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ZSHPARAM(1) General Commands Manual ZSHPARAM(1) NAME
zshparam - zsh parameters DESCRIPTION
A parameter has a name, a value, and a number of attributes. A name may be any sequence of alphanumeric characters and underscores, or the single characters `*', `@', `#', `?', `-', `$', or `!'. The value may be a scalar (a string), an integer, an array (indexed numerically), or an associative array (an unordered set of name-value pairs, indexed by name). To declare the type of a parameter, or to assign a scalar or integer value to a parameter, use the typeset builtin. The value of a scalar or integer parameter may also be assigned by writing: name=value If the integer attribute, -i, is set for name, the value is subject to arithmetic evaluation. See the section `Array Parameters' for addi- tional forms of assignment. To refer to the value of a parameter, write `$name' or `${name}'. See Parameter Expansion in zshexpn(1) for complete details. In the parameter lists that follow, the mark `<S>' indicates that the parameter is special. Special parameters cannot have their type changed, and they stay special even if unset. `<Z>' indicates that the parameter does not exist when the shell initializes in sh or ksh emulation mode. ARRAY PARAMETERS
To assign an array value, write one of: set -A name value ... name=(value ...) If no parameter name exists, an ordinary array parameter is created. If the parameter name exists and is a scalar, it is replaced by a new array. Ordinary array parameters may also be explicitly declared with: typeset -a name Associative arrays must be declared before assignment, by using: typeset -A name When name refers to an associative array, the list in an assignment is interpreted as alternating keys and values: set -A name key value ... name=(key value ...) Every key must have a value in this case. Note that this assigns to the entire array, deleting any elements that do not appear in the list. To create an empty array (including associative arrays), use one of: set -A name name=() Array Subscripts Individual elements of an array may be selected using a subscript. A subscript of the form `[exp]' selects the single element exp, where exp is an arithmetic expression which will be subject to arithmetic expansion as if it were surrounded by `$((...))'. The elements are numbered beginning with 1, unless the KSH_ARRAYS option is set in which case they are numbered from zero. Subscripts may be used inside braces used to delimit a parameter name, thus `${foo[2]}' is equivalent to `$foo[2]'. If the KSH_ARRAYS option is set, the braced form is the only one that works, as bracketed expressions otherwise are not treated as subscripts. The same subscripting syntax is used for associative arrays, except that no arithmetic expansion is applied to exp. However, the parsing rules for arithmetic expressions still apply, which affects the way that certain special characters must be protected from interpretation. See Subscript Parsing below for details. A subscript of the form `[*]' or `[@]' evaluates to all elements of an array; there is no difference between the two except when they appear within double quotes. `"$foo[*]"' evaluates to `"$foo[1] $foo[2] ..."', whereas `"$foo[@]"' evaluates to `"$foo[1]" "$foo[2]" ...'. For associative arrays, `[*]' or `[@]' evaluate to all the values (not the keys, but see Subscript Flags below), in no particular order. When an array parameter is referenced as `$name' (with no subscript) it evaluates to `$name[*]', unless the KSH_ARRAYS option is set in which case it evaluates to `${name[0]}' (for an associative array, this means the value of the key `0', which may not exist even if there are values for other keys). A subscript of the form `[exp1,exp2]' selects all elements in the range exp1 to exp2, inclusive. (Associative arrays are unordered, and so do not support ranges.) If one of the subscripts evaluates to a negative number, say -n, then the nth element from the end of the array is used. Thus `$foo[-3]' is the third element from the end of the array foo, and `$foo[1,-1]' is the same as `$foo[*]'. Subscripting may also be performed on non-array values, in which case the subscripts specify a substring to be extracted. For example, if FOO is set to `foobar', then `echo $FOO[2,5]' prints `ooba'. Array Element Assignment A subscript may be used on the left side of an assignment like so: name[exp]=value In this form of assignment the element or range specified by exp is replaced by the expression on the right side. An array (but not an associative array) may be created by assignment to a range or element. Arrays do not nest, so assigning a parenthesized list of values to an element or range changes the number of elements in the array, shifting the other elements to accommodate the new values. (This is not supported for associative arrays.) This syntax also works as an argument to the typeset command: typeset "name[exp]"=value The value may not be a parenthesized list in this case; only single-element assignments may be made with typeset. Note that quotes are necessary in this case to prevent the brackets from being interpreted as filename generation operators. The noglob precommand modifier could be used instead. To delete an element of an ordinary array, assign `()' to that element. To delete an element of an associative array, use the unset com- mand: unset "name[exp]" Subscript Flags If the opening bracket, or the comma in a range, in any subscript expression is directly followed by an opening parenthesis, the string up to the matching closing one is considered to be a list of flags, as in `name[(flags)exp]'. The flags currently understood are: w If the parameter subscripted is a scalar than this flag makes subscripting work on words instead of characters. The default word separator is whitespace. s:string: This gives the string that separates words (for use with the w flag). p Recognize the same escape sequences as the print builtin in the string argument of a subsequent `s' flag. f If the parameter subscripted is a scalar than this flag makes subscripting work on lines instead of characters, i.e. with elements separated by newlines. This is a shorthand for `pws:\n:'. r Reverse subscripting: if this flag is given, the exp is taken as a pattern and the result is the first matching array element, sub- string or word (if the parameter is an array, if it is a scalar, or if it is a scalar and the `w' flag is given, respectively). The subscript used is the number of the matching element, so that pairs of subscripts such as `$foo[(r)??,3]' and `$foo[(r)??,(r)f*]' are possible. If the parameter is an associative array, only the value part of each pair is compared to the pattern, and the result is that value. Reverse subscripts may be used for assigning to ordinary array elements, but not for assigning to associative arrays. R Like `r', but gives the last match. For associative arrays, gives all possible matches. i Like `r', but gives the index of the match instead; this may not be combined with a second argument. On the left side of an assign- ment, behaves like `r'. For associative arrays, the key part of each pair is compared to the pattern, and the first matching key found is the result. I Like `i', but gives the index of the last match, or all possible matching keys in an associative array. k If used in a subscript on an associative array, this flag causes the keys to be interpreted as patterns, and returns the value for the first key found where exp is matched by the key. This flag does not work on the left side of an assignment to an associative array element. If used on another type of parameter, this behaves like `r'. K On an associative array this is like `k' but returns all values where exp is matched by the keys. On other types of parameters this has the same effect as `R'. n:expr: If combined with `r', `R', `i' or `I', makes them give the nth or nth last match (if expr evaluates to n). This flag is ignored when the array is associative. b:expr: If combined with `r', `R', `i' or `I', makes them begin at the nth or nth last element, word, or character (if expr evaluates to n). This flag is ignored when the array is associative. e This flag has no effect and for ordinary arrays is retained for backward compatibility only. For associative arrays, this flag can be used to force * or @ to be interpreted as a single key rather than as a reference to all values. This flag may be used on the left side of an assignment. See Parameter Expansion Flags (zshexpn(1)) for additional ways to manipulate the results of array subscripting. Subscript Parsing This discussion applies mainly to associative array key strings and to patterns used for reverse subscripting (the `r', `R', `i', etc. flags), but it may also affect parameter substitutions that appear as part of an arithmetic expression in an ordinary subscript. The basic rule to remember when writing a subscript expression is that all text between the opening `[' and the closing `]' is interpreted as if it were in double quotes (see zshmisc(1)). However, unlike double quotes which normally cannot nest, subscript expressions may appear inside double-quoted strings or inside other subscript expressions (or both!), so the rules have two important differences. The first difference is that brackets (`[' and `]') must appear as balanced pairs in a subscript expression unless they are preceded by a backslash (`\'). Therefore, within a subscript expression (and unlike true double-quoting) the sequence `\[' becomes `[', and similarly `\]' becomes `]'. This applies even in cases where a backslash is not normally required; for example, the pattern `[^[]' (to match any character other than an open bracket) should be written `[^\[]' in a reverse-subscript pattern. However, note that `\[^\[\]' and even `\[^[]' mean the same thing, because backslashes are always stripped when they appear before brackets! The same rule applies to parentheses (`(' and `)') and braces (`{' and `}'): they must appear either in balanced pairs or preceded by a backslash, and backslashes that protect parentheses or braces are removed during parsing. This is because parameter expansions may be sur- rounded balanced braces, and subscript flags are introduced by balanced parenthesis. The second difference is that a double-quote (`"') may appear as part of a subscript expression without being preceded by a backslash, and therefore that the two characters `\"' remain as two characters in the subscript (in true double-quoting, `\"' becomes `"'). However, because of the standard shell quoting rules, any double-quotes that appear must occur in balanced pairs unless preceded by a backslash. This makes it more difficult to write a subscript expression that contains an odd number of double-quote characters, but the reason for this difference is so that when a subscript expression appears inside true double-quotes, one can still write `\"' (rather than `\\\"') for `"'. To use an odd number of double quotes as a key in an assignment, use the typeset builtin and an enclosing pair of double quotes; to refer to the value of that key, again use double quotes: typeset -A aa typeset "aa[one\"two\"three\"quotes]"=QQQ print "$aa[one\"two\"three\"quotes]" It is important to note that the quoting rules do not change when a parameter expansion with a subscript is nested inside another subscript expression. That is, it is not necessary to use additional backslashes within the inner subscript expression; they are removed only once, from the innermost subscript outwards. Parameters are also expanded from the innermost subscript first, as each expansion is encountered left to right in the outer expression. A further complication arises from a way in which subscript parsing is not different from double quote parsing. As in true double-quoting, the sequences `\*', and `\@' remain as two characters when they appear in a subscript expression. To use a literal `*' or `@' as an asso- ciative array key, the `e' flag must be used: typeset -A aa aa[(e)*]=star print $aa[(e)*] A last detail must be considered when reverse subscripting is performed. Parameters appearing in the subscript expression are first expanded and then the complete expression is interpreted as a pattern. This has two effects: first, parameters behave as if GLOB_SUBST were on (and it cannot be turned off); second, backslashes are interpreted twice, once when parsing the array subscript and again when parsing the pattern. In a reverse subscript, it's necessary to use four backslashes to cause a single backslash to match literally in the pattern. For complex patterns, it is often easiest to assign the desired pattern to a parameter and then refer to that parameter in the subscript, because then the backslashes, brackets, parentheses, etc., are seen only when the complete expression is converted to a pattern. To match the value of a parameter literally in a reverse subscript, rather than as a pattern, use `${(q)name}' (see zshexpn(1)) to quote the expanded value. Note that the `k' and `K' flags are reverse subscripting for an ordinary array, but are not reverse subscripting for an associative array! (For an associative array, the keys in the array itself are interpreted as patterns by those flags; the subscript is a plain string in that case.) One final note, not directly related to subscripting: the numeric names of positional parameters (described below) are parsed specially, so for example `$2foo' is equivalent to `${2}foo'. Therefore, to use subscript syntax to extract a substring from a positional parameter, the expansion must be surrounded by braces; for example, `${2[3,5]}' evaluates to the third through fifth characters of the second positional parameter, but `$2[3,5]' is the entire second parameter concatenated with the filename generation pattern `[3,5]'. POSITIONAL PARAMETERS
