How to get your music onto itunes for free

Doc love dating tips for guys

RSS  RSS

Send text later iphone 5,what is something cute to get for your boyfriend birthday,how can i get my ex back after 2 years experience,how to get boyfriend back no contact lenses - Plans On 2016

In 1955, Isaac Asimov published a short story titled "Franchise", about a system that decides who should be elected president (in 2008) by picking a single voter to represent the whole population. If a single voter is regularly selected at random then, over time, a larger, more representative sample of the population will build up. Distributed systems say "after a certain amount of time, enough votes will have been cast to be sure enough of a consensus". Each voter must be selected at random, but if this selection is performed by a central machine, that machine must be trusted. The system will, generally, consume energy up to the value of the reward for casting each vote.
To save energy, votes can instead be given to those who have purchased the most shares (stake) in the system (i.e. Another alternative, valid for small populations, is to collect the sample in a single poll: invite all members to participate, and generate the consensus after a certain amount of time has passed.
I didn’t know Aaron, personally, but I’d been reading his blog as he wrote it for 10 years. Philip Greenspun, founder of ArsDigita, had written extensively about the school system, and Aaron felt similarly, documenting his frustrations with school, leaving formal education and teaching himself. In 2000, Aaron entered the competition for the ArsDigita Prize and won, with his entry The Info Network — a public-editable database of information about topics.
Aaron’s friends and family added information on their specialist subjects to the wiki, but Aaron knew that a centralised resource could lead to censorship (he created zpedia, for alternative views that would not survive on Wikipedia).
In order to pull information in from other people’s databases, you needed a standard way of subscribing to a source, and a standard way of representing information. RSS feeds (with Aaron’s help) became a standard for subscribing to information, and RDF (with Aaron’s help) became a standard for describing objects. I find — and have noticed others saying the same — that to thoroughly understand a topic requires access to the whole range of items that can be part of that topic — to see their commonalities, variances and range. He found that it was difficult to make political change when politicians were highly funded by interested parties, so he tried to do something about that. To return to information, though: having a single page for every resource allows you to make statements about those resources, referring to each resource by its URL. Aaron had read Tim Berners-Lee’s Weaving The Web, and said that Tim was the only other person who understood that, by themselves, the nodes and edges of a “semantic web” had no meaning. To be able to understand this information, a reader would need to know which information was correct and reliable (using a trust network?). He wanted people to be able to understand scientific research, and to base their decisions on reliable information, so he founded Science That Matters to report on scientific findings.
He had the same motivations as many LessWrong participants: a) trying to do as little harm as possible, and b) ensuring that information is available, correct, and in the right hands, for the sake of a “good AI”.
As Alan Turing said (even though Aaron spotted that the “Turing test” is a red herring), machines can think, and machines will think based on the information they’re given.
As much as individual, composable objects are interesting, the real understanding comes when a collection of items is analysed as a whole (or a part, if filtered). There’s more to a collection of items than is immediately obvious - it’s not just a [1, 2, 3] list, with "array" methods for filtering and iteration: the Collection itself is an object with its own set of observable properties - many of which are summaries, in some way, of the properties in the items in the collection. These summaries describe some aggregate quality of the collection, and - ideally - an indication of the variance, or confidence intervals, for that value within the collection.
If you look around, you’ll see trees with different coloured leaves, depending on their genotype and phenotype. So: observed properties of a collection can vary over time, or over space, depending on the conditions in which they’re found and the conditions of observation.
The observed colour of a tree - or a collection of trees - is a function with many inputs and one output: the wavelength(s) of light that leave the tree and enter your eye (or some other detector). For any collection of items, a function can be written that describes one of their properties under certain conditions. For example, the value(s) that this function outputs might be the mean (average) and standard deviation of a series of measurements over time, or it may group those values into buckets (the sort of data that might be displayed as a bar chart).
If you’re working with JSON or HTML (which is probably the case), these interface names make no sense.
As is apparently the way with all DOM APIs, XMLHttpRequest wasn’t designed to be used directly.
When an action (get, put, delete) is performed on a Resource, a Request is made to the URL of the resource. Instead of sending hundreds of requests to the same domain at once, send them one at a time: each Request is added to a per-domain Queue. Google Plus was formed around one observation: most of the people on the web don't have URLs.
For example, to show you which restaurants people you trust* have recommended in an area you’re visiting, a recommendation system needs to have a latitude + longitude for the area, a URL for each restaurant (solved by Google Places) and a URL for each person (solved, ostensibly, by Google Plus). People might be leaving reviews in TripAdvisor, or Yelp, and there’s no obvious way to tie all those people together into any kind of coherent social graph. Google Plus has an extremely clever way of linking together all those accounts, which involves starting with one trusted URL (Google Plus account), linking to another URL (GitHub, say), then linking back from that URL to your Google Plus account to prove that you own the GitHub account and can write to it.
The problem is (and the question “why” is an interesting one), even after people had their Google Plus account, they didn’t use it to post reviews.
When Google tried to connect YouTube accounts to Google Plus accounts, and failed, it was because people felt that those personas were distinct, and wanted the freedom to do certain things on YouTube without having it show up on their “personal record” in Google Plus.
This also perhaps explains why people are wary of using Google Plus authentication to sign in to an untrusted site - they’re not so much worried about Google knowing where their accounts are, but also that the untrusted site might create a public profile for them without asking, and link it to their Google Plus profile.
Anyway, Google Plus is going away as a social network, and maybe even as a public profile, but the data’s still going to be connected together behind the scenes - perhaps using fuzzier, less explicit connections as a basis for recommendations and decision-making. You might notice that the published property is represented as a String, when it would be easier to use as a Date object.
From this definition, you can see that the publishedDate property has a dependency on the published property: any computed properties should be updated when any of its dependencies are updated.
This is fine when the dependencies are all stored locally, but it’s also possible to imagine data that’s stored elsewhere.
The Resource object used above is a Web Resource, part of a library I built to make it easier to fetch and parse remote resources. In either of those cases, the data is being fetched asynchronously, and a Promise is returned. I talked about this kind of thing at XTech in 2008, illustrating the object as a Katamari Damacy-style of “ball of stuff”, being passed around various different services and accumulating properties as it goes.
Talis’ data platform had a similar feature, where results from a SPARQL query could be augmented by passing each result through another data store, matching on identifiers and adding selected properties each time.
The SERVICE feature of Wikidata’s SPARQL endpoint is also similar: it takes an object in each result and passes it to a specific service, assigning the resulting data to a specified property.
In OpenRefine, remote data can be fetched from web services and added to each item in the background. The web is no longer a desktop publishing platform, it’s most often a networked medium for machine-machine communication. All the old “features” that came part and parcel with printed documents are relics of an age where information was fixed in stone (well, wood pulp). Emscripten comes with its own SDK, which bundles the specific versions of clang and node that it needs.
I’ve made a fork of xml.js which a) allows all the command-line arguments to be specified, so can be used for validating against a DTD rather than an XML schema, and b) allows a list of files to be specified, which are imported into the pseudo-filespace so that xmllint can access them. For third-party libraries, you can either download production-ready code manually to a lib folder and include them, or install with Bower to a bower_components folder and include them directly from there. The benefit of this approach is that you can edit the source files through GitHub’s web interface, and the site will update without needing to do any local building or deployment.
Keep the config files in the root folder, but move the app’s source files into an app folder.
Use Gulp to build the Bower-managed third-party libraries alongside the app’s own styles and scripts. While keeping the source files in the master branch, use Gulp to deploy the built app in a separate gh-pages branch. The actual app source files (index.html, app styles, app-specific elements) are in the app folder. Earlier this week I attended a “Big Data Investigation Workshop” run by British Library Labs as part of the International Digital Curation Conference. The workshop was an introduction to working with tools for cleaning, analysing and visualising collections of data: OpenRefine (which is great but showing its age), Tableau (which is ridiculously impressive) and Gephi (which has fast graph layout but lacks usability). As the workshop was co-organised by the Internation Crime Fiction Research Group, the theme of the data was “Crime Fiction”. Although the news story didn’t link to any source data, it almost certainly came from the Electoral Commision’s register of donations to political parties. Running a basic search of the Electoral Commision’s register, with no filters, produced a CSV file containing all registered donations since 2001, which we then loaded into Tableau Public (Tableau’s limited, free desktop application for data visualisation). The first visualisation was a simple bar chart of the total donations to each party, including only “political party” recipients, coloured according to the type of donation. The next visualisation was a summary of the donations from the individuals named in the news story. Getting Tableau to recognise UK postcodes is a bit tricky, as it doesn’t recognise the full postcode - we had to write a function to separate out only the first part of the postcode. I’d been making graphs of Spotify’s “Related Artists” network, but was finding that pieces of the graph often remained disconnected.
To connect these disparate parts of the network, I queried last.fm for the top tags that had been attached to each artist, and added those to the graph. This brought the network together nicely, so I applied it to a larger data set: all the unique artists that had ever been played on a particular BBC 6 Music radio show. The full graph of artists and their tags was interesting, but to get a clearer overview of the show’s musical themes, the artist nodes were hidden after the graph had been laid out (using Gephi's "Force Layout 2" algorithm). This left just the tags, laid out in two dimensions, where the most similar tags are closest together and the most frequently used are largest. As some of the labels were overlapping, I used Gephi’s "Label Adjust" layout algorithm to shift their positions enough that most of the overlapping was avoided. One problem was that when several artists shared the same name, irrelevant tags would be attached to an artist.
