Saturday, January 29, 2011

Female Genitaila Tattoo



1) Halle all continuous functions g: (0, + infinity) -> R such that g (x ^ y) = g (x) ^ g (y) for all x, y.

2) Show a discontinuous function g: (0, + infinity) -> R such that g (x ^ y) = g (x) ^ g (y) for all x, y.

("^", as always, means "raised to the").

[Since the comments on this post have strayed from the initial theme and have been immersed in the discussion of 0 ^ 0, I decided to add the entry label Irrefutable but resisted, with which designate entries which speaks of the statement "0 ^ 0 = 1." I also observed that, at the time of this writing, 2/15/1911, the second Part of the problem is still no resolution.]

Tuesday, January 18, 2011

Az Driver License Template

Story Contest and Essay Contest

In May 2011 marks the 50th anniversary of the launch of the first computer science from Argentina, Clementina, a Ferranti Mercury.
To commemorate the Computer Science Department, Faculty of Natural Sciences at the University of Buenos Aires organized a series of activities including the following competitions:

Story Competition
Topic: "Clementina, the first computer."

The trigger the story is the arrival of the first computer to a university Argentina.
Works will be received between 10 February and 15 April.
The jury, Liliana Heker, Guillem Martínez and Juan Sabia, was issued on 15 May. Bases

http://www.dc.uba.ar/events/ fifty / Bases_cuentos.pdf

For questions about the contest write to conc_lit_clementina@dc.uba.ar

Essay Contest Contest
historical research trials over 50 years of computing in Argentina.

Works will be received between April 15 and May 16, 2011. The jury, composed of Jorge Aguirre, Dora and Paul Jacovkis Barrancos be issued on June 21, 2011. Bases

http://www.dc.uba.ar/ events / fifty / Bases_ ensayos.pdf

For inquiries write to in sayo_clementina@dc.uba.ar

More ...
More information about the commemoration event of fifty years of Clementina http://www.dc.uba.ar/events/ fifty

Department of Computer
Faculty Natural Sciences University of Buenos Aires

Pavilion I, Ciudad Universitaria Buenos Aires

http://www.dc.uba.ar

Monday, January 17, 2011

Swfa Bushnell Elite 3200



Fabian: Hello.
GP: Hello.
Fabian: "I can ask a question?
GP: Sip.
Fabian: In this post your blog you make a comparison between the problem of squaring the circle and chess.
GP: Sip.

Fabian: You say in that post that the problem of squaring the circle is as impossible as making a pawn move from a black to a white box without violating the rules of chess. Did I get it right?
GP: Aha ...

Fabian: However it is possible, without violating the rules of chess a bishop move from a black box with a white (or vice versa).
GP: That's impossible.

Fabian: No, it is not.
GP: Yes, yes it is. Enunciémoslo well: During a game of chess in which respect the rules of the game which was originally a pawn in a black box will never go to a black box, or vice versa. Even I can prove mathematically, by induction on the number of movements of the bishop.

Fabian: All very nice, but imagine a game where the white will have captured the bishop who initially was in the box c1 (black box), but have not caught the other bishop. Imagine that, more forward in the same game, the white crown a pawn in a white box that asks for a bishop. Obviously, the rival will give you the same piece that had caught him before, so the bishop, the same piece , initially in c1 (black box) will now be in a white box without the rules of chess are violated.
GP: But is not the same bishop ...

Fabian: How is not it? Sure it is, is the same object, the same piece that has passed since c2 to a white square in the course of the same heading and without violating the rules. Sure, could suffer some wear and rubbing his hands, losing some molecules, but if that is not the same bishop, no piece is equal to itself.
GP: Okay. Not what I meant. I admit that this is the same part of the same object, but ...

Fabian: But?
GP: (thinks for a while.) Okay. Put it this way: During a game of chess in which respect the rules of the game, and the none of the players crowned a bishop (ie, ask a bishop to crown a pawn) in the match, say, a bishop who initially was in a black box will never go to a black box, or vice versa.

Fabian: Yes, but ...
GP: But?

Fabian: Many times in a match between two professional players, the game is suspended and later still, for example the next day.
GP: "Hum?
Fabian: position is disarmed and the court reset the match the next day, or brother-in resumption, using the same parts.
GP: I see where you're coming, but ...
Fabian: But nothing. It is possible that resetting the position of the bishop who was in a black box to be placed on a white square and / or vice versa.
GP: But is not the same game ...
Fabian: Yes it is.

