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Well-founded recursion in Agda
Last Tuesday, Eric Mertens gave the Galois tech talk Introducing Well-Founded Recursion. I have to admit, most of this went over my head the first time I heard it. Here are some notes that I ended up writing for myself as I stepped through the code again. I suggest reading the slides first to get a feel for the presentation. These notes are oriented towards a Haskell programmer who feels comfortable with the type system, but not Curry-Howard comfortable with the type system.
> module Quicksort where > > open import Data.Nat public using (ℕ; suc; zero) > open import Data.List public using (List; _∷_; []; _++_; [_]; length; partition) > open import Data.Bool public using (Bool; true; false) > open import Data.Product public using (_×_; _,_; proj₁; proj₂)
Agda is a proof assistant based on intuitionistic type theory; that is, the Curry-Howard isomorphism. The Curry-Howard isomorphism states that things that look like types and data can also be treated as propositions and proofs, and one of the keys to understanding well-founded recursion in Agda is to freely interchange between the two, because we will use the type system as a way of making propositions about our code, which Agda will use when checking it. We'll try to present both perspectives of the types and propositions.
Agda needs to be convinced that your proof works: in particular, Agda wants to know if you've covered all the cases (exhaustive pattern matching, totality) and if you aren't going to procrastinate on the answer (termination). Agda is very clever when it comes to case checking: if it knows that a case couldn't be fulfilled in practice, because its type represents a falsehood, it will not ask you to fill it out. However, the termination checker frequently needs help, which is where well-founded recursion comes in.
Our first data type today is top: the type inhabited by precisely one value, unit. This is () in Haskell. Data inhabits a type the way a proof exists for a proposition; you can think of a type as a "house" in which there reside any number of inhabitants, the data types. Frequently infinitely many. You'll see Set pop a lot: rigorously, it's the type of "small" types, with Set₁ being larger, Set₂ larger still, and so forth...
> data ⊤ : Set where unit : ⊤
Bottom is the type inhabited by nothing at all. If no proof exists for the proposition, it is false! In the same way, the top proposition is vacuously true, since we said so! At the value level, this is undefined or error "foobar" in Haskell; at the type level, it's be called Void, though no one actually uses that in real code. In Agda, these are one and the same.
> data ⊥ : Set where
We pulled in natural numbers from Data.Nat, but here's what a minimal definition would look like:
data ℕ : Set where zero : ℕ suc : ℕ → ℕ
It is worth dwelling that Agda numeric constants such as 0 or 2 are syntax sugar for zero and suc (suc zero). They also may show up in types, since Agda is dependently typed. (In Haskell, you'd have to push the definition of natural numbers into the type system; here we can write a normal data definition and then lift them up automatically. Power to the working class!)
This function does something very strange:
> Rel : Set → Set₁ > Rel A = A → A → Set
In fact, it is equivalent to this expanded version:
Rel A = (_ : A) → (_ : A) → (_ : Set)
So the resulting type is not A → A → Set, but rather, it is something whose type is A, something else whose type is A, and as a result something whose type is Set. In Haskell terms, this is not a type function of kind * → *; this is more like an illegal * -> (a -> a -> *).
Here is an example of a simple relation: less-than for natural numbers.
> data _<_ (m : ℕ) : ℕ → Set where > <-base : m < suc m > <-step : {n : ℕ} → m < n → m < suc n
Not so simple Agda syntax:
- The (m : ℕ) indicates that _<_ is parametrized by m, making m, a value of type ℕ, available throughout our data constructors. Parametrization means it is also required to be the first argument of _<_; at this point, you should check all of the type signatures of the constructors and see that they really are of form m<_
- The {n : ℕ} indicates an "implicit" parameter, which means when we go to invoke <-step, we don't need to pass it; Agda will automatically figure it out from a later argument, in this case, m < n.
- Remember that "for all x : A, y : B", is the same as providing a total function f(x : A) : B. So there's a convenient shorthand ∀ x → which is equivalent to (x : _) → (the underscore means any type is ok.)
With the syntax out of the way, the mathematical intent of this expression should be clear: for any number, we automatically get a proof m<m+1; and with m<n → m<n+1, we can inductively get the rest of the proofs. If you squint, you can also see what is meant in terms of data: <-base is a nullary constructor, whereas <-step is a recursive constructor.
Let's prove that 3 < 5. We start off with <-base : 3 < 4 (how did we know we should start there and not with 4 < 5? Notice that m, our parameter, is 3: this is a hint that all of our types will be parametrized by 3.) Apply step once: 3 < suc 4 = 3 < 5, QED.
> example₁ : 3 < 5 > example₁ = <-step <-base
Recall that true propositions are inhabited by data types, whereas false propositions are not. How can we invert them? In logic, we could say, "Suppose that the proposition was the case; derive a contradiction." In types, we use the empty function: the function that has no domain, and thus while existing happily, can't take any inputs. A function has no domain only if it's input type is not inhabited, so the only way we can avoid having to give a contradiction is to... not let them ask the question in the first place!
> _≮_ : Rel ℕ > a ≮ b = a < b → ⊥
() denotes falsity, in this case () : 5 < 0, which clearly can never be true, since <-base doesn't pattern match against it (suc m != 0). A point worth mentioning is that Agda requires your programs to be complete, but doesn't ask you to pattern match against absurdities.
> example₂ : 5 ≮ 2 > example₂ (<-step (<-step ()))
We introduce a little Agda notation; modules let us parametrize over some variable over an extended block then just the constructors of a 'data' declaration. Members of a module can be accessed ala WF.Well-founded A (rest of the arguments). This is quite convenient and idiomatic, though not strictly necessary; we could have just parametrized all of the members accordingly. We also happen to be parametrizing over a type.
> module WF {A : Set} (_<_ : Rel A) where
Logically, what it means for an element to be accessible is that for all y such that y < x, y is accessible. From a data and logic view, it states if you want me to give you Acc x, the data/proof you want, you'll have to give me a proof that for all y, if you give me a proof that y < x, I can determine Acc y. Now that we're trying to prove properties about our types and functions, treating our data types as strictly data is making less and less sense.
> data Acc (x : A) : Set where > acc : (∀ y → y < x → Acc y) → Acc x
The entire type A is well-founded if all elements in it are accessible. Alternatively, the entire type A is well-founded if, given an element in it, I can produce an accessibility proof for that element. Note that its type is Set; this a type, the proposition I want to prove!
> Well-founded : Set > Well-founded = ∀ x → Acc x
Proof for well-foundedness on naturals related by less-than.
> <-ℕ-wf : WF.Well-founded _<_ > <-ℕ-wf x = WF.acc (aux x) > where > aux : ∀ x y → y < x → WF.Acc _<_ y > -- : (x : _) → (∀ y → y < x → WF.Acc _<_ y) > aux .(suc y) y <-base = <-ℕ-wf y
Base case, (e.g. x=5, y=4). This, conveniently enough, triggers the well-founded structural recursion on ℕ by checking if y is well-founded now.
> aux .(suc x) y (<-step {x} y<x) = aux x y y<x
The structural recursion here is on _<_; we are peeling back the layers of <-step until y<x = <-base, as might be the case for 3<4 (but not 3<6). We're essentially appealing to a weaker proof that is still sufficient to prove what we're interested in. Notice that we are also recursing on x; actually, whatever we know about x, we knew from y<x (less information content!), so we indicate that with a dot. Eventually, x will be small enough that y is not much smaller than x (<-base).
Where do we deal with zero? Consider aux zero : ∀ y -> y < zero → WF.Acc _<_ y. This is the empty function, since y < zero = ⊥ (no ℕ is less than zero!) In fact, this is how we get away with not writing cases for yx (the upper triangle): it's equivalent to y≮x which are all bottom, and give us empty functions for free.
In fact, there is a double-structural recursion going on here, one x, and one on y<x. The structural recursion on x is on just aux, but once we conclude <-base, we do a different structural recursion on y with <-ℕ-wf. This fills out the bottom right triangle on the xy-plane split by y=x-1; the upper left triangle is not interesting, since it's just a barren wasteland of bottom.
Standard mathematical trick: if you can reduce your problem into another that you've already solved, you solved your problem!
> module Inverse-image-Well-founded { A B } > -- Should actually used ≺, but I decided it looked to similar to < for comfort. > (_<_ : Rel B)(f : A → B) where > _⊰_ : Rel A > x ⊰ y = f x < f y > > ii-acc : ∀ {x} → WF.Acc _<_ (f x) → WF.Acc _⊰_ x > ii-acc (WF.acc g) = WF.acc (λ y fy<fx → ii-acc (g (f y) fy<fx))
The types have to look right, so we unwrap our old proof g and wrap it into a new lambda, pushing the reduction via f into our proof (i.e. WF.acc data constructor).
> ii-wf : WF.Well-founded _<_ → WF.Well-founded _⊰_ > ii-wf wf x = ii-acc (wf (f x)) > -- wf = λ x → ii-acc (wf (f x)) > -- I.e. of course the construction ii-acc will work for any x.
Here, we finally use our machinery to prove that lists, compared with their lengths, are well-founded.
> module <-on-length-Well-founded { A } where > open Inverse-image-Well-founded { List A } _<_ length public > wf : WF.Well-founded _⊰_ > wf = ii-wf <-ℕ-wf
A little bit of scaffolding code that does not actually "change" the proof, but changes the propositions. We'll need this for the PartitionLemma.
> s<s : ∀ {a b} → a < b → suc a < suc b > s<s <-base = <-base > s<s (<-step y) = <-step (s<s y)
Show that partitioning a list doesn't increase its size.
