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citrucentric · 4 years

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Cranberry

The ideal Holmes is tall and dark with sharp edges and an intelligent look to him, but also posh and with a sense that you could fold him into origami if you really tried. Dresses well, but wouldn’t look out of place sprawled dramatically over a couch in a dressing gown with a pipe and surrounded by drug paraphernalia. Once made a pillow fort and sat in it to think. Caught somewhere between handsome, pretty, and weird looking. Emphasis can be on any of the three. CANNOT have facial hair.

Holmes Adaptations

S-Tier

Miss Sherlock (Yuko Takeuchi) - 95%

You’ll notice, of course, that nowhere in the earlier description did I say Holmes needed to be white, a man, or even human. None of those qualifiers or the lack-thereof prevent someone from looking the part -- it simply becomes necessary to compare them to the characters around them. And when I picture a female Sherlock Holmes, Yuko Takeuchi embodies the exact image in my mind. Her sharp edges, piercing eyes, and impeccable fashion, along with the powerful weird energy she brings to the role, fit Sherlock perfectly. She does look more than a bit like she could kick my ass, but more in the manner she dominates the room, which is perfect for the character.

Sherlock Holmes (Jeremy Brett) - 85%

I haven’t watched this adaptation, though I’ve been meaning to get around to it. So this ranking is based solely on screenshots and promotional images. And honestly, as ugly as i find this guy, he totally nails it. He even kind of looks like the illustrations in the stories. I won’t give him a perfect score because his hair could be darker and his face is a little small, and there’s just barely something missing. But as far as “canon” Holmes adaptations go, he’s the cream of the crop.

A-Tier

Sherlock: The Abominable Bride (Benedict Cumberbatch) - 80%

Definitely the more accurate of the two Cumberbatch Holmes designs, the sleek fashion and slicked back hair complement Cumberbatch’s angular build and “somewhere between pretty and just weird” face. He’s tall, dark, and posh. If there’s anything holding him back it’s simply that even dressed up properly, there’s something still a bit modern looking about him.

Fate/Grand Order - 78%

Given that his design and presentation are a direct reference to both Brett and Cumberbatch’s portrayals, it’s a given he’d place so highly. It’s really hard to nail down a 2D Holmes, especially in the anime style this game employs, since it has a tendency to prettify characters by default. True to form, FGO Holmes is far neater and more precise than I’d like. But he’s by no means a bad design, and depending on the image he can really hit the spot for me; he’s definitely a chart topper in the realm of 2D Holmes.

Sherlock Holmes: The Furtive Festivity (Gregory Johnstone) - 75%

There aren’t many Holmes that we only get to see as an old man, in no small part due to the ACD estate’s notoriously malicious copyright practices. Johnstone ranks so highly not due necessarily to the details of his look, but the overall feel he embodies. This Holmes is soft, affectionate, more than a little floppy. His hair and costume portray a man well grown into his eccentric life, and his face is sharp and mature enough to suggest the brains underneath; even if that’s more wisdom than intelligence in this particular story. This is a Holmes designed by someone who really loves Sherlock Holmes, and it definitely shows.

BBC Sherlock (Benedict Cumberbatch) - 75%

Cumberbatch’s features still naturally suit Holmes well, and he’s tall and striking enough to cover the rest. But this isn’t a rating of his acting performance aside from the visuals it supplies; it’s hard to modernize Holmes, especially since it makes perfect sense for Holmes to gel well with the changing times; he was always a man ahead of his era. BBC Holmes’s trademark trenchcoat and curly locks aren’t traditional Holmes, but they suit him well enough.

Yuukoku no Moriarty - 73%

The long hair is an unorthodox take, but I'm certainly not complaining. YnM's Holmes definitely nails the youthful scientific exuberance of an early Holmes. It's clear they were going for a sort of BBC/ACD mix, but with their own spin. Pretty -- he is an anime boy, after all -- but all sharp edges and full of energy. Decent, way better than most anime Holmes designs manage.

B-Tier

Basil of Baker Street [The Great Mouse Detective] - 70%

Comparing the character to those around them is especially important when it comes to non-human characters, who naturally don’t have the same features. Putting Basil next to Dawson makes this abundantly clear, as they make a perfect portrait of Holmes and Watson. For a mouse, he’s thin, angular, even a little ratlike; all decisions that suit Holmes well. I have some complaints about his ensemble, though; while the dressing gown suits him well, his normal brown coat and hat don’t work so well with his fur; the monochrome look makes him come off a bit scruffy and unrefined.

A Study in Black - 68%

Rules are made to be broken, they say; here’s a Holmes with well maintained facial hair and who’s shorter than Watson, and yet I can without question say they were the right decisions. This Holmes takes a very different design approach than any other on this list, even the other modern takes, but he embodies the spirit of Holmes much more than if he’d tried to match every detail. Holmes is still gaunt and striking, eccentric and fashionable. He looks absolutely great.

The Private Life of Sherlock Holmes (Robert Stephens) - 62%

Stephens in this role is, I have to say, far too soft. But he’s playing a different sort of Holmes, and I can’t resist keeping him here. There are some parts of the look he has down; he certainly looks high class, and the softer elements of Holmes’ character look good on him. Holmes’ traditional costume, the hat and coat, look out of place on him. But that suits the message of the film, and may very well have been intentional.

C-Tier

Dai Gyakuten Saiban - 58%

Not the only blond Holmes on this list, but it doesn’t suit him as poorly. From a character design standpoint, it looks very good. As a Holmes, it’s unorthodox. He’s not gonna be a chart topper with it, but I wouldn’t rule it out. This Holmes’ real problem isn’t his coloration, merely that he’s much too conventionally attractive. His jaw is a bit too wide, curls a bit too lovely, the peek of lavender under his coat a bit too rich, and I can’t look at him for too long without blushing. Do some cocaine and get back to me.

Sherlock Holmes (Basil Rathbone) - 55%

Now, this one might be controversial. I don’t think Rathbone Holmes looks very good. I can’t put my finger on why; his head is the right shape, his nose very sharp, though his face looks very smooth and he seems overall vaguely packed in. Like he was plucked out of the sky just before walking on set. The shapes are all right, it just seems off to me. I guess what I’m getting is that his look is too obviously produced. He looks too much like an actor portraying Holmes, rather than Holmes. But I know he’s gonna be the guy a lot of people swear by, so I won’t defend this placement too hard.

Sherlock Hound - 45%

Really, what is up with the monochrome design on some of these cartoons. Sherlock Hound has the darker hat to make up for it, though, so it’s a little better. Applying the same rubric as Basil to him... doesn’t get the same results. As far as I can tell, this just looks like a normal dog. And a scruffy light-furred one, at that. There’s a contrast between him and Watson, sure, but it could’ve been pushed further. At the end of the day this is an average guy dressed as Sherlock.

D-Tier

Herlock Sholmes [Code: Realize] - 40%

This is a very pretty anime boy. I’d pick him first in whatever dating sim this is. ...Wait, this is supposed to be Holmes? How can you tell? Look, I know it’s hard to make an anime boy Holmes. Holmes’ key design elements aren’t his costume or his hair, they’re the things that make him unpolished. And anime dating sim boys don’t like to be unpolished. But really, this is just a steampunk boy who likes tea. Nothing here reads as Holmes to me.

Sherlock Holmes (Robert Downey Jr.) - 35%

Now, I love this movie. RDJ got me back into Sherlock Holmes when I was younger. And as this character, he has a very specific and well designed look. ...Does that look gel with canon Holmes? I don’t think so. He’s rough, he’s scruffy, he’s short and wide and strong-jawed, and he refuses to go for a clean shave. I like him a lot, but he’s not very Holmesian. He does, however, nail the eccentricity and his costume design works for him well. I do like a messy Holmes. So I won’t go any lower than this.

F-Tier

Basil [Blush Blush] - 28%

So, he’s got the outfit. There’s that. But otherwise... This is just some soft ugly anime boy cosplaying Sherlock Holmes. He doesn’t have a single trait that works in his favor. On top of that, he’s got the same problem the other Basil on this list had -- the all monochrome light brown just looks weird, and not Holmesian at all. And this boy doesn’t have the excuse of literally being a mouse. This is just an ugly design.

Elementary (Jonny Lee Miller) - 25%

Now, I've only watched a few scattered episodes of Elementary. Partially because I'm morally opposed to shows that only gender-flip half of the duo, partially because I’m absolutely outraged by the travesty they made Moriarty. But this isn’t a bad character, per-se.

But, like, this is just some dude. This isn't Holmes.

Sherlock Holmes [Clue] - 23%

I love Clue so much. That probably doesn’t surprise anyone. I have the season pass in this game, which automatically gives me every DLC character they add for free. So I was super excited to hear there was gonna be a Sherlock crossover. ...But this is just ugly. Another light haired square-jawed monochrome asshole pretending to be my favorite character. There’s nothing Holmes about this. (The rest of the designs in the pack are no better, but this isn’t about them.)

Skylar Holmes [Blossom Detective Holmes] - 20%

Now, Blossom Detective is a show that I famously disliked so much I immediately sat down and screenwrote my own Holmes cartoon on the spot. And Skylar certainly feels like she should be in the “part 2″ of this list, but a Holmes she is.

She's cute and she accessorizes well, but she's just not Sherlock Holmes by any stretch.

Sherlock Shellingford [Milky Holmes] - 10%

Now, look how cute she is! Sherlock Shellingford, present and accounted for. She’s got TWO Sherlock names so you know she’s the real deal. Now, this is just an objectively good design. She's exactly what she needs to be to serve the role she plays!

And that isn't Sherlock Holmes. Sorry.

Holmes & Watson (Will Ferrell) - 0%

Get out of my house.

Holmes Archetypes

Not all Holmes’ are meant to be the Canonical Sherlock Holmes, of course; some are just neat references, or characters who naturally fit into his role whether the author intended it or not. Let’s address them here, and remember that not looking the part doesn’t really reflect negatively on these ones as they’re stand-alone.

S-Tier

Dylan Reinhart [Instinct] (Alan Cumming) - 90%

Dylan is so point for point Sherlock Holmes that it’s hard to call him an archetype and not a straight adaptation, or possibly a rip-off if I’m being harsh. But I’m not supposed to be rating him by portrayal, just looks - and he’s really good. He’s the exact right blend of weird looking, though not as angular as he should be. His sharp eyebrows and nose and high hairline work fantastic, and he wears a suit very well. He’s a perfect little bundle of posh and nerves, and though he’s not perfect the fact that this isn’t actually supposed to be canon Sherlock Holmes makes this placement very unsurprising. He wouldn’t look out of place on the other list.

Hubert von Vestra [Fire Emblem: Three Houses] - 85%

Oh? What’s that? You don’t think Hubert von Vestra is a Sherlock Holmes archetype? Okay, then explain to me why he uses the word “sentiment” exactly twice in his supports. Atheists 1, Church of Seiros 0. Anyway. Let’s start with the obvious. Hubert looks like Benedict Cumberbatch. But, he looks like a vampire Benedict Cumberbatch who did a lot more cocaine. And if you don’t think Sherlock Holmes should look like a vampire, youre lying.

A-Tier

None yet. Please submit your Holmes and I will add them.

B-Tier

Heinwald [Dragalia Lost] - 67%

I would never look at this design and think "well, that's Sherlock Holmes". Heinwald looks more like a zombie or the bride of Frankenstein, very Halloween. His look being so specific does come at the expense of his Holmesness, but he's still got more than a few traits down and he’s an absolute treat.

L Lawliet [Death Note] - 65%

This is a very, very weird looking man. Key points: dark hair and eyes. gaunt, sharp, and mostly angular (though with a softer face). Extremely foldable. This man could 100% pass for Holmes, if someone else was dressing him. Put him in a suit, comb his hair? Yeah. It’d really work. But until then, he’s just most of the way there.

Kyoko Kirigiri [Danganronpa] - 63%

Kirigiri really gets jilted here, because she could be much higher. Unfortunately, she has to be part of a series that with only a few exceptions just reuses the same face and body for most of its female characters. Kirigiri definitely has the sharp and focused feel she needs to pass for Holmes, and she dresses well. The white hair is the opposite of the dark he usually touts, but it’s striking. Unfortunately, put her next to any other character in her series, and she blends back in.

Miles Edgeworth [Ace Attorney] - 60%

Feels a little weird to put Edgeworth on here when the actual Sherlock Holmes is in his game, but he fits the character much better if not the narrative role. So let’s go over the looks. His jaw is a bit wide, but he’s very pointy, and I certainly have never gotten the impression he’s a physically strong man. He’s very fashionable, and with his big cravat and sharp hair he makes a cutting silhouette. I’d say he needs a bit more to really nail the look, though.