GP: (Think again.) During a game of chess, whose development is suspended to be continued at a later time , in which respect the rules of the game, and in which neither player crowned a bishop (ie, ask a bishop to crown a pawn) in that game, I mean a bishop who initially was in a black box will never go to a black box, or vice versa. Do you agree now?

Fabian: Hmmm.
GP: "?
Fabian: I guess referred to the current rules of chess, because maybe in the XXII century adding a special move, say a "bishop to step" that would ...

GP: Okay! During a game of chess, whose development is suspended to be continued at a later time, in which respect the current rules of the game, and in which neither player crowned a bishop (is say, ask a bishop to crown a pawn) in the match, say, a bishop who initially was in a black box will never go to a black box, or vice versa. And now?

Fabian: imagine two friends (not professionals) who play for fun. At one point one of them asks the other if you can swap bishops (the bishop move that is in box A to box B, and vice versa). Not like a play, of course, but as a mere rearrangement of parts. If you only do it once, and is not intended to distract the opponent, the adversary could accept and if the bishop in white box will last a. ..
GP: Why want to do that?
Fabian: do not know, could be a fad ...

GP: Do they allow that the rules?
Fabian: "not be compelled to what the law does not command, nor deprived of what she is not prohibited. "The rules, at least the rules used by friends to play together, do not prohibit the exchange of pieces (if the opponent agrees). And if the rules do not prohibit, then allow it.

GP: I think he's exaggerating.
Fabian: The rules allow ...
GP: I not allow it.
Fabian: Remind me not to play chess against you ...

GP: (Think a bit more.) In the course of a chess game, whose development is suspended to be continued at a later time, in which respect the current rules of the game in which players either a bishop crown (ie, ask a bishop to crown a pawn ) and in which none of the players asks permission to rearrange the pieces in the match, say, a bishop who initially was in a black box will never go to a black box, or vice versa. And now?

Fabian: What if rearranged without permission?
GP: would be breaking the rules, if only the unwritten rules of courtesy.

Fabian: Okay.
GP: Are you happy?
Fabian: For now, yes, but ...

GP: But ...?
Fabian: How then your analogy is to square the circle?

continued ...

Sunday, January 16, 2011

Shiny Stone Location Heart Gold

dialogue

Description

call this scheme The Mad Hatter: In one room there are a number of characters, each has a hat, which can be white or black. All characters are the hat held by others, but nobody knows or can see himself.

that are supposed to have white hats should always make true statements and that those with black hats should always make false claims. However, as at first no one really knows what color hat, each character takes to start a position either. That is, each chooses (regardless of his hat) always make false statements or claims to always true.

When a character makes a statement, another person may warn you that he is not behaving correctly. That is, you can tell he is making a false statement when his hat is actually white, or is making a true statement while his hat is black. The warning is this: should not say that . The warning is opposite: Well said. It is clear that whoever does this warning may, in turn, be lying.

Where, from what you see and hear what a character is able to guess what color his own hat, then (without warning) begins to behave as the color indicated. If it concludes that its color is black, from that moment make false claims, if follows that it is white, will make true statements (this may mean or not a change in behavior that had been taking).

Note finally that all hear what others say and they are all perfect logicians, ie immediately know all the logical consequences of what is said.

The problem

We have four characters, will be called Abel, Benito, Carlos and Darius.

Abel Benito says: Your hat is black.
Carlos tells Abel should not say that.
Darius tells Carlos: Well said . Benito
tells Abel Your hat is white.
Darius tells Benito: should not say that.
Darius tells Abel Your hat is white. Benito
tells Darius should not say that.
Abel tells Darius Our hats are the same color .

What color is the hat of each? What each position initially adopted?

Tuesday, January 11, 2011

Effects Of Not Wearing A Retainer

The Mad Hatter The Omegon and all that ... (Part 18) Thanks and greetings

In Part 17 - A 19

the
Addendum on collection points

In this post I want to expand the explanation of the role played in the development of ordinal theory, the concept of "point of accumulation." It was mentioned in previous chapters, but now I'm going to delve into concepts mentioned above a little pass.

We said a few chapters ago that, in the early 1870's, Georg Cantor began working at the University of Halle. There Eduard Heine, the director, he posed the following problem: we have a periodic function f (x) we have developed in Fourier series if in every period the number of singular points of f (x) (ie points of discontinuity of f (x) or points where the series is divergent) is infinite then can we ensure that writing in Fourier series of f (x) is the only possible (or, conversely, may be another different set to converge to the same function)?

remember that Heine had already resolved the question affirmatively for a finite number of singular point, Cantor now faces the "infinite case."