> module PartitionLemma { A } where > _≼_ : Rel (List A) > x ≼ y = length x < suc (length y) -- succ to let us reuse <
For all predicates and lists, each partition's length is less than or equal to the original length of the list. proj₁ and proj₂ are Haskell fst and snd.
> partition-size : (p : A → Bool) (xs : List A) > → proj₁ (partition p xs) ≼ xs > × proj₂ (partition p xs) ≼ xs
Though we've expressed our proposition in terms of ≼, we still use the original < constructor. <-base actually means equality, in this context!
> partition-size p [] = <-base , <-base > partition-size p (x ∷ xs) > with p x | partition p xs | partition-size p xs > ... | true | as , bs | as-size , bs-size = s<s as-size , <-step bs-size > ... | false | as , bs | as-size , bs-size = <-step as-size , s<s bs-size
And finally, Quicksort.
> module Quick {A} (p : A → A → Bool) where
Open the presents (proofs).
> open <-on-length-Well-founded > open PartitionLemma > quicksort' : (xs : List A) → WF.Acc _⊰_ xs → List A > quicksort' [] _ = [] > quicksort' (x ∷ xs) (WF.acc g) ::
From the partition lemma, we get small ≼ xs and big ≼ xs. By making length well-founded, we are now able to "glue" together the layer of indirection: x ∷ xs originally was strictly smallers and structurally recursive, and the partition lemma lets us say to the termination checker that small, big and xs are essentially the same.
> with partition (p x) xs | partition-size (p x) xs > ... | small , big | small-size , big-size = small' ++ [ x ] ++ big' > where > small' = quicksort' small (g small small-size) > big' = quicksort' big (g big big-size) > quicksort : List A → List A > quicksort xs = quicksort' xs (wf xs)


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During the mid-20th century, "the Bay Area was the Mecca for fiber art," says Deborah Corsini, the San Jose Museum of Quilts and Textile's curator, discussing its latest exhibit, 'Invisible Lineage.'
The exhibit, which is now open and runs through February 5 at 520 South First Street, San Jose, includes more than 60 works by eight Northern California artists.
Four of them—Mary Buskirk, Lydia Van Gelder, Mary Walker Phillips and Katherine Westphal—are pioneering members of the Fiber Art Movement, which married traditional craft with innovative techniques to create deeply felt, challenging art.
Their work has involved weaving, macramé, painting and printing on fabric, assemblage, and more—often combining several processes in a single piece.
"These four remarkable women were really ahead of their time," Corsini says. "They really have pushed fiber in new directions."
Also on display will be work by four artists from the next generation who were influenced by their elders and carry on the tradition of creating personal art through innovative means
For more info on 'Invisible Lineage,' visit SJQuiltMuseum.org.

subset: commoncrawl


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The Open Shutter Photography Podcast
Steve Arnold
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The Open Shutter Photography Podcast is a weekly series where Steve Arnold interviews inspirational and talented photographers to bring you meaningful conversations that go beyond gear talk and latest news.
Available episodes
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Oldest first
Dec 21, 2020
Minimalist Landscape Photography & Capturing Great Photos Close To Home [Compilation]
This episode is a little different to usual, because we are taking a break from new interviews over christmas and the new year, and instead I thought it would be fun to look back over some highlights from the first 24 episodes and interviews. But rather than pick some random top clips from the various photographers who have been on the podcast this year, I think it's going to be doubly interesting if I try to stick to a theme for each compilation... So to kick this off, todays compilation episode is a kind of crossover between minimalist landscape photography and shooting locally. Given the still current travel situation worldwide, shooting locally is a very relevant topic so to start with you'll hear from Anthony Lamb from episode 2 about his minimalist style and how to capture interesting and unique images in your local area, when you don't have epic landscape vistas on your doorstep. Then you'll hear from episode 19's Mads Peter Iversen who this year has focused on photographing and videoing his home country of Denmark, and shares his advice for taking great landscapes without having to travel far. And finally Alex Noriega from episode 11 who talks about how to capture abstract and minimalist landscape photos, and while we don't discuss it specifically in the context of shooting locally, I think this approach of photography is a great option for photographers who want to capture something different and interesting close to home no matter where you live. Links & Resources Episode #2: How To Develop Your Own Style By Connecting Emotionally With Your Photography – with Anthony Lamb Episode #11: The Art Of The Intimate Landscape – with Alex Noriega Episode #19: All Things Landscape Photography – with Mads Peter Iversen Further Resources Luminosity Masking Panel for Photoshop - Designed and developed by Steve Arnold to make luminosity masking quicker, easier, and more effective. Podcast listeners receive a 45% discount!
35 min
Dec 14, 2020
Anthony Salsi - Shooting The Moon
Today we are joined by astro photographer and astrophysicist, Anthony Salsi to talk about photographing the moon. Anthony is currently in the final year of his PHD having had a passion for the night sky since childhood, but he only started photographing it less than a year ago. I stumbled across one of Anthony's images of the moon on reddit a few weeks ago, which led me to his instagram profile, and even though he only started sharing his moon images since August, it's no surprise that there are already over 21 thousand people following his work. So I highly recommend you check out Anthonys instagram profile, at @astronophilos and Anthony has kindly invited you to ask him any questions about astronomy or astro photography by sending him a direct message on instagram. Links & Resources @astronophilos on Instagram – Check out all of Anthony's moon images on Instagram Autostakkert | Siril – Two of the free image stacking software options Anthony mentioned in the episode Talking Points * How Anthony discovered his passion for the universe at an early age * Using rare events like the NEOWISE comet to spark new interest in the night sky * How the night sky puts everything into perspective * Seeing into the past when we observe the universe * How to reveal the hidden colours of the moon * What the moon's colours signify * How to bring out the hidden details of objects in the night sky * The importance of stacking exposures * How to capture thousands of exposures in a few minutes to stack later * Anthony's equipment setup for photographing the moon * The most important piece of equipment * Using a different capture technique for photographing the moon compared to deep sky * Creating mosaic composites of the moon * Tracking the moons velocity through the sky * When and why light pollution is and isn't an issue for night sky photography * How the earths atmosphere can affect night sky photography
54 min
Dec 7, 2020
Colleen Gara - Photographing Animals Of The Canadian Wilderness
If you love photos of beautiful and majestic animals roaming the canadian wilderness, then you're in for a treat because today we are talking with canadian wildlife photographer, Colleen Gara, who has had her work published in places like the Canadian Geographic Magazine, BBC Wildlife Magazine, and Wild Planet photo magazine to name a few. Colleen has worked with National Geographic and Mattel as a mentor for their "you can be anything" campaign, is a content provider for Travel Alberta, and is a workshop leader for Offbeat, and Canadian Wildlife Photography Tours. In this episode Colleen shares her love for the wilderness and what it's like to photograph wild bears, wolves, lynx's and more, and shares some tips and advice on how to get started photographing wildlife yourself. Enjoy! Links & Resources @colleengaraphoto – Follow Colleen on Instagram to stay up to date with her latest images ColleenGaraPhotography.com – For futher info about Colleen, images galleries, and more. Talking Points * Growing up loving animals and the great outdoors and how photography was a natural extension to that * Colleens first steps towards professional wildlife photography work * Planning and organising a wildlife photography shoot * Going beyond capturing single images of an animal to tell stories over time * How to identify individual animals over time * What issues some wild animals are facing * The excitement of getting the first glimpse of a rare animal you've been waiting for days to see * Searching for specific animals versus picking a destination first and seeing what you see * How it feels to see a bear staring down the barrel of your lens * Colleens favourite wildlife images and why they mean so much * Colleens advice for photographers who want to start photographing wildlife
41 min
Nov 30, 2020
Daniel Gastager - Epic Landscape Photography
Please welcome Daniel Gastager to the podcast! Daniel experienced an incredibly fast rise in the landscape photography world when only three years after picking up a camera he was named German Photographer Of The Year at the Sony World Photography Awards. During our conversation we discuss Daniels quick journey to becoming German Photographer Of The Year, and dive into Daniels processes for capturing and editing Epic Landscapes! Resources & Links Daniel Gastager Photography – Head to Daniels website for links to his portfolio, video tutorials, ebooks, and more Daniel_Gastager on Instagram – Follow Daniel on Instagram for regular landscape photography inspiration! Talking Points * How Daniel became German Photographer Of The Year at the Sony World Photo Awards only 3 years after picking up a camera * Why Daniel turned to Landscape photography after learning other genres * The value of re-editing your older images * The balance between capture vs editing * Instagram VS 500px – which is more effective? * What makes a great landscape? * Daniel's processing methods / workflow * What happens when you don't like your old images any more? * How to embed mood and feeling into a photo during the edit * What instagram is good for, and what it's not * Where to get actually useful feedback on your photography * Consistency in editing * When should you alter a scene in editing to create a better looking finished image than "what was really there"? * Daniels favourite locations * Daniels advice for photographers looking to get more from their RAW files * When to move from Lightroom to Photoshop in editing
43 min
Nov 23, 2020
Pierre T. Lambert - How "The 4-Hour Work Week" Inspired A Career In Photography
