So, paintings of Portland, in which David and Carlittle discuss the city by the sea, as Longfellow famously called it, has been a visual talisman for a host of artists and from early masters to a remarkable roster of contemporary painters. Subjects include many of the city's signature buildings, including the Custom House and Portland headlight, as well as street scenes, the waterfront, harbor, back bay, and surrounding landscapes. Paintings of Portland features a wide range of motifs in all seasons and represented by an array of styles. So, thank you all again for being here, and I'll hand it over to you guys. Thank you very much, Rachel, and thanks to the library, and thanks to everybody for coming out. We're going to have a fun hour looking at a lot of nice art and having some conversations about it. We're going to go through a lot of images that are in the book, and we'll save time for questions later as well. But I wanted to start at the beginning. Welcome both of you. Thanks for making time for your schedule for coming out. Thanks for being here, Bob. My pleasure. Okay, so let's start at the beginning. What is the inspiration? What was the inspiration for the book? Well, I mean, I think I would start with the Portland show, the biennial that the Green Hut Galleries puts together, and it started with Peggy Golden in 2002, I want to say. Peggy is here. That was actually when we got the contract for the book. That was our first stop. We went right over to Green Hut, sat down, and just said, we'll take one of those, one of those, one of those. So there is quite a big representation from past shows. And then seeing the most recent iteration of that show is like, well, there's volume two on its way. I'm not sure what to add. I would say that the inspiration for me is being a painter that paints in the Portland area and wanting to do a book that really would make Portland shine as a city with a variety of artists that have been affected and have grown to love the city. Yeah. And just to read a quote that we used at the beginning there from Louise Dickinson Rich, who's just a wonderful writer about Maine, she said, Portland, beautiful of situation, the joy of the whole earth surrounded by the islands of Casco Bay, like gems in her crown, is a fitting city to form the front door of Maine. I love that. That's very well put. Absolutely. So as Rachel said in the introduction, this is your third collaboration. How do you divide the work? What roles do each of you play? Well, it's changed from book to book. The art of Katahdin really was David's project, and I came on as editor and did a little bit of writing, but David really did that one. The thing that has happened to me being a painter is that when Carl introduced me to basically publishing and asked me to be a part of these projects, I had already kind of put together an idea for a book on Katahdin. And when that came out, that was a project that resulted from many, many years of gathering stuff, gathering, and so gathering is like the first part of it. And I make lists, so one of the things about the Paintings of Portland book was I made a list. It was two pages long, and it was all the different subjects that I either have painted or that I thought were important to be in the book. So if Carl and I could find images of any of these, we could then check them off, or we could begin to categorize them. And that's why I think there's a great diversity in the book. Also, timelines are really important. And then, of course, Carl knows more of the contemporary artists in Maine than anybody in Maine. Yeah. But I was going to say also it was David's idea to bring in the ringers, so we did solicit ideas from Earl Shettleworth, and he kind of sent us his top 25 from the 19th century. And I'd say what, a dozen of those ended up in the book, maybe a few more. Yeah, and then we also went to the Portland Museum of Art, and we went to the Maine Historical Society as two of the big sources. We also went to the bank collections, because the early bank collections still have some of their paintings in the buildings here in Portland. So that's where we saw the Bernie Langley painting was at the key bank. There's many hundreds of years of paintings of Portland, and it's great to bring the old with the new together. Very interesting to see the similarities over the years. The architecture has changed, but then again it hasn't changed all that much. Right. I mean you have the big fire did a number, and we actually have a painting of the great fire in the book. But yes, it has. Well, let's get to some of the paintings. We should start with the cover, Joel Bab. Yeah, we just thought this was the perfect cover painting. I often think of Monument Square as sort of the heart of Portland. This is where the protests take place. This is where the farmer's market is right now. It is kind of the beating heart, and according to Joel he went up into, I think it was Pierce Atwood's office, and the way he works, he takes photographs, does some sketching, and then produces this wonderful painting. He's also very well known for his paintings of Boston also. I had a chance to spend some time with Joel this summer, late summer I went to his studio to do a profile of him. The MFA in Boston had recently acquired one of his paintings, and I wanted to talk about that. And to look at the science that is involved in making these paintings perfect was astounding to me. He gave me a real education in math as well as art. There is a lot of math in there. Yeah. Incredible. I guess the only thing I would add is that there are several paintings in the book that artists have tried to find high up places in the city from which to work. When you're walking around the city and you're looking, it's a little bit different thing than it is to go up on top of a garage, or go up and get in the offices. One of my favorite views is from the seventh floor of Intermed. It's just extraordinary. I have to go to the doctor, but I don't want to go. I want to look out the window. Joel tells great stories about getting into the buildings of Boston and how he finds the views, and what he has to do in order to get into those offices to take photographs and catch those scenes. He's even hired helicopters to get up over the city. It's interesting how far an artist will go to get the perfect painting. Right. It's a time-honored thing, too, in Maine.  There's some great aerial artists. Okay, Rachel. Great. All right. This is, let's see, is that Bernard Langley? This is the map, and David is the map guy here. I think in all three of our books, he's wanted us to have some kind of an orientation up front in the book to give people a sense of the lay of the land and take it from there. This happened because in both of the other books, I've gone to the Osher Map Library for help as another place that you check. And I went in and talked to Vince Foster. I think Vince Foster. And he first showed me some old maps, and then he said, you know, I've got this pictorial map that you might like to see. And he brought out two copies of it and spread them out. And it's an enormous map. It's actually not too far off from this in size. It's 55 by 99 inches in size. So it's an enormous fold-out map that was, the originals are hand-colored. And what really struck me about it was that this is a woman cartographer. She has been represented in a big exhibition, Women in Cartography. Catherine Dudley is her name. And it was done in the 20s, which is when the pictorial map movement really became very strong in the United States. And they were going away from the technical maps that showed sort of the importance of being geographically correct and topographically correct, and went to more things that were more fun and that would attract tourists. So this map is partly about tourism. And it was done for the baby, let me see if I get this right. Yes, baby hygiene and child welfare association. And it was to show the cleanliness of Portland. Yeah, it's a very clean city. It is, it is. It also gives you, though, the little insets kind of take you out to the surrounding thing. And that kind of guided us a little bit in the way we envisioned the book. A good scene, Senator, to start the book. Okay, Rachel, thanks. Well, Harrison Bird Brown. So, yeah, 19th century, there are a fair amount of lighthouses in this book. Hopper, Harrison Bird Brown. There's a wonderful one by Andrew Winter, who is better known for his Monhegan paintings. I just have a short thing to read from John Neal. And he wrote this wonderful book in 1874 called Portland Illustrated about Harry Brown. He says about 15 or perhaps 18 years ago, according to my present recollection, and he's a critic, so beware of what he says. I was invited into a painter's workshop on Exchange Street opposite my office to look at a head just turned off by Harry Brown, a young man who at best only claimed to be a painter of signs, banners, et cetera, et cetera, in full practice. The head was a wretched affair, and I lost no time in advising him to give up the idea of portraiture. But while talking with him, my attention happened to be attracted by a rough landscape sketch hung in the shadow. It was really rich, clever, and full of promise. When I found that this was his work, thrown off in the heat and hurry of sudden inspiration, while wandering by himself along the seashore and among the outworks of the wilderness, I urged him with all earnestness to try his hand at landscape, see views, et cetera, to begin at once and to lose no time. The influence of critics, Bob. I believe he was the first critic in Maine. He was, and he's actually considered among the first American art critics. And he's buried in Western Cemetery, if you want to go see his monument. Excellent. Okay, Rachel, the Przomskut River looking toward Blackstrap, Charles Kimball. So again, I have a little short thing to read on Kimball, who's buried in Evergreen Cemetery, one of the people on the art tours that I give there. And this is from John Calvin Stevens from an article he wrote, in which he talks about Kimball as an artist. Of a later period was Charles Frederick Kimball, a local artist who in his day was ranked high as a landscape painter. Actually, this is the introduction. John Calvin Stevens, in his article, An Appreciation of Maine's Greatest Landscape Painter, which appeared in Pine Tree Magazine, April 1906, wrote of Kimball's work, quote, The rugged strength of northern New England scenery, when it is flooded with a splendor of the summer sunshine and glowing with the rich colors characteristic of these latitudes, has rarely found so true an interpreter as was Charles Frederick Kimball, Maine's greatest landscape painter. His pictures were almost entirely of the summertime, and he dearly loved the full rich greens of June. Occasionally, a spring landscape made a subject for his brushes, and whatever he did received the most intelligent and painstaking treatment he was capable of. He aimed to paint the weather and to reproduce the very atmosphere and all the effects of light and shade which seemed to him so beautiful. And then he just says that among Kimball's most noted pictures was the falls at Stroudwater, which is the subject of this painting. And I might just add that he was also apparently a master cabinet maker and also a member of this group called the Brushons. And also along with John Calvin Stevens, critical to the formation of the Portland Society of Art. Which led to the museum, became the