View allAll Photos Tagged immutable
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
یونیتی (Unity) یکی از محبوب ترین موتورهای بازی سازی جهان می باشد که به تازگی با هدف به وجود آوردن ارتباط میان کاربران با فناوری وب 3.0، مجموعه ای از ابزارهای غیرمتمرکز و کیف پول متامسک را به صنعت خود اضافه کرد. موتور بازی سازی یونیتی در پی تغییراتی که در این مدت داشت قصد دارد به کاربران خود اجازه دهد که کیف پول متامسک (MetaMask) و سایر ابزارهای غیرمتمرکز را به فروشگاه خود متصل کنند.
اتصال کیف پول متامسک به صنعت بازی سازی یونیتی با بازخورد زیادی از سمت علاقه مندان این نوع بازی ها مواجه شد. زیرا کیف پول متامسک از شبکه های مهمی همچون اتریوم، بایننس اسمارت چین و پالیگان پشتیبانی می کند که این شبکه ها مورد استفاده عموم کاربران این حوزه می باشند. ما در این مقاله قصد داریم به توضیح کامل تری در خصوص اتصال کیف پول متامسک به صنعت بازی سازی یونیتی و دیگر تغییرات آن بپردازیم.
تحولات جدید موتورهای بازی سازی یونیتی
طبق گزارشات جدید کوین دسک، موتور بازی سازی یونیتی بیانیه ای در روز سه شنبه 28 فوریه منتشر کرد. این بیانیه نشان می دهد که بونیتی قصد دارد به پشتیبانی از 13 کیت توسعه نرم افزار (SDK) مبتنی به بلاکچین بپردازد. این 13 کیت شامل شبکه های مختلفی همچون الگوراند، آپتوس، فلو، Immutable X، سولانا، تزوس و همچنین پشتیبانی از کیف پول متامسک می باشد. صنعت یونیتی در حال حاضر به دنبال فراهم کردن بستری مناسب برای توسعه دهندگان وب 3.0 و کیف پول متامسک می باشد تا علاقه مندان به صنعت بازی به راحتی بتوانند فعالیت های خود را انجام دهند.
البته باید توجه کرد که فناوری وب 3.0 در چند سال اخیر توجهات زیادی را به خود جلب کرده است.
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
To The Soldiers of the Confederate States of America
This monument is dedicated by the William P. Rogers Chapter, United Daughters of the Confederacy, Victoria, Texas June the Third A.D. Nineteen Hundred and Twelve
On Civilizations Height Immutable They Stand (1912) (Marker No. 14144)
Consumer Discretionary = CD
consumerdiscretionary.exchange/?afmc=SNiB980NX5If0cRQAZkU3
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THE CONSUMER DISCRETIONARY SECTOR ON THE BLOCKCHAIN ECOSYSTEM
The Global Industry Classification Standard used by Morgan Stanley defines the consumer discretionary sector and industry that includes those businesses that tend to be the most sensitive to economic cycles. Its manufacturing segment includes automotive, household durable goods, leisure equipment and textiles & apparel. The services segment includes hotels, restaurants and other leisure facilities, media production and services, and consumer retailing and services. Using CrowdPoint’s next generation Blockchain all members of the ecosystem benefit from the transparency, speed and immutable transactions associated with automobiles, and components, consumer durables, apparel, consumer services and retailing
CONSUMER DISCRETIONARY MISSION STATEMENT
Our mission is to horizontally and vertically unite Automobiles, Components, Consumer Durables, Apparel, Consumer Services and Retailing on our NexGen Blockchain in order to DEMOCRATIZE the Consumer Discretionary Experience for your HUMAN IDENTITY
Blockchain Ecosystem = BE
blockchainecosystem.exchange/?afmc=SNiB980NX5If0cRQAZkU3
Ellipsis Welcome - portal.theellipsis.exchange/welcome/?afmc=SNiB98ONX5lf0cR...