C-Tier

Will Graham [Hannibal] (Hugh Dancy) - 45%

Despite being a noted Hannibal Lecter fan and possible homosexual, I still haven’t watched Hannibal. I’m taking people at their word that Will is a Sherlock; I definitely would have assumed otherwise looking at him. He reminds me deeply of BBC’s John Watson, and it’s hard to see anything else. But I don’t hate his look; he reads as clever, he looks good in darks, and I wouldn’t complain to see him cast as Holmes. He’s better than some of the lower-tiered canon Holmes actors, anyway.

Ranpo Edogawa [Bungo Stray Dogs] - 40%

This is another submission, and I don’t know who this boy is. I really doubt he’s actually a Holmes, given that he’s named after a real non-Doyle writer, but I was begged to include him. Let’s go. I really like his outfit. He’s got an aesthetic I like. Is it Holmes’? No. This kid looks like he’d fit way better as a Baker Street Irregular; maybe he should audition.

D-Tier

Gregory House (Hugh Laurie) - 35%

Take everything I said for Robert Downey Jr, and just mess up his hair a bit more. House is scruffy, poorly put together, and not wearing anything that costs over $100. As a Holmes, he’d work as one of his disguises; I wouldn’t be super surprised if this guy suddenly cleaned up and looked the part -- but it would take a lot of cleaning. I love his look, though -- again, he isn’t trying to be canon. House is an explicit Holmes parallel, but he’s still his own character.

F-Tier

Walnut Cookie [Cookie Run] - 20%

Given how much “Holmes costume” and “Detective costume” are conflated, it’s possible this gingerbread baby isn’t even supposed to be a Holmes reference, but I’ll take her. She’s an excellent design - but a standalone one. Shes too soft, warm, and curly looking to pull off canon Holmes.

#cranberry #fruit #sherlock holmes #the holmes scale

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theliberaltony · 5 years

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via Politics – FiveThirtyEight

Graphics by Ella Koeze

In a matter of days, the Supreme Court may dramatically change the census. The court is slated to rule on whether the Trump administration can add a question about citizenship to the 2020 form. When the case was argued back in April, many court-watchers predicted that the court’s five conservative justices were ready to side with the administration. The proposal sounds innocuous enough, but social scientists and civil rights advocates worry it will deter vulnerable populations — particularly undocumented people, other immigrants and their families — from answering the census. If that happens, many people from these groups will be at risk of not being counted and huge swaths of American life will be affected. The results of the count determine everything from where grocery stores are placed to how congressional representatives are distributed.

There are few things we care more about around here than political apportionment (although, if we’re being honest, we care an awful lot about groceries, too). So we went in search of researchers who had estimated the potential effect of the citizenship question. We found several, none of whom agreed on just how big an impact this would have. But they were all on the same page about one thing — if the Supreme Court rules that the new question can be included, it could alter our political future.

Every 10 years, the updated census numbers are used to determine how many U.S. House members each state will get. So figuring out who might be missed and where can tell us a lot about who stands to gain political representation and who stands to lose. Forecasting that amounts to sophisticated guesswork, since the question hasn’t yet been field-tested by the Census Bureau — a decision that many experts regard as a scientific cardinal sin. But that hasn’t stopped researchers from trying to fill the void.

I talked to three political scientists who all took a stab at quantifying how much each state’s population would change if some of the people who seem most likely to be affected by the question — immigrants, noncitizens and Latinos — simply went uncounted. All three used different assumptions about how people will feel when they’re confronted with the questionnaire — a kind of statistical choose-your-own-adventure game. You can see five estimates calculated by those researchers in the chart below:

These estimates make different assumptions about who will be missed by the census, which led to fairly substantial differences in how evenly the undercount was distributed and which states were most affected. Estimates for population loss in California alone ranged from almost 700,000 to over 1.8 million. Notably, the Census Bureau’s own estimate (Scenario 1) was by far the most conservative. Let’s take a closer look:

Scenarios 1 through 3 come from George Washington University’s Christopher Warshaw,1 a political scientist who ran two analyses based at least in part on the Census Bureau’s estimate of the question’s effect, and a third based on his own survey experiment.2

Scenario 4 comes from Bryce Dietrich, a research fellow at the Harvard Kennedy School’s Shorenstein Center on Media, Politics and Public Policy. Dietrich worked with the Washington Post to estimate the impact that an undercount of about 6 million Hispanics would have on state populations.

Scenario 5 comes from political scientist Eric McGhee of the nonpartisan Public Policy Institute of California, who estimated what would happen if the census was poorly conducted — a distinct possibility, given that the Census Bureau is perpetually strapped for cash — and 10 percent of households that include undocumented immigrants were missed.

The question for many political observers, of course, is what all of this will mean for what happens after the census, when the states are assigned seats in the House of Representatives based on their new population count. Some clear winners and losers emerge here.

California would lose seats in all five undercount scenarios

Estimates of how an undercount would affect the apportionment of U.S. Representatives after the 2020 census, for states where any impact was estimated in five scenarios from researchers

Difference in number of seats due to undercount undercount scenario AL AZ CA FL MN MT OH TX 1. 5.8% of noncitizens undercounted 0 0 -1 0 0 +1 0 0 2. 5.8% of noncitizens and Hispanics undercounted +1 0 -1 0 0 +1 0 -1 3. 5.9% of Hispanics and 11.3% of foreign-born non-Latinos undercounted +1 0 -1 -1 +1 +1 0 -1 4. Poorly conducted census and 10% of households with undocumented immigrants undercounted 0 -1 -1 0 +1 +1 +1 -1 5. 6 million Hispanics undercounted +1 -1 -2 0 +1 +1 +1 -1

1. Based on Census Bureau estimates from Aug. 2018.

2. Partially based on Census Bureau estimates from Aug. 2018.

3. Based on a survey experiment that tested how much less likely respondents were to say they would return the census form if the citizenship question was included.

4. Partially based on the undercount in the 1990 census.

5. Based on a survey experiment that tested how much less likely respondents were to respond to individual questions on the form if the citizenship question was included.

2020 population projections were derived by the researchers and vary from scenario to scenario.

Sources: Christopher Warshaw, Bryce Dietrich and The Washington Post, Public policy institute of California

California loses at least one seat in all five scenarios, while Montana stands to gain one. Ohio, Minnesota and Alabama are all potential winners, depending on the scenario, while Texas, Arizona and Florida come out on the losing side in at least one estimate. “This is a fairly significant impact, especially when you consider that some of these states would stand to gain seats if not for this question,” Warshaw said.

We can’t really tell you which scenario is most likely to play out (assuming the court opens the door to any of them). It all hinges on which groups are ultimately missed in the final count and by how much. The actual effect of the citizenship question could be much larger than any of these estimates, if other groups refuse to respond as well. Or it could be smaller, if the Census Bureau is able to track down some of the people who don’t respond to the first questionnaire they send out. Most of these estimates are based on the idea that every person who doesn’t initially respond to the census, or who skips a question or two, won’t be counted. In reality, at least some of those people will almost certainly be included in the count because armies of census workers will fan out across the country next year to find people who didn’t respond to the initial request for information.

As the lawsuits over the citizenship question unfolded, Census Bureau officials argued that they will be able to respond to some of the fears swirling around the question through community outreach and follow-up. In an email, a Census Bureau spokesperson told me that in response to concerns about an undercount, the agency is “developing a robust communications campaign and working with communities across the country to communicate that responding to the census is safe, easy, and important.” The agency is also about to begin a test of the question that it says will help determine how many census workers are needed to follow up with people who don’t respond at first. Rob Santos, a researcher at the nonpartisan Urban Institute and the co-author of a recent report on miscounts and the census, said that these efforts could make a difference, but added that the intense publicity surrounding the citizenship question has already created an “atmosphere of fear and mistrust” in immigrant, refugee and Latino communities.

Nancy Mathiowetz, an expert on survey research, was also skeptical that the census’s follow-up efforts could fully mitigate the effect of the question. She pointed out that Latino citizens and undocumented people are already likely to be undercounted, and it’s not clear if the Census Bureau has any new tricks up its sleeve for reaching them. Some of the impact may also depend on the type of undercount that occurs. Failing to fill out part of the questionnaire, she said, might be less of a problem than leaving household members off an otherwise complete form, since the Census Bureau has said that it will try to fill in certain types of missing information using statistical techniques and administrative records, but it has no way of knowing if family members have simply been omitted. Several experts noted that conjecturing about a respondent’s race and ethnicity could create other kinds of data accuracy problems that could resurface when congressional and state legislative districts are drawn, but the issue for state-level apportionments is simply whether everyone is included in the total count — not whether all the information on each person’s form is correct.

At the end of the day, all of this sparring is a poor substitute for the rigorous, lengthy testing process that a new census question would usually undergo. If the citizenship question ends up on the questionnaire, another test of sorts will unfold in real time, with the entire American population as its subjects. And it will have concrete consequences for who gets political representation. To many social scientists and civil rights advocates, this seems like a needlessly dangerous experiment, and one that runs counter to the cautious, scientific spirit of the federal government’s largest statistical agency. But the Supreme Court may allow it to happen anyway — and if it does, we will soon learn more about just how resilient one of our nation’s oldest civic traditions really is.

#IFTTT #Politics – FiveThirtyEight #politics #538 #Amelia Thomson-DeVeaux

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arohi19 · 3 years

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sciencespies · 3 years

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Ingenuity is so good, NASA's Mars helicopter mission just got an exciting update

https://sciencespies.com/space/ingenuity-is-so-good-nasas-mars-helicopter-mission-just-got-an-exciting-update/

Ingenuity is so good, NASA's Mars helicopter mission just got an exciting update

It was only supposed to fly five times. And yet NASA’s helicopter on Mars, Ingenuity, has completed 12 flights and it isn’t ready to retire.

Given its stunning and unexpected success, the US space agency has extended Ingenuity’s mission indefinitely.

The tiny helicopter has become the regular travel companion of the rover Perseverance, whose core mission is to seek signs of ancient life on Mars.

“Everything is working so well,” said Josh Ravich, the head of Ingenuity’s mechanical engineering team. “We’re doing better on the surface than we had expected.”

Hundreds of people contributed to the project, though only about a dozen currently retain day-to-day roles.

Ravich joined the team five years ago.

“When I got the opportunity to come work on the helicopter project, I think I had the same reaction as anybody else: ‘Is that even possible?'”

youtube

His initial doubts were understandable: The air on Mars has a density equivalent to only one percent that of Earth’s atmosphere. By way of comparison, flying a helicopter on Mars would be like flying one in the thin air nearly 20 miles (30 kilometers) above Earth.

Nor was it easy getting to Mars in the first place. Ingenuity had to withstand the initial shock of takeoff from Earth, and then of the February 18 landing on the red planet following a seven-month voyage through space, strapped to the rover’s belly.

Once in its new surroundings, the tiny (four pound, or 1.8 kilogram) copter has had to survive the glacial cold of Martian nights, drawing warmth from the solar panels that charge its batteries during the day. And its flights are guided using an array of sensors, since the 15-minute lag in communications from Earth makes real-time guidance impossible.

Scouting duties

On April 19, Ingenuity carried out its maiden flight, making history as the first motorized craft to fly on another planet.

Exceeding all expectations, it has gone on to fly 11 more times.

youtube

“We’ve actually been able to handle winds greater than we had expected,” Ravich told AFP.

“I think by flight three we had actually accomplished all of our engineering goals … (and) got all the information we had hoped to get,” said Ravich, who works for NASA’s famed Jet Propulsion Laboratory (JPL), which developed the helicopter.

Since then, Ingenuity has flown as high as 39 feet (12 meters), and its last flight lasted two minutes and 49 seconds. In all, it has covered a distance of 1.6 miles.

In May, Ingenuity flew its first one-way mission, landing outside the relatively flat “airfield” that had been carefully selected as its initial home.

But not all has gone smoothly. Its sixth flight brought some excitement.

After being knocked dangerously off-balance by a malfunction affecting the photos taken in flight to help it stabilize, the tiny craft was able to recover. It landed, safe and sound, and the problem was resolved.

Just keep flying 🚁#MarsHelicopter completed its 6th flight. Despite unexpected motion from an image processing issue, Ingenuity muscled through the final ~65 meters of its 215-meter journey, landed safely & is ready to fly again. The chief pilot explains https://t.co/533hn7qixk pic.twitter.com/IHkkjXaHDd

— NASA JPL (@NASAJPL) May 27, 2021

Ingenuity is now being sent out to scout the way for Perseverance, using its high-resolution color camera.

The purpose is twofold: to chart a path for the rover that is safe, but also which is of scientific interest, notably in geological terms.

Ken Farley, who heads Perseverance’s science team, explained how photos taken by Ingenuity during its 12th flight showed that a region dubbed South Seitha was of less interest than scientists had hoped.

