HAPPY_NY

Tables

Timer

Timer(cont'd)

Pretty Clock

Still More JavaS

EASY!

More JavaS

http://toutjavascript.com/main/index.php3

JavaS(3)

source: Antje Hoffmann, JAVASCRIPT, Micro Application, Paris, 2001.

JavaS(2)

Source :Laure Kaltenbach & Alexandre Joux, LES NOUVELLES FRONTIÈRES DU NET, ed First-Gründ, Paris,2010.

And thus spoke the Web

Internet is not the Web, and vice versa. Internet refers to networks and their interconnection.The Web is but one of many applications which become available when one connects to the Internet network. But it is this particular application which has rendered the Internet widely known even if we use everyday other Internet applications, as in the case of Email or instant texting.

The Web is a navigation principle called »www », for world wide web, which permits one to go from page to page thanks to hyperlinks. The history of its development is symbolic of the collaborative and disinterested uses which lie at the origin of the net.

The Web was invented in 1989 by Tim Berners Lee and Robert Caillau, computer scientists at the employ of Cern (Centre européen de recherche nucléaire), in Geneva. The two researchers were looking for a way to go from one computer file to the other, often on a far computer, without having to go find the wanted file in the hierarchical structure of the hard drive. The process was meant to facilitate a better circulation of information between researchers by opening up the resources of each, the whole unified by a network of intelligent links. Thus are born hyperlinks. They make possible, by a simple clic on the page of a document, to go to another thanks to addresses given to the various locations, known as URLs (Universal Resource Locator). This solution made possible the emergence of the webness of the Web, that is to say a fabric knit of sites linked to each other by hypertext links, which overlays the technical fabric made of the infrastucture of the network…

JavaS for xmas

XMAS(Inkscape)

Anti-A

Allègre

from: Claude Allègre, L’imposture climatique, Plon, 2010.

As for CO2, the idea is to capture CO2 as it leaves the factory, then to inject the CO2 underground and thus imprison it. The idea is that, in the long term, this CO2 will transform itself by reacting with rock, into sandstone. It is a way of trying to reproduce artificially the mechanism by which nature changed the proportion of CO2 in the atmosphere, which was at 80 % some 4,4 billion years ago, into what it is today...

... If one were to artificially destroy all the sandstone currently present in the earth’s crust, the atmosphere would be 80% CO2, and the pressure at ground level would be that of 5 000 meters under the sea! We are currently trying to imprison CO2 in experimental sites in Canada, Norway, Algeria, Germany, Poland, Australia. To date, the major hurdle is that of capturing the CO2 as it «leaves» the factory. One needs to separate the CO2 from other gases. One knows how to do it but it is extremely expensive, some 80$ per tonne for separation (called ‘capture’) and 5$ for burial. The United States and China have immense coal reserves, which they will exploit in any event. Steve Chu, Secretary of State for Energy in he United States, made no bones about it in a recent speech. «One has to capture and bury CO2 as it leaves the factory», he said.* And announced the creation of a Chinese-American research center on the subject. Europe should also join in this scientific competition, if only because Poland, the Czech Republic and Germany have important coal reserves.

Science, November 2009.

Winner

CINQ(Doxa-video)

Trekkie forever!

So I rented it and took it home to watch: Star Trek 2009, which I had valiantly refused to see when it first came out. The reviews hadn’t been kind: young actors, not much going on. Umpf!

That was a mistake.

To me, the effect was explosive: like going back to some wonderful and long forgotten drug. This was Star Trek, babies.

I had been a fan of the original television show; waited for the weekly episode to come on. I didn’t know anyone else who liked the show at the time, it was something I enjoyed alone, mon jardin secret, as it were. There were jokes about the funny guy with the ears, and the show kept being renewed; that’s all I knew.

I loved the new actors and the re-thinking of the characters was wonderful: Spock is the passionate man while Kirk is reticent and borderline gay; McCoy drinks, and not Scotty; Checkov is a kid and Uhura is a player. And charming Mr Zulu is unsufferable. At last one touches on the truth of these characters, who are now theatrical icons different actors and directors can interpret. The mistake the second generation television series had made was to repeat the formula. It is the characters that are interesting.

And yes, Star Trek is operatic; literally so. The musical score was great and at 2 hours 59 minutes, the fim was way too short. Anyone heard of Wagner, out there in Hollywood?

The one thing that I missed, from the old show, was the feeling of confidence it gave: that the future would find solutions to the problems of the present. Maybe that can no longer be captured...

So that would be my suggestion for more Star Trek: flush out that world. I want to know more about the Vulcans and Romulans, for one. The bad guy was a tragic hero, and Kirk had to bluster his way out. More. More.

Blizzard(Doxa-video)

SOOON!

Getting There!