#BlockchainEcosystem #Energy #Materials #Industrials #ConsumerDiscretionary #ConsumerStaples #Healthcare #Financials #InfomationTechnology #CommunicationServices #Utilities #RealEstate #SeanBrehm #MarleneBrehm #ValindaLWood
Henri-Joseph Harpignies
Valenciennes, France, 1819 – Saint-Privé, France, 1916
1865
Oil on canvas
99.9 x 125.5 cm
Gift of Mrs. Robert Anderson in memory of her husband
Inventory 1939.697
Provence, as a foretaste of Italy, has always attracted poets, painters and writers who have been captivated by its climate and moved to celebrate its light. In the second half of the nineteenth century, the wild Mediterranean landscape, unchanged down through the centuries, became a new Arcadia for artists who were intent on exploring the territory and their imaginations in equal measure. Harpignies’ conception of landscape differed from that of his contemporaries in that he favoured the immutable aspects of Nature over its momentary effects.
An avid admirer of Corot and François-Louis Français, who was a friend of his, Harpignies practised plein air painting throughout France. Anatole France, who recognized the artist’s fondness for this theme, called him the “Michelangelo of the trees.” In response to an invitation from the students in his Paris studio, Harpignies would head to the South of France, putting the greyness of the Île-de-France behind him; or he would set out on the road to Italy, whose landscapes would earn him numerous prizes and medals in the Salon. Although faithful to the principles of the Barbizon School, the artist, who was an accomplished draftsman, used colour in the service of form. In this painting, the structure of the trees predominates, while the seascape and mountain views are merely suggested in order to convey the general atmosphere. This canvas imbued with naturalism quietly heralds the master’s final works, which are characterized by the fresh luminosity he acquired through contact with his young colleagues and his experiences with watercolours.
The Fourth Grand Flaneur Walk took on Sunday, May 5th, 2024, and commenced at midday by the statue of Beau Brummell on Jermyn Street, London W1. The Grand Flaneur Walk celebrates the pure, the immutable, and the pointless, and it is taken by the bold, the adventurous, and the inebriated. The walk went through Green Park towards Hyde Park Corner.
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All photographs © Andrew Lalchan
© by i2iverboy™
Photo #79: I.mmutable
Date taken: 20100727 (UTC)
Place taken: 98444
Camera: iPhone 3G
Apps Used: PhotoStudio
Photo #79: IMMUTABLE
"So do not fear, for I am with you;
do not be dismayed, for I am your God.
I will strengthen you and help you;
I will uphold you with my righteous right hand." ~ Isaiah 41:10 (NIV)
Photographer's Note:
July 27, 1914, marks the fulfillment of Christ's prophecy in John 10:16 and the beginning of GOD's work of salvation in these last days. Though the Church had struggled through numerous trials and persecutions, its progress remained immutable because GOD fulfilled HIS promises in Isaiah 41:10. Truly, nothing can stop the work of GOD's righteous right hand.
HAPPY 96th YEAR ANNIVERSARY OUR BELOVED CHURCH!
In the Photo: a cake greeting for the CHURCH's 96 Year Anniversary that i asked the Italian lady at the bakery at WalMart, to rush for me... :)... i used my photo collage as the baseboard.
Adjustment: PhotoStudio; Image Correction> more contrast.
Consumer Staples = CS
consumerstaples.exchange/?afmc=SNiB980NX5If0cRQAZkU3
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THE CONSUMER STAPLES SECTOR ON THE BLOCKCHAIN ECOSYSTEM
The Global Industry Classification Standard used by Morgan Stanley defines the consumer staples sector and industry that includes companies whose businesses are less sensitive to economic cycles. It includes manufacturers and distributors of food, beverages and tobacco and producers of non-durable household goods and personal products. It also includes food & drug retailing companies as well as hypermarkets and consumer super centers. Using #CrowdPoint’s next generation #Blockchain all members of the ecosystem benefit from the #transparency, speed and #immutable transactions associated with #food, #staples, #retailing, #beverage, #tobacco, #household and #personal products.
CONSUMER STAPLES MISSION STATEMENT
"Our mission is to horizontally and vertically unite Food, Staples, Retailing, Beverage, Tobacco, Household and Personal Products on our NexGen Blockchain in order to DEMOCRATIZE the Consumer Staples Experience for your HUMAN IDENTITY."