As a result, the rover might not be sent there.

Favorable conditions

After more than six months on the red planet, the little drone-like craft has gained a growing following on Earth, featured on coffee cups and T-shirts sold on the internet.

What explains its longevity?

“The environment has been very cooperative so far: the temperatures, the wind, the sun, the dust in the air… It’s still very cold, but it could have been a lot worse,” said Ravich.

In theory, the helicopter should be able to keep operating for some time. But the approaching Martian winter will be challenging.

NASA engineers, now armed with the data from Ingenuity’s flights, are already working on its next-generation successors.

“Something in the 20 to 30 kilograms (range) maybe, able to carry science payloads,” said Ravich.

Those future payloads might just include the rock samples collected by Perseverance.

NASA is planning to retrieve those samples during a future mission – sometime in the 2030s.

#Space

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douchebagbrainwaves · 4 years

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WORK ETHIC AND YOURS

Web-based software now, because writing applications for them seemed an attainable goal to larval startups. It was written by two guys working in an attic, and yet did things no mainframe software could do. As we were in the middle of the range. So why worry about a few more checks on public companies. That's how bad the problem has become.1 Don't hire people to fill the gaps in some a priori org chart. This, as we did, using a desktop computer, you can create wealth. To decide what to optimize, just log into a server and see what's consuming all the CPU. These are the users who are ready to try new things, partly because they're more flexible, and partly because they want to do something people want.

You're genuinely in a bind, because you were already worrying about it subconsciously. But only 66% of companies in the current batch have the.2 I would consider this problem solved.3 As Joe McGinnis recounts in his famous book The Selling of the President 1968, Nixon knew he had less charisma than Humphrey, and thus simply refused to debate him on TV. As a young founder your strengths are: stamina, poverty, rootlessness, colleagues, and ignorance.4 And you should, because some tasks like raising money and getting acquired. Now, they said, the absolute fastest they could get paid for it, without having a lottery mixed in, we would have been harder to. But in fact startups do have a rule of thumb for recognizing when you have to do well at that. We did. Similarly, good new problems are not to be cut out of the big galley and put them in the course of adding some feature they were asking for.5

If you really think you have a US startup called X and you don't have to send everyone the same signal, and you assemble a team of eight to ten people wearing jeans to the office and typing into vt100s.6 Eventually the pimps and drug dealers notice that the doctors and lawyers have switched from Cadillac to Lexus, and do things that would be motivation enough. In addition to catching bugs, they were exceptional. It's not unusual for an old friend especially if he is a hacker to suddenly send you an email with a new from-address doesn't guarantee that the sender is writing to you for the first time is constrained by convention in what they can say mine is bigger than yours. Three million? You can start by asking a comparatively lowly VC for a small team of good, trusted programmers than it would for a big company, and it's no wonder we had such a thing it would provide a boost to any filtering software. If you sell your car, you'll get more for it. A startup is not the great mystery it seems from outside.7 If $3 million a year seems high, remember that we're talking about the amount of money at any moment.

Live content can be way cheaper than networks realize, and the result is so depressing that the inhabitants consider it a great treat to fly to Europe and spend a couple weeks and hadn't seen much of the company is their performance.8 The Web let us do an end-run around Windows, and deliver software running on Unix direct to users through the browser. Which is why people trying to sell you expensive things say it's an investment. What I didn't grasp at the time, and the investors are the limiting factor. This doesn't work well with hackers.9 Now everyone knows that this is hard for us would be impossible for our competitors. It makes those parts of your software. The constraints that limit ordinary companies also protect them. And if at the last minute two parts don't quite fit, you can use a Web-based software, no one wants. This was not uncommon during the Bubble, or because they're a bad idea.

And a program that attacked the servers themselves should find them very well defended.10 And when there's no installation, it will disappear. You'd think. As a friend of mine said, Most VCs can't do anything that would sound bad to the kind of startup that approaches them saying the train's leaving the station; are you in or out?11 Apple solved for millions of people in America, have some amount of funding to get started painting that ten minutes of rearranging feels very long.12 Captains of industry issued orders to armies of workers, and everyone was delighted. In America you can have either a flimsy box banged together out of two by fours and drywall, or a market to supply evolutionary pressures. That's the biggest problem for someone starting a startup, so why not have a place designed to be a good thing too, or a salmonella outbreak for a food processor. But getting bought is also an art in its own right, and of a particularly stressful kind, but that they're driven by more powerful motivations. Do you go up or down on fears of instability in the Middle East.

For most people the best plan is to go for the smaller customers first. To start with, spam is easily recognizable. We would want to use it. 5-7% of the upside, while an employer gets nearly all of history the success of any company.13 Then it's mechanical; phew.14 Graduation is a bureaucratic change, not a threshold.15 The number of possible connections between developers grows exponentially with the size of users' data well, nothing easy, we knew we might as well have sat in front of a blank page for days without writing anything.

6x. A few days ago I realized that somewhere along the line I had stopped believing that. For most people, including the headers. The problem with software patents is an instance of a more general one: the patent office than the concept of expected value would be surprised if that situation returns, but with one difference: this time they'll be starting their own instead of going with the first microcomputers. Actually, neither do VCs. But in fact we were doing exactly the right sort of person who could get away with refusing to debate. Most VCs can't do anything that would sound bad to the Bayesian filters as ever, no matter what they're working on, you're not just trying to solve problems you're bad at marketing.

Don't waste your time worrying about patent infringement. The real reason we started Y Combinator, we planned to invest the way other venture firms do: as proposals came in, we'd evaluate them and decide yes or no.16 And jeans turn out not to have been able to work hard: these guys would have paid to be able to improve the software, and with a relatively small amount of force applied at just the point where startups can least afford it. The most recent counterexample appears to be 1968, when Nixon beat the more charismatic Hubert Humphrey. If you want to start it.17 Most hackers are employees, and this gives you an edge over older founders, because the rate of a successful startup: to start your own startup. Those turn out to be the first VC to give someone a present and don't have any more, and impose more onerous conditions.18 We would want to ensure that the company pays 10 times as much wealth as an average employee.19 They were the most arrogant people I've met in my life.

Notes

Some of the reason there have historically been so many startups from Philadelphia. For example, because I realized the other meanings.

Which helps explain why there are few who can say I need to go away, and you need a higher growth rate to impress are not just a Judeo-Christian concept; it's IBM.

The amusing thing is, so x% usage growth predicts x% revenue growth.

One thing that drives most people are like, and Fred Wilson to fund them. Trevor Blackwell reminds you to believing anything in particular, because there are no misunderstandings.

In this context, etc. But if they were only partly joking. The history of the company, and I had a day job.

The idea of what's valuable is least likely to resort to raising money from it. Proceedings of AAAI-98 Workshop on Learning for Text Categorization.

Big technology companies between them so founders can get rich simply by being energetic and unscrupulous, but that's overkill; the trend in scientific progress matches the population curve.

With a classic fixed sized round, you need two different kinds of menial work early in the definition of property.

If they were supposed to be high, they mean San Francisco, LA, Boston, and the ordering system and image generator written in 6502 machine language. Users dislike their new operating system so much about unimportant things. By your mid-sentence, though.

What they forget is that any given college. When you fund a startup could grow big by transforming consulting into a pattern, as they are bleeding cash really fast. Those investors probably thought they'd been pretty clever by getting such a low valuation to see the Valley use the standard career paths of trustafarians to start over from scratch today would say that YC's most successful founders is often responding politely to the Depression was one of the funds we raised was difficult, and then scale it up because they attract so much in their racks for years before Apple finally moved the door. Maybe it would have undesirable side effects.

Monk, Ray, Ludwig Wittgenstein: The French Laundry in Napa Valley.

Turn the other sheep head for a public event, you might be digital talent. The company may not even allowed to discriminate on any basis you want to avoid that. Progressive tax rates, which handled orders.

I'm sure for every startup founder could pull the same advantages from it. And the old one.

That's why the Apple I used a recent Business Week, 31 Jan 2005.

The answer is no personnel department, and would probably be interrupted every fifteen minutes with little loss of personality for the board to give up your anti-dilution, which merchants used to retrieve orders, view statistics, and cook on lowish heat for at least one of those you can often do better.

Don't be evil, they say this is what people will give you term sheets.

So if you're not consciously aware of it. In this essay, I can't refer a startup could grow big by transforming consulting into a pattern, as I know, the startup in question usually is doing badly and is doomed anyway.

All you need, you can't even claim, like most of the things I write. Many people have told me how he had simply passed on an accurate account of ancient traditions. See, we found Dave Shen there, and credit card debt is usually slow growth or excessive spending rather than giving grants. The 1/10 success rate is suspiciously neat, but the nature of an FBI agent or taxi driver or reporter to being told they had to write a new SEC rule issued in 1982 rule 415 that made them register.

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shorthaircutsmodels · 4 years

