coma - ekro - Aeroes crew

gennaio 2011

Sponsored by The Writing Center, Washington University Libraries, The First Year Center, The Office of the Vice Chancellor, and Stressbusters sponsored WUSTL's second-ever Write-In event on Wednesday, April 16, from 7 to 11 p.m. on the first floor of Olin Library. Writing Center staff and research librarians were on hand to answer questions, help with the writing process, and provide research assistance. Refreshments were served, and Stressbusters provided free back rubs for some stress relief during the writing process. Pizza was delivered at 9 p.m. to fuel the late-night writing.

Do you eat an Oreo Pen, or write with it?

The newst oreo has been pen for at least 2 years - I wonder if this building will ever find a new use?

abandoned Walgreen's building, corner of Hobbs and Main

--- PLEASE WRITE SOME THOUGHTS ABOUT THE PICTURE - comments with group stamps will be deleted, thanks for understanding ---

model: Orsi Láng

makeup: Márti Folmeg

hair: Attila Kárpáti

assistant: _Nec

gear: Canon EOS 40D, Canon EF 50mm f/1.8 lens

lights-setup: _Nec

stylist, photo, post-processing: me

strobist: yongnuo flash @ 1/32 with a semitransparent umbrella from the left and a canon flash @ 1/8 with a softbox from behind.

--- do not use my work without written permission, thank you ---

I write old fashioned fan letters as a hobby. Here are a few autographs from my collection.

How to Think about Parallel Programming---Not!

Anyone remember the old days, when for good performance you had to worry carefully about which register should hold which variable, and when? Sometimes we still do this to get extremely high performance from critical inner loops, especially when using specialized processing hardware such as GPUs.

---

About YOW! Australia 2010

The YOW! 2010 Australia Software Developer Conference is a unique opportunity for you to listen to and talk with international software experts in a relaxed setting.

website: YOW! 2010 Melbourne

venue: Jasper Hotel, Melbourne

From the base of Chinese strokes, from shallow to deep, from easy to difficult, interesting teaching, to help students sum up the composition of Chinese characters, understanding parts and radical, and find their commonalities and differences.

Chinese characters play an important role in Chinese culture. Learning Chinese characters can help students better understand Chinese and speed up their learning of Chinese so that they can read Chinese newspapers and magazines. In addition, Chinese calligraphy art is an important derivation of Chinese characters, and mastering Chinese characters can open the door to understanding Chinese calligraphy. Whats more, if you want to pass the HSK test and go to a Chinese University, Chinese must be mastered.

Kunming College of Eastern Language and Culture is a distinctive school known for its excellence in teaching Chinese language and culture to foreigners. Our college employs professional teachers who use the latest teaching methodology supported by a conducive learning environment. We also offer lectures on selected subjects and related language-study activities.

College services are available to a range of international and overseas students. Our courses are designed to meet our students; needs. In addition to regular and extra-curricular classes, we provide many opportunities to practice the language and immerse one's self in the local culture.

Kunming College of Eastern Language and Culture coordinates Advanced Learning programs with well-known Universities throughout China. International students who have studied Mandarin and successfully completed the HSK examination will be recommended to these universities to study for a Bachelor's or Master's degree or a PHD.

KCEL has not only been honored as the best mandarin school on Go Kunming website, it also serves as the training base for International Chinese teachers in Hanban, those who are professional and talented ensure our teaching of high quality. Teachers in KCEL have a good command of Mandarin, and they can speak English fluently, there are weekly teaching training courses for them at the same time. KCEL is a campus worth trusting as the World Bank, UNESCO and New Zealand embassy all appointed KCEL to teach their staff Chinese.

Kunming College of Eastern Language and Culture offers various activities to exercise language, culture study, culture exchange, research programs, business, and trade contact and conference services. Meanwhile, our school arranges characteristic cultural, scientific and recreational activities, including day-trips, social events and weekends away.

We hope we have the pleasure of welcoming you to our College!