We also said that a few months after the issue raised, Cantor had an initial response, you can ensure that writing is only as long as the singular points are distributed on the line in a certain way. But Cantor, in the first instance, failed to find a clear and direct way to describe what were the conditions to be met by that distribution. After a while managed to get that description is clear and simple, and it created the concept of "point of accumulation."

What is an accumulation point? I give the definition given Cantor, he referred specifically to the case of real numbers (later the concept was much broader contexts). Previously need to remember which means that a sequence of numbers converges to a limit L.

A succession of (1), a (2), a (3 ),... converges to L if, any distance fixed epsilon, exists a natural number n (which depends on epsilon) such that if m> n then the distance between a (m) and L is less than epsilon . Translated into Castilian more vague but perhaps less arid regions: a (1), a (2), a (3 ),... converges to L if, taking n large enough, all terms of the sequence from a (n) approach L as much as you want.

The classic example is the sequence a (n) = 1 / n, whose terms are 1, 1 / 2, 1 / 3, 1 / 4, ... and converges to 0.

Definition: If P is a subset of real numbers, we say that b is accumulation point of P if there exists a sequence a (n) is not constant and consists entirely of elements of P such that a (n) converges to b.

For example, if P = (0.1), then 0 is a point of accumulation of P. For example, a sequence consisting of elements of P and converges to 0 is a (n) = 1 / (n + 1) (always take n = 1, 2, 3, 4 ,...). In fact, it is easy to see that the set of all accumulation points of P is [0.1].

Exercise for the reader: Show, from the above definition that if P is finite then there is no accumulation points.

Definition: will call P 'the resulting of P, the set of all accumulation points of P.

Therefore, for P = (0.1), we have P '= [0.1].
Let

another example. Now take P = {0, 1, 1 / 2, 1 / 3, 1 / 4, 1 / 5 ,...}. That is, P consists of the 0 and all numbers of the form 1 / n with n = 1, 2, 3, 4, ... It is clear that 0 is accumulation point of P. What about the other numbers?

Here, 1 is no accumulation point of P. If it were, there should be other elements of P as close to 1 as desired (these elements would be the terms of the sequence a (n) of which he speaks the definition.) But this does not happen, since no other points of P at the hands of 1 / 2 away from 1. That is, over the range (1 - 1 / 2, 1 + 1 / 2) no P elements very different from 1. Therefore, the 1 is an isolated point of P and is not about accumulation.

The same applies to the 1 / 2, since there are no points of P at a distance less than 1 / 6 of it. And it is with the 1 / 3, the 1 / 4, etc. All points of the form 1 / n are isolated points of P. On the other hand, it is easy to see that the points not belonging to P are not points of accumulation. Therefore, for P = {0, 1, 1 / 2, 1 / 3, 1 / 4, 1 / 5 ,...} worth that P '= {0}.

Of course, we also define the derivative of the derivative and P is (P ')' = P ". And the derivative of this: (P) '= P''', etc. To those who call derived second, third derivative , etc.

Observe that if P = (0.1) then P '= [ 0.1], P = [0.1], P'''= [0.1], etc.

On the other hand, if P = {0, 1, 1 / 2, 1 / 3, 1 / 4, 1 / 5 ,...}, then P '= {0} and P is the empty set (the derivative of {0}, and for every finite set is a vacuum). We have so the second derivative of P is the empty set.

Is it possible to find a set P such that its derivative third is the gap (But none of the above)? The answer is yes, but the study in the next chapter ...