museum, correct. Okay, next question, please. John Calvin Stevens, two images by someone we know more as an architect. Well, as you know, Stevens was best known as an architect, but anybody who went to see that show that was put up at the University of New England Gallery a couple of years ago was a real eye-opener. I mean, he was a master painter. And again, a member of this group called the Brushons that were kind of a group of plein air painters that set out to join together and paint together in different places. Is it a casual group of friends? Yes, yeah. The Brushons, B-R-U-S-H-U-N-S. Yeah, B-R-U-S-H apostrophe, U-N-S. The Brushons. The Brushons are coming, the Brushons are coming. So I have a small piece to read written by Earl Shettleworth from his beautiful catalogue that he did for the show at the University of New England. At the peak of his architectural career in his early fifties, Stevens was ready to develop his talent as a marine and landscape painter, and he did so with a passion. Leaving his wife and children to attend church, Stevens would set out each Sunday morning with his friends to practice his own religion painting. As a reporter wrote of him in 1917, his favorite pastime is to get into a suit of old clothes, pull a soft hat down over his eyes, and tramp over the cape, stopping wherever he finds one of those rugged bits of scenery which have made our coast famous. Stevens' 1914 tongue-in-cheek poem about the Brushons describes his fellow artist as well as himself. And it's just a short verse. He lugs a canvas, easel, too, some brushes and a box. He puts his easel up and then he tries to paint the rocks. Nice poetic flow there. This is fascinating. There's lots to talk about here. Yes. Well, when we were putting the final design of the book together, we wanted to have these two together, and it didn't work out, but it's still referenced in the text. But on the left is Xanthe Smith paintings of these crazy razzle-dazzle warships during World War I. And on the right, of course, is the Sprague oil tanks designed by the Venezuelan artist Jamie Gilley. And it was just, we just made this visual connection, the abstraction here. The point of these ships was that at a distance, because of the designs on them, it would be hard to tell what they were or what was going on. Am I representing that right? Yes. The idea behind it was to be unable to tell, first of all, which was the front and back of the boat, and which way it was moving, because the lines, not on this particular one, but if you look at some of the diagrams of the boats that were built, the geometric lines did not come together. They actually were offset. So it created a three-dimensional distortion looking from a distance of what you were looking at. So you couldn't really tell what form the boat had. It could be completely, and they said there was mixed success with it, but they did. Many, many boats were painted. It's a great observation to find those similarities in color and shape. Yeah, it's kind of crazy. All right, this is the Bernard Langley. Yeah, well, David found this one. As he mentioned, this is in the key bank here on Monument Square. I think you were just walking in there. And actually, we don't know the backstory on this. We're not really sure. I think we think it was a commission in the 70s, because it's a little bit unusual for Langley to do something like this. But it's just wonderful. It's a double spread, almost like the centerfold of the book. And you'll see a lot of the landmarks, some of which have changed over the years. The thing about looking at it is that it's very hard to tell. It looks like it might be a flat painting, but it's incredibly three-dimensional. So you've got things that have been nailed on, glued on, hammered, just whatever he did. He put stuff in, and there's a lot of art references in it. I think Tom Cruddy's gallery is in it. Yeah, Baradoff is in there. Baradoff is in there. So if you haven't seen it, it's enormous. I think it's five panels. You could just walk over after this talk. Just like a mob scene. Sorry, that's the wrong one to use that term. But it is in the tradition of Langley, and that it is a constructed piece with wood and mixed media. Yeah. You're right in terms of the commission. This is unlike what he would typically do, but it would make sense. Yeah, we did. We got the date because in the background of a photo of Langley in a studio, you can see it. And it was around the early 70s, I think, which is where we estimated it. I see he has the Longfellow statue. Yeah. And a basketball player, I guess. I'm not sure of the significance of that. And a golfer on the Eastern prom. Is that right? Yeah. Yes. It's a golfer. Yeah. It's pretty wild. It is pretty wild. Many people probably haven't seen that. Okay, this is another painting, Alfred Chadborne, a great story behind that as well. This is a landmark for many years. Yeah. And this is one of these things where David the Sleuth comes to the fore there. We really wanted to know where this was. And you went through many different sources. I asked many, many different people about this, particularly people in the car repair business. And nobody knew. So I ended up going to Springer on Forest Avenue, which has the... I think they do things like struts and springs and stuff like that. And I showed the picture of this to the fellow that was there. And I said, I'm not sure this looks like it was in Portland. It says, welcome to Portland is the title. Do you have any memory of where it was? And he looked at it and he said, let me show it to my manager. And then the manager looked at it and he went, you know, I think you need to go talk to Mary. And Mary worked on... I think her name was Mary. She works over on Fox Street. And it's a company that leases buses. It's as you turn the first left-hand turn. It's right there on the left. So I went in with this picture and I had to wait because she was busy with someone. Then I got in to see her and I showed her this and she went, oh my God. She said, I worked there as a young girl. Sure, I know exactly where that is. And she went and she said, come on, I'll show you. And we walked out because this was a trailer and you couldn't see out. We went around the building and she pointed to the next building over and said, that's where it was right there. And she said, my dad owned the business and I've got black and white photographs so I can show you what it looked like. And so I got the whole story there and then she said, I've got a surprise for you. I want you to come around the corner and I'll show you the tow truck, which has been totally restored. And it was all protected with a tarp and everything over it. And she showed it to me. It was just beautiful to see it from the time period. So this is the Exit 7 truck stop, as it says there. And I did want to mention it. Chad Bourne is just a wonderful painter. We have a couple of other paintings of his in the book. He lived eventually in Yarmouth. He's sort of one of their wonderful local painters, but just had a wonderful way of capturing these different scenes. And one last thing. If you haven't been to see the show that's in Yarmouth at the Frame Shopping Gallery on Route 1, it's a show to do with this book, Paintings of Portland. And there are two magnificent chip Chad Bournes that were borrowed for the show. So if you have a chance, take a peek at them. They're really lovely. Yes, and Chad Bourne has had a recent show in Yarmouth, I believe last year or the year before? Yeah, and then had a show at the Gunquit Museum, too, a couple of years ago. Next one, Rachel, thanks. Paul Black, the late great Paul Black. Yeah, he has the most paintings in the book of any single artist. He's one of these artists of many in the book who are really committed to painting the city, who are clearly in love with the city in all seasons. And each one of these has a little story. Tommy's Park with the hot dog stand. David actually figured out what kind of boats those were and the fleet there, the wonderful winter thing. And I have a story. I was judging a poetry out loud contest with Monica Wood, the novelist. And I was telling her about this book. And she said, are you going to have Paul Black? And I said, yeah. And she just made a motion like tapping her heart. This was someone very special to her. Paul showed, and I believe his art is still shown annually, especially some of these winter scenes at galleries in Portland. A very enduring artist. Obviously widely loved for a very long time. There are, I think there are eight paintings in the Yarmouth Show by Paul Black that were picked out by Beth Newman, the owner. My feeling about Paul was that being, myself being a landscape painter in my background, was that he is, he's one of the artists who was able to create the mood in his paintings of Portland that we think of at different seasons of the year. And his atmospheric effects of bringing in his kind of, I think it's impressionist skies, impressionist atmosphere over the city in different ways. It's truly a unique, there's nobody that really paints like that. I paint landscape in the city and around the city, but I always admired Paul's work and was very happy that I met him before he passed away and then got a chance to go in later and visit in his studio and see all the beautiful works that he's made. He's also in the Art of Acadia book. He would come up every summer and paint, particularly he loved the Astakoo Gardens right across the street from the Astakoo Inn. And Rita Redfield, who's a dealer and was a dealer in Northeast Harbor, represented his MDI work. And she said she could tell the date of the pieces because there was one Alberta spruce that he painted every year and it just got larger and larger and larger.  