capital settlements will often be used to compensate those that have given up their career for marriage – like Mrs Waggott
For more information on this or for advice on your own divorce, please contact Mike Spencer on 0115 9 100 200 or click here to send an email.
Mike Spencer


text:
Q: How do I configure Qt for cross-compilation from Linux to Windows target? I want to cross compile the Qt libraries (and eventually my application) for a Windows x86_64 target using a Linux x86_64 host machine. I feel like I am close, but I may have a fundamental misunderstanding of some parts of this process.
I began by installing all the mingw packages on my Fedora machine and then modifying the win32-g++ qmake.conf file to fit my environment. However, I seem to be getting stuck with some seemingly obvious configure options for Qt: -platform and -xplatform. Qt documentation says that -platform should be the host machine architecture (where you are compiling) and -xplatform should be the target platform for which you wish to deploy. In my case, I set -platform linux-g++-64 and -xplatform linux-win32-g++ where linux-win32-g++ is my modified win32-g++ configuration.
My problem is that, after executing configure with these options, I see that it invokes my system's compiler instead of the cross compiler (x86_64-w64-mingw32-gcc). If I omit the -xplatform option and set -platform to my target spec (linux-win32-g++), it invokes the cross compiler but then errors when it finds some Unix related functions aren't defined.
Here is some output from my latest attempt: http://pastebin.com/QCpKSNev.
Questions:

*

*When cross-compiling something like Qt for Windows from a Linux host, should the native compiler ever be invoked? That is, during a cross compilation process, shouldn't we use only the cross compiler? I don't see why Qt's configure script tries to invoke my system's native compiler when I specify the -xplatform option.

*If I'm using a mingw cross-compiler, when will I have to deal with a specs file? Spec files for GCC are still sort of a mystery to me, so I am wondering if some background here will help me.

*In general, beyond specifying a cross compiler in my qmake.conf, what else might I need to consider?

A: Another way to cross-compile software for Windows on Linux is the MinGW-w64 toolchain on Archlinux. It is easy to use and maintain, and it provides recent versions of the compiler and many libraries. I personally find it easier than MXE and it seems to adopt newer versions of libraries faster.
First, you will need an arch-based machine (virtual machine or docker container will suffice). It does not have to be Arch Linux, derivatives will do as well. I used Manjaro Linux.
Most of the MinGW-w64 packages are not available at the official Arch repositories, but there is plenty in AUR. The default package manager for Arch (Pacman) does not support installation directly from AUR, so you will need to install and use an AUR wrapper like yay or yaourt. Then installing MinGW-w64 version of Qt5 and Boost libraries is as easy as:
yay -Sy mingw-w64-qt5-base mingw-w64-boost
#yaourt -Sy mingw-w64-qt5-base mingw-w64-qt5-boost #if you use yaourt

This will also install the MinGW-w64 toolchain (mingw-w64-gcc) and other dependencies.
Cross-compiling a Qt project for windows (x64) is then as simple as:
x86_64-w64-mingw32-qmake-qt5
make

To deploy your program you will need to copy corresponding dlls from /usr/x86_64-w64-mingw32/bin/. For example, you will typically need to copy /usr/x86_64-w64-mingw32/lib/qt/plugins/platforms/qwindows.dll to  program.exe_dir/platforms/qwindows.dll.
To get a 32bit version you simply need to use i686-w64-mingw32-qmake-qt5 instead. Cmake-based projects work just as easily with x86_64-w64-mingw32-cmake.
This approach worked extremely well for me, was the easiest to set-up, maintain, and extend.
It also goes well with continuous integration services. There are docker images available too.
For example, let's say I want to build QNapi subtitle downloader GUI. I could do it in two steps:

*

*Start the docker container:

sudo docker run -it burningdaylight/mingw-arch:qt /bin/bash

*Clone and compile QNapi

git clone --recursive 'https://github.com/QNapi/qnapi.git'
cd qnapi/
x86_64-w64-mingw32-qmake-qt5
make

That's it! In many cases, it will be that easy. Adding your own libraries to the package repository (AUR) is also straightforward. You would need to write a PKBUILD file, which is as intuitive as it can get, see mingw-w64-rapidjson, for example.