The positional parameters provide access to the command-line arguments of a shell function, shell script, or the shell itself; see the sec- tion `Invocation', and also the section `Functions'. The parameter n, where n is a number, is the nth positional parameter. The parame- ters *, @ and argv are arrays containing all the positional parameters; thus `$argv[n]', etc., is equivalent to simply `$n'. Positional parameters may be changed after the shell or function starts by using the set builtin, by assigning to the argv array, or by direct assignment of the form `n=value' where n is the number of the positional parameter to be changed. This also creates (with empty values) any of the positions from 1 to n that do not already have values. Note that, because the positional parameters form an array, an array assignment of the form `n=(value ...)' is allowed, and has the effect of shifting all the values at positions greater than n by as many positions as necessary to accommodate the new values. LOCAL PARAMETERS
Shell function executions delimit scopes for shell parameters. (Parameters are dynamically scoped.) The typeset builtin, and its alterna- tive forms declare, integer, local and readonly (but not export), can be used to declare a parameter as being local to the innermost scope. When a parameter is read or assigned to, the innermost existing parameter of that name is used. (That is, the local parameter hides any less-local parameter.) However, assigning to a non-existent parameter, or declaring a new parameter with export, causes it to be created in the outermost scope. Local parameters disappear when their scope ends. unset can be used to delete a parameter while it is still in scope; any outer parameter of the same name remains hidden. Special parameters may also be made local; they retain their special attributes unless either the existing or the newly-created parameter has the -h (hide) attribute. This may have unexpected effects: there is no default value, so if there is no assignment at the point the variable is made local, it will be set to an empty value (or zero in the case of integers). The following: typeset PATH=/new/directory:$PATH is valid for temporarily allowing the shell or programmes called from it to find the programs in /new/directory inside a function. Note that the restriction in older versions of zsh that local parameters were never exported has been removed. PARAMETERS SET BY THE SHELL
The following parameters are automatically set by the shell: ! <S> The process ID of the last background command invoked. # <S> The number of positional parameters in decimal. Note that some confusion may occur with the syntax $#param which substitutes the length of param. Use ${#} to resolve ambiguities. In particular, the sequence `$#-...' in an arithmetic expression is interpreted as the length of the parameter -, q.v. ARGC <S> <Z> Same as #. $ <S> The process ID of this shell. - <S> Flags supplied to the shell on invocation or by the set or setopt commands. * <S> An array containing the positional parameters. argv <S> <Z> Same as *. Assigning to argv changes the local positional parameters, but argv is not itself a local parameter. Deleting argv with unset in any function deletes it everywhere, although only the innermost positional parameter array is deleted (so * and @ in other scopes are not affected). @ <S> Same as argv[@], even when argv is not set. ? <S> The exit value returned by the last command. 0 <S> The name used to invoke the current shell. If the FUNCTION_ARGZERO option is set, this is set temporarily within a shell function to the name of the function, and within a sourced script to the name of the script. status <S> <Z> Same as ?. pipestatus <S> <Z> An array containing the exit values returned by all commands in the last pipeline. _ <S> The last argument of the previous command. Also, this parameter is set in the environment of every command executed to the full pathname of the command. CPUTYPE The machine type (microprocessor class or machine model), as determined at run time. EGID <S> The effective group ID of the shell process. If you have sufficient privileges, you may change the effective group ID of the shell process by assigning to this parameter. Also (assuming sufficient privileges), you may start a single command with a different effective group ID by `(EGID=gid; command)' EUID <S> The effective user ID of the shell process. If you have sufficient privileges, you may change the effective user ID of the shell process by assigning to this parameter. Also (assuming sufficient privileges), you may start a single command with a different effective user ID by `(EUID=uid; command)' ERRNO <S> The value of errno (see errno(3)) as set by the most recently failed system call. This value is system dependent and is intended for debugging purposes. GID <S> The real group ID of the shell process. If you have sufficient privileges, you may change the group ID of the shell process by assigning to this parameter. Also (assuming sufficient privileges), you may start a single command under a different group ID by `(GID=gid; command)' HOST The current hostname. LINENO <S> The line number of the current line within the current script, sourced file, or shell function being executed, whichever was started most recently. Note that in the case of shell functions the line number refers to the function as it appeared in the original defi- nition, not necessarily as displayed by the functions builtin. LOGNAME If the corresponding variable is not set in the environment of the shell, it is initialized to the login name corresponding to the current login session. This parameter is exported by default but this can be disabled using the typeset builtin. MACHTYPE The machine type (microprocessor class or machine model), as determined at compile time. OLDPWD The previous working directory. This is set when the shell initializes and whenever the directory changes. OPTARG <S> The value of the last option argument processed by the getopts command. OPTIND <S> The index of the last option argument processed by the getopts command. OSTYPE The operating system, as determined at compile time. PPID <S> The process ID of the parent of the shell. PWD The present working directory. This is set when the shell initializes and whenever the directory changes. RANDOM <S> A random integer from 0 to 32767, newly generated each time this parameter is referenced. The random number generator can be seeded by assigning a numeric value to RANDOM. SECONDS <S> The number of seconds since shell invocation. If this parameter is assigned a value, then the value returned upon reference will be the value that was assigned plus the number of seconds since the assignment. SHLVL <S> Incremented by one each time a new shell is started. signals An array containing the names of the signals. TTY The name of the tty associated with the shell, if any. TTYIDLE <S> The idle time of the tty associated with the shell in seconds or -1 if there is no such tty. UID <S> The real user ID of the shell process. If you have sufficient privileges, you may change the user ID of the shell by assigning to this parameter. Also (assuming sufficient privileges), you may start a single command under a different user ID by `(UID=uid; com- mand)' USERNAME <S> The username corresponding to the real user ID of the shell process. If you have sufficient privileges, you may change the username (and also the user ID and group ID) of the shell by assigning to this parameter. Also (assuming sufficient privileges), you may start a single command under a different username (and user ID and group ID) by `(USERNAME=username; command)' VENDOR The vendor, as determined at compile time. ZSH_NAME Expands to the basename of the command used to invoke this instance of zsh. ZSH_VERSION The version number of this zsh. PARAMETERS USED BY THE SHELL
The following parameters are used by the shell. In cases where there are two parameters with an upper- and lowercase form of the same name, such as path and PATH, the lowercase form is an array and the uppercase form is a scalar with the elements of the array joined together by colons. These are similar to tied parameters created via `typeset -T'. The normal use for the colon-separated form is for exporting to the environment, while the array form is easier to manipulate within the shell. Note that unsetting either of the pair will unset the other; they retain their special properties when recreated, and recreating one of the pair will recreate the other. ARGV0 If exported, its value is used as the argv[0] of external commands. Usually used in constructs like `ARGV0=emacs nethack'. BAUD The baud rate of the current connection. Used by the line editor update mechanism to compensate for a slow terminal by delaying updates until necessary. This may be profitably set to a lower value in some circumstances, e.g. for slow modems dialing into a communications server which is connected to a host via a fast link; in this case, this variable would be set by default to the speed of the fast link, and not the modem. This parameter should be set to the baud rate of the slowest part of the link for best perfor- mance. The compensation mechanism can be turned off by setting the variable to zero. cdpath <S> <Z> (CDPATH <S>) An array (colon-separated list) of directories specifying the search path for the cd command. COLUMNS <S> The number of columns for this terminal session. Used for printing select lists and for the line editor. DIRSTACKSIZE The maximum size of the directory stack. If the stack gets larger than this, it will be truncated automatically. This is useful with the AUTO_PUSHD option. FCEDIT The default editor for the fc builtin. fignore <S> <Z> (FIGNORE <S>) An array (colon separated list) containing the suffixes of files to be ignored during filename completion. However, if completion only generates files with suffixes in this list, then these files are completed anyway. fpath <S> <Z> (FPATH <S>) An array (colon separated list) of directories specifying the search path for function definitions. This path is searched when a function with the -u attribute is referenced. If an executable file is found, then it is read and executed in the current environ- ment. histchars <S> Three characters used by the shell's history and lexical analysis mechanism. The first character signals the start of a history expansion (default `!'). The second character signals the start of a quick history substitution (default `^'). The third character is the comment character (default `#'). HISTCHARS <S> <Z> Same as histchars. (Deprecated.) HISTFILE The file to save the history in when an interactive shell exits. If unset, the history is not saved. HISTSIZE <S> The maximum number of events stored in the internal history list. If you use the HIST_EXPIRE_DUPS_FIRST option, setting this value larger than the SAVEHIST size will give you the