May 18, 2020 Dear People of Trinity

Total Page:16

File Type:pdf, Size:1020Kb

May 18, 2020 Dear People of Trinity May 18, 2020 Dear people of Trinity - Like everyone who has the occasion to be in front of the camera during a Zoom meeting, I pay attention to how the setting I’m in looks on camera: how is the lighting? Is the camera angle adjusted properly so that people see me and not my ceiling? And, what’s behind me - what background are people going to be subjected to? On Sunday mornings, for our Zoom worship, I seat myself at my dining room table, and aim my laptop’s camera so that the backdrop that folks see is one of my very favorite possessions: a framed map/statistical illustration depicting Napoleon’s march on Moscow during the War of 1812. I have this illustration, hung in a place of prominence, not because I’m a 19th century history buff or a military aficionado, but because I love stories, and I appreciate when stories are told well. What’s happening on this map, illustrated by the civil engineer-turned-cartographer Charles Joseph Minard, is that the strategy and tactics of Napoleon—and the response of the Russians—are made visible with just a few lines and even fewer words. Here’s a description of Minard’s diagram: “The illustration depicts Napoleon's army departing the Polish-Russian border. A thick band illustrates the size of his army at specific geographic points during their advance and retreat. It displays six types of data in two dimensions: the number of Napoleon's troops; the distance traveled; temperature; latitude and longitude; direction of travel; and location relative to specific dates…” (1) That’s the ‘what.’ But the story behind the data, that you can see at a glance, is that Napoleon began the campaign with 422,000 troops, and ended it with only 10,000 men, many of whom died of starvation and/or froze to death as they retreated from Moscow. It’s clear that part of Napoleon’s plan to resupply his troops was to pillage his way across the countryside, hopscotching from town to town between Poland and Moscow. However the Russians, who could also read a map, thwarted that plan by clearing their people out of the towns, and destroying crops and other provisions just ahead of the advancing French troops. Curiously, Minard’s illustration about this infamous turn in Napoleon’s military career never actually mentions Napoleon; it’s said that Minard’s interest in this event lay with the harsh conditions and sacrifices suffered by the soldiers. He made their sacrifices and sufferings visible, to tell their human story using the cartographic tools he knew best. Which is why I love this illustration, and why I bring it up in this Monday message to our church: the power of making stories visible. But, which stories? There are parts of the story we’re living through right now that are all too visible: the pandemic death tolls, essential workers without adequate protective equipment, armed protesters storming the Michigan state capitol building. Stories of heartbreak and fear and violence. Yet there are other stories, oftentimes not quite so visible: stories of love, persistence, and hope, of creativity and joy, of generosity and self-sacrifice. Those are the stories that I want us to notice, highlight, share, and retell. About how Trinity parishioners are taking care of one another by making calls, and checking in, and doing errands for those who can’t leave their homes. About the grace everyone has exhibited in rolling with the changes in the way we worship, and the occasional glitches and hiccups of technology. About the dedication of our staff, our prayer ministers and other worship ministers, our lay leadership. About the delight people have expressed in hearing each other’s stories and seeing each other’s faces during virtual coffee hour. About how everyone I encountered on the Jesusita trail yesterday went through the logistical dance of making way for each other, keeping good distance on a narrow path. About how my 92-year old father has persisted in working through the challenges of signing on to Zoom for family happy hours. About how a dozen or so family members shaved their heads in solidarity with my nephew, currently undergoing cancer treatment, because they can’t be with him in person. About the BBC sports commentator, Andrew Cotter, who, since he has no human sporting events on which to comment, has turned to commenting (in the breathless and excited tones of a sports broadcaster) on the everyday activities of his Labradors, Mabel and Olive, to great joy and effect. About actor John Krasinski’s hit “Some Good News” which highlights bits and pieces of joy and generosity that will never make the cut on the 6pm news. About Yo Yo Ma, and any number of other artists and musicians, who are sharing their talents online, available to everyone. About a prayer, written by Rabbi Michael Knopf, to be prayed as you put on a mask—”Blessed are You, Eternal our God, Sovereign of the world, who has sanctified us with commandments, and commanded us to protect life”—which puts this somewhat inconvenient act into its bigger context. And there it is: the big story that needs to be made visible. That our obligation is to one another, that our purpose is for one another: to protect each other, as the ultimate story of love. With faith and confidence, Elizabeth+ The Rev. Elizabeth Molitors, Rector [email protected] Trinity Episcopal Church ------------------ (1) Corbett, John. "Charles Joseph Minard: Mapping Napoleon's March, 1861". Center for Spatially Integrated Social Science. Archived from the original on 12 March 2017. Retrieved 21 September 2014. .
