View allAll Photos Tagged obfuscation
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Andrea Špehar, Amir Hanušić, and Sanja Sagasta (LIGMA, Croatia).
Andrea and Amir contributed a report on Croatia for the conference. The situation in Croatia for lesbians and gays had been made more difficult by the fact that, following Croatia’s secession from the Yugoslav Republic in 1991, the Serbian minority, supported by Slobodan Milosevic’s Serbia, had started a war.
Here are extracts:
“The law in Croatia acknowledges homosexuality and does not consider homosexual relations criminal for consenting adults. However, the tribunal and law enforcement officials do not uphold the law. In most cases of discrimination against homosexuals, the police either do nothing or harass the victims themselves. One young man was approached by a blackmailer in a public park. The man's documents were taken and would be returned for the price of 200 DM (two months' salary). The young man went to the police and the criminal was caught. He was not prosecuted even though he had an extensive record of blackmailing homosexuals for sex and money. In order to be prosecuted, the young man would have to press charges and the police said that if it was found out that he is gay he would also be prosecuted.
To step out in public and admit to being a homosexual means to lose your job and status, and suddenly be in terrible trouble. For lesbians in Croatia, the situation is even worse. For a traditional society with a conservative and religious ideology, female homosexuality threatens the divine order of the world according to which women should be devoted to home and family. This is often suggested as a woman's destiny, especially in these critical times when there is war in Croatia. A Croatian woman's main task is to give birth to at least 3 to 5 children in order to fulfill her patriotic duty to the nation.
As far as our church is concerned, a homosexual way of life threatens all social and religious values and the traditional role of husband and wife. The great influence of the Christian church, which is spreading "false morals", has worsened the situation for marginal groups such as lesbians and gays.
We want to escape from anonymity and prove that lesbians and gays are also citizens of Croatia. It is time for all Croatians, including homosexuals, to decide the priorities of their lives and not just accept the priorities set by others. Many people want to live without social control, without the pressure that society inflicts upon us, in a society without discrimination. There is a lot of pressure on Croatians to be good Catholics, and officially the church is one of the greatest excuses for discrimination against homosexuals. We don't care if people dislike homosexuality or homosexuals.. that is their right-- but we expect to have the same freedoms as other Croatians.
Zagreb is the capital of Croatia and has approximately one million inhabitants. It is Croatia's only large city, and yet there is not one respectable openly gay or lesbian meeting place. There are lesbians and gays willing to open bars and discos, but not only financial problems are present. Without forming a joint venture or opening a franchise of a foreign lesbian or gay club, it is politically impossible. We also do not know how to go about getting people to join our organization. Only in numbers can we accomplish anything, yet because of fear Croatians would not join any group without some foreign involvement.”
LIGMA was campaigning for action by the Ministry of Health to address AIDS. They had initiated discussions on possible actions and obtaining information on AIDS, but had been met with obfuscation:
“The excuses were that there is a war, there is no money, hospitals have so many obligations, and so on. All discussions about obtaining better information about AIDS remains tentative.”
So they launched a public appeal.
“The Ministry of Health was surprised by the courage of LIGMA, when they learned that LIGMA was prepared to demonstrate and issue a public Appeal for Better Information and a More Serious Approach to AIDS in the Republic of Croatia. We began our discussions again, this time with more understanding on the part of the Ministry… However, LIGMA has not stopped collecting signatures for the Appeal, which we want to present to all Ministries that deal with these problems.”
Photo credit: Lisa Power
1993 Vienna EE 7a Croatian delegates hanusic in the middle lp
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
i look happy, though my clothes show that i am freezing cold. i liked it because of all the blues, and the fact that i double exposed the super blue ocean over myself without completely obfuscating myself.
Some mysterious text relating to possibly crime or a pistol. The word are assembled against a background of large big letters with no apparent reason or rhyme or rhubarb. Vegetables are not present and need not apply. The arc of the plot is obscured and vague, similar to hazily recalled dreams or a disjointed narrative. Indeed, disjoint is the name of the game. Solve the crime and discover the fish. The ephemeral nature of language can obfuscate as much as clarify.