Blockchain Ecosystem = BE
blockchainecosystem.exchange/?afmc=SNiB980NX5If0cRQAZkU3
Ellipsis Welcome - portal.theellipsis.exchange/welcome/?afmc=SNiB98ONX5lf0cR...
#BlockchainEcosystem #Energy #Materials #Industrials #ConsumerDiscretionary #ConsumerStaples #Healthcare #Financials #InfomationTechnology #CommunicationServices #Utilities #RealEstate #SeanBrehm #MarleneBrehm #ValindaLWood
At the heart of IPFS lies a powerful authenticated data structure: the merkle dag (directed acyclic graph). It provides very useful properties for distributed protocols: immutability, verifiability, and content-addressing. Of course, the merkle-dag can be used to construct any other data structures: file systems, version histories, PKIs, CRDTs, blockchains, web app data models, and so on. IPFS is designed to make it easy to write distributed applications by allowing you to model your data structures directly on it.
ThreadLocal in Java
ThreadLocal is a Java concurrency technique where each thread has its own variables. In other words, if multiple threads read the same code, they cannot read and write on each other thread's local variables. This means that each thread can read and write only its own variables. This is the simplest way of achieving thread safety instead of creating immutable classes. The Java ThreadLocal variables are always private and static whose scope is within the thread.
Constructors of ThreadLocal
ThreadLocal has only a single constructor that creates an empty variable in Java.
ThreadLocal tl = new ThreadLocal();
Methods of ThreadLocal
Below are the methods of ThreadLocal in Java.
Benefits of ThreadLocal
- Multithreading is easier since it does not share its state across objects.
- Achieves thread-safety
- Does not require synchronization
Disadvantages of ThreadLocal
- Hides coupling among classes
- Abuses the ThreadLocal due to its visibility restriction
Example: Create, set, and get ThreadLocal
In this example, we will see how to create, set, and retrieve the value of the ThreadLocal variable. First, we create a ThreadLocal variable of Integer type. Inside the run() method, we increment the variable value and set it using the set() method. We can retrieve the value using the get() method. Using the Thread class, we create 2 threads and invoke the run() method using start().
public
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
Mxi coders famous Blockchain Development Company UK , USA and Canada. We are developed reinforce digital currency bitcoin and bitcoin is a technology is considered the most efficient technology against cyber fraud.Blockchain technology features included better security, increased capacity , immutability, faster settlement, decentralized system, minting, durability and attack resistance, removing third party risk, lower transaction cost , transparency and distributed ledger etc.
Key personality traits are not immutable, and that’s exciting news for people dependent on substances and for the experts who treat them.At the Positive Sobriety Institute in Chicago, we analyze an individual’s personality traits upon admission, and the information we discover helps us provide an individualized treatment www.positivesobrietyinstitute.com/influence-of-personalit...
SEATED WOMAN IN BLUE
Paul Cézanne
( between 1902 and 1906 )
In 1939, art historian John Reward wrote that Cezanne’s Seated Woman in Blue “unquestionably one of the strongest and most complete [portraits] that Cézanne painted during the last years of his life.” The portrait conveys both a warmth of tone and somberness of mood.
The figure and its background seem to merge in the deep, rich tones of orange and blue, highlighted throughout in greens and browns. Shadowed effects are similarly modulated, whether in the skin tones or on the blank wall behind the sitter, and thick black paint outlines the forms, lending them a mysterious unity with the dark background. The energetic parallel strokes along the wall take on a life of their own. Together with the deep brown shadow slanting to the lower right, they are the most intensely gestural touches in the painting. Their activity is balanced by the jutting dashes of deep green and black that model the folds in the dress and by the flickering brown and green defining the drapery folds. The warm light that sweeps diagonally across the left illuminating the sitter’s flesh and the background textile in gold, suggests late afternoon; yet the dominant feeling of the portrait is of suspended time—the pictorial space seems to be immutable, as if existing outside of reality.