Recommended publications
  • Identifying Robust Plans Through Plan Diagram Reduction
    Identifying Robust Plans through Plan Diagram Reduction ∗ Harish D. Pooja N. Darera Jayant R. Haritsa Database Systems Lab, SERC/CSA Indian Institute of Science, Bangalore 560012, INDIA ABSTRACT tary and conceptually different approach, which we consider in this Estimates of predicate selectivities by database query optimizers paper, is to identify robust plans that are relatively less sensitive to often differ significantly from those actually encountered during such selectivity errors. In a nutshell, to “aim for resistance, rather query execution, leading to poor plan choices and inflated response than cure”, by identifying plans that provide comparatively good times. In this paper, we investigate mitigating this problem by performance over large regions of the selectivity space. Such plan replacing selectivity error-sensitive plan choices with alternative choices are especially important for industrial workloads where plans that provide robust performance. Our approach is based on global stability is as much a concern as local optimality [18]. the recent observation that even the complex and dense “plan di- Over the last decade, a variety of strategies have been proposed agrams” associated with industrial-strength optimizers can be ef- to identify robust plans, including the Least Expected Cost [6, 8], ficiently reduced to “anorexic” equivalents featuring only a few Robust Cardinality Estimation [2] and Rio [3, 4] approaches. These plans, without materially impacting query processing quality. techniques provide novel and elegant formulations (summarized in Extensive experimentation with a rich set of TPC-H and TPC- Section 6), but have to contend with the following issues: DS-based query templates in a variety of database environments Firstly, they are intrusive requiring, to varying degrees, modifi- indicate that plan diagram reduction typically retains plans that are cations to the optimizer engine.
    [Show full text]
  • Recommended Drawing Numbering, Scales and Dimensioning 1 / 3
    Recommended Drawing Numbering, Scales and Dimensioning 1 / 3 Architectural Drawings: General: G101 Cover Sheet G102 General Information G201 Live Safety Plan Civil: C100 Site Topo Plan C200 Demolition Plan C300 Site Staking/Signing/Striping/Erosion Control Plan C400 Grading & Drainage Plan C500 Utility Plan Landscape: I‐1 Irrigation Plan I‐2 Irrigation Details L‐1 Landscape Plan L‐2 Landscape Details Architectural: AC01 Overall Architectural Site Plan AC02 Enlarged Architectural Site Plan AC03 Site Plan Details A001 Finish Schedule & Legend A002 Opening Schedule, Elevations A101 Floor Plan A102 Dimension Plan A103 Lower Roof Plan A104 Upper Roof Plan A105 Canopy Plan and Details A111 Enlarged Floor Plans A201 Exterior Elevations A201 Exterior Elevations A301 Building Sections A302 Building Sections A311 Wall Sections A312 Details – Curved Roof A313 Details – Curved Roof A316 Wall Partition Types A321 Plan Details A331 Section Details A332 Typical Details and Profiles A341 Roof Details A351 Interior Column Details A401 Interior Elevations A402 Interior Elevations A501 Reflected Ceiling Plan A601 Equipment Plan Recommended Drawing Numbering, Scales and Dimensioning 2 / 3 The recommendation scales* for key architectural drawings are as follows: Site plan – engineering scale 1:20 or similar, depend upon size of site Arch Floor Plan – 1/8” Arch Ceiling Plan – 1/8” Arch Roof Plan – 1/8” or 1/16” – (try to show roof as one drawing view) Interiors Floor Finish Plan – 1/8” Interiors Furniture Plan – 1/8” Enlarged Arch Floor Plans – ¼” or larger as needed (typically the toilet rooms) Arch Exterior Elevations – 1/8” Arch Building Section – ¼” or ½” if needed for a specialty area (ie lobby) Arch typical wall sections – ¾” Wall types (wall sections or plan views) – 1 ½” Details ‐ Plan and Section – 1 ½” or 3” Interior Elevations – ¼” or 3/8” as needed *Note: set up each drawing on a 42” x 30” page.