We are joined this week by a wonderfully talented and entertaining travel photographer, YouTuber, and host of the Pierre T. Lambert Podcast - of course I'm talking about none other than Pierre T. Lambert. There's a lot of photography stuff we could have talked about today, but things are a little different this week. Because a decade ago I stumbled across a book called "The 4 Hour Work Week" by Tim Ferriss which without exaggeration completely changed the trajectory of my entire life... And as I learned recently, Pierre experienced a similar turning point in his life after reading it too! So today we are talking all about how the lessons learned from that book have led to a life and career in Photography. Resources & Links Pierre T. Lambert Photography on YouTube - Subscribe to Pierre's Photography channel Trina & Pierre on YouTube - Subscribe to Pierre's travel adventures channel Pierre T. Lambert on Instagram - Follow Pierre on Instagram to be inspired by his latest images Check out The 4-Hour Work Week Book on Amazon Talking Points * Which ideas from the 4 hour workweek book struck a chord with Pierre first * Switching from building someone else's dream to building your own * Lifestyle design and creating a career that supports your lifestyle goals * Which entrepreneurial ideas Pierre started with and what stuck * How to get used to being out of your comfort zone * The feeling of being paid for your first photography gig * How certain marketing principles from the book helped Pierre price himself straight into the market (and not have to start out cheap!) * The right time to quit your day job * The successes and failures of Pierres "air bnb for photographers" project * Importance of delegating what you shouldn't be doing (and why it's hard to let go) * Steve's first big 4hww failure that cost 6 months of time and thousands of dollars - and the important lessons learned * The real power of 4HWW concepts - automation * Transitioning into becoming a full time YouTuber * After hundreds of videos Pierres channel was at a virtual standstill, and the strategy that turned it around almost overnight. * The best type of content for a travel / photography channel * What content to focus on if you want people to actually watch and care about your videos * The pointlessness of vanity metrics on social media (likes, followers, shares etc) * How it can be hard keeping a good work/life/family balance when you love your work
55 min
Nov 16, 2020
Douwe Dijkstra - Colour Is Just A Distraction
This week I'm talking with my good friend here in Sydney and gifted street photographer Douwe Dijkstra, who goes by "dex" for short, or on Instagram you'll find him on his profile "Monochrome Visions" all one word, or at his website monochrome visions.net. Dex really is a master of lines, shapes, patterns, and generally just finding great compositions where most of us wouldn't. and he photographs exclusively in black and white because as per his personal motto – colour is just a distraction… Not only that, but virtually all of his photography over the past half a decade has been exclusively with his iPhone! Now for me, and i expect many of you listening, as a landscape photographer with a DSLR, expensive lenses, and with post processing being a massive part of my image making process, what dex does might seem on the surface like the complete opposite of what we do. But simply browsing Dex's instagram feed for a while is a valuable lesson in composition and finding subjects and points of interest, and this is something that transcends photographic genre. Before we get started though… congratulations to two of my earlier guests on the podcast, Josh Snow from episode 13 and Isabella Tabacci from episode 9, who just won second and third places respectively in the International Landscape Photographer Of The Year competition. That's a massive, but well deserved achievement – so congrats again to Josh and Isabella. Resources & Links MonochromeVisions on Instagram – Follow Dex's Instagram profile here to browse his latest images and get in touch via DM MonochromeVisions.net – Browse Dex's website for more information Talking Points * How Dex discovered his passion for photography * Why Mobile is the perfect format for Dex as a photographer * The value of capturing moments, versus technical precision * How to ask people for permission to be subjects in street photography * The links between graphic design and Dex's photography * How colour can disguise a boring composition * Creating the ultimate personal creative challenge * Reaching the milestone of 5000 images posted to Instagram * Where Dex draws inspiration from * Limitations of mobile photography * The importance of keeping photography separate from work * Dex's tips for getting started with street photography
41 min
Nov 9, 2020
Mads Peter Iversen - All Things Landscape Photography
Today I'm honoured to be joined by one of the most talented and prolific landscape photographers around, Mads Peter Iversen. And can I just say as we come in to episode 19, that starting this podcast is one of my favourite things I've ever done and I still can't believe how privileged I feel being able to get to know the photographers that have inspired me so much down the years. So I want to thank you for listening, and I want to thank all my guests past, present, and future, for making this possible. Usually I try to stick to a theme or main topic for each episode, but today is a bit less structured and a bit more like me just wanting to get to know how one of my all time favourite landscape photographers does his thing. Statistically speaking, you probably already follow Mads on instagram or subscribe to his youtube channel, but if not then I highly recommend you start now. Resources & Links mpiPhoto.dk - Visit Mads' website for links to his courses, tours, galleries, and blog Photoshop for Landscape Photographers - Take your editing to the next level with Mads' comprehensive Photoshop course for landscape photoraphers Mads Peter Iversen on Instagram - Join over 600,000 others who follow Mads' work on instagram! Mads Peter Iversen on YouTube - Subscribe to Mads' YouTube channel for regular inspirational video blogs and tutorials. Talking Points * How Mads maintains consistency across different types of landscape photography * How to capture unique photos from popular locations * Mindset differences when in photographer mode VS videographer mode * The growth of Mads' YouTube channel * Mads' process for creating video blogs * How to create videos that people want to watch * The different phases of growing an instagram following of over 600,000 * Knowing how to give people what they want on each social platform * Using Instagram as a business tool * Photographing your home country * The creative rules Mads follows when creating composite images
47 min
Nov 2, 2020
John Armytage - The Benefits Of Community In Photography
Please welcome our guest for episode 18, John Armytage! John is the founder and former executive chairman of the Focus Seascape and Landscape Photography community, which started out as a small sunrise meetup group on Sydney's northern beaches a decade ago and grew to become one of the largest and most valuable communities for Australia-based photographers. The annual FOCUS awards has grown to become one of Australias leading amateur photography competitions, and is a testament to the incredible work John has put in to build this community, and to the community itself who continue to grow together and support one another. Resources & Links John Armytage Photography - visit John's website to learn more about his services and tours FOCUS Community - join the main FOCUS community hub on Facebook FOCUS Sponsors - Check out the FOCUS communities sponsors with links to special member-only offers Talking Points * How the Focus community started and what it has evolved into * How forming a committee enabled the Focus community to grow * John's passion for helping and what that can lead to in others * The pride in seeing other peoples' progress * How Focus members have gone on to great things * John's philosophy for improving your photography * Why it's so important to get people out of doing life alone * The joy of teaching others * How John has started to grow his own photography business since stepping down as executive charmain of Focus earlier this year
39 min
Oct 26, 2020
Mieke Boynton - How To Connect With The Landscape To Capture Meaningful Photos
Our guest this week is the incredibly talented and multi-award winning photographer Mieke Boynton! Mieke's recent accolades among many other awards, includes the 2019 victorian landscape photographer of the year with the AIPP, and epson pano awards open photographer of the year 2019.. One of my favourite things about Mieke's work is her skill at finding patterns in nature, whether in abstract arial imagery or from the ground, and over the course of our conversation I came to learn how connecting with nature on a deeper level is a big part of what goes into achieving that. Resources & Links Mieke's Online Workshops – Learn more with Mieke on one of her online workshops covering a wide range of photography topics. Mieke's COVID19 Print Sale – Own a piece of Miekes art for your wall at a discounted price (very limited!) Subscribe to Mieke's email newsletter – to stay in the loop with news and updates from Mieke including new workshop announcements and more Follow Mieke on the socials at Facebook & Instagram Talking Points * Letting nature be the star * How preconceptions can prevent you seeing what's there * The joy of looking beyond the iconic shots * Connecting with the landscape on a deeper level * Photographing arials from a helicopter VS with a drone * Why the experience of capturing photos can mean more than the end result * Embracing the quiet and eliminating noise * Picking out abstract arial compositions from a massive vista * Mieke's #1 goal when editing her images * The value in taking your time to release new images * What it takes to have a successful exhibition of your work * How to sell prints in an exhibition * Knowing your audience
46 min
Oct 21, 2020
Paul Hoelen - The Power Of Photography In Conservation
Welcome to part 2 of this double-feature with Paul Hoelen! In this episode Paul shares stories and insights from some of the many photographic projects he is involved in which aim to highlight conservational issues around Australia, including his work with The Light Collective, which also features artists Adam Williams and Ignacio Palacios who you've heard from in earlier podcast episodes! To hear part 1 of my interview with Paul, check out episode 15 here. Many thanks again to Paul for being so open and sharing! Enjoy! Resources TheLightCollective.com.au – Check out Paul's collaborative group The Light Collective to see images from their thought provoking galleries and books highlighting the conservational issues affecting Australias landscapes. Tarkine In Motion – Talking Landscape Photography – Subscribe to Paul's YouTube channel and tune in Live on 28th October 2020 to the panel discussion on mental health in photography and the arts. Talking Points * How and why The Light Collective formed * The joint benefits of collaborating with other photographers to work towards a common goal * Using photography not to point fingers, but to open a provocative conversation * Paul's experience preparing for and presenting a TEDx talk * The difference in media reach between two TLC projects when one had more of a political angle * How to use your voice as a photographer * Is capturing beauty enough nowadays when raising awareness of environmental issues? * The Tarkine In Motion project * Using arial photography to unveil things you'd never even know about from the ground * How abstract photography can be used to invite a conversation * Activism vs Conservationism *
51 min
Oct 19, 2020
Paul Hoelen - How To Use Photography To Support Positive Change In People's Lives
Welcome to part 1 of a 2 part double feature with a literal "Grand Master" of Photography - Paul Hoelen! There were two big topics that I wanted to ask Paul about, each one warranting it's own dedicated episode... And when Paul agreed to talk about both I couldn't pass up such a great opportunity! So this episode is dedicated to mental health in the arts, and how photography can be used to affect positive change in peoples lives - something Paul has 20 years of first hand experience of with his involvement with the incredible Men With Heart project. Check out the Men With Heart project at menwithheart.com.au while you listen along to the episode. Part 2 of this double-feature is coming up in a couple of days in episode 16, where we talk about the power of photography in conservation. Many thanks to Paul who is an absolute legend. He gives us so much to think about in this episode and I'm sure you'll agree. Resources MenWithHeart.com.au - Find out more and view the image gallery…