Learn to Read and Write Mandarin Chinese

1. Learn Pinyin. Pinyin is a kind of Chinese writing system. The letters of Pinyin originate from the Rome alphabet, not the Chinese characters. Pinyin is very useful for Chinese learners, even if you haven't learned traditional Chinese characters, you can learn to read and write mandarin with Pinyin. There are many Chinese textbooks with Pinyin, as well as learning materials. Although Pinyin is derived from the Rome alphabet, English native speakers cannot get hang of its pronunciation immediately. Therefore, it is very important to have a correct pronunciation guidance when learning Pinyin.

2. Learn to read Chinese characters. Although recognizing Chinese characters is not a necessity for learning Chinese, many people are attracted by Chinese characters because Chinese characters will make them feel closer to traditional Chinese culture. However, in fact, it is not easy to recognize Chinese characters. In order to understand the contents of the Chinese newspapers, an ordinary Chinese reader needs to familiarise himself with about 2000 Chinese characters - and this is just the beginning. It is said that there are more than 50000 Chinese characters (though some of them are no longer used). The greatest advantage of recognizing Chinese characters is that you can learn more about other cultures, including Cantonese, Japanese and Korean. These languages, though different from Chinese in pronunciation, use Chinese characters (or simplified versions of Chinese characters) in writing.

3. Learn to write Chinese characters. Once you learn to read Chinese characters, you may be interested in the writing of Chinese characters. Learning chinese writing is a complex skill. It requires patience and a little sense of art. The first step in learning Chinese characters writing is to learn the "basic unit", that is, the independent radicals, which form the basis of Chinese characters. There are 214 radicals in Chinese, some radicals are single words, others are just part of complex Chinese characters. When writing Chinese characters, the stroke order is very important. You must follow certain rules - for example, from top to bottom, from left to right, first horizontal and then vertical. If the stroke is not correct, then the word you write is wrong.

4. Read Chinese. If you want to improve the level of Chinese reading, you need to read at least 15-20 minutes a day. First of all, you can read some children's books (basically with Pinyin) to improve your reading level, and of course, you can also find some good materials on the Internet to read. You can also use the Chinese you learned in your daily life. You can try to read the Chinese tags on food, or ask a waiter at a restaurant for a Chinese menu. Once you have improved your reading level, you can get some Chinese newspapers (Chinese version) and try your best to read the articles. This is also a good way to help you understand Chinese culture and current affairs in China.

5. Learn to write Mandarin Chinese every day. In order to improve your Chinese writing level, you can write something in Chinese every day, no matter in Pinyin or in Chinese character. One way is to write a Chinese diary every day, write something about the weather, write what you feel or what you have done every day. If you are brave enough, find some friends who speak Chinese to help you check if there are any mistakes. Or you can also find a Chinese pen pal to write to each other. This is a win-win way, you can improve your Chinese level, and your pen pal can improve his or her English level. You can also ask your pen pal to help you modify your letter and send it back to you in reply. The last way to practice Chinese writing ability is to make a Chinese list, such as shopping lists, or Chinese tags for the household objects.

www.learnchineseinkunming.com/chinese-reading-and-writing...

I don't know if anyone ever reads my descriptions, but I write them anyway, so there!!

Was out today (August 20th 2021) on a forced vacation day, from 9:30AM til' almost 4PM. 80F today but it felt like 100F. This is a very active line and I probably flicked 20 freights today. 750+ flicks. By the time I get rid of a few duplicates, and bad ones, I'm guessing it'll be about 700 +/-. 700 to straighten, fix any color issues, upload, and also ID the writers. It's lots of time and as you can imagine, it's a lot of work, but so far it's been fun. I'm trying to not rush myself to post before I'm ready. I already have the flicks, and they're timeless. So getting them posted ASAP!!!!!! is not really my concern. Duh..

Had an interesting interaction with a guy while out there. Guy with backpack had walked back and forth across the tracks a few times. The lat time I saw him he was on the other side of a set, about 100 yards away. Next thing you know he's coming closer..... Closer..... And I'm like WTF? I'm way out here minding my own business. He walks within' like 10 ft. of me and I say "How ya' doin'?" he says something, and then says "Trains?" and I say "Yep." and he says "Oh.." and walks away. I think he was feelin' me out, as there's a small population of people who's homes are shall I say, mobile. I've talked to a few of them, and have never had a bad interaction, I just don't like people walkin' up on me when I'm trying to get away from the rest of the world out by the tracks. I go out there to get away from people, not to interact.