difference as a cushion for saving duplicated history events. HOME <S> The default argument for the cd command. IFS <S> Internal field separators (by default space, tab, newline and NUL), that are used to separate words which result from command or parameter expansion and words read by the read builtin. Any characters from the set space, tab and newline that appear in the IFS are called IFS white space. One or more IFS white space characters or one non-IFS white space character together with any adjacent IFS white space character delimit a field. If an IFS white space character appears twice consecutively in the IFS, this character is treated as if it were not an IFS white space character. KEYTIMEOUT The time the shell waits, in hundredths of seconds, for another key to be pressed when reading bound multi-character sequences. LANG <S> This variable determines the locale category for any category not specifically selected via a variable starting with `LC_'. LC_ALL <S> This variable overrides the value of the `LANG' variable and the value of any of the other variables starting with `LC_'. LC_COLLATE <S> This variable determines the locale category for character collation information within ranges in glob brackets and for sorting. LC_CTYPE <S> This variable determines the locale category for character handling functions. LC_MESSAGES <S> This variable determines the language in which messages should be written. Note that zsh does not use message catalogs. LC_NUMERIC <S> This variable affects the decimal point character and thousands separator character for the formatted input/output functions and string conversion functions. Note that zsh ignores this setting when parsing floating point mathematical expressions. LC_TIME <S> This variable determines the locale category for date and time formatting in prompt escape sequences. LINES <S> The number of lines for this terminal session. Used for printing select lists and for the line editor. LISTMAX In the line editor, the number of matches to list without asking first. If the value is negative, the list will be shown if it spans at most as many lines as given by the absolute value. If set to zero, the shell asks only if the top of the listing would scroll off the screen. LOGCHECK The interval in seconds between checks for login/logout activity using the watch parameter. MAIL If this parameter is set and mailpath is not set, the shell looks for mail in the specified file. MAILCHECK The interval in seconds between checks for new mail. mailpath <S> <Z> (MAILPATH <S>) An array (colon-separated list) of filenames to check for new mail. Each filename can be followed by a `?' and a message that will be printed. The message will undergo parameter expansion, command substitution and arithmetic expansion with the variable $_ defined as the name of the file that has changed. The default message is `You have new mail'. If an element is a directory instead of a file the shell will recursively check every file in every subdirectory of the element. manpath <S> <Z> (MANPATH <S> <Z>) An array (colon-separated list) whose value is not used by the shell. The manpath array can be useful, however, since setting it also sets MANPATH, and vice versa. module_path <S> <Z> (MODULE_PATH <S>) An array (colon-separated list) of directories that zmodload searches for dynamically loadable modules. This is initialized to a standard pathname, usually `/usr/local/lib/zsh/$ZSH_VERSION'. (The `/usr/local/lib' part varies from installation to installation.) For security reasons, any value set in the environment when the shell is started will be ignored. These parameters only exist if the installation supports dynamic module loading. NULLCMD <S> The command name to assume if a redirection is specified with no command. Defaults to cat. For sh/ksh behavior, change this to :. For csh-like behavior, unset this parameter; the shell will print an error message if null commands are entered. path <S> <Z> (PATH <S>) An array (colon-separated list) of directories to search for commands. When this parameter is set, each directory is scanned and all files found are put in a hash table. POSTEDIT <S> This string is output whenever the line editor exits. It usually contains termcap strings to reset the terminal. PROMPT <S> <Z> PROMPT2 <S> <Z> PROMPT3 <S> <Z> PROMPT4 <S> <Z> Same as PS1, PS2, PS3 and PS4, respectively. prompt <S> <Z> Same as PS1. PS1 <S> The primary prompt string, printed before a command is read. the default is `%m%# '. It undergoes a special form of expansion before being displayed; see the section `Prompt Expansion'. PS2 <S> The secondary prompt, printed when the shell needs more information to complete a command. It is expanded in the same way as PS1. The default is `%_> ', which displays any shell constructs or quotation marks which are currently being processed. PS3 <S> Selection prompt used within a select loop. It is expanded in the same way as PS1. The default is `?# '. PS4 <S> The execution trace prompt. Default is `+%N:%i> ', which displays the name of the current shell structure and the line number within it. In sh or ksh emulation, the default is `+ '. psvar <S> <Z> (PSVAR <S>) An array (colon-separated list) whose first nine values can be used in PROMPT strings. Setting psvar also sets PSVAR, and vice versa. READNULLCMD <S> The command name to assume if a single input redirection is specified with no command. Defaults to more. REPORTTIME If nonnegative, commands whose combined user and system execution times (measured in seconds) are greater than this value have tim- ing statistics printed for them. REPLY This parameter is reserved by convention to pass string values between shell scripts and shell builtins in situations where a func- tion call or redirection are impossible or undesirable. The read builtin and the select complex command may set REPLY, and filename generation both sets and examines its value when evaluating certain expressions. Some modules also employ REPLY for similar pur- poses. reply As REPLY, but for array values rather than strings. RPROMPT <S> RPS1 <S> This prompt is displayed on the right-hand side of the screen when the primary prompt is being displayed on the left. This does not work if the SINGLELINEZLE option is set. It is expanded in the same way as PS1. SAVEHIST The maximum number of history events to save in the history file. SPROMPT <S> The prompt used for spelling correction. The sequence `%R' expands to the string which presumably needs spelling correction, and `%r' expands to the proposed correction. All other prompt escapes are also allowed. STTY If this parameter is set in a command's environment, the shell runs the stty command with the value of this parameter as arguments in order to set up the terminal before executing the command. The modes apply only to the command, and are reset when it finishes or is suspended. If the command is suspended and continued later with the fg or wait builtins it will see the modes specified by STTY, as if it were not suspended. This (intentionally) does not apply if the command is continued via `kill -CONT'. STTY is ignored if the command is run in the background, or if it is in the environment of the shell but not explicitly assigned to in the input line. This avoids running stty at every external command by accidentally exporting it. Also note that STTY should not be used for window size specifications; these will not be local to the command. TERM <S> The type of terminal in use. This is used when looking up termcap sequences. An assignment to TERM causes zsh to re-initialize the terminal, even if the value does not change (e.g., `TERM=$TERM'). It is necessary to make such an assignment upon any change to the terminal definition database or terminal type in order for the new settings to take effect. TIMEFMT The format of process time reports with the time keyword. The default is `%E real %U user %S system %P %J'. Recognizes the fol- lowing escape sequences: %% A `%'. %U CPU seconds spent in user mode. %S CPU seconds spent in kernel mode. %E Elapsed time in seconds. %P The CPU percentage, computed as (%U+%S)/%E. %J The name of this job. A star may be inserted between the percent sign and flags printing time. This cause the time to be printed in `hh:mm:ss.ttt' format (hours and minutes are only printed if they are not zero). TMOUT If this parameter is nonzero, the shell will receive an ALRM signal if a command is not entered within the specified number of sec- onds after issuing a prompt. If there is a trap on SIGALRM, it will be executed and a new alarm is scheduled using the value of the TMOUT parameter after executing the trap. If no trap is set, and the idle time of the terminal is not less than the value of the TMOUT parameter, zsh terminates. Otherwise a new alarm is scheduled to TMOUT seconds after the last keypress. TMPPREFIX A pathname prefix which the shell will use for all temporary files. Note that this should include an initial part for the file name as well as any directory names. The default is `/tmp/zsh'. watch <S> <Z> (WATCH <S>) An array (colon-separated list) of login/logout events to report. If it contains the single word `all', then all login/logout events are reported. If it contains the single word `notme', then all events are reported as with `all' except $USERNAME. An entry in this list may consist of a username, an `@' followed by a remote hostname, and a `%' followed by a line (tty). Any or all of these components may be present in an entry; if a login/logout event matches all of them, it is reported. WATCHFMT The format of login/logout reports if the watch parameter is set. Default is `%n has %a %l from %m'. Recognizes the following escape sequences: %n The name of the user that logged in/out. %a The observed action, i.e. "logged on" or "logged off". %l The line (tty) the user is logged in on. %M The full hostname of the remote host. %m The hostname up to the first `.'. If only the IP address is available or the utmp field contains the name of an X-windows display, the whole name is printed. NOTE: The `%m' and `%M' escapes will work only if there is a host name field in the utmp on your machine. Otherwise they are treated as ordinary strings. %S (%s) Start (stop) standout mode. %U (%u) Start (stop) underline mode. %B (%b) Start (stop) boldface mode. %t %@ The time, in 12-hour, am/pm format. %T The time, in 24-hour format. %w The date in `day-dd' format. %W The date in `mm/dd/yy' format. %D The date in `yy-mm-dd' format. %(x:true-text:false-text) Specifies a ternary expression. The character following the x is arbitrary; the same character is used to separate the text for the "true" result from that for the "false" result. Both the separator and the right parenthesis may be escaped with a backslash. Ternary expressions may be nested. The test character x may be any one of `l', `n', `m' or `M', which indicate a `true' result if the corresponding escape sequence would return a non-empty value; or it may be `a', which indicates a `true' result if the watched user has logged in, or `false' if he has logged out. Other characters evaluate to neither true nor false; the entire expression is omitted in this case. If the result is `true', then the true-text is formatted according to the rules above and printed, and the false-text is skipped. If `false', the true-text is skipped and the false-text is formatted and printed. Either or both of the branches may be empty, but both separators must be present in any case. WORDCHARS <S> A list of non-alphanumeric characters considered part of a word by the line editor. ZBEEP If set, this gives a string of characters, which can use all the same codes as the bindkey command as described in the zsh/zle mod- ule entry in zshmodules(1), that will be output to the terminal instead of beeping. This may have a visible instead of an audible effect; for example, the string `\e[?5h\e[?5l' on a vt100 or xterm will have the effect of flashing reverse video on and off (if you usually use reverse video, you should use the string `\e[?5l\e[?5h' instead). This takes precedence over the NOBEEP option. ZDOTDIR The directory to search for shell startup files (.zshrc, etc), if not $HOME. zsh 4.0.6 August 14, 2002 ZSHPARAM(1)


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The Placer County Board of Supervisors, at its regularly scheduled meeting Tuesday, took three actions to make the county more fire safe.