The personality of the subject hardly intrudes on formal concerns, yet the sitter’s identity remains open to scholarly debate: her identification as Madame Cézanne has had only intermittent acceptance, though Duncan Phillips purchased it as such, and in its earliest known reproduction the work was captioned “The Artist’s Wife.” This identification is now widely rejected. In Lawrence Gowing’s view, both the lack of resemblance to Madame Cézanne and the distant, formal rapport implicit between artist and sitter argue against such an identification.
The sitter‘s expression and position evoke the prevalent mood of Cézanne’s late portraits, which contain “a new note of somberness and mystery, a dark, flickering spirituality reminiscent…especially of Rembrandt…the subjects’ postures and features so often said to be inexpressive and masklike, speak eloquently of this mood.” Citing the present work’s deep shadows and volumes, the painting is characterized it as “the most fully Baroque in style of Cézanne’s late portraits.” Cezanne’s lack of intimacy with the sitter is apparent to the viewer, but her almost morose expression makes her enigmatic.
_______________________
Founded by art collector and philanthropist Duncan Phillips in 1921, The Phillips Collection has been collecting modern and contemporary art for over one hundred years. Duncan Phillips’s former home—and additions to it—in Washington’s historic Dupont Circle neighborhood provides a unique setting for the growing collection of over 6,000 works. Following Phillips’s unconventional approach to exhibitions, The Phillips Collection galleries are frequently rearranged to facilitate new conversations between artworks and fresh experiences for visitors.
HISTORY
“Sorrow all but overwhelmed me,” Duncan Phillips wrote. “Then I turned to my love of painting for the will to live.”
Duncan Phillips (1886-1966) was the son of Major Duncan Clinch Phillips, a Pittsburgh businessman and Civil War veteran, and Eliza Laughlin Phillips, whose father was a banker and co-founder of Jones and Laughlin Steel Company. The family moved to Washington, DC, in winter 1895-96.
Duncan was close to his older brother, Jim; Jim postponed attending college for two years so that he and Duncan could attend Yale University together. The brothers moved from DC to an apartment in New York in 1914. Duncan wrote extensively on art and published his first book, The Enchantment of Art, in 1914. Duncan’s passion for art was fueled by trips to Europe in 1911 and 1912 and visits to the Corcoran Gallery of Art in Washington and the Metropolitan Museum of Art, along with friendships in New York with artists Augustus Vincent Tack, who became a lifelong friend, and American impressionist painter Julian Alden Weir. In 1916 the brothers convinced their parents to set aside $10,000 annually to allow them to assemble a collection of contemporary American painting for the family.
Soon after, tragedy struck the Phillips family. Major Duncan Phillips died suddenly in 1917 from a heart condition and James died from the flu epidemic in 1918. To cope with these stunning blows, Duncan turned to the restorative quality of art. “Sorrow all but overwhelmed me,” he later wrote. “Then I turned to my love of painting for the will to live.” He and his mother founded the museum in late 1918. It was originally called the Phillips Memorial Art Gallery, and opened it to the public in fall of 1921. In a specially designed room added onto the second floor of the family home, they showed selections from their growing 237-work collection that now included examples by European artists, reflecting Duncan Phillips’s pioneering idea of creating a museum in the nation’s capital where one could encounter the art of the past and the present on equal terms. As the collection grew, the family moved out of their Dupont Circle home to a new residence in 1930, allowing the entire house to become a dedicated space for the museum.
Duncan Phillips married painter Marjorie Acker (1894-1985) in 1921, shortly before the museum opened, and she became his partner in developing The Phillips Collection. Born in Bourbon, Indiana, and raised in New York State, she was encouraged by her uncles―painters Gifford and Reynolds Beal―to pursue art; she studied at the Art Students League in New York City. Duncan and Marjorie met at an exhibition of his collection at The Century Club in New York in late 1920. After they were married, Marjorie painted almost every morning, ran the household, and served as Associate Director of the museum. She helped him gain insight into the artist’s process, and over the course of their lifetime together they collected nearly 2,500 works of art. When Duncan died in 1966, Marjorie became the museum director, continuing to develop close relationships with artists and the artistic community of DC. She held that position for six years.