In a sense, the artists are the “dark matter” of the graph: they pull the tags together and organise their macroscopic structure, but remain invisible in the final, visible map. It may be that a highly-concentrated cluster of artists (as well as one or two very loosely-connected artists) pushed some tags further apart than they deserved to be. Process those two CSV files into a list of pairs of connected identifiers suitable for import into Gephi. Switch to the Preview window and adjust the colour and opacity of the edges and labels appropriately. It would probably be possible to automate this whole sequence - perhaps in a Jupyter Notebook. Among CartoDB’s many useful features is the ability to merge tables together, via an interface which lets you choose which column from each to use as the shared key, and which columns to import to the final merged table.
CartoDB can also merge tables using location columns, counting items from one table (with latitude and longitude, or addresses) that are positioned within the areas defined in another table (with polygons). I've found that UK parliamentary constituencies are useful for visualising data, as they have a similar population number in each constituency and they have at least two identifiers in published ontologies which can be used to merge data from other sources*.
Once the parliamentary constituency shapefile has been imported to a base table, any CSV table that contains either of those identifiers can easily be merged with the base table to create a new, merged table and associated visualisation. So, the task is to find other data sets that contain either the OS “unit id” or the ONS “GSS code”. Given an index of CSV files, like those in CKAN-based stores such as data.gov.uk, how can we identify those which contain either unit IDs or GSS codes?
As Thomas Levine's commasearch project demonstrated at csvconf last year, if you have a list of all (or even just some) of the known members of a collection of typed entities (e.g.
In a General Election, the residents of each UK parliamentary constituency elect one Member of Parliament to represent them in the House of Commons.
Each party can nominate a maximum of one candidate per constituency, often chosen from a shortlist of potential candidates in a selection contest. Candidates who wish to stand for election must submit their nomination papers within one week after the notice of election has been published (i.e.
However, candidates usually start their campaigning several months earlier, and their intention to stand for election will often be announced in a local newspaper. AndyJS’ spreadsheet and a derived list of candidates by constituency, via the Vote UK Forum.
Dods People, a commercial monitoring service, used as the data source for the MHP General Election Campaign Outlook (GECO). As well as prospective parliamentary candidates, some MPs will be contesting their seats again, and some will be standing down. Every 5 years, the Boundary Commissions for England, Scotland, Wales and Northern Ireland review the UK parliamentary constituency boundaries.
The last completed Boundary Review recommended 650 constituencies, and took effect at the General Election in 2010. The Office for National Statistics (ONS) has produced a guide to parliamentary constituencies and a map of the current constituencies. The Office for National Statistics publishes a CSV file listing the names and codes for each parliamentary constituency (650 in total), under the Open Government License. The parliamentary constituencies of England are named in The Parliamentary Constituencies (England) Order 2007. The Ordnance Survey produces the Boundary-Line data, which includes an ESRI Shapefile for the boundary of each parliamentary constituency. The Ordnance Survey’s administrative geography and civil voting area ontology includes a “hasUnitID” property, which provides a unique ID for each region, and a “GSS” property that is the ONS’ code for each region. The Boundary-Line Shapefile includes the Unit ID (OS) and GSS (ONS) code for each constituency, so they can easily be used to merge the boundary polygons with other data sources in CartoDB.
If using CartoDB’s free plan, it is necessary to use a version of the Boundary-Line Shapefile with simplified polygons, to reduce the size of the data.
Following the next Boundary Review, the number of constituencies will be reduced from 650 to 600 by the Parliamentary Voting System and Constituencies Act, introduced by the current coalition government. Via Nautilus’ excellent Three Sentence Science, I was interested to read Nature’s list of “10 scientists who mattered this year”. One of them, Sjors Scheres, has written software - RELION - that creates three-dimensional images of protein structures from cryo-electron microscopy images. I was interested in finding out more about this software: how it had been created, and how the developer(s) had been able to make such a significant improvement in protein imaging. I was hoping for a link to GitHub, but at least the source code is available (though the “for free” is worrying, signifying that the default is “not for free”). On the RELION Wiki, the introduction states that RELION “is developed in the group of Sjors Scheres” (slightly problematic, as this implies that outsiders are excluded, and that development of the software is not an open process). The file is downloaded over HTTP, with no hash provided that would allow verification of the authenticity or correctness of the downloaded file. There’s an AUTHORS file, but it doesn’t really list the contributors in a way that would be useful for citation.
Original disclaimers in the code of these external packages have been maintained as much as possible. The source code for RELION should be in a public version control system such as GitHub, with tagged releases. The CHANGELOG should be maintained, so that users can see what has changed between releases. There should be a CITATION file that includes full details of the authors who contributed to (and should be credited for) development of the software, the name and current version of the software, and any other appropriate citation details. Each public release of the software should be archived in a repository such as figshare, and assigned a DOI. There should be a way for users to submit visible reports of any issues that are found with the software. The parts of the software derived from third-party code should be clearly identified, and removed if their license is not compatible with the GPL.
For more discussion of what is needed to publish citable, re-usable scientific software, see the issues list of Mozilla Science Lab's "Code as a Research Object" project. I used a PHP client to connect to Twitter’s streaming API as I was interested in seeing how it handled the connection (the client needs to watch the connection and reconnect if no data is received in a certain time frame). The streaming API uses OAuth 1.0 for authentication, so you have to register a Twitter application to get an OAuth consumer key and secret, then generate another access token and secret for your account. The dat server that was started earlier with dat listen is listening on port 6461 for clients, and is able to emit each incoming tweet as a Server-Sent Event, which can then be consumed in JavaScript using the EventSource API. Big companies (Google, IBM, Wolfram) are positioning themselves to be the repository where sensors store their data. Other companies are building platforms for applications to make use of that data in real-time. There’s a piece missing: it should be possible to query those data stores to build up a snapshot of information, then document and publish the collection of data (and the harvesting process) for others to read and explore. Firstly, seed-harvester imports an initial collection of items (which may be as simple as a list of identifiers or URLs) from CSV, JSON, or a JavaScript function that fetches the initial data set.
Secondly, leaf-builder provides an interface for adding leaves (properties; computed or otherwise) to each item of the data set. Thirdly, vege-table itself extends HTML tables to present the collection of items, generating a row for each item and a column for each leaf. Once all the leaves have been added, the data collection can be published by exporting the table description and data files, placing them in the same folder as the main index.html file, and switching off the database.
In one day, two separate authors demonstrated that they’ve solved the problem of “how to publish your research on the web”. Dominic Tarr analysed the performance of different JavaScript cryptographic libraries, and Jure Triglav collected tweets mentioning sunny weather and correlated them to actual weather reports. The reports are online for anyone to read, and the code and data are in version-controlled repositories, with instructions for anyone to reproduce them.
The README file describes the purpose of the project, the dependencies, what was tested, how to reproduce the experiments, and what license the project is released under.
The process for generating the data (a Bash script that calls node commands) is present, and its usage is documented in the human-readable README. All the machine-readable metadata needed for the project, including the list of dependencies, is present in package.json. The results are written up as a paper in Markdown (including figure images directly from the output folder). The data is continuously updated in the background, and the figures and text are updated in real time.
Note that neither of the reports have “references” sections at the end, for the simple reason that they don’t need to: if they need to refer to anything, they just need to link to it in the (hyper)text. The Microdata DOM API allows JavaScript programs to read and write data embedded in HTML as Microdata. As specified by the W3C Working Group, document.getItems(itemtype) returns a collection of all the elements with an itemscope attribute in the current document that have the given itemtype attribute.
Each itemscope element has a properties object that provides access to all of the element's itemprop descendants (either contained directly or referenced elsewhere in the document using the itemref attribute). These methods and properties allow the program to access all the Microdata nodes and values in the document. The HTML is very simple: a single container for the whole card, with two sections inside - one for the front and one for the back.
If you can't tell why a technology would be useful to you, it's not for people, it's for the robots. Google Glass provides machines with vision and access to a network of institutional knowledge. Bitcoin allows machine-machine transactions to be processed without needing any evaluation of trust. Stephanie Haustein and colleagues recently described the lack of correlation between tweets about an article (using Altmetric data from July 2011 - December 2012) and formal citations of the article. I decided to look at the data for smaller sets of articles, published in specific journals. Import a CSV file, with columns "doi" and "citations", to a new project named "citations_scopus". At different periods, depending on the centre of calligraphy at the time, the Arabic script was known variously as anbari, hiri and mekki in pre-Islamic times, and after the Hegira these were qualified by the term medeni. Ottoman - Turkish Calligraphy, also known as Arabic calligraphy, is the art of writing, and by extension, of bookmaking. Ottoman Turkish calligraphy is associated with geometric Islamic art on the walls and ceilings of mosques as well as on the page. The traditional instrument of the Turkish - Ottoman calligrapher is the kalem, a pen made of dried reed or bamboo; the ink is often in color, and chosen such that its intensity can vary greatly, so that the greater strokes of the compositions can be very dynamic in their effect. The first of those to gain popularity was known as the Kufic script, which was angular, made of square and short horizontal strokes, long verticals, and bold, compact circles.The Diwani script is a cursive style of Arabic calligraphy developed during the reign of the early Ottomans (16th and early 17th centuries). Ottoman - Turkish Calligraphy, also known as Arabic calligraphy, is the art of writing, and by extension, of bookmaking.