1 hr 24 min
Oct 12, 2020
Nick Page - How To Be A Prolific Photographer Without Burning Out
This week we are joined by the wonderfully talented and prolific landscape photographer Nick Page! You're probably very familiar with Nick's photoraphy on Instagram, his YouTube channel, tutorials, courses and workshops, and from his popular podcast "The Landscape Photography Podcast". I've been following Nick online for quite a few years and one of the things that always amazed me about what he does is how prolific he has been with his work, pumping out portfolio-level images seemingly at will. This is one of the topics I wanted to dig into with Nick in our chat, along with a lot more that I know you'll get a lot of value from. Subscribe and listen now on Apple Podcasts, Spotify, and all your favourite podcast-listening apps. Resources The Landscape Photography Podcast – Subscribe to Nick's popular photography podcast here NickPagePhotography.com – Check out Nick's courses, tutorials, and workshops F4RoadTrip.com – Invest in the epic new photography course jointly crea…
53 min
Oct 5, 2020
Joshua Snow - Mastering Colour & Light in Landscape Photography
Today I'm joined by the incredibly talented landscape photographer Joshua Snow to talk about colour and light, and how to go the extra mile to use these elements to create truly unique landscapes. I discovered Joshua on Instagram quite recently and his images and photographic style became an instant favourite of mine. Josh is a master of the epic landscape and during our conversation I came to learn just how he creates such unique images that really stand out in a genre of photography that is extremely difficult to be original in. Listen now to hear the full interview! Resources Color Science In Landscape Photography - Register for Josh's Live webinar - Live this Friday 9th October 2020, at 5PM MST in the US. Joshua Snow on Instagram - Follow Josh on Instagram to catch his latest inspirational landscape images JSnowPhotography.com - Visit Josh's main website to see his full portfolio and learn more about his workshops and online classes. Talking Points * How to use colour…
46 min
Sep 28, 2020
Joshua Cripps - How To Use Your Technical Mind To Be More Creative
I'm delighted to welcome the one and only Joshua Cripps onto the podcast for episode 12, to hear his thoughts on how being a "technically minded" person can actually be an advantage rather than a disadvantage for photographers who want to be more creative. Joshua is a world renowned wilderness landscape photographer whose work has been published by National Geographic, NASA, Nikon, CNN and more. Many people think it's some kind of disadvantage to be more of a "technical person" than a "creative person" when it comes to photography, but Joshua is a perfect example of why that is not true - he left the field of Aerospace engineering to follow his photography goals! You don't get much more technical than that. In our interview Joshua tells us how you can use your technical side to improve your creativity, not have it hold your creativity back. Resources Joshua's FREE Landscape Photography Webinar - Watch Joshua's free webinar to learn how to build a simple framework that will allow…
36 min
Sep 21, 2020
Alex Noriega - The Art Of The Intimate Landscape
Listen to the full interview now to hear Alex's insights on the art of the intimate landscape. Resources Alex Noriega's Image Editing Tutorials - Learn Alex's transformational processing techniques with his collections of image editing tutorials. @NoriegaPhotography on Instagram - Follow Alex on Instagram and be inspired by his incredible portfolio of intimate landscapes Photography Workshops with Alex - Learn from Alex in person (VERY limited places available at time of writing!) Talking Points * How to take landscape photographs that are less predictable and convey something more extraordinary * Why Alex hardly ever includes the sky in his photos * How to make popular landscape locations more anonymous by creating a sense of mystery * Why intimate landscapes are less reliant on weather conditions * What to include in an intimate landscape where so much focus is on excluding elements * Why even the most epic sky can make landscape scenes seem more ordinary * Wh…
36 min
Sep 14, 2020
Nicole Young (AKA Nicolesy) - Finding Creative Catalysts For Your Photography
My guest for episode 10 is a photographer, author, and educator whose podcast appearances around a decade ago helped get me through many a commute back in the day. So I'm delighted to welcome Nicole Young - AKA Nicolesy to the Open Shutter Photography Podcast to discuss creativity and to give you a big dose of inspiration to find some new creative catalysts for your photography. Subscribe now and listen to the full episode, and check out the links below to see more from Nicole! Nicolesy on Instagram - Follow Nicolesy on Instagram here to stay up to date with her latest images and stories. Nicolesyblog.com - Visit Nicolesy's website to check out her blog and store, to find out more about Nicoles educational books, eBooks, and video courses, as well as her many presets packages, and texture packs, for Lightroom, Photoshop, On1, Luminar and more! Nicole S. Young on YouTube - Subscribe to Nicolesy's YouTube channel for Lightroom, Photoshop, and On1 Video tutorials. Nicolesy on Stocks…
36 min
Sep 7, 2020
Isabella Tabacchi - How To Keep Pushing Your Creativity
In this episode I'm chatting with the amazingly talented landscape photographer Isabella Tabacchi, aka @isabellandscapes on instagram. Isabella's distinctive landscape photography style borders on the dreamlike, but without losing any sense of realism at the same time - it's something I find really difficult to describe so if you're not familiar with Isabellas work then I highly recommend you follow her instagram page. Coming up, I'm asking Isabella about her creative process and how she developed such a style, as well as to get her insights into what it's like being on the judging panel for the prestigious Epson Pano Awards for the past three years, and if she has any tips for photographers wanting their entries to stand out from the crowd. Resources IsabellaTabacchi.com - See Isabellas portfolio and find out about her online classes and in-person workshops, and sign up for her email newsletter. Follow @isabellandscapes on Instagram to see her latest images and stories. Talkin…
35 min
Aug 31, 2020
Kim Grant - How To Go From Hobbyist To Pro Without Losing The Passion
I came up with a bunch of titles for this weeks episode with Scottish outdoor photographer Kim Grant. Titles about creating videos for YouTube, about doing something unique, about showcasing the beauty in your own local landscapes, about capturing the attention of tourism boards to work with, and so on... But there was one overarching theme to what Kim shared in our chat... One main lesson that no matter what your specific field of interest is, or whether you want to "go pro" or not, if you take this lesson to heart then you should never find yourself low on inspiration or losing your passion for photography. Subscribe to the podcast and listen to the full interview now to hear how Kim has done it, and how the side-effect was a career in photography. Resources Kim's YouTube Channel - Subscribe to Kim's YouTube channel Kim Grant Photography on Instagram & Facebook KimGrantPhotography.co.uk - Visit Kim's website to see her photo galleries, workshops, and more. Talking Points…
39 min
Aug 24, 2020
Óli Haukur - Why Landscape Photography Is About More Than Creating Beautiful Photos
In this weeks episode I'm joined by Icelandic professional photographer Óli Haukur, who co-founded one of Icelands most popular photo tour companies EnRoute in 2012, has an incredible image portfolio, and thanks to his thought provoking YouTube videos was one of the first names on the list of potential guests when I decided to start this podcast! Óli shares many inspirational thoughts and insights over the course of our conversation, which I can't wait to share with you now. Hit Play to hear the full interview! Resources olih.is - Visit Óli's website for tour info & more OliHPhotography on YouTube - Subscribe to Óli's YouTube channel Follow Óli on Instagram and Facebook Luminosity Masking Panel for Photoshop - Designed and developed by Steve Arnold to make luminosity masking quicker, easier, and more effective. Podcast listeners receive a 45% discount! Talking Points * How living in Iceland affected Óli's growth as a photographer * How challenging locations and cond…
48 min
Aug 17, 2020
Michael Shainblum - Talking Time-Lapse With The Master Of Visuals
Our guest in this episode is world-renowned film maker and photographer Michael Shainblum. I invited Michael on to the podcast to ask him all about his stunning NYC time-lapse video, and how he captured the essence of the city so effectively in it. Over the course of our conversation Michael shared some great insights into his technical and creative process and offered tips and advice for anyone wanting to try time-lapse photography for themselves. Resources MastersOfVisuals.com – The ultimate time-lapse photography masterclass, by Michael Shainblum ShainblumPhoto.com – Visit Michaels website for articles, videos, tutorials, workshops and more Talking Points * Michael's main goal when creating time-laspe videos * How Michael captured the feeling of the city in his NYC time-lapse * How the entire video was built around one scene and Michael created a progression to build towards it * What it was like trying to film all around NYC and 1 World Trade * The #1 most importa…
45 min
Aug 10, 2020
Ignacio Palacios - How To Stay Productive As A Travel Photographer In Lockdown
Today I'm joined by freelance travel and nature photographer Ignacio Palacios who has travelled 92 countries across his 23 year career, and whose images have earned over 100 photography awards in that time, including being awarded the status of Master of Photography with 1 gold bar with the Australian Institute of Professional Photography. In this episode we talk about what Ignacio has been up to as a travel photographer in worldwide lockdown and how he's stayed productive, how he researches and plans trips to get the most out of every opportunity, and how to look beyond the typical Iconic landscape scenes to capture something more intimate and intriguing, plus lots more that should ignite the travel bug in you ready for when the world gets back to something resembling normal! IpTravelPhotography.com.au – Visit Ignacios website to browse his portfolio of breathtaking photography, and find out more about his tours, workshops, and books. Download Ignacio's ebooks mentioned in the ep…
42 min
Aug 3, 2020
Sophie Gamand - How To Make A Real Difference With Your Photography
This weeks guest is world-renowned photographer and shelter-dog advocate Sophie Gamand, who joins me to talk about how to make a real difference in the world with your photography. Sophie's Pit Bull Flower Power project started as a passion project but quickly exploded in the media, becoming the catalyst for a full time career in photography. For Sophie, it's shelter dogs. Your passion may be similar, or completely different. But what Sophie shares in our conversation today will inspire you to think about how you can attach more meaning to your photography, to tell stories that make a difference, and to create images that can make a real-world difference to whatever cause you set your mind and heart to.