    [Show full text]
  • Axonometric Projection
    Axonometric Projection ARCH 1101 - Intro to Architecture Axonometric Projection Professor Christo Spring 2020 Semester AXONOMETRIC Axonometric projection is a type of orthographic projection used for creating a pictorial drawing of an object, where the lines of sight are perpendicular to the plane of projection, and the object is rotated around one or more of its axes to reveal multiple sides. Axonometric drawings do not have vanishing points as in a perspective drawing. Consequently, all lines on a common axis are draw as parallel. AXONOMETRIC ARCH 1101 - Intro to Architecture Axonometric Projection Professor Christo Spring 2020 Semester AXON BASICS We typically use either 45-45-90 degree or 30-60-90 degree projection. What is critical is that we maintain our 90 degree angle within the object we are projecting, and all angles add up to 180 degrees. This is convenient for us since we have 45-45-90 and 30-60-90 degree triangles. ELEVATION ELEVATION ELEVATION PLAN ELEVATION SIMPLE BOX ARCH 1101 - Intro to Architecture Axonometric Projection Professor Christo Spring 2020 Semester AXON CONSTRUCTION ELEVATION PLAN ROTATE PLAN PROJECT VERTICALS CONNECT VERTICALS LINE WEIGHTS ARCH 1101 - Intro to Architecture Axonometric Projection Professor Christo Spring 2020 Semester AXON CONSTRUCTION - NON-RECTANGULAR SHAPES ELEVATION PLAN IDENTIFY RECTANGLE ROTATE PLAN PROJECT VERTICALS CONNECT VERTICALS LINE WEIGHTS ARCH 1101 - Intro to Architecture Axonometric Projection Professor Christo Spring 2020 Semester AXON CONSTRUCTION - NON-RECTANGULAR SHAPES ELEVATION PLAN IDENTIFY RECTANGLE ROTATE PLAN PROJECT VERTICALS CONNECT VERTICALS LINE WEIGHTS ARCH 1101 - Intro to Architecture Axonometric Projection Professor Christo Spring 2020 Semester IN CLASS PRACTICE ARCH 1101 - Intro to Architecture Axonometric Projection Professor Christo Spring 2020 Semester.
    [Show full text]
  • How to Create a Site Plan Site Plan: a Drawing of a Property As Seen from Above, Including, but Not Limited to a North Arrow, Grand Tree Locations, and Date
    How to create a Site Plan Site Plan: A drawing of a property as seen from above, including, but not limited to a north arrow, grand tree locations, and date. Show proposed improvements with exact size, shape and location of all existing and proposed buildings and structures, parking areas, driveways, walkways and patios. 1 Use a Scale Choose a standard scale, either an Architectural or Engineering Scale and note the numeric scale used on plan (i.e. 1 inch = 20 feet). Draw Property Lines 2 Label all dimensions in feet. A plat of the neighborhood may help you in determining the dimensions of the parcel. This may be available Show the property lines from the RMC office of the county in and note the dimensions. which the property is located. Draw all Buildings and Structures on the Plan 3 • Show existing buildings and structures as a solid line and all additions as a dashed line. • Be sure to show the precise footprint of all buildings or structures including, but not limited to steps, decks, porches, fences, bay windows and HVAC platforms. Draw Driveway and Parking on the Plan 4 Show all parking areas, driveways, walkways and patios in their precise locations in relation to your property lines and with their accurate foot- print. Show proposed paved areas with a dashed line. Locate Grand Trees 5 • A Grand Tree is a tree with a diameter at 4 1/2 feet above grade that is 24 inches or greater. • Use a dot to indicate the precise location of the center of the tree.