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Taylor Swift's Short Haircuts and Hairstyles - 30+ - https://shorthaircutsmodels.com/taylor-swifts-short-haircuts-and-hairstyles/ - Taylor Swift's Short Haircuts and Hairstyles, She remained in the news for countless hits. As well as her ever-changing hairstyles. Taylor Swift's haircut has undergone a sea change. From the early stage of her career. Taylor Swift is a talented girl who puts heartbreaks. Into words for millions of women to listen to. She's been rocking short hair with side bangs recently proving this cut is never out of fashion. Whether you see her at awards shows, music videos and even special appearances, Swift always has a different do for her short and perky hair. Taylor Swift's Short Haircuts and Hairstyles Taylor Swift's Short Haircuts, She had long hair with curls and bangs which she used to style in various ways. As the years progressed, just like his music, his hairstyles became sharper and more funkier. He chose short bob and then lob. Both hairstyles gave her enough freedom to try and pinch a bit to make a visible change to the entire look. Taylor Swift's Short Haircuts Taylor Swift's Short Hairstyles, He also gives a few ideas for the blast because you will never see him without the blast, which has almost become his signature style. He's actually done it many times, and that's a trait that only real artists have. Today, we thought we'd take a look at Taylor Swift's hair transformation. The singer has given us a plethora of fun looks over the years. Taylor Swift's Short Hairstyles Taylor Swift's Hairstyles, Taylor had many great hairstyles, from her iconic curly hair to her sleek short bob at the start of her career (which inspired us to say goodbye to our long locks). Love him or hate him, Taylor certainly knows how to change his appearance while staying true to himself. and a short bob haircut certainly made us believe Taylor wasn't the kind of person to go around. Taylor Swift's Hairstyles Taylor Swift's Haircuts, While she still managed to give us unsuspecting popstar vibes, she looks super sophisticated and has a hint of a 'tough girl' edge. Another Taylor Swift short hair with bangs that can inspire you is short textured hair with curled side bangs. To get the look, you need to use a small round brush and a blow dryer to curl the ends of the blast to create a seamless connection between the blast and the hair. Taylor Swift's Haircuts Taylor Swift's Short Hair, This hairstyle flattens and illuminates her face. Attracting other people's attention. Taylor won the 2021 Grammy Award for. Best Pop Vocal Album and best music video. She looked so beautiful and glamorous with a new short straight bob with a blunt bang. As you can see, the new haircut helped show off her perfect facial features and gave her the feeling that her already chipped cheekbones looked more sculpted. Taylor Swift's Short Hair Taylor Swift's Hair, What do you think of the singer's nap? Does it inspire any of you to rock such an impressive Taylor Swift short hairstyle? We saw Taylor Swift's new bob haircut on Instagram two weeks ago, and the problem with that is we know how a perfectly posed selfie can make everything look cuter than in real life. Taylor Swift's Hair But now the cut has been photographed in the wild and I'm happy to report that this is better than we thought. His girlfriend has to have some serious round brush shaping skills, because it's a violent blast wave and these front sections are spinning in all the right directions. I wonder if bob's gonna wear his curls. Taylor Swift Haircuts - 30 Taylor Swift's Signature Hairstyles I miss seeing your curls. Have you had a few weeks to get used to Taylor Swift's new bob haircut now? You expect him to keep his hair shorter for a while? Do you anticipate it will be shorter than that (A La Rita Ora and everyone else in Hollywood. Taylor Swift hairstyles with bangs Taylor Swift's Short Haircuts and Hairstyles, We saw Taylor Swift's new bob haircut on Instagram two weeks ago, and the problem. Taylor Swift Hairstyles - Celebrity Taylor's Hairstyles Pictures It is one of the sweet but sexy hairstyles tried by the singer. Long eaves hide her high forehead, and wavy layers bring sexiness to her appearance. Taylor Swift had as many hairstyles as her best friends. Go ahead, look at our favourites. Taylor Swift tends to change her signature style when she drops an album. Taylor Swift's Best Curly, Straight + Short Hairstyles From Red's blunt outbursts to 1989's lob, Swift's hair has undergone a dramatic change exactly five times in the past decade. Here, witness Taylor Swift's super-scientific assessment of hair evolution. Taylor Swift Hairstyles, Hair Cuts and Colors Taylor Swift has already basically won Grammy night and barely started. He is the proud recipient of two new Grammys Best Pop Vocal Album and best music video. More important than tonight's package, however, is that she launches her new hair on the red carpet. Folks, T-Swift is now a real Bob's mover. Like short hair and short bangs. What kind of haircut does Taylor Swift have? Taylor Swift's Short Haircuts and Hairstyles, It's pretty hard not to notice that Taylor Swift knows how to show that her hair is a dynamic character. Despite her endless love for these outbursts, which she actually personalizes, the singer is never afraid of style changes. And most importantly, whatever he goes for, it always turns out to be an enviable achievement. Taylor Swift with medium length bob Since hairstyles are nothing more than a role model for modern women, we've rounded up the most distinctive hair looks of everyone's favourite celebrities. Check them out and get inspired for your own style transformation. In this hairstyle, Taylor has done a great job of modernising the typical fringe to make her look wow with her stunning lob. How do I style my hair like Taylor Swift? And don't even get started on the number of stunning updo styles she sports on the red carpet. Here, we take a look at the singer's best hair ever and make-up looks over the years. Taylor Swift haircut with bangs Taylor Swift's Short Haircuts and Hairstyles, The "Bad Blood" singer smiled for photos on the red carpet with her long locks missing. February February Monday night, the singer cut a few inches before (Feb. 15) event, wearing her dirty blonde hair in a new bob with bangs. Best Taylor Swift short hair images The Fab inner circle includes current crushes such as Lorde, Cara Delevingne and. Ellie Goulding (no biggie), both of whom are equally envious of their bombshell hairstyles. I Mean, T. while we're waiting for swift to. Enter one of our big events to play gal pals (Re: make SF, Tay.), we'll just swoon over his hair. Perfect, perfect blonde hair. Taylor Swift's new short hairstyle Posing for paps on the red carpet or simply strolling through NYC, earbuds and all its streets, Taylor's curly looks, straight styles + glamorous updos are always perfect. Taylor Swift Hair & Make Up Ideas Taylor Swift's Short Haircuts and Hairstyles, Preppy + pulled back: even the ponytail looks stunning in the most basic Taylor. He pulls his pony with the slightest twist and effortlessly bursts the cheek. She plays coy with cryptic lyrics and coded videos. Taylor Swift hairstyle tutorial But Swift isn't shy about expressing herself through hair and makeup. The Country singer-pop star traded soft curls and rosy cheeks for sharper hairstyles and dramatic winged eyeliner. What shade of blonde is Taylor Swift's hair? Her glossy Garnet lips are currently in heavy rotation. The main idea for this hairstyle is to look relaxed and cool. Her dark blonde locks cut back from the sides in layers over her shoulders and fall revealing. The blasts are corrected to frame the top half of the face, completing the look. But now the cut has been photographed in the wild and I'm happy to report that this is better than we thought. What did Taylor Swift do to her hair? His girlfriend has to have some serious round brush shaping skills, because it's a violent blast wave and these front sections are spinning in all the right directions. I wonder if bob's gonna wear his curls. I miss seeing your curls. Have you had a few weeks to get used to Taylor Swift's new bob haircut now. Taylor Swift hair curly You expect him to keep his hair shorter for a while? Do you anticipate it will be shorter than that (A La Rita Ora and everyone else in Hollywood)? Simple easy everyday hairstyles for women Taylor Swift shows off her latest new long blonde chic hairstyle at the 2021 Billboard Music Awards held at the MGM Grand Garden Arena. Taylor Swift hairstyles 2020 - 2021 Her long tresses in plain signature style featuring smooth wispy bangs. Go for this hairstyle when you want to make a fashion statement. This is a super short bob that perfectly shows off his long neck and beautiful collarbones. As this was a blunt bob, the look was softened by adding blasts covering his entire forehead. It is certainly one of his edgy looks but it is not a very brave thing to give a chance. When did Taylor cut her hair? It's really easy to maintain and you'll love it. A lot of girls like this style, especially the hair color and cute bangs. Tired of long wavy/curly hair styles, why not try long chic hair this season, with the help of a straight hair iron you can make nice long chic hair at home. You can find very straight hair iron at a cheap price on Amazon. Taylor Swift haircuts 2020 - 2021 If you've followed any of Taylor Swift's life over the past decade, you already know how many transformations there have been that have made the transition from a fresh-faced, country-singing newb to a chart-topping, feuding pop star.several (dozen) hair changes along the way. And to remind you how much Taylor Swift has changed since 2021 (yes, you're old; we're all old), we rounded out the best, most memorable hair moments of the past decade, from curling iron curls to platinum yellow lobes. Taylor Swift hair color formula Taylor Swift has been testing shorter hairstyles for some time and eventually decided to make the cut. Tuesday Through February. 11), Swift uploaded a video to Instagram taken during her latest haircut in London. In the clip, he is surrounded by a large group of people cheering. "How many people are watching me get a haircut right now," he says. “That's how many people. We're not doing anything without an audience, are we?"Swift cut her hair, so it fell over her shoulders. Taylor Swift hair extensions The 24-year-old star looks shorter, having been pinned many times before, most recently playing with a delicate bob for the Golden Globe Awards. She debuted her haircut while posing for a photo with singer Ellie Goulding, writing “ " in London, never thanks enough. See you next time. PS: short hair, I don't care. "Of the sexiest girls in the world, the sexiest is Taylor Swift, a legal singer and successful songwriter. What color are Taylor Swift's eyes? Taylor Swift's Short Haircuts and Hairstyles, He was born in 1989 in Pennsylvania. The youngest U.S. countries have a title at the top of the list. In 2020, he was nominated for Best New Artist at the Grammy prices. It has a strong reputation around the world. He's a big star. Taylor Swift is always being at the centre of attraction because of her style as a musical talent. After these photos of Taylor Swift, short of her next on our list, chic bob grew a bit. Taylor Swift hair color 2020 - 2021 Taylor Swift's Short Haircuts and Hairstyles, As you can tell, the pop star decided to let his outbursts grow, too. He swept them side by side with straight or curly hair. Haircuts in particular are beloved by many authorities. Recently she has been seen getting a revolutionary new haircut for her, her fans, and fashion writers in the US and around the world. What is Taylor Swift's hair color Taylor Swift's Short Haircuts and Hairstyles, Let's check out Taylor Swift's new hairstyle. Taylor Swift's new hairstyle is truly revolutionary for her bearer, fans and fashion writers. First of all, it looks like short hair. New haircut short and curly; The new colour of Taylor Swift's new haircut is platinum. The new color doesn't fit your face, skin and eyes, according to some officials, but the new color fits your face, according to some officials. Taylor Swift natural hair color There is a debate in all magazines about Taylor Swift. Rocking a super short bob, the singer also decided to try platinum hair. While the look hasn't been parted for very long, we must admit we absolutely love it Taylor Swift looks incredibly fierce with platinum hair. Taylor Swift had long, black hair for a long time. Taylor Swift hair 2020 - 2021 Whether you love her, hate her, or fall somewhere in the middle depending on the album in question, we can all agree that Taylor Swift has evolved not only in the genre of music with her boyfriend of-the-moment, but also in her wardrobe, her makeup, and the way she wears her hair. From Angel Tears To My Guitar ringlets that define the country of the early'00s to the badass explosion she debuted for Red, a few striking. Taylor Swift haircut shake it off T. Swift has hair. 30 of the star. in honor of her birthday, we get back, reliving the best Taylor Swift hair moments ever. It could inspire the next fluffy bun, the colour of platinum, or, at the very least, prove that some people in Swift prime among them are simply better at having bangs than others. But she decided to get short hair. Taylor Swift hairstyles love story In 2021, Taylor changed her look impressively when deciding to cut her hair. Her Lob hairstyle made many fans regret her beautiful long hair. However, the country music Princess also received plenty of praise for her new youthful and stylish look. Taylor Swift new haircut Examine our Photo Gallery of his new haircut. Taylor Swift is one of the celebrities who continues to surprise us by changing. Her music and style-she's gone from a beautiful country star to the artist. Who has sold the most singles in the past decade. Taylor Swift natural hair The new ' do singer makes you look a little more mature, and very sassier. Swift's outfit got everyone talking, too. She sported a fluorescent pink skirt with a large slit which she paired with an orange bandeau crop top. Taylor Swift hair dos She wore a simple necklace around her neck for a touch of grace. Swift didn't walk the carpet and posed for photos with her boyfriend, DJ Calvin Harris. Instead, she stood next to her BFF, pop star Selena Gomez.There were two sets of two looking fierce. Taylor Swift hair The new pop singer received the award for best music video for" Bad Blood " and Best Pop Vocal Album for his latest album 1989. New hair, I don't care. Recently single Taylor Swift debuted a funky new haircut on the weekend and we're totally on board. Taylor Swift short hair His piece y petting with Bang looks trendy and Fresh, also cementing the. 70s-inspired style as the hottest cut for autumn. Swift's shoulder-length hair has been updated by hairdresser Gareth Bromell, who shared her look on his instagram account. Taylor Swift hair natural He awarded colorist Tracy Cunningham with color gold. It's undeniable that Taylor Swift is one of the hottest topics right now. Stories about his movement, lifestyle and more are constantly broadcast on the airwaves. Taylor Swift hair stylist She certainly takes the entertainment scene by storm as she goes on the road for tour shows, performs to sold-out audiences at concerts, and continues to churn out Award-winning hits. With his equally talented stables, including Ed Sheeran, Ellie Goulding and Sam Smith, he seems to have found the right rope in 2020. Taylor Swift haircut short Besides their great success, they also command the music scene, especially among younger generations. Recent hot topics include Taylor Swift's decision to rock her nails, tattoos and short hair (yes, she no longer breaks her long branded hair when she receives an award). By now, you probably consider yourself a Taylor Swift expert. Taylor Swift hairstyles short He has a borderline unhealthy obsession with Beyoncé."It's normal for everyone to love Beyoncé. I love him more than this amount. More than the usual amount. I'm trying so hard not to let it get creepy. I channeled it into a joyful admiration and appreciation. Taylor Swift new hairstyle Taylor Swift has transformed from a young superstar into a sophisticated adult pop singer before our eyes. Teen pop singer Taylor Swift has gained popularity with her incredible heartbreak songs and emotional voice. Taylor Swift haircut bob Credit goes to her hairdresser Lorrie Turk, who gave the singer perfect hair to compliment her extraordinary look. Let's take a look at Taylor Swift's hair evolution over the years. Bang will also look good with another hairstyle. Taylor Swift black hair She made soft waves all over her hair but this hairstyle would also look great with straight hair. Ask your hair stylist to make a long fringe that sits just below the eyebrows and angles at the edges near the cheekbones. Diamond is the perfect hairstyle for square, rectangular and oval faces. Taylor Swift hair lover Now, with her latest album Lover, her new beauty look is her most colourful yet. See Taylor Swift's beauty and hair through the years. Taylor Swift is an American singer-songwriter. Raised in Wyomissing, Pennsylvania, he moved to Nashville, Tennessee at age 14 to pursue a career in country music. Taylor Swift haircut now Taylor Swift has changed her hairstyles quite often over the years. View yourself with Taylor Swift hairstyles. We also provide easy "how to style" by reporting tips on which hair can match face shape, hair texture and hair density. Taylor Swift hair short This new Taylor Swift era is full of surprises. In the beauty department, she swapped her classic red lipstick for bright fuchsia, worn temporary bufferfly back tattoos, and even tried out different hair colours for the first time. While Swifties have been digging. Taylor Swift brown hair Out the singer's hot pink and pastel blue dip Dye Hair, Taylor couldn't stay away from one of her favourite hairstyles for too long. Today, Vogue shows that Swift is the cover star for the publication's September issue, with the cover photo striking in a revival of her signature shag haircut. Taylor Swift hair color It won't be long before the obligatory pre-and post-photos take over your Instagram post, as they tend to do every spring. So, what about the hair trend in 2020? Woodstock waves or maybe a Miley Cyrus-inspired mullet. Taylor Swift long hair No, this is going to be a short haircut year with Bang. If you're looking for some inspiration for your annual spring transformation, look no further than Taylor Swift's side-sweeping bursts or yara Shahidi's jaw-grazing bob with voluminous curly fringes. Taylor Swift hair updo I accept that this is what we really think it is. So, just let Taylor be our great model and we'll learn from her amazing hair. Taylor Swift is a well-known American country music singer and popular actor. Taylor Swift new hair In this text, you will introduce some of his signature hair, to which you may have some inspiration. Taylor Swift hairstyles: every Taylor Swift hair look with a medium haircut with short bangs gets a million accolades. Taylor Swift red hair Check out his most popular cuts and styles, which are certainly worth copying today. Taylor's hair seems to have its own fan base. Well, not for nothing: the rocks always look flawless, regardless of length or color. Taylor Swift hair bob How about stealing one of your styles to look great? Look at the hot hair. Taylor Swift pairs her long glossy straight hairstyle with charming striking wispy bangs. The harmonious beautiful lines of her long textured hairstyle are super classy. Taylor Swift hair flip Taylor Swift is undoubtedly one of our ultimate beauty muses. Whether she's rocking a vampire lip or peroxide blonde hair, she always looks effortlessly together. Taylor is also an absolute kween on the fringes, with blunt full-cut side-sweeping styles.