======================

I follow some other amazing photographers on flickr, but for this I will talk about the ones who flick the freights. There are a few that I really love. Some it's because of the great locations they shoot at, and others it's the amazing little details they manage to capture. For me (right now) I don't have the luxury of walking the lines and seeing pieces static. 99.999% of my flicks the freight is rolling by at 10-50 mph and sometimes I don't really even know what I have until I get home, dump the memory cards and go through the photos. Because of this, most of my flicks are just straight on shots and documenting what I saw and where. I saw this freight here, on this date, here's what was on it, and i captured it. Buffed or scraped next week, well I have it on "film" for future generations (sounds corny, I know). There are times when a freight will stop in-front of me, and I'll walk up and get some shots of monikers, but it's rare.

Obviously in any area there are sidings where freights park for extended periods, I know a few spots, but as I get older, and older, do I really want to leave my car parked on the side of the road and walk 2 miles to capture some little details I might normally miss? I'd love to, but it's just not practical for me at this time, any many other people do it better than I could. Retirement is getting closer every day, maybe then, when my weekdays are free. :-)

======================

During the Covid lockdown, I was working from home, and I was getting out benching like 2 & 3 times a month. Back at work, I'm lucky to have the energy to get out once a month. Every time I do manage to get out, I come home and my batteries feel re-charged. It's been so f-ing hot here in SoCal though, I can't wait for cooler weather and some clouds in the sky.

As always, thanks to the writers!

To see the rest of my freight graffiti flicks click here:

www.flickr.com/photos/siamesepuppy/collections/7215771678...

For freight graffiti slideshows/videos hit up my YouTube channel here: www.youtube.com/SilenceSeven

Blog post

Photos lov2.eu?Rebecca12391

"Write Me" is a video sculpture constructed with 100 papers tied together, hanging from the ceiling. The user may contribute to the project by writing letters or answering meaningful questions that will be projected onto the sculpture.

by Christine Nguyen, Hsin-Yi Chien and Rune Madsen

for more info:

itp.nyu.edu/shows/winter2010/2010/12/13/write-me/

With write speeds up to twice as fast as 7200 RPM SATA hard drives, the Iomega External SSD Flash Drive is designed for those who demand the highest performance from their digital storage.

Medical Check-up is only the initial step in a great scheme of progress which involves the improvement of not only the physical but the mental and moral development of the children.

Bosch India Corporate Social Responsibility Initiative in Bangalore india by trinitycarefoundation.org/

Join us :- www.facebook.com/trinitycarefoundation ♥ trinitycarefoundation.org/preventive/school-health-program

Write to - " support@trinitycarefoundation.org " for more Information and Internship & Volunteer Opportunities

Sponsored by The Writing Center, Washington University Libraries, The First Year Center, The Office of the Vice Chancellor, and Stressbusters sponsored WUSTL's second-ever Write-In event on Wednesday, April 16, from 7 to 11 p.m. on the first floor of Olin Library. Writing Center staff and research librarians were on hand to answer questions, help with the writing process, and provide research assistance. Refreshments were served, and Stressbusters provided free back rubs for some stress relief during the writing process. Pizza was delivered at 9 p.m. to fuel the late-night writing.

Taken at a Resin Plant in Monterrey, Mexico

October 5, 2012

January 25, 2013

No creations for two weeks, a way to push myself !

flickr.com/photos/joeilau/sets/1653663/

The Bayon (Khmer: ប្រាសាទបាយ័ន, Prasat Bayon) is a well-known and richly decorated Khmer temple at Angkor in Cambodia. Built in the late 12th or early 13th century as the official state temple of the Mahayana Buddhist King Jayavarman VII, the Bayon stands at the centre of Jayavarman's capital, Angkor Thom. Following Jayavarman's death, it was modified and augmented by later Hindu and Theravada Buddhist kings in accordance with their own religious preferences.