44 min
Jul 27, 2020
Luke Tscharke - What It's Like To Ditch The Corporate Life For A Career In Landscape Photography
Welcome to episode 3! In this weeks episode I'm talking with professional landscape photographer Luke Tscharke, who shares what it's been like to leave the security of a corporate life behind for a more fulfilling career in photography, and we also go a bit deeper into how not panic when you feel your photography mojo starting to slip, plus a lot more.
45 min
Jul 27, 2020
Anthony Lamb - How To Develop Your Own Style By Connecting Emotionally With Your Photography
In episode 2 I'm joined by Anthony Lamb, an award winning minimalist photographer from the UK, who lives and works as a professional photographer in the UAE. Anthony shares some great insights on how to connect with your photography on a personal level, and how this can be used to find inspiration in photographing your local area landscapes so you can lose the FOMO from always feeling like you need to have world class locations on your doorstep.
46 min
Jul 25, 2020
Adam Williams - How To Stand Out In A World Full Of Photographers
Welcome to the Open Shutter Photography Podcast episode 1, with our guest Adam Williams from EasyWayPhotography.com I'm so proud and thankful to kick the podcast off with this interview. It started out with the intention of being simply some tips and insights on creativity but the further we went into the conversation, the deeper and more personal Adams stories and insights went. The whole experience left me re-evaluating my own photography, what it all means to me, and how I can put more of myself into my photography to connect on a deeper level.
56 min
Jul 17, 2020
Podcast Trailer Episode
Welcome to the Open Shutter Photography Podcast! This episode is a quick introduction to what's coming
5 min


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Группа: Indigo Girls - другие аккорды (99)Табулатура песни: Loves Recovery Просмотров: 2039
#----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## LOVE'S RECOVERY (Emily Saliers) ------------------------------- [Tune 6th string (low E) down to D.] [Actually in F, so capo up 3 frets.] [Feel free to simplify some of the chords; e.g., play Gmaj13 as G6 or GM7.] [Each chord is one measure, with these exceptions: Chords joined by hyphens are one measure _total_; the (D)'s at the end of the choruses only last about one quarter-note, and the chords on the very last line have timing markers underneath them.] D Gmaj7/D D11 Em9/D D Gmaj7/D D11 Em9/D [intro] D Gmaj13 Gmaj13 D(9) During the time of which I speak, it was hard to turn the other cheek Gmaj13 Gmaj13 Asus A7 To the blows of insecurity D Gmaj13 D(9) D Feeding the cancer of my intellect, the blood of love, soon neglected D(9) G Asus A7 Lay dying in the strength of its impurity G G E7/G# E7/G# Meanwhile our friends we thought were so together, they've all Asus A7 G G Gone and left each other in search of fairer weather D G And we sit here in our storm and drink a toast A7sus A7 D A7/D (D) A7/D Em D A7/D D A7 To the slim chance of love's recovery There I am in younger days, stargazing, painting picture perfect maps Of how my life and love should be Not counting the unmarked paths of misdirection, my compass, faith in love's perfection I missed ten million miles of road I should've seen Meanwhile our friends we thought were so together Left each other one by one on the road to fairer weather And we sit here in our storm and drink a toast A7sus A7 D A7/D (D) A7/D Em To the slim chance of love's recovery A - Asus A - Asus C(9) C(9) Rain soaked and voice choked like silent screaming in a dream D D Bm/D E7 I search for our absolute distinction A - Asus A - Asus C(9) C(9) Not content to bow and bend to the whims of culture that swoop like vultures) D D D D Eating us away, eating us away G G Asus A Asus A Eating us away to our extinction Oh how I wish I were a trinity, so if I lost a part of me I'd still have two of the same to live But nobody gets a lifetime rehearsal; as specks of dust, we're universal To let this love survive would be the greatest gift that we could give Tell all the friends who think they're do together That these are ghosts and mirages, all these thoughts of fairer weather Though it's storming out, I feel safe within the A7sus A7 D A7/D (D) A7/D Em arms of love's dicovery D Em/D Em D Em D Em7/A D ^[instrumental] ^ . . . ^ . . . ^ . . . ^ D: 000232 Gmaj7/D: 0x0032 D11: 004032 Em9/D: 022002 Gmaj13: 5x4030 D(9): 000230 Asus: x02230 A7: x02020 E7/G#: 676700 or 6x0400 A7sus: x02030 A7/D: 002020 Em: 222000 A: x02220 C(9): x32030 Bm/D: 024432 E7: 220100 Em7/A: x02030 INTRO TAB: [ = is a hammer-on or pull-off; ^ is a tie across measures. ] [Warning: this might be wrong.] D (000232) Gmaj7/D (000032) D(11) (004032) Em9/D (002002) E ----------------|----------------|----------------|----------------| B ----------------|----------------|--3-------------|----------------| G ----2---------0^|0---------0-----|--0-------0-----|----------0-----| D ----------0-----|--------------4^|4-----4-------2^|2-----2---------| A ------------0---|----0-------0---|----0-------0---|----0-------0=2-| D 0-------0-------|0-------0-------|0-------0-------|0-------0-------| ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . D (00423x) Gmaj7/D (000032) D(11) (004032) Em/D (002000) E ----------------|----------------|------2---------|--0-------------| B ------3---------|----------------|----------------|----------------| G ----2---------0^|0---------------|--0-2-----0-2-0^|0---------------| D ------------4---|--------------4^|4---------------|----------------| A ----0-------0---|----0-------0---|----0-------0---|----0-------0---| D 0-------0-------|0-------0-------|0-------0-------|0-------0-------| ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . - Adam Schneider, email@example.com


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Well it's that time of the month again. This is when I go begging for votes! Every month I compete in a challenge that is hosted by Jenn - The Left-Over Queen. At the end of the month we are then asked to vote on which one was the best entry.
This months entry was the Mint-Pomegranate Brownies. You can check out my post again here.
You can vote for me at The Royal Foodie Joust. You will have to sign in and register but I promise you this is the only thing you have to do. There is no spam from this or anything like that.
As Always...
Happy Entertaining!!!


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McLaren MP4-22 design philosophy
With some novel aerodynamic solutions, allied to unprecedented levels of efficiency in its crash structures, the car showcases the engineering strength in depth of McLaren Racing and Mercedes-Benz High Performance Engines.
Although Formula 1 teams are admired throughout industry for their leading edge technology and short development times, long-term planning has also been crucial in the construction of the MP4-22.
Its development period commenced before its predecessor the MP4-21 had even turned a wheel. Initial sketches of aerodynamic concepts and discussions over the design of the clutch and gearbox took place back in December 2005. During the design process, each of the car's 11,000 components were reviewed in meticulous detail in the quest for improved performance, reliability and efficiency.
The MP4-22 represents the latest research and development concepts. Initial ideas were developed with Computer Aided Design (CAD) in mid-March 2006, with the first Computational Fluid Dynamics (CFD) simulations running later that month. The wind tunnel program commenced in May.
The design also incorporates three demanding new pieces of crash protection legislation. A totally new rear crash structure is noticeably wider and blunter than its predecessor. An extra 6mm-thick laminated panel is now also required to be bonded to the side of the driver cell to guard against penetration from another car or object. Frontal protection for the driver has been improved too, with the velocity of impact in the crash test raised from 14 to 15 meters per second, with a softer deceleration both front and rear.
Other regulation changes that have impacted on the design process include the use of a homologated engine for 2007, and the switch to a single tire supplier.
The construction and profile of the Bridgestone Potenza tires have had an influence on the MP4-22's chassis dynamics and significantly the aerodynamics. The tires affect the flow structures downstream of the front wheels, and the team's engineers have used CFD software — for the simulation of heat and fluid flow — to devise the optimum solution to harness the new rubber.
With such detailed simulation increasingly vital in Formula 1, the infrastructure, manufacturing capacity and technical tools available to the design team at the McLaren Technology Centre have played an important role. The MP4-22's development involved the generation of generation of 4,500 component and 3,500 tooling drawings, and the aerodynamics development is very demanding with a continuous program which requires an entirely new set of wetted surfaces for the launch car, with around a third being updated before the first race. This is followed up with new aero components being brought to the car every 3-4 weeks throughout the season.
