First published in the Metropolitan Museum Journal, vol. 56, 2021, pp.160-73.
This study focuses on artist-designed frames at the end of the 19th century, many of which are preserved in the Havemeyer collection at the Metropolitan Museum, with a particular emphasis on a material known at the time as pâte coulante, unique in its ability to render extraordinary profiles, some of which could not have been realized by any other method available at the time. Although frames in pâte coulante can be seen surrounding the works of many late 19th century and early 20th century paintings, this study refers to the few superb examples available for study in the Metropolitan Museum and in private collections, which in many cases surround works by Edgar Degas. For artists like Degas, this method became crucial for executing radical frame designs. To reinforce the argument that the process of template-cut pâte coulante granted artists and framemakers the freedom to turn any design into a reliable and serviceable moulding, replicas of period mouldings were recreated using the available historic information, and the results gleaned from this technical study are included here.
You are mixing up two concepts here, that of the domesticated species and the domesticated individual animal. The article talks about the former. The latter means taming an individual of a species. Dogs are by definition domesticated wolves and depend on humans for survival in general.
What about dingoes? The best guess is they were domesticated and then went feral some 5-8k years ago. These days, in places like Fraser island in Australia, you have big fences for campers to not get eaten by packs of those and you need to drive everywhere, they would not hesitate for a second if given a chance.
The aborigines (till they themself were domisticated) had dingos as dogs and my interactions with them on Fraser Island were in a way like with wild dogs who wanted to get BBQ.
Wouldn’t wolves generally be significantly less dangerous because they are generally more skittish and avoid being near humans?
One of the main issues with feral/wild dogs (or wolf hybrids) is that they are much less afraid of humans and therefore are more likely to attack livestock, pets or even actual people when given the opportunity. Under normal circumstances actual wolf attacks are (and probably were historically) and feral/hybrid dogs are just attributed to them.
Erlang was implemented in Prolog and ran on top of it (as a prolog DSL? Not sure to be honest.), until the workloads increased and they switched to a VM model (the BEAM).
I know, but Erlang is pretty different from Prolog in how you actually write it. Erlang is a functional, sometimes-imperative language with heavy concurrency emphasis. Prolog is a lot more "define rules and let the runtime figure out relations". The syntax is superficially similar, and I'm aware that Erlang's original interpreter was Prolog, but they're fundamentally pretty different in how you actually write it.
To add to other comments, a positive thing with Latin and Greek jargon is that it's not intentionally obtuse, but a combination of stem words aiming to make up literal terms. Anesthesia for example means literally "not feeling". If there wasn't an influence of the classics to the natural sciences it could be notfeeling or notfeel in English.
I'm sorry for your loss. I'm not a medical practitioner but it sounds like the experience triggered a psychotic "break" in your friend? It's a sad but real possibility with psychedelics that more people should be aware of.
Devasting when such events occur. This can also occur from doing meditation for some, I'm not sure if anyone has measured whether there is any set means to determine individual level of risk and whether any particular mental conditioning/ study would mitigate that risk. Certainly awareness is important.
The problem is that even among large socially connected groups who are into psychedelics, the event of someone having a psychotic break is often rare to none.
Whereas in other groups a cascade effect sometimes happens and many people in such groups can experience mental health issues, and trauma.
There's that common call to examine "set and setting" but it's often a crap-shoot, due to the chaotic number of variables.
Also not medical but I experienced similar and it sounds like psychosis to me. Personally I had manic episode triggered by taking several doses of acid spread over a week or so preceded by shroom doses spread over prior weeks. This culminated in several nights of insomnia, paranoia and then psychosis - the religious stuff is relatable. I had intense apocalyptic beliefs and “visions” - sort of closed eye waking dream more so then an open eye hallucination. The black and white thing also highly relatable and I think it is splitting (https://en.wikipedia.org/wiki/Splitting_(psychology)) - again not an expert.
Her suicide is very sad but I can relate. Rest in peace.
Personally it took me at least a month to feel functional again and then probably a year to start feeling better. Prior to that I struggled immensely with depression most of my life and abusing substances was my attempt to pull out of it, so to bottom out intensely like that feels extremely hopeless.
Once again giant disclaimer that I’m not authority, but I learned more about how psychedelics work from neuroscientists who research them and it was very illuminating. They are extremely potent in regards to neuroplasticity which seems like why they can be heaven or hell (https://en.wikipedia.org/wiki/Psychoplastogen). My best take away from the scientists was to space trips out by several months similar to what you should do for MDMA. Frequently redosing keeps your brain activity from stabilizing. That’s not their advice or strong statements (they were avoiding advice-giving entirely), of course, just what I took away.
Years later and I have done a lot introspection and learning and I have taken psychedelics again. I can identify my own anxiety, paranoia, or bad patterned thoughts creeping up and talk myself back. I don’t attribute that traumatic experience or drug use in general to improving my circumstance and I sure as hell don’t recommend it but it does seem like my life going to total shit was a step I needed to take to get it back together. Therapy would’ve been easier.
> so to bottom out intensely like that feels extremely hopeless.
Had a similar experience to you but took it in a different way. Came down out of the craziness and realized "hey, I'm still here, shit could be a lot worse"
But I don't get why you still came back to them after having a negative reaction. Seems like a good sign to stop
Thank you. So is this a Vulkan emulator which does not send the commands into a software renderer but rather to the host's GPU? What reserves the resources on the GPU, also this driver? Can one reserve resources explicitly through the API or does this happen dynamically, as-needed? Because if explicitly, then I'd wonder if this is also part of the library, of the Vulkan spec, or if it is some Mesa offering.
It's basically allowing you to use the vulkan API on the virtualized guest, by writing vulkan API commands in a ring buffer in memory that is visible both by guest and host. These memory regions are only alive and accessible as long as the allocation lives, which is controlled by virtio control commands (in specific, create, map, unmap, destroy BLOB where a blob is the shared memory allocation).
This allows textures shaders and generally large amounts of data to skip being copied to and from the virtqueues, which is the usual method of virtio communication.
So to answer your question, if you use the Vulkan API on a guest to for example query the available Vulkan devices, if the correct mesa library is installed and virtio-gpu Venus is available, you will be able to use resources on the host with the Vulkan API.
This study focuses on artist-designed frames at the end of the 19th century, many of which are preserved in the Havemeyer collection at the Metropolitan Museum, with a particular emphasis on a material known at the time as pâte coulante, unique in its ability to render extraordinary profiles, some of which could not have been realized by any other method available at the time. Although frames in pâte coulante can be seen surrounding the works of many late 19th century and early 20th century paintings, this study refers to the few superb examples available for study in the Metropolitan Museum and in private collections, which in many cases surround works by Edgar Degas. For artists like Degas, this method became crucial for executing radical frame designs. To reinforce the argument that the process of template-cut pâte coulante granted artists and framemakers the freedom to turn any design into a reliable and serviceable moulding, replicas of period mouldings were recreated using the available historic information, and the results gleaned from this technical study are included here.