Here we have Robert Solitaire, Gray Street View, Portland, Maine. Beautiful painting. Yeah, this one had such a wonderful, I was thinking it was wonderful that the artist who painted this, his name was Solitaire. There's something sort of quiet and sort of a side street, you know, this wonderful woman on her bicycle. He was, like Paul Black, devoted to the city. He painted all, there's another painting in the book of the Franklin Arterial. He really painted all around. He loves city views. Did you ever meet him? I have met him, yep, I did. And just very short conversations, he almost always came to the previews of Baradoff to check out La Caixion and see who's doing what. But I really liked his work. It's slightly academic and yet it's beautifully done as if there's a great deal of love in the work, I think. And I think it shows in the various, even in his industrial scenes, there's a tenderness, believe it or not. So Alice and Rector, yeah. She's a wonderful artist. She lives in Monroe, Maine and I want to say five or six years ago, maybe even longer now, she embarked on a whole series of paintings of libraries in Maine, outside and inside. These are two of them. Of course, the Glickman looking out at the back bay and then the original Portland Public Library on the right, the Baxter Library, now is where Via is, the ad agency. Yeah. But just for me, it's just a wonderful sense of light here. Particularly in this one, you can't really see it that well, but there's this wonderful shadow late afternoon, I suppose, kind of coming across the facade of the library. The only thing I was going to say was that the Glickman library became my refuge from home in terms of writing. I couldn't seem to write and get into my head and spread out the way I could in the seventh floor, a great reading room at the Glickman. And I would get there when they opened, first thing in the morning, something like 745, to be no one there. And I would pick a desk that I could basically spread out and take two or three chairs. And so a lot of the chapters in the, all of the chapters in the Katahdin book were written there. And right now, if I could put a pitch in for this, there are at least three great shows up there. There's a show about immigrants from, going to an island in Greece called Iksnos. I think it is photographs and other works on paper. And then there's the Margo Halverson photo, which is part of the main museum of photographic arts. That's on the sixth floor, I think. And then there's the book arts group that Rebecca Goodale runs. And so it's become really a central art place in the city. No question about it. There's a lot going into the library all the time. I was just at the Margo Halverson show last week, and I'm going to be writing about that. And it is an interesting space. It's not the best gallery space, but there's a room for a lot in that building. And it is surprising how much happens there that may not be on your top of mind. It's a great venue to keep in mind, almost always an art show of quite good quality. Bob, correct me if I'm wrong. If anyone in the audience knows. I think the Baxter Library was designed by John Calvin Stevens. Am I right? Any nods? Anybody know? Anyway, I think it is. I don't know that. That wouldn't surprise me. The Baxter building is important to me personally. My mom was a librarian at Portland School of Art, before it became Main College of Art. And her office was in that building. And when I lived in the Midwest, whenever I'd come back to Portland, that was the first place I would go.  That is so cool. Great building. Also, Carl, coincidentally, the Baxter building was built on the site that was occupied by the Russians. The Russians had a little bungalow. And then it was moved to Harrison Brown's studio when it had to be taken down because the library took it over. And then eventually they convinced Margaret Musty Sweatt to give her house and leave her house as the new building. So their first show was in 1911 there. And David and I break into, build me a bungalow? No, sorry. You only get these chances. You don't get these chances that often. So Tina Ingraham, painter from Bath, and what I love about her, she's been obsessing with this particular view. She's done it, I want to say, more than 40 times of the Custom House wharf in all seasons, all weather. She has said that she loves just the endurance of it. And I think actually when we were talking, when we talked, Bob, when the book first came out, we talked about this idea of preserving the city and how the painters had a role in that. And so by painting it over and over again, it's almost like Tina's making an argument for, let's keep part of this thing. With the cruise ships looming and stuff like that, let's have this place, special place to go to and look at. One of the things this book does exceptionally well is preserve that sense of time. And as we said at the beginning, it also shows a little bit how Portland has evolved and what we're hanging onto and why that's important. There are a lot of connections among these paintings and among these artists over hundreds of years. And that continuum is a big part of the main art story. And I love that it's so present in this book. The continuing narrative. Like you have Mildred Burridge doing a painting down on the docks. Marsha Donahue doing a painting looking down toward the wharf. And actually she has one that's on the docks. But there's kind of that line at Commercial Street where most people stay on there. They don't kind of go and drift. But if you start to drift down onto the different wharves, there's just amazing things you can see in terms of people at work and what they're doing to make a living. Very different. Alice Spencer. Yeah, so we really like to push the envelope with imagery. And this one is probably the most abstract piece. But the story behind this is that Alice was on the Portland Public Art Committee and they would hold their meetings in the planning office at City Hall. And there would be all of these zoning maps on the wall around her. And right about that same time, she was also starting to get very interested in textiles, textile designs. And those two things kind of came together. She did a whole series of these. And this is one that came from one of the Portland shows at Greenhut. It's just wonderfully inventive. It represents Portland, but in a way that's very tangential. And it says something about where artists go for inspiration, that she could find something in a zoning map that would make her look deeper. And you know that Alice has gone on. She helped launch Tempo Art, which does these pop-up shows around the city. And she's really committed to public art and making it happen. He also was in the Katahdin book and did a whole series of watercolor studies of Mount Katahdin. Are there artists who are in all three of your books? I'm sure there are, but... It's Guy. I'd have to check that out, I think. Perhaps. John Swan, Summertime Scarborough Beach. Can you tell me about that? I went to visit with John at his house and got some of the history of the house. As I said before, I do the art tours in Evergreen Cemetery. And on our second tour, we visit the grave of Walter Griffin and his father, Edward Souther Griffin, who did down here the fireman in front of the fire station and also did the statue of Jacob Winslow in the cemetery. And there are two parts to this. Just briefly, I got a chance to go and see this house belonged to Walter Griffin. And so I found out by looking in the house and talking with John and then seeing the barn where his studio was that there was a really interesting article that Colin Sargent had written years ago back when he was able to... Back in the 70s, it might have been in Down East Magazine. And it was about the sale of all the effects that Walter Griffin left behind, his steamer trunks because he traveled to Europe and lived over there for over 10 years. There were paintings for sale, his studio equipment, his props. It ended up being a sale with, I think it was like $175,000 was raised, I guess, for the family. And it's a wonderful article about the discovery of this artist that Colin Sargent made. He became very excited. And you can tell in the article, it's beautifully written. The other side of this is that one of my favorite things to do in Maine is to body surf at Scarborough Beach. So when I had a choice, I could have done one of the paintings that John Swan did of Stroudwater and instead I chose the Walter Griffin painting of Stroudwater for the book. But I wanted to show that there are beaches and it's part of our life in Portland. It's part of what attracts us to living here. Okay. And here we got some baseball. Go Red Sox. Yeah, so this is obviously our home team, the Seedogs, Portland Seedogs. This is an artist, Nancy Morgan Barnes, who lives in Searsport. And again, we wanted to represent the city and all its vibrancy and all the things that are going on. And it was kind of wonderful because I ended up sending a copy of the book to a person at the Seedogs organization and pointed out that we had a painting in the book. And he invited David and I to throw out the first pitch. And the night that we threw out the first pitch, E-Rod pitched to Christian Vasquez. And of course, they learned something from our pitching and it clearly passed on. And today there's a duck parade. Why weren't we invited? I don't know. Well, we were doing this. We had a prior commitment. Yeah, exactly. Friar commitment. How did you do in the first pitch? Well, when Carl got up to pitch, he was just starting to go into his motion when this picture came on the screen. I said, Carl, Carl, wait, wait, you've got to see this because he wanted to see what they were going to do. So he turned around and there was the picture. Then he went in through his pitch. I think it was a little high and outside. It was high and outside, yeah. And my pitch was low and in the dirt in front of the pitch. So you make a good team. You balance each other out. Exactly, exactly. I would be very nervous doing that. Right. Yeah. All right. Okay. Jessica Gandolf, Evergreen Cemetery. One of the things, here I'm slightly biased, I wear a hat because I've been on the board of the Friends of Evergreen Cemetery for so many years and have tried to help them and eventually became a history docent. And I love the organization. I love the cemetery. I live right next door on Brentwood Street and I've painted the cemetery. And so I thought that if we could find any images of Evergreen, it would be quite wonderful. Trying to remember what you wanted me to mention about Evergreen. Do you remember? Didn't she say there's something coming up there that people should know about? Yes. I was going to mention just that one of the things that the Friends does every year now is we do a day of remembrance. And it's going to happen this Sunday at five o'clock in the chapel. If any of you would like to come and remember someone you've lost this year or someone you've lost in the past, it's a very solemn occasion. It's candlelight. It's lovely. It's about 40 minutes. Five o'clock at the chapel, the Wild Memorial Chapel in Evergreen. Welcome to come. And I might mention that, you know, when we did this book and with our previous projects too, we often asked the artist to give us a little bit of background when they're sending in their image. And Jessica said she walks in Evergreen quite a bit. It's one of her places to go to. And she said her all-time favorite epitaph is she hath done what she could. It's like that, yeah. Very well said. Okay. All right. Karen, Marie, Michelle, who I believe is in the audience. There she is all the way to the back. Hey. Two paintings. The Down Easter and Got Paint. Yeah. Great stories of both. When I solicited Karen for images, she sent me quite a few. They're just, they're full of color. And going through it, David and I settled on these two as wonderfully representative of two different subjects. One being the Amtrak Down Easter coming in from the bottom there. And then this, the Arts and Supply, Arts and Supply. Arts and Crafts. Yeah. One of the things that I had thought about was the contrast and having the Down Easter coming in. One of the things that, and I'll try to remember this, but first thing is that when you take the Down Easter South, you go right by those ghillie tanks, those ghillie painted tanks. So you get a chance to see the designs from like 30 feet away. It's like right in your face. It's really quite extraordinary. But I also was thinking about Stephen Netnier's painting of Union Station and how this is the new transportation coming back. So you have, in a way in the book, you have a little bit of the artist's interpretation of the rise and fall of the train system in Maine, and particularly in Portland where it got to a height and then it kind of went away. And we have the freight trains, but now we have the Down Easter that's come back that can take us down to Boston and beyond. The store, the store has been my source for canvases and paints for ever since I moved to Portland. Larry Adlerstein became a very close friend, and I would go in and look at the latest colors that he had in and get drawing