Following the MP4-22's first test in January 2007, development will continue apace on the track and at the McLaren Technology Centre before it's race debut on Sunday 18th March at the Albert Park circuit in Melbourne, Australia. McLaren


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Minami-ke: A Second HelpingSynopsisThis is another plain depiction of the days and the lives of the Minami sisters. Please expect more of the first season, except possibly even better. ReviewTime does funny things to my memory of anime. Sometimes, something I immediately thought was good sours when I think of it again a few weeks later, and sometimes, something I didn't like grows on me long after I finished it. My review of the original season of Minami-ke sounds surlier than I remember, and as time went gone by, characters that I said were "crowded" and "one-dimensional" had grown on me. Truthfully, I didn't realize how much I liked that series until I decided to track down its sequel. Miname-ke: Okawari aired in the beginning of 2008, and even though I had only tried to track down torrents of it six months after it finished airing, all of my usual sources had failed me, even though the series remained unlicensed. I began to panic, and literally spent hours crawling the Net, looking for someone, anyone who had the series archived and could reseed it. It took some time, but when I finally found the complete second season and turned it on, all the effort seemed completely worth it. Now, for those of you who were with me last time, you will remember the exciting twists and turns of the first season, and that shocking cliff hanger from the last five minutes of the final episode. Well, for the second season... no wait, sorry, wrong show. I had mixed up my notes from Minami-ke with the ones for Code Geass. Sorry. So, what really happened in the last season of Minami-ke? That's right; not much of anything. It was just about the "days of the lives of the three Minami sisters." And their friends, and the friends of their friends. The show had a very large cast for a twelve episode series. But even though I had complained about the size of the cast in the first season, I was surprised by how many of the characters I was able to remember off-hand. There's Takeru, the pathetic cousin and salaryman who supports the sisters financially, but is usually the odd man out when he comes over to visit. There's Toma from the other Minami family, a girl who was raised as a boy by her three older brothers. There's Fujioka, who is head-over-heels in love with Kana. Kana always seems to misinterpret his affections as threats, though, doesn't she? There's Uchida, Chiaka's cute but very dim witted friend, and her other friend Makoto, also known as Mako-chan. Isn't he a little young to be cross dressing? And who could forget Hosaka, the man with some very wild dreams about Haruka, and a tendency to start stripping once he thinks about her for an extended period of time? I don't know whether I should feel sorry for the bloke or be creeped out, but he sure is funny. And I remembered most of that without the help of Wikipedia. Now that the cast is fully assembled, the series runs smoothly. The jokes worked more often for me this time around, and the humor was a little more even. The first two episodes are the exception to this, though, when Studio Asread puts in more fanservice than the entire first season had, along with some pretty falty jokes. But I forgave them once the series really hit its stride after episode three. There was even a charming theme I hadn't noticed before that showed up. It goes like this: the Minami family are very open. They hardly ever spend an evening alone, and with guests coming in and out all the time to visit and hang out, their front door may as well become a revolving door. And after watching how inseperable the Minami sisters are from their friends for some twenty episodes, it hits me who the Minami family actually is. It's not just Haruka, Kana and Chiaki. It's all of their friends who come over for one of Haruka's famous snacks, to study, or just to get away for a little while. Even though most of them aren't related by blood, they are as close as families get. It's a large, sprawling clan, and it's touching to watch their mundane lives mix together. As I mentioned earlier, the series has changed hands since the first season and is now being produced by Studio Asread, who I have never heard of before. Apparently, though, a lot of the staff also worked on Shuffle!. If Tim's review is any indication, this is a much better series. You will notice some stylistic differences from the first season, though, especially when it comes to minor characters. These folks normally get some stock character design that are the visual equivalent of white noise, but what Asread does instead is simply black out anyone who isn't important, even if they have dialogue. It's actually pretty distracting, and is the only noticeable blot on some otherwise good animation. And I'm sure there are other weaknesses in this series. For me, though, I realized I like Minami-ke as much as I do not because it's a near-perfectly executed work, or a stellar example of comedy. Honestly, neither of those things are even close to true. It works for me because of the characters. And I know that sounds so cliche, but it's extremely important that something like Minami-ke, which is very similar to a sitcom, to have strong characters with distinct personalities that the audience really comes to love. I haven't had a cast grow on me like this since I watched all three seasons of Galaxy Angels last year. The two series actually have something in common: when the plot or the jokes run thin, the series pulls itself through on the strength of its cast. I thought this season had more hits than misses, and it really sold me on wanting to follow them through as many seasons as possible. In my opinion, that's enough for a pretty high grade and a strong recommendation. Think of it as the full blossoming of everything the first season promised. Recommended for fans of comedy and slice of life. — Bradley Meek Recommended Audience: This season is racier than the first with a generous helping of fanservice in the first few episodes, but nothing else is worth noting. Version(s) Viewed: Pre-licensed digital digital source Review Status: Full (12/12) Minami-ke: A Second Helping © 2008 Starchild, Studio Asread |
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Some songs. From this week. In a Spotify playlist. Nice, eh? Click here to listen to it. That's alright, eh?
1. The Antlers - 'I Don't Want Love'
What do you want then? A quickie behind the bike sheds? You people. Seriously, though, The Antlers have produced one of our favourite and arguably one of the outright best LPs of the year in Burst Apart, but further proof is this. This particular track was awarded Single of the Week by Wendy Roby. Say no more, say no more.
2. Nicola Roberts - 'Beat of My Drum'
Krystina Nellis wrote a very thoughtful and well-considered review of Nicola Roberts' debut solo effort, awarding it 7/10. She concluded that it was pretty good, but that it wasn't "exactly a sociology PhD thesis on the Plight Of Woman". But that's good, because to do it in musical form would be foolish.
3. M83 - 'Kim & Jessie'
You may remember that Saturdays = Youth was awarded our 2008 album of the year award. Seems like only yesterday. M83 will return with a new album in the next few weeks and they've also just announced a few more shows in the UK, which is great news. Plus there's also another London date in February, a little while later.
4. R.E.M. - 'Radio Free Europe'
Almost exactly as naked pictures of Michael Stipe appeared on the internet, R.E.M. announce that they were calling it a day. It's a bit of a shame but, really, that last album was a huge degradation of most of their previous works, certainly from way back when. Still, it's not like they aren't leaving a legacy. Read Andrzej Lukowski's tribute here.
5. EMA - 'Marked'
Another artist who we've favoured this year has been Erika M. Anderson (only Americans can do that initial as a middle name type thing...) who has LITERALLY exploded this year. There's a new video, which we showed earlier this week, and it's for this track particularly. Worth a watch, we'd say.
6. Blink-182 - 'Dammit'
It could be argued that another band who are sullying themselves are Blink-182 but, as good as their early and mid-level material was, I don't think anybody cares at all that much. Which is a shame. Anyway, believe it or not, they have a new record out and it's not really that good. At all. Which is also a shame.
7. Wilco - 'Heavy Metal Drummer'
"Are Wilco the greatest ROCK BAND currently operating?" is a question asked quite a lot, or so it seems. The answer is "well, they might well be". Here's a little interview we did with them where they talk about things like Record Labels and banks and all that sort of thing. Music, basically.
8. Guided By Voices - 'The Goldheart Mountaintop Queen Directory'
Think we included this a few weeks back, but why shouldn't we do it again? Especially with the news that the "classic" line-up is going to release another album of brand new material, which will be their first since 1996. That really is something to get excited about, isn't it? There might even be some shows over here, though don't hold your breath.
9. Frank Turner - 'English Curse'
This is a historical song. It's about William Rufus and an apparent curse on him. Or something like that. He played at Bestival, which we reviewed. However, the picture directly below his accompanying text is NOT him, just in case you were curious.
10. The Drums - 'Let's Go Surfing'
Let's. Shall we? See pictures of the band here.
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1. And now, victorious and mighty Constantine, in this discourse, whose noble argument is the glory of the Almighty King, let me lay before thee some of the mysteries of his sacred truth: not as presuming to instruct thee, who art thyself taught of God; nor to disclose to thee those secret wonders which he himself, not through the agency of man, but through our common Saviour, and the frequent light of his Divine presence has long since revealed and unfolded to thy view: but in the hope of leading the unlearned to the light, and displaying before those who know them not the causes and motives of thy pious deeds.
2. True it is that thy noble efforts for the daily worship and honor of the Supreme God throughout the habitable world, are the theme of universal praise. But those records of gratitude to thy Saviour and Preserver which thou hast dedicated in our own province of Palestine, and in that city from which as from a fountain-head the Saviour Word 3537 has issued forth to all mankind; and again, the hallowed edifices and consecrated temples which thou hast raised as trophies of his victory over death; and those lofty and noble structures, imperial monuments of an imperial spirit, which thou hast erected in honor of the everlasting memory of the Saviours tomb; the cause, I say, of these things is not equally obvious to all.
3. Those, indeed, who are enlightened in heavenly knowledge by the power of the Divine Spirit, well understand the cause, and justly admire and bless thee for that counsel and resolution which Heaven itself inspired. On the other hand the ignorant and spiritually blind regard these designs with open mockery and scorn, and deem it a strange and unworthy thing indeed that so mighty a prince should waste his zeal on the graves and monuments of the dead.
4. "Were it not better," such a one might say, "to cherish those rites which are hallowed by ancient usage; to seek the favor of those gods and heroes whose worship is observed in every province; instead of rejecting and disclaiming them, because subject to the calamities incident to man? Surely they may claim equal honors with him who himself has suffered: or, if they are to be rejected, as not exempt from the sorrows of humanity, the same award would justly be pronounced respecting him." Thus, with important and contracted brow, might he give utterance in pompous language to his self-imagined wisdom.
