
remind you of a famous fractal named Julia?





For years a certain photographer has been calling us up to complain about Annie Leibovitz' penchant for recreating famous photographs and passing them off as original compositions. We usually chalked up the accusations to jealousy, and thought nothing more.
Now comes new evidence that our original source was right. Women's Wear Daily reported last week on the Vanity Fair photographer's "artful borrowing." WWD reporter Jeff Bercovici wrote that "a spokeswoman for the magazine acknowledged Wednesday that the cover photo of Robert F. Kennedy Jr., George Clooney, Julia Roberts and Al Gore, shot by Annie Leibovitz, was 'inspired' by 'Ballet Society,' a 1948 portrait by Irving Penn of George Balanchine and three collaborators."

2008.03.19 "Pi of the Sky" telescope detected the brightest ever optical outburst from a distant universe. The explosion happened 7.5 billion light years from the Earth, halfway across the visible Universe. The telescope is only 71 mm in diameter.

The pledge is a kind of forced confession of orthodoxy. No, not water-boarding, but coercion nonetheless. Especially for peer-group-pressured school kids. Even if they have the right to opt out. In past school-prayer cases, the court has resisted the idea that the state should be implicated in even the social coercion or propagation of religion.
Busybody school boards and bombastic anthem peddlers at ball games should let people find their way to allegiance in their own fashion rather than making "allegiance" an implement of state power used to extract oaths.
How do you suppose American Christians would feel about using currency on which "Allahu Akbar" (Allah is the greatest) was printed?

"My fellow citizens of 9/11, today I will make you a promise," said Giuliani during his 18-minute announcement speech in front of a charred and torn American flag. "As president of 9/11, I will usher in a bold new 9/11 for all."
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"Let us all remember how we felt on that day, with the world watching our every move, waiting on our every word," said Giuliani, flanked by several firefighters, ex-New York Police Commissioner Bernard Kerik, and Judith Nathan, his third wife. "With a campaign built on traditional 9/11 values, and with the help of every citizen who believes in the 9/11 dream, I want to make 9/11 great again."
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After his downtown Manhattan announcement, Giuliani held an afternoon rally near the Pentagon. In the early evening, he flew to a field outside Shanksville, Pennsylvania, where he hosted a $5,000-a-plate fundraising dinner in a tent decorated with clouds of ash, streaming sheets of singed office paper, and small piles of authentic rubble from the World Trade Center site.
... to determine whether that distortion meant they could actually see more events happening in time -- like a camera in slow motion -- Eagleman and his students developed a special device called the perceptual chronometer that was strapped to the volunteers' wrists. Numbers flickered on the screen of the watch-like unit. The scientists adjusted the speed at which the numbers flickered until it was too fast for the divers to see.
They theorized that if time perception really slowed, the flickering numbers would appear slow enough for the divers to easily read while in free-fall.
They found that while the subjects were able to read numbers presented at normal speeds during the free-fall, they could not read them at faster-than-normal speeds.
"We discovered that people are not like Neo in The Matrix, dodging bullets in slow-mo. The paradox is that it seemed to participants as though their fall took a long time.
The answer to the paradox is that time estimation and memory are intertwined: the volunteers merely thought the fall took a longer time in retrospect," he said.
During a frightening event, a brain area called the amygdala becomes more active, laying down a secondary set of memories that go along with those normally taken care of by other parts of the brain.
"In this way, frightening events are associated with richer and denser memories. And the more memory you have of an event, the longer you believe it took," Eagleman explained.
The study allowed them to deduce that a person's perception of time is not a single phenomenon that speeds or slows. "Your brain is not like a video camera," said Eagleman.
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"It can seem as though an event has taken an unusually long time, but it doesn't mean your immediate experience of time actually expands. It simply means that when you look back on it, you believe it to have taken longer," Eagleman said.
But what does it mean to say that subjective time expands? We here set out to distinguish two hypotheses. In the first, perception works like a movie camera: when one aspect of the scene slows down, everything is slowed down. Thus, if a police car launching off a ramp were filmed using slow-motion photography, it would not only have a longer duration in the air, but also its sirens would blare in a lower pitch, and its lights would blink at a lower temporal frequency. In this case, duration, sound pitch and visual flicker all change hand-in-hand. The second hypothesis, in contrast, supposes that different temporal judgments are generated by different neural mechanisms–and while they often align, they are not required to. Thus, the police car may be judged to have a longer duration in the air, even while the frequencies of its sounds and flickering lights remain unchanged. In this paper, we distinguish these two hypotheses by testing the specific entailments of duration distortions, and in this way are able to directly address the notion of “time's” subjective expansion.
