View allAll Photos Tagged obfuscation
Freemont Street has an enormous video screen on this domed structure stretching down the whole block. Binions Casino is on the right, the title somewhat obfuscated by a kiosk. Doug appears on the left.
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...
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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.
.
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. )
It's on Google Streetviews but they obfuscated the plate so I took a sidetrip for a followup visit.
As noted by Garrett.
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. )
Dear Mom and Dad,
When the wind so oddly blows from east to west, it both warms our air and clears obfuscating debris.
Well, and the oddity of it.... it's a special day, here on the Bay.
And all of these days are special, Each one, a beautiful surprise and momentary gift.
Goodnight. I love you,
Kat
The glass balustrade can expand your property’s potential and are logically demonstrated by modelers, engineers and originators for both inside and outside use in business and private properties. The innovative use of glass can revive halls and path hallways, opening up internal parts and including worth and style while the extension of glass balustrade to the outside of a property gives a contemporary finish without obfuscating either the building itself or the viewpoints from its windows.
Glass is frequently an essential bit of the plan in another shape broadens yet works likewise well while repairing inheritance structures, including contemporary style and present day helpfulness without corrupting the main building. In any case, glass is an astounding thing and when demonstrated for something as important as a balustrade it is basic to get ace direction from experienced specialists and surveyors. A broadly comprehensive bespoke glass benefit ensures that you facilitate the kind of glass used to the limit and plan criteria you wish to fulfill.
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.
.
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. )
Built in 1906 and renovated circa 1930, this Renaissance Revival-style theater was designed by Claude and Starck, and features an Art Deco-style marquee and first floor front facade, and originally served as a vaudeville theater before becoming a movie theater. The building is clad in Art Moderne-style enameled metal panels on the first floor with a marquee featuring neon lights above the entrance, an Art Moderne-style ticket booth with curved corners and curved glass, and four entrance doors flanked by poster display cases. The upper portion of the building displays the original style of the facade, with painted brick cladding, limestone trim, a large five-part arched window on the second floor of the front facade above the marquee, flanked by pilasters, a cornice at the top of the second floor, blind bays on the fourth floor framed by stone trim with a large decorative cornice above, and a cornice with dentils and modillions at the top of the parapet, which obfuscates the building’s low-slope roof. The building has a footprint that bends from King Street to the stage, which sits adjacent to Doty Street, with this being very evident inside the building. The building today serves as a live performance venue, with the original wall paneling, vaulted ceiling, proscenium arch, box seats, and plaster trim on the second floor of the space being intact. The theater primarily hosts live musical acts, occasionally being used to screen televised events or movies, or being used as an event venue.
Built in 1906 and renovated circa 1930, this Renaissance Revival-style theater was designed by Claude and Starck, and features an Art Deco-style marquee and first floor front facade, and originally served as a vaudeville theater before becoming a movie theater. The building is clad in Art Moderne-style enameled metal panels on the first floor with a marquee featuring neon lights above the entrance, an Art Moderne-style ticket booth with curved corners and curved glass, and four entrance doors flanked by poster display cases. The upper portion of the building displays the original style of the facade, with painted brick cladding, limestone trim, a large five-part arched window on the second floor of the front facade above the marquee, flanked by pilasters, a cornice at the top of the second floor, blind bays on the fourth floor framed by stone trim with a large decorative cornice above, and a cornice with dentils and modillions at the top of the parapet, which obfuscates the building’s low-slope roof. The building has a footprint that bends from King Street to the stage, which sits adjacent to Doty Street, with this being very evident inside the building. The building today serves as a live performance venue, with the original wall paneling, vaulted ceiling, proscenium arch, box seats, and plaster trim on the second floor of the space being intact. The theater primarily hosts live musical acts, occasionally being used to screen televised events or movies, or being used as an event venue.
Built in 1906 and renovated circa 1930, this Renaissance Revival-style theater was designed by Claude and Starck, and features an Art Deco-style marquee and first floor front facade, and originally served as a vaudeville theater before becoming a movie theater. The building is clad in Art Moderne-style enameled metal panels on the first floor with a marquee featuring neon lights above the entrance, an Art Moderne-style ticket booth with curved corners and curved glass, and four entrance doors flanked by poster display cases. The upper portion of the building displays the original style of the facade, with painted brick cladding, limestone trim, a large five-part arched window on the second floor of the front facade above the marquee, flanked by pilasters, a cornice at the top of the second floor, blind bays on the fourth floor framed by stone trim with a large decorative cornice above, and a cornice with dentils and modillions at the top of the parapet, which obfuscates the building’s low-slope roof. The building has a footprint that bends from King Street to the stage, which sits adjacent to Doty Street, with this being very evident inside the building. The building today serves as a live performance venue, with the original wall paneling, vaulted ceiling, proscenium arch, box seats, and plaster trim on the second floor of the space being intact. The theater primarily hosts live musical acts, occasionally being used to screen televised events or movies, or being used as an event venue.
In the background there is a wide ad hoarding with no ad on it. The metal back of the hoarding is almost completely rusted brown. To the right of the hoarding, there are some earthen pots. In the foreground, there are two trees obfuscating a bit of the hoarding with their leaves. On the ground beneath the trees there are mounds of stones and sand.
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.
.
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. )
Another boat book....Why has it been so long since an American president has effectively and consistently presented reasoned, intellectually substantive arguments to the American public?
Why have presidential utterances fallen from the articulate and rousing speeches of Lincoln, Teddy Roosevelt, Wilson, and FDR to a series of robotic repetitions of talking points and 60-second sound bites, largely designed to seduce and to obfuscate rather than to educate or to illuminate? Note: This book was written just prior to the ascendancy of Obama to the presidency.