materials. You can get anything you want there. And I think that in some ways this is one of the anchors of the art scene in Portland. So putting it in the book is extraordinary, I think. And I think that her painting is beautiful. It's the back of it, but it's where everyone parks to go in. It's really the entrance. And Karen titled it Got Paint. Yes, right. A little bit of humor. Certainly one of the most recognizable images in the book. David, have you ever painted that building as a subject? Yeah. All right. So this is the final pairing. And we picked these two out just to show the evolution of landscape painting in the city. And on the left is Mary Longfellow's view. And on the right is Catherine Bradford, a contemporary painter. And I just think it does a lovely job of covering that. And you can't see it here, but this is actually partially a collage. Catherine Bradford took a cut something out of an image of Portland and sort of embedded it in the painting. And then she put in all these wonderful flying women, flying naked women over the city. Which is just, you know... So Catherine. Yeah, so Catherine. Yeah. Yep. Do you know the years of these paintings? Not too much. I want to say the Longfellow is maybe 19... She lived to 45, so maybe 1920 or something. And Catherine's just maybe 2000. A little earlier in 1940. Yeah. She was Longfellow's niece. His niece. His niece. Yeah. A large body of her work is in the Craigie House in Massachusetts, near Cambridge. And I think that was Longfellow's home there. And it was also... It had something to do, I think, also with the Revolutionary War. But I think Longfellow, even though there are... I think there are markers. There are mausoleums that are up in Western Cemetery for the Longfellow family. I think his particular grave, I may be wrong, is in Mount Auburn Cemetery in Cambridge. Correct. She is... She's on our third tour in Evergreen Cemetery. She's down in Evergreen Cemetery as you go down toward the ponds. Her grave site is there. And it was wonderful to discover her and then to find out that there were many, many examples of her paintings available to show people on the tour. I just love the romanticism of that.  Absolutely right. That's our Portland. And that's our Portland too. That absolutely evokes Venice for me. No question about it. Those are our slides, but we do have one quote unquote live painting here on the easel. Dave, do you want to talk about that? Sure. That's what's in store for us in the next couple of months. It's in the book. And I wanted to... There aren't many snow scenes in the book, so I wanted to put in two snow scenes. And this one was painted in my studio in 2001. So that's 17 years ago. And it was called... It's called March Blizzard. And it was snowing. It was a day we had over two feet of snow. And I was up in the studio working. And I was just mesmerized by the snow coming down so hard. I decided to lower my easel down and pull a chair over and look out the window at my neighbor's garage and the house behind and see if I could paint it. So it's a painting I've held on to because it's very special to me. I won't sell it. But I wanted to put it in the book. So I thought today with a little show and tell I might have the opportunity to share it with you all. And I think one of the things about the book is that we... There are neighborhoods represented. The woman on the bicycle on Gray Street and Romosco Street. And so we tried to get... There's a lot of neighborhoods in Portland, but we tried to have those kind of scenes, the local scenes, the churches, the corner lot, the view outside your studio in March Blizzard. The book feels very alive because it's very relevant and tangible. These are scenes we know we can go to. It's one of the great things about art in Maine. The sites where people have painted for hundreds of years don't go away and we can go and experience them. This book really brings it home at the city level. Many of these scenes are part of our lives every day. So you've done a few books together now. What are you going to do next? Well, we've got to go back to the therapist first. We've got to straighten things out between us. Yeah. That would be Mickey and Peggy. No, we don't have a current... We don't have a next project planned yet, but things are percolating. I know you've got some projects that you're involved in. I'm working on one project for the city that's to create a Baxter family trail that starts at the parking lot at Haniford and goes around Back Cove and up to the Baxter Memorial, which most people that I know of have never even been there to look at it, to really look at it and enjoy it. And then it goes up Woodford Street and crosses Forest Avenue and then works its way over to Baxter Woods. And then it goes up through Baxter Woods and crosses Stevens Avenue and goes to the monument in Evergreen Cemetery. And then it continues on to the Brentwood Gate, the back end of the cemetery. And there'll be a sign there that tells you if you'd like to continue on to Baxter Pines. There's going to be seven signs and I've written the signage for three of them. And the one that was actually, all three of them were very exciting to find out about the history of the memorial. So the sign that I've written in rough draft form so far is about the memorial and the history of it. The second one is about the naming of the streets after his children, after James Finney Baxter's children and how that came about in terms of the subdivisions in the area that were related to land that Baxter owned in the late 1890s, 1895 is when it started. So I got diagrams from the city that helped me write that text. And then the third one is about the history of the actual monument in Evergreen, which James Finney Baxter commissioned to be built based on a very similar monument that's in Edinburgh, in the cemetery in Edinburgh, way up on the hill on the city, on the outskirts of the city. And it's the tomb of Stugold Stewart, a Scottish philanthropist, a Scottish historian. Doesn't that sound like Baxter? Anyway, he was very, very, he saw this and he went, God, this is a beautiful monument. So it's not an exact reproduction, but it's very close in style. And I found out a lot about this from one of our docents about the westerly granite that came that has kind of a blue mica in it. It has a sparkle to it and how it was brought into the cemetery from the train tracks, the different pieces. It's an extraordinarily big, heavy monument in many pieces. And the year it was ordered and all different kinds of things. And you can see in there the three little sarcophagus that are the three girls that died in the Baxter family that died very young. I think it's very fitting that on Halloween we've got a lot of cemetery stuff going on here. I mean, I just have to throw that in, you know. So I agree. Yeah. I have one thing I want to read. Go for it. This is toward the end of our, I'm not sure how much longer we're going to go, but this is a quote from the preface of an exhibition catalogue of a show at the Portland Museum of Art in 1970. The title of the show was A Century of Portland Painters, 1820 to 1920. This is the quote. And it was written by, I can't remember that one lady is Catherine Woodman and I can't remember the other lady's name, but they worked together to curate the show. Quote, certain cities are beloved by painters there is in them a spirit of place that provides ardor for life, a deep nourishment of the heart and painter's studios everywhere. To borrow the curator's conclusion, our new book, Paintings of Portland, quote, presents the accomplishments of Portland painters and provides an opportunity to reflect upon what lasting meaning the Portland painters may have as a group of painters joined by geographical circumstance or possibly as individual painters in the mainstream of American art. I'll send. And on that note, we definitely have time for some questions, so we would love to hear from you folks. Yes, I'll go back here. The Baxter building was in fact designed by Francis Fassett. Thank you. Not by John Cowell Stevens, but just continuing on the ghoulish theme of cemeteries. While not a painter, one of Portland's most prolific artists, Benjamin Paul Acres, is also buried in every green cemetery. It was his object, Crow Lyra, which was the first acquisition of the Portland Society of Art, just as a little facade. Right. And it would be a book on sculptures of Portland. That's our next quote. Score. Yeah. Okay. Other questions. Certainly there must be some. Well, since there aren't any, I wanted to do a shout out for an event happening this Saturday, the TEDxDirigo taking place. One of our colleagues, Lillia DeAndrade, is doing a presentation. It's at Innovation Hall at UNA starting at noon. And also, if you haven't done it already, obviously, vote. That's right. That's right. Oh, and by the book. Yeah. By the book. Yes. Here we go. Sorry. This isn't so much a question as a pitch for the book. My middle son was getting married this fall. And I went to the bookstore to find a book to give my soon-to-be in-laws from Texas that would give them a feel for what they were now connected to. And here was this marvelous book that just shines with the heart of Portland. It also happens to include our dear friend David Campbell's paintings. And my son, who's getting married, happened to be a model in one of her paintings. So I thought, you know, if I had walked into the bookstore and said, I like a painting of Portland done by a friend with my son. Wow. It just kicked me out. But it turned out to be one of the truths. So it's just a... It's a real treasure. And I'm glad you guys went through all the work of putting it together. Thank you very much. And thank you for sharing that story. That illustrates the connectedness of the arts in Maine. Really, everybody somehow is related. That is so cool. Any other questions? I just want to... Yes, here we go. Just a comment. I'm thinking of the painting of the war. And you were saying that artists are helping us preserve them. Is there any movement among artists here to try to do something to stop the public of things going on? That's a really good question. I mean, I think that they certainly... I don't know if there's a movement, but certainly they have spoken. Yeah, I don't know either. What did you say? We have started now. I will say that a lot of artists have had conversations about what's going on with the city in terms of development and architecture, but specifically also about the working waterfront. And there is a large group of photographers actively working on the waterfront every day to make sure that what we have now is at least preserved through their work, but they're also doing a lot of advocacy work to ensure that further development is done with aesthetic values in mind. So it may not be happening in a formal way, but it certainly is happening informal. And artists are leading that conversation about what our city is going to look like in the future. No question about it. All right. Thank you for that question. Anybody else? Well, I want to thank everybody for coming out. It's great to have a space like this. This is a great opportunity also to recognize the library. Recently won a Portland Buy Local Award for its work in the community. Congratulations to the library for the good work. Thanks to Carl and David for sharing your stories. Thanks, Bob. And your work. And thanks to everybody for coming out. Thank you to the rest of Halloween.