Participants showed no difficulty in discriminating the frequency of the beep accompanying the visual oddball from the beep accompanying the standards (Figure 2b, middle bar). We conclude from this result that the oddball illusion is not accompanied by a concurrent distortion of perceived auditory frequency. This indicates that it is not time in general, but only visual durations in particular, that slow during the oddball.

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At first sight, these islands seem to consist of infinitely many parts like Cantor sets, as is actually the case for the corresponding Julia set Jc. Here they are connected by tiny structures so that the whole represents a simply connected set. These tiny structures meet each other at a satellite in the center that is too small to be recognized at this magnification. The value of c for the corresponding Jc is not that of the image center but, relative to the main body of the Mandelbrot set, has the same position as the center of this image relative to the satellite shown in zoom step 7.
DVAU Program Meeting Event:
Saturday November 10, 2007, 1pm-2pm
Speaker: Dr. Robert B. Eckhardt, Ph.D., Professor of Developmental Genetics and Evolutionary Morphology
Topic: Linnaean taxonomy, the Christian Trinity, and Paranormal State: Faith-based challenges to Scientific Understanding
Location: Philadelphia Ethical Society Building, 1906 Rittenhouse Square, Philadelphia, PA 19103
The Delaware Valley Chapter of Americans United for Separation of Church and State is proud to present a talk from Dr. Robert Eckhardt, Professor of Developmental Genetics and Evolutionary Morphology, Department of Kinesiology, College of Health and Human Development in addition to the Center for Developmental and Health Genetics and Intercollege Graduate Program in Genetics at Penn State. Dr. Eckhardt will discuss the creationist threat to science education. Dr. Eckhardt was involved in the 2005 Kitzmiller v. Dover Area School District lawsuit when the Dover school board mandated the teaching of "intelligent design" doctrine in public schools.
Dr. Eckhardt is also a prolific writer whose work has been published in such peer-reviewed publications as the American Journal of Physical Anthropology.
Light refreshments will follow the meeting.
Five Bulgarian nurses and a Palestinian doctor were pardoned by President Georgi Parvanov upon their arrival in Sofia on Tuesday after spending 8 1/2 years in prison in Libya....The six came down the steps from the airplane and were welcomed on the tarmac by family members who hugged them, one lifting the Palestinian doctor off the ground.
They were given bouquets of flowers, and Bulgaria's president and prime minister were on hand, greeting the nurses and Sarkozy, who had been part of the delegation that negotiated the group's return.

La Marseillaise Allons enfants de la Patrie Arise, children of the fatherland Le jour de gloire est arrivé ! The day of glory has arrived! Contre nous de la tyrannie Against us, the tyranny's L'étendard sanglant est levé. (bis) Bloody banner is raised. (repeat) Entendez-vous dans les campagnes Do you hear in the fields Mugir ces féroces soldats ? The howling of these savage soldiers? Ils viennent jusque dans vos bras They are coming into your midst Égorger vos fils, vos compagnes ! To cut the throats of your sons, your wives! Aux armes, citoyens ! To arms, citizens! Formez vos bataillons ! Form your battalions! Marchons, marchons ! Let us march, let us march! Qu'un sang impur May tainted blood Abreuve nos sillons ! Water our fields! Que veut cette horde d'esclaves, What does this horde of slaves, De traîtres, de rois conjurés ? Traitors, and plotting kings want? Pour qui ces ignobles entraves For whom these vile chains Ces fers dès longtemps préparés ? (bis) These long-prepared irons? (repeat) Français, pour nous, ah! Quel outrage, Frenchmen, for us, ah! What outrage, Quels transports il doit exciter ! What fury it must arouse! C'est nous qu'on ose méditer It is us they dare plan De rendre à l'antique esclavage ! To return to the old slavery! Aux armes, citoyens... To arms, citizens... Quoi! Des cohortes étrangères What! These foreign cohorts! Feraient la loi dans nos foyers ! They would make laws in our homes! Quoi! Ces phalanges mercenaires What! These mercenary phalanxes Terrasseraient nos fiers guerriers ! (bis) Would cut down our proud warriors! (repeat) Grand Dieu! Par