    [Show full text]
  • Architectural Drawing
    / 720 (07) 157 A v.8 H^Fecferal Housing AdSnfetrdtinw pt.l mm**#**'’ International Correspondence Schools, Scranton, Pa. r Architectural Drawing Prepared especially for home study By r WILLIAM S. LOWNDES, Ph. B., A.I.A. and FREDERICK FLETCHER, A.I.A. Registered Architect 5637 A-3 Part 1 Edition 3 6 Assignments International Correspondence Schools, Scranton, Pennsylvania International Correspondence Schools, Canadian, Ltd., Montreal, Canada (O^Si u U(j ARCHITECTURAL DRAWING V \/. Part 1 “The higher men climb, the longer their working day. And to keep at the top is harder, almost, than to get there. There are no 4office hours' for leaders." —Cardinal Gibbons % * WILLIAM S. LOWNDES, Ph.B., A.I.A. But for the man who has found the job he loves, work is and no longer “labor.” And learning more about that job be* FREDERICK FLETCHER, A.I.A. comes a thrilling, exciting adventure. Registered Architect 23 t Serial 5637A-3 : Copyright © 1962, 1954, 1951, 1943, by INTERNATIONAL TEXTBOOK COMPANY Copyright in Great Britain. All rights reserved. Printed in United States of America : International Correspondence Schoolsj r1 Scranton, Pennsylvania / ■ International Correspondence Schools Canadian, Ltd{ . Montreal, Canada 121 o 1(5 ARCHITECTURAL DRAWING Vv l PART 1 PI INTRODUCTION What This Text Covers . 1. Definition of Architectural Drawing.—Architectural 1. Introduction to Architectural Drawing .. Pages 1 to 12 drawing is the special language of the architect, which he uses Architectural drawing is the special language of the architect. to convey to his client impressions of how a contemplated build­ Various kinds of architectural drawings are explained. The use of ing will appear when completed.
    [Show full text]
  • Process in User Interface Development
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1998 Process in user interface development Srinivas V. Mondava The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Mondava, Srinivas V., "Process in user interface development" (1998). Graduate Student Theses, Dissertations, & Professional Papers. 5121. https://scholarworks.umt.edu/etd/5121 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY TheUniversityofMONTANA Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. * * Please check "Yes" or "No" and provide signature * * Yes, I grant permission * No, I do not grant permission______ i Author's Signature __________________ Date ________ _______________ ___ Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. A PROCESS IN USER INTERFACE DEVELOPMENT by Srinivas V. Mondava B.S. Shivaji University, 1988 Presented in partial fulfillment of the requirements for the degree of Master of Science University of Montana 1998 Approved by: Chairperson Dean, Graduate School C.-23-‘?r Date UMI Number: EP40585 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]
  • Bubble Diagram
    THE ARCHITECTURE HANDBOOK: A Student Guide to Understanding Buildings TEACHER EDITION Jennifer Masengarb with Krisann Rehbein Produced in Architectural illustrations partnership with by Benjamin Norris THE ARCHITECTURE HANDBOOK: A Student Guide to Understanding Buildings Jennifer Masengarb with Krisann Rehbein Design and Production O’Connor Design Architectural Illustrator Benjamin Norris Copy Editor Sandra Lancaster Typefaces AGaramond and Trade Gothic Systems InDesign® CS, Adobe® Illustrator® CS, and Adobe® Photoshop® CS Printer Berland Printing, Chicago, Illinois © 2007 Chicago Architecture Foundation, Chicago, Illinois All rights reserved. The Chicago Architecture Foundation has created The Architecture Handbook: A Student Guide to Understanding Buildings for classroom use. United States Copyright Law (Title 17, U.S.C.) protects the text, drawings, and photographs in this book, including those produced by the Chicago Architecture Foundation and those produced by others. Written permission from the original copyright owners (either the Chicago Architecture Foundation, other individuals, or other institutions) must be obtained for the transmission or reproduction of protected items beyond that allowed by “fair use” for any purpose other than private study, scholarship, or research. Every effort has been made by the Chicago Architecture Foundation to secure permission from copyright owners and pay additional fees for the publication of materials not in the public domain. In addition, every effort has been made to properly credit the owners and creators of copyrighted and public domain materials. The lessons, materials, and drawings contained within this book are for educational purposes only. Rights to the architectural drawings of the F10 House belong to the City of Chicago. The drawings do not pertain to a specific property and are not intended for any type of construction purposes.