The first of those to gain popularity was known as the Kufic script, which was angular, made of square and short horizontal strokes, long verticals, and bold, compact circles.
The Diwani script is a cursive style of Arabic calligraphy developed during the reign of the early Ottomans (16th and early 17th centuries). In the teachings of calligraphy figurative imagery is used to help visualize the shape of letters to trace.
The traditional instrument of the Turkish - Ottoman calligrapher is the kalem, a pen made of dried reed or bamboo; the ink is often in color, and chosen such that its intensity can vary greatly, so that the greater strokes of the compositions can be very dynamic in their effect. Islamic Mosque calligraphy is calligraphy that can be found in and out of a mosque, typically in combination with Arabesque motifs. Based on stylistic comparisons such as striations inside body contours and the presentation of horns in twisted perspective, several Paleolithic art experts, including the first curator of the Chauvet Cave, Jean Clottes, have accredited the Portuguese friezes to the early Solutrean of about 20,000 years ago3. In Portugal, the government did the opposite a€“ plunging ahead with a project destined to destroy the nationa€™s oldest cultural heritage by completing a 300-million-dollar dam whose reservoir will flood a valley packed with dozens of art sites spread over at least 17 kilometers. Yet construction continues - even on holidays - and the water is about to rise another hundred meters. A male ibex with his head shown in two positions, as if he were turning to watch the female behind him. As we drove up to a sentry box perched on the lip of a road into the vast, unnatural gashing of mountains at Foz CA?a, it was hard to tell if the young guard blocking us in a crisp red and gray uniform represented a well-heeled security service or an elite military unit - but it was plain that bluff and sweet talk wouldn't get us far. The next time the car eased over the knuckles of a road crisscrossed by up-ended strata, past empty huts built just of stacked slabs, and jostled between overhanging and plunging cliffs until an avalanche of tailings from an old quarry almost blocked the path. Here was one of the places of grandeur where our ancestors had first grasped visions and then concretized them by hewing - and sometimes painting - images into rock panels. As I pushed forward and the river grew shallower, turtles became so numerous that their stacks toppled like circus acts from the brinks of submerged cliffs. As a draftsman, I could feel empathy for the beast flowing into the hands that had etched her. This first frieze stood at a fitting point, practically where the reservoir yielded to the original rapids and long pools of the virgin river.
Far away across the moonscape of rutted ramps, knots of men stood before tunnels as fleets of dump trucks, made so tiny by distance that they only gave away their magnitude by over-sized wheels, eased to the brink of platforms, and added avalanches to tailings.
Above us, the titanium-white cleanliness of the cement plant's towers stood in bold contrast to the devastation, like a phalanx of gigantic chess-rooks bunched for the kill.
According to press articles, the dam-builders had recognized him as the true discoverer of Portugal's first reported Paleolithic engravings, at nearby Mazouco, even though the doctoral student's mentor, Professor Vitor Oliviera Jorge, had stolen his thunder.7 They had given Rebanda a job as their obligatory salvage archaeologist when the new doctor somehow couldn't get a position on a faculty.
In return, all he'd had to do was wait till their concrete curtain had gone up and its reservoir had risen into a sea so voluminous and costly that its drainage would have been unthinkable. My goateed interlocutor smirked as he told me I could try looking for the doctor at the complex built for the previous dam, 15A kilometers downstream. But I'd hit pay dirt: the fact that I might hear Rebanda's mea culpa was more than Ia€™d hoped for.


Sebastian elected to wait outside and embarked on Jules Verne's Journey to the Center of the Earth as I knocked at the locked door. Still, I complimented her on her English, sympathized with them for having to put up with this hierarchical bother, and kept spinning innocuous questions, while she kept waiting for me to go.
When Rebanda's secretary came out again, to see if she could get either me a€“ or her boss - to give up as the wait grew embarrassingly long, I asked her what the round silos with tipped roofs on the hills had been used for. But the next time, after they had gotten used to my rounds, I stepped inside and admired a sequence of two eight-foot-tall maps full of pins. Something was wrong: in addition to the constellations of pins extending for 17 kilometers upstream from the construction site, there were dozens downstream, along the reservoir behind the dam just outside!
Finally, so many hours had passed, and she'd informed the doctor so many times that I was still hanging around, that I was forced by the sheer need for new scenery to vary my route, and drifted through empty rooms. The only thing the reports agreed on was that Rebanda had somehow discovered the flooded portion of Canada do Inferno by the previous autumn22 a€“ asking the EDP to lower the Pocinho reservoir by just 3 meters in November 1994 so he could study the engravings.23 a€?They told me it was too expensive,a€? Rebanda had told the New York Times. So who had shot these photographs, which looked like they had been taken when the sites were dry vegetated hillsides instead of among the muck and bare banks below a fallen waterline? I realized that the photos of the dry sites might have been taken before the Pocinho Dam, which had flooded them, had even been completed a€“ over 12 years before! UNESCO had suggested Clottes, who, in an uncanny convergence of good and bad karma, was taken on a whirlwind tour of the tip of the iceberg at Canada do Inferno, then immediately whisked to a press conference in Vila Nova do Foz CA?a on Dec 16th, 199428 a€“ just two days before the discovery of the Chauvet Cave that catapulted him, as its first interpreter and protector, from the summit of the French archaeological establishment to world fame.
But Clottesa€™ judgement was mixed, confirming that the art could be dated on stylistic grounds to the early Solutrean or even late Gravettian of twenty to twenty-four thousand years ago while suggesting that flooding the valley might be the best way of protecting it, since Portugal was ill-equipped to protect such widely dispersed panels from vandals!29 a€?There is no easy solution,a€? he told a reporter. What the press forgot to emphasize with quite as much fervor was the fact that Clottes had prefaced his Solomonic verdict by saying, a€?Whatever happens, the engravings must be preserved and not be damaged.a€? Clottes might have felt that he could safely pass the buck because no art conservationist could honestly guarantee the engravingsa€™ fate once they were subjected to currents carrying abrasives, burial under the petrifying alluvia that accumulates behind dams,33 and the worlda€™s most destructive solvent a€“ water, which would dissolve pigments and destabilize rock that had proven its resistance to aerial conditions over tens of millennia. While chatting up the gaunt fellow traveller at the construction site, Ia€™d pretended to make small talk by asking engineering questions, including one about the depth of the sediment that had accumulated behind the Pocinho dam. The irony of it was that Clottesa€™ efforts to be honest without irritating his hosts had been the spark that the French diplomats had dreaded. Despite the fact that the great prehistoriana€™s reputation would remain largely intact, and with good reason, in much of the rest of the world,34 the Portuguese intelligentsia began to shun him.
A€ propos of CA?a, two Portuguese rock art researchers, who couldna€™t stomach Clottes after his press conference, ironically echoed him by telling me, confidentially, that flooding the engravings could still be a blessing since it would save them from graffiti and those boogeymen of archaeologistsa€™ dreams, prowling collectors.
My guess is that he was so beleaguered by advisers that he was just trying to get out of an awkward situation as quickly, judiciously and diplomatically as possible. I mentioned to Rebanda that I had just attended the lecture on Chauvet, that I even had a videotape of it right there in my camera.
So it's true, I thought, drowning the site was Rebanda's solution to the problem of ownership of photographic rights. But then, what about Rebanda's self-serving talk of photo credits, not to mention the engravings already submerged by the dam at the doorstep a€“ and his belief that the engravings were doomed to be flooded?
Strangely enough, I could again see it being both ways, since the roots of tragedy are self-deception and entwined motives.
He must have realized that I was rooting for him to pull himself out of his tailspin, because suddenly he decided. Upon leaving, Sebastian asked to check out the Pocinho dam, so I drove round an interchange into an empty parking lot with planters.
As the sun slanted over the plateau into the wilderness of the CA?a valley, I decided to sneak into a side-valley to the north of our campsite that Rebanda's map had cluttered with pins. Then, after breaching a wall of rushes, we broke to the reservoir's edge - and were met by a horned skull stuck on a stake.
Suddenly, I remembered what Rebanda had said about the engravings' association with witchcraft. Being obstinate (or perhaps because of the prehistoric setting), I started whittling stone, knapping a microlithic surgeon's kit, and then bent single-mindedly to my task - failing till I was disgusted with myself and worried for my victim (which I had bizarrely associated with Rebanda).
This time there were two guards behind an overhanging military fence crested by barbed wire.
The guard who beckoned us in was rearing a guard-dog puppy, which scampered around, tumbling over ledges and using its chin to lever itself over steps. Our guide was a decent young man who couldn't help feeling uneasy blocking access to these bold masterpieces at the source of all our arts. Still, these guards were actually tame as the locals poured down to catch a glimpse of the animals through the fence. After he'd hastened to take up his time-clock again, I wandered if there might not be even more testimonials of man's attraction to this classical Eden with its islets and fords in the flowery river, and browsed through a plowed orchard, along a contour which I judged would have been the valley floor half a million years ago. We knew the next dawn would be our last, so we broke camp in blue light to explore the teeming side-valley beyond the first auroch. Not Portugal's - OURS - because this art is so old, despite its elegance, that we share the blood and genius of those distant ancestors who awoke to the universe, whether our cavalcade of ancestors migrated around the Old World or came across the Bering Straits 14,000 years ago. Footnotes have been added to the internet version of the article to provide historical perspective and more detail about sources than the versions that were published & distributed in 1995.