A: Just use M cross environment (MXE). It takes the pain out of the whole process:

*

*Get it:
$ git clone https://github.com/mxe/mxe.git

*Install build dependencies

*Build Qt for Windows, its dependencies, and the cross-build tools;
this will take about an hour on a fast machine with decent internet access;
the download is about 500MB:
$ cd mxe && make qt

*Go to the directory of your app and add the cross-build tools to the PATH environment variable:
$ export PATH=<mxe root>/usr/bin:$PATH

*Run the Qt Makefile generator tool then build:
$ <mxe root>/usr/i686-pc-mingw32/qt/bin/qmake && make

*You should find the binary in the ./release directory:
$ wine release/foo.exe

Some notes:

*

*Use the master branch of the MXE repository; it appears to get a lot more love from the development team.

*The output is a 32-bit static binary, which will work well on 64-bit Windows.

A: Ok I think I've got it figured out.
Based in part on https://github.com/mxe/mxe/blob/master/src/qt.mk and https://www.videolan.org/developers/vlc/contrib/src/qt4/rules.mak
It appears that "initially" when you run configure (with -xtarget, etc.), it configures then runs your "hosts" gcc to build the local binary file ./bin/qmake
 ./configure -xplatform win32-g++ -device-option CROSS_COMPILE=$cross_prefix_here -nomake examples ...

then you run normal "make" and it builds it for mingw
  make
  make install

so

*

*yes

*only if you need to use something other than msvcrt.dll (its default).  Though I have never used anything else so I don't know for certain.

*https://stackoverflow.com/a/18792925/32453 lists some configure params.

A: In order to compile Qt, one must run it's configure script, specifying the host platform with -platform (e.g. -platform linux-g++-64 if you're building on a 64-bit linux with the g++ compiler) and the target platform with -xplatform (e.g. -xplatform win32-g++ if you're cross compiling to windows).
I've also added this flag:
-device-option CROSS_COMPILE=/usr/bin/x86_64-w64-mingw32-
which specifies the prefix of the toolchain I'm using, which will get prepended to 'gcc' or 'g++' in all the makefiles that are building binaries for windows.
Finally, you might get problems while building icd, which apparently is something that is used to add ActiveX support to Qt. You can avoid that by passing the flag -skip qtactiveqt to the configure script. I've got this one out of this bug report: https://bugreports.qt.io/browse/QTBUG-38223
Here's the whole configure command I've used:
    cd qt_source_directory
    mkdir my_build
    cd my_build
    ../configure \
      -release \
      -opensource \
      -no-compile-examples \
      -platform linux-g++-64 \
      -xplatform win32-g++ \
      -device-option CROSS_COMPILE=/usr/bin/x86_64-w64-mingw32- \
      -skip qtactiveqt \
      -v

As for yout questions:
1 - Yes. The native compiler will be called in order to build some tools that are needed in the build process. Maybe things like qconfig or qmake, but I'm not entirely sure which tools, exactly.
2 - Sorry. I have no idea what specs files are in the context of compilers =/ . But as far as I know, you wouldn't have to deal with that.
3 - You can specify the cross compiler prefix in the configure command line instead of doing it in the qmake.conf file, as mentioned above. And there's also that problem with idc, whose workaround I've mentioned as well.

A: (This is an update of @Tshepang's answer, as MXE has evolved since his answer)
Building Qt
Rather than using make qt to build Qt, you can use MXE_TARGETS to control your target machine and toolchain (32- or 64-bit). MXE started using .static and .shared as a part of the target name to show which type of lib you want to build.
# The following is the same as `make qt`, see explanation on default settings after the code block.
make qt MXE_TARGETS=i686-w64-mingw32.static   # MinGW-w64, 32-bit, static libs

# Other targets you can use:
make qt MXE_TARGETS=x86_64-w64-mingw32.static # MinGW-w64, 64-bit, static libs
make qt MXE_TARGETS=i686-w64-mingw32.shared   # MinGW-w64, 32-bit, shared libs

# You can even specify two targets, and they are built in one run:
# (And that's why it is MXE_TARGET**S**, not MXE_TARGET ;)
# MinGW-w64, both 32- and 64-bit, static libs
make qt MXE_TARGETS='i686-w64-mingw32.static x86_64-w64-mingw32.static'