The Bayon's most distinctive feature is the multitude of serene and massive stone faces on the many towers which jut out from the upper terrace and cluster around its central peak. The temple is known also for two impressive sets of bas-reliefs, which present an unusual combination of mythological, historical, and mundane scenes. The current main conservatory body, the Japanese Government Team for the Safeguarding of Angkor (the JSA) has described the temple as "the most striking expression of the baroque style" of Khmer architecture, as contrasted with the classical style of Angkor Wat.

BUDDHIST SYMBOLISM

The Bayon was the last state temple to be built at Angkor, and the only Angkorian state temple to be built primarily as a Mahayana Buddhist shrine dedicated to the Buddha, though a great number of minor and local deities were also encompassed as representatives of the various districts and cities of the realm. It was the centrepiece of Jayavarman VII's massive program of monumental construction and public works, which was also responsible for the walls and nāga-bridges of Angkor Thom and the temples of Preah Khan, Ta Prohm and Banteay Kdei.

The similarity of the 216 gigantic faces on the temple's towers to other statues of the king has led many scholars to the conclusion that the faces are representations of Jayavarman VII himself. Others have said that the faces belong to the bodhisattva of compassion called Avalokitesvara or Lokesvara. The two hypotheses need not be regarded as mutually exclusive. Angkor scholar George Coedès has theorized that Jayavarman stood squarely in the tradition of the Khmer monarchs in thinking of himself as a "devaraja" (god-king), the salient difference being that while his predecessors were Hindus and regarded themselves as consubstantial with Shiva and his symbol the lingam, Jayavarman as a Buddhist identified himself with the Buddha and the bodhisattva.

ALTERATIONS FOLLOWING THE DEATH OF JAYAVARMAN VII

Since the time of Jayavarman VII, the Bayon has suffered numerous additions and alterations at the hands of subsequent monarchs. During the reign of Jayavarman VIII in the mid-13th century, the Khmer empire reverted to Hinduism and its state temple was altered accordingly. In later centuries, Theravada Buddhism became the dominant religion, leading to still further changes, before the temple was eventually abandoned to the jungle. Current features which were not part of the original plan include the terrace to the east of the temple, the libraries, the square corners of the inner gallery, and parts of the upper terrace.

MODERN RESTAURATION

In the first part of the 20th century, the École Française d'Extrême Orient took the lead in the conservation of the temple, restoring it in accordance with the technique of anastylosis. Since 1995 the Japanese Government team for the Safeguarding of Angkor (the JSA) has been the main conservatory body, and has held annual symposia.

THE SITE

The temple is oriented towards the east, and so its buildings are set back to the west inside enclosures elongated along the east-west axis. Because the temple sits at the exact centre of Angkor Thom, roads lead to it directly from the gates at each of the city's cardinal points. The temple itself has no wall or moats, these being replaced by those of the city itself: the city-temple arrangement, with an area of 9 square kilometres, is much larger than that of Angkor Wat to the south (2 km²). Within the temple itself, there are two galleried enclosures (the third and second enclosures) and an upper terrace (the first enclosure). All of these elements are crowded against each other with little space between. Unlike Angkor Wat, which impresses with the grand scale of its architecture and open spaces, the Bayon gives the impression of being compressed within a frame which is too tight for it.

THE OUTER GALLERY, HISTORICAL EVENTS & EVERYDAY LIFE

The outer wall of the outer gallery features a series of bas-reliefs depicting historical events and scenes from the everyday life of the Angkorian Khmer. Though highly detailed and informative in themselves, the bas-reliefs are not accompanied by any sort of epigraphic text, and for that reason considerable uncertainty remains as to which historical events are portrayed and how, if at all, the different reliefs are related. From the east gopura clockwise, the subjects are:

- in the southern part of the eastern gallery a marching Khmer army (including some Chinese soldiers), with musicians, horsemen, and officers mounted on elephants, followed by wagons of provisions;

- still in the eastern gallery, on the other side of the doorway leading into the courtyard, another procession followed by domestic scenes depicting Angkorian houses, some of the occupants of which appear to be Chinese merchants;

- in the southeast corner pavilion, an unfinished temple scene with towers, apsaras, and a lingam;

- in the eastern part of the southern gallery, a naval battle on the Tonle Sap between Khmer and Cham forces, underneath which are more scenes from civilian life depicting a market, open-air cooking, hunters, and women tending to children and an invalid;