5. Filled with compassion for this ignorance, the gracious Word of our most beneficent Father freely invites, not such a one alone, but all who are in the path of error, to receive instruction in Divine knowledge; and has ordained the means of such instruction throughout the world, in every country and village, in cultivated and desert lands alike, and in every city: and, as a gracious Saviour and Physician of the soul, calls on the Greek and the Barbarian, the wise and the unlearned, the rich p. 596 and the poor, the servant and his master, the subject and his lord, the ungodly, the profane, the ignorant, the evil-doer, the blasphemer, alike to draw near, and hasten to receive his heavenly cure. And thus in time past had he clearly announced to all the pardon of former transgressions, saying, "Come unto me, all ye that labor and are heavy laden, and I will give you rest." 3538 And again, "I am not come to call the righteous, but sinners, to repentance." 3539 And he adds the reason, saying, "For they that are whole need not a physician, but they that are sick." 3540 And again, "I desire not the death of a sinner, but rather that he should repent." 3541
6. Hence it is only for those who are themselves instructed in Divine things and understand the motives of that zeal of which these works are the result, to appreciate the more than human impulse by which our emperor was guided, to admire his piety toward God, and to believe his care for the memorial of our Saviours resurrection to be a desire imparted from above, and truly inspired by that Sovereign, to be whose faithful servant and minister for good is his proudest boast.
7. In full persuasion, then, of thy approval, most mighty emperor, I desire at this present time to proclaim to all the reasons and motives of thy pious works. I desire to stand as the interpreter of thy designs, to explain the counsels of a soul devoted to the love of God. I propose to teach all men, what all should know who care to understand the principles on which our Saviour God employs his power, the reasons for which he who was the pre-existent Controller of all things at length descended to us from heaven: the reasons for which he assumed our nature, and submitted even to the power of death. I shall declare the causes of that immortal life which followed, and of his resurrection from the dead. Once more, I shall adduce convincing proofs and arguments, for the sake of those who yet need such testimony:
8. and now let me commence my appointed task.
Those who transfer the worship due to that God who formed and rules the world to the works of his hand; who hold the sun and moon, or other parts of this material system, nay, the elements themselves, earth, water, air, and fire, in equal honor with the Creator of them all; who give the name of gods to things which never would have had existence, or even name, except as obedient to that Word of God who made the world: such persons in my judgment resemble those who overlook the master hand which gives its magnificence to a royal palace; and, while lost in wonder at its roofs and walls, the paintings of varied beauty and coloring which adorn them, and its gilded ceilings and sculptures, ascribe to them the praise of that skill which belongs to the artist whose work they are: whereas they should assign the cause of their wonder, not to these visible objects, but to the architect himself, and confess that the proofs of skill are indeed manifest, but that he alone is the possessor of that skill who has made them what they are.
9. Again, well might we liken those to children, who should admire the seven-stringed lyre, and disregard him who invented or has power to use it: or those who forget the valiant warrior, and adorn his spear and shield with the chaplet of victory: or, lastly, those who hold the squares and streets, the public buildings, temples, and gymnasia of a great and royal city in equal honor with its founder; forgetting that their admiration is due, not to lifeless stones, but to him whose wisdom planned and executed these mighty works.
10. Not less absurd is it for those who regard this universe with the natural eye to ascribe its origin to the sun, or moon, or any other heavenly body. Rather let them confess that these are themselves the works of a higher wisdom, remember the Maker and Framer of them all, and render to him the praise and honor above all created objects. Nay rather, inspired by the sight of these very objects, let them address themselves with full purpose of heart to glorify and worship him who is now invisible to mortal eye, but perceived by the clear and unclouded vision of the soul, the supremely sovereign Word of God. To take the instance of the human body: no one has yet conferred the attribute of wisdom on the eyes, or head, the hands, or feet, or other members, far less on the outward clothing, of a wise and learned man: no one terms the philosophers household furniture and utensils, wise: but every rational person admires that invisible and secret power, the mind of the man himself.
11. How much more, then, is our admiration due, not to the visible mechanism of the universe, material as it is, and formed of the selfsame elements; but to that invisible Word who has moulded and arranged it all, who is the only-begotten Son of God, and whom the Maker of all things, who far transcends all being, has begotten of himself, and appointed Lord and Governor of this universe?
12. For since it was impossible that perishable bodies, or the rational spirits which he had created, should p. 597 approach the Supreme God, by reason of their immeasurable distance from his perfections, for he is unbegotten, above and beyond all creation, ineffable, inaccessible, unapproachable, dwelling, as his holy word assures us, 3542 in the light which none can enter; but they were created from nothing, and are infinitely far removed from his unbegotten Essence; well has the all-gracious and Almighty God interposed as it were an intermediate Power 3543 between himself and them, even the Divine omnipotence of his only-begotten Word. And this Power, which is in perfect nearness and intimacy of union, with the Father which abides in him, and shares his secret counsels, has yet condescended, in fullness of grace, as it were to conform itself to those who are so far removed from the supreme majesty of God. How else, consistently with his own holiness could he who is far above and beyond all things unite himself to corruptible and corporeal matter? Accordingly the Divine Word, thus connecting himself with this universe, and receiving into his hands the reins, as it were, of the world, turns and directs it as a skillful charioteer according to his own will and pleasure.
13. The proof of these assertions is evident. For supposing that those component parts of the world which we call elements, as earth, water, air, and fire, the nature of which is manifestly without intelligence, are self-existent; and if they have one common essence, which they who are skilled in natural science call the great receptacle, mother, and nurse of all things; and if this itself be utterly devoid of shape and figure, of soul and reason; whence shall we say it has obtained its present form and beauty? To what shall we ascribe the distinction of the elements, or the union of things contrary in their very nature? Who has commanded the liquid water to sustain the heavy element of earth? Who has turned back the waters from their downward course, and carried them aloft in clouds? Who has bound the force of fire, and caused it to lie latent in wood, and to combine with substances most contrary to itself? Who has mingled the cold air with heat, and thus reconciled the enmity of opposing principles? Who has devised the continuous succession of the human race, and given it as it were an endless term of duration? Who has moulded the male and female form, adapted their mutual relations with perfect harmony, and given one common principle of production to every living creature? Who changes the character of the fluid and corruptible seed, which in itself is void of reason, and gives it its prolific power? Who is at this moment working these and ten thousand effects more wonderful than these, nay, surpassing all wonder, and with invisible influence is daily and hourly perpetuating the production of them all?
14. Surely the wonder-working and truly omnipotent Word of God may well be deemed the efficient cause of all these things: that Word who, diffusing himself through all creation, pervading height and depth with incorporeal energy, and embracing the length and breadth of the universe within his mighty grasp, has compacted and reduced to order this entire system, from whose unreasoned and formless matter he has framed for himself an instrument of perfect harmony, the nicely balanced chords and notes of which he touches with all-wise and unerring skill. He it is who governs the sun, and moon, and the other luminaries of heaven by inexplicable laws, and directs their motions for the service of the universal whole.
15. It is this Word of God who has stooped to the earth on which we live, and created the manifold species of animals, and the fair varieties of the vegetable world. It is this same Word who has penetrated the recesses of the deep, has given their being to the finny race, and produced the countless forms of life which there exist. It is he who fashions the burden of the womb, and informs it in natures laboratory with the principle of life. By him the fluid and heavy moisture is raised on high, and then, sweetened by a purifying change, descends in measured quantities to the earth, and at stated seasons in more profuse supply.
16. Like a skillful husbandman, he fully irrigates the land, tempers the moist and dry in just proportion, diversifying the whole with brilliant flowers, with aspects of varied beauty, with pleasant fragrance, with alternating varieties of fruits, and countless gratifications for the taste of men. But why do I dare essay a hopeless task, to recount the mighty works of the Word of God, and describe an energy which surpasses mortal thought? By some, indeed, he has been termed the Nature of the universe, by others, the World-Soul, by others, Fate. Others again have declared him to be the most High God himself, strangely confounding things most widely different; bringing down to this earth, uniting to a corruptible and material body, and assigning to that supreme and unbegotten Power who is Lord of all an intermediate place between p. 598 irrational animals and rational mortals on the one hand, and immortal beings on the other. 3544
Here the author seems to speak doubly of the Word and the word.
596:3538 596:3539Matt. xi. 13. R.V.: "For I came not to call the righteous, but sinners." The text here has the reading εισμετανοιαν, omitted by Tischendorf and the revisers with א B, etc., but supported by CEGKL, sab. cop., etc. It is worth noting that it is not in the Sinaitic, and if this text reading is correct it would nearly overthrow the possibility that this ms. was one of those prepared under the direction of Eusebius.
596:3540 596:3541Ezek. xviii. 23. R.V.: "Have I any pleasure in the death of the wicked, saith the Lord God: and not rather that he should return from his way and live?"
597:3542 597:3543[This whole passage (which is defended by Valesius) appears, if rigidly interpreted, to lie under suspicion of a tinge of Arianism.—Bag.] It savors directly of Philo. His doctrine was of an ineffable God, above and separate from matter, and defiled by any contact with it. To bring him into connection with created things he introduced intermediate beings, or "powers," the universal power including all the rest being the Logos. Compare brief account in Zellers Outlines of Greek Philosophy, p. 320–325; Siegfried, Philo von Alexandria (Jena, 1875), especially p. 199 sq., 219 sq., and p. 362–364, where he treats very inadequately of Eusebius dependence on Philo; also works of Philo and Eusebius Præp. and Demonst. Ev. There is a chance of viewing the Word thus as created, but if this is guarded against (as it is by him in the use of "begotten"), there is nothing intrinsically heterodox in making the Word the Creator of the world and only Revealer of the Father. The direct Philonian influence is seen in the phraseology of the following sentences.
598:3544[Of this somewhat obscure passage, a translator can do no more than give as nearly as possible a literal version. The intelligent reader will not fail to perceive that the author, here and in the following chapter, has trodden on very dangerous ground.—Bag.] Compare above notes on the relations of Eusebius and Philo.