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Dallas SEO Geek Blog Feed www.dallasseogeek.com/google/googles-quality-site-patent/... Here is an interesting article about one of Google’s patents that deals with determining the quality of a site for ranking in the Organic results. It talks about Paid Search as well. Here’s an outline of how they interpret it: I’m not sure if that makes any sense to you, but it sure is a wonky way to talk about it to me! Google obviously doesn’t want to give away their secrets, but they do want to protect themselves from getting sued by someone else who patents this. So they get strange Patents that have clues that are heavily obfuscated. So, at a minimum we know they calculate a quality score for a site for Ranking in the Search Results. We already knew that. There are many angles that they look at and many different tests. However, I think looking at the Trust Flow based upon Trusted Seed Set of Sites and Domain Authority and Engagement, we can skip past much of the gobbledy-gook and get an idea of what the quality score might actually look like. Unfortunately, there isn’t 1 final number that you can compare everything to everything else. However, there is data out there to give us a general idea. If you’d like to know how high or low on the quality score your website(s) are, then contact me and I’ll look into it for you. Have a great day!
.
.
.
AKHIL BHARATIYA VIDYARTHI PARISHAD .
.
13/10/2003 .
ASI FINDINGS IN AYODHYA AND MARXIST PROPAGANDA .
Friends, .
.
The recent excavations at the "Ram Janam Bhoomi site" in Ayodhya were led by a team of very competent scholars. It must be remembered that the excavations, owing to various legalfties were conducted under very constrained circumstances. The findings, further bolster the claim of a Rama temple being at the site originally. · .
It is unfortunate that scholars like Irian Habib ( A medievalist, by training neither an archaeologist, nor an epigraphist) have tried to unnecessarily obfuscate the ASI report for purely polftical ends. Throughout the medieval Indian period, there is no dearth of temples being converted into mosques overnight. Some classic examples could be Adina Mosque in 3aur in Bengal, the Krishna Janam Bhoomi in Mathura, the Kashi Vishwanath Temple in Varanasl, Ramesharam Mosque in Tamil Nadu and nearer to Delhi the Qutab Minar. These are some of the examples of the several thousands temples which were destroyed and converted into mosque. .
Perhaps the most clinching evidence in the favour of a Rama temple being originally present at the site, is the inscription of the Gahadavala King, Govindachandra. The Sanskrit inscription talks of a beautiful Vishnu Hari temple being present at the site. It needs to be overstated that Marxist scholars like K. Shrimali, writing in the 1970's, have themselves described the Gahadvalas as Hindu revivalists. This was pointed out by the ICHR Chairman, MGS Narayan in a recent talk in Motilal Nehru College. .
.
The destruction of the temple by Babar is a well-documented fact, and was taken note of even by the colonial archaeologists, such as A. Fuhrer and H.R. Neville. Furher had written about the fine columns of the temple which were later used in the construction of the Masjid. Similarly, H.R. Neville noted that the temple was destroyed by Babar. All these facts are further corroborated by contemporary medieval literary sources. .
The recent ASI report has further brought to light artifacts of indubitable Hindu provenance. Conspicuous among these are terracotta images of Yakshas and Yakshinis. The antiquity of the site and its long-sanding connection with Hinduism is suggested by a Mother Goddess terracotta image of the Kushana period. Hiuen Tsang, writing in the seventh century A.D. has spoken of ten deva temples being present at the site..
.
, .
Marxist scholars have always argued that the temples in Northern India whenever they were looted or destroyed was because they were storehouse of wealth but this is factually not true because if~ refer to the Garuda Purana or the writing of Alberuni who accompanied Mahmud Ghazni during his numerous raid to India we find that Hindus throughout the Northern part of the country were not only killed or converted but were also enslaved and the temples were destroyed not because of their booty but because of religious significance. How can one forget the famous quote of Mahmud Ghazni in Somnath when he said I would rather be a idol breaker rather than being a idol seller. .
ASI's Findings in Ayodhya & Marxist Propaganda .
Lecture & Slide Presentation .
.
By .
DR. S.P. GUPTA, .
.
Director, Indian Archaeological Society .