In the first, the Board approved the permanent expansion of the county's hazardous vegetation abatement (HVA) ordinance to all county unincorporated areas. In the second action, the Board OK'd an update to the Community Wildfire Protection Plan. And in the third action, the Board approved an agreement with the California Department of Forestry and Fire Protection (CALFIRE) for fire protection and other emergency services.
The HVA, which began as a pilot program in select areas in the Lake Tahoe Basin in 2007, was later extended to communities in unincorporated areas on the western side of the county. With the ordinance now permanently in place, owners of unimproved parcels that have no structures can be required to remove untreated fire fuels that create a hazard to adjacent improved parcels.
The ordinance encourages property owners to meet state and county requirements through the use of inspections, public education and cooperation. Before compulsory abatement is ordered and billed to a property owner, the ordinance has a process involving inspections and cooperative efforts. The ordinance provides for a formal action, if necessary, to ensure removal of the fire hazard.
The ordinance is enforced by the County Fire Warden or cooperating fire chiefs with County Code Enforcement's support if compulsory abatement is ordered. The Supervisors established a hearing body to review disputed cases and make a final determination on whether compulsory abatement is warranted. To date, there have been no abatement orders issued; fire protection staff has been able to gain compliance through property owner education and cooperation.
"The Board's action to approve the HVA Ordinance countywide gives our unincorporated fire chiefs a tool to encourage the elimination of hazardous fuels from unimproved parcels when these fuels pose a significant risk to a neighbor's home." said Rui Cunha, Placer County Office of Emergency Services Program Manager. "The fire chiefs, local fire safe councils, and many community members in both the western and eastern portions of Placer County have been instrumental in supporting this item."
The Community Wildfire Protection Plan is a collaborative effort between Placer County and federal, state and local partners in fire prevention and mitigation. The plan discusses the many challenges in the planning areas and community preparedness, provides detail in hazard assessment, and lists 46 defense zones or urban lot fuel reduction projects, community preparedness and education projects.
The effort serves as a guidebook for making fire prone communities safer as identified projects are implemented. The Plan defines specific fire hazards in designated areas, assesses the values at risk and identifies and prioritizes specific projects to protect local communities. Projects include: rehabilitation and restoration of habitat; hazardous fuels reduction; and public education.
In the third action, the Board OK'd a contract with the California Department of Forestry and Fire Protection (CAL FIRE) for fiscal year 2013/14 for fire protection and prevention, emergency medical, hazardous materials and all hazard incident response, in addition to dispatch services. The contracted CALFIRE agencies are known as the Placer County Fire Department.
The area subject to the contract covers approximately 475 square miles, or nearly one-third of unincorporated Placer County. The population in the area is 44,400, and service is provided by both full time and volunteer firefighters. The CALFIRE contract pays for the equivalent of 66 full time firefighters operating from eight fire stations that are around the clock. The stations are in in Alta, Colfax, Bowman, North Auburn, Ophir, Lincoln, the Sunset Industrial Area, and Dry Creek. Approximately 100 volunteer firefighters operate out of the paid stations listed above and from six community volunteer stations in Dutch Flat, Fowler, Paige, Thermalands, Dry Creek and Sheridan.
During Fiscal Year (FY) 2011/12, Placer County Fire responded to 5,109 calls for service, including 3,809 calls for medical aid. Of the medical aid calls, 405 involved vehicle accidents with 14 vehicle extrications. Placer County Fire was called to 774 fire-related calls including structure, commercial structure, wildland smoke checks and debris checks. There were 110 hazardous materials calls, 28 investigations and 338 other types of calls including rescues, and public assist calls.
The Placer County Fire Department continues to seek volunteers to staff the stations in the unincorporated county. Placer County Fire has established different levels of volunteerism to suit the abilities and desires of community members. Anyone interested in becoming a volunteer should contact CALFIRE at 530-889-0111 and speak with a fire chief.
*Placer County

subset: commoncrawl


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Yuma Mayor Declares Emergency Over Migrant Crisis – City Overrun
This story originally appeared on WeBuildTheWall.news & was edited & republished with permission:
Sounds like a humanitarian and a national security crisis to me and I'm not the only one who sees it that way. Yuma Mayor Douglas Nicholls just declared an emergency in his city due to what he said was the strain caused by the incoming flow of migrants. The agents and authorities are simply being overwhelmed and swarmed by these invaders.
1,800 came over the border in one day… one day! Half of those detained on Tuesday crossing over from Mexico were found in the El Paso, Texas area, according to officials. Border patrol said more than 980 were apprehended before 5 am after crossing in three large groups. Yuma is having just as rough a time of it.
Mayor Nicholls went public with this on Facebook. He explained that he "proclaimed a local emergency" in the city "due to the migrant family releases overwhelming the local shelter system." And it's not just the sheer numbers of illegal immigrants… it's the economic burden, the crime, the drugs, the danger to children and disease that is playing into this massive emergency state.
Nicholls is begging the government to step in and do something here. I don't blame him in the least. They need help and fast. "I am calling upon the federal government to alleviate the humanitarian crisis in Yuma, as our NGO's are overcapacity and cannot sustain providing this aid," the post said. Here's a thought – ship all of them to sanctuary cities just as Trump proposed. Works for me. Better yet, don't let them in at all unless they come here legally.
From Fox News:
"Nicholls, in a video, laid out his reasoning behind the declaration, saying that he ultimately feels that its what's best for both Yuma and the incoming migrants.
"So it's with a heavy heart that I declare that we're at this point but it is something that I believe we need to do to make sure that our community is maintained and that the human rights of all the migrants are also maintained and that we have a path forward that respects both," he said.
"The city of Yuma, Ariz., also tweeted about the proclamation, citing Nicholls, claiming that released migrants were coming into the area faster than they were leaving.
"The move by the local official comes after President Trump declared a national emergency at the nation's southern border earlier this year."
Mayor: Migrants being released into the community faster than they are departing, and shelters and the staff to run them are at max capacity. A state of emergency is declared.
— City of Yuma (@cityofyuma) April 16, 2019
"The transportation network is just insufficient to keep up with demand," Nicholls said. "And the backlog of people staying at the shelter has created this capacity issue." The media and the left are playing it up that the poor illegal immigrants don't have money for bus fare to go to relatives while they await their court date. But the issue here is that they should not be here in the first place.
Now, the city is hoping for a FEMA response. In signing the declaration, Nicholls said he hopes to draw national attention to the plight of local communities struggling with a federal issue, adding that he's talking to officials in other border cities and calling on them to issue similar emergency declarations. The mayor stated that he had spoken to Arizona Gov. Doug Ducey, who signaled his support for the declaration.
Today I proclaimed a local emergency in Yuma, due to the migrant family releases overwhelming the local shelter system. I am calling upon the federal government to alleviate the humanitarian crisis in Yuma, as our NGO's are overcapacity and cannot sustain providing this aid. I signed the proclamation of emergency and soon after spoke with media at approximately 3:15 pm (MST). You can view via the video below:
Posted by Douglas Nicholls, Yuma Mayor on Tuesday, April 16, 2019
"We will review any declaration once we receive it," according to a statement Tuesday night from Patrick Ptak, a Ducey spokesman. "Ultimately, this humanitarian crisis is the result of Congress' failure to act. It will only be solved by Congress actually doing something, and the governor has vocally urged Congress to quit playing politics and take action. If only they would.
"In the wake of their inaction, our office is working with local governments, non-profits and our federal partners to maximize available resources and ensure proper coordination between ICE officials and groups providing temporary services to migrants."
I rolled into Mexico illegally, and came back into the USA… upon entering I got free healthcare, dental, welfare and cash in my pocket. It was that easy. @DonaldJTrumpJr @realDonaldTrump @RealJamesWoods @Education4Libs @IngrahamAngle @gehrig38 @SheriffClarke @NeilWMcCabe2 pic.twitter.com/8BHuqGbaZA
— Brian Kolfage (@BrianKolfage) April 11, 2019
Nicholls fears hungry migrants roaming the streets. He should fear much worse than that. "This isn't a natural disaster," Nicholls said. "But it is a disaster."
"… the local emergency exceeds control of the services, personnel, equipment and facilities of the City of Yuma and requires the combined efforts, cooperation, and resources of the Yuma community including local and non-profit agencies such as the Red Cross, Catholic Community Services, The Salvation Army, Yuma Community Food Bank, churches, the County of Yuma, the State of Arizona, and the United States of America," the statement said.