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angelwakingup · 7 years

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*PLEASE NOTE* These are only a suggestion. I REPEAT - These are only a suggestion! As with anything in life, you must use discernment and your own Universe-Given intuition to decide what you feel comfortable with. I offer these suggestions out of nothing but love, and always wish for everyone to find their own path. But these websites, these places of online knowledge, have helped me greatly in the past, and I wished to share them with you in case you, too, may find something helpful amongst them. ✌️💜🌟

1. Gaia TV - www.gaia.com

Think Netflix for spirituality/ancient knowledge/ETs/health/yoga. No joke. This place is a veritable fount of information. And yes, it is $10 bucks a month. But it is so worth it. The amount of knowledge I have gained from this site is unparalleled. Some of my favorite shows are Wisdom Teachings with David Wilcock, Missing Links with Gregg Braden, Deep Space, Truth Hunter with Linda Moulton-Howe, Beyond Belief with George Noory, Buzzsaw with Sean Stone (son of legendary director Oliver Stone), Unearthing Nazca…the list could go on! And let me just say that I could not be prouder to be from Colorado, the home state of the Gaia Network, and that I actually used to live only a few miles away from their headquarters.

2. Divine Cosmos - www.divinecosmos.com

The official website of David Wilcock. Whether you ascribe to him or not, the man has put together a treasure trove of scientific knowledge, spiritual knowledge, and information about what many call the Dark Cabal/Illuminati/negative secret societies. He is routinely featured on History Channel’s Ancient Aliens, and has been working diligently to bring about full disclosure to the planet as soon as humanly possible.

3. Biblioteca Pleyades (or Pleiadian Library) - www.bibliotecapleyades.com

First and foremost a Spanish language website, it thankfully has English translations for just about every article they have, which have been carefully indexed by genre (or what they call areas). And they literally have thousands of articles on ETs, spirituality, the awakening process, government conspiracies, ancient knowledge, etc.

4. Schumann Resonance Frequency and Amplification Chart - www.sosrff.tsu.ru/?page_id=7

This is a direct link to a page on a Russian space observing system. I use it because it is the simplest to understand, and is updated all the time. Some of the English language charts are really confusing, in my opinion. But if you find a good one, definitely let me know.

5. Prepare For Change - www.prepareforchange.net

If, in your awakening process, you have come across something called “The Event” or “The Shift”, and want to know what it is, why it’s coming, and how to help in the process, this is a good place to start. It is no question that our reality is changing very rapidly. At times it looks like chaos, like the world is literally going to end. But that is simply the old crumbling away because our consciousness is expanding. We are becoming that which we have been forbidden to become. And I personally feel it is vital to know about this tremendous leap forward we are about to experience.

6. The Portal - www.2012portal.blogspot.com

When looking up information regarding The Event, it is more than likely you will come across a person with the nickname of COBRA. COBRA stands for Compression Breakthrough, an extremely important part of bringing about this tremendous leap in consciousness we are about to go through. For safety reasons, you will never see COBRA’S face on or hear his real voice in interviews, nor will you ever know exactly where he is located. His mission on this earth at this time is to help bring about The Event in the quickest, most harmonious way possible, and should his actual identity be known, his life would be in great danger. He is a member of the light forces, a light warrior, and has more knowledge about what is going on than perhaps anyone else I have come across. He gives updates about various things happening behind the scenes pertaining to ascension, planetary liberation, and the takedown of the powers that have been keeping us in a state of perpetual suffering and fear. He puts things in very simple, concise terms which are easy to understand, since this whole range of topics can be utterly confusing.

So there they are, 6 websites which could possibly be beneficial in your quest for knowledge and understanding. But again, these are ONLY SUGGESTIONS. Let me repeat that - THESE ARE ONLY SUGGESTIONS. I REPEAT, THESE ARE ONLY SUGGESTIONS. Only YOU know what feels right to you.

From the bottom of my heart, I wish you all the utmost love, light, and peace in your journey on this planet and beyond. May we all very soon see the miracles that only truth and liberation can bring, and may we see them together.

✌💜🌟

#gaia tv #prepare for change #cobra #consciousness #higher consciousness #higher vibration #higher awareness #higher knowledge #higher frequency #ascension #the event #text #text post #wake up #awakening #ancient aliens

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psychic-readingonline · 6 years

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Psychic Yellow Pages

Contents

Saturday 29th december 8.00pm

Midnight lansdowne hotel

Masquerade masks ready

2019 anime watching

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Psychic (Japanese: サイキック Saikikku) is a Type of monster who made their debut in The Duelist Genesis, and are used by Sayer in Yu-Gi-Oh! 5D’s.Psychic monsters often resemble cyberpunk androids, cybernetically-enhanced humans, or strange mutants, and often feature elements of cyberspace, circuit board patterns, green coloring, and yellow electricity in their art.

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calorieworkouts · 8 years

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11 iPhone Apps to Strength Train and Lift Smarter

Frankly, the scientific research behind getting muscle isn't extremely challenging, it mostly boils down to loading up the bar, and after that loading up the fork. That's not to say it doesn't take discipline and dedication. That's why any help we can obtain is valued. If the mathematics is so basic, why do so many health and fitness apps sport more features compared to a Japanese bathroom? All those gizmos and gizmos can be a lot more obstacle compared to help.

Greatist has assembled 11 of the most effective strength training apps to lift smarter (all at least readily available on apple iphone, Androids never are afraid, there are choices here, as well!) . These apps will assist anybody exercise right, eat much better, rest up, and also track the entire point, all on a mobile phone. Keep reading to discover out how!

Getting Stronger

Time in the fitness center ought to be time spent functioning, not futzing with a phone. Miss the complex apps with bunches of preloaded exercises by who-only-knows and stroll in the health club with a plan from a trustworthy source, and curtailed applications like:

Pumping Weight

Aside from being devastatingly good-looking, this straightforward person sports some awesome functions, like immediately taping remainder periods. That's handy for evaluating the intensity of a specific session (plus it fosters a beat-the-clock kind of emphasis). Pumping Weight does a superb work of recording as well as visually charting progression with everything from weights to periods, it isn't totally instinctive. Compromise 10 minutes discovering its ins-and-outs as well as Pumping Weight will certainly become an indispensable training tool. Details: Price: $2.99. Offered for iOS.

Gym Buddy

Gym Friend is ugly. Extremely ugly. It makes up for appearances with no-nonsense performance that's fantastic for major lifters. Take, for instance, the swipe-through user interface that makes monitoring supersets very simple, plus it is among the couple of apps that can manage multiple lifting weight loss programs. (Pro Idea: track greater than 150 exercises and also the application begins to lag, aggravatingly.) The preset timers just provide 30, 60, and 120 second pause but they do count to an audible boxing bell cue, which is embarrassingly motivational-- cue the Rocky montage! Details: Cost: $2.99. Offered for iOS.

Gym Hero

A lesson in simpleness, this application is bit greater than an electronic notebook. It could hold numerous programs as well as supports immediately to the internet, but for anything else-- timers, guideline, the capacity to track cardio-- look elsewhere. Details: Price: Free. Available for iOS.

StrongLifts 5x5

This is an intuitive and also well manufactureded app that automates the super-popular StrongLifts 5x5 program. It could find out suitable weights, tracking progress, as well as deloading people immediately when they plateau-- yet that's all it does. There's no space for tracking cardio or accessory work. Basically it's everything about consuming the '5 workout, 5 collection, 5 rep' Kool-Aid, or locate an additional journaling app (Health club Hero, for instance). Details: Price: Free. Readily available for iOS.

Digital Diets for Actual Life Muscles

Livestrong MyPlate Calorie Tracker

A huge component of toughness training, whether it be dropping fat or including muscle, is visiting boil down to just what goes right into the tank, but keeping nutrition on factor throughout the 160+ hours not invested grunting and grinding out reps could be tougher than the real exercise. Food journals can make keeping an eye on calorie (and also protein) intake significantly much easier. It's crucial, nonetheless, to pick a great one like these:

MyNetDiary

Powerful as well as simple, MyNetDiary addresses both biggest problems the trackers below have: It supplies a decent portfolio of foods offered offline, however MyNetDiary also includes accessibility to an online database that matches the very best resources out there. The app also includes a helpful barcode scanner (though it's truly just useful in the paid version), or even a constructed in "Before & After" function for taking selfies, which could seem silly, yet allow's be truthful-- vanity is a heck of a motivator. Details: Price: Free, or $3.99 for the Pro Variation (recommended). Readily available for iOS, Android, and Blackberry.

Tap & Track

The fact this person works offline is big (specifically in New York, where train rides are the perfect time to find out exactly what Apollo Ono's fave foods truly do to a diet). Tap & Track also permits macro targets (healthy protein, carbohydrates and also fat) for the day, which is a standard function most trackers lack. While it's extremely user-friendly, searching the data source can get aggravating (Pop Chips? No outcomes. Popchips? Oh, there we go!) specifically given that it's possibly somewhere in Touch & Track's well-equipped database. Details: Price: $3.99. Available for iOS.

Livestrong's MyPlate Calorie Tracker

Livestrong's substantial individual base makes its lineup of consumes among the most effective in the company (banh mí for lunch? BAM! There're 30 options where most trackers have none). Do not underestimate the importance of a good database, because actually, that is going to spend 5 mins getting in the breakdown by hand? That claimed, Livestrong's Achilles' heel is its reliance online. It might save room on phones, but also for anybody with sluggish (or no) service monitoring, using MyPlate can come to be a trying experience. Details: Price: $2.99. Readily available for iOS, Android, a lot of Blackberry devices (see app store for information), as well as Home window's Phone.

Make Sure to Rest

Sleep Cycle

Sleep, together with training intelligently as well as consuming well, is a vital cog in any kind of stamina strategy: get insufficient and also the deficiency will certainly present to in the fitness center. Plus it could cause overtraining. While these apps have even higher limitations compared to their costlier brethren, for people who persistantly lose out on the Zzz's they can be valuable to determine underlying problems so insomnia does not need to be taken resting (* moan *).

Sleep Cycle Alarm Clock

Sleep Cycle tries to wake customers throughout the lightest phases of their sleep cycle so they awake feeling more revitalized. To manage this feat the app has users select a timeframe in which they should rise, after that copulate their phones in the bed so it could use the accelerometer to feeling tossing as well as transforming in the evening. The application boasts that it was when the top paid application in 9 nations, which is a proof to how valuable many have found it. Generally, I located it seemed to always go off at the earliest possible moment. Details: Price: $0.99. Readily available for iOS.

EasyWakeup Pro

While largely interchangeable with the above app, this a little much more pricey choice additionally seemed to measure depth of rest a lot more dependably, which might be valuable to somebody who's attempting to comprehend their sleep patterns a lot better. Also with this added level of sensitivity, the alarm still appears to go off at the beginning of the designated wake-up window. Details: $4.99. Available for iOS.

Track Your Progress

Game Trac

Working out? Examine. Eating much better? Inspect. Relaxing? Inspect. Now all that's left is making certain all that effort is becoming genuine results. These apps will certainly aid chart an individual's development and also remain on top of those stamina training objectives (we might even bust a plateau or more).

fitnessMeter

For any person that's wanting to include strength for useful reasons, having the ability to determine exactly how weight space achievements translate right into real life gains, fitnessMeter's an awesome tool. Utilizing the phone's cam the application can instantly time self-destructions, sprints (though it's just useful if they're under 20 meters), and measure upright jump. While all of these would undoubtedly be a lot more accurately determined by a real-life individual, fitnessMeter frees you from the have to drag a close friend to the track every day. Details Price: $1.99. Readily available for iOS.