From the outset, the vision for The Phillips Collection was “an intimate museum combined with an experiment station.” As a collector, Duncan Phillips was noted for his willingness to deviate from the art museum standard of displaying works together based on shared nationality and geography, interpreting modernism as a dialogue between past and present. He collected the work of his contemporaries at a time when art that did not follow traditional, academic standards was not widely accepted as aesthetically and culturally valuable. This philosophy of taking risks allowed for Phillips to be the first to collect and exhibit artists who were not well known at the time, such as Milton Avery, Pierre Bonnard, Georges Braque, Jacob Lawrence, Grandma Moses, Georgia O’Keeffe, and Rufino Tamayo.
www.flickr.com/photos/ugardener/54812157486/in/dateposted/
www.youtube.com/@PhillipsArtMuseum
www.cntraveler.com/activities/washington/phillips-collection
....
One immutable, the other sleeping!These sphinxs are all over; supposed to represent strength and Intelligence.
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
The Decentralized Autonomous Organizations (DAOs) can be described as a type of business that is based on decentralized governance. They`re controlled by code, and not individuals, making them borderless, permission less, and trustless. In this article, we`ll explore the benefits of DAOs to help you decide if they`re suitable for your company.
What is what is a DAO?
A DAO (also known as Decentralized Autonomous Organization, is an innovative type of organizational structure that is enabled by blockchain technology. DAOs are decentralized, which means that they are not centrally controlled by any one entity. Instead, they are controlled by clear rules encoded on the blockchain. This makes DAOs highly immune to corruption and censorship.
DAOs provide a range of advantages over traditional businesses. One of them is that they are more efficient as there is no need for intermediaries or expensive middlemen. Furthermore, DAOs can quickly and easily raise capital through token sales. Additionally, since DAOs are immutable and transparent, they build trust and co-operation among members.
If you`re looking for an easier, more transparent, and secure method to manage yourself or your business, then a DAO could be the right choice for you.
The benefits of DAOs
There are numerous advantages to having an DAO for example:
A DAO could assist in creating and maintaining accountability within a company.
topnewsscoop.com/the-benefits-of-a-dao-decentralized-auto...
Can promise acts but not feelings; because these are involuntary. Whoever promises someone love him always or always hate it or you always faithful, promises something that is not in his possession; but he can promise those acts that normally are the consequence of love, hate, loyalty, but also can be born other reasons: because paths and for various reasons lead to an act. The promise of always love someone means: while I love you, I will demonstrate with atos my love; If I no longer love you, I'll continue practicing those same acts, although for other reasons, so that the head of our fellow human remains the illusion that love is immutable and always the same. (Friedrich Nietzsche)
Information Technology = IT
infotechsector.exchange/?afmc=SNiB980NX5If0cRQAZkU3
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The Global Industry Classification Standard used by Morgan Stanley defines the information sector and industry that includes companies that offer software and information technology services, manufacturers and distributors of technology hardware & equipment such as communications equipment, cellular phones, computers & peripherals, electronic equipment and related instruments, and semiconductors. Using CrowdPoint’s next generation Blockchain all members of the ecosystem benefit from the transparency, speed and immutable transactions associated with I.T. services, software, communications equipment, technology hardware, storage, peripherals, electronics, instruments and components. Additionally it includes semiconductors and semiconductor equipment.
Our mission is to horizontally and vertically unite IT services, software, hardware, storage, peripherals, electronics, communications equipment, semiconductors and semiconductor equipment on our NexGen Blockchain in order to DEMOCRATIZE the Information Technology Experience for your HUMAN IDENTITY.
Blockchain Ecosystem = BE
blockchainecosystem.exchange/?afmc=SNiB980NX5If0cRQAZkU3
Ellipsis Welcome - portal.theellipsis.exchange/welcome/?afmc=SNiB98ONX5lf0cR...
#BlockchainEcosystem #Energy #Materials #Industrials #ConsumerDiscretionary #ConsumerStaples #Healthcare #Financials #InfomationTechnology #CommunicationServices #Utilities #RealEstate #SeanBrehm #MarleneBrehm #ValindaLWood
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horizon. What did a young man care about the approval of respectability, or honorable guild privileges handed down for generations, when the wealth of India beckoned to him, the gold and the silver mines of Mexico and Potosi? For the bourgeoisie, it was the time of knight-errantry; they, too, had their romance and their raptures of love, but on a bourgeois footing and, in the last analysis, with bourgeois aims.