It's long past time for the wall to be built and We Build The Wall should start their project this month. Meanwhile, President Trump is still scratching and fighting for every mile of barrier put up. Put the blame of all this where it belongs… squarely on the left. #WeBuildTheWall
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Infinity Is Your Friend In Economics
from the use-it-wisely deptContinuing our ongoing series looking at economics when scarcity is removed from markets, I wanted to go back to the early discussion on the importance of understanding zero in making sense of markets where scarcity is removed. That post discussed how many who believe economics requires scarcity do so because they believe economic equations break down when a zero is put into them. That is, they see a zero in the "marginal cost = price" statement and they say that the system must be broken, because you can't have a market when the price is zero. However, that's wrong. Zero works just fine, but you have to understand why.
The key actually isn't in zero, but zero's flip side: infinity. Just like many early societies had tremendous difficulty in coming to understand the concept of zero, the concept of infinity was incredibly difficult to grasp. Just as with zero, certain aspects of mathematics and physics stalled out without an understanding of infinity -- and it would be a shame if the same happens for economics. However, just as with zero, many who look at the economics get scared off by infinity and assume it must break otherwise proven concepts. Throw an infinity into the supply of a good and the supply/demand curve is going to toss out a price of zero (sounds familiar, right?). Again, the first assumption is to assume the system is broken and to look for ways to artificially limit supply.
However, the mistake here is to look at the market in a manner that is way too simplified. Markets aren't just dynamic things that constantly change, but they also impact other markets. Any good that is a component of another good may be a finished good for the seller, but for the buyer it's a resource that has a cost. The more costly that resource is, the more expensive it is to make that other good. The impact flows throughout the economy. If the inputs get cheaper, that makes the finished goods cheaper, which open up more opportunities for greater economic development. That means that even if you have an infinite good in one market, not all the markets it touches on are also infinite. However, the infinite good suddenly becomes a really useful and cheap resource in all those other markets.
So the trick to embracing infinite goods isn't in limiting the infinite nature of them, but in rethinking how you view them. Instead of looking at them as goods to sell, look at them as inputs into something else. In other words, rather than thinking of them as a product the market is pressuring you to price at $0, recognize they're an infinite resource that is available for you to use freely in other products and markets. When looked at that way, the infinite nature of the goods is no longer a problem, but a tremendous resource to be exploited. It almost becomes difficult to believe that people would actively try to limit an infinitely exploitable resource, but they do so because they don't understand infinity and don't look at the good as a resource.
If you're looking to catch up on the posts in the series, I've listed them out below:
Economics Of Abundance Getting Some Well Deserved Attention
The Importance Of Zero In Destroying The Scarcity Myth Of Economics
The Economics Of Abundance Is Not A Moral Issue
A Lack Of Scarcity Has (Almost) Nothing To Do With Piracy
A Lack Of Scarcity Feeds The Long Tail By Increasing The Pie
Why The Lack Of Scarcity In Economics Is Getting More Important Now
History Repeats Itself: How The RIAA Is Like 17th Century French Button-Makers
Filed Under: techdirt feature


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Broken surfboards, packaging material, styrofoam, paints, thinners and resin.
These are just a few ingredients in Janessa Bookout's "green" sculptures.
Although the 31-year-old Huntington Beach resident has a background in traditional fine art, she is currently waist-deep in a series of projects involving materials obtained from a local recycling program. Her paraphernalia also comes from her boyfriend's local surfboard-shaping factory, fondly nicknamed her "playpen."
Bookout has contributed two pieces — a painting and a wall-mountable sculpture — to the Huntington Beach Art Center's nearly 300-strong roster for "Centered on the Center."
"So far, people in Huntington Beach's surfing community have been really welcoming," she said. "This is an earth-friendly crowd that gets in the water and really connects with the environment. The surfboards are made of resin and styrofoam, which, once broken, are going to end up in a landfill. So they like the fact that I'm making something beautiful out of what would have just been trash."
Counting down to her first appearance in "Centered on the Center," Bookout is eagerly awaiting the opportunity to meet other like-minded, artistically inclined locals.
More than 150 artists' handiwork will be displayed from Jan. 18 through Feb. 23 at the Huntington Beach Art Center. Spread through three galleries at the 11,000-square-foot, 17-year-old municipal center, this exhibition is a non-juried open call that attracts artists from across Orange and Los Angeles counties.
"This is a community show, the biggest one we do all year long, and we are proud that in opening it up to the community, we make it a truly democratic process," Executive Director Kate Hoffman said. "Anyone who claims to be an artist is welcome to enter — hobbyists and professionals alike."
Artists can submit up to two pieces, which must be framed and ready for professional installation, for a nominal fee: $15 for one work and $25 for two. Hoffman then works closely with the center's installer, Andre Woodward, to construct a salon-style floor-to-ceiling exhibition. Their primary goal is to create an aesthetically pleasing show that does justice to the immense range of submitted subject matter.
"We see the range fully from beginning level to experienced artists, and it is that eclectic approach that makes this show so interesting," Hoffman said. "Everything under the sun comes in for 'Centered on the Center.' The celebration is that of effort, attempt and inspiration."
The exhibition, which also showcases video, sculpture, photography and other media, will launch with an opening reception from 6 to 9 p.m. Jan. 18. Last year, the reception had a turnout of nearly 1,500 guests, according to Hoffman.
The center will also host an Art for Lunch program between 11:30 a.m. and 1:30 p.m. Feb. 14. Guests are welcome to bring a brown bag lunch and sit among the art while they eat, and artists will be on site to discuss their work with attendees.
"What's really nice is that often we see work that reflects the spirit of Huntington Beach in beautiful ways — photographers capturing the sunset at the pier or surfing paintings, stuff that's iconic," Hoffman said. "You get the flavor of this area and see what locals are doing that you might never guess otherwise."
"Centered on the Center" began in the mid-1990s as a community arts show and has been around ever since. While other programs might showcase masters or depict a particular theme, this is a venue for work that might not otherwise be easily within reach, locally or regionally.
Stan Blackwell draws strength from the white, winged horse Pegasus — a stalwart of Greek mythology.
The Anaheim resident, whose oil-on-canvas works are displayed in Riverside, San Pedro and Huntington Beach, creates surreal art in which both landscapes and people reveal horses in the construction and detailing.
"I've always had an affection for and been inspired to put horses in my paintings," Blackwell, 57, said. "Even when I write in birthday cards, I draw a Pegasus. It's my trademark."


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Photo Flash: New Production Images from Walnut Street Theatre's AN IDEAL HUSBAND
AN IDEAL HUSBAND is a wonderfully witty story of romance, insider trading and scandal. Sir Robert Chiltern is a highly respected politician whose spotless reputation is the pride of his beautiful wife and adoring sister. When an Old Acquaintance threatens to reveal a dark secret from Robert's past, only his womanizing, party-loving best friend is scheming and dishonest enough to come to his aid. As the story unfolds, it's revealed that the man thought to be perfect is flawed and the man with all the flaws must do something right. AN IDEAL HUSBAND explores morality and the greater standard that seems to fall upon those individuals in the public eye.
Oscar Wilde's AN IDEAL HUSBAND opened at the Haymarket Theatre in London's West End in January of 1895. It had its Broadway premiere in March of the same year at the Lyceum Theatre. Broadway revivals followed in 1918 at the Comedy Theatre and 1996 at the Ethel Barrymore Theatre. Following The Importance of Being Earnest, AN IDEAL HUSBAND is Wilde's second most-produced play. The play's popularity led to multiple film versions having been release in 1947, 1998 and 1999, as well as a BBC produced television movie (1969) and a BBC Radio production (2007).
AN IDEAL HUSBAND runs at the Walnut through March 3. For tickets and information, call 215-574-3550 or 800-982-2787. Tickets are also available online 24/7 by visiting www.WalnutStreetTheatre.org or Ticketmaster.Photo Credit: Mark Garvin
Charlotte Northeast and Grace Gonglewski
Ian D. Clark and Lynnia Shanley
Ian Merrill Peakes, Wendy Scharfman and Kate Fahrner
Jennie Eisenhower and Ian Merrill Peakes
Ian Merrill Peakes and Luigi Sottile
Ian Merrill Peakes
Jennie Eisenhower and Luigi Sottile
Jennie Eisenhower, Wendy Scharfman, Kate Fahrner and Lynnia Shanley
Jennie Eisenhower, Paul L. Nolan, Wendy Scharfman and Joe McKernan
Luigi Sottile and Kate Fahrner
Luigi Sottile
Luigi Sottile and Lynnia Shanley
Ensemble of AN IDEAL HUSBAND


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Fashion Exhibits on Display | 2013
Madonna's Cone Bra Is Coming to Brooklyn!
Madonna's Cone Bra Is Coming to Brooklyn!
In just two days, Jean-Paul Gaultier will open his traveling retrospective, The Fashion World of Jean-Paul Gaultier: From the Sidewalk to the Catwalk, at the Brooklyn Museum. After opening in Europe, the collection — which debuts never-before-exhibited looks like a Beyoncé costume — examines the relationship between designer and muse. "I would never have been in fashion if there were no models," Gaultier said of his inspirations.
The viewer will experience re-created environments such as Amsterdam's red-light district, a boudoir, and a room festooned with graffiti while taking in 150 pieces like Madonna's iconic cone-bra bustier. While it focuses on punk's impact on the designer's identity, Gaultier hopes that, above all, visitors will "not be bored, but surprised . . . and have a good time." Get a look at this show and the other fashion exhibits currently on display, here in the gallery.