In a 1932 article in Popular Mechanics entitled 50 Years Hence, Winston Churchill predicted that we would one day escape the absurdity, the inefficiency of growing whole chicken in order to eat the breast or wing by growing just the parts we need. Indeed, growing meat straight from muscle cells could reduce greenhouse gas emissions by as much as 96% lower water use as much as 96% and lower land use by as much as 99%. If we are to avoid dangerous climate change by the middle of the century, global meat consumption simply cannot continue to rise at the current rate. And there have certainly been initiatives like Meatless Mondays trying to get people to cut down, but so far they do not appear to be contributing in any significant way to the translation of the idea of eating less meat into the mainstream. So, in light of people's continued desire to eat meat, it seems the problems associated with consumption are unlikely to be fully resolved by changing people's attitudes, so instead maybe we should try changing the product. From an environmental standpoint, it seems like a slam dunk. From an animal welfare standpoint, if you get rid of factory farms and slaughterhouses for good, and I wouldn't have to stumble across articles like this in the scientific literature. I mean, what more do you need to know about modern animal agriculture than the fact so-called ag-gag laws have been proposed and passed across the country, banning undercover photos inside such operations to keep us all in the dark? Okay, but what about the human health implications of cultivated meat? I mean, I get the animal welfare, environment, food security benefits, but what about the potential for cultivated meat to have health and safety benefits to individual consumers? Nutritionally, the most important advantage is being able to swap out the type of fat, since right now they're just growing straight muscle tissue, so you could marble it with something less harmful than animal fat.  In terms of health, the biggest, clearest advantage is food safety, reducing the risk of foodborne pathogens. There's been a six-fold increase in food poisoning over the last few decades. We're talking tens of millions sick and annually by infected food in the United States alone, including hundreds of thousands of hospitalizations and thousands of annual deaths. And contaminated meats and animal products are the most common cause. When the cultivated meat industry calls its products clean meat, that's not just a nod to clean energy. Where food poisoning pathogens like E. coli, campylobacter and salmonella are fecal bacteria. They are a result of fecal contamination. They're intestinal bugs, and so you don't have to worry about them if you're making meat without the intestines. Yes, there are all sorts of methods to remove visible fecal contamination in slaughterhouses these days, and even experimental imaging technologies designed to detect more diluted fecal contaminations. But we're still left to the retail level, with about 10% of chicken contaminated with salmonella, 40% of retail chicken contamination with campylobacter, and most poultry and about half of retail ground beef and pork chops contaminated with E. coli, an indicator of fecal residue.


It is an interesting topic whatever we have seen in the morning that is that was very simple equation, just f of x equal to x square minus x only one constraint that is it is not a constraint it is only a availability, right. So, here we have applied the same technique with little modification for reservoir operation. First I will take about single reservoir operation then I will tell how we have extended this for multi reservoir operation. The inflow into the reservoir is the fundamental requirement to develop optimal operational policies. The inflow is considered as stochastic variable either implicit stochastic dynamic programming or explicit stochastic dynamic programming. So, in this study we tried to model a reservoir operation single reservoir as well as multi reservoir operation using explicit stochastic dynamic programming and then we compare the result with the very simple randomized robust research namely genetic algorithm. So, it is four different work we will see that. So, the first objective was to develop optimal operation strategies for a single multi-purpose reservoir using stochastic dynamic programming and then to develop genetic algorithm model for single multi-purpose reservoir and compare the performance with the SDP. Until this we have never received any never seen any literature stating that GA can take the stochasticity also. And second objective is extension of that single reservoir system to a multi reservoir system both SDP as well as genetic algorithm, right. The study area considered here I have switched to another study area. This study area is called Kodaya river basin this is in Tamil Nadu and in the border of Kerala. This has a command area of 30,000 hectares. It is a very complicated reservoir system even though the number of reservoir is very less. There are four reservoirs and one diversion we are, right. So, this is the location of the study area Kodaya river basin I will quickly go through this. So, this is the schematic representation of my study area. So, this reservoir is Pechiparai the major reservoir. The second reservoir is Perinchani this Chittar 1 and Chittar 2. This Pechiparai, Chittar and Perinchani are in parallel whereas Chittar 1 and Chittar 2 are in series. So, this is little systematically this is little complicated and also the distribution point the first demand is in this point which can be met only by these two reservoirs. The other demands are from this Puthenvier that is from demand 2, demand 3 and demand 4. Demand 4 is for industrial municipal supply demand 1, 2, 3 are for irrigation. So, here there is no power production it is only irrigation and the industrial municipal demand. So, this is the schematic representation of study area. My kind advice is if you want to supply for want to apply modeling techniques in any water resources system first understand the system. So, these are all some of the figures and the system characteristics its gross capacity net requirement and this is the statistical parameters. The only thing what I want to impress is the coefficient of variation. The coefficient of variation is very less that means there is no much variation in the inflow over the past 30 years for each and every month. In major reservoir Pechiparai is the inflow statistics. It is a time series plot and this is another reservoir Peranjani. Here also there is no much variation in its inflow except during summer that is only during May month. Other means the variation is almost very less whereas in other two reservoirs which are in series the variation is very high. So, a simple LP or DP will not be sufficient to capture this inflow characteristics. See the coefficient of variation it is more than 1, 2 like this. Similarly in Chittar too also the coefficient of variation is very high. So, in such situation it is compulsory to consider the stochastic variation of the inflow and the variation is very high. So, first I will explain 10 minutes the single reservoir operation. So, this single reservoir operation has two parts one is SDP another one is GA model. So, in stochastic dynamic programming the inflow and initial storage are discretized into 3 to 9 number of state variables. Because since it is only surface water the curse of dimensionality does not comes into picture for small number and the number is more than 10 then we end up in curse of dimensionality. So, we went up to 9 discretization of both inflow as well as initial storage. Then the transition probability required to incorporate the stochasticity has been estimated using Lagoon-Margo process from the historical data of 32 years that 32 years of monthly historical data. Then the inflow and initial storage are discretized from 3 to 9 states I mean 3 to 9 ranges. Each range will result in a different operating policies. Then we run the SDP model steady state policies are arrived then these steady state policies derived for various discretization are evaluated through a simulation model. Then the methodology of SDP is we have used the same backward moving dynamic programming objective function is minimizing the squared deviation from the target release and storage and if you see this objective function this is the fundamental objective function for any DPR SDP model. If you take these books by D.P. Laug's water reserve systems planning and management this is a standard objective function. Here the stages are time period I think this morning also we have seen. So, this is still clear picture of how my dynamic programming moves from one stage to another stage. In this time period I will find out what is the inflow, what is the state, state is storage, what is the release benefit. Then a transformation function then it goes to the next stage. So, this is my recursive relationship at the end of 12th month. This is the general recursive morning we can see that you might have seen that I have added one more term that is for stochasticity of ground water variation. Here there is no ground water we have considered only surface water and only one state is there that is storage. Earlier it was release and ground water here it is only storage and this is the general recursive equation which gives the relationship between one time period to another time period including the stochasticity. And this is the termination criteria I run the model for a number of times and if I find the difference between the net benefit of current time period plus number of time steps in my planning period it should be same. So, mathematically the objective function bk ilt is where this is a discretization, k is the discretization of inflow, i is the discretization of storage, l is the discretization of final storage or release and t is the time period. So, I have four dimensional matrix here. It is wrong to say it is four dimensional matrix I can say that fourth order matrix right and which is equal to it is the combined release for various combinations minus target release to the square that means this is a release required and this is a release how much made from the model and its deviation plus this is the required storage target storage and sk is the actual storage resulted from the model the deviation should be less. So, my objective is minimization of this value over a period of 12 months and this is a recursive equation subjected to our continuity constraint and then release constraint, storage constraint and the surplus constraint right these are all non-linear constraint. So, this is the discretization we are talking about how my I divide my storage into n number of ranges. So, here it is a monthly model for example for the range three for each month this is the maximum value measured and this is the minimum value measured. So, I divide this into three parts such that my minimum and maximum are within the class intervals and I have to divide this class interval such that all the interval should have at least one value of measured. So, that I have transition probability of everywhere otherwise my transition probability will be 1 0 0 0 0 1 like that I will show what is transition probabilities. So, like that each month we can divide it and this is for four ranges you can see that same value we divide into four five six and this is an example for transition probability that means the probability of inflow in this range to this range in June to July month is 0.46 that is the meaning that means out of measured 32 years 0.46 times the inflow of this value as entered into this value from the time period of June to July. It is a simple Markovian processes you have to estimate for all the month this for each table will come for each month. So, you will have 12 months for all the ranges I have given this. So, the another big thing here is when I add this range it will lead to a probability of 1. The probability of this range to every range if I add this sum will be equal to 1 for all the cases whatever the number of discretization it is whatever be the time period. Then this is the demand of since we consider the irrigation under industrial municipal we thought it is a multi objective reservoir there is no power production even incidentally also there is no power house in this dance. So, since it is an industrial this demand is constant this is irrigation demand which has been estimated using our modified pen man method. So, this is the total demand in this command area of this reservoir right. So, once we give the input this is the output the output will be given the initial storage state and inflow state what is the expected final storage. That means, if you are inflow is this much and storage is this much