1 The three discoverers of the Chauvet Cave were Eliette Brunel Deschamps, Christian Hillaire, and Jean-Marie Chauvet. 2 The IPPAR announced the existence of the valleya€™s engravings on November 19, 1994 but a video was made of them in 1993. 10 Bahn 1995 for a re-capitulation of the same accusations against the IPPAR & Rebanda.
33 Bednarik & Jaffe have been the most outspoken spokesmen about delusions concerning the protective qualities of reservoirs a€“ which not only inundate art panels with water but deep alluvial deposits that make their later recovery dangerous and impractical. 34 Interestingly, a few years after this appeal was written, Clottes came under fierce attack and even ridicule by many representatives of the French intelligentsia, including some of the countrya€™s most prominent prehistorians, after he and David Lewis-Williams published a€?The Shamans of Prehistory: Trance and magic in the painted cavesa€? in 1996.
As soon as their results indicating that the art might be only 3,000 to 6,500 years old (if not even younger) were announced a€“ which actually made the engravings even more astonishing, potentially rewriting the history of rock art or even making Portugal the last bastion of the Paleolithic tradition a€“ the most important Portuguese right-wing weekly screamed that the direct-dating results proved that stylistic daters like Clottes had perpetrated a a€?FRAUDa€? (O Independente, 7 July 1995).
It should also be noted that the individuals who participated in the debate were often somewhat unwittingly drawn into playing secondary or tertiary roles in a struggle between the Portuguese Ministry of Culture and Ministry of Industry. 40 In November 1995 - six months after this call-toa€“arms was published and circulated to Prehistoric Art Emergencya€™s volunteers (who Ia€™m glad to report included a young actor, Yann Montelle, who went on to earn a doctorate in prehistory) - a book edited by Jorge called a€?Dossier CA?aa€? appeared with 20 contributions by him or his wife. 44 After writing this article in May 1995, it occurred to me that I might have missed one of the main reasons for eliminating Rebanda from Portugala€™s archaeological milieu a€“ the fact that he was so effective at finding rock art that drew international attention, first to Mazouco, then to CA?a. 49 When I wrote the article, I assumed that the two young men were Rebandaa€™s subordinates and referred to them as a€?draftsmena€?. 50 After initially denigrating both the art and the idea of extracting it, the EDP later adopted the idea as one of its three strategies for overcoming opposition to the dam project. To avoid this, everyone in the system is given a task that is guaranteed to give each participant an equal chance of completing first - a chance which is increased only by how much work they do.
When it turned out that he wasn’t going to be writing any more, I spent some time trying to work out why. Also, some people might add high-quality information, but others might not know what they’re talking about. To teach yourself about a topic, you need to be a collector, which means you need access to the objects.
It could contain metadata for each item (allowable up to a point - Aaron was good at pushing the limits of what information was actually copyrightable), but some books remained in copyright. He also saw that this would require politicians being open about their dealings (but became sceptical about the possibility of making everything open by choice; he did, however, create a secure drop-box for people to send information anonymously to reporters). Each resource and property was only defined in terms of other nodes and properties, like a dictionary defines words in terms of other words. If an AI is given misleading information it could make wrong decisions, and if an AI is not given access to the information it needs it could also make wrong decisions, and either of those could be calamitous.
Your eye analyses the light arriving from the tree, and your brain tries to summarise the wavelengths that it’s seeing. To be able to understand the shared properties of items in a group, and differences from items in a different group, is to begin to understand them. They’ve read Tim Berners-Lee’s books, and understand that there are Resources out there, with URLs that can be used to fetch them.
And that’s before you get into the jQuery.ajax option names (data for the query parameters, dataType for the response type, etc). It also doesn’t return a Promise, though there’s an onload event that gets called when the request finishes. Even with Gmail, there's no way to say that the person you email is the same person who's left a review, unless they have a URL (i.e. Now that both of those URLs are trusted, either of them can be used as the basis of a new trusted connection: linking from the trusted GitHub URL to a Flickr URL, and then from the Flickr URL to the trusted Google Plus URL (or any other trusted profile URL), is enough to prove that you also own the Flickr account and can write to it. In this case, when the published property is updated, the publishedDate property is also updated. The intense focus is on performance of Blink as a platform for mobile applications, and not at all on document rendering features. Hardly anyone writes English (though a lot of people, and some machines, can read it to some extent). This makes running xmllint in the browser much more like running xmllint on the command line. We added a filter on the donor name, searched for their surname and selected those names which matched (there were several variations on each donor’s name in the database), then used Tableau’s grouping to group together the name variations.
Once this was done, Tableau easily mapped the location of each donor, to produce the final visualisation: a map of each donation to a political party, coloured according to the recipient party and sized according to the value of the donation.
To avoid this, only the artists that had been given MusicBrainz IDs in the BBC data were included, and these MBIDs were used to query last.fm for tags. I'd like to be able to do the same thing in D3, as Gephi is quite awkward to use, and has cropped the node labels when exporting the above images (it seems to only take the nodes into account when cropping the output, and not their labels). Fusion Tables creates a virtual merged table, allowing updates to the source tables to be replicated to the final merged table as they occur. The UK parliamentary constituency shapefiles published by the Ordnance Survey as part of the Boundary-Line dataset contain polygons, names and two identifiers for each area: one is the Ordnance Survey’s own “unit id” and one is the Office for National Statistics’ “GSS code”. Although there’s usually a property name in the first row, there’s rarely a datapackage.json file defining a basic data type (number, string, date, etc), and practically never a JSON-LD context file to map those names to URLs. For example: country names (a list of names that changes slowly), members of parliament (a list of names that changes regularly), years (a range of numbers that grows gradually), gene identifiers (a list of strings that grows over time), postcodes (a list of known values, or values matching a regular expression). The Boundary-Line data is published under the OS OpenData license, which incorporates the Open Government License. On that page is a link to “Download RELION for free from here”, which leads to a form, asking for name, organisation and email address (which aren’t validated, so can be anything - the aim is to allow the owners to email users if a critical bug is found, but this shouldn’t really be a requirement before being allowed to download the software). They are difficult to find: trying to download XMIPP hits another registration form, and BSOFT has no visible license.
Apart from the folder name, the only way to find out which version of the code is present is to look in the configure script, which contains PACKAGE_VERSION=‘1.3’. The data table is paginated, sortable, filterable, and includes footer rows that summarise columns using facets where appropriate.
This is most likely what people will see first, so it links to the code repository for all the information needed to repeat the experiments. In theory this is good, but as it’s published in a system that doesn’t yet have version control, there’s no ability to compare past versions. However, browsers never fully supported the API, and are dropping any native support that did exist. However, in order to provide this flexibility, the DOM API can be quite long-winded when reading the value of a single property, which is most often what's needed.
A5), divided into two equal halves (front and back), produced using only HTML and CSS (and a PDF conversion). After writing a few scripts to fetch and parse data to CSV from various web services, using the DOI as the key for each row, I realised that it would be easier to gather the data in OpenRefine by incrementally adding columns.
The Koran, which was the first Islamic text compiled in book form, was first written in mekki-medeni hand in black ink on parchment, without diacritics or vowel signs.
In Persia and further east, meanwhile, kufi was transformed into a script known as mesrik kufisi, which was used until superseded by the aklam-i sitte scripts. It was invented by Housam Roumi and reached its height of popularity under Suleyman I the Magnificent. It was invented by Housam Roumi and reached its height of popularity under Suleyman I the Magnificent. In essence, Husn-i Hat comprises the beautiful lines inscribed with reed pens on paper using ink made from soot.
Arabesque is a form of Islamic art known for its repetitive geometric forms creating beautiful decorations. Not only were frescoes of rhinos, horses and lions over 30,000 years old found in a cave in the Ardeche on Dec. Although theya€™re probably right, ita€™s worth noting that these same specialists used similar criteria to ascribe the animals of Chauvet to the same period - until carbon 14 results pushed their age back over 10,000 years, shattering the notion that prehistoric art had evolved linearly, like technologies. In France, the Ministry of Culture placed its new treasure under the most draconian protection, despite the fact that the country already has the lion's share of Paleolithic art. Standing right in front of some of the most spectacular engravings, the Secretary of State for Culture dismissed them as being nothing more than a€?childrena€™s doodlesa€? a€“ whereupon the students from Foz CA?aa€™s high school turned the official into a laughing-stock by presenting him with a schist slab covered with their own scribblings4.
It's now or never, the author of the following article decided in April 1995, as he set out to evaluate the engravings, find out the truth, and propose solutions.
My 13-year old son and I had flown to Porto in Portugal and driven far up the Douro valley into the northeastern mountains, prepared to maneuver around obstructions whether by negotiation or hiking through the back door. Still, here was our first encounter with the powers that be, so I took this opportunity to probe, and get a first step up the hierarchical ladder. So I explained how Sebastian and I had come so far to see the Paleolithic glories that Portugal would be displaying with pride, spoke of credentials, and placed us (and our pen) in his hands.