In @Tshepang's original answer, he did not specify an MXE_TARGETS, and the default is used. At the time he wrote his answer, the default was i686-pc-mingw32, now it's i686-w64-mingw32.static. If you explicitly set MXE_TARGETS to i686-w64-mingw32, omitting .static, a warning is printed because this syntax is now deprecated. If you try to set the target to i686-pc-mingw32, it will show an error as MXE has removed support for MinGW.org (i.e. i686-pc-mingw32).
Running qmake
As we changed the MXE_TARGETS, the <mxe root>/usr/i686-pc-mingw32/qt/bin/qmake command will no longer work. Now, what you need to do is:
<mxe root>/usr/<TARGET>/qt/bin/qmake

If you didn't specify MXE_TARGETS, do this:
<mxe root>/usr/i686-w64-mingw32.static/qt/bin/qmake

Update: The new default is now i686-w64-mingw32.static

redpajama_set_name: RedPajamaStackExchange


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text:
Q: How to hide the constants I defined in static library? I have a library of my own. And there are lots of constants defined in headers (for example animation duration). But, all my headers are visible and changeable. How can I prevent others to change my default values?
There are some const value in headers of Apple libraries like this:
CA_EXTERN NSString * const kCATransitionMoveIn
    __OSX_AVAILABLE_STARTING (__MAC_10_5, __IPHONE_2_0);

A: Objective-C is still, well, C.  Maybe older systems had issues, which is why you see the macros there.  Anyway, you should still be safe with any built-in type.
If you declare something as "extern" the compiler will treat it something like, "OK, I see that someone has declared and external thingy.  I don't have to know what it is, because some external unit will define it.  The linker will handle the rest.
That paragraph will get me in trouble with the C-police, but it's close enough for a practical explanation.  Thus, you can do this in your header file...
extern int const TheAnswerToLifeTheUniverseAndEverything;

And then, in one of your implementation files (outside of the @implementation/@end section)...
int const TheAnswerToLifeTheUniverseAndEverything = 42;

Note, in "modern" Xcode versions, you can do the same thing with objects.  Note the "const" which means we have a constant-pointer-to-NSString.
// In header
extern NSString * const TheAnswerToLifeTheUniverseAndEverythingString;

// In source
NSString * const TheAnswerToLifeTheUniverseAndEverythingString = @"42";


text:
Q: C++/CX - Case insensitive comparison of two String objects I have two String^ objects and i'd like to do a case-insensitive comparision for equality. That is "blah" should be considered equal to "BLAH". I know that String::CompareOrdinal is available to me, but that is case-sensitive. Is there a simple case-insensitive solution?
Disclaimer :) - I know that String^ is not a full-featured string class and it's recommended not to use it for general string operations...but in this specific situation I would actually prefer to keep the objects as String^ type. So there is the challenge, can you achieve this with String^'s ? :)

A: Use _wcsicmp or _wcsicmp_l.  For example, given two non-null Platform::Strings, r and s:
_wcsicmp(r->Data(), s->Data());


When you think back to the 1940-1950's (or watch series like Mad Men), you notice that things seemed to be quite uniform. Men pretty much all wore the same thing: gray/navy suit, black dress shoes, dark overcoat and a brimmed hat. There really seemed to be a standard of dress. Even where they were casual, they didn't seem to stray far from the norm, sporting chinos with a tucked-in casual shirt (think polo or casual buttoned oxford) and maybe a pair of penny loafers. Then came the hippie generation and color started to blend in with all of the psychedelic patterns and the idea of being free from standardization and/or monotony. After that was over, you had the 80's and the 90's, which just became a free-for-all with clothing entirely, wearing some of the most outlandishly bright and space-age looking rubbish the world has ever known. Thankfully that all passed and what we have now is the present day, where the idea of individuality seems to be stronger than ever and there are more styles of dress than I feel there has ever been before. And part of that idea is the act of customization, particularly within one's footwear choices and that brings us to the subject at hand: Customized slippers/loafers.
For me, the first company to really do this and do it well, was Del Toro. For those of you that have been reading the blog since the inception of it, you may remember the time that I featured them on the blog, having bought a few different colors of their standard velvet slipper, back when they were just a young company. Now, however, things have changed and they have become one of the fastest growing shoe companies that the world has come across, constantly doing collaborations with different celebrities (mainly musicians) and other famous designers, such as Ronnie Fieg. And while they still offer their traditional products that birthed the inception of their brand, they have also branched out and started growing their product selection to include camouflage wingtips, sneakers and driving loafers. It is exciting to see how far along they have come and I can only wonder what they will be up to in 5 years from now….
And while Del Toro was the brand to pioneer this idea, two other brands, Persona (US) and Animas Code (Europe), have taken that idea, put it on steroids and are taking it to the next level. Where Del Toro was limited, both of these companies have capitalized on that fact and offer a complete customization, being able to change everything, literally. The offering of customized emblems (which are embroidered), the ability to change the color of the top line rim, the lining, the sole color as well as pick the material that you want for the upper (linen, suede or velvet) are all just unbelievable. And the best part about it is that you don't have to try and guess what it will look like (as you usually do with creating something custom) since their website will give you a step-by-step computerized mock-up of what you are attempting to create. And it's simple. Even a 5-year old could probably go through the site and create something…..
As more and more people start to realize that wearing flip-flops in the city is not only inelegant but unhygienic, and therefore need a new option, you will find that the customized loafer will start to take over, as it already seems to be doing. And as these two companies have led the way in simplified online ordering…..well I just can't seem to think that someone will be able to one-up them…..
Interesting. I see "Animas Code" also do proper shoes. Any idea how they're made, and where?
I actually bought a pair of camo wingtips from Del Toro about 3 or 4 months ago, and I love them!
I've got another black tie do coming up near Christmas. I'm seriously thinking about a pair of velvet slippers for it. It's very tempting.
These loafers are just amazing.
OwenB – if you do, I would at least put something on the toe, but that is just me….
They are made in Elda, Spain which is just east of Valencia. If you will go to your iPad, you can download the new app "Bespoke Factory" and design your own shoes.