.
Time : 9.30 P.M. Venue : Sutlej Mess Date : 13.10.2003 .
CENTRAL PANEL .
.
MUKESH KUMAR MISHRA -PRESIDENT DHANANJAY SINGH -VICE-PRESIDENT RAMESH BABU K -GEN-SECRETARY GAUTAM CHAKRABARTI -JOINT-SECRETARY .
.
SL Panel SIS Panel SSS Panel .
.
. Abhishek Radheshyam Rakesh Ranjan Ankita Bhattarcharjee Ramvir Sachin Kumar Deo Harish Chandra Sameer Kumar Jha Raghvendra Shalini Singh ._ Saket Kumar Srivastava Yash Pal .
Vande Mataram ! --.
Sd/-.
Pinaki Routray .
Central Campaign Coord!nator .
.
.
.
.
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Brent Holmes: Jones Ranch Egypt
August 28 – September 28, 2024
Solo exhibition in Serva Pool Gallery, artist talk Saturday, September 28, 2:30pm
Jones Ranch Egypt is an ongoing process engaging historic European cataloging traditions and mid-twentieth century western agitprop. In this work, Las Vegas-based artist Brent Holmes explores his relationship with mark-making, Western / cowboy roots, and the African sculptural / spiritual traditions of his ancestors. Each image is based (however loosely) on a symbolic African sculpture and a piece of American Western art. In the incorporation of the two, Holmes depicts an imaginary West highlighting the dual stolen history he often obfuscated role that people of color have played in the development of western expansion, and the colossal act of theft that is the institutional African artifacts collection industry. In iconic depictions of the West, we find a cultural erasure of black and brown bodies presented in the “Cowboy”. 20th-century Cowboy culture serves as a soft propaganda about American individuality, sparingly distributed to the 25% African American workforce (or the 35% Latino) that made up most cowboys at the end of the 19th century. In comparison, the collection and display of tribal artifacts by private and institutional collections mirror this. From an egocentric hegemonic lens, both the creation and display of African sculpture and masks is a curious note in art history excluding them from what should be considered some of the most dynamic and meaningful object-making in all of humanity’s creative endeavors. To amalgamate the two, it’s to build a libratory narrative around foregone trajectories in human history.
This exhibition is sponsored by Double Scoop who will be hosting an artist talk with Brent Holmes on September 28, 2024 at 2:30pm during their annual “Scoop Fest” event at The Holland Project. This exhibition is also supported in part by the Nevada Arts Council and National Endowment for the Arts.
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
A Primarchs novel
Who better to relate the tale of Alpharius than the primarch himself? As he tells of his deeds, bear one thing in mind: nothing can be trusted when it comes from serpent's mouth.
READ IT BECAUSE
I am Alpharius… and so are you.
THE STORY
Legends abound of the glorious – or infamous – deeds of the Emperor's sons. Yet almost nothing is known of Alpharius, the most mysterious of them all, for the Lord of the Alpha Legion is unparalleled in the art of obfuscation. Such are his gifts of secrecy and deceit that even his rediscovery has remained an enigma – until now. But when the tale comes from the serpent’s mouth, where do the lies end and the truth begin?
Written by Mike Brooks
ABOUT THIS EDITION
– Hardback book with full art cover and cloth spine
– Black magnetic slipcase with Alpha Legion-blue foil detailing
– Includes ribbon bookmark
– Just 2,500 copies available
Edward Hopper, Cape Cod Morning, 1950,
In Cape Cod Morning, a woman looks out a bay window at something in the middle distance, something just beyond the frame. The window, cast in deep shadows, juts out from a facade bathed in brilliant light. Here, half the composition is given over to a richly hued, golden grass landscape, one tethered only by undulating clouds. A strain reverberates throughout the piece, situated everywhere and nowhere in particular. This inherent tension has come to define much of Edward Hopper’s work, but to probe it deeply, as observers are wont to do, is to miss the artist’s subtleties, his splendor.