- still in the southern gallery, past the doorway leading to the courtyard, a scene with boats and fisherman, including a Chinese junk, below which is a depiction of a cockfight; then some palace scenes with princesses, servants, people engaged in conversations and games, wrestlers, and a wild boar fight; then a battle scene with Cham warriors disembarking from boats and engaging Khmer warriors whose bodies are protected by coiled ropes, followed by a scene in which the Khmer dominate the combat, followed by a scene in which the Khmer king celebrates a victory feast with his subjects;

- in the western part of the southern gallery, a military procession including both Khmers and Chams, elephants, war machines such as a large crossbow and a catapult;

- in the southern part of the western gallery, unfinished reliefs show an army marching through the forest, then arguments and fighting between groups of Khmers;

- in the western gallery, past the doorway to the courtyard, a scene depicting a melee between Khmer warriors, then a scene in which warriors pursue others past a pool in which an enormous fish swallows a small deer; then a royal procession, with the king standing on an elephant, preceded by the ark of the sacred flame;

- in the western part of the northern gallery, again unfinished, a scene of royal entertainment including athletes, jugglers and acrobats, a procession of animals, ascetics sitting in a forest, and more battles between Khmer and Cham forces;

- in the northern gallery, past the doorway to the courtyard, a scene in which the Khmer flee from Cham soldiers advancing in tight ranks;

- in the northeast corner pavilion, another marching Khmer army;

- in the eastern gallery, a land battle between Khmer and Cham forces, both of which are supported by elephants: the Khmer appear to be winning.

The outer gallery encloses a courtyard in which there are two libraries (one on either side of the east entrance). Originally the courtyard contained 16 chapels, but these were subsequently demolished by the Hindu restorationist Jayavarman VIII.

THE INNER GALLERY

The inner gallery is raised above ground level and has doubled corners, with the original redented cross-shape later filled out to a square. Its bas-reliefs, later additions of Jayavarman VIII, are in stark contrast to those of the outer: rather than set-piece battles and processions, the smaller canvases offered by the inner gallery are decorated for the most part with scenes from Hindu mythology. Some of the figures depicted are Siva, Vishnu, and Brahma, the members of the trimurti or threefold godhead of Hinduism, Apsaras or celestial dancers, Ravana and Garuda. There is however no certainty as to what some of the panels depict, or as to their relationship with one another. One gallery just north of the eastern gopura, for example, shows two linked scenes which have been explained as the freeing of a goddess from inside a mountain, or as an act of iconoclasm by Cham invaders. Another series of panels shows a king fighting a gigantic serpent with his bare hands, then having his hands examined by women, and finally lying ill in bed; these images have been connected with the legend of the Leper King, who contracted leprosy from the venom of a serpent with whom he had done battle. Less obscure are depictions of the construction of a Vishnuite temple (south of the western gopura) and the Churning of the Sea of Milk (north of the western gopura).

THE UPPER TERRACE: & THE 200 FACES OF LOKESVARA

The inner gallery is nearly filled by the upper terrace, raised one level higher again. The lack of space between the inner gallery and the upper terrace has led scholars to conclude that the upper terrace did not figure in the original plan for the temple, but that it was added shortly thereafter following a change in design. Originally, it is believed, the Bayon had been designed as a single-level structure, similar in that respect to the roughly contemporaneous foundations at Ta Prohm and Banteay Kdei.

The upper terrace is home to the famous "face towers" of the Bayon, each of which supports two, three or (most commonly) four gigantic smiling faces. In addition to the mass of the central tower, smaller towers are located along the inner gallery (at the corners and entrances), and on chapels on the upper terrace. "Wherever one wanders," writes Maurice Glaize, the faces of Lokesvara follow and dominate with their multiple presence."

Efforts to read some significance into the numbers of towers and faces have run up against the circumstance that these numbers have not remained constant over time, as towers have been added through construction and lost to attrition. At one point, the temple was host to 49 such towers; now only 37 remain. The number of faces is approximately 200, but since some are only partially preserved there can be no definitive count.