text:
Posted on 8 July, 2012 by the Michael Hanna
This post continues the backstory of the Adams Place logo. If you read part 1, you should be able to answer this quiz question:
what do these three things have in common?
(see the anatomy of a logo, pt. 1…)
an insane asylum
Need a hint? I'll help you out by eliminating a possible answer. The correct answer is NOT "The Leviathan of Parsontown."
But now that it has been mentioned, I suppose The Leviathan of Parsontown is as good a place as any to begin part 2 . . .
(What a masterful segue! It feels so natural, so not-forced, so uncontrived. Hank would be proud.)
the leviathan of parsontown
Even if you don't know what The Leviathan of Parsontown refers to, the very fact that it is of someplace suggests that there is more than one leviathan out there. Other possibilites could include The Leviathan of London, The Leviathan of Sub-Saharan Africa, or maybe The Leviathan of Terre Haute.
Those are hypothetical, of course. I've never heard of The Leviathan of Terre Haute, although I'm sure it would be a fearsome beast. Moving beyond the hypothetical to myth, lore, and literature, we quickly find some examples of the leviathan that date back as far as the 5th century, B.C. Here are four of the most widely known leviathan:
(I'm not sure what common practice is regarding the pluralization of "leviathan," so I am using "leviathan" for both the single and the plural. Kind of like "moose," "sheep," or "deer;" it just sounds silly with an "s" on the end.)
Four Leviathan
Four Leviathan (from left to right):
Biblical, earliest mention in the Book of Job (ca. 5th cent. B.C.); engraving by Gustave Doré (1865)
Anglo-Saxon art and poetry, possible first mention in "The Whale," a poem in Old English from the Exeter Book (ca. 10th cent. A.D.); stained-glass "Hell Mouth" or "Jaws of Hell" from the Bourges Cathedral (ca. 12th cent. A.D.)
"Moby-Dick; or, The Whale" by Herman Melville (1851); illustration by A. Burnham Shute (1892)
The Leviathan of Parsontown, built by William Parsons, 3rd Earl of Rosse (1845); copperplate engraving (ca. 1860)
Looking at these four leviathan, side by side, I now understand why Lord Rosse's 12-ton telescope (far right) was nicknamed "The Leviathan of Parsontown." All of these leviathan are huge beasts with mouths gaping up towards the heavens. The visual similarity is apparent.
built 1842-1845, dismantled 1914
Before arranging the four leviathan in the picture above, I could only explain the "of Parsontown" bit. The title of "Earl of Rosse" was passed down through the Parson family, whose estate was at Birr Castle. The town was named after the Parson family, but has since been renamed Birr.
Leviathan of Parsonstown is the unofficial name of the Rosse six foot telescope. This is a historic reflecting telescope of 72 in (1.8 m) aperture, which was the largest telescope in the world from 1845 until the construction of the 100 in (2.5 m) Hooker Telescope in 1917. The Rosse six foot telescope was built by William Parsons, 3rd Earl of Rosse on his estate, Birr Castle, at Parsonstown (now Birr in County Offaly, Ireland). | from Wikipedia
Like I said, I didn't understand the origin of the nickname, and nobody seemed to bother taking the time to explain it. Before arranging the four leviathan above, I worked up the following illustration in an attempt to depict the nickname. It's pretty worthless now, but I wasted spent a bunch of time on it, so I might as well include it:
illustration: Michael Hanna with Gustave Doré
Here is a more historically accurate depiction of the Castle Birr, showing also the 3ft and 6ft telescopes Lord Rosse built on his estate.
Birr Castle, 3 ft and 6 ft telescopes.
William, 3rd Earl of Rosse [and armchair gynocologist] directing the conveyance of the great speculum.
painting: Henrietta Crompton (1845)
I was sorely tempted to make an illustration of Lord Rosse "directing the conveyance of the great speculum," since my only familiarity with the term "speculum" came from the realm of gynecology. I have no direct experience, but as far as I know, THAT kind of speculum is usually wielded by a single man (or woman). In Compton's painting, however, there are five guys pushing around the speculum on a large wooden cart. Another guy stands by some fancy machinery, and Lord Rosse directs "the conveyance." That means it takes seven guys to "convey" this speculum. And, because the telescope is so much larger than they, you could say they were "dwarfed" by it—meaning you could refer to them as seven dwarves…
There have been two movies released recently that retell the story of Snow White [and the seven dwarves]: Mirror Mirror (30 March 2012), and Snow White and the Huntsman (01 June 2012). This means that, in all likelihood, there is a lot of material available for me to work with, should I want to piece together an illustration involving seven dwarves. And a speculum. This had the potential to be an amazing bit of fantastic drivel. It was practically gift-wrapped.