Born July 22, 1882 in Nyack, New York, Hopper, from an early age, gravitated to solitary pursuits, among them, sketching and sailing, studying with intention the nuances of light and shadow. The artist, who would go on to produce more than 800 paintings, watercolors, and prints, remained a detached observer of the world. Writing in The Guardian, Laura Cumming echoes this: “‘one was aware,’ wrote a friend, ‘of a slight displacement in [Hopper’s] experience of his own person…as when we are strangers to ourselves, and become objects of our own contemplation.’” Implicit in this is a worldview that privileges the literal over the metaphorical. It follows, then, that imposing too lofty a narrative, or any narrative, for that matter, on Hopper’s works, is to do his carefully constructed oeuvre a disservice.
Venturing cautiously in interpreting work like Hopper’s proves particularly useful as paintings like Cape Cod Morning obscure as much as they reveal. In an essay for The New York Review of Books, Mark Strand writes that, in Hopper’s hands, “moments of the real world, the one we all experience, seem mysteriously taken out of time. The way the world glimpsed in passing from a train, say, or a car, will reveal a piece of a narrative whose completion we may or may not attempt.” What this view of the artist’s work obfuscates, though, is the meticulous construction of works like Cape Cod Morning. Indeed, Hopper himself attested to the careful execution of these works, an intention that involved as much elaboration as it did observation. In Edward Hopper: An Intimate Biography, Gail Levin writes that the artist sought “the esthetic confluence of that ‘something inside me and something outside…to personalize the rainpipe.'”
Of the woman in Cape Cod Morning, too, reality is so abstracted as to present not a woman gazing out the window, but a figure gracefully removed from the world. Indeed, Strand asserts that “the women in Hopper’s rooms do not have a future or a past. They have come into existence with the rooms we see them in.” To assign too personal a meaning to any of these figures, then, is to belie their staged, cinematic like, construction.
Perhaps, as evidenced in Cape Cod Morning, as it is in a great many Hopper works, the ambiguity of these paintings is their very strength. In his 2012 Smithsonian American Art Museum’s Clarice Smith Distinguished Lecture in American Art, Kevin Salatino asserted that “when [Hopper] is cryptic, he is cryptic in the most interesting way.” To be sure, the artist’s masterful ability to render the momentary, or seemingly momentary, is a talent that is unmistakably his. The task, then, is to dispense with ad hoc narratives and to appreciate in Cape Cod Morning the subtle play of light on the wall, deceptively discrete as it might be.
americanart.si.edu/blog/eye-level/2018/20/57789/revisitin...
---------------------------------------------------------------------------------------
Experience America
The 1930s was a heady time for artists in America. Through President Franklin Roosevelt’s New Deal programs, the federal government paid them to paint and sculpt and urged them to look to the nation’s land and people for subjects. For the next decade — until World War II brought support to a halt — the country’s artists captured the beauty of the landscape, the industry of America’s working people, and a sense of community shared in towns large and small despite the Great Depression.
Many of the paintings in Experience America were created in 1934 for a pilot program designed to put artists to work; others were produced under the auspices of the WPA (Works Progress Administration), which followed. The thousands of paintings, sculptures, and murals placed in schools, post offices, and other public buildings stand as a testimony to the resilience of Americans during one of the most difficult periods in U.S. history. This display is drawn entirely from the Smithsonian American Art Museum's collection. SAAM holds the largest collection of New Deal art in the world.
americanart.si.edu/exhibitions/experience-america
During the Great Depression, president Franklin Delano Roosevelt promised a “new deal for the American people,” initiating government programs to foster economic recovery. Roosevelt’s pledge to help “the forgotten man” also embraced America’s artists. The Public Works of Art Project (PWAP) enlisted artists to capture “the American Scene” in works of art that would embellish public buildings across the country. Although it lasted less than one year, from December 1933 to June 1934, the PWAP provided employment for thousands of artists, giving them an important role in the country’s recovery. Their legacy, captured in more than fifteen thousand artworks, helped “the American Scene” become America seen.
.