Hotel Costes

Noir, Noir

Going Pro!

Bodies

from: Thibaut de Saint Pol, LE CORPS DÉSIRABLE, Presses universitaires de France,2010.

...
Up to the Christian era

The first representations of the body go back to pre-history. The small artifacts which have come down to us are virtually all feminine and present similar caracteristics: whatever region they come from, all have large hips and prominent thighs. The well-known ‘Venus’ figure of Lussel found in the Dordogne is a case in point. The vital contribution of fat reserves in the countering of food shortages during the cold of the Quartenary may account for such corpulent representations, which historians also associate with fertility. But if Paleolithic man often represents obese women, steatopygic or callipygous, nothing allows us to conclude with certainty that these translate reality.

The most ancient representations of the female body are thus corpulent. The first representations of women with thin bodies go back, in terms of our current understanding, to Ancient Egypt, during the Ancient Empire. Thinness as a body ideal appears without doubt, symbolized by the narrow bodies of gods and goddesses. Men and women, be they painted on the walls of tombs, cast in stone, or sculpted in clay, are thin. Archeological evidence bears witness to the great attachement to appearance and the body, for women as well as men. This translates into the availability of beauty products, in particular eye make-up, and potions to thin the waist line, for which we have found recipes on papyrus and tomb paintings in the Valley of Queens. But Greek aesthetics have been more important, marking representations of bodies in the West. Overweight is here despised as well. Defining beauty in terms of harmonious proportions, the Greek ideal sees corpulence as a form of letting-oneself-go and decadence of the body. The ideal body is getting taller and thinner. With the exception of Gaïa, goddess of Mother-earth with a true round and carnal body, from the Archaïc period, the figure of goddesses is marked by narrow hips and a body sometimes quite muscular, as in the representations of Athena, for example. Thus, not only does the Greek science of proportion which gives body parts their measure discourage overweight, but the importance by Greeks given to hygiene, with in particular sport in the gymnasium with hot and cold baths, and a food diet overall rather austere, do not favour it.

One does however need to note that this was not the case in Ancient Rome, which also influenced our representations. Being fat in Rome tends to be seen as a sign of wealth. The fat body, most notably in men, is one which inspires respect. The toga, a voluminous form of clothing with its elaborate drapings, also enhances the body forms of the better-off. Thinness often appears as suspicious, linked with illness, poverty or marginality. The Romans take up the Greek pre-occupation with proportion, but with a thicker waistline and larger breasts. It is no longer expected that one have the musculature of an athlete, and the attractive female nude is rather corpulent. This pre-occupation can be seen in the food habits of Romans, which are higher in fat and where food is consumed in large quantities by the higher classes. Pig vulva with poppy seeds, a treat in the Roman Empire, is a good example because this food, very high in oestrogen, seems to favour the development of fatty tissue. In parallel, the texts of Romans themselves, including Julius Caesar in his War against the Gauls, inform us about barbarian bodies. The Gauls, who like the Romans have a high fat diet, are without doubt of high corpulence, even where, for example, archeological evidence bears witness to the desire to appear thin through the use of banding tissue to cinch the waist and elevate the bust line in women.

It is with respect to this state of affairs that Christianity offers a break in the relationship to the body. The first Christians argue for asceticism and a distancing from Roman indulgence. Food deprivation is a matter of religion and, as we shall see, this form of relationship to the body remains in our current approach to loosing weight. The body is henceforth a potential source of sin and perversion. However, the figure of the well-fed monk is also a reality of the Middle-Ages and the recommendations of Cluny in the 11th Century call for a return to a dry diet in the face of an overly corpulent clergy. In these times of famine, the Great Lords are also rather hefty. However, the image of the ideal woman, given to us by iconographic and litterary sources, is pale and frail. We find in this period the usage of a band to restrain a too prominent bust. Thinness is already an advantage for the Ladies of the Middle-Ages.
...

cited: J. Cauvin, LA RÉVOLUTION DES SYMBOLES AU NÉOLITHIQUE, 1998.
K. Tran et al, MINCE OU GROSSE, HISTOIRE DU CORPS IDÉAL, 1996.

Yo!Gus

The Boat

Pattern

Fusion

1- Fill re-applied in Multiply mode.

2- Fill re-applied in add mode.

3- Original image.

Linux/Fun

http://www.linuxgraphic.org/

Sounds

Black&White

Source: Gimp préface Cedric Gémy, auteur Dimitri Robert.

In-Progress

Zoom Zoom Zoom

Rock Star

Blushing Bear (Gimp)

Et voilà!

Play it again!

Gimp (help)

Discrete

A tournament is an event where each team plays against every other.
The results are noted in a graph. Note here that 3 lost every game and
1 won all its games.





adapted from Rosen, Discrete Mathematics, McGraw-Hill.

Fun