then you have to maintain the final storage of this much that is the operating policy it will be in the term of table we have to convert this in the form of a picture. So, as a modeler we keep it in the turbo bit is it will be very useful for us to do further evaluation. So, this is for a 4 state variable for each and every inflow variable that is inflow state for this storage and these are all the final storage numbers it is not 1 million meter cube it is the first discretization that range I have to maintain. So, the steady state policy the developed SDP model searched for the reservoir storage level to be maintained by the end of the month for any given initial storage and inflow state such that the expected value of that objective function is minimum. The steady state policy has been reached when the difference between I think this whatever I have explained Fn plus 12 and Fntk is essentially constant for all discretizations not only for one discretization for all discretization and for the current study the expected annual sum of squared deviation occurred in 48 iteration that means it is solving or keeping the RAM in the matrix of maximum 9 by 9 of 48 times. And then for the ninth range since it is a wider range the convergence occurred at a faster rate within 30 iterations. Then the performance evaluation whatever we do similar to this one we again use Thomas bearing model and studied the performance of this model these are all the four performance indicators we have considered first one is monthly frequency of irrigation deficit how many months deficit has occurred over the period of simulated annual years because same month same year two times might have been occurred deficit but then annually it is counted as one or two months this year one and next year one then annually is also two it will give you how many years the deficit has occurred and this is in terms of million meter cube what is the quantity of deficit and this is in terms of years I think this is ratios number of years so these are all for different cases deficit that is case one is for three discretization case two is for four discretization five six seven eight and case seven is nine discretization. So with the increase in the discretization the frequency of irrigation deficit has not reduced much because the increase in discretization if we increase in discretization itself will results in zero deficit means we are something wrong in the model it will not give you very high range of performance but there is a slight improvement in three discretization it is 348 months deficit out of 1200 whereas if it is nine discretization it is 331 months deficit out of 1200 months that is out of 100 years 27 years deficit has occurred even if you operate using the model and this is the volume and this is the ratio 10% and this is the graph showing this is annual result and this is monthly distribution how for each and every case the volume of deficit the deficit occurs mainly during this November December and January where there is no rainfall in that region this is conventional modeling then we applied a genetic algorithm whatever we have explained in the morning same methodology we have applied for this one also so here the chromosomes is a single reservoir system there are only 12 monthly releases 12 substrings representing the decision variable so it is a single string which represents 12 variables each substring represents one release and the number of substrings varies from one reservoir to another reservoirs then the fitness function is same finding the different squared deviation from the target and the actual release then the selection which population we have to select since if it is hand compute hand calculation we can use our simple calculator since this is large number of population is involved we cannot use it we used this very fundamental method called roulette wheel method you know even many people claim that roulette wheel method gives you a wrong picture but for a simple reservoir operation we hope that it works better people says that tournament selection will be better than the roulette wheel selection so this is about selection of population for mating then crossover there are even though three crossovers are there we used this for one point we used uniform crossover so that this uniform crossover exchanges between the variables not within the variables then mutation we used the modified mutation that means when the performance increase only we will do the mutation otherwise it will be reverted back to the old child chromosomes and this is same GA model how it is formulated same objective function we don't have discretization we don't have ranges we don't have transition probability it is as good as a simple deterministic dynamic even deterministic dynamic programming also you need the ranges it is simple hand calculation objective function these are all the constraints these are all this is non-constrained optimization I don't give constraints in the objective function these are all only rules for fixing my boundaries right so the result even though the decision variables are releases we had only finer 53 binary bits in our objective function 53 0 1 0 will be there since we have considered two values I am putting here only initially we consider the releases as the whole number right then because if I decode it I will get only whole number it is possible to consider the decimals also then my string length will increase if I consider the decimals also so first we consider without decimal and then we consider with decimal also for example if I consider a variable without decimal as a whole number my string length will be 6 or 5 if I consider with decimal then my each string length that means substring variable will vary from 12 to 13 depending upon its maximum value that means my binary bit will go on increasing then in the initial search we made an initial search with an assumption that a probability of crossover of 0.7 and mutation of 0.02 population size is 25 this is a first assumption and we run the program with 25 population probability of crossover of 0.7 you run and get the objective function values this is the initial value we received that is for 25 percent 25 population size of probability of crossover of 0.7 this is my system performance now I am doing the sensitivity analysis I have to find out at which population my objective function gets stabilized so next step is we go on increasing the number of population size but still my iteration generation remains same then if I increase the population size 50 there is a drastic change in my system performance but when my population crosses more than 150 then my system performance stop improving that means after that whatever be the number of population the probability has been well mixed the chromosomes are well mixed with the population of 150 so I assume that the optimal population is 150 for this problem and this varies from problem to problem so with the optimal population of 150 everything was run for a probability of crossover of 0.7 now here I varied the probability of crossover from 0.6 to 0.88 with the increment of 0.02 so this is objective function for a population of 150 with the probability of 0.6 when I increase the probability of crossover the system performance improved and we reached the minimum value when the probability of crossover is 0.76 again it starts resulting in a poor column so from the probability of crossover sensitivity analysis we found that optimal number is 0.76 then with the optimal population of 150 and optimal probability crossover of 0.6 now you vary the number of generation first generation it varied with 25 now we varied it from 25 to 250 this is how the system performance so the generation also had a drastic change in improving your performance so after that it gets stabilized after 175 so we can say that the GA model performs better in this case with a population of 150 crossover of 0.76 and optimal number of generation is 175 the system performance that means my objective function algebraic sum of RT minus DT whole square plus storage is 600 whereas for my SDP model it is 760 so when I compared my releases resulted from actual demand that is the demand estimated in the command area actual release made from the reservoir to meet the demand and release resulted from my SDP model and then GA model release and this is the performance almost most of the years even the actual release is not equal to the actual demand people used to release less than the required demand and it is very surprising to note that SDP model release is more or less equal to the actual demand SDP model release is more or less equal to the actual release but it is not equal to the actual demand only GA is equal to the actual demand right so this is the performance of SDP and GA so it is very clear that GA can take the stochasticity also into consideration without explicitly mentioning this is the stochasticity we are not incorporated what is the stochasticity in the GA model but its performance is better than stochastic dynamic programming model for single reservoir but we want to extend this for multi reservoir system whether multi reservoir system same study area we consider I have shown you the study area so first one we carried out single reservoir system only for this patchy pattern now we considered each and every reservoir as individual reservoir I would extend at this GA model so what is the modifications we have to do here it is not just four times of single reservoir system since the number of reservoir is four but it is not four times it is four by four by four times because the combination of initial storage of reservoir one inflow of that combination with the other two to two combination of other four reservoirs so finally we ended up that we could not do more than four or five discretization even five discretization it was scratching so we could do maximum three and four discretization for four reservoir system because my matrix form is increased that to with a probability of all transition probability of individual reservoir should also be incorporated so this is the objective function for the initial storage and inflow state of first reservoir second reservoir third and fourth reservoir but what is the expected net benefit of current time period for various combinations and also previous decisions with respect to their transition probabilities so this is the general continuity equation for the reservoirs except the fourth reservoir which is in series because the third reservoir which is sitar one which receives the release and surplus from the upstream reservoir the continuity equation is modified like this for various state levels its own initial storage its own inflow and it won't release and evaporation loss and surplus it have an additional input of release and surplus from upstream reservoir for other reservoirs that components will not be there so these are all the release constraint and this is the special release constraint by incorporating all the variables it's generally a mass balance applications similarly the reservoir storage capacity surplus constraints everything remains the same except storages and inflow discretizations so here we could go up to only maximum six that means the storages are discretized into six state variables as a less inflow also discretized into six state variables in all the four reservoirs right so this is inflow of these are all different reservoirs this is for Peranchani this for Chittar see we should be carefully discretized this value describes this value such that your transition probability does not have zero zero values I will tell why what is the problem this is for the fourth reservoir Peranchani Chittar one and Chittar two suppose if this is a transition probability if almost out of six ranges four ranges is zero zero and first range is point five and second range is point five mathematically the total probability is one but other ranges it is zero so zero is a very funny number when we add up this one what happens my solution space will fall only within this zero that means it will never come out of that lawyer space or higher space and that problem is called trap efficiency that is not reservoir trap efficiency this is stochastic dynamic programming trapping so that means my matrix has been got trapped so to overcome this trap there is a simple thumb rule that at least 70% of my discretization should have numbers that means my 70% of discretized ranges should have inflow probability so that is the simple thumb rule that's why we should be very careful in this discretization so this is the demand since we have four different demands in the reservoir how this demand is met demand one has to be met from reservoir one and three and four so first demand it will never meet because