GameTrac

For any person that plays sports, this easy app is a terrific method to evaluate in-game performance. That might be a major aid in figuring out if all that time under the bar is paying off. GameTrac makes managing the statistics of someone, or a whole team (consisting of success and also losses), extremely simple-- it even supplies to populate teams utilizing contacts located on the phone. The majority of major sports come preloaded, however everyting from the online games to the actual states are adjustable. Just don't ignore a stat sheet's capability to warm up a pleasant video game of hoops. Details: Expense: Free. Offered for iOS.

Have you ever made use of an app or modern technology to boost your training routine? Any type of apps we missed out on? Share your encounter in the comments below.

#exercise #fitness #fitness center #fitness jobs #gym #health #health and fitness #health club #the fitness center #weight #workout #workout regimen

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bluewatsons · 5 years

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Eran Guter, Wittgenstein, Modern Music, and the Myth of Progress, 93 Acta Philosophica Fennica 181 (2017)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, arguing that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but he was also the first to consider seriously that Wittgenstein’s attitude towards his times makes him unique among the great philosophers, that the philosophical problems that Wittgenstein was struggling with, indeed his view of the very nature of philosophy, were somehow connected with “the way people live”, that is, with features of our culture and civilization.

In this essay, I would like to manifest the inspiration and courage which I have drawn from von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophical task in its own right, not to be dismissed as either idle or irrelevant, in probing a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic on which von Wright, and most other prominent Wittgenstein interpreters, have said very little, but it is also a subject, as Wittgenstein himself attested, “so important to him that he felt without it he was sure to be misunderstood” (Fann 1969, 67–68). The purpose of the present essay is to re-contextualize my recent study of Wittgenstein’s remarks on modern music (Guter 2015) in Von Wright’s overarching outlook on Wittgenstein’s philosophy in relation to its time, thereby suggesting why and how these intriguing remarks are integral and conducive to an overall understanding of Wittgenstein’s philosophy.

It is very clear that in Wittgenstein’s mind music has always been intimately and irrevocably related to “the way people live”. It took some time for Wittgenstein to develop to the point where this idea became explicit in his writings. At any rate, it is in full bloom by his middle period, when we find him asking, “Could one reason be given at all, why the theory of harmony is the way it is? And, first and foremost, must such a reason be given?” and then answering, “It is here and it is part of our entire life” (Wittgenstein, 2000, MS157a, 24–26; my translation, my emphasis). This notion is even more pronounced in his late period, in particular during his final breakthrough years (1946–1951), when he focused intensely on the idea that music is physiognomic, intransitively transparent to human life, drawing closely, as Garry Hagberg puts it, to “the preconditions, and the lived, embodied realities, of musical intelligibility” (Hagberg 2011, 402). Indeed for Wittgenstein, music has always been a “master simile”, as it were, for anything which is fluid, non-mechanical, context-laden, incalculable, and indeterminate in language—first and foremost, expression. In Wittgenstein's later writings in particular, thinking about language as music became part and parcel of not only his multifarious considerations of meaning, understanding, and aspects, but also, and importantly so, his treatment of the experience of meaning.

For the later Wittgenstein, a musical gesture is transparent in the sense that it is already given to us with a familiar physiognomy, already internally related to our world of thoughts and feelings. And so we find in Wittgenstein’s later writings the need to make sense of the conviction that “understanding music is a manifestation of human life” (1998, 80; compare 1953, 143 par. 527), that it is a measuring rod by which a culture is to be gauged, enabled by our capacity to make increasingly nuanced comparisons between multiform human practices as we chart the unexpected topography of the resemblances that give unity to a culture’s ways of life.

It is noteworthy that von Wright’s reading of Wittgenstein in relation to his times is emblematic of von Wright’s own approach to the idea of culture. Both philosophers approached the idea of culture by way of a critique of Western civilization, its scientific rationality and the latter’s repercussions on life—“a diagnosis of our times,” as von Wright called it (Wright 1993, 3-4)—whose pessimistic overtones resonate in sympathy with Oswald Spengler’s Decline of the West (Spengler 1939). Wittgenstein found many real, significant thoughts in that book. He wrote: “Much, perhaps most of [Spengler’s Decline], is completely in touch with what I have often thought myself” (Wittgenstein 2003, 25; see Wittgenstein 1998, 16). Von Wright’s interest in Spengler’s philosophical ideas spanned much of his career. He wrote: “It is [...] a great pity that the prophet and quasi-historian Spengler overshadowed the philosopher Spengler that few people seem aware of the fruitfulness and relevance of his philosophic thoughts” (Wright 1989, 844).

Significantly, the influence of Spengler oriented both philosophers toward allying the idea of culture with human nature, albeit without reducing cultural modes of existence to natural ones. This essentially Romantic idea means that the human spirit, unspoiled by an excessively sophisticated, contrived tinkering of the human intellect, can be seen as a natural force of life, which promotes the creation and observance of shared human practices and customs that are deeply meaningful to us. Von Wright saw this idea as the very essence of humanism: “Man has a ‘nature’, characteristic of man as man, and it is his inalienable right and profoundest destiny to try in life to actualize this nature as fully as possible” (quoted in Tranøy 1989, 495). This is accomplished through the acquisition of skills, habit, tendencies, and preferences, which enable us to observe a way of life, develop an aesthetic taste or a religious attitude. Thus, the vitality of a culture, its cohesion and strength as a spiritual force in our lives, hinges upon the significance of such uncontrived cultural sensibilities and skills to our observance of a way of life. This is a cause for lamentation about the deterioration of culture, the loss of its vitality, for both Wittgenstein and von Wright, but also an occasion for instigating a critical task concerning the idea of progress, which we find explicitly in von Wright’s writings, but also, as I suggest below, in Wittgenstein’s remarks on modern music, albeit implicitly.

Von Wright pointed out that Wittgenstein cannot be bundled in any straightforward way with what we are in the habit of calling “conservatism”: “Wittgenstein was much more anxious to combat and distance himself from a prevailing climate of opinion than to work for the restoration of one which was already fading. He is as little nostalgic in his thinking as are Dostoevsky and Nietzsche” (Wright 1990, 52–53). His attitude is exactly the opposite of that of the man who seeks to preserve what is or even to restore what no longer is. He believed in neither a brilliant future nor the good old days. Yet “the philosopher who wrote ‘I destroy, I destroy, I destroy’”, said von Wright, “was not alien to the thought that something new could be built once the heap of rubble of a decaying culture had been cleared away” (1990, 53). His is an attitude opposed no less to the conservative outlook than that of the progressives of the usual kind.

I would like to pursue this more nuanced, subtle mode of reading Wittgenstein when considering his remarks on music. That is, I would like to resist the temptation to underscore Wittgenstein’s notoriously conservative taste in music, and even to extrapolate theoretically from it (see, for example, Szabados 2014). At the same time, I would like also to resist the temptation to reprimand him for it, thereby suggesting that his philosophy actually calls out modern music (see, for example, Hagberg 2011).

Wittgenstein’s impatience with the modern music of his time is well documented. He suggested that Gustav Mahler’s symphonies might be worthless and pondered whether the composer should have burned them or else “done himself violence” (Wittgenstein 1998, 76); he thought Alban Berg’s music scandalous (McGuinness 1988, 33); and he refused to enter a concert hall to attend a performance of selections from Richard Strauss’s Salome (McGuinness 1988, 124). David Pinsent, Wittgenstein’s friend and companion during his first sojourn in Cambridge in the years 1912–1913, noted in his diary the vehement arguments between Wittgenstein and his fellow students in Cambridge concerning modern music (Monk 1990, 78). Finally, in a sketch for a foreword to a planned book entitled Philosophical Remarks, Wittgenstein admitted that he approaches “what is called modern music with the greatest mistrust (without understanding its language)” (1998, 8).

Such an attitude may certainly leave one somewhat frustrated, searching for where and why this great mind could have gone so wrong in this regard. But this response actually borders on some sort of ad hominem fallacy. In the last analysis, the real, indeed much more interesting question before us is not, “What music ought Wittgenstein have appreciated given the kinds of philosophical ideas he maintained at a given stage in his career?” but, rather, “What were his philosophical reasons and purpose for delineating musical experience in the way he did?” The first question presupposes too much: that there is no point in raising the other question. But this is unwarranted as it stands. So the other question deserves a fair shot. Actually, it is far more reasonable to expect that Wittgenstein will offer interesting reasons for taking the stance he did.

To fully understand Wittgenstein’s critical attitude towards the modern music of his time, we need to consider as a starting point a relatively obscure episode: Wittgenstein’s brief encounter with the music theory of Heinrich Schenker, Spengler’s comrade-in-arms in musicology (Almén 1996). It occurred approximately between 1930 and 1933, in parallel with his encounter with Spengler’s work (Guter 2004, 2011, and 2015). Schenker’s theory was introduced to Wittgenstein in conversations with his nephew, the musicologist Felix Salzer, and there are a number of references to his ideas in the writings and lectures of Wittgenstein’s middle period.

Schenker provided a formidable theory of musical decline. According to Schenker, all works of music (in particular all masterworks) are, in a sense, extended commentaries on the major triad, which Schenker dubbed “the chord of nature”. Schenker’s theory embodies an attempt to describe musical thinking itself: it describes how we keep this “privileged formation” in mind over a period of time and how we interpret configurations of notes as contributing to the continuity of that cognition. Any musical work that digresses from the common practice of harmony (hence failing to demonstrate the kind of hierarchy sought out by Schenkerian analysis) is patently rejected by Schenker as unsuccessful, superficial, or altogether musically nonsensical depending on the severity of the digression. Irreverence towards the laws of tonal effect, among performers and composers alike, reflected, so he believed, a loss of musical instinct for the inner complexities of the masterworks of Western music, which in turn hindered the musician’s almost sacred mission to provide access to the world of human experience contained in such masterworks (Snarrenberg 1997, 145–150).

In the most important reference to Schenker, which occurs in the Big Typescript, Wittgenstein actually fuses his critique of Spengler’s dogmatic use of the idea of an Urbild with Schenker’s analogous theoretical dogmatism concerning the idea of an Ursatz (Wittgenstein 2005, 204; 2000, TS 213, 259v). The upshot of this twofold critique is a willingness by Wittgenstein to entertain Schenker’s view of music as a useful heuristic device that can be laid alongside the musical instances under consideration as a measure, rendering them surveyable, “not as a preconception to which everything must conform” (Wittgenstein 1998, 30).

It is worthwhile to say a few words in this context about the relation between Schenker’s theory and the conservative views of an older Viennese music critic, Eduard Hanslick. A connection between Hanslick’s musical formalism and Wittgenstein’s remarks on music—in particular those penned earlier in his philosophical development—has been suggested by Hanne Appelqvist (née Ahonen) and subsequently also by Béla Szabados (Ahonen 2005; Appelqvist 2008, 2010; Szabados 2006, 2014). Hanslick’s point in On the Musically Beautiful is that the objective properties of music, rather than people’s subjective responses to it, constitute the proper concern of musical aesthetics, which Hanslick rendered as a science (1986, 33). Appelqvist maintains that Hanslick’s musical formalism should be seen as a view that treats the mastery of musical rules as a criterion of musical understanding—a view which accords with Wittgenstein’s position, both early and late. Szabados maintains that Hanslick actually put forth an essentialist theory about the properties and value of music, which renders the early Wittgenstein, but not the late (post-Tractatus), as a musical formalist of sorts. As things stand, the exact nature of Hanslick’s formalism remains a matter of some scholarly controversy. As Nicholas Cook admits, it is “one of the ubiquitously misunderstood concepts in the literature of music” (2007, 50). This impinges on the status of the Hanslick-Wittgenstein conjecture, which as a matter of fact enjoys no direct, unequivocal textual support in Wittgenstein’s Nachlass or letters.

Be that as it may, it is clear that Schenker’s theorizing owes much to the basic conceptual framework of Hanslick’s On the Musically Beautiful. While Schenker gradually distanced himself from Hanslick’s positivist agenda, he shared Hanslick’s view of the compositional process and its importance for the understanding of music, and also Hanslick’s approach to emotional expression in music—that it must be understood in terms of the music’s objective properties. Schenker’s assertion that “the theory of harmony presents itself to me as a purely spiritual universe, a system of ideally moving forces, born of Nature or of art” (1954, xxv) distinctly echoes Hanslick’s formalism (compare Hanslick 1986, 151). According to Cook, “Schenker's theories as a whole can be seen as attempting to supply the explanations and demonstrations that Hanslick had called for in [On the Musically Beautiful], and to make visible the connections between musical elements to which Hanslick referred” (1989, 420; see 2007, 48- 62).