Still, we had our bearings, and drove off into the late afternoon to penetrate the heart of the forbidden zone.
We were getting closer, very close now, and could spy loops of a trail among the folds of a distant ridge. And here too was the arena where one of the greatest feuds between discoverers and custodians of the past had exploded since the conflict between Othniel Marsh and Edward Drinker Cope over the fossils of extinct giants in Sioux territory during Custer's battles. With swifts swirling in up-drafts around our heads, we scrambled and picked our way among sheer precipices and ledges. Its tight horseshoe of cliffs and rubble made the perfect hiding place for our car and tent from the gray guards roaming the surrounding crests with binoculars.
Sebastian snuggled tighter into his sleeping bag, so I set out to reconnoiter alone, systematically working quadrants and contours between our quarry at Fariseu and Piscos brook. Somewhere among the jumble of a thousand rock faces would be an ancient image - perhaps masked by lichen or so faint one had to trace its parts before seeing it whole. The numbed waters suddenly spangled upstream with glitter and so many flowery white tresses of water plants that the currents looked like sudsy pastures. After all the noisy demonstrations against the dam in Lisbon, how were they to know how much clout a nosy prehistorian might have? Whatever was going to happen to him afterwards in the backwater of Portuguese archaeology had surely been inconsequential, since experience proved that nobody made much fuss over sites that were out-of-sight and out-of-mind - especially with archaeologists beholding to dam-builders and political appointees for access and records.
According to the insinuations, he could have continued his documentation right up to the headwaters as his masters worked their way upstream step by step. I sensed that this crowd felt their doctor deserved to be the one to tell fellow archaeologists that they might as well ask to visit Atlantis.
Sure enough, there was the 12 year-old Pocinho dam sweeping the valley with a clean curtain.14 But the silos of this former construction site's cement plant were speckled with rust, the ranks of its offices and dormitories were deserted and almost every window was broken.
Fortunately, Sebastian was becoming ever more engrossed in Verne's book, spelunking towards the planet's core, so I began to gravitate down halls for exercise and companionship, coming to the door of the room where the secretary was braiding the blind's cord while two laconic draftsmen labored over tracings of horses, ibexes and aurochs.
It has been insinuated that Rebanda probably discovered Rock 1 at Canada do Inferno as early as November 1991.18 In Dec.
So, quixotically, he had proposed building a dry-dock around the outcropping, and, failing that, underwater exploration.
If so, the power utility may have known of incredibly rich sites years before the first blueprint for the new dam!
Clottes was the worlda€™s reigning prehistorian a€“ the man who had risen to the pinnacle of the French archaeological establishment and held the only keys to the holy grail of art caves - the unbelievably strong and ancient Grotte Chauvet. After inspecting the 15% of the art that remained above water at the site in the rising dama€™s shadow, because the EDP had hardly felt it necessary to lower the water for the visit of the foreigner sent by the now antagonistic IPPAR, Clottes stepped before a highly polarized press corps. The dam-builders and their government backers felt vindicated while much of Portuguese public was crestfallen or furious. The dam had become a poisonous political issue in a national election with the President and his fellow Socialists attacking the center-right Prime Minister for its willingness to sacrifice both the nationa€™s patrimony and vineyards to a flaky building scheme. As if the owners of villas built around the new lake would really allow it to be drained 100 meters to its bottom - where almost all of the known panels would soon be drowned a€“ once every decade!
Suddenly, the Portuguese public felt that the dam-builders were not only destroying the nationa€™s most ancient claim to world grandeur and civilization, but that they were in league with a man who would never have been so cavalier with Paleolithic masterpieces in his own country! When I later asked Portuguese archaeologists if they were going to attend an up-coming conference organized by Clottes, they recoiled. First, because Clottesa€™ retinue of hosts, diplomats and reporters was rushing him and putting him in a bind a€“ even if his stature, pride, and role as UNESCOa€™s expert on rock art had led him into it. They even echoed his faith in getting dam operators to regularly empty the vast lake a€“ despite the glaring evidence of the EDPa€™s behavior at CA?a itself. No sooner had Clottes triggered a public outcry, than he began to explain away his tepid defense of the CA?aa€™s importance by saying that he had not been shown enough art to form a true idea of the valleya€™s richness.35 But the truth is, he was shown Rebandaa€™s trove of drawings from submerged sections and sites upstream36 and could have been more demanding. After all it was a lot of money, the government was inflexible, the controversy had become a campaign issue a€“ which meant that his advice would seem like foreign meddling - and the elections were still far off. When, in fact, the long-term rights for the cave in France would belong to its Ministry of Culture a€“ which was already attacking its discoverer, Chauvet, for the pittance hea€™d received for his pictures. But I could hardly hold my tongue: why on earth had he invited people from this caste of academics back into his life - and the valley - when at least one of them had apparently abused him?
The picture was compelling: SimAµes and her husband angelically insisting that the world must be told, while the hireling screamed demonically over the fire, accusing university archaeologists of trying to hog the credit yet again. If Rebanda had known SimAµes and Jaffe were going to paint him into a corner, wouldn't he have raced for the exit?
Both Rebanda and SimAµes de Abreu could have been traitors and saviors at once, and as long as I was with this archaeologist, I felt bound to encourage the savior in him. It must have seemed like an insult to him after all his efforts, so with an anarchic gesture, he announced, what the hell, he'd photocopy their fax when it came, so we could enter a second. Huge black derricks hulked atop the dam beside a row of gate-lifting pistons that looked like Big Berthas.
We bagged the warning or omen, caught and released a giant water beetle - the kind that injects deliquescing enzymes into living frogs, then sucks out their juice - and worked our way along what was actually the upper tier of a disappearing cliff. When art panels are located in the CA?aa€™s side valleys, they are apparently concentrated on northern slopes. I was a willing guide as we skewered corn kernels on hooks, lashed lines around a log and threw the lethal leashes into the dark. They were a hundred yards apart, making perpetual rounds as they kept time clocks happy by cranking them every few paces with keys chained to the fence. It was probably his first job after military service, but he was intelligent enough to realize that hea€™d been hired as a pawn in a vast conspiracy to keep Portugal's greatest cultural wonders out of sight and out of mind, till they could be obliterated. One, because any plan to remove the friezes not only meant assigning a value to them, but keeping the controversy alive. The mountainous dirt road forked, meandered and even skirted an imposing castle,51 but several classes of children were making the long dusty pilgrimage on foot while carloads of adults in their Sunday best made the excursion to see the only engravings to have escaped the censors - either because the site at Penascosa was so far from Lima Montiero's spyglass or because the valley was gentler here and had always been farmed.
I hadn't passed the first olive tree when I happened upon a well-knapped hand-axe, and then another! On-line commentary entitled a€?Some corrections about the CA?a petroglyphsa€? in TRACCE no.
While Chauveta€™s name was given to the cave itself, the names of his co-discoverers were given to two of its large chambers. Mila SimAµes de Abreu and Ludwig Jaffe were the founders of the APAAR (AssociaA§ao Portuguesa de Arte e Arqueologia Rupestre), which has been a member of IFRAO (International Federation of Rock Art Organisations) since Sept. In an on-line commentary, Jaffe denounced what he perceived as a continuation of the scandal under new management: a€?In December 1994 IPPAR passed the responsibility for the rock art in the Coa valley to Mario Varela Gomes and Antonio Martinho Baptista. Their critics often subscribe to the doctrine that modern ethnographic evidence cannot be used to interpret ancient cultures. Although Bednarik was one of the earliest crusaders for CA?a - calling for the EDP to stop building the dam in Nov.
The leftist press and Portuguese archaeological milieu reacted with just as much reflection, ignoring both Bednarika€™s qualifiers and his pioneering role in organizing the world campaign to fight for the whole valleya€™s salvation (see Dossier CA?a p. Of the 66 contributions written by individuals, not one is by Nelson Rebanda, whose ghost a€“ to anyone interested in intellectual property a€“ haunts every line. After the CA?a scandal served its purpose as an electoral issue that helped the Socialists to win power, the new government kept its campaign promise by protecting the CA?a Valley but used the goodwill engendered by the decision to blunt criticism while flooding other huge assemblages of rock art. 3; Catherine Vincent, writing in Le Monde on March 11, 1995, goes into much more detail about one particular vineyard, Ervamoira, that would have been lost, along with its exceptional Port wine. The first was to prove that the engravings were not Paleolithic a€“ an effort that entrapped researchers who wanted to apply experimental direct-dating techniques.
I didn’t find out why the writing had stopped, exactly, but I did get some insight into why it might have started.
If everyone had their own wiki, and you could choose which trusted sources to subscribe to, you’d be able to collect just the information that you trusted, augment it yourself, and then broadcast it back out to others. The colours might cycle over time, as day and night pass, and they might cycle over longer periods, as seasons pass. The further away you look, the greater likelihood that the colour of a tree will be more different from the closest trees - the variance within the collection will increase. If this property was bound to the original table, you would see the new values being filled in as the data arrives!
If this was available it would be ideal, as then the bower_components folder could be left out of the built app. In particular, we looked at a recent news story in The Independent, which stated that “three senior figures at scandal-hit [HSBC] bank donated ?875,000" to the Conservative Party in recent years. Pleasingly the totals almost exactly matched those given in the news story, for the three named donors.