Fortunately for you, dear reader, I resisted that temptation. I'm already detouring a bit too much by spending so much time on The Leviathan of Parsontown. "Snow White and the Gynecologist" would just have to wait.
This is what Lord Rosse's speculum was all about:
Speculum metal is a mixture of around two-thirds copper and one-third tin making a white brittle alloy that can be polished to make a highly reflective surface. It is used primarily to make different kinds of mirrors including early reflecting telescope optical mirrors. | from Wikipedia
It's just a mirror. The inveterate driveller within me wants to point out that a mirror also played an important role in the Snow White story. But nevermind that.
Lord Rosse: William Parsons,
3rd Earl of Rosse (1800-1867)
It might not have been magic, but Lord Rosse's mirror was still pretty amazing. Check it out:
Parsons improved the techniques of casting, grinding and polishing large telescope mirrors from speculum metal, and constructed steam-powered grinding machines for parabolic mirrors. His 3 ft (90 cm) mirror of 1839 was cast in smaller pieces, fitted together before grinding and polishing; its 1840 successor was cast in a single piece. In 1842, Parsons cast his first 6 ft (1.8 m) mirror, but it took another five casts, before he had two ground and polished mirrors. Speculum mirrors tarnished rapidly; with two mirrors, one could be used in the telescope while the other was being re-polished. The telescope tube and supporting structure were completed in 1845. | from Wikipedia
TWO mirrors. The inveterate driveller within me wants to point out that the first 2012 Snow White movie was called Mirror Mirror. That's TWO mirrors. But nevermind that.
Back to Lord Rosse. This explains why it took seven guys to convey the thing:
The mirror was 5 in (13 cm) thick and weighed almost 3 tons. This required a mirror cell to support and to prevent the mirror deforming under its own weight. The length of the tube and mirror box is about 54 ft (16.5 m); including the mirror it weighed about 12 tons. The tube is supported at the mirror end by a "universal joint", a hinge with two axes, which allows the tube to be inclined through a large range of altitude and also to be turned through a limited range of azimuth. The azimuth range is limited to about one hour by the supporting walls that flank the tube on its eastern and western sides. The walls are 23 ft (7 m) apart, 40 ft (12 m) high, and 71 ft (21.5 m) long. A chain and counterweight keeps the telescope in balance, another chain with a winch controls the altitude. A rack and pinion beam underneath the tube controls the azimuth. This beam is connected to the eastern supporting wall, where it can move on a circular iron arc to allow the telescope to change altitude. | from Wikipedia
So that's all pretty cool, if you ask me. The Leviathan of Parsontown was a great feat of science and engineering, and its creator, William Parsons, 3rd Earl of Rosse, seems like a pretty good guy. Not only did he use his wealth and education to make invaluable contributions to several fields of science, he held several different political offices over the course of his life. In 1845, the same year he finished building The Leviathan, he began serving as an Irish representative peer, meaning he sat in the British House of Lords as a representative of Ireland. This was a particularly precarious time in parliament because of the Irish Potato Famine, a period of mass starvation, disease and emigration between 1845 and 1852. Lord Rosse was so busy with relief efforts for the Potato Famine that he hardly had any time to stargaze; the Leviathan of Parsontown was essentially unused between 1845 and 1848.
But Lord Rosse did use the telescope a few times, including his very important 1845 viewing of the Spiral Galaxy M51, better known as "The Whirlpool Galaxy."
the whirlpool galaxy
Lord Rosse performed astronomical studies and discovered the spiral nature of some nebulas, today known to be spiral galaxies. Rosse's telescope Leviathan was the first to reveal the spiral structure of M51, a galaxy nicknamed later as the "Whirlpool Galaxy", and his drawings of it closely resemble modern photographs. from Wikipedia
The Whirlpool Galaxy (Spiral Galaxy M51)
drawing: Lord Rosse using the Leviathan telescope (1845)
That's a pretty great sketch, especially considering it was made in 1845. Compare it to this photograph taken 160 years later, with the Hubble space telescope:
photo: NASA and ESA via Hubble space telescope (January 2005)
The Whirlpool Galaxy and The Starry Night
Ok, so, we finally work our way back around to Van Gogh's "The Starry Night."