— Additional reporting by Robert Khederianalign=right>


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Today's guest post comes from my friend Mason Slater. Mason is a husband to Melinda, a seminary student, a youth pastor, a blogger and a freelance writer in the Mecca of Christendom, Grand Rapids, Michigan. He blogs at New Ways Forward. (Add him to your Google Reader; he's one of my favorites!)
So this past week Rachel has been blogging about how faith changes our relationships, which has been brilliant because I can very much relate. I've gone though many of those same changes (and in many ways still am), and that process has transformed my relationships in significant ways.
I want to focus here on the relationship that has been the most difficult for me to work out—my relationship with my church.
What do we do when we begin to come to different conclusions about faith and practice than are taught by our faith community?
We have plenty of options, but I'm going to look at them under two categories: We can leave, or we can stay.
If you find yourself in this dilemma, I can't tell you exactly what to do because I don't know your story. But I can tell you mine.
In college I began to push back against the mostly Baptist faith with which I had been raised. I studied for myself and was exposed to more of the world. In retrospect, there was probably more grace given to me than I realized at the time, but it didn't feel that way. (That said, calling someone a heretic for rejecting Left Behind eschatology is hard to do graciously). The more I asked tough questions the more my questions were either dismissed as a phase or I was told I needed to just believe the Bible.
But I did believe the Bible. I just didn't see how it was saying the sorts of things I'd been taught.
So I left.
But not all at once. Over time I stepped back bit by bit from the many ways I was involved in the church, until one day I walked out the doors knowing I wouldn't return.
I tried other church communities which did not look at all like the one I had left, and I tried no church community at all. Each path had its own ups and downs, but over time I was faced with a decision I did not expect: Did I want to go back—not to the same church, but to one similar to it?
I had to make this decision because I was offered a position on staff as a youth pastor on staff at exactly the sort of church I'd left. I thought it would be an easy decision, but it wasn't.
After much thought and prayer, my wife and I decided that this was exactly where we needed to be. The institution and tradition still don't fit us exactly, but that really isn't the point. We love the people and have a role to play there now.
That role? To be the voice I wish I had heard at that point in my journey. Not in the sense of acting a part, pretending to be on the same team while secretly indoctrinating people into images of myself. No, I simply pray that I might be able to help the people I work with see that this Gospel story is deeper, farther reaching, and more beautiful than any of us had imagined.
It can be a difficult path to walk. More than a couple times in the past six months I thought I was going to be Chad Holtz-ed (see how I did that?) over some of what I've said or written, but so far it's all working itself out for what I hope is the best for all involved.
Yes, I still have the same disagreements theologically and socially, but I'm learning to put them in their proper place. I've made peace, more or less, with my story. There are areas in which I push back, but I'm glad to play the role I've been given—to try to share a bigger picture of God and his saving work from within this tradition.
When I walked out those doors years ago I never thought I'd be back, but I am, in a way. And I'm happy to be, because if there's no voice to tell these kids there is more to the story, when they walk away it might be for good.
So when you are faced with that choice, to walk away or stay for God-knows-what reason, just remember you're not alone. You're not alone because many of us have faced that choice and in our brokenness tried to choose a path with some level of grace. And, you're not alone because there is likely someone else like you or me a few pews down.
Leaving might be the right choice, but if you stay there is a role to play in that path as well. It's at least worth thinking about.
Grace and peace.
Your turn.
Have you ever faced a big decision about possibly leaving a church? How did you make that decision?
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Hieronymus "Harry" Bosch has put away a cavalcade of criminals and ne'er-do-wells during his 20-plus years as an LAPD homicide detective, all the time sticking to his strict code of ethics and sense of justice.
But while Bosch — the creation of acclaimed novelist Michael Connelly — has thrived on the page, he has largely been on creative lockdown in other mediums. After selling rights to the Bosch character to Paramount Pictures in the mid-1990s, Connelly, a former Los Angeles Times police reporter whose works have propelled him into the top ranks of contemporary fiction writers, held out hope that his popular literary franchise would eventually spark a cinematic series.
"Many efforts were made, and many screenplays were written, some by Oscar-winning writers," said Connelly. "But they ultimately never came to fruition. And Harry stayed on the shelf for two decades."
GRAPHIC: Faces to watch 2014 | Entertainment
Connelly finally got the rights to his character back in 2012, and he's using them as the key to finally bust Bosch out. The relentless detective, who suffers no fools and loves to listen to melancholy jazz in his isolated hillside home above the frantic chaos of Los Angeles, is coming to life in "Bosch," a new drama pilot for Amazon Prime that will start streaming Thursday.
Starring Titus Welliver ("Lost," "The Good Wife") in the title role, "Bosch" is one of a new batch of 10 original "pilots" being produced by the online retailer, which along with digital on-demand video services like Hulu Plus and Netflix is generating original programming.
Like Amazon's first series of pilots that premiered last year and included "Alpha House" with John Goodman, viewers will be able to rate and comment. If a pilot generates enough positive response, it would probably lead to more installments.
Roy Price, director of Amazon Studios, said the Bosch character and Connelly's novels are perfect for the kind of series his company wants to produce: "There are engaging stories with a very textured portrayal of Los Angeles."
The pilot has the gritty, slick look and feel of an edgy series that would be right at home on cable venues such as AMC and FX, or premium networks such as HBO or Showtime. Connelly teamed up with Henrik Bastin, chief executive of Fabrik Entertainment, which produced such dramas as "The Killing" and "Burn Notice," to produce the pilot.
PHOTOS: Behind the scenes of movies and TV
The show's pedigree is impressive, especially for an online series, and owes something to HBO's venerated crime series "The Wire." "Bosch's" show runner is Eric Overmyer, an executive producer of HBO's "Treme" and a consulting producer on "The Wire." Meanwhile, also from "The Wire" are Jamie Hector, who plays Bosch's partner Jerry Edgar, and Lance Reddick, who plays Deputy Chief Irvin Irving.
Of course, Connelly is a key creative force behind the pilot — he co-wrote the script, signed off on the producers, the cast and all other major aspects of the production, including his insistence that every scene be shot in Los Angeles.
"This is a unique thing for a writer," said Connelly last week during a quiet breakfast at Du-par's at the Farmers Market, one of his favorite local haunts. He displayed much of the low-key demeanor that defined his approach to crime reporting as a journalist.
"Usually you give your work to a Hollywood entity, and you hope for the best," said Connelly. "You have zero involvement, or some small level of involvement such as consulting or advising. You can make excuses if it doesn't work. I can't really do that with this project because I've been fully immersed from Day 1."
Bosch will be the third character from the Connelly brain trust to be adapted for the screen. Retired FBI profiler Terry McCaleb was played by director Clint Eastwood in his 2002 adaptation of "Blood Work," and slick attorney Mickey Haller was realized by Matthew McConaughey in the 2011 hit film "The Lincoln Lawyer."
Although the "Lincoln Lawyer" movie was a highlight for Connelly, "Bosch" represents a particularly fulfilling milestone. The character was introduced in 1992's "The Black Echo," and the continuing series reflects the author's endless fascination with police work, complicated characters and his affection for the diverse neighborhoods that make up the jagged puzzle of Los Angeles.
Connelly is particularly happy about the casting of Welliver, saying the actor has perfectly captured the sad-eyed, lonely demeanor of Bosch: "There's an intensity in Titus' eyes that show an inner hurt."
Welliver, a well-known character actor who has appeared in a host of TV series including "Deadwood," "White Collar" and "CSI," said painful personal moments make him feel connected to the character.
"With all due respect to Michael, I feel a special ownership of this character," Welliver said.
Stepping out of his comfort zone doesn't appear to have shaken Connelly.
"I'm really not that nervous," he said. "The pilot is a very, very good representation of Harry Bosch and his world. There's a lot more to come, but it's like dipping a toe in the water at this point."
Where: Amazon Instant Video
When: Anytime
Rating: Not Rated
PHOTOS: TV shows and their spinoffs
Overrated/Underrated 2014
PHOTOS: 101 best-written TV shows of all time


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|My version of Buffalo Chicken Dip uses fresh cooked chicken, Louisiana hot sauce, ranch instead of bleu cheese dressing, bacon, and a mixture of cheddar and mozzarella cheeses.
Buffalo Chicken Dip with BaconY'all likely know this dip as Frank's Famous Red Hot Buffalo Chicken Dip, or just plain ole Buffalo Chicken Dip, some of you may even know it as Crack Dip, but I made some changes to the standard recipe and I really think it's the best chicken dip you could ask for!
First I substituted fresh chicken in place of the more commonly used canned. I just find the flavor much better and more like real Buffalo chicken wings to be honest. If you don't want to fool with boiling up some chicken, just purchase a rotisserie chicken for supper one night and set aside enough for this dip.
For my Buffalo Chicken Dip, I substitute Louisiana brand hot sauce, and instead of ranch dressing use your favorite mayonnaise and a packet of Hidden Valley Ranch dressing. J&D's Bacon Ranch Dressing and Dip Mix is also a great choice if it's available to you. I also think a combination of cheeses works best for this dip so I use a mix of cheddar and mozzarella.
Garnish the top with a sprinkling of sliced green onion and some freshly cooked, crumbled bacon and you are in business. This version of Buffalo chicken dip turned out fantastic and would be a great addition to your next party, movie night, or gathering of friends.
Here's how to make it.