    [Show full text]
  • TECHNICAL DRAWING GUIDE + 3,20 Edited by Dr Zsuzsanna Fülöp and Aryan Choroomi Based on Building Construction Subjects
    Budapest University of Technology & Economics (BME) Faculty of Architecture Department of Building Constructions 2017 TECHNICAL DRAWING GUIDE + 3,20 Edited by Dr Zsuzsanna Fülöp and Aryan Choroomi based on Building Construction subjects. TABLE OF CONTENTS 1) DEFINITIONS.........................................................................................................................................................page 3 2) SCALES - EXAMPLES - Scales .......................................................................................................................................................................page 4 - 1:200 example drawings ................................................................................................................................. page 7 - 1:100 example drawings ..................................................................................................................................page 8 - 1:50 example drawings .................................................................................................................................. page 13 - 1:20/1:25 example drawings ........................................................................................................................ page 16 3) GENERAL INFORMATION - Line thicknesses .................................................................................................................................................page 17 - Hatching styles .................................................................................................................................................
    [Show full text]
  • Engineering Drawing
    LECTURE NOTES For Environmental Health Science Students Engineering Drawing Wuttet Taffesse, Laikemariam Kassa Haramaya University In collaboration with the Ethiopia Public Health Training Initiative, The Carter Center, the Ethiopia Ministry of Health, and the Ethiopia Ministry of Education 2005 Funded under USAID Cooperative Agreement No. 663-A-00-00-0358-00. Produced in collaboration with the Ethiopia Public Health Training Initiative, The Carter Center, the Ethiopia Ministry of Health, and the Ethiopia Ministry of Education. Important Guidelines for Printing and Photocopying Limited permission is granted free of charge to print or photocopy all pages of this publication for educational, not-for-profit use by health care workers, students or faculty. All copies must retain all author credits and copyright notices included in the original document. Under no circumstances is it permissible to sell or distribute on a commercial basis, or to claim authorship of, copies of material reproduced from this publication. ©2005 by Wuttet Taffesse, Laikemariam Kassa All rights reserved. Except as expressly provided above, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission of the author or authors. This material is intended for educational use only by practicing health care workers or students and faculty in a health care field. PREFACE The problem faced today in the learning and teaching of engineering drawing for Environmental Health Sciences students in universities, colleges, health institutions, training of health center emanates primarily from the unavailability of text books that focus on the needs and scope of Ethiopian environmental students.
    [Show full text]
  • Multiview Drawing
    Name___________________________________________________Date_____________________Table#____ _ Multiview Drawing Watch the Engineering Essentials Video https://www.sdcpublications.com/multimedia/9781630570521-sample/ege/ortho/ortho_page6_v1.htm Watch the Study.com Video on Orthographic Projections https://study.com/academy/lesson/orthographic-projection-definition-examples.html#lesson 1. Which of the following statements are true? 4. Given the following isometric view of an object, which of the orthographic projections is the top A. An orthographic projection serves as a view? sort of universal language between designer and builder. B. All of these statements are true. C. An orthographic projection often contains a front view, a right-side view, and a top view. D. An orthographic projection is a two- dimensional drawing of a side of a three- dimensional object. 2. Which of the following statements BEST defines an isometric drawing of an object? A. An isometric drawing is a drawing of a three-dimensional object that only shows the back view of the object. 5. Based on the orthographic projection shown, is B. An isometric drawing is a two-dimensional the green square in the front of the cube drawing of a three-dimensional object structure, or in the back of the cube structure? that shows a view from a corner angle, so the different sides of an orthographic projection are all shown. C. An isometric drawing is a drawing of an object on a piece of metric paper. D. None of these statements are true. 3. Fill in the blank: Normally in an orthographic projection drawing, the right-side view of the object is found in the _____ _____ hand corner of the drawing.