"Looking beyond the embers of bridges glowing behind us,
To a glimpse of how green it was on the other side" - High Hopes (Pink Floyd)
I took this pic a while ago and genuinely liked it but could not verbalize the reason(s) why I like it. Well, I still don’t know why like it, so to make matter worse or at least more obfuscated, I restore to Pink Floyd :)
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Exhibition Review - Ian Cheng: 'Emissary Forks At Perfection' Pilar Corrias, London till Nov 14th 2015.
Ian's protagonist, technology,
breaks down narrative
and obfuscates analysis
as it sails towards a
VUCA horizon through
an ocean of forking behaviours. - Drenched Co
Comment: "As a comment on Vimeo suggested about Mr Cheng's work- 'a universe like this can only exist via genius'. Hear! Hear!"- Raj
Key: VUCA - trendy business acronym for Volatility, Uncertainty, Complexity and Ambiguity
See www.pilarcorrias.com/exhibitions/ian-cheng/
See also www.woundsthatbind.com/2015/10/exhibition-review-ian-chen...
See also www.soaked.space/2015/10/exhibition-review-ian-cheng-emis...
Caption: Pic Above: Ian Cheng|Emissary Forks at Perfection|2015|Live simulation, infinite duration|Dimensions variable
Image courtesy the artist and Pilar Corrias, London.
We take great care not to harm the image in any way. And these views, they are ours only and not those of the gallery or artist.
#cutsoverart #drenchedco #soakedspace #PilarCorrias #PilarCorriasgallery #IanCheng #EmissaryForksAtPerfection #artinlondon #londonart #artlondon #artreview #contemporaryart #art #artists #artexhibition #artvideo #videoart #artinstallation #installationart #filmart #artfilm #livesimulation #narrative #VUCA #techart #technology #newyorkart #artnewyork #artinnewyork
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Edward Hopper, Cape Cod Morning, 1950,
In Cape Cod Morning, a woman looks out a bay window at something in the middle distance, something just beyond the frame. The window, cast in deep shadows, juts out from a facade bathed in brilliant light. Here, half the composition is given over to a richly hued, golden grass landscape, one tethered only by undulating clouds. A strain reverberates throughout the piece, situated everywhere and nowhere in particular. This inherent tension has come to define much of Edward Hopper’s work, but to probe it deeply, as observers are wont to do, is to miss the artist’s subtleties, his splendor.
Born July 22, 1882 in Nyack, New York, Hopper, from an early age, gravitated to solitary pursuits, among them, sketching and sailing, studying with intention the nuances of light and shadow. The artist, who would go on to produce more than 800 paintings, watercolors, and prints, remained a detached observer of the world. Writing in The Guardian, Laura Cumming echoes this: “‘one was aware,’ wrote a friend, ‘of a slight displacement in [Hopper’s] experience of his own person…as when we are strangers to ourselves, and become objects of our own contemplation.’” Implicit in this is a worldview that privileges the literal over the metaphorical. It follows, then, that imposing too lofty a narrative, or any narrative, for that matter, on Hopper’s works, is to do his carefully constructed oeuvre a disservice.
Venturing cautiously in interpreting work like Hopper’s proves particularly useful as paintings like Cape Cod Morning obscure as much as they reveal. In an essay for The New York Review of Books, Mark Strand writes that, in Hopper’s hands, “moments of the real world, the one we all experience, seem mysteriously taken out of time. The way the world glimpsed in passing from a train, say, or a car, will reveal a piece of a narrative whose completion we may or may not attempt.” What this view of the artist’s work obfuscates, though, is the meticulous construction of works like Cape Cod Morning. Indeed, Hopper himself attested to the careful execution of these works, an intention that involved as much elaboration as it did observation. In Edward Hopper: An Intimate Biography, Gail Levin writes that the artist sought “the esthetic confluence of that ‘something inside me and something outside…to personalize the rainpipe.'”
Of the woman in Cape Cod Morning, too, reality is so abstracted as to present not a woman gazing out the window, but a figure gracefully removed from the world. Indeed, Strand asserts that “the women in Hopper’s rooms do not have a future or a past. They have come into existence with the rooms we see them in.” To assign too personal a meaning to any of these figures, then, is to belie their staged, cinematic like, construction.