Simon Singh, in his book Big Bang, says that The Starry Night has striking similarities to a sketch of the Whirlpool Galaxy, drawn by Lord Rosse 44 years before van Gogh's work. | from Wikipedia
I don't know if Van Gogh ever saw Lord Rosse's sketch, but the similarity is undeniable:
Rosse, van Gogh, and NASA
Lord Rosse's sketch of the Whirlpool Galaxy (1845) appears at left; Van Gogh's "The Starry Night" (1889) is at center (the whorl has been highlighted); at right is a photograph of the Whirlpool Galaxy, taken by the Hubble space telescope (2005).
the adams place logo
As I discussed in part 1, I wanted to use the whorl from "The Starry Night" for the Adams Place logo—not literally, but I wanted something that was somehow inspired by or connected to the whorl. In 1845, Lord Rosse looked deeper into a starry night than any human being ever had. He sketched the result in black and white. In 1889, Vincent Van Gogh also looked deep into a starry night, and painted the result in brilliant color. He didn't have The Leviathan of Parsontown to amplify his physical vision, but he had wrestled his whole life with his mental illness. His crazy was like the leviathan of anglo-saxon lore: the gaping jaws of a serpent, ready to swallow him whole into the depths of hell. Vincent had seen such darkness, yet his depiction of a starry night is so full of light. In the asylum at Saint-Paul, he had found respite, a reprieve from his endless struggle with the leviathan of his crazy. Understanding mental illness better than ever, he was unafraid, and looked up into that starry night with clear eyes. In a mystical, spiritual, artistic sense, I believe that his soul looked deep into that night sky, seeing deeper than even Lord Rosse had seen.
Am I suggesting that Vincent "saw" the Whirlpool Galaxy with his naked eye? No. But look at the amazing detail from the Hubble photograph; the enigmatic and beautiful whorls of "The Starry Night" inspire the same kind of awe.
The clean lines in Lord Rosse's black and white sketch made it a good template for a logo. I printed it out in various sizes and rotations and worked on coloring it in with oil pastels. For my color pallete, I used colors similar to those Van Gogh used in The Starry Night. It looked nice, but needed one more thing to tie it to Adams Place as a logo.
I remember, I was holding up a version of my coloring, showing it to Ma. The paper I'd printed it on was thin, so I could sort of see through it. From the back side I saw the whorl spinning "backwards." It was like a reflection of the image. And in it I could imagine the outline of a lower-case "a".
I took a few uncolored printouts and taped them to the glass of our back door, so the sun shone through and I could better see the outline of M51. I experimented with coloring different parts of the swirl, trying to bring out that lowercase "a" that I'd pictured. I didn't want to just slap an "a" on there, but I also didn't want it to be so abstract that nobody notices the letter.
Ultimately, I decided to err on the side of being too abstract. I worked up the design on the computer and then selected exact colors from "The Starry Night" to color our logo.
M51 sketch to Adams Place logo
sketch: Lord Rosse | logo: Michael Hanna
The reason for reversing the spin was the letter "a" (for adams place), but I realize that most people probably won't see the "a" in the final logo. It's a bit too abstract. Even so, I like the idea of reversing the spin. I saw (or imagined I saw) the "a" shape when I was looking through the page, from the back. The reverse spin is what the Whirlpool Galaxy would look like if you looked at it from the other side, from some point deep in outer space.
We are crazy: we already have a different perspective, a different point of view. In order to debunk the myths of mental illness, we need to be that voice from the other side, to tell ourselves and others what things look like from here.
adams place whorl logo
So that pretty much sums it up: the story of how the Adams Place logo came to be. We may change it in the future, who knows. But I love it because it has so much hidden meaning, so much backstory behind it. And I wrote all these words and made all these pictures because I wanted to share that story with you. Thanks for reading.
This entry was posted in adams place and tagged adams place, leviathan, leviathan of parsontown, logo, lord rosse, snow white, the starry night, whirlpool galaxy by the Michael Hanna. Bookmark the permalink.
About the Michael Hanna
My name is Michael Hanna, although regular readers of fantasticdrivel might know me better as Hank Talbot or the Pigskin Prof. I'm a graphic designer, author, composer, inveterate nerd, and advocate for crazy people everywhere. I haven't posted as much recently as I've been hard at work on my novel, The Humble Grocer.
View all posts by the Michael Hanna →