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ARIES (March 21-April 19): Can you imagine feeling at home in the world no matter where you are? If you eventually master this art, outer circumstances won't distort your relationship with yourself. No matter how crazy or chaotic the people around you might be, you will remain rooted in your unshakable sense of purpose; you will respond to any given situation in ways that make you both calm and alert, amused and curious, compassionate for the suffering of others and determined to do what's best for you. If you think these are goals worth seeking, you can make dramatic progress toward them in the coming weeks.TAURUS (April 20-May 20): As I tried to meditate on your horoscope, my next-door neighbor was wielding a weed-whacker to trim her lawn, and the voices in my head were shouting extra loud. So I decided to drive down to the marsh to get some high-quality silence. When I arrived at the trail head, I found an older man in ragged clothes leaning against the fence. Nearby was a grocery cart full of what I assumed were all his earthly belongings. "Doing nothing is a very difficult art," he croaked as I slipped by him, "because you're never really sure when you are done." I immediately recognized that his wisdom might be useful to you. You are, after all, in the last few days of your recharging process. It's still a good idea for you to lie low and be extra calm and vegetate luxuriously. But when should you rise up and leap into action again? Here's my guess: Get one more dose of intense stillness and silence.GEMINI (May 21-June 20): My readers have a range of approaches for working with the counsel I offer. Some study the horoscopes for both their sun signs and rising signs, then create do-it-yourself blends of the two. Others prefer to wait until the week is over before consulting what I've written. They don't want my oracles to influence their future behavior, but enjoy evaluating their recent past in light of my analysis. Then there are the folks who read all 12 of my horoscopes. They refuse to be hemmed in by just one forecast, and want to be free to explore multiple options. I encourage you to try experiments like these in the coming days. The moment is ripe to cultivate more of your own unique strategies for using and interpreting the information you absorb — both from me and from everyone else you listen to.CANCER (June 21-July 22): Have you been drinking a lot of liquids? Are you spending extra time soaking in hot baths and swimming in bodies of water that rejuvenate you? Have you been opening your soul to raw truths that dissolve your fixations and to beauty that makes you cry and to love that moves you to sing? I hope you're reverently attending to these fluidic needs. I hope you're giving your deepest yearnings free play and your freshest emotions lots of room to unfold. Smart, well-lubricated intimacy is a luxurious necessity, my dear. Stay very, very wet.LEO (July 23-Aug. 22): In my opinion, you need to bask in the glorious fury of at least one brainstorm — preferably multiple brainstorms over the course of the next two weeks. What can you do to ensure that happens? How might you generate a flood of new ideas about how to live your life and understand the nature of reality? Here are some suggestions: Read books about creativity. Hang around with original thinkers and sly provocateurs. Insert yourself into situations that will strip you of your boring certainties. And take this vow: "I hereby unleash the primal power of my liberated imagination."VIRGO (Aug. 23-Sept. 22): When you were a child, did you play with imaginary friends? During your adolescence, did you nurture a fantasy relationship with a pretend boyfriend or girlfriend? Since you reached adulthood, have you ever enjoyed consorting with muses or guardian angels or ancestral spirits? If you answered yes to any of those questions, you are in a good position to take full advantage of the subtle opportunities and cryptic invitations that are coming your way. Unexpected sources are poised to provide unlikely inspirations in unprecedented ways.LIBRA (Sept. 23-Oct. 22): When you were born, you already carried the seeds of gifts you would someday be able to provide — specific influences or teachings or blessings that only you, of all the people who have ever lived, could offer the world. How are you doing in your quest to fulfill this potential? Here's what I suspect: Your seeds have been ripening slowly and surely. But in the coming months, they could ripen at a more rapid pace. Whether they actually do or not may depend on your willingness to take on more responsibilities — interesting responsibilities, to be sure — but bigger than you're used to.SCORPIO (Oct. 23-Nov. 21): I suspect that you will soon be culminating a labor of love you've been nurturing and refining for many moons. How should you celebrate? Maybe with some champagne and caviar? If you'd like to include bubbly in your revels, a good choice might be 2004 Belle Epoque Rose. Its floral aroma and crispy mouth-feel rouse a sense of jubilation as they synergize the flavors of blood orange, pomegranate, and strawberry. As for caviar: Consider the smooth, aromatic, and elegant roe of the albino beluga sturgeon from the unpolluted areas of the Caspian Sea near Iran. But before I finish this oracle, let me also add that a better way to honor your accomplishment might be to take the money you'd spend on champagne and caviar, and instead use it as seed money for your next big project.SAGITTARIUS (Nov. 22-Dec. 21): Some species of weeds become even more robust and entrenched as they develop resistances to the pesticides that are designed to eradicate them. This is one example of how fighting a problem can make the problem worse — especially if you attack too furiously or use the wrong weapons. I invite you to consider the possibility that this might be a useful metaphor for you to contemplate in the coming weeks. Your desire to solve a knotty dilemma or shed a bad influence is admirable. Just make sure you choose a strategy that actually works.CAPRICORN (Dec. 22-Jan. 19): Your assignment, if you choose to accept it, is to compose an essay on at least one of the following themes: 1. "How I Fed and Fed My Demons Until They Gorged Themselves to Death." 2. "How I Exploited My Nightmares in Ways That Made Me Smarter and Cuter." 3. "How I Quietly and Heroically Transformed a Sticky Problem into a Sleek Opportunity." 4. "How I Helped Myself by Helping Other People." For extra credit, Capricorn — and to earn the right to trade an unholy duty for a holy one — write about all four subjects.AQUARIUS (Jan. 20-Feb. 18): I suspect that in the coming months you will be drawn to wandering through the frontiers and exploring the unknown. Experimentation will come naturally. Places and situations you have previously considered to be off-limits may be downright comfortable. In fact, it's possible that you will have to escape your safety zones in order to fully be yourself. Got all that? Now here's the kicker. In the coming weeks, everything I just described will be especially apropos for your closest relationships. Are you interested in redefining and reconfiguring the ways that togetherness works for you?PISCES (Feb. 19-March 20): If you're playing the card game known as bridge, you're lucky if you are dealt a hand that has no cards of a particular suit. This enables you, right from the beginning, to capture tricks using the trump suit. In other words, the lack of a certain resource gives you a distinct advantage. Let's apply this metaphor to your immediate future, Pisces. I'm guessing that you will benefit from what may seem to be an inadequacy or deficit. An absence will be a useful asset.Homework: What's the situation in your life where it's hardest for you to be loving? Practice being a master of compassion there in the coming week.


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[](/sites/default/files/uploads/2012/09/obama3.jpg)President Barack Obama was elected largely on the assumption that he could – and would – make the world "like" us again. The disturbing and disgraceful events that we are witnessing in the Middle East over the last few days have revealed just what an unmitigated disaster this President's foreign policy has been.
Obama began his tenure in office by traveling around Europe apologizing for America's supposed international arrogance, which earned him only contempt, not goodwill. He went on to begin alienating our longstanding, closest allies. It began with small but offensive gestures like returning Churchill's bust to England and openly snubbing Israel's Netanyahu. Speaking of Israel, Obama has proven himself to be "the anti-Israel President."
But it wasn't enough that Obama pushed away our allies – he has also emboldened and empowered our enemies. He stood by and did nothing as the Iranian regime crushed the people's Green Revolution which, with our support, could have removed Ahmadinejad and the Ayatollahs from power. One can only imagine how that would have changed the balance of power in the Middle East. Obama could have taken credit for taking down the world's biggest state sponsor of terrorism; instead, he gave them space to continue their pursuit of nuclear weapons and dumped the problem of a nuclear Iran in Israel's lap.
After the Green Revolution fizzled out there came the supposedly democratic uprisings across the Middle East called the "Arab Spring" – the inspiration for which some attribute to Obama's 2009 Cairo speech. They degenerated quickly into an Islamist Winter, with Muslim fundamentalists (including al Qaeda and the Muslim Brotherhood) seizing power, threatening war with our ally Israel, and now attacking our embassies and murdering Americans. Obama helped pave the foundation for this nightmare by helping to oust our former ally Mubarak in Egypt; now the largest country in the Middle East is in the grip of the Muslim Brotherhood and the black flag of jihad has been raised over our own embassy.
And so here we are. It is interesting to note that, up until now, no one defined the Obama Doctrine. Americans had a general idea what the Bush Doctrine was; we obviously understood the Reagan Doctrine. But the Obama Doctrine has puzzled commentators for years – is it appeasement? Is it anti-colonialism? Is it multilateral internationalism?
Well, as we witness the catastrophe unfolding right before our eyes in the Middle East, with our enemies unleashing hate and violence against America and with our President beating his breast in response with contrition and mumbling mea culpa, we now know what the Obama Doctrine is: it's a vacuum.
President Obama is a foreign policy failure who has placed America in the worst global position she has been in since the end of the Cold War. Nations that were once our allies – though Obama says the term "ally" is a "term of art" – are now our enemies (Egypt, Tunisia). Nations that were quiet are now loud (Libya). Nations that were headed in the right direction have been turned over to Islamists (Iraq, Afghanistan). Meanwhile, we have sold our debt to China, giving them outsized influence over our foreign policy; we have allowed Russia to broaden its sphere of influence in the Middle East, as well as Central and Eastern Europe; we have ceded ground to the Hugo Chavez acolytes in South America. It is difficult to name a single spot anywhere on earth that is more pro-America thanks to President Obama.
Obama's foreign policy: a national disaster.