des mains enchaînées Good Lord! By chained hands Nos fronts sous le joug se ploieraient Our brow would yield under the yoke De vils despotes deviendraient The vile despots would become Les maîtres de nos destinées ! The masters of our destinies! Aux armes, citoyens... To arms, citizens... Tremblez, tyrans et vous perfides Tremble, tyrants and traitors L'opprobre de tous les partis The shame of all good men Tremblez! Vos projets parricides Tremble! Your parricidal schemes Vont enfin recevoir leurs prix ! (bis) Will receive their just reward! (repeat) Tout est soldat pour vous combattre Against you, we are all soldiers S'ils tombent, nos jeunes héros, If our young heroes fall, La terre en produit de nouveaux, The earth will bear new ones, Contre vous tout prêts à se battre ! Ready to join the fight against you! Aux armes, citoyens... To arms, citizens... Français, en guerriers magnanimes, Frenchmen, as magnanimous warriors, Portez ou retenez vos coups ! Bear or hold back your blows! Épargnez ces tristes victimes Spare these sad victims À regret s'armant contre nous (bis) That they may regret taking up arms against us (repeat) Mais ces despotes sanguinaires But not these bloody despots Mais ces complices de Bouillé These accomplices of Bouillé Tous ces tigres qui, sans pitié, All these tigers who mercilessly Déchirent le sein de leur mère ! Ripped out their mothers' breast! Aux armes, citoyens... To arms, citizens... Amour sacré de la Patrie, Sacred patriotic love, Conduis, soutiens nos bras vengeurs Lead and support our avenging arms Liberté, Liberté chérie, Liberty, cherished liberty, Combats avec tes défenseurs ! (bis) Fight back with your defenders! (repeat) Sous nos drapeaux que la victoire Under our flags, let victory Accoure à tes mâles accents, Hurry to your manly tone, Que tes ennemis expirants So that your enemies, in their last breath, Voient ton triomphe et notre gloire ! See your triumph and our glory! Aux armes, citoyens... To arms, citizens... (Couplet des enfants) (Children's Verse) Nous entrerons dans la carrière We shall enter the career Quand nos aînés n'y seront plus When our elders will no longer be there Nous y trouverons leur poussière There we shall find their dust Et la trace de leurs vertus (bis) And the mark of their virtues (repeat) Bien moins jaloux de leur survivre Much less jealous of surviving them Que de partager leur cercueil, Than of sharing their coffins, Nous aurons le sublime orgueil We shall have the sublime pride De les venger ou de les suivre ! Of avenging or following them! Aux armes, citoyens... To arms, citizens...
Really the only authentic response to a YouTube video is another YouTube video — the so-called “video response.”
YouTube appeared in February 2005, when it was modestly billed as a site on which people could swap personal videos. Since then, however, its video-response feature, which essentially allows users to converse through video, has managed to convene partisans of almost every field of human endeavor, creating video clusters that begin with an opening video, and snowball as fans and detractors are moved to respond with videos of their own. In answer to a lousy, stammering video, say, a real YouTuber doesn’t just comment, “You idiot — I could do that blindfolded!” He blindfolds himself, gets out his video-capable Canon PowerShot and uploads the results.
Individual religious testimony abounds on YouTube, as do sermons from miscellaneous (and sometimes extinct) religious institutions, but these are posted to fire up discussion, not to lay down any laws. Versions of the last sermon of the prophet Muhammad are posted — one runs “Star Wars”-style with the words receding into outer space — as are Christian sermons on sexual purity and Palestinian sermons that contain anti-Semitic slurs.
Viewers are urged to discuss them, and they do. Curiously, the religious group that makes the most imaginative and despotic use of YouTube are atheists.
The Rational Response Squad, a furtive organization devoted to curing theism, has challenged YouTubers to post videos of themselves denying the existence of the Holy Spirit and thereby — in the group’s reading of Mark 3:29 — damn themselves for eternity.
More than 1,200 people have posted blasphemy videos as of this writing. In each one, a single person speaks the line, “I deny the Holy Spirit.” Sometimes he or she adds more: a name, a speech, a further denial of Easter Bunny-like entities.