The primary objective of the MS degree in Cybersecurity is to train students on a broad range of security related topics with hands-on experience and preparing them to be part of next generation Cybersecurity workforce to meet the growing demand for Cybersecurity professionals in industry, academia and government agencies. In addition, students will have a unique opportunity of doing research on related security projects.
A total of 30 credits are required for the MS in Cybersecurity degree completion. Students who have limited or no background in Computer Science and/or Information Technology may be accepted under the condition of bridging the gap through completion of one to four additional courses in Computer Science Fundamentals. The program will combine the fundamentals of Cybersecurity (covered in the core courses), with the freedom to choose the areas of Cybersecurity they will study deeper (electives from Cybersecurity courses). Graduates will be prepared to either join the work force or further pursue academic advancement.
Our program is uniquely positioned to: (1) accommodate professionals from diverse academic backgrounds and (2) provide a broader coverage of Cybersecurity topics with computational as well as legal and ethical training. This approach will address demands in both technical and managerial fields of Cybersecurity.
In summary, the Master in Cybersecurity will provide students with a comprehensive and affordable education to meet the growing demand for trained Cybersecurity professionals. While many other university programs require a substantial technical background and train students for technical positions our program also takes in account other aspects of Cybersecurity such as legal, ethical and policy.
The Graduate School requires a U.S. bachelor's degree, or the equivalent, in order to be eligible to apply for the Cybersecurity (MS) graduate program. Applicants with non-U.S. degrees, please visit the International Applicants page to review the U.S. degree equivalency information.
Students are directly welcome into the program if they have a Bachelor's degree in Computer Science or Information Technology. Students who wish to make a career change and have limited or no background in Computer Science and/or Information Technology will be accepted under the condition of bridging the gap through a program of study that will require anywhere from one to four courses in Computer Science Fundamentals (CSIT 501 Java Programming, CSIT 502 Computer Systems Principles, CSIT 503 Data Structures and CSIT 504 Discrete Mathematics in Computing). These additional courses do not count towards degree credit.
Letters of Recommendation: Two (2) letters of recommendation, from persons qualified to evaluate the applicant's promise of academic achievement and potential for professional growth.
A total of 30 credits are required for the MS in Cybersecurity degree completion.
Stay tuned for the Cybersecurity (MS) university catalog listing.