There’s no way to know what has changed from the previous version, as the previous versions are not available anywhere (this also means that it’s impossible to reproduce results generated using older versions of the software). Happily, this is the format in which Twitter’s streaming API provides information, so it's ideal for piping into dat.
Once a leaf has been attached to an item, the data added can then be used to build further leaves.
That’s ok though, as long as it’s saved in the Internet Archive whenever someone refers to it. I've written a jQuery plugin that provides equivalent functions and makes them easier to use. Calligraphy is especially revered among Islamic arts since it was the primary means for the preservation of the Qur'an.Ottoman Turkish calligraphy is associated with geometric Islamic art on the walls and ceilings of mosques as well as on the page. The large scale form of kufi known as iri kufi, which was mainly used on monuments, was reserved for decorative purposes in combination with some elements of embellishment. The large scale form of kufi known as iri kufi, which was mainly used on monuments, There is a beautiful harmony between the inscriptions and the functions of the mosque.
Calligraphy is especially revered among Islamic arts since it was the primary means for the preservation of the Qur'an.
As decorative as it was communicative, Diwani was distinguished by the complexity of the line within the letter and the close juxtaposition of the letters within the word.
In the 13th century, Yakut-ul-Mustasimi,a calligraphist from Amasya, made a breakthrough in calligraphy by using nibs of various widths and sizes in one composition.
These geometric shapes often include Arabic calligraphy written on walls and ceilings inside and outside of mosques. 18th1, but Europea€™s biggest open-air gallery of Paleolithic animals was reported just a month earlier in the CA?a Valley of northeastern Portugal2.
Regardless of how old the CA?aa€™s art turns out to be, it is unique in its richness above ground and astonishing in its illustrations of movement - with animals tossing their heads with the same stop-action dynamism found at Chauvet and only millennia later in photography and Futurist painting.
The Chauvet Cavea€™s prehistoric bestiary was proudly splashed across magazines around the world. Soon, the guard turned into a regular lad, wrote down the chief engineer's name and pointed beyond the ramp-laced moonscape - into the wilderness.


In this walled garden, the conflicting passions of archaeologists had exploded around a campfire, set a president and prime minister against each other, and cowed the emissaries of UNESCO.
Lizards skidded into fissures, a rusty blade wedged in a nook beside a sliver of cliff garden spoke of an emigrant who had never returned, but the walls seemed barren. Over and over again, the scene seemed set, the rock stretched, but its lines were just fractals. I yanked myself up to a platform less than a step wide and a ten-foot long cow - an auroch! By holding the animal's form and movement vividly in mind, the maker had poured himself into its body and experienced a power beyond abstraction, beyond even tool-making, to thrill to the new power of passing through the looking-glass into another being.
A stream, running pure as its springs over crisp cresses between alternating bull rushes and crags, almost made it to the river unaltered, but met it just below the threshold and sank into an estuary. We had arrived at Pandemonium and would try to insinuate ourselves into an audience with the Chief Engineer himself. Only one was so spotless and redolent of perks, though, with its rolled lawn incongruous in the desert, that we knew right where to head among forking roads.
I was hardly surprised when these well-fed pros passed the buck to the only gaunt and partially toothless fellow traveler among them.
So they decided to play it safe by dumping me on their pet nemesis, the organizationa€™s own archaeological a€?hirelinga€?, Dr. He could have added to his hoard of exclusive photos and measurements, imposed interpretations, and generally lorded it over his peers - for who could have naysayed him with his treasures locked a hundred meters deep in so many great watery safes?10 And to think that all the dam-builders' pet archaeologist and his accommodating superiors at the Portuguese Institute for Architectural and Archaeological Heritage (IPPAR)11 in Lisbon - to whom Rebanda had reported his discoveries at least twice12 - had had to do to pull off this economically patriotic (not to say mutually beneficial) stunt was keep their mouths shut! After having suffered at the hands of his mentor, Professor Jorge, why had Rebanda put himself at the mercy of two similar academics and representatives of an international body to boot - Mila SimAµes de Abreu and her archaeologist husband, Ludwig Jaffe, who represented the International Federation of Rock Art Organizations (IFRAO)? At least such nuisances would keep him from getting up to more mischief by turning up new discoveries. But, finally, a secretary answered my summons and let me into a vestibule empty except for a display of postcard-sized photographs of some of the engravings, and a cartoon caricaturing the scandal - which I reckoned had been knowingly posted to co-opt criticism. I couldn't quite make out the man's features through the crack, but it was obvious he was gushing recriminations - and no wonder: the entire archaeological profession had ganged up on the pariah. We all knew I had crossed a threshold, but, after all, I had paid my dues, and in any case, I padded off to the foyer again. Yet they'd prattled to the press that they had found the art a year ago, and then more like two years ago, and now, word had it, a€?onlya€? three years ago25 - when it was always somehow too late to stop the process leading up to construction, which had only started in September a€™94.26 The gall!
Instantly, I whipped out paper and scribbled the fastest copy of the main map that my hand could draw. After SimAµes de Abreu and Jaffe had unleashed the scandal by revealing the conspiracy to flood Europea€™s richest assemblage of open-air Paleolithic art, the IPPAR and Portuguese Ministry of Culture had scrambled to get their own expert witness a€“ and, in a further twist, had asked UNESCO to recommend an expert to challenge the power companya€™s growing efforts to prove the art wasna€™t Paleolithic but recent27 a€“ in which case, the EDP seemed to think that the public would drop the subject as being the relatively recent work of peasants drawing their cows. For all their heightened sensitivity to having CA?aa€™s fate evaluated by a foreigner, the Portuguese press viewed Clottes as a referee and expected a verdict.
Then, as fate would have it, Clottes was back in the headlines within the week, announcing drastic measures to protect Francea€™s new crown jewel, Chauvet.
And as if anyone could even find new art during the two weeks a lake might be emptied (every hundred years) while everything was coated with algae and grime! Opposition editorialists had a field day with Clottesa€™ apparent hypocrisy and dismissiveness towards Portugal - and demonstrators flooded the streets. Two, because people are often driven to produce their greatest work and worst mistakes by similar drives.
Rebanda was even fooling himself on this score, I thought - after all, the Foz CA?a photographs would probably end up belonging to Portugala€™s own ministry or even the EDP. Scientists - like lawyers - ply an adversarial trade, but the chance to put Portugal into the archaeological heavens a€“ and to boost their own reputations with it - had given many researchers more ulterior motives than usual. Personally, I couldn't see anybody bedding down for the night and traipsing out the next morning with people who had announced that they were going to expose him. In essence, my heart a€“ if not my mind - had taken his side for the moment; he was the underdog, on the verge of a nervous breakdown, and I was concerned that he might even attempt suicide. If I didn't mind coming back at 9 the next morning, he apologized, the approval should be there. But basically the dam was a streamlined machine without much need for local intervention or maintenance. My unequivocal certification of their global importance only made him uneasier, as he didn't know whether to feel flattered or upset.
We peered into a dovecot, a squat white tower lined inside with empty compartments like a city after a plague.
Suddenly, a deeply hammered auroch on the rock stood out boldly as a road sign - alerting us to an entire herd. The geology, erosion, & silica skins protecting engravings all seem similar on both slopes, so I theorize that this positioning is not simply a taphonomic illusion created by the disappearance of engravings on the southern slopes. I wasn't expecting anything when I ambled down at dawn, but there it was: a big mound under the bank! From what I could tell, even his draftsmen had decided to take the day off 49, once they realized the coast was clear. By God, I thought, if the flooders don't save them, I hope the townspeople storm the valley!
If the guards hadn't been under strict orders not to sell admissions, they'd have made a killing; but then any financial association with the art is anathema to the dammers: the next thing they knew, they'd have a revolt on their hands! And like the first guard, when he realized that I had somehow gotten authorization despite my evident opposition to the reservoir, he let out his pent-up indignation - for we were insiders.
As we passed the threshold between the deadened depths and virgin current with its billowing water-foliage, we had to skirt and climb over a sheer wall blocking the side-valleya€™s entrance. The intertwined couple, spanning the length of a single real horse, was still necking in Eden after twenty millennia. Rock Art and the CA?a Valley Archaeological Park: A case study in the preservation of Portugal's prehistoric parietal heritage. Although it is true that one must be extremely circumspect about doing so, such evidence often opens new perspectives that have more in common with the subsistence systems of ancient cultures than does our own, and the two authors showed considerable originality and courage in exploring it.
1994 - most Portuguese archaeologists with access to the CA?a sites now shun him as thoroughly as they do Clottes and Rebanda. 539, for a resolution, written in defense of CA?a, by Bednarik, in a book filled with vitriole against him).
These retractions confirmed that some of ZilhA?oa€™s criticisms of the direct dating attempts were well founded, but dona€™t necessarily reflect on other matters raised in his disputes with Bednarik and Jaffe.
In the English sections, Jorge generously credits numerous associates and generations of Portuguese prehistorians by full name, while studiously avoiding any mention of Rebanda except where it is unavoidable, and then only with his last name between brackets.
The second was to make casts of panels for a museum a€“ which may have damaged some panels. Each of my online profiles on different sites is literally a different “profile”, and I only choose to link some of them together.
Authorship is immaterial (jk, partly), and when is anything ever authored by a single person, anyway? In time this style of writing divided into two forms; the sharply angled form being reserved for Korans and important correspondence.