this is at the downstream Perinchani reservoir the remaining demand meets 75% of demand is met by this and this is simple calculation our assumptions right the total is 100 if this distribution varies then my entire policy varies because I am keeping or fixing the target demand based upon this distribution so this is how the target release is fixed that is the irrigation demand in this command area 45% is met by reservoir one then that add up that value so the total is same so this is how the distribution is within the reservoir this is in in par with the PWD release policy and this is my objective or optimal operating policy given the inflow state given the outflow state what is the final release state so if I know what is the inflow if I know what is the storage I can tell what is the release to be released from the reservoir I don't bother about any other parameters right so this multi-step SDP the time period is 12 inflow this discretize this summary inflow is described into six variables six through ranges initial storage volume is also described into six ranges the operating policy is identifying the final storage right this is same result same evaluation we used that same performance indicators of single reservoir performance and this is the case so when I use these are all maximum is six this is three four five and six ranges so when I increase the ranges there is a considerable decrease in some of the reservoirs particularly the reservoirs which are in series so when the reservoirs are in parallel then there is not much improvement with the increase in the discretization but when the reservoirs are in parallel there is a great increase in the performance with the improvement in the discretization that's the first from SDP model and still my system runs with deficit these are all the deficit mainly during the months of January and February this is the quantity of deficit 33 to 36 million meter cube the same GA model we extended it here to the multi reservoir system since there are four reservoirs there will be four into 12 releases will be the decision variable so I will have 48 decision variables in overall so when we decode it the decision variables which is equal to maximum value of a decision variable will be the demand of that time period so the total number of binary bits is 240 for single reservoir system it is only 53 it is not just four times that depends upon the combined releases so we had 240 binary bits so each population will have 240 0 or 1 so the same method we followed roulette wheel uniform crossover and modified mutation this is same objective function but constraints are different that the main constraint difference is in mass balance as well as release constraints that is for particularly the reservoirs which are in parallel you have to account the release and surplus from the upstream reservoir so with this setup the initial search was carried out since we had an experience that for a single reservoir system the optimal number of optimal probability of crossover is 0.78 so here we initial population itself we started with 0.78 probability of crossover as 0.78 and population of 0.25 right and this is how my system performance varies there is a drastic reduction from 3,500 to large and another difference we made between single reservoir and a multi reservoir system is in multi reservoir system we have not accounted the variation in the storages because since it is as that will lead a unrealistic picture in your system performance that's why we have omitted the difference between the expected storage and the actual storage so we consider only minimizing the difference between the expected release and the actual release so this is how my system has worked so with the optimal population of 150 we varied the probability of crossover from 0.6 to 0.9 with an increment of 0.02 we found that in the when number of strings increases we need higher and higher probability of crossover for single reservoir system it was 0.76 here we need at least 0.84 to get a better result so with number of generations of 150 and probability of crossover of 0.87 we varied the number of generation so we found that surprising that the system performance that means the difference between target release and actual release is 0 then this will never occur right in reality so again we went back to the stochastic dynamic programming what is the problem see when one model is supposed to give a better result we have to check again our conventional model why it is not able to give so the main problem in SDP model is because of the discretization suppose if I have a finer finer finer discretization even my SDP model will also result in this zero performance zero performance means zero deviation but if I want to that zero deviation I need at least 32 discretizations in my inflow and a storage so which is not possible even for single reservoir system that is why my soft computing technique was so helpful to determine a system which can perform better that means up to the fine tuning level we can operate the reservoir right so this is the comparison of actual demand actual release SDP model and a GA model release for each and every reservoir if you see my GA model release is working very good even for high inflow as well as low inflow months it does not differentiate between high inflow and low inflow month whereas my SDP model differentiate that in terms of stochasticity or transition probabilities see almost it is very high equal to my demand because of zero performance whereas my SDP model is more or less equal to the actual release so these are all for three reservoirs fourth reservoir is a stabilizing reservoir and this is the operating rule curves operating rule curves are the curves which are to be kept in the dam site that means these are all the final storages to be maintained at each and every month right so the system performance surprising not thousand three seventy five only because it is course discretization six for multi reservoir system is very coarse if I want to do no then it is almost impossible even seven discretization I am unable to do how I can go for 13 or 14 to obtain a nil performance nil means better performance or best performance whereas GA model performs better we don't need any discretization we don't need any transition probabilities all these things so the SDP model the annual average irrigation deficit is decreased from 104 to 131 by improving the discretization three to six the values also reduced but the surprising is on comparing the performance of SDP model releases GA model releases and actual releases with the actual demand it is found that GA performed better than SDP right so this is the main advantage of using GA in this multi objective analysis I have not had any problem of curse of dimensionality I have had no problem of trans estimating the transition probability and I have no no problem in modeling the complicated discretization of storages because that story discretization of storages and inflow we need some experience even for the same range minimum and maximum same range some people will discretize into different values by looking the historical inflow so that you will not have any trapping in your transition probabilities right so this is about GA


Hi there and welcome to Getting Clean on the Prairies. Today is pepper planting time for us here in Zone 3. We are reaching the third week of March, we're at about the 21st of March. So we are nine weeks away from our last frost date. So this is about the time where I start planting up my peppers and tomatoes. So I have done a variety of peppers today and I want to share with you how I did it, how I planted them up and also talk about where I got these seeds from. These are all seeds that I received through the Canadian Seed Exchange Challenge from some of my gardening friends across Canada. So I'm very excited to try them out. I had probably ten or so different types of peppers and I've narrowed it down to six and I wanted to try each of these peppers that I received from my gardening friends. So I'm going to try them and I'm going to kind of walk you through what each one of them is and how I planted them up. So let's get started. So I have here some craigs, jalapeno peppers and those came from my friend Sherry. She's got a gardening channel on YouTube called Gardening in the North. She's in Ontario. So we're going to try those out today and I will put the link to Sherry's YouTube channel down below so you can check out her channel. So this is one of them that I'm going to be trying. Jalapenos are always great to have for making salsas. So I'm hoping that these turn out for me. Another hot pepper that I'm going to try is called the Portugal pepper and this came from Elizabeth. She also has a gardening channel called Elizabeth's Adventures. She lives in B.C. I believe right on the coast maybe around Animo I'm thinking and she has a great website so please check it out. And these are hot chili peppers. I'm kind of excited about trying those because I like to make hot pepper flakes for cooking. I hope these turn out and I can try them. So Portugal peppers. And then I received a couple sweet pepper seeds from Auxenca Strug. She was part of the Canadian Seed Exchange Challenge. She doesn't have a YouTube channel that I know of. If you do and if you're watching or if anybody knows please share it in the comments below. But she sent me a couple different sweet peppers that I'm excited about. I'm more of a sweet pepper kind of girl. I like to cook with sweet peppers. I like to put them in my salad. So these are tomato peppers, the sweet version, and lesia sweet peppers. So I'm going to try these two sweet peppers. And the couple that I just want to do a shout out to is Hickory Croft Farm. They're the couple that actually started the Seed Exchange Challenge in Canada along with Lori from Lori's World. So those are two more channels to please check out. Steve and Chris sent me a variety of seeds and one of them was Tali's Sweet Italian Frying Pepper. And that sounds so delicious to me. Again, I like sweet peppers and just the idea of frying them up and eating them sounds really good. So these are another pepper that I'll be trying. And the last one here is actually didn't come through the Seed Exchange but I purchased it from a local seed company that you've probably seen on several of my videos because I love buying their seeds. They are a local family that has been collecting and saving heirloom seeds for generations and they have all sorts of wild flowers and they've expanded into heirloom vegetables and these are Aurora peppers. So these are a medium hot pepper and they change color. It says here from pink to purple to orange and red as they ripen. So they'll sound very pretty and you can see on the package. They look quite nice and they also could be used as a house plant. So I'm going to try and get a few of these going and try them outside and then maybe keep one indoors as a house plant as well or over the winter. So those are my six different peppers that I am going to be starting from seed indoors. I don't want to put these in the ground when there's still risk of frost even though our last frost date is said to be mid-May. We quite often get cold nights and frost right up until the 1st of June. For my tomatoes and peppers I will probably keep them indoors until the ground is warm and the nights are warm and most of these are 65 to 75 days of maturity so that would take us into early to mid-August and these peppers will be ripe. As long as we don't get early frost and the conditions are right I'm hoping that some of these will be able to stay in the garden and ripen to all the different pretty colors that they can. I used a mixture of seed-starting mix and some vermiculite and perilite. I sterilized the soil with boiling water prior to potting it up just to make sure I don't get any fungus gnats or there's no danger of fungus gnats in the soil. I'll be using 3-inch pots to start these and putting three seeds in each to see just to hopefully see that at least one germinates. Hopefully I can keep them in these pots right up until they go outside. I'll find to just keep one plant in each pot. I will thin them out as they germinate and grow. I'll be putting them on a heat mat to start with my lights just set about a couple inches away from the top. I put a light layer of vermiculite on the soil to keep it from damping off and also to help prevent the fungus gnats. I've had a bit of an infestation of them in my ornamental grasses and hopefully they don't spread into my other seedlings. So I hope you enjoyed watching how I started my peppers from seed indoors and if you haven't already done so please subscribe and hit that notification bell so that you don't miss out on the next video. Thanks for watching!