Vinemont Daycare Center opened in 1989 under the ownership of Diane and Buster Corley. Mrs. Corley operated the daycare for over 25 years. In 2015 Amber and Cody Corley purchased the daycare and established the company Vinemont Daycare Center LLC. Mrs. Corley founded the daycare on the principle that all children are special and deserve to be loved. She instilled values and expectations that continue through the new daycare today. The building may change as well as the faces and children but the principle of love will remain forever.
We work hard to provide a caring, nurturing and most importantly fun experience for each child no matter the age. We offer care for babies 3 weeks to children up to 12 years in age.
We are open Monday through Friday from 6:00 A.M. to 5:30 P.M.
*We provide breakfast, lunch and snack; and meals are included in the above price list. See our parents section for an example of a what a weekly menu may contain.
For more information about enrollment availability, or how to enroll your child please call the center and speak with Mrs. Amber or Mrs. Angie.
Mrs. Amber Corley is the Owner and Director at Vinemont Daycare Center LLC. She graduated from Athens State University with a Bachelors of Science in Elementary Education. She worked at Vinemont Daycare Center for 5 year under the supervision of Mrs. Diane Corley. When the opportunity to purchase the facility became available she knew she had to take it! She loves children and watching them grow intellectually. She could not ask for a more rewarding occupation. She is married to her best friend Cody. They have a beautiful daughter and adorable son. She enjoys spending time with my family, helping out on the family farm, and reading.
Mrs. Priscilla Brown has worked in childcare for 3 years now and currently works in the toddler room. She finds this age to be the most fun. She loves to watch them grown and learn. Mrs. Priscilla is married and has 2 boys, Tyler (16) and Brandon (11). In her free time she loves to spend time with her family and participate in church activities. She knows that God has a purpose for her and each of the little ones in her care.
Mrs. Cierra Woodard has worked in childcare for 5 years. She is married to her best friend and has two little boys, Cole (5) and Wyatt (2). She has worked with many age groups but is currently working in our "Little Movers Room". In her free time she enjoys hanging out with her family, riding horses, and has currently taken an interest in barrel racing.
Mrs. Cierra enjoys watching the children learn and grow. She thinks this age is the perfect fun challenge!
Mrs. Jessica Renee Black has worked in childcare for over 12 years and is currently one of our Toddler Room teachers. She has been married to her high school sweetheart for 13.5 years. They have 3 wonderful boys; Matthew "Tyler" Black (14), David Lee Black (9), and Corey Lee Black (9). She graduated from Vinemont High School in 2002. She also complete several childcare class at Athens State University from 2004-2006. She absolutely loves her career in childcare and feel she could not see herself doing anything else. She enjoys spending her extra time with her family. She also likes to go shopping, swimming, traveling, and Alabama Football.
Mrs. Kayla Hill has worked with children for over a year. She and her husband of 17 years have 3 children Jack (16), Toby (12) and Laci (10). She loves her job and feels it is very rewarding. In her spare time she loves spending time with her family, and watching them grow. She is very involved in their extra curricular activities and she is their number 1 fan.
Mrs. Amie Shipp has worked in childcare for over 7 years and is currently one of the teachers in our Toddler Room. She has been happily married to her husband Andy for 20 years and together they have 2 sons; Clay (17) and Jay (12). She feels very blessed to work at Vinemont Daycare Center and really loves working with the children. She loves coming to work each day and seeing their tiny faces. She isn't afraid to be silly and goofy to gain a smile and see the children have a blast!
Mrs. Lauren James has worked in childcare for over a year now as our substitute. She is the best go to when someone is sick or unable to make it to work. Mrs. Lauren is married to her husband Josh. When she is not filling in she loves to travel. She loves children and helping out in any way she can.
Mrs. Angie Marlow has not only worked in childcare but specifically at VDC for 29 years. She is currently our Assistant Director. Mrs. Angie has been married for 34 years and has 3 children and 4 grandchildren. As Assistant Director Mrs. Angie helps with financial records, attendance records. the kitchen and meal prep, and the daily management of the center. She truly is a blessing to this facility and this place could not run without her. Mrs. Angie feels childcare is her true calling from God.
Mrs. Alesia Newman has worked in childcare for over 7 years and is currently our Big Movers teacher. She has 2 children; Braxton (1 1/2), and Chase (13). She loves anything outdoors and spending time with her family and friends. She loved being able to watch her classroom kiddos grow and learn new things. She treat each of them as if they were her own and would do anything for them.
Mrs. Pam Terry has worked in childcare for 6 years. She has bee happily married to her husband James for 31 years. They have two wonderful children Crystal (30) and James (28). They have 6 grandchildren. She loves to hear their laughter and watch their faces light up when goals are achieved. In her spare time she loves to read and relax at home. Mrs. Pam teaches the preschool room and loves it!