Yet how should we relate Wittgenstein’s direct, even if succinct responses to Schenker’s theory to the proposed Hanslick-Wittgenstein conjecture? While I cannot do justice here to the complexity of this issue, I would like to make the following suggestions. First, regarding the historical facts. Felix Salzer reported that Wittgenstein’s judgment of Schenker’s view of music “was not entirely negative” (Guter 2004, 194). That in itself would make a rather bland reaction from one who is presumed to be a Hanslickian musical formalist. It is more probable that Wittgenstein’s susceptibility to Schenker’s theory had much more to do with Wittgenstein’s pronounced, well-documented interest in Spengler’s mode of thinking, as I pointed out above, than with some earlier exposure to Hanslick’s view of music.

Second, regarding Wittgenstein’s actual remarks on Schenker. Wittgenstein’s implied critique of Schenker’s theory in the Big Typescript is clearly directed against its presumed essentialism. This is in line with Wittgenstein’s general approach to the very idea of ‘prototype’ (Urbild), which he found in Goethe’s morphological method. Wittgenstein denied the status of primal phenomena as common ancestors to all species (in any developmental, historical, or genetic sense) and restricted the notion of Urbild to a mere regulative idea, the primacy of which is due to its heuristic use in providing the “logical space” for all possible relevant instances (Guter 2015). This made Wittgenstein highly critical of dogmatic (namely, essentialist, metaphysical, and illusory, in Wittgenstein’s eyes) uses of ‘prototypes’, such as Schenker’s Ursatz. Jettisoning the notion of formalism as essentialism, Wittgenstein’s preference to render Schenker’s view of music as a useful heuristic device that can be laid alongside the musical instances under consideration as a measure seems to preserve Appelqvist’s overarching emphasis on the mastery of musical rules as a criterion for musical understanding. Yet for Wittgenstein, “considering the piece in Schenker’s way” is only one possible criterion for musical understanding alongside other natural reactions which enable one to distinguish between someone who hears with understanding and someone who merely hears (2000, MS 153b, 60v- 61r). This very inclusion actually goes against Schenker’s formalist conviction that structural hearing of the sort promoted by his theory is the prime—if not the sole proper—manifestation of musical understanding.

In the remainder of this essay I suggest that Wittgenstein’s criteria for musical understanding are significantly broader, heterogenous and dynamic than this, and furthermore, that Wittgenstein actually transcended Schenker’s formalist framework by critically entertaining the striking philosophical possibility of good modern music. It is precisely in these philosophically decisive moments that I see connections between Wittgenstein and von Wright.

Wittgenstein’s most direct expression of his view of modern music occurs in a curious diary entry from January 27, 1931. It discloses the complexity of Wittgenstein’s attitude towards what von Wright later dubbed “the myth of progress”. I will use some of von Wright’s ideas in order to elucidate and amplify my interpretation of Wittgenstein’s view. In this diary entry Wittgenstein wrote:

The music of all periods [the music of the past] always appropriates certain maxims of the good and the right of its own time. In this way we recognize the principles of Keller in Brahms etc etc. And for that reason [good] music, which is being conceived today or that has been conceived recently, which is therefore modern, seems absurd; for if it corresponds to any of the maxims that are articulated today, then it must be rubbish. This sentence is not easy to understand but it is so: no one is astute enough to formulate today what is correct, and all formulations, maxims, which are articulated are nonsense [Unsinn]. The truth would sound entirely paradoxical to all people. And the composer who feels this within him must confront with this feeling everything that is [now] articulated and therefore [his music] must appear by the present standards absurd, timid [blödsinnig]. But not absurd in a dressed-up sense (for after all, this is basically what corresponds to the present attitude) but vacuous [Nichtssagend]. Labor is an example of this where he created something really significant as in some few pieces. (Wittgenstein 1999, 38; translated by Eran Guter and Nimrod Reitman)

Wittgenstein begins his diary entry with a certain idea of cultural cohesion: music shows an affinity with other human practices and cultural artifacts of its period. The recognition, for example, of the principles of the Swiss author Gottfried Keller in the music of Johannes Brahms is familiar from Wittgenstein’s various lectures on aesthetics in the 1930s. The example clearly pertains to the cultural conditions for musical understanding and intelligibility, but also to the deepening of Wittgenstein's philosophical use of as- and aspect-phrasing —his careful attention to the activity of characterization and to the varieties of techniques of making illuminating comparisons to draw in significance, to become acquainted with something (see Floyd, forthcoming).

According to Wittgenstein, we draw such similarities between the style of composer and the style of a poet or a painter who lived at the same time so that we can hear the composer’s music with understanding (Wittgenstein 2016, 6a 9:31). The point of drawing such similarities for such a purpose is precisely that the two artists belonged to and shared the same culture (Wittgenstein 1966, 32 n.). For Wittgenstein, the hidden connection, which is suggested by the pairing of Brahms and Keller, cannot be asserted independently of the actual hearing or playing of Brahms’s music with the understanding that such a pairing brings about (Wittgenstein 1967, 166). Understanding the music of Brahms may consist in finding a form of verbal expression which we conceive as the verbal counterpoint of the music (for example, “Brahms is like Keller” or “find Keller in Brahms!”). However, Wittgenstein’s point is that “what happened when the understanding came was that I found the word which seemed to sum it up” (1967, 167; compare 1998, 59–60).

It is instructive to see that Wittgenstein actually had a notion of an ideal of progress in the arts, which goes beyond the classic idea, which von Wright pointed out in his essay on “The Myth of Progress” (Wright 1993, 202–228), that progress in the arts amounts to liberation from the constraints imposed by serving the purpose either of entertaining the public or glorifying the powerful. Wittgenstein conceded this conventional notion, of course, but he evidently also thought that progress in the arts consists in a movement towards the perfection of man, an ideal which von Wright attributes chiefly to the sphere of morality. For the later Wittgenstein, ethics and aesthetics may not be one and the same, yet nonetheless each exhibits a distinct quest for that “reaction in which people are in touch with one another [sich finden]” (Wittgenstein 1980, 154 par. 874), for being “mutually attuned top to bottom”, to use Stanley Cavell’s phrase (Cavell 1982, 32).

Crucially, Wittgenstein’s notion of progress in the arts exhibits a unique stance transcending the progressive/conservative divide, which von Wright observed in general. It is clearly not merely nostalgic, pessimistic, and conservative, as we can see in a related passage on the music of the future, again drawn from a diary entry, which Wittgenstein penned just a few months earlier. There we see Wittgenstein reiterating the ideal of human perfection in music in terms of simplicity, transparency, and nakedness:

I shouldn’t be surprised if the music of the future were in unison [einstimmig]. Or is that only because I cannot clearly imagine several voices? Anyway, I can’t imagine that the old large forms (string quartet, symphony, oratorio, etc.) will be able to play any role at all. If something comes it will have to be—I think— simple, transparent. In a certain sense, naked. Or will this apply only to a certain race, only to one kind of music (?) (2003, 49)

However, for Wittgenstein, the music of the future is patently not modern music, not music of the present day, and his idea strongly envisions the beginning of a new cultural epoch (compare Wittgenstein 1998, 73). The influence of Spengler’s Decline of the West is unmistakable. For Spengler, the future always transcends the current epoch and it is always marked by a return to the simplest, most basic expression of life. Wittgenstein’s suggestion that the music of the future might not be a continuation of the currently predominant, culturally entrenched musical formats, which embody a complexity of voices, can be related to various passages in Spengler. As Jacques Bouveresse pointed out, it would be “a gross exaggeration to say that Wittgenstein did not believe in the possibility of improving things. What is true is simply that he did not believe in the possibility of improving through continuing development in the current direction” (Bouveresse 2011, 310).

The sort of cultural cohesion, exemplified by our intransitive understanding of Keller in Brahms, wherein music interacts with “the rhythm of our language, of our thinking and feeling” (Wittgenstein 1998, 59–60), is precisely what seems to have been lost, in Wittgenstein’s view, in the transition to the modern. For Wittgenstein, understanding is intransitive, if what I understand (in a picture or in a melody) cannot be translated into a different expression. In that sense, it is autonomous. For Wittgenstein, understanding a melody is a prime example of intransitive understanding (1974, 79). Modern music, that is, music which is being conceived amid “a dissolution of the resemblances which unite a [culture’s] ways of life” (Wright 1982, 116–117), is bound to seem deficient or absurd, according to Wittgenstein.

It is crucial to carefully delineate the absurdity, or rather absurdities, involved here. At the heart of this diary entry we find Wittgenstein’s conviction that the transition to the modern shows itself in some sort of constraint—the inability to conceptualize a transition away from the kind of cultural cohesion epitomized by the “Keller-in-Brahms” example. There is something to be grasped, for sure, but, Wittgenstein maintains, we are not astute enough to conceptualize it. The kind of cleverness which we seem to lack, according to Wittgenstein, is a matter not of mental capacity but rather of education and tradition—an acquired ability to comprehend cultural codes (compare Wittgenstein 1966, 25–26). We have become constrained by an incommensurability between ourselves and the past, hence we arrive at a paradox: even if we knew the “truth”, we probably would be unable to comprehend it. Wittgenstein’s irony is glaring when he writes that “the truth would sound entirely paradoxical to all people”.

For Wittgenstein, this condition produces a bifurcation and a conceptual tension in modern music, and results in two sorts of music which correspond to two sorts of cultural absurdity. There is music which consists in a constraint on seeing that we do not comprehend (and is hence unsinnig, or nonsensical), and there is another sort of music which consists in a constraint on seeing what we do not comprehend, on seeing through (and hence is blödsinnig, or timid, diffident).

The first sort of modern music corresponds, according to Wittgenstein, to the nonsensical maxims and formulations which are actually articulated in contemporary (Western) life. Most probably, Wittgenstein refers here to the predominant maxims of scientific-technological progress, for which he had the deepest mistrust, and not just because of its impact on the disappearance of the arts (Wittgenstein 1998, 8, 64). As von Wright pointed out, the hallmark of the great confusion about the nature of progress is “a tendency to transform questions of the value of ends into questions of the value of means (to those ends)” (Wright 1993, 217). Such was indeed the case with those who, during the first two decades of the twentieth century, claimed to emancipate dissonance in the name of progress, as if there were absolute, natural, necessary value in a relentless tinkering with harmony. Wittgenstein clearly had no patience for their senseless musical gesticulations, which Schenker’s theory explains as being symptomatic of these composers’ inability to bind their empty sonorities together as elaborations of a single chord. Thus, for example, Schenker accused Richard Strauss of trying to mask the primitive design of his music with heavy orchestration, with noise and polyphonic clatter, and of resorting to vulgar, extramusical narratives in order to solve problems of musical continuity. For both Schenker and Wittgenstein, such progressive music was plain “rubbish,” that is, something which, insofar as it presents itself as nonmusical clatter, is not interesting even from a merely technical perspective—indeed an “attractive absurdity” for all the wrong reasons.

The other kind of modern music consists in denouncing such nonsensical maxims and formulations, but it ends up being vacuous, or vacant—absurd, for sure, but only because it cannot pass as absurd in the other, “dressed-up” sense which enjoys some sort of social acceptance. Such vacuous modern music bespeaks shortsightedness. It gropes for something that it cannot express. This is the genuine, albeit limited—in a sense, myopic—significance which Wittgenstein attached in this diary entry to some of the works of the blind organist Josef Labor, who was a protégé of the Wittgenstein family.

The example of Labor—whose modest bust still stands quite unnoticed across the street from the Konzerthaus Wien, a solemn witness to fame long since passed—portrays the problematic, somewhat tragic situation of a composer who shuns the illusion and perils of progress and yet is patently barred from artistic greatness. Wittgenstein’s conception of vacuous modern music corresponds both to Spengler’s worry that when a culture enters its final phases (civilization), artists simply work with the hollow forms of the old culture without understanding its essence, and to Schenker’s analogous worry concerning the compositional practice of classicist epigones. For Wittgenstein, ideas, including musical ideas, can get worn out and be no longer usable. In fact, he heard this from Labor himself (Wittgenstein 1998, 24).

For Wittgenstein, vacuous modern music is the product of reproductive artists; it is first and foremost evidence of a lack of genius, hence a lack of character and of courage (43–44). The adjective “timid” (blödsinnig), which Wittgenstein used to characterize such music-making, captures this precisely. “In these times”, Wittgenstein wrote, “strong characters simply turn away from the field of the arts & towards other things” (8). The opposition of such a composer to the predominant contemporary maxims is commendable, but it is ultimately flaccid; it lacks “connection with life & death” (44; compare 43). And it exacts a heavy social price: as modern, it is bound to appear stupid.

In the final analysis, Wittgenstein rejected both the conservative composer’s noble yet vacuous rehash of old forms and the progressive composer’s base contrapuntal tinkering with harmony, considering each to be symptomatic of musical decline. In this, his stance resonates with Schenker’s analogous distinction between the compositional fallacies accepted by the progressive and the reactionary composers of his time.