Hello, my Nakamotachi, this is JoyNews here to give you a live update on the current events at Onigashima. This chapter is Heat, a chef on top of his game serving up a fiery arse-kicking. All of this and more on JoyNews. First, we go to our traffic report. We have finally gotten closer to Momonosuke, who we could not see properly last chapter. And it seems that he is keeping the island at bay by holding on and pulling on the already existing clouds that Kaido has created. This is a truly commendable act by the young samurai, making sure that the people of his country does not suffer the catastrophic consequences of this island falling. Back to you. A truly commendable act indeed. I personally find this very clever on Oda's part to slowly build up and make Momonosuke's journey and role in saving his beloved country believable instead of producing his own flame clouds to keep the island afloat. His inexperience has forced him to have to come up with an alternative way on how to handle this situation. And figuring out that he is able to use Kaido's existing flame clouds means that instead of holding up the island in a show of mighty strength like his father, he is instead pulling the island away in the opposite direction. This not only subverts everyone's expectations of seeing Momonosuke in a similar stance like his father's Hour of Legends, while still continuing to build up Momonosuke's act of heroism in this act. This also gives more room for Oda to potentially control and extend the time limit that he set for each matchup should he choose to do so. Next up, we check on weather. Cloud grabber spotted. Subject is the actual weather and not the individual, please. I see white light. Lighting. As per the weather report, we've seen some unexplained lightning in this chapter with some other reports saying that this seems to be the result of one heated up player, our very own straw hat chef. While Sanji's fiery leg is familiar to us, though the source behind the move is still a little unclear, the site of lightning is a new addition. One possible explanation for this according to our physics scientists is that lightning is the result of an imbalance between electric charges and can be produced not just during storms but also in volcanic eruptions. This is known to be the result of a violent and sudden explosion of particles which causes so much friction that it creates its own lightning. This seems to be an apt description of Sanji showing in this chapter, perhaps the violent burst of energy being the result of his emotions and strength, causing his legs to not only flare up into fire but also lightning. Will the power of this new attack incorporating lightning that Sanji has conjured up be finally enough to topple one of the beast pirate's top officers? Next up in sports, the Mugiwara 56s seems to be on the verge of closing out the funky beast pirates with the last chapter 1034's player of the game, Mugiwara's very own Sanji, delivering a phenomenal performance using his upgraded speed to inch the 56s closer to victory. We go to our expert analysis for a breakdown. 45 points, 25 rebounds, 10 assists, no turnovers. What we got from Sanji Vinsmoke today in his performance against Queen the Plague and the beast pirates team is nothing short of the most sensational performance I've ever witnessed with my own two eyes. I mean who else is doing it like Vinsmoke? Who? I know he hates that name but you know we gotta keep things professional in the sports world, we have to do it, I understand. So we'll call him Sanji, let's go back. What does this mean for Sanji's legacy? Well clearly he's on his way to the Admiral Hall of Fame. Clearly he's up to scratch, he's the wings of the pirate king, he's there. Look what he did, we got the all-long part combinations, we have new techniques, super strength, super speed, arm movement hockey training, volcanic legs. He's a man of faith. What more could you want? I'm sorry I know this is supposed to be a nice calm analytical segment but this is, I've been a fan of Sanji for so long and what I have to say ladies and gentlemen is this is the greatest performance in the history of the straw hats that we have seen since Monkey D. Luffy versus Coddacurry. I'm saying it, it is what it is if you don't agree with me, that's not my problem. Back to you JJ. Wow, such enthusiasm. Thank you to our associate channel for providing us with such great analysis for more of which you can check out yourself following the link below. With only one chapter left for the year and Queen's looming defeat, it raises the question of whether we will see Sanji's definitive victory to end the year or whether we will move back to Zoro's fight with King and ceremoniously open the new year with the simultaneous defeat of the beast pirate commanders by the wings of the future pirate king. A speculation that has been long held here at Joy News but for now this chapter is a great one for Sanji fans who not only got to witness the straw hat chef serve up some tenderized dino meat but has now been finely acquitted from all charges against hitting a young woman whose identity has been confirmed to be Osome. Miss Joysters, now that your client has had all charges dropped against him both of you must be very relieved. Did you have any doubts? No, ever since chapter 1031 we've been very adamant about Sanji's innocence. It's been a hugely stressful time for him having to fight against one of Kylo's top strongest officers with the whole world watching and doubting his chivalry. We're just glad that the true perpetrator has now been revealed and that Joysters has been served. Thank you. What a relief indeed. While there are even some fans who supported claims of Sanji's switch to the dark side, seeing it as an interesting turn of character development for the series, it does seem like this was too dark for the likes of One Piece and admittedly taking Sanji's character too far. In fact, the combined events of this chapter with Sanji being cleared of his charges of hitting Osome, paired with no longer having his ratesuit and yet being able to essentially achieve invisibility is a very wholesome development for Sanji's character who will now be able to turn invisible to help him in fights and yet the absence of the ratesuit itself will mean that he will no longer be frequenting bathhouses for less honorable means. Truly an awesome step forward for his character. Going to our on-site reporter for an exclusive interview. I think you mean an awesome A Osome step forward. Speaking of whom, I am here with Osome's pet mouse, says Cousin for an exclusive interview. Screech-screech. Choo-choo. Hello, I'm Choo-Joy. It's great to see that Choo-Jee played such an important part of the war, inadvertently leading to the reveal of Sanji's innocence and his impressive showing against Queen. We mice love Sanji. He's a good one, that boy. He fed one of our own back in the German Kingdom. We heard lots of good things about him down in the sewers. Girl, Sanji! Some people might say that a lot of screen time was spent bizarrely focusing on Choo-Jee, but Choo-Jee is a very special mouse. He's definitely our family's favorite. Go Choo-Jee! Seeing so much of Choo-Jee was definitely a surprise in this chapter, one which raised quite a lot of eyebrows, but the payoff definitely made up for it. Back to you. What a wide network that mice have. Fans may remember that Choo-Jee may have been a callback to the flashback we witnessed during the Hawkeye Island arc, where Sanji's pure and kind heart meant that he even befriended and fed a mouse in his childhood. The fact that its name is Choo-Jee, similar to the naming scheme of the Vince-Murk brothers, whose names end with G, raises a fun idea of Choo-Jee perhaps being related to the mouse we saw back in the North Blue during Sanji's younger years, and perhaps a mouse family as distant relatives who migrated to Wanoes sometime in the past. But most of all, it's a great callback when viewed in light with everything else that happened in this chapter that fits so well with Sanji's character development. Whilst the Hawkeye Island arc was a moral victory for Sanji, in Wano, it seems that we are close to getting the battle victory that we have long been waiting for.  In business, a shocking scene with what started as a promotional ad turned into an ugly scene between two top competing technology conglomerates which has taken the internet by storm. Here at Germatech, we provide the best weapons of mass destruction. Our technology is so advanced that they exceed your wildest dreams. We have ratesuits with abilities that go beyond your imagination. Germatech can provide you for all your battle needs. In fact, our technology is so good that our competitors want to steal from us. But why have Panasonic when you can have Panasonic? Why wear Adidas when you can have Adidas? Trust Germatech. Don't trust Germatech. What? Don't trust Germatech. What are you doing here? He's evil. His boss is an abuser.   He could not save his own life. Get Germatech. Get Germatech. Get Germatech. We have the funkiest technology. Don't trust Germatech. Don't trust them. Queen's replication of Germa double six's technology continues to raise intrigue into the relationships within Mads. Given Queen's comments in this chapter about Judge and about Vega-Punk in the past, it does seem like Mads contained great scientific egos who despite banding together was also most likely at odds with each other. The science equivalent of the Rocks Pirates it seems. It also raises an interesting question in that as it seems Judge put all of his scientific experimentation on his children, whereas Queen did it to himself, it does cause one to wonder what Vega-Punk did with his experiments. Perhaps they'll be seen with the SSG unit. Queen not being able to copy Sanji's fiery leg in this chapter and his confusion in a previous chapter about how Sanji's leg could be set alight really does suggest that this is not the result of some Germa modification and could be the outcome of something else. Apart from the added intrigue, it is a very nice detail as it could symbolize that Sanji's signature attack remains solely his own and is unrelated to his family whom he despises so much. In entertainment, the events of this chapter has resulted in a recently released single climbing up the billboard since its kickoff last month to take the number one spot in this season's music charts. Heat on Feet, the hit single by Randy Troy and Eddie Hartdrob has managed to feature in Everybody's Spotify Wrapped for 2021 and has even resulted in a new kick-talk challenge with only one chapter remaining for the rest of 2021 and with a break coming up next week, at least we have Heat on Feet to keep us entertained as we wait. This is Joy News and we'll see you again soon.


Today guys, we talk about wands and how you can actually pick your wand in game or if you want, have that wand picked for you. Today I explain all. How's it going guys? My name's DPJ and if you do enjoy the video, leave a like, it really helps out and if you like what you see and want to see more, be sure to subscribe. Okay so, as we know, you're able to pick your wand within Hugwort's legacy.  If you've signed up to the Wizarding World website and you've linked that to your wand above as I can and linked them both to your gamer tag for your platform, what's chosen for you on this website will be automatically applied for you in-game when you start playing but even still, you can still change it there. Now what's great about the information I'll be giving you today is guys, this also counts with your wand. Yes people, you can change your wand in game or the wand you have picked for you on the Wizarding World website will be applied to you and your player in Hugwort's legacy. Yes I can confirm and this information comes from a recent post dropped on the Portkey Games website which I'll link in the video description but I come across it via a question put towards one of the other games support on Twitter. Someone asked if we could customise our wand in Hugwort's legacy and they replied with hey Mike thanks for reaching out about wand customisation. You guys will be able to change their choice of wand during the wand ceremony later in game if you don't like your choice of wand from the Harry Potter fan club quiz. If you have anything for questions please let us know. Now the Harry Potter fan club quiz is basically the Wizarding World website and how your wand is there picked for you.  The wand picked for you on the Wizarding World website will be applied to your player in game but if that ain't good enough for you and you want a different wand you can pick a wand in the game and later on via a ceremony they say takes place later in game again if you don't like your choice from the Wizarding World website that is absolutely great great news guys now in regards to customisation on these ones I don't think that's gonna be a thing but hey you just never know but yes people the fact we're able to pick our wand in game is a great great thing I don't think we've seen anything of this from the gameplay trailers or the reveals yet I mean we've seen a little bit or snippet of the sorting hat which are the good thing as well we know how that works now and if you miss my video on this I'll link in the video description but yes the fact we're also able to change our wand in game as well is absolutely amazing but yes guys more information on Hugwort's legacy coming to your eyes soon so if you don't want to miss a thing make sure you subscribe to the channel, turn those notifications on, drop a like while you're here it really helps out and hopefully my bare you to four people I will see you on that next one


So when I think about the last 20 years that Mirantis has been on this journey, the world today is just extremely different from what it's been. And the one thing that's been standard and constant for the market and Mirantis is change. And Mirantis has been able to be agile and change, not only change but lead the change for the customers that are looking to be agile and looking to actually change faster than their competition. And I think that's the constant thing that is part of our DNA that will only continue. And as change accelerates, Mirantis will have to get better at that. And this is the one thing that I'll promise to our employees, to our customers is that the way we change, the way we stay agile and the way we enable our customers to change faster and be agile, this is the constant thing that we will continue to be excellent at.