Marriage remained class marriage, but within the class the partners were conceded a certain degree of freedom of choice. And on paper, in ethical theory and in poetic description, nothing was more immutably established than that every marriage is immoral which does not rest on mutual sexual love and really free agreement of husband and wife. In short, the love marriage was proclaimed as a human right, and indeed not only as a droit de lhomme, one of the rights of man, but also, for once in a way, as droit de la fem?", one of the rights of woman. This human right, however, differed in one respect from all other so-called human rights. While the latter, in practice, remain restricted to the ruling class (the bourgeoisie), and are directly or indirectly curtailed for the oppressed class (the proletariat), in the case of the former the irony of history plays another of its tricks. The ruling class remains dominated by the familiar economic influences and therefore only in exceptional cases does it provide instances of really freely contracted marriages, while among the oppressed class, as we have seen, these marriages are the rule. Full freedom of marriage can therefore only be generally established when the abolition of capitalist production and of the property relations created by it has removed all the accompanying economic considerations which still exert such a powerful influence on the choice of a marriage partner. For then there is no other motive left except mutual inclination.
But what will quite certainly disappear from monogamy are all the features stamped upon it through its origin in property relations; these are, in the first place, supremacy of the man, and, secondly, indissolubility. The supremacy of the man in marriage is the simple consequence of his economic supremacy, and with the abolition of the latter will disappear of itself. The indissolubility of marriage is partly a consequence of the economic situation in which monogamy arose, partly tradition from the period when the connection between this economic situation and monogamy was not yet fully understood and was carried to extremes under a religious form. Today it is already broken through at a thousand points. If only the marriage based on love is moral, then also only the marriage in which love continues. .
What we can now conjecture about the way in which sexual relations will be ordered after the impending overthrow of capitalist production is mainly of a negative character, limited for the most part to what will disappear. But what will there be new? That will be answered when a new generation has grown up: a generation of men who never in their lives have known what it is to buy a womans surrender with money or any other social instrument of power; a generation of women who have never known what it is to give themselves to a man from any other considerations than real love, or to refuse to give themselves to their lover from fear of the economic consequences. When these people are in the world, they will care precious little what anybody today thinks they ought to do; they will make their own practice and their corresponding public opinion about the practice of each individual and that will be the end of it. .
2 .
.
immutability
This reminds me of God's immutability, because even though situations may change God will always be the same much like this tree. Even though seasons and weather conditions may change, the tree doesn't become a different tree, its still the same.
Blockchain technology is based on distributed ledger and can be used in many industry to bring transparency and immutability.
Telecom industry is one of those sectors where blockchain technology can be implemented for Identity management, IOT connectivity, Fraud management, Roaming etc. Find out more about Blockchain in telecom industry.
The all knowing self was never born, nor will it die. This Self is eternal and immutable. If the slayer believes he can be killed, or the slain believes he can be killed, neither knows the truth. The eternal Self slays not, nor is ever slain. Hidden in the heart of every creature lies the Self. Greater than the greatest. Though still, he moves everything everywhere. Formless in the midst of form. Changeless in the midst of change. The Self cannot be known by anyone.
Press L to view in Black
IPFS provides file traceability while blockchain provides immutability. When these two are integrated in a web3 app, a highly scalable and efficient infrastructure is formed.Read more about its use-cases here - www.hivelance.com/ipfs-blockchain-development
Henri-Joseph Harpignies
Valenciennes, France, 1819 – Saint-Privé, France, 1916
1865
Oil on canvas
99.9 x 125.5 cm
Gift of Mrs. Robert Anderson in memory of her husband
Inventory 1939.697
Provence, as a foretaste of Italy, has always attracted poets, painters and writers who have been captivated by its climate and moved to celebrate its light. In the second half of the nineteenth century, the wild Mediterranean landscape, unchanged down through the centuries, became a new Arcadia for artists who were intent on exploring the territory and their imaginations in equal measure. Harpignies’ conception of landscape differed from that of his contemporaries in that he favoured the immutable aspects of Nature over its momentary effects.