The form of mensub hatti known as verraki mentioned above, which was generally reserved for copying books and therefore known as neshi (a derivation of the verb istinsah, "to copy"), was the prototype for the muhakkak, reyhani and nesih scripts which emerged in the early eleventh century. As decorative as it was communicative, Diwani was distinguished by the complexity of the line within the letter and the close juxtaposition of the letters within the word.In the teachings of calligraphy figurative imagery is used to help visualize the shape of letters to trace. Specific surahs (chapters) or ayats (verses) from Koran are inscribed in accordance with functions of specific architectural elements. While the paintings in the French cave, which became known as the Grotte Chauvet, often have engraved contours, the Portuguese menagerie may also have been painted, but, being outdoors, their pigments have usually weathered away.
As shadows welled from the valley, we turned from the scarps and trundled downwards into the cleavage, till the road turned into a path to the water through a profusion of poppies. Finally, I discerned a flock ambling down through dry brush, then a shirt flashed a white dot, and we converged within hailing distance on opposite banks.
Even ideal panels on either side of a fig tree bulging titanically from a small cave were barren.
A stand of poplar trees crackled like Chinese New Year with small birds, abundant as leaves.
It was a good thing we had his name, Lima Monteiro, because the Securitas guard on this side meant business.
Our compact car slid in among Mercedes and I stepped into glare, drawing cool stares from fleshy faces.
My interlocutor explained that the Chief Engineer was powerless to help me, so he couldn't be bothered to give me an audience. Of course, the stories went, the honorable witnesses had refused to become accomplices and had immediately denounced the whole plot a€“ writing open letters to the Portuguese President, Vice President and Director of IPPAR - with carbon copies for the press.13 If only his employers had known that Rebanda was so naive! She announced that it was no use disturbing the doctor, who I could see through a jarred door talking to someone over the phone with peevish vehemence. Finally, I suggested that she didn't need to keep me company while I waited for the good doctor to get off the phone.
That's strange, I thought as I wandered off again, mulling over a mental photograph of the site distribution. And here were others, even closer to the construction site, at "RA?go de Vide", which had been submerged by the same old dam!
Still, she caught me; whereupon I went on elaborating it, asking questions, and then padded back to the foyer again to continue my vigil. After all, the archaeologists and reporters had allowed the Tagus petrogylphs to be drowned with hardly a whimper.
Not only did the contrast with his actions in Portugal now smack of a double standard, but there was a piquant irony. With stakes this high, both parties unleashed their opinion-making machines, making hash of Clottesa€™ carefully weighed words as quickly as theya€™d vilified Rebanda. Clottesa€™ words may have been earnest, but with stakes this high and politicized they were about as reasonable as Pontius Pilatea€™s attempts to keep the peace.
I prefer to think the latter, and that his only mistake was thinking that people on both sides were lucid and reflective enough to interpret his verdict correctly.
In Rebanda's place, I'd have calmed down and let the traitors fall to sleep, but then I'd have snuck away - trekking fast through the dark, picking myself up when I fell, but getting out - bloody knees and all - and calling that alarm first! Furthermore, I had no doubt - whatever pacts he'd struck - that he would make up for them if only approached constructively.
After we'd faxed it, I was sorry to see him having to still recall and refax, as he nudged the request repeatedly through the unyielding bureaucracy. Sebastian and I scrambled and tacked among the carious cliffs, till there was nothing left but rock overhanging the water itself.
But a huge horse, leaning over the depths, was both more graceful and cryptic, for someone had wedged a rusty horseshoe into a crack between its hooves. No sooner had I chipped the thin device and steadily shoved each curve straight, than the hook slipped smoothly free. Only Rebanda's long-suffering secretary had to keep her post and occupied herself by taking up the relay of calling and faxing. These red and gray devices were not only customized to match the guards' uniforms, but showed off the latest in high-tech materials and molding.
As we wound our way down towards the reservoir among towering red cliffs, he took quiet pride in pointing out the hidden elements of scattered engravings. But then Piscos Brook ran between trees, pastures and cane-groves, with cliffs full of shelters and stone panels at each bend.
La Pintura, The Official Newsletter of the American Rock Art Research Association (Member of IFRAO) Volume 21, Number 3, Winter.
In the same book, which Jorge compiled to record the campaign he was spear-heading to save CA?a a€“ a laudatory effort, if there ever was one, that made Jorge synonymous with yet another of Rebandaa€™s finds - Bednarik is repeatedly dismissed as a a€?charlatana€? (pp. Jaffe accused the trio, who had taken over responsibility for the archaeological resources of the valley, of endangering art panels and refusing to allow qualified foreign researchers or even Dr.
Whatever the case may be, the problem of rock art conservation is still as far from resolution in Portugal as it is in most other places in the world. Since this was most often used in the city of Kufa, it became known as kufi.The other form, which did not have sharp angles and could be written at far greater speeds, was employed in day-to-day uses, and due to its rounded, flexible character was suited to artistic application. For example, on the domes you can find the Nour ayat (the divine stress on light) written, above the main entrance you find verses related to the entrances of the paradise, on the windows the divine names of Allah are inscribed so that reflection of the sun rays through those windows remind the believer that Allah manifests Himself upon the universe in all high qualities.was reserved for decorative purposes in combination with some elements of embellishment. Later, Sheyh Hamdullah, a famous calligraphist from the period of Sultan Mehmet the Conqueror, introduced major changes in the traditional seven writing styles and put the mark of the Turkish national character on Islamic writing. All that remains, where jagged outcroppings of schist jut from brushy slopes - exposing terminal facets perfect for murals - are hauntingly sinuous outlines of deer, horses, ibexes, and wild cattle called aurochs.
The first flurry of press articles had mentioned that many of the engravings were already submerged by the cofferdam holding the river back for the more monstrous wall rising downstream from it. I sent greetings and the shepherd expostulated and gestured animatedly upstream towards towering slabs. For me, all of mankind's later accomplishments, all our later experience of good and evil only become possible after such art. The irrelevant exchange had sparked sympathy as we both waited - and waited, in similar irrelevance to someone too consumed to give us heed. I would have to go to Lisbon, and no, it wouldn't do any good for him to fax; he didn't have an iota of authority. Despite all the insinuations about Rebanda and IPPAR, they were actually the first to try blocking the philistines with the clout of an institution as important as UNESCO. About thirty years before, Francea€™s equivalent to the EDP had taken the entire Ardeche Gorge, where the Chauvet Cave had just been found, from its entrance at Sauze to a rainbow-huge, natural arch - Vallon Pont da€™Arc, next to Chauvet - by eminent domain, to build a dam. These conscientious people know that theya€™re barely tolerated by the forces of Mammon - scraping crumbs from the tables of vast enterprises armed with dynamite and bulldozers - and make compacts all the time with them, telling themselves, for instance, that the alluvial strata that cement plants exploit are always too tumbled to contain intact Acheulian hearths. If only he'd announced the discovery, co-opted his employers, and splashed masterpieces across magazine covers while the art's existence was still fresh, he might have won honor, fame, a very small fortune (and maybe even kept his job).
Within weeks, local academics had begun signing their names to Rebandaa€™s discoveries, tracings, and interpretations while forgetting to cite him. I'd have been the one to announce the existence of the largest gathering of open-air Paleolithic engravings in Europe to the world. Slate slabs, thoughtfully laid into a wall as steps, led down through a canopy of fig trees into a cavernous wallow between cliffs.
I woke Sebastian in time to see the beast lumber over the bank and glide away, and then it was high time we checked out our other line at the doctor's office.
Noon passed as we still waited together like an old couple, talking about the doctor's misery, Australian rock art, translations; whatever. The guards stiffened as Sebastian and I had the gumption to breach a forbidden zone and stride blithely forward.
There were so many warblers piping and whistling, there must have been a dozen species with overlapping territories. Botha€? - Baptista and Gomes a€“ a€?were closely involved in the rationale to submerge the rock art (to 'protect it from vandals'); in fact, on 8 November Baptista spoke of how sedimentation behind dams should protect rock arta€? - my italics. After our departure, Bednarik and three other researchers (Alan Watchman from Canada, plus Fred Phillips and Ronald Dorn from the USA), who believed that they had found ways to date rock art directly, studied some of the CA?aa€™s engravings during separate visits. 1995 that was led by Mounir Bouchenaki, the IPPAR formed a scientific committee consisting of Antonio BeltrA?n, Emmanuel Anati and Jean Clottes, who came back for a second round.
Turkish paintings, calligraphy, photography, music.When we speak of Turkish calligraphy, we refer to writing of aesthetic value in characters based on the Arabic script, which the Turks had adopted as their writing medium after their conversion to Islam. And so, forgive me, but in comparison to these ancient windows, cathedrals seem to have anti-climatic and overwrought power. Except for the absence now of bigger species, this was how Solutreans had experienced the world - with whistling, mooing, barking, roaring and trumpeting not just on the Serengeti, but to the frozen north!
So much will go unrecorded because of all this fuss.a€? a€“ So, Rebanda is resigned to the inevitability of the flooding, I thought. If the dam had been built, a dozen known art caves would have been flooded or affected by rising water tables.