Recipe: Buffalo Chicken Dip with Bacon©From the Kitchen of Deep South Dish©
Prep time: 10 min |Cook time: 20 min | Yield: About 4 to 6 servings
- 1 (8 ounce) package of cream cheese
- 1 (3/4 ounce) packet of Hidden Valley Ranch Dressing and Dip Mix
- 1/4 to 1/2 cup of mayonnaise
- 1/2 cup of hot sauce
- 1 cup of mozzarella, cheddar or monterey jack cheese, or any combination
- 2 cups of shredded, cooked chicken
- Cooked, crumbled bacon to garnish, optional
- Sliced green onion to garnish, optional
Preheat oven to 350 degrees. Cut the cream cheese into chunks and place into a deep dish pie plate. Microwave on low/defrost for about 1 minute to soften. Add the ranch mix, 1/4 cup of mayonnaise and hot sauce; mix. Add the cheeses, stir; add the shredded chicken, stir. Add additional mayonnaise if it is too dry.
Bake at 350 degrees for 20 minutes, stir and garnish with sliced green onion and bacon, if desired. Serve on a warming platter with a side dish of mixed crackers, corn chips, Triscuit crackers, tortilla chips or your favorite dipper! Reheat in the microwave if needed.
Cook's Notes: Do not be tempted to use more hot sauce until you have tried it with the 1/2 cup! Any more is likely going to be too much fire for most guests. Buffalo chicken dip, by virtue of its name, would typically use bleu cheese and not ranch dressing, however, there are a wide range of folks who do not find bleu cheese palatable or tasty, and so we substitute with more widely accepted ranch. If you want to prepare the dip in a more traditional manner, crumble in fresh bleu cheese with the other cheeses, or else use a quality bleu cheese commercial dressing, and eliminate the mayonnaise. You can also combine ranch and bleu cheese which will help to tone down the sharpness. Use other varieties of cheese you like - colby, jack or a combination of the two are good here.
Tailgate version: Triple and prepare in a disposable aluminum pan. Cover with aluminum foil. Place the pan on a hot grill and heat until bubbly.
Crockpot version: Double and combine all ingredients in a microwave safe mixing bowl, except use only half the cheese in the dip, reserving the remaining half. Heat in the microwave for 3 minutes on high, stop, stir and continue heating another 2-3 minutes. Stir and transfer to a crockpot. Heat on low for at least 30 minutes or until needed. Before serving, stir, top with remaining cheese, cover and let heat until cheese on top has melted.
Microwave version: Combine ingredients in pie plate and microwave on high for 3 minutes, stir. Microwave another 3 minutes, stirring again. Time will depend on your microwave.
Variation: Instead of mixing together, layer ingredients in the baking dish in this order: Blend cream cheese with mayo for the first layer, toss chicken with the hot sauce for the next. Toss the cheeses with the ranch dressing mix and add on top of the chicken layer. Substitute an envelope of J&D's Bacon Ranch Dressing and Dip Mix for the Hidden Valley Ranch. Can also substitute canned chicken, drained - you'll want a larger sized can of quality chicken, two is even better, or substitute chicken you've pulled from a rotisserie chicken.
Buffalo Chicken Macaroni and Cheese Bake: Prepare 1/2 pound of your favorite short cut pasta (rotini, penne, elbow, medium shell) al dente. Place into a buttered 2 quart casserole dish and toss with shredded chicken. Substitute 8 ounces of cubed Velveeta for the cream cheese and add 1 can of condensed cheddar cheese soup with one cup of milk. Omit the mayonnaise. Heat the soup, milk, Ranch dressing mix and cheeses until well blended, stir in the hot sauce (to taste) and pour over the chicken and pasta. Bake at 350 degrees for 30 minutes, or until hot and bubbly. Remove and scatter the bacon and green onion on top.
Source: http://deepsouthdish.com
More Dips
Requires Adobe Reader - download it free!©Deep South Dish
☛ Are you on Facebook? If you haven't already, come and join the party! We have a lot of fun & there's always room for one more at the table.
Awesome Jalapeno Popper Dip
Classic 70s 7-Layer Dip
Warm Feta and Artichoke Dip


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My problem: "watch me do" in automator only recognizes for cocoa buttons and doesn't work for apps like games with interfaces drawn my rendering engines.
Desired solution: an Automator action(s) that simulate mouse movements and clicks to coordinates on screen. "Automator Virtual Input" is a great app but doesn't is far outdated (doesn't work in lion)
And considering the amount of scripts i need to create, applescript isn't a time effective solution


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The development of solid, balanced gameplay is one of the first challenges of map development. In order to meet gameplay expectations and make your map successful, you will need to incorporate the following elements:
- Balanced deployment - It should be unlikely that one or more players can start the game with a major advantage as a result of the initial drop or getting the first turn. Conquer Club is primarily a strategy game, and we therefore like to minimise as many of the luck factors as possible - the dice are randomness enough!
Reasonable bonus structure - Bonuses should make sense given the size/style of the map, and be based on a consistent formula. Consideration should be given to balancing the strength of the board, ensuring that no specific area of the map gives an overwhelming advantage from the start of a game.
Game type flexibility - The map should support various game types and not be designed with specific/limited game settings in mind (standard, assassin, fog of war, 2 players, etc.). Maps designed for fewer than 8-players should be discouraged, and will only be approved if the map is really something special.
Player-friendliness - Any information you need to know to play a map should be easy to gather by looking at the map itself. The legend should be clear, concise and consistent; the map itself should be free of unnecessary or cumbersome rules that push it over the line separating complex from confusing.
Open-play - There should be many ways a game might progress on a map, and many roads to victory. Such features as unpassable borders should enhance, not limit, gameplay, and every effort should be made to limit the number of dead ends and bottlenecks in a map, unless they are justified by the desired play of the map. The map should be fun to play, not frustrating.
Function trumps form - The style of the graphics should not detract from ease of play: borders should be clear, titles and numbers easy to read, colors easy to distinguish, etc...
Form must follow function - So important it's on the list twice! Expect to show some flexibility and be prepared to move away from complete geographical accuracy or historical authenticity: the look and theme of the map must be utterly subservient to gameplay and legibility.
Let's unpack some of these elements in a bit more detail:
Balanced Deployment
- Map Sizes:
- From a gameplay perspective, the map size refers to the total number of territories on a map, rather than the size of the canvas. At extreme ends of the spectrum, the very smallest and very largest maps are likely to give an advantage to whoever goes first. There are no defined limits for map sizes, although maps should have more than 24 territories in order to minimise the risk of first-round eliminations in 8-player games. There is no upper size limit, although the constraints of legibility and clarity need to be considered.
- The number of starting territories varies from the total number of territories on a map, as the game engine distributes territories equally amongst the players, allocating the rest as neutral. In all forms of the game, knocking one or more players into a lower territory band is a fundamental tactic, and so when each player starts with 12/15/18/etc territories, whoever happens to go first gets a huge advantage. Optimising fairness of the drop is therefore regarded as more important than minimising the number of neutral starts.
The following are the "golden numbers" lower than 200, which create a drop that in all (or all except 5/7p) forms of the game require two or three territories to be taken from a player before they are disadvantaged due to territory count and happening to not go first: 24-35, 42, 43, 44, 52, 53, 57, 58, 59, 66, 67, 68, 69, 70, 71, (78), (79), 80, (88), (89), 104, 114, 115, 116, (138), (139), 140, 141, 142, 143, 160, 161, 176, 177, 178, 179, 186, 187, 188
Where the total number of territories on the map is not equal to one of these "golden numbers", then expect to be asked to create/merge territories or to code some as neutral in order to ensure that the total number of starting territories is balanced for fair play.
- Standard Continent bonuses:
- Ever since the Classic Map has had continents, people have been fighting to control bonus zones. Bonuses should make sense given the size/style of the map, and be based on a consistent formula. Consideration should be given to balancing the strength of the board, ensuring that no specific area of the map gives an overwhelming advantage from the start of a game. One of the best places to start is with one of the Continent Bonus Spreadsheets in the Map Making Tools. The spreadsheets calculate bonus values based on limited information about the number of territories in each region. The results are a good rough guide to what a bonus is worth, although the mapmaker may want to use higher or lower bonus values depending on the type of gameplay they're trying to achieve, and the spreadsheets sometimes suggest values that are too low for central/congested areas of a map.
Each bonus needs to be considered on a local and global perspective: Simply saying, "this continent has 5 territories and 4 borders so it should be +5" is not always correct. If there was a smaller continent adjacent to it which if held together would be 7 territories and 4 borders with a bonus of +7 then you've probably made a mistake. Think about what would happen in game situations - some continents will obviously be held early; is this going to overpower everyone else? Each bonus needs to make sense in relation to the other bonuses.
- In addition to standard continent bonuses, there are a wealth of non-standard bonus options which can include non-contiguous continents, autodeploys (and decay), and build-your-own bonuses. The style of gameplay you are trying to achieve will have an impact on the bonus structure - classic, conquest, resource-based, etc. There are no hard-and-fast rules about what is acceptable, although extravagant imbalance should be avoided: the Bonus Probability Calculator can be used to get a feel for the likelihood of any player dropping a particular bonus. As an arbitrary guide, probabilities above 5-10% should try to be avoided where possible.