An avid admirer of Corot and François-Louis Français, who was a friend of his, Harpignies practised plein air painting throughout France. Anatole France, who recognized the artist’s fondness for this theme, called him the “Michelangelo of the trees.” In response to an invitation from the students in his Paris studio, Harpignies would head to the South of France, putting the greyness of the Île-de-France behind him; or he would set out on the road to Italy, whose landscapes would earn him numerous prizes and medals in the Salon. Although faithful to the principles of the Barbizon School, the artist, who was an accomplished draftsman, used colour in the service of form. In this painting, the structure of the trees predominates, while the seascape and mountain views are merely suggested in order to convey the general atmosphere. This canvas imbued with naturalism quietly heralds the master’s final works, which are characterized by the fresh luminosity he acquired through contact with his young colleagues and his experiences with watercolours.
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Problem Statement
Range Sum Query 2D - Immutable Leetcode Solution - Given a 2D matrix matrix, handle multiple queries of the following type:
- Calculate the sum of the elements of matrix inside the rectangle defined by its upper left corner (row1, col1) and lower right corner (row2, col2).
Implement the NumMatrix class:
- NumMatrix(int matrix) Initializes the object with the integer matrix matrix.
- int sumRegion(int row1, int col1, int row2, int col2) Returns the sum of the elements of matrix inside the rectangle defined by its upper left corner (row1, col1) and lower right corner (row2, col2).
Example
Input
, , , , ]], , , ]
Output
Explanation
NumMatrix numMatrix = new NumMatrix(, , , , ]);
numMatrix.sumRegion(2, 1, 4, 3); // return 8 (i.e sum of the red rectangle)
numMatrix.sumRegion(1, 1, 2, 2); // return 11 (i.e sum of the green rectangle)
numMatrix.sumRegion(1, 2, 2, 4); // return 12 (i.e sum of the blue rectangle)
Constraints
- m == matrix.length
- n == matrix.length
- 1
www.tutorialcup.com/interview/matrix/range-sum-query-2d-i...
SEATED WOMAN IN BLUE
Paul Cézanne
( between 1902 and 1906 )
In 1939, art historian John Reward wrote that Cezanne’s Seated Woman in Blue “unquestionably one of the strongest and most complete [portraits] that Cézanne painted during the last years of his life.” The portrait conveys both a warmth of tone and somberness of mood.
The figure and its background seem to merge in the deep, rich tones of orange and blue, highlighted throughout in greens and browns. Shadowed effects are similarly modulated, whether in the skin tones or on the blank wall behind the sitter, and thick black paint outlines the forms, lending them a mysterious unity with the dark background. The energetic parallel strokes along the wall take on a life of their own. Together with the deep brown shadow slanting to the lower right, they are the most intensely gestural touches in the painting. Their activity is balanced by the jutting dashes of deep green and black that model the folds in the dress and by the flickering brown and green defining the drapery folds. The warm light that sweeps diagonally across the left illuminating the sitter’s flesh and the background textile in gold, suggests late afternoon; yet the dominant feeling of the portrait is of suspended time—the pictorial space seems to be immutable, as if existing outside of reality.
The personality of the subject hardly intrudes on formal concerns, yet the sitter’s identity remains open to scholarly debate: her identification as Madame Cézanne has had only intermittent acceptance, though Duncan Phillips purchased it as such, and in its earliest known reproduction the work was captioned “The Artist’s Wife.” This identification is now widely rejected. In Lawrence Gowing’s view, both the lack of resemblance to Madame Cézanne and the distant, formal rapport implicit between artist and sitter argue against such an identification.
The sitter‘s expression and position evoke the prevalent mood of Cézanne’s late portraits, which contain “a new note of somberness and mystery, a dark, flickering spirituality reminiscent…especially of Rembrandt…the subjects’ postures and features so often said to be inexpressive and masklike, speak eloquently of this mood.” Citing the present work’s deep shadows and volumes, the painting is characterized it as “the most fully Baroque in style of Cézanne’s late portraits.” Cezanne’s lack of intimacy with the sitter is apparent to the viewer, but her almost morose expression makes her enigmatic.