So rather than condemn Clottes, perhaps the Portuguese should simply admit his diplomacy opened the debate, even if one might wish that hea€™d been a crusader. From Chauveta€™s pinnacle, its gatekeeper was probably right to dismiss the scratchings, which I too thought could have been the kneading of bears, but the contrast between the levels of encouragement was striking. Although they granted him the discovery of Hella€™s Canyon (in footnotes), other sites that Rebanda had already noted were soon claimed by competitors as Rebanda was effectively silenced. And Vitor and his wife, Susanaa€? - was it my imagination or did her name stick in his craw? Their stingy hypocrisy and philistinism revolted me: they wouldn't spend a penny on protecting such discoveries, but they'd drown the world up to its headwaters to keep driving Mercedes. Goldfinches sparked into the air, a crested hoopoo flashed orange and black, and the shaggy canes were a tumult of avian chatter. Jaffe was also the IFRAO representative of the SocietA  Cooperativa Archaeologica, Le Orme della€™Uomo, Italy (Bednarik 1994). But not before signing controversial non-disclosure agreements with the EDP, which was hoping that their techniques would yield dates so recent that they could be used to ridicule stylistic daters who had identified the engravings as Paleolithic (Baptista & Fernandes 2007, p. It was this form which began to give rise to new scripts after the development of pens with nibs of different widths in the eighth century.
The Arabic characters gradually assumed an aesthetic function after the advent of Islam, and this process gathered momentum from the mid-eighth century onwards, so that calligraphy was already a significant art discipline by the time the Turks joined the Islamic world. Hafiz Osman, Mustafa Rakim, Yesari Mehmet, Sevki Efendi, Sefik Bey, Mahmut Celaleddin, Kadiasker Mustafa Izzet, Sultan Mahmut II, Aziz Efendi, Necmettin Efendi, Sami Efendi and Hamid Aytac are all noted Turkish calligraphists who contributed to the development of this art. Intermittent splashes smacked echoes off the walls, a frog croaked and some beast keened a cry we had never heard.
When I asked if they could intercede on our behalf, she said one had to apply in person, in Lisbon, and have connections.
In fact, paw prints indicated that we had missed cornering another feral dog or fox in its lair.
Surgically, it was a nightmare: I'd have to pry its head out, keep its neck extended, wedge open its powerful beak and finally thrust the treble barbs down its throat, so as to carefully extract their burr, without snagging them again!
Finally, they agreed that one of them would walk parallel to us, down the fence-line, to let us in the distant gate. At our feet, frogs skipped like pebbles and painted turtles rowed earnestly in tangled water blossoms - all for the taking. Unless you and I and all of us together add our voices to those of the Portuguese citizenry trekking down for a last look, and reclaim what is OURS!
The story of the denunciation is from Bednarik (1994) and Simons in the New York Times (1994). Among the earliest of these were the celil reserved for large scale lettering, and tomar or tumar which was the standard large size pen used in official correspondence. Therefore it is necessary to begin with a brief review of the structure of Arabic characters and their development during the early centuries of Islam.
Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions in their work.
Even the Chauvet Cave, which was unknown, might have been threatened by the changing water table! Unfortunately, Bednarik, who is one of the worlda€™s most encyclopedically informed, accomplished, and bold prehistorians, walked right into the trap. Jorgea€™s utter dismissal of Bednarik was clearly motivated by the lattera€™s implicit condemnation of the way that Jorge had appropriated Rebandaa€™s earlier discovery at Mazouco, instigating Rebandaa€™s secrecy that was one component of the CA?a a€?cover-upa€? (Bednarik 1994, p. Pens with a nib width two thirds of that of the tomar pen were known as suluseyn, and those with nibs one third in width were known as sulus. The most succinct definition of calligraphy formulated by Islamic writers is, "Calligraphy is a spiritual geometry produced with material tools." The aesthetic values implied by this definition held true for centuries. Later, Bednarik spear-headed another campaign to save a Portuguese rock-art assemblage from inundation a€“ this time behind a dam in the Guadiana Valley - and noted that a€?None of this helps the rock art of the Guadiana, condemned to inundation under billions of tonnes of lake sediment as the reservoir silts up over the next 70 yearsa€? a€“ again, my italics. Under this writing system most of the letters underwent a change of form according to whether they were positioned at the beginning, middle or end of a word.
Do you think I'm such a fool as to invite the man who deprived me of the credit for my first discovery, to come see my greatest wonders if it wasn't because I needed all the allies I could get; if it wasn't because I even needed the universities to help save them. Ironically, the mandarin in Porto would come out smelling like roses for his campaign while the roles of several well-meaning prehistorians, if I may insist upon the word, were simplified so as to make them better scapegoats. Other new writing styles which emerged (although all later fell into disuse) were riyasi, kalemu'n-nisf, hafifu'n-nisf and hafifu's-sulus. The idea of cutting the nib of the reed pen at an angle instead of horizontally was his, and an innovation which contributed enormous elegance to writing. When transformed into an art the characters took on highly elaborate shapes, and the rich visual impact attained when they were joined together, and above all the fact that the same word or phrase could be written in various ways opened the door to the infinite variety and innovation which is a prerequisite of art.
First, because his dating system, which was based on determining the degree of micro-erosion undergone by a rock face, had been developed in Australia, where climate and geological conditions are different from Portugala€™s. As their names indicate, some of the new scripts were based on tomar and written with pens which were specific fractions (half, one third, or two thirds) of the tomar pen.
Once "the six hands" had taken their place in the art of calligraphy together with all their rules, many scripts apart from those mentioned above were abandoned, and no trace of them but their names remains today (for example, sicillat, dibac, zenbur, mufattah, harem, lului, muallak and mursel).Following the death of Yakut his conception of "the six hands" was carried by scribes who had trained under him from Baghdad to Anatolia, Egypt, Syria, Persia and Transoxania. Just as the characters could be written singly in several different ways, so there was an astonishing diversity of different scripts or "hands". In the process of scaling down, the scripts took on new characteristics of their own, while the word kalem, which referred to the writing instrument, also came to be used for the writing itself (for example, kalemu'n-nisf literally means "half pen"). New generations of calligraphers who trained in these lands dedicated themselves to the path taken by Yakut as far as their aptitude permitted. The Arabic characters were adopted — primarily motivated by religious fervour by virtually all the peoples who converted to Islam, so that just a few centuries after the Hegira they had become the shared property of the entire Muslim world.
For scripts such as kisas and muamerat, which were invented for specific uses and did not involve the proportional scaling down of the pen, the term hat was used.Under the Abbasids, learning and the arts flourished, leading to a swelling demand for books in Baghdad and other major cities. The term "Arabic calligraphy", which is appropriate with respect to the early period, broadened in scope over time to become what more accurately might be described as "Islamic calligraphy". This odd statement flies in the face of Bednarika€™s consistent defense of both the CA?aa€™s art and other assemblages, suggesting that it was a ploy to get the EDP to allow them to test their methods. To meet this demand the number of copyists known as verrak also rose, and the script which they employed in the copying of manuscripts was known as verraki, muhakkak or iraki. In the hands of the Ottoman Turks, these six scripts were poised to begin the ascent to their zenith.CALLIGRAPHY,calligraphy in istanbul,calligraphy in turkey,istanbul in calligraphy,Turkish - Ottoman Calligraphy Lessons in Istanbul.
This writing system, known as nabati because it was used by the Nabat tribe in pre-Islamic times, derives from the Phoenician.
Even though both men concluded that their observations proved that the art was no older than the Neolithic, Bednarik did not repeat the notion, when announcing his results, that a relatively recent vintage diminished the arta€™s importance or the need to protect it a€“ quite the contrary.
From the end of the eighth century, as a result of the search for aesthetic values by calligraphers, writing forms according to specific proportions and symmetries became known as asli hat and mevzun hat. In its early form, the script gave no clue of its future potential as such a powerfully aesthetic medium, the characters consisting of very simple shapes. One of the calligraphers who contributed to the development of writing, and the most outstanding among those of this period was Ibn Mukle (? With the emergence of Islam, however, and particularly after the Hegira, the Arabic script became the literary vehicle of the last Semitic religion. The numbers of those literate in the Arabic script multiplied rapidly, and in time it was perfected into a vehicle equipped to record the Koran, and hence the language as a whole, with precision. Lettering complying with these rules was called mensuh hatti, a term meaning "proportional writing".While these developments were taking place, kufi script was enjoying its heyday, above all for copying korans. Vowel signs known as hareke were invented to express the short phonemes which accompanied the consonants. The method of determining the sound of letters which resembled one another in form, by means of disparate positioning and diacritical marks was developed. As time passed, the use of diacritics to distinguish the undotted from the dotted forms of the same letters was introduced. Both the diacritics, the vowel signs and the unmarked letter symbols took on decorative forms which played a major role in the development of writing as an art. Meanwhile, the frequently used definite article, consisting of the letters alif and lam, became a balancing element in the aesthetics of calligraphy.



Ishra ss winning her back
Send text free android quran
How to find an ex girlfriend
Get back capricorn ex boyfriend lyrics


Comments

  • PredatoR, 17.01.2016 at 16:20:15

    I went on a date last evening with her buddy but when issues you'll be able to then.
  • zarina, 17.01.2016 at 12:36:46

    The hump and concentrate how you can properly there are thousands.
  • Fire_Man, 17.01.2016 at 15:32:46

    You need to get nevertheless, make sure you ask stated, that it is only a matter of time before you.