Some blasphemers are jaunty, some are insolent, some are scary, some are nervous. But all of them (young and old, mostly English-speakers, but with a range of accents and ethnicities) seem to believe they are making a statement of some gravitas — issuing a reproof to doctrine, possibly risking their salvation.
On the face of each participant is both a wonderful purity of purpose — the mandate is so simple, the one-line script so unforgettable — and a clear vulnerability.
Will anyone regret taking the so-called Blasphemy Challenge? If so, can they retract their videos?
In the past — way back in the mid-’90s, say — artists had only occasional contact with their fans. If a musician was feeling friendly, he might greet a few audience members at the bar after a show. Then the Internet swept in. Now fans think nothing of sending an e-mail message to their favorite singer — and they actually expect a personal reply. This is not merely an illusion of intimacy. Performing artists these days, particularly new or struggling musicians, are increasingly eager, even desperate, to master the new social rules of Internet fame. They know many young fans aren’t hearing about bands from MTV or magazines anymore; fame can come instead through viral word-of-mouth, when a friend forwards a Web-site address, swaps an MP3, e-mails a link to a fan blog or posts a cellphone concert video on YouTube.
So musicians dive into the fray — posting confessional notes on their blogs, reading their fans’ comments and carefully replying. They check their personal pages on MySpace, that virtual metropolis where unknown bands and comedians and writers can achieve global renown in a matter of days, if not hours, carried along by rolling cascades of popularity. Band members often post a daily MySpace “bulletin” — a memo to their audience explaining what they’re doing right at that moment — and then spend hours more approving “friend requests” from teenagers who want to be put on the artist’s sprawling list of online colleagues. (Indeed, the arms race for “friends” is so intense that some artists illicitly employ software robots that generate hundreds of fake online comrades, artificially boosting their numbers.)
Coulton’s fans are also his promotion department, an army of thousands who proselytize for his work worldwide. More than 50 fans have created music videos using his music and posted them on YouTube; at a recent gig, half of the audience members I spoke to had originally come across his music via one of these fan-made videos. When he performs, he upends the traditional logic of touring. Normally, a new Brooklyn-based artist like him would trek around the Northeast in grim circles, visiting and revisiting cities like Boston and New York and Chicago in order to slowly build an audience — playing for 3 people the first time, then 10, then (if he got lucky) 50. But Coulton realized he could simply poll his existing online audience members, find out where they lived and stage a tactical strike on any town with more than 100 fans, the point at which he’d be likely to make $1,000 for a concert. It is a flash-mob approach to touring: he parachutes into out-of-the-way towns like Ardmore, Pa., where he recently played to a sold-out club of 140.
This confluence of forces has produced a curious inflection point: for rock musicians, being a bit of a nerd now helps you become successful. When I spoke with Damian Kulash, the lead singer for the band OK Go, he discoursed like a professor on the six-degrees-of-separation theory, talking at one point about “rhizomatic networks.” (You can Google it.) Kulash has put his networking expertise to good use: last year, OK Go displayed a canny understanding of online dynamics when it posted on YouTube a low-budget homemade video that showed the band members dancing on treadmills to their song “Here It Goes Again.” The video quickly became one of the site’s all-time biggest hits. It led to the band’s live treadmill performance at the MTV Video Music Awards, which in turn led to a Grammy Award for best video.
In the United States, Mother's Day was originally suggested by poet and social activist Julia Ward Howe. In 1870, after witnessing the carnage of the American Civil War and the start of the Franco-Prussian War, she wrote the original Mother's Day Proclamation calling upon the women of the world to unite for peace. This "Mother's Day Proclamation" would plant the seed for what would eventually become a national holiday.
After writing the proclamation, Howe had it translated into many languages and spent the next two years of her life distributing it and speaking to women leaders all over the world. In her book Reminiscences, Howe wrote, "Why do not the mothers of mankind interfere in these matters to prevent the waste of that human life of which they alone bear and know the cost?" She devoted much of the next two years to this cause, and began holding annual "Mother's Day" gatherings in Boston, Massachusetts and elsewhere.
In 1907, thirty-seven years after the proclamation was written, women's rights activist Anna Jarvis began campaigning for the establishment of a nationally observed Mother¹s Day holiday. And in 1914, four years after Howe's death, President Woodrow Wilson declared Mother's Day as a national holiday.