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Founded by art collector and philanthropist Duncan Phillips in 1921, The Phillips Collection has been collecting modern and contemporary art for over one hundred years. Duncan Phillips’s former home—and additions to it—in Washington’s historic Dupont Circle neighborhood provides a unique setting for the growing collection of over 6,000 works. Following Phillips’s unconventional approach to exhibitions, The Phillips Collection galleries are frequently rearranged to facilitate new conversations between artworks and fresh experiences for visitors.
HISTORY
“Sorrow all but overwhelmed me,” Duncan Phillips wrote. “Then I turned to my love of painting for the will to live.”
Duncan Phillips (1886-1966) was the son of Major Duncan Clinch Phillips, a Pittsburgh businessman and Civil War veteran, and Eliza Laughlin Phillips, whose father was a banker and co-founder of Jones and Laughlin Steel Company. The family moved to Washington, DC, in winter 1895-96.
Duncan was close to his older brother, Jim; Jim postponed attending college for two years so that he and Duncan could attend Yale University together. The brothers moved from DC to an apartment in New York in 1914. Duncan wrote extensively on art and published his first book, The Enchantment of Art, in 1914. Duncan’s passion for art was fueled by trips to Europe in 1911 and 1912 and visits to the Corcoran Gallery of Art in Washington and the Metropolitan Museum of Art, along with friendships in New York with artists Augustus Vincent Tack, who became a lifelong friend, and American impressionist painter Julian Alden Weir. In 1916 the brothers convinced their parents to set aside $10,000 annually to allow them to assemble a collection of contemporary American painting for the family.
Soon after, tragedy struck the Phillips family. Major Duncan Phillips died suddenly in 1917 from a heart condition and James died from the flu epidemic in 1918. To cope with these stunning blows, Duncan turned to the restorative quality of art. “Sorrow all but overwhelmed me,” he later wrote. “Then I turned to my love of painting for the will to live.” He and his mother founded the museum in late 1918. It was originally called the Phillips Memorial Art Gallery, and opened it to the public in fall of 1921. In a specially designed room added onto the second floor of the family home, they showed selections from their growing 237-work collection that now included examples by European artists, reflecting Duncan Phillips’s pioneering idea of creating a museum in the nation’s capital where one could encounter the art of the past and the present on equal terms. As the collection grew, the family moved out of their Dupont Circle home to a new residence in 1930, allowing the entire house to become a dedicated space for the museum.
Duncan Phillips married painter Marjorie Acker (1894-1985) in 1921, shortly before the museum opened, and she became his partner in developing The Phillips Collection. Born in Bourbon, Indiana, and raised in New York State, she was encouraged by her uncles―painters Gifford and Reynolds Beal―to pursue art; she studied at the Art Students League in New York City. Duncan and Marjorie met at an exhibition of his collection at The Century Club in New York in late 1920. After they were married, Marjorie painted almost every morning, ran the household, and served as Associate Director of the museum. She helped him gain insight into the artist’s process, and over the course of their lifetime together they collected nearly 2,500 works of art. When Duncan died in 1966, Marjorie became the museum director, continuing to develop close relationships with artists and the artistic community of DC. She held that position for six years.
From the outset, the vision for The Phillips Collection was “an intimate museum combined with an experiment station.” As a collector, Duncan Phillips was noted for his willingness to deviate from the art museum standard of displaying works together based on shared nationality and geography, interpreting modernism as a dialogue between past and present. He collected the work of his contemporaries at a time when art that did not follow traditional, academic standards was not widely accepted as aesthetically and culturally valuable. This philosophy of taking risks allowed for Phillips to be the first to collect and exhibit artists who were not well known at the time, such as Milton Avery, Pierre Bonnard, Georges Braque, Jacob Lawrence, Grandma Moses, Georgia O’Keeffe, and Rufino Tamayo.
www.flickr.com/photos/ugardener/54812157486/in/dateposted/
www.youtube.com/@PhillipsArtMuseum
www.cntraveler.com/activities/washington/phillips-collection
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