View allAll Photos Tagged obfuscation
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...
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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.
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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.
This was shot during EN's concert in Lisbon, on the 12th of April. Pity Blixa's head is obfuscated by the light... anyway, it was a great gig!
This happenstance shot occurred when I noticed this trick of light streaming in through the blinds and making a light-beam fan on the adjacent wall.
This is taken in our new office. Each of the occupants was given a code name, to obfuscate who exactly is going into each office on the floor plan. This office belongs to "Hermione Granger". Taken about 8PM in full Summer sun, I'd say that "Hermione" will get some nice day-end ambiance if they are working late in our new space.
A bit of level adjustment in Lightroom, and not a lot else, the Sun do all the work on this one.
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Expose the corporate funde.dRSS fat;ade of anti corruption! Fight the Fascist ABVP! Down with degenerate politics otliberation/AISAII .
Ever since the inception of this current sham against corruption, taking place in the name of 'people' and 'nation', DSU has been laying bare its real essence, namely its corporate funded and RSS mobilized core character. This real character of the anti-corruption drive was powerfully vindicated last night by ABVP's act of rabid hooliganism. During the public meeting o~ganized by DSU yesterday, ABVP goons not only tried to disrupt but also indulged in vandalism and hooliganism. This handful of sanghis was led by notorious lumpens such as Sandeep Kr. Singh, Abhinandan Kumar, Sourav, Amba Shankar, Vineet Chaturvedi and .
_others. History sheeter Abhinandan Kumar-the same lumpen .who threw a beer can at a Kashmiri woman student during the cricket World Cup and on another occasion, was caught harassing a woman student at Ganga dhaba-then resorted to breaking the glass pane of the mess. The large number of students present in the meeting resisted this fascist attempt to stall any critique of the anti-corruption 'movement' and the meeting was successfully completed. .
Angered by DSU's consistent expose of Team Anna's crusade, which is attempting to hide its real aims and character under the .
garb of 'nation' and 'people', the right-wing of this campus resorted to the same rhetoric-calling anyone who critiques the .
movement as anti-national, and attempted the same tactic-a fascist suppression of dissent and opposition. The ABVP, which .
has repeatedly indulged in acts of disruption, violence and hooliganism has been repeatedly shielded by the Administration. We .
demand that the Administration punish these goons, otherwise, the student community shall take them to task. .
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The right wing today is out to capitalize on the deepening crisis made evident by violent dispossession, loot of resources and people's means of livelihood, price r-ise and topped by the unearthing of a number of massive scams. Team Anna -Anna Hazare, Arvind Kejriwal, Kiran Bedi -with its sangh antecedents are serving to this end of the right wing forces; the corporate forces and houses such as Ambanis, Jindals, Tatas, Lehman Brothers and Ford Foundation are facilitating this by their funding. The main color of the mobilization is to 'clean politics' of corrupt politicians, a clear-cut and age old fascist strategy which shrouds its real agenda in the garb of 'aesthetising politics'. Through populist slogans they are obfuscating the structural issues at hand. What is more dangerous here is that a section which calls itself left and progressive has jumped onto the bandwagon. .
Liberation has entered a tunnel whose only exit would be its own undoing. The fact that AISA/ Liberation sees great possibilities in a casteist, communal mobilization that purpon:~ to bring in greater centralization at a time when genuine people's movements are breaking out all over the subcontinent on fundamental questions of land, livelihood and nationhood speaks great volumes of their political bankruptcy. This does not come as a surprise to us as AISA/Liberation has always seen immense possibilities in any mobilization which upholds the status quo, be it their alliance with the social fascist CPM in Bihar, or the anti-Mandai agitations. AISA which today is ranting about the need to engage with the religiosity of the people in the Anna Hazare farce is the same force which refuses to take a clear position on the question of azaadi of Kashmir by branding it an 'lslamist' movement. .
By masquerading opportunist populism in the name of 'Marxism-Leninism, Liberation/AISA is giving credence to a movement that seeks to hide the structurally anti-people state apparatus and the systemic crisis, of which corruption happens to be one of the symptoms. When they hail the Anna show as being "popular" and thereby talk of the necessity to "rally with the masses", it is imperative to remind them that fascism has had a long history of waging immensely "popular" and "mass-based" struggles whether in fascist Europe or during Advani's Rath-yatra. More importantly, the Nazis did not come to power in Germ<,~ny only riding over the slogan of racial purity and Aryan Blood, but also raising false slogans about the deepening crisis an~ unemployment. t'md similarly, it is no surprise that the ruling classes today, bogged into a severe crisis with the intensification of class struggle-, is manufacturing a fa~ade of dissent. The true task of a communist party is not to get carried away by a crude empiricism by merely pointing to ~he class character of a crowd in a event, but by placing it in the overall context of .
revolutionary class struggle and seeing whether a particular takes the class struggle forward or thwarts it. .
he revolutionary movement is not sitting in cynical isolati..m as the demagogues of Liberation/AISA would want us to believe. Standing with the most oppressed people of the country, it is fighting one of the most spectacular and resolute battles against the brutal repression of the fascist Indian state. Having fought the vigilante gangs and the paramilitary, it is now faced with the army to defend the rights and livelihood of the people. On the other it is precisely Liberation/AISA because of its revisionist politics, which has relinquished the genuine struggles of the people. Rejected all over the country by the people, its current frenzy is not difficult to understand. Having lost the support of the basic classes, it is now willing to tag on even to a right wing, corp~rate-media backed, hyper-nationalist movement with strong totalitarian and fascist character. It is only by .
strengthening the ongoing revolutionary movement aimed at_a radical transformation and a overhaul of the current oppressive and exploitative system that we can address both the disease and its symptoms, of which corruption is only one. .
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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 started playing with some ideas regarding making a film/video counterpart to the drawings I've been making using the obfuscating white banners. This is a still from my first go at it.
What we did was stir up water inside of a backlit fishbowl until a vortex was created in the center, then dropped small black ribbons in and took slow motion video of them. Then today I took that footage, inverted it, layered up different takes, and composited it on top of some super 8 footage I shot in Winnipeg on the set of Guy Maddin's "Hauntings" project.
Still real rough, but I think it's got promise. We'll see.