Perhaps, as evidenced in Cape Cod Morning, as it is in a great many Hopper works, the ambiguity of these paintings is their very strength. In his 2012 Smithsonian American Art Museum’s Clarice Smith Distinguished Lecture in American Art, Kevin Salatino asserted that “when [Hopper] is cryptic, he is cryptic in the most interesting way.” To be sure, the artist’s masterful ability to render the momentary, or seemingly momentary, is a talent that is unmistakably his. The task, then, is to dispense with ad hoc narratives and to appreciate in Cape Cod Morning the subtle play of light on the wall, deceptively discrete as it might be.
americanart.si.edu/blog/eye-level/2018/20/57789/revisitin...
---------------------------------------------------------------------------------------
Experience America
The 1930s was a heady time for artists in America. Through President Franklin Roosevelt’s New Deal programs, the federal government paid them to paint and sculpt and urged them to look to the nation’s land and people for subjects. For the next decade — until World War II brought support to a halt — the country’s artists captured the beauty of the landscape, the industry of America’s working people, and a sense of community shared in towns large and small despite the Great Depression.
Many of the paintings in Experience America were created in 1934 for a pilot program designed to put artists to work; others were produced under the auspices of the WPA (Works Progress Administration), which followed. The thousands of paintings, sculptures, and murals placed in schools, post offices, and other public buildings stand as a testimony to the resilience of Americans during one of the most difficult periods in U.S. history. This display is drawn entirely from the Smithsonian American Art Museum's collection. SAAM holds the largest collection of New Deal art in the world.
americanart.si.edu/exhibitions/experience-america
During the Great Depression, president Franklin Delano Roosevelt promised a “new deal for the American people,” initiating government programs to foster economic recovery. Roosevelt’s pledge to help “the forgotten man” also embraced America’s artists. The Public Works of Art Project (PWAP) enlisted artists to capture “the American Scene” in works of art that would embellish public buildings across the country. Although it lasted less than one year, from December 1933 to June 1934, the PWAP provided employment for thousands of artists, giving them an important role in the country’s recovery. Their legacy, captured in more than fifteen thousand artworks, helped “the American Scene” become America seen.
.
Another Nuit Blanche image comin' right at ya from Paris today, folks.
Granted, it didn't look exactly like this, but in my mind it did ;-)
Le Pont Saint-Louis between Ile de la Cité and Ile Saint Louis had been obfuscated for the occasion, with some spooky music and some flashing lights, and, umm, a lot of people wondering if that was it.
Corporate sponsorship was also heavily in evidence also, which tainted the artistic integrity a bit. I was intrigued to see what they were trying to do with squares and cubes and colours too, as these basic geometrical elements fascinate me. What do you think?
(A Paris iPhone street photograph by Sab Will for the 'Paris and I' photo blog @ paris-and-i.parissetmefree.com )
Seen on my commute. Odds of turtle recovery seem vanishingly small, but sometimes signs must be posted to appease sad young turtle-lovers.
Phone number obfuscated for internet use.