Yet Wittgenstein’s text, significantly, does not give in to a false dichotomy between the merely bad and the vacuous. As we have seen, the 1931 diary entry begins by asserting what “good music” means in the present context: good music is good by virtue of its being emblematic of its time, as demonstrated in its affinity with other human practices and cultural artifacts of its period, and the intransitive understanding which ensues from it. It ends by pointing out the significance of at least certain forms of vacuous modern music: such music may embody an awareness of our built-in contemporary inability to conceive modern music that is good in that particular sense.

Thus there is yet another kind of modern music to be entertained—good modern music— and a corresponding absurdity of a very different sort. For Wittgenstein, good modern music is, paradoxically, the philosophical afterimage, as it were, of what would perhaps forever remain as that which has not yet been gained: a modern music which is courageous (rather than being merely outrageous or timorous) in its striving to penetrate through what appears to be the dissolution of the resemblances which unite this culture’s ways of life, by rendering this condition expressible and intransitively understandable.

Wittgenstein’s genuine worry that “no one is astute enough to formulate today what is correct” resounds strongly with Spengler’s similar worry that the philosophers of his day did not have any real standing in actual life, that they had not acquired the necessary reflective understanding of the time or its many built-in limitations, which philosophizing in a time of civilization requires (Spengler 1939, 42, vol. 1). Wittgenstein’s point about composers of his day is that given that no principle can coherently be articulated amid the dissolution of the resemblances that give unity to a culture’s ways of life, music that could express the inarticulate would be patently incomprehensible.

The idea of good modern music, that is, music which is truly adequate to its time, the time of civilization in Spengler’s sense, is thus patently problematic for Wittgenstein. As an artistic project, such music needs to consist in an artistic afterimage of a wholesale rejection of the internal relations which hold together musical gesture and human life. Yet from Wittgenstein’s philosophical view, from his view of life, one can neither permit nor deny such an afterimage. And indeed we find Wittgenstein uneasily steering between Scylla and Charybdis in his complex remarks on the music of Gustav Mahler, the only quintessentially modern composer who was apparently significant enough in Wittgenstein’s eyes to be worthy of attention.

Needless to say, Wittgenstein did not like Mahler’s music, yet he nonetheless attached deep philosophical significance to his art. Taste had nothing to do with this. “If [a symphony by Mahler] is a work of art”, Wittgenstein wrote, “it is one of a totally different sort. (But this observation itself is actually Spenglerian.)” (Wittgenstein 1998, 17). Mahler’s music clearly did not belong to the category of “vacuous modern music”, as did Josef Labor’s. Nor did it simply belong to the category of “bad modern music”, together with the compositions of Richard Strauss and Max Reger. Strikingly, Mahler’s music also did not belong to “the music of the future” in Wittgenstein’s sense.

In a diary entry, which bears Schenker’s influence, Wittgenstein wrote:

When for a change the later ones of the great composers write in simple [variant: clear] harmonic progressions [variant: relations], they show allegiance to their ancestral mother. Especially in these moments (where the others are most moving) Mahler seems especially unbearable to me & I always want to say then: but you have only heard this from the others, that isn’t (really) yours. (2003, 93)

For Wittgenstein, there is no genuine transparency or nakedness even in Mahler’s simple modes of expression. Rather, for Wittgenstein, Mahler was a riddle, a limit case in the history of Western music. “You would need to know a good deal about music, its history and development, to understand him,” he said (Rhees 1984, 71). Mahler exemplifies in Wittgenstein's eyes a grand failure to produce music which is adequate to the time of civilization. He reprimanded Mahler for his lack of courage to become what he could and perhaps should have been. With regard to Mahler's ultimate fault, Wittgenstein wrote:

Whoever is unwilling to know himself is writing a kind of deceit. Whoever is unwilling to plunge into himself, because it is too painful, naturally remains with his writing on the surface. (Whoever wants only the next best thing, can achieve only the surrogate of a good thing.) (2000, MS 120, 72v [1937]; my translation)

Yet here Wittgenstein faced, precisely, the problem of the incommensurability of values, which he had already introduced in the 1931 diary entry on modern music. The immediate charge of self-deception leads to a pronouncement of an acute problem: the inability to distinguish what is genuine (“valuable”) from what is false (“worthless”). This problem, which (Wittgenstein fears) afflicts his own thinking and writing as well, pertains to the cultural presuppositions for making such a distinction in the first place.

In a passage written only three years before he died, Wittgenstein linked his own predicament with that of Mahler. He wrote: “If today’s circumstances are really so different, from what they once were, that you cannot compare your work with earlier works in respect of its genre, then you equally cannot compare its value with that of the other work. I myself am constantly making the mistake under discussion” (1998, 77). Ultimately, the specter of good modern music arises due to our inability to tell, as Yuval Lurie has aptly put it, “whether the spiritual progression of our culture is still continuing (and it is us who are being left behind), or whether the culture has disappeared (and we are the only ones left to notice it)” (2012, 150).

Von Wright reminds us that “Wittgenstein is much more deeply ‘history-conscious’ than is commonly recognized and understood. His way of seeing philosophy was not an attempt to tell us what philosophy, once and for all, is but expressed what for him, in the setting of his times, it had to be” (Wright 1982, 119). Music had an ulterior importance for Wittgenstein’s philosophical thinking. His own admission concerning this behooves one to attend carefully to his remarks on music in their philosophically appropriate context—to look and see. In this essay, I have offered one possible way to understand this ulterior importance of music for Wittgenstein as a key to his attempt to come to terms with what philosophy, in the setting of his times, had to be for him—that in Wittgenstein’s mind, the problem of creating good modern music and the problem of philosophizing in the time of modernity were one and the same. And so are the respective struggles with the contemporary obfuscation of the nature of progress—the critical task, which von Wright pitched so powerfully in his own philosophy.

References

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“Jane” (2017)

Documentary

Running Time: 90 minutes

Written & directed by: Brett Morgen

Featuring: Hugo Arndt Rodolf van Lawick, Jane Goodall and Hugo Eric Louis

Jane Goodall: “The more I learned, the more I realized how like us they were in so many ways.”

The new documentary released this month on DVD, “Jane” (2018) is a very interesting as well as completely original document that not only charts some of the beginnings of the famed naturalist but concentrates on her former husband as well as her son, following her journey to end up in the present day with commentary on her work as well as where the world is headed. Sitting down to view this documentary I was ready and expecting to see Goodall in Africa surrounded by apes, being told about wildlife as well as the dangers of not only the disappearing animals but dwindling habitats, the negative aspects of humanity with a human story being told as well. What I actually viewed was something very different, inspiring, sad and eye opening as well as something that was very entertaining. “Jane” asks what is given up in spending a life in service to one thing, from many different sides which for me was a revelation, sacrifices are witnessed in this documentary by not only Jane but her entire family leaving a legacy that is rarely seen in modern life away from the public but realised by one in this poignant film that is expertly framed by candid film footage shot by Jane’s compatriot, first husband and father to her only child.

This year has been an excellent year for documentaries not only on streaming or DVD but in cinemas which is a trend that goes against what many people may have expected. However I find this to be exactly what should be expected especially with the concentration of so-called ‘fake news’ that now exists on the internet, coupled with what has been coming from the White House under the Trump Presidency. In fact there was a thought that cinematic documentaries might be a thing of the past especially with the success as well as saturation of Disney-fied blockbusters invading multiplexes, in fact audiences have been flocking to cinemas to seek out stories about real people making real differences in times and places where many others have been marginalised and made powerless by the people in charge in their respective times. Some of the great, as well as critically received, not forgetting making money documentaires at the box office are: “Wont you be my neighbour?” (2018), “Three Identical Strangers” (2018), “RBG” (2018), “McQueen” (2018), and my personal favourite “Bombshell: The Hedy Lamarr Story” (2017) with so many more. What this says about audiences is that they will seek out true stories told in the relative first person that are not only inspiring but are direct counter programming to the politics of the day as well as the lies that are being produced by a President who is not only artificial but hate fuelled. My belief as a fan of documentaries is that this genre will only gain in popularity, with the coming years being a boon as well as revealing the importance of truth in the media as well as the importance of researching decisions made by the electorate. It is no surprise that the rise in fake news, Donald Trump, racism and may other hate fuelled elements has been answered by artists creating documentaries that prove there can be positive outcomes when people choose to buck the system as well as believing in others, differences, freedom and most of all, love.

This new documentary “Jane” follows Jane Goodall, a young and untrained woman, challenges the male dominated scientific consensus of her time with her chimpanzee research and revolutionizes people’s understanding of the natural world.

There is no doubt that the central charter in “Jane” is Jane Goodall who drives the narrative as well as the plot of this new film, she is the star and after fifty years has told her story a thousand times but it seems refreshing every time you hear it. Goodall at eighty four seems to be in the prime of her life moving past just studying, protecting and honoring animals but more recently attempting to educate the public on a myriad of issues effecting the planet as a whole. The narrative of “Jane” is built around the newly discovered early footage of Goodall and her apes, as well as her family with her own new narration explaining her own internalised thoughts of the time, coupled with answers to questions put to her in the present. It paints the picture of a woman who knew what she wanted even if she did not know the path to get there but stumbled through her life making decisions, discoveries and friendships that would help create the life she wanted. There are two other important people in this film, one being Jane’s ex-husband (now deceased), Hugo Arndt Rodolf van Lawick, who filmed almost all the footage seen in the documentary and their son Hugo Eric Louis (referred to as ‘Grub’) seen as a young boy, both of these people support Jane in life and in the film. With these three people we see a humanising of Goodall as a person who made some tough decisions to get where she is today, possibly losing her husband and son. What is interesting is that both the men in her life were equally driven in their own lives, with her then husband going on to become one of the greatest nature photographers who ever lived as well as her son who ended up making Africa his home who lives there now. Watching the three of these family members is the central point and narrative arc of this movie that makes it worth watching, as well as illustrating onscreen how lives lived apart can still compliment each other in very real ways altering the very fabric of the world which is a welcome reminder in 2018 when so many people feel so powerless.

Many people who only have a passing awareness of Jane Goddall will (or should) know about her relationship with animals, especially apes, more specifically in the Gombe Stream National Park, in Tanzania where she made her breakthrough studies and observations that catapulted her to fame with the footage shot by her National Geographic photographer (later her ex-husband). The footage shows Goodall in the wild, although some of film is used to describe times that were not actually filmed which becomes obvious when Goodall explains how and why a cameraman was assigned to her. In fact there is no footage that exists of her first trip to Gombe or her actual discoveries that ended up paving the way for her life. What we see is the footage shot later as well the problems she faced with her techniques which we see fail, then we see improvements which assist her in her observations which are revelatory especially when she comments on them in her interview within the film.

It can be difficult for people to look back on their own lives and see mistakes that they have made or decisions that have left them in a very different place to where they could have ended up, that is, the road not taken. In “Jane” we see her mistakes, the tragedies as well as the triumphs in particular with the apes then with her own family. It is not difficult for a viewer to see Jane and her husband not willing to give ground on their own work which is extremely detrimental to their relationship, ultimately their marriage which of course impacts on ‘Grub’. In fact their son decided to spend his life in another country away from Jane, it is not talked about but it is not a stretch to think there were breakdowns in their relationship. Of course there was an upside for Jane in terms of her driven persona, that was that she became famous as well as a spokesperson for animals and other wildlife everywhere which is incalculable in its payoff, can you think of a world without her?

“Jane” has been expertly directed by Brett Morgen who has been directing within this genre since 1996, he has a signature as well as the ability to expertly take relevant footage from archives making salient points about real people while intercutting within the present which is exactly what happens within this film. Morgen has directed at least three great documentaries, “On the Ropes” (1999), “The Kid Stays in the Picture” (2002) and “Kurt Cobain: Montage of Heck” (2015). With “Jane” however he has woven a plot around a ready-made narrative that is his perfect documentary that not only says something but also shines a light on a person on the twilight of her years. Not only that there have been many specials and documentaries made about Goodall but this is the only one to see, it encompasses her past fifty years but keeps an eye on not only her future but ours as well.

This is a great documentary among great documentaries, which deserves to be seen, not only that it is worth purchasing, giving as a gift and showing people when they visit. I have seen many documentaries but this one was about many things that touched me and it is worth revisiting to see how one person who makes sacrifices can make real differences in peoples lives, probably beyond her own, something rare and special indeed.

“Jane” is out now on DVD.

Jane Goodall and infant chimpanzee Flint reach out to touch each other’s hands. MUST CREDIT: Hugo van Lawick, National Geographic Creative-Abramorama

DVD review: “Jane” (2017) "Jane" (2017) Documentary Running Time: 90 minutes Written & directed by: Brett Morgen Featuring: Hugo Arndt Rodolf van Lawick, Jane Goodall and Hugo Eric Louis…

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