    [Show full text]
  • Industry Guidance for Clinical Trial Imaging Endpoint Process Standards
    Clinical Trial Imaging Endpoint Process Standards Guidance for Industry U.S. Department of Health and Human Services Food and Drug Administration Center for Drug Evaluation and Research (CDER) Center for Biologics Evaluation and Research (CBER) April 2018 Clinical/Medical Clinical Trial Imaging Endpoint Process Standards Guidance for Industry Additional copies are available from: Office of Communications, Division of Drug Information Center for Drug Evaluation and Research Food and Drug Administration 10001 New Hampshire Ave., Hillandale Bldg., 4th Floor Silver Spring, MD 20993-0002 Phone: 855-543-3784 or 301-796-3400; Fax: 301-431-6353; Email: [email protected] https://www.fda.gov/Drugs/GuidanceComplianceRegulatoryInformation/Guidances/default.htm and/or Office of Communication, Outreach, and Development Center for Biologics Evaluation and Research Food and Drug Administration 10903 New Hampshire Ave., Bldg. 71, rm. 3128 Silver Spring, MD 20993-0002 Phone: 800-835-4709 or 240-402-8010; Email: [email protected] https://www.fda.gov/BiologicsBloodVaccines/GuidanceComplianceRegulatoryInformation/Guidances/default.htm U.S. Department of Health and Human Services Food and Drug Administration Center for Drug Evaluation and Research (CDER) Center for Biologics Evaluation and Research (CBER) April 2018 Clinical/Medical TABLE OF CONTENTS I. INTRODUCTION............................................................................................................. 1 II. BACKGROUND ..............................................................................................................
    [Show full text]
  • Architectural Drawing Part 2
    "72 0 i /(07) 157 l 1 v-® d—f----- ---------- 1 pt.2 '/federal Housing Administration Library ' k -; \ i - ^ International Correspondence Schools, Scranton, Pa. Architectural Drawing I Prepared especially for home study .. ; By WILLIAM S. LOWNDES, Ph. B., A.I.A. and FREDERICK FLETCHER, A.I.A. Registered Architect 5637B-2 Part 2 Edition 3 4 assignments ! International Correspondence Schools, Scranton, Pennsylvania International Correspondence Schools, Canadian, Ltd., Montreal, Canada T /4y£-l( d&n U ,^/ff y & " ? ^y/ ARCHITECTURAL DRAWING^ \A Part 2 “The beginning is half the thing." —Greek Proverb ** + By “Well begun is half done” is another familiar saying. .] WILLIAM S. LOWNDES, Ph.B., A.I.A. In your decision to “do something” to add to your fund of and knowledge through some systematic spare-time gtudy, you are “well begun.” And if you will persist in this deter­ FREDERICK FLETCHER, A.I.A. mination, diligently studying one lesson after another, one Registered Architect day, not too far in the future, you’ll “BE DONE.” '! 25 Serial 5637B-2 Copyright© 1981, 1954, 1944, by INTERNATIONAL TEXTBOOK COMPANY Copyright in Great Britain. All rights reserved Printed in United States of America International Correspondence Schoolsj * t Scranton, Pennsylvania/ ICS International Correspondence Schools Canadian, Ltd, Montreal, Canada What This Text Covers . ARCHITECTURAL DRAWING I. Preliminary Considerations Pages 1 to 25 Part 2 Certain preliminary steps are necessary before you can start the working drawings for a building. The requirements of the client, the survey, sketches and studies, and cost esti­ PRACTICAL PROBLEMS mates are explained. FRAME RESIDENCE 2. Making Working Drawings Pages 26 to 51 Working drawings are prepared after the design has been 1.
    [Show full text]