In Part 17 - A 19

Sunday, January 9, 2011

How Much Are Hair Colour Coupons Maplestory



by Ana Woolf

M2G yesterday and today Back then, in November 1997, I was 29, just days shy of my 30. The end of the story, or the beginning of many others, was: to return home and build "our Magdalena 2nd Generation" (M2G) with my colleague Florence Coppola and Mar del Plata Natalia Marcet. I wanted my space of expression as "new generation", I also moved the constant questions about what it meant to be a woman today in the Argentine theatrical field, do we have the same problems in the '80s? And again: what we have here in Argentina and Latin America the same problems there in Europe? This and other concerns, the need to do something for the women I knew and I knew they had difficulties in developing their art and make it become work, and also the extreme "solitude" that no group was as an artist, gave birth to M2G. With the distance, and more closely, I know it was and is also the need to follow in the footsteps of one who is my teacher and want her to feel proud of me as I am of her and her work for and with other women. Activities and organizations of workshops, lectures, meetings closed research and an international festival. Then came a moment of "suspension" where he continued working M2G (2002-2008) but in a small format, where it grew and deepened relationships and the desire to build great things turned into something concrete: to survive with our art possible through partnerships (ie two, three women) in our potential areas and spreading every time we had opportunity Magdalena principles. Two years ago, have returned to action. Thanks to Julia Varley who is always at the right time, reunion to another artist from Argentina, Gabriela Bianco (ADAS, Association Argentina Arts and Signs) who promotes the idea of \u200b\u200brestarting our meetings, to turn us Marcet Natalie and me, Laura D'Anna, Natalia Tesone. Natalia Rey, who in turn introduces us to Sandra Califano, who in turn introduced us to his sister Sabrina Califano, were also Susana Freire, Nilda Blanco and later Marcela Brito. And we were walking. And this blog was one of our more concrete possibilities of feeling that we did, we can begin to spread the network, perform a common task that could be kept constant without depending on the time of foreign economic aid, only of our willingness to continue building and the generous donation of time each of those who write and edit so generously.



had been 10 years since our inception. If I stand with one foot on both sides of the transition between a past that is present went ahead and know that these years were, for us, the onset, years of incubation of these other projects' a little bit bigger 'appear to be emerging now and this new outlet to the outside. Years of construction and consolidation of an artistic discourse, an artistic space. Years out of the country, in my case, and rethink operating principles and "non-functioning" of our first attempt at Red full of youthful enthusiasm but with little anchorage in reality: economic, fundamental problem was not in degree or anticipate or predict. Our enthusiasm led us to organize and maintain the Red our personal economy and this was the beginning of the end. The excitement ends there where we realize that the loss of personal money begins to be large. After two or three times (the last event was the International Festival) and we have no force or to continue working or to continue making money for something that not even because of the tension that we have positioned ourselves, gives us personal pleasure. I know a quality cultural event should be subsidized. And our cultural event was / is quality. Learn this for me is essential in the new "out" of our M2G. Especially to keep up not "own the room" where we invite some other artists. But in the "social room" where we invited those / these not so friendly / os. The exit to the world has a price and this price should not be us who pay the "cash." We paid to the investment of our time and with the strength and persistence to continue in spite of everything, supported by consciousness of doing a decent and responsible and and above all, necessary. From there is where we must begin to standing, to achieve a structure that dialogue without losing their identity, and non-governmental institutions and to demand financial compensation for our work. That is, at least for me, a hard way of learning. It is also a clear beginning to continue doing the kind of theater we want to do, the theater to which we choose to serve.



The M2G has a particular structure because we are artists who live in Argentina. Some parallel work done to solve their daily expenses. We pay a monthly fee to have "cash in petty cash and still not have "big box." We have legal status (we are on track to be ...) a non-profit NGOs have profit but we definitely could, this is our aspiration. Some of the women who were in our reset in 2008 were, others left, new ones were added and other follow us closely and cooperate when we can. The 4 women most active at this time is 4 actresses have in common a sight that I went ( Traveling ). These movements taught me that we need a "community art project that women activists of an organization (art) for this is kept alive and not be eaten and destroyed by the organizational and the tensions it generates. We have a blog that serves as on-line magazine. Out every month with articles, reports and notes on women working in the artistic and social space. We have a home outside Buenos Aires with its own activity in the city of Junín founded by Mario Diaz who found his own artistic independence and identity in this "thing" called M2G magdalenasjunin@live.com and independently organized meetings, and theatrical Moved and for the people of his city.



This year we have organized and three meetings in the city of Buenos Aires "modest but real and convincing," And if we know the faces "(May 2010)," And if we still know "(September). The third was in December, "And if we work together" initial step for a future national festival-international-Latin American (?) In 2011.



I'm already going 40. And moms are really MAGDAS and / or symbolic (say "aunts"). We playing hopscotch yes, but now with our children, our daughters. With our @ s @ s nephew, who may, no longer need to build a world Magdalena because they will be more just, more egalitarian. And maybe the Theatre will also be a real need for those who govern us. Magdalena say, I say woman, I mean policy, say theater. Action say, now, necessary and sustainable.