- Gameplay Direction:
- Whatever gameplay direction the mapmaker wants to develop, all the elements need to make sense in relation to each other. There should be many ways a game might progress on a map, and many roads to victory. Such features as unpassable borders should enhance, not limit, gameplay, and every effort should be made to limit the number of dead ends and bottlenecks in a map, unless they are justified by the desired play of the map. Gameplay features such as one-way borders, bombardments and objectives should be integral to the thematic direction of the map, rather than gimmicky add-ons for the sake of it. Care must be taken to make sure that any instructions are as clear and concise as possible - the map should be fun to play, not frustrating or unnecessarily confusing.
All gameplay options must be possible with the current XML available. If something isn't possible, then the gameplay cannot be approved. For a more complete understanding of what is/is not possible, it's worth looking over the XML tutorial. There's no need to be fazed by the prospect of writing any XML - it's essentially a text description of the gameplay of the map, and doesn't need to be started until your map is in the Final Forge (in fact, it's not really worth considering it until a map is nearly complete in any case).
- Starting positions in Conquest-style maps such as Feudal Wars and Age of Realms are set by coding every other territory as neutral - on these maps, all available territories are divided randomly amongst the players. It is possible to group some territories together (as in City Mogul) by using coded starting positions in the XML.
Starting positions can also be used in non-conquest maps to help minimise the luck of the drop by dividing some bonus areas evenly, or ensuring that no single player will drop any bonuses. The implementation of coded starting positions can be a bit bewildering, and if you intend to use them, it is worth reading this foundry discussion thread first.
- The breadth and depth of maps already available on Conquer Club means that new maps are likely to be subjected to higher levels of scrutiny. The maps that are most likely to succeed are ones that offer something unique in terms of gameplay and theme.


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Archive - Nov 2012 - News / NCAA Daily
November 15th
Aaron Gordon cuts college list to Washington, Arizona and Kentucky
Aaron Gordon cut Cal, Kansas and Oregon from his list of colleges for a final three that includes two Pac-12 powers along with last seasons NCAA Champion. Brother of former New Mexico player Drew Gordon, Aaron is seen as a high powered athlete that could translate to either forward spot at the college level.
Pierre Jackson steals the show for Baylor as Isaiah Austin returns from injury
After a strong season opener derailed by an ankle sprain, Isaiah Austin helped Baylor get an 84-74 win over Boston College. Austin had 16 points and 9 rebounds, also being credited with playing solid 2nd Half defense on Eagles star sophomore Ryan Anderson, who finished with 25. The real star of the game, however, was senior PG Pierre Jackson, who finished with 31 points and 7 assists.
Villanova freshman Ryan Arcidiacono comes up big in OT win over Purdue
After having to sit out his senior season of high school with a back injury, one might expect Ryan Arcidiacono to take some time to get into the groove of the college game. Instead, the freshman PG has stepped up to the challenge, averaging 18 ppg and 5.3 apg while leading Villanova to a 3-0 start. Last night Arcidiacono overcame 7 turnovers to lead the Wildcats to a 89-81 victory over Purdue in the 2k Sports Classic.


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An emotional farewell to beloved ballerina
Mireille Hassenboehler was a young corps dancer the first time Houston Ballet performed Ronald Hynd's effervescent dance version of Franz Lehar's operetta "The Merry Widow" in 1995.
Its signature waltz can stir your romantic side, even when you're not feeling emotional. On Thursday, as Hassenboehler glided through some of her final steps with the company, I had to fight teary eyes and a lump in my throat.
It wasn't Hassenboehler's interpretation of the wealthy Hanna, who rediscovers the passion of a love she thought was lost, that sent me to the Kleenex. Her characterization was regal, sunny and tender in all the right places. "The Merry Widow" is a happy ballet, really. Hanna gets her man, and you leave the theater in the mood to waltz.
What made me sentimental was knowing I'd seen the arc of a ballerina's career, all the way to its far side. This one was special because it felt like we'd been in it together.
When I first took notice of Hassenboehler, it was 1998. That was my first year as the Chronicle's dance critic, and she had just been promoted to soloist. In a performance at the Cynthia Woods Mitchell Pavilion, the company showed her off in the "Black Swan" pas de deux. She was stunning in it - a long-limbed, brunette beauty with an intriguing mix of coyness and fearlessness.
She still has the mark of a Ben Stevenson-trained ballerina, with a regal, British-school - yes, old-school - posture. Plenty of other dancers in the company today were there when Stevenson left his long-time post as artistic director a decade ago, but Hassenboehler has maintained more of his classical religion. With subtle body language, she can be grandly imperious or beguilingly elegant.
More Information
'The Merry Widow'
When: 2 p.m. Sunday and Sept. 29, 7:30 p.m. Friday-Saturday
Where: Wortham Theater Center, 501 Texas
Tickets: $19-$190, 713-227-2787, houstonballet.org
That cleanliness provided her backbone, but Hassenboehler too often lacked the inspiration of a tall enough partner in classical ballets. (She told Ballet News last year that had been a challenge. "I like to look in my partner's eyes and feel delicate," she said.)
In the brief periods when tall stars David Makhateli and Andrew Murphy were in the company, she could soar in anything. I have never seen a dancer bring more joy to the airborne splits of "The Waltz of the Flowers" than Hassenboehler did when she partnered with one of them.
Height wasn't as much of an issue in abstract contemporary ballets. Hassenboehler was electrifyingly sharp in William Forsythe's "In the middle, somewhat elevated" and Stanton Welch's "Divergence" and "Tutu"; strongly sinewy in Welch's "Indigo" and Edward Liang's "Murmurations"; soulful in Jiri Kylian's "Forgotten Land."
She was all of the above in the "Diamond" role of George Balanchine's "Jewels," whipping through the speedy footwork of the "Diamond" solos with a virtuosic air that, as I wrote in 2010, made it seem as effortless as walking.
She could seem vulnerable, too. She practically levitated with charm as the lovable Slue-Foot Sue in Welch's "Pecos Bill," a strong, cheerful gal who rides a horse to her death, becoming a star in the night sky. It's not the only role Welch created for her, but that affectionate, aw-shucks character probably came closest to Hassenboehler's off-stage persona.
Hassenboehler, known to her friends as Mimi, was always the consummate professional in interviews, with a grounded sensibility, a wholesome freshness and seemingly endless good humor. While other ballerinas in the company married and had babies young, Hassenboehler didn't want those distractions until she was in her mid-30s. She married Robert Patman in 2008 in New Orleans, her hometown. Their son, Teddy, who was born with Down syndrome, is now 2.
"I see in him what I want to become - a person who takes pleasure in the simplest of concepts," she told the British website BalletNews.com.
"Motherhood is a lot of work," she said recently, chipper as usual, reminding me that she is 40 now. "I've had a good go. It's the right time for me."
She and Welch had many discussions about when and how she would retire.
"What better ballet than 'The Merry Widow,' " she said. "It's a good role for me." She thought it would be beautiful to go out with a glass of champagne in her hand. (There's a lot of drinking in "The Merry Widow.")
Linnar Looris, her partner, gave her a delightful and sensitive ride.
Hassenboehler performs again Sunday, with a final performance Saturday.
Cheers to you, Mimi, and to living in forward motion.
Hanna, of course, isn't the only character in "The Merry Widow."
Thursday's performance sparkled with fun and drunken mischief, all riding on the lush sweep of melodies provided by Ermanno Florio and the Houston Ballet orchestra and the dazzling color and wit of Roberta Guidi di Bagno's sets and costumes.
Linnar Lorris danced with just the right amount of comic goofiness as Danilo, the aristocrat who wooed Hanna when she was a peasant girl, then jilted her - and now needs her money to save his little country of Pontevedria.
Melody Mennite's youthful Valencienne is the perfect counterpoint to Hanna, practically aglow with charm, comic brilliance and finely nuanced grace; and Connor Walsh, as her lover, Camille, dances with smooth generosity, ceding the attention to her. Their Act II pas de deux is a highlight.
The part of Valencienne's old husband, Baron Zeta, can easily descend into slapstick, but Christopher Coomer gives it warm depth. Christopher Gray also thrilled with his sharp folk dancing.
The corps has a lot of new faces this season, and they don't yet look as cohesive as they have in the past. But the folk dances and can-can had plenty of spirit.
Amy Fote, who retired last season, returns as Hanna for some of the performances.


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The Kvadrat/Raf Simons collection brings the acclaimed designer's exceptional sense of style to the home. Distinguished by the innovative blending of colour and materials for which he is known in the fashion world, Raf Simons's first collection of textiles and accessories for the home is by turns sophisticated and playful,
and produced according to the exacting standards associated with Kvadrat. Conceived as a suite of diverse yet complementary tones, weaves and textures, the eleven core textile designs are suitable for use in a wide variety of interiors, and work beautifully together in a multitude of inventive combinations.
For this first collection, Raf Simons chose to offer a refreshing alternative to the flat woven textiles commonly used in contemporary upholstery, creating richly textured, meticulously realised designs that bring a sculptural quality and a new tactility to furnishings.
Dimensions: 150x180cm
Material: new camel hair: 100%
Born in Belgium in 1968, Simons studied industrial design in Genk. Inspired by the work of designers such as Martin Margiela, he moved to Antwerp, where the head of the Fashion Department at the city's Royal Academy encouraged him to start his own label without further study. Launched in 1995, Raf Simons menswear – informed both by classic tailoring and youth culture – had a huge impact on the style of the decade. In 2005 Simons became artistic director of the Jil Sander label, which under his tenure became known for its vital, sophisticated modernism. Raf Simons is currently creative director of Dior Women, a position that he has held since 2012. A passionate collector of contemporary art and modern design, Simons's aesthetic is often informed by his admiration for art and he regularly engages in interdisciplinary collaborations.
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