via
The How Can Blockchain Technology Help Save Our Privacy? See more on: Business Law Group Blog
Below is a good article on blockchain technology and privacy, especially when it comes to personal data. As you are probably aware, the large companies out there (Google, Facebook, Twitter, Amazon, etc.) have a TON of personal information about you that they use for advertising, etc. It’s very possible that blockchain technology can alleviate a lot of those issues. Check it out.See more at kcbusinesslawgroup.com/How Blockchain Can Save Our Privacy Before It DisappearsHow Blockchain Can Save Our Privacy Before It DisappearsALEX MOSKOVThis ain’t your granddaddy’s privacy battle.Times were simpler when postcards were the big privacy invasion scare.Today, our personal privacy is under siege by veiled government surveillance programs and the countless tech company Trojan Horses.Privacy, per Merriam-Webster, is defined as the quality or state of being apart from company or observation, or freedom from unauthorized intrusion.Technical innovations in the past twenty years have blurred the lines of “apart from company” and “unauthorized intrusion,” and now our personal privacy is under attack from multiple fronts.Our locations are constantly being tracked on our phones, which are borderline inseparable from our bodies. We are under constant surveillance.Social media platforms know more about us than we should be comfortable with.Our sensitive information is floating around and being exchanged for a myriad of unauthorized purposes.Many personal privacy advocates have taken to blockchain and cryptocurrency entrepreneurship to build solutions that address the concerns of our dwindling right to privacy in the digital world.Technological advancements like blockchain and zero-proof have given the pro-privacy debate a new gust of wind. The beauty of these solutions is that they offer encryption or at least partial obfuscation on a massive scale.Privacy coins such as Monero and Zcash give us the freedom to transact without being tracked, but this could come at the prohibitively high cost of empowering and enabling criminal activity.Blockchain-based browsing and social media platforms like BAT, Steemit, and Sapien offer an escape from a manipulative data-mining browsing and social experience.blockchain and privacyThe following article explores the evolution of privacy in contemporary society, how the digital world has warped the reality of privacy and the rumbling dangers that come with it, and how blockchain and cryptocurrency projects offer a solution.A Contemporary Legal History to PrivacyPrivacy as we know it is a relatively recent development in human society. Our right to privacy isn’t explicitly stated in our Constitution and has been primarily defined by legal precedents, many of which haven’t accounted for the rapid societal change ushered in by the digital era.The rise of a private tech oligarchy posed new paradigms in which a slow-moving bulwark of a government is continually playing a game of iron-fisted catch-up.The government is in a precarious position when it comes to dishing out judgments against tech companies. These cases require light but decisive footwork to avoid stepping over and stifling private enterprise, while simultaneously protecting civilians from a very real bogeyman in the dark.The following are a handful of the legal precedents that have helped to dictate where the United States stands on personal […]
kcbusinesslawgroup.com/fintech/how-can-blockchain-technol...
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
Devoxx 2018 - Var with Style - Local Variable Type Inference in Java 10
Java 10 introduced a feature called Local Variable Type Inference, which lets programmers declare local variables using 'var' instead of using an explicit type. This feature enables one to write code that is more concise and more readable. However, it's also possible for this feature to be misused, obfuscating code instead of making it more readable. The Java Team has published a set of style guidelines that help direct programmers toward uses of 'var' that improve code quality and that help them avoid uses that detract from code quality. This session gives an overview of the new 'var' feature and describes these style rules. The presentation is liberally supplemented with code examples of both good uses and misuses of 'var'.
www.youtube.com/watch?v=786iemaCJHU
( Devoxx 2018
Tous les slides sont proprietes de leurs auteurs.
All slides are properties of their authors. )
via
German prosecutors working on the Volkswagen Group “Dieselgate” scandal have done the unprecedented: they have arrested and jailed the seated CEO of a major automaker. The rationale the authorities gave was that while monitoring Audi CEO Rupert Stadler’s phone, there were suspicions that he might be attempting to cover up evidence of emissions cheating on an operational level. While this is not entirely unexpected, considering Group board member Wolfgang Hatz has been jailed for over half a year with no trial date, it is certainly disruptive to business. Audi has set in place Abraham Schot, Audi board member for sales and marketing, as interim CEO, where he is expected to continue being pragmatic and similar to Stadler in leadership style. The Volkswagen Group diesel-emissions scandal has reached a climax. In an unprecedented move by prosecutors in Munich on Monday, Audi CEO Rupert Stadler was jailed. Prosecutors had monitored his phone and suspected that Stadler was attempting to “obfuscate” the investigation into alleged cheating devices fitted on some Audi models. They claim that Stadler had received an email in late 2015, months after the scandal broke, that hinted at manipulated exhaust systems. Not stopping their sale immediately, the prosecutors allege, amounted to fraud. Hauling an acting CEO off to jail is the maximum possible disruption the prosecutors could have inflicted on Audi. Stadler may be set free within days; however, there is no guarantee. Former Volkswagen Group board member Wolfgang Hatz has been jailed for over eight months now—without a trial date. Click Here to Read More
The above post German Prosecutors Jail Audi CEO Over Evidence Tampering Concerns is available on CarDaddy News
autonews.cardaddy.com/german-prosecutors-jail-audi-ceo-ov...