Freeze Patch Soul Silver Rom

WOMAN'S FACE: Liliana Alzate




Nasa Yuwe


home Weavers


by Natalia Marcet



Liliana Alzate. Actress. Teachers. Colombian


I met in Cali.


I had spoken of it Ricardo Ruiz Angulo, a former pupil of La Candelaria. With her mythical shared study days.


Then I crossed in Bogota, and then again in Cali.


Being in the Teatro La Mascara, waiting to go to the airport, going, I said "I would answer a few questions about your job?


I had seen while arming with Daniel, the Technical Chamber, the start of FAT, the workshops that are taught at the Chamber: weaving, theater, yoga for children, mothers ... people from all vulnerable sectors of the Valle Del Cauca.


knew this work and the other developed by the Corporación Colombiana de Teatro in Bogotá, as well as by Ines Salazar in Medellín and the other partner in Barranquilla, is part of a project sponsored and supported by Magdalena Norway, led by Geddy Aniksdaal. (Of these works discuss the coming months)


and Scrolling.


Your resume says


Actress, researcher and theater director, Master of the Universidad del Valle in Colombia and Latin American Literature 2010. Meritorious thesis. Specialization the University of Rosario in Bogotá in theory and theater critic 1992-1994, BA in art education Forest University 1999 - 2003 . He currently serves as an actress and researcher in the group stage Mask of Cali since 2006 . has been teaching the arts faculty of the University of Valle 2006-2009. And currently teaching high school department of Fine Arts until l to date.



had also seen action in ugly women, led by Lucy Bolaños in MAP Theater, as part of Women on Stage Festival, organized by the Corporación Colombiana de Teatro.


Then, the questions had answers.



1 .- With that working population?


currently in theater Mask develops a project with vulnerable groups, addressing human rights issues, gender, discrimination, etc., with various groups. Those are mine are, for example, a neighborhood youth Siloam (Sector outskirts of the city), aged between 7 and 18. And in this sector this year I work as a pilot mobile school. Five of them are already working with me two years ago, so with them we have convened two groups: a young child and another where they replicate what they have learned the methodology is the collective creation and this semester the Forum Theatre of Augusto invisible Boal, who had the pleasure of being in Rio de Janeiro in 2000 in an experiment on the EITALC (theatrical school American and Caribbean)


With them we work in the community in two specific sectors, THE STAR, a sports high up in the neighborhood, in a somewhat dangerous area where gangs and drug abuse abound in the streets, and in a communal house in the half of the small sector. Together from time to time. By this end of semester get together on stage all trying to tie up the process for submission in February in a popular festival that marks the end of the project in the Mask.


The other group that I have are the women weavers of origin Yuwe Nasa (indigenous community in southern Colombia) that have attempted, with the help of the indigenous council Cali, recover the lost memory of these women who go with their daughters and grandchildren to the games. With them we are working on their rituals and historical figures, and the importance of tissue in the construction of feminine thought Yuwe Nasa.


Finally I have another group of young African descent in another suburb of Cali, where the majority of its black community is the amount of forced displacement that has prevailed in the country especially from the Colombian Pacific coast. With them just started working a few months ago, and they are part of an NGO, open workshop, working with them on several fronts including training and has a firm order cultural. With this group I'm working the black oral tradition in his memory are also looking for family, music and narration to regain their youth contexts. They and they particularly want to work on gender violence.



2 .- How does the stage for the transformation of personal life?


This question for me is about believing that the theater is basically a healing tool, rather than just an aesthetic or artistic product. Specifically in the social drama is a cornerstone for the transformation of high-risk communities and socially sensitive situations, such as moral, physical and spiritual. The Theatre of the Oppressed techniques are tools that I have found conducive to this because their techniques are based on the study interactive scenes that simulate reality and role playing. A staging follows a phase of analysis and collective dialogue on how to resolve conflict situations presented. The starting point is to discover the creative impulse and intuitive to the person to put in the service of the theatrical creation of the group through exercises and theater games to develop imagination and creativity, create emotional openness and receptivity on the other sensory and for the other. Building a way to use the scene that evidently transformed their lives and conflicts. Can not find economic solutions to their problems, but if a bunch of options, exits to get a better quality of life. More respect for herself and those around her. Finally theater awareness to participants and public actors and their application is as a means of intervention, transformation of social reality and consciousness. Remains a small revolution in itself and that encourages other mode of expression beyond words. The limitations of the human being can be released through the theatrical image and sound, which promotes an understanding of conflict situations and characters of the community in which it is lodged.