THE CENTRAL TOWER & SANCTUARY

Like the inner gallery, the central tower was originally cruciform but was later filled out and made circular. It rises 43 metres above the ground. At the time of the temple's foundation, the principal religious image was a statue of the Buddha, 3.6 m tall, located in the sanctuary at the heart of the central tower. The statue depicted the Buddha seated in meditation, shielded from the elements by the flared hood of the serpent king Mucalinda. During the reign of Hindu restorationist monarch Jayavarman VIII, the figure was removed from the sanctuary and smashed to pieces. After being recovered in 1933 from the bottom of a well, it was pieced back together, and is now on display in a small pavilion at Angkor.

WIKIPEDIA

January 25, 2013

My profile 3.way2.site?Rebecca93646

Courtesy with Following write up: Vintage Pakistan

October 30; Death anniversary of Khawaja Khurshid Anwar

Khwaja Khurshid Anwar with his first grandson Ussama Salman Anwar in 1982

Photo Courtesy : Khwaja Irfan Anwar

Khawaja Khurshid Anwar, Mar. 21, 1912 - Oct. 30, 1984, Pakistan's finest composer of film music, celebrated anthologist of classical gharana gaiki, musicologist, screenwriter, film director, and producer was born in Mianwali, Punjab, and received his early education at Central Model School before going on to Government College, Lahore, where he graduated with a first-class first in his M.A. in Philosophy, winning the Nanak Gold Medal for this achievement. It is now part of popular lore that he did not go to receive the prestigious medal because he was attending a classical music performance at the time the presentation was to be made. While at Government College, he formed a deep and lasting friendship with Faiz Ahmad Faiz, his contemporary, with whom he also shared his passion for literature and progressive political change. But it was music that absorbed his creative interest, and he spent the years following his graduation learning the intricacies of Indian classical ragas and singing from the renowned exponent of classical singing Ustad Tawwakul Husain Khan.

In 1939 Khurshid Anwar joined All India Radio, Delhi, as Program Producer in the music department, and it was there that he came into contact with Anil Biswas and Sadat Hasan Manto. His first break into films came when A. J. Kardar invited him to compose music for his Punjabi film Kudmai in 1941. Khurshid Anwar's melodies for Kudmai instantly established him as a composer of rare distinction and genius. Over the next ten years he composed musical scores to high acclaim for a series of successful movies among them

Ishara (1943), Parak (1945), Parwan (1946), Aaj Aur Kal (1946), Singha (1949), Nishana (1950) and Neelam Pari (1951) winning two best music of the year awards, for

Parwana and Singhar but, with his entire family settled in Lahore, and the Partition making it increasingly difficult to move freely across the border, he gave up a stellar career in Mumbai to return to his home city and the newly-created state of Pakistan. It was a move that brought about a most remarkable change in his style of composition and led him to heights for which he is rightly recognized as one of the most innovative and original composers of the subcontinent.

Khurshid Anwar's training in Indian classical music and his early experiences of Haryana folk singing, when as a child he spent time with his grandfather who was posted there as Deputy Commissioner, combined to shape a unique mode and sensibility to which he was now able to give articulation in his compositions. His orchestration had always been delightfully fresh and original, the sitar and the flute in particular bearing a distinct Khrushid Anwar signature, the percussion provided by an eloquent use of the gharra, tabla, and dholak, and, in one telling instance, only by the piano keys. He had also deployed the trumpet, saxophone, double bass, and piano with rare fitness to the occasion, sensitivity to their emotional connotations, and skill. But he now used the instruments at his command--those from the local classical and folk traditions, certainly, the shehnai, the sarangi, vichtar veena, sitar, the bansuri, alghoza, and the dilruba, in a new efflorescence of sensuous notes married to harmonic structure and social relevanceÑbut, perhaps even more significantly, those from the Western tradition, the violin, clarinet, saxophone, piano, electric guitar, Spanish guitar, the piccolo, and others to render musical shapes and emotions in an expressive indigenized idiom evoking from them local and situational melodic notes and themes. It represents an extraordinary example of hybridization and articulation of autonomy at the same time, a political statement of liberation from constraining norms